was appropriated by the soviet, soviet literary narrative, after the end of the soviet union, tamara gundurovate, wrote a book about franko not a stonemason, yes, that is, franko was only a stonemason, er, shevchenko was only as a serf in a coat, which, which he, so, to photograph a special for... well, uh, and, uh, it's, it's a question of what we do with our heritage, how we try to understand it, and i joining this conversation now from cambridge, united states america, where great discussions are now unfolding regarding the decolonization of russian or russian-centric literary history, where in fact almost for the first time in the mainstream, that is, the main... questions are questions about the imperial key imperial narrative of russian literature, which imperialism was recognized as the basis of french, english literature, but somehow, the russian language actually remained the subject of absolute adoration and idealization, and this is now changing, it is changing because of the events in ukraine, and... specifically because of the ukrainian the ukrainian resistance, so i would simply