Introduction
Repression against the free Belarusian book: a five-year overview
Persecution of writers: statistics
The current state of the sector: problems and consequences
Writers inside the country: emotional state, working strategies, and future outlook
Conclusions and needs for support
“Last year, the security forces confiscated my laptop and memory drives. Along with them, they irretrievably stole the creative achievements of recent years: the manuscript of my poetry collection, Ascension, the manuscript of my renowned book about mushrooms, The Secrets of the Belarusian Forest, which I had been compiling and writing for over four years and was planning to publish soon, several short stories, dozens of translations, a photo archive…”
Siarhiej Sys [1], “Pieralot-trava”
INTRODUCTION
The year 2020 marked a turning point for Belarusian culture. Progress that had been made – limited though it was under an authoritarian regime – did not merely stall; structures created by the independent cultural sector were effectively dismantled, as was the relative creative freedom that had previously been felt, even within official institutions.
Figures from across the cultural sphere, including writers, took part in the protests [2], which were followed by a crackdown ranging from criminal prosecution to expulsion from the public space. The Belarusian book has since found itself under institutional pressure, with censorship mechanisms and administrative barriers turned into systemic tools of repression against free expression.
At the same time, the state-controlled literary sector continues to be propped up through administrative resources: publishing houses are subsidised, the pro-government Writers’ Union receives budget funding, and Soviet-era practices – such as state order, mandatory subscriptions, and state procurement – remain in place. Books by pro-regime propagandists are included in the list of “socially significant” publications. Meanwhile, the independent book market has come under unprecedented pressure, with a systematic campaign against “undesirable” books, their authors, and their readers.
The “new normal” now includes the liquidation of associations, withdrawal of publishers’ licences, defamation of authors, confiscation of books, and bans on their storage or distribution. Censorship has become overt, with scientific works, historical studies, and writings by both contemporary and classic Belarusian authors being declared “extremist.” A separate list of printed materials “capable of harming the national interests of the Republic of Belarus” has also been introduced. This represents only a fraction of the repression directed at free literature over the past five years.
“It is a great relief that we no longer see these books on our shelves today […] They are the most terrible, the most powerful weapon. I mean the books [that have been labelled ‘extremist’]. A failure to understand that books are much more powerful weapons than rockets and tanks leads to the necessity of using rockets and tanks,” declared then Deputy Minister of Information Ihar Buzoŭski at a roundtable meeting on political writing in 2022.
This report presents the current state of Belarusian literature. It is based on monitoring [3] by PEN Belarus and on ten interviews conducted between January and August 2025 with “People of Word” [4]: writers, poets, translators, lecturers, publishers, and researchers from both the independent and state-controlled cultural sectors. It highlights cases of pressure, statistics on the persecution of authors, the main challenges facing literature in Belarus, their consequences, and the needs of the independent literary community.
REPRESSION AGAINST THE FREE BELARUSIAN BOOK: A FIVE-YEAR OVERVIEW
Before turning to the repressions documented after the events of 2020, it is important to recall earlier cases of persecution of cultural figures, including writers.
On 7–8 December 2019, peaceful protests against integration with Russia took place in several Belarusian cities, sparked by negotiations on new “road maps” between the two countries [5]. By the end of December, court hearings began against participants in these protests. Essayist, prose writer, publicist and civic activist Pavieł Sieviaryniec was detained outside his home for calling to defend the country’s independence, fined, and sentenced to 15 days of arrest, which was later extended by another month. Linguist and essayist Piotr Sadoŭski was twice subjected to administrative punishment in the form of a fine. During one of the rallies in defence of independence, Sadoŭski sang a patriotic song based on the words of the classic Belarusian writer Janka Kupała, A ŭ bary, bary (In the Forest). Symbolically, he had sung the same song on 25 August 1991, as a deputy of the Supreme Soviet of the BSSR, on the day the Declaration of Sovereignty of the Republic of Belarus was granted constitutional status. Other writers were also targeted during these events.
2020
Arbitrary detentions, fines, and administrative arrests of writers became commonplace: first for defending independence, then for participating in legal pre-election pickets, protest marches, neighbourhood cultural events, and other initiatives triggered by the fraudulent elections and violence against peaceful demonstrators. There were documented cases of particularly harsh detentions and beatings, including in temporary detention facilities.
Criminal cases were opened, interrogations conducted, summons issued by the Investigative Committee, and searches carried out.
Authors deemed disloyal were expelled from the Union of Writers.
Dismissals followed – some were presented as “by mutual agreement,” while others were described as voluntary resignations from state institutions in protest against the authorities. University lecturers were summoned before ideological commissions and rectors and reprimanded for participating in rallies, voicing support for protesters, or otherwise demonstrating civic engagement.
Cancellations of literary events, book launches, and autograph sessions began to appear, officially “for technical reasons”.
The first political prisoners among writers emerged.
Some authors were forced to leave the country due to safety concerns.
2021
Publishers Andrej Januškievič and Hienadź Viniarski were detained and interrogated; their publishing houses, Januškievič and Knihazbor, were searched, their accounts frozen, and their activities paralysed for nearly five months.
The Belarusian customs service blocked the import of books by specific authors and publishers, sending them for review for “extremism”.
On 26 March, the book Belarusian Donbas by journalists Kaciaryna Andrejeva (Bachvałava) and Ihar Iljaš, both now political prisoners, about Belarusians’ involvement in the war in eastern Ukraine, was declared “extremist”. This marked the first such case in a long series of similar instances.
State television and pro-government media launched smear campaigns against prominent writers and independent historians. Among those targeted were poet Natalla Arsieńnieva, author of the hymn Mahutny Boža (Mighty God), one of the symbols of protest, and the works of Uładzimir Arłoŭ, Alaksandr Łukašuk, Uładzimir Niaklajeŭ, Pavieł Sieviaryniec, Aleh Łatyšonak, and others.
Nobel laureate Sviatłana Aleksijevič’s (Svetlana Alexievich) The Last Witnesses was removed from the Year 11 school literature curriculum and replaced by Syny (Sons), written by the pro-government Union of Writers’ chair Mikałaj Čarhiniec.
Books by “protest” authors, and publications with white-red-white symbolism, were pulled from state shops and libraries. The country’s largest book retailer, Belkniha, ceased cooperation with several publishers and authors. The state-owned Belsajuzdruk unilaterally terminated contracts for distributing independent periodicals, including Novy Čas and Naša Historyja.
Pro-government propaganda channels on Telegram published defamatory “confession” videos, depicting detained individuals allegedly in possession of “inappropriate” books. Documented incidents include the confiscation of such materials during the arrests of activists, as well as during a search conducted at the Nil Hilevič University. Authorities seized the entire library from the Orša branch of the Belarusian Language Society, including publications from the Belarusian Prison Literature series. In places of incarceration, political prisoners faced restrictions on access to books.
Censorship in the state-controlled media continued to intensify. Specific authors were deliberately excluded from print publications, with editorial boards refusing to publish their work or even mention their names. Key literary magazines, including Połymia, Maładosć, and Nioman, saw their editors-in-chief replaced.
The cultural crackdown extended to the performing arts, with tour permits denied for productions based on works by authors deemed disloyal to the regime.
Pressure on civil society organisations began to escalate. On 9 August, the Supreme Court ordered the dissolution of the Belarusian PEN Centre. This was followed by the liquidation of the Union of Belarusian Writers on 1 October and the Francišak Skaryna Belarusian Language Society on 8 November. Meanwhile, the pro-government Union of Writers circulated guidance to libraries specifying which authors’ books may or may not be accepted, even as donations.
Employees of cultural institutions faced growing repression, including dismissals, removal of teaching hours, and other punitive measures, targeting those considered “unreliable”. Such actions extended to staff at the Faculty of Philology at the country’s leading university.
Arbitrary detentions of writers persisted, alongside administrative trials, house searches, confiscation of equipment, and the removal of red-and-white Belarusian symbols, as well as, in some cases, the seizure of literary manuscripts. Criminal cases were initiated; authors were summoned for interrogation – sometimes in connection with specific book publications. Closed trials were conducted, and new sentences were handed down.
Writers began to appear on the State Security Committee’s (KGB) “List of Organisations and Individuals Involved in Terrorist Activity”.
Social media accounts were increasingly designated as “extremist materials”.
In response, users mass-deleted likes, red-and-white symbols, and other “sensitive” content from their profiles. In some instances, writers were forced to delete their Facebook accounts altogether under threat from security forces (“Delete it – or go to prison!”).
The layer of repression that remained invisible to the public continued to expand.
Publishers began to apply internal censorship, reviewing all planned publications for potential “extremism”.
Fearing reprisals, authors were withdrawing from informal cultural events and requesting that their names not be publicised when they won non-state literary awards.
Belarusian cultural production was increasingly relocated abroad. In Kyiv, a stage adaptation of Saša Filipienka’s (Sasha Filipenko) novel Ex-Son premiered, and a production of Revolution by writer Viktar Marcinovič was announced at a theatre in Germany.
2022
The Januškievič publishing house was deprived of its office, and at the opening of Knihaŭka, its new bookshop, pro-government propagandists and representatives of the security services staged a raid on the premises. As a result, 200 books were confiscated. Publisher Andrej Januškievič and shop employee, literary critic Nasta Karnackaja, were arrested. Just 7.5 hours after opening, Knihaŭka was forced to close.
The Ministry of Information suspended the activities of four independent publishing houses – Medisont, Halijafy, Limarius, and Knihazbor – for a period of three months. By the end of the year, Limarius and Halijafy were liquidated, while Medisont and Knihazbor remained in a state of uncertainty.
Pro-government propagandists and “concerned citizens” organised so-called “cleansing cultural raids” on bookshops, searching shelves for ideologically “harmful” publications. These included books featuring the white-red-white Belarusian symbols, works by independent historians and authors critical of the regime, as well as literature on LGBT themes.
The distribution of books already published by independent publishers – and Belarusian-language literature more broadly – has been severely obstructed. “Blacklists” circulated among libraries have led to the confiscation of numerous works and the prohibition of replenishing collections with independent titles.
Dismissals continued, including of highly qualified cultural specialists, at media outlets focused on Belarusian culture, such as the journals Mastactva, Połymia, Maładosć, Nioman, and the newspaper Kultura. University staff and students also faced expulsions.
Unofficial bans on public appearances were imposed on specific authors. Meetings with cultural figures were often cancelled after being announced, and the process of organising “cultural and entertainment events” was deliberately complicated. Under the pro-government Union of Writers, a commission was established to oversee public access to bookshop inventories. Theatre repertoires were purged of plays based on works by writers deemed disloyal to the regime.
The Chairman of the pro-government Union of Writers, Mikałaj Čarhiniec, was awarded the honorary title of “People’s Writer of Belarus” – a title last conferred in 1995. Čarhiniec was known exclusively for detective and militarised plots and had never written a single work in Belarusian. However, he played a direct role in compiling “blacklists” of writers. State media continued to smear dissenting authors, publishing defamatory materials, including against political prisoner and human rights defender Aleś Bialacki, following the award of the Nobel Peace Prize to him.
Arbitrary detentions persisted, including arrests for participation in anti-war protests against Russia’s so-called “special military operation”, for distributing allegedly “fake” anti-Russian materials, and for expressing support for Ukraine, in general. Preventive “conversations” and interrogations were conducted, criminal cases initiated, and other forms of persecution employed.
Belarusian writers previously convicted under criminal charges were added to the so-called “list of extremists” – the “Register of Citizens of the Republic of Belarus, Foreign Citizens, and Stateless Persons Involved in Extremist Activity”.
The relocation of Belarusian cultural activity abroad accelerated, particularly in the case of literary festivals. The persecution of political émigrés intensified.
By the end of 2022, 11 [6] books were added to the official “National List of Extremist Materials”.
2023
Publisher Zmicier Kołas was detained. He spent ten days in custody.
Three more independent publishing houses – Januškievič, Knihazbor, and Zmicier Kołas – were liquidated.
State interference in the stock of bookshops and library collections continued, with works labelled “extremist” removed from shelves and electronic catalogues. Consequently, the Belarusian book market was becoming increasingly dominated by Russian authors and publishers.
Censorship extended into schools. From the 2023/2024 academic year, ideologically motivated changes were introduced into the Belarusian literature curriculum for the final Year 11: Uładzimir Karatkievič’s historical novel Ears of Rye Under Your Sickle was removed and replaced by The Black Castle of Alšany, while Aleś Razanaŭ’s poem Ragnvald Rules the City was also excluded from the additional reading list. Artur Volski’s tale The Native Word and Uładzimir Jahoŭdzik’s short story The Lark were eliminated from the recommended “Literary Reading” programme for Year 4.
The website of the independent Belarusian journal ARCHE (arche.by) was permanently blocked. Access was temporarily restricted to audiobooks.by, a Belarusian-language audiobook platform, and to kamunikat.org, the most extensive online library of Belarusian literature.
The literary and arts journal Dziejasłoŭ, first published in September 2002, was forced to cease publication.
Amendments to the Law on Publishing in the Republic of Belarus further expanded the powers of the Ministry of Information, including the right to revoke state registration certificates of publishers of printed materials.
Even works by classical Belarusian authors of the 19th and 20th centuries were labelled “extremist,” including “The Winds are Blowing” and “The Old Grandfather’s Conversation” from Vincent Dunin-Marcinkievič’s Selected Works.
Unwritten bans were imposed on mentioning the names of disloyal authors, with lists circulated of those who may not be cited. The regime’s fear even extended to the deceased: following a denunciation by a pro-government activist in the town of Zelva, a cast-aluminium bust of dissident poet Łarysa Hienijuš, erected in 2003, was dismantled.
Reports documented cancelled lectures, visits by security officials to writers’ homes and workplaces with “warnings”, interrogations at the Ministry of Culture of those suspected of disloyalty, and continuous monitoring of cultural workers’ social media pages. Dismissals persisted, often following denunciations by regime loyalists or after administrative detentions, with victims facing severe difficulties finding new employment if branded as dissenters.
Writers were placed on official lists of citizens deemed members of “extremist formations” – for example, due to affiliation with the Belarusian Association of Journalists.
Authors were detained and interrogated at the Belarusian border, while mass persecution was reported for donations made to aid funds supporting victims of repression in 2020–2021. The harassment of political émigrés intensified, including property seizures and pressure on relatives remaining in Belarus.
By the end of 2023, forty books had been added to the official “National List of Extremist Materials”.
2024
The Nioman Literary and Arts Foundation, which published the journal Dziejasłoŭ, was liquidated.
Access was temporarily blocked to several cultural websites, including: Knihauka.com, the Warsaw-based bookshop of the Januškievič publishing house; Bellit.info, the website of the International Union of Belarusian Writers established in Vilnius following the liquidation of the Union of Belarusian Writers; and Ficbook.net, the largest Russian-language online platform for amateur authors.
The exhibition Vasil Bykaŭ: Life Through Outlines and Lines…, dedicated to the centenary of the birth of the People’s Writer of Belarus and one of the most consistent critics of the Łukašenka regime, was shut down on the tenth day of operation, despite being scheduled to run for four and a half months.
Cases of violence against readers continue to be recorded – including beatings for possession of Belarusian-language works, particularly historical literature, discovered during searches. There were reports of “cleansings” of prison and penal colony libraries, with books in foreign languages and educational materials removed, sometimes even physically destroyed.
Materials designated as “extremist” included the Instagram page of PEN Belarus, the literary YouTube channel Chadanovič, and the video and lyrics of the song Nie Być Skotam (“Not to Be Cattle”) by the band Liapis Trubetskoi, based on the 1908 poem Who Are You? by Janka Kupała, the People’s Poet of the BSSR. The continuously expanding list also featured books by imprisoned writers, including Pavieł Sieviaryniec, Ihar Mielnikaŭ, and Zmicier Daškievič.
Amendments to the Law on Publishing in the Republic of Belarus, adopted in 2023, introduced a new censorship mechanism: a register of printed publications banned from distribution as allegedly “harmful to the national interests of the country”. At the time of compilation, most of the books included in this list concerned LGBT themes and were published by Russian publishing houses. In total, 35 titles were banned.
The changes also affected individual entrepreneurs, significantly reducing the range of permitted activities. Publishing was excluded from the list entirely. From 31 December 2025, they will be required to re-register as legal entities – entailing higher costs, more complex procedures, and tighter state control.
By the end of 2024, 59 books were added to the “National List of Extremist Materials”.
January – August 2025
Arbitrary detentions, as well as administrative and criminal prosecutions of writers and other “People of the Word”, continued. Authors were summoned for interrogations and so-called “preventive conversations”, subjected to defamation campaigns, and in some cases silenced through a ban on the use of their names. Dismissals and professional bans were increasingly applied. Censorship persisted, with the complete prohibition or restriction of the dissemination of creative works, alongside other forms of repression.
Denunciations of writers and their books, accusatory publications on social media, and other activities by regime supporters did not cease. On the contrary, such actions were increasingly used as justification for punishments and further repressive measures.
The persecution of exiled Belarusian writers also intensified, with many being placed on wanted lists circulated jointly by Belarus and Russia. In addition, the Instagram page of Skaryna Press – a London-based publisher and online shop for Belarusian books – was designated as “extremist material”.
By the end of August 2025, 81 books were added to the official “National List of Extremist Materials”. A further 141 titles were on the register of printed publications deemed “capable of harming the national interests” of the country. As of the time of writing, there are 30 incarcerated writers recognised as political prisoners in Belarus.
PERSECUTION OF WRITERS [7]: STATISTICS
By the end of 2020, Belarus counted 6 writers and ‘People of the Word’ recognised as political prisoners. By the end of August 2025, this figure rose to 30. Considering unreported cases and those serving sentences of home confinement, the total number amounts to 40 [8] individuals.
Ihar Alinievič, Andrej Alaksandraŭ, Kaciaryna Andrejeva (Bachvałava), Vacłaŭ Areška, Dzmitryj Bajarovič, Aleś Bialacki, Pavieł Vinahradaŭ, Dzmitryj Hałavač, Zmicier Daškievič, Mikoła Dziadok, Maksim Znak, Dzianis Ivašyn, Alaksandr Iljin, Ihar Iljaš, Valeryja Kasciuhova, Aleh Kacapaŭ, Maksim Lepušenka, Pavieł Mažejka, Ivan Marozaŭ, Uładzimir Mackievič, Ihar Mielnikaŭ, Alaksiej Navahrodski, Eduard Palčys, Cina Pałynskaja, Alena Pankratava, Andrej Pačobut (Andrzej Poczobut), Palina Pitkievič, Siarhiej Sacuk, Pavieł Sieviaryniec, Natalla Sivickaja, Nadzieja Staravojtava, Aleh Syčoŭ, Alaksandr Franckievič, Alaksandr Fiaduta, Aleh Chamienka, Alena Cieraškova, Łarysa Ščyrakova, Aksana Jučkavič – together with at least two other writers who remain imprisoned or subject to restrictions on their liberty.
Of those imprisoned in 2020, only two have since been released: poet and member of presidential candidate Viktar Babaryka’s nomination group, Sviatłana Kuprejeva, whose pre-trial detention was replaced with a travel ban in October 2021; and poet and theatre director Ihnat Sidorčyk, who completed his three-year sentence in an open-type correctional facility in July 2023.
Over the course of just five years, 16 writers fully served their sentences, ranging from 1.5 to 4 years in penal colonies, 2 to 3 years of restricted freedom in open-type correctional facilities, and 1 to 3 years of home confinement. These included:
Andrej Akuška, Mark Biernštejn, Tacciana Vadałažskaja, Hanna Važnik, Alaksandr Vasilevič, Alaksiej Iljinčyk, Volha Kałackaja, Siarhiej Makarevič, Ivan Marozaŭ (behind bars again), Mikałaj Papieka, Pavieł Piernikaŭ, Ihnat Sidorčyk, Andrej Skurko, Ksienija Syramałot, Jana Cehła, Dzmitryj Jurtaŭ.
Six others were released following presidential pardons: Aleh Hruzdziłovič, Nastassia Maciaš, Darja Chmialnickaja, Natalla Dulina, Ihar Karniej, and Andrej Kuzniečyk (the last three were forcibly deported from the country).
In total, no fewer than 67 writers and “People of the Word” have been convicted under criminal charges in in-person trials. Nine individuals received prison sentences ranging from 10 to 20 years, most often in medium-security penal colonies:
- Ihar Alinievič, author of prison literature and anarchist activist – 20 years.
- Alaksandr Franckievič, author of prison literature and anarchist activist – 16 years and 9 months.
- Poet and journalist Andrej Alaksandraŭ – 14 years.
- Poet and journalist Dzianis Ivašyn – 13 years and one month.
- Blogger, publicist, and populariser of history Eduard Palčys – 13 years.
- Poet, bard, and lawyer Maksim Znak.
- Literary scholar, essayist, and human rights defender Aleś Bialacki.
- Political scientist and editor Valeryja Kasciuhova, and writer, literary scholar, and translator Alaksandr Fiaduta – each for 10 years.
The top three Criminal Code articles used in convictions against writers are:
- Article 342 (Organising, preparing or actively participating in actions that grossly violate public order) – applied in cases against 32 individuals.
- Article 130 (Incitement of hostility or discord) – applied in 11 cases.
- Article 361-1 (Creating or participating in an extremist formation) – applied in 11 cases.
Since 2020, at least [9]:
- 67 writers and “People of the Word” have faced criminal prosecution and conviction, with five of them convicted twice or even three times.
- 5 have been convicted under criminal articles in absentia (special proceedings).
- 62 have been recognised as political prisoners.
- 117 have been subjected to administrative proceedings.
- 160 have undergone arbitrary detention.
- 52 have appeared on official “extremist” lists, and 12 – on “terrorist” lists.
Dozens and hundreds more have faced searches, interrogations, dismissals, and professional bans. Many have been persecuted for donations made earlier to funds supporting victims of repression. At border crossings, they are subjected to inspection procedures and searches of their personal devices, including their phones.
The names of many have been added to “blacklists,” while their works, media output, or social media accounts have been declared “extremist materials”.
Lacking safety in their own country, they are forced into silence or self-censorship in their creative work, public statements, and everyday communication.
Many have fled abroad, but even there, they have faced transnational repression.
THE CURRENT STATE OF THE SECTOR:
PROBLEMS AND CONSEQUENCES
Despite constant repression, creative life and the literary process in Belarus have not ceased for a single day: each person continues to do what they can in their own place, because, as respondents stressed, “culture cannot declare a break”.
Nevertheless, the situation is such that independent authors are effectively denied access to key infrastructure: state bookshops, libraries, and cultural venues. Holding official presentations and public meetings is either impossible or made extremely difficult. The practice of censorship and the existence of “blacklists” have led to the exclusion of contemporary Belarusian writers from public space and educational programmes. By contrast, state publishing houses primarily print classics or works by loyalist authors. Books published in recent years remain invisible to researchers.
Independent literary festivals and awards have moved abroad, while visits of foreign authors to Belarus have essentially stopped. European sanctions have also had an impact on publishing houses. Book distribution inside the country is heavily restricted; some independent publishers now operate from abroad, but deliveries of their books to Belarus remain sporadic and complicated.
Our respondents identified the following problems and negative consequences for the sector:
Decline in print runs, quality, and diversity of books
“Print runs have also become very small: 500 copies are already considered quite a lot. When I first started working, a normal print run was 1,000–1,500 copies. Now it has dropped to 500. That is because many of our readers have left – the very people who read in Belarusian.”
“Our books are also being bought less, mainly because they are too expensive. And now we are considering the need to publish more in paperback, so that people can afford them. But this is very damaging for publishing culture, isn’t it? The quality of the books deteriorates.”
“The artistic quality of works is rapidly declining overall.”
“A reduction in quantity, quality, and themes.”
Reduction of distribution channels and obstacles to circulation
“You create a book, a good book that works for Belarus – and you know that it will be difficult or impossible to distribute it.”
“How do publishing houses work? They need to cooperate with bookshops, libraries, and museums to organise events to sell books. All of that is now closed to us.”
“There used to be a central purchasing centre that supplied all the libraries in Minsk – perhaps around 50 libraries – and in addition, in each district of each region, more than 200 libraries purchased children’s books. Now nobody buys anything. Not a single book makes it to a library. Around 2021, they stopped buying books from independent publishers altogether.”
“We have to maintain a balance: to sell, but not advertise too much, because immediately they come asking questions: What are you doing here? What is this about?”
“Distribution has become more difficult because cooperation with Belkniga [the state book distributor] has completely stopped.” [10]
Censorship
“Independent writers are not allowed to perform in Belarus.”
“I am under a ban on public lectures and performances. I am under a personal ban.”
“When it comes to research, you can still function as a scholar, but you cannot cite articles, for example, by some ‘extremist’ who has gone abroad. There is a list of people you cannot reference or quote.”
“There is a list of authors you cannot cite in your work. There is a list of authors you cannot study. The list is not explicit, but, as it were, there are certain authors you must not research, and certain scholars you must not quote.”
“Now everything is under prohibition. They have gone back to a format where only approved authors may be published, and new names have been added to the banned list after 2020.”
“It is challenging to choose a contemporary topic for coursework or a thesis. Such topics are cut. At the same time, Russian-language and Russian-literature themes are strongly encouraged. These do not provoke controversy or irritation, and are actively supported.”
“There is a) the official list of extremists, and b) the informal blocklists. Even in classrooms, the names of writers who have left are not mentioned. And if they are, people are afraid that someone will report them.”
“It is all about censorship, prohibitions, and the tabooing of certain subjects. For example, even in official publications, some figures are taboo, such as Kastuś Kalinoŭski; you cannot use the word ‘nobility’; you cannot say ‘Second World War’ – you must say ‘Great Patriotic War’ – and other such examples.”
“There is now a flood of literature funded by the state. Many books are published on the theme of ‘genocide’, or other ideological works. They have large print runs, and the authors are well paid. These are works produced ‘to meet the demands of the day.’ Libraries and school libraries are obliged to buy them, and of course they are widely available in bookshops.”
“At Mastackaya Litaratura [the state publishing house ‘Art Literature’], before printing an author, they will check a hundred times whether that person ever spoke out, whether they appeared in 2020, whether the security services have any complaints about them.”
“No, no, nobody sends out the lists [meaning the Republican List of Extremist Materials]. They just appear on the website – and publishers must constantly check whether any of their books on sale have appeared on that site.”
“Even mentioning a person’s name, say as an editor or proofreader, can create problems for a publisher.”
“In 2021, I could do whatever I wanted; in 2022, there were some minor corrections; in 2023, more major corrections; in 2024, it became very difficult; and by 2024–25, it is just a nightmare. Every word is scrutinised, and I have to rewrite the same thing five times. Compared with 2021, censorship has intensified dramatically.”
“There is intense scrutiny of every book that comes out in Belarusian.”
Self-censorship
“There are paths for self-expression, but they are constrained. One step left, one step right – everyone is afraid. Everyone is afraid of mentioning extremist names or extremist titles. The ‘blacklists’ that have existed for years have only grown longer.”
“Nobody really knows what is permitted and what is not. Many prohibitions are simply self-censorship. Personally, I have not yet faced direct censorship, but I also practise self-censorship.”
“Local people, for example, in bookshops, are often over-cautious, fearing repercussions.”
“Someone wanted to come to [a literary event], and then doubted whether their presence might cause harm. Perhaps these fears are imaginary, but we live in them and must take them into account.”
“Domestic publishers are also afraid to publish my new poetry collection.”
“It is complicated to speak of self-realisation when what you produce cannot be shared with people. For example, when my translation was brought into Belarus, the distributor told me, ‘Do not tell anyone, do not post this on Facebook.’ The unwritten rule is: you can do something, but it must not get onto the internet.”
“There is, without doubt, enormous self-censorship.”
Loss of personnel, jobs and cultural emigration
“At the place where I worked – these were not exactly writers, but people of culture – almost 90 per cent of the staff were dismissed.”
“All the editorial offices of state publications were cleared out and reduced.”
“The absolute majority of my colleagues and former friends lost their jobs.”
“I cannot work in the place where I wanted to, where I worked for 20 years. I can’t fulfil myself within the country.”
“Everyone is facing this general situation of being unable to realise cultural potential.”
“Most of my friends, writers, have left.”
“A huge number of creative people have left Belarus. The losses are huge.”
Generational rapture and oblivion of names
“The education sector has lost a huge number of teachers. A generation has already grown up without contact with those who were dismissed. And those dismissed were a) carriers of Belarusian culture, and b) carriers of free thought and independent thinking.”
“The result is that people whom the authorities branded as ‘extremists’ or ‘terrorists’, whose names cannot be mentioned in the country, are gradually being forgotten. Their names, their works…”
“Writers who were once at the centre of attention within the country are now abroad. Very few of them maintain the same level of recognition at home. The authorities deliberately enforce this marginalisation through labelling them as ‘extremists.’”
“For those who have left, their names are simply being forgotten inside the country.”
Regression, stagnation, provincialisation, and cultural hunger
“It is a step backwards. Five years ago, there was some progress. Now it is as it was ten years ago, when children’s books were very scarce.”
“The literary field has definitely declined, because contemporary literature is practically absent from sale in Belarus. Yes, classics are reprinted: those from the school curriculum, and those from the state Writers’ Union. But among recent classics, there are very few. The absence of contemporary literature is striking whichever bookshop you go into. There are only a handful of authors, and that is all. This is very noticeable.”
“I went into a bookshop last summer and was completely shocked to see one shelf with Čarhiniec, Karatkievič, and again Čarhiniec – so that Karatkievič was sandwiched between two Čarhiniec. And on top of that, it was weighed down by Mukavozčyk. It was simply… shocking.”
“Take Mastackaja Litaratura, for example. They publish books with decent design, but inside they are, as we joke, full of ‘dead souls’ – writers who are mostly long deceased. They publish no one else.”
“A great many amateurs have surfaced in place of culture.”
“In these conditions of degradation, provincialisation, and the absence of institutions of criticism and review, the overall level of literature and art has sharply declined. This is already obvious.”
“Nowadays, on the contrary, many bookshops write to us saying ‘we really want your books.’ As always, the most popular books were about [topics…], and readers keep asking for them. They have long been unavailable, but people still ask.”
“There is a deep cultural hunger, but it is impossible to satisfy this hunger through the narrow channels by which books now arrive.”
“The publishing house Belarus issued a book recently. We counted it as an event, because in comparison with the ‘genocide books’ that dominate. Belarusian Science also published a book – again, this was an event. But such cases are isolated.”
WRITERS INSIDE THE COUNTRY: EMOTIONAL STATE, WORKING STRATEGIES, AND FUTURE OUTLOOK
Many of our respondents describe their emotional condition under prolonged repression as depressive, marked by feelings of isolation, daily anxiety, constant tension, and an inability to plan. The inability to speak openly, to work, and to publish within the country directly affects writers’ self-esteem and their professional self-perception.
Some respondents note that, compared with 2020–2021, life has become somewhat calmer, as they have adapted to psychologically complex conditions. Others insist the opposite: that the atmosphere continues to worsen, that no light is visible at the end of the tunnel, and that the very habit of living under such circumstances is itself perceived as abnormal.
Writers observe that over time, repression has acquired an almost “symbolic” character: the designation of a book as “extremist” no longer provokes the same shock in society as it once did (although it still does for the author concerned). One respondent compared the situation to “an elephant in the room,” taking up the entire space while everyone pretends it is not there, as if nothing unusual were happening. This peculiar “normalisation of the abnormal” has become part of everyday cultural life.
All of this represents forms of adaptation to imposed conditions: in an atmosphere of systemic pressure, fear of denunciation, (self-)censorship, and constant adjustment, the cultural community does not so much choose as is forced to balance between survival and maintaining a presence in the public sphere. For many cultural professionals, the number one task today is to remain inconspicuous and avoid drawing unwanted attention. This paradoxical principle has become something of a “trademark of the present time.”
Other adaptation strategies include relocating projects abroad or into online formats, working anonymously, developing niche initiatives and small-scale formats, and withdrawing from social media. For many authors, continuing to write and speak in Belarusian remains essential, despite the intensification of Russification. The principle, “we know why we do this; we do it for as long as we can,” serves as both a personal motivation and a way to remain in the profession.
Looking to the near future, respondents are cautious. Some expect the situation in the sector to deteriorate further, while others hope for the emergence of “windows of opportunity.” The general mood, however, can best be described as a readiness to work “for the long distance.”
CONCLUSIONS AND NEEDS FOR SUPPORT
The laureates of the symbolic award People of Liberty 2024, presented annually by the Belarusian Service of Radio Free Europe/Radio Liberty, were Belarusian book publishers – those “who expand the boundaries of freedom for themselves, for Belarus, and for the world.” [11] This recognition is no coincidence: despite repression and exile, publishers and writers have managed to preserve a space for Belarusian culture and continue to develop it.
Since the events of 2020, the Belarusian literary community has come under unprecedented pressure. Severe attacks on authors and publishers, book confiscations, the inclusion of works on “extremist lists”, and restrictions imposed on bookshops and libraries have profoundly reshaped the infrastructure of the independent literary process.
Nevertheless, it continues. The internet and a sense of solidarity help sustain links between those who remain in the country and those working in exile. Most respondents emphasise that the division between “inside” and “outside” is largely artificial: writers share one theme, one idea, and one goal. Indeed, understanding and mutual interest in cooperation have emerged. At the same time, some participants note the presence of tension and grievances, which makes it particularly important to maintain horizontal connections and trust within the community.
Supporting colleagues inside the country remains a deeply sensitive issue: any mention of assistance can pose risks for them. Yet for this very reason, the need for solidarity – whether in visas, finances, or organisational support – along with international assistance, remains among the most urgent. Equally strong is the request not to be divided.
The main challenges today are to preserve this unity, minimise the consequences of censorship, and create conditions for the continuation of creative work, regardless of where the author is located.
Alongside the negative consequences of repression, new positive trends have also taken shape. Respondents note that in recent years the number of Belarusian-language publications released abroad has increased significantly, including works by contemporary authors, translations, and current prose and poetry. At the same time, interest in national culture and language has grown, particularly among young people. The result has been a kind of “book boom”: for readers, literature has become a means to transcend the limits of daily survival, while for authors, it offers a space of freedom and self-realisation.
[1] Poet, journalist and human rights defender Siarhiej Sys was detained on 14 July 2021, the day of raids on the offices of dozens of civil society organisations across the country. On 15 July, he was released under a travel ban. Some time later, he left the country.
[2] In 2020, mass protests broke out in response to the falsification of the presidential election and violence against peaceful demonstrators.
[3] On the monitoring of PEN Belarus.
[4] “People of Word” refers to Belarusian writers, translators and literary scholars, publicists, intellectuals, and all those who create and promote culture, defend the word and its practitioners.
[5] Protests against integration with Russia.
[6] This refers to works of fiction, historical, and scholarly literature that have been designated as “extremist materials” since 2020. Religious texts and certain other works, the interpretation of which may be contested or open to differing readings, are not included here.
[7] The group “Writers and People of the Word” includes not only professional authors but also representatives of related professions— musicians, journalists, scholars, and others—for whom literature is one of the forms of creative expression.
[8] Imprisoned writers – PEN Belarus.
[9] The figures provided are not definitive.
[10] Belkniga is the largest bookselling enterprise in the Republic of Belarus, operating 94 retail outlets across all regions of the country.
[11] Publishers of Belarusian books – People of Liberty 2024.