This broad analytical cross-section surveys the general state of Postmodern Studies in Ukrainian literary criticism, which remains relatively new in the Ukrainian context, while elucidating local scholars’ perceptions of postmodernism. In this context, Kharchuk defines the 1990-2000s as the postmodern period and examines various writers' works of prose published in the period. She resists the temptation to divide the authors into postmodernists and non-postmodernists—or, even more perilously, to single out only those who can be called postmodern.
The Museum of Abandoned Secrets is a sort of deconstructed family saga-cum-detective novel. The two main characters, a journalist and an antiques dealer, seek to disentangle the intricacies of their families’ and neighbours’ families’ pasts—intricacies tinged with blood, betrayal, loyalty, and steeped in 20th century history: the Ukrainian Insurgent Army, the Holodomor, the Thaw, etc. Symbolically, the novel ends in 2004, on the eve of another historically notable moment—the Orange Revolution. Thus, it is about dignity, choice, and idealism—everything that materialized so distinctly in 2004.