3.3 The motive of death like a attributive detective genre on the basis of V. Shevchuk's works.

We can say that in the consciousness of many readers, the detective genre belongs to a type of literary genre that among other genres, it has a plain collection of plots, and traditional main characters. Stating otherwise, it has its own canon according to the form and contents.

Alternative variant – it's a production that with its depth of intervention it becomes a facture in genres, evolutionizing the limit of the literary system, lifting the boarder of the canon, although from the outside like a tribute to the tradition. If in the traditional detective genre, the distinctive moments appears to be the presence of crime, then in the more developed literary forms the main part belongs to that type of situation where the person if his life path was successful or tragically short, it still has a unique genuine value.

So in Valeriy Shevchuk's literary works you can observe motives of death, no point in debating – thew question isn't new. Along with the traditional interest to many other images, the category of death will always remain active for any writer, if anyhow through simple daily life and unfortunately it's inevitableness. And obviously there's also something that exists in the depth of life that doesn't work with the help of encefallogramm: a human - is “built inside” and not all tectonic movement from the inside can be shown from the outside. To make a retrospection into the past, we should research what through ordinary issues remained unseen with the eye, it helps literary creation. His world appears through parallel structures where biological laws appear second according to literary laws which means they are supposed to be built on compromise with chronotop, semantic conditions, and by authors opinion.

In the literary world of the writer death isn't better than phenomena, but the sense of the category where with everything separated together of the production has its own semantics, imagery, emotional and aesthetic parts.

Hero's of Valeriy Shevchuk are plain people, although, compared with the other dead ones, they are capable to see life like the world of allegory and symbols, to think of it like not everyday stuff that appears to be the factor of collision and the capability to leave beyond the barrier of the actual body, epochs, world etc.

Quite often the author writes on the background of attempts of personal investigations of the main hero in the production: mental associations, comparability, fixations of its emotional and psychological in the course of temporary flow where every single new day doesn't give that much answers on vital questions that complicates its expanse, sprays the limits of understanding of ethic levels in the relation of human life, his half-measures and contradictions of moral, own rights, and main paths of life.

In the novel “Eye of the Abyss” the main hero's end up on an island to a sect called “Symeonids” where one by one people die of mysterious deaths. Their traveling companion Kuz'ma dies, later the midget – Musiy. Myhailo Vasylevych – the creator of Peresopnytskogo Yevangelia, his friends Pavlo and Sozont try to get through those secret events, although their method is kind of more wider than a simple investigation. The companions try to find out the truth of the life of Mykyta Stovpnyk testing their knowledge by narrative and putting their finishing touches to their art of homiletics. This kind of search became the game of life and death for everyone.

Similar to a detective genre, the plot of “Eye Of The Abyss” receives qualitative new traits since the writers certain private incident gains the meaning of the worlds understanding, that's why in dialogues you can end up reading philosophic thinking of the hero's in the novel, to your personal sense trying to comprehend their ontological and existential mind. In the production we also find the allusions on Christ, like the opinion of Iryna Prylipko, “traces through the idea of death like victory against evil”. In other words – through the motive of self-sacrifice. The author uses steps of the plot which, like expressed by Vera Baldyniuk: “shows the assistance of the inner transformation of the hero's, opening in it new horizons of the spiritual refinement in the search of one common truth. Since the main desire of the hero – to be convinced that the decay of beauty – also from God, and not fading away in vain, how Mykyta Stovpnyk assured, it's not something else, it's not the strive to defeat the cacophony of dialects and switch to the main word”.

In the literary groundwork of the author we can in addition certify separate novels and stories which according to their characteristics also look more like a detective: motives of investigations, investigator, line of mysterious deaths etc. We should take into consideration novels of Valeriy Shevchuk such as - “The Ghost Of The Dead House”, “The Tree Of Memory”. Each of these creations are unique since it appears from the traditional representation of a detective novel for us. Maybe it can be explained in such a way that the current genre belongs to the images of the so called massive literature, “receipts” that chiefly is “based on the basis of the simplified”, “popularizing” receptive of the actual created literary art”, but Valeriy Shevchuk's prose belongs to the exact very last.