Since the beginning of the 21st century, in a context of broad Russification carried out by the Lukashenko government, literature in Belarusian language has developed mainly in intellectual circles, but interest in it has also grown among young people. At the center of cultural and literary activity in the Belarusian language are the Union of Belarusian Writers and independent associations, including the Belaruski Kalegijum (Belarusian College), the Tavarystva Vol′nyh Litarataray̆ (Society of Free Literati), the ‘heirs ‘of the avant-garde movement Bum-Bam-Lit as the Schmerz werk group. The number of independent magazines has increased: in addition to the traditional “Litaratura i mastactva”, “Polymja”, “Maladosc ′”, we also find “ARCHE”, “Dzejasloy̆”, “pARTisan”, “Fragmenty”, “Pamiž”, “Pravincija “,” Kalos′se “,
In prose and poetry phenomena of urbanization of the aesthetic discourse (as opposed to the myth of the countryside) and of theological, mythological and historical interpretations have emerged in support of the new Belarusian cultural identity. There are numerous authors who try their hand at both prose and poetry.
In the prose the most significant figures are: Nil Gilevič (b.1931; Peražyy̆šy vajnu, 2009, Surviving the war), Leanid Levanovič (b.1938 ; Palynovy vecer, 2004, The wind of absinthe), Aleh Lojka (b.1931 ; U. Karatkevič, abo paema Garsia Lojki, 2009, U. Karatkevič, or the poem by Garcia Lojka), Viktar Karamazay̆ (b.1934 ; Mastak i parabki, 2011, Artist and laborers), Uladzimir Scjapan (b.1958 ; Dzed . Akvarel′nyja maljunki, 2009, The grandfather. Watercolor drawings), Uladzimir Njakjaeǔ (b. 1946; Cmok, 2009, Snake), Jury Stankevič (b. 1949; P′jaǔka, 2010, Leech), Adam Globus (b. 1958; Nastaǔniki. Aǔtapartretnyja etjudy, 2005, Studies for a self-portrait), Andrej Fedarenka (b.1964; Mjaža, 2009, La frontiera), Liudmila Rublëǔskaja (b.1965 ; Sutarenne Romula, 2010, Romulus’s underground), Ales ′ Arkuš (b.1960; Mjascoǔny čas, 2014, Local time). Among the emerging writers we should mention: Algerd Baharevič (b. 1975; Prakljatyja gosci stalicy, 2009, The cursed guests of the capital), Zmicer Višnëǔ (b. 1978; Zamak nabudavany s krapivy, 2008, A castle built with nettle), Illja Sin (b.1978 ; Teatral′nyja demany, 2010, The demons of the theater).
According to i Type USA, the poem is eclectic both on a stylistic and conceptual level; among the most significant trends, the existentialist and metaphysical, the environmentalist and the neomodernist; poetry-slams (link between poetry and performance) and festivals such as Verši na asfalte (Verses on the asphalt) have had a wide circulation. Worthy of note are the works of Ryhor Baradulin (b.1935; Anima, 2011), Anatol Vjarcinski (b.1931 ; Žyc′mem, 2012, Vivremo), Leanid Dran′ko-Majsiuk (b.1957; Kniga da spadaryni El, 2012, Book for Mrs. L), Danuta Bičel ′ (b.1937; Idu scjažinaju da Boga, 2012, Vado towards God), Mikola Mjatlicki (b.1954 ; Čalavek padymaeneba, 2012, Man lifts the sky), Fëdar Batoryn (b.1962; Na vulicy M. Bagdanoviča, 2007, In via M. Bagdanovič), Sof′ja Šach (b.1947 ; Malitvaspeǔ, 2010, Prayer songs), Vasil ′ Makarevič (b.1939 ; Naščadak Mašeki, 2012, The descendant of Mašeka), Liudmila Rublëǔskaja (b.1965 ; Šipšina dlja pani, 2007, Roselline for lady), Sjarhej Zakonnikaǔ (b.1946 ; Šalënaja kulja, 2011 Crazy bullet), Uladzimir Arloǔ (b.1953; Parompraz La Manch, 2012, The ferry across the Channel). Among the emerging authors are Andrej Hadanovič (b. 1973; Sto li100ǔ na tut.by, 2007, One hundred pages on tut.by), Sjarhej Minskevič (b. 1969; Čaroy̆naja krynica, 2011, Magic Source), Viktar Žybul ′ (b.1978; Stapel, 2012, Dry dock).
In dramaturgy they continued their work Anatol ′ Dzjalendzik (b.1934; Gipopotam, 2009, L’ippopotamo), Aljaksej Dudaraǔ (b.1950; Ty pomniš ′, Alëša…, 2004, Alëša, you remember…) , Sjarhej Kavalëǔ (b.1963; Legenda pra Mašeku, 2003, The legend of Mašeka), while noteworthy was the work of Ales ′ Petraškevič (1930-2012; among his works to remember at least Prilaskat ′ i uničtožit ′, 2007, Caress and destroy).