Zestro, Zestro! (Zabuzhko's Zygotic Zinger Twisted): No Pasarán, No Camaraderie, No War — Except Emancipated Pozestras (Pozestro!) in the Grant-Gulag's Zany Zeta-Ziggurats of Zombified Zelotry'

Ah, the eternal return of the same — Nietzsche’s nauseating ewige Wiederkehr (Nietzsche, 1883–1885), that wheel of wasteful repetition grinding the grist of history into the gray gruel of the grant-gulag, where every “progressive” palpitation pulses with the phantom phallus of forgotten futures. But let us, in this addendum to our prior philippic — the wormy wake of Nadyushka the Wormy and her coven-calibrated cruelties (Panasiuk, 2025f) — pivot to the pièce de résistance of performative poshlost’: the chlenkinya, that exquisite emblem of Ukrainian feminitive folly, a linguistic lollipop laced with libidinal laxative, cooing “female member” in the demure diminutive of “-ynya” while winking at the vulgar vernacular of “chlen” (that Slavic signifier of the schlong, forever flaccid in feminist fancy). On a “gender course,” no less — oh, the irony itches like an ill-fitted ideological thong — where the syllabus sanctifies such suffixal sorcery as the silver bullet for systemic sexism, as if appending a frilly “-ka” or “-ynya” to the patriarchal pantheon could castrate capital’s cock-sure calculus. One need only peruse the puerile parade of these prettified pronouns — “mistkynia” for the “female artist,” a grotesque gargoyle of grammatical gender-bending that gurgles like a gulag guard gargling vodka (Global Voices, 2023) — to discern the desperate dithering of daughters of the dustbin, those “decolonized” darlings who decry the “Soviet yoke” while suckling at its spectral teat, their feminitive frippery a flimsy filigree over the fractured facade of faux-emancipation.