Artistic and Thematic Features of V. Sosnora’s Poetry Collection “Supreme Hour”

Purpose. The article examines the artistic features of V. Sosnora’s collection “The Supreme Hour”, which occupies a central place in the poet’s oeuvre and may be regarded as a pivotal point in his creative trajectory. Results. It is argued that this book can be read as a form of self-revision, in which the poet deliberately reconsiders and reframes his earlier works. This approach explains the abundance of self-citations, self-references, and selfallusions that permeate the text, creating a complex system of internal dialogue. Particular attention is given to the ways in which the collection develops and transforms two of Sosnora’s key thematic concerns: the tragic experience of love and the existential reflection on the poet’s role and position in the world. The structure of “The Supreme Hour” is further interpreted in the context of the growing eschatological motifs that become increasingly prominent in Sosnora’s late poetry, thus revealing the philosophical depth and metaphysical orientation of his art. The analysis also foregrounds the importance of intertextual references to both Russian and world literature. Explicit and implicit allusions to the works of A. Blok, M. Tsvetaeva, O. Mandelstam, A. S. Pushkin, and W. Shakespeare enrich the collection, situating it within a broad cultural and literary dialogue. This intertextual network emphasizes the culturological dimension of Sosnora’s writing and demonstrates his active engagement with the poetic tradition. In conclusion, “The Supreme Hour” is presented not only as a summative and self-reflective work within Sosnora’s corpus, but also as a text that exemplifies the principles of intertextuality, cultural memory, and poetic self-awareness, thereby securing its significance in twentieth-century Russian literature.