Not all writers who came to Galicia were commissioned by the party with special assignments. Some of them simply happened to get here for work. Yosyp Pozychaniuk was one of those quiet employees. When he came to Lviv, sometime in summer 1940, for some reason we treated him as Galician, the same like us, believing he arrived from Kolomyia, or another remote place. Before the war, there was a small center in Kolomyia, not connected with the peasants and workers group. They even published there some illegal literature. Therefore, we believed the young writer could emerge in the group. But it all became clear when Yosyp's mother appeared in the club to work as a cloakroom attendant. Then we learnt that the Pozychaniuks came from Vinnytsia. Nobody talked of Yosyp's father. So, we have never learnt whether he might have been eliminated as a kulak, or whether he might have vanished by himself during the persecutions. Yosyp Pozychaniuk was appointed to the editors office of the "Literatura i Mystetstvo" (Literature and Art) magazine. He was doing the calculations for the fees to the authors published therein. He was very reserved. He would not get too close with anyone, and was never looking for any broader friendships. To me, he seemed puzzling, and the impression was further enhanced by a case with a fee. "Literature and Art" published my poem written specifically to manifest the writing activeness required by the bosses. The poem was entitled "Letter of a Komsomol Girl." The first line run with the appellation, "Dear Comrade Stalin." At the time I believed I needed to write a poem that could be a public statement, that is why I opted fo such an opening. Because of this poem, I had some misunderstanding with the secretary of our Organization, Yaroslav Tsurkovskyi. When I submitted the poem to the editorial board, Tsurkovskyi as a secretary was checking all the materials before they were evaluated by the editorial panel. He asked me to come to his office and started convincing me to cross the first quatrain out of the poem. I am not sure what Tsurkovskyi's motivation was. May be, he wanted me not to blur my reputation with a poem opening with such a meaningful line. But he could not understand that the poem was composed especially for that purpose, and he did not know it really mattered to me to have this kind of opening, with the notorious name of a dictator. I learned that there were some critical opinions about why I had no published works. What is more, my sister told me she had ben assigned by the respective authorities to inform on me, on my opinions and feedbacks to the new reality. Therefore, I told Tsurkovskyi I could cross out every other strophe or even a separate line, but not the first line, because that opening had to be there.But the case is all about the fee. I received a regular fee for the poem, such as three karbovanets per line. With the success behind it (some would even claim I should have been awarded for that poem because at that time they were assigning awards for the best (meaning the most appropriate) pieces of poetry, prose and drama), I submitted two more poems, lyric miniatures. Those were two poems with no titles — "The clear moon was still smiling" and the "In the evening I will come to the gate." At that point I faced a surprise. I received an unexpected high fee for those two poems — five karbovanets per line. I was stunned and confounded. The person determining the fee for the published materials in the "Literatura i Mystetstvo" magazine must have wanted to express his position this way. It was only later, during the German occupation, that I made sure I was right about that, when I talked to Yosyp. But at that time, I immediately realized that Pozychaniuk was not merely commissioned to work in Galicia but he was also a person with certain positionality and with his opinion, not attached to the governmental social realism.