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Belarus, in the time that the story occupies, was an axis of tension and tenderness. The country’s cultural scene had a stubborn energy — small theaters, clandestine readings, and galleries where art arrived in battered suitcases. Networks of exchange had been established across borders: letters slipped into envelopes, parcels shipped with code names, digital packets rerouted through proxies and volunteers. For artists in neighbouring states, sending work to Belarus was both an act of solidarity and a test of fidelity: Would the work arrive? Would it be understood? Could a sound file become a signal? The country’s cultural scene had a stubborn energy