• Mari Simonishvili PhD Student, Ivane Javakhishvili Tbilisi State University, Tbilisi, Ilia Chavchavadze Avenue #1, 0175
Keywords: Captain Vakush, Totalitarianism, Goglimogli, Dixieland,Charleston, Boston,Waiting Castle.


Givi Margvelashvili is a victim of two dictatorships, Nazism and Communism, he is a double emigrant, his multifaceted work is created on the border of two cultures, two different worldviews. He started writing at the age of 30, when after leaving the Saxenhausen concentration camp, he found himself in a completely foreign environment, in his historical homeland, and his aunt's family was connected to the old life with only German. "From the past, only language was selected for him, language was a living part of a deprived life, which no one could take away except time. At the same time, his memory and talent faced unprecedented resistance ”(Margvelashvili 2018: 216).

On the one hand, the work on German-language literature, and on the other hand, the literary disagreement that Margvelashvili showed against the current regime, increasingly formed the basis for saying that "language and theme choose the writer" (emphasis added Naira Gelashvili) and not vice versa.

"Captain Vakushi" is a text created in the early period of Givi Margvelashvili's work, it is autobiographical and is a genre of historical novel. The object of our attention this time is the first volume of this work. The writer tells us about the period, how Western culture digs into a number of peculiarities of Nazi existence and what is the current reality seen through the eyes of an immigrant. Obviously, Margvelashvili's style of play is preserved in this text as well, and the author often conveys the message grotesquely, with a kind of cynicism and allegory, with metaphorical charges. The excursion of the novel is led by a teenager Givi Margvelashvili, the principle of historicism is preserved, the facts are found for a real basis, the facts are conveyed ironically and the face of totalitarian regimes is identified by metaphorical subtexts.