The geopolitical and social changes of the 20th century were the result of global cultural and aesthetic changes. The phenomenon of contemporary literature has become an extremely motley geography of “small homelands” and a kind of cultural federalism, occurring on various borderlands. In a globalised postmodern world, research and analysis of this phenomenon is of great importance. Despite the special interest in borderland literature among Polish and, more recently, Ukrainian scientists, the attention of researchers is usually focused on commonly known and popular artists of the 20th century, their literary works are rarely compared with the texts of other participants in the literary process. Despite this, the problem of functionality of ethnocultural models of Polish- Ukrainian borderland literature has never been the subject of a comprehensive analysis. Interest in border literature came in the 1990s. The heterogeneity and multidimensionality of the texts contributed to shaping the new mythology of the border, certain “kresomania”, and thus distortions and one-dimensionality in research. It was only at the beginning of the 21st century that the “frontier” discourse will acquire objective dimensions, and the neutral concept of “borderland” will be increasingly used in the study of this phenomenon, scientists from neighbouring countries (Ukraine, Lithuania, Belarus) will join the discussion. Cultural models of borderlands are characterised by a high level of relativity, cultural and linguistic interference that is caused by a common history, as well as the experience of living together in the common areas. Under these conditions, the formation of a common border ethnocultural model where the antinomy “center - periphery” category softened marginal areas.