In our talk, we would first like to outline some discursive contexts in which the Belarusian art-cultural community in the 1990s-2010s received and tried out the concept of Central Europe as well as its derivatives and variations (e.g. “Middle Europe”). They became relevant for Belarus’ reflections and “memories” sometimes of its border state, sometimes of its Lithuanian past (and of the Grand Duchy of Lithuania as a prototype of Central Europe). Over the last thirty years, the political sphere has been extremely limited in authoritarian Belarus. One cannot even describe the country’s prevailing post- and neo-Soviet identifications as ideological – the official discourse on selfhood was so sluggish and insipid. In such a situation, literature became the central place for an alternative and active geo-culturo-philosophical self-understanding: prose, poetry, essays and, last but not least, translations. In our paper, we would like to show how Belarusian literature conceived the ideas of Kundera (and Miłosz et al.) as an open project aimed at a different past and future and – often with bitter self-irony – centro-europeanized itself in intertextual-translational ways: in its own eyes and in the eyes of the neighbors. Here we hope to address (among other things) the Belarusian-Ukrainian literary transfer, as well as questions about the revision of “Russian influence”. Finally, we will say a few words about the discursive transformations that emerged during the revolution of 2020 and the subsequent exodus of Belarusians (not coincidentally – especially to Central European countries). This exile-diasporic life experience (and the concept of Central Europe itself, as is well known, once arose in migration too) continues: since 2022, under the sign of the most acute misfortune – the big Russian-Ukrainian war, in which Belarus is directly and indirectly involved.