In 1932, while in Prague, Samchuk first heard about the Holodomor famine, and traveled back into Soviet Ukraine to witness the event firsthand.

[4] In 1937, on the initiative of Yevhen Konovalets, a cultural office of the Ukrainian nationalist leadership headed by Oleh Olzhych was established.

During this time, he notably wrote of the Babi Yar massacre “Today is a great day for Kyiv, the German authorities met the passionate desires of Ukrainians, ordering all Jews, of which there are still 150,000 remaining, to leave Kyiv.”[12][13] On September 1, 1941, shortly before the Babi Yar massacres Samchuk wrote on page 2 of Volyn: “The element that settled our cities, whether it is Jews or Poles who were brought here from outside Ukraine, must disappear completely from our cities.

The Jewish problem is already in the process of being solved.”[14][15][16] Later that month, in the article "Zavoiovuimo misto" (Let's conquer the City) Samchuk added the following: “All elements that reside in our land, whether they are Jews or Poles, must be eradicated.

In Samchuk'sVolyn trilogy (I–III, 1932–1937), a collective image of a Ukrainian young man of the late 1920s and early 1930s is derived, which seeks to find Ukraine's place in the world.

From 1929 he began to collaborate regularly with the Literary-Scientific Bulletin, The Bells (magazines published in Lviv), The Independent Thought (Chernivtsi), the Nation-Building (Berlin), and the Antimony (without a permanent location).

Samchuk concurrently wrote the novel Kulak(1932) about the eternal commitment of the Ukrainian peasant to tilling the land and the undying optimism of farmers.

The unfinished trilogy Ost: Frost Farm (1948) and Darkness (1957), which depicts the Ukrainian man and his role in the unusual and tragic conditions of interwar and modern sub-Soviet reality.