The aim of the study is to determine how mythopoetic mechanisms shape the architectonics of Sukhbat Aflatuni’s “Tashkent Novel” and organize the plot of an identity crisis. The methodological framework combines mythopoetic analysis (E.M. Meletinsky) with a mythological interpretation of the motifs of the sacred / profane and initiation (M. Eliade), which makes it possible to describe the novel as a system of stable plot-and-imagery scenarios and threshold episodes. The archetypal analysis relies on C.G. Jung’s concept of the archetype (with a cultural-historical adjustment proposed by S.S. Averintsev) and is correlated with A.N. Veselovsky’s notion of “proto-images” / formulas in historical poetics, thus capturing the transformation of archetypes within a concrete artistic context. The chronotopic approach (M.M. Bakhtin) and the concept of cultural memory (J. Assmann) are used to reconstruct the text’s spatio-temporal organization and the mechanisms of narrative reproduction of the past, since meaning-making in the novel is determined by the nexus “space – memory – identity”. The mythopoetic level of the Tashkent Novel performs a structuring function: the text’s architectonics is organized by a system of archetypal models and recurring motifs, where the Mother archetype establishes the subject’s initial dependence, and the descent into the basement functions as an initiatory threshold that models identity transformation. Within the chronotope of return, Tashkent is constructed as a space of assembling cultural memory, linking individual recollection, family myth, and Soviet everyday life into a unified semantic structure.