Alexander Ulanov. Perhaps inaccurately

" Tyinography of autumn shifts the copper skin of Egypt, / opening the archers, resinous faces, / rotting bandages of trains in the valleys, / quiet rainbows of animals at midnight." Get there, see? But "vision is also a linguistic procedure, the process of description, distinguishing." We only have words, and go for words - with their help. See = describe. But what is the description? Non -name, but recreating. "To see means creating - another voice." But where does one thing end and another begins? In the description of the nasturtium, rain, train, commas are woven. Existence is simultaneous and exchange meanings. "It is likely that wood / named with a bowl, / air - a combination of numbers, foliage - / distance." Give items and events (and each item is an event, each event carries an object) describe each other? But what is it: "Troubles condition, mint, naughty with water knee -deep" ; "Like your mouth with the touch of a fern" - a description of a person by a person, a person by means of a plant?

"Creation means to forget where the beginning is." Nothing can be described as static, outside of transformations. The world is unexpected. "Wow is not equal to himself (cricket phosphorus), / Nothing foresees himself (wind system)." And it is important to enter the relationship “with the fact that it changes the surface every month” (but the name is pointless there, the very possibility of the name is ridiculous). Talk about those shades of changes and perceptions that cannot be expressed - and which is only worth talking about. See the dynamics of the subject, its contact and change. The subject never acquires its outlines to the end, it is approximated or removal. And we, "who have repainted the memory to the ground, approaching, / do not move from the place."

"Lion-headed, bronze-winged ... / intersecting flows ... / boiling in a blue blue one ..." Not a search for a name, but the outline of something, careful, remembering that the accuracy is murderous, that the only definition described will be killed. "Simple, / sometimes steep, like walls, like memory. / As an alphabet, sometimes meaningless in the insistence." Who? - They. It is impossible to say more at this moment of the movement of the verse - and why kill your eyes with extra additions? The text is fundamentally unexpressed, evades excessive certainty. "The presence of which of nothing has extracted underlying sand, / washing their mouths, as drawings of the letter: (we are not sure what" their ")"). " Uncertainty even in whether it is an attribute. "Topol? Letter? Katatezra? Rectangular? Sineva in the gaps of Sepia?" The author does not know, he peers. "I also do not pretend to understand, and moreover, perhaps, misunderstanding is my last pleasure."

This is not chaos; But not a dead order. "Justification of the step in the violated equilibrium." Cululation near things, facetal vision. Do not block with biased explanations. Save the coin "frozen in the crack of the throw, between the eagle and the city." To preserve in each event not so much its perfect as an opportunity. Speech, striving not to crimp, putting himself into question every second, but nevertheless lasting, increasing values. "What is written is not completed, / constantly following the end." To reduce to the value is a temptation that should be avoided - and which can sometimes be succumbed. No action can be finished. And "the word becomes a word in the endless approximation of the outgoing voice." The accuracy of the inaccuracy measure is important.

"To see means to overcome the visible. I can’t compare with anything. I do not see either dry, nor broken, nor curved." Things withdrawn from standard ties gain independence and voices. Much of the same seems to be torn. “Reality consists of holes. As a speech from the difference” - but the torn and makes it possible to meet in the concentration of the text, where the Graceful links, cliches are omitted. Such a speech can burn. "Carboniferous layer - compressed / to the possibility of burning prints." Intermitement gives the space of interpretation. The tightness of the signs is blown by the wind.

"The fact is what is located between the decision and the angle of the fin."

The step of literature towards philosophy, not old, preoccupied with everything into the system, but a new, built on shades, ambiguous answers. The "exclamation of the" sea! "Always surpasses / what opens immediately in the opening of the mountains," because it connects the memory of other seas and everything that is associated, now absent. But it is also less opening species, its salty wind and transparent space. "The speaker studies his own disappearance, / then your wrist, when you are still along me." But two lines later, "between light and shadow, the last segment of the path - / the last insistence: the distance of the outstretched hand" - and this disappearing speaker remains a measure of distance, a measure of things. "Resolution of the situation in its own extension," because there will be no answer, stops.

Poetry is not as a message to be decrypted, but as a way to exist, to watch. The author’s business is to give objects to speak out. “The body of the flute is a device that does not interfere with the flow of wind,” is an idea that becomes obvious in Europe only in the twentieth century, and before that inhabited in Japan and China - the references to which Dragomoshchenko has a lot. "Strength is a support for the absence." Go aside, do not block the rays and voices with biography or complaints. It will be better. "I am more there, / where I forget about myself."

Clarity, the world in a sharp light, for which things are transparent - in which they are superimposed on each other . "Dry. / I am inclined to the fact that it is dry." In this speech, you knit, as in dry sand. She offers the reader/writer to stop and peer into what is happening - including in himself. A bowl of dust, dry drink, traces of things. "Leave the message" - put the message somewhere? Throw all sorts of attempts to report? Everything is extremely fragile. "In an instant, conduct an ovary of oblivion. / Slutred wind bridge, a sickle cold, - / a moment of a wasp or hoarfrost." Everything will be forgotten, everything disappears, and "do not find evidence / what once happened." Every action is useless. And: how remarkable the world is where there is something to forget and is where to perform these useless actions. Skepticism is not hysterical, but epicurean: emptiness opens up freedom, the possibility of existence. "Someone decided to say goodbye, / but he forgot everything except" Europe, nettles, " but he will be able to say goodbye to these words.

"A system of an endless number of forms, transformations that do not end themselves in any and, therefore, do not have, cannot have a final description." This infinity provides the possibility of personal speech (which is forgetting, for example, conceptualism), it should simply be about its inappropriation - but the finality would be the end - death - and not only speech. Because the language, of course, is alive. Here it is, swirling and flowing. You can maintain a direct statement, increasing its complexity, ambiguity. And then even the word "tenderness" will appear: "The leaves until they set about the harvest of midday blue. / Eyes for the eyes, salt for the mouth, sand for the tenderness of watch and glass." Each phrase Dragomoshchenko moves slowly and carefully. Which, among other things, is the properties of eroticism. And every description is erotic.

The dizziness of the meeting, the hum of voices around, the rumble of space, like the sea in the sink. "Then the roar, growing into a whistle, / woven like from slow lightning, / from the removal of similar ones with worms in the layers of a chernozem." I recall Gelderlin, the "Duin Elegy" Rilke, Maurice Blancho, Vvedensky (which is thought about a thousand times less than about Harms). But in modern Russia, authors deciding on such interaction with the language can be counted on the fingers. Do we continue to tell ourselves about ourselves? Search for new sincerity (without noticing how hard it is)? sorting out styles of stylization (without noticing how easy it is)? Most of the St. Petersburg and generally Russian poets Dragomoshchenko is alien; But worse from this is not Dragomoshchenko.

"Follow the meaning of the meaning in front" - only this is what you can see something. "The speed of assimilation of the wall, paintings, / kitchen utensils, metal, / mesan returning stalagmites, / messages of the drop, gaza griefs - / sprayed phrases - do not reproach. I / Measure the shadow of the shadow of just a shadow, which means: here" .