Elena Grodskaya. On the cross of drafts

With the quiets of Aizenberg are not simple and not complicated, they are outside these categories. Simplicity, as a rule, implies hidden complexity (often - in a good way), and complexity - implicit simplicity (often in bad). While Aizenberg does not obscure the meaning on purpose, although at the same time he does not impose himself not only in friends, but even to acquaintances. He can completely do without "extra people", himself - not being superfluous. Excessive, praise do not seem in his texts and high words (for example, "soul"). "From that line to the line of that line" and really embraces everything (including the soul).

The line between a certain pose and an open lyrics in Aizenberg is thin. It is difficult to pronounce "save and have mercy on my brothers," it sounds a tongue twister, and it turns out to say it naturally, only if - with a tongue twister. Otherwise ... After all, it is not a prayer. Like "only with you, only in your tangles." Aizenberg is enchanted by a high syllable and does not hide it. He does not intend to hide anything at all: "I'm not afraid to admit the wormhole."

On various faces, the poet balance constantly. The main thing is between the usual life and the life of the foreigner. Reread the poem "inside the whale." Swallowing; A person seems to be walled alive. No, no, ”the author calms,“ do not worry, “brought me here / fear of open rooms” ; I myself am probably to blame for my "toad of the chest" , in "stuffiness ... compressing chest" ; Of course, it’s not easy, but tolerant. But somehow you do not really believe the author. The feeling of a whale of a whale or wall behind which the speaker is not left. Of course, this is an experiment for survival (survival in the face of the surrounding from all sides, too real reality - the topic of not only verses, but also Aizenberg articles ).

Here you need to say "thank you" for everything. At the same time, the intonation can be suppressed or slightly mocking, through the teeth ( “And what other instructions will be?” ), But the wall remains a wall. And mockery is not from the author’s natural ignorance, but rather because of the coercion and attempts to hide this coercion.

The book has texts both early and recent; This allows them to compare them. The early poems of Aizenberg ... No, they were not foggy, but, as Vladislav Kulakov writes , they resembled an encrypted message. Over time, Aizenberg is trying to decipher the message, but not for the sake of generally perplexed, not for others , but only for himself. He insists on "simple things", and this is not fatigue from the previous one - let's say figuratively - ambiguity, but clarification (clarification) of meaning in the fight against himself. Exclusively “litigation with your own soul” is busy with the author, and poems confirm this. The struggle is carried out at all levels, and first of all - at the level of rhythm.

Previously: “Ah, it was great! Fun, fun” and “Hello -struggle! / Bitte -Dritht!” Sang scissors, ” - a certain run was felt, a high note was taken and the poem was held on this note. Now: there is no similarity of the run, everything is verified to the last "melting sound." And it is significant that the sound is melting . There was like ice, and now - "migratory water" ; The consistency has not visible. Ice turns into water for obvious reasons. “Words ... warmly rejoice at a happy meeting with each other” (from the article “Already misses a generalization” - the only one in the book).

So, the rhythm has become different. On the one hand, some epic dimension appeared ( “I call everything that I will remember” ), on the other hand, the melting became more piercing and frankly, but without a strain: "And frostbitten white colors / no, if I did not leave." Or: "The girl decided that she was gone." “I decided”, “disappeared” - the words fall into a ringing void and freeze bitterly there. The sound of poems is comparable to the Chekhov sound of a bursting string. True, with a mandatory footnote for a tenfold echo ( "Life was once rich in certificates. / I said boring: / Do not go there " ).

Yes, footnote; Aizenberg constantly blows ( "So it would carry me, brought - hello! .." ) in those areas where trouble and discord reign. I repeat: not only with the world, but also with oneself. "The world is such that you can’t take it, / neither leave it as it is." Aizenberg does not make either one. This is evasion of boring duty - but not from duty. The debt is fulfilled: before us are texts.

... the devil will play, will not give back
murmur and chirt.
You won’t guess, how is it without us
God sculpts her.

God, maybe without us , but we are here, we do not go anywhere. We read "Paragraph Fifth"; We are talking about pity; We simply say .