Journal reading. Issue 162

This time we will talk about poetry in the January " Journal Hall ", and there is a relatively fresh one - the 4th and the last number "Arion" over the past year, but besides - much more: poetic numerology from Elena Schwartz in the December " star ", in the January - unchanged Kushner , "Two poems" by Sergey Gandlevsky and a certain number of new poems by Leo Losev in the 1st and 2nd and 2nd and 2nd and 2nd and 2nd and 2nd and 2nd and 2nd The books of "Banner", Anatoly Niman, who disposed of equally the first numbers of October and New World , Vladimir Salimon in the same "NM", finally Evgeny Rein , Bella Akhmadulina , Inna Lisnyanskaya , the list is supposed to be long, so it makes sense to stop.

And for starters, let us dwell on the 4th Arion,-he is the 40th, Arion turned 10 years old. The anniversary number, meanwhile, differs little from all other non -cube, there, as usual, a dozen two poets, good, different and not very, but we will single out the new “ verses by Tatyana ” by Gennady Rusakov. - Poems from a familiar large cycle, also in its kind, “conversations with God”, and there is a talk about death, but the charm of the Rusak -lyric hero in his unusual, say, self -awareness, and the essence of “conversations” in a characteristic shift (we can say “decrease”, but this is not quite accurate) lyrical intonation: in the situation of the last “border” this hero, as it were, disappears on the sidelines and a little Connectively observes himself - walking in that direction . Without fatal alienation and without appropriate, it would seem, in such cases of high pathos:

And I'm going to myself

Such a worthy strip

Such mild stump with an unshaven tub,

that angels in the bushes are sitting along the way,

At the same time muttering about something about this.

With a hollow belly, and everything is subjected to account.

I almost froze, but still I live.

And now I’m going to death as a job -

In unconsciousness, into sclerosis,

to a pledged moat .

This was the initial poem of the selection, but the final one - the “observer” moved again, and the look now of a different order - not death in the face, but life in the back. Those. There is a certain landscape “in the presence of death” and the hero, he is the author who, according to well -known picturesque principles, is also present in this picture. However, the point of view of the observer is not there, and not from above. She is mobile, so the "border" mise -en -scene comes to life. Not so much the effect of a moving frame - but probably still a "magical lantern":

So write, as already on care.

So look - as if from the other side

where is any tear in the weather

And the eyes for farewells are given.

My day is pale, look, without blinking,

How will my life go before me -

Belarusian, whore naga,

With a beautiful back.

It will leak, he won’t cry about anyone:

Late, the number of Sodran from the nail.

... and the old woman, tired nag,

He will turn to me, passing .

Probably, it makes sense to say about one more feature of these “verses by Tatyana”: there is a kind of “cycle in the cycle”, “big poem” of three free stanzas. The focus is that Verlibra in Russian seems to be more successful by poets "traditional." You can think why this is so; Probably the first of the reasons is the meaningfulness of the choice.

And in the same “reading room” “Aryona”, the funny “character lyrics” of Maria Loseva (“ outside the body ”): “Outside the body, the“ hooligan-fool ”is“ walking, changing dresses and appearance, and there is also a selection of Irina Ermakova with a characteristic name “ All in the world ”. “All in the world of things” have already been legalized in verses many times - in classic, but too quickly gaining the inertia of the “still life” of Kushner, equally in the “private nabokovian” of Gandlevsky (and at the beginning there was still a poet Koncheev). If we keep in mind the historical and literary perspective, then the exit “from the shadow to the world” of the so-called "School of Khodasevich" in the last decades of the last century - the plot is characteristic and, in its logic, paradoxical. It is possible that the prose of Nabokov has become a kind of “steam locomotive” here, but now it’s about another - about Irina Ermakova’s “things”, which, of course, come from the “school”, and the address is obvious: the address is obvious:

... Here is the God's world here I am aunt Tanya ... etc.

So it is more interesting to immediately return to the source, in this case - to the experiments of Gandlevsky. Fortunately, the January "banner" gives us such an opportunity. However, in fairness, we note: in the "Arion" selection of Irina Ermakova, in addition to the frank "shooters" for the Moscow time we find another curious reference, - very recognizable in the rhythm of the "railway blues", it seems, successful fantasies on Galchinsky’s themes:

and pan conductor pan swing pan carpet

rounded steam flying in a foot on tray

Snow Osokonnoy Black Black Swing Swing

The bonfire of the broth on the slope flies

blow - hop -stop - jerk - mint

ai pan Barshaw Pan Varrava Pan Customs

Smonal pan Oral pan and all kinds

And just a pan and a corridor swire

blizzard

As for the small cycle of Gandlevsky in the "Banner", then its "literary" meaning is determined by two other sign poetic names (and I will not "rock" obvious quotes here). Keywords - youth / old age , the plot of "personal time" and "personal memory" as opposed to "collective non -existence"; The upsurized quotes, in turn, are called to remind you of the historical departments of the “collective” - and about the “ century -wolfhode ”, and about the fact that “ we do not need me ”. There is still a separate story about “personal things” ( to know from memory of your lust and exhale / and have with you when they click with things to the exit, / with condenses, that the memory is equated with personal things ) and “some sad things” ( some sadness would like / laughter for the middle of the white day / foolishness stood out of the coffin / and in the world found me and still played / in the world. The game that did not cost a candle / and the Chinese tsatska struck / useless in essence ).

Everything in the world is in short, in short ...

In the continuation of the plot of personal/collective memory - Anatoly Nyman in the "New World", multiplying words by words and insisting on tautologies, celebrates " Fools in the eyelid ":

Goodbye, the idea of ​​ideas ideas.
Sleep calmly, art of art, great
emptiness where the villain is insignificant from the scene
Leaving, returns in the signs of the difference
From people ...

The bad multiplication of the words is one of the ways to describe the same “collective non -being”, which has made a common metaphor of the century that has gone, so fallen into theatrical rhetoric:

He was a goal, that is, the future and run,
just multiplied the number of people
by the number of kilometers and put under opera snow,
A falling asleep action, like a Christmas tree .

It is remarkable that in a similar way - having preserved in children's memory it is the entertainment of this "collective non -being" that is escorted by that century Lev Losev ("Stans" in the last issue of "Banner"):

The seventh ten years in this light.

With me in the middle of the area

people hung people around the neck,

Let the bad ones, but there were children there!

Here is a movie, but here they hang,

They swing - and laugh in public.

That's all in terms of childhood and comfort.

Crimson grandson, here is your cherry garden .

Another “professorship” Losev’s cycle in the January “star” is “Lectures on Russian Literature” and “17 Agnostic Fragments” - in the absurd technique, the played “literary” is different about hell and paradise, questions and questions:

MC: Paradise - Territory.

And Antigod - DOG.

- And hell - decay?

The devils are worms?

In addition to the "literary" voices there are also votes "outsiders" and "broadcasting":

Says the radio station "Zoothelians".

Moscow special time - forty hours.

Tasso is authorized to say,

that Jerusalem is released ... etc.

And “lectures” describe a kind of circle, although it seems that the meaning there is disappointing “linear” - we are talking about the end of the story:

Miles, white flock and black glass,

Aonides and yellow jacket.

If you tell the truth, I'm tired of the poems,

Maybe no more poems?

Wing, blaspheming, grinding,

Combining in our misfortune,

deconstructors in masks Shisha and Psoy

Parse verses for spare parts

(and the last poet, watching the Horde,

Under the poetry of Russian, it draws a line

rusty razor on a thin wrist ).

The “circle” nevertheless arises from the actual “historical -literary” plot: poems about the “last poet” are called “according to Baratynsky”, and I will not reproduce the classic source and the corresponding legend about the gold and iron age here. - The bottom line is that this has already been, and this "last poet" is far from the first in a series of "latter", even if he chose a non-beautiful, non-antique death. Its novelty, however, is different: the causes of the end of poetry do not come from the outside - not from the hostility of history as such, but from the inside; The destructive "iron" semantics (rather "mechanical" than the "mercantile") is set by "deconstructors", who are also ... poets. As if.

And it was merciless to the poets American professor Lev Losev, but at the end (not poetry, but this release of "reading") a fair portion of xenophobia from a fan of Fet and a lover of nature Alexander Kushner :

I do not like the French with their cureness and selfishness,
I do not like Arabs with their oily gaze and fanaticism,
I do not like Jews with their impudence and self -confidence,
The British with their snobbery, boredom and well -intentioned,
Germans with their cruelty and rudeness,
Italians with chewing and stupidity,
Russians with custody, rudeness and drunkenness,
I do not like the Spaniards, with their stupidity and swagger,
Northern do not like nationality
Due to their professional incomprehensibility,
And southern, in a daze,
Translator, do not translate this poem,
Drums, I do not like tambourines, African masks, Turkish sabers,
Do you really like folklore ensembles,
Fet to the question of what he would like to belong to the people,
He answered: to no one. He loved nature.

(In fairness: then not xenophobia, of course. Rather, a parody of various kinds of "ethnic" conversations ").