Alexey Kruchenykh

Poems, poems, novels, opera

Deuts of the legendary “holes of Bul Shchel” finally found the status of a classic. The book of Alexei Kruchenykh was published in the series “The Library of the Poet” - and most of the texts were first reprinted after the most rare futuristic collections published by tiny circulations. A veteran of Russian futurism, his theorist and practitioner, who has far survived and became a completely mythological personality. What nickname was not given to him! Korney Chukovsky called the twisted "pigfille", he proudly called himself "the wildest." However, the most accurate, in my opinion, title is a “beech of Russian literature”.

His undoubted goal was to scare this very literature, its writers and readers and, if possible, not to leave stone on a stone from previous ideas about poetic work. Next to the word -making radicality of the twisted pale, both the “stray word” of Khlebnikov, and the shocking of the young Mayakovsky.

“Words are dying, the world is forever young,” wrote the twisted in his logocratic “Declaration of the Word as such” - the leaflet of 1913. “The artist saw the world in a new way and, like Adam, gives everything his names. Lilia is beautiful, but ugly, the word lily captured and “raped”. Therefore, I call Lilia EUS The initial cleanliness is restored. ” In subsequent years, however, the poet has somewhat settled down. Already at the end of the twenties, he moved away from the abstract language that was characteristic of him and began to write quite Rousse, preserving, however, avant -garde insolence and energy.

The most interesting of these things is the 1928 cycle “Talking Cinema”, in which the poet, by his own admission, “tried to reduce the great dumb with the great dialect with the Great Banging.” The unique experience of poetic libretto was obtained for films at that time. The last lifetime book of Kruzhenykh was two years later. Svetlana Ivanova Chival Romanov and their approximate halo of progressiveness, modernity and civilization. The symbols of all these virtues were women, for the first time in Russian history, who appeared in the political arena.

However, already to the reign of Alexander I I, it became clear that the complete rejection of the national roots makes a gap between the elite and the people, in itself the necessary and inevitable, excessive. The gradual return to “Russianness” begins, expressed in the demonstrative Orthodoxy of Alexander and fashion for national motives under Nicholas I. It was Nikolai, according to Wartman, that was destined to become the last bearer of monarchical charisma: a crushing defeat in the Crimean war deprived the power of its mythological and ritual foundations. Now Russian autocrats could rely only on their own mind and trust in the nation.

Wartman's book does not contain radically new readings of Russian history, however, despite this, as well as on a dry and academic style of presentation, it is excitingly interesting to read it. An unexpected angle, oriented not at an essence, to get to a dug to which was previously considered the main virtue of the historian, but on their symbols and visible expressions, made Wartman's book an intellectual bestseller in the West and will surely contribute to its success in Russia. Galina Yuzefovich is one of the motivations today, in 2002, to replenish his library - to clarify the picture of the twentieth century, an exciting assembly of this giant puzzle. The book of Arkady Shtepel, I am sure, will find a worthy place in it. 6 Leonid Kostyukov