By Arkadii Dragomoshchenko
The poet Arkadii Dragomoshchenko made his debut in underground magazines within the overdue Soviet interval, and constructed an elliptic, figural sort with affinities to Moscow metarealism, even supposing he lived in what was once then Leningrad. Endarkenment brings jointly revisions of chosen translations via Lyn Hejinian and Elena Balashova from his past American titles, lengthy out of print, with translations of latest paintings conducted via Genya Turovskaya, Bela Shayevich, Jacob Edmond, and Eugene Ostashevsky. This chronological association of Dragomoshchenko's writing represents the heights of his innovative poetry and fragmentary lyricism from perestroika to the time of his loss of life. His language—although "perpetually incomplete" and moving in meaning—remains clean and transformative, displaying its roots in Russian Modernism and its openness to the poet's Language tuition contemporaries within the usa. the gathering is an important English advent to Dragomoshchenko's paintings. it's also bilingual, with Russian texts which are in a different way demanding to acquire. it is also a foreword through Lyn Hejinian, an essay on how the poetry reads in Russian, a biography, and an inventory of courses.
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Additional info for Endarkenment: Selected Poems (Wesleyan Poetry Series)
Nothing. I’m reading a book. What about? What are you reading a book for? Why are you drinking wine and not thinking about how we, the dead, are supposed to live? Why do you mow down grain and devour bread, while we eat only poppy. Because I’m reading a book, when in the book there is twilight and night becomes the only illumination where memory rushes down like rafters you held up a candle to for a long while because the adversative conjunction still holds, but mint sweats in the morning and ice melts in the hand.
Does this mean that flowers are wilting, how. Does it mean they are crumbling with the prattle of ash— while we are in other countries, without passports, no transportation, some Casablanca, a station. Touch anything and then, much later, “in the meanwhile” will stratify afterwards.
The stirring of the wind brings no joy. ] | 27 По многим причинам На 30-м году своей жизни. . Из старого стихотворения На 59-м году с сигаретой во рту, еще боле плешивый, вновь оказался на пороге двери лицом к заходящему февральскому солнцу, за которым собачья звезда на ветру нежно скреблась в предчувствии ночи и множество теснилось предметов, и каждый был дольше, чем глазу ресница, а также сияло стесненье имен, в разлученье которых взор проникнуть не в силах,— да и не нужно,—вне очертаний маятник вещи, перешивающий память.