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By Lyn Hejinian, Arkadii Dragomoshchenko, Elena Balashova

This can be my experiment. i am hoping you get pleasure from this. Dragomoshchenko is one in all my favourite poets. This e-book is lovely difficult to find.

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From again cover:

While traveling Riga, Latvia in November 1989, I requested a tender Latvian poet who have been his significant poetic impacts. with no hesitation he spoke back that he was once most affected via the European-style poetry of Soviet poet Arkadii Dragomoschenko. the answer's remarkable whilst one thinks that on the time Dragomoschenko had now not but released a ebook within the Soviet Union and that just a yr previous he were operating as a coal stoker. yet Dragomoschenko's writing had seemed in different magazines and in samisdat courses, and his recognition had already been demonstrated as early as 1983, whilst American poet Lyn Hejinian, touring with the ROVA Saxophone Quartet, were brought to Dragomoschenko who used to be defined as a brand new poetic strength in Soviet writing.

The artistic collaboration among poet and translator that as represented in those significant pages of poetry is, as Michael Molnar describes it, "a circulate up and down the registers of discourse and throughout genres" in a poetry as assorted from conventional Russian poets and the Soviet modernists comparable to Yvgeney Yevtushenko and Andrei Voznesenky because the American "Language" poets are from Robert Lowell or "the Beats."

With different modern Soviet poets reminiscent of Aleksei Parshchikov and Ivan Zhdanov, Dragomoschenko's poetry represents a thorough transformation in modern Soviet writing that demanding situations the poetic paintings within the related approach the Futurists linguistically and socially challenged early 20th century art.

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The verse assortment Description is the made of a threefold collaboration regarding the ultramodern Soviet poet from Leningrad, Arkadii Dragomoschenko (b. 1946), and translators, his pal Lyn Hejinian, an American poet, and Elena Balashova, a local Russian speaker dwelling in California. Michael Molnar, who wrote the creation that precedes Dragomoschenko's preface, makes an attempt to dispel any doubts one may have about the worth of this technique of translation, quite within the absence of an accompanying Russian textual content, via praising the translators' paintings as "meticulous" and "inspired" and calling upon American readers to simply accept those models as "American poems."

The publication is split into six sections or teams of poems: "Summa Elegia," "The Islands of Sirens," "Footnotes," "Accidia," "Nasturtium as Reality," and "Kondratii Teotokopulos on the go Roads looking ahead to a Guest." a few of the poems first seemed in Nebo sootvetstvii (Sky of Correspondences), the single selection of Dragomoschenko's paintings to be released so far within the Soviet Union. poems are devoted to Hejinian and one to Molnar. "Summa Elegia" is subdivided into elegies with a variety of titles. a few poems are interspersed with passages of prose poetry, and "Accidia" has a hugely subjective "note" from the poet.

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It is resurrection and resurrection again. Now even a corpse must be as hard as a star And as invulnerable, too, in subterranean lakes-not horrifying As a gun is not horrifying nor the glowing column of tranquil fire Where charred crow vessels Dwindle behind the thumbnail of the visible Living half as the eye of the Arctic and half as myself stamping a red clump of wormwood into the snow. So we discover the structure of the sky-measuring ourselves 35 against the moon; Inheriting a kingdom by right of primogeniture You shake the dead mouse out of the labyrinth, Out of the parallels, The animal smoke, out of what you see, of what is seen.

Why? Well, because the theme of turning began long before yesterday. Because, having fixed habits, sometimes one can successfully recall the state that memory immediately frames as the ornament of necessary details. Omitting a list of them, we'll go on to the next entry. I remember the stupor that overcame me 57 (was it childhood? ), as if I were lost in a long contemplation of some brilliant object. Activity in limited space. A familiar ploy. Concentrated in dispersal. Thanks to certain habits, it's possible to repeat these moments even now, when speed overlapped itself; it exposed what I, studying vision, could neither describe nor understand nor ,take from language, even more vague in its totality than those few images which it offered to my consciousness, dazzled by its accessibility.

The sky abandons speech. Seated around the table's husk were all whom the brain was absorbing, letting them draw themselves up in different configurations. There was not a single thing that couldn't be named: "light" Or "four," it doesn't matter, When you bend your body of glass with your trace around the dream. With this I was a second, third, fourth, not regaining speech. 32 KITCHEN ELEGY (for Michael Molnar) Guess who sent you this card for your birthday! (birthday card text) An agony of radiating bone in the hissing snow, The wormwood bush bent by the wind.

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