Articles

Andrée Chedid and the contradictions of translation

One is the first positive odd number, an integer not evenly divisible by two. Odd, from the Old Norse oddi, point of land, triangle, the odd point sticking out, not lining up. As Dr. Math explains, the words we use are pictures of the shapes a number makes.[1]

In English, the numeral 1 resembles the letter I. The picture I makes is the shape of first person, singular. When spoken, the shape of the mouth draws apart, one’s two lips separating in what looks to be either the start of a smile or one’s initial pain.

Alexander Vvedensky's 'The Soldier Ay Bee See'

The poetry of Alexander Vvedensky, cofounder of Russia’s last avant-garde group OBERIU, became available to Russian readers only a half-century after his death under arrest in 1941. Inheriting the utopian energies and ideas of the avant-garde, his work also provides the earliest example of its functioning after the collapse of the avant-garde project. His realization that the language of his time was indelibly compromised by outside power, and his success in coaxing truths out of such suspect material, make his experience particularly relevant for today.

Arkady Dragomoshchenko: Poet and photographer

When Arkady Dragomoshchenko died in September 2012, his many friends, readers, admirers, and fellow poets expressed both immense sadness at the loss, which felt terrible and sudden, and a sense of wonder at his rich accomplishments. Few Russian poets, probably few poets anywhere, have left us a legacy of such intense cooperation across countries and continents. For weeks in late summer and early autumn, the Petersburg poet and critic Alexander Skidan posted favorite poems by Dragomoshchenko on Facebook, often daily.

Now poet: Dmitry Golynko and the new social epic

Dmitry Golynko writes about the now. Since his debut in the early 1990s, Golynko’s ear has been tuned with extraordinary sensitivity to present linguistic conditions. His subject has been current social and political experience, which he studies with precise, close concentration. His writing — honed responses to his environment — constitutes a critical analysis, or perhaps an anatomy, of contemporary subjectivity.

Poetry after the Siege of Leningrad

Montage, ekphrasis, allegory

The theme of war should be named as one of the most urgent and, ironically, productive, for contemporary Russian poetry. We find its various incarnations in the works of such striking and dissimilar poets as Elena Fanailova, Mariia Stepanova, and Stanislav Lvovsky.