Entries tagged with Russia

November 23, 2024

Document 106: Various Devices!

FOR IMMEDIATE RELEASE! 

VARIOUS DEVICES:
SELECTED WRITINGS

BY CARLA HARRYMAN

MOSCOW: POLYPHEM, 2024

[for Russian text, click here]

Polyphem, an independent press in Moscow, announces publication of a comprehensive, bilingual edition of the writings of Carla Harryman.

The works, chosen by editor Vladimir Feshchenko, represent the full range of her pioneering genre-disrupting, performative texts—from Percentage (1979) and Under the Bridge (1980) to Cloud Cantata (2020) and Scales for the Living (2023).

Also featured are the complete scripts of her germinal works for San Francisco Poets Theater: “Third Man” (1978); “There Is Nothing Better Than a Theory” (1984); and “Memory Play” (1994).

Excerpts from her dystopian novel Gardener of Stars (2001) and the ludic hybrid text Baby (2005) are included, along with selections from her erotic picaresque, co-authored with Lyn Hejinian, The Wide Road (2011).  … More

November 22, 2024

Document 105: Not This!

FOR IMMEDIATE RELEASE! 

NOT THIS: SELECTED WRITINGS
BY BARRETT WATTEN

MOSCOW: POLYPHEM, 2024

[for Russian text, click here]

Polyphem, an independent press in Moscow, has announced publication of a comprehensive, bilingual edition of the writings of Barrett Watten.

The works, chosen by editor Vladimir Feshchenko, extend from his first collection (Opera—Works, 1975) to the unpublished “Notzeit,” written during COVID (2020).

The selection represents the author’s “turn to language” in the 1970s, his development of hybrid genres and longer forms, and his critique of distorted social communication. … More

February 11, 2024

Document 102: Note on Conduit

“Conduit” (“Kanal svyazi”)
trans. Arkadii Dragomoshchenko and Vladimir Feshchenko
Vsealizm (Moscow), 11 February 2024

From Moscow, for the second week in a row, comes a new translation of my work into Russian—here, “Conduit” into “Kanal svyazi”—in preparation for a bilingual edition to appear, one hopes, later this year. This work, brought forward over decades and across continents, truly stands as a conduit in the distressed conditions of communication, between the “territories of the East” and the rest of the world assuredly, but more generally as “what we live.” As I wrote on receiving word of this wonder:

There was a line from a Poets Theater play, Third Man by Carla Harryman, early 80s, spoken by Eileen Corder: “Go ahead, Moscow—I’m listening!” That was transgressive in the Reagan Era; in the current moment, one listens carefully to say the least. And now this translation of my poem “Conduit” has appeared—it is all about receiving messages, and not letting them stand as commonplaces or placeholders but as samples of “systematic distortion.” It’s about the “systematic distortion” of communication as communication itself, which we experience every day.

… More

September 1, 2023

Event 103: Poetry, Translation, Crisis

SESSION PROPOSAL WITHDRAWN

Poetry, Translation, and Crisis:
From the Post-Soviet Moment
to War and Emigration

American Comparative Literature Association
Montréal, 14–17 March 2024

Due to the difficult circumstances of the global present,
the organizers have canceled this session proposal.
Stay tuned for plans for a virtual colloquy in 2024.  

In 1989 and 1990, eight American avant-garde poets traveled to then-Leningrad to meet with Soviet counterparts, experimental poets working under quasi-nonofficial conditions during late Perestroika. These meetings followed extensive travel and translation activities in the 1980s. Among then-Soviets, the poetic schools of “metarealism” and “conceptualism” were well represented—by poets such as Arkadii Dragomoshchenko, Alexei Parshchikov, Nadezhda Kondakova, Ivan Zhdanov, Ilya Kutik, Nina Iskrenko, Dmitrii Prigov, and Lev Rubinshtein. These events and developing contacts led to the publication of the collectively authored Leningrad: American Writers in the Soviet Union and a flurry of translations. Three decades later, the dialogue between American poets and poets of the former Soviet territory, including both Russia and Ukraine, has continued. A comprehensive anthology of American experimental poetry, Ot “Chiornoi gori” do “Yazikovo picmo” (From Black Mountain to Language Writing), appeared from NLO in late 2022, with a publication event in Moscow and subsequent online reading. Other translations are imminent or postponed under the present circumstances, while interest in and translation of two generations of poets, now disrupted by war and emigration, continues. This session solicits contributions on past and on-going translinguistic, transcultural projects from both periods: the post-Soviet moment and now. What “cultural work” is being undertaken and advanced in these works of translation and affiliation, crossing over global spaces of conflict and establishing global poetic networks? The session language will be mainly in English, but contributions in Slavic languages are encouraged, and hopefully English translations can be arranged.

… More

March 26, 2022

Document 97: xxx / Ekaterina Zakharkiv

xxx
by Ekaterina Zakharkiv
(trans. Joseph Simas)

fucking sky: because it is open, it is occupied, recognized as an extremist organization, acting as a foreign agent, banned across the territory of the russian federation.

discrediting actions
with the help of words. how do you act on the sky with words?

don’t look up, don’t cross its borders, don’t read paul celan under its vaulted blanket.
the sky before dawn is buzzing, collapsing without warning.

it’s no longer a metaphor, no longer a generalization of conflict.
blinded, we roll into the sleepy suburbs and strike. we harm the defenseless.
we lose our sense of smell and fail to notice the stench of black smoke.
we get caught off guard in the mix.

now is not the time for quotations. all the marks have been forged into antitank hedgehogs. nevertheless

days go by, and we lay never-roses at the foot of myth. what have we seen with our own eyes? transmissions, streamed from a billion bloodlines. childhood dreams burgeoning into political imagination in airports and hotel rooms. craters blown into our former tongue suck up shards of grass, hallways blasted in. language is tongue-tied. it leaves neither trace of name nor address. in its vacant alleyways the hissing utterances of an orange serpent. no one’s, again … More

March 21, 2022

Document 96: To Russian/Ukrainian Poets

From Scales (11)
by Carla Harryman

to Russian/Ukrainian Poets

—checking email every five minutes for an answer. I got it I got the answer and it didn’t make me look so good.

Pounding on your own goodness sounds a bit tarnishing.

Say stinging.

Have a latke.

The smell of onion in the vapor of potato reminds me of the Russian poets in our kitchen drinking vodka at a somewhat earlier hour than this.

They did not sleep.

They do not sleep much now either.

Up all night in your fantasy. Some of them dead.

No not in mine. In mine they sleep willowy sorts of idealisms smothering vast plains sequestered in small farms and mushroom gathering.

They are almost all gone now, but there are more.

Some. Alexei. Others too are lauded on the lips of the still living.

Alexei turned vitriol blue.

Hmmm . . . I thought it was a reference to hydrated copper.

Ukrainian rubble recalls each dead poet in Russia as Ukrainian.

They have to be careful now. That rubble disseminates in the elements spreading across the globe.

As ever but more so.

Tabling the turn and turning.

So. Let them leave as they did.

They leave again and again.

So and so is arriving.

A ways off.

They are arriving.

We break hearts with them when they arrive with stoic pretense.

And then we get out the vodka.

They have not yet slept.

We keep the vodka in the freezer in case someone is looking for it.

I confess I didn’t understand entirely, these males. But Alexei—

Now understanding, forget.

—I was a poet in the company of Alexei.

The point is disbursed in rubble—

Yes forget understanding.

—and never made again in the same way.

That’s right. It’s missing varnish.

—March 20, 2022 … More

September 12, 2020

Archive 06: Leningrad/ATD

 

 

 

 

 

 

 

There is a proliferation of anniversary dates this time of year. This one remembers our Summer School in Leningrad, August 1989, during the last days of Perestroika and the Soviet Union itself—thirty-one years ago. An international conference of avant-garde poets would not have been possible previously, and its meaning took part in that nearly evacuated moment—which we record in our nonnarrative history, Leningrad: American Writers in the Soviet Union. The grandiosity of our monumental title betrays the actual import of the event, which was all in the details—an occurrence that could happen once only, as its effective history. Which is always potential, always about to have an effect. Arkadii and I are pictured above, at the reading where I read in English followed by his translation. I would now say that it is the distance between the two figures that is most active and alive with possibility.

Today I saw Zinaida Dragomoshchenko’s post on, I assume, the scattering of Arkadii’s ashes in 2012, which adds to the historical prompt for my post. At another moment of distance, I want to read Zina’s tribute in Russian, which I screen capture without translating (and as the Cyrillic alphabet does not work on my site). Zina recalls the scattering of Arkadii’s ashes near the lighthouse at Kronstadt, in the Baltic off Petersburg, which has since closed, “but all the beacons of the world are available.” I wonder if the line in quotes, “Vossoyedineniye potoka,” translated as “stream reunion,” is from Arkadii’s works. Streams are coming together, converging. She returns to Petersburg and, speaking to herself, imagines the sun’s closing of a circle and a return “endless swimming” in the stream of Okeanos. She ends, in convergence across the space of eight years, “Svetlaya pamyat’!,” “Bright memory!”

Notes

Photographs: BW and Arkadii Dragomoshchenko, International Summer School, Leningrad, August 1989. Photographer: t/k.
Permission to reproduce screen shot.

September 14, 2019

Entry 38: > Ekaterina Zakharkiv

I met Moscow poet Ekaterina Zakharkiv in St. Petersburg in November 2016, at “Other Logics of Writing: Arkady Trofimovich Dragomoshchenko at 70,” the Second International Conference on Dragomoshchenko and experimental poetics. Ekaterina was co-winner of the Dragomoshchenko Prize for younger experimental writers, presented at the new Alexandrinsky Theater on the Fontanka in St. Petersburg. Recently we began an exchange on digital poetics from our respective cultural, linguistic, and theoretical perspectives. This is a first attempt to speak of digital/media poetics across two distinct “regions of practice.”

September 12, 2019
Dear Ekaterina—

Hello! You asked about my approach to analyzing the internet poetic discourse.

I’ve cut and pasted your letter as you will see to create conditions for dialogue:

I am a graduate student of the Institute of Linguistics of the Russian Academy of Sciences, so my methodology is only starting to form, in general it may be said that the study is conducted from pragmatic-linguistic positions, in particular—the theory of speech acts, and also the linguistic poetic method.

My own basis in poetics is heavily indebted to the Formalist tradition, especially Shklovsky, Tynjanov, and Jakobson. There is a disconnect between that method—which influenced early Language writing, particularly with Hejinian, Silliman, and Harryman (and was very much in play when we had our “Letnaya Shkola” in Petersburg in 1989)—and the influences of critical theory, cultural studies, and now digital theory. I am trying to work at these intersections while being “language-centered.”

… More

March 16, 2018

Document 68: Third Factory

“Third Factory: Avant-Garde,
Social Construction, and Ideology in the Soviet 20s”

European Network for Avant-Garde and Modernist Studies (EAM)
Universität Münster, 5–7 September 2018

For this year’s EAM, centered the theme of “Realisms of the Avant-Garde and Modernism,” I propose to organize a panel or multi-session series of panels that would revisit the relation of the avant-garde to social construction. Such a project would necessarily be revisionist, in deepening but questioning the role of the avant-garde in the project of social construction, particularly after new archival materials and critical perspectives have become available. But it would also try to refocus interest on the Soviet 20s as scene of a coordinated Gesamtkunstwerk beyond individual artists, works, groupings, or genres that has continued relevance for a global, mediated, ideologically distorted world. … More

January 29, 2017

Event 69: I Met (St. Petersburg/Moscow)

“Other Logics of Writing”
Arkadii Trofimovich Dragomoshchenko at 70
Second International Conference ATD: Variations
24–25 November 2016
Saint Petersburg State University
Brobinsky Palace, Saint Petersburg

Premiya Arkadiya Dragomoshchenko
25–27 November 2016
Novaya Tsena Aleksandrinskovo Teatra
Saint Petersburg, Russia

Zina Dragomoshchenko
Evgeny Pavlov
Elena Dolgikh
Aleksandr Skidan
Selena Valyavkino
Nina Savchenkova
Anna Glazova
Aleksandr Ulanov
… More