Velimir Khlebnikov

A revelatory volume of two of the twentieth century's great poetic innovators, Guillaume Apollinaire and Velimir Khlebnikov, in vibrant new translations by Robert Chandler Guillaume Apollinaire and Velimir Khlebnikov never met, but they have much in common. Both inventive luminaries of Modernism, they played a central role in the avant-garde movements of their time and worked closely with the most important visual artists around them. Written with exhilarating freedom and creativity, their verse has continued to inspire poets to the present day. Acclaimed translator and poet Robert Chandler offers a unique selection from both poets' work in vivid new translations. Showcasing their most direct, heartfelt verse alongside their form-breaking innovations, this volume reveals the deep insight with which these two poets wrote about love, friendship, art, revolution, famine and war.

Initsiator sobranija sochinenij Velimira Khlebnikova - izvestnyj literaturoved i kulturolog Rudolf Valentinovich Duganov (1940-1998), razrabotavshij obschij plan i nauchno-tekstologicheskuju kontseptsiju izdanija.V 1992 godu byla osuschestvlena verstka pervogo toma dlja izdatelstva "Khudozhestvennaja literatura"; po nezavisjaschim ot sostavitelej obstojatelstvam proekt togda ne realizovalsja.Shestitomnik (v semi knigakh) vyshel v svet v izdatelstve Instituta mirovoj literatury im. A. M. Gorkogo RAN v 2000-2007 godakh. Eto sobranie sochinenij povtoreno izdatelstvom "Dmitrij Sechin" v 2013-2015 godakh. Aktualnye obsuzhdenija etikh izdanij dajut vozmozhnost v 3-m izdanii ubrat smyslovye i tekhnicheskie oshibki pervonachalnogo nabora, a takzhe vnesti rjad chastnykh popravok v stikhovuju grafiku i kompozitsiju khlebnikovskikh tekstov. Utochneny fakty i formulirovki nekotorykh primechanij. Dve chasti shestogo toma pechatajutsja vmeste.Redaktor: Duganov Rudolf ValentinovichInitsiator sobranija sochinenij Velimira Khlebnikova - izvestnyj literaturoved i kulturolog Rudolf Valentinovich Duganov (1940-1998), razrabotavshij obschij plan i nauchno-tekstologicheskuju kontseptsiju izdanija. V 1992 godu byla osuschestvlena verstka pervogo toma dlja izdatelstva "Khudozhestvennaja literatura"; po nezavisjaschim ot sostavitelej obstojatelstvam proekt togda ne realizovalsja. Shestitomnik (v semi knigakh) vyshel v svet v izdatelstve Instituta mirovoj literatury im. A. M. Gorkogo RAN v 2000-2007 godakh. Eto sobranie sochinenij povtoreno izdatelstvom "Dmitrij Sechin" v 2013-2015 godakh. Aktualnye obsuzhdenija etikh izdanij dajut vozmozhnost v 3-m izdanii ubrat smyslovye i tekhnicheskie oshibki pervonachalnogo nabora, a takzhe vnesti rjad chastnykh popravok v stikhovuju grafiku i kompozitsiju khlebnikovskikh tekstov. Utochneny fakty i formulirovki nekotorykh primechanij. Dve chasti shestogo toma pechatajutsja vmeste. V pervom tome sobrany stikhotvorenija, dajuschie predstavlenie o postepennom razvitii novatorskogo stilja poeta-"budetljanina". Vo vtorom tome sobrany stikhotvorenija vtorogo perioda zhizni i tvorchestva Velimira Khlebnikova ("Predsedatelja Zemnogo Shara"). Proslezhivaetsja formirovanie khudozhestvennogo metoda poeta, aprobirujutsja teoreticheskie osnovanija ego modelej poeticheskogo jazyka. V tretem tome predstavleny liroepicheskie poemy V. Khlebnikova, napisannye kak v dopechatnyj period ego junosheskikh opytov, tak i v gody "buri i natiska" russkogo khudozhestvennogo avangarda. Ju.N. Tynjanov v 1928 godu nazval Velimira zachinatelem novoj epiki v poezii XX veka. V epose V. Khlebnikova est priroda slavjanojazycheskoj arkhaiki i travestija klassicheskikh selskikh idillij, novatorstvo totalnogo slovotvorchestva i dramaticheskaja realnost khroniki obschestvennykh perevorotov, proiskhodjaschikh bukvalno na glazakh. Otsjuda i prozaizatsija "svobodnogo stikha" v samykh krupnykh poemakh poslednikh let ego zhizni. Pri obychnoj dlja V. Khlebnikova zhanrovoj razmytosti ego proizvedenij nekotorye teksty etogo toma mogut vosprinimatsja i kak dlinnye stikhotvorenija, v to vremja kak nekotorye teksty predyduschego toma s mnogochastnoj kompozitsiej mozhno rassmatrivat i kak poemy. V chetvertom tome predstavleny proizvedenija V. Khlebnikova s javno vyrazhennoj teatralno-stsenicheskoj orientatsiej. Nekotorye teksty predpolagalis im dlja postanovki (naprimer, "Snezhimochka") v kruzhke V. I. Ivanova na "bashne" i v "budetljanskikh" postanovkakh futuristov kontsa 1913 goda; nekotorye (naprimer, "Oshibka smerti") osuschestvilis pri zhizni v svoej esteticheskoj napravlennosti letom 1920 goda v Rostove. K pesam primykajut i dramaticheskie poemy (naprimer, "Lesnaja toska", "Nastojaschee"), chastichno realizovannye v svoem igrovom zamysle raznymi sovremennymi nam teatralnymi kollektivami. Vpervye v chetvertom tome sobrany v osobom razdele "stseny", kotorye ranshe pechatalis to kak stikhotvorenija, to kak proza. Sootnoshenie mezhdu stsenoj i dramoj priblizitelno takoe zhe, kak mezhdu stikhotvoreniem i poemoj. Zhanrovaja kompozitsija pjatogo toma obosnovana v redaktsionnoj state "O printsipakh podgotovki izdanija" (SS, 1). Stikhotvorenija v proze (razdel I), v otlichie ot rasskazov, povestej, ocherkov (razdel I), pochti lisheny kanvy sobytijnosti, aktsentiruja priemy bessjuzhetnogo liricheskogo vyskazyvanija. Ponjatie "sverkhpovest" (razdel III) pojavilos tolko v tekste poslednej bolshoj veschi Khlebnikova "Zangezi", no sam printsip takoj slozhnoj zhanrovoj formy prokhodit cherez vsju ego tvorcheskuju biografiju. Poslednij tom shestitomnika slozhen po sostavu i raspredeleniju sobrannykh v nem tekstov. V predschuschikh izdanijakh on delilsja na dva polutoma (SS, 6-1 i SS, 6-N). V knige pervoj byli predstavleny stati i "uchenye trudy" (avtorskoe opredelenie) na raznye temy "budetljanskikh" idej, a takzhe polemicheskie vozzvanija i vystuplenija. V knige vtoroj - fragmenty osnovnogo i poslednego truda V. V. Khlebnikova "Doski Sudby" i primykajuschie k nemu "Mysli i zametki" (kompozitsija, sobrannaja redaktsiej). Zavershaetsja tom dnevnikom V. V. Khlebnikova, ego pismami i drugimi avtobiograficheskimi materialami.

Bez salatov i kholodnykh zakusok ne obkhoditsja ni odno prazdnichnoe zastole. Blagodarja svoim vkusovym kachestvam i privlekatelnomu vneshnemu vidu oni vozbuzhdajut appetit, sluzhat ukrasheniem stola. V etoj knizhke my postaralis raskryt nekotorye sekrety razlichnykh nizkokalorijnykh delikatesov, chtoby kazhdaja khozjajka mogla samostojatelno prigotovit poljubivsheesja ej bljudo.

Bez salatov i kholodnykh zakusok ne obkhoditsja ni odno prazdnichnoe zastole. Blagodarja svoim vkusovym kachestvam i privlekatelnomu vneshnemu vidu oni vozbuzhdajut appetit, sluzhat ukrasheniem stola. V etoj knizhke my postaralis raskryt nekotorye sekrety razlichnykh delikatesov, chtoby kazhdaja khozjajka mogla samostojatelno prigotovit poljubivsheesja ej bljudo.

Pitstsa, rodom iz Neapolja, - pozhaluj, naibolee izvestnoe bljudo italjanskoj kukhni. Luchshie ejo vidy vsegda individualny i massovo ne proizvodjatsja. Prigotovit pitstsu v domashnikh uslovijakh legche vsego po takim rasprostranennym retseptam kak: pitstsa s kolbasoj, pitstsa s kolbasoj i syrom, pitstsa s gribami, kurinaja pitstsa, pitstsa iz moreproduktov, vegetarianskaja pitstsa. Doma pitstsa poluchitsja vsegda luchshe i vkusnee, chem iz magazina ili pitstserii. Domashnie retsepty imejut mnozhestvo variantov prigotovlenija. My postaralis predstavit luchshie, neslozhnye i originalnye, avtorskie retsepty pitstsy. Pitstsa poraduet vas svoim vkusom, dostupnostju i prostotoj prigotovlenija.

Italjanskaja kukhnja zasluzhenno polzuetsja populjarnostju vo vsem mire. V ee osnove lezhat istoricheski slozhivshiesja mnogovekovye kulturnye traditsii. Segodnja bolshinstvo ljudej znakomy s takimi bljudami italjanskoj kukhni kak pasta (sobiratelnoe nazvanie muchnykh izdelij) i pitstsa, no kukhnja etoj strany namnogo bogache i raznoobraznej. Poznakomitsja s nej i prigotovit doma poljubivsheesja bljudo vam pomozhet eta kniga.

Velimir Khlebnikov, who died in 1922 at the age of thirty-six, is one of the great, untranslated Russian poets of this century. Hailed by his contemporaries and by later writers and scholars as the creative genius behind the Russian Futurist movement, Khlebnikov is famous more for his inaccessibility than for the excellence of what he actually produced. Even Russians are generally baffled by him.Now, in a powerful American rendition, we are given access to the strange and beautiful world of Khlebnikov, “the word’s wild highwayman.” Trained in the natural sciences and mathematics and by temperament an artist, Khlebnikov thought he had discovered the Laws of Time and Tables of Destiny, by which enlightened humans could live in harmony with themselves and with nature. He coined the terms “Futurian” and “Presidents of Planet Earth” for himself and his friends, and he devoted all of his short, restless life to finding a language appropriate to his vision. Experiments with words became magical paths to a reinvigorated future, and produced some of the most extraordinary poems in the Russian language.These goals and researches were variously embodied as well in stories, plays, and visionary essays in which Khlebnikov advances architectural plans for mobile cities, a new alphabet based on universal meanings of sounds, and communication by way of vast television networks. The result is poetry of startling originality, modernity, and linguistic virtuosity—a true challenge to translators and one that has been met brilliantly here by Paul Schmidt and Charlotte Douglas.The King of Time is a representative sampling of Khlebnikov’s writings, taken from the translation of his complete works prepared under the auspices of the Dia Art Foundation. It includes many pieces, among them the full text of the astounding poem-play Zangezi, never before translated. General readers will be introduced to the legendary Khlebnikov, and cognoscenti will applaud the inventiveness of the rendering.