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Eastern European Poets Series
I Live I See
By (author): Vsevolod Nekrasov Translated by: Ainsley Morse Translated by: Bela Shayevich
9781933254982 Paperback, Trade English General Trade POETRY / Russian & Former Soviet Union Jun 01, 2013
$20.00 CAD
Active 4.75 x 6.5 x 1.5 in 576 pages Coach House Books Ugly Duckling Presse
I Live I See presents a comprehensive survey of the work of Vsevolod Nekrasov (1934-1999), the Soviet literary underground’s foremost minimalist. Exploring urban, rural, and purely linguistic environs with an economy of lyrical means and a dark sense of humor, Nekrasov’s groundbreaking early poems rupture the stultified language of Soviet cliché while his later work tackles the excesses of the new Russian order. I Live I See is a testament to Nekrasov’s lifelong conviction that art can not only withstand, but undermine oppression. "Nekrasov's artistic method is a sort of critique of poetic reason, only the result of the critique is poetry; the dissected, devalued verse line is reborn — into lyric." — Vladislav Kulakov

Vsevolod Nekrasov (1934-2009), a lifelong resident of Moscow, became active in the literary and artistic underground in the late 1950s. Through the fall of the Soviet Union, his work only appeared in samizdat and European publications. At the beginning of his career, Nekrasov was associated with the experimental writers and artists of the Lianozovo group, and went on to become one of the founding members of Moscow Conceptualism. Nekrasov's poetry, which is often characterized as minimalist, uses repetition and paranomasia to deconstruct and recontextualize his linguistic environment - he targets everything from stock Soviet political mottos to clichés people mutter to one another in everyday situations. For example, by juxtaposing phrases the average Soviet citizen would have taken for granted with arbitrary-seeming homophones, Nekrasov calls official Soviet language to task for the numbness and thoughtlessness it promotes. When not overtly political,his poems examine this same tension between 'outward speech' and 'inward speech,' that is, between the language we use when talking to others and talking to ourselves. Ainsley Morse has been translating 20th- and 21st-century Russian and (former-) Yugoslav literature since 2006. A longtime student of both literatures, she is currently pursuing a PhD in Slavic literatures at Harvard University. Recent publications include Andrei Sen-Senkov's Anatomical Theater (translated with Peter Golub, Zephyr Press, 2013), as well as her co-translation of Vsevolod Nekrasov (UDP, 2013). Ongoing translation projects include prose works by Georgii Ball and Viktor Ivaniv and polemical essays by the great Yugoslav writer Miroslav Krleza. Bela Shayevich is a writer, translator, and illustrator living in Chicago. She is the co-translator of I Live I See by Vsevolod Nekrasov (UDP, 2013). Her translations have appeared in It's No Good by Kirill Medvedev (UDP/n+1, 2012) and various periodicals including Little Star, St. Petersburg Review, and Calque. She was the editor of n+1 magazine's translations of the Pussy Riot closing statements.

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