The poet Boris Kutenkov revealed features of poetry during a pandemic

Boris, now a post on social networking Pushkin’s poems, written in Boldin during the epidemic. As you know, it was the most fruitful period of the poet’s life. You also decided to isolate themselves for creativity?

– Yes, now in isolation, but not because of the coronavirus. I decided to leave even before this whole pandemic. Are in complete solitude, in Chernogolovka. Then rented an apartment. I do believe that the poet is by nature a pragmatist, and he is able to learn from others in the sorrows and troubles of benefit for creativity. It hardens and becomes stronger. There is an ancient legend about king Midas, who turned everything into gold. The poet, these moments can turn into gold. David Samoilov has some very good lines: “be thankful, poets, That you almost don’t need anything / And everything you need Always with you.”

how do you spell privacy?

– I like one night was born the poem in which metaphor is present the coronavirus and takes place in the system of biblical associations:

and if you close the virus-free check-in
and we ain’t leavin ‘ without knowing
I’ll be the mouth that will not give will not eat
easterhouse Apple of Paradise

izbivali trouble as the relationship
to you words
with all the babbling sighting it
and the world can see It’s unfinished.
sharp confinement of the patient

see how to burn an inappropriate flower
child in the beauty dedesco
so ray hugs him entirely
the stalk grows aching about anyone
and the falling burst the line

Sidi father locked up locked up
do not touch blade of hell
no brother we can’t save
nor son whose return five
no scrapping its dial

but the boy calls, disembodied vulnerable
blessed bezvesti loss

and ray catches one breath
and once again becomes protecting them
blindly and piously.

– a Work of which poets inspired you?

KoogYes, I wrote today’s poem, which I still live and constantly thinking I have on the desktop was a collection of Nina Iskrenko. It was close to the Moscow underground and started in the 80’s. Now it turns out her biography, written for children. I was inspired by her work, although absolutely far from what I write – my poetry is more traditional and for the most part lacked the elements of outrageousness. Iskrenko actively entered the literature in the era of perestroika, in the culture it was a time of deliberate challenge of combining different stylistic layers. The author, Nadia of Delalande, no wonder he calls her work a “polystylism,” the combination of incongruous. I could feel its looseness inspires me and subconsciously influences creativity superimposed on the smooth rhythm of the poem. On the other hand, on the table lay a book of a young poet materialista (the term was coined in the late 80s to denote a complex of poetry, is repelled by the will of the earthly world and perevoploschatsya them, but far from the symbolist inaire), – Sergey Rybkin “Away from people”, published in Voronezh. He was born in 1995, younger than me six years, but writes in very close to me a creative manner. I would have marked it as “deliberate ignorance” about the concept of future poems. “it turned the snail water language / Holodomor crossroads tipped the scales and brought down / I saw this night as a bruise under fire / slightly ajar the stars / strung out and the roar of breath – Klek! back fireflies jingle-bells-pear / how much noise the ozone circuit is saved / before you and me unarmed…”

Photos Daniel Siverson.

– are You a graduate of the Literary Institute. Gorky. In General, poetry can be taught?

Until the age of seventeen I was preparing to become a poet. To College went just because I had the ability to dothe references. In childhood, time wrote something: poems, prose and even children’s detectives, whom at that time without exception everyone was fascinated, and prose explanation of Mexican soap operas and fiction. When I arrived, then got into a circle of people with creative workshop, who were older than me. I wanted to meet them, to reach their level. This was the primary motivation. Youthful, ambitious to prove. In the literary Institute, the poet brings to the discussion his collection of ten to fifteen poems, and it in detail dismantled. Is this left over from the Soviet years tradition. I remember that the first discussions in 2006, the first year I was accused of insufficient knowledge of contemporary poetry is that poems imitate superficially understand Silver age, borrows some things from the curriculum, and I was deeply vulnerable. I remember one reviewer said, “You need to produce a nuclear explosion in my head and read contemporary poetry”. Of course, at seventeen, when you’re so sensitive to everything, this sentence made a strong impression. As a result, I like a man who tend to make skorospeshnymi conclusions and to hurry up, attacked modern poetry, was greedily to swallow it. Here the poetry of the sixties, whose work I was unfamiliar, and the poems of materialists, which seemed very complicated, and poems closer to our time poets. All this, of course, formed a chaos of erudition, which gradually took on the signs of your own style. The hardest part for me was overcoming the demands of my teachers who expected me poems, filled with images of visual reality, wanted to see the “real” (on the same discussion dropped the unforgettable: “conceptual manifestating”), a lyrical character, and a certain shyness that is associated with the fear to move out of our way. Signs of true poetry began to take shape in front of me after finishing College. Then I am not so drawn to the requirements of your environment, you could say I was evenI am in a vacuum. All that remains is to write into the void, posting poems in LJ and Facebook, hoping for Mandelstam, the “providential interlocutor”. Began to write poems with a fundamentally different level of complexity. Remember the appearance of the first readers, tending to be conditional metarealism. I felt that it’s mine, and began to move in that direction, despite the fact that these verses not all will be approved. I decided that the lack of regard for the reader will not become an obstacle, let them be smaller, but the poem remains true in the limits that I set for yourself, and not fake. Although I changed later, but these laws remained intact, and I don’t think I’ll change.

– I know that now you are working on an anthology of poets, untimely death in the 90s. Can you tell us about this project?

– it all Started with my post on LiveJournal September 6, 2012, when he came to me are the idea of a festival in memory of deceased poets. In the future, from the celebration of the word “festival” we refused, but it was important for me to understand what will be the reaction of the audience, and it was unexpected. To me threw comments, letters, and is convinced that it is necessary to carry out such a project. One of those posts in LiveJournal, of those letters that came to me in that memorable September of 2012, I learned a lot of names. Mainly letters from people who wanted to be told about their deceased relative or friend. They do not always correspond to conventional bracket, which my associate, a journalist and culture-Irina Medvedeva established poets, who retired young, to forty years. We thought it important to explore the issue of poetic youth and early departure from life as applied to a particular era. Thanks to Nicholas Mileshkina, which joined the project “They’ve gone. They remained” at the second stage of its development, and Elena Semyonova, with whom we have worked effectively with the beginning, turned out to produce the second volume of the anthology, which was released in 2019 and was dedicated to the poets, who retired in the 1970s and 1980s In the process of attentive work with archives and a long time claimed the author’s collections, we are faced with the fact that a huge number of books of talented poets just forgotten. If you are able to find people who knew this poet, it is a great luck. But often we have to request the collection of the poet in “Leninka” and carefully type the text by hand on the computer.

– the Names of any poets you discovered for yourself in the process of working on a new anthology?

– one Of those poets, whom I would like to publish in the third volume of “to Leave. To stay. To live”, I am very interested in the Ural poet Dmitry Dolmatov (1971 – 1992). His poetics tend to appeal to different mythological strata, and the vision: “As the bird hullabaloo, in my bed / spring hurl the damn drops. / And with her my sonnet melts / with the singing of birds under heaven, watercolour, / the cries of the angels scurrying in the yard / under the noise of the crowd in front of the gates of Paradise”. Still, for example, the poet Alexander Koprowski (1953 – 1990), who also becomes a separate selection in the anthology. It is necessary to tell separately. At first I tried to write a dissertation about the poetic group “Moscow time” originated in the 1970-ies as an implicit opposition to official Soviet culture, the most famous of its members are modern classics Sergei Gandlevsky, Alexei Tsvetkov and Bakhyt kenzheev. The latter directly speaks about Sorovskogo: “He taught us how to write poetry”. I read his philosophical essays in the process of working on this dissertation, his poetry. Talked to his widow, poet Tatiana Poletaeva, which helped in the archives. I couldn’t imagine that people went in young age, thirty-seven years, therefore his poetry was not included in the first volume “to Leave. To stay. To live.” Now we want to fill that gap and to present it in two articles. Sarovskomu not very lucky with the creative destiny. Because of his early death he did not have time to take place fully, and very interested in what would have been his later poetics. Comes to mind the name of Innokenty Annensky, Akhmatova about whom she wrote how about the teacher of the acmeists: “And the one teacher I believe, as the shadow passed and the shadows didn’t leave”: his biography has remained in history as a rather uneventful, and he went down in history as an original poet, but to a greater degree as a teacher Akhmatova and Gumilev. I wanted articles about Alexander Sarovskom that will be prepared for the anthology were discussed including the prospects of its poetics. The story is known, does not like the subjunctive mood, and even more fun to perform.