The Brooklyn Rail

MAY 2023

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MAY 2023 Issue
Poetry

six


AVIATOR



Love the bronze sounds of the orchestra
I hear from afar
Trumpets blare
Clarinets talk
Crowd buzzes
Craning their hats
All eyes on the pilot
I’m looking at the ladies
Lips
Smiles pour and play
Smiles of the eye
Voice noise
Laughing streaming
The soul, a solar string instrument
Opium and blood
Bubbles caresses softly
Crowd
Crowd
Buoyant
Voice noise
To be happy like a crowd
To have no care
The aviator loops the loop in the clouds.

5 May 1914. Kyiv.









CITY



Ware are
be bo
boo
CABBIES—PEOPLE
tramcars—people
automobibiles
runomote motoruns
motorotoruns
a berceuse for the car
ousel
elms
lilies
giant roads
char
smoke steel
gar
garret
cigarette
blue smoke
black smok
e
mitted
GAS
long live fumes
beg big fumes
love cough
live live
live drive
live you
O LINE
auto
tram.

23 May 1914. Kyiv.









V STEPU



VN S TI K
PI K K
NUP
L’O LI L’O P
NI S VN K
PI
L’O VN L’ TI
PI S K K
NU LI L’O L’O
TK

(Translated by the Kruchenykh Method)









IN THE STEPPE



NG DR AI N
PI C K
NOOP
MEL EL MEL T
DO W NG K
PEE
MEL NG EL TEE
SQU EE K K
OO OO MEL MEL
T NK
5 February 1914. Kyiv.

(Translated by the Uchenykh Method)









CITY



ffffffr
snorted sputtered
shsss
hissed sonorously after the motor car
mudosnow
fogs
sled sled
swayed with a crackle
ballobbed mudlets
unfirmed uniform
silh-
ouettes
soft coquettes
lancing glances
cackle cackle
yo you

1918. Kyiv.









40 KARBOVANTSI



After the fires,
the city, its buildings—black skeletons,
waits for someone to come and comfort it,
build the white marble gates
and the clear-lined church.


Women of the people are digging through the ashes,
a pound of potatoes costs 40 karbovantsi,
at night the city is burning still,
the church dome reflecting flames.


In how soon, in how long a time
will we have cow butter,
he yanks at the back of your jacket,
the malcontented one.


20 February 1920. Kyiv.




These translations will one day appear in Ukrainian Literary Modernism: A Reader, ed. Galina Babak, Yulia Ilchuk, and Andrei Ustinov (Academic Studies Press, 2023).

Contributors

Mykhail Semenko

Mykhail Semenko (1892-1937) was the founder and main poet of Ukrainian-language Futurism. He issued two formally daring chapbooks shortly before World War I, and an iconoclastic manifesto threatening to burn the sacrosanct classic of nineteenth-century Ukrainian poetry, the Kobzar of Taras Shevchenko. After Ukraine was joined to Soviet Russia, he reinvented himself as a politically engaged, communist “Panfuturist,” running a sequence of avantgarde associations and journals throughout the 1920s until the forced demise of the avantgarde in the USSR. A deputy at the Soviet Writers Congress of 1934, he confessed to Isaac Babel of his “simply maniacal urge to take a piece of sh[it]… and throw it at the Congress presidium,” or at least so their conversation appears in a secret police report (see p. 169 here). Semenko was arrested and shot during the Great Purge with many other Ukrainian-language writers, whose great contributions to Ukrainian literature led to that generation being called the “Executed Renaissance.”

Eugene Ostashevsky

Eugene Ostashevsky is the author of, most recently, The Feeling Sonnets, a poetry collection about the effects of a non-native language on emotions, parenting, and identity.

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The Brooklyn Rail

MAY 2023

All Issues