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Laughter in the Void Wiener Slawistischer Almanach ∙ Sonderband ∙ 5 (eBook - Digi20-Retro) Alice S. Nakhimovsky Laughter in the Void An Introduction to the Writings of Daniii Kharms and Aleksandr Vvedenskij Verlag Otto Sagner München ∙ Berlin ∙ Washington D.C. Digitalisiert im Rahmen der Kooperation mit dem DFG-Projekt „Digi20“ der Bayerischen Staatsbibliothek, München. OCR-Bearbeitung und Erstellung des eBooks durch den Verlag Otto Sagner: http://verlag.kubon-sagner.de © bei Verlag Otto Sagner. Eine Verwertung oder Weitergabe der Texte und Abbildungen, insbesondere durch Vervielfältigung, ist ohne vorherige schriftliche Genehmigung des Verlages unzulässig. «Verlag Otto Sagner» ist ein Imprint der Kubon & Sagner GmbHAlice. S. Nakhimovsky - 978-3-95479-669-4 Downloaded from PubFactory at 01/11/2019 09:53:59AM via free access 00064810 ALICE STONE NAKHIMOVSKY LAUGHTEE IN THE VOID An introduction to the writings of DaniilKliarms and Alexander Vvedenskii WIENER SLAWISTISCHER ALMANACH Alice S. Nakhimovsky - 978-3-95479-669-4 SONDERBANDDownloaded 5 from PubFactory at 01/11/2019 09:53:59AM via free access 00064810 ־г о и , лгчл(5 WIENER SŁAWI STI SCHER ALMANACH SONDERBAND 5 (LITERARISCHE REIHE, HERAUSGEGEBEN VON A.hansen -lö ve) Wien 1982 Titelgraphik: Plakat für einen OBÈRIU-Abend "Tri levych časa" vom 24.1.1928 DRUCK Offsetschnelldruck Anton Riegelnik, A-1080 Wien, Piaristengasse 19 Zu beziehen über: Wiener Slawistischer Almanach, Institut für Slawistik der Universität Wien, A-1010 Wien, Liebiggasse 5 © WIENER SLAWISTISCHER ALMANACH Alice S. Nakhimovsky - 978-3-95479-669-4 Downloaded from PubFactory at 01/11/2019 09:53:59AM via free access 00064810 ACKNOWLEDGEMENTS In one form or another, this book has been in the works for seven years. But my first acknowledgements go back farther than that, to George Gibian, my professor at Cornell, who introduced me to the works of Kharms and Vvedenskii and was extraodinarily generous in sharing manuscripts and giving advice. A number of people at Cornell were of great help with the manuscript in its various stages. Richard L. Leed read the poetry sections with a linguist1s eye for metrics, prodding them into considerable improvement. Patricia Carden took time out to give me the benefit of her sharp editorial skills. Of the friends and colleagues who read various chapters, I would particularly like to thank Elizabeth Dobbs of Grinnell, an incisive reader of great patience, and Henry Orlov of Williams, who was an invaluable source of information for philosophical and historical background. Mikhail Meilakh, editor of the collected works of Kharms and Vvedenskii, let me see unpub- lished manuscripts and answered questions. Irina Paperno and Boris Gasparov, late of Tartu University and now of Stanford, gave me intellectual and moral support, and only Slava Paper- no knows what egregious pitfalls his meticulous reading and bilingual typing have spared me. To Ilya Levin of the Univer- sity of Texas, Austin, my great thanks for his participation in the Great Manuscript Exchange and for all his help there- after. My colleagues at Colgate, past and present — Virginia Bennett now of the University of California, Davis, Michael Nicholson of the University of Lancaster, England, and Richard Sylvester all suffered through various drafts, and Patricia Ryan, one of the great bastions of true literacy, typed most of them. I would like to thank Colgate's Humanities Faculty Development Fund for its generous financial support. Finally, I would like to thank my husband, Alexander Nakhimovsky of Cornell, for his advice, his guidance, and his love. Alice S. Nakhimovsky - 978-3-95479-669-4 Downloaded from PubFactory at 01/11/2019 09:53:59AM via free access 00064810 For Sasha Alice S. Nakhimovsky - 978-3-95479-669-4 Downloaded from PubFactory at 01/11/2019 09:53:59AM via free access 00064810 CONTENTS INTRODUCTION 1 Chapter I: HISTORICAL SKETCH 5 Chapter II: ELIZAVETA BAM 25 Chapter III: EARLY POETRY 4 2 Chapter IV: THE ORDINARY AND THE GROTESQUE 62 Chapter V: THE ORDINARY, THE SACRED, AND THE GROTESQUE 87 Chapter VI: VVEDENSKII: IN THE WORLD'S PAVILION 104 Chapter VII: VVEDENSKII: TRAVESTIES AND IMPENETRABLE TRUTHS 132 Chapter VIII: TIME, HISTORY, AND THE FOREST 1 S3 CONCLUSION 166 NOTES 170 SELECTED ВIBLIOGRAPHY 184 INDEX 190 Alice S. Nakhimovsky - 978-3-95479-669-4 Downloaded from PubFactory at 01/11/2019 09:53:59AM via free access ! ז ־. w • ו •יז:*ד*י. I • Л*■ I - I -»״ .־♦A A I I 3 I1 ׳י &U ■Ж, - !־ÍL ־ * י\׳ tt L w * .׳*ч У ^ .у ״ ï V >į . IhvN 3 í -ч ДГ » ן י - יי # י *-: S? ^ Tfc fl ־*.־« ־—■ •— ׳!•'Afv״1 — ?v ־ i • v дѵ £י . rß i v #1־•11Я, IX .4i - .' Ł Ii ‘ /־׳V.j , »־־ * - - TV r!׳ . I - ן ־ K * * * . K_ \7I . _: V i # * " . - גז r-a.-, ■a ■ ־-*> ו / יי■ л• > f c - r * к Ł . -1 Гг.і־-׳•'־ :• 1f e ® ? kł>i v ^ . ־■*•' >ì י־ ?י.::׳יד* 1 >./ י •י ״• vu -Ji ri י ? ■*״;«!: ÿ i ! Я" י . ^ ; . e V* ‘׳י•‘ •־ר _ - י* ז ־׳׳■:V ■«:й'vn s•. ч־י ׳.* ‘י■ ־.;,if * v 4 . ^ '"*У*1׳fi Í,;!5f= — £ßâ« à. ч? ־ J • ^,־»&. .v , & 4 •: Í. » А л 1־*, d?*•■•■■'■ i i י - . * % - % : A % ■ f W ־i 1W P*! *TT ii •f Иі f t A I ■w .• >1 I !-* ū k Alice S. Nakhimovsky - 978-3-95479-669-4 Downloaded from PubFactory at 01/11/2019 09:53:59AM via free access ־ і 'л• 1. 00064810 INTRODUCTION The odd and brilliant works of Daniil Kharms and Alexander Vvedenskii were lost to both Russia and the West for some thir- ty years. It was the misfortune of these writers to be nurtured in a period of literary experiment that was cut off suddenly just as they were starting out. Their first steps, taken under the aegis of an antic literary group called Oberiu, turned out to be the only public testament of their career, and to this day Oberiu remains the touchstone of their notoriety in the West. The connection is unfortunate, because the silence that was forced on the group became paradoxically the silence under which Kharms and Vvedenskii matured as writers. Their later works, masterpieces of black humor with an infusion of the sa- cred, are firmly rooted in the Russian tradition, and bear comparison with the finest works of the European theater of the absurd. Leningrad first became aware of Kharms and Vvedenskii in the late twenties, when a series of theatrical evenings was put on by the outlandishly named Oberiu. The title was more or less an acronym for Объединение реального искусства, or the Association for Real Art. The group, which began in 1926 although it received its name and published its inevitable manifesto two years later, proclaimed an art that would com- bine "real" words and objects in a way that was not imitative of life. Many works of the period have been lost, though the legend of the literary evenings, with their poetry readings, happenings, and dadaistic pranks, stayed vivid for a long time. During the period of Oberiu, Kharms and Vvedenskii con- centrated on poetry and drama, genres suitable for declamation from a stage. To a listener not attuned to small (but crucial) differences, much of what they wrote might have recalled the futuristic dramas of Khlebnikov and Kruchenykh. The experiment in any case was just as daring. Words were freed from the Alice S. Nakhimovsky - 978-3-95479-669-4 Downloaded from PubFactory at 01/11/2019 09:53:59AM via free access 00064810 2 Laughter in the Void constraints of conventional syntax and imaginative sequences denied the logic of cohesive form. Most of these works do not transcend the immediate impact of their language, though in some of them, notably in Kharms!s Elizaveta Bam, odd turns of language and structure become an alogical reflection of the outside world. In fact, Elizaveta Bam, the first real 3 y absurdist piece produced by either writer, marks a watershed in the history of Oberiu. Its performance in January 1928 was enough of a spectacle to attract the wrath of the official press, which by then was growing more conservative in its tastes. Within two years, Oberiu was forced to disband. With the end of Oberiu, the work of Kharms and Vvedenskii began to change direction. For whatever reason — the lack of an audience, the growing sense of isolation in a hostile world, or perhaps the knowledge that they had reached some boundary of impenetrability — both writers began to move toward great clarity. The cacophony of words and objects that characterized their early work gave way to an atmosphere of unusual sparse- ness. 1'Respect the poverty of language. Respect impoverished thoughts," wrote Vvedenskii in the late thirties and his exclamation was paralleled in the narrowing of Kharms's vision to the tiny details of the ordinary world around him. Though their later works are no more rational, violations of logic and language are carefully motivated. Distortions of a recog- nizable reality in Kharms and of history and philosophical ideas in Vvedenskii can be called grotesque. The spontaneity of their early works has been replaced by precision; something like dada has grown into the absurd. Beginning in the early thirties, the writings of Vveden- skii and Kharms take on a distinct and individual character. Vvedenskii's poetry and his wildly unstageable plays focus on the related themes of time, history, God, and death. The idea of absurdity (бессмысленность) becomes double-natured for him, connoting both the meaninglessness of everyday life and a profundity beyond the reach of reason. At the same time, Alice S. Nakhimovsky - 978-3-95479-669-4 Downloaded from PubFactory at 01/11/2019 09:53:59AM via free access Introduction 3 Kharms1s poetry and prose turn to the question of meaning in the perverse and often violent disorder of everyday life.
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