It Invent S Klyuchom

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From Gerald Janecek 'Kruchonykh' from 'Zaum: The Transrational Poetry of Russian Futurism' at Light and Dust from Zaum: The Transrational Poetry of Russian Futurism by Gerald Janecek from Chapter Nine Zaum in Tiflis, 1917-1921: KRUCHONYKH Part 3 Kruchonykh's other publications of 1919 fall into three categories: 1) further autographic works with printed covers similar to Malocholy, 2) complete typeset works, and 3) short articles in Tiflis periodicals and an introduction to collection of poems by A. In the first group, Zamaul' l (1919c) consists mainly of one-page poems by Kruchonykh in which the sdvig is catachretic in nature; that is, there is a lack of fit, say, between an adjective and the noun it modifies or between a verb and its subject or object.

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The first poem is a good example: Zhivu na bombe! I live on a bomb!

Ne trevozhit it doesn't disturb me gaechnaya voznya the [bolt] nut fuss S oskalennym With a grinned Klyuchom. Here the 'fuss' is due to the nuts, and it has a key that is somehow 'grinned,' thus animating inanimate objects in ways that are difficult to imagine or place in a context. Catachresis can, in fact, be considered a specific type of suprasyntactic zaum, particularly when it is as radical as this. Another structural pattern that comes to the fore at this time has been noted by Ziegler: 'Many of Kruchonykh's poems of the '41°' period have as their situation of departure a 'discrete,' ordered reality which in the course of the development of the theme is disrupted and ends in disorder, chaos, 'apocalypse' (1985:81). She gives a good example from the S.

Melnikova collection, but another, milder example from Zamaul' is: Zhizn'konchaetsya spe- Special life is tsial'naya ending nachinaetsya fotograficheskiy a photographic kahal is kagal! V frenche sbitya in a field jacket beaten kon' a horse SABBADA! The meaning becomes progressively obscure, the syntax breaks down in the middle, and the poem ends on a foreign or meaningless exclamation, here sounding like a word from the Witches' Sabbath.

Typically, the last word in such poems is written larger than the others and askew. This poem, by the way, exemplifies another trend of this period: Kruchonykh often marks the stresses on coinages (e.g., SABBADA) and even occasionally on Russian words, a move away from earlier ambiguity in this area.

However, Kruchonykh continues to write poems in more radical forms of phonetic and morphological zaum like those in the autographic series. A poem from Zamaul' III (1919e), 'The Deaf-Mute,' has already received some scholarly attention (Panov 1966:156-57; Balcerzan 1968:68- 69; Faryno 1978:65,73; Marzaduri 1980:56-57): Glukhonemoy. Mulomng ulva glulov amul yagul vaigul za la e. U - gul volgala' marcha! In this case, the text is basically phonetic zaum with some morphological suggestiveness, but Panov, working from a slightly expanded later version (Kruchonykh 1922a), has calculated that 90% of the sounds (including 1) are 'low' and only 10% 'high,' as opposed to a normal ratio of 50:50. Thus, 'the image of a deaf-mute is given by a huge preponderance of low sounds, by a concentration of articulationally viscous, tense sound combinations' (:157). From this we might conclude that Kruchonykh is moving to a more overtly onomatopoetic orientation than was generally the case before.

This trend will continue. In a perhaps comparable way, when the poem 'kho bo ro' is accompanied by a drawing of a primitive human figure, one is tempted to interpret the text as the language of a caveman or, as Kruchonykh intimated to Shemshurin, of a denizen of the tundra. Tsvetistye tortsy [Flowery Paving Logs], the last item Kruchonykh lists in 1919 (1919f), but whose cover bears the date 1920, consists of 44 one-page poems, the largest such collection to date. Significantly, of the 44 poems in the collection, only five are in phonetic or morphological zaum and a few others have a coined word or two. The remainder are in pure standard Russian without even any syntactic zaum which is not to say that they are necessarily traditional in content.