From Publishers Weekly
The three writers of OBERIU, a group active between 1927 and 1930, were all persecuted by Stalin: Alexander Vvedensky died on a prison train in 1941, Daniil Kharms died of starvation in a prison psychiatric hospital in 1942, and Nikolai Zabolotsky spent eight years in exile, despite having produced Stalinist verse "of unprecedented quality." Editor Ostashevsky, himself a poet (Iterature; Infinite Recursor, or the Bride of DJ Spinoza) introduces the three as "sometimes described as Russia's last avant-garde"-since the pressure from Stalin was all-seeing and unrelenting. He includes three poets not part of the group but associated with it: Nikolai Oleinikov, Leonid Lipavsky and Yakov Druskin, and the result is a representative collection of a major movement (from which, as Ostashevsky points out, a great deal of work has been lost or destroyed), much of it translated for the first time by Ostashevsky and Matvei Yankelevich (The Present Work). For anyone interested in Soviet literature, this book fills an enormous gap. It also presents some beautiful, heartbreaking poetry.
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"OBERIU, sometimes called Russia's last avant-garde, is one of the most intriguing--and little known--movements of the years before World War II. The absurdist poets at its center--Alexander Vvedensky, Daniil Kharms, and Nikolai Zabolotsky--belonged to the first generation of writers to come of age after the October Revolution and hence stand apart from their Futurist predecessors. Less interested in coining neologisms than in destroying the protocols of semantic coherence and linguistic realism, these poets have produced a series of inventive, free-wheeling, and often hilarious poetic texts in a variety of forms and genres. This anthology, the first large-scale English translation of OBERIU poetry, has been superbly edited and translated by the Russo-American poet Eugene Ostashevsky and his colleagues. In avant-garde annals, this is a milestone." -- Marjorie Perloff
"The OBERIU writers are a revelation, an aspect of Russian modernism in the early Soviet period that has been largely invisible to readers in English, and these translations are brilliant, as nervy and funny and demotic as if the work were written in an inspired English in the first place." -- Robert Hass