Brief biography Shershenevich

I lie sadly in the darkness, closed in myself, like a sonnet of an affectionate mold! As if with cloves in a tailcoat guests for dinner. The blessing somersaulted by the bass clusters of the sky old, flashed, with a gray, gloomily looked at the earthly chronicles. You frightened me with a disheveled, said: masks and Easter. I wiped my soul with joy dry. The wind pulled dust from a careless street, like a powder from the face of a coconut.

I will not, I do not want to take a walk! Longing is selected more carefully than a crook from skyscrapers hang damp beards. The crowded sounds fall backwards, but I am scared by the skirt of fate. The car breaks through the festive seconds, the trams wildly stand on its hind legs.

In the middle of X he participated in literary disputes, published theoretical work “Futurism without a mask”, translated literary manifestos of the theorist of Italian futurism F. claimed the role of the theorist of Russian futurism with an orientation to the West, similar to the one played in the symbolism of Bryusov, which was stimulated by the friendly relations of Shershenevich with Bryusov.

In his youth, Vadim Shershenevich edited the “first magazine of Russian futurists”, which caused complaints as colleagues in the publication of David Burliuk, Benedict Livshits, who later called Shershenevich “narcissistic graphomaniac”, and opponents primarily the Centrifuga group; With a sharp attack against Shershenevich, Boris Pasternak, an article “Wassermanova’s reaction”, entered the “centrifug” then in the “centrifuga”.

Blizzard of the streets are decolled in the snow ballet, the stomachs of the windows became pregnant with lights, and children crawl out of my ears, and the legs of the ballerinas are off from the roofs. The whole past returns on the boomerang, the days in the line are made on guard; I put my back, put on a baggy chest of drawers on my feet and whisper in a whisper in a combing allery. I also want to put on an immense pince -nez that on the sign through the street pulls the chopping, to grin my piercing look, but I phlegmatically eat snow -yawn.

And the watchmen from floors and passages seem to be advertising vulgarities, suddenly dehydrated; I scream exclusively, and passers -by drip from the porches to the sidewalk. So let's go to poke the spilled muzzles in a shaky manna and in tomorrow is “impossible”, and pour eyes behind the neckline of the cynical city, with shaking hands on the skirts of iron sliding!

During the First World War, he was at the front as a free -determining one. During this period, Shershenevich acquires his manner, which, in a significant part, has survived in the Imazhinist period; It is represented by the collection “Car Thai” and the drama “Bystr” both, in the same year, a collection of articles on the art “Green Street” was published.

The leader of the Imazhinists B is one of the main founders of the Imazhinists group S. Yesenin, A. Mariengof, A. The term in the form of “Imagonism” and interest in “Word -image” already appears in the futuristic works of Shershenevich of the 10ths; His connection with Anglo-American imagism is doubtful. In Shershenevich, he publishes one of his most significant works - the love poem “Crematorium”, which is a kind of answer to the “cloud in the pants” of Mayakovsky, was reprinted next year with the subtitle of the Imazhinist Poem.

At the beginning, X publishes a book of poems “A horse like a horse” of his most famous book, a collection of poems “Cooperatives of Fun”, the tragedy “Eternal Jew”, the comedy “One continuous absurdity”, participates in the collective publications “Corbines of Happiness”, “Golden boiling water” and “We are repented by what we are repented by a confiscated name reminiscent of the Moscow Cheka, collections "Imazhinists" and the magazine "Hotel for traveling in the beautiful." Reads poems from the stage, taking advantage of the enormous popularity among the Moscow public; The rivalry of Shershenevich and Mayakovsky, which began even before the revolution, continues.

In the year he was the chairman of the Moscow branch of the All -Russian Union of Poets. Shershenevich’s work is characterized by the injection of urban metaphors, the theme of tragic sensual love, shocking, based, like the early futurists, on the aesthetization of ugly and god -fighting motives, burlystrous images of Clownade, “feces” are stable for his biography, consciously experimental “Bryusovskaya” development of receptions emphasized by the names of poems from the book “A horse like a horse” like “the principle of sound minus image” or “parallelism of topics”, the fundamentally declared apolitism of art in was arrested for contacts with the party of anarchists.

From the formal point of view of Vadim Shershenevich’s poetry, an accent verse is inherent in which he developed in parallel with Mayakovsky and the clock, later dissonance rhyme. The last book of the poet appeared in the year - "So the result." A group of Imazhinists broke up. The essence of poetry is switched: from art it is turned into polemic. The lyricism is taken away from poetry.

And poetry without lyricism is the same as a running horse without a leg. Hence the completely understandable collapse of Imazhinism, which all the time insisted on the poetization of poetry, ”Shershenevich explained. In the hours of silver submarines I already want a single word.