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Розстріляне Відродження
Вибрані твори
Михайль Семенко (1892–1937) – один з найжвавіших і найзагадковіших учасників літературного процесу початку ХХ століття.
До видання увійшли поетичні, прозові й драматичні твори письменника, написані протягом 1910-х – початку 1930-х рр., а також його маніфестографія, що уможливлює зіставлення програмових положень футуризму і його творчої реалізації. Водночас видання містить матеріали, присвячені постаті культуртрегера у контексті футуризму – як одного з найбільш реалізованих напрямів українського аванґарду.
До видання увійшли поетичні, прозові й драматичні твори письменника, написані протягом 1910-х – початку 1930-х рр., а також його маніфестографія, що уможливлює зіставлення програмових положень футуризму і його творчої реалізації. Водночас видання містить матеріали, присвячені постаті культуртрегера у контексті футуризму – як одного з найбільш реалізованих напрямів українського аванґарду.
- GenresPoetry
688 pages, Hardcover
First published January 1, 2010
1 person is currently reading
51 people want to read
About the author
Mykhail Semenko
14 books5 followersMykhaylo Semenko (Ukrainian: Миха́йло Семе́нко) was a Ukrainian poet, the prominent representative of the Ukrainian futuristic poetry of the 1920s. He is considered to be one of the lead figures of Executed Renaissance.
He was a founder of futuristic groups Aspanfut, Komunkult, Nova Generatsiya. He was an editor in couple of almanacs and the journal "Nova generatsiya". As a poet Semenko wrote primarily for urban audiences. Semenko was arrested in 1937 and executed by NKVD during the Great Purge. In the mid-1960s he was rehabilitated.
He was a founder of futuristic groups Aspanfut, Komunkult, Nova Generatsiya. He was an editor in couple of almanacs and the journal "Nova generatsiya". As a poet Semenko wrote primarily for urban audiences. Semenko was arrested in 1937 and executed by NKVD during the Great Purge. In the mid-1960s he was rehabilitated.
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Displaying 1 - 2 of 2 reviews
April 18, 2018
Mykhayl Semenko (1892-1937) was a Ukrainian futurist poet and ideologue. This volume contains a broad selection of his poetry, his non-fiction works like several futurist manifestos and literary criticism of his work by his contemporaries; as such it presents a panoramic view of the Ukrainian literary life of that period.
The poetry of Semenko is radical, innovative as well as sensuous, at times even a bit sentimental. He was perhaps the first Ukrainian urban poet which at that time would mean a by default exclusion, exile, incessant berating from the side of Ukrainian literary establishment. Moving away from the bucolic tradition could not have been met with even a yota of praise. The fame he eventually attained he owes to the revolution in a more general sense and the futurist vogue among Russian left avant-garde poets. Semenko is preoccupied with destruction of everything that is old in literature, in culture and he sees futurism as a transitional art movement the goal of which is to bring the art closer to and eventually to equate it to proletarian craft, labour. His anti-art leanings remind of the ones of Dada and, later, the surrealist movement. Semenko incorporates new rhythms, embraces vers libre, dispenses of rhyme and ultimately experiments with visual elements of form in poetry. He enthusiastically praised urbanism even despite the absence of ubanisation of any significant scale in Ukraine of that time; he loathes poetisation of Ukrainian countryside life, which has been an exclusive preoccupation of Ukrainian literature throughout the whole of its existence. Prior to reading Semenko, I was completely unacquainted with any of futurist poetry, so his work I regarded as extremely innovative. Moreover, I was astonished by the fact that all this is coming out of a Ukrainian poet in 10s and 20s of the last century.
Turning to his 'Manifestography', it was a bit of a disappointment for me to see how vehemently ideological he was as a person. Under Mayakovsky's influence he assigned a functionalist value to his art. However to me it didn't seem he was genuine in his ideological position and rather it looked as if he was trying to interpret his works in a way that would secure the functionary role of his art for the Soviet state. He thought that by fitting his art into Marxist-Leninist ideology his art legacy could be secured within the system of state ideology and propaganda.
From the literary criticism by his peers I realised he wasn't the only one trying to fit into the state ideology and position himself as a true and only artist, that is poet, of the proletariat. Semenko was accused of being a nationalist and anti-communist as well as of playing up to Bolshevik government, attempting to walk withing a strict party line, all of it at the same time. Meanwhile, Semenko himself has accused his detractors of all of the above. Today, it is surprising that artists can be so political and turn so vigorously against each other due to chiefly political reasons. One of the contributors to the literary journal Semenko edited, has pretended for years to be a fellow supporter of him and the futurist poetic aesthetics and ideology only to in fact mock Semenko and submit parodies of his own work and eventually write an exposé of Semenko as being secretly fascist and anti-communist. To me this was an example of an absurd level of political polarisation of Ukrainian literary community of that time.
To sum it all up, Semenko has established a poetry movement that has challenged the conventions of Ukrainian literature and poetry, with probably no equivalent of such phenomenon to this day. Unfortunately like all innovative literators of the time, even only marginally experimental ones, he was executed in 1937 on suspicion of being a fascist and counter-revolutionary spy. Perhaps ironically, with him in that same year was executed the majority of his once opponents.
The poetry of Semenko is radical, innovative as well as sensuous, at times even a bit sentimental. He was perhaps the first Ukrainian urban poet which at that time would mean a by default exclusion, exile, incessant berating from the side of Ukrainian literary establishment. Moving away from the bucolic tradition could not have been met with even a yota of praise. The fame he eventually attained he owes to the revolution in a more general sense and the futurist vogue among Russian left avant-garde poets. Semenko is preoccupied with destruction of everything that is old in literature, in culture and he sees futurism as a transitional art movement the goal of which is to bring the art closer to and eventually to equate it to proletarian craft, labour. His anti-art leanings remind of the ones of Dada and, later, the surrealist movement. Semenko incorporates new rhythms, embraces vers libre, dispenses of rhyme and ultimately experiments with visual elements of form in poetry. He enthusiastically praised urbanism even despite the absence of ubanisation of any significant scale in Ukraine of that time; he loathes poetisation of Ukrainian countryside life, which has been an exclusive preoccupation of Ukrainian literature throughout the whole of its existence. Prior to reading Semenko, I was completely unacquainted with any of futurist poetry, so his work I regarded as extremely innovative. Moreover, I was astonished by the fact that all this is coming out of a Ukrainian poet in 10s and 20s of the last century.
Turning to his 'Manifestography', it was a bit of a disappointment for me to see how vehemently ideological he was as a person. Under Mayakovsky's influence he assigned a functionalist value to his art. However to me it didn't seem he was genuine in his ideological position and rather it looked as if he was trying to interpret his works in a way that would secure the functionary role of his art for the Soviet state. He thought that by fitting his art into Marxist-Leninist ideology his art legacy could be secured within the system of state ideology and propaganda.
From the literary criticism by his peers I realised he wasn't the only one trying to fit into the state ideology and position himself as a true and only artist, that is poet, of the proletariat. Semenko was accused of being a nationalist and anti-communist as well as of playing up to Bolshevik government, attempting to walk withing a strict party line, all of it at the same time. Meanwhile, Semenko himself has accused his detractors of all of the above. Today, it is surprising that artists can be so political and turn so vigorously against each other due to chiefly political reasons. One of the contributors to the literary journal Semenko edited, has pretended for years to be a fellow supporter of him and the futurist poetic aesthetics and ideology only to in fact mock Semenko and submit parodies of his own work and eventually write an exposé of Semenko as being secretly fascist and anti-communist. To me this was an example of an absurd level of political polarisation of Ukrainian literary community of that time.
To sum it all up, Semenko has established a poetry movement that has challenged the conventions of Ukrainian literature and poetry, with probably no equivalent of such phenomenon to this day. Unfortunately like all innovative literators of the time, even only marginally experimental ones, he was executed in 1937 on suspicion of being a fascist and counter-revolutionary spy. Perhaps ironically, with him in that same year was executed the majority of his once opponents.
May 18, 2024
Перший після перегляду розкішного "Будинку Слово" порив – перечитати улюблених та відкрити нових для себе його жителів.
Почав із перечитування знакових для себе й знайомства із ще не відкритими поезіями Семенка. Який же він! Тепер Семенко у мене в голові ще й звучить інтонаціями Геннадія Попенка, який, як на мене, геніально передав його у фільмі.
Страшно хочу повивчати якусь кількість текстів напамʼять і цитувати за першої ліпшої нагоди. Отакий сліпий захват.
РЕЙД
Бухта в тумані, не видно хмар і сопок.
Вриваєсь тільки гамір, стогне рейд.
Світ таке безмір’я, а я — я ніби зломок,
кавалок крейди.
Почав із перечитування знакових для себе й знайомства із ще не відкритими поезіями Семенка. Який же він! Тепер Семенко у мене в голові ще й звучить інтонаціями Геннадія Попенка, який, як на мене, геніально передав його у фільмі.
Страшно хочу повивчати якусь кількість текстів напамʼять і цитувати за першої ліпшої нагоди. Отакий сліпий захват.
РЕЙД
Бухта в тумані, не видно хмар і сопок.
Вриваєсь тільки гамір, стогне рейд.
Світ таке безмір’я, а я — я ніби зломок,
кавалок крейди.
Displaying 1 - 2 of 2 reviews