Biography of Kudimova

Regarding the epigraph to admit, it was more than surprised when I found that there were practically no articles on the work of Marina Kudimova. There is a link to an interview with Tatyana Bek, who is already ten years old. Well, you have to do what is. But from the opened picture, the conclusion suggests itself: Kudimova is completely indifferent to PR. She does not need popularity, even quite deserved.

She replied to my bewilderment in Tone characteristic of her: “And where did you get that someone writes about me? Here Yura Belikov is preparing an interview for LH - and whether he will come out. For many years I have been living in a boycott from the side of Littenstake. There was also an interview that my late friend Seryozha Yurov made for some magazine, but it seems that he was not on the network.

Why, this is normal for lifetime. Glory, if this is not a surrogate, a posthumous thing. Who was different with? That it is written regardless of the state of culture, the extinction of the poets themselves, social and political factors. Ultimately, regardless of whether it hears its society or not. The poet exists in the magical world: after all, poetry is a different car, a kind of overthrow language.

How - and why - to popularize it? A miracle does not need PR. ” But, I consider it necessary to add, a miracle needs complicity. That is - in the reader. So this is not an article, and this is not about popularity and, moreover, not about glory. We are talking about reading.

Once again, the limited facts are convinced of how little facts stated in encyclopedias, no matter how reliable they are, cover genuine reality. Take the very first fact: “The astrologer was born right away exclaiming joyfully: wah, fish! A fact, but not a fact: “I do not like water, I'm afraid of water. I treat her with great distrust - to all its forms and manifestations, except for hygienic.

I instinctively try to avoid large reservoirs. So rather - fire! Of course, these are equivalent elements, and probably they create a balance. If we talk about harmony in relation to creativity. ” And it seems to me a fish whose element is a fire ... or - Salamander? A symbol of the eternal revival? Fact number two: "In Tambov." Also, it turns out, a trick, although pure truth.

And my first years passed in a striking language environment. We were cooked in both - both I listened eagerly. Books also began to read early, there was a huge Ural leisure. There was nothing to do. At five, I sat under a kerosene lamp and read books. And when his grandfather’s link ended, he still had a defeat in his rights, although unwritten: it was simply impossible to get a job in a big city with his biography.

So, two of the total facts from the biography - and under them such an abyss of inconsistency of what really took place. It is now clear now it’s clear where Marina Kudimova came from that tongue herself, in my opinion, quite reasonably, equates the language to the style, which so struck me 3. The headset and paper were forgotten and disappeared when the lines crashed into my vision: I, and I, overgrown and neglected ...

they knocked out of the surrounding eyes and rumors of strings, prime, nonsense, rough, rough - And at the same time incredibly feminine. Then there were “Bochazhins”, “Riddle”, “Barber” and “Sholbishka”, and I, from childhood, who heard Leskov’s father, a native of Harbin, adored Leskov and often read it to me as a fairy tale for a dream, until my roles changed, immediately felt the naturalness of this language, the organicity of these outdated expansion units.

And all together was such a clot of energy that it left no doubt: it would be remembered forever. So it happened. Therefore, it was especially pleasant to read this statement by Kudimova: “I was born and spent my childhood in perfect indissolism with the popular language. I lived among the people who spoke how today no writer and even the soil, who are also trying to endlessly stylize their language under the supposedly language of two men who are sitting on the rubble.

It turns out an absolutely artificial or newspaper syllable. And, apparently, I still managed to absorb something. I never had a gap between the book culture and the culture of the people. ” These words confirm the fidelity of my instant guess, which appeared at that long time when I stood in the book and simply leafed through “poetry”, because the daily ruble was already safely spent on beer and cigarettes.

And later there was a book “List of Reasons” that I bought, and I would buy it, even if there weren’t that initial fleeting meeting at the shelf, for one name alone. Enchanting alliteration: "PCHN-rush"! And - a sort of chancellery as the name of a poetic book, the charm of contrast. Later I tried to do something like that, called my book “Ho? No, this is not about myself, this is me about how Kudimov had acted on me with only the name of her first book.Unbearable, however, I do not set a detailed conversation about individual verses and books here with my goal, the last of which is printed, oddly enough, twenty years ago, after which Kudimova comes to readers only in periodicals; No, I would like to say about the most general, the most important feeling that gives rise to their reading.

I would dare to call this feeling to be involved in linguistics. Joseph of Brodsky about that the poet is the “Tool of Language”, with all its external romance, is still read in both directions. The language, so to speak, enters the entrance, and the tongue transformed in the mind and heart of the poet enters the exit, to the reader. Yes, the poet is the “apprentice of the people of the System” is an instrument of the language, but he also has an impact on him.

Collecting and fusing various layers of the tongue, Kudimova, like any large poet, produces his own language product. The reader who will turn to the selection and will remember the word “rafting” can be puzzled by the question: why is the selection called “unbearable” if we say that the poet’s language becomes the property of the entire “linguist”? The wood image, written in that first poem that caught my eye, is gradually somehow gradually, not very clearly, flows into the image of the river, “unconscious” merges with him.

The river, as you know, has a source, tributaries, a channel and a mouth. But then, reflecting, I decided that it was even more appropriate to compare the poet with the ocean course of the ocean, in this case, the language. This is all the more relevant, that a new sensation has been extending recently: false rumors about the stop of the Gulf Stream, thanks to which European countries adjacent to the Atlantic Ocean are more milder than other regions at the same geographical latitude.

A quote from Wikipedia: “The water consumption by Gulfstim is 50 million cubic meters of water every second, which is 20 times more than the consumption of all rivers of the world combined. So, it is possible to remain an unconscious part of the ocean, to nourish yourself and heat the adjacent territories. It is this meaning that I put in the name of the collection of Marina Kudimova; This is how I perceive the work of all major poets.

It would be ridiculous to consider the poet’s work as a continuous and logically consistent chain of development “from lower to higher” about Yamba and life. At first, Kudimova did not really complain about the iambic, reading it too simple my mother, the future gold medalist, once received a unit in the first grade, refusing to answer the “too simple” question: how much will be two two.

In an interview with a ten -year ago, the poet Kudimova said that in recent years she was not closely closely in the “Kazemat Yamba” expression Bek: “It is possible that I finally grown up to this clothing. It seems to me that the iambic is a good clothing. The matter of incredibly high technology. If you can compare it with pianism, then this is how to grow to the sheet, to its execution.

Something like this. " However, it does not follow from this at all that Kudimova was finally “sickening” and began to smell the dolnikov and cobblestones, on the contrary: if she always believed and believes the energy of poetry and believes in a special form of energy in the Yamba, she will prefer something else. And then again you will hear from her dismissive: "Sleep the iambere." Where does the energy of the verse disappear?

Why are more and more authors flee from classicality to the jungle of “self -expression”, abandoning both regular rhythm and rhyme as a “instrument of cognition of the world”? Kudimova reflected on this: “It seems to me that the defeat of the Russian regular verse is not in rhythm and not in the meter, but in the weakening of the poet’s internal energy, many poets. And what is connected with, you need to ask life, not poetry.

This is another area. And the second: it seems to me that since poetry did not go after a person, but began to live with her separate and supposedly extremely special life, she inevitably imprisoned. Because only the interaction in love revives it and increases it in volume. ” It is probably no coincidence that the poet has been increasingly attracted not so much by the formal delights of writing, but his severity and saturation of the poem fabric by eternal, the so -called “last” issues, with new energy posed by the authors.

Today, Kudimova is ready to say: “Still, the classic, no matter how trite, is inexhaustible, not like rap. I love rap and hip-hop, like all street genres, but they can’t surpass the clarity and light of classics. ” However, this does not mean that she herself will not have returns to “street genres” - the collection shows how she manages to combine one with another.

Poets, they write from the century as God put on the soul, not particularly preoccupied with assessments. Social metaphysics according to Kudimova, poetry is born due to the influence of two factors on a person: the cruelty of the world of society and the indifference of nature. Such, briefly, her social metaphysics. Human intelligence, she believes, is born and tempered only from resistance to the world, his evil.Reasoning in the two thousandth year about the reasons for the fact that poetry in the world is exhausted, Kudimova called two reasons: a person’s departure from nature under the wing of civilization and, therefore, a changing language.

If it is difficult to argue with its first thesis, then the past decade, in my opinion, clearly showed that the fiction and myth were just the assumptions that the Internet and other socio-technical innovations were able to overcome the “existential loneliness of a person” to at least some extent. The speed and accessibility of communication does not replace its fullness and depth.

The inhabitant of the modern metropolis in one day meets with so many people, how many other villages will not see in his entire life - but is it possible for this first one by one thing is necessarily less lonely than the last?