{"id":85,"date":"2006-01-25T22:21:00","date_gmt":"2006-01-26T06:21:00","guid":{"rendered":"https:\/\/pierrejoris.com\/blog\/?p=85"},"modified":"2006-01-25T22:21:00","modified_gmt":"2006-01-26T06:21:00","slug":"gennady-aygi-in-need","status":"publish","type":"post","link":"https:\/\/pierrejoris.com\/blog\/gennady-aygi-in-need\/","title":{"rendered":"Gennady Aygi in Need"},"content":{"rendered":"

\"\"<\/a><\/p>\n

Gennady Aygi is the major Chuvash poet of our times, now in his early seventies & in need of help because of failing health. The email below from PEN Berlin was forwarded to me by Ammiel Alcalay. Your help will be much appreciated. Below the appeal I’ll paste two small texts by & a bio-note on Aygi I put together a few years back for a special issue on poetics of Boundary2.<\/p>\n

Please help the poet Gennadji Ajgi in Moscow!<\/p>\n

Gennadij Ajgi born in 1934 in Schajmursino (at the time part of the Autonomous Chuvash Soviet Republic), is a great European Poet. The Chuvashian lyricist has been writing since 1960 in the Russian language (following the advice of Boris Pasternak) and has received a numerous amount of awards amongst others the German Petraca price and the price of the Acad\u00e9mie Fran\u00e7aise. In 1992\/93 Ajgi was fellow in Berlin as part of the artists program of the DAAD (German Academic Exchange Service). During this time period he published \u201cAus Feldern Russland\u201c (From Russian Fields) together with his translator Felix Philipp Ingold and has enchanted many listeners and readers.<\/p>\n

We have received a cry for help from Moscow. Gennagij Ajgi who recently accepted to take part at the P.E.N. congress in Berlin in May has fallen ill and lies in a Moscow clinic. The hospital costs are large and exceed the modest amount covered by the families insurance. P.E.N. in Germany has set up a donation account to help Ajgis family with the hospital bill.<\/p>\n

Commerzbank of Darmstadt; Germany
IBAN: DE 3750 8400 050 – 130808907
BIC: COBADEFFXXX<\/p>\n

Please help with a donation and please help soon. The reserve assets and donations of his friends and family in Moscow have already been used. Every Euro Counts! Please pass this call for help to your friends and family.<\/p>\n

Berlin, January 2006
Nina Hartl, DAAD
Ursulla Setzer and Herbert Wiesner, PEN-Zentrum, Germany
Ulrich Schreiber, internationales literaturfestival berlin<\/p><\/blockquote>\n

_______________________________________________________________<\/p>\n

from Boundary2 vol 26 #1: 99 Poets \/1999 An International Poetics Symposium<\/span>
a special issue edited by Charles Bernstein<\/p>\n

Gennady Aygi<\/p>\n

Called by Jacques Roubaud \u201cthe most original voice in contemporary Russian poetry, and one of the most unusual voices in the world,\u201d Gennady Aygi was born in 1934 in the village of Shaymurzino in the Chuvash Autonomous Republic, some 500 miles east of Moscow. His father was a village school teacher, his maternal grandfather the village\u2019s last shaman-priest of ancient Chuvash religious practice. Admitted to the Moscow Literary Institute, he was excluded from it in 1958 for poems judged \u201ctoo subjective,\u201d and for his friendship with Boris Pasternak. Although writing mainly in Russian, Aygi is regarded as the Chuvash national poet; he has translated poetry of many languages into Chuvash and edited a historic anthology of Chuvash poetry.
Well and ably translated into French by L\u00e9on Robel for many years, he is only now becoming visible in English thanks to Peter France\u2019s 1997 translation of Aygi\u2019s \u201cSelected Poems 1954-94\u201d (Northwestern University Press). France has also translated Aygi\u2019s \u201cAn Anthology of Chuvash Poetry,\u201d published by Forest Books in 1991. The texts here included come from the collection of essays Conversations \u00e0 distance (Circ\u00e9 1994; translated by L\u00e9on Robel).<\/p>\n

1) from: A few remarks concerning my poetry<\/span><\/p>\n

Much in my esthetic formation is clearly linked to Chuvash culture…
What has marked me before all is this: that for me poetry is, irrevocably, the type of \u201caction\u201d and \u201clinkage\u201d that is best expressed by the word \u201csacred act.\u201d Since childhood, when I did not yet know that this was called \u201cpoetry,\u201d I have observed all around me exactly that one of its functions. Later I strengthened this thought \u2014 that said function was necessary in order to \u201cwork with the spiritual forces\u201d \u2014 without excluding (to the contrary: by also including) the need inherent in it to \u201cput in evidence and sustain brotherhood\u201d among mankind.
Since 1960 I write in Russian. The first reader to have approved my poems in this language was Nazim Hikmet who earlier had counseled me and Pasternak to switch to that language.
….<\/p>\n

2) A little something \u2014 concerning the present \u201cConsummatum*\u201d \/ Preface to the Polish edition of my poetry\/<\/span><\/p>\n

You are called: Letter and Spirit
Cyprian Norwid<\/p>\n

I am writing these lines in a forest hut, in my short-lived Walden (my already ancient \u201cThoreauism\u201d has indeed remained an unrealized dream), where I spend my long nights of insomnia \u2014 this time \u2014 in the sole company of Cyprian Norwid, and I would have liked this meditation, destined to Polish readers, to be as far as possible \u201cpractical,\u201d also in the spirit of Norwid.
It if indubitable for me that the contemporary Poetic Word has, essentially and for a long time, been seriously diminished and not only in the space surrounding me.
\u201cA certain\u201d poetic system has come to an end, and it doesn\u2019t matter here to know if it was \u201ctraditional poetry\u201d or \u201ccontemporary free verse;\u201d what is important is to define what was, in this system, the attitude toward language: its autonomous force was doomed to oblivion, its language remained shallow and insignificant, no matter the importance of the problem in whose service it was put \/ poetic art is never renewed in a \u201cthematic\u201d manner\/.
More than once have I tried \u2014 in despair and without results \u2014 to speak of the necessity of a present \u201cresurrection of the Word,\u201d considering it like one of the manifestations of creative force existing in the \u201cuniversality\u201d of the unity of the human and \u201cother\u201d \/ which goes beyond us \/.
Two great Poles \u2014 Norwid and Malevitch \u2014 had that \u201cuniversal language\u2019 (I say this without forgetting the profound \u201cRussianness\u201d of the great Kazimir).
The \u201cpoetry of sounds\u201d \/ once more I recall Norwid \/ has exhausted itself a long time ago, though it still retains its scale of lifeless bel-canto feeding the immense ocean of versification and personalist rhetoric, \u2014 the \u201ceternal\u201d romanticism has degenerated in our time into a private and alienated literary personalism \/ which mustn\u2019t be confused with theological personalism \/, \u2014 poetry seems chock-a-block full of war poems \u2014 war of men among men; everything that unites men \u201cinto a brotherhood\u201d in this world-like-a-house, becomes anachronistic \/.
To say \u201cit is language that makes the poet\u201d is to say nothing. In this case language easily fabricates versifiers \/ no matter how clever and dexterous they are inside the inertia of a sonority that moves by itself \/.
Khlebnikov\u2019s \u201cradical verbocreation\u201d has renewed Russian poetry. Malevitch\u2019s famous \u201csquare,\u201d \u201cincising itself into the skies,\u201d has set about to create another representation of time and space. Poetry does not create an inert melody preserved in language, but the Verb and the Doing turned in a new way \u201cwith crackings\u201d of the Master-Builder \/ here I am once more in complete solidarity with Cyprian Norwid \/.
It seems indispensable for me here to specify somewhat my own position \u201cinside\u201d today\u2019s poetry.
In his Letter on Malevich, Roman Jakobson called me \u201can extraordinary presence in today\u2019s poetic avant-garde.\u201d
I attach much importance to this great sch
\nolar\u2019s words. I do consider my constant aspiration to give poetic language an extreme sharpness as being avant-garde. This said, I have more than once pointed out that there are two concepts in the Russian avant-garde I do not accept: its scientific utopianism and its religious eclecticism.
The present day manifestations of \u201cthe Russian avant-garde\u201d seem to me to be unconscionably conformist in their aspiration, with a ludic aim of \u201carranging\u201d a civilized hell \/ one may be obliged to live in hell but that doesn\u2019t mean that one has to accept it as something necessary and indisputable \/.
Without a making conscious of the New Function of the Word the renewal of contemporary poetry is impossible.
Here I won\u2019t resist the desire for a little digression.
For a long time we have lived without poetic thinking, faking it with invertebrate \u201cmeditations.\u201d
But our concentration on something essential?… To all appearances, people will raise their prayers for good toward something Very-Serious when they are caught in a definite ecological trap where they will be surrounded by their own crimes, rather than among wars explained through the hostility of \u201cothers.\u201d
And I permit myself to say frankly \/ there remains so little time for everything \/ : the future \u201cresurrection of the Word,\u201d I don\u2019t see it as abstractly spiritual \/ the word \u201cspiritual\u201d is presently in Russia an ersatz designation for a vague feeling of goodness and all the gradients of \u201csentiment,\u201d nor as pseudo-existential \/ continuing henceforth to automatically fragment man \/ , but tragically-&-personally-religious as a new \u201cturning-point;\u201d in poetry this demands from the \u201cpoetic receptors\u201d the re-establishment, under new conditions, of their links with the Universe-house and with the Brotherhood-life as in the ancient-old-deep intensity of what was called Truth, \u2014 no matter how emphatic this may sound.
From a \u201cpurely literary\u201d point-of-view one could call this a realism of the essential, an existential realism, by specifying very carefully the esthetic and philosophic new ecclesial elaboration \/ I see a grandiose example of this realism in Andre\u00ef Platonov\u2019s The Foundation Pit which stands there towering like a Unique Word: so that we can speak not only of a desired future for such a tendency, but also of its rootedness in Russian literature, to begin with Innokenti Anneski, the first existentialist \u201cmanifest\u201d in European poetry \/.
I do not doubt that many people \/ no matter if they were heard or not \/ have more than once started to speak of a neo-humanism. Be that as it may, we will have to seriously address \u2014 in a large and vast community the question of the new esthetic of skeptic humanism with its new experience, in the name of a renewed acceptance of life.
Repeating this I state the obvious, but I\u2019ve known for a long time that what is least understood today are the so-called banal truths. The current complexity is brimful with a prolixity that costs nothing \/ which is, by the way, the principal characteristic of contemporary European poetry \/, while \u201csimplicity\u201d always remains the same miracle, always similarly \/ and in all ages \/ indefinable.<\/p>\n

14-15 August
in the village of Sosnovo, near Leningrad<\/p>\n

* According to Norwid (1821-1883), the \u201cconsummatum\u201d is the synthesis of the \u201cLetter\u201d which is the thesis (of an \u201cincompleted\u201d work, with no hidden meaning) and the \u201cSpirit\u201d which is the antithesis (\u201cUnsaid\u201d-\u201dComplement,\u201d \u201csilence).
(Translator\u2019s note)<\/p>\n

Translated by Pierre Joris from the French of L\u00e9on Robel<\/div>\n","protected":false},"excerpt":{"rendered":"

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