Хармс

V burliashem kotle narojdausheisia v perviee desiatiletiia proshlogo veka novoi kulturie eto bielo odno iz mnogih hudojestvennieh i literaturnieh soobshestv. OBERIU — tak sokrashenno imenovali sebia uchastniki Obedineniia realnogo iskusstva, sushestvovavshego v Leningrade v 1927—1930 godah. Molodiee talantliviee poetie predlagali vzglianut na mir po-novomu, «goliemi glazami». Ochistit poeticheskoe videnie predmetov i iavlenii «ot literaturnoi i obihodnoi sheluhi». Odnim slovom, oni viedvigali svoi variant novogo, levogo, revolucionnogo iskusstva. Sluchilos tak, chto nedolgii vzlet i razgrom oberiutov znamenovali soboi konec russkogo avangarda. Ih vdohnovitel — poet, prozaik i dramaturg Daniil Harms — projil na svete tridcat shest let i pogib v turemnoi kamere v dni leningradskoi blokadie. Na ego aktivnoe tvorchestvo viepali kakih-nibud poltora desiatka let. I pochti vse eto vremia on ostavalsia vnutrenne uniem, perepolnenniem energiei, strastu k eksperimentu, k igre. Tolko vot igra eta biela dlia nego delom serezniem. Za kajusheisia prostotoi, komizmom ego miniatur i «sluchaev» tailos umenie zaglianut v glubinu obiedennieh jiznennieh iavlenii, razgliadet alogizm v priviechnom. Eta kniga ne tolko rasskazievaet o iarkoi i tragicheskoi sudbe «detskogo» i «vzroslogo» poeta-avangardista Daniila Harmsa. Vgliadievaias v zaostrennuu obraznost ego stihov i prozie, v prisushee emu stremlenie k teatralizacii bieta i epataju, avtor pietaetsia razobratsia v tom, chto je tak cepliaet vnimanie ego pochitatelei i hulitelei.

In the seething cauldron of a new culture emerging in the first decades of the last century, it was one of many artistic and literary communities. OBERIU was the abbreviated name given to the members of the Association of Real Art that existed in Leningrad in 1927-1930. Young talented poets offered to look at the world in a new way, "with naked eyes". To clear the poetic vision of objects and phenomena "from literary and everyday husks." In short, they were putting forward their own version of a new, leftist, revolutionary art. It so happened that the short-lived rise and defeat of the Oberiut marked the end of the Russian avant-garde. Their inspirer, the poet, novelist and playwright Daniil Kharms, lived for thirty—six years and died in a prison cell during the Leningrad blockade. His active work took about a decade and a half. And almost all this time he remained young inwardly, overflowing with energy, passion for experimentation, for the game. But this game was a serious matter for him. Behind the apparent simplicity and comicality of his miniatures and "cases" lurked the ability to look into the depths of everyday life phenomena, to discern the illogic in the familiar. This book not only tells about the bright and tragic fate of the "childish" and "adult" avant-garde poet Daniil Kharms. Peering into the pointed imagery of his poetry and prose, into his inherent desire to dramatize everyday life and outrage, the author tries to figure out what attracts the attention of his admirers and detractors.