Стихотворная книга Сергея Алымова «Киоск нежности» и ее художественное оформление

Abstract

The research is devoted to the book of poems by Sergei Alymov “Kiosk of Tenderness”, which was published in Harbin in 1920 and was of high quality. We focus on the structure and decoration of the poems’ book “Kiosk of Tenderness”. We also consider in detail individual texts in order to identify features that are characteristic of Sergei Alymov’s poetics. The analysis of the composition of the poetic book showed that such features of avant-garde poetics as a tendency to internal rhymes, the use of occasionalisms, rich sound writing, and paronymic attraction can be traced already in the titles of the book’s sections. We trace the influence of futurism, symbolism, acmeism (in particular, V. Mayakovsky, I. Severyanin, N. Gumilyov, A. Blok) on the poetics of Sergey Alymov. Exploring Alymov’s individual texts, we also talk about their rhythmic features, in particular, we dwell on the appearance of caesura and peonic rhythm in the poems of the Harbin poet. All this allows us to say that Alymov’s poetry was not only imitative, since he mastered the subtle nuances of poetic technique, but also reveals Sergei Alymov as an outstanding poet. “Kiosk of Tenderness” has a complex compositional structure, poems included in various cycles are closely interconnected both thematically and similar techniques that the poet uses. Poems that remain separate are also associated with other texts with common motives, a constant repetition of erotic themes and associations, the appearance of references to various cultural phenomena, authors and their works, and the saturation of texts with colors. The coloristry of the book is complemented by the artistic design – the cover by Nikolai Gushchin, an artist who left a big mark on the art of Russian emigration. Part of the work we devoted to the study of the meaning of the figure of the artist, whose painting has become a kind of addition to the poetic world of Sergei Alymov. Here we largely rely on the memories of N. Gushchin of our teacher, Yury Nikolaevich Chumakov. We also attract other studies and memories of Gushchin, who left a big mark on the art of Russian emigration, but was almost forgotten after returning to the USSR.