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Exploding Tongues: Language, Art, and the Russian Avant-garde

Kruchenykh, Aleksei. Pomada (Pomade), 1913 (cover)

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Dyr bul shchyl and the Dominant Debate over the importance of oral and handwritten components of poetry surfaced among art and literary scholars who examined the works of the Russian avant garde. Centered on the poetry included in handmade books such as Vzorval’ and Mirskontsa, scholars sought to establish a theory over a balance in the oral qualities of the poetry versus the handwritten visual design of the poems and books themselves. In terms of poetic language within these handmade books of the Russian avant garde, Gerald Janecek cites the handwriting and drawing as the important visual elements in the creation of the poems. On the other hand, Johanna Drucker’s insight into these works focuses on the qualities of the printed text instead. However, both authors evidently focus on the printed text of the poem, not its oral qualities. In order to understand the ruling force behind the creation of these works and the importance of their oral components, we can look to Yury Tynyanov’s theory of the Dominant to decipher this puzzle. Lastly, we will see that not only was the oral the preferred element, but various works also challenged our understanding of the visual in art.

As a vital component to Russian Formalist theory, the Dominant is the ruling force of an artistic work. According to Roman Jakobson's description of the Dominant, each type of work holds a system of values, which are organized into a hierarchy. The time period determines which of these values is at the top of the hierarchy, thus becoming the “dominant” feature of a work. Furthermore, one established dominant form that existed during the era of the Russian avant-garde was the textual, which began with the rise of the novel as a literary form during the Romantic period and through the poetry of Pushkin. Ultimately, the dominant can help uncover which is more important, vocal or written.

When asked to explain Anna Karenina, Tolstoy replied that he would have to re-write the whole book, exactly the same. This is to say, there is no reduction of the novel's textual form. The Romantic period created a cascade of literary styles that were focused on the individual as a subject experiencing the world. This experience through text established the dominant form of literature present in the early 20^th century and still today.

In terms of the Russian avant-garde, the works of Kruchenyk and Khlebnikov best exemplify the ambiguity between oral and visual elements of poetry. The poem “Akhmet” from Mirskontsa exemplifies the intertwining of these different values within their poems. The different qualities of the poetry, oral and visual, are at odds with each other when attempting to assign meaning to the works.

However, Kruchenyk's Dyr bul shchyl gives us insight into which of these competing poetic qualities is more important. The poem itself has at least three different textual forms created by the author, all quite different in their appearance. With this many inconsistent variants of the poem, it suggests that the textual aspect is not the dominant feature of the poem. Instead, sound has become the dominant feature of this first instance of Zaum poetry.

According to Jakobson, cultural change reflects itself through a re-ordering of values in artistic works, therefore asserting a new dominant. Pre-dating the Russian avant-garde was the so-called "Golden Age" of Russian literature. The 19th century saw the rise and acclaim of novelists and poets such as Tolstoy, Dostoevsky, and Pushkin, who remain as some of Russia's most celebrated writers. Their literary dominance, as well as the influence of the Romantic era in general, made the textual form the dominant aspect of the era.

However, the dominant form was changing amongst the Russian avant-garde. Starting in 1913, Alexei Kruchenyk authored at least three different versions of his Zaum poem Dyr bul shchyl. These three versions had varied textual presentations, sourced from the same author. The first appeared in his book Pomada in 1913. This version included an illustration of a nude woman by Mikhail Larionov, which aids to the poems’s “monosyllabic, primordial, and erotic sounds,” as described by Nancy Perloff. (Explodity, Getty Publications, 2016. pg. 75)

Furthermore, Kruchenyk asserts before the poem that Dyr bul shchyl is a work that is written “in its own language, the words have no other meaning.” However, the first word “Дыр” is actually a Russian word, being the genitive plural form of “holes.” The rest of the poem does not contain any known word forms from the Russian language, falling in line with Kruchenyk’s assertion of the poem containing its own language.

A second version was produced in the book Te li le, a written collaborative effort by Kruchenyk and Khlebnikov, illustrated by Olga Rozanova. This version of Dyr bul schul from 1914 is the richest of the three in color and is the only one to have a feminine creative influence, as Rozanova was deemed responsible for its creation. Some of the letters in this version are heavily faded on the page, which resulted in a different first reading for the class and myself. Despite this, the oral qualities of the original first printing of the work remain.

Lastly, in his 1913 essay The Word as Such (Слово как таковое), Kruchenyk printed yet another version of the poem to use as an example in the work. It is devoid of illustration and any handwritten creation, existing only in print on the page. The type in this version actually ends up further asserting the poem's oral qualities above all else.

Overall, the only things that are consistent between these three variations of Dyr bul shchyl are the authorship and the sounds of the recitation of the poem itself. The three printed versions of Kruchenyk's poem leave us unable to pin down a singular "stable" text, but maintain the same phonetic qualities in all three. This should lead us to acknowledge sound as the Dominant force of Kruchenyk's poem, rather than its textual, artistic, and physical elements.

Kruchenyk was not alone in his reorganization of traditional artistic values in the era of the Russian avant garde. Other artists of the same time period allowed their works to uphold a different dominant feature, and also contributed to undermining the concept of the visual in art. One example of this is Alexander Rodchenko’s photograph of his own apartment building.

While photography usually does not contain oral elements in its creation, Rodchenko is clearly toying with our expectations of normal visual understanding. The photo is tilted on a different axis, giving the viewer a radical perspective of an ordinary, familiar construction. Most photography is level with the eye, creating a representation similar to human vision. This leveled orientation, in my opinion, is the dominant hierarchical feature of photography in other works. It also serves in making us question the visual medium in all sources of art.

Similar to Rodchenko, Kazimir Malevich’s Black Square and its associated artistic movement, Suprematism, reflect a reordering into a new hierarchy of dominance. The painting, now cracked from age, attempts to represent the purest form of a geometric shape.

Such assertions about purity and perfection might be comparable to the still life or trompe l’oeil movements in art. Rather than depicting the real world, the Black Square reaches towards an abstract perfect form of the square. Since traditional depictions of perfection consisted of physical objects, Malevich’s painting causes his audience to reflect on the geometry and abstract shapes which make up our world.

Not only do the poems of the Russian avant garde mark the importance of the vocal, auditory qualities as dominant, but purely visual works challenge our sense of sight and our preconceived notions of art. Overall, there exists a reduction in the visual, textual form, that rules over most other artistic and literary movements. The significance of this move has primordial overtones. Before writing systems, geometry, and even language itself, there was only sound. Perhaps this is what the Russian avant garde hoped to achieve: humans envisioning a world without systematic human imposition on all things.
Figuration:Collaboration The occasion for the Russian Avant Garde is commonly typified in the emergence of complex theoretical perspectives stemming out of the minimalism of Russian Futurism. This moment is typically particularized through the production of intricately/intimately designed, handmade books concurrent with a turn towards 'cubo-futurist' abstractions, as seen for example in the paintings of Kazimir Malevich . At work in this notable transition across and through striated artistic movements (Futurism, Suprematism, and Constructivism) is a simultaneous refusal and affirmation in art, language, and thought: Beyond the simple dimensions of the writerly, readerly, and narratively lies an essential, yet unheard of, active communicative element that informs and situates the aforementioned aspects of a text.

Inasmuch as hand-made books during the early Russian Avant Garde (1910-1915) were a uniquely collaborative effort--in that multiple artists, writers, and thinkers etc. were involved in the production of each text--so too were these books replete with figures and forms beyond simple geometrics. Collaboration, therefore, operates as a uniquely literary concept-- even in syntax, layout, and signification. Even more, the development and representation of collaboration as a radical literary action is evident in these text's construction of temporality.

Principally marked in one of the earliest hand-made books of the era, Mirskonsta ('world-backwards'), the concept of a theory of language uniquely distinct from past, present, and future models of sound-ing emerged in this era and opened the possibility for a powerful intervention in what philosopher Maurice Merleau-Ponty would later call The Phenomenology of Perception.
In the new linguistic undertaking of the Russian Avant Garde, the past and the future are not in some innocently new relation; instead, this occasion represents the reality that temporalities collaborate with each other to signify meaning in the immediate present. In the everyday relationships of artists, hauntingly sovereign female forms, and sense-restructuring poetry, these handmade books offer a new consideration for a literary theory that accounts for more than the author, the reader, and the narrative: A fourth dimension (temporality) of corporal intertextuality.