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Alexander Vvedensky (1904-1941) was born into the liberal intelligentsia of St. Petersburg and grew up in the midst of war and revolution, reaching artistic maturity just as Stalin consolidated control over Russia. After attending a progressive high school, Vvedensky spent a year working at the State Institute of Artistic Culture (GINKhUK) as a researcher in a lab devoted to Futurist abstract poetry. Along with Daniil Kharms, he then became a major figure in the short-lived underground avant-garde group OBERIU (a neologism for ""the union for real art""). Unable to publish his poetry-by the 1930s there was no tolerance in the USSR for work of such shimmering invention and provocation-Vvedensky made a living as a writer of children's literature. In 1931 he was arrested for his so-called counterrevolutionary literary activities, interrogated, and sentenced to three years of internal exile. He was detained again in 1941, and on February 2 he died of pleurisy on a prison train, leaving behind his wife and four-year-old son. Though much of Vvedensky's work has been lost, what remains has established him as one of the most influential Russian poets of the twentieth century. Eugene Ostashevsky is the author of the poetry collections The Life and Opinions of DJ Spinoza and Iterature, both published by Ugly Duckling Presse. He is the editor of OBERIU- An Anthology of Russian Absurdism, the first collection of writings by Vvedensky and friends in English translation. Ostashevsky teaches in the liberal studies program at New York University. Matvei Yankelevich is the author of the poetry collection Alpha Donut (United Artists Books) and a novella in fragments, Boris by the Sea (Octopus Books). His translations of Daniil Kharms were collected in Today I Wrote Nothing- The Selected Writings of Daniil Kharms (Overlook/Ardis). He edits the Eastern European Poets Series at Ugly Duckling Presse.
"...it's high time that more readers pick up on [Vvedensky's] work to break language, to crush understanding so that what is beneath and beyond it can smuggle its miracle into our event-hemorrhaging lives. Asymptote Journal Unlike the Symbolists, his aim is neither to create an aesthetic paradise nor to suggest or build a bridge to another world-Vvedensky's is an aesthetics of martyred aesthetics, of not knowing, of the defeat of 'poetry' in the service of truth... His poetic sensibility combines the Russian Symbolist concern for transcendence, God, and 'other worlds,' with the Futurist orientation toward syntactical and semantic deformations that draw attention to the artifices of language. Thomas Epstein, The New Arcadia Review ""a remarkable oeuvre - [Ostashevsky] and his poet-collaborator Matvei Yankelevich have done a superb job in capturing the tone and sound aura of Vvedensky's poems"" Times Literary Supplement"
