Oleg Jurjew (Олег Александрович Юрьев)

*** [загород черный светом зарос]

langue: russe

traductions: allemand (* * * [Die schwarze nachstadt wuchs mit licht zu]), serbe (*** [заграђе црно у светлост зарастало] )

*** [загород черный светом зарос]

***
загород черный светом зарос
в форме наклонно-ходящих полос
ростом с нас
пригород белый тенью прирос
как на желéзе подтек купорос
просто снясь
подгород желтый прахом подрос
как от надпоротых папирос
ростом с нас
город незримый в воздухе рос
весь наплоенье невидимых роз
просто снясь

Oleg Jurjew

Олег Александрович Юрьев

Foto © Дмитрий Кузьмин

* 28.07.1959, Leningrad, Russie
† 05.07.2018, Allemagne

Oleg Yuriev, a writer of poetry, prose, and drama, was born in Leningrad in 1959 and has been living in Frankfurt, Germany since 1991. During the Soviet era, he participated in Leningrad’s unofficial cultural life (the “Kamera Khranenia” group). Since the late 1980s, his original works have been published and staged in Russia. Yuriev’s plays and prose have been translated into English, German, Polish, Czech, Ukrainian, and French, and performed in Russia, Germany, France, Switzerland, Poland, Czech Republic, Belarus, and Ukraine. Yuriev has had multiple publications in Russian, Russian diaspora, and German magazines. His poems have been translated into English, German, Italian, and French.

Foto © Дмитрий Кузьмин

Publications include Two Short Plays (1990); the poetry collections Stikhi v Nebesnom Nabore (Verses in Heavenly Font, 1989), Izbrannye stikhi i khory(Collected Poems and Quires, 2004), and Frankfurtskii vystrel vechernii (The Frankfurt Evening Shot, 2007); the prose collections Progulki pri poloj lune (Walks Under the Hollow Moon, 1993), Frankfurtskii byk (The Frankfurt Bull, 1996); and the novels Poluostrov Zhydiatin (Zhydiatin Peninsula, 2000) and Novyi Golem, ili Vojna starikov i detej (New Golem, or the War Between Old Men and Children, 2004). He has seven books of prose in German translation, the last four published by Suhrkamp.

The signature tension in his poems is often derived from putting parts of the natural world–flora, fauna, changes of season, meteorological conditions–into positions of conflict, causing the texts to resemble a battlefield. This tension is mirrored by the intricate phonetic combat within the texts. The density and the dizzying succession of alliterations and consonances ultimately confer to Yuriev’s poems a lightness that the translations featured here attempt to preserve.

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