Silver Age. Poet and artist A. Kruchenykh. Alexey Kruchenykh: biography, poems

Futurist poet, art theorist, artist.

Born in the village Oliva Kherson province in a family of peasants. In 1892 the family moved to Kherson. In 1902, the future futurist entered the Odessa Art School and in 1906 received a diploma as a drawing teacher. At the Kruchenykh school, he met David Burliuk, under whose influence he left for Moscow in 1907. There he worked as an illustrator for humorous magazines. In 1909, Kruchenykh exhibited his works for the first time at art exhibitions: "Impressionists" in St. Petersburg and "Wreath" in Kherson. In 1910, his poems were published for the first time in the Kherson newspaper "Rodnoi Krai", as well as a series of cartoons "All Moscow".

Since 1912, he began to actively cooperate with the Cubo-Futurist group, headed by Burliuk, and was among the signatories of the Futurist manifesto "A Slap in the Face of Public Taste". In collaboration with Kruchenykh, he wrote his first poem "Game in Hell", a book of poems "World End" and the libretto of the futuristic opera "Victory over the Sun" (1913). In addition, it was published in the almanacs of the futurists "Ten of Judges", "Three", "Dead Moon".

Kruchenykh became the founder of a special type of futuristic publications - lithographic books, the drawings and text of which were created by the author himself or by invited artists. Such publications were in themselves a work of synthetic art, bringing poetry closer to painting, and the handwritten text allowed the reader to get closer to the author of the poems. In 1912, Kruchenykh created the EUY publishing house, in which he published his books. Their designers were such artists as, K. Malevich,.

In 1913, along with and K.S. Malevich participated in the First All-Russian Congress of Futurists. In 1913, a collection of poems by A. Kruchenykh - "Lipstick" - was published, which included the author's first "abstruse" poem - "Dyr bul schyl ...". The concept of "beyond" was formulated by him in the "Declaration of the word as such." He considered poetry as an opportunity to release the hidden potential of the self-valuable word, its phonetics. He refined his theory for several years, refining it and expounding it in more detail. Its main provisions are reflected in the collections published jointly with V. Khlebnikov: "The Word as such", "Old Love", "Blow", "TE-LI-LE". In his poems, Kruchenykh was looking for sound combinations that would recreate the structure of speech, incomprehensible to the mind. In his desire to free himself from the objectivity of words and sounds, one can find a parallel with the objectlessness of Malevich's Suprematism. Both Kruchenykh and Malevich decomposed their works into their primary elements: geometric figures for the artist and letters for the poet. Decomposing the language into primary elements, Kruchenykh sought to clear speech of semantic load, to concentrate on pure, non-objective sound. Strange sound combinations, illogical analogies arising in his poetry allowed him to approach the unconscious of the language itself, to create new images that were not comprehended by the mind.

During Kruchenykh, he fled from mobilization in the Caucasus: first he worked as an art teacher at a gymnasium in Batalpashinsk (now Cherkessk), and since 1916 - in Tiflis, becoming a member of the local "Futurist Syndicate" and the futurist group "41 °". In 1919, he moved to Baku, where he collaborated in the local branch of ROST and a number of newspapers, gave lectures at the university, published about 18 books, including the play "Gly-Gly", where the main characters - "budetlyane" are named after Khlebnikov and Malevich.

In the autumn of 1921, Kruchenykh returned to Moscow, joined the group, although he disagreed with them on the aesthetic program and in practice. Together with he worked in the magazines "LEF" and "New LEF". In the 1920s, Kruchenykh was actively published, published a number of poetry collections, the so-called "phonetic novels" "Robber Vanka-Kain" and "Dunka-Rubikha", the anti-militarist pamphlet "1914 - 1924", theoretical works "Texture of the word. Declaration", "Shiftology of the Russian language (Treatise offensive and instructive)", "Apocalypse in Russian literature". In 1923, his book "Theater Phonetics" was published, where he showed that abstruse language is primarily the language of public action, corresponding to its high pace and dynamics of speech. According to Kruchenykh, abstruse language is the most expressive for actors, since it is born from oral speech and special articulation techniques, it is not "the product of fossils of dead roots."

In the 1930s, the works of Alexei Kruchenykh ceased to be published, as his absurd work and abstruse language did not fit into Soviet reality. In 1930, his last books "Ironiad" and "Rubiniad" were published. In 1942 he was admitted to the Writers' Union, during the Great Patriotic War he worked in the TASS Windows. Having lived until 1968, he earned a living by collecting books, selling his drawings, antiquarian and second-hand activities, and was engaged in the search for manuscripts of Mayakovsky and Khlebnikov. The result of his research was the small-circulation collections New Mayakovsky, Tournament of Poets, Unpublished Khlebnikov. A special kind of his late work were albums - a kind of collages, which combined the traditions of home albums, archives and avant-garde lithographs. His albums were a bizarre mixture of his own and others' manuscripts, documents, drawings, photographs, autographs. Over the years of his life, Alexei Kruchenykh was able to collect the most valuable collection of rare books, drawings and manuscripts of his fellow avant-garde artists, which, unfortunately, he had to sell due to lack of money.

His only anniversary evening took place on May 31, 1966 at the Moscow Central House of Writers. June 17, 1968 A.E. Kruchenykh died in Moscow and was buried at the Donskoy Cemetery.

Compositions:

Poems, poems, novels, opera/Introduction. article, comp., prep. text, note. SR. Krasitsky. SPb., 2001.

KRUCHENYKH, ALEXEY ELISEEVICH(1886–1968), Russian poet. Born on February 9 (21), 1886 in the village. Oliva Kherson province. in a peasant family. My father soon moved to Kherson and became a cab driver. In 1902, Kruchenykh graduated from the Kherson city three-class school and left for Odessa, where he entered the art school - one of the best secondary art institutions of that time. He subsequently explained his passion for painting by the influence of school teachers, who introduced students to new trends in the visual arts.

After graduating from college in 1906, he returned to Kherson and became a drawing teacher at a women's vocational school. A year later, Kruchenykh left his job and left for Moscow. His decision was influenced by his acquaintance with D. Burliuk, about whom Kruchenykh later wrote in his memoirs Our exit(1932). In Moscow, he began to collaborate as an artist in the humorous magazine "Budilnik" and other publications, became famous for a series of cartoons and caricatures of writers, artists and scientists called All Moscow in cartoons.

In 1909 he took part in an art exhibition in St. Petersburg. At the same time, he met his future colleagues in the artistic and literary avant-garde - E. Guro, V. Kamensky, M. Matyushin. In 1909, having arrived for a year in Kherson, Kruchenykh made his debut as a prose writer, poet, feuilletonist, essayist, art, literary and theater critic. The Kherson newspaper "Rodnoi Krai" published his works, signed either by his real name or pseudonyms A. Gorelin and A.G. The most significant of the numerous publications 1909 - essay Two powerful faces of love, story bloody people and a poem half dead, written under the influence of F. Sologub .

Returning to Moscow in 1910, Kruchenykh took an active part in the activities of the Gileya group headed by Burliuk, the prototype of the future futurism.

Since 1912, his creative collaboration with V. Khlebnikov began, they jointly wrote and published a poem game in hell(1912), which Kruchenykh called in his memoirs "an ironic mockery of the archaic devil made under the popular print." According to R. Jacobson, this poem contains a roll call with an unrealized Infernal poem A.S. Pushkin. A game in hell and the following poem by Kruchenykh vintage love(1913) were mostly negatively received by critics and were assessed as "hopeless squalor with a swashbuckling pose".

In 1913, the most important year in the creative development of the poet, Kruchenykh took part in the collection A slap in the face of public taste, published by the Gilea group with a circulation of 500 copies. Together with V. Mayakovsky, he wrote the manifesto of the futurists with the central thesis: “Give up Pushkin, Dostoevsky, Tolstoy and so on. and so on. from the Steamboat of Modernity. In the same collection, an "illogical poem" by Kruchenykh was published. Old tweezers of sunset patches..., built according to the principle of the “worldly end” invented by him.

Work in the field of illogical poetry in 1913 led him to develop the principles of transrational poetry ("zaumi") - i.e. poetry written "in its own language", going beyond the limits of logic, reason and consisting of "unknown words". The Zaumi language was fragments of words, endings, graphic and phonetic combinations. A classic example of "zaumi" was the poem of the Kruchenykhs Dyr bul schyl. In addition to him, he wrote poetry Frot front yt And Ta sa May, Go snow kite and others. The theory of "zaumi" was formulated by Kruchenykh in a collection jointly with Khlebnikov The word as such(1913): “The Budetly painters love to use body parts, cuts, and the Budetlya speech-makers like cut words, half-words and their bizarre cunning combinations (abstruse language). This achieves the greatest expressiveness. And this is precisely what distinguishes the language of impetuous modernity, which destroyed the former frozen language. Readers were shocked by Kruchenykh's assertion that in his poem Dyr bul schyl"more Russian national than in all of Pushkin's poetry."

Kruchenykh published poetic abstruse collections one after another: blew up (1913), TE-LI-LE(1914, together with Khlebnikov) and others. His literary studies were also written in a futuristic, avant-garde spirit. Turgenev's test of love (1913), The Devil and the Speakers (1913), Poems Mayakovsky. Experienced(1914) and others. His "alogical opera" was also staged victory over the sun(1913) to music by Matyushin.

The internal crisis and the First World War led to the disintegration in 1915 of the Gilea group. Fleeing from mobilization, Kruchenykh left for the Caucasus and worked as an art teacher in the women's gymnasium in Batalpashinsk. However, spiritually and artistically, he was still connected with Moscow and St. Petersburg, going there during his summer vacation. In 1916 his poetry collections were published. War And Universal war bj. In the preface to the latter, he called the main task of zaumi "the liberation of create from unnecessary conveniences (through non-objectivity)".

Living in Tiflis in 1916-1919, Kruchenykh, together with other futurists - the brothers K. and I. Zdanevich, N. Chernyavsky, V. Gudiashvili and others - took part in the activities of the artistic and poetic group "Syndicate of Futurists". Her program book was a collection Learn art(1917), which included the poems of Kruchenykh, his book was also published Nosoboyka(1917). In 1918, the 41 Degrees group emerged from the Syndicate of Futurists, which included Kruchenykh, the poet and director I. Terentyev, and others. ".

In 1919, Kruchenykh moved from Tiflis to Baku, where he worked in the Baku branch of ROSTA, collaborated in newspapers, and published poetic and theoretical collections. In 1921 he returned to Moscow. Mayakovsky contributed to the return of Kruchenykh to the circle of Moscow poets, organized his evening at the Polytechnic Museum. In 1921-1923, Kruchenykh continued to develop the theory of "zaumi" as applied to various types of art. This is what his collections are about. Theater phonetics, Shiftology of Russian verse and etc.

In 1923, the poet joined the post-futurist group "Lef" ("Left Front") headed by Mayakovsky, actively opposed the "decadent" poetry of S. Yesenin, devoting twelve books to criticism (all in 1925), wrote agitation plays. In 1928 he prepared a collection 15 years of Russian futurism. 1912–1927 Materials and comments.

In 1928 the last book of the Kruchenykhs was published. tricks Lenin's speech, after which his works existed only in typescript. So his poems were "published" irony And rubiniada(both 1930), books Night doodles (1932), Arabesques from Gogol (1944), book of infernal sonnets(1947) and many others. Mayakovsky's death deprived him of his last defender. Kruchenykh collected books, sold his typewritten collections and portraits of writers he painted to archives and museums. During the Great Patriotic War, he remained in Moscow, continued to write poetry, collaborated in TASS Windows. The recommendation to the Writers' Union, given by I. Ehrenburg, literally saved the Kruchenykh from starvation.

True connoisseurs of literature paid tribute to the work of Kruchenykh during his lifetime. G. Aigi prepared a selection of his poems in the 1950s, but the publication did not take place. In 1966, the anniversary evening of the Kruchenykhs was organized in the Central House of Writers, which became a significant event in the cultural life of Moscow. Life Kruchenykh was very hard, he lived in poverty.

On the morning of June 17, 1968, in Moscow, in one of the typical communal apartments, an old man died. Not seeing him in the morning in the common kitchen, the neighbors knocked on the door. Then they entered. The room was tiny, but the old man's bed was not visible. Nothing was visible because of the books. Piles of books propped up the ceiling. It looks like they lived here. In any case, nothing was said about the presence of a living person in this room. However, the old man was dead.

He didn't have a suit. Good neighbors gave me a shirt, jacket and trousers. He looked good in the coffin.

The old man had no wife, no children either. Only ten people attended the funeral. Among them were Lilya Brik, Andrei Voznesensky, Gennady Aigi and Eduard Limonov.

Do you remember from Mayakovsky: “The room is the head in the Krunykhovsky hell”? This is about our old man, Alexei Eliseevich Kruchenykh, who died in his room in a communal apartment on the stuffy morning of June 17, 1968.

From the newspaper "Russian Vedomosti", No. 257, 10/15/1913.

Sitting on a leaky armchair with his back to the audience, Kruchenykh demanded tea. He drank a glass, splashed the rest on the wall and said: “So I spit on the low mob!” - left.

From the newspaper "The Day", No. 230, 10/06/1913.

“Twisted with a distorted face and spread fingers, he said something crazy and ended with an original chord: he hit his head on the table.”

Kruchenykh read:

blasted
fire
sadness
horse
rubles
And
in hair
div

The public was perplexed.

Kruchenykh read:

FORGOT TO HANG
I'M FLYING TO THE AMERICA
ON THE SHIP DID ANYONE CLIMB?
THOUGH IT WAS IN FRONT OF THE NOSE

The audience stamped their feet.

Kruchenykh ended his performance with his "hit":

Dyr bul schyl
Ubeshshchur
skoom
you with boo
r l ez

And then the police came in, and the evening ended.

Oh yeah! They were the most fashionable guys of those years. They drew airplanes and dogs on their faces, they wore multi-colored sweatshirts and striped pants, tickets to their concerts were sold out a month before the show, they spit in crowded halls, and assured everyone to rhyme "cow" with "table", they printed their collections with wild titles: “A slap in the face of public taste”, “I took it!”, “Roar! Gloves", they were printed on wallpaper at a time when Balmont's gold-embossed collections were in vogue. They didn't care about fashion. And this fashion has become.

And Kruchenykh was their coolest. No, of course, there was Mayakovsky, big, handsome, the ladies liked him. There was David Burliuk, the oldest, the most enterprising. There was Khlebnikov, with eyes like a horse, he stuffed a pillowcase with his poems, and traveled around the world with it, using it as a pillow, and periodically losing, as he lost money, documents and himself. But the coolest was Kruchenykh. The most wild, hysterical, noisy and radical. He made Russian futurism.

“Thought and speech do not keep pace with the experience of inspiration, therefore the artist is free to express himself not only in a general language (concepts), but also in a personal one (the creator is individual), and in a language that does not have a definite meaning, (not frozen) abstruse. A common language binds, a free language allows you to express yourself more fully (example: go osneg kaid, etc.),” he wrote.

l l l
cr cr
tlp
tlmt
kr vd t r
kr wubr
doo doo
ra l
k b i
fat
kind
diba

Actors in gas masks, costumes made of cardboard and wire, triangles, circles, moving cars.

From the newspaper "Light" No. 318, 12/04/1913.

“The scenery of the painters of the Union of Youth is the height of nonsense and arrogance. One canvas depicted something like a bogey of a fiery popular Gehenna. The scenery featured uterine babies mutilated by the fantasy of the Futurists, naked, lopsided, shapeless, unnaturally built women, wild-looking men, mixed with houses, boats, lanterns, etc. Randomly selected from the dictionary and swear words were composed in such a way that they generally gave a verbal nonsense, nonsense."

They wanted to liberate art from all limits, turn everything upside down, stir up this musty hive of Russian literature, they shouted about the free and self-valuable word. To put it mildly, they did not understand ...

From the newspaper "Moskovsky leaf" No. 46, 02/24/1913.

“The whole of Russian society is in serious danger from a gang of violently mad people who, in an incomprehensible way, are still at large.

I'm talking about both Burliuks, Khlebnikov, Kruchenykh, Mayakovsky, Livshitz and Kandinsky, whose last attack against common sense clearly speaks of the need for the immediate placement of all these holy fools in a lunatic asylum.

Since the relatives are silent, in the unfortunate, insane subjects, the authorities who stand guard over public safety must take part<…>

None of us is guaranteed that Burliuk or Khlebnikov will not pounce on him and bite him on the calf or thigh, but there is no real antidote against the furious saliva of these innovators in the art.”

After high-profile and scandalous all-Russian tours, they had money. Mayakovsky sewed a tailcoat for himself. Burliuk used to buy champagne in cases at Stray Dog. They fought with the gendarmes, held parties with a corps de ballet, cut through Petrograd in cabs, and enthusiastic young ladies ran after the carriages, ready for anything, just to touch the stars.

They fought over money. Not a single memoir preserved the details of that quarrel, but after the 10s, Kruchenykh was no longer in the party. And the party itself was no more.

In 1922, Khlebnikov died in a remote Novgorod village, Nikolai Burliuk was shot in the 20th, David turned out to be smarter and emigrated to Japan, and then to the USA, Mayakovsky drove around Moscow in a private car brought from abroad and suffered from love for ugly married woman, he was not up to experimenting with sound.

Kruchenykh, using his own money, produced pamphlets with stupid titles in scanty print runs. The country was building communism. The texture of the word and abstruse verses ceased to be of interest to anyone.

In his thirties, he was already an old man. He made a routine for himself, according to which he went to bed no later than 11, collected old books, boiled water four times, as he was afraid of germs. They forgot about him. He didn't dare to mention.

In general, the life of the Kruchenykhs after the 10s is just as boring as it was interesting before.

Modern poets sometimes visited him. Still would! Companion of Mayakovsky and Khlebnikov! He answered their questions and then asked for money. He sold books autographed by Mayakovsky (some claimed they were fake). He had some not very clear connections with the KGB, the entire futuristic group "41 degrees", which he once belonged to, was shot, but for some reason he was not there ... He was hardly happy ... After everything that happened, walking past a monument to Mayakovsky, with whom he slept at the same residence, and to understand that you yourself definitely don’t get a monument ...

Today, few people remember that he, in general, was.

And he was. And he was the coolest in Russian futurism.

Below are three poems written in their own language, different from others - his words do not have a specific meaning.

***
Dyr bul schyl
ubeshchur
skoom
you with boo
r l ez
1913

***
Frot front yt
I don't argue in love
black tongue
it was among the wild tribes
1913

***
Ta sa ma
ha ra baw
Say this oak
radub mola
al
1913

STOLING EVERYTHING
HURRED AND SPOON BUT
NOT REVERSE

IN MEMORY OF ELENA GURO

... When the stones of the summer pavement
become less stuffy than ours
lungs,
When flat granite monuments
become less rigid than
our love and you will rejoice and ask
- where?
If the dusty city rises
the joys of the rain
and the stones cry out cracked
voices, then in response they will hear a whisper
and the groan of "Autumn Dream"
“And the unexpected and impatient - clear
there was a sky between clear evening
trunks ... - ("Bar-organ" E. Guro)
Elena Guro is impatiently clear ...

like a gander
ate too much porridge
I'm sleeping
goose beside
Masha
with a red face
whispers about love

THE COMET CAME TO ME UNDER THE PILLOW
Buzzing and tickling, kissing the prickly ear

In the Brazil room
where is the orchestra... and the walls are blue
I got wrapped
and kicked out
for what I
the thinnest
and beautiful!

At midnight I noticed on my sheet black and
hard,
the size of a bedbug
in red fringed legs.
Burn him with a match. And he got fat without a burn, like
upside down iron bottle...
I thought: not enough fire? ...
But for such a match - like a log! ...
My friends who came threw wood chips on him,
papers with kerosene - and set fire to ...
When the smoke cleared - we noticed the animal,
sitting in the corner of the bed
in the pose of the Buddha (height from 1/4 arshin)
And, like a bee-ba-bo sarcastically smiling.
Realizing that this is a SPECIAL being,
I went to the pharmacy for alcohol
meanwhile
friends put cigarette butts in his stomach
ashtray.
They trampled with their heels, beat them on the cheeks, roasted their ears,
and someone glowed the back of the bed on a candle.
Back. I asked:
- Well, how?
In the dark they answered quietly:
- It's all over!
- Burnt?
No, he shot himself...
BECAUSE, he said,
IN FIRE I LEARNED SOMETHING BETTER!

Miziz…
Zin…
Itziv -
Winter!..
frozen
Sten
Shut up…
Snowy… Snowy!..
Cold ... blizzard ...
Vyu-yu-yu-ga - stu-u-u-ha ...
Stugota… stugota!..
Murder without blood...
The typhoid sky is one solid louse! ..
But here
From slanted skies
Dropped wheel
All shaken up
Fever and thunder
And called to life
HARKNOW TO TUNDRA
STUNNING
BLOOD
COLORS…
- U-ah! .. - DAC was born in dax
Snowballs - pax-pax!
There are itchs in the teeth ...
Digging a hole in the steamy snow -
U-gu-gu-gu! .. Karakurt! .. Gee-gee-gee! ..
Bura-a-a-an ... The mountain is creeping -
Zu-zu-zu-zu…
We are burning ... we are burning-ho-ho-ho! ..
In the bowels of the wild tar is buzzing -
GU-GU-GUR…
The earth is buzzing, the earth is itching ...
Itchy… itchy…
A childish and puppyish navel yells discantly:
Whoa! U-ah-ah! .. - ah! ..
The dogs in the hallway hunched over
And thousands of wireless zeros
And one witch under the fence is crying:
FOR-XA-XA-XA - XA! ah!
For-x-x-x! -e!
PA-PA-A-LE!!!
Pa-pa-a-lys!
The snowstorm is growing... the blizzard is itching...
On a leather frame
Jumped Shaman
Shaman
Allx asked:
Zyz-z-z
Glyz-z-z -
Miziz-z-z
Z-Z-Z-Z!
Shyga…
Tsuav…
Itziv -
ALL DOGS
DIE!

(February 21, 1886, Olevsk, Kherson province - June 17, 1968, Moscow) - Russian futurist poet. He introduced zaum into poetry, that is, an abstract, non-objective language, cleansed of worldly dirt, asserting the poet's right to use "chopped words, half-words and their bizarre cunning combinations."
Sometimes he signed with the pseudonym "Alexander Kruchenykh".

In the autumn of 1907, Kruchenykh arrived in Moscow to fulfill his youthful dream of "becoming a freelance artist." In 1908, he became famous for the release of a series of cartoons "All Moscow", which featured mainly writers, artists, and scientists. In the spring of 1909, Kruchenykh presented 8 paintings to participate in the "28th Periodic Exhibition of Paintings of the Moscow Society of Art Lovers". The painting "Portrait" was included in the catalog of the exhibition.

At the same time, Kruchenykh met St. Petersburg futurists: the artist and poet Elena Genrikhovna Guro (1877-1913) and her husband, Mikhail Vasilievich Matyushin (1861-1934), a musician, artist, theorist of avant-garde painting. As an innovator of painting, he takes part in the exhibition "Impressionists" arranged in St. Petersburg by N. Kulbin. Several paintings by the Kruchenykhs were also exhibited at the "impressionist exhibition" "Wreath" organized by D. Burliuk in Kherson, which took place from September 3 to 20, 1909.

Since 1912, his creative collaboration with V. Khlebnikov began, they jointly wrote and published the poem "The Game in Hell" (1912), which Kruchenykh called in his memoirs "an ironic mockery of the archaic devil made under a popular print". According to R. Yakobson, this poem contains echoes of the unrealized "Infernal Poem" by A. S. Pushkin. He found in the "Game in Hell" many reminiscences and direct borrowings from the "Infernal Poem", noted the similarity in both poems of the "vocabulary of the demonic game." Yakobson pointed out that "The Game in Hell" parodies the lines of Tatyana Larina's dream from "Eugene Onegin", as well as the works of other classical poets, starting with Lomonosov. "Game in Hell" and the book Kruchenykh "Old Love" (1913) that followed it were mostly negatively received by critics and evaluated, for example, by S. Krechetov, as "hopeless squalor with a smart pose." The book of poems "Old Love" continued the primitivist tradition in the work of Kruchenykh, the appeal to which went back to his early painting - to the caricature with its installation on the removal of the image and irony.

In 1913, the first experiments of literary zaumi appeared in the work of the Kruchenykhs. Starting with primitivism ("Playing in Hell", the lyrical cycle "Old Love", the poem "The Hermits"), Kruchenykh gradually comes to more complex poetics, turning to illogical, and then abstruse poetry (he called abstruse only those works that he wrote in their own language). In early January, several such experiments appeared in the richly published collection of Kruchenykh "Lipstick" with illustrations by M. Larionov. In a brief author's explanation, it was said that the poems were written "in their own language", and "their words have no definite meaning." These were "Dyr bul schyl ...", "Frot, front yt ...", "Ta sa ma ...". The reaction to the appearance of the first zaumi, with rare exceptions, was negative. S. Gorodetsky tactfully assessed it as "experiments and exercises in the instrumentation of words." "Lipstick's poems, written not in "their own language", are very weak in composition. In general, in these editions, the illustrations are much lower than the illustrations. "Lipstick" is published richly and beautifully, "he wrote in a review. In March 1913, in the third issue of the avant-garde magazine "Union of Youth", the fourth abstruse poem appeared - "Go osneg kaid ...", accompanied by the author's remark: "Written in the language of his own invention."

In the spring of 1913, Kruchenykh creates a "Declaration of the word as such", in which he writes that absurdity is justified and legitimate for him as "the original (historically and individually) form of poetry." Its beginning and smallest element is rhythmic-musical excitement, primordial sound", and already "abstruse speech gives rise to abstruse primal image (and vice versa)." insulting her with nothing concrete." It was a joint declaration with N. Kulbin, the purpose of which was an attempt to theoretically substantiate a new poetic language.

In the autumn of 1913, an article-manifesto by Kruchenykh and Khlebnikov "The Word as such (About works of art)" was published, in which absurdity is raised not only to phonetics, but above all to the latest painting: -speech creators - with chopped words, half-words and their bizarre cunning combinations (abstruse language). This achieves the greatest expressiveness. "

The futuristic works of the Kruchenykhs, which he himself called "productions", first appeared in small brochures in various publishing houses, later (from about 1923) in the author's own edition, sometimes reproduced in typewritten or handwritten way. The last such publication was the collection "Ironiad" (1930) - 150 copies, reproduced by hectographic method. In total, Kruchenykh published 236 of his "productions", of which, however, only a part was found.