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If Dada and the European Avant-garde are your thing, then brace yourself for Gerald Janecek's ZAUM. According to Charlotte Douglas (Russian and Slavic Studies, NYU), Janecek's Zaum "is an encyclopedic account of zaum or 'beyonsense,' the most distinctive feature of Russian avant-garde art and poetry early in the 20th century. Janecek has mined a myriad of arcane and inaccessible sources, gathered the entire historical record in one place, and made it readable and comprehensible. His account of zaum theory and practice will be indispensable for anyone interested in modern poetry and art. Certainly it will become a standard text for all students of Russian Futurism." REVIEWS " [Janecek's] book will be valuable for scholars studying the avant-garde throughout Europe... Janecek provide[s] a definitional vocabulary and meaningful framework upon which future researchers may build." Walter Comins-Richmond, Occidental College "Should such poetic brinkmanship be granted a place in poetry? Yes, argues Janecek, because it is a value working against the automatization of language and thus of life. More than eighty years after its inception, it is indeed remarkable that Zaum is still controversial, still avant-garde, still denigrated as having gone too far. In sum, Janecek's work is an extraordinarily comprehensive piece of scholarship, which succeeds in compressing several books' worth of research into one. He has raised the study of Zaum to a new level and in doing so has dampened none of its vitality." Crispin Brooks, University of London Gerald J. Janecek is Professor of Russian at the University of Kentucky. Zaum: The Transrational Poetry of Russian Futurism (1996) Gerald Janecek ISBN 1-879691-41-8 paper, 428 pp. illustrated US $27, list price NEW SECOND PRINTING 2015

Poetry. Translated from the Russian by Bela Shayevich and Ainsley Morse. Preface by Mikhail Sukhotin. Afterword by Gerald Janecek. I LIVE I SEE presents a comprehensive survey of the work of Vsevolod Nekrasov (1934-1999), the Soviet literary underground's foremost minimalist. Exploring urban, rural, and purely linguistic environs with an economy of lyrical means and a dark sense of humor, Nekrasov's groundbreaking early poems rupture the stultified language of Soviet cliché while his later work tackles the excesses of the new Russian order. I LIVE I SEE is a testament to Nekrasov's lifelong conviction that art can not only withstand, but undermine oppression.Nekrasov's poetry, which is often characterized as minimalist, uses repetition and paranomasia to deconstruct and recontextualize his linguistic environment—he targets everything from stock Soviet political mottos to clichés people mutter to one another in everyday situations. For example, by juxtaposing phrases the average Soviet citizen would have taken for granted with arbitrary-seeming homophones, Nekrasov calls official Soviet language to task for the numbness and thoughtlessness it promotes. When not overtly political, his poems examine this same tension between "outward speech" and "inward speech," that is, between the language we use when talking to others and talking to ourselves.I LIVE I SEE: SELECTED POEMS is the first collection of Nekrasov's work in English translation.