Igor Kholin was born in Moscow in 1920, ran away from an orphanage in Ryazan, and eventually enrolled in a military academy in Novorossiysk. He barely survived World War II (a bullet that grazed the corner of his lips came out of his back). In 1946, he was exiled from the military and Moscow for slapping a drunken comrade-in-arms. Kholin landed in a labor camp in Lianozovo, a suburb of Moscow, where one of his friends was the guard and would occasionally let him out to visit the Lianozovo library—he’d started writing poetry. When he asked to check out a book by forbidden poet Alexander Blok, he aroused the interest of the librarian, Olga Potapova, an artist married to the poet and painter Evgeny Kropivnitsky. The two of them hosted a Sunday salon out of their nearby barracks apartment, encouraging the work of young artists and a few poets, including Genrikh Sapgir and Vsevolod Nekrasov. Along with Kholin, they called themselves Kropivnitsky’s students and formed a loose poetry collective known as the Lianozovo Group. Kholin’s early work took the rough edges of Soviet life—the poverty, brutality and alcoholism rampant in the barracks—as his primary subject matter, while lampooning formulaic Socialist Realist poetics. The world that Kholin depicted in his poems, where abrupt death inevitably cut down two-dimensional stock characters, was too crude and inglorious to be considered poetry by official standards. Later years saw cycles of outer-space poems and a series of poetic self-portraits, simultaneously wildly superlative and deeply self-deprecating; but all of it equally unpublishable until the fall of the Soviet Union. Kholin barely supported himself with odd jobs: children’s book author, writing tutor, waiter and, after the 1970s, antiques dealer. Igor Kholin died in Moscow in 1999. Kholin 66 is the first book of Kholin’s work in English translation.

Ainsley Morse has been translating 20th- and 21st-century Russian and (former-) Yugoslav literature since 2006. She teaches Russian language and literature at Dartmouth College. Previous UDP publications include the co-translation of Vsevolod Nekrasov (with Bela Shayevich, UDP 2013) and Kholin 66: Diaries and Poems (also with Shayevich, 2017). Other recent translations include the farcical Soviet pastoral Beyond Tula, by Andrey Egunov, and a collection of theoretical essays by the brilliant Formalist Yuri Tynianov. Coming up is the macabre modernist prose of Konstantin Vaginov and a number of contemporary Russian women poets.

Bela Shayevich is a Soviet-American artist and doer of the word. She is the translator of Second-Hand Time by Svetlana Alexievich. For UDP she has co-translated I Live I See by Vsevolod Nekrasov, Kholin 66: Diaries & Poems by Igor Kholin, and It’s No Good by Kirill Medvedev.

Ripley Whiteside was born in North Carolina in 1982. In 2008, he graduated with a BFA from UNC-CH and earned an MFA in 2012 from SUNY-Buffalo, where he also taught foundations art courses. He has participated in solo and group exhibitions in the US and Canada, and has been the recipient of various grants and residencies. He lives and works in Montreal.rnrn