Vsevolod Nekrasov (1934-2009), a lifelong resident of Moscow, became active in the literary and artistic underground in the late 1950s. Through the fall of the Soviet Union, his work only appeared in samizdat and European publications. At the beginning of his career, Nekrasov was associated with the experimental writers and artists of the Lianozovo group, and went on to become one of the founding members of Moscow Conceptualism.

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.

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.