Dubbed by his fellow Futurists the "King of Time," Velimir Khlebnikov (1885-1922) spent his entire brief life searching for a new poetic language to express his convictions about the rhythm of history, the correspondence between human behavior and the "language of the stars." The result was a vast body of poetry and prose that has been called hermetic, incomprehensible, even deranged. Of all this tragic generation of Russian poets (including Blok, Esenin, and Mayakovsky), Khlebnikov has been perhaps the most praised and the more censured. This first volume of the Collected Works, an edition sponsored by the Dia Art Foundation, will do much to establish the counterimage of Khlebnikov as an honest, serious writer. The 117 letters published here for the first time in English reveal an ebullient, humane, impractical, but deliberate working artist. We read of the continuing involvement with his family throughout his vagabond life (pleas to his smartest sister, Vera, to break out of the mold, pleas to his scholarly father not to condemn and to send a warm overcoat); the naive pleasure he took in being applauded by other artists; his insistence that a young girl's simple verses be included in one of the typically outrageous Futurist publications of the time; his jealous fury at the appearance in Moscow of the Italian Futurist Marinetti; a first draft of his famous zoo poem ("O Garden of Animals!"); his seriocomic but ultimately shattering efforts to be released from army service; his inexhaustibly courageous confrontation with his own disease and excruciating poverty; and always his deadly earnest attempt to make sense of numbers, language, suffering, politics, and the exigencies of publication. The theoretical writings presented here are even more important than the letters to an understanding of Khlebnikov's creative output. In the scientific articles written before 1910, we discern foreshadowings of major patterns of later poetic work. In the pan-Slavic proclamations of 1908-1914, we find explicit connections between cultural roots and linguistic ramifications. In the semantic excursuses beginning in 1915, we can see Khlebnikov's experiments with consonants, nouns, and definitions spelled out in accessible, if arid, form. The essays of 1916-1922 take us into the future of Planet Earth, visions of universal order and accomplishment that no longer seem so farfetched but indeed resonate for modern readers.

Dubbed by his fellow Futurists the "King of Time," Velimir Khlebnikov (1885-1922) spent his entire brief life searching for a new poetic language to express his convictions about the rhythm of history, the correspondence between human behavior and the "language of the stars." The result was a vast body of poetry and prose that has been called hermetic, incomprehensible, even deranged. Of all this tragic generation of Russian poets (including Blok, Esenin, and Mayakovsky), Khlebnikov has been perhaps the most praised and the more censured. This first volume of the Collected Works, an edition sponsored by the Dia Art Foundation, will do much to establish the counterimage of Khlebnikov as an honest, serious writer. The 117 letters published here for the first time in English reveal an ebullient, humane, impractical, but deliberate working artist. We read of the continuing involvement with his family throughout his vagabond life (pleas to his smartest sister, Vera, to break out of the mold, pleas to his scholarly father not to condemn and to send a warm overcoat); the naive pleasure he took in being applauded by other artists; his insistence that a young girl's simple verses be included in one of the typically outrageous Futurist publications of the time; his jealous fury at the appearance in Moscow of the Italian Futurist Marinetti; a first draft of his famous zoo poem ("O Garden of Animals!"); his seriocomic but ultimately shattering efforts to be released from army service; his inexhaustibly courageous confrontation with his own disease and excruciating poverty; and always his deadly earnest attempt to make sense of numbers, language, suffering, politics, and the exigencies of publication. The theoretical writings presented here are even more important than the letters to an understanding of Khlebnikov's creative output. In the scientific articles written before 1910, we discern foreshadowings of major patterns of later poetic work. In the pan-Slavic proclamations of 1908-1914, we find explicit connections between cultural roots and linguistic ramifications. In the semantic excursuses beginning in 1915, we can see Khlebnikov's experiments with consonants, nouns, and definitions spelled out in accessible, if arid, form. The essays of 1916-1922 take us into the future of Planet Earth, visions of universal order and accomplishment that no longer seem so farfetched but indeed resonate for modern readers.

A fresh and fascinating look at the philosophies, politics, and intellectual legacy of one of the twentieth century's most influential and controversial minds Occupying a pivotal position in postwar thought, Noam Chomsky is both the founder of modern linguistics and the world's most prominent political dissident. Chris Knight adopts an anthropologist's perspective on the twin output of this intellectual giant, acclaimed as much for his denunciations of US foreign policy as for his theories about language and mind. Knight explores the social and institutional context of Chomsky's thinking, showing how the tension between military funding and his role as linchpin of the political left pressured him to establish a disconnect between science on the one hand and politics on the other, deepening a split between mind and body characteristic of Western philosophy since the Enlightenment. Provocative, fearless, and engaging, this remarkable study explains the enigma of one of the greatest intellectuals of our time.

Velimir Khlebnikov, who died in 1922 at the age of thirty-six, is one of the great innovators of literary modernism. In Russia a powerful and growing mythology surrounds this Futurist poet and his reputation elsewhere continues to mount. The second volume of the Collected Works consists of Khlebnikov's fiction (thirty-five short stories, dreams, mysteries, and fanciful folktales), his plays, and his unique supersagas, a syncretic genre he created to encompass his iconoclastic view of the world. Paul Schmidt's are the first translations of these works into English. They chronicle the artist's imagination in his feverish search for a poetics that could be as diverse as the universe itself. The fictions, ranging from the mysterious "Murksong" to the epic "Yasir," show a great variety of styles and themes. But it is in the dramatic text that we best see Khlebnikov's struggle to find a workable form for his vision. The Girl-God, symbolist-inspired, is a mélange of stylistic shifts and impossible scene changes. In The Little Devil, The Marquise des S., and the sardonic Miss Death Makes a Mistakes, Khlebnikov finally finds a stageable theatrical form, in a mixture of satire, colloquial speech, and poetic reflections on art and immortality. The dramatist reaches even higher in the supersagas Otter's Children and Zangezi, achieving a Wagnerian fusion of action, poetry, history, theory, and the musical rhythms of incantation.

Dubbed "a Columbus of new poetic continents" because of his search for a poetics as diverse as the universe itself, Velimir Khlebnikov is the creator of some of the most extraordinary poems in the Russian language. Sometimes surreal, sometimes esoteric, but always dazzlingly innovative, the 192 poems in this volume range broadly from the lyrical to the epic. One of the founders of Russian Futurism, Khlebnikov spent his entire brief life searching for a new poetic language to express his convictions about the rhythm of history and the connection between the truth of a poet's language and the cosmic truth about the universe. His poetry is characterized by often radical experimentation with language and words, a forceful utopian vision, complex theories of time and history, and multiple poetic personae: from an infantry commander to a Carthaginian war hero, from Cleopatra's paramour to the letters of the alphabet. Completing the Collected Works of Velimir Khlebnikov, Selected Poems gives us insight into the imagination of a remarkable artist.

Velimir Khlebnikov is one of the great Russian poets of the 20th century. Hailed by contemporaries and by later scholars as the creative genius behind the Russian Futurist movement, Khlebnikov is famous for his inaccessibility. Now, in a powerful American rendition, we are given access to his strange and beautiful world.

The artists’ books made in Russia between 1910 and 1915 are like no others. Unique in their fusion of the verbal, visual, and sonic, these books are meant to be read, looked at, and listened to. Painters and poets—including Natalia Goncharova, Velimir Khlebnikov, Mikhail Larionov, Kazimir Malevich, and Vladimir Mayakovsky— collaborated to fabricate hand-lithographed books, for which they invented a new language called zaum (a neologism meaning “beyond the mind”), which was distinctive in its emphasis on “sound as such” and its rejection of definite logical meaning. At the heart of this volume are close analyses of two of the most significant and experimental futurist books: Mirskontsa (Worldbackwards) and Vzorval’ (Explodity). In addition, Nancy Perloff examines the profound differences between the Russian avant-garde and Western art movements, including futurism, and she uncovers a wide-ranging legacy in the midcentury global movement of sound and concrete poetry (the Brazilian Noigandres group, Ian Hamilton Finlay, and Henri Chopin), contemporary Western conceptual art, and the artist’s book. Sound recordings of zaum poems featured in the book are available at www.getty.edu.

Contemporary thought has been profoundly shaped by the early-twentieth-century turn toward synchronic models of explanation, which analyze phenomena as they appear at a single moment, rather than diachronically as they develop through time. But the relationship between time and system remains unexplained by the standard account of this shift. Through a new history of systematic thinking across the humanities and sciences, The Writing of Spirit argues that nineteenth-century historicism wasn’t simply replaced by a more modern synchronic perspective. The structuralist revolution consisted rather in a turn toward time’s absolutely minimal conditions, and thus also toward a new theory of diachrony. Pourciau arrives at this surprising and powerful conclusion through an analysis of language-scientific theories over the course of two centuries, associated with thinkers from Jacob Grimm and Richard Wagner to the Russian Futurists, in domains as disparate as historical linguistics, phonology, acoustics, opera theory, philosophy, poetics, and psychology. The result is a novel contribution to a pressing contemporary question—namely, what role history should play in the interpretation of the present.