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Yesterday the poet Glickeriy Ulunov has been arrested in Saint Petersburg, accused of organizing activities “aimed at inciting suicide" and encouraged “deviant behaviour.”

This is the first case of the repressive interest to the subfield of experimental poetry, which was always ironically criticised as too opaque, non comprehensible both for "simple people" and for repressive organs (therefore not dangerous hobby at all). Now we see that this undangered zone doesn't exist anymore.

Video released by RIA shows Ulunov acknowledging he wrote the poem Five Thousand Ideas for a Destructive Date. After his arrest, the Flags website, where this poem was published, went offline and social media accounts were deleted. His poems disappeared from literary platforms Polutona and Sygma, and his name was removed from the Arkady Dragomoshchenko.

Ulunov, born 1997 in Kaluga, studied philosophy in Moscow & St. Petersburg. His research includes Soviet psychiatry, drug use, suicidology & biohacking. He also publishes experimental music. He has been published in Vozdukh, [Translit], Stenograme, GRЁZA, and TextOnly, and was shortlisted for the Arkady Dragomoshchenko Prize (2020). Poet and literary researcher Denis Larionov describes Ulunov’s poem : “Glikeriy Ulunov’s poem “lem-Mikhail Tukhachevsky” can be categorized as those pieces where the author’s attitude towards a literary (linguistic, anthropological) experiment is no less important than the actual conclusion of one. <…> In the poem “lem-(Mikhail Tukhachevsky)”, such an approach is applied to a particular historical collision that to this day is filled with biases. But under this layer, there is a larger, omnipresent in politics issue: power. Discussion of power traditionally creates room for various speculations, and many of them become the bedrock of good literature. But it seems that Glikery Ulunov follows the other direction: depriving the specific historical drama that is smoothly fading away of any historian or source, he displays how violence may appear seemingly out of nowhere, from an airless, semantically unmotivated space, from the void. And that can be truly terrifying.”

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www.tgoop.com/translit_mag/445

106 viewsedited  Aug 31 at 09:19

Yesterday the poet Glickeriy Ulunov has been arrested in Saint Petersburg, accused of organizing activities “aimed at inciting suicide" and encouraged “deviant behaviour.”

This is the first case of the repressive interest to the subfield of experimental poetry, which was always ironically criticised as too opaque, non comprehensible both for "simple people" and for repressive organs (therefore not dangerous hobby at all). Now we see that this undangered zone doesn't exist anymore.

Video released by RIA shows Ulunov acknowledging he wrote the poem Five Thousand Ideas for a Destructive Date. After his arrest, the Flags website, where this poem was published, went offline and social media accounts were deleted. His poems disappeared from literary platforms Polutona and Sygma, and his name was removed from the Arkady Dragomoshchenko.

Ulunov, born 1997 in Kaluga, studied philosophy in Moscow & St. Petersburg. His research includes Soviet psychiatry, drug use, suicidology & biohacking. He also publishes experimental music. He has been published in Vozdukh, [Translit], Stenograme, GRЁZA, and TextOnly, and was shortlisted for the Arkady Dragomoshchenko Prize (2020). Poet and literary researcher Denis Larionov describes Ulunov’s poem : “Glikeriy Ulunov’s poem “lem-Mikhail Tukhachevsky” can be categorized as those pieces where the author’s attitude towards a literary (linguistic, anthropological) experiment is no less important than the actual conclusion of one. <…> In the poem “lem-(Mikhail Tukhachevsky)”, such an approach is applied to a particular historical collision that to this day is filled with biases. But under this layer, there is a larger, omnipresent in politics issue: power. Discussion of power traditionally creates room for various speculations, and many of them become the bedrock of good literature. But it seems that Glikery Ulunov follows the other direction: depriving the specific historical drama that is smoothly fading away of any historian or source, he displays how violence may appear seemingly out of nowhere, from an airless, semantically unmotivated space, from the void. And that can be truly terrifying.”

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