Читаем Любит? не любит? Я руки ломаю полностью

Обыкновенно                      мы говорим:все дороги                 приводят в Рим.Не так           у монпарнасца.Готов поклясться.И Рем          и Ромул,                        и Ремул и Ромв «Ротонду» придут                              или в «Дом»[7],В кафе           идут                   по сотням дорог,плывут            по бульварной реке.Вплываю и я:                      «Garcon,                                    un grogamericain!»[8]Сначала              слова                        и губы                        и скулыкафейный гомон сливал.Но вот           пошли                      вылупляться из гулаи лепятся                фразой                             слова.«Тут        проходил                        Маяковский давеча,хромой —                 не видали рази?» —«А с кем он шел?» —                                 «С Николай Николаичем»,—«С каким?» —                       «Да с великим князем!»«С великим князем?                                Будет врать!Он кругл              и лыс,                        как ладонь.Чекист он,                 послан сюда                                      взорвать…» —«Кого?» —                «Буа-дю-Булонь[9].Езжай, мол, Мишка…»                                    Другой поправил:«Вы врете,                 противно слушать!Совсем и не Мишка он,                                      а Павел.Бывало сядем —                            Павлуша! —a тут же              его, супруга,                                   княжна,брюнетка,                 лет под тридцать…» —«Чья?         Маяковского?                                Он не женат».—«Женат —                 и на императрице».—«На ком?               Ее же расстреляли…» —                                                     «И онповерил…                 Сделайте милость!Ее ж Маяковский спас                                    за трильон!Она же ж                омолодилась!»Благоразумный голос:                                   «Да нет,вы врете —                   Маяковский — поэт».—«Ну да,—               вмешалось двое саврасов,—в конце              семнадцатого годав Москве               чекой конфискован Некрасови весь           Маяковскому отдан.Вы думаете —                        сам он?                                     Сбондил до иот —весь стих,                 с запятыми,                                     скраден.Достанет Некрасова                                 и продает —червонцев по десять                                 на день».Где вы,            свахи?                        Подымись, Агафья!Предлагается                      жених невиданный.Видано ль,                  чтоб человек                                        с такою биографиейбыл бы холост                       и старел невыданный?!Париж,            тебе ль,                        столице столетий,к лицу            эмигрантская нудь?Смахни             за ушми                            эмигрантские сплетни.Провинция! —                        не продохнуть. —Я вышел               в раздумье —                                      черт его знает!Отплюнулся —                        тьфу напасть!Дыра         в ушах                     не у всех сквозная —другому             может запасть!Слушайте, читатели,                                  когда прочтете,что с Черчиллем                           Маяковский                                                дружбу вертитили       что женился я                               на кулиджевской тете,то, покорнейше прошу,—                                         не верьте.


1925

Бродвей

Перейти на страницу:

Все книги серии Стихи о любыи

Похожие книги

The Voice Over
The Voice Over

Maria Stepanova is one of the most powerful and distinctive voices of Russia's first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia's political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country's past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. *The Voice Over* brings together two decades of Stepanova's work, showcasing her range, virtuosity, and creative evolution. Stepanova's poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns... Maria Stepanova is one of the most powerful and distinctive voices of Russia's first post-Soviet literary generation. An award-winning poet and prose writer, she has also founded a major platform for independent journalism. Her verse blends formal mastery with a keen ear for the evolution of spoken language. As Russia's political climate has turned increasingly repressive, Stepanova has responded with engaged writing that grapples with the persistence of violence in her country's past and present. Some of her most remarkable recent work as a poet and essayist considers the conflict in Ukraine and the debasement of language that has always accompanied war. The Voice Over brings together two decades of Stepanova's work, showcasing her range, virtuosity, and creative evolution. Stepanova's poetic voice constantly sets out in search of new bodies to inhabit, taking established forms and styles and rendering them into something unexpected and strange. Recognizable patterns of ballads, elegies, and war songs are transposed into a new key, infused with foreign strains, and juxtaposed with unlikely neighbors. As an essayist, Stepanova engages deeply with writers who bore witness to devastation and dramatic social change, as seen in searching pieces on W. G. Sebald, Marina Tsvetaeva, and Susan Sontag. Including contributions from ten translators, The Voice Over shows English-speaking readers why Stepanova is one of Russia's most acclaimed contemporary writers. Maria Stepanova is the author of over ten poetry collections as well as three books of essays and the documentary novel In Memory of Memory. She is the recipient of several Russian and international literary awards. Irina Shevelenko is professor of Russian in the Department of German, Nordic, and Slavic at the University of Wisconsin–Madison. With translations by: Alexandra Berlina, Sasha Dugdale, Sibelan Forrester, Amelia Glaser, Zachary Murphy King, Dmitry Manin, Ainsley Morse, Eugene Ostashevsky, Andrew Reynolds, and Maria Vassileva.

Мария Михайловна Степанова

Поэзия