Читаем Любит? не любит? Я руки ломаю полностью

В сердце              будто                        заноза ввинчена.Я    разомлел,                   обдряб                              и раскис…Выражаясь прозаично —у меня           продрались                              все носки.Кому         хороший носок не лаком?Нога         в хорошем                           красива и броска.И я      иду             по коммуновым лавкамв поисках                 потребного носка.Одни носки                   ядовиты и злы,стрелки             посажены                              косо,и в ногу              сучки,                         задоринки                                           и узлывпиваются                  из фильдекоса.Вторые —                 для таксы.                                   Фасон не хитрый:растопыренные и коротенькие.У носка             у этого                         цвет                                  панихидыпо горячо любимой тетеньке.Третьи            соперничают                                  с Волгой-рекой —глубже            волжской воды.По горло              влезешьв носки-трико —подвязывай                    их                         под кадык.Четвертый носок                            ценой раззори так         расчерчен квадратно,что, раз             взглянув                            на этот узор,лошадь            потупит                          испуганный взор,заржет            и попятится обратно.Ладно,           вот этот                         носок что надо.Носок           на ногу напяливается,и сразу            из носка                          вылазит анфиладасредних,               больших                              и маленьких пальцев.Бросают               девушки                              думать об нас:нужны им такие очень!Они        оборачивают                              пудреный носна тех,            кто лучше обносочен.Найти           растет стараниемужей           поиностраннее.И если           морщинитлба лоно              меланхолическая нудь,это не значит,                        что я влюбленный,что я мечтаю.                       Отнюдь!..Из сердца                 лирический сор                                           гони…Иные          причины                          моей тоски:я страдаю…                    Даешь,                                госорганы,прочные,                впору,                           красивые носки!


1928

Заграничная штучка

Париж,             как сковородку желток,заливал             электрический ток.Хоть в гости,                     хоть на дом —женщины                тучею.Время —               что надо —распроститучье.Но с этих ли                     утехфранцузу                распалиться?Прожили, мол,                        всех,кроме           полиции.Парижанин                    глух.Но все           мусьиподмигивают                      на углубульвар де Капюсин.Себя        стеляидущим              дорогою,на двух             костыляхстоит          одноногая.Что       была                за будущность?Ну —          были ноги.Была         одной из будочницжелезной                дороги.Жила,          в лохмотьях кроясь,жуя       понемногу.И вдруг             на счастье                              поездей     срезал ногу.Пролечена                 выплата.Поправлена                    еле,работница                  выплюнутабольницей                  в панели.Что толку                в ногатых?Зеваешь,               блуждая.Пресыщенность                          богатыхбезножье                возбуждает.Доказательство —                              налицо.Налицо —                 факт.Дрянцо             с пыльцой,а девушка                  нарасхват.Платье            зеленоевыпушено                  мехом,девушка               определеннопользуется                  успехом.Стихом             беспардоннымпою,         забывши                         меру —как просто                  за кордономсделать             карьеру.

1929

Парижанка

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