Aigi Gennady Nikolaevich - (b. 1934), Russian poet, translator. He also writes in the Chuvash language. In poetry (collection "In the Name of the Fathers", 1958; "Poems 1954 1971", 1975; "Marked Winter", 1982; the latter two were published abroad; "Here", 1991), which was influenced by the French ... encyclopedic Dictionary
AIGI Gennady Nikolaevich - (b. 1934) Russian poet, translator. He also writes in the Chuvash language. In poetry (collections In the Name of the Fathers, 1958, Poems 1954 1971, 1975, Marked Winter, 1982, the last 2 published abroad), which was influenced by French poetry ... ... Big Encyclopedic Dictionary
Aigi, Gennady Nikolaevich - AIGI Gennady Nikolaevich (born in 1934), Russian poet, translator. He also writes in the Chuvash language. In poetry (collections “In the Name of the Fathers”, 1958, “Marked Winter”, 1982, “Now Always Snow”, 1992), which was influenced by the French poetic ... ... Illustrated Encyclopedic Dictionary
Aigi, Gennady Nikolaevich - (Lisin). Poet; born August 21, 1934 in the village of Shamurzino in Chuvashia; graduated from the Literary Institute. Gorky; recognized as a classic of Chuvash literature; collections of poems were published in West Germany and in France ... Big biographical encyclopedia
Aigi Gennady Nikolaevich - ... Wikipedia
Gennady Nikolaevich Aigi - ... Wikipedia
AIGI - Gennady Nikolaevich (born in 1934), Russian poet, translator. He also writes in the Chuvash language. In poetry (collections In the Name of the Fathers, 1958, Marked Winter, 1982, Now Always Snow, 1992), which was influenced by French poetic culture, ... ... Modern Encyclopedia
AIGI - Gennady Nikolaevich (born 1934), Russian poet, translator. He also writes in the Chuvash language. In poetry (compiled in the Name of the Fathers, 1958, in the Chuvash language; Verses 1954 71, 1975, Marked Winter, 1982, the last two published abroad; Here, 1990) ... Russian History
Aigi G.N. - AIGI Gennady Nikolaevich (b. 1934), Russian. poet, translator. He also writes in Chuvash. lang In poetry (compiled in the Name of the Fathers, 1958, in Chuvash language; Verses 1954–1971, 1975, Marked Winter, 1982, the last two publishes abroad; Here, 1990), ... ... Biographical Dictionary
Aigi - Aikhi (Ihi; Harsomtus) the ancient Egyptian god of music. Aigi, Gennady Nikolaevich (real name Lisin; 1934 2006) Russian, Chuvash poet Aigi, Alexey Gennadievich (born 1971) his son, Russian violinist and composer ... Wikipedia
The art world of Gennady Aigi
Accomplished by: teacher of the Russian language and literature, MBOU “Malokibechskaya Secondary School named after A.Ya. Yakovlev” of the Kanash district of the Chuvash Republic Egorova Tatyana Gennadevna
Embroidery - in dance - is on you! Either cornflowers bow whether swallows chirp.
Aigi about his origins
“My father, a teacher, wrote poetry, they were printed in anthology, he was one of the first to translate Pushkin into Chuvash. No one in Chuvashia had such a library as my father. From childhood he taught me the Russian language, there were days when we spoke only in Russian. He read me aloud Pushkin, Lermontov, Krylov ... He loved to sing ... "
G.Aigi - laureate
1987 - Andrey Bely Prize
1987 - Prize to them. Vasleya Mitta (Chuvashia)
1989 - Prize of the Polish PEN Club
1972 - French Academy Award
1993 - Petrarch Prize (Germany)
1998 - the highest French prize in the field of culture (Commander of the Order of Literature and Art)
19 90 g. - Chuvash State Prize to them. K. Ivanova
19 9 3 g. - “Golden Crown” award of Struzsky Poetry Evenings (Macedonia)
1994 - awarded the title of People's Poet of Chuvashia
1996 - Prize to them. Norbert Caser (Austria-Italy)
2000 - Pasternak Prize (first winner)
2004 - Prize of the magazine “Children of Ra”
200 6 g. - One of the nominees for the Nobel Prize in literature.
Life is silence Poetry is silence G. Aigi
Aigi's pioneering work
R. Jacobson
Shamanism
The old oak tree is silent crows cry the wind is beating, the rain is whipping aaaaaa - escaped pain, resentment, bitterness, black, black ... white shine Rainbow, cloud, white Shine Stars, space Far away ... And here is life, warmth Light oh ...
The main motives of Aigi's poetry
Dream and Jaw
Signs ":", "-" and "+"
Light and Shadows (G. Aigi has no black color. This color is replaced by Shadow)
Field and Forest (The field is inhabited by divinity, it is close to the heavenly gods.
Snow and wind
Rose and Chamomile
Candle and Circle
http://menippeja.narod.ru/portL4.html
LITERATURE
G. Aigi “Continuation of Departure”. M. 2001
Gennady Aigi “Conversation at a distance” St. Petersburg. 2001.
Gennady Aigi "Bow to singing." M., 2001.
Gennady Aigi “The World of Sylvia”. From a and b, 2001
Yuri Mineralov. Verlibre (free verse)
http://www.russian-globe.com/N9/MineralovVerlibr.htm
From the book of fate. Gennady Nikolaevich Aigi (surname at birth Lisin, then changed his surname to his family name - Aigi), Chuvash.
August 21, 1934, Shaimurzino, Batyrevsky district, Chuvash Autonomous Soviet Socialist Republic - February 21, 2006, Moscow).
Famous Chuvash and Russian poet, translator. The elder brother of the writer Eva Lisina, the father of the composer, violinist and musical figure Alexei Aigi, as well as actress and VJ Veronica Aigi.
One of the leaders of Soviet avant-garde art of the 1960-1970s, the creator of Russian poetic surrealism. He made a huge contribution to the popularization of Chuvash poetry and Chuvash culture in the world.
Winner of the Andrei Bely Prize (1987), Pasternak Prize (2000, first laureate), French Academy Prize (1972), Petrarch Prize (1993) and others. Commander of the Order of Literature and Art (1998).
N tall, chunky, maybe more correct - chunky (?) - for from the root, with a shock of grayish hair, a sunken, angular face, mottled with deep wrinkles, amazing piercing, with a slight slyness, look - no, I don’t remember it - I sunk he is in soul, Aigi.
On the eve of my departure from Paris to Grenoble, having looked at a friend, the artist Nikolai Dronnikov, I listened, as he, laying firewood in the fire of the fireplace, he strongly repeated - first who to see - Aigi. Seemingly not having missed a single noticeable meeting with fellow countrymen - writers, poets, musicians, Nikolai, who worked wonderfully in various genres and techniques, especially earned the portrait of an emigrant in Russian Paris, although he did not ignore visiting guests like Vysotsky or Richter ...
Aigi! Do not forget about him ! Nikolai repeated, as if I were not going on a business trip as a journalist and presenter of literary programs of the Russian editorial office of the RFI, but as a neophyte who was discovering an unfamiliar world. The care was naive and touching at the same time. Knowing, of course, that he took part in the publishing work on the publication of Aigi's first collection in France, “Marked Winter” 3 , then, if not earlier, determined by some unknown horoscopes in Aigi - genius , take offense at his desire to “push” me to the poet should not.
Meanwhile, what I read in "Marked Winter", and before that in the German edition of "Poems 1954-71" 4 , no matter how echoed in my soul, it seemed largely far-fetched. Syntax gained. Whether my deafness affected such innovations, or - after all, I loved many things of Khlebnikov, David Burliuk, early Mayakovsky, Shershenevich, Krucheny — there was something else, I confess, I don’t know. It’s only true that Aigi’s poetry was really imbued, poetry at its core very bright and deeply tragic, during a direct meeting with the author, hearing how he reads his texts - quietly, often on the verge of a whisper, with pauses in which and the steppe space breathed, with the accent of consonants, sounding like distant beats of a tambourine, lingering, like an echo, vowels ... It was in the mouth of Gennady that his dots, brackets, unusual colons, unusual spaces and line breaks turned for m AEs of grammatical signs, paper - in the category of some of the new realities. Hearing and sight revealed a unique gift of the master. Apparent emptiness, absence - filled with sound, content, meaning. The meaning of many faces. A tree in a cold garden, snowy fields, sky highs, knocking, creaking, shouting - everything, echoing, forming unity, received a divine status, in the sense of not religious, but creative, when the artist, using his material, embodies the ecstasy of merging with the world others or those who - from memory, from pramapyati - felt, realized.
Discovering himself, Aigi opened a new world for me. Turned reality into a mirage. A mirage is a reality.
At the same time, penetrating his figurative system or, in some cases, only getting closer to understanding what the author wanted to say, still I can not understand how he nevertheless earned the glory of a great Russian poet different languages - from England to Japan, for translating what even in the Russian language is sometimes half-hinted at is not that difficult, but ... to put it more precisely: not obvious...
Self worth. That is, a certain isolation, which has an internal meaning, logic, independence of existence. This understanding regarding text units is not always obvious. Sometimes yes. Sometimes not. Included in the collection “Captured Voices”, under the heading “In Search of a Valuable Word”, my interview with Gennady provoked quite a negative reaction from him precisely because of this. “For me there is no“ intrinsic ”word! It’s necessary to change the name, ”he wrote to me. He wrote, alas, when the publication, which had two sources, and, in principle, exactly reproducing questions and answers, took place, and in the same letter made some changes, which also became difficult to fulfill 5 . I have no desire to specifically discuss this topic. Perhaps that might make sense - with him. With Gena. The departed is not returned. Not for the history of our relations, not for that - for understanding some of his views, this is probably curious.
December Grenoble. A city whose walls of old houses and fountains are remembered by Stendhal; a city which the Alps come close to, protecting it from through winds and creating some special, airy bluish-gray atmosphere. How did a person feel, having been akin to the horizontal (steppe) since childhood, in the neighborhood of verticals (mountains)? What did Aigi feel when he first found himself not just abroad, but in France, the country he loved, the culture, whose literature he blessed? Still, his first significant publication, published in Cheboksary in the Chuvash language, was: “France Poetsyesam” - an anthology of French poetry of the XV-XX centuries. Among friends in the 60s and 70s, a lot turned out to be from France: Leon Robel, Antoine Vitez, Rene Chard, Henri Michaud, Veronica Losskaya ... What is essential and important, however, is that, related to Gennady friendly, they were not always close to each other, and sometimes even preferred to keep their distance from each other ... Nevertheless, open to contacts, friendly and simple, Gennady did not seem to notice or did not want to notice such disagreements between them , I was glad to all of them, I was glad to various new meetings. But maybe, as it seemed to me, of all whom he met then in Grenoble, Vadim Kozova, an old Moscow friend who emigrated to France, turned out to be closer and more expensive than others. A man with the fate of a political prisoner of the post-Stalin era, an amazing connoisseur of French literature, has for many years been closely - sincerely, intellectually - also connected, say, with Shar and Michaud, like Gena was friends with Khardzhiev, writer, translator, scientist, poet, Vadim appeared the other day “ Russian poets ”as a member of the French delegation, but, of course, was a master - Russian, European ...
Gena and Vadim ... Two outcasts, two big poets of Russia "on the sidelines", two - never hustled around near the state tubs. Alienated by the authorities, not appreciated during their lifetime ... How good that there, then they could be there! 6
In the framework of poetry, I remember (this is all about the same Grenoble), how a large company all went to the Sainte-Marie-d’en-Haut church. Twilight under the arches, a small platform with a microphone illuminated by bright lamps, to which poets approach. So Vadim ... I’m sitting in one of the not very close ranks. I'm listening. Suddenly, nearby - in a whisper - either a question, or a replica of Voznesensky sitting next to me and leaning towards me: “I just can’t understand: Kozova - present poet?..".
Why does something emerge from the past, something remains in the shade?
Aigi in Grenoble. Somehow it was especially imprinted in my memory there. Is it because this was the very first meeting, stretched out over several days, and the rest seemed to fall into a rut of acquaintance. However, it is probably better, more precisely, to talk not about “track” - about flash meetings. The next, after the Alps, in Paris, at the Radio House where Gennady (along with Voznesensky), at my initiative and request, took part in a concert concert - in solidarity with the victims of the earthquake in Armenia 7 ...
About some other such "outbreaks" - a little further.
I’ll make a small digression here about Dronnikov. Having made friends with Gena over the past years, Nikolai painted and painted, in his own words, four hundred portraits of the poet, and released in small man-made circulations a whole mountain of his collections - so: the beginning of their personal acquaintance began precisely after the Armenian evening at the Radio House. When the transfer was over, a small company — my wife and I, Nikolai, Gennady and the Sorbonne professor Michel Okuturie went to our house, in the suburbs of Creteil. There were then many different conversations, and poems ... And the photographs remained as a keepsake - one often flashes on the Internet (Nikolai, Gennady and I). My wife made it.
Crete! Yes, also a point on the memory card. 17th floor. Panorama of the road to the lake - a little to the left. Left that night with us to spend the night, the next day, Gene, wrote two or three lines on several sheets of “Double Fields” 8 :
i have you - truly - d aboutma! -
and - yetё yesterday was
- over Creteil: such a moon! -
as if a part was breaking off -
"Russian" - or something -
souls! ..
like this, -"You have to live" ... -
and why - exactly "necessary"? ..
here you are,
Evelina, Vitaliy, -
was - Aigi.
The dream is France.
Later, in turn, I mentally addressed him:
... I hear and see, Gene, as a sheet of your field-steppe
rushing wordsherds
like a bonfire, dancing in shamanic style with a shadow,
dots and dashes hit the tambourine of the moon.
That bareёeye, then in the cloud, as if in a Tatar robe,
she was known in your landё Polovtsy ...
And mine, like a lantern from Silence, in Creteus December
do you remember? .. 9
By the way, in Creteil, however, in a different quarter, a wonderful artist Misha Roginsky, also one of Gena's old acquaintances, lived in those days. It was to him, on his first visit to Paris, that he was tired of the care of Leon Robel, who sheltered him (Robel did not like that the poet, without warning him, often went to various old friends - the obvious enemies of the Soviet government, immigrants, sometimes drank 10 ...) - Gene escaped. I don’t remember exactly how much time he spent on such races, but because of Roberl’s passport and ticket left at home 11 all the same, he couldn’t stay with Misha for a long time. Today, recalling this episode reminiscent of a vaudeville (with some things Genin stuffed into a suitcase and bags in a hurry, with the stomp of feet and screams in the front door), I smile. Then there was a feeling of bitterness.
Yes, it’s leaving, time is running out ... Something, looking around, I see, something is not.
Aigi in Paris ... Already not in Paris of his first steps, but in the developed space, where he began to visit in the 90s not so rarely. At this stage, unfortunately, I do not remember the exact dates of all places. Everything is sketchy here: again, meetings at our house and at Nikolai's, at speeches, presentations ...
Here - we go through the Latin Quarter, chatting about ... about nothing, about some nonsense. Nothing happens - puddles, lights, just fine ...
Here - in one of the Paris unofficial offices, where in Soviet times it was possible to get banned publications in Russian for free ... With trembling and joy, Gennady takes Imkov’s publications of Shalamov, books of Russian philosophers and theologians ...
Here - where I don’t remember how the awl came out of the bag, the question crawls out: “Listen, how is Misha Geller doing? We must go to him ... ". Misha is Mikhail Yakovlevich Geller ...
Here is the evening of Genes in Bobur - a beautiful poster made by Nicholas ...
Here - at the foot of the Montmartre hill, in “La Halle Saint-Pierre”, again poems, in the same place - Alexei, the son of Gena, raises a blizzard in the hall, everything is spinning, as in some Chagall canvases! ..
Not being familiar with Gena in Russia, during our meetings in France, of course, I asked to tell how he managed not only to save himself - the personality and the poet in not the most favorable
for culture and free creativity, to break the ice of problems, bearing in mind, albeit not very large, but still full-fledged publications - at home. The memory retained individual episodes from these stories, and I already tried to restore one of them with the closest approximation, like - oh, joy! - looking through his archives, he found Genins, which turned slightly yellow from time to time, pages - the answers to my questions. Having typed everything on a typewriter, with hand-made inserts in some places, he called them “Proposal for a conversation”, setting the date: July 25, 1990
g
. Unfortunately, I did not save the questions that he answered at my request (it was a letter from Moscow), so here I’ll outline them approximately in order to give the old dialogue a certain structure. As usual, those who kept in their personal address “you”, in any interview in front of the microphone or for the press, respecting our listener and reader, we communicated on “you”. So, the lines of Aigi that have not been published so far, with the absolute observance of the original (including quoted and underlined words, punctuation marks, etc.):
As for the "ice of problems" ... I'm already tired of talking about this topic. In the Russian-speaking sphere, with my “unacceptable” poetics, I spoil, as before, both the homegrown gray game of poetry and the “neoclassical”.
There is much talk now about "modern unified Russian poetry." It really is one, - apart from all the positive, and with one feature - all-encompassing provincialism. Who argues in Europe about the "verlibre", about "today's avant-garde"? We woke up too late (if at all).
Editors, publishing policy in the USSR — all this, perhaps, is only something secondary. The main thing: our society at all aggressive towards an unusual word that is identified with something alien and dangerous. And now ... - let them begin to get used to, meeting with such a word at least occasionally - at least somewhere.
I was published here only in a few peripheral magazines. Of the "thick" magazines - only "Friendship of Peoples", after two years of studying my "abnormalities", they considered that "this" somehow happens. In general, I stayed for many years, recalling Faulkner's words that "we had to learn to write by ourselves, according to our ideas, and not in the way that was customary."
- Well, how did it work in a constrained space?
- We / I mean the writers and artists of our second, “underground culture” / are used to living for decades zekovsky principle: "Do not wait, do not ask, do not hope."
I did not go along with requests to Soviet magazines and publishers; my poems were sent back and forth by friends. And now, two and a half years ago, they began to prepare my book at the Sovremennik publishing house.
I did not ask anything from the publisher, but soon violated two other conspiracy convictions: I began to wait, to hope.
The book was to be published, according to all sorts of promises, a year ago. Finally, in May of this year they said that there was no paper.
“There is no paper” ... this is so, and not so. There is always and everywhere paper for “my own people”, and I, apparently, will never be relieved of the feeling of my strangeness to any Soviet institution-institute / be it a publishing house, be a Writers' Union, all these institutions are still like a police station for me /.
In short, it is now completely unclear whether my book will ever be published at the Sovremennik publishing house in Moscow. 12 .
- Is the Union of Writers Neverinam not helping, not helping?
The Writers' Union is indifferent to me, just as I am to it.
The only thing: reckoning with European cultural organizations, the Foreign Commission of the Writers' Union, since the end of 1988, has been issuing visas for my trips abroad, completely at the expense of the invitations. Sometimes they refuse, as they were not a member of the Union / they didn’t let me go to Germany, Yugoslavia last year /.
- Vernёms to poetry. If you were asked how to determine its quintessence, eё specifics?
The specifics of poetry? Apparently, saying “straight away” - attention to life. And for the expression of this, to some extent, to be needed - for others.
- The relationship of poetryand- ideas, ideologies?
There, outside my window, a birch lives and dies patiently. I would like to learn to die patiently as well. In what has been said there is some semblance of an “idea." And ideology is something completely different. There is a certain degree of organization of the “powers that be” in the name of the “prosperity” of societies at their discretion, to suppress them — for the sake of their own “non-non-integrating” power.
Is “Ideology” Heaven and Earth? And I would like to live with them. Is there something “religious” about this? Well, the “truth”, understood “religiously”, is also not an ideology.
- The current changes in the country - do they somehow affect your inner worldview?
No "perestroika", no "glasnost" does not change the long-standing channel of my life-sustaining, say, in the "creative-existential" sense. It can interfere. And my “work” —to prevent these forces / “perestroika” and “glasnost” / from invading the ongoing latent movement of my creative destiny — nothing external should violate its internal isolation. That is all. And the “new trends” in publishing houses ... I’m as far from them as before, I understand little of what.
No matter how difficult the situation in Russia is in the recent past, and whatever changes may come ahead, in the West many already know the poet Aigi ... How much was inam it important to publish abroad?
The role of Western publishers in my life was truly saving. I knew that I needed at least somewherenevertheless, the responses of unknown “souls and hearts” reached. The most important publication was the first russian edition Professor Wolfgang Cossack of my book, he saved me not only in “relevance”, but also in “perspective” / although the book “acted” in a very limited area, but it - existed/.
- It is difficult to talk about a life lived outside its whole course. But everyone has some especially unforgettable moments. If possible, about them ...
A wonderful, "paradise" childhood with his father - friend, "patron", poet / he, a rural teacher, was one of the first translators of Pushkin in the Chuvash language /. Starting from the age of five, he intensively taught me the Russian language.
The depressing loneliness without him / my father died at the front in 1943 /. For several years I went to the field - is my father walking along the road ... is he coming back?
Then - the terrible famine of 1946. A third of our village has died out. People fell and died right on the streets. I experienced an unprecedented feeling - the lack of pity for them.
Mother who died early. Perhaps her image is generally central in all of my poetry. All compassion for people / as much as possible for me / was embodied in what I once said: “In general, people for me, in the end, it’s just the torment and suffering of my mother in what it was - Anti-Life. "
match could whisper and candle
The world was taking in - and it seemed that the crumbs
at dusk, comforting bread
light - to the outgoing hearts
(... and why not? ..) - and the hand aggravated with silence
more and more “visible”:
eye
as if to a spring ... - falling ... - (traces began
grainy
the first
gliding - uphill!
- ... rustle - His conversation ... through us
here: with the World)
Instead of writing
with about l I m and t in about and m and - when
like a saw
malevichian
among the roses of Raspaya ... - and this message
from the plain of Tver
more than just “mine”! - as if crow-word
in old snow! .. (you and I are my friend
burying myself
yet - surikovskie)
Waiting in Ivry
and - again yours
entry into a Paris apartment
as if
self-collecting in the air
fog-and-dust)
the temple - "some" Tula ... and
to me drowning
in snow-wormwood sorrow ... oh dream:
crumbling arm
(as if
in a human building)
Friend - in blooming fog
monet’s sadness ... - about to
from faraway-ros-sy-sky-shards
approximation-dream ... this is all-after-all
("No matter what")
Build-Build ..... - (canvas on the wall
as if by old hat
cart movement).
Gennady Nikolaevich Aigi was born on August 21, 1934 in the village of Shaimurzino in Chuvashia. Until 1969, he had the surname Lisin, which his father, a village teacher, translator of A.S. Pushkin into the Chuvash language, received in Soviet times in the process of "Russification". Aigi's maternal grandfather was the last priest in the village. One of the poet’s ancestors uttered the Chuvash word “haikhi” (“over there”), omitting the initial sound - this was the origin of the family nickname “Aigi”, which later became a “programmatic artistic name” for the poet.
After graduation, he worked in the State Museum of V.V. Mayakovsky senior bibliographer. Gennady Aigi He began to write poetry in Chuvash, was influenced by M. Sespel (1899–1922) and P. Khuzangay (1907–1970). Great value for G. N. Aigi had meetings with B.L. Pasternak, who advised the young poet to switch to Russian. The rapprochement with Boris Pasternak attracted the attention of Soviet special services to Aigi, under the pressure of which he was expelled from the institute in 1958 "for writing a hostile book of poems that undermines the foundations of the method of socialist realism."
The first poems of G. Aigi were published in the magazine Yalav in 1949, the first book of poems Attesen yachěpe (In the Name of the Fathers) was published in 1958. In 1961, the poet’s poems appeared in Russian translation on the pages of the Literary Newspaper. In 1991, the Russian publishing house Sovremennik, with a foreword by Evgeny Yevtushenko, published Aigi's book of selected poems, “Here,” and a year later, “Soviet Writer,” “It's Always Snow Now.”
For a long time, Russian poems by Gennady Aigi were published only abroad. His first big book - “Poems 1954-1971” was published by Wolfgang Cossack in Munich in 1975. In 1982, M.V. Rozanova published a collection of Aigi's poems “Marked Winter” at the Syntax publishing house (Paris). Since 1962, Aygi's poems began to be published in translations into foreign languages, first in periodicals, and since 1967 - in book editions in Czechoslovakia, Germany, Switzerland, France, England, Poland, Hungary, Yugoslavia, the Netherlands, Sweden, Denmark, Bulgaria, Japan. The most complete publication of the poet's texts to date is the collected works in two volumes, published in German in Vienna in 1995 and 1998. Being well known abroad, Aigi was able to visit abroad for the first time only in 1988 and since then has taken part in many poetry festivals, symposia, and cultural events.
In the work of Aigi, the strong influence of Chuvash and other Volga folklore, in general folk culture; Aigi constantly turns to the oldest archetypes of popular consciousness. At the same time, Aigi directly continues the tradition of the Russian and especially European poetic avant-garde, which can be seen, in particular, from the very special role that the visual-graphic design of the text plays in his poetry, the author’s punctuation system, which is very different from the spoken syntax ..
In 1990, G. Aigi was awarded the K.V. Ivanov State Prize of the Chuvash Republic, in 1994 he became the People's Poet of Chuvashia, and in 1997 - Honorary Doctor of the Chuvash University. Among his international awards are the F. Petrarch Prize (Germany, 1993), the Golden Crown of Struggle Poetry Evenings (Macedonia, 1993), the Norbert Caser Prize (1996, Italy), and the title of Commander of the Order of the Arts and Literature (France, 1998) , Laureate of the first prize of B. Pasternak (Moscow, 2000).
Poet Gennady Aigi He was buried on February 24 in the cemetery of the village of Shaimurzino, Batyrevsky district of Chuvashia, near the grave of his mother and grandfather. Despite the cold weather, the whole village came out to say goodbye to his illustrious countryman. The villagers carried Gennady Aigi to the cemetery in their arms along the street where the poet was born 71 years ago. In a farewell, the poet’s sister Eva Lisinai apologized to the village for the fact that Gennady Nikolayevich could not be at home often, but his work without Shaimurzino would have been different: there would have been no hazel and those fields. Eva Nikolaevna noted that it was not the people who were responsible for the persecutions that haunted the Aigi family.
Aigi Gennady Aigi Career: PoetGennady Nikolaevich Aigi was born on August 21, 1934 in the village of Shaimurzino in Chuvashia. Until 1969, he had the surname Lisin, which his dad, a village teacher, translator of A.S. Pushkin into the Chuvash language, received in Soviet times in the process of Russification. Aigi's maternal grandfather was the last priest in the village. One of the poet’s ancestors uttered the Chuvash word haihi (there he is), omitting the initial sound, that is how the family clique of Aigi arose, which later became a programmatic artistic name for the poet.
Gennady Aigi began to strike verses in the Chuvash style, was influenced by M. Sespel (18991922) and P. Khuzangai (19071970). Since 1949 it was published in the Chuvash periodicals. In 19491953 Studied at the Batyrev Pedagogical College, in 1953, on the advice of Khuzangai, he entered the Literary Institute. A.M. Gorky, where he studied in the seminar of M.A. Svetlov.
In 1958, his first book of poems in the Chuvash language was published, and in the same year he was expelled from the institute for writing a hostile book of poems that undermined the foundations of the method of socialist realism. A year later he received an institute diploma, presenting translations for defense. A great role for G.N. Aigi had meetings with B.L. Pasternak, who advised the young poet to switch to Russian. Settled in Moscow, Aigi in 19611971. worked in the V.V. Mayakovsky State Museum as a senior bibliographer, head of the isosector. Gennady Aigi compiled a complete display of Mayakovsky’s iconography, participated in the organization of expositions of K. Malevich, V. Tatlin and other masters of the Russian avant-garde. Since 1972, he has been engaged only in literary work, combining poetry with translation and compilation. In 1968, he published in translation into the Chuvash language the anthology of the Poets of France, which presents verses of 77 authors of the 1520 centuries. (awarded the 1972 prize of the French Academy). In 1974 he published an anthology of the Poets of Hungary, in 1987 the Poets of Poland. The anthology of Chuvash poetry compiled by Gennady Aigi and provided with his preface appeared in translations into Hungarian, Italian, and British.
For a long time, the Russian verses of Gennady Aigi were published only abroad. The first large book of Poems 19541971 was published in 1975 in Munich; In 1982, the Paris publishing house Syntax published a collection of Aigi's poems Marked Winter. Since 1962, his verses began to be published in translations into foreign languages, initially in periodicals, and since 1967, in book editions in Czechoslovakia, Germany, Switzerland, France, England and other countries.
Since 1987, Gennady Aigi began to be published in his homeland, in 1991 the first book of his poems in Russia was published here. In 1990, he was awarded the State Prize of Chuvashia named after K.V. Ivanova, in 1994 became a national poet of Chuvashia. In 1997, an international conference was held in Cheboksary on the work of the poet, a peculiar congress of aigists around the world. In 2000, Gennady Aigi became the first winner of the Pasternak Prize established in Russia. Among his international awards are the European Petrarch Prize (1993), the title of Commander of the Order of Arts and Literature (France, 1998).
Aigi's innovative work is directly out of the context of Russian literature of the second half of the 20th century. R. Jacobson called him an extraordinary poet of modern Russian avant-garde. It is Gennady Aigi in modern poetry that represents not the modernist and not postmodern, but the avant-garde principle itself (another carrier of which is V.A. Sosnora). Gennady Aigi considers V.A. Khlebnikov, Mayakovsky, K.S. Malevich to be his creative predecessors, awakening in him the attraction to sharpen the poetic language to the utmost.
In the poetry of Gennady Aigi, a transition to the verliber was organically carried out, the one that Yu.N. Tynyanov predicted for Russian poetry back in the mid-1920s. Aigi’s free verse is completely devoid of a hint of experimentalism, it’s not a complication of the metric verse, but the original form of poetry, sometimes reaching utter simplicity in the author’s minimalist works. Gennady Aigi attaches great importance to poetic graphics: the design of the text page is included in the artistic structure of the work.
Poet, critic, publicist, literary critic, associate professor of the Literary Institute. A. M. Gorky.
