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| 157 NOTES ForeWord 1 From unpublished letter to LH, October 14, 1983. 2 From unpublished letter to LH, May 12, 1985. ArkAdii TroFimovicH drAgomosHcHenko 1 For their poetic friendship, see Jacob Edmond’s A Common Strangeness: Contemporary Poetry, Cross-Cultural Encounter, Comparative Literature (New York: Fordham University Press, 2012), 44–94. drAgomosHcHenko’s russiAn 1 Michael Davidson, Lyn Hejinian, Ron Silliman, and Barrett Watten, Leningrad: American Writers in the Soviet Union (San Francisco: Mercury House, 1991), 40–41. 2 The Complete Tales of Nikolai Gogol, trans. Constance Garnett and Leonard J. Kent (Chicago: University of Chicago Press, 1985), 2:313. 3 Obfuscation of deixis is one of the more international features of Dragomoshchenko’s poetry. Jonathan Culler describes Ashbery’s “play with personal pronouns and obscure deictic references which prevent the reader from constructing a coherent enunciative act” as “one of the principal ways of questioning the ordered world which the ordinary communicative circuit assumes” (in his Structuralist Poetics: Structuralism, Linguistics, and the Study of Literature [Ithaca, NY: Cornell University Press, 1975], 168–69). 4 Stephen Owen, “What Is World Poetry?” The New Republic, Nov. 19, 1990, 28–31; and “Stepping Forward and Back: Issues and Possibilities for ‘World’ Poetry,” Modern Philology 100, no. 4 (May 2003): 532–48. 5 Stephanie Sandler, “Arkadii Dragomoshchenko, Lyn Hejinian, and the Persistence of Romanticism,” Contemporary Literature 46, no. 1 (2005): 20–21. ...

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