BAKU and TWO MOSCOWS

VLADIMIR MAYAKOVSKY TRANSLATED FROM RUSSIAN BY CLAIRE ROOSIEN

Art by Tim Peters

  • Баку


    Баку.
    Город ветра.
    Песок плюет в глаза.
    Баку.
    Город пожаров.
    Полыхание Балахан.
    Баку.
    Листья — копоть.
    Ветки — провода.
    Баку.
    Ручьи —
        чернила нефти.
    Баку.
    Плосковерхие дома.
    Горбоносые люди.
    Баку.
    Никто не селится для веселья.
    Баку.
    Жирное пятно в пиджаке мира.
    Баку.
    Резервуар грязи,
            но к тебе
    я тянусь
        любовью
             более —
    чем притягивает дервиша Тибет,
    Мекка — правоверного,
              Иерусалим —
                   христиан
                            на богомолье.
    По тебе
        машинами вздыхают
    миллиарды
          поршней и колес.
    Поцелуют
         и опять
             целуют не стихая,
    маслом,
        нефтью,
            тихо
               и взасос.
    Воле города
          противостать не смея,
    цепью сцепеневших тел
    льнут
       к Баку
          покорно
              даже змеи
    извивающихся цистерн.
    Если в будущее
            крепко верится —
    это оттого,
         что до краев
    изливается
          столицам в сердце
    черная
        бакинская
              густая кровь.

     

     

     

      *  

     

     

     

    Две Москвы

     

    Когда автобус,
           пыль развеяв,
    прет
      меж часовен восковых,
    я вижу ясно:
          две их,
    их две в Москве —
             Москвы.

     

             1

     

    Одна —
        это храп ломовий и скрип.
    Китайской стены покосившийся гриб.
    Вот так совсем
           и в седые века
    здесь
       ширился мат ломовика.
    Вокруг ломовых бубнят наобум,
    что это
        бумагу везут в Главбум.
    А я убежден,
          что, удар изловча,
    добро везут,
          разбив половчан.
    Из подмосковных степей и лон
    везут половчанок, взятых в полон.
    А там,
       где слово «Моссельпром»
    под молотом
           и под серпом,
    стоит
       и окна глазом ест
    вотяк,
       приехавший на съезд,
    не слышавший,
            как печенег,
    о монпансье и ветчине.
    А вбок
       гармошка с пляскою,
    пивные двери ляскают.
    Есенины
         по кабакам,
    как встарь,
         друг другу мнут бока.
    А ночью тишь,
           и в тишине
    нет ни гудка,
          ни шины нет…
    Храпит Москва деревнею,
    и в небе
        цвета крем
    глухой старухой древнею
    никчемный
        черный Кремль.


             2

     

    Не надо быть пророком-провидцем,
    всевидящим оком святейшей троицы,
    чтоб видеть,
          как новое в людях роится,
    вторая Москва
           вскипает и строится.
    Великая стройка
            уже начата.
    И в небо
        лесами идут
    там
      почтамт,
    здесь
       Ленинский институт.
    Дыры
       метровые
            по́том поли́ты,
    чтоб ветра быстрей
              под землей полетел,
    из-под покоев митрополитов
    сюда чтоб
         вылез
            метрополитен.
    Восторженно видеть
              рядом и вместе
    пыхтенье машин
            и пыли пласты.
    Как плотники
           с небоскреба «Известий»
    плюются
        вниз
           на Страстной монастырь.
    А там,
       вместо храпа коней от обузы
    гремят грузовозы,
             пыхтят автобу́сы.
    И кажется:
         центр-ядро прорвало̀
    Садовых кольцо
            и Коровьих вало́в.
    Отсюда
        слышится и мне
    шипенье приводных ремней.
    Как стих,
         крепящий бо́лтом
    разболтанную прозу,
    завод «Серпа и Молота»,
    завод «Зари»
          и «Розы».
    Растет представленье
               о новом городе,
    который
        деревню погонит на корде.
    Качнется,
         встанет,
             подтянется сонница,
    придется и ей
           трактореть и фордзониться.
    Краснеет на шпиле флага тряпица,
    бессонен Кремль,
             и стены его
    зовут работать
           и торопиться,
    бросая
       со Спасской
             гимн боевой.

  • by Claire Roosien

    The first of two poems Mayakovsky wrote under the title “Baku,” the poem presented here was published in the Russophone Baku Worker newspaper in 1923. It commemorates the third anniversary of the reopening of the oil industry in the Caucasian city of Baku after it was shut down during the Revolution and ensuing war. Born and raised in modern-day Georgia, Mayakovsky was no stranger to the Caucasus and had passed through Baku as a child. He represents the city as an almost uninhabited wasteland that paradoxically becomes a site of metaphorical pilgrimage, exoticized through the image of the “dervish of Tibet.” For Mayakovsky, Baku is entirely a source of raw oil, the “black/ thick/ blood” that fuels the metropolitan buses and factories he describes in “Two Moscows.” Baku workers had been leading revolutionaries, working to establish a multiethnic democratic socialist republic. Mayakovsky’s poem elides this history; its sole reference to the inhabitants of Baku is a racialized synecdoche: “hump-nosed people.” If the poem objectifies the people of Baku, it anthropomorphizes the oil industry. In a highly erotic image, the oil pumps “sigh” and “kiss” the earth as they “suck” oil and petroleum from the ground. Baku becomes the beating heart of the Soviet Union, pumping its black blood to the “heart of the capitals,” which, for Mayakovsky, becomes Baku’s raison d’être.

    Published in Izvestiia newspaper in 1926, “Two Moscows” counterposes  a modern Soviet Moscow with a decrepit and backward Moscow of the past. The Russian futurist and revolutionary poet constructs this opposition through a succession of paired images: the moving bus and the “waxen” chapels; the advances of modern industry (Mosselprom, Glavbum, Fordsons) and the brutalities of medieval warfare; the Izvestiia skyscraper and the Strastnoi monastery. He conveys his sense of a radical break with the past through a series of nigh blasphemous images: carpenters spitting down on the monastery, the Moscow metro “coming out from under” the chambers of church hierarchs, the description of the “good-for-nothing black Kremlin”—the latter, a turn of phrase that was redacted in subsequent Soviet publications. Despite its messages of progress and equality, Mayakovsky’s revolutionary vision retains an imperial vantage point, identifying the Votyak—a representative of a non-Russian ethnic group from the Middle Volga region—with the backwardness of old Moscow.

    Vladimir Mayakovsky was born in 1893 in the Kutaisi region of Georgia, which was then part of the Russian Empire. He moved with his family to Moscow in 1906 and quickly became politically active, joining the Social Democratic Labor Party as a young teenager and spending several stints in prison for his political activities. He became associated with the futurists in the 1910s; the manifesto he co-authored in 1912, “A Slap in the Face of Public Taste,” set the tone for his later work, which was both iconoclastic and formally daring. After the Revolution of 1917, he quickly emerged as a leading figure in establishing a revolutionary idiom in the literary arts and graphic design. In his signature “stair-step” lines, he wrote many poems on revolutionary themes, but also love lyric, children’s verse, and even marketing slogans. He also penned a travelogue, The Discovery of America (1922), and two satirical plays, The Bedbug (1928) and The Bathhouse (1929), before dying by suicide in 1930.

    Claire Roosien is an Assistant Professor in the Department of Slavic Languages and Literatures at Yale University, specializing in the culture and politics of modern Central Asia and the Soviet Union. She is currently completing work on her first book, Socialism Mediated: The Making of Soviet Culture in Uzbekistan. She has also published several translations of poetry and prose from Uzbek. This is her first published translation from Russian. 

Baku

 

Baku.
City of wind.
Sand spits in the eyes.
Baku.
City of fires.
The blazing of the Balakhans.
Baku.
Leaves—soot.
Branches—wires.
Baku.
Streams—
  inky oil.
Baku.
Flat-roofed houses.
Hump-nosed people.
Baku.
No one settles here for fun.
Baku.
An oily stain on the jacket of the earth.
Baku.
Reservoir of mud,
  but to you
I am drawn
          with love
              greater—
than draws the dervish of Tibet,
than Mecca draws the pious,
    than Jerusalem—
          Christians
            to prayer.
For you
  billions
of pistons and wheels
           sigh as machines.
They kiss
and again
        kiss, without stopping,
quietly 
sucking
    with oil
      and petroleum.
Not daring to resist
      the city’s will,
in a chain of enchained bodies
even the snakes
of writhing cisterns
        flow
          to Baku
      submissively.
If I believe
  firmly in the future—
it is because 
     there pours out
to the very brim
      to the heart of the capitals
Baku’s
black
      thick blood. 

  

* * *  

 

 

Two Moscows

When a bus,
                      dispersing the dust,
moves 
             among the waxen chapels,
I see clearly:
                       they are two,
two they are in Moscow—
                                              Moscows.

                                    1

 

One—
             is the snore of scrap, its scrape.
The sagging mushroom of the Kitai wall.
Just like this
                      in the gray-haired centuries
here
         the rubble-man’s swearing spread.
Around the rubble people mumble randomly
that this
               paper is being brought to Glavbum.
But I am convinced
                                   that, evading blows,
they have defeated the Polovtsians,
                                                              and carry loot.
From the steppes and fields outside Moscow
the Polovtsian women taken captive
and there, 
                  by the word “Mosselprom”
under the hammer
                                  and under the sickle,
stands
            with his eyes devouring the windows,
a Votyak
                here for a congress
and like a Pecheneg,
                                    he’s unaware
of pastilles and ham.
And to the side,
                             an accordion and dancing
tavern doors clang.
In the pubs, 
                      Yesenins
as in the old days
                               rub shoulders.
And at night it’s quiet,
                                        and in the quiet,
There are no factory bells
                                              or tires…
Moscow snores like a village,
and in the sky
                          the color of cream
like a deaf old ancient lady
the good-for-nothing
                                       black Kremlin.

 

                                    2

 

You don’t have to be some prophet-seer,
or the most holy Trinity’s all-seeing eye,
to see,
            how something new is digging in among us
a second Moscow
                                boiling and building.
The great construction site
                                                now begun.
And toward the sky
                                   they grow like forests:
there 
           the post office
here 
          the Lenin Institute.
Holes 
            meter-wide
                                  steeped in sweat,
so faster than wind
                                  the metro 
                                                     can fly underground,
and clamber
                       out
                              here
from beneath metropolitans’ chambers.
To see with astonishment
                                             next-door and together
the panting machines
                                       and strata of dust.
How carpenters 
                             from the Izvestiya skyscraper
spit 
       down
                  onto the Strastnoy monastery.
And there, 
                    replacing the packhorse’s snort
cargo trucks rumble,
                                     and buses pant.
And it seems: 
                         the center-core has broken through
the Garden Ring 
                               and the Cow Road.
From here
                    I too hear
the hissing of engine belts.
Like a poem
                      fastens blabbering prose
with a bolt,
the Hammer and Sickle factory,
the Dawn factory,
                                 and the Rose.
The impression grows
                                       of a new city,
that will 
               drag the village out by a rope.
The sleeper will stagger,
                                           stand,
                                                       stretch,
and will need
                        to be tractored and Fordsoned.
A rag reddens the flagpole,
the Kremlin sleepless,
                                       and its walls
call to work
                     to hurry,
hurling
             from Spasskaya
                                         a war hymn.

 

 

                            

1  Baku | This poem is translated from the text in T. V. Maiakovskii, Polnoe sobranie sochinenii, vol. 1., ed. V. A. Nikonov et. al. (Moscow: Nauka, 2013),  275–76.

2  Balakhans | line 6 | Balakhani, the settlement where many of Baku’s oil wells were located.

3  Three Moscows | This poem is translated from the text in V. V. Maiakovskii, Polnoe sobranie sochinenii, vol. 2., ed. V. A. Nikonov et. al. (Moscow: Nauka, 2014), pp. 314-316.

4  Kitai wall | line 11 | The “Kitai wall” is the 16th-century wall surrounding the Kitai-gorod region of Moscow in Mayakovsky’s lifetime; it has since been demolished.

Glavbum | line 18 | Glavbum, a made-up name for a made-up Soviet bureaucracy for paper production. (The actual bureaucratic office for forest management and paper production was Glavlesbum). 

Polovtsians | line 21 | The Polovtsy, a Turkic tribal confederation frequently at war with Kievan Rus. 

7  Mosselprom | line 26 | Mosselprom, the Moscow Association of Enterprises Processing Agro-Industrial Products, managed much of the food production industry in early Soviet Moscow. 

8  Votyak | line 31 | “Votyak” is an outdated term for Udmurt, an indigenous people group living mostly in the Middle Volga region.

9  Pecheneg | line 33 | Pechenegs, the Turkic tribes frequently at war with Kievan Rus. 

10  Yesenins | line 40 | Sergei Yesenin, lyric poet well known for his dissolute lifestyle, who died by suicide in 1925. 

11  metropolitans | line 76 | i.e., high-ranking bishops in the Orthodox Church. 

12  Strastnoy Monastery | line 85 | Before its demolition in 1937, the Strastnoy (Passion) Monastery was across the street from the Izvestiya building, which housed the offices of the newspaper Izvestiya. While originally planned to be much taller, the Izvestiya building only reached six stories. 

13  Cow Road | line 93 | In contemporary Moscow, the Garden Ring is a ring road surrounding central Moscow; the Cow Road is a major street in central Moscow.

14  Fordsoned | line 111 | The Fordson tractor was produced in the Soviet Union from 1924-32 with a license from the Ford corporation.