“Lit-Recycling”: The Avant-Garde Case of Alexei Kruchonykh

This paper examines the technological dimension of “handwritten time” a distinctive mode of existence of the Russian Avant-garde. By the mid-1930s, the avant-garde’s stylistic confrontation with Socialist Realism had effectively expelled it from the contemporary literary process, artificially arresting its development—an instance of “unfinished modernity.” The article offers a detailed analysis of the technology of self-archiving (“lit-recycling”) developed by Aleksei Kruchyonykh: a deliberately chosen strategy of uncensored writing oriented toward an implicit reader of the future. The conscious refusal to complete the conventional publishing cycle, together with the systematic archiving of materials, generated a new pragmatics of the Russian avant-garde, enabling continued work under conditions of total censorship. The study considers both the strengths of this pragmatics of self-isolation and its unavoidable costs, above all the rupture of author–reader communication. Drawing on workbooks and diary notebooks from the 1930s, it reconstructs an archiving technology that had fully matured by that decade: the balance between draft and fair copy, as well as the mechanisms of auto-communication and self-censorship. Each stage of textual work is shown to acquire a specific function within a single technological continuum. Special attention is paid to contemporary methods for reconstructing the avant-garde’s creative records. The article reconstructs successive versions of Kruchyonykh’s poems (“Irina in the Fog,” “Trash,” “All Dead Poets…,” “Mind You!,” “Grumbling,” etc.), and cites diaries and handwritten books. It also foregrounds Kruchyonykh’s “prophetic” texts—those marked by a premonition of the coming great war—which conclude his diary and creative notebooks of the 1930s.