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   Jacket 34 — October 2007        link Jacket 34 Contents page        link Jacket Homepage

Larissa Shmailo reviews
Letters from Aldenderry
by Philip Nikolayev
122 pp., Salt. 1844712-79-6 paper

This review is about 4 printed pages long. It is copyright © Larissa Shmailo and Jacket magazine 2007.

On Rambling


In his famed essay, Isaiah Berlin maintains that thinkers can be divided into two camps: foxes, which do many things, and hedgehogs, which do one thing extremely well. In Philip Nikolayev’s Letters from Aldenderry, the Nabokovian wordplay, neologisms, puns, mastery of many lyric and experimental forms — indeed, the creation of a lyrical experimentalism — suggest a fox is afoot here.

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Yet we have the opening poem “Eagles.” Admiring the symmetrical kettling of the raptors, Nikolaev begins to suspect their perfection and wonders whether they, falcon infringers of copyright, are using electronic devices to scan his reading material, “Shakespeare and the Pathos of Rambling.” The essay in question is by James Wood and describes the genesis of the stream of consciousness technique in Shakespeare.

book cover


Rambling, letting go with words, is a mode where language reigns but authenticity trumps all. In Letters from Aldenderry, there is one authentic voice that speaks through the myriad of form, even if it hides in Southern and “proletarian” and original Russian accents and behind characters and masks. There is the letter writer, demurring and affirming his epistles (“I am no epistolary apprentice”) but signing each poem. There is one voice heard, reflecting on life and its meaning in true hedgehog form.


The language of Letters from Aldenderry is dazzling and turns on a dime: As soon as one technique is mastered, another is presented with equal brilliance. Perspective shifts also: from the CIA eagles, we go to a world of inversions, where turnabout is fair play and the underside of the rock never stays hidden. We are invited by Nikolayev, in “A Plaint on the Parting of Inversion from Poetry,” to


Let together then us perform
inversion formal of the norm.


Poetic norms and forms are overturned, using the both formalists’ arsenal and cunningly crafted experimental voices. Subject matter follows suit: Child-proof lighters explode, sandboxes harbor mate-eating mantises, Soviet childhoods are happy. Hell itself is new: “Old Hell” demonstrates the switches and flux of this shifting landscape.


                                                                   The mind
boggling web of continual shifting transitions,
locations, defined reference, refined deference points...
This is the surface part of Old Hell’s township.


And from “On Falling Asleep in August Hot Wee Hours”, with its rhyme of  “%” and “-ly”:


Evolution happens every day, incidentally.
Between life and death we change 100%.


New and synaesthetic words are needed to describe this turnabout terrain: “musicolored,” “thermonucleozoroastrian,” “happenstranscendence,” “expecrementalism.” Poets from all schools can try to divine their fates from the following from “Revolution.”


Thus easily af4ded
all spirits re5ed
feeling tight ~ good
self-banished from the shelf
of the lyrrhic szelf
once and for hell.


Ghazals (“Suffice it to say, as we Sufis say,” puns Nikolayev) appear alongside elegant quatrains. End rhymes change letter by artful letter. Nikolayev is quick to find catchy assonances, alliterations, and internal rhymes — riffing on “refer,” “referent,” “reefer” in one case, “olive” and “oblivious” in another.

Philip Nikolayev, photo Gene Gorokhovsky

Philip Nikolayev, photo Gene Gorokhovsky


All the poems have an intense lyricism born of a powerful poetic ear for prosody and syllabification.  “A Life, In Five Hundred Words or Less” with its columns of nouns and verbs and the several “found” poems written in computer manual speak are no exception.


I was delighted to find here the English version of my favorite Russian nursery rhyme, a rhythmic ditty about a boy who gets bitten by a crab, with every stress absolutely, clap-hands intact (“Folklore”).


The central and most powerful device of the poet is his embedding technique, placing a bolded and/or italicized poem into a  Roman one, or vice versa. The poems fit like the pieces of a puzzle, and it is up to the reader to figure them out. From “Target Practice”:


The only touch of autumn to our ear  Our eyes swim brilliantly
(which only xists nsome transcendental realm in our galaxy. We,
which actually nevers gone so far with a silent pipe in a tin lizzy  
as tactually xist, as toverwhelm parked on the hill, light off, the
us with itstark reality) perceives radio off, in the silence of Maine.
its own autumnal self as vertigo. The fireflies wind their woe amid
Our troubled tissue knows not where to go. dew, twinkling with
The silly yellow reach of willow leaves. the faulty periodicity of.....


Editor’s note: The poem has justified lines in the original,
as do the two excerpts from ‘Commencement Walk’ below.
Here is a GIF image of the poem:

Target Practice, poem


The use of the italic and bold formatting invite questions of quotation and precedence. The relationships change with order read. This juxtaposed language of stylistically different poems — prose poems coupled with formal verse, technical manual jargon with love songs — creates a tension of new meaning. The poems dialogue, fall silent, collaborate, engage war. From “Commencement Walk,” which begins


Landiens and gentelmurfs, some phoenix here ha’ been tryin’ to sow seditioun
Among yom folks. Tha’s why we’re here, to talk about it. That gross misdeed,
I tell ya, my young ladies and fellers, is mighty skanky to my mind, if you’ll
As abstract as an afterlife, the skyline pardon the proletarian exposition. This
suddenly dives, followed by weary eyes. is some tough shit to be reportin. How


and ends:


No fresh nor uppermiddleclassman can words, givin you just the meat and
explain away the necessary pattern moral of the whole story, permit me to tell
exemplified. Wake up, walk on, resist y’uns real short. Underderstanderably
saying you know what causes you to walk, we got mighty persnickety at the
to stalk your prey, or to be prey and stalked. stinkin’ beast, the wood pussy out
We are not free. Life leads us by the wrist. there. And I’m tellin’ you like Mr.
Judge, I conduct me own investigation. I dinna hafta find the guy “guilty,” nor
“unguilty.” All I cared wuz mother justice (to our errin’ souls) hadtabe served!
He had  ta be brought down so we flattened him ta road pizza good and simple.

Editor’s note: The poem has justified lines in the original.
Here is a GIF image of the poem:

Commencement Walk, poem


The worldview of Nikolayev’s poems, as may be inferred from the above, is not sanguine. The opening lines of the poem “Earth” asks


But what to make of the dimished lot,
of what man could have got and yet has not?


Solace is found in the sensory world of nature, of birdsong and the tapping of a typing poet. Solace is found in love for other people, grandmothers, lovers, friends. But ultimately:


The land has willows, something needs to weep.


The poet, not content to descend into world-weariness or sentiment, offers his compassion in these brilliant, insightful, and erudite ramblings between the sky of perfect eagles and the terrain of Earth. The imperfect personae who inhabit this sphere and its new and old hells love passionately and strive mightily, eschewing “vanilla poetics” every step of the way. For its masterful art and sheer beauty, and for its unique voice, the hedgehog ably acting the fox, this is a collection which should be read and returned to often.

Larissa Shmailo

Larissa Shmailo

Larissa Shmailo translated the Russian opera Victory over the Sun  by A. Kruchenych. Her poetry CD is The No-Net World. She keeps poetry blogs at

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