In “Falter Not in Practicing Tenderheartedness,” Maria Maiofis argues that the political sphere does not lose autonomy in poetry by the “generation of the 1990s,” since different realities are acquiring primary significance. Contemporary poetry’s reaction to political events is an indispensable part of a wider lyrical reaction of the author/hero who seeks involvement and participation in global events. Maofis concludes by comparing this tendency to the writing of Aleksandr Radishchev.
The article focuses on the changes in poetic self-presentation in the 2000s, examining their roots in the poetry of the 1990s. Numerous poets are examined, along with examples of their verse and statements from various literary theorists, to illustrate the entry of splits or fractures into the poetic speaking subject. Poets cited include Tat’iana Moseeva, Nika Skandiaka, Igor’ Bulatovskii, Andrei Poliakov, Vasilii Borodin, Pavel Gol’din, Andrei Sen-Sen’kov, Boris Khersonskii, Sergei Kruglov, Nikita Ivanov, Fedor Svarovskii, Kirill Medvedev, and Elena Fanailova,