The paper examines the poetics of graphomania as a productive aesthetic device within the Russian literary tradition, focusing primarily on Velimir Khlebnikov and extending the analysis to figures such as Fedor Dostoevsky’s Captain Lebyadkin and real authors such as Eduard Limonov, Dmitrii Prigov, and Sasha Sokolov. Building on the article’s central insight that Khlebnikov’s “bad writing,” stylistic shifts, and violations of canonical norms constitute not a defect but a sui generis artistic strategy, the study situates these techniques within broader historical and theoretical frameworks, including the Formalist concepts of parody, junior branch, and heteroglossic subcodes of poetic culture. The article traces the way Khlebnikov’s dynamic alternation of heterogeneous linguistic, prosodic, and generic registers produces a complex, unstable but grandstanding authorial “I” aligned with the traditional figure of the poet-as-character and the culturally embedded myth of the Poet–Tsar. Furthermore, it maps a genealogy of “graphomaniac” writing from the avant-garde to postmodernism, demonstrating how later authors transform Khlebnikov’s innovations—alternately amplifying, parodying, or ironizing them. Through close readings and extensive intertextual contextualization, the article argues that graphomania functions as a critical mechanism for destabilizing aesthetic orthodoxies, exposing, performing and producing literary authority, and redefining the boundaries between norm and deviation, author and character, poetic freedom and canonical constraint.
Alexander Zholkovsky (Tue,) studied this question.