In memory of N. Lukjanova

1.

Fragment of Ettore Rustichelli’s opening address at the Ljubljana 11th international conference on Slavic written language’s problems.

"About N.Lukjanova"


…in my book «discharge semiotics» I call her «Diva», like some kind of pop- or movie star. It is because her poetry and the way of mentality, her positive image in a different internet-communities and life itself, and even her intoxicated beauty (what does it matter for poetess though?!) was hailed as such all over the world by crowd of every language, confession and sexual preference, by men and women alike, by people both inside and outside the world of literature. It is because of the type of woman she always identify herself in her works of literature avoiding femme fatal and «vagina dentata» so as not to frighten the married аnd irresolute worshippers, because of smooth and perfect type of beauty (both female and simply human) that no one else could easily claim for her own. We all willingly accorded her legendary status, because of her- sun (or even the blinding light of bulbs in hospital passages) -like radiance and moon- (or surgical instruments) -like glitter.


2.

Milena Mazneva and Stano Ruzichka
"About N.Lukjanova"


As for modern and so-called  "actual" literary critics, only a few of them were able to appreciate the exorbitant depressive texts of N.L. Most of them in appraising the texts didn’t go to the trouble of trying to understand what they had read and took the easy path of comparing one of another work of LS with their sacred cows of European postmodernism. Of course, it is much simpler to relate the Russian author to some familiar European trend that to figure out the postindustrial aesthetics of bugged garbage head’s constrained howls of love despair.
The English philologist Thomas Thorpe in  his article "Lukjanova as a result of self-identification" ("Semiotics" 23, pp. 47-49. 1995) about new collected stories of LS wrote, as if justifying his European colleagues, that one could understand the confusion of critics on whose heads suddenly fell such up to now unprecedented and non-typical for Russia literary nightmare marked "EURO-city NEURO-trash". But at that time he pointed out that «something more Russian, more Conceptual, more "Russian Conceptual" and even more “Conceptual-Russian” that it seemed was before us".