On the unexpected pleasures and provocations of bad poetry
The only Russian Count of Sardinia, Dmitry Ivanovich Khvostov (1757–1835) didn’t achieve fame in his lifetime—he achieved infamy. Pathologically prolific and delusionally dedicated to a craft for which he had no talent, the count was renowned for his compulsive output, driven by a passion for poetry that was as strong as his abilities were weak. Only the country that gave the world Pushkin, however, could produce Khvostov, in whom we find a distorted yet illuminating reflection of his poetic epoch, with all its numerous cultural manifestations and hidden impulses, its desires and prejudices.
As he leads us on a playful journey across Russia’s Golden Age and beyond, from neoclassical salon to faculty lounge, Ilya Vinitsky reflects on the challenges and necessities of literary critique and on the unexpected rewards of bad art as a subject of study, not just ridicule. Mischievous but erudite, sensitive but never self-serious, The Graphomaniac is an intellectual biography of the anti-hero, a cultural figure whose paradoxes yield new insights into his era.
Appeal to a Colleague
Memorandum on the Citing of Sources
Prologue: On Poetic Anti-Poetry
Part One: Origins and Ponytails
1. Nature in Her Wisdom
2. Love and the Law
3. Flights of Fancy
4. The Church and the Gazebo
5. The Trusting Soul
6. Suvorov’s Elephant
7. God’s Monkey
8. A Knight Move
9. Khvostov and the Sinner
10. The Swan in a Brocade Waistcoat
Part Two: Strolls with Khvostov
1. Khvostov’s Creative Inspirations
2. Khvostov’s Poetic Utopia
3. The Salvaged Ode, or Khvostov the Dragon-Slayer
4. The Historian and the Mineralogist
5. E Katrinhof’s Bard
6. The Ship and the Vessel
Bibliographomania
