Works
Kharms' stories are typically brief vignettes (see also short prose and feuilleton) often only a few paragraphs long, in which scenes of poverty and deprivation alternate with fantastic, dreamlike occurrences and acerbic comedy. Occasionally they incorporate incongruous appearances by famous authors (e.g.: Pushkin and Gogol tripping over each other; Count Leo Tolstoy showing his chamber pot to the world; Pushkin and his sons falling off their chairs; etc.)
He was married twice (to Esther Rusakova and Marina Malich). His wives sometimes appear in those of his poems that are lyrical or erotic.
The poet often professed his extreme abhorrence of children and pets, as well as old people; his career as a children's writer notwithstanding.
Kharms' world is unpredictable and disordered; characters repeat the same actions many times in succession or otherwise behave irrationally; linear stories start to develop but are interrupted in midstream by inexplicable catastrophes that send them in completely different directions.
His manuscripts were preserved by his sister and, most notably, by his friend Yakov Druskin, a notable music theorist and amateur theologist and philosopher, who dragged a suitcase full of Kharms's and Vvedensky's writings out of Kharms's apartment during the blockade of Leningrad and kept it hidden throughout difficult times.
Kharms' adult works were picked up by Russian samizdat starting around the 1960s, and thereby did have an influence on the growing "unofficial" arts scene. (Moscow Conceptualist artists and writers such as Kabakov, Prigov, Rubinstein, were influenced by this newly found avant-garde predecessor).
A complete collection of his works was published in Bremen as four volumes, in 1978-1988. In Russia, Kharms works were widely published only from the late 1980s. Now several editions of Kharms's collected works and selected volumes have been published in Russia, and collections are now available in German, French and Italian. In 2004 a selection of his works appeared in Irish.
As for English translations—oddly, many have appeared of late in American literary journals. In the 1970s George Gibbian at Cornell published the first English collection of OBERIU writing, which included stories and a play by Daniil Kharms and one play by Alexander Vvedensky. Gibbian's translations appeared in Annex Press magazine in 1978. In the early 1990s a slim selected volume translated into British English by Neil Cornwell came out in England. New translations of all the members of the OBERIU group (and their closely knit group of friends, the Chinari) appeared in Summer, 2006 in the USA (OBERIU: An Anthology of Russian Absurdism, containing poetry, drama and prose by Alexander Vvedensky, Daniil Kharms, Nikolai Zabolotsky, Nikolai Oleinikov, Leonid Lipavsky and Yakov Druskin, edited Eugene Ostashevsky and translated by Matvei Yankelevich, Thomas Epstein, Genya Turovskaya, Eugene Ostashevsky and Ilya Bernstein.), including not only prose, but plays, poetry, and philosophical tracts and treatises, with an introduction by Eugene Ostashevsky (not Susan Sontag, who is on some websites advertised as the author of the foreword). An English translation of a collection of his works, translated by Matvei Yankelevich, was published in 2007. Its title is Today I Wrote Nothing and includes poems, plays, short prose pieces, and his novella "The Old Woman". Some poems were also translated by Roman Turovsky.
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