Early this summer, I needed to ride a train and a bus across Chicagoland, a trip that would take a good hour or so. Buying coffee, I looked in my bag to find I had forgotten to bring a book, so I went to my neighborhood bookstore to browse around. My desires were straightforward: a book of shorts, either poems or essays or stories, something that would not weigh down my bag very much. And I wanted to spend less than ten dollars.
Several books caught my eye, but I finally settled on a tiny little tome, a simple black and white cover. It was titled Dust, a collection of essays by Arkadii Dragomoshchenko. The blurbs said something about memory and dreams, favorite topics, but besides this, I had no idea who he was. I knew he had been translated from Russian, and I trusted Dalkey Archive Press. The book also cost less than six dollars.
The first sentences engaged me in a way books rarely do. As the initial paragraph made its way through my mind, I felt Dragomoshchenko’s prose was braiding strands of light among my thoughts; the effect was a trancelike wonder at the power of words to evoke spaces and sensations in the imagination. I had to stop reading for a moment to begin again—perhaps I was not concentrating properly. But this was simply the effect. The sentences were about something familiar, even tactile and intimate—knives, streets, shells—and yet his ideas and gestures flowed from one unexpected moment to another, cutting at angles that seemed invisible, passages that operated by association and accident, but also depended on some perverted mathematical principle, perhaps algebra. I read slowly, patiently, and let go of any need to understand this man, this Arkadii Dragomoshchenko. I simply let myself experience his beautiful visions, accept his gifts.