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Nikita Sungatov's poetry is often categorized as postconceptualism-2 or the engaged-conceptualist pole of the [Translit] magazine community. However, it is worth considering that his poetic language is formed at the intersection of various influences, including the analytical poetics of Arkady Dragomoshchenko, the Prize named after whom Sungatov curated and before that was shortlisted for in 2015. Sungatov can consistently reproduce any style of contemporary poetry in his texts, coupled with their problematic analysis thanks to the intertwining of conceptualist metaposition and Dragomoshchenko's linguistic analysis. We can see this in the most famous texts of The Young Poet's Debut Book as well as in the current texts, Imitation of Vl. Khodasevich and [a modern poem]. The author of this article focuses on this latter poem. The role of the letter and its transformation can already be seen in the first part, which is stylized as zaum and alienated language. Here the intertwining of letters, phonetic signs, and pseudo-grammatical categories appeals to the historical avantgarde and its sound poetry. Another role for the letter in the poem is the indefinite article 'a', whose semantics make Sungatov's poem a statement about 'contemporary poetry in general', which, together with the stylization of various poetic languages from the historical avantgarde above to contemporary techniques of direct, neoclassical and opaque statement, turns the poem into a metahistory of contemporary poetry. And if Hayden White's Metahistory was a discursive analysis of historical narratives, then [a modern poem] becomes a discursive analysis of both recent poetry and its languages, and its collision with discourses of violence and big history. To all this corresponds an indeterminate subject, following the letter and the article, 'it', which nomadizes between languages, narratives, and the elusive modernity.

Ezra Pound's "Pisan Cantos" is a multi-layered palimpsest rewritten and written over previous editions several times, in which the non-translation of quotes, sayings and headlines becomes an aesthetically significant device. Younger branches of complex poetry after 1945, on the one hand, overcome Pound's total project, on the other, inherit him through this 'gap'. Within the framework of this article, the author explores how hermetic poetry (language writing, metarealism and generation of the 21st century) uses non-translation and untrans­latable to create/express political and ontological problems corresponding to this gap. So, in "Drafts" by Rachel Blau DuPlessis, palimpsest exposes the very deployment of language, writing, the 'trace' of other languages — all this develops together with the optics of studying writing and the loosening of the dominant hierarchies of poetic subjectivity and artistic form. In the poetry of metarealists Arkady Dragomoshchenko and Alexei Parshchikov, non-translation serves as a way of creating palimpsest marginalia, structuring the perception of interweaving images both through donor text and through the transformation of its motives. And the discommunicative palimpsest of Ekaterina Zakharkiv's poem "Hiroo Onoda" is based on the unrepresentative function of the non-translation, when the collision of different lan­guages, quotes and references creates both difficulty in perception and communicative faults in the narrative fabric of the work. Thus, the article is an attempt to derive points on a con­tour map of poetic practices, showing both the formation of a way of inter-linguistic inte­rac­tion within the text that is different from multilingualism, and the ways of inheritance through the rupture of the complex and ambiguous nature of Ezra Pound's "Cantos", which gave rise not only to a new type of modernist epic, but also a special type of poetic palimpsest.