The article discusses contexts of Henry Miller’s works (“Black Spring”, Tropic of Capricorn”) and the poem Brooklyn Bridge by Vladimir Mayakovsky, which have in common the theme and imagery of a Bridge and the avant-garde era of creation. The authors of the article analyze not so much the “intersection” as the “union” of Miller and Mayakovsky, that is, not so much coincidences and closeness as complements that allow us to trace the entire breadth of the avant-garde literary project. In Henry Miller’s works the semantics of the image of a bridge referring to Nietzche’s Thus Spake Zarathustra is primarily noted and analyzed. In the analysis of Mayakovsky’s poem, special attention is paid to the verse and thematic composition of the text; metaphors; sound repetitions and echoes and their semantics; the specific historicism; and an important concept of reconstruction from traces, remains, and reflexes, turning to which Mayakovsky comes closer to, the unknown to him, Charles S. Peirce (abduction) and Carlo Ginzburg (keys), who was not yet born in the year the text was written.
Astvatsaturov et al. (Wed,) studied this question.