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Водоворот безумный в рот,
Я наливал тебе компот,
И двадцать пять коробок лета
Я паковал себе в комод.
Желтело, осень поступала,
А тело согревал портвейн,
Пришла ты в черном и сказала:
«А ну, красавчик, ахуей».

Yaroslav Kulikovsky. Vienne, 2023 (c).
Part of the cycle: Poems on City Flesh and Power.

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem is like port wine under the skin: warm, chaotic, defiantly alive. It doesn’t pretend to be refined — and that’s exactly its power. Feeling, lust, sentimentality, and rebellion all fit in the same dresser drawer. Being yourself sometimes means not holding back an “ah-****-yeah” when everything really is that good.
Я встречаю Новый год,
Вместе с Сашкой Чернорот
И сестричкой Крем-Брюлей,
Дайка тварь лизнуть блядей.
Чешет ногу маг Орфей,
Бармалею нервно курит,
Тем и тем, и тем налей,
Я сегодня Цезарь Юлий.

Yaroslav Kulikovsky. Paris, 2024 (c).
Part of the cycle: Poems on City Flesh and Power.

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem doesn’t pretend. It speaks the language of chaos, lust, and absurd celebration — raw, unfiltered, and alive. Emotional honesty here means embracing the wildness of being human: to laugh, to rage, to toast, to ****, to fall — and to own it all without shame.
Одновременно мы кончили
И начали наш рассказ,
Перпетум-кобеле — гонщица,
Созвучно с гандурас.
Неимоверная дерзость
В ревущем рокоте фур;
Мур-мур и в транснадежность —
Гламур, лямур, тужур.

Yaroslav Kulikovsky. Berlin, 2024 (c).
Part of the cycle: Poems on City Flesh and Power.

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem dissects a moment of ecstatic connection — physical, verbal, and emotional — and transforms it into a miniature of post-urban poetics. It's playful, bold, and glossy, yet beneath the surface lies a raw authenticity. It’s about pleasure, equality in the moment, and the freedom to express oneself without taboo.
Я тебе отправляю пенальти,
Как классово превосходный:
Это просто мои газлайки
Прилипли к тебе на морду.
Целовать, убивать тебя, драть —
Мне казалось маньяки навеки.
Но — Нежность и Страсть,
В масть и в грязь — эти камбэки.

Yaroslav Kulikovsky. Kiev, 2019 (c).
Part of the cycle: Poems on City Flesh and Power.

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem is a raw nerve of tangled emotions. There’s no morality here — only reflex. Love as power. Gaslighting as tactile memory. Comebacks not because they’re good — but because pain became the language. Honesty means not hiding your darkness. But voicing it in rhythm.
По столу стучали стаканы —
Бояре гуляли всю ночь.
Под столом святые путаны
Покушать были не прочь.
Мы колбаску под стол им кидали
И огурчик в рот заходил,
Нет уж, там не голодные крали,
А один большой крокодил.

Yaroslav Kulikovsky. Paris, 2022 (c).
Part of the cycle: Poems on City Flesh and Power.

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem is about festive shamelessness as a form of truth. Behind the noise, the snacks, the saints and “crocodiles” lies what we fear to admit: the human need to feel, to feast, to be seen — without shame. Carnival is where honesty bursts through absurdity. And that’s its power.
Тело проснется к трём ночи —
На тебя я спящую молча...
И пойду строчить поэмы
Своими руками очень.
А ты не бери в голову,
Да, спи у меня сколько хочешь,
Бери с рассветом на рот —
Время кормить Тамагочи.

Yaroslav Kulikovsky. Kiev, 2020 (c).
Part of the cycle: Poems on City Flesh and Power.

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem captures a moment where intimacy and tenderness blur into everyday life. It's not about vulgarity — it's about presence, being close without pretense. To be with someone without performing — that's emotional honesty. Even if you only wake to feed the Tamagotchi.
Она рыдала в туалете
Гостиницы «Континенталь» —
Её ебали те и эти,
И вдруг себя ей стало жаль.
И вдруг однажды на рассвете
Она решила полюбить,
Но, как листали те и эти,
Никак уже ей не забыть.

Yaroslav Kulikovsky. Paris, 2021 (c).
Part of the cycle: Poems on City Flesh and Power

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem captures an inner turning point — the moment when the past no longer defines you but becomes a stepping stone. The heroine is not a victim, but someone capable of rewriting her story. It's a poetic statement: I remember, but now I choose to love.
Giving myself odd looks, while trying to even the score—
pointing out my faults like counting sins on abacuses.
Too many to tally, and every action I take I just hope
adds up to something. But I’m outnumbered by myself.

Feels like an inverted midnight— too heavy to be noon.
Doing the most, while barely praying at all— maybe
because doubt multiplies faster than faith settles.

Failures pile up like fractions with no common
denominator— just me, subtracting reasons to believe,
dividing purpose by disbelief, and hoping somehow
I’ll solve it all to find some peace.

Trying to count what I can still hold, not out-of-hand
habits or dust-covered promises. My Bible feels more
antique than answers— pages heavy with silence
until I wiped it off and saw… another layer still
hiding underneath. Like dusk, again. But this time,
I opened it— and let it open me.
Can’t be everyone’s hero—
but it’s so easy to be framed as the villain in someone’s story,
caught in the blur between goodwill and what they believe is ill will,
the wheel spinning from “helpful” to “harmful” without warning.
The sickened influencer—tired of carrying hearts like glass—
now catching cold thoughts, like a mind with influenza,
and I’m wondering: do I get any better at doing the most,
or do I just give less of a **** as the walls I build
crumble beneath the weight of everything I try to hold back?
Does any of it matter, really—at all?

Not everyone will love you like a lover in the honeymoon season—
the moon only glows for a night, and even the sweetest honey dries
when left open too long. And what you think might bring us closer
can become the very thing we learn to hate together.
But maybe in the court of opinion, I’ve become too quick
to cast judgment—forgetting that my sense-of-self
sometimes acts selfish too.

But I’m not standing tall above anyone—I’ve got my own
shortcomings, and none of them come in small doses.
I sin too. Like you, I can act so human, too human, too often.

— The End —