Chinese Cycle of Sergei Tretyakov

This study analyzes the works by futurist writer Sergei Tretyakov (1892–1937) devoted to China, including his poems “Novy. Peking,” “Li Yang Upram” and “Roar, China!” as well as plays such as “Roar, China!”, travelogues like “Zhongguo,” and biographical interviews titled “Deng Shi-hua.” It investigates how each work contributes to a unified thematic structure within this cycle. It is argued that the poem “Novy. Peking” serves as an epigraph introducing key motifs and spatio-temporal coordinates for subsequent texts in the series. Furthermore, it demonstrates that both the epic poems “Roar, China!” and “Li Yang Upram,” along with the play “Roar, China!,” depict the struggle of the Chinese people against imperialists. These works also envision future developments as a process of unifying fragmented parts of the Chinese nation. Additionally, attention is given to the spatial and temporal organization found in the narrative essays “Zhongguo” and the interview-based piece “Deng Shi-hua.” Despite their varied generic forms, these texts are shown to form a coherent literary cycle united by common themes and ideological frameworks. Shared stylistic principles include factual representation, recurring symbols and leitmotifs, methods of structuring artistic space and time, and a focus on projecting possible futures for China. Ultimately, it is concluded that Tretyakov’s works engage readers through sustained dialogue based on authentic representations of the Chinese cultural landscape.

Tretyakov, China, cycle, Futurism, literature of facts, bio-interview