This deep dive explores how 20th-century avant-garde poets transformed poetry from sentimental expression into functional machinery. The analysis centers on William Carlos Williams' radical declaration that "a poem is a small or large machine made of words," examining how this engineering metaphor reshaped poetic practice across American and Russian literary movements.

The conversation traces parallel developments where poets confronted modernity's chaos—industrialization, political upheaval, and information overload—by treating language as concrete material. From Williams' surgical line breaks dissecting American identity to Vladimir Mayakovsky's propagandistic epics mobilizing revolutionary masses, poets repurposed poetry as ideological hardware. The exploration extends to Russian Futurist Velimir Khlebnikov's "zaum" (transrational language), where sounds became spatial building blocks, and Gertrude Stein's tautological constructions that created "pure surface" objects.

Later movements like the American Objectivists and Russian OBERIU group faced modernity's ultimate challenge: the collapse between human subjects and manufactured objects. In response, they developed poetic machines that exposed capitalism's hidden labor or captured the absurd persistence of material things in an illogical world. Throughout these diverse approaches, the consistent goal remained creating durable, transferable language—whether as geological "stone" in Osip Mandelstam's vision or as ideological critique in George Oppen's work—proving poetry could be both artistic expression and functional tool for navigating modern complexity.

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