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  • At the extreme poles of this tendency one might locate on the one hand transrational writing such as zaum (nonsense syllables invented by the poet), and on the other truly asemic “pseudowriting” (improvised scrawls and figures that resemble writing but do not adhere to any preset code).

    K. Silem Mohammad Reads Elizabeth Bachinsky

  • In 1925 he and his high school friend, Iakov Druskin, became friends with the aspiring poet Danill Kharms, who was a student of the Futurist sound poet Alexander Tufanov, himself experimenting with theories of zaum thorough narrative time.

    Alexander Vvedensky

  • His major poetic education took place at GNKhUK, the State Institute of Artistic Culture, headed by Kazimir Malevich, with researches into zaum sound poetry by Igor Terentiev, for whom Vvedensky worked.

    Alexander Vvedensky


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  • A type of experimental poetry introduced in the early 20th century by the Russian futurist poets, especially Aleksey Kruchyonykh, Velimir Khlebnikov, and Daniil Kharms, which was based on sound symbolism and phonaesthesia. The Russian name заумь / zaum' was coined by combining the prefix za- ("trans-", "beyond") and the root um ("mind"); hence this kind of writing is sometimes referred to as "transrational".

    July 19, 2011