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I’m only liquid for fears, drowning quietly in them, a slow flood
behind my ribs, no warning signs, no lifeguards in sight. You will be
a sunflower, but only as far as you choose to reach out for the sun,
bending your whole body toward light, even if the light burns, even
if the roots ache from pulling.

Happiness comes—eager, but never permanent— it’s a guest that
tracks mud on your floor, leaves its jacket behind; just to remind
you it was here, but gone before you could ask it to stay. The good
things in life never seem to last a lifetime, and going out into this
world feels like reaching for a lifeline, but all I catch is air—
thin, trembling air.

Since birth you were beautiful, but survival forced you to wear the
ugliness of the world— stitched hand-me-down scars, fabric heavy
with someone else’s shame. Each day is a costume change that
doesn’t fit, but you wear it anyway, because naked truth doesn’t
pay rent.

We are all swelling with an opus of urban angst, the kind that hums
under flickering streetlights, the melodic slang of hoodlum teens
trading cigarettes for sentences, has become the hustle talk of men
trying to feed the same hunger that never grew up. Yearning to be
something. Yearning to be someone. Constellations made of shattered
glass windows, cracked stars on the concrete, chasing after the sun as
if the further we run, the closer it comes, but the horizon never owes
us an answer.

To love, to be loved— truth arrives dressed in lies at the start,
perfumed to disguise the rot. We impress, but we press too hard,
we call it romance but it’s theatre, and every stage ends in torn
curtains. This life is love, but love isn’t so full of life when it hangs
uneven, dangling off one side like a crooked frame.

Luck isn’t justice. Cause and effect rarely add up to cause what’s
fair.

And yet we paint our burning visions next to ****-splashed garbage
bins, turning dumpsters into backdrops, spray-painting scars into
murals that smell like waste, mistaking rage for art.

Scars deserve worth, not mockery. But too often, anger becomes our
brush, dipped in venom, flung at the wall, and the picture never
reaches far— a masterpiece meant for healing drowned out by
noise
.
Соломон одевал Доспехи,
НаголО пиздаватый Меч!
С гор спускались мысли-абреки —
Пришло время — гОловы с плеч.
Налицо цвета хаки и смокинг,
Зверел, поднимался со дна,
Ну, встречайте стадА — мистер Джокер,
ДВА кинжала, калаш и Луна.

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

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem is an anthem to the inner warrior. Solomon, the Joker, the mountain rebels, and the Moon merge into one figure — a hero unafraid to be himself. His armor is his own style; his weapon, wit and will. He doesn’t ask for approval — he asserts presence. Individuality isn’t a mask. It’s armor. And you don’t take it off.
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.
Баронесса без изъяна
Лопала банкиров рьяно —
То ботфорте, то пиано,
Мастер Плётки и Баяна.
В золоте шмалят рассветы,
Языки горят в каретах.
Знаешь, Дьявол носит Прада?
Ну, встречайте: их бин Яна.

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

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem is a hymn to bold, unapologetic femininity. The Baroness is no object of desire — she’s a figure of power and taste. She reclaims male roles, redistributes control and capital. Ironic, glamorous, dangerous — she writes her own rules.
Жарил в ухо, горло, нос,
Сразу видно кто есть Ху,
А вы, зая, пылесос,
Принимайте юху-ху.
Рукоплещу вам пальцАми,
Обезумел, разогнал,
Эй, куда же ты с концами,
Разряжаешь арсенал?

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

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem is a rhythmic ode to ****** boldness. Here, the body isn’t an object — it’s a tool of action, a stage, a force, and a source of humor. There is no shame — only tempo, aggression, thrill, and pleasure. It’s the right to feel and express oneself, even through grotesque, even through excess. Because the body, too, is a subject.
Пиздастрадал пиздаконтроль —
На стуле Янка Супер-сутер,
На карандаш берет любовь
И загружает темпо в убер.
И дохли розы под наркозом,
И рифмовались к буржуЯм,
Мы ж ебанем салат мимозу
За число Пи и первый лям.

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

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem turns chaos into choreography. With sharp rhythm and wild imagery, it captures a woman’s unapologetic command of her reality — from taking love “on a pencil” to ordering tempo in an Uber. Nothing is sacred, everything is hers to remix. Even Pi and mimosa salad. It’s not just rebellion — it’s style as survival.
Рассосалась барышня,
В колёса оделась
И моргает фарами,
Как будто гнеда.
Да, погнала яркая,
По встречке хай-левел,
Ах, какая бабочка
У, камелька!

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

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem captures the image of a fast, fearless woman — a kinetic force speeding toward her own direction, not society’s map. She becomes machine, icon, energy — driving head-on through gendered clichés and class constraints. It’s a manifesto of personal trajectory.
Кобылки сходили с дистанции,
Ликовала только Констанция,
Кто-то стал ура-визажистом,
Колхозницей с мужем стилистом.
И только насосная станция
Неслась по тропе террористов,
В тапок к последней инстанции —
Хуяк — и в дамках с министром.

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 like a riot at a fashion show. There are no weak characters here—only different strategies. Some drop out, some level up. But the heroine, after riding through the chaos, wins her game. It’s about a woman’s right not to be ideal, but to be effective. Not an angel, but a force of power.
Терминатор шел на прогулку;
Сканер работает, листья шуршат,
Клею на лоб ценник малюткам
И гуляю себе не спеша.
А ППШ — индикатор в штанах,
Нет, не облако и не Дубровский —
Это моя пламенеет душа
Как глаголом разит Маяковский!

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

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem is a hymn to self-expression through urban irony and defiant rhythm.
The Terminator here isn’t a killer, but a poet armed with verbs.
Every step he takes is a manifesto: being yourself is already an attack on the system.
It’s time for new heroes — walking the city with their soul on safety mode.
Порно каналы спускаем в краны,
Порно моделей обратно в тоннели,
Руки помоем, в урну постели,
Ах, нихуя себе мы ахуели!
И за работу — сносим метелью,
Прем, ослепляем, как фотомодели,
Маршем на подиум Жизни с похмелья,
Ну, и Лехаим за достиженья!

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

👉 tiktok.com/@kulikovskyonthepunchline
👉 youtube.com/@KulikovskyOnThePunchline/shorts
This poem captures the shift from pornographic noise to the clarity of action. It’s a hymn to the morning reboot: flushing the channels, washing hands, stepping out into the world to get things done. It affirms the absolute right to be the hero of your own hangover. Value: Self-realization — not of an idealized self, but of a lived one, with both dirt and glory intertwined.
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