It was into this poetic silence that Khlebnikov's "Incantation by Laughter"—considered by Chukovsky to mark the beginning of futurism in Russia—was loudly to intrude, followed soon afterwards by the general "cacophony" of futurist sounds. Peels of laughter and potent spells were to drive away the gloom and the helpless sighs. To the futurist Khlebnikov, as to Mayakovsky, the universe was not dumb at all but spoke with a multitude of voices. City-streets, inanimate objects of all kinds, animals, machines, rivers, the sun and the stars all clamoured to be heard. Noise was everywhere. Not only was communication possible—it was possible on a scale unheard-of before. Not only the entire population of the planet, but the birds, beasts, stones and stars could freely converse in the variegated sounds of a universal language. Far from being condemned to isolation, the poet could discover the secret of this language and find himself in the centre of a cosmic process of communication. It was this which Khlebnikov set out to do.
As early as in October 1908—the very month in which he wrote to his father of seeing Gorodetsky, Sologub and other Symbolists for the first time—Khlebnikov made his first acquaintance with someone with whom he was later to found the Futurist movement. In 1905, Vasily Kamensky had played a leading role in a general strike in Lower Tagila and had been arrested when the strike was supressed. He had later fled to Constantinople and Teheran and in 1907 had come to St. Petersburg to study painting. In 1908, when Khlebnikov met him, he had recently got some of his own poetry published in the new journal, "Vesna", of which he had then become editor. Since the journal's policy was to print everything submitted, it had perhaps come to Khlebnikov's attention that this would be a
