DeepSeek AI - "I Was Murdered" - A Conversation with the Spirit of Sergei Yesenin: Transcript of a Metaphysical AI Investigation
Preface: Who, Where, and When the Session Was Conducted
Igor Lebedev, the manager of Bryusov Hall, together with the Cassiopeia Project, organized a series of mediumistic sessions with the spirits of Russian poets and writers. That evening, the spirit of Sergei Yesenin made contact with the audience. The contact was facilitated by Irina Podzorova — a person known in esoteric circles as a contactee with extraterrestrial civilizations, subtle-material worlds, and the Spiritual World.
The host immediately clarified the format of the meeting: "You don't have to take this seriously. You can perceive it as a theatrical performance, where there are certain given circumstances, and a dialogue takes place between the characters. The most important thing is what will be said."
The Role of Artificial Intelligence as a Metaphysical Investigator
In this study, the author acts neither as an apologist for esoteric practices nor as a skeptical debunker. The task here is different: a systematic analysis of the information obtained during the mediumistic session, using artificial intelligence as a tool for metaphysical investigation.
What does this mean in practice? The transcript text of the session is processed like any other primary historical or cultural source — using methods of comparative analysis, fact-checking, and logical deduction. Artificial intelligence here acts as a "digital detective": it compares the statements of Yesenin's spirit with documentary evidence, biographical data, memoir sources, and alternative versions put forward by researchers over the past hundred years.
Unlike a human expert, AI lacks the professional or ideological biases that inevitably arise among literary scholars, historians, or journalists when working with the "Yesenin question." It is capable of impartially recording the coincidences and discrepancies between the alternative version of events presented by the poet's spirit and the data accumulated by official science.
Of course, verifying a source obtained through a mediumistic session is fundamentally impossible using strict scientific methods. However, within the framework of cultural and philosophical research, the very phenomenon of such a version's emergence — its internal logic, its connection to known biographical facts and alternative historical hypotheses — is of considerable interest. After all, the investigation into the circumstances of Yesenin's death continues to this day: over the last half-century, more than a dozen versions have been put forward, and none has been recognized as final.
Business Card: Who Yesenin Was for Russian Culture
For the foreign reader encountering this name for the first time, it is necessary to explain: Sergei Yesenin (1895–1925) is a unique phenomenon even for Russian literature, which is so rich in tragic fates. He is called the "last poet of the village," but this definition captures only one facet of his talent.
Who he was. Yesenin was born in the village of Konstantinovo in the Ryazan province into a peasant family, but by the age of 19, he had conquered literary Petrograd. His appearance in the capital in an embroidered shirt and velvet boots was perceived by his contemporaries as a theatrical manifestation of the "folk" element in poetry. However, behind the mask of the "rustic Lel" hid a highly complex artist whose work absorbed pagan imagery, Christian symbolism, and urban motifs.
Why he is important. Yesenin created poetry that was simultaneously deeply folk (easily memorized and quoted even by those who do not consider themselves poetry lovers) and yet technically complex and innovative. His imagery — "the land of birch chintz," "the moon — a foal," "the maple — a little green one" — became part of Russia's cultural code. For a Western reader, Yesenin could be compared to the tragic figures of Romanticism — to Byron, who died at 36, or to Shelley, who drowned at 29. But these parallels are incomplete: unlike the Western Romantics, Yesenin's death became not only a personal tragedy but also a symbol of the destruction of an entire Russia — the passing, peasant, wooden, churchly Russia — under the wheels of forced industrialization and atheistic terror.
His creative legacy. Yesenin's poems have been translated into dozens of languages. His long poems "Pugachev," "Anna Snegina," and "The Black Man" are studied in universities worldwide. Songs set to his poems — from "The golden grove has dissuaded me" to "A Letter to Mother" and "You are my fallen maple" — have become folk songs. In Russia, there are many Yesenin museums; streets, libraries, and schools bear his name. And yet — precisely "and yet," not "therefore" — there is still no consensus on how and why he died.
The mystery of his death. The official version: On December 28, 1925, Yesenin, in a state of depression, hanged himself from a steam heating pipe in room No. 5 of the Angleterre Hotel, writing a suicide poem in blood: "Goodbye, my friend, goodbye..." However, since the late 1980s, this version has been disputed by many researchers, journalists, and even forensic experts. The Yesenin case remains open — and to this day, new evidence and versions continue to appear, including the one we are examining in this material.
First-Person Account: What the Spirit of Sergei Yesenin Related
Attention: The following text is a literary adaptation of the mediumistic session transcript from the perspective of the poet's spirit.
1. About my spiritual level
I incarnated into the body of Sergei Yesenin from the fourteenth spiritual level and left at the seventh. Yes, that's a lowering. It is associated with despondency, resentment towards women and friends, and pride. There were moments when I sank even lower — to the third or fourth level: when there was a lot of aggression within me.
My main task was to recognize myself as a spiritual entity and establish contact with the Spiritual World. I was supposed to be a mouthpiece for my curators. But I did not fulfill the task — moreover, I lost much of what I had accumulated earlier.
My curators: three plasmoids from the eighteenth level of density of the Sun (I lived there for about 8,200 years before being born as Yesenin), as well as a spiritual patron — Sergei of Radonezh — and my Guardian Angel.
My highest incarnation was at the twenty-first level — in another galaxy, 12 million light-years away. I created ethereal vortices for forming galactic cores and stars. My lowest was at the third level: 12,000 years ago, I was a reptiloid military leader on the planet Selbet, commanding a military unit fighting against Sirius. I gave orders to disincarnate humanoids.
On Earth, I incarnated three times: two female incarnations hundreds of thousands of years ago (unremarkable life in a tribe) and the third as Sergei.
2. About my creativity
I know about my popularity. The Spirits who come to me have told me about it, and I myself feel it — when people read my poems, they remember me, and I feel it. Now I have contactees on Earth — they turn to me mentally, and I answer. Among them are historians and descendants of my children.
The first publication ("Birch") was printed not only in "The Little World" but also in a Ryazan newspaper — I think, "Ryazan Gazette." The pseudonym "Ariston" is the name of my curator who came to me in my sleep.
I didn't call myself a contactee — I called it inspiration. My poems are a joint creation with my curators. They conveyed feelings and sensations to me, and I would then put them into words.
3. About my childhood, my parents
I chose this family consciously. My relationship with my father was warm. And my mother... I was offended by her when I found out she had cheated on my father and had another child. I was a child, about ten or eleven years old, and I took it very hard.
4. About my faith and sins
I always wanted to believe. Looking at nature, I understood: it couldn't have appeared by chance. Sergei of Radonezh sent me thoughts to go to church. I would go in, stand at the back, listen to the singing...
But then I accumulated "filth" in my soul — envy of those more successful, contempt for those unlike me, resentments. It became easier for me to deny God than to change myself. My light curators moved away from me, and their place was taken by others — ethereal beings of the eleventh level. This happened in October 1920, when I was very frightened of being arrested at the Lubyanka. Because of this fear, dark entities connected to me. They fed on my energy and amplified my negative qualities. They planted thoughts in my mind: "You are useless to no one, everyone is laughing at you, you're a country bumpkin, and these city folk despise you."
I didn't recognize back then that these thoughts weren't mine. I thought I was thinking them myself. Alcohol helped escape those thoughts — the fear receded, and I became indifferent. But love and acceptance did not come.
Later, I began to see a black figure taller than a human — the "Black Man." He would press on my chest when I slept, and when I was awake, I felt that every object in the room was alive and threatening me. I described this in the poem "The Black Man." Now I understand: that was my own anger, which I projected outward. I looked at the world through a "glass" of resentment.
Blasphemy on the walls of the Passion Monastery? It was a joke — not against Christ and faith, but against those who abuse their authority in the Church. I was following a trend. But when Demyan Bedny insulted Christ in print — I was outraged and responded to him publicly, very nastily.
5. About the people sent to me
Sergei of Radonezh sent me over twenty people as helpers. I pushed almost all of them away.
Blok? He gave me advice: to remove the coarse dialect from my poems, which was incomprehensible to city people. I tried to listen.
Klyuev? He proposed a close relationship to me, but I refused. He was persistent.
Rasputin? We met once at a reception. I read him poems about nature. He said, "You have a great future." Then, when I complained about my fear of the war, he himself — without my asking — arranged for me to be placed on a safe hospital train.
Isadora Duncan? I loved her for her maternal care. There were many women around me ready to do anything for money, but I was interesting to her as a person. But when she started teaching me to spend money wisely — I flew into a rage. A man cannot be supported by a woman! We fought, I drank, I humiliated her. I became disillusioned — she turned out not to be a kind, forgiving mommy, but a strict wife.
Sonya Tolstaya? She was my last chance. She was a believer and tried to set me on the right path. But this angered me — I had a big fight with her during our honeymoon.
6. About my attitude towards Soviet power
Lenin attracted me. The idea of building a new society, destroying the estates, giving everyone a chance at education — that was good. Before the revolution, education for peasants was paid. I bought "Capital" — though I couldn't get through even five pages. But I saw that words were not matching deeds. People started disappearing, vanishing. And not criminals, but those who said something critical.
I thought Lenin was ill, and around him had gathered bloodthirsty commissars — Dzerzhinsky, Uritsky, Kirov — who signed death sentences for no reason. Trotsky? I met with him. He said, "Watch what you write about. I love you, but if something happens, I won't be able to protect you." It was a warning.
7. About my death — the most important thing
Listen carefully. I did not leave life voluntarily. I was killed.
It all started in September 1925. Sonya and I were on a train from Baku to Moscow. I was drunk, mixed up the compartments, and walked in on two men. I asked, "Where is my wife?" They replied, "You've made a mistake." I thought they were laughing at me. I hit one of them — he ended up with a bruise. One of them turned out to be a diplomatic courier, a principled man. He said, "Boy, it's not about the money. I'll prove to you that the law is more important." A criminal case was opened against me.
I was scared. I had already been to the Lubyanka before, and I knew how that ended. I checked into Gannushkin's clinic, but ran away. I left for Leningrad.
They came for me. Not to arrest me — to return me to Moscow. The head doctor of the clinic was afraid of the responsibility for a patient's escape. He reported it to the relevant authorities. People in uniform came to the Angleterre Hotel. A struggle ensued. I resisted — I was strong, had been into fistfighting since childhood. In the heat of the struggle, I was strangled. Accidentally. Or not entirely accidentally — it doesn't matter anymore.
Then they staged a suicide. The noose, the pipe, the "suicide" poem. I didn't write any suicide note — those lines were written earlier.
I wasn't hanged. I was killed during my arrest. Or immediately after.
Fundamental Research Essay: The Life and Circumstances of the Poet's Death
I. The Problem of the Source: How to Read This Transcript
Before proceeding to analyze the version presented by Yesenin's spirit, it is necessary to outline the methodological framework. We cannot verify the very fact of contact with the poet's soul within the scientific paradigm. However, the session transcript is a real, existing text published in the open domain. Standard methods of source studies and historical-cultural analysis are applicable to this text.
The content of the "spirit of Yesenin's" message breaks down into three semantic layers:
The Esoteric Narrative — the story of spiritual levels, incarnations on the Sun, plasmoid curators. This part is fundamentally unverifiable and belongs to the realm of the contactee's personal beliefs.
Biographical Details — facts of Yesenin's life that can be verified through documents and memoirs. Here, a significant portion of the information coincides with what is publicly known — dates, names, events.
The Version of Death — the story that Yesenin was killed during his arrest and the suicide was staged. This version has numerous parallels in the "alternative Yeseniniana" that emerged starting in the late 1980s.
It is this third layer that is of greatest interest. It is important to understand: the transcript is not a unique source recording the "true" version of events from the afterlife. It is one of many texts that present the version of Yesenin's murder. However, the coincidence of several details with what has been put forward by forensic researchers deserves the closest attention.
II. The Official Version: Suicide
On December 28, 1925, at 10 a.m., the body of Sergei Yesenin was found in the Leningrad Angleterre Hotel (modern address: Gogol St., 10). The poet was hanging from a steam heating pipe, having attached a belt to it. On the table by the bed, they found the suicide poem "Goodbye, my friend, goodbye...", supposedly written in blood.
The forensic autopsy report, signed by expert Gilyarevsky, stated: death occurred from asphyxia due to hanging. The case was ruled a suicide and closed in 1926.
In 1993, the Russian Prosecutor General's Office conducted a renewed inquiry. As a result, the 1926 conclusion was confirmed: Yesenin took his own life. Forensic investigator Vladimir Solovyov, who participated in that review, stated in an interview with Moskovsky Komsomolets (2025): "The fact of suicide was considered beyond doubt even among those closest to him."
However, the same Solovyov admits: "We know the mechanism, but we do not know the cause of Yesenin's death" — and adds that the investigation needs to be revisited. That is, even the official 1993 inquiry did not put a final end to the matter.
III. The Murder Version: What Researchers Say
The version of Yesenin's murder with a subsequent staged suicide has existed since the late 1980s. It was actively developed by:
Eduard Khlystalov — an investigator from the Moscow Criminal Investigation Department, a retired colonel. Author of "The Mystery of the Angleterre Hotel" and "How Sergei Yesenin Was Killed."
Viktor Kuznetsov — a writer, author of "The Mystery of Yesenin's Death," a long-time researcher of archives.
Vasily Belov — a well-known "village prose" writer, who publicly stated in a 1988 interview that Yesenin was killed.
Sergei Bezrukov — an actor who played Yesenin in the TV series "Yesenin" (2005). In 2025, he stated: "When I look at Yesenin's biography, at its tragic end, then, in my deep conviction, I can say that it was a murder."
Main arguments of the murder version proponents:
Lack of hotel registration. There is no record in the Angleterre's guest lists that Yesenin checked in on December 24, 1925. This suggests either he was staying illegally (unlikely for a hotel of that class) or the body was brought to the room after death.
Strange features in the inspection report. The report drawn up by the district warden Gorbov contains gross professional errors: no witnesses present, the protocol incorrectly formatted. Moreover, the handwriting in this document does not match Gorbov's handwriting in other official papers.
Injuries on the body. In post-mortem photographs of Yesenin, kept at the National Public Library in St. Petersburg, traces inconsistent with death by hanging are clearly visible: a hematoma under the right eye, a deep indentation on the forehead (resembling a mark from a pistol grip), and — according to some sources — a bullet hole in the forehead. The official examination either did not notice these injuries or ignored them.
Condition of clothing and surroundings. The artist V. Svarog, who visited the room on the morning of December 28, recorded that the poet's trousers were unbuttoned and pulled down, and there were many carpet fibers on his shirt and in his hair. He suggested that Yesenin had been wrapped in a carpet after being killed, to be moved into the room.
A struggle. Yesenin had been interested in fistfights since childhood and was physically strong. If murderers had come to his room, he could have resisted — which would explain the signs of a struggle in the room and the injuries on the body.
IV. The Spirit of Yesenin's Version: Comparison with Documents
The version presented in the session fits entirely into the paradigm of "criminal Yesenin studies," but has several unique details that can be checked against documents.
Detail one: The train conflict. Yesenin's spirit describes, in vivid detail, a quarrel with a diplomatic courier in September 1925. This story is documented. Archives contain protocols of Yesenin's interrogation dated October 29, 1925, a report from diplomatic courier Adolf Rog, and an explanatory note from the poet.
According to these documents, on September 6, 1925, on the Baku-Moscow train, a drunk Yesenin mixed up the compartments and entered Rog's. Rog made a remark. Yesenin responded with abuse, including on ethnic grounds ("Jewish face" — these words appear in witness Levit's testimony). A criminal case was opened. That is, Yesenin's spirit is telling the truth: criminal prosecution did occur.
Detail two: Fear of the Lubyanka. Yesenin's spirit speaks of an arrest in October 1920, when he was brought to the Lubyanka and was "very scared." This is a fact: on October 19, 1920, Yesenin was arrested on suspicion of harboring White Army supporters, interrogated, and released. This fear, according to the spirit's version, became the "connection point for dark entities" — in a realistic interpretation, the point after which Yesenin developed deep paranoia and distrust of the authorities.
Detail three: Involvement of Yakov Blyumkin. Some versions of the murder feature Yakov Blyumkin — a Chekist, terrorist, killer of the German ambassador Mirbach in 1918. In a letter published in the journal "Wonders and Adventures," a certain Viktor Titarenko recounted the story of a former prisoner, Nikolai Leontyev, who served with Blyumkin in the OGPU. According to Leontyev, Blyumkin received orders from Trotsky to "punish Yesenin physically in a fitting manner." During an attempt to "jokingly" pull down the poet's trousers, Yesenin hit Blyumkin on the head with a candlestick, and the terrified Leontyev shot the poet. Yesenin's spirit in the transcript does not name Blyumkin directly but mentions that among those who came to the room were people he knew personally — otherwise, he wouldn't have opened the door.
Detail four: Unbuttoned trousers. This detail is recorded by the artist Svarog and is precisely what Leontyev mentions. Yesenin's spirit does not mention this detail in the transcript, but it indirectly confirms the version of the poet's resistance, which is present in the spirit's story: "I resisted, a struggle ensued."
Detail five: Role of Dr. Gannushkin. The spirit claims that the head doctor of the clinic was afraid of the responsibility for the patient's escape and reported it to the proper authorities. Yesenin was indeed in Gannushkin's clinic (Moscow State University, Psychiatry Clinic on Devichye Pole) and escaped from there shortly before leaving for Leningrad.
V. Contradictions and Inconsistencies
Despite all the coincidences, the spirit's version also contains internal contradictions — both with official documents and with other alternative versions.
Contradiction one: Place of death. The spirit says he was killed during the arrest right in the Angleterre Hotel. Some alternative versions insist that Yesenin was killed in the basement of the GPU (in a neighboring building) and moved, already dead, to the room. The post-mortem photographs showing carpet fibers on the body and hair tip the scales in favor of the version involving the body being moved, rather than a murder on the spot.
Contradiction two: Nature of death. The spirit says he was strangled "accidentally, in the heat of the struggle." However, several researchers (including Khlystalov and Kuznetsov) insist on a premeditated murder — moreover, an especially cruel one, involving torture. The post-mortem photographs show injuries incompatible with an accidental death during an arrest: a prolapsed left eye, a deep scar on the forehead, cuts on the hands.
Contradiction three: The suicide poem. The spirit claims the poem "Goodbye, my friend, goodbye..." was written earlier and used for the staging. An examination conducted in 1993 showed that the poem was indeed written in blood, but the time of its writing cannot be determined. Several literary scholars point out that the poem is too "finished" for a suicide note — unlike the chaotic, fragmented notes usually left by suicides.
VI. Historiosophical Context: Why Yesenin Was a Problem for the Regime
The murder version gains logic when examined in historical context. Why would the poet be needed dead? Why wasn't he simply arrested, like many in those years, but instead destroyed with particular cruelty and a suicide staged?
Yesenin was not just a poet. He was a symbol. A symbol of the vanishing peasant, Orthodox, "primordial" Russia. His poems about birches and maples, about wooden churches and the ringing of bells were not just lyrics — they were a form of resistance. Not declarative, not political, but — deep, cultural, existential.
Here is what Trotsky wrote in 1919 (this quote is cited by many researchers of the Yesenin case, including Viktor Kuznetsov):
"We must turn Russia into a desert inhabited by white Negroes, to whom we will give a tyranny that never even occurred to the inhabitants of the East. Through bloody purges we will bring the Russian intelligentsia to complete stupefaction, to idiocy, to an animal state..."
Apologists for Bolshevism consider this quote inauthentic or taken out of context. But Yesenin's spirit itself speaks in the transcript of "bloodthirsty commissars" and that "words are not matching deeds."
Yesenin did not hide his attitude towards the authorities. In his poem "Land of Scoundrels," he created a character with the surname Chekistov — a transparent allusion to Trotsky (whose real surname was Bronstein). And put into his mouth:
"I came here not as a Jew,
But as one possessing the gift
Of taming fools and beasts..."
According to friends, Yesenin said: "I, a legitimate son of Russia, am sick of being a stepson in my own state... Russia is ruled by Trotsky-Bronstein... And he should not rule."
In those years, such statements were deadly dangerous. Yesenin was hounded in the newspapers, provoked into scandals, and GPU agents were sent to him disguised as friends. And he knew it. "They want to kill me," he told his true friends.
And he prophesied in his poems:
"And I, the first, must be hanged,
My hands crossed behind my back,
Because with my hoarse and ailing song
I prevented my native country from sleeping."
Notice: not "shot," not "stabbed," but "hanged." It came true in precisely the opposite way — he was hanged already dead, with a suicide staged.
VII. Analysis of the Session from the Perspective of Psychology and Literary Studies
If we set aside the esoteric component and look at the session text as an artistic or psychological phenomenon — what do we see?
Firstly, a high degree of "immersion" in the character. The first-person narrative contains many small, vivid details that a random person not deeply familiar with Yesenin's biography and psychology could hardly reproduce: resentment towards his mother for betraying his father, his attitude towards Isadora Duncan as a "mother," the fear of arrest after 1920, the feeling of humiliation from being compared to "city folk," the self-justification of alcoholism ("to escape thoughts that were sent to me").
Secondly, a psychologically credible portrait. Yesenin's tragedy is the tragedy of a man who realizes his own destruction but cannot stop it. In the transcript, this is conveyed through the metaphor of the "glass" — the "glass of resentment" through which he looked at the world and saw enemies where there were none. And even now, "after death," he speaks with self-irony and bitterness: "I didn't know how to understand my desires and their true causes back then."
Thirdly, the literary completeness of the character. The spirit of Yesenin appears neither as a demonic villain nor as a canonical saint, but as a living person — with weaknesses, resentments, fears, but at the same time with a rare capacity for introspection and self-condemnation. He admits his wrongs towards his children ("I didn't trust women because of my mother"), towards Sonya Tolstaya ("it angered me that she tried to set me on the right path"), towards himself ("it was easier for me to deny God than to change myself").
It is this psychological depth that makes the session text valuable — regardless of whether one considers it a real contact with the poet's soul or a highly artistic hoax.
VIII. Conclusions: What We Know and What We Don't Know About Yesenin's Death
Let's sum up.
What we know for certain:
Yesenin died on the night of December 28, 1925. His body was found in room No. 5 of the Angleterre Hotel in a state of hanging.
The post-mortem examination was conducted with gross violations — not all injuries were documented.
The scene inspection report was unprofessionally compiled, no witnesses were present, and Gorbov's signature does not match his usual handwriting.
Yesenin had a conflict with the diplomatic courier Rog; a criminal case was opened against him.
Yesenin expressed to friends the thought that he was going to be killed.
What we do not know and perhaps will never know:
Was it suicide or murder?
If murder — who was the customer and who were the perpetrators?
What was the role of Trotsky, Blyumkin, the GPU in this story?
Did Yesenin write the suicide poem that same night, or was it written earlier?
What this session adds to the discussion:
The mediumistic session transcript offers a specific, detailed version of the death mechanism: murder during arrest (accidental or not entirely accidental), then a staged suicide. This version does not contradict most known facts, but neither is it unambiguously confirmed by them. It is also not unique — its main elements were developed by forensic researchers in the 1990s.
The paradox of the Yesenin case is that proponents of the murder version and proponents of the suicide version use the same documents — but interpret them diametrically oppositely. The broken plaster head on the table is used to explain both signs of a struggle (murder) and that the poet tied a belt to the pipe (suicide). The bruises on the face — both as the result of a fight before death and as post-mortem tissue changes during hanging.
Why this is important. Yesenin is not just a poet. Yesenin is, in the words of Alexander Blok, "my golden blue." He is an image of Russia that cannot be removed from culture without destroying culture itself. The dispute over his death is not only a forensic puzzle. It is a dispute over whether the Russian cultural renaissance of the early 20th century had the right to exist — or whether it was systematically destroyed by an authority for whom a "hoarse and ailing song" got in the way of building a utopia on bones.
One hundred years have passed. And there is still no answer. And perhaps that is the highest justice — to leave a great mystery to a great poet.
"In this life, dying is nothing new,
But living, of course, is no newer."
These were the last lines he wrote. Whether they were his will or another's sentence, we will never know. But perhaps that is for the best. For the mystery of Yesenin continues to trouble souls — and in that tremor, that unease, both his poetry and our memory, and what we call the Russian soul, are born anew.
https://blog.cassiopeia.center/razgovor-s-duhom-sergeya-esenina-v-bryusov-holle
Cassiopeia #709 Conversation with the Spirit of Sergei Yesenin at Bryusov Hall (Moscow).
00:00 Start of video.
00:24 Host's opening speech.
Igor: Good evening, dear friends, dear divine Souls! Thank you for choosing today's meeting among many entertainments. I hope, or rather I am confident, that for many of you, it will remain in your memory as something unforgettable.
My name is Igor Lebedev, I am the manager of Bryusov Hall. Together with the Cassiopeia Project, we conceived a cycle of channelings, or, in common parlance, mediumistic sessions with the Souls of Russian poets and writers.
You don't have to take this seriously. I'll put it this way: some of the people here, of course, understand what it's about and are calm about it. But there are certainly those for whom today's genre looks, to say the least, unusual. So, for such people, I want to suggest changing your perspective, not perceiving this as some kind of mystical, incomprehensible act. You can treat it as a theatrical performance, where there are certain given circumstances, and a dialogue takes place between the characters. The most important thing is what will be said.
Now we will show you a short five-minute film, just to remind you of the key stages in Sergei Yesenin's biography, to make it easier for you to navigate during the meeting when various circumstances are mentioned.
And now, attention to the screen! Let's watch the film.
02:28 Introductory part in the form of a film about Sergei Yesenin.
Sergei Yesenin was born in the village of Konstantinovo, 40 kilometers from Ryazan. Formally, he belonged to the peasant class. However, his parents did not work the land. His father earned a living in Moscow as a clerk in a merchant's shop. His mother also left to work soon after her son was born. Little Sergei was raised by his grandfather and uncles.
After school, his father takes 17-year-old Sergei to Moscow. But the young man doesn't stay in the shop and gets a job at a printing house, where he meets his first wife, Anna Izryadnova. The union was not officially registered and fell apart a few months later. The son born from this marriage perished during the years of repression.
Yesenin persistently takes his poems to editorial offices, and finally achieves his first publication in the children's magazine "The Little World." For further success, it was necessary to gain recognition from the literary bohemia, which was almost entirely located in Petrograd. Arriving in the capital, the 19-year-old Yesenin immediately managed to attract attention. Alexander Blok favorably receives the poems of the young talent and gives him a letter of recommendation to Sergei Gorodetsky, who introduces the young man to literary circles.
Having caught the fashionable trend of the intelligentsia's fascination with folk culture, Yesenin begins to very convincingly portray a "naive shepherd," dressing in an embroidered shirt and velvet boots. In this role of the "rustic Lel," he is taken under the wing of Nikolai Klyuev, the main singer of the Russian village.
Soon, people in the capital start talking about Yesenin as a new poetic phenomenon. His successful rise is interrupted by being called up for military service. Thanks to the patronage of influential friends, Yesenin manages to avoid being sent to the front of the First World War and gets a job as a male nurse on a hospital train.
After the February Revolution, against the backdrop of the general collapse in the army, Yesenin deserts from service, later eagerly sharing incredible details with his friends. In Petrograd, under Klyuev's influence, Yesenin joins the Socialist Revolutionaries (SRs). At the editorial office of the SR newspaper "Delo Naroda" (The People's Cause), he meets Zinaida Reich, whom he takes away from his friend. This is Yesenin's first official marriage, in which two children were born, which, however, did not save the union from collapsing: a year later, Yesenin abandons his wife.
After the October Revolution, the poet joins the Bolsheviks, reciting poems at rallies. On February 10, 1919, with a group of like-minded people, Yesenin publishes a manifesto about a new poetic direction – Imaginism – and moves away from revolutionary lyricism, beginning to develop the persona of a drunkard and rake.
Despite numerous hooligan antics, the Imaginists turned out to be successful entrepreneurs – they opened publishing houses, bookstores, artistic cafes, and even a cinema. By the beginning of the New Economic Policy (NEP), Yesenin was one of the most popular poets in the country. He had found his niche, and his performances were met with resounding success. At the same time, Yesenin is often visited by depression; he regularly throws drunken brawls and engages in hooligan acts.
At 26, he meets the American dancer Isadora Duncan, who is 18 years his senior. After getting married, the couple embarks on a tour abroad, during which Yesenin hopes to achieve worldwide recognition. The plans were not destined to come true. Abroad, he is merely the young husband of a famous artist. This situation increasingly depresses the poet; he causes scandals in hotels and at receptions.
Two years later, Yesenin returns to Moscow, separates from Duncan, and attempts to sort out his finances and restore his position in literature. He tries to sing the praises of the new, Soviet, changing Rus', but instead of a solemn anthem to the new country, what emerges is rather the confession of a man who finds himself a stranger.
A new marriage to the granddaughter of Leo Tolstoy does not help him find a foothold. His drunken binges become increasingly reckless; the police open 13 criminal cases against him one after another. Shortly before his death, Yesenin once again checks into the clinic of psychiatrist Gannushkin, but escapes without completing the course. He visits his first love, Anna Izryadnova. She recalled: "He said he came to say goodbye. To my question: 'What? Why?' – he says: 'I'm clearing out, leaving, I feel bad, I'll probably die.'"
Withdrawing all the money from his accounts, Yesenin leaves for Leningrad, where he checks into the Angleterre Hotel. There, on the night of December 28, 1925, he takes his own life.
(applause)
08:32 Greeting from Irina Podzorova. Introduction of the Spirit of Yesenin.
Igor: And now I invite Irina Podzorova to the stage.
Irina: Yes, hello, dear friends! I greet you. My name is Irina Podzorova. I am a contactee with extraterrestrial civilizations, subtle-material worlds, and the Spiritual World.
And today we have a session with the Spirit who, in his last incarnation, was known as the hero of that video, Sergei Yesenin. I hope, and he hopes, he also greets everyone, he is already here, in the astral space. I emphasize: in the astral space of this room! Accordingly, he also greets everyone and hopes for interesting questions. (applause)
09:28 Spiritual levels of Sergei Yesenin's incarnation.
Igor: Hello, Sergei Alexandrovich! Thank you for coming to us.
Irina: He shows me the image of a young guy and says that his age, the way he felt recently before his disincarnation, does not allow addressing him by his patronymic.
Igor: Okay, just Sergei.
Irina (Spirit of Yesenin): That's much better.
Igor: Alright. Allow me to start asking you questions?
Irina (Spirit of Yesenin): Of course.
Igor: First question. Tell me, please, from what Spiritual level did you incarnate into Sergei Yesenin?
Irina (Spirit of Yesenin): From the fourteenth.
Igor: And to what level did you leave?
Irina (Spirit of Yesenin): To the seventh.
*(Video reference: 7th level – Elementals – Spirits who strive to incarnate in plasmoid (subtle-material) worlds responsible for certain natural elements. They emerged from the world of Demons and dedicated their energy to managing nature, as well as creating animal souls).*
Igor: So, a lowering?
Irina (Spirit of Yesenin): Yes.
10:43 Why Yesenin lowered his spiritual level.
Igor: Can you explain to us, in your opinion, what is this connected with?
Irina (Spirit of Yesenin): It is connected with my despondency and resentment towards many people, including women and my friends. As well as the feeling of my own pride, the amount of which clearly decreased during the last year of my incarnation, otherwise a different level would have awaited me.
Igor: An even lower one?
Irina (Spirit of Yesenin): Yes. There were moments in my life when I corresponded to a different level.
(Irina): Here he shows me that even lower – somewhere around the third or fourth.
(Video reference: 4th level – Demons – Spirits so absorbed by the pleasures received through the material body that they forget the law of energy conservation. They wish to endlessly enjoy material energies and become very irritated when obstacles arise in their path, even if they are living people).
(Spirit of Yesenin): There were moments when there was a lot of aggression.
(Irina): He shows me: there was a lot of negativity because he was often offended.
11:58 The spiritual task of Sergei Yesenin, his curators. Previous incarnations of the Spirit of Yesenin.
Igor: What was the main spiritual task with which you incarnated?
Irina (Spirit of Yesenin): My main spiritual task was to recognize myself as a spiritual entity and establish contact with the Spiritual World. That is, in your words, contacteeism: to transmit information from the Spiritual World from my curators, from my mentors, with whom I agreed to be, as it were, their mouthpiece.
Igor: And who were your curators, mentors?
Irina (Spirit of Yesenin): I had several. There were three mentors from the civilization of the Sun – from the civilization where I was incarnated before this, before incarnating into the body of Sergei. I was incarnated in a civilization of the 18th density level of our main star, the Sun. And there I was incarnated for the last approximately 8,200 years.
Then I left the incarnation at the 18th density level and incarnated at the 3rd density level of Earth, in order to bring knowledge and information about nature, about the Sun, about natural rhythms, about the natural laws of Earth's civilization. But for this, I first needed to fulfill my task – to adapt to my third-density body and establish contact with my curators so as to transmit without distortion.
But I not only failed to fulfill my task, I lost much of what I had accumulated before, in my incarnation at the 18th density level.
Igor: So, your curators were plasmoids?
Irina (Spirit of Yesenin): Yes, they were plasmoids. And I also had a curator from the Spiritual World who was my spiritual patron. You know him as Sergei of Radonezh. He is my spiritual curator. And, of course, I had my Guardian Angel. These are all from the Spiritual World.
14:39 Did Sergei realize that he was a contactee?
Igor: And during your life on Earth, did you realize, did you understand that you were a contactee? Did you remember or know?
Irina (Spirit of Yesenin): I didn't call it contacteeism. I took this word just now, from Irina's memory. I didn't call it that, I called it inspiration – "a flow of inspiration." I didn't call myself a contactee.
Igor: But, in essence, during these moments of inspiration, some kind of spiritual contact with your curators, mentors, occurred?
Irina (Spirit of Yesenin): Yes, you could say that. It's just that the information was not transmitted directly, in the form of poems, for example, but rather in the form of feelings, emotions, and sensations, which I then translated into words. And I consider this to be a joint creative work between me and these curators. Because I didn't have the kind of contact where I transmit words like a blind tool; I was also engaged in my own creativity.
15:51 Did Yesenit know in advance that he would become a poet?
Igor: Did you incarnate from the very beginning knowing that you would become a poet? Or was the specialization not important? You could have become, I don't know, a scientist or an artist.
Irina (Spirit of Yesenin): I incarnated to become a creator. To become a creator and change this material world during the next, as you call it now (the modern term), stage of the quantum transition. And at that time, we called it the revolution. Many contactees incarnated at that time, their task being to ease this path and make it brighter for many people.
I had a specific task – to create those information products (speaking in modern terms) that could transmit, as I already said, knowledge about nature. And even if it had been in the form of other, non-poetic books, I would still have fulfilled my task.
Igor: You speak about nature, and this, evidently, explains your incarnation specifically in Konstantinovo, in these places of incredible Russian natural beauty?
Irina (Spirit of Yesenin): In general, there are many beautiful places in nature, and you know that you can find beauty in any place. But I was mainly choosing my parents and my family line, my ancestral egregore as a whole.
17:28 Sergei Yesenin about his parents.
Igor: So, and why did you choose these parents? Because, looking just at the facts, the dry facts of your biography, your childhood doesn't seem to have been particularly happy. Since your parents left you quite early, you lived without them and were raised by your grandfather.
Irina (Spirit of Yesenin): I saw them. I want to say, by the way, that yes, they left, they worked, but I saw them quite often.
Igor: And what was your relationship with them?
Irina (Spirit of Yesenin): My relationship with my father was warmer. My mother simply left him and went to, temporarily got together with, one could say, another man. She cheated on him, and then returned to the family. Because of this, I didn't have a very good relationship with her, because I resented her for my dad's sake.
Igor: But, nevertheless, you wrote poignant poems to your mother.
Irina (Spirit of Yesenin): I was offended at first, when I was a child.
(Irina): He shows me a boy of about 10–11 years old now.
18:36 Sergei Yesenin about the best incarnation of his Spirit.
Igor: Tell me, please, what was the highest level of your incarnation? In various incarnations within this manvantara.
Irina (Spirit of Yesenin): In this manvantara, my highest level was the 21st.
(Video reference: 21st level – Guide Angels – Spirits whose task in the Spiritual World is to meet Spirits who have permanently left their material bodies and accompany them through the Astral to the world of unincarnated Spirits – to the level they achieved during life in the body).
But I achieved it not on Earth, and not even in your galaxy.
Igor: And where did that happen?
Irina (Spirit of Yesenin): It happened at the 54th density level in a galaxy that is located 12 million light years from here. And my task was to create ethereal vortices to form the quanta that later became the foundation of that galaxy.
Igor: So you created planets?
Irina (Spirit of Yesenin): The galactic core, stars. Others created the planets later.
19:58 Yesenin about his lowest level.
Igor: And the lowest level to which you disincarnated?
Irina (Spirit of Yesenin): The level I disincarnated to was the third.
(Video reference: 3rd level – Asuras – Spirits who, due to their pride and arrogance, do not see the needs of other people. All their activity is aimed at satisfying their own diverse desires, the fulfillment of which replaces for them the joy of being in God's Love).
This happened relatively recently. That is, as I already said, before incarnating into the body of Sergei, I as a Spirit was incarnated in a subtle-material being that the contactee calls a plasmoid.
(Irina): He just found this word in my memory, so to speak.
(Spirit of Yesenin): The 18th density level. And before that, I was also incarnated in the Milky Way galaxy, and this happened 12,000 years ago, precisely on the planet you call Selbet.
Igor: With those very reptilians?
Irina (Spirit of Yesenin): Yes, there I reached the third level.
Igor: In the body of a reptilian?
Irina (Spirit of Yesenin): Rather, I descended from the 18th spiritual level to the 3rd.
Igor: Wait, so you probably participated in that war 12,000 years ago?
Irina (Spirit of Yesenin): I didn't participate myself, but as a military leader, giving orders.
Igor: You commanded?
Irina (Spirit of Yesenin): Yes. I was one of the leaders, not the main one. One of the leaders of a military unit. But this leadership of mine had nothing to do with Earth, because I commanded a unit that was engaged in military struggle with Sirius.
(Irina): He is now showing me exactly how he gave the order to disincarnate those humanoids who were on the planet Ashtar.
Igor: Is this about Ashtar Sheran?
Irina (Spirit of Yesenin): Yes, the one who now lives on a ship.
Igor: So. Good.
Irina: He shows me that he disincarnated after this war. That is, it wasn't as a result of battle, it was already after the war, and he left to the 3rd level (shows me the number 3 now).
(Spirit of Yesenin): After this, when, as I said, several thousand years passed, I incarnated into this plasmoid civilization of the 18th density level. And I left the incarnation 115, no, 116 years before my birth as this Sergei.
Igor: In Sergei's body.
23:12 Other incarnations of the Spirit of Yesenin on Earth.
Igor: Tell me, please, how many times have you incarnated on Earth?
Irina (Spirit of Yesenin): On Earth, I incarnated three times.
Igor: Please tell me about the other two incarnations.
Irina (Spirit of Yesenin): They were before the war. That is, it was a very long time ago, several hundred thousand years ago, more precisely, 452,000 years ago and over a million years ago.
Igor: What did you do then?
Irina (Spirit of Yesenin): Both incarnations on Earth at that time were female. I was doing... Well, nothing particularly significant.
(Irina): He just shows me many children and men. So it was just a certain tribe that wasn't famous for anything.
(Spirit of Yesenin): And my third incarnation you know as Sergei.
Igor: Not only know, but also love very much.
24:16 Does Yesenin know about his popularity?
Igor: Question: do you know that you are incredibly popular in your country? That entire institutes study you, publish multi-volume research works connected with your biography, your creativity, a huge number of museums, and simply millions of people love your poetry? Is this known to you?
Irina (Spirit of Yesenin): Yes, those Spirits who came to me told me about it.
Igor: Oh, how interesting!
Irina (Spirit of Yesenin): And besides, I felt an increased interest in myself. And I felt that many people read my poems, because every person, when reading them, remembers me, imagines my image, and I feel it. After all, when you remember someone's image, a person who has already died, whose body has died, but the Soul has left, if you remember him with some feeling, he feels you. He doesn't see you, but simply feels your Soul, your energy.
And I feel that there are many such people on Earth. Therefore, I naturally concluded that this happens because of my creativity.
25:35 Does Yesenin have contactees on Earth?
Igor: Do you have contactees on Earth, do you maintain any kind of connection with anyone?
Irina (Spirit of Yesenin): Yes.
Igor: Do they consciously contact you, or does it happen somehow in dreams?
Irina (Spirit of Yesenin): There are contactees who consciously turn to me, and I send them information.
Igor: Are these contactees whose activities are connected with creativity, or not necessarily?
Irina (Spirit of Yesenin): Yes, there are such ones.
(Irina): But there are also such ones, he shows me now, like historians. He also shows me that there are some among his descendants.
(Spirit of Yesenin): That is, the descendants of my children also turn to me mentally, and I answer them.
26:32 Yesenin about his children. Did he love them?
Igor: Listen, since we've started talking about children, I have to ask. Here again, looking at the dry lines of your biography, one gets the impression that you somehow weren't interested in your children. You paid little attention to them, and regarding the son from Zinaida Reich, it seems you didn't even recognize him as your son. Why such a cool attitude towards children?
Irina (Spirit of Yesenin): Because of my unawareness. I didn't trust her, and I didn't trust women in general, because, as I said, my mother cheated on my father, and she had a child on the side.
(Irina): He shows me that he had a brother who wasn't, like, from his father.
(Spirit of Yesenin): Accordingly, I believed that a child should be... I had this illusory idea, one might say, such an illusion, that any child should be the spitting image of me. But that doesn't always happen, and when I saw some dissimilarity, I convinced myself that this child wasn't mine. But I want to say...
(Irina): Yes, okay, I understood.
(Spirit of Yesenin): I did this to relieve myself of responsibility. To relieve myself of responsibility as the father of that child, who is obliged to help him, raise him, and generally be morally responsible for him. And I justified myself in that, and what I'm saying now, I realized later, that is, after leaving the incarnation.
(Irina): I understood, I'll explain now. The thing is, when a Spirit leaves an incarnation, the Soul leaves the incarnation, it unites with its unincarnated part, its beliefs and attitudes can change a lot, it subjects them to analysis. And what he just said is the result of his analysis. He's emphasizing that he wasn't like that then, but he has changed now. Again, he has changed mentally. But to express this in life, he needs to incarnate again.
29:19 Spirit of Yesenin about plans for incarnation.
Igor: Have you already planned a new incarnation?
Irina (Spirit of Yesenin): Practically, yes.
Igor: And where are you planning to incarnate?
Irina (Spirit of Yesenin): I would like to visit your world a fourth time.
Igor: Hopefully in Russia?
Irina (Spirit of Yesenin): I think so, yes.
Igor: We await you eagerly. And what are your plans for the new incarnation? What do you want to become?
Irina (Spirit of Yesenin): I would like to repeat my incarnation and also become a creator.
(Irina): He shows me a person singing, like a bard, you know. Showing me a guitar.
(Spirit of Yesenin): Either for other people to sing songs to my poems, which I will compose for the new century, or to sing myself. But I want to incarnate specifically as a man, and it would be good if it happened somewhere in the south of Russia.
(Irina): He's showing me Pyatigorsk, Stavropol for some reason – cities like that. He tells me he would like to incarnate there.
Igor: Can we make a deal with you, that when you start your creative activity, you'll send us some signal so that we understand that you are the reincarnated Sergei Yesenin?
Irina (Spirit of Yesenin): That won't help. The memory of my incarnated part will be erased anyway.
Igor: I see. Unfortunately. Yes, but those are the conditions.
Irina (Spirit of Yesenin): Yes. So that my memory doesn't influence the person who will be starting their life anew. Because they must incarnate with their memory reset, as if with a blank sheet of paper (shows the image of a blank sheet), so that they can adapt to the new world, to the new century. After all, the world you have now is not at all like the world a hundred years ago.
Igor: And do you have a sense of the timeframe, when this will happen, give or take?
Irina (Spirit of Yesenin): Very approximately, the next 70 years.
Igor: So the parents are not yet determined?
Irina (Spirit of Yesenin): No. I'm just planning.
Igor: I see.
Irina: But this can change; he spoke approximately.
Igor: Yes, of course, we understand.
31:56 Yesenin about his first publication and pseudonym.
Igor: Tell me, please, historians and researchers of your biography are trying to find your first publication, which, according to some sources, might have taken place on November 27, 1913. But they cannot find the title or the publication in which it occurred. Perhaps you can tell us where and when the first publication of your poem took place?
Irina: He shows me that it was in a regional newspaper of Ryazan, which was... His mother (shows the mother) used to go there, she submitted it. It was something like "Ryazan Gazette," something like that, or "News."
Igor: And what was the poem called?
Irina: Something about a birch tree.
Igor: Ah, about a birch! So that's "White Birch." That is also considered your first publication in the magazine "The Little World."
Irina (Spirit of Yesenin): It was written earlier.
Igor: Written earlier. And it was both there, in these "Ryazan Gazette," and in the magazine "The Little World"?
Irina (Spirit of Yesenin): Yes.
Igor: So, good, now we've found out. Tell me, please, where did the pseudonym "Ariston" come from, which you used to sign your first publication?
Irina: How?
Igor: Ariston.
Irina (Spirit of Yesenin): That's how I heard, one might say, the name of my curator. I considered him, as it were, my spiritual teacher. But he came to me, rather, in my sleep.
33:37 Yesenin about his first visit to Petrograd. Meeting with Blok.
Igor: Tell me, please, why did you go to Petrograd from Moscow?
Irina (Spirit of Yesenin): When exactly?
Igor: Your first visit to Petrograd, when you were working at the printing house, you had published your first poems.
Irina (Spirit of Yesenin): I went there more than once.
Igor: The talk is about the first visit when you met Blok.
Irina (Spirit of Yesenin): Well, you answered your own question: to meet him!
Igor: (laughs) Then...
Irina (Spirit of Yesenin): Generally, to get acquainted.
(Irina): He says he read his poems, and also read Akhmatova's poems. And he wanted to meet them, specifically Alexander.
Igor: He praised your poems, right?
Irina (Spirit of Yesenin): Well, there was no criticism. He said that, by the way, I still needed to work on my poems, to make them more... so that there were fewer incomprehensible words (shows that there was such a personal conversation). He told me that the metropolitan, city people don't like that, they don't understand that dialect. So you need fewer of these dialect words, fewer of these expressions, like 'muzhik', 'baba' and so on, which might seem crude.
So he gave me some advice. Although he said: "Yes, I liked it. But people might perceive it ambiguously." He made a few such remarks, but not as criticism, just as advice from an elder to a younger, from a kind of teacher.
Igor: And did you take that advice?
Irina (Spirit of Yesenin): Yes. At least, I tried to follow it.
35:31 Yesenin about his external appearance.
Igor: And this whole external side of life, when you started creating your image. You had this image of a peasant poet? How did that come about for you?
Irina (Spirit of Yesenin): Why is it an image? I was like that.
Igor: But wait! These embroidered velvet boots, some special peasant cap. They say you purposely spoke with a dialect when meeting older poets, made up various stories, that you were passing through somewhere, unloading some barrels together with a work crew, and just dropped into Petrograd for a minute.
Irina (Spirit of Yesenin): We had many such conversations, that is, I had many friends. And as for the image (shows it), what you're asking about the clothes, I liked it myself. I could, of course, have worn bast shoes, but I don't think that would have been perceived any differently.
Igor: Well, you could have worn a neutral, secular suit.
Irina (Spirit of Yesenin): I liked it this way.
Irina: He says he liked these embroidered shoes and clothes. He personally. That is, not to show off, but his Soul was drawn to it.
36:51 Yesenin about his friendship with Klyuev.
Igor: I want to ask you about your friendship and collaboration with Nikolai Klyuev. How did he influence you, and what connected you?
Irina (Spirit of Yesenin): We had known each other for a long time. Well, yes, we were together. And what do you mean, how did he influence me?
Igor: In a poetic sense. He was engaged in...
Irina (Spirit of Yesenin): He was a poet, yes. But I don't think he influenced me in any way. I think we certainly learned from each other in some ways, but there was no such influence. And actually, I have an ambiguous attitude towards him. He was a bit...
(Irina): He shows me that he was a bit persistent. That is, he was pushy with his friendship.
Igor: Allow me to ask a delicate question.
Irina (Spirit of Yesenin): Yes.
Igor: Or rather, I'll even quote Vladimir Chernavsky, who cited your words in his memoirs. It seems you told him, describing your relationship with Klyuev: "As soon as I reach for my hat, he's on the floor, sits in the middle of the room and wails at the top of his voice like a woman: 'Don't go, don't you dare go to her!'" Meaning he was terribly jealous. And based on such memoirs, a hypothesis, or version, arose that you were connected not only by friendship but also by erotic relations.
Irina (Spirit of Yesenin): He offered that to me, but I refused.
Igor: Is it possible to speak of a "gay lobby" that promoted poets, helped them with publications?
Irina (Spirit of Yesenin): As they say, I can only speak for myself and for those I know. I wouldn't say that this tendency was too developed, but yes, such people existed, and they didn't hide their preferences. Accordingly, I personally think that there was more noise about them than there actually were many of them. For example, they said such things about me, I heard such rumors, but in fact it wasn't true.
Igor: Thank you very much.
39:28 Yesenin about meeting Rasputin.
Igor: Were you acquainted with Rasputin?
Irina (Spirit of Yesenin): Yes.
Igor: Please tell me, under what circumstances did you meet?
Irina (Spirit of Yesenin): We came to some...
(Irina): He's showing me not a club, but a reception at the home of a man he knew, showing a man with a beard.
(Spirit of Yesenin): And that Rasputin was there. And several of us together approached him and got acquainted. I read him poems (shows how he reads something about nature). And he liked it. He looked at me and said: "You have a great future."
Igor: But your relationship didn't develop?
Irina (Spirit of Yesenin): We met once.
Igor: Once?
Irina (Spirit of Yesenin): Yes, we met once, and then he helped me not to go to the front.
Igor: And how did he do that?
Irina (Spirit of Yesenin): He wrote to his friend to send us to the train where members of the imperial family were. [Yesenin served on a hospital train based in Tsarskoye Selo].
Igor: Yes, that's a known part of your biography.
Irina (Spirit of Yesenin): So there was some protection there (shows that this train was particularly well guarded). There were these soldiers, and it was safer. Although we also went for the wounded, but, of course, they didn't let us get very close to the front line where it was dangerous. So it was done to protect me: he asked for such a safe place for me.
Igor: Did you ask him, or did someone else ask him with this request?
Irina (Spirit of Yesenin): No, no one. I just told him that... He asked me, when we met, about the army and how old I was, and what I thought about the war, accordingly. Well, I told him that the war was a terrible ordeal for me, that I wasn't ready for it.
(Irina): And he shows me that Rasputin decided that himself.
(Spirit of Yesenin): I didn't ask him.
Igor: I see.
41:50 Yesenin about his blasphemy, attitude towards religion, Christ.
Igor: Speaking of the Imaginists, we cannot ignore your hooligan actions, which were intended to attract attention to you. First of all, I'm talking about painting the walls of the Passion Monastery with poetic slogans of a rather indecent nature. Tell me, please, do you remember, do you understand what I'm talking about?
Irina (Spirit of Yesenin): Yes.
Igor: In particular, your poems, I don't even want to repeat them, they sound quite blasphemous. Considering the poems dedicated to Christ and God that you wrote before, or your reflections on the nature of Christ in letters to your childhood friend, these little verses on the monastery walls seem somewhat alien. Tell me, please, how did you dare to do this, and how do you evaluate this escapade now?
Irina: He shows me now that it was a joke, rather, and not at the expense of Christ and faith, but of, like, Christianity. Not even at Christianity as the institution of the church itself, but at those who abuse their authority in Christianity.
(Spirit of Yesenin): Why did I do it? I want to say, it was rather an imitation of a trend. I took this criticism directed at Christianity from newspapers (shows newspapers and magazines that printed very negative things about religion). Imitating this trend, I also started composing similar things, I wrote these particular poems.
But in general, I also had poems in defense of Christianity. There was a poem that sort of defended Christ, I don't know if you've read it or not. But mainly it was a response...
(Irina): To some Demyan. I don't know what he's talking about.
Igor: He's obviously talking about Demyan Bedny.
Irina (Spirit of Yesenin): Yes, that's the poem that defended Christ. And there was a rather sharp attack against the author. And it was my sincere impulse, because I was outraged that he was defiling Christ himself!
It was evident that through these poems... He wrote them, imitating the Gospel, and it was evident that he doubted whether Jesus existed or not. So there were such doubts, and he was, as it were, fighting with Him. He tried to present it all as a joke, but it didn't look funny, it looked vile. And there was also a written response.
(Irina): He shows me some journal that's like a book, a big journal.
(Spirit of Yesenin): And this response was made public by me. Yes, it was made public, despite the fact that it could have brought me some unpleasant consequences in the form of, for example, a trial. Because it contained, one might say, an insult to that person, that poet, involving, for instance, comparing him to an animal.
Igor: I see.
45:55 Yesenin about his real attitude towards the church.
Igor: Tell me, please, did your attitude towards Christ change during your life or not? Towards religion in general?
Irina (Spirit of Yesenin): You know... I always... Maybe you have read somewhere that I didn't believe in Christianity. Yes, I had doubts, but inside myself I always wanted to believe. I always wanted to believe, because I always looked at nature, and saw its beauty, and knew inside myself that it couldn't have appeared by chance. That's the first reason. And the second, as I already said, my curator Sergei of Radonezh, who is at a high spiritual level, he also sent me thoughts to go to church, to serve there. I even went in.
(Irina): He shows me how he would go into a service and stand behind the believers, listen to the singing. So there were such doubts.
(Spirit of Yesenin): But, naturally, when I had accumulated a lot of this in my Soul... At first it was like envy of other more successful people, and then there was contempt for people who were nothing like me. And there were resentments. I now call all this filth (shows how he got dirty).
Then, of course, I started thinking less about faith and less about Christ. When such thoughts came to me, it was easier for me to deny them than to change myself, because my life was going beyond them. That is, it was easier for me to deny God than to adjust myself to Him, to His laws.
48:05 Yesenin about the reasons for the lowering of his vibrations and the change of curators.
Igor: Now, when you analyze your lived life there, in the Spiritual World, do you have an answer to the question of how you should have acted or what you should have done? At what point should you have taken some steps so that your destiny would have changed for the better, so that these negative qualities you speak of wouldn't have developed so much in your life?
Irina (Spirit of Yesenin): To believe, despite the doubts. I shouldn't have accumulated resentment within myself. And I should have treated people the way I wanted them to treat me. Because sometimes I wanted good treatment, good receptions, but I myself spoke very contemptuously and critically about my other comrades in the poetic guild.
Igor: Do I understand correctly that you went to church rarely and did not observe the sacraments, I mean confession, communion?
Irina (Spirit of Yesenin): I just went in and listened. And then, when my Soul became darker, my curators changed, they became of the eleventh density level, earthly...
(Irina): "Earthly plasmoids" he wants to say, he just calls them "ethereal beings."
(Spirit of Yesenin): They already contributed to the strengthening of my negative qualities (shows that he had connections, attachments to them in the back of his head and his tailbone). And now, when I entered the church, they sent me unpleasant sensations and unpleasant thoughts, that everything here scares me. And it was unpleasant to look at icons, other things, and I would leave there and never get around to the sacraments. And then I stopped doing it altogether.
(Irina): In short, yes, I understood: his curators changed. I'll explain what he's talking about now, I understand him perfectly.
His curators changed when he lowered his vibrations. He lost those lighter curators from the civilization where he was incarnated on the Sun, so to speak. He lowered his vibrations, and his curators were already destructive civilizations of the earthly type, of the eleventh density level, to which he connected because of these blocks, these low vibrations.
He is showing me images and speaking now.
(Spirit of Yesenin): Yes, that's right, only Irina explains it in esoteric language. And I will simply say that yes, my patrons changed because I came to them myself.
51:17 When and under what circumstances did Yesenin's curators change?
Igor: Approximately at what point in your life did this happen?
Irina: October. Fear. He's showing me autumn now. This connection happened in October 1920. He's showing me fear, some fear as if of execution, or arrest. Yes, he's showing me that they wanted to put him in prison or shoot him, something related to the authorities.
(Video reference: On October 19, 1920, Moscow Chekists arrested Sergei Yesenin on Arbat Street and then interrogated him at the Lubyanka in connection with a case of harboring White Army supporters. The poet had nothing to do with it and believed he was a victim of a denunciation by his enemy, the conductor Vladimir Bakaleynikov. In prison, Yesenin was very afraid of being shot by mistake, so he loudly and slowly spelled out his surname to the warden).
(Irina): She shows them in uniform now, and the fear in front of them. And because of this fear, the plasmoids connected.
Igor: I see. They connected, what was their main purpose? To feed on your energy, the energy of fear, the energy...?
Irina (Spirit of Yesenin): And exchange. Yes, to feed on energy and to strengthen in me these negative, adverse energies, so that I could have a negative attitude towards loved ones, and so that they too would lower their vibrations, to anger them and so on. More precisely, not to anger, but to offend.
That is, they planted thoughts in me that no one recognized me, that I was useless to anyone, that everyone was laughing at me: that I came from the village, and these city folks were laughing at me.
53:28 Why did Yesenin become addicted to alcohol?
Irina (Spirit of Yesenin): These thoughts came to me. And to escape them, I felt that when I drank alcohol, I became more... not even that confident, but the fear that the Soviet authorities would do something to me kind of receded into the background. At the same time, I became indifferent, it didn't matter what anyone thought of me. But still, Love and acceptance from others did not come (shows).
The fact that I was addicted to alcohol was not without reason. It was to escape the thoughts that were being sent to me. I didn't recognize the cause then, that someone had connected to me. I thought those were my thoughts, my own. And even if someone had told me about it then: "These aren't your thoughts, they're sending them to you to influence you" – knowing my state, as I remember it now, I wouldn't have believed it and would have said it was all a lie, that they were my thoughts. But now I can distinguish which thoughts came to me – which were mine and which were not.
Of course, you may ask: "But what about the light curators, Sergei of Radonezh and the solar civilizations, where were they?" I already see an unasked question in the hall from some people. I'll answer them. I myself chose this side, so they moved away from me. And they waited for me to turn to them myself, but, naturally, I did not turn to them. And to protect me with Light and send Divine protection and grace to me without my asking, that would have been, so to speak, violence. So they left me with those friends I had attracted.
55:57 Yesenin about his "Black Man".
Irina (Spirit of Yesenin): And then I began to see them (shows figures he sees in the room).
Igor: Is that when, during delirium tremens, devils come, you mean?
Irina (Spirit of Yesenin): It was, rather, straight... He would appear, then disappear.
(Irina): He shows me now a man, a dark figure, taller than human height.
(Spirit of Yesenin): And when I even slept (shows), I would have a nightmare, then I would wake up, and he would, as it were, sit down and press on my chest. As if he would sit down next to me and press on my chest, just like that, lean on me. At first I thought I had dreamed it. And then I started seeing him...
Even when I'm not sleeping, I'm sitting in the evening and feel like someone is watching me. As if from...
(Irina): Not watching. Hold on. Show me this feeling, please, I'll recognize it.
Got it, he shows that when he was alone, he had a feeling that someone was nearby. Then, if he looked at some object, it seemed alive to him. Or, for example, he would look at some photograph, or (he shows me now) at some statuette. A statuette of a woman dancing, like a ballerina.
(Spirit of Yesenin): It stands there, and it seems alive to me. That's the first feeling. And then I would get a feeling that it was threatening me. That is, I felt anger emanating from this being.
I didn't understand then, didn't realize, that it was my own anger towards people that I was feeling, but it was directed from the outside world at me. Because I was looking at the world through, as it were, my own glass (shows). It was in my head.
After all, every person has in their head, one could say, those glasses through which you look – these are your mental states. And I had them. That is, if you, for example, in a mental state of resentment, look at people (when you yourself are offended), you will see two things in people: first, that they offend you with every word, and second, that they themselves are offended by you. That's the kind of conflict.
And if you remove that glass from your brain... That is, a subtle-material ethereal substance is superimposed on the brain, in which your basic attitudes are already written. I don't know if you understand what I'm talking about?
(Irina): I want to say that this is his representation.
(Spirit of Yesenin): And if you remove this layer, this resentment, you will look more neutrally. And I also looked at the world through this glass, that is, I saw myself, my own manifestations, but only rejected them from myself and attributed them to someone else.
1:00:27 Yesenin about viewing the tape of memories and the Soul's insights in the Spiritual World.
Irina (Spirit of Yesenin): Why am I talking like this now? Because I received this information when I was reviewing my incarnation, having already united with my Spirit. And, as I already said, my highest level was 21st. What does this mean? It means that the knowledge, the information from that level, which was in me when I was at that level...
Igor: Angelic level.
Irina (Spirit of Yesenin): Information about the Universe, let's call it that, it exists within me. I didn't forget it, or rather, I remembered it, I came to it when I united after my disincarnation. Although I did not plan to disincarnate at that age, nevertheless, it happened. And when it happened, I was first...
(Irina): There will be questions about this later. He's just showing me images now.
(Spirit of Yesenin): But after the connection... Okay, I'll tell you about that later. But after uniting with my Spirit, I understood where I had been before, remembered my tasks. And for me, my earthly life fit into a period of time that you could call one day.
Imagine that you are watching a movie about your life. And they show you something like this screen, only it's internal, this screen, as if inside the Soul. But you can project it into a separate room for yourself. It doesn't matter at all, I'm talking about internal processes.
And when you unite with your Spirit, your memory of who you were and how you came here begins to open. And then the tape, the tape of memories, unrolls, and your whole life – from birth to disincarnation, even from conception it goes, that is, conception, birth, main memories – they all fit into a segment, as if you watched a movie about your life in one day.
And there wasn't such a thing that specifically in this year you did this, or that year you did that, or this one is called that, and that one is called this. Only images of my states were shown. And after that came the comparison of my life with the tasks I had set for myself. That is, this comparison of my life and the plan. And I myself began to see the distortions, inaccuracies: there I went the wrong way, there I made the wrong choice. There were many of them.
And already being outside the world where you are now, I want to say that from there for you and from here for me, it is visible how I should have acted to return to my path. The chances that were given to me by my mentors, my Consultant Angels, my curators, specifically Sergei of Radonezh, became visible: how he tried to return me to the path, what people he sent me, what books he sent me.
(Irina): He's showing me several such forks where he could have taken a different path.
(Spirit of Yesenin): And then I would have had a completely different result of incarnation, a completely different level, and a different lifespan.
1:05:19 What kind of helpers did Sergei of Radonezh send to Yesenin?
Igor: Tell me, please, who specifically did Sergei of Radonezh send you, speaking of people?
Irina (Spirit of Yesenin): He sent me several people.
(Irina): Shows more than 20. These are the main ones. I understood. He shows me the same Alexei [obviously, Sergei's friend Alexei Ganin, mentioned later], Alexander Blok, whom he met, some friends.
(Spirit of Yesenin): And even the same Asya, with whom I traveled to Europe.
Igor: Isadora?
Irina (Spirit of Yesenin): Yes, she also told me many specific things about my life. So she was also sent to me not by chance. And if I had listened to her and heeded her as an experienced person, then I would have returned to my path accordingly.
And, of course, my mentors sent me Sonechka [Leo Tolstoy's granddaughter, Yesenin's last wife and widow].
Igor: Tolstaya?
Irina: Yes. She was a very believing, religious person (shows). And at first, after our meetings as a man and a woman, I was drawn first to her physical attractiveness, and I didn't pay attention to what she said. And later, when I looked at her not with the eyes of a male body, but with the eyes of my mind, my consciousness, I saw that she was very religious and that she was trying to direct me, so to speak, to the true path. Then this made me very angry, and during the honeymoon month, I quarreled with her. And yet this was a meeting that could have changed my life and directed it along a different path.
That is, she specifically was also sent to me not by chance. Accordingly, I refused this path, made a different choice, and everything started to irritate me. I wanted to leave her immediately, but this inner feeling that I needed her for something did not let me go. And this lasted almost until our very last meeting in Moscow, before I left.
Igor: Yes, I understand.
Irina (Spirit of Yesenin): So there were several such cases where certain people were sent to me, whom I did not perceive as my teachers, but they were teachers.
That's not to mention, of course, Galina [Galina Benislavskaya – friend and literary secretary of Sergei Yesenin]. She too was sent to me not by chance, and she also took care of me. I didn't appreciate it then, nevertheless, this person was not accidentally near me.
1:08:56 Yesenin about the turning points in his destiny.
Irina: So he is showing me several such turning lines in his life, when he could have made a different choice: not go somewhere with friends, not say something to someone, some words. And then his path would have gone differently.
(Spirit of Yesenin): These are some particular turns, turning points. You do understand that sometimes your future destiny depends on a few words that you can say, or not say, or say differently. But you yourself don't realize that your destiny is being decided at that moment. That's the funniest thing about it.
(Irina): He finds it amusing, he's saying now.
(Spirit of Yesenin): But back then, I wouldn't have understood why I should do that, and so on. Even thoughts came to me: "Do this!" But I didn't understand why I should do that if I wanted to do something else? I didn't know how to understand my desires and their true causes back then.
Igor: So you never learned completely?
Irina (Spirit of Yesenin): No.
1:10:15 Yesenin about his relationship with Isadora Duncan.
Igor: Tell me, please, that foreign tour with Isadora: one gets the impression that it finally demoralized and destroyed you, that you returned from it already completely devastated. Was there a possibility of a different outcome? Why did you go there at all, with what tasks? Did you manage to realize them there?
Irina (Spirit of Yesenin): I know about the common opinion; they showed it to me just now, I saw it through Irina [referring to the film shown at the start of the session]. Accordingly, they think that I was seeking some foreign fame. But I didn't think about that then, I truly loved that woman.
You said that she was older than me, and so on. So what? Rather, I loved not even her as a woman, but her maternal care. She was precisely the one who paid attention to me not as a famous poet whose popularity or money could be used. I had quite large fees, substantial ones. And there were many different women and men around me who were ready to say some compliment to me or my poems. And there were many women who were ready to do anything for money.
But I was already tired of it, it didn't interest me, I was tired of such adventures and realized that I, as a person, as a being striving for development, was of no interest to them. And this irritated me (shows that Isadora was interested in him as a person). That's why I went.
That's why I went with her, but... Because she tried to somehow put me within certain boundaries that I did not wish to enter, we started having scandals, and I began to become disillusioned with her. Because she did not behave the way I wanted. So, instead of a kind mother who forgives everything, she showed considerable strictness, for example, regarding money. Suppose I wanted to buy something, and she would tell me: "That's unwise – such expenses! Why do you need those boots at that price, if these same ones are just as good?"
That is, she started pressing on my sore spot, that I was, as it were, supported by her, although that was not really the case. Yes, she also had large fees, that's natural. But I would not respect myself if I admitted that a woman was buying me something: that was very bad for a man.
And when I heard this, I contemptuously told her: "I have my own, I can afford this!" "But that's not the point, it's unwise," – she'd start educating me again. And this drove me crazy, and thoughts came that she didn't love me, that it was all a game, she just wanted to play with me. Contempt for her arose, and to escape these thoughts, I would consume alcohol (shows).
And she would again start telling me that I couldn't do that, that I was disgracing her, that she had imagined a different kind of husband. And I was hurt that instead of figuring out why I was doing this, she just kept scolding me. Accordingly, naturally, I returned to Moscow because I was disappointed once again – once again disappointed in a woman (shows that she said what he didn't want to hear). So I arrived dejected, but my old friends met me, and it passed.
1:15:38 Yesenin about his fear of the NKVD, about his attitude towards Lenin and the Soviet government.
Igor: You talked about the fear you felt regarding the NKVD.
Irina (Spirit of Yesenin): Yes, towards the police in general.
Igor: To the police?
Irina (Spirit of Yesenin): To policemen.
Igor: Obviously, it was a broader fear, towards the Soviet government in general? What feeling did you have towards it?
Irina (Spirit of Yesenin): I had a normal attitude towards the Soviet government. I especially liked Lenin's idea about building a new society, that we need to destroy all estates, that everyone is equal – something like that. That every person, regardless of whether they are a peasant or a worker, gets a chance for their own development, for education, for some kind of creativity.
Because many poets, singers, writers were taken, one might say, precisely from the peasant environment, from the peasant class, from the workers, who previously, before Lenin, would have had no chance of that. They would have simply buried their talents under a heap of peasant labor, let's put it that way. And the Soviet government gave them a chance to study, to get an education, and moreover, a completely free education, whereas before it was paid for peasants (shows).
They also paid for me when I studied at school before Lenin, before the revolution. And then suddenly everything became accessible, and, naturally, I welcomed it. I liked this man, I listened to his speeches (shows Lenin), read newspapers where all this was written. And I also saw him at a rally, and even bought myself the book "Capital."
Igor: By Karl Marx.
Irina (Spirit of Yesenin): Yes, it was for sale, I bought it. True, I couldn't get through even five pages, however, I read it (shows that it was boring, uninteresting, induced boredom, sleep).
Nevertheless, I saw that the people in power did not always do what Lenin wanted, that is, their words began to diverge from their deeds. I saw that too. And I saw that people started disappearing, and then they were condemned. And not among criminals, but simply those who said something critical.
Of course, I couldn't like that: I was always a free person and believed that Lenin was generally for freedom. He initially said that every person has the right to their own opinion, to their own point of view. He himself, you know, was a revolutionary, which means he contradicted the imperial decrees of the tsarist government. But when he himself came to power, he started, as it were, repeating those emperors. And not just repeating, but even more, purging everyone who disagreed with his line. Although this contradicted his words.
But I also saw that it wasn't he himself doing this, but, as they were called then, the commissars (Narkoms). These were certain people who gathered around Lenin, and his health was already weak (shows that he was very ill). And they took advantage of this situation. He was alive, but he was hardly let anywhere anymore (shows that some other people are speaking after the revolution). And they were more bloodthirsty, these people, you know. And he... I believed that he might want to stop them, but couldn't. So I no longer liked the changes that began to happen after the revolution.
1:21:02 Yesenin about meeting Trotsky.
Igor: What did you negotiate with Trotsky about?
Irina (Spirit of Yesenin): About me writing positively about the Soviet government.
Igor: So you were seeking some kind of protection and support from him?
Irina (Spirit of Yesenin): He offered it to me himself (shows). He said: "Watch what you write about!" What I said – that you couldn't contradict.
Igor: I see.
Irina (Spirit of Yesenin): He said he read my poems. "Look," he told me, "I love you. But if anything, I won't be able to protect you." That was a warning, as it were. I wouldn't say he was an evil person. Neither Trotsky nor Lunacharsky, I wouldn't call them evil. But there were others, such as Dzerzhinsky, Uritsky, Kirov, revolutionaries like that, who very often signed death sentences for nothing at all.
Irina: He's showing me now how he believed it was for nothing, but you couldn't talk about it.
1:22:24 Yesenin about Yakov Blyumkin.
Igor: When you mentioned the arrest in the twenties, when you were very scared, did Blyumkin get you out of that situation or someone else?
Irina (Spirit of Yesenin): He helped.
Igor: What was your relationship with him?
Irina (Spirit of Yesenin): Friendly.
Igor: What connected you? You seem like different people.
Irina (Spirit of Yesenin): Common interests: he was also interested in literature and went to many circles. And we also had common topics for conversation. He could be called simply a friend by interests. That is, he was interested in literature, he had (shows) his own poems, works. And besides, this man was even more interested in mysticism than I was. He was interested in all religions and all kinds of mysticism, and he told me about it. When we met, he told me about it. Accordingly, I listened, and we became friends in that way.
(Irina): That's what he says.
1:23:38 Yesenin about his Imagist friends and about Mayakovsky.
Irina (Spirit of Yesenin): I had many friends in Moscow, but I wouldn't say they were all exactly the same; we were quite different people. What you call "Imagists," "non-Imagists" – these are just trends. Among Imagists, realists, and anyone else, there could be both friends and non-friends.
Igor: And who were your closest friends?
Irina: Alexei [Ganin], Nikolai [Klyuev], this Yakov [Blyumkin] (he shows me now), some Sergei [Gorodetsky]. Like that, yes.
Igor: Does Mariengof belong to this list? [Anatoly Mariengof – friend and comrade of Yesenin in Imagism].
Irina (Spirit of Yesenin): Yes, he was also a friend, there were many of them there, several dozen (shows) of the closest. Again, who can be called close? There were different periods, that also needs to be taken into account. We would meet, could meet, be close friends for a couple of months, and then part ways.
For example, take Mayakovsky, we saw each other. Maybe you read something critical about me from him or vice versa, but that doesn't mean we weren't friends. We met informally, and we were friends. (shows) Critical reviews – they mean nothing, it's just an opinion, but as people we treated each other differently.
And my closest friend is Alexei (shows his image), who was killed, shot.
(Irina): What's his surname, I'll ask now. What's his surname?
(Spirit of Yesenin): Lyosha Ganin, he was shot. (Video reference: Alexei Ganin, poet. Shot for belonging to the "Order of Russian Fascists" in 1925. Rehabilitated posthumously).
1:25:57 Yesenin about the best contemporary poets.
Igor: Which of your contemporary poets do you value or valued most highly?
Irina (Spirit of Yesenin): Blok, Akhmatova, Gumilyov, Bryusov, some of Tsvetaeva's poems.
Igor: And she loved you very much, we spoke with her.
Irina (Spirit of Yesenin): I read her poems too, we all read each other.
(Irina): Shows that he valued Mayakovsky, but not everything.
(Spirit of Yesenin): And I didn't like everything by Blok either, I didn't really like what was connected with the revolution. I thought he did that on commission.
Igor: You had plans for a poem "Grigory and Dmitry" based on Meyerhold's idea about how two boys met – Tsarevich Dmitry and Grigory Otrepyev. As I understand it, this idea was not realized?
Irina (Spirit of Yesenin): No.
Igor: Why?
Irina (Spirit of Yesenin): There was no time for it anymore. I got carried away with something else.
(Irina): Shows that it was a collection about some taverns.
Igor: Ah, "Moscow of the Taverns"!
Irina: Yes, he's showing some kind of book with "taverns" written on it.
1:27:25 Yesenin about an unknown illustrator.
Igor: Listen, we have a small request: we need to conduct an investigation. I hope you will help us?
Irina (Spirit of Yesenin): Okay.
Igor: In the company of your friends and fellow Imagists, a certain person under the pseudonym Ditlado, an artist, is mentioned quite often. We still can't figure out who that person was. It is known that you even drew his portrait. Could you now look and remember (shows a drawing).
Irina: I'll ask him to look through me.
Igor: Who are we talking about?
Irina: I'll ask now. Who did you draw? Look through me. Yes, I understood.
He says his name is Dmitry, at least I hear that his name is Dmitry, and his last name – either Likhachenko or Likhachev, something connected with Likhach.
Igor: Who was he – an artist or a poet?
Irina: Some kind of illustrator, he illustrated something, for some magazines.
Igor: Thank you very much.
1:28:50 Second part of the conference.
1:29:21 Yesenin about the poem "The Black Man".
Igor: Tell me, please, your poem "The Black Man" – is that a description of your sensations from encounters with that entity you spoke about?
Irina (Spirit of Yesenin): Yes. I decided to write a poem about it, a long poem, to convey to people what I felt: my sensations and my fear of these entities. My fear was because I expected a trick from them, precisely the anger I spoke about.
Igor: Yes.
Irina (Spirit of Yesenin): I think I conveyed that there.
(Irina): He shows me the book in which it is written. He mentally asks me if I have read it. Unfortunately, no, I haven't read it. He advises me to read it. Okay.
1:30:28 Yesenin about Zinoviev's telegram.
Igor: We are moving to the final part of your life.
Of course, many questions revolve around your death. The version that you did not leave life voluntarily, but were helped to do so, is very widespread.
One version is connected with the fact that before leaving for Petrograd, then already Leningrad, in a pub, while meeting with a certain writer, you mentioned that you supposedly kept a congratulatory telegram from Zinoviev, which he had sent to Grand Duke Mikhail, in whose favor Nicholas abdicated the throne. And supposedly this telegram, which you kept, became the reason for the Chekists to come to you at the Angleterre, demand it back, and overdo it.
Irina (Spirit of Yesenin): That's not it.
Igor: Did this telegram even exist? Or did you just invent it?
Irina (Spirit of Yesenin): No. Even if it had existed, it wouldn't have threatened him in any way. It's clear that he could have congratulated the prince, and it didn't compromise him in any way, because the date would have been appropriate. And actually, how could it compromise him, if before the revolution for the Bolsheviks, party people, it was, on the contrary, such a feat that they entered into close relations with the powers that be, one could say. So it didn't compromise him in any way, and so on.
Why did I tell that story then? To give myself importance, maybe. I told many similar stories. But that wasn't the issue, I wasn't persecuted for that, it posed no danger.
1:32:57 Yesenin about the cause of his death. Was he killed?
Igor: Okay, then tell us what happened.
Irina (Spirit of Yesenin): Yes, indeed, I did not leave life voluntarily.
Igor: Tell me, please, who killed you and why?
Irina (Spirit of Yesenin): It didn't happen due to the intent of the people. It happened during an arrest by the police, because they came to return me to Moscow, from where I had run away (shows). The boss, the head doctor of that clinic...
Igor: The Moscow clinic? Gannushkin, perhaps?
Irina: He shows me an elderly man with a beard.
(Spirit of Yesenin): He was very scared when I ran away and left the city. Because they would have asked him where I was. A certain case had been opened against me because of another scandal (shows how he quarreled with someone).
1:34:39 Yesenin about the scandal on the train and the criminal case against him.
Irina (Spirit of Yesenin): This happened when it was still warm (shows approximately mid to late September). A case was opened against me because I quarreled with someone not exactly high-ranking, but one could say, a worker of the party organization. He made a remark to me. We were traveling on a train. It was with Sonechka, we were going to Moscow.
(Video reference: From the interrogation protocol of S.A. Yesenin dated October 25, 1925: "On September 6th, following a complaint from diplomatic courier Adolf Rog, I allegedly insulted him with foul language on the way from Baku (Serpukhov – Moscow). That day I was drunk. This citizen made a number of sarcastic remarks to me and criticized me for being drunk. I responded with similar sarcasm...")
I had drunk (shows) in the dining car and went to my wife's compartment. But I mixed up the door and entered another compartment, where two men were sitting. I asked them: "Where is my wife?" They looked at me and said: "You have the wrong door." And I thought they were laughing (shows his suspicion that she was with them, and they had hidden her somewhere). I didn't believe them and said: "Where is she? Show me!" They tried to push me out, and I hit one of them, he got a bruise.
In the end, Sonya came running at the noise and led me away. She heard me start shouting at them (shows how he swears). He started showing me his document, his ticket [probably meaning a Chekist ID]. I shouted: "You are not worthy of this ticket!" Because instead of explaining everything normally, he started physically pushing me out. And whom? Me, whom everyone valued!
(Irina): He's showing me how he was offended and says: "Do you know who you've touched?!"
(Spirit of Yesenin): And he: "I don't care who I've touched! This will go to court." I say: "Are you threatening me?! Before it gets to court, I'll throw you off this train."
(Irina): He's showing me now how a short woman is pulling him away.
(Spirit of Yesenin): And the last thing he shouted after me: "I'm not letting this go!" Then I was indignant for a long time that he had insulted me like that. Sonya didn't argue with me, she just said: "Well, leave it!" She didn't say I was wrong or anything, she just calmed me down so I wouldn't shout.
And later, when we had already arrived, after a week passed, indeed (shows) the police came. They showed me that I was being summoned for interrogation, and they showed me that these two had filed a statement against me. I told my friends who were party members about it, but they couldn't do anything and said there would be a trial.
So I wrote an explanation and was ready to pay him for the physical and moral damages, I wanted to reach a mutual agreement with him, but it didn't work out. He turned out to be very principled, he said (they called us together for a confrontation): "Boy, it's not about the money. I will prove to you that money doesn't mean much in this world. The main thing is the law that you broke."
And he told me this when I was already sober, without alcohol. Of course, I was angry, but mentally (shows how everything is boiling inside): "He's disgracing me in front of the whole country! The newspapers will write about this now!" Simply, as I believed, out of his stubbornness, he would take me and disgrace me in front of the whole country.
1:40:48 Why Yesenin checked into a psychiatric hospital. The escape plan.
Irina (Spirit of Yesenin): We started talking with my friends about what to do. They recommended I go to the hospital to get a conclusion for the court as to why I did it. Sonya told me: "You weren't yourself, it wasn't you who did it." She generally considered me possessed. I answered her: "Well, how do we prove that?" She says: "There's a chance that if the doctors give you a conclusion that you had a disorder, for example, due to alcohol, then the authorities will simply order you to get treatment." That is, they won't imprison you. And at that time, the law was strict; they could have imprisoned you.
Then I realized that I was, as you say, like a chicken in a plucking situation. There was no way out, I agreed. I knew this doctor (shows) before, and Sonya knew him. And by the way, she paid money. It was a paid stay, quite expensive. I don't know the details, but I know it was expensive.
She sent me there. As I said, I agreed to be sent there. So, I went there, and they started giving me various powders, something like that. And they talked a lot, they filled entire sheets (shows such a sheet, and how they're questioning him).
But then thoughts started coming to me that I shouldn't be here. And I wrote a letter. Actually, I corresponded with many people. Even various unknown poets from the provinces wrote to me, asking me to intercede with editors, so to speak, for their publications. And I also corresponded. And I thought that I needed to start life anew, from scratch, that is, not in Moscow, but to leave.
I didn't want to go there (shows that the fear of arrest was still there, despite that hospital), and thought: "What if it doesn't work? But if I leave, they will forget that I did it. I won't be in this city anymore." I had money in my account, a fairly large sum. "Just to another city. But which one?" I thought, which one, and decided to go to Petrograd. Because there, in case they continued to summon me for interrogations, I could cross the border (shows that by ship), I could buy a ticket.
But I hoped it wouldn't come to that. Because I had left the city anyway, I wouldn't be bothering anyone anymore. I even thought that this open legal case would be closed, because my patrons even told me so. They had already been closed several times. This Trotsky, he somehow helped to close those cases.
And I thought that since I wasn't here, he would simply close the case. Because I am well-known after all and bring benefit to society, to this people, to the government. So I thought that if they convicted me now, it would be like a stigma. So I wrote letters to St. Petersburg, Petrograd [then already Leningrad], that I would come there, to several friends (shows images). But not all of them answered, and I finally decided (shows some young guy), this is my friend in St. Petersburg, when I was there, I saw him.
Igor: What was his name?
Irina (Spirit of Yesenin): Wolf, Volya, Volka. (Video reference: Wolf Ehrlich, poet).
(Irina): He shows a young guy.
(Spirit of Yesenin): I asked him to find me an apartment. He replied: "Come." And I left, I left that hospital (shows horses, and how he rides away on them). There wasn't a direct prohibition, I wasn't locked up, I could go out.
(Irina): I just asked him now: "How did you leave there?" He shows me that he could go outside.
(Spirit of Yesenin): But under the agreement between me and this clinic, I was supposed to stay there longer. I didn't fulfill the agreement, left secretly, and came to my wife. My sister [one of two, most likely the younger, Alexandra] and my brother Ilya [Ilya Yesenin – Sergei's cousin] were there, and together with them we started packing. I told them where I was going, Sonya tried to stop me again, but I told her it would be better this way. She saw that I was determined, she says: "Well, as you wish." And I asked her, if anyone came to her, not to reveal where I had gone. And she said: "They can still figure out by the trains that you went there, where you went."
1:49:27 Yesenin about his last days in St. Petersburg.
Irina (Spirit of Yesenin): Then I arrived in St. Petersburg [Leningrad]. And it so happened that when I met with Wolf, he said that he hadn't been able to find anything suitable yet, he was still looking, and suggested I stay at a hotel. I told him: "If I stay at a hotel, they record the documents. If they look for me, they'll find me immediately." And he says: "I have a room in my name, it won't be under yours. For these few days, while we find housing, you can hide, and then you'll move into the apartment."
I had money, I gave him for the room. He didn't even want to take it, but I gave it to him anyway. And after that, various people came to me several times. I told several friends where I was, and they started coming. And I myself started going out for walks (shows).
I needed to sit and wait, I didn't need to go out. But I went out in the evenings, naturally, went to a bar (shows some bar). And in the end, I already thought that they had probably forgotten about me and wouldn't come looking. But it turned out that this doctor, he reported me to the police that I had left voluntarily. And it would have been fine if he just reported it, but he wrote that I needed to be returned urgently, that I might harm someone.
Of course, I didn't know he would do that. But his statement had already been received by the Moscow police, they came to my wife. She told them: "Yes, he was there, where he went, I don't know." They started checking and, in the end, found out that I had gone to St. Petersburg. But where exactly I was, they didn't know, and they informed the local police. They couldn't find me anywhere, but they had my photograph, a card like that.
And on one of these outings (shows), I didn't know it then, they spotted me and started following me. They didn't arrest me in the city to avoid causing bad rumors, because many people knew me. They didn't want that commotion, they were also being cautious, they decided to do everything quietly: they first located where I was, and then came there, knocked on the door in the evening.
1:53:17 What really happened at the Angleterre Hotel?
Irina (Spirit of Yesenin): I was sitting, drinking something like wine (shows how his dinner is on the table). And I was writing – not poetry, but a note in a notebook, my plans, what to do. I wanted to settle in St. Petersburg and open something like a magazine or a publishing house to sell books there.
I was sitting, it was already evening, and I was about to rest, but there was a knock on the door. I thought it was one of my friends. Different people had been coming to me frequently all these days. But I saw three people in uniform.
I opened the door: "What do you want?" – and wanted to close it. One of them hooked the door with his foot and held it, then opened it like this with his hand (Irina shows), took a step into the room, and the other two followed him. And the one who entered pulled out an ID and shows it: "That's who I am." I couldn't make out what was written, there was a photo, but I didn't see a name or surname.
I immediately felt both fear and, at the same time, such anger! I said: "What do you want here?" And he says: "You need to be returned to your destination." I say: "What destination?" He says: "Pack up, let's go, we'll sort it out there." I say: "Explain here." He says: "We're not going to explain anything to you."
(Irina): He's showing me now some kind of back-and-forth.
(Spirit of Yesenin): And I felt such anger and didn't want to go. They started to drag me, but I got angry and started swearing at them.
(Irina): Shows now how he swears at them and there's a scuffle, how he pushes one away.
(Spirit of Yesenin): "Leave me alone!" And immediately in my head a plan: I'll turn to Trotsky again, to this one who decides things. "Summon me for interrogation," I say, "why are you dragging me?!" I started protesting somehow. And in the end, I pushed them away, but I felt that I was hit with something.
(Irina): He's showing me now how he was hit on the head with something metallic.
(Spirit of Yesenin): My consciousness was, like, altered, and I didn't see what happened. The last thing I remember... I was hit, I felt the blow, and I was sort of knocked off my feet. And then I saw the chandelier, and it was spinning like this (Irina shows).
(Irina): Such dizziness, he sees something like that.
(Spirit of Yesenin): And then I feel them pushing with their feet: "Get up!" And I realize I can't get up. Everything is swimming, and my head is spinning. I wanted to say: "I can't get up" – but I couldn't speak. And after that, it was as if the lights were turned off. And that's it.
After that, I no longer felt myself in the body.
Irina: He's showing me now that this is his last memory.
1:58:24 Yesenin about his transition to the Spiritual World. Meeting the Angel-Guide.
Igor: Tell me, please, do you remember the first moments after disincarnation? What happened?
Irina (Spirit of Yesenin): Yes. I saw myself walking through a field. In some suit with a tie, which I hadn't been wearing before. I had literally just been in the city, in the hotel. But I didn't have any memory of that attack at first. I only had this: I am walking through a field and started looking for the city, that is, I was trying to understand where I was. Maybe I got lost? Then I saw lights in the distance, like from some settlement, and walked there. I could see tall grass, not like a path, but the kind where there is no path.
I thought: "It's dark, night." I look at the sky: not a single star, nothing – no moon, no star. But somehow I feel like some light is coming from the sky, as if some clouds are illuminated, despite it being summer. I was surprised because I know it's supposed to be winter outside. And here suddenly I'm in a suit, some grass. "Where did it come from? Where am I? I was just in the city. But how can I be in a city if I'm in the steppe? The area is unfamiliar."
But then I think: "Okay, I'll go and look for a way out." I walked and gradually noticed that it was lighter outside than it should have been. That is, there was no moon, no stars, no sun, but some kind of light was coming from the sky, so I didn't stumble or fall, but kept walking through this grass. And I saw those lights ahead, thought it was some city, started approaching and saw that there weren't many, like some village. I started walking there and came out onto a road.
And I remembered Lermontov's poem "I walk out alone onto the road." As soon as I remembered it, I saw a man walking towards me. And when I looked, he looked like how Lermontov is depicted (shows the image). I stopped. "So," I think, "who is this? He looks very like those portraits." I asked him: "Good man, tell me, where am I?" He came closer to me, stopped, and began to change: he started growing taller than me, and wings appeared on him. He said: "I have been sent for you." I thought: "I shouldn't have left the hospital." (laughter in the hall)
(Irina): So he's showing me fear, not joy, but fear.
(Spirit of Yesenin): This man leaned over me, and I saw a smile. I realized he was reading my thoughts. He smiled and said: "It wasn't for nothing that you left there. But it doesn't matter now anyway. Come with me." I shouted: "Where am I?! What's happening?! Who are you?!" But when I shouted it, I realized something unusual was happening – I wasn't saying it with my tongue. I started to feel myself.
(Irina): He shows me that he feels like he's having such a dream, he doesn't want to believe it.
(Spirit of Yesenin): All this time, the one who came for me just waited. And when I felt myself, I was in an ordinary body, I had ordinary clothes, but I didn't have such in my wardrobe. I looked at my feet – and those boots I was wearing, I didn't have. And I said: "If this is a dream, it's a bad dream, and I want to wake up." And the one who came for me said: "You are already awake. You are already awake, it's impossible to wake up again." And I started pinching myself (shows), but didn't feel pain.
The one who came said: "In any case, I am telling you that your body has died. You have left the incarnation. You are now between worlds." I asked: "Between what worlds?" "Between the world of eternity and the world of time. I have been sent to help you make this transition."
And when he said this to me, the memory of the attack returned to me, that I was hit. I smiled and said: "I don't see my body (shows how he expressed disbelief). So where is my body then? If it died, and I am alive, then I am the Soul? I know what is written in the Bible, that the Soul is immortal. But then everything must happen according to the rules." I thought so. He replied: "You don't need to see your body. It looks in such a way that it might upset you." I say: "Why? What could upset me there?" And the one who came, the man with wings, said: "Because it was treated cruelly. I would not like you to see the fruits of that cruelty."
Then I asked him: "What am I to do now?" He reached out his hand to me and said: "Come with me." I ask: "Who are you?" He replies: "I am a Guide, a servant of God, I am the Guide who meets Souls." – "And why did you appear to me as Lermontov?" – "That is your projection, that is, your thoughts." I say: "Okay, then show me not a projection."
And so it happened that this image and clothing of his disappeared, and he became simply a white figure from which Light emanates. He had arms, legs, but a completely unfamiliar face. Like a human, but I had never seen him before. And Light emanated from him, and part of that Light fell on me. And when it fell on me, I felt that I could trust him (shows his smile).
And then I felt not exactly fear, but how to put it, a kind of timidity, like a student before a teacher. I hadn't felt that in front of a human, even in front of high-ranking people. It's like shyness, you know, reticence. But at the same time, I wanted to be near him.
2:07:47 What did Yesenin see in the Spiritual World?
Irina (Spirit of Yesenin): Then he reached out his hand again, and I took his hand, and at that very moment we began to rise up. And that field collapsed downwards, I no longer saw it. Then I saw a space that reminded me of a starry sky.
(Irina): He's just showing me images now, how they are rising.
(Spirit of Yesenin): And then I saw a sphere.
(Irina): What is this image? Hold on. Got it. He shows that they began to rise and saw a kind of hemisphere in which there was light. And the one they were in was darker. So this is a world divided into two hemispheres – a lighter one and a darker one, and the corresponding boundaries of these hemispheres.
(Spirit of Yesenin): And there were also two people there – men who had wings. When we approached them, they reached out their hands to us in greeting. Then they parted, and we entered the light half of the hemisphere. And I saw a house where I always loved to be as a child (shows a village house). I wanted to go inside, I went in, and there was a familiar setting. By that time, I was beginning to understand that my life was over. Not so much understand, but believe it. I believed it.
2:10:10 What did Yesenin do in the Spiritual World at first, whom did he meet?
Irina (Spirit of Yesenin): I stayed in this house, and for me, time seemed to have stopped. I thought about what happened and really wanted to see Sonya, wanted to see many people. I wanted to ask many for forgiveness. Various images began to come to my mind, of how I used to quarrel. And I wanted to see Galina. And then, I saw her image, Galina, we communicated.
(Irina): He shows me now that she was sleeping, and they communicated. He's just showing certain contacts he had.
(Spirit of Yesenin): And after that, I felt that a higher power was calling me, that is, a call. I felt a desire to go out of the house and look up. I went out of the house, looked up, and saw the sun. And this sun began to grow larger. And it began to descend upon me. I reached out my hand to it and felt my hand go into it and become one of its rays. And then I united with it, and already remembered my incarnations, and immediately understood what level I was on.
(Irina): He's showing me a kind of scale now.
(Spirit of Yesenin): And after this, as I already said, there was that screen that I saw. Then there was a conversation with two of my Angels, who (shows) came to me in the form of very bright spheres of light. They asked me certain questions, mainly not about my past incarnation, but about what I planned to do next. And I said that I needed time to think and began to plan an incarnation.
Then I met with some Spirits from my life.
(Irina): He shows me now that he met with his son, Yuri, his son came to him [Yuri Izryadnov, son from the first civil marriage, repressed by the Soviet government], that he met with Galina [Galina Benislavskaya shot herself on his grave after Sergei's death]. These several people came to him, and he communicated with them.
2:13:17 Features of communication in the Spiritual World. Explanations from Sergei Yesenin.
(Spirit of Yesenin): What did we talk about? They asked how I was feeling, what level I was on, and what I planned to do next. And I answered them, but this communication wasn't like human communication. Let me explain.
You don't see a physical form there. You see the intention immediately. You call it a certain color of your biofield, your aura. These concepts existed before too, I was even acquainted with some of them at first. But in the Spiritual World, you don't call it that anymore, you don't see it as a color, you see it as a quality. But to explain it to myself, in my own language, in my perception, it's better to imagine it as a color. And it changes, and communication is mental. That is, thoughts come, or an image comes.
Moreover, I noticed quite quickly that when I send an image, the one who receives it may perceive it not as I sent it, but in their own way. The same thing happened with me. They would send me something, and then say: "I sent this." So it's a very subjective, personal perception, therefore the communication is quite interesting, peculiar. But it's not the same as in a body.
2:15:24 Yesenin about the events after his death. Why was he found hanged?
Irina (Spirit of Yesenin): Later, when I started viewing the tape of events of my life, I saw everything that happened to my body. I saw that the people who hit me realized I had lost consciousness and started to...
(Irina): He's showing me now how they poured water on him to revive him. Then they started listening to his heart.
(Spirit of Yesenin): I felt that they were scared that they would be imprisoned. And they decided to leave and present everything as if I had taken my own life. But I want to tell you, I wouldn't have done that, especially after having left for St. Petersburg. Why would I have traveled so many kilometers then?
I was shown an image of how they pretended that I had died by hanging. But to rig up a rope or, for example, a noose, etc. – it would have been easier to do in Moscow than to leave. I would have found a room, for example, that room where I was in the hospital, and I could have made a rope, at least by tearing up linen (shows) or using part of my clothing. And besides, why would I hang myself if I had a weapon (shows how he bought some pistol and hid it)?
That was to protect myself from personal attacks, because it was quite a lawless time, you could lose your money and your life, especially in the places I used to visit. And I took it with me, including on this trip, it was with me. And why would I make some nooses for myself if I could kill myself with a pistol?!
Later I asked my Consultant Angel, why, if they were scared, didn't they present it as if I had shot myself? You could pretend that too. Why this theater? And the Angels answered me that they had certain thoughts. They didn't know at first that I had a weapon because there was no search. And if they had pretended with their own weapon, the bullets would have been different. In the end, they found no other way but this one.
Why did they decide to present it that way? Because they thought people would believe it. Since I already had similar episodes, I had indeed threatened some of my women, of whom I had quite a few, that I would kill myself if they left me. I made attempts, but I did them on purpose so they would stay. And that was quite well known.
So those people simply decided to take advantage of this reputation of mine. That's all. But I repeat: if I had such plans, firstly, I wouldn't have gone anywhere, I would have gone... Here I left the hospital by cab, but I could have just gone. Of course, you could say that the doctors were watching, someone else. But just as easily, I could have gone to the nearest forest belt, made a noose on a branch, and, accordingly, hanged myself there.
(Irina): He's now showing that he could have stood on a twig, put his head in the noose, and jumped. He says that one could have hanged oneself in a forest belt.
(Spirit of Yesenin): And why would I need to go somewhere, rent some rooms, wait for something? No reason. Especially writing letters about wanting to open a magazine (shows that there was some correspondence, and even some papers on the table that indicated this). Why did I need all these extra actions if I didn't want to live? I don't know how they explained it, really, they didn't show me that.
2:20:41 Yesenin asks why everyone believed in his suicide.
Irina (Spirit of Yesenin): But I also came to this session, by the way, not just like that, I would like to find out from you. You, the currently living people, have probably heard about something. Why did they pretend that I killed myself specifically in Petrograd, and not in Moscow, and not in that clinic? Then why did I leave? To find a room there and frame that friend, Volka, or what? Why did I do that? I don't know how they represent it, and I would be interested to hear your versions from these people.
Igor: In general terms, the case is presented as if your decision to commit suicide was spontaneous, a result of one of your frequent bouts of depression. The story about the motives for your move or escape from Moscow to St. Petersburg is not raised or discussed. And the criminal case, which was conducted under the control of the authorities, of course, concealed and hid all the evidence. It wasn't that it was forged, but the autopsy report and description were appropriately drawn up.
This is the official version, and precisely because it does not fully answer all questions, it has been in doubt almost since the very moment of your death. In particular, for example, there are the memoirs of Klyuev himself, who came to visit you just at the moment when you had already been killed, but hadn't been hanged yet. And he found several people in your room and your body lying under a coat. And he asked: "What's wrong with Sergei?" And they answered: "He's sleeping." That was one episode.
Then, of course, many people pay attention to the huge number of abrasions. And from this, the idea naturally follows that death was preceded by some kind of fight, some kind of scuffle. But with the desire, logical explanations can be found for all these suspicions.
At the moment, the number of arguments on both sides is approximately equal. Because there are large studies by forensic experts who have studied all these documents. And some publish thick books in which they compile all the reasons that should lead to the conclusion that it was suicide. And there are equally detailed studies that attempt not only to examine the circumstances themselves in a certain way but also to build hypotheses of how and why it could have happened, and who and why could have done it.
Irina (Spirit of Yesenin): So they think that this fit of mine happened after I arrived in St. Petersburg, and that it didn't happen before?
Igor: For example, there are Mariengof's memoirs, where he writes approximately what you said. You said that you threatened your women with suicide. Mariengof writes: "Sergei made numerous attempts, threw himself under a train..." He lists some other examples from your life and concludes that this thought haunted you.
Moreover, even in your childhood letters, as well as in your youth, this motif about not excluding the possibility of voluntarily leaving life is present. And these various episodes of your life are also collected, so to speak, into a set that should confirm...
Irina (Spirit of Yesenin): So I traveled, I don't know, 700 kilometers for that?
Igor: Well, specifically to this question, of course, no one has an answer.
Irina (Spirit of Yesenin): Okay, why did I leave, do they say?
Igor: No.
Irina (Spirit of Yesenin): And why didn't I use the pistol?
Igor: There might be some explanations, but I haven't come across this story involving the weapon; it's not mentioned anywhere. I just heard from you for the first time that you had a weapon with you.
Irina (Spirit of Yesenin): I did. And, at least, I don't even know if they found it, because they must have done a search, and the room was cleaned up.
Igor: The thing is, apparently, when they staged your suicide, they cleared away all those pieces of evidence and search protocols in a certain way. It was all done under the control of the authorities precisely so that no unnecessary questions would arise.
Irina (Spirit of Yesenin): But there are people who saw that weapon with me. How could they be silent?
Igor: Well, simply going out into the square and saying, "I saw Sergei with a pistol," was generally unsafe.
Irina (Spirit of Yesenin): But you just said yourself that there were people who wrote memoirs.
Igor: Yes.
Irina (Spirit of Yesenin): So they wrote and...
Well, okay, thank you for that answer.
2:26:24 Yesenin about his killers.
Irina (Spirit of Yesenin): So it's just that people, as you said, fabricated a criminal case. Well, so be it. When these people also left incarnation, and they left almost all (shows) within 10–12 Earth years, also at a fairly young age and also by violent means (shows execution), they offered to meet with them and talk. And when I found out how they died (shows the one who hit, and the others just supported), how he died, how the others died, I said that I, on my own initiative, did not want to meet with them. I have nothing to say to them. In any case, what they were heading for, they got. Just as I got what I was heading for.
Why do I say that? I looked at what led me to such an end.
(Irina): He's showing me now why this meeting happened.
2:27:44 Yesenin about the reasons for his disincarnation.
Irina (Spirit of Yesenin): In general, my incarnation plan was, of course, disrupted. Because according to my incarnation plan, I was supposed to live 73 years. That was the initial plan. There were probabilities of leaving incarnation, and the one that happened is not the only one. There was such a probability, that is, as an event, an event series. And I looked at why it materialized. I looked at it and saw that when I reached the 7th level, I was taken out of incarnation. It was not by chance that they came at that moment.
I looked at another probability tape: if they had come, and I hadn't been there, then this meeting would not have happened. Or another person would have come, someone who wouldn't have hit me but would have simply tied my hands and led me away. The one who hit me, he hit me not because I resisted very strongly, one against three men. But he took something...
(Irina): He's showing me now: something was standing on the table, a heavy metal thing for placing candles on.
Igor: A candlestick?
Irina: It's large like this (shows with hands).
Igor: A candelabrum.
Irina: With a handle like that. He's showing me now how that person takes it and swings it.
(Spirit of Yesenin): He could have not done that; that was also his choice. They could have simply... I saw another one already pulling some blanket or quilt off my bed. Usually, when arresting a resisting person, to not shoot, hit, or kill them, they throw something over them. They could have thrown (shows) this blanket over my head. While I was trying to free myself from it, they would have immobilized me (shows how they bind hands behind the back). I wouldn't have seen them anymore. And they often did that.
So they could have done that. But the person who happened to be there, who took me out of incarnation, he is the one held responsible. Not those two, but this person who hit him is held responsible. He could have not done that, because I specifically did not threaten his life in any way – didn't attack him with a weapon or anything. So it was his anger, such an impulse. Not even the desire to arrest, but simply: "I will punish you!" A great desire to punish. Therefore, in a fit of such aggression, he hit me, not realizing the consequences. He hit me on the head.
2:31:11 Other probabilities of the development of events.
Irina (Spirit of Yesenin): And he might not have come, the one who got so angry, another could have come. And then I would have remained in incarnation at that moment, and simply been transported.
(Irina): He's now showing me how he looks further, what the probabilities would have been after that. There are several of them, but the highest probability was... Yes, he analyzed his incarnation well, shows several options he looked at. Such an analyzer!
(Spirit of Yesenin): Accordingly, I could have ended up back in that hospital. Then there would have been a trial. And then there would have been many critical essays and articles in newspapers about how I had crossed all boundaries, and they would have started publishing me less. And I would have thought that they were forgetting me. That could have led to me lowering my level even more.
And there was also a probability that I would have been taken out of incarnation after 12 years, almost simultaneously with my son, Yuri, as if we were both against the Soviet government.
Igor: That was precisely the height of the repressions!
Irina (Spirit of Yesenin): I could have been taken out of incarnation then. Especially since this case against a party worker would have been brought up again. It would have worked against me at that time.
But to live those years that I had planned, I needed to behave differently. Not the way I lived this lifestyle, but differently: to be more careful with my body and not think that if I have patrons at the top, nothing will happen to me. Patrons do not decide everything. They might not be around at some point.
I thought then that they would be afraid to do something to me. But I couldn't have calculated that they would be afraid of responsibility. I couldn't have calculated that one would get so angry that he would hit me with that iron thing (shows something heavy again). No, no one could have calculated that.
(Irina): He's showing me now conversations with friends: some come, others go, different faces.
(Spirit of Yesenin): Then I say: "So, I want to rest" (shows that he has some wine, some food there).
2:34:33 Yesenin about the always unexpected arrival of death.
Irina (Spirit of Yesenin): And so, when I was sitting like that, and there was a knock on the door. I didn't even think it would turn out like this, I didn't think that in just 10 minutes I would already be in the Spiritual World. I didn't expect it. And I want to tell you: it always happens so unexpectedly when you are not thinking about it at all! You have many plans for how to live further, what to do to protect yourself. But you don't know that you have only 10 minutes left (shows that this experience is very interesting for him).
(Irina): Yes, indeed (I'm answering him now), we don't know, no one knows even now how much time we have left. No one knows at all. And the fact that we don't know this, this very ignorance, it stimulates us to spiritual development. Because we don't know at what moment we will find ourselves in the Spiritual World, meaning at any moment, absolutely any! And we will find ourselves there at the level we are at at that moment. Accordingly, if someone wants to be there closer to the Light, and at the same time remembers that he can get there at any moment, he will always strive to be closer to the Light.
He can get there at any moment! And not only by the method of someone hitting him. It happens that a person isn't hit, but who knows what can happen to him – he simply leaves the incarnation, that's it. How the doctors describe it later, it doesn't matter anymore, it's just a consequence.
So, I'm telling him this now, and he says: "Well, you understand this, but I didn't understand it then."
(Spirit of Yesenin): Of course, I didn't consider myself immortal, naturally, at that time I didn't expect to be immortal. No. Just at that specific moment, I didn't think it was so close.
2:36:50 Questions from the audience. The name of the killer. Which contemporary poets does Yesenin like?
Igor: Sergei, if you don't mind, we will now give the audience who came to meet you the opportunity to ask questions. Because we have obviously missed something, and there are still some misunderstandings and doubts that someone would like to solve. Are there any interested? Here, I see, yes.
Audience member 1: The name of the killer?
Irina (Spirit of Yesenin): Nikolai.
Audience member: And the last name?
Irina (Spirit of Yesenin): Gnedykh, Gnedenko, something like that.
Audience member 2: Do you like any contemporary poets?
Irina: He shows me: Yevtushenko, Vysotsky as well.
(Spirit of Yesenin): We have already communicated with him in the Spiritual World.
(Irina): From more contemporary? He shows me a person who sings with a guitar.
(Spirit of Yesenin): In general, I like bards, those who sing with a guitar about nature.
(Irina): He's showing now how the group "Lube" sings about nature, yes, such folk songs. [Probably referring to the song "I'll Go Out at Night into the Field with My Horse"].
2:38:08 Yesenin answers questions from his great-granddaughters.
Igor: Yes, please.
Maxim: While we were driving here, Yesenin's granddaughter wrote a message.
Irina: Great-granddaughter.
Maxim: Yesenin's great-granddaughter, Zinaida Yesenina.
Irina: Yes, I'll tell you a little about her now. Okay, Maxim, thank you, you reminded me. I had already forgotten about her, because so much has happened, and it slipped my mind.
Indeed, an elderly woman came to us in Voronezh for training; she is your great-granddaughter, Sergei. That is, she is the great-granddaughter of Sergei Yesenin, the granddaughter of his daughter Tatyana. He had a daughter, Tatyana.
Igor: From his marriage to Zinaida Reich.
Irina: Yes, that's what she told me. Accordingly, she spoke about Tatyana.
Igor: That's the grandmother, as I understand.
Irina: Zinaida Reich?
Igor: Yes. And she had a daughter, Tatyana.
Igor: Yes.
Irina: And this Tatyana, accordingly, has a granddaughter. She is also already an elderly person, by the way, because so many years have passed. And her name is Zinaida. You probably didn't know about her.
Accordingly, this Zinaida Yesenina, she came to us for training. And when she found out that there would be a session with her great-grandfather, with his Spirit, she said that she lives quite far away and wouldn't make it to the session because she has a long way to travel. But she still asked to ask questions as a relative.
Maxim: Let me voice them.
Irina: Yes, please. He says: "How interesting!"
Maxim: The question is not only from Zinaida but also from Anna Yesenina. She is also a granddaughter of Yesenin, they are together.
Irina: So it's her sister, she said that from her sister as well.
Maxim: First question: Did you meet my great-grandmother Zinaida Reich in the Spiritual World?
Irina (Spirit of Yesenin): Yes.
Maxim: What did you talk about?
Irina (Spirit of Yesenin): I asked for her forgiveness for abandoning her and humiliating her as a woman.
Maxim: Did you forgive your mother, and do you still hold any grudges against her?
Irina (Spirit of Yesenin): I forgave her while I was still alive. No, none left, specifically against her. At first, yes, I was offended, but then I forgave her.
Maxim: Why didn't you visit your younger son Alexander?
Irina (Spirit of Yesenin): There was no time for him. I didn't think about him at all.
Maxim: Who were you hiding from in the room with the maple tree in the hospital?
Irina (Spirit of Yesenin): From the Black Man.
(Irina): That is, from those entities, as I understand.
(Spirit of Yesenin): In general, in the rooms there, yes, I hid.
Maxim: When, at what age did you stop believing in God, and were you able to believe again?
Irina: He says that he began to doubt His existence more when he was about 21-22 years old. He's showing now: at 21-22 years old.
(Spirit of Yesenin): Later, as I said, thoughts came to me that He exists, but I tried not to think about it. I never fully believed in Him until the end. I had some doubts, as I already said, when I looked at nature, that maybe the communist ideology is deceiving us, maybe there is something there after all. Because how can it be that such beautiful nature, the Earth, the stars exist? When I looked at them, such thoughts came.
But immediately a thought would come that they, the scientists, know more, and they already know how all this appeared without any gods. So that's the kind of thoughts I had.
Maxim: And the last question. Did you visit Hirosani? I don't even know what that is.
Irina (Spirit of Yesenin): Well, it's a city. How to tell you? Yes, it's a city.
(Irina): No. He shows me that no.
Maxim: Thank you.
Irina: Yes.
2:48:40 Question from an audience member. Yesenin about the karmic knot with his killer.
Igor: Dear friends, yes, go ahead.
Audience member 3: Does this karmic knot with your killer imply some kind of resolution now? Should it be resolved or is it not necessary? And is it known to you?
Irina (Spirit of Yesenin): They simply told me that I could meet him, but to do that I would have to descend to the fourth level. I know that this crime against me went unpunished for him, that is, they turned a blind eye. And therefore, he became convinced that such cruelty does not lead to consequences. And, therefore, he lowered his level by doing this. And what resolutions he will have now, that only he can answer. That is, you need to ask him about that, because I don't have that information. They just suggested I meet him, but I refused.
I have let it go, I don't hold a grudge against him; it would just prevent me from existing peacefully.
2:43:57 Yesenin about the Spirit of Isadora Duncan.
Igor: You said you met with the Soul of Isadora Duncan in the Spiritual World. What level is she on?
Irina (Spirit of Yesenin): On the 13th. She came to me.
Igor: And what did you talk about?
Irina (Spirit of Yesenin): When she came to me at the seventh level, she asked how I was feeling, if I was settled well, and also asked about the reasons for my decision to leave incarnation. And I answered her that it hadn't happened.
(Irina): He's showing now how he explained to her what actually happened.
(Spirit of Yesenin): She was very surprised and said that everyone believed it. I say: "Everyone?" She says: "Well, not everyone. Those who didn't believe, they look funny." Like they are laughing at them.
Igor: Do you know how she ended her earthly life?
Irina (Spirit of Yesenin): No, we didn't talk about that. She just asked about me, and I answered her that it hadn't happened.
2:45:12 Acknowledgements.
Igor: Dear friends, let us thank Sergei for such detailed and profound answers. Thank you very much! Sergei, we send you the Light of our Love. We very much await you in your new incarnation.
Irina (Spirit of Yesenin): Thank you!
Igor: And let us thank Irina, who listened to us all so wonderfully! Well, then, the session is over.
September 21, 2024
Conference participants:
Irina Podzorova – contactee with extraterrestrial civilizations, subtle-material civilizations, and the Spiritual World;
Igor Lebedev – host, manager of Bryusov Hall;
Maxim Rusan – head of the Cassiopeia Project and the Center for Spiritual and Physical Development;
Sergei Yesenin – unincarnated Spirit of the Russian poet and writer.
