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Abstract: The beginning of the 21st century is associated with the feeling of exhaustion of different ways inherited from the tradition of imagining the range of meanings associated with poetry as a special phenomenon of culture. The purpose of this article is to identify a system of similarities and differences in the interpretation of the poet and poetry in modern poets such as A. Skidan and M. Stepanova. The analytical techniques used in the work are reduced to the identification of author’s poetic concepts, the characteristic of associated semantic contexts, and a comparative typological analysis of the solutions offered by the poets. It has been established that both authors connect the poetry and poesy crisis with the acceleration of information exchange in culture, with the increasing role of the media, with the change in the principles of interaction between the poet and his audience. The actualization of relation to the transcendent, archaic sacrifice and waste rituals is the way to resist the world devaluation. Going beyond the limits of the coordinate system, which is universal for the modern culture, is carried out with the help of “poetics of disruption” and “poetics of refusal”, by emphasizing “negativity” and “opacity” in the poetic speech. Genre polymorphism, collage composition, stylistic polyphony, poetic polyphony, destruction of the image integrity, subjectivity destruction are means of its creation. Modern „poetry without properties“ involves the creation of “text-ruins”, which meaning arises at the moment of its destruction. This poetry involves a high degree of reflection, attention to various ways of creating aesthetic conventionality. Within the framework of poetic concepts of A. Skidan and M. Stepanova, the novelty effect is associated with the exit into “someone’s” space, with the intentional “interruption of aesthetic illusion”. At the same time, the “end” of poetry or its “death” is considered as an extreme case, which in modern artistic practice is replaced by the questioning of the usual signs of poetry. The reflexivity of “poetry without properties” does not exclude attention to the irrational mechanisms of creativity uncontrollable to the subject. In case of studied poetic concepts, they correlate with the concept of “literary machines” capable of producing meanings beyond the control of the subject and even in spite of him. The ultimate goal of the “negativity” of modern lyricism is to create a new sociality and a new political understanding.