Sedakova's portrayal of Gubanov (1946–1983) suggests that the official culture saw his life-creating tendency even more dangerous than his neo-Futurist poetry. The official culture saw his association of "The Youngest Community of Geniuses" (SMOG) as something that was radically opposed to Socialist Realism and to Soviet ideology. Sedakova re-evaluates Gubanov's utopian belief in the ability of art to change reality through the formation of new ways of seeing language and cultural tradition. She presents it as highly positive and important for the development of Russian poetry in the 1960s-80s. Sedakova's depiction of Gubanov highlights the diversity of the Soviet cultural underground, too. In her essay “Drugaia poeziia” (“The Other Poetry”), she defines this mode of writing and living creatively as "the new, countercultural ‘line,’ " which is "charged (just like the Soviet one) with its own form of disciplinary thrust: it re-educates its reader. Emancipates and enlightens” (Sedakova, Olʼga. “V Geraklitovu reku drugoi raz ne voidesh.ʼ ” Znamia, vol. 6, 1998, pp. 190–195: 195).
