Marina Tsvetaeva: The Essential Poetry includes translations by Michael M. Naydan and Slava I. Yastremski of lyric poetry from all of great Modernist Russian poet Marina Tsvetaeva's published collections and from all periods of her life. It also includes a translation of two of Tsvetaeva's masterpieces in the genre of the long poem, "Poem of the End" and "Poem of the Mountain." The collection strives to present the best of Tsvetaeva's poetry in a small single volume and to give a representative overview of Tsvetaeva's high art and development of different poetic styles over the course of her creative lifetime. Also included in the volume are a guest introduction by eminent American poet Tess Gallagher, a translator's introduction and extensive endnotes. Naydan and Yastremski have previously published a well-received annotated translation of Tsvetaeva's collection After Russia with Ardis Publishers. The fourteen previously published translations from the After Russia collection have been revised for this volume. *** A tragic figure in Russian literature, Marina Tsvetaeva is mentioned in the same heights of her distinguished contemporaries Anna Akhmatova, Osip Mandelstam and Boris Pasternak. She published her first collection of intimate lyric poetry at her own expense in 1910 under the title Evening Album, which garnered positive reactions from several prominent poets, who by happenstance reviewed it. She published her second collection Magic Lantern in 1912 and a compilation from her first two collections From Two Books in 1913. Both publications marked her early years in poetry. To follow was her mature period that was shadowed by a romantic fiasco and childbirth in Tsvetaeva's life, and social turbulence in the old Russia that impacted her family. Despite severe hardship, Tsvetaeva's creative output was on the rise during the years of the Russian Civil War from 1917-1922. Her daughter Irina died of malnutrition at age 3 in 1920, a tragedy that sparked a series of poems that came out in the following years. Typical of Tsvetaeva in that period was creating lyrical diaries that closely followed events in her life in chronological order. Having immigrated to Europe, Tsvetaeva continued writing poetry but gradually shifted to mostly writing imaginative literary essays and prose memoirs. Another major creative outlet for her comprised the extensive correspondence she had with major poets such as Boris Pasternak and Rainer Marie Rilke. While in Paris, Tsvetaeva's husband Sergei Efron became involved with a Eurasian organization that promoted the return of Russian emigrants back to the USSR. Efron, after he was implicated in a plot to kill the defector Soviet agent Ignace Reiss, fled first to Spain then back to the USSR. Tsvetaeva followed her husband back to the Soviet Union with her family, where Efron was executed as a spy and her daughter Ariadna sentenced to a lengthy prison term in Stalin's GULAG on the same charge. After being evacuated to Yelabuga from Moscow with her son Mur, Tsvetaeva hanged herself on August 31, 1941. Following her death, her son joined the Red Army and was killed in battle in 1944.
A moving collection of autobiographical essays from a Russian poet and refugee of the Bolshevik Revolution. Marina Tsvetaeva ranks with Anna Akhmatova, Osip Mandelstam, and Boris Pasternak as one of Russia’s greatest twentieth-century poets. Her suicide at the age of forty-eight was the tragic culmination of a life buffeted by political upheaval. The essays collected in this volume are based on diaries she kept during the turbulent years of the Revolution and Civil War. In them she records conversations of women in the markets, soldiers and peasants on the train traveling from the Crimea to Moscow in October 1917, fighting in the streets of Moscow, a frantic scramble with co-workers to dig frozen potatoes out of a cellar, and poetry readings organized by a newly minted Soviet bohemia. Alone in Moscow with two small children, no income, and a missing husband, Tsvetaeva struggled to feed her daughters (one of whom died of malnutrition in an orphanage), find employment in the Soviet bureaucracy, and keep writing poetry. Her keen and ruthless eye observes with compassion and humor—bringing the social, economic, and cultural chaos of the period to life. These autobiographical writings not only give a vivid eyewitness account of Russian history but provide vital insights into the workings of Tsvetaeva’s unique poetics. Includes black and white photographs.
Ignored upon its publication in 1926 in a Russian émigré periodical, Marina Tsvetaeva's extraordinary narrative poem The Ratcatcher is today deemed by critics and readers to be the zenith of her impressive oeuvre. Written in Prague and Paris in the mid-1920s and now available in the United States for the first time, The Ratcatcher is at once a paean to literary tradition and a scathing attack on the materialistic, unspiritual lifestyle embraced by post-Bolshevik Russia.
An acclaimed translation of the best work of the passionate Russian poet An admired contemporary of Rilke, Akhmatova, and Mandelstam, Marina Tsvetaeva was a witness to the political turmoil and the social devastation wrought by the Russian Revolution and a powerfully inspired chronicler of a difficult life and exile sustained by poetry. Pasternak "was immediately overcome by the immense lyrical power of her poetic form. It... had spring living from experience—personal, and neither narrow-chested nor short of breath from line to line but rich and compact and enveloping" For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
This collection is valuable for its steady faithfulness to the original, its breadth of poems, and in particular for so many of the pre-revolutionary poems." Emily Lygo, Modern Poetry in Translation 2009
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.. .1 have no love for life as such; for me it begins to have significance, i.e., to acquire meaning and weight, only when it is transformed, i.e., in art. If I were taken beyond the sea into paradise-and forbidden to write, I would refuse the sea and paradise. I don't need life as a thing in itself." This, written by Tsvetayeva in a letter to her Czech friend, Teskova, in 1925, could stand as an inscription to her life. Marina Tsvetayeva was born in Moscow on September 26, 1892. Her fathel~ a well-known art historian and philolo gist, founded the Moscow Museum of the Fine Arts, now known as the Pushkin Museum; her mother, a pianist, died young, in 1906. Marina began writing poetry at the age of six. Her first book, Evening Album, contained poems she had writ ten before she turned seventeen, and enjoyed reviews by the poet, painter, and mentor of young writers, Max Voloshin, the poet Gumilyov, and the Symbolist critic and poet, Valerii Bryusov. Voloshin and Gumilyov welcomed the seventeen year-old poet as their equal; Bryusov was more critical of her, though he too, in his own belligerent way, acknowledged her talent.
Marina Cvetaeva conobbe l'attrice Sof'ja (Sonečka) Gollidej – il suo «più grande amore femminile» – alle soglie del 1919, il «più nero, pestilenziale, mortifero» degli anni postrivoluzionari, quando in una Mosca misera e affamata «si affratellò a una banda di commedianti»: gli attori allievi del Secondo Studio presso il Teatro d'Arte. Ventidue anni – ma con l'aspetto di una ragazza-bambina –, elfo, Mignon, Infanta, Sonečka, che aveva allora grande successo nelle «Notti bianche» di Dostoevskij, era capricciosa, sentimentale, indisciplinata, instancabile raccontatrice di sciocchezze, sogni, deliziose storielle, con un debole per le «paroline da collegiale», i diminutivi, le romanze strappalacrime da cui sembrava lei stessa uscita – l'opposto dell'indole «virile, retta, di acciaio» di Marina. Fra le due donne nacque una «amicizia frenetica, reciproca deificazione di anime», destinata a concludersi quando, dopo neppure un anno, Sonečka abbandonò Mosca per seguire il suo «destino di donna». Scritto nel 1937, quando ormai tutto annunciava la catastrofe finale (la Cvetaeva era stata definitivamente proscritta dalla colonia «émigrée» parigina e il marito, smascherato come agente sovietico, sarebbe fuggito di lì a poco nella Russia comunista, dove aveva già fatto ritorno la figlia Alja, dalla quale era arrivata la notizia della morte di Sonečka), all'ombra della perdita e del dolore, il racconto-epitaffio è smagliante, luminoso, sembra irradiare vitalità e tepore. Prodigi di una ancora viva affezione, ma anche di una scrittura – sempre sottesa dal pensiero poetico – che coniuga arditamente il sublime con la lingua della vita quotidiana, della strada.
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