Marina Tsvetayeva's Books

Letters: Summer 1926

By: Boris Pasternak,Marina Tsvetayeva,Rainer Maria Rilke

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Letters: Summer 1926

By: Boris Pasternak,Marina Tsvetayeva,Rainer Maria Rilke

Edited by Yevgeny Pasternak, Yelena Pasternak, and Konstantin M. Azadovsky The summer of 1926 was a time of trouble and uncertainty for each of the three poets whose correspondence is collected in this moving volume. Marina Tsvetayeva was living in exile in France and struggling to get by. Boris Pasternak was in Moscow, trying to come to terms with the new Bolshevik regime. Rainer Maria Rilke, in Switzerland, was dying. Though hardly known to each other, they began to correspond, exchanging a series of searching letters in which every aspect of life and work is discussed with extraordinary intensity and passion. Letters: Summer 1926 takes the reader into the hearts and minds of three of the twentieth century's greatest poets at a moment of maximum emotional and creative pressure.

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404

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New York Review of Books

Published Date

ISBN 10

0940322714

ISBN 13

9780940322714

Marina Tsvetaeva

The Essential Poetry

By: Marina Tsvetaeva

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Marina Tsvetaeva

The Essential Poetry

By: Marina Tsvetaeva

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.

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166

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Glagoslav Publications B.V.

Published Date

ISBN 10

1784379581

ISBN 13

9781784379582

Letters: Summer 1926

By: Boris Pasternak,Marina Tsvetayeva,Rainer Maria Rilke

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Letters: Summer 1926

By: Boris Pasternak,Marina Tsvetayeva,Rainer Maria Rilke

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New York Review of Books

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ISBN 10

0940322714

ISBN 13

9780940322714

Three by Tsvetaeva

By: Marina Tsvetaeva

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Three by Tsvetaeva

By: Marina Tsvetaeva

Three of the legendary Russian dissident writer's greatest poems, two autobiographical and one based on a Russian folktale, now in a new, invigorating English translation. The three poems in this collection, "Backstreets", "Poem of the Mountain" and "Poem of the End," were all written in the few short years spanning the period immediately preceding Tsvetaeva's move from the Soviet Union to Prague in 1922. "Poem of the Mountain" and "Poem of the End" are generally considered some of her finest poems and have been translated widely; "Backstreets," initially dismissed by Russian readers as nigh unintelligible, is almost unknown in English. Andrew Davis's translation is a first, and it reveals the poem in all in its emotional intensity and poetic pyrotechnics as among Tsvetaeva's greatest achievements. "Poem of the Mountain" and "Poem of the End" both concern the end of an affair. "Backsteets," by contrast, is a retelling of the Russian folk-tale of Dobrynya and Marinka. It is a very free retelling, however. In the original story a hero (Dobrynya) is seduced by a witch (Marinka) and turned into an aurochs, the extinct European ancestor to modern cattle. Marinka is then forced by Dobrynya's sister, herself possessed of magic powers, to restore Dobrynya to his original form. This she does, though at the same time extorting from him a promise to marry her in exchange for the restoration. He marries her, but murders her on their wedding night. Almost none of this makes it into "Backstreets," though the poem does retain the sense of magic and menace of the original. What is actually being described, is, beneath everything, a remarkable description of a highly charged erotic encounter. The poem is the clearest expression of Tsvetaeva's understanding of love and its possibilities. Davis's versions of Osip Mandelstam's Voronezh Notebooks have been widely admired. Here he brings his talents as poet and translator to the work of a Russian poet whose achievement has loomed ever larger with the years.

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New York Review of Books

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ISBN 10

1681378337

ISBN 13

9781681378336

In the Inmost Hour of the Soul

By: Marina Tsvetayeva,Nina Kossman

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In the Inmost Hour of the Soul

By: Marina Tsvetayeva,Nina Kossman

.. .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.

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124

Publisher

Springer Science & Business Media

Published Date

ISBN 10

1461237068

ISBN 13

9781461237068

Earthly Signs

Moscow Diaries, 1917-1922

By: Marina Tsvetaeva

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Earthly Signs

Moscow Diaries, 1917-1922

By: Marina Tsvetaeva

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.

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289

Publisher

New York Review of Books

Published Date

ISBN 10

1681371626

ISBN 13

9781681371627

Woman with a Movie Camera

My Life as a Russian Filmmaker

By: Marina Goldovskaya

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Woman with a Movie Camera

My Life as a Russian Filmmaker

By: Marina Goldovskaya

Marina Goldovskaya is one of Russia's best-known documentary filmmakers. The first woman in Russia (and possibly the world) to combine being a director, writer, cinematographer, and producer, Goldovskaya has made over thirty documentary films and more than one hundred programs for Russian, European, Japanese, and American television. Her work, which includes the award-winning films The House on Arbat Street, The Shattered Mirror, and Solovky Power, has garnered international acclaim and won virtually every prize given for documentary filmmaking. In Woman with a Movie Camera, Goldovskaya turns her lens on her own life and work, telling an adventurous, occasionally harrowing story of growing up in the Stalinist era and subsequently documenting Russian society from the 1960s, through the Thaw and Perestroika, to post-Soviet Russia. She recalls her childhood in a Moscow apartment building that housed famous filmmakers, being one of only three women students at the State Film School, and working as an assistant cameraperson on the first film of Andrei Tarkovsky, Russia's most celebrated director. Reviewing her professional filmmaking career, which began in the 1960s, Goldovskaya reveals her passion for creating films that presented a truthful picture of Soviet life, as well as the challenges of working within (and sometimes subverting) the bureaucracies that controlled Russian film and television production and distribution. Along the way, she describes a host of notable figures in Russian film, theater, art, and politics, as well as the technological evolution of filmmaking from film to video to digital media. A compelling portrait of a woman who broke gender and political barriers, as well as the eventful four decades of Russian history she has documented, Woman with a Movie Camera will be fascinating reading for a wide audience.

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289

Publisher

University of Texas Press

Published Date

ISBN 10

0292778961

ISBN 13

9780292778962

Walk Through Walls

A Memoir

By: Marina Abramovic

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Walk Through Walls

A Memoir

By: Marina Abramovic

“I had experienced absolute freedom—I had felt that my body was without boundaries, limitless; that pain didn’t matter, that nothing mattered at all—and it intoxicated me.” In 2010, more than 750,000 people stood in line at Marina Abramović’s MoMA retrospective for the chance to sit across from her and communicate with her nonverbally in an unprecedented durational performance that lasted more than 700 hours. This celebration of nearly fifty years of groundbreaking performance art demonstrated once again that Marina Abramović is truly a force of nature. The child of Communist war-hero parents under Tito’s regime in postwar Yugoslavia, she was raised with a relentless work ethic. Even as she was beginning to build an international artistic career, Marina lived at home under her mother’s abusive control, strictly obeying a 10 p.m. curfew. But nothing could quell her insatiable curiosity, her desire to connect with people, or her distinctly Balkan sense of humor—all of which informs her art and her life. The beating heart of Walk Through Walls is an operatic love story—a twelve-year collaboration with fellow performance artist Ulay, much of which was spent penniless in a van traveling across Europe—a relationship that began to unravel and came to a dramatic end atop the Great Wall of China. Marina’s story, by turns moving, epic, and dryly funny, informs an incomparable artistic career that involves pushing her body past the limits of fear, pain, exhaustion, and danger in an uncompromising quest for emotional and spiritual transformation. A remarkable work of performance in its own right, Walk Through Walls is a vivid and powerful rendering of the unparalleled life of an extraordinary artist.

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400

Publisher

Crown

Published Date

ISBN 10

1101905069

ISBN 13

9781101905067

The Ratcatcher

A Lyrical Satire

By: Marina T︠S︡vetaeva

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The Ratcatcher

A Lyrical Satire

By: Marina T︠S︡vetaeva

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.

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132

Publisher

Northwestern University Press

Published Date

ISBN 10

0810118165

ISBN 13

9780810118164

Selected Poems

By: Marina Tsvetaeva

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Selected Poems

By: Marina Tsvetaeva

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.

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161

Publisher

Penguin

Published Date

ISBN 10

0140187596

ISBN 13

9780140187595

Art in the Light of Conscience

Eight Essays on Poetry

By: Marina T︠S︡vetaeva

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Art in the Light of Conscience

Eight Essays on Poetry

By: Marina T︠S︡vetaeva

Marina Tsvetaeva (1892-1941) was one of the four great Russian poets of the 20th century, along with Akhmatova, Mandelstam and Pasternak. She also wrote outstanding prose. Endowed with 'phenomenally heightened linguistic sensitivity' (Joseph Brodsky), Tsvetaeva was primarily concerned with the nature of poetic creation and what it means to be a poet. Among the most exciting of all explorations of this theme are the essays 'Art in the Light of Conscience', her spirited defence of poetry;'The Poet on the Critic', which earned her the enmity of many; and 'The Poet and Time', the key to understanding her work. Her richly diverse essays provide incomparable insights into poetry, the poetic process, and what it means to be a poet. This book includes, among many fascinating topics, a celebration of the poetry of Pasternak ('Downpour of Light') and reflections on the lives and works of other Russian poets, such as Mandelstam and Mayakovsky, as well as a magnificent study of Zhukovsky's translation of Goethe's 'Erlking'. Even during periods of extreme personal hardship, her work retained its sense of elated energy and humour, and Angela Livingstone's translations bring the English-speaking reader as close as possible to Tsvetaeva's inimitable voice. First published in English in 1992, "Art in the Light of Conscience" includes an introduction by the translator, textual notes and a glossary, as well as revised translations of 12 poems by Tsvetaeva on poets and poetry.

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Page Count

214

Publisher

Bloodaxe Books Limited

Published Date

ISBN 10

1852248645

ISBN 13

9781852248642

In the Inmost Hour of the Soul

By: Marina Tsvetayeva,Nina Kossman

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In the Inmost Hour of the Soul

By: Marina Tsvetayeva,Nina Kossman

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124

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Springer Science & Business Media

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ISBN 10

1461237068

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9781461237068

Book's by Marina Tsvetayeva

Letters: Summer 1926

Letters: Summer 1926

Marina Tsvetaeva

Marina Tsvetaeva

Letters: Summer 1926

Letters: Summer 1926

Three by Tsvetaeva

Three by Tsvetaeva

In the Inmost Hour of the Soul

In the Inmost Hour of the Soul

Earthly Signs

Earthly Signs

Woman with a Movie Camera

Woman with a Movie Camera

Walk Through Walls

Walk Through Walls

The Ratcatcher

The Ratcatcher

Selected Poems

Selected Poems

Art in the Light of Conscience

Art in the Light of Conscience

In the Inmost Hour of the Soul

In the Inmost Hour of the Soul

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