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After Russia: The First Notebook [Pehme köide]

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  • Formaat: Paperback / softback, 142 pages, kõrgus x laius x paksus: 216x140x9 mm, kaal: 191 g
  • Ilmumisaeg: 06-Oct-2017
  • Kirjastus: Shearsman Books
  • ISBN-10: 1848615493
  • ISBN-13: 9781848615496
Teised raamatud teemal:
After Russia: The First NotebookSuurem pilt
  • Formaat: Paperback / softback, 142 pages, kõrgus x laius x paksus: 216x140x9 mm, kaal: 191 g
  • Ilmumisaeg: 06-Oct-2017
  • Kirjastus: Shearsman Books
  • ISBN-10: 1848615493
  • ISBN-13: 9781848615496
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781848615496.html
Märksõnad:
After Russia (1928) is considered to mark the high point in Marina Tsvetaeva's output of shorter, lyrical poems. Tsvetaeva told Boris Pasternak that all that mattered in the book was its anguish. Breathtaking technical mastery and experimentation are underpinned by suicidal thoughts, a sense of exclusion from the circle of human love and companionship, and an increasing alienation from life itself. The sequence `Trees' evokes the hills and woods of Bohemia where Tsvetaeva loved to roam, while `Wires' takes telegraph wires as the central image for the geographical distance separating her from Pasternak.
Introduction 9(23)
Translator's Foreword 32(5)
1922 Berlin
`Such words have their own time'
37(1)
`Ferocious vale'
38(1)
`The days will be so paltry, laboursome'
39(1)
`Night-time whisperings: a hand'
40(1)
`Get yourself trustworthy girlfriends'
41(1)
`You know the law'
42(1)
`When, God, one day upon'
43(2)
`Where the sun burns---an axe, a plough'
45(1)
`Hi there! Not arrows, not a stone'
46(1)
`Some people know no law'
47(1)
`To stop you seeing me---in life'
48(1)
The Balcony
49(1)
`You won't trace the nocturnal guest...'
50(1)
`Life has no rivals when it comes to lies'
51(1)
`The idea was---lighthearted days'
52(1)
`Hands---and around'
53(1)
To Berlin
54(1)
`You'll work it out yourself---it just needs time!'
55(1)
`Silvered, glimmering, a mould'
56(1)
`Hair knows how to get what it wants'
57(1)
`Lethe sobs and blindly flows'
58(1)
Prague
The Sibyl
1 `The Sibyl's burnt out, a trunk now, not a tree'
59(1)
2 `Grey block of stone, its link'
60(1)
3 The Sibyl to the Baby Child
60(1)
`Even morning delights'
61(4)
`Lethe's underwater light'
65(1)
Trees
1 `Having lost faith in those'
66(1)
2 `When the soul, incensed with rage'
67(1)
3 `Female baignade, whirled in a'
68(1)
4 `My friends! Fraternal throng!'
68(1)
5 `Escapees? Or message bearers?'
69(1)
6 `Neither brushes nor colours!'
70(1)
7 `She who, sleeping, did not dream'
71(1)
8 `A convoy moves to victory and death'
72(1)
9 `What can inspire it'
73(2)
Of Factories
1 `See them stand in labouring gloom'
75(1)
2 `Having scanned, not in vain, eternity's'
76(3)
`They're from a treasury, ashes'
79(1)
`Good God, what's all that smoke?'
80(1)
In Praise of the Rich
81(2)
God
1 `A face that has no features'
83(1)
2 `Mendicants, turtle doves'
83(1)
3 `There's no way you can tie him down'
84(2)
`So, having divided things in equal'
86(1)
Daybreak on the Railway Lines
87(2)
1923
`No need to call her: her call's like'
89(1)
`Please don't argue with the truth'
90(1)
Emigrant
91(1)
The Soul
92(1)
In Scythian Mode
1 `Out of guts to a branch---fast-trotting!'
93(1)
2 (Cradle Song)
94(1)
3 `From arrows and from charms'
95(1)
Lute
96(1)
`Covering our stumbling'
97(1)
A Gypsy Woman Mourns Count Zubov
98(2)
Ophelia to Hamlet
100(1)
Ophelia---in the Queen's Defence
101(1)
Phaedra
1 Her Complaint
102(1)
2 The Message
103(2)
Eurydice to Orpheus
105(1)
Wires
1 `Down a sequence of singing posts'
106(1)
2 `How can I tell you---squeeze it into'
107(1)
3 `Sorting through all, discarding all'
108(1)
4 `Enclave that rules itself!'
109(1)
5 `I'm no enchantress! My gaze has been honed'
110(1)
6 `When emperors, far overhead'
111(1)
7 `Precisely when my darling brother'
111(1)
8 `Unhurriedly, as gravel's pulverized'
112(1)
9 `Spring inclines to sleep. So let's drop off'
113(1)
10 `With other women---the welcoming flush'
114(1)
Ariadne
1 `Being abandoned---means poison arrives'
115(1)
2 `With the voice of every single shell'
115(1)
Poem of the Outskirts
116(3)
Poets
1 `Poets take words from far away'
119(1)
2 `In the world some are useless, surplus to'
120(1)
3 `What am I to do, a stepson, blind'
120(2)
Words and Meanings
1 `No matter what you do, don't think of me!'
122(1)
2 `Palm against palm'
122(1)
3 `Telegraph wires pushing distance further...'
122(1)
Pedal
123(1)
Flat of the Hand
124(1)
`Proclaim it from precipitous peaks'
125(1)
Clouds
1 `The skies have been dug up, the clods'
126(1)
2 `Hold on! Isn't that Phaedra's cloak'
126(1)
3 `No! But a wave lifted its crest'
127(1)
That's How Ears Strain...
1 `That's how ears strain---a river mouth'
128(1)
2 `Friend! Don't reproach me for that'
128(2)
Brooks
1 `Gurgling with prophecies, an'
130(1)
2 `Necklace dismantled in'
130(2)
Window
132(1)
In Praise of Time
133(1)
A Sister
134(1)
Night
135(1)
Slip Past...
136(2)
Notes 138
The life of Marina Tsvetaeva (1892-1941), now recognised as a major Russian and indeed European poet of the 20th century, was marked to an unusual extent by the political and ideological conflicts of her time. Born to a privileged background in Moscow, the revolutions of 1917 brought her crushing hardship and deprivation, but also ushered in a period of unparalleled creativity as poet and playwright. In 1922 she left for the west to rejoin her husband, who had fought with the counter-revolutionary forces. In 1925 the family moved from near Prague to Paris. Their existence was marked by appalling poverty and a growing alienation from the Russian emigre community. When in 1937 her husband was implicated in an assassination carried out by the Stalinist secret services, Tsvetaeva saw no alternative but to follow him back to the USSR. After the Nazis invaded Russia, she was evacuated to Yelabuga, where she took her own life in August 1941. The publication of well over 1,800 letters, as well as her diaries and notebooks, has revealed her to be a thinker of quite exceptional daring and philosophical profundity.

Christopher Whyte (1952-) is a poet in Scottish Gaelic, a novelist in English, and the translator into English of Rilke, Pasolini and Tsvetaeva. After pursuing a distinguished academic career in Italy and Scotland, researching and teaching Scottish and Gaelic literature, he took early retirement in 2005 and moved to Budapest, Hungary where he now writes full-time.