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And overflowing their rims,into the black earth, to nourishthe rushes unstoppablywithout cure, gushesverseThis was a necessary refuge, a raft where the sea s bed is murky There is so much doubt, singed with hunger on these pages, yet there s a human exuberance There s agency, not tr potlatch, no Cleopatra dissolving a priceless pearl in and drinking the dregs, as Calasso noted There are quests and memorials There is rapt ardor even when the soul s been steeped in grief There s a determination to right the course when fate has proved abusive The last concept, of sense making within the delirium of an overturned world is evidenced in the sublime An Attempt At Room, a poem which appears to me to be the analogy of making a home in a collapsing building.For a rendezvous is a locality,A list calculation, sketch Of words that are not always apposite,Of gestures all wrong, simply out of touch.Reading her lines, one can inhale the ancient perseverance, the ability to manage the ignoble and the banal with no chance for posterity There s a line in a novel I broached recently, an exile is a refugee with a library. And I won t be seduced by the thought ofmy native tongue, its milky call.How can it matter in what tongue Iam misunderstood by whoever I meet or by what readers, swallowingnewsprint, squeezing for gossip They all belong to the twentiethcentury, and I am before time,stunned, like a log leftbehind on an avenue of trees.from Homesickness , 1934This is a challenge to review First, the co translator Angela Livingstone who did about half of the literal translations that Elaine Feinstein turned into English verse tells you Marina Tsvetaeva s voice is particularly difficult to capture, both because her consistent adherence to rhyme and metrical regularity would, if copied into English poems, probably enfeeble them, and because so many of the linguistic devices which she powerfully exploits such as ellipsis, changes of word order, the throwing into relief of inflectional endings are simply not available in English.On the whole, the English versions are consciously less emphatic, less loudly spoken, less violent, often less jolting and disturbing than the Russian originals.Then the original Russian must be pretty wild Tsvetaeva hadinsanely passionate love affairs than most high school graduating classes put together, and they are spilled out here for all to see Along with poems about her passionate intellectual relationships with the other great Russian poets of the time.However, unlike most adolescent heartbroken bards, Tsvetaeva is a terrific poet I am bored stiff by love poetry, so the five stars is for the great writing and her later poems, which treat a wider array of subjects and emotions with great depth and startling originality of metaphor and style Feinstein is to be congratulated on capturing this in English I presume, since this is monolingual and having the Russian wouldn t help me judge, anyway Livingstone provides one example of the literal translation that she provided to Feinstein, along with the transliterated Russian, to give you an idea of what was involved from Poems to Czechoslovakia 6They took quickly, they took hugely,took the mountains and their entrails.They took our coal, and took our steelfrom us, lead they took also and crystal..Bullets they took from us, they took our riflesminerals they took, and comrades too.But while our mouths have spittle in themthe whole country is still armed. 1938 from Poems of the End Wait Is it even correct in Serbian orCroatian Is it a Czech whim, this word.Sep aration To sep arate It is insane unnaturala sound to burst the eardrums, and spread outfar beyond the limits of longing itself.Separation the word is not in the Russian language Or the language of women Or men.Nor in the language of God What are we sheep To stare abous us as we eat.Separation in what language is it,when the meaning itself doesn t exist or even the sound Well an empty one, likethe noise of a saw in your sleep perhaps. 1924 When in 1941 the Nazis started bombing Moscow, Marina Tsvetaeva and her son were evacuated to Yelabuga, a town in the Tatar Soviet Socialist Republic now Tatarstan.She desperately sought work and even applied for a dishwashing position but was refused On 31 August 1941, Tsvetaeva hanged herself Marina Tsvetaeva s exact burial place was never found Her husband, Sergey Efron, was executed in August 1941 the same month that she committed suicide Her 19 year old son Mur was killed in World War II, in 1944 Critics and translators of Tsvetaeva s work often comment on the passion in her poems, their swift shifts and unusual syntax, and the influence of folk songs She is also known for her portrayal of a woman s experiences during the terrible years as the period in Russian history was described by Aleksandr Blok Tsvetaeva s great body of work, that broke new ground for women poets, has increasingly attracted attention in the English speaking world This is what the great poet Joseph Brodsky says about her Represented on a graph, Tsvetaeva s work would exhibit a curve or rather, a straight line rising at almost a right angle because of her constant effort to raise the pitch a note higher, an idea higher or,precisely, an octave and a faith higher She always carried everything she has to say to its conceivable and expressible end In both her poetry and her prose, nothing remains hanging or leaves a feeling of ambivalence Tsvetaeva is the unique case in which the paramount spiritual experience of an epoch for us, the sense of ambivalence, of contradictoriness in the nature of human existence served not as the object of expression but as its means, by which it was transformed into the material of art As a lyrical poet, her passion and daring linguistic experimentation mark her striking chronicler of her times and the depths of the human condition. List of CollaboratorsIntroduction I know the truth What is this gypsy passion for separation We shall not escape Hell Some ancestor of mine I m glad your sickness We are keeping an eye on the girls No one has taken anything away You throw back your head Where does this tenderness come from Bent with worry Today or tomorrow the snow will meltVerses about Moscow 1 2 5 7 8From Insomnia 2 3 5 6 7 8 9 10Poems for Akhmatova 1 2 3 4Poems for Blok 1 2 3 5 8 9 6 10 A kiss on the head From Swans Encampment Yesterday he still looked in my eyes To Mayakovsky Praise to the Rich God help us Smoke Ophelia in Defence of the Queen Wherever you are I can reach youFrom Wires 1 7 Sahara The Poet Appointment Rails You loved me It s not like waiting for post My ear attends to you As people listen intently Strong doesn t mate with strong In a world Poem of the Mountain Poem of the End An Attempt at Jealousy To Boris PasternakFrom The Ratcatcher From Chapter 1 From Chapter 2 Dreams From The Children s Paradise From Poems to a Son Homesickness I opened my veins Epitaph Readers of Newspapers Desk Bus When I look at the flight of the leavesFrom Poems to Czechoslovakia 6 8 Note to 1971 edition on Working MethodNotes Of the great silver age poets Akhmatova, Mandelstam, Pasternak, Blok, Mayakovsky I find myself returningandto Tsvetaeva the expansive emotion is most like Mayakovsky s explosive but the she has the control and compressed power of an Akhmatova They re astonishingly good She s a great lover, a great hater, sarcastic, vulnerable,emotionally ragged than Akhmatova But no less precise as an artist I ve found a couple of wonderful girls reading Tsvetaeva poems on Youtube, and listening has made me turn to the poems in Russian which I read abysmally and try to translate them Not for anyone else to read, but just to understand the actual words, the compression, the punch of brilliant rhymes, the very music of them Even if you don t understand a word, check out are six or seven poems read by this wonderful girl with a high light voice, reading it just as it should be read, no sturm und drang too easy to go over the top with this stuff , and another girl, with a graver voice, also exactly the right delivery, doing other poemshttp www.youtube.com watch v FCgT8 her poems feel as if she is drawing a straight line from her guts to your heart it s almost too much, and i found myself physically buckling at points, snapping the book shut to save myself from the fire Tsvetaeva brings all of my favorite dinner guests together unyielding authorial voice, raw honesty and unflinching self reflection, a keen eye for that porous gauze between the self and the other, she reads as one of the last honest witnesses of human history i only wish i could read the original russian. A weak shaft of light through the blackness of hell isyour voice under the rumble of exploding shells Tsvetaeva is overflowing with kindness and ruthless beauty Her poetry is like being stabbed while she gently strokes your face and tells you she loves you Not that she is violent, but she threatens it There s an urgency, a recurring terror and a bleakness to her And yet incredible beauty, wonder and immense love A love that stretches out so thin and so wide you think it ll tear itself apart But it doesn t You won t be the same after reading her I wasn t I read Where does this tenderness come from and the I that I was became someone else Literature can do that, if it s done right, it dislocates us and arriving back we find we re not the same Emily Dickinson wrote If I feel physically as if the top of my head were taken off, I know that is poetry , and that s how I felt That s how Tsvetaeva makes me feel She comes at me with her axe and chops and chops and chops She offers a portrait of Russia, of Moscow, of the artist, of herself, the inner workings of her soul and a glimpse at something grander beyond The soul, perhaps, of the world itself Is this what she was trying to do Perhaps not But it s what she did to me For love is flesh, it is aflower flooded with blood Did you think it was just alittle chat across a table a snatched hour and back home againthe way gentlemen and ladiesplay at it Either love is A shrine or else a scar I want to reach back across generations and stroke her hair She ll speak to me in a language I won t understand and I ll reply with even less comprehension And yet I ll feel seen It saddens me greatly that I only have translations of her work, because I don t yet know Russian But for what it s worth I found this particular translation excellent Here is a poet who will follow me through life I have no need of holesfor ears, nor prophetic eyes to your mad world there isone answer to refuse *Download Pdf ☔ Избранные стихотворения ↬ An Admired Contemporary Of Rilke, Akhmatova, And Mandelstam, Russian Poet Marina Tsvetayeva Bore Witness To The Turmoil And Devastation Of The Revolution, And Chronicled Her Difficult Life In Exile, Sustained By The Inspiration And Power Of Her Modern VerseThe Poems In This Selection Are Drawn From Eleven Volumes Published Over Thirty Years Your name is a bird in my handa piece of ice on the tongueone single movement of the lips.Your name is five signs,a ball caught in flight, a silver bell in the moutha stone, cast in a quiet pool makes the splash of your name, and the sound is the clatter ofnight hooves, loud as a thunderclapor it speaks straight into my forehead,shrill as the click of a cocked gun.Your name how impossible, itis a kiss on the eyes onmotionless eyelashes, chill and sweet.Your name is a kiss of snowa gulp of icy spring water, blueas a dove About your name is sleep.This poem is actually from another volume of hers I don t get to read this one any time soon since the one copy has been stolen from the library Grr. Bloodaxe edition, translated by David McDuff4.5 for the introduction, about a quarter of the book3 for the poems in translationI don t think modern rhymed translation necessarily makes poems sound trivial in English, but it needs to be done very carefully so that doesn t happen Regardless, for me, too much of Tsvetaeva seems to get lost in translation whether rhymed or un When particular lines, or occasionally whole poems felt most alive, it was different bits in this version and in Feinstein s Bride of Ice McDuff s rhymed translation works best when the lines, whether there is actual enjambment or not, are constructed so that emphasis does not fall on the end of the line if the poem is spoken naturally as sentences, making the rhyme elegant, subtle and unobtrusive, and that s especially the case for poems with shorter lines One of the few short lined poems that worked well here was The Window , which used half rhyme I had hoped that the sing song line ends would tail off along with Tsvetaeva s juvenilia, but they always reappeared from time to time My greatest disappointment in Bride of Ice was the Girlfriend sequence, which rarely had the magnitude of emotional power I d expected here it was Attempt at a Room Such a spikily modernist title, and the complex, varied, sometimes abstract subject matter, was particularly ill suited to rhymed verse with emphasis quite often at line end Feinstein s translation of The Desk is greatly superior to McDuff s Table Among the best in McDuff, I thought, were From Bon Voyages to Osip Mandelstam notably, translated by an F.F Morton From Insomnia half rhyme , and From Poems to Akhmatova whose words were so vivid they overshadowed the rhyme.Despite initial optimism about McDuff s translations after skimming a few, I didn t feel that much from closer reading with Feinstein s, even if quite a lot of the poems didn t grab, there were supercharged moments which stayed with me for some time The next day, dialling down, I played XTC s The Disappointed on repeat same feelings lower, very liveable magnitude sense of universality It was nonetheless interesting to see different takes on the poems in a short space of time McDuff does at least give some idea of Tsvetaeva s structures one just has to imagine them feeling different in another language To read poetry of her contemporaries, I d have to buy it, so have been making the most of access to these different Tsvetaeva translations instead McDuff s introduction to this edition was well worth reading, for the biographical detail, the cultural context and how these relate to the poems.Various insights from it I appreciated On controversial aspects of Tsvetaeva s life Tsvetayeva s younger daughter, Irina, was less fortunate weak and sickly, she developed slowly and poorly, and could hardly walk by the time she was three The years of privation and hunger had their effect in 1920 Irina died of malnutrition in the orphanage where Tsvetayeva had been compelled to leave her she had an excellent knowledge of both French and German Yet she seems to have shared with Mandelstam an inability to sell herself , to have a job her unconventional, uncompromising personality made her many enemies on both sides of the literary political barricades She was temperamentally unsuited to hackwork and worked very slowly on the translations which Pasternak helped to find for her Often she went hungry Nonetheless, she and Mur, then aged 16 , boarded a Volga steamship with other writers families, bound for Kazan and Chistopol Lidia Chukovskaya, the memoirist and daughter of the poet Kornoy Chukovsky, recalls how in the course of the voyage Tsvetayeva kept returning to the subject of suicide What can you be thinking of Chukovskaya remembers replying I have two children to look after According to Chukovskaya, Tsvetayeva s retort to this was But I know that my son will be better off without me The boat reached Kazan , and then Chistopol , where most of the writers families got out Tsvetayeva was not permitted to disembark there, however, and she and Mur went further, to the evenremote Yelabuga Here she tried to find work, without success She wrote to the Tartar Union of Writers with a plea for translation work No reply came. Feinstein mentions that she also travelled to Chistopol in the days before her death to look for menial work, but was not taken on Cultural artistic This was the period before Russia and the West became completely cut off from one another, and there was still a good deal of movement between Berlin and Paris, then the artistic capitals of Europe, and the cities of Leningrad and Moscow The poems of Remeslo reflect the artistic and cultural ferment of the time, and indeed they are the nearest thing to modern poems in the whole of Tsvetayeva s poetic output which, like that of Akhmatova and Mandelstam, is essentially conservative in aesthetic and formal terms Some of the poems also clearly show the influence of Bely the abundant use of the dash, and the heavily marked rhythms derive from him.1925 This was also the period of the great poemy long poems Poem of the Mountain Poema gory and Poem of the End Poema kontsa These exalted and psychologically elaborate constructions seem to reflect some intense and passionate love affair but the details of this are hazy, and there is some reason to suppose that the poems basis in experience was slight, thatthan anything else Tsvetayeva was composing life as well as poetry This is not to say that there is anything false or artificial in the poems rather that, as at other times in her life, Tsvetayeva used the raw material of her own existence in order to transcend it, to go beyond it The relentless rhythms and jagged, leaping lines exude a recklessness of spirit, a Nietzschean disdain for the here and now.