Marina Tsvetaeva, „Earthly Signs: Moscow Diaries, 1917-1922“
Objavljeno je englesko izdanje iznimnog moskovskog dnevnika (1917-1922) o Ruskoj revoluciji i građanskom ratu poznate ruske književnice Marine Cvetajeve.
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Marina Tsvetaeva
Marina Tsvetaeva (1892–1941), whose father was a classicist and whose mother was a pianist, was born in Moscow and published her first book of poems at seventeen. Tsvetaeva left Russia in 1922 with her two children and her husband, Sergei Efron, who fought against the Red Army in the 1918–1921 Civil War but was later to become a Soviet spy. Often living from hand to mouth, the family remained abroad until 1939. Two years later, after the execution of her husband and the arrest of her daughter, Tsvetaeva committed suicide. Along with numerous lyrics, her works include several extraordinary long poems, among them The Poem of the End, The Poem of the Mountain, and The Ratcatcher.
Earthly Signs: Moscow Diaries, 1917-1922
by Marina Tsvetaeva, translated from the Russian by Jamey Gambrell
Series: NYRB Classics
Pages: 288
Publication Date: December 5, 2017
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.
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Is there prose more intimate, more piercing, more heroic, more astonishing than Tsvetaeva’s? Was the truth of reckless feelings ever so naked? So accelerated? Voicing gut and brow, she is incomparable. Clad in the veil of translation, expert translation, her recklessness commands, her nakedness flames.
Susan Sontag
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Prijevodi autobiografskih zapisa Marine Cvetajeve:
Neovdašnje veče: pripovetke i sećanja, Beograd 1977.
Oktobar u vagonu, Beograd 1986.
Fragmenti: Walter Benjamin i Marina Cvetajeva
Povest o Sonječki, Novi Sad 1986; 1990; Priča o Sonječki, Novi Sad 2006.
Autobiografska proza ; O Puškinu ; Pisma, Beograd 1990.
Ono što je bilo, Zagreb 2005.