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Akhmatova was recognised as one of the world's great poets after her death in 1966. Refusing to leave Russia when her work was censored and her name attacked she spoke to and for the soul of her people. There are 800 poems and essays in this edition some of which have not been published in English before.
Witness to the international and domestic chaos of the first half of the twentieth century, Anna Akhmatova (1888-1966) chronicled Russia's troubled times in poems of sharp beauty and intensity. Her genius is now universally acknowledged, and recent biographies attest to a remarkable resurgence of interest in her poetry in this country. Here is the essence of Akhmatova - a landmark selection and translation, including excerpts from "Poem with a Hero."
Definitive translations of Akhmatova back in bilingual format.
A legend in her own time both for her brilliant poetry and for her resistance to oppression, Anna Akhmatova—denounced by the Soviet regime for her “eroticism, mysticism, and political indifference”—is one of the greatest Russian poets of the twentieth century. Before the revolution, Akhmatova was a wildly popular young poet who lived a bohemian life. She was one of the leaders of a movement of poets whose ideal was “beautiful clarity”—in her deeply personal work, themes of love and mourning are conveyed with passionate intensity and economy, her voice by turns tender and fierce. A vocal critic of Stalinism, she saw her work banned for many years and was expelled from the Writers’ Union—condemned as “half nun, half harlot.” Despite this censorship, her reputation continued to flourish underground, and she is still among Russia’s most beloved poets. Here are poems from all her major works—including the magnificent “Requiem” commemorating the victims of Stalin’s terror—and some that have been newly translated for this edition.
With this edition Swallow Press presents two of Anna Akhmatova’s best-known works that represent the poet at full maturity, and that most trenchantly process the trauma she and others experienced living under Stalin’s regime. Akhmatova began the three-decade process of writing “Requiem” in 1935 after the arrests of her son, Lev Gumilev, and her third husband. The autobiographical fifteen-poem cycle primarily chronicles a mother’s wait—lining up outside Leningrad Prison every day for seventeen months—for news of her son’s fate. But from this limbo, Akhmatova expresses and elevates the collective grief for all the thousands vanished under the regime, and for those left behind to speculate about their loved ones’ fates. Similarly, Akhmatova wrote “Poem without a Hero” over a long period. It takes as its focus the transformation of Akhmatova’s beloved city of St. Petersburg—historically a seat of art and culture—into Leningrad. Taken together, these works plumb the foremost themes for which Akhmatova is known and revered. When Ohio University Press published D. M. Thomas’s translations in 1976, it was the first time they had appeared in English. Under Thomas’s stewardship, Akhmatova’s words ring clear as a bell.
Anna Akhmatova (1889–1966), one of twentieth-century Russia’s greatest poets, was viewed as a dangerous element by post-Revolution authorities. One of the few unrepentant poets to survive the Bolshevik revolution and subsequent Stalinist purges, she set for herself the artistic task of preserving the memory of pre-Revolutionary cultural heritage and of those who had been silenced. This book presents Nancy K. Anderson’s superb translations of three of Akhmatova’s most important poems: Requiem, a commemoration of the victims of Stalin’s Terror; The Way of All the Earth, a work to which the poet returned repeatedly over the last quarter-century of her life and which combines Old Russian motifs with the modernist search for a lost past; and Poem Without a Hero, widely admired as the poet’s magnum opus. Each poem is accompanied by extensive commentary. The complex and allusive Poem Without a Hero is also provided with an extensive critical commentary that draws on the poet’s manuscripts and private notebooks. Anderson offers relevant facts about the poet’s life and an overview of the political and cultural forces that shaped her work. The resulting volume enables English-language readers to gain a deeper level of understanding of Akhmatova’s poems and how and why they were created.
Anna Akhmatova lived through pre-revolution Russia, Bolshevism, and Stalinism. Throughout it all, she maintained an elegant, muscular style that could grab a reader by the throat at a moment’s notice. Defined by tragedy and beauty in equal measure, her poems take on romantic frustration and the pull of the sensory, and find power in the mundane. Above all, she believed that a Russian poet could only produce poetry in Russia. You Will Hear Thunder spans Akhmatova’s very early career into the early 1960s. These poems were written through her bohemian prerevolution days, her many marriages, the terror and privation of life under Stalin, and her later years, during which she saw her work once again recognized by the Soviet state. Intricately observed and unwavering in their emotional immediacy, these strikingly modern poems represent one of the twentieth century’s most powerful voices.
Waiting for the Muse: Poems of Anna Akhmatova presents new translations of the work of this great Russian poet, set in the context of her life. Akhmatova saw the source of her creativity as the appearance to her of the Muse, the embodiment of poetic inspiration. In the poems written over her lifetime, from the early love lyrics to poems of resistance during the Stalinist Terror to poems of remembrance as her life neared its end, her conception of the Muse changed with the circumstances of her life. The Muse first appeared as an unpredictable young woman, then the classical figure of Erato, then a woman who stood beside her in the prison lines, then a cruel taskmaster. Akhmatova herself became the Muse for other Russian poets. Ultimately, Akhmatova concluded that the Muse may have been the torment she had been forced to suffer.
Definitive translations of Akhmatova back in bilingual format.