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De echte twintigste eeuw
De Russische dichteres Anna Achmatova schetst een weergaloos beeld van een hardvochtige eeuw vol oorlog, revolutie en onderdrukking. In een kristalheldere stijl schrijft Achmatova over haar jeugd in de omgeving van Odessa, en over Sint-Petersburg en de personen die ermee verknoopt zijn, zoals Peter de Grote, Poesjkin en Dostojevski.
Voorts over de schilder Modigliani, over de dichters Aleksandr Blok en Marina Tsvetajeva, en over haar vriendschap met Osip en Nadezjda Mandelsjtam. Uit De echte twintigste eeuw is de persoonlijke evolutie af te lezen van Achmatova, een dichteres in een tijd waarin vrouwen in de literatuur zelden serieus werden genomen; van jong meisje tot de oudere vrouw die al afscheid heeft moeten nemen van de meesten van haar vrienden en als enige overblijft om te rouwen om haar generatie en haar wrede eeuw.
Het in dit deel samengebrachte autobiografisch proza vormt een onmisbare aanvulling op de poëzie van Anna Achmatova, die vrijwel compleet in Nederlandse vertaling is verschenen. In het voorwoord gaat samensteller Alissa Leigh nader in op de strijd die Achmatova heeft moeten leveren met de sovjetcensuur en de problemen die zij ondervond bij de publicatie van haar werk.
*Ze was eigenlijk iemand die over menselijke banden dichtte: dierbare, uitgerekte, verbroken banden. Ze toonde die ontwikkelingen eerst door het prisma van het individuele hart, vervolgens door het prisma van de geschiedenis. -Joseph Brodsky
Anna Achmatova (1889-1966) werd in Bolsjoj Fontan, bij Odessa, geboren. Met Boris Pasternak, Osip Mandelsjtam en Marina Tsvetajeva vormde zij een kwartet dat tot het beste van de moderne Russische poëzie behoort.
Voorts over de schilder Modigliani, over de dichters Aleksandr Blok en Marina Tsvetajeva, en over haar vriendschap met Osip en Nadezjda Mandelsjtam. Uit De echte twintigste eeuw is de persoonlijke evolutie af te lezen van Achmatova, een dichteres in een tijd waarin vrouwen in de literatuur zelden serieus werden genomen; van jong meisje tot de oudere vrouw die al afscheid heeft moeten nemen van de meesten van haar vrienden en als enige overblijft om te rouwen om haar generatie en haar wrede eeuw.
Het in dit deel samengebrachte autobiografisch proza vormt een onmisbare aanvulling op de poëzie van Anna Achmatova, die vrijwel compleet in Nederlandse vertaling is verschenen. In het voorwoord gaat samensteller Alissa Leigh nader in op de strijd die Achmatova heeft moeten leveren met de sovjetcensuur en de problemen die zij ondervond bij de publicatie van haar werk.
*Ze was eigenlijk iemand die over menselijke banden dichtte: dierbare, uitgerekte, verbroken banden. Ze toonde die ontwikkelingen eerst door het prisma van het individuele hart, vervolgens door het prisma van de geschiedenis. -Joseph Brodsky
Anna Achmatova (1889-1966) werd in Bolsjoj Fontan, bij Odessa, geboren. Met Boris Pasternak, Osip Mandelsjtam en Marina Tsvetajeva vormde zij een kwartet dat tot het beste van de moderne Russische poëzie behoort.
233 pages, Paperback
First published January 1, 2006
About the author
Anna Akhmatova
427 books983 followersalso known as: Анна Ахматова and Anna Ajmátova
Personal themes characterize lyrical beauty of noted work of Russian poet Anna Akhmatova, pseudonym of Anna Andreevna Gorenko; the Soviet government banned her books between 1946 and 1958.
People credit this modernist of the most acclaimed writers in the canon.
Her writing ranges from short lyrics to universalized, ingeniously structured cycles, such as Requiem (1935-40), her tragic masterpiece about the Stalinist terror. Her work addresses a variety of themes including time and memory, the fate of creative women, and the difficulties of living and writing in the shadow of Stalinism. She has been widely translated into many languages, and is one of the best-known Russian poets of 20th century.
In 1910, she married the poet, Nikolay Gumilyov, who very soon left her for lion hunting in Africa, the battlefields of World War I, and the society of Parisian grisettes. Her husband did not take her poems seriously, and was shocked when Alexander Blok declared to him that he preferred her poems to his. Their son, Lev, born in 1912, was to become a famous Neo-Eurasianist historian.
Nikolay Gumilyov was executed in 1921 for activities considered anti-Soviet; Akhmatova then married a prominent Assyriologist Vladimir Shilejko, and then an art scholar, Nikolay Punin, who died in the Stalinist Gulag camps. After that, she spurned several proposals from the married poet, Boris Pasternak.
After 1922, Akhmatova was condemned as a bourgeois element, and from 1925 to 1940, her poetry was banned from publication. She earned her living by translating Leopardi and publishing essays, including some brilliant essays on Pushkin, in scholarly periodicals. All of her friends either emigrated or were repressed.
Her son spent his youth in Stalinist gulags, and she even resorted to publishing several poems in praise of Stalin to secure his release. Their relations remained strained, however. Akhmatova died at the age of 76 in St. Peterburg. She was interred at Komarovo Cemetery.
There is a museum devoted to Akhmatova at the apartment where she lived with Nikolai Punin at the garden wing of the Fountain House (more properly known as the Sheremetev Palace) on the Fontanka Embankment, where Akhmatova lived from the mid 1920s until 1952.
Personal themes characterize lyrical beauty of noted work of Russian poet Anna Akhmatova, pseudonym of Anna Andreevna Gorenko; the Soviet government banned her books between 1946 and 1958.
People credit this modernist of the most acclaimed writers in the canon.
Her writing ranges from short lyrics to universalized, ingeniously structured cycles, such as Requiem (1935-40), her tragic masterpiece about the Stalinist terror. Her work addresses a variety of themes including time and memory, the fate of creative women, and the difficulties of living and writing in the shadow of Stalinism. She has been widely translated into many languages, and is one of the best-known Russian poets of 20th century.
In 1910, she married the poet, Nikolay Gumilyov, who very soon left her for lion hunting in Africa, the battlefields of World War I, and the society of Parisian grisettes. Her husband did not take her poems seriously, and was shocked when Alexander Blok declared to him that he preferred her poems to his. Their son, Lev, born in 1912, was to become a famous Neo-Eurasianist historian.
Nikolay Gumilyov was executed in 1921 for activities considered anti-Soviet; Akhmatova then married a prominent Assyriologist Vladimir Shilejko, and then an art scholar, Nikolay Punin, who died in the Stalinist Gulag camps. After that, she spurned several proposals from the married poet, Boris Pasternak.
After 1922, Akhmatova was condemned as a bourgeois element, and from 1925 to 1940, her poetry was banned from publication. She earned her living by translating Leopardi and publishing essays, including some brilliant essays on Pushkin, in scholarly periodicals. All of her friends either emigrated or were repressed.
Her son spent his youth in Stalinist gulags, and she even resorted to publishing several poems in praise of Stalin to secure his release. Their relations remained strained, however. Akhmatova died at the age of 76 in St. Peterburg. She was interred at Komarovo Cemetery.
There is a museum devoted to Akhmatova at the apartment where she lived with Nikolai Punin at the garden wing of the Fountain House (more properly known as the Sheremetev Palace) on the Fontanka Embankment, where Akhmatova lived from the mid 1920s until 1952.
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