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The Word That Causes Death’s Defeat: Poems of Memory
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 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.
352 pages, Kindle Edition
First published September 27, 2004
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About the author
Anna Akhmatova
429 books957 followersalso known as: Анна Ахматова
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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Displaying 1 - 11 of 11 reviews
April 9, 2018
This book caught me a little by surprise, I presumed it was packed full of poems. It wasn't.
In fact, only three poems are featured about half way through. These are 'Requiem', 'The Way of All the Earth', and the epic 'Poem Without a Hero', all of which were phenomenal. So then, for a book over three-hundred pages long, what else is included?
We have a comprehensive Biography of Akhmatova, from youth and early fame, through to her later years in the 60s, whilst in between there is an impressive history of how Revolution, Civil War and Stalinism shaped not only her life but also her poetic mind. Three other Russian poets (Pasternak, Mandelstam and Tsvetaeva), I learnt, also had a massive impact in what she went on to write. Although this section is very well written by Nancy K. Anderson (who also contributes critical essays, notes, excerpts and Commentaries) she did tend to go into details on Russian History that sidetracked from Akhmatova, but this was only a little niggle, she is clearly passionate about the subject matter. I simply wasn't expecting this, so now I can say my Akhmatova knowledge is 100% better than it was before.
Following the poems, there are three essays -
Bearing the Burden of Witness: Requiem
Forward into the Past: The Way of All the Earth
Rediscovering a Lost Generation: Poem Without a Hero
Finally, there is a detailed Commentary on 'Poem Without a Hero', an early version of Poem Without a Hero, and excerpts from Akhmatova’s Notebooks which I found compelling.
Oh, and I forgot to mention a decent Preface as well as notes on style that started everything off.
I admire Akhmatova's poetry greatly, and what I learnt about the life she lived has touched me, living through the toughest of times seems to resonate a poetic power that breaks through the chains, sending her words rushing away in a dark whirlwind of perpetual beauty.
A fragment below,
To heat the holidays bonfires burned,
And carriages on bridges overturned,
And the black-draped city was borne away
To drift on toward an unknown goal,
Following or fighting the Neva’s flow—
But always moving away from its graves.
The Galernaya arch sank into gloom,
In the Summer Garden a weathervane’s tune
Rang delicately, and a silver moon
Hung frozen over the Silver Age.
Because along every road approaching,
Because upon every door encroaching,
Slowly, steadily, a shadow fell.
The wind tore fluttering posters down,
Smoke squatting on rooftops whirled around,
And lilacs had a funereal smell.
And, cursed by the wife the tsar hadn’t wanted,
Dostoyevskian and demon-haunted,
The city plunged into its foggy night.
Out from the murk an old Peterite peeked,
Some sidewalk idler—and solemn drums beat
As if a firing squad stood nearby . . .
And through the cold and choking atmosphere
Of prodigal prewar days, one could hear
A rumble, a distant warning sound,
But then it was still only faintly heard,
And, having no great power to disturb,
It sank in the Neva snows and drowned.
In fact, only three poems are featured about half way through. These are 'Requiem', 'The Way of All the Earth', and the epic 'Poem Without a Hero', all of which were phenomenal. So then, for a book over three-hundred pages long, what else is included?
We have a comprehensive Biography of Akhmatova, from youth and early fame, through to her later years in the 60s, whilst in between there is an impressive history of how Revolution, Civil War and Stalinism shaped not only her life but also her poetic mind. Three other Russian poets (Pasternak, Mandelstam and Tsvetaeva), I learnt, also had a massive impact in what she went on to write. Although this section is very well written by Nancy K. Anderson (who also contributes critical essays, notes, excerpts and Commentaries) she did tend to go into details on Russian History that sidetracked from Akhmatova, but this was only a little niggle, she is clearly passionate about the subject matter. I simply wasn't expecting this, so now I can say my Akhmatova knowledge is 100% better than it was before.
Following the poems, there are three essays -
Bearing the Burden of Witness: Requiem
Forward into the Past: The Way of All the Earth
Rediscovering a Lost Generation: Poem Without a Hero
Finally, there is a detailed Commentary on 'Poem Without a Hero', an early version of Poem Without a Hero, and excerpts from Akhmatova’s Notebooks which I found compelling.
Oh, and I forgot to mention a decent Preface as well as notes on style that started everything off.
I admire Akhmatova's poetry greatly, and what I learnt about the life she lived has touched me, living through the toughest of times seems to resonate a poetic power that breaks through the chains, sending her words rushing away in a dark whirlwind of perpetual beauty.
A fragment below,
To heat the holidays bonfires burned,
And carriages on bridges overturned,
And the black-draped city was borne away
To drift on toward an unknown goal,
Following or fighting the Neva’s flow—
But always moving away from its graves.
The Galernaya arch sank into gloom,
In the Summer Garden a weathervane’s tune
Rang delicately, and a silver moon
Hung frozen over the Silver Age.
Because along every road approaching,
Because upon every door encroaching,
Slowly, steadily, a shadow fell.
The wind tore fluttering posters down,
Smoke squatting on rooftops whirled around,
And lilacs had a funereal smell.
And, cursed by the wife the tsar hadn’t wanted,
Dostoyevskian and demon-haunted,
The city plunged into its foggy night.
Out from the murk an old Peterite peeked,
Some sidewalk idler—and solemn drums beat
As if a firing squad stood nearby . . .
And through the cold and choking atmosphere
Of prodigal prewar days, one could hear
A rumble, a distant warning sound,
But then it was still only faintly heard,
And, having no great power to disturb,
It sank in the Neva snows and drowned.
November 23, 2017
Even with a great reverence for the form, these poems are just as important as to what the content refers to.
A woman expressing her love for her country, but highlighting the importance of each and every soul of its natives, even when they're persecuted by tyranic governments (i.e. Stalin).
.
.
I advise this edition in particular, for the excellent work of Nancy K. Anderson, the translator, who's done an impressive job of mantaining the poems' form (which is very important to more classic poetry, many times meant to be read aloud) without compromising the content.
Also, N. Anderson has included an introdutory text with much needed historical context for reader that might not be familiarized with Russian Republic history. A couple essays contextualizing Akhmatova's situation while she wrote the poems. And finally almost 100 pages of poems analysis.
.
.
Even though I'm not a russian speaker (unfortunately) and have never read the original Akhmatova's works, this edition seems adequate for everyone who wants to delve into one of the great Russian female writers of the XXth century, along with Marina Tsvetaeva, both in an academic context or for those particularly interested in Russian history.
A woman expressing her love for her country, but highlighting the importance of each and every soul of its natives, even when they're persecuted by tyranic governments (i.e. Stalin).
.
.
I advise this edition in particular, for the excellent work of Nancy K. Anderson, the translator, who's done an impressive job of mantaining the poems' form (which is very important to more classic poetry, many times meant to be read aloud) without compromising the content.
Also, N. Anderson has included an introdutory text with much needed historical context for reader that might not be familiarized with Russian Republic history. A couple essays contextualizing Akhmatova's situation while she wrote the poems. And finally almost 100 pages of poems analysis.
.
.
Even though I'm not a russian speaker (unfortunately) and have never read the original Akhmatova's works, this edition seems adequate for everyone who wants to delve into one of the great Russian female writers of the XXth century, along with Marina Tsvetaeva, both in an academic context or for those particularly interested in Russian history.
September 1, 2022
Read for my master's dissertation on translations of Akhmatova. By far my favourite English translations of her longer poems, as well as some truly interesting essays and notes.
April 23, 2019
Anna Akhmatova (1889-1966), was from a privileged Russian family; before the Revolution she was an accomplished poet and travelled in Western Europe. Anna also studied literature and law, married fellow poet Nikolai Gumilyov and they had a son, Lev born in 1912. At first Anna seemed set to survive the Revolution, she divorced Gumilyov and remarried in 1918. In 1921 Gumilyov was executed by the Bolsheviks, and by 1924 her work fell out of favour.
Anna was determined to stay in Russia, although her work was banned from 1925- 1940. When the Germans invaded Russia, Anna was permitted to read her work on radio in Leningrad , and was flown out the city when siege worsened. After World war 2, Anna was again denounced by the authorities , her son Lev spent periods in labour camps, poverty , the jailing of her friends, her third husband died in the camps. It took until 1959 for Anna to be officially recognised as a writer , 1964 before she was allowed to visit the West.
About two thirds of the book is biography. There is also the inclusion of her three longer poems 'Requiem', 'Poem without a Hero' , 'The Way of All The Earth; some critical essays and commentary. Essential Reading.
Anna was determined to stay in Russia, although her work was banned from 1925- 1940. When the Germans invaded Russia, Anna was permitted to read her work on radio in Leningrad , and was flown out the city when siege worsened. After World war 2, Anna was again denounced by the authorities , her son Lev spent periods in labour camps, poverty , the jailing of her friends, her third husband died in the camps. It took until 1959 for Anna to be officially recognised as a writer , 1964 before she was allowed to visit the West.
About two thirds of the book is biography. There is also the inclusion of her three longer poems 'Requiem', 'Poem without a Hero' , 'The Way of All The Earth; some critical essays and commentary. Essential Reading.
Read
April 20, 2022“She’s drunk with the dance, gone mad, possessed,
As if from black-figure pottery
She leapt into life and ran towards the sea
{So refined and elegant] In full ceremonial undress.
[And you] Wearing a helmet and cloak, behind her,
Like a fairy tale, you’re disguised, obscure,
No, that’s your daily face, no mystique,
You, friend of honor and slave of love …
But why does that little speck of blood
Drip down the petal of your cheek?”
I keep falling in love with her mind over and over again.
As if from black-figure pottery
She leapt into life and ran towards the sea
{So refined and elegant] In full ceremonial undress.
[And you] Wearing a helmet and cloak, behind her,
Like a fairy tale, you’re disguised, obscure,
No, that’s your daily face, no mystique,
You, friend of honor and slave of love …
But why does that little speck of blood
Drip down the petal of your cheek?”
I keep falling in love with her mind over and over again.
January 22, 2024
Not only was The Word That Causes Death's Defeat essential for research while writing my second novel, City of Night Birds (forthcoming Nov 2024), it was also the most affecting book I've read in recent memory. It is a vital window into Akhmatova's incantatory poetry and her equally captivating life. I'll never forget some of the verses here, including an excerpt of a fellow poet Mayakovsky's The Man (1916).
June 15, 2017
Admittedly I did not read much of this. I was hoping to acquire a book about her poetry but this is not it. This is mainly biography and history which I did not read. There are a few poems in the middle of the book, but still not worth having purchased.
August 7, 2020
Wonderful book.
August 12, 2023
Although some of the historical information was a bit excessive and sluggish to read through, I loved reading Akhmatova's notebook and journals alongside her tremendous poems (which I have reread numerous times over the past couple of weeks). Anderson's commentary in the essays after the 3 poems increased my interpretation and appreciation of the poetry. If you just want to read Akhmatova's poetry, this is not the book for you.
September 9, 2009
After having read Anna Akhmatova's oeuvre, it was more than appropriate to read a book like this one detailing her life etc. One of the starkest moments in the book is when Mandelstam says, that only in Russia can you be put to death for poetry.
February 13, 2017
I say this rarely: I don't get it.
Displaying 1 - 11 of 11 reviews