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Sobre isto
Vladímir Maiakóvski (1893-1930) foi um dos maiores poetas do século XX, e além de sua produção engajada na Revolução Russa, criou também uma impressionante obra lírica. O longo poema Sobre isto, considerado por ele sua obra-prima, é dedicado ao tema do amor, e foi escrito durante os dois meses de separação de Maiakóvski e Lília Brik, entre dezembro de 1922 e fevereiro de 1923, quando o casal decidiu se afastar após uma briga. Primeira publicação da obra no Brasil, o presente volume, bilíngue, tem tradução, posfácio e notas de Letícia Mei, além de incluir as fotomontagens originais que Aleksandr Ródtchenko realizou para ilustrar o livro e uma seleta da correspondência entre o poeta e Lília Brik no período.
240 pages, Paperback
First published January 1, 1923
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About the author
Vladimir Mayakovsky
505 books628 followersVladimir Mayakovsky (Владимир Владимирович Маяковский) was born the last of three children in Baghdati, Russian Empire (now in Georgia) where his father worked as a forest ranger. His father was of Ukrainian Cossack descent and his mother was of Ukrainian descent. Although Mayakovsky spoke Georgian at school and with friends, his family spoke primarily Russian at home. At the age of 14 Mayakovsky took part in socialist demonstrations at the town of Kutaisi, where he attended the local grammar school. After the sudden and premature death of his father in 1906, the family — Mayakovsky, his mother, and his two sisters — moved to Moscow, where he attended School No. 5.
In Moscow, Mayakovsky developed a passion for Marxist literature and took part in numerous activities of the Russian Social Democratic Labour Party; he was to later become an RSDLP (Bolshevik) member. In 1908, he was dismissed from the grammar school because his mother was no longer able to afford the tuition fees.
Around this time, Mayakovsky was imprisoned on three occasions for subversive political activities but, being underage, he avoided transportation. During a period of solitary confinement in Butyrka prison in 1909, he began to write poetry, but his poems were confiscated. On his release from prison, he continued working within the socialist movement, and in 1911 he joined the Moscow Art School where he became acquainted with members of the Russian Futurist movement. He became a leading spokesman for the group Gileas (Гилея), and a close friend of David Burlyuk, whom he saw as his mentor.
The 1912 Futurist publication A Slap in the Face of Public Taste (Пощёчина общественному вкусу) contained Mayakovsky's first published poems: Night (Ночь) and Morning (Утро). Because of their political activities, Burlyuk and Mayakovsky were expelled from the Moscow Art School in 1914.
His work continued in the Futurist vein until 1914. His artistic development then shifted increasingly in the direction of narrative and it was this work, published during the period immediately preceding the Russian Revolution, which was to establish his reputation as a poet in Russia and abroad.
Mayakovsky was rejected as a volunteer at the beginning of WWI, and during 1915-1917 worked at the Petrograd Military Automobile School as a draftsman. At the onset of the Russian Revolution, Mayakovsky was in Smolny, Petrograd. There he witnessed the October Revolution.
After moving back to Moscow, Mayakovsky worked for the Russian State Telegraph Agency (ROSTA) creating — both graphic and text — satirical Agitprop posters. In 1919, he published his first collection of poems Collected Works 1909-1919 (Все сочиненное Владимиром Маяковским). In the cultural climate of the early Soviet Union, his popularity grew rapidly. As one of the few Soviet writers who were allowed to travel freely, his voyages to Latvia, Britain, Germany, the United States, Mexico and Cuba influenced works like My Discovery of America (Мое открытие Америки, 1925). He also travelled extensively throughout the Soviet Union.
The relevance of Mayakovsky's influence cannot be limited to Soviet poetry. While for years he was considered the Soviet poet par excellence, he also changed the perceptions of poetry in wider 20th century culture. His political activism as a propagandistic agitator was rarely understood and often looked upon unfavourably by contemporaries, even close friends like Boris Pasternak. Near the end of the 1920s, Mayakovsky became increasingly disillusioned with the course the Soviet Union was taking under Joseph Stalin: his satirical plays The Bedbug (Клоп, 1929) and The Bathhouse (Баня, 1930), which deal with the Soviet philistinism and bureaucracy, illustrate this development.
On the evening of April 14, 1930, Mayakovsky shot himself.
In Moscow, Mayakovsky developed a passion for Marxist literature and took part in numerous activities of the Russian Social Democratic Labour Party; he was to later become an RSDLP (Bolshevik) member. In 1908, he was dismissed from the grammar school because his mother was no longer able to afford the tuition fees.
Around this time, Mayakovsky was imprisoned on three occasions for subversive political activities but, being underage, he avoided transportation. During a period of solitary confinement in Butyrka prison in 1909, he began to write poetry, but his poems were confiscated. On his release from prison, he continued working within the socialist movement, and in 1911 he joined the Moscow Art School where he became acquainted with members of the Russian Futurist movement. He became a leading spokesman for the group Gileas (Гилея), and a close friend of David Burlyuk, whom he saw as his mentor.
The 1912 Futurist publication A Slap in the Face of Public Taste (Пощёчина общественному вкусу) contained Mayakovsky's first published poems: Night (Ночь) and Morning (Утро). Because of their political activities, Burlyuk and Mayakovsky were expelled from the Moscow Art School in 1914.
His work continued in the Futurist vein until 1914. His artistic development then shifted increasingly in the direction of narrative and it was this work, published during the period immediately preceding the Russian Revolution, which was to establish his reputation as a poet in Russia and abroad.
Mayakovsky was rejected as a volunteer at the beginning of WWI, and during 1915-1917 worked at the Petrograd Military Automobile School as a draftsman. At the onset of the Russian Revolution, Mayakovsky was in Smolny, Petrograd. There he witnessed the October Revolution.
After moving back to Moscow, Mayakovsky worked for the Russian State Telegraph Agency (ROSTA) creating — both graphic and text — satirical Agitprop posters. In 1919, he published his first collection of poems Collected Works 1909-1919 (Все сочиненное Владимиром Маяковским). In the cultural climate of the early Soviet Union, his popularity grew rapidly. As one of the few Soviet writers who were allowed to travel freely, his voyages to Latvia, Britain, Germany, the United States, Mexico and Cuba influenced works like My Discovery of America (Мое открытие Америки, 1925). He also travelled extensively throughout the Soviet Union.
The relevance of Mayakovsky's influence cannot be limited to Soviet poetry. While for years he was considered the Soviet poet par excellence, he also changed the perceptions of poetry in wider 20th century culture. His political activism as a propagandistic agitator was rarely understood and often looked upon unfavourably by contemporaries, even close friends like Boris Pasternak. Near the end of the 1920s, Mayakovsky became increasingly disillusioned with the course the Soviet Union was taking under Joseph Stalin: his satirical plays The Bedbug (Клоп, 1929) and The Bathhouse (Баня, 1930), which deal with the Soviet philistinism and bureaucracy, illustrate this development.
On the evening of April 14, 1930, Mayakovsky shot himself.
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Displaying 1 - 9 of 9 reviews
December 26, 2018
Além do poema incrível, o livro traz cartas lindas trocadas entre Maiakovski e Lilia Brik, além de dois textos que são verdadeiras aulas sobre Rússia no século XX, sobre a arte de Maiakovski e sobre a tradução de poesia. LIVRÃO!
May 15, 2020
terapêutico
August 5, 2019
maiakóvski é meu poeta favorito, daqueles de fazer tatuagem no braço mesmo (é verdade, minha única tatuagem é um desenho de cachorro que ele fez numa das muitas cartas para lília brik). não sei direito o que constitui Um Poeta Favorito, mas nos versos -- e na obra -- de maiakóvski há tudo o que eu gosto: humor, política, ironia e sentimentos, tudo muito bem colocado, nada é demais ou forçado. até neste longo poema. é um poema sobre amor, sobre a lília, mas é também sobre ele mesmo, sobre a urss, sobre a decadência de um sonho, sobre isso tudo. maiakóvski foi criticado por ser subjetivo demais, por ser autorreferente demais, por não comunicar às massas o suficiente. ele acreditava no projeto do país dele, na revolução, no poder da arte, na construção, no processo. é lindo ler seus ideais e utopias e é triste (e ainda lindo) ler suas decepções com a realidade.
"ressuscite-me,
que seja só por isto!
ressuscite-me --
quero viver a vida até o final!"
eu ressuscito maiakóvski, sempre que posso.
"ressuscite-me,
que seja só por isto!
ressuscite-me --
quero viver a vida até o final!"
eu ressuscito maiakóvski, sempre que posso.
January 23, 2020
O poema é muito engenhoso, e as ilustrações são um excelente complemento, mas o mais precioso nessa edição acho que são as cartas entre o Maiakovski e a Lília Brik. São das coisas mais lindas que já li na vida. Uma aula de poesia, de Rússia e acima de tudo um retrato visceral da vida a dois.
May 29, 2021
maiakovski: o mais doente de amor de todos os tempos
January 21, 2025
love them puppyboys...
November 8, 2021
Primeira obra que eu leio do poeta. Não foi uma coisa fácil. O autor, mais modernista do que tudo, defende que a revolução também deve ocorrer na poesia, saindo do habitual em vários quesitos, principalmente no que se refere à linguagem, fazendo o uso de neologismos recorrentemente, e à estrutura, com uma estrutura nada padronizada e harmônica e com um esquema rítmico não tão arrumado.
Quanto ao conteúdo, há uma riqueza sem tamanho aqui. O poeta fala incrivelmente sobre o amor sem citá-lo 99% do livro, descreve otimamente os sentimentos de dor e tristeza por estar distante de sua amada, a dificuldade que é o dia a dia com essa distância, como que a arte atua como um desabafo dentre outras várias coisas, e outros muitos outros temas são abordados, todos de maneira impecável.
Ótimo livro!
Quanto ao conteúdo, há uma riqueza sem tamanho aqui. O poeta fala incrivelmente sobre o amor sem citá-lo 99% do livro, descreve otimamente os sentimentos de dor e tristeza por estar distante de sua amada, a dificuldade que é o dia a dia com essa distância, como que a arte atua como um desabafo dentre outras várias coisas, e outros muitos outros temas são abordados, todos de maneira impecável.
Ótimo livro!
January 11, 2024
O poeta da revolução em seu auge, essa edição além de ser bilíngue (o que para o estudantes da lingua russa é incrível) também conta com as cartas em anexo de Vladimir para Lília em seu periodo de separação. O poeta é primoroso em suas palavras e analogias com animais durante o poema, seu referencial a obras de Dostóievski como Crime e Castigo é simplesmente incrível. Com certeza um dos melhores da poesia russa que já li, suas palavras são fortes e impactantes, a cadencia é agradável e de uma particularidade de humor e referências incríveis.
October 24, 2024
amei pensar sobre como o amor desnorteia mesmo o homem mais legal aos ideais da revolução. amei como o maior medo, digo, depois da rejeição, é o cotidiano. uma contradição em si que não deixa espaço senão pro desespero
Displaying 1 - 9 of 9 reviews