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Verzamelde gedichten
Sinds de vertaling van Marko Fondse van Majakovski’s werken uitkwam, vijfentwintig jaar geleden, is diens poëzie niet meer weg te denken uit de Nederlandse boekhandel. De ongeëvenaarde lenigheid van de taal die Fondse wist aan te boren zette de dichter hier voorgoed op de kaart. Met de geüpdatete versie van de poëzie van Majakovski zijn zijn beroemde poèma’s en andere gedichten nu weer beschikbaar. Het bekende 'Een wolk in broek en Mens', die dateren van voor de revolutie van 1917, laten de gepassioneerde (liefdes)dichter in optima forma zien. De grote gedichten 'Ik heb lief' en 'Daarover', van na de revolutie, zijn twee positieve uitzonderingen op de socialistische poëzie waaraan Majakovski zijn dichterschap ten slotte offerde: daarin keert de bravoure van zijn vroege lyriek even terug. Deze uitgave van Majakovski’s poëzie is aangevuld met een grote hoeveelheid gedichten uit zijn enorme oeuvre. Vele daarvan verschenen niet eerder in Nederlandse vertaling.
480 pages, Paperback
First published January 1, 1961
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11 people want to read
About the author
Vladimir Mayakovsky
505 books629 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 of 1 review
October 28, 2021
Dit was een moeilijke
V. Majakovski lijkt me een uiterst
moeilijke
moeizame
man
overschreeuwt zichzelf bijna-wel voortdurend, met heel veel uitroeptekens reclame kreten agitprop
Mensen!
Mijne heren! Eropaf! Luister!
Ik mag de minder met vreemde politiek ingepompte
gedichten stukken beter verdragen
of meer persoonlijk
Sluit helaselijk af met een stuk of vijf walgelijke stichtelijke communistische prop gedichten voor kinderen
met de leeftijd basisschool
en een afscheidsbrief
******
Omdat Stalin hem slechts zag als een lakei van het regime raakte hij meer en meer gefrustreerd in zijn artistieke vernieuwingsdrang. Dit, en de druk van zijn ruchtmakende driehoeksverhouding met het echtpaar Brik, dreef hem zo in het nauw dat hij in april 1930 zelfmoord pleegde. (Wikipedia)
V. Majakovski lijkt me een uiterst
moeilijke
moeizame
man
overschreeuwt zichzelf bijna-wel voortdurend, met heel veel uitroeptekens reclame kreten agitprop
Mensen!
Mijne heren! Eropaf! Luister!
Ik mag de minder met vreemde politiek ingepompte
gedichten stukken beter verdragen
of meer persoonlijk
Sluit helaselijk af met een stuk of vijf walgelijke stichtelijke communistische prop gedichten voor kinderen
met de leeftijd basisschool
en een afscheidsbrief
******
Omdat Stalin hem slechts zag als een lakei van het regime raakte hij meer en meer gefrustreerd in zijn artistieke vernieuwingsdrang. Dit, en de druk van zijn ruchtmakende driehoeksverhouding met het echtpaar Brik, dreef hem zo in het nauw dat hij in april 1930 zelfmoord pleegde. (Wikipedia)
Displaying 1 of 1 review