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Correspondance à trois: Été 1926
The summer of 1926 was a time of trouble and uncertainty for each of the three poets whose correspondence is collected in this moving volume. Marina Tsvetayeva was living in exile in France and struggling to get by. Boris Pasternak was in Moscow, trying to come to terms with the new Bolshevik regime. Rainer Maria Rilke, in Switzerland, was dying. Though hardly known to each other, they began to correspond, exchanging a series of searching letters in which every aspect of life and work is discussed with extraordinary intensity and passion. Letters: Summer 1926 takes the reader into the hearts and minds of three of the twentieth century’s greatest poets at a moment of maximum emotional and creative pressure.
336 pages, Mass Market Paperback
First published January 1, 1926
About the author
Rainer Maria Rilke
1,937 books7,343 followersA mystic lyricism and precise imagery often marked verse of German poet Rainer Maria Rilke, whose collections profoundly influenced 20th-century German literature and include
The Book of Hours
(1905) and
The Duino Elegies
(1923).
People consider him of the greatest 20th century users of the language.
His haunting images tend to focus on the difficulty of communion with the ineffable in an age of disbelief, solitude, and profound anxiety — themes that tend to position him as a transitional figure between the traditional and the modernist poets.
His two most famous sequences include the Sonnets to Orpheus , and his most famous prose works include the Letters to a Young Poet and the semi-autobiographical The Notebooks of Malte Laurids Brigge .
He also wrote more than four hundred poems in French, dedicated to the canton of Valais in Switzerland, his homeland of choice.
People consider him of the greatest 20th century users of the language.
His haunting images tend to focus on the difficulty of communion with the ineffable in an age of disbelief, solitude, and profound anxiety — themes that tend to position him as a transitional figure between the traditional and the modernist poets.
His two most famous sequences include the Sonnets to Orpheus , and his most famous prose works include the Letters to a Young Poet and the semi-autobiographical The Notebooks of Malte Laurids Brigge .
He also wrote more than four hundred poems in French, dedicated to the canton of Valais in Switzerland, his homeland of choice.
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Displaying 1 - 30 of 62 reviews
October 30, 2020
Letters is a lovely if petulant collection of correspondence amongst Rilke, Tsvetayaeva and Pasternek who found themselves scattered across Allah's creation but were all of the same lyrical tribe. Marina T (living in Paris) announced herself as German and beyond social trappings, she wanted to live in Rilke's poetry, apparently there's a favorable tax code for its inhabitants and administrative fees are usually waived. Rilke was on his last lap, privately dying while tossing off amazing letters. Poor Boris P was the cover boy for all the Russian fanzines. He couldn't hold his kvass and impetuously said several things which would haunt him later. These three began a season long series of letters, praising one another, proclaiming why they needed one another, and often heated diatribes against why they couldn't live together. Then Boris and Marina reviewed each other's work and the wheels fell off. Rilke then died and the remaining two pondered the significance of their non-meeting for the rest of their lives, both which were often miserable.
September 21, 2026
"Tú, Borís, me eres tan necesario como el precipicio, como el abismo, para tener a donde lanzar sin oír el fondo." Marina Tsvietáieva
September 17, 2021
Letters: Summer 26 is a tantalising read. In December 1925, Leonid Pasternak wrote to his old friend Rilke. Rilke replied, saying that Leonid had awoken all his memories of his youth in Russia. Eventually, this led to Rilke and Boris Pasternak connecting, then at his request Rilke wrote to Maria Tsvetayeva. And so began the triumvirate in these letters: Rilke, Pasternak, Tsvetayeva (and a few other minor correspondents). These are the letters of three exiles, one in Russia, one in France, and one in Switzerland, all of them feeling that they are emigres from normal life. The letters feel insubstantial as they float between minds and construct a world of poetry. They are otherworldly to the point that reality slips through the fingers. Pasternak is struggling with the state's attack on writers and its increase in censorship, Tsvetayeva is battling tuberculosis, and Rilke is facing leukemia and imminent death. The tone of the letters is struck by Tsvetayeva in a letter of July 6, 1926, when she challenges the notion of a mother language. For her, there is language -- poetry. To talk of Russian or French or German poetry or the mother tongue is to commit heresy. These complex letters are letters about writing letters and writing poetry. At times, a reader feels sealed inside an hermetic bottle with the three of them as they breathe rarified air. The three poets exist as a Trinity with Rilke as the Father, Pasternak as the Son, and Tsvetayeva as the Shekinah/Holy Spirit. Of course, Creation falls apart with the death of Rilke -- a silence that filters out slowly and transmutes into elegy. A deeply moving series of letters.
May 25, 2026
‘Dear reader, the best poet of our generation is Marina Tsvetayeva. Not every role in emigration is voluntary, nor is every role here at home.’ May, 1929. Boris Pasternak.
Nothing to ‘say’, just thoroughly doused in immense and boundless awe. Below, taken/borrowed from Marina’s essay(s) about Rilke, February 1929 .
‘Counting the echoes—it’s enough to last a lifetime. And today I want Rilke to speak—through me. In the vernacular, this is known as translation. But translation has another meaning. To translate not only into (the Russian language, for example), but also across (a river). I translate Rilke into the Russian tongue, as he will some day translate me to the other world.’
September 13, 2017
I am giving this chronicle of one Summer five stars all around. It especially goes to the translators who had to translate Russian, French, and German into English. There were passages in the text that were untranslated but had footnotes that were in English. And I was rather glad for the footnotes because I could tell if my own partial translations were correct.
The letters in this volume were written during a turbulent time during The Soviet Era. Many poets and writers left the country because of Stalinist persecution and the fear of being sent off to Siberia. Marina Tsvetayeva left with her family into exile. Pasternak stayed and wrote what he saw despite the fact at anytime he could have been arrested.
The correspondence started with Pasternak thanking Rilke for his praise of Paternak's poems that had been translated. Pasternak asked that Rilke get in touch with Tsvetayeva who was in exile in Europe. This created a passionate cycle of letters that ended with Rilke's death due to leukemia.
This relationship created a dynamic situation that fueled creativity in everyone involved.
Read the letters and see what was created during the Summer of 1926.
The letters in this volume were written during a turbulent time during The Soviet Era. Many poets and writers left the country because of Stalinist persecution and the fear of being sent off to Siberia. Marina Tsvetayeva left with her family into exile. Pasternak stayed and wrote what he saw despite the fact at anytime he could have been arrested.
The correspondence started with Pasternak thanking Rilke for his praise of Paternak's poems that had been translated. Pasternak asked that Rilke get in touch with Tsvetayeva who was in exile in Europe. This created a passionate cycle of letters that ended with Rilke's death due to leukemia.
This relationship created a dynamic situation that fueled creativity in everyone involved.
Read the letters and see what was created during the Summer of 1926.
Read
October 14, 2020LETTERS: SUMMER 1926 by Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke, tr. from the Russian & German by Margaret Wettlin, Walter Arndt, and Jamey Gambrell, 1926/2001 @nyrbooks edition
#ReadtheWorld21
#RedOctoberRussianReads
.
In the Introduction to this 2001 edition, essayist Susan Sontag describes what we are about to read as "a portrait of sacred delirium of art. There are three participants: a god and two worshipers, who are also worshipers of each other... These three-way love letters - and they are that - are an incomparable dramatization of ardour and poetry and about the life of the spirit."
Through archival correpondence - of which has an interesting story in itself - readers see the inner lives of three major European 20th-century writers. #Pasternak and Tsvetayeva both claim #Rilke as one of their key influences in writing, and the opportunity arises to correspond with the poet, in what is (unbeknownst to them...) his last months of life as he is dying of leukemia.
A flurry of letters between the three - passionate expressions of love and veneration over a matter of months in 1926.
Reading these letters was extremely intimate. It felt like reading someone's diary, or rummaging through personal belongings. I can only imagine how that felt for the translators in the archives. There is a thrill, yes, but there's also a slight discomfort that comes from the soul-bearing declarations, especially in light of the tragedies all three of the writers will face.
There is a fiery romance happening here with deep ramificiations, but is this played up by the distance between and the inability to act upon the impulses? Perhaps.
Urgency - there are so many passionate and spontaneous declarations... But due to letter delivery and censorship, days and weeks go by, emotions shift. Letters compound one after another, and sometimes arrive out of order to the recipient leading to miscommunications.
This book was SO rich in detail, and this post doesn't even scratch the surface of this spiritual/literary love triangle. There's an innate tragedy of secrets kept - particularly Rilke hiding his mortal illness from Pasternak and Tsvetayeva, while wasting away... Finally, unable to answer letters in his last days, leading to all sorts of emotional outcries before the correspondents learn of his passing and are grief-stricken and wounded by words left unsaid.
Rilke's death, as well as a few other circumstances, place a wedge between Pasternak and Tsvetayeva, as their love was enriched by the German poet, and passions cooled.
Hard to describe fully - It was captivating and ecstatic, but always with this undercurrent of impetuousness and brimming jealousy. Perhaps best enjoyed by readers familiar with the poets/writers work already, but still an amazing moment crystallized in time of a passionate summer epistemolary love affair that ended abruptly and in tragedy.
#ReadtheWorld21
#RedOctoberRussianReads
.
In the Introduction to this 2001 edition, essayist Susan Sontag describes what we are about to read as "a portrait of sacred delirium of art. There are three participants: a god and two worshipers, who are also worshipers of each other... These three-way love letters - and they are that - are an incomparable dramatization of ardour and poetry and about the life of the spirit."
Through archival correpondence - of which has an interesting story in itself - readers see the inner lives of three major European 20th-century writers. #Pasternak and Tsvetayeva both claim #Rilke as one of their key influences in writing, and the opportunity arises to correspond with the poet, in what is (unbeknownst to them...) his last months of life as he is dying of leukemia.
A flurry of letters between the three - passionate expressions of love and veneration over a matter of months in 1926.
Reading these letters was extremely intimate. It felt like reading someone's diary, or rummaging through personal belongings. I can only imagine how that felt for the translators in the archives. There is a thrill, yes, but there's also a slight discomfort that comes from the soul-bearing declarations, especially in light of the tragedies all three of the writers will face.
There is a fiery romance happening here with deep ramificiations, but is this played up by the distance between and the inability to act upon the impulses? Perhaps.
Urgency - there are so many passionate and spontaneous declarations... But due to letter delivery and censorship, days and weeks go by, emotions shift. Letters compound one after another, and sometimes arrive out of order to the recipient leading to miscommunications.
This book was SO rich in detail, and this post doesn't even scratch the surface of this spiritual/literary love triangle. There's an innate tragedy of secrets kept - particularly Rilke hiding his mortal illness from Pasternak and Tsvetayeva, while wasting away... Finally, unable to answer letters in his last days, leading to all sorts of emotional outcries before the correspondents learn of his passing and are grief-stricken and wounded by words left unsaid.
Rilke's death, as well as a few other circumstances, place a wedge between Pasternak and Tsvetayeva, as their love was enriched by the German poet, and passions cooled.
Hard to describe fully - It was captivating and ecstatic, but always with this undercurrent of impetuousness and brimming jealousy. Perhaps best enjoyed by readers familiar with the poets/writers work already, but still an amazing moment crystallized in time of a passionate summer epistemolary love affair that ended abruptly and in tragedy.
Read
January 5, 2021Stumbled upon this one, a curious crossing of three writers in one year -- 1926. Cast in the role of star-struck fans we have two Russkies, Boris Pasternak and Marina Tsvetayeva. Cast in the role of The King of Poetry? Rainer Maria Rilke.
Rilke's letters are fewest in number here because, unbeknownst to the starstruck Russians, he is dying of leukemia and not telling anyone. I'm sure most readers would be struck by how effusive these letters are, by how loosely the words "love" and "adoring" are used. Even Rilke writes that way, and he's only heard from these two (first Boris, then Marina) for the first time thanks to Borya's dad, Leonid, who had met Rilke many years before.
Other than a lot of spent emotion, you get a little poetry talk, a little literary gossip, and a lot of psychology. If you saw or read (or both) Dr. Zhivago, you'll recognize the hyper-Romantic Pasternak and his troubled marriage. To me, though, it was Tsvetayeva's letters that stood out. A lot of them were poems unto themselves. You can see how her mind was equal parts troubled and creative and, if you didn't know, might even guess she'd wind up a suicide (after ill-advisedly returning to the Soviet Union from France).
All in all, an interesting window into a short frame of time. Speaking of interesting, in her preface, Susan Sontag cites Safe Conduct, not Dr. Zhivago, as Pasternak's greatest work. She also gives a shout-out to Rilke the novelist. Seems he wrote something called The Notebooks of Malte Laurids Brigge in 1910. She calls it his "supreme achievement in prose."
You see what happens when you go epistolary with the literati? You add to your never-ending reading list.
Rilke's letters are fewest in number here because, unbeknownst to the starstruck Russians, he is dying of leukemia and not telling anyone. I'm sure most readers would be struck by how effusive these letters are, by how loosely the words "love" and "adoring" are used. Even Rilke writes that way, and he's only heard from these two (first Boris, then Marina) for the first time thanks to Borya's dad, Leonid, who had met Rilke many years before.
Other than a lot of spent emotion, you get a little poetry talk, a little literary gossip, and a lot of psychology. If you saw or read (or both) Dr. Zhivago, you'll recognize the hyper-Romantic Pasternak and his troubled marriage. To me, though, it was Tsvetayeva's letters that stood out. A lot of them were poems unto themselves. You can see how her mind was equal parts troubled and creative and, if you didn't know, might even guess she'd wind up a suicide (after ill-advisedly returning to the Soviet Union from France).
All in all, an interesting window into a short frame of time. Speaking of interesting, in her preface, Susan Sontag cites Safe Conduct, not Dr. Zhivago, as Pasternak's greatest work. She also gives a shout-out to Rilke the novelist. Seems he wrote something called The Notebooks of Malte Laurids Brigge in 1910. She calls it his "supreme achievement in prose."
You see what happens when you go epistolary with the literati? You add to your never-ending reading list.
July 23, 2012
Marina Tsvetaeva was a brilliant Romantic poet who lived in the early 20th Century in the Soviet Union. Her letters to Rilke and Pasternak in the Summer of 1926 are transcendent. Rilke matches her in poetic grace. Pasternak has a harder time keeping up and, to be frank, he spends a lot of his time whining when, among the three of them, he had the least to complain about.
Each of these poets was a tempestuous soul. Rilke and Tsvetaeva really did seem to speak their own second language, but all three of them recognized each other as kindred spirits, and they fell in love quickly with one another, even though they hadn't met.
Finally, their letters bring home how much and yet how little has changed in the way we correspond with soul mates. The three poets exchange photographs, poems they've written, and news about each other, and talk about crossing paths or meeting up one day, just like Facebook friends.
Each of these poets was a tempestuous soul. Rilke and Tsvetaeva really did seem to speak their own second language, but all three of them recognized each other as kindred spirits, and they fell in love quickly with one another, even though they hadn't met.
Finally, their letters bring home how much and yet how little has changed in the way we correspond with soul mates. The three poets exchange photographs, poems they've written, and news about each other, and talk about crossing paths or meeting up one day, just like Facebook friends.
August 31, 2025
m’han agradat sobretot les cartes entre la tsvetàieva i el rilke, em sap greu pasternak… però ets una mica pesat deixa’m dir-t’ho
i així acaba un estiu molt poc lector :( a veure si aquest curs remonto una mica…
i així acaba un estiu molt poc lector :( a veure si aquest curs remonto una mica…
August 14, 2026
que no os engañen... la mayoría son de primavera
Read
February 7, 2010What to make of these letters exchanged by three of the greatest poets of the 20th century in that glorious summer of 1926? Immediately the heart-on-the-sleeve will put a sour taste in a number of readers' mouths. The raptures will ring excessive for many, as it seems as if these poets are trying to outdo each other for beauty of expression. Tsvateava is in exile in France, cut off, sounds desperate and needy, directs the exchanges, acts as though she wants to possess the great German poet. Rilke is cooler in the exchange, he can't match Tsvataeva's oppressive enthusiastism, and he knows he's dying. Pasternak is in Russia in the midst of enormous turmoil and full of anxiety and foreboding, and his exchanges have a touch of melancholy, a touch of worry, about them. There is much here to marvel at for those who are interested in poetry and especially these poets whose burning exchanges reveal their longing to cling to the idea of the necessity of poetry as the world is being rocked all around them.
March 28, 2009
Heartbreaking and poignant, the letters between Marina Tsvetaeva, Rainer Maria Rilke and Boris Pasternak show the strength of the written word in extraordinarily difficult times; Tsvetaeva in exile in France, Pasternak squeaking by in Moscow, and Rilke slowly dying in the Swiss countryside. Their emotive and passionate letters show the evolution of their poetic ideas that would remain with Tsvetaeva and Pasternak for the entirety of their lives. Without this creative collaboration between the three (neither Tsvetaeva nor Pasternak would ever meet Rilke in adulthood), the salient poems from this time would not exist. Tsvetaeva and Rilke's ruminations on the purpose of the poet is particularly moving. Timely, and beautiful.
August 13, 2013
Conozco poco de los tres escritores, solo he leído algo de la poesía de Tsvitaieva, pero vale la pena leer este encuentro de tres poetas, bastante intensas sus cartas, y su postura frente a la vida.
August 14, 2026
reading this feverishly during a week between breaks of going swimming in lake atitlán, summer 2026… one of the more sublime reading experiences of my life
February 16, 2024
This book follows the correspondence between three European writers during the summer of 1926- it is elegant, dramatic, soulful, and full of adoration for each other.
July 5, 2026
Leído durante el verano de 2026. Qué ilusión.
Se me han hecho un poco pesadas las cartas de Pasternak. Supongo que tiene que ver que solamente conozco en profundidad a Rilke.
No obstante, la primera carta que la Tsvietáieva le escribe a Rilke es un sueño:
"Rainer Maria Rilke:
¿Puedo llamarlo así? Usted, poesía encarnada, por supuesto debe saber que su nombre por sí solo es un poema. Rainer María, resonancia eclesiástica – infantil – caballeresca. Su nombre no rima con el tiempo – viene del pasado o del futuro – de siempre. Su nombre lo quiso, y usted eligió el nombre. (Somos nosotros quienes elegimos nuestros nombres, lo que viene después – es consecuencia.)
Su bautizo fue el prólogo a usted todo, y el sacerdote que lo bautizó no sabía en realidad lo que hacía.
Usted no es mi poeta más querido («más» – grado). Usted es un fenómeno de la naturaleza que no puede ser mío, que una no ama sino arrostra, o (¡no es todo aún!) el quinto elemento encarnado: la poesía misma, o (no es todo aún) aquello de donde nace la poesía y que es más grande que ella (que usted).
No se trata del Rilke-hombre (hombre: aquello a lo que estamos obligados), sino del Rilke-espíritu, que es más grande que el poeta y al que yo llamo Rilke – el Rilke del futuro.
Usted debe mirarse con y desde mis ojos: su grandeza a través de la grandeza de mis ojos cuando lo miro: su grandeza – a través de toda la lejanía.
¿Qué le queda por hacer a un poeta después de usted? Se puede superar al maestro (a Goethe, por ejemplo), pero superarlo a usted – significa (significaría) superar la poesía. Es poeta aquel que supera (debe superar) la vida.
Usted es una tarea imposible para los poetas futuros. El poeta que venga después deberá ser usted, es decir, usted deberá nacer de nuevo.
Usted devuelve a las palabras su significado inicial, y a las cosas – sus palabras (valores) iniciales. Cuando, por ejemplo, usted dice: magnífico, está diciendo «magni» y «fico», de «magno» y «facer», tal como estaba pensada la palabra al ser creada. (Ahora «magnífico» es únicamente un desgastado signo de admiración.)
En ruso podría decirle todo esto de manera más clara, pero no quiero obligarlo a enfrascarse en una lectura esforzada, prefiero obligarme yo a enfrascarme en la escritura".
Se me han hecho un poco pesadas las cartas de Pasternak. Supongo que tiene que ver que solamente conozco en profundidad a Rilke.
No obstante, la primera carta que la Tsvietáieva le escribe a Rilke es un sueño:
"Rainer Maria Rilke:
¿Puedo llamarlo así? Usted, poesía encarnada, por supuesto debe saber que su nombre por sí solo es un poema. Rainer María, resonancia eclesiástica – infantil – caballeresca. Su nombre no rima con el tiempo – viene del pasado o del futuro – de siempre. Su nombre lo quiso, y usted eligió el nombre. (Somos nosotros quienes elegimos nuestros nombres, lo que viene después – es consecuencia.)
Su bautizo fue el prólogo a usted todo, y el sacerdote que lo bautizó no sabía en realidad lo que hacía.
Usted no es mi poeta más querido («más» – grado). Usted es un fenómeno de la naturaleza que no puede ser mío, que una no ama sino arrostra, o (¡no es todo aún!) el quinto elemento encarnado: la poesía misma, o (no es todo aún) aquello de donde nace la poesía y que es más grande que ella (que usted).
No se trata del Rilke-hombre (hombre: aquello a lo que estamos obligados), sino del Rilke-espíritu, que es más grande que el poeta y al que yo llamo Rilke – el Rilke del futuro.
Usted debe mirarse con y desde mis ojos: su grandeza a través de la grandeza de mis ojos cuando lo miro: su grandeza – a través de toda la lejanía.
¿Qué le queda por hacer a un poeta después de usted? Se puede superar al maestro (a Goethe, por ejemplo), pero superarlo a usted – significa (significaría) superar la poesía. Es poeta aquel que supera (debe superar) la vida.
Usted es una tarea imposible para los poetas futuros. El poeta que venga después deberá ser usted, es decir, usted deberá nacer de nuevo.
Usted devuelve a las palabras su significado inicial, y a las cosas – sus palabras (valores) iniciales. Cuando, por ejemplo, usted dice: magnífico, está diciendo «magni» y «fico», de «magno» y «facer», tal como estaba pensada la palabra al ser creada. (Ahora «magnífico» es únicamente un desgastado signo de admiración.)
En ruso podría decirle todo esto de manera más clara, pero no quiero obligarlo a enfrascarse en una lectura esforzada, prefiero obligarme yo a enfrascarme en la escritura".
October 19, 2022
«Cuando abrazo a un extraño, es algo natural; cuando lo relato, es algo no natural (¡para mí misma!). Pero cuando lo transformo en poesía, vuelve a ser natural. Es decir, la acción y la poesía me dan la razón. Lo que se encuentra entre ambas me acusa. Mentira es lo que está en medio, no yo. [...]
Querido, arranca el corazón que está lleno de mí. No te atormentes. Vive. No te consternes por tu mujer y tu hijo. Te concedo el indulto de todos y de todo. Toma todo lo que puedas - mientras tengas deseos de tomarlo. Recuerda que la sangre es más antigua que nosotros mismos, sobre todo la tuya, semita. No la domestiques. Toma todo esto desde una altura lírica - no: ¡desde una altura épica!
Escríbeme o no me escribas sobre todo esto, como quieras. Yo, además de todo, - no, antes y después de todo (¡hasta la primera luz del amanecer!), - soy tu amiga. »
Querido, arranca el corazón que está lleno de mí. No te atormentes. Vive. No te consternes por tu mujer y tu hijo. Te concedo el indulto de todos y de todo. Toma todo lo que puedas - mientras tengas deseos de tomarlo. Recuerda que la sangre es más antigua que nosotros mismos, sobre todo la tuya, semita. No la domestiques. Toma todo esto desde una altura lírica - no: ¡desde una altura épica!
Escríbeme o no me escribas sobre todo esto, como quieras. Yo, además de todo, - no, antes y después de todo (¡hasta la primera luz del amanecer!), - soy tu amiga. »
August 28, 2026
Correspondencia íntima, intensa, apasionada y/o desapasionada, hermosas e inteligentes maneras de expresarse pero, ante todo: amor por la poesía.
Nota: ya he leído a Rilke pero necesito volver a él y acercarme a las obras de Marina Tsvetáieva y Borís Pasternak.
Nota: ya he leído a Rilke pero necesito volver a él y acercarme a las obras de Marina Tsvetáieva y Borís Pasternak.
November 14, 2021
Extraordinary collection, so beautifully written; full of soul & passion
July 13, 2023
exquis, et puis la durée…. ça fait plaisir de se traîner un aussi beau livre, avec une forme aussi spéciale
August 9, 2024
Sans doute intéressant pour des personnes qui feraient de des recherches sur les auteurs, ou pour des romantiques snobs... Personnellement j'ai vraiment peiné, trop de mystique romantico-littéraire (et ultra élitiste, également misogyne) à mon goût.
September 9, 2026
Profundamente trágico, "Rilke es el lugar que ya no existe más y al que nunca iremos".
September 9, 2009
When a writer takes my interest on unexpected journey my desire to know everything about the writer becomes a little excessive and a new journey begins not only to read all of his or her's work but anything they have written. Poetry, short stories, essays but most importantly letters. My home library has expanded through these searches to a bursting point with the heavy tomes that constitute "The Complete Letters of ......." you can fill in the blank. Samuel Beckett, James Joyce et al, but this set of letters are unique in our fore-knowledge that the wonderful poet Rainer Maria Rilke during the period when they were written was dying. Three unique poetic voices are captured here in their letter to each other; Marina Tsvetayeva living in exile in France, Boris Pasternak in Moscow, and Rainer Maria Rilke in Switzerland. You may ask does one need to be familiar with their works for it to be meaningful? .... and the answer is no! these intensity and passionate letters speak as a unique commentary on their wonderful and diverse talents.
December 6, 2012
I had just finished reading Doctor Zhivago when I happened upon this book at the library. I was curious... After reading this, I see an interesting reflection of Boris Pasternak's life (as laid out in these letters from 1926 to Tsvetayeva and Rilke) in Doctor Zhivago. As I read it, I realized that Boris is Yuri and Marina (Tsvetayeva) is Lara! It gave more context and deeper meaning to a much loved novel that I read fairly often. Interesting!
July 28, 2008
This is an amazing collection of letters between three poets throughout one summer. Questions and conversations about poetry, censorship, artistic influence, and dying. You know, typical light read.
March 18, 2008
the most beautiful letters, so much soul and exile and love
November 23, 2008
Every thing I read that has Marina Tsvetaeva's hand in it lets me know how one should feel life - grab it shake it and hold on to it tight as it takes you for a wild ride
June 9, 2012
I've read this book twice. Three great poets--Rilke, Pasternak, Tsvetaeva--and up-close glimpses of their lives and work. A must read.
September 25, 2017
broke me
Displaying 1 - 30 of 62 reviews