To you, my friends, to you, my dear ones,
I smile after you though tears:
Don’t be afraid, my friends, of nostalgia –
There is exodus, there is no emigration.
Drawing near to the last right
Under the earth to yearn for the earth
I will never dare call
any country foreign.
Can I await an invitation to a beheading
And not struggle toward the escape door?
There is no impulse in me more outrageous
Than saying goodbye to mourn you.
by Инна Львовна Лиснянская
(Inna Lvovna Lisnyanskaya)
(1978)
translated by Albert C. Todd
Вам, друзья мои, вам, дорогие
Вам, друзья мои, вам, дорогие,
Улыбаюсь сквозь слёзы вослед:
Вы не бойтесь, друзья, ностальгии —
Есть Исход, эмиграции нет!
Приближаясь к последнему праву
Под землёй о земле тосковать,
Больше я никакую державу
Не посмею чужбиной назвать.
Можно ль ждать приглашения к казни
И не рваться в спасительный лаз?!
Нет порыва во мне безобразней,
Чем, прощаясь, оплакивать вас.
Lisnyanskaya published her first poems in 1949. With her first three volumes she established herself a reputation as a competent writer of so-called women’s lyrics; however, her fourth collection, Iz pervykh ruk (At First Hand) (1966), reached a new level of tragic, confessional courage that was strongly chastised by the organs of censorship. This direct clash with the system and the persecution of dissidents (many of whom were her friends) then taking place made her muse ever more tragic and politicized her personal behaviour. Her next book, Vinogradnyi svet (Grape Light), came out ten years later.
Biographical information about Lisnyanskaya, p.897, ‘Twentieth Century Russian Poetry’ (1993), compiled by Yevgeny Yevtushenko (ed. Albert C. Todd and Max Hayward) , published by Fourth Estate Limited by arrangement with Doubleday of Bantam Doubleday Dell Publishing Group Inc. (transcribed as found in the original text).
Conflict with the system summoned in Lisnyanskaya additional artistic reserves. After helping to produce the semi-dissident almanac Metropol’ in 1979, both Lisnyanskaya and her husband, Semyon Lipkin, withdrew from the Writers Union as a sign of protest against the expulsion of their colleagues. Soon they were published only abroad. Her uncensored philosophical poetry reveals a religious mindset that subtly perceives the suffering of people conditioned by political circumstances.
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