Distances divide, exclude us [Extract from a poem addressed to Pasternak] by Marina Tsvetaeva

Distances divide, exclude us.

They’ve dis-weilded and dis-glued us.

Despatched, disposed of, dis-inclusion –

they never knew this meant fusion

of elbow grease and inspiration.

 

by Марина Ивановна Цветаева (Marina Ivanovna Tsvetaeva)

(1925)

translated by Peter Oram

Interesting addition: Throughout much of 1926 Tsvetaeva kept up and intense correspondence with Rainer Maria Rilke and Boris Pasternak. The above poem was sent to Pasternak while Tsvetaeva was in exile and had moved from Prague to Paris thus increasing her distance from her homeland. She grew increasingly isolated amongst the other emigre community as she had praised the works of Mayakovsky which got her mistakenly branded as endorising the Soviet system which eventually led the editors of the important journal The Latest News to stop publishing her works which, via her literary earnings, had allowed her to support her family through her contributions.

The Age [Excerpt] by Osip Mandelstam

Buds will swell just as in the past,

Sprouts of green will spurt and rage,

but your backbone has been smashed,

my grand and pitiful age.

 

And so, with a meaningless smile,

you glance back, cruel and weak,

like a beast once quick and agile,

at the prints of your own feet.

by Осип Эмильевич Мандельштам (Osip Emilyevich Mandelshtam. His surname is commonly latinised as Mandelstam)

(1925)

translated by Robert Chandler


‘Oh, to hell with this storm, damn this snow and hail’ by Sergey Yesenin

Oh, to hell with this storm, damn this snow and hail –

pounding on the rooftop, driving in white nails!

But me – I’m not frightened, and I know my fate:

my wastrel heart has nailed me to you – nailed us tight!

 

by Сергей Александрович Есенин (Sergei Alexandrovich Yesenin)

a.k.a. Sergey Yesenin / Esenin

(1925)

translated by Boris Dralyuk

In Memory of Sergey Yesenin by Anna Akhmatova

There are such easy ways

to leave this life,

to burn to an end

without pain or thought,

but a Russian poet

has no such luck.

A bullet is more likely

to show his winged soul

the way to Heaven;

or else the shaggy paw

of voiceless terror will squeeze

the life out of his heart

as if it were a sponge.

 

by Анна Ахматова (Anna Akhmatova)

(1925)

translation by Robert Chandler


Not so fun facts about the poem’s subject: On 28 of December in 1925 Yesenin was found dead in the room in the Hotel Angleterre in St Petersburg. His last poem Goodbye my friend, goodbye (До свиданья, друг мой, до свиданья) according to Wolf Ehrlich was written by him the day before he died. Yesenin complained that there was no ink in the room, and he was forced to write with his blood. According to the consensus among academic researchers of Yesenin’s life, the poet was in a state of depression a week after he escaped from a mental clinic and committed suicide by hanging. A theory exists that Yesenin’s death was actually a murder by OGPU agents who staged it to look like suicide.

Poor Poet, Was That Really You’ by Sergey Yesenin

Poor poet, was that really you,

addressing the moon in rhyme?

My eyes were dulled so long ago

by love, by cards and wine.

 

The moon climbs through the window frame.

White light, so white it blinds you…

I bet on the Queen of Spades,

but I played the Ace of Diamonds.

 

by Сергей Александрович Есенин (Sergei Alexandrovich Yesenin)

a.k.a. Sergey Yesenin / Esenin

(1925)

translated by Boris Dralyuk

Farewell, Dear Friend, Farewell by Sergey Yesenin

Farewell, dear friend, farewell –

you’re present in my heart.

We’ll meet again, the stars foretell,

though now we have to part.

 

Goodbye for now, goodbye, dear friend –

no handshake, words or grief.

To die is nothing new – but then,

what new is there in life?

 

by Сергей Александрович Есенин (Sergei Alexandrovich Yesenin)

a.k.a. Sergey Yesenin / Esenin

(1925)

translated by Robert Chandler and Anthony Rudolf

Not so fun facts about the poem’s composition: On 28 of December in 1925 Yesenin was found dead in the room in the Hotel Angleterre in St Petersburg. His last poem Goodbye my friend, goodbye (До свиданья, друг мой, до свиданья) according to Wolf Ehrlich was written by him the day before he died. Yesenin complained that there was no ink in the room, and he was forced to write with his blood. According to the consensus among academic researchers of Yesenin’s life, the poet was in a state of depression a week after he escaped from a mental clinic and committed suicide by hanging. A theory exists that Yesenin’s death was actually a murder by OGPU agents who staged it to look like suicide.


Original Russian version:

До свиданья, друг мой, до свиданья

До свиданья, друг мой, до свиданья.
Милый мой, ты у меня в груди.
Предназначенное расставанье
Обещает встречу впереди.
До свиданья, друг мой, без руки, без слова,
Не грусти и не печаль бровей,-
В этой жизни умирать не ново,
Но и жить, конечно, не новей.

Россия (Russia) [extract] by Max Voloshin

Great Peter was the first true Bolshevik;

his project: to project his Russia, against

all her customs, all her inclinations,

hundreds of years into some distant vista.

And like us all, he knew no other way

save execution, torture and diktat

to realize truth and justice upon earth.

If not a butcher, you could call the Tsar

a sculptor – his material not marble

but flesh, hacking out a Galatea

and flinging scraps aside. But no man builds

alone. What else was our nobility

but our first Communists? Our nobility

was – all in one – the Party, secret police

and Ivan the Terrible’s Oprichniki,

a hothouse for the breeding of strange cultures.

[…] Bakunin reflects the Russian countenance

in every way – what intellectual boldness,

what sweep of thought, what soaring flights and falls!

Our creativity lies in anarchy.

All Europe took the path of fire – but we

bear in our hearts a culture of explosion.

Fire needs machines and cities, factories,

blast furnaces; an explosion, unless it aims

to pulverize itself, needs the containment

of steel rifling, the matrix of a heavy gun.

This is why Soviet hoops all bind so tight,

why the autocracy’s flasks and retorts

were so refractionary. Bakunin needed

Nicholas – as Peter’s streltsy needed Peter,

as Avvakum needed Nikon. This is why

Russia is so immeasurable – in anarchy

and in autocracy alike, and why no history

is darker, madder, more terrible than hers.

 

by Максимилиан Александрович Кириенко-Волошин

(Maximilian Alexandrovich Kirienko-Voloshin)

(1925)

translated by Robert Chandler