I’ll be finished, if I’ll survive – what kind of grass will grow over the gap? On Prince Igor’s battlefield the grass faded. The school corridors are quiet, not ringing… Eat your red tomatoes, eat ’em without me.
How did I survive to such prose with my bitter beaten head? Each evening a convoy leads me to interrogation. Stairways, corridors, cunning prison graffiti… Eat your red tomatoes, eat ’em without me.
By Борис Алексеевич Чичибабин (Boris Alekseyevich Chichibabin) Born: Полушин (Polushin) (1946) translated by Albert C. Todd and Yevgeny Yevtushenko
Кончусь, останусь жив ли…
Кончусь, останусь жив ли, – чем зарастёт провал? В Игоревом Путивле выгорела трава.
Школьные коридоры – тихие, не звенят… Красные помидоры кушайте без меня.
Как я дожил до прозы с горькою головой? Вечером на допросы водит меня конвой.
Лестницы, коридоры, хитрые письмена… Красные помидоры кушайте без меня.
He lived in Kharkiv, and in the course of three decades became one of the most famous and best-loved members of the artistic intelligentsia of the city, i.e., from the 1950s to 1980s. From the end of the 1950s, his poetry was widely distributed throughout the Soviet Union as samizdat. Official recognition came only at the end of his life in the time of perestroika.
Chichibabin was imprisoned during Stalin’s time. Though released and rehabilitated he was “daring” enough in the Brexhnev era of stagnation to write a poem in 1971 in memory of Aleksandr Tvardovsky, who had been attacked by literary rivals until his death; the poem resulted in his expulsion from the Writers Union. He was not published for fifteen years and worked as a bookkeeper in a tram park. As time passed, the growing significance of his work became apparent.
Chichibabin’s character is very Russian, but at the same time he is blessed with the quality of compassion for the world. His poetry is filled with astonishing penetration into the pain of other nations and peoples, whether Tartar or Jews.
In 1990 the unheard-of happened: the State Prize for literature was awarded to a book of his poetry which he had published privately. He was reinstated into the Writers Union in 1986, a very shy, humble man who never dealt with politics, but with a humane conscience in the midst of moral degradation – a de facto political dissident.
Biographical information about Chichibabin, p.719, ‘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).
Artillery was burying us. At first it killed us. But, with blatant hypocrisy, Now swears that it loved us.
It broke open its muzzles, But with all the charred nerves In the overworked hands of the medics. We didn’t readily believe it.
We could trust only morphine, In the very last resort – bromide. But those of us who were dead Trusted the earth, and no one else.
Here everyone still crawls, laying mines And receiving counterattacks. But there – already illumining, They draft memoirs…
And there, away from the destruction zone, They scrape and polish parquet. The Bolshoi Theater lofted on a quadrangle Follows the celebration skyrocket.
Soldiers lay about. At night the mint showers Them with regalia from time to time. But machine guns belch them out With explosive vomit.
One of them, accidentally surviving, Came to Moscow in autumn. He shuffled along the boulevard like a drunk, And passed among the living like an echo.
With his artificial leg He got in someone’s way in the trolley. By a string of petty absurdities He approached the Mausoleum.
He recalled the eroded hillocks, Scraps of plywood along the roadways, The soldier’s eyes, opened forever, Shown in calm reproach.
Pilots fell down on them from the sky, Bogged down in clouds of bones. But courage does not grow scarce, As sky doesn’t let one grow obsolete.
And the soldier knew that, for the Motherland, Those who were swallowed by the war, Are the equals of those who lie here buried In the wall itself or beneath the wall.
by Константин Ильич Левин (Konstantin Illyich Levin) (1946) translated by Albert C. Todd
Нас хоронила артиллерия…
Нас хоронила артиллерия. Сначала нас она убила, Но, не гнушаясь лицемерия, Теперь клялась, что нас любила.
Она выламывалась жерлами, Но мы не верили ей дружно Всеми обрубленными нервами В натруженных руках медслужбы.
Мы доверяли только морфию, По самой крайней мере — брому. А те из нас, что были мертвыми, — Земле, и никому другому.
Тут всё ещё ползут, минируют И принимают контрудары. А там — уже иллюминируют, Набрасывают мемуары…
И там, вдали от зоны гибельной, Циклюют и вощат паркеты. Большой театр квадригой вздыбленной Следит салютную ракету.
И там, по мановенью Файеров, Взлетают стаи Лепешинских, И фары плавят плечи фраеров И шубки женские в пушинках.
Бойцы лежат. Им льет регалии Монетный двор порой ночною. Но пулеметы обрыгали их Блевотиною разрывною!
Но тех, кто получил полсажени, Кого отпели суховеи, Не надо путать с персонажами Ремарка и Хемингуэя.
Один из них, случайно выживший, В Москву осеннюю приехал. Он по бульвару брел как выпивший И средь живых прошел как эхо.
Кому-то он мешал в троллейбусе Искусственной ногой своею. Сквозь эти мелкие нелепости Он приближался к Мавзолею.
Он вспомнил холмики размытые, Куски фанеры по дорогам, Глаза солдат, навек открытые, Спокойным светятся упреком.
На них пилоты с неба рушатся, Костями в тучах застревают… Но не оскудевает мужество, Как небо не устаревает.
И знал солдат, равны для Родины Те, что заглотаны войною, И те, что тут лежат, схоронены В самой стене и под стеною.
Included in the recital there is the following passage, as the third stanza, which is omitted from other versions I have sourced. Possibly it is due to the ‘improved’ version Yevtushenko states he requested be made by Levin briefly prior to his passing.
За нас молились леди Англии И маркитантки полковые. Нас интервьюировали б ангелы, Когда бы были таковые.
Translated it reads as:
Ladies of England prayed for us. And regimental vivandieres. We’d be interviewed by angels If they existed.
Additional information: It goes without saying but if you look up Konstanin Levin‘s name, for further information, in English you will probably come across page after page about the character of Konstantin ‘Kostya’ Levin from Lev Tolstoy’s novel Anna Karenina. For those who can read Russian or are willing to use Google translate there is the poetLevin‘s Wikipedia page but for everyone else I will share this biography from the Yad Vashem page about the poet and his wartime service they compiled as part of their ‘Jews in the Red Army, 1941–1945′ research project:
Konstantin Levin was born in 1924 in Ekaterinoslav (now Dnipro), Ukraine to a medical family. In 1941, following the family tradition, he entered a medical institute (medical university). A short time later, his institute was evacuated to Western Siberia. Having finished the first semester, Levin was drafted into the Red Army and sent to the Rostov School of Artillery (RSA), which specialized in anti-tank artillery. In 1942 the RSA was located not in Rostov-on-Don, which at this time was occupied by the enemy, but in the Urals. In the fall of 1943 Levin graduated from the RSA as a second lieutenant and was appointed the commander of a platoon of 45-mm cannons. These cannons were the most dangerous kind of artillery to operate: being ineffective against enemy tanks, after their first shot they became a good target for the enemy. Levin succeeded in surviving at the front for less than half a year.
In February 1944, while fighting in Ukraine, Levin was wounded for the first time, in the head. On April 29, 1944, participating in the battle of Târgu Frumos, in eastern Romania, Levin was hit by an enemy shell and he lost a leg. His former RSA comrade and a participant in the same operation Moisei Dorman noted: “At the end of April 1944, near Iaşi, a German tank crushed his cannon. A shell fragment cut Kostia’s leg right at the knee. The leg was hanging on by the tendons. Levin tried to cut it off with a penknife, but he was bleeding and did not have enough strength…. Almost fainting, he managed to get to his own side by crawling.” After this battle, Levin was awarded the Order of Patriotic War, 2nd Class. After his release from the Red Army, he was recommended for the Order of Patriotic War, 1st Class – for his fighting in Ukraine.
In 1945 after the war, Konstantin Levin entered the Literary Institute in Moscow. Although the admission committee found his poems depressing, he was admitted because he was a disabled veteran who had earned two military orders. He was a good student. Levin walked with a prosthesis, never using a cane or crutches. In 1946, after he wrote the poem “Artillery Buried Us,” he was almost expelled from the Institute. In the following year, he wrote a poem about himself, in which he let the reader know that he had been not simply a soldier, but a Jewish one. After that, poem Levin was, in fact, expelled from the Institute, and only the intervention of the Russian poet Aleksei Surkov helped him receive his diploma.
For the rest of his life Konstantin Levin earned his living by routine literary work. He died in 1984. The first collection of his poems was published posthumously in 1989.
The poem therefore appears to be autobiographical though Levin uses the third person when recounting the events of it when referring to himself as “one of them, accidentally surviving/…/with his artificial leg”.
Levin’s renowned poem “Artillery was burying us…” passed from hand to hand throughout literary Moscow in the years following World War II, along with Naum Korzhavin’s poems against Stalin. Levin worked as a literary consultant and never tried to publish his poetry. Just prior to his death the compiler of this anthology persuaded him to make a new, even better version of his masterpiece. Boris Slutsky considered him one of the finest poets in the front-line generation.
Biographical information about Levin, p.736, ‘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).
Not waking, in my dreams, my dreams, I saw you – you were alive. You had endured all and come to me, crossing the last frontier.
You were earth already, ashes, you were my glory, my punishment. But, in spite of life, of death, you rose from your thousand graves.
You passed through war hell, concentration camp, through furnace, drunk with the flames, through your own death you entered Leningrad, came out of love for me.
You found my house, but I live now not in our house, in another; and a new husband shares my waking hours… O how could you not have known?!
Like the master of the house, proudly you crossed the threshold, stood there lovingly. And I murmured: ‘God will rise again’, and made the sign of the cross over you – the unbeliever’s cross, the cross of despair, as black as pitch, the cross that was made over each house that winter, that winter in which
you died. O my friend, forgive me as I sigh. How long have I not known where waking ends and the dream begins…
by Ольга Фёдоровна Берггольц (Olga Fyodorovna Berggolts) a.k.a. Olga Fyodorovna Bergholz (1946) translated by Daniel Weissbort
Не наяву, но во сне, во сне я увидала тебя: ты жив. Ты вынес все и пришел ко мне, пересек последние рубежи.
Ты был землею уже, золой, славой и казнью моею был. Но, смерти назло и жизни назло, ты встал из тысяч своих могил.
Ты шел сквозь битвы, Майданек, ад, сквозь печи, пьяные от огня, сквозь смерть свою ты шел в Ленинград, дошел, потому что любил меня.
Ты дом нашел мой, а я живу не в нашем доме теперь, в другом, и новый муж у меня — наяву… О, как ты не догадался о нем?!
Хозяином переступил порог, гордым и радостным встал, любя. А я бормочу: «Да воскреснет бог», а я закрещиваю тебя крестом неверующих, крестом отчаянья, где не видать ни зги, которым закрещен был каждый дом в ту зиму, в ту зиму, как ты погиб…
О друг,— прости мне невольный стон: давно не знаю, где явь, где сон …
Fun fact: This was the only poem left out of Dylan Thomas’ ‘Collected Poems 1934 – 1952‘ because he disliked it. The book was published on 10 November 1952 by Dylan’s usual publishers Dent of London, which gathered together all the poems from his three previous volumes of poetry (’18 Poems’, ‘Twenty Five Poems’ and ‘Deaths and Entrances’), plus a further six written since 1946, to make a total of 90.
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