The man is still alive Who shot my father In Kiev in the summer of ’38.
Probably, he’s pensioned now, Lives quietly, And has given up his old job.
And if he has died, Probably that one is still alive Who just before the shooting With a stout wire Bound his arms Behind his back.
Probably, he too is pensioned off.
And if he is dead, Then probably The one who questioned him still lives. And that one no doubt Has an extra good pension.
Perhaps the guard Who took my father to be shot Is still alive.
If I should want now I could return to my native land. For I have been told That all these people Have actually pardoned me.
By Иван Венедиктович Елагин (Ukrainian: Іван Венедиктович Єлагін) Ivan Venediktovich Elagin (a.k.a. Ivan Matveyev) translated by Bertram D. Wolfe
Амнистия
Еще жив человек, Расстрелявший отца моего Летом в Киеве, в тридцать восьмом.
Вероятно, на пенсию вышел. Живет на покое И дело привычное бросил.
Ну, а если он умер – Наверное, жив человек, Что пред самым расстрелом Толстой Проволокою Закручивал Руки Отцу моему За спиной.
Верно, тоже на пенсию вышел.
А если он умер, То, наверное, жив человек, Что пытал на допросах отца.
Этот, верно, на очень хорошую пенсию вышел.
Может быть, конвоир еще жив, Что отца выводил на расстрел.
Если б я захотел, Я на родину мог бы вернуться.
Я слышал, Что все эти люди Простили меня.
Additional information: Ivan Elagin (December 1, 1918 – February 8, 1987); Ukrainian: Іван Єлагін, Russian: Иван Венедиктович Елагин, real name Ivan Matveyev) was a Russian émigré poet born in Vladivostok. He was the husband of poet Olga Anstei (Ukrainian: Ольга Анстей), best remembered for writing about the Holocaust.
Elagin’s real surname was Matveyev; his father was the poet Venedikt Mart of Vladivostok, and he was himself the uncle of the Leningrad poet Novello Matveyeva. He was preparing to be a physician when his medical education was interrupted by World War II, and in 1943 he found himself as a forced labourer in Germany, working as a nurse in a German hospital. Knowing he would be arrested if he returned to the Soviet Union, he remained in Munich after the war and published her first books of poetry, Po doroge ottuda (The Road from There) in 1947 and Ty, moio stoletie (You Are My Century) in 1948.
In 1950 he emigrated to the United States to work as a proofreader for the New York Russian-language newspaper Novoe russkoe slovo. The earned a Ph.D. And taught Russian literature at the University of Pittsburgh, were he was surrounded by a few dedicated students. Elagin reportedly was held for a long time after World War II by American intelligence in a displaced-persons detention camp under the suspicion that he had been planted by Soviet Intelligence. Hence to some people his poetry seemed to have double directions and meaning.
Elagin was the most talented poet of postwar emigration from the Soviet Union. He related with great sympathy to the post-Stalin generation of poets, and his poetry bears a resemblance to the younger generation’s, with its resounding rhythms and alliterations, in spite of the difference in age and experience. Though he wished to visit his country he declined invitations because of the ideological conformity they would have required. He translated American poets into Russian, including a brilliant rendering of Stephen Vincent Benét’s monumental John Brown’s Body. Unfortunately, during his lifetime no American poet chose to translate him, and he remained unknown to Americans. Since 1988 his poetry has been returning to Russia.
Biographical information about Elagin, p.673, ‘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.
Read by Лаврентий Анатольевич Сорокин (Lavrenty Anatolyevich Sorokin) who was an Honored Artist of Russia and actor at the Globus theatre.
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).
Do Russian people stand for war? Go, ask the calm on plain and shore The wide expanse of field and lea, The birches and poplar tree.
The soldiers who once fought abreast, And near the birches lie at rest, Their sons will answer by the score, Ask them if Russians are, Ask them if Russians are, Ask them if Russians are for war.
Not only for their country’s life Did soldiers perish in their strife – But that all human creatures might Sleep always peacefully at night.
Ask those that fearful battles knew, Who on the Elbe joined with you, We keep these memories evermore – And ask if Russians are, And ask if Russians are, And ask if Russians are for war.
Yes, We know how to fight, But we don’t want again For soldiers to fall On their bitter land.
Ask the mothers, Ask my wife, And then you should understand If the Russians, If the Russians, If the Russians want war.
The working people of each land Will come, for sure, to understand Throughout the world on sea and shore – If Russian people are, If Russian people are, If Russian people are for war.
by Евгений Александрович Евтушенко (Yevgeny Aleksandrovich Yevtushenko) (1962) English lyrics translation by Ольга Моисеенко (Olga Moisseyenko)
Sung by Mark Naumovich Bernes who was a Soviet actor and singer of Jewish ancestry, who performed some of the most poignant songs to come out of World War II including “Dark Night” and “Cranes”.
Хотят ли русские войны?
Хотят ли русские войны? Спросите вы у тишины Над ширью пашен и полей, И у берез, и тополей.
Спросите вы у тех солдат, Что под березами лежат, И вам ответят их сыны: Хотят ли русские, Хотят ли русские, Хотят ли русские войны?
Не только за свою страну Солдаты гибли в ту войну, А чтобы люди всей земли Спокойно ночью спать могли.
Спросите тех, кто воевал, Кто нас на Эльбе обнимал. Мы этой памяти верны, Хотят ли русские, Хотят ли русские, Хотят ли русские войны?
Да, мы умеем воевать, Но не хотим, чтобы опять Солдаты падали в бою На землю горькую свою.
Спросите вы у матерей, Спросите у жены моей, И вы тогда понять должны, Хотят ли русские, Хотят ли русские, Хотят ли русские войны?
Performed by Ансамбль Александрова (the Alexandrov Ensemble) using the 1970s (?) translated lyrics of Ольга Моисеенко (Olga Moisseyenko). Although she titles it ‘Do the Russian people stand for war’ a translation along the lines of ‘Do the Russian want war?’ is more common.
Yevtushenko later said he wrote the song in response to conversations he had with foreigners while travelling in western Europe and the United States. The lyrics evoke the peaceful Russian countryside, the memory of the millions of lives lost in the Second World War, and the friendly meeting of U.S. and Soviet soldiers on Elbe Day.
On Thursday 24 February 2022 Russian citizens were heard singing the song at protests held in St Petersburg and Moscow. After these protests were broken up, by authorities in riot gear, it was apparently remarked by civilians “в России запрещено говорить, что русские не хотят войны…” (“In Russia it is forbidden to say Russians do not want war…”)
You're not alone. You haven't died, while you still,beggar-woman at your side, take pleasure in the grandeur of the plain, the gloom, the cold,the whirlwinds of snow.
In sumptuous penury, in mighty poverty live comforted and at rest - your days and nights are blest, your sweet-voiced labour without sin.
Unhappy he, a shadow of himself, whom a bark astounds and the wind mows down, and to be pitied he, more dead than alive, who begs handouts from a ghost.
by Осип Эмильевич Мандельштам (Osip Emilyevich Mandelshtam.) His surname is commonly latinised as Mandelstam) (1937) translated by Andrew Davis
Rambling At The Bridge Head 
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