These letters, which are effusive and filled with great feeling, are truly touching to read. Tsvetayeva was able to quickly gain Rilke's confidence with just a short introduction from Pasternak, which shows the warmhearted and trusting natures of the protagonists. However, the correspondence presented here has some drawbacks. Tsvetayeva's letters to Pasternak were not released before publication, as per her wishes. Additionally, Pasternak was unable to summon the courage to write more than one salutary letter to Rilke before the latter's death. As a result, what we have is less of a shared conversation and more of an intimate portrait of Tsvetayeva's and Rilke's brief acquaintance through letters in 1926. It is lovely to read, but unfortunately, it is all too fleeting.
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Letters: Summer 1926
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Edited by Yevgeny Pasternak, Yelena Pasternak, and Konstantin M. Azadovsky
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.
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.
380 pages, Paperback
First published January 1,1926
This edition
- Format
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380 pages, Paperback
- Published
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September 1, 2001 by NYRB Classics
- ISBN
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9780940322714
- ASIN
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0940322714
- Language
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English
About the author
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Boris Leonidovich Pasternak was born in Moscow to talented artists: his father a painter and illustrator of Tolstoy's works, his mother a well-known concert pianist. Though his parents were both Jewish, they became Christianized, first as Russian Orthodox and later as Tolstoyan Christians. Pasternak's education began in a German Gymnasium in Moscow and was continued at the University of Moscow. Under the influence of the composer Scriabin, Pasternak took up the study of musical composition for six years from 1904 to 1910. By 1912 he had renounced music as his calling in life and went to the University of Marburg, Germany, to study philosophy. After four months there and a trip to Italy, he returned to Russia and decided to dedicate himself to literature.
Pasternak's first books of verse went unnoticed. With My Sister Life, 1922, and Themes and Variations, 1923, the latter marked by an extreme, though sober style, Pasternak first gained a place as a leading poet among his Russian contemporaries. In 1924 he published Sublime Malady, which portrayed the 1905 revolt as he saw it, and The Childhood of Luvers, a lyrical and psychological depiction of a young girl on the threshold of womanhood. A collection of four short stories was published the following year under the title Aerial Ways. In 1927 Pasternak again returned to the revolution of 1905 as a subject for two long works: "Lieutenant Schmidt", a poem expressing threnodic sorrow for the fate of the Lieutenant, the leader of the mutiny at Sevastopol, and "The Year 1905", a powerful but diffuse poem which concentrates on the events related to the revolution of 1905. Pasternak's reticent autobiography, Safe Conduct, appeared in 1931, and was followed the next year by a collection of lyrics, Second Birth, 1932. In 1935 he published translations of some Georgian poets and subsequently translated the major dramas of Shakespeare, several of the works of Goethe, Schiller, Kleist, and Ben Jonson, and poems by Petöfi, Verlaine, Swinburne, Shelley, and others. In Early Trains, a collection of poems written since 1936, was published in 1943 and enlarged and reissued in 1945 as Wide Spaces of the Earth. In 1957 Doctor Zhivago, Pasternak's only novel - except for the earlier "novel in verse", Spektorsky (1926) - first appeared in an Italian translation and has been acclaimed by some critics as a successful attempt at combining lyrical-descriptive and epic-dramatic styles.
Pasternak lived in Peredelkino, near Moscow, until his death in 1960.
Pasternak's first books of verse went unnoticed. With My Sister Life, 1922, and Themes and Variations, 1923, the latter marked by an extreme, though sober style, Pasternak first gained a place as a leading poet among his Russian contemporaries. In 1924 he published Sublime Malady, which portrayed the 1905 revolt as he saw it, and The Childhood of Luvers, a lyrical and psychological depiction of a young girl on the threshold of womanhood. A collection of four short stories was published the following year under the title Aerial Ways. In 1927 Pasternak again returned to the revolution of 1905 as a subject for two long works: "Lieutenant Schmidt", a poem expressing threnodic sorrow for the fate of the Lieutenant, the leader of the mutiny at Sevastopol, and "The Year 1905", a powerful but diffuse poem which concentrates on the events related to the revolution of 1905. Pasternak's reticent autobiography, Safe Conduct, appeared in 1931, and was followed the next year by a collection of lyrics, Second Birth, 1932. In 1935 he published translations of some Georgian poets and subsequently translated the major dramas of Shakespeare, several of the works of Goethe, Schiller, Kleist, and Ben Jonson, and poems by Petöfi, Verlaine, Swinburne, Shelley, and others. In Early Trains, a collection of poems written since 1936, was published in 1943 and enlarged and reissued in 1945 as Wide Spaces of the Earth. In 1957 Doctor Zhivago, Pasternak's only novel - except for the earlier "novel in verse", Spektorsky (1926) - first appeared in an Italian translation and has been acclaimed by some critics as a successful attempt at combining lyrical-descriptive and epic-dramatic styles.
Pasternak lived in Peredelkino, near Moscow, until his death in 1960.
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Rating(3.8 / 5.0, 45 votes)
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I am awarding this chronicle of one Summer a full five stars across the board. This accolade especially goes to the translators who had the arduous task of translating Russian, French, and German into English. There were certain passages in the text that remained untranslated but were accompanied by footnotes in English. I was rather pleased with the footnotes as they allowed me to determine the accuracy of my own partial translations.
The letters in this volume were penned during a tumultuous period within The Soviet Era. A significant number of poets and writers fled the country due to Stalinist persecution and the ever-present fear of being dispatched to Siberia. Marina Tsvetayeva departed with her family into exile. Pasternak, on the other hand, chose to stay and document what he witnessed, despite the fact that he could have been arrested at any given moment.
The correspondence commenced with Pasternak expressing his gratitude to Rilke for the latter's praise of Pasternak's translated poems. Pasternak then requested that Rilke make contact with Tsvetayeva, who was in exile in Europe. This set in motion a passionate cycle of letters that ultimately concluded with Rilke's death from leukemia.
This relationship gave rise to a dynamic situation that served as a catalyst for creativity among all those involved.
Do read the letters and discover what was born during the Summer of 1926.
The letters in this volume were penned during a tumultuous period within The Soviet Era. A significant number of poets and writers fled the country due to Stalinist persecution and the ever-present fear of being dispatched to Siberia. Marina Tsvetayeva departed with her family into exile. Pasternak, on the other hand, chose to stay and document what he witnessed, despite the fact that he could have been arrested at any given moment.
The correspondence commenced with Pasternak expressing his gratitude to Rilke for the latter's praise of Pasternak's translated poems. Pasternak then requested that Rilke make contact with Tsvetayeva, who was in exile in Europe. This set in motion a passionate cycle of letters that ultimately concluded with Rilke's death from leukemia.
This relationship gave rise to a dynamic situation that served as a catalyst for creativity among all those involved.
Do read the letters and discover what was born during the Summer of 1926.
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These letters immerse you in the lives of the three authors at a very intimate level, with their confidences, their doubts, and their daily lives. What caught my attention, above all, was the personality of Marina, so passionate, so determined. It is a great document to get to know a little more about their lives and their works. Through these letters, we can catch a glimpse of the inner thoughts and emotions of the authors, which adds a new dimension to our understanding of their creative processes. We can see how they dealt with the challenges and joys of life, and how these experiences influenced their writing. The details and insights provided in these letters make them a valuable resource for anyone interested in the lives and works of these three remarkable authors.
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The Crossover of the CenturyIn this era of rapid development, the concept of "crossover" has become extremely popular. It represents a unique combination and innovation that breaks through traditional boundaries. The crossover of the century is not just a simple combination of different elements, but a collision and integration of different cultures, industries, and art forms. It creates new possibilities and surprises, attracting the attention and love of countless people. For example, in the field of fashion, there are often crossovers between famous fashion designers and artists. Their cooperation results in unique and creative fashion works that not only show the charm of fashion but also carry the connotation of art. In the entertainment industry, the crossover of different types of stars is also very common. Singers may try acting, and actors may show their singing skills. This kind of crossover not only enriches the entertainment content but also brings more opportunities and challenges to the stars. In short, the crossover of the century is a trend and a revolution. It promotes the development and innovation of various fields and brings more colorful experiences and choices to people.
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This is an truly amazing collection of letters that transpired between three poets throughout the course of one summer. The letters are filled with thought-provoking questions and engaging conversations. They touch upon a wide range of topics, including the essence of poetry, the restrictions imposed by censorship, the profound influence of art, and even the inevitable topic of dying. It might seem that these are rather heavy and complex themes, but in the hands of these poets, they are presented in a way that makes it a surprisingly engaging and even light read. As you delve into these letters, you can't help but be drawn into the world of these poets, sharing in their joys, their frustrations, and their deep musings. It's a literary gem that offers a unique perspective on the creative process and the human experience. Whether you're a poetry enthusiast or simply someone who enjoys a good read, this collection of letters is sure to captivate and inspire you.
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Every single thing that I come across and that has Marina Tsvetaeva's touch in it reveals to me the true essence of how one should experience life. It's not about passively observing or simply going through the motions. Instead, it's about actively reaching out and grabbing life with both hands. Shaking it vigorously, as if to extract every ounce of its energy and vitality. And then, holding on to it with an unwavering grip, even as it takes you on a wild and unpredictable ride. Tsvetaeva's works seem to breathe life into these words, making them not just abstract concepts but palpable emotions. She shows us that life is meant to be lived to the fullest, with all its joys, sorrows, and unexpected twists and turns. Through her writing, we are invited to embrace this wild ride and discover the beauty and meaning that lies within it.
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14/45 Pasternak - Rilke - Tsvietáieva. These letters are indeed charismatic and revealing. They particularly showcase the Russians' fervor for the German poet. Pasternak's devotion to Rilke stands out, as does the genuine friendship and admiration between Rilke and Marina. The correspondence between these literary giants offers a unique glimpse into their creative worlds and the deep emotional connections they formed. It is a testament to the power of art and the ability of poets to inspire and influence one another across borders and cultures. Reading these letters, one can sense the passion and intensity with which they wrote, the shared love for language and the pursuit of artistic excellence. They are not just letters but a valuable historical and literary document that enriches our understanding of these remarkable poets and their times. Overall, the Pasternak - Rilke - Tsvietáieva letters are a treasure trove of inspiration and insight for anyone interested in literature, poetry, and the human spirit.
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"Neither the letter nor the dreams are entrusted: one dreams and writes not when we want, but when they want: the letter to be written, and the dream to be dreamed." (M. Ts)
There is an unprecedented immersion in the universe of one of the most interesting minds in Russian/German literature. A very complete reconstruction of different aspects of the relationship among the three (and among each one), despite the fact that many data are, intentionally, ignored, since the attention is directed towards the summer of '26. However, the explanatory comments are very accurate.
This text seems to explore the mysterious and perhaps involuntary nature of creation, whether it be through writing letters or experiencing dreams. It delves into the complex web of relationships, hinting at a depth that is only partially revealed. The focus on a specific summer adds a sense of temporal significance, as if something crucial occurred during that time. The omission of certain details may leave room for the reader's imagination to fill in the gaps, making the exploration even more engaging and thought-provoking.
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