Joseph Brodsky - collected works. Joseph Brodsky - collected works Western and Russian poetry
Russian poet, prose writer, essayist, translator, author of plays; also wrote in English.
In 1972 Joseph Brodsky emigrated to the USA. In the poems (collections “Stop in the Desert”, 1967, “The End of a Beautiful Era”, “Part of Speech”, both 1972, “Urania”, 1987) the understanding of the world as a single metaphysical and cultural whole. The distinctive features of the style are rigidity and hidden pathos, irony and breakdown (early Brodsky), meditativeness realized through an appeal to complex associative images, cultural reminiscences (sometimes leading to the tightness of the poetic space). Essays, stories, plays, translations. Nobel Prize (1987), Chevalier of the Legion of Honor (1987), winner of the Oxford Honori Causa.
Striving for bilingualism, Joseph Brodsky also wrote essays, literary criticism, and poetry in English. Brodsky managed to expand the capabilities of the Russian poetic language. The poet's artistic world is universal. His style is influenced by baroque, neoclassicism, acmeism, English metaphysical poetry, underground, and postmodernism. The very existence of this personality became the embodiment of the intellectual and moral opposition to lies and cultural degradation. Initially, because of the “parasitism” trial, Brodsky became a kind of household figure of an independent artist who resisted generally accepted hypocrisy and violence - both in his homeland and abroad. Until 1987 in the USSR, he was actually a poet for the “initiated”: keeping his poems at home was not only considered reprehensible, but was punishable, nevertheless, his poems were distributed in a way tested in Soviet times - with the help of Samizdat.
International fame came to the poet after the publication of his first collection in the West in 1965. In the USSR, until 1987, Joseph Brodsky was practically not published. Some of Brodsky’s lines are generally known as formulaic aphorisms: “Death is something that happens to others” or “But until my mouth is filled with clay, only gratitude will come out of it.” The world of Brodsky’s creations reflected the consciousness of a significant intellectual group of immigrants from Russia, and in general people of the “exodus”, living on the edge of two worlds, in the words of V. Uflyand, “Brodsky humanity”: these new wanderers, as if continuing the fate of romantic wanderers, are like some kind of connecting fabrics of different cultures, languages, worldviews, perhaps on the way to the universal man of the future.
The poet Joseph Brodsky died suddenly in New York on January 28, 1996, before reaching the age of 56. Brodsky's death, despite the knowledge of his deteriorating health, shocked people on both sides of the ocean. Buried in Venice.
Brodsky Joseph Alexandrovich- without the slightest doubt, one of the largest Russian poets of the past century, during his very short, by today's standards, life, he erected a gigantic palace of poems, poems, as well as works of a specific subgenre, personally created by him - “great poems”. Faithful to the depths of his soul to the established traditions of Russian classics - Pushkin, Lermontov - he expanded the field of his fruitful creative work with lightning speed.
Born on the Vyborg side in the family of a military photojournalist. The name was given in honor of Joseph Stalin. Brodsky's father served in the navy, then worked as a photographer and journalist in several Leningrad newspapers, Brodsky's mother was an accountant. Joseph Brodsky's early childhood was during the years of war, blockade, and then post-war poverty and overcrowding. In 1942, after the winter of the siege, Joseph’s mother and Joseph left for evacuation to Cherepovets.
In 1955, having completed seven grades and starting the eighth, Joseph Brodsky left school and became an apprentice milling machine operator at the Arsenal plant. This decision was related both to problems at school and to Brodsky’s desire to financially support his family. Tried unsuccessfully to enter submariner school. At the age of 16, he got the idea of becoming a doctor, worked for a month as an assistant dissector in a morgue at a regional hospital, dissected corpses, but eventually abandoned his medical career. In addition, for five years after leaving school, Brodsky worked as a stoker in a boiler room, a sailor in a lighthouse, and a worker on five geological expeditions. At the same time, he read a lot, but chaotically - primarily poetry, philosophical and religious literature, began to study English and Polish, and translate Polish poets. He began writing poetry in 1956-1957. One of the decisive impetuses was the acquaintance with the poetry of Boris Slutsky. Despite the fact that Brodsky did not write direct political poems against the Soviet regime, the independence of the form and content of his poems, plus the independence of personal behavior, irritated ideological overseers.
In 1958, Brodsky and his friends considered the possibility of escaping from the USSR by hijacking a plane, but then abandoned this plan. This daring idea of the future Nobel laureate and his two comrades was born within the walls of the Smena editorial office. In 1959 he met Evgeny Rein, Anatoly Naiman, Vladimir Uflyand, Bulat Okudzhava.
On February 14, 1960, Joseph Brodsky’s first major public performance took place at the “tournament of poets” in the Leningrad Palace of Culture. Gorky with the participation of A. S. Kushner, G. Ya. Gorbovsky, V. A. Sosnora. The reading of the poem “Jewish Cemetery” caused a scandal.
In August 1961, in Komarovo, Evgeniy Rein introduced Brodsky to Anna Akhmatova. Together with Naiman and Rein, Brodsky was part of Anna Akhmatova’s last entourage, called “Akhmatov’s orphans.” In 1962, during a trip to Pskov, he met N. Ya. Mandelstam, and in 1963, at Akhmatova’s, with Lydia Chukovskaya.
In 1962, Brodsky met the young artist Marina (Marianna) Basmanova. The first poems with dedication “M. B." - “I hugged these shoulders and looked...”, “No melancholy, no love, no sadness...”, “A riddle to an angel” date back to the same year. They finally separated in 1968 after the birth of their common son, Andrei Basmanov.
On January 8, 1964, Vecherny Leningrad published a selection of letters from readers demanding that the “parasite Brodsky” be punished. On February 13, 1964, Brodsky was arrested on charges of parasitism. Two sessions of Brodsky’s trial were recorded by Frida Vigdorova and formed the content of the “White Book” distributed in samizdat. All prosecution witnesses began their testimony with the words: “I don’t personally know Brodsky...”, echoing the exemplary formulation of Pasternak’s persecution: “I haven’t read Pasternak’s novel, but I condemn it!..”.
The trial of the poet became one of the factors that led to the emergence of the human rights movement in the USSR and to increased attention abroad to the situation with human rights in the USSR. The transcript of Frida Vigdorova was published in several influential foreign media: “New Leader”, “Encounter”, “Figaro Litteraire”. At the end of 1964, letters in defense of Brodsky were sent by D. D. Shostakovich, S. Ya. Marshak, K. I. Chukovsky, K. G. Paustovsky, A. T. Tvardovsky, Yu. P. German.
On March 13, 1964, at the second court hearing, Brodsky was sentenced to the maximum possible punishment under the decree on “parasitism” - five years of exile with mandatory labor under the Decree “On Responsibility for Parasitism.” Brodsky was exiled to the Konoshsky district of the Arkhangelsk region and settled in the village of Norenskaya. In exile, Brodsky continues to write: “The Noise of the Rain...,” “Song,” “Winter Mail,” and “To a Poetess” were written during these years. Studying English poetry. Several poems by Joseph Brodsky were published in the Konosha regional newspaper “Prazyv”.
A year and a half later, the punishment was canceled under pressure from the world community (in particular, after Jean-Paul Sartre and a number of other foreign writers appealed to the Soviet government). In September 1965, Brodsky, on the recommendation of Chukovsky and Boris Vakhtin, was accepted into the professional group of writers at the Leningrad branch of the Union of Writers of the USSR, which allowed him to subsequently avoid accusations of parasitism. Brodsky begins working as a professional translator under a contract with a number of publishing houses.
In 1965, a large selection of Brodsky's poems and a transcript of the trial were published in the almanac Airways IV (New York). In his interviews, Brodsky resisted the image of a fighter against Soviet power imposed on him, especially by the American intelligentsia. He made statements like, “I'm lucky in every way. Other people got it much more, had it much harder than me.”
On May 12, 1972, Brodsky was summoned to the OVIR of the Leningrad police and given a choice: emigration or prisons and mental hospitals. On June 4, Joseph Brodsky was forced to leave his homeland. He leaves for the USA, where he receives recognition and normal conditions for literary work. Brodsky began working as a visiting professor at the Department of Slavic Studies at the University of Michigan in Ann Arbor: he taught the history of Russian literature, Russian poetry of the 20th century, and the theory of verse. In 1981 he moved to New York. Brodsky, who did not even graduate from school, worked at a total of six American and British universities, including Columbia and New York.
In the West, eight of Brodsky’s poetry books were published in Russian: “Poems and Poems” (1965); "Stop in the Desert" (1970); "In England" (1977); "The End of a Beautiful Era" (1977); "Part of Speech" (1977); "Roman Elegies" (1982); “New Stanzas for Augusta” (1983); "Urania" (1987); drama “Marble” (in Russian, 1984). Brodsky received wide recognition in the scientific and literary circles of the USA and Great Britain, and was awarded the Order of the Legion of Honor in France. He was engaged in literary translations into Russian (in particular, he translated Tom Stoppard’s play “Rosencrantz and Guildenstern are Dead”) and Nabokov’s poems into English.
In 1990, Brodsky married Russian-Italian translator Maria Sozzani. He spoke English with their common daughter.
Joseph Brodsky died of a heart attack on the night of January 28, 1996 in New York. He was buried in one of his favorite cities - Venice - in the cemetery of the island of San Michele.
Evgeny Klyachkin, Alexander Mirzayan, Alexander Vasiliev, Svetlana Surganova, Diana Arbenina, Pyotr Mamonov and other authors wrote songs based on the poems of I. A. Brodsky.
Fondamenta degli incurabili (Embankment of the Incurables). fb2
Democracy! . fb2
From a book of essays. fb2
Favorites. fb2
Interview with Joseph Brodsky. fb2
How to read a book. fb2
A collector's item. fb2
The end of a wonderful era. fb2
Less than one. fb2
Marble. fb2
On Cavafy's side. fb2
Parting words. fb2
Nobel lecture. fb2
New stanzas for Augusta. fb2
About Dostoevsky. fb2
About one poem. fb2
Stop in the desert. fb2
Landscape with flood. fb2
One and a half rooms. fb2
Dedicated to the spine. fb2
Afterword to "The Pit" by A. Platonov. fb2
In praise of boredom. fb2
Bobo's funeral. fb2
Poet and prose. fb2
Prose and essay. fb2
Guide to the renamed city. fb2
Travel to Istanbul. fb2
Collected works. fb2
Works of Joseph Brodsky. Volume VI. fb2
Works of Joseph Brodsky. Volume VII. fb2
Poems (2). fb2
Poems (3). fb2
Poems (4). fb2
Poetry. fb2
Poems and poems. fb2
Trophy. fb2
Urania. fb2
Part of speech. fb2
Procession. fb2
The future poet was born in Leningrad, which he prefers to call St. Petersburg. In the essay “Less than One,” Brodsky devotes many pages to describing post-siege Leningrad. From these porticoes and facades, both classical, eclectic, and modernist, he studied the history of culture much better than he later learned from books. But, Brodsky does not hide, life was going on on the stage of the beautiful city-museum, crushing people with its centralization and militarization. The main virtue of citizens, including schoolchildren, was considered obedience. The school gave Brodsky his first annoyingly mediocre lessons in ideology. At the age of 15, the future poet leaves school and further engages in self-education. He believed that from the 8th grade it was necessary to begin a narrow specialization, since the young man has a sharp mind and excellent memory, but he has to devote time to studying disciplines that he will never need again.
Brodsky thoroughly learned two foreign languages - English and Polish, and subsequently translated from them. He studies philosophy, including religious and metaphysical, of course, illegally. Of course, he deals with literature, both official and unofficial.
Brodsky considers himself to be a member of the generation of 1956, but not to the “children of the 20th Congress,” but to those young people whose consciousness underwent a turning point under the influence of the suppression of the “Budapest Autumn” by the ATS troops. Many thinking people stopped believing Soviet propaganda. This was the first impetus for the emergence of dissident sentiments. Some went into legal opposition, others, like Brodsky, denied the existing order of things much more sharply.
From that time on, global categories occupied a central place in Brodsky’s texts. He begins to write at the age of 16 and develops as a poet among poets who begin their career in the magazine “Syntax” (1958). Brodsky reads his poems with friends and acquaintances. The poet’s talent was appreciated by Akhmatova, whose senior comrade Evgeniy Rein opened the way to her house for the young poet.
Despite the unofficial recognition, official publication in the USSR did not await Brodsky. Since the age of 16, he has been under KGB surveillance. He was arrested four times and in 1964, on trumped-up charges, was subjected to a psychiatric examination, and then, on charges of parasitism, received 5 years of exile. Due to public protest (Akhmatova, Shostakovich), the exile was reduced to one and a half years. He was in exile in 1964-1965 in the village of Norenskaya, Arkhangelsk region, where he had to engage in forced labor. The authorities miscalculated, as they awarded Brodsky the halo of a martyr for intellectual freedom. From now on, everything that came from his pen attracted wide public interest. In 1965 the collection “Poems and Poems” was published in the USA, and in 1970 the second collection “Stop in the Desert” was published. The total volume of what Brodsky wrote in 1956 - 1972 amounted to 4 volumes of typescript.
Brodsky was persecuted, although it cannot be said that political themes occupied a prominent place in his works. His poetry is of an intellectual and philosophical nature, however, his interpretation of eternal themes differed sharply from that accepted in the literature of socialist realism, since Brodsky declared himself as an existentialist poet, reviving the traditions of modernism, artificially broken off during the period of totalitarianism, and peculiarly crossing them with traditions pre-postmodern classics. Brodsky seemed to synthesize on a modernist platform the discoveries of various artistic systems of the past, so that his artistic orientation is often defined as neo-modernism.
“The theme of existential despair broke through in the poetry of the young Brodsky,” writes Viktor Erofeev, “captivating along the way the themes of parting, separation and loss.” In this poetry, a certain timelessness and detachment were palpable; the historical optimism inherent in the work of the sixties was absent. On the contrary, it is very pessimistic, dramatic and tragic notes emerge, sometimes softened by irony. But this tragedy does not emerge openly, not forcefully, but as if from subtext, as if against the will of the author, who is by no means inclined to demonstrate his spiritual wounds, is very restrained in expressing poetic feelings and prefers a dispassionate tone. Brodsky in this regard was greatly influenced by Anglo-American poetry and, above all, T. S. Eliot. Brodsky noted the influence exerted on him by the English language itself, which by its nature was colder, neutral, detached, expressing the rational rather than the emotional, a language in which the features of the English national character were manifested. Brodsky introduces into the Russian literary language, which in the sense of expressing the emotional and rational occupies an intermediate position, elements of anglicization - restraint, detachment. He often constructs his texts based on syntactic models not of Russian, but of English. All this taken together gave the Russian language a new quality. Brodsky expanded the possibilities of poetic creativity due to even deeper subtext than Akhmatova’s, and his masterly use of details. Brodsky, as a modernist, recalled the polysemantic nature of the poetic word, which for him turns out to be the intersection of many meanings.
Brodsky focused on the proseization of poetic speech. In the second half of the century, the poetry of leading Western literature switched to free verse. The dispassionately detached style was very closely fused with personality traits; it was not an artificial graft for Brodsky and contributed to identifying the peculiarities of his worldview. Brodsky is first and foremost a poet of thought. The rational principle in his personality and poetry dominates over the emotional. It is no coincidence that most of Brodsky's works are reflections on existence and non-existence, on space and time, on culture and civilization. Increased attention to eternal themes reflected the desire to break out of the limited circle of cultural life into which the ordinary Soviet person was confined. Brodsky has significant ancient and biblical cultural layers. Brodsky emphasizes not merging with his time, but disengagement. “I erected a different monument to myself // With my back to the shameful century.”
Brodsky's works are distinguished by the obligatory connection between the individual and the universal. Through the concrete forms of time the timeless, the existential, the eternal emerges. Brodsky's intonation cannot be confused with anyone else's. Well-established skepticism, irony, and melancholy appear in it like habitual melancholy. Brodsky hides his mental anguish; he is restrained and imperturbable, proudly contemptuous and even mocking. Sometimes this is served by a Gaeric tone, playing the role of a mask: “The Greek principle of the mask is now back in use.”
The works of the first period reflected the nonconformism of the individual, ready to defend his “I” to the end, looking for a life purpose along the paths of existentialism, a uniquely understood stoicism. According to existentialism, the main definition of being is its openness, openness to transcendence. Transcendence is going beyond limits; in the philosophy of existentialism, transcendence is understood as going beyond the limits of one’s “I” into the sphere of pure spirit. This exit is considered saving, because, coming into the world, a person becomes a victim of objectification and begins to realize his life is meaningless. Existence through transcendence is considered as a factor that allows one to escape from the world of objectification, where necessity dominates.
Striving to spiritually free himself from the clutches of totalitarianism, Brodsky became more and more imbued with an existentialist worldview. When asked by a journalist what influenced the development of his character: “When I was 22 or 23 years old, I had the feeling that something else had taken possession of me and that I was not interested in the environment... at best, as a springboard...” Illustration trends towards greater autonomy. “Sooner or later there comes a time when gravity stops affecting you.” The poet's inner life, in which transcendence predominates, overshadowed his outer life. Physically being in the earthly world, Brodsky spent most of his time in the kingdom of pure spirit. Persecuted by the authorities, Brodsky as a poet and personality gradually turns into a self-sufficient closed system. Alienation from the world, as researcher Lurie showed, was for Brodsky the only option for gaining spiritual freedom. “Our inner world is exaggerated, and the outer world, accordingly, is reduced,” his neighbor in a psychiatric hospital conveys to the authorities the words of the autobiographical hero in the poem “Goryunov and Gorchakov.”
Gradually, Brodsky began to personify the outside world (under the influence of exile) with the image of the desert. The desert in Brodsky's works is a metaphor for an empty, meaningless life, which the poet equates with spiritual nothingness. This is the life of mass people in a totalitarian society, which causes inescapable loneliness in a thinking person. It is no coincidence that Brodsky’s desert landscape is absolutely without people. Beginning with the poem “Isaac and Abraham,” the desert landscape appears barren. “Hills, hills, you can’t count them, measure them...” This is Brodsky’s reaction to the gradual winding down of the thaw. Brodsky shows that a person walking through the desert falls into the sand, stands still and may even die.
“Paving the way without a compass, // I use the altimeter of pride” - “Winter Mail”. The lyrical hero is a traveler across a vast area without any landmarks, where a person, in order not to destroy himself as an individual, must obey exclusively reason and moral sense. Traveling through space serves as a metaphor for life's journey - a person's journey through time. “Edification” (1987) - the journey of life is likened to climbing the mountain paths and steep slopes of Asia. This is a very difficult path, but the main thing is that even if you reach the top, it is important not to get dizzy.
Throughout “Edification” there is a motif of distrust of the world, where a sleeping person can be hacked to death, and a hungry and naked person can be thrown out into the cold. All these are options for reprisals against a person who has chosen his own path in life. In such a world, you can only fully rely on yourself. But this is also a real opportunity to survive and succeed. Hence the cult of individualism characteristic of Brodsky. Brodsky strives to deprive this concept of a negative halo and use individuality as a counterbalance to the “ochlos” - the collective, the basis of mass society. Sometimes Brodsky even sees the future as an empire of the masses. “The future is black, // but from people, and not // because it // seems black to me.” Such a future is programmed for the disappearance of individuality. Brodsky characterizes his work as an “aria of the minority.” “The idea of the existential uniqueness of each is replaced by the idea of personal autonomy.” Brodsky's individualism can be considered synonymous with the principle of personality as the supreme value of society. This principle, Brodsky shows in his essay “Travel to Istanbul,” is alien to the tradition of the East, which was also adopted in the USSR. Having become convinced of how cruelly the authorities and the masses deal with those who are different from them, Brodsky portrays himself in the “New Stanzas to Augusta” as a man whose soul is flogged through and through. In the poem “Conversation with a Celestial,” Brodsky compares existence in a totalitarian society to a daily endless Golgotha. We are, of course, talking about moral Golgotha. The lyrical hero is likened to a martyr. Life itself is, first of all, pain, and man is an “experiencer of pain.”
Brodsky depicts the consequences of his traumatization by all the norms regulating the existence of a totalitarian state and revealed in the post-thaw period. “The detachment from oneself began... At that time it was something like self-defense.” Brodsky comes to self-detachment as a kind of anesthesia. This is where detachment and self-estrangement appear in Brodsky’s work: “I want to isolate myself from myself.” The poet begins to look at his suffering like a researcher from the outside. This is a look first at himself in the mirror, and together, moving away from himself to the side, the poet also moves away from the source of pain. Over time, this self-detachment becomes a familiar literary feature of Brodsky. “Mexican divertissement”: “So at the same time you look at yourself - from nowhere.”
Sometimes Brodsky looks at himself from a very high and very distant point of view, for example, through the eyes of an angel (“Conversation...”). This is an ideal, extremely objective point of view. Self-distance is not enough for Brodsky. Between himself and life he places the phenomenon of death. The tragedy of the finitude of existence in Brodsky’s perception overshadows all the dramas he experiences. What helps him cope with the breakup with his beloved and parting with his homeland is the knowledge that separation from the world awaits everyone. The greater horror covers the lesser one, neutralizes it to some extent and helps to endure it. Death as an integral component of existence occupies a significant place in Brodsky's works. The early period of his work is characterized by the epithet “black”. Brodsky gives death a prosaic appearance. Time itself, according to Brodsky, was created by death. “Man is the end of himself and goes into time.” Through the prism of finitude and mortality, the poet evaluates the phenomenon of life itself. “Life is only conversation in the face of silence.” An ordinary landscape under Brodsky’s hand can develop into his philosophical reflections, in which the component of death will also be presented. The poet emphasizes that the soul, exhausted by experiences, seems to become thinner. The perception of life as a movement towards death imposes a shade of melancholy and some detachment from everyday life on Brodsky’s poems. Brodsky strives to look beyond the edge and guess what awaits us after death. At first, the poet still admits the possibility of the existence of life beyond the grave. “Letter in a Bottle” (1965): “When on my modest ship... I go to what may be great.” He also has purely symbolist ideas about life as a dream within a dream, and death as a resurrection in another kingdom. Gradually, Brodsky begins to subject well-known religious and philosophical concepts to rationalistic comprehension and interpretation.
“In memory of T.B.”: “You were the first to go to that country... where everyone - wise men, idiots - all look the same.” Consequently, both recognition and meeting beyond the grave are impossible. The description of the afterlife of countless doubles cannot but make one shudder.
Brodsky interprets hell and heaven in a non-traditional way. Hell is the totality of those torments and hardships that can befall a person in life itself. The image of heaven evolves over time towards an increasingly critical perception of the religious model of eternal life. Initially, this is a biblical idyll: “Abraham and Isaac” - an ideal landscape is recreated in which God appears to the heroes in the form of a heavenly bush.
“Lullaby of Cape Cod” is a supercritical assessment of paradise as a place of powerlessness and a dead end, for in paradise, as it is presented in major mythologies, there is no development and creativity, and if the poet cannot engage in creativity, then what kind of paradise is this for him? This main defect of paradise utopia devalues it in the eyes of the poet and reveals its inferiority. Naiman characterizes Brodsky as “a poet without paradise.”
Brodsky gives his own ideal model of existence, which, in his opinion, is better than heaven. The most important signs are boundlessness, spirituality, perfection, creative activity as the main form of life activity, and aspiration that has no limits. This other world exists in the poet’s mind and is more important to him than the earthly world. Figurative designations - metaphors of a star, “that country”, “there”. The poet feels like a subject of “that country.” In the poem “Sonnet” (1962), the lyrical hero lives simultaneously in the real and the ideal. The real world is characterized by prison metaphors, and the ideal world is a world of sweet and sublime dreams. There, in the higher dimension, the soul of the lyrical hero strives:
And again I wander thoughtfully
from interrogation to interrogation along the corridor
to that distant country where there is no more
neither January, nor February, nor March.
The hero goes beyond the boundaries of his “I” into the sphere of pure spirit. The aspiration to another world, when creative imagination merges with transcendence, is figuratively recreated by “The Great Elegy to John Donne.” If we recall Brodsky’s words that a literary dedication is also a self-portrait of the writer, then we must admit: the description of the transcendental flight of the soul of John Donne simultaneously depicts the transcendental flight of the soul of the author of the work:
You were a bird and saw your people
everywhere, all over the slope of the roof.
You have seen all the seas, the entire distant land.
And you saw Hell - in yourself, and then - in reality.
You also saw the clearly bright Paradise
in the saddest - of all passions - frame.
You have seen: life is like your island.
And you met this Ocean:
on all sides there is only darkness, only darkness and howl.
You flew around God and rushed back.
The space of a poem is a space of culture and spirituality. And here, through the centuries, one poet hears another poet, in whose torment he recognizes his own. Mourning the mortal destiny of man brings one and the other together. If, according to Donne, earthly life is hell, then Brodsky likens it to the already ongoing Last Judgment, which people manage to sleep through. The motif of restless sleep, which covers literally everything on earth, is cross-cutting. It is no coincidence that even the living in the author’s description do not differ from the dead. Both good and evil are sleeping, and God has fallen asleep - everything is sleeping, and snow is falling over the earth, covering the earth as if with a white shroud. The only creature who, according to Brodsky, is not sleeping at this time is the poet (John Donne), whose goal is to create an ideal world, more beautiful than anything ever imagined. As long as poetry is written on earth, Brodsky emphasizes, life is not destined to end.
The feeling of being at a great height, in the world of pure spirit, gives a great lift to the lyrical hero; this is the sweetest form of detachment that Brodsky resorts to in life and work. The other world is the reality of his consciousness. Nowhere does he write that he might end up in it after death. Over time, the poems affirm a non-illusory view of things (“Funeral of the Gods”, “Song of Innocence, aka Experience”). In the latter case, Brodsky uses the form of a chorus, giving the floor to the “innocent” and “experienced” mass people, that is, optimists and pessimists. The serene view of the first on the future, according to Brodsky, borders on idiocy, the view of others - with nihilism and death of the spirit. Both have a similar consumer attitude towards the world.
1: “The nightingale will sing to us in the green thicket, // we will not think about death more often, // than crows in view of garden scarecrows.”
2: “Emptiness is more likely and worse than hell, // we don’t know who to tell, there’s no need.”
Both points of view, according to Brodsky, are abnormal. Irony prevails for those who did not try to create anything that would survive them.
A person leaving behind not a void, but a cultural heritage - this problem appears in the death poems of Thomas Stearns Eliot. The poem begins as a mournful requiem and ends as a solemn apotheosis for a man who did so much for two cultures. Brodsky depicts two homelands in the form of tombstones petrified from grief that stand on the sides of the grave.
You went to others, but we
we call it the kingdom of darkness
According to Brodsky, Eliot went into the world of culture, which continues to exist even after his physical death. The poet's soul avoids decay.
Brodsky also tries on his own death. This experience gives rise to the understanding that death can be overcome by the symbolic immortality of the spirit. Immortality for Brodsky is a justification for life. If you stayed, it means you created something very important and valuable. The means to achieve immortality is poetry. “A strange metamorphosis occurs... and only a part remains of a person - a part of speech.” “We will go together with you” (address to poetry). Brodsky put all the best he had into his poems:
You are both more beautiful and kinder. You are harder
my body. You are simpler
my bitter thoughts - that too
It will give you a lot of strength and power.
It turns out that any person lays the foundations of his immortality on earth; if he lives a full creative life, he in some form prepares his own immortality. The categories of life and death for Brodsky, as well as for Tsvetaeva, turn out to be devoid of traditional meaning: these are various forms of immortality.
Right, the thicker the scattering
black on a sheet,
the more indifferent the individual
to the past, to emptiness
in future. Their neighborhood
little other good
only speeds up the escape
on the paper of the pen.
Brodsky considers the most important thing to be the creation of timeless values from the temporary, the transitory. The mature Brodsky has the psychology of a son of eternity. He also looks at himself from the future. The future is also a mirror that does not lie. For Brodsky, looking at himself from the distant future is fundamentally important. “In those days I lived in the country of dentists” (about the first period of emigration). We are talking about today, but the past tense form is used, as if for the poet it is the past. “They (angels) enjoy the drama of the lives of dolls, which is exactly what we were in our time.”
This view allows you to soberly evaluate not only yourself, but also the modern world and your age. The poet's vigilance is demonstrated by anti-totalitarian poems of the late 1960s and early 1970s. They show in the lyrical hero a man who was ahead of his time and had the courage to make his opinions public. These are the texts of the so-called “Roman cycle” - “Anno Domini”, “Post aetatem nostram”, “Letters to a Roman Friend”, in which, by bringing together the orders that prevailed in Rome with those that prevail in the Soviet Union, Brodsky exposes the imperial character USSR politics. Rome is a metaphor for the USSR, rooted in the idea of Russia as the third Rome. Brodsky considers himself a Roman, that is, not least, a Stoic and a patrician of spirit. The poems “Anno Domini” and “Post aetatem nostram” will form a kind of diptych. (“Common Era” and “After Common Era.”) Allegorical indication: Brodsky wants to say that the Soviet Union returned to pre-Christian times and discarded the values created by humanity under the influence of Christianity.
The most important feature of these texts is their two-dimensionality, when modern life appears through the image of imperial Rome. The meaning of history is in the essence of structures, and not in decorum, Brodsky emphasizes. He writes on behalf of the ancient Roman poet of the “Silver Latin” era and recreates the celebration of Christmas in one of the provinces. Some paintings were painted as if by a painter. The work, which in fact does not criticize anything, is imbued with the terrible melancholy of the glassy-empty eyes of the mob and the obsequious eyes of the elite groveling before the governor.
Brodsky is much more critical in “Post aetatem nostram”, where he describes imperial rituals symbolizing servility and readiness to betray. The enthusiasm of the masses, joyfully welcoming their despot, is equally ironically depicted. There is a lot of sadness in this work. Brodsky refutes the myth of moving forward and uses the metaphor of a trireme stuck in a ditch. A motif of life stopped in its movement appears, which develops in other texts (“The End of a Beautiful Era”), where Brodsky already abandons the Roman setting. The evils of the system are presented clearly, in generalized allegorical images; the poet gives a group portrait of moral monsters and freaks and allegorically depicts the Soviet Union as a country of fools.
In 1972, Brodsky completed Letters to a Roman Friend. This is a spiritual survival program for those who have not been damaged in their sanity and have retained their sound mind and sense of human dignity. Brodsky uses the literary mask of the ancient Roman poet Martial, who became famous for the satirical causticity and polished laconicism of his epigrams. Martial had a conflict with the authorities, and in his old age he returned to the outback, choosing the lifestyle of a private person who preferred obscurity to humiliation. The mask of a middle-aged, sophisticated man, chosen by 32-year-old Brodsky, is one of the means of self-estrangement. In fact, Brodsky’s ethical and philosophical observations accumulated over his life are cast here in the form of maxims and remarks. The author uses the epistolary form, which allows him to consolidate diverse material into a single whole. A sober-skeptical view of things does not negate a grateful attitude towards what makes life beautiful. The hero's loving gaze is turned to the sea, mountains, trees, and the book of Pliny the Elder. The understanding of the highest value of life permeates the entire work.
Brodsky indulges in ironic philosophizing, asking questions to his friends, to whom he addresses on behalf of Martial. One feels that he is not very worried about what is happening in the capital, since he knows what tyrants and their servile servants are like. In fact, the hero of the poem is most concerned about the question of death on the verge. Initially, these considerations arise in the story of a visit to a cemetery. Is the hero trying to imagine what will happen in the world after he dies? Everything will remain in its place, the mountains, the sea and the trees, and even the book. Brodsky reveals the tragic background of human existence, regardless of where a person lives and who he is. The feeling of all-human solidarity, based on the awareness of the common tragedy under which man exists, should, according to the poet’s thoughts, contribute to progress on earth. Until such unity has occurred, the poet teaches how to live in conditions of unfreedom.
Along with the image of the Stoic Roman, the image of the Greek also appears. Initially, this is Theseus (“To Lycomedes on Skyros”), who entered into a fight with the Minotaur. Next is the image of a Greek who, living in the Roman Empire, does not want to be either a fool or a stoic. A motive for escape appears.
In 1972, Brodsky was summoned to the OVIR and there he was told that either he would go to the west, or he would be sent to the east. Brodsky was perceived as the informal leader of banned literature. All departure documents were completed three days in advance, which means the action was planned in advance. (Like other opposition authors, Brodsky was expelled.)
In his first article published abroad (“Look back without anger”), Brodsky, in his own words, refuses to tar the gates of his homeland. He says that he not only experienced a lot of bad things in his country, but also a lot of good things: love, friendship, discoveries in the field of art. He has a negative attitude towards the regime, not his fatherland. Brodsky compares the position of the unofficial, independently thinking artist in the USSR and in the West and comes to the conclusion that they are both trying to break through the wall. In the USSR, the wall responds in such a way that it endangers the life of the artist. Here in the West, Brodsky shows, the wall does not react at all, which has a very painful effect on the creator’s psyche. “I’ll tell the truth, I don’t know which is worse.” Brodsky again needs to win over an alien audience that is not too interested in poetry. To write well, Brodsky emphasized, you need to have an excellent knowledge of the language in which you are writing. In emigration, the feeding of the linguistic element ceases; a person who breaks away from the country risks becoming old-fashioned.
Later, other emigrants who came from Russia began to play the role of Brodsky’s street. “Before, in St. Petersburg, I wouldn’t even let half of them enter the door.” Now he began to communicate with visitors only in order to capture the peculiarities of their language.
For a writer, according to Brodsky, only one form of patriotism is possible - his attitude towards language. The creator of bad literature in this sense is a traitor, but a real poet is a patriot. Brodsky's article ends with the statement that by changing one place to another, a person changes one type of tragedy to another.
Abroad, at the invitation of Karl Proffer, Brodsky settled in Ann Arbor, improved his English and worked as a poet at the University of Michigan. Only the wealthiest universities in the world could afford to maintain this position (“no country is stupid enough not to cultivate its own cultural elite, and some US universities have such a position”). The poet meets with students once a week and communicates with them in a very free manner. He reads to them his poems, old or new, poems by other poets whom the students do not know well, lectures on literature, Russian or American, or simply communicates. Usually very significant figures are invited to such a position, allowing the student’s personality to grow. Russian remains Brodsky's main language, but over time he improved his English so much that he was able to write in English. He became a Russian-American author. In English, prose, essays, and articles predominate. He saves Russian for poetry. This is now the main means of self-identification, and now the Russian language in the English-speaking community plays the role of a defamiliarizing means for Brodsky.
The first years were the most painful. Brodsky of these years resembles a plant that was rooted in the ground, but it was pulled out and transplanted to another soil, and it is not clear whether it will take root. The outwardly prosperous course of the poet’s life contrasts sharply with the state of emotional and psychological coma, which Brodsky was the first to recreate in world literature. Metaphorically speaking, the poet feels as if he were dead. In the poem “1972”: “It’s not the mind, it’s just blood.” The poet likens himself to the shadow that remains of a person. Emigration brought with it not only freedom, but also a break in all usual ties. Everything that was dear to man was taken away from him. Brodsky had a feeling of being suspended in emptiness, and this shock was so overwhelming that it led to temporary paralysis of the soul. The closest person to what happened to Brodsky was Lurie, who said that the poetry of the emigrant Brodsky was the notes of a man who committed suicide. Skoropanova believes that it is more correct to talk about murder. “Severe pain, having killed in this world, continues in the next world.” The poet is stunned, killed, does not feel anything, this is the highest degree of suffering, when a person suffers so much that he loses the ability to express it emotionally. Self-alienation, the use of metaphors with the meaning of immobility, deadness, when Brodsky looks at himself from the outside and only records movements in space. He often writes about himself in the third person, as in the poem “Laguna”: “A guest carrying grappa in his pocket is absolutely no one, a person like everyone else, who has lost his memory, his homeland...” Overwork from nervous shock. Brodsky separates his own body from the soul and makes it an independent character: “The body in the cloak inhabits spheres where Love, Hope, Faith have no future.” This is not the same person who was in his youth, this is a poet who has suffered and continues to be painfully aware of himself. It is no coincidence that in one of the poems the lyrical hero looks in the mirror and sees clothes, but not his face.
Brodsky often uses the metaphor of ruins, rubble, and debris. The temple of his soul is compared to ruins, fragments. The suffering is compared either to shell shock during a bombing attack or to radiation sickness. Sometimes Brodsky likens his face to a ruin. Everyone who knew him notes that Brodsky grew old very quickly. This is also where the large place of gray in Brodsky’s work of the 1970s comes from. Gray coloring has an anti-aesthetic status. In addition, the motif of cold and glaciation penetrates into Brodsky’s works; it seems to him that he is always cold. The motif of cold is organically intertwined with the motif of loneliness, which has an exceptional place in Brodsky’s emigrant works: in the collections “Part of Speech” (1975-76), “Autumn Cry of a Hawk” (1976-83), “To Urania” (1984-87), "Life in Scattered Light" (1985-86). Wherever the lyrical hero is shown, he is always alone. There is no one with whom to share the “cut piece of the poem.” If in Russia there was a response to his poems (Limonov recalls how in Kharkov students learned Brodsky by heart overnight so that their texts would not be discovered), then abroad there was total alienation. Brodsky also began to have a “top secret” thought about death, about suicide, his moral and psychological state was so severe. "Barbizon Terrace" describes the poet's arrival in a small American town. He checks into the hotel, unpacks his things, and suddenly, suddenly exhausted, his eyes search for the hook of the chandelier. The equivalent of the psychological vacuum in which the poet feels himself is emptiness. The image of the desert undergoes such a transformation in late creativity. “My speech is directed... into that emptiness, whose edges are the edges of a vast desert.” Emptiness is also a metaphor for life in the USA. The poet does not at all idealize this life and portrays the United States as an empire of impersonal masks. Of course, the Americans do not lead the same empty life as the Soviet people, they are more prosperous, but even there “behind today there is a motionless tomorrow.” Change is brought about only by the change of seasons. Brodsky spoke about how he exists in this vacuum, in this soulless environment, in many poems, including “Quintet” (1977):
Now let's imagine absolute emptiness.
A place without time. Actually the air. In that
both in the other and in the third direction. Just Mecca
air. Oxygen, hydrogen. And in it
little twitches day after day
lonely eyelid
As a result of his experiences, Brodsky developed a nervous tic, which he writes about quite detachedly, although this is a physical reaction of the body to the pain of the soul. Brodsky expresses the experiences of the soul through indirect means. We can talk about the dignity with which Brodsky endures his pain. However, in some texts, as in “Nowhere with Love,” the pain bursts out, and the hero seems to scream.
Changing places does not bring Brodsky any real relief. He has visited several dozen countries around the world and creates portraits of many large cities and countries. Taken together, they form the image of a modern urban civilization, increasingly unified and cosmopolitanized (identical airports, hotels) and yet bringing with it alienation. Brodsky notes: “The world merges into a long street on which others live.” Characteristic of Brodsky's works of this type is the almost complete absence of human figures; if they appear, it is the lyrical hero himself. The image of non-living things predominates: houses, asphalt, barges. The living, if it appears, is often no different from the dead in Brodsky’s depiction. It’s also bad that people are essentially no different from each other. Individuality is not developed or killed in them. Perhaps for this reason the lack of communication is very strong.
“In a lonely room, a sheet is crumpled by a white (swarthy) woman, simply nude.”
The inspirituality and inanimateness of the Western world is revealed as its defining feature. The concept of emptiness acquires fundamental meaning in Brodsky's works. “There is probably emptiness after death” (before) - and now emptiness has become an analogue of intravital death. The poet correlates his life with the eternal categories of existence. The flow of time, without beginning and end, was, is and will be. Modernity is only the condensation of time into objects of the material world. It turns out that every person, living in modernity, exists in eternity, but not everyone has the psychology of a son of eternity. “Centaurs”: every person has two hypostases, material and spiritual, present and future, life and death. According to Brodsky, the defining categories for a person should be the categories of eternity. Brodsky compares a person to the sun, which, even if it goes out, will still send its rays to other corners of the universe for millions of years.
In his own way, Brodsky refracts the position of the philosophy of Heidegger, the founder of existentialism, who greatly influenced world philosophy and literature. According to Heidegger's philosophy, focus on the future gives the individual an authentic existence, while the preponderance of the present leads to the fact that the world of things outweighs the consciousness of his finitude for a person. “Nothing on earth is longer than life after us.” Brodsky wants a person to imagine his existence in the world process, to act not as a puppet of his time.
From Heidegger, Brodsky adopted the idea of language as a house of being, which speaks to us through poets, being the historical horizon of understanding. Poetry has intuitive and transcendental ways of knowing. The poet's dependence on language, according to Brodsky, is absolute and at the same time liberating. “Language has enormous centrifugal potential. The poet is the means of existence of language. The irony for the indifference shown by poetry to the state, often to politics, is the indifference of the future, which poetry always represents, to the past. “The philosophy of the state, its ethics, not to mention aesthetics, are always yesterday.” Through language, the poet creates the category of beauty, which “does not bite, it is a cast of self-preservation from human instinct.” Brodsky devotes his life to the creation of more perfect forms of existence, primarily spiritual existence, so that the historical process is not disrupted and the human psyche is not massified.
Of all that Brodsky possessed, the only thing that was not taken away from him was his talent, the ability to create beauty. And abroad, in a foreign place, the same sheet of paper is in front of him. “This white, empty sheet of paper is filled with lines. Emptiness is overcome by creativity.” Here is the formula that Brodsky offers to combat emptiness. Genuine being presses against non-existence, rushing into eternity. Creativity was the only thread connecting Brodsky with reality, and it is creativity, as we learn in the poem “New Life” (1988, after receiving the Nobel Prize), that helps him avoid disaster. Brodsky, however, evaluates himself and what he has done quite critically. Apparently, his creativity did not have such power to wipe out all evil from the face of the earth. Brodsky's judgment on himself is much stricter than anyone else's. Perhaps the author himself is disappointed with precisely the texts that we like. This is inevitable for a thinking person who places high demands on himself. In an article dedicated to Dostoevsky, Brodsky notes that all creativity begins as a desire for self-improvement, ideally for holiness. But at a certain stage, the artist of words notices that his pen has achieved greater success than his soul. And then he sets the task of minimizing the gap between creativity and personality. Thus, the problem of moral self-improvement comes to the fore. “What are you working on now?” - "I'm working on myself".
Over the years, Brodsky becomes more clearly aware of the socio-historical significance of the work to which he devoted himself. “In the history of our species, a book is an anthropological phenomenon... A book is a means of moving through the space of experience at the speed of turning a page. This movement becomes... an escape from the common denominator... towards the individual, towards the particular.” Hence Brodsky’s attitude towards literature as the highest goal of our species, for it stimulates the transformation of man from a social animal into a personality. And the writer contrasts the dominion of the faceless mass with the “apotheosis of particles” of free individuals, bearers of the fullness of human potential. The tragedy of the individual in the era of a mass totalitarian system is expressed with great force. The role of culture and art as a stimulus for self-development, self-creation, and self-improvement is revealed.
Five books of Brodsky's poems have been translated into English, and books of essays have been published. Researchers note that the circle of readers abroad is not very wide, but among its readers there are very large and significant figures of world culture. Indeed, over time, Brodsky begins to be perceived as the most important poet of Russia in the second half of the century.
For the past 17 years, Brodsky has lived in New York, in Greenwich Village, and every spring he teaches a course on literature. The poet married and named his daughter Anna-Marina in honor of Akhmatova and Tsvetaeva. Brodsky responded positively to the events of the collapse of totalitarianism in the USSR and said that for the first time he was not ashamed of his former homeland. At the same time, the farce of perestroika forced him to create a postmodern ironic text based on materials from the Soviet press “Perestroika”.
Brodsky became the main figure in the poetry of the third wave of emigrants.
It must be said that among representatives of the Russian diaspora, Brodsky did not eclipse all talented poets. These are Naum Korzhavin, Yuri Tuganovsky, Bakhyt Kenzheev, Dmitry Bobyshev, Lev Losev. Among them, as among the poets of the metropolis, there are realists, modernists, and postmodernists. In their work, the archetype of home occupies the largest place as the archetype of an abandoned homeland. For example, Naum Korzhavin’s book is called “Letter to Moscow.” The poet admits that he writes not for a Western reader, not for a foreign one. His thoughts and feelings are in his former homeland, and he perceives everything that he creates during the years of emigration as a letter to the Russian reader, hoping that his texts will be needed for something, will help him survive and be formed.
Tuganovsky calls his cycle of poems “Dedicated to the Motherland.” Tuganovsky was a deeply religious man, was in contact with Solzhenitsyn and adopted the pochvennik ideology from him. He sees the future of Russia in pochvennichestvo expression. Whatever it may be, Tuganovsky wishes Russia happiness.
Bakhyt Kenzheev (“Autumn in America”) shows that any emigrant writer is very lonely. Kenzheev lived in solitude in Canada. He emphasizes the alienation of the people of the world, proves that this is insurmountable, and in connection with this he calls himself “the brother of the world’s sorrow.” In one of the poems, he depicts himself as a man sitting in a tavern, looking at the ocean, whose only companion is silence. It would seem that such a separation from the homeland, such loneliness, and life should seem meaningless, but this does not happen. He tries to warm this cold, this emptiness with his breath through poetry. He is confident that through creativity he is building up a layer of culture, erecting a certain moral barrier that will not allow the new Cain to kill the new Abel. The literature of Russian diaspora is generally characterized by historical and cultural motifs. If your home is far away, then which home is close? For many emigrants, Russian culture became such a home. Many people appeal to her. Sometimes this leads to the deconstruction of the cultural intertext. This happened in “Russian Tertsins” by Dmitry Bobyshev. He says that Blok managed to see how the Russian people “roared” (revolution, civil war), but then the people fell into slavery again. “Will we see him in spiritual power?” Even if many in the USSR are deceived by propaganda, Bobyshev shows, there are righteous people in Russia (a reference to Solzhenitsyn and the proverb “A village is not worth without a righteous man”). Calling himself a native son of Russia, Bobyshev is trying to tell the truth about the twentieth century.
The poet Lev Losev also understands his time through the classics. He appeals to Pushkin. “Song to the Prophetic Oleg” is a new version of history, where Russia is the homeland of not only the Russians, but also the Khazars, the Tatars, and all others who have become Russified over time. Continuing Pushkin, the poet, whose lyrical hero is a Khazar, says that the prophetic Oleg, although he is going to burn villages and fields, but maybe it wouldn’t be worth it? In the work “To Mayakovsky,” Losev partially quotes in his own way the poem “The Story of the Foundry Man Kozyrev.” The idea that every person in the USSR has a separate apartment is refuted. An apartment “in which you can freely make love” is the dream of a Soviet person. Only after this is realized can it be said that the Soviet country is a “suitable place to live.” With the help of classics, Losev debunks myths.
The works of emigrants increased the cultural layer without which a true renewal of life is impossible. They came to the domestic reader in the 1990s.
Along with the existential forms of modernism, avant-gardeism is also being developed.
The poet's mother Maria Moiseevna was an accountant. Father Alexander Ivanovich is a photojournalist, and quite famous. During the war he worked as a correspondent in the navy.
Joseph’s mother believed that only hooligans studied at the school next to the house, and sent him to a boys’ school (at that time there was separate education for boys and girls) far from home. Joseph often caught a cold and sat at home. His neighbor Vladimir Uflyand, a future poet, recalled that at the age of ten Osya “realized that he wanted to become a poet, and took an oath to become one.” Joseph graduated from eight-year school in 1955 and, in search of himself and his calling, went to work at a factory. “I’ve been working since I was fifteen. I have the profession of milling machine operator, geophysicist, fireman, sailor, orderly, photographer. I worked in geological parties in Yakutia, on the White Sea coast, on the Tien Shan, in Kazakhstan. All this is recorded in my work book.” At the same time, he studied English and Polish.
Brodsky's first poetic experiments date back to 1957. In the early 60s, he turned to translation. Slavic and English-language poets attracted his attention. By the end of the 60s, his name was well known among the creative youth of Leningrad and in unofficial literary circles.
In February 1964, Brodsky was arrested. A case was fabricated against him: he was accused of parasitism, which in those days was a criminal offense. As a result, he was exiled for five years to the village of Norenskaya, Konoshsky district, Arkhangelsk region. At the trial to a question. “Why weren’t you working?” The 24-year-old poet replied: “I was working. I wrote poetry." - “Answer me, why didn’t you work?” - “I worked. I wrote poetry." - “Why didn’t you study this at university?” - “I thought it was from God.” The famous children's writer Frida Vigdorova secretly transcribed the proceedings, since the meeting was closed and the press was not allowed to attend.
On the Danilovsky collective farm, where the exiled poet was sent, he was first a worker, that is, he performed a variety of unskilled jobs. As the landlady with whom he was a guest recalled, “he carried manure, cut fence poles...”. But due to health reasons, he was allowed to change his career. And he became a traveling photographer. At this time (1965), his first book, “Poems and Poems,” was published abroad without his knowledge. By this time, Brodsky was already quite a famous poet. Anna Akhmatova, S. Ya. Marshak, Dmitry Shostakovich and many other personalities stood up for him, whose opinions the Soviet government could not help but take into account, especially since Brodsky’s case received worldwide publicity. In 1965, by decision of the Supreme Court, the period of deportation was reduced. Under pressure from the international cultural community, Brodsky was released early. This happened a year and a half later.
The poet returned to Leningrad. However, this return in itself did not mean the end of the conflict with those in power. The poet wrote on the table, they were afraid to print it. And, according to the wonderful Russian tradition, the disgraced poet took up translations. During this entire period until his emigration, in addition to translations, Brodsky managed to publish only 4 poems. His work was known in the USSR only thanks to samizdat. The poet's life in his homeland became more and more unbearable every day. And on June 4, 1972, Brodsky was forced to leave Russia.
Brodsky, as he himself put it, “landed” in the USA, in New York. Professor Brodsky taught the history of Russian and English literature at Southheadley. He wrote poetry in Russian. Around 1973, he began to write some articles and essays in English. In 1987, Brodsky received the Nobel Prize in Literature (he became the fifth Russian laureate after Bunin, Pasternak, Sholokhov and Solzhenitsyn). In July 1989, the Supreme Court of the RSFSR dismissed Brodsky’s “case” “due to the absence of an administrative offense in his actions.” In December 1987, “New World” for the first time after I. Brodsky’s 15-year emigration published in his homeland a selection of poems by the already world-famous poet. And an avalanche of publications has already poured in. Finally, in 1992 - 1994. The Pushkin Foundation, to which the poet transferred the exclusive right to publish his works, prepared the Collected Works in 4 volumes (compiled by V. F. Komarov, Third Wave Publishing House). The poet's collections in Russian have been published abroad since 1965 (mainly in the USA).
Living abroad, the poet travels a lot around the world, giving lectures in different cities. His impressions are reflected in poems, travel notes, and essays.
Akhmatova called Brodsky’s poems magical. The poet himself said this about poetic creativity in his Nobel speech: “Whoever writes a poem writes it first of all because versification is a colossal accelerator of consciousness, thinking, and worldview; having experienced this acceleration once, a person is no longer able to refuse to repeat it. After experiencing this experience, he becomes dependent on this process, just as one becomes dependent on drugs or alcohol. A person who is in such a dependence on language, I believe, is called a poet.”
This book is part of the electronic collected works of I. Brodsky, containing the main body of poems and poems. Not included here (and included in separate files): Brodsky’s poetic translations from various authors into Russian. language; unfinished poem “The Hundred Years' War” with notes by Y. Gordin; translations of Brodsky's poems into English. language (by the author himself and other translators); poems originally written by Brodsky in English. language, and their translations into Russian (not by the author); unfinished poem “History of the 20th Century”, written in English and translated into Russian by E. Finkel. All original poetic texts by Brodsky published in the former USSR are presented (as far as possible). The collection may not yet include some early poems (before 1962?), which the author later did not want to publish (for example, “Earth” and “The Ballad of the Little Tug”), as well as unfinished poems, sketches, variants and other little-known works (perhaps they will still be published). The texts were prepared by collating and proofreading electronic source texts that have long been on the Internet (presumably these were hand-typed from early publications or “samizdat”), and OCR according to the publications: “Works of Joseph Brodsky” , hereinafter “SIB” (1st ed. in 4 vols., ed. G. F. Komarov, “Pushkin Fund”, St. Petersburg, 1994; 2nd ed., vols. 1 and 2, ed. Y. Gordin, 1998); based on the collection “Part of Speech” approved by Brodsky (compiled by E. Beznosov, M., “Fiction”, 1990; hereinafter “ChR”); and from the collection “Form of Time” (compiled by V. Uflyand, “Eridan”, Minsk, 1992; hereinafter FV). In case of discrepancies in punctuation and minor corrections to the text, preference is given to NIB, with corrections for the existing volumes of the 2nd edition; if there are significant differences in the text, options are given from other publications or from the electronic source text (designated as “unknown source”). The order of the poems follows the chronological principle of the NIB: within each month, season, year, decade, precisely dated poems appear first in chronological order , then dated more and more approximately in alphabetical order, i.e. dated by month, season, year, then dated imprecisely, tentatively or not dated at all - also in alphabetical order. Dating follows NIB:<1990>means date of first publication, 1990? indicates approximate dating. Some undated early poems not included in the NIB are given from unknown sources and dated. In some noted cases, the dating followed those published in English. language, with the participation of Brodsky, collections: “Selected Poems” (1973, hereinafter SP), “Part of Speech” (1980, hereinafter PS), “To Urania” (1988, hereinafter TU) and “So Forth” (1996, hereinafter SF) .The notes to the texts present in the NIB are supplemented by notes from other publications (and, where necessary, my textual explanations); all notes are attributed. Words highlighted in capital letters or spaced in the NIB are given in italics.S. V. Preparation of the text: Sergey Vinitsky. The collected works of I. Brodsky are located on the Internet at “http://brodsky.da.ru”.]
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