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Brodsky, Joseph Alexandrovich
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Joseph Brodsky
Birth name: Joseph Alexandrovich Brodsky
Date of birth: May 24 1940(1940-05-24)[1][2]
Place of birth: Leningrad, RSFSR, USSR
Date of death: January 28, 1996(1996-01-28) [1] (55 years old)
Place of death: New York, New York, USA[1]
Citizenship: USSR USSR
USA USA
Occupation: poet, essayist, playwright, translator
Creative years: 1956-1996
Language of works: Russian, English
Prizes: Nobel Prize in Literature (1987)
MacArthur Fellowship (1981)
Poet Laureate of the USA (1991)
Awards:
Signature:
Works on the site Lib.ru Works in Wikitek Files on Wikimedia Commons
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Joseph Alexandrovich Brodsky (May 24, 1940, Leningrad, USSR January 28, 1996, New York, USA; buried in Venice) was a Russian and American poet, essayist, playwright, translator, winner of the Nobel Prize in Literature in 1987, poet laureate of the United States in 1991-1992.
He wrote poems mainly in Russian, essays — in English.
Content
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1 Biography 1.1 Childhood and youth 1.2 Early poems, influences 1.3 Persecution, trial and exile 1.4 Recent years at home 1.5 In exile 1.5.1 Departure 1.5.2 Life line 1.5.3 Poet and essayist 1.5.4 Playwright, translator, writer 1.5.5 English language poet 1.5.6 Return
1.6 Death and burial
2 Heritage 3 Family 4 Addresses in St. Petersburg 4.1 In Komarov
5 Editions 5.1 In English
6 Memory 7 See also 8 Notes 9 Literature 10 References
Biography[edit / edit wiki text]
Childhood and youth[edit / edit wiki text]
Joseph Brodsky was born on May 24, 1940 in Leningrad in a Jewish family.
His father, captain of the 3rd rank of the USSR Navy Alexander Ivanovich Brodsky (1903-1984), was a military photojournalist, returned from the war in 1948 and joined the photo laboratory of the Naval Museum.
In 1950, he was demobilized, after that he worked as a photographer and journalist in several Leningrad newspapers.
Mother, Maria Moiseevna Volpert (1905-1983), worked as an accountant.
The mother's own sister is an actress of the BDT and the V. F. Komissarzhevskaya Theater, Dora Moiseevna Volpert.
Joseph's early childhood fell on the years of war, the blockade, post war poverty and passed without a father.
In 1942, after the siege winter, Maria Moiseevna and Joseph went to Cherepovets for evacuation, and returned to Leningrad in 1944.
In 1947, Joseph went to school No. 203 on Kirochnaya Street, 8.
In 1950, Joseph moved to school No. 196 on Mokhovaya Street, in 1953, Joseph went to the 7th grade at school No. 181 in Solyanoy Lane and stayed in the following year for the second year.
In 1954, he applied to the Second Baltic School (Maritime School), but was not accepted[3].
He moved to school No. 276 on the Bypass Canal house No. 154, where he continued his studies in the 7th grade.
Muruzi House, view from Liteyny Prospekt.
In the middle, a memorial plaque to Brodsky is visible.
The poet's apartment is located on the side of Pestel Street.
In 1955, the family received a "one and a half rooms" in the Muruzi House[4].
Brodsky's aesthetic views were formed in Leningrad in the 1940s and 1950s.
Neoclassical architecture, which was severely damaged during the bombing, the endless prospects of the Leningrad suburbs, water, the multiplicity of reflections — the motives associated with these impressions of his childhood and youth are invariably present in his work.
In 1955, at the age of less than sixteen, after finishing seven grades and starting the eighth, Brodsky left school and entered the Arsenal factory as an apprentice milling machine operator.
This decision was connected both with problems at school and with Brodsky's desire to financially support the family.
He tried unsuccessfully to enter the school of submariners.
At the age of 16, he caught fire with the idea of becoming a doctor, worked for a month as an assistant dissector in the morgue at the regional hospital, anatomized corpses, but eventually abandoned a medical career.
In addition, for five years after leaving school, Brodsky worked as a stoker in a boiler room, as a sailor at a lighthouse.
Since 1957, he was a worker in the geological expeditions of NIIGA: in 1957 and 1958 on the White Sea, in 1959 and 1961 - in Eastern Siberia and Northern Yakutia, on the Anabar shield.
In the summer of 1961, in the Yakut village of Nelkan, during a period of forced idleness (there were no deer for further hiking), he had a nervous breakdown, and was allowed to return to Leningrad[5][6].
At the same time, he read a lot, but chaotically — primarily poetry, philosophical and religious literature, and began to study English and Polish.[7]
Personal card of I. A. Brodsky in the personnel department of Arsenal
In 1959, he met Evgeny Rein, Anatoly Naiman, Vladimir Uflyand, Bulat Okudzhava, Sergey Dovlatov.
On February 14, 1960, the first major public performance took place at the "tournament of poets" in the Gorky Leningrad Palace of Culture with the participation of A. S. Kushner, G. Ya.
Gorbovsky, V. A. Sosnora.
The reading of the poem "The Jewish Cemetery" caused a scandal[8].
During a trip to Samarkand in December 1960, Brodsky and his friend, former pilot Oleg Shakhmatov, considered a plan to hijack an airplane to fly abroad.
But they did not dare to do this.
Chess was later arrested for illegal weapons possession, the KGB informed about this plan, and on the other his friend, Alexander Umansky, and his "anti Soviet" a manuscript that chess and Brodsky tried to pass by chance encountered the American.
29 January 1961 Brodsky was detained by the KGB, but two days later was released[9][10][11].
In August 1961, in Komarov, Yevgeny Rein introduces Brodsky to Anna Akhmatova.
In 1962, during a trip to Pskov, he met N. Y. Mandelstam, and in 1963, at Akhmatova's, he met Lidia Chukovskaya.
After Akhmatova's death in 1966, with the light hand of D. Bobyshev, four young poets, including Brodsky, were often referred to in memoir literature as "Akhmatova's orphans".
In 1962, the twenty two year old Brodsky met a young artist Marina (Marianna) Basmanova, the daughter of the artist P. I. Basmanov.
Since that time, many of the poet's works have been dedicated to Marianna Basmanova, hidden under the initials "M. B.".
"The poems dedicated to" M. B. "occupy a central place in Brodsky's lyrics not because they are the best there are masterpieces among them and there are passing poems — but because these poems and the spiritual experience invested in them were the crucible in which his poetic personality was melted"[12].
The first poems with this dedication - "I hugged these shoulders and looked...", "No longing, no love, no sadness...", "A Riddle to an angel" date back to 1962.
The collection of poems by I. Brodsky "New Stanzas for August" (USA, Michigan: Ardis, 1983) is made up of his poems of 1962-1982 dedicated to "M. B.".
The last poem with a dedication to "M. B." is dated 1989.
On October 8, 1967, Marianna Basmanova and Joseph Brodsky had a son, Andrey Osipovich Basmanov.
In 1972-1995, M. P. Basmanova and I. A. Brodsky were in correspondence[13].
Early poems, influences[edit / edit wiki text]
According to his own words, Brodsky began writing poetry at the age of eighteen, but there are several poems dated 1956-1957.
One of the decisive pushes was the acquaintance with the poetry of Boris Slutsky.
"Pilgrims", "Monument to Pushkin", "Christmas Romance" are the most famous of Brodsky's early poems.
Many of them are characterized by pronounced musicality.
So, in the poems "From the outskirts to the center" and "I am the son of the suburb, the son of the suburb, the son of the suburb..." you can see the rhythmic elements of jazz improvisations.
Tsvetaeva and Baratynsky, and a few years later — Mandelstam, had, according to Brodsky himself, a decisive influence on him.
Among his contemporaries, he was influenced by Yevgeny Rein, Vladimir Uflyand, Stanislav Krasovitsky.
Later, Brodsky called Auden and Tsvetaeva the greatest poets, followed by Cavafy and Frost, Rilke, Pasternak, Mandelstam and Akhmatova closed the personal canon of the poet[specify][14].
Brodsky's first published poem was "The Ballad of a Small Tugboat", printed in an abridged form in the children's magazine "Koster" (No. 11, 1962).
Harassment, trial and exile[edit / edit wiki text]
On November 29, 1963, an article" Near literary Drone "appeared in the newspaper Vecherniy Leningrad, signed by Ya.
Lerner, M. Medvedev and A. Ionin.
The authors of the article branded Brodsky for a "parasitic lifestyle".
Of the poetic quotations attributed by the authors to Brodsky, two were taken from Bobyshev's poems, and the third, from Brodsky's poem "The Procession", represented the endings of six lines from which the first halves were cut off.
The poem "Love the homeland of friends through the passage..." was distorted by the authors of the feuilleton as follows: the first line "Love the homeland of friends through the passage" and the last "Pity the foreign homeland through the passage" were combined into one "I love the foreign homeland".
It was obvious that the article was a signal for the persecution and, possibly, the arrest of Brodsky.
Nevertheless, according to Brodsky, more than slander, the subsequent arrest, trial and sentence, his thoughts were occupied at that time by the break with Marianna Basmanova.
During this period, there is a suicide attempt.
On January 8, 1964, Vecherniy Leningrad published a selection of readers ' letters demanding that the "parasite Brodsky" be punished.
On January 13, 1964, Brodsky was arrested on charges of parasitism.
On February 14, he had his first heart attack in his cell.
Since that time, Brodsky constantly suffered from angina pectoris, which always reminded him of a possible near death (which at the same time did not prevent him from remaining a heavy smoker).
In many ways, this is why "Hello, my aging!" at the age of 33 and "What can I say about life?
What turned out to be a long " in 40 — with his diagnosis, the poet was really not sure that he would live to see this birthday.
Two sessions of the trial of Brodsky[15] (judge of the Dzerzhinsk court Savelyeva E. A.) were recorded by Frida Vigdorova and were widely distributed in samizdat.
Judge: What is your work experience?
Brodsky: Approximately…
Judge: We are not interested in "approximately"!
Brodsky: Five years.
Judge: Where did you work?
Brodsky: At the factory.
Judge: How long have you worked at the plant?
Brodsky: A year.
Judge: By whom?
Brodsky: A milling machine operator.
Judge: And in general, what is your specialty?
Brodsky: Poet, poet translator.
Judge: And who admitted that you are a poet?
Who ranked you among the poets?
Brodsky: Nobody.
(Without calling).
And who ranked me among the human race?
Judge: Did you study this?
Brodsky: To what?
Judge: To be a poet?
Did you try to graduate from a university where they prepare... where they teach ...
Brodsky: I didnot think…
I didnot think it was given by education.
Judge: And what about?
Brodsky: I think it's ... (confused) from God…
Judge: Do you have any petitions to the court?
Brodsky: I would like to know: why was I arrested?
Judge: This is a question, not a petition.
Brodsky: Then I have no petition.
Photo from the courtroom
All the prosecution witnesses began their testimony with the words: "I am not personally acquainted with Brodsky ... "[16], echoing the wording of the times of Pasternak's persecution: "I have not read Pasternak's novel, but I condemn it!..".
On March 13, 1964, at the second court session, Brodsky was sentenced to the maximum possible punishment under the decree on "parasitism" — five years of forced labor in a remote area.
He was exiled (transferred under escort together with criminal prisoners) to the Konoshsky district of the Arkhangelsk region and settled in the village of Norenskaya.
In an interview with Volkov, Brodsky called this time the happiest in his life.
In exile, Brodsky studied English poetry, including the work of Wisten Auden:
I remember sitting in a small hut, looking through a square window the size of a porthole at a wet, swampy road with chickens wandering along it, half believing what I had just read…
I simply refused to believe that back in 1939 an English poet said: "Time ... idolizes language," and the world has remained the same.
- "Bow to the shadow"
Along with extensive poetic publications in emigrant publications ("Airways", "New Russian Word", "Sowing", "Edges", etc.), in August and September 1965, two poems by Brodsky were published in the Konosh district newspaper "Appeal".
The trial of the poet was one of the factors that led to the emergence of the human rights movement in the USSR and to increased attention abroad to the human rights situation in the USSR.
The recording of the trial, made by Frida Vigdorova, was published in influential foreign publications: "New Leader", "Encounter", "Figaro Litteraire", was read on the BBC.
With the active participation of Akhmatova, a public campaign was conducted in defense of Brodsky.
The central figures in it were Frida Vigdorova and Lydia Chukovskaya.
For a year and a half, they tirelessly wrote letters in defense of Brodsky to all party and judicial instances and involved people with influence in the Soviet system in the case of Brodsky's defense.
Letters in defense of Brodsky were signed by D. D. Shostakovich, S. Ya.
Marshak, K. I. Chukovsky, K. G. Paustovsky, A. T. Tvardovsky, Yu.P. German and others.
After a year and a half, in September 1965, under pressure from the Soviet and world community (in particular, after an appeal to the Soviet government by Jean Paul Sartre and a number of other foreign writers), the term of exile was reduced to actually served, and Brodsky returned to Leningrad.
According to Y. Gordin: "The efforts of the luminaries of Soviet culture did not have any influence on the authorities.
Decisive was the warning of the" friend of the USSR "Jean Paul Sartre that the Soviet delegation at the European Writers' Forum could find itself in a difficult situation because of the "Brodsky case"[17].
In October 1965, Brodsky, on the recommendation of Korney Chukovsky and Boris Vakhtin, was accepted into the Group of Translators at the Leningrad Branch of the USSR Writers ' Union[18], which allowed him to avoid further accusations of parasitism.
A. Volgina wrote that Brodsky "did not like to talk in interviews about the hardships he suffered in Soviet psychiatric hospitals and prisons, persistently moving away from the image of a "victim of the regime" to the image of a "self made man""[19].
In particular, he claimed :" I was lucky in every way.
Other people got much more, it was much harder than me."
And even: "...
I think that I deserve all this at all"[20].
In" Dialogues with Joseph Brodsky " by Solomon Volkov, Brodsky says about the recording of the trial by Frida Vigdorova: "It's not so interesting, Solomon.
Believe me"[21], to which Volkov expresses his indignation:
SV: You are assessing this so calmly now, in hindsight!
And, forgive me, you are trivializing a significant and dramatic event by this.
What for?
IB: No, I'm not making it up!
I'm talking about it the way I really think!
And then I thought the same way.
I refuse to dramatize all this!
The last years at home[edit / edit wiki text]
Brodsky was arrested and sent into exile as a 23 year old boy, and returned as a 25 year old established poet.
He was given less than 7 years to stay in his homeland.
Maturity has come, the time of belonging to one or another circle has passed.
In March 1966, Anna Akhmatova died.
Even earlier, the "magic choir" of young poets that surrounded her began to disintegrate.
Brodsky's position in the official Soviet culture during these years can be compared with the position of Akhmatova in the 1920s and 1930s or Mandelstam in the period preceding his first arrest.
At the end of 1965, Brodsky handed over the manuscript of his book "Winter Mail (Poems 1962-1965)" to the Leningrad branch of the publishing house "Soviet Writer".
A year later, after many months of ordeal and despite numerous positive internal reviews, the manuscript was returned by the publisher.
"The fate of the book was not decided in the publishing house.
At some point, the regional committee and the KGB decided to cancel this idea in principle."
In 1966-1967, 4 poems of the poet appeared in the Soviet press[22] (not counting publications in children's magazines), after that there was a period of public silence.
From the reader's point of view, translations remained the only area of poetic activity available to Brodsky[23].
"There is no such poet in the USSR," the Soviet Embassy in London said in 1968 in response to an invitation sent to Brodsky to take part in the international poetry festival Poetry International[24].
Meanwhile, these were years filled with intense poetic work, which resulted in poems that were later included in books published in the United States: "Stop in the Desert"[25],"The End of the Beautiful Era "[26] and"New Stanzas for August" [27].
In 1965-68, work was underway on the poem "Gorbunov and Gorchakov" — a work to which Brodsky himself attached very great importance.
In addition to infrequent public speeches and reading at the apartments of friends, Brodsky's poems were widely distributed in samizdat (with numerous inevitable distortions — there was no copying technology in those years).
Perhaps they got a wider audience thanks to the songs written by Alexander Mirzayan and Yevgeny Klyachkin[28][29].
Outwardly, Brodsky's life was relatively calm during these years, but the KGB did not leave its "old client"behind.
This was also facilitated by the fact that "the poet is becoming extremely popular with foreign journalists, Slavic scientists who come to Russia.
He is interviewed, invited to Western universities (of course, the authorities do not give permission to leave), etc."[30].
In addition to translations — the work on which he took very seriously — Brodsky earned extra money in other ways available to a writer excluded from the" system": as a freelance reviewer in the magazine" Aurora", random" hack jobs "at film studios, even starred (as a secretary of the City Party Committee) in the film"Train to distant August" [31].
Outside the USSR, Brodsky's poems continue to appear both in Russian and in translations, primarily in English, Polish and Italian.
In 1967, an unauthorized collection of translations " Joseph Brodsky.
Elegy to John Donne and Other Poems / Tr.
by Nicholas Bethell».
In 1970, "A Stop in the Desert"was published in New York[25] — the first book by Brodsky, compiled under his supervision.
Poems and preparatory materials for the book were secretly exported from Russia or, as in the case of the poem "Gorbunov and Gorchakov", were sent to the west by diplomatic mail.
Part of this book by Brodsky included the first ("Poems and Poems", 1965) [32], although at the insistence of the author, twenty two poems from the early book were not included in the "Stop".
But about thirty new things were added, written between 1965 and 1969.
In the" Stop in the Desert " there was the name of Max Hayward as the editor in chief of the publishing house.
I was considered the actual editor of the book, but we ... decided that it was better not to mention my name, since since 1968, mainly because of my contacts with Brodsky, the KGB took note of me.
I myself thought that Brodsky was the real editor, since it was he who selected what to include in the book, outlined the order of the poems and gave names to six sections.
- George L. Kline.
The history of two books[33]
In 1971, Brodsky was elected a member of the Bavarian Academy of Fine Arts.
In exile[edit / edit wiki text]
Departure[edit / edit wiki text]
The suitcase with which on June 4, 1972
Joseph Brodsky left his homeland forever,
taking away a typewriter, two bottles of vodka
for Wisten Hugh Auden
and a collection of poems by John Donne.
The American Cabinet of Joseph Brodsky
in the Anna Akhmatova Museum in the Fountain House.
Photo of 2014
On May 10, 1972, Brodsky was summoned to the OVIR and faced with a choice: immediate emigration or "hot days", which metaphor in the mouth of the KGB meant interrogations, prisons and mental hospitals[35].
By that time, he had already had to be "examined" in psychiatric hospitals twice — in the winter of 1964, which, according to him, was worse than prison and exile[36][37].
Brodsky decides to leave[38].
Having learned about this, Vladimir Maramzin suggested that he collect everything written for the preparation of a Samizdat collection of works.
The result was the first and until 1992 the only collection of works by Joseph Brodsky[39] - of course, typewritten.
Before leaving, he managed to authorize all 4 volumes[40].
Having chosen emigration, Brodsky tried to delay the day of departure, but the authorities wanted to get rid of the unwanted poet as soon as possible[41].
On June 4, 1972, deprived of Soviet citizenship, Brodsky took off from Leningrad on the route prescribed for Jewish emigration: to Vienna[42].
3 years later, he wrote:
Blowing into a hollow pipe, what is your fakir,
I walked through a line of janissaries in green,
feeling the cold of their evil axes with their eggs,
as when entering the water.
And here, with salty
the taste of this water in your mouth,
I crossed the line…
The Lullaby of the Cod Cape (1975).
Brodsky, who refused to dramatize the events of his life, recalled the subsequent events with considerable ease[43]:
The plane landed in Vienna, and Karl Proffer met me there… he asked, " Well, Joseph, where would you like to go?"
I said, "Oh, my God, I have no idea"... and then he asked: "How would you like to work at the University of Michigan?".
Other coverage of these words is given by the memoirs of Seamus Heaney, who knew Brodsky closely, in his article published a month after the poet's death [44]:
"The events of 1964-65 made him something of a celebrity and guaranteed fame at the very moment of his arrival in the West; but instead of taking advantage of the status of a victim and going with the flow of "radical chic", Brodsky immediately started working as a teacher at the University of Michigan.
Soon his fame was based not on what he had managed to accomplish in his old homeland, but on what he did in the new one."
— Seamus Heaney.
The Singer of Tales: On Joseph Brodsky
Two days after his arrival in Vienna, Brodsky goes to get acquainted with U., who lives in Austria.
I'll get dressed.
"He treated me with extraordinary concern, immediately took me under his care... undertook to introduce me to literary circles"[43].
Together with Auden, Brodsky takes part in the International Poetry Festival (Poetry International) in London at the end of June.
Brodsky was familiar with the work of Auden from the time of his exile and called him, along with Akhmatova, a poet who had a decisive "ethical influence"on him[36].
At the same time in London, Brodsky met Isaiah Berlin, Stephen Spender, Seamus Heaney and Robert Lowell[40].
Lifeline[edit / edit wiki text]
In July 1972, Brodsky moved to the United States and accepted the post of "guest poet" (poet in residence) at the University of Michigan in Ann Arbor, where he taught, intermittently, until 1980.
Since that moment, Brodsky, who graduated from the incomplete 8th grade of secondary school in the USSR, has been leading the life of a university teacher, holding professorial positions in a total of six American and British universities, including Columbia and New York, for the next 24 years.
Russian Russian literature history, Russian and world poetry, theory of verse, lectured and read poetry at international literary festivals and forums, in libraries and universities in the USA, Canada, England, Ireland, France, Sweden, Italy.
"Taught" in his case needs explanation.
For what he did was not much like what his university colleagues, including poets, did.
First of all, he simply did not know how to "teach".
He had no personal experience in this matter…
Every year out of twenty four, for at least twelve consecutive weeks, he regularly appeared in front of a group of young Americans and talked to them about what he loved most in the world — about poetry…
What the course was called was not so important: all his lessons were lessons of slow reading of a poetic text…
- Lev Losev[45]
Over the years, his health steadily deteriorated, and Brodsky, whose first heart attack occurred during the prison days of 1964, suffered 4 heart attacks in 1976, 1985 and 1994.
Here is the testimony of a doctor who visited Brodsky in the first month of Norensk exile:
"There was nothing acutely threatening in his heart at that moment, except for weak signs of the so called dystrophy of the heart muscle.
However, it would be surprising if they were absent with the lifestyle that he had in this forestry farm...
Imagine a large field after cutting down the taiga forest, on which huge stone boulders are scattered among numerous stumps…
Some of these boulders exceed the size of a person's height.
The job is to roll such boulders on steel sheets with a partner and move them to the road…
Three or five years of such exile — and hardly anyone has heard of the poet today... because his genes were prescribed, unfortunately, to have early atherosclerosis of the heart vessels.
And medicine learned to deal with this, at least partially, only thirty years later"[46][47].
Brodsky's parents applied twelve times to be allowed to see their son[48], congressmen and prominent cultural figures of the United States addressed the same request to the USSR government, but even after Brodsky underwent open heart surgery in 1978 and needed care, his parents were denied an exit visa.
They never saw their son again.
Brodsky's mother died in 1983, and his father died a little more than a year later.
Both times Brodsky was not allowed to come to the funeral[40].
The book "Part of Speech" (1977), the poems "The Thought of you is removed like a demoted servant..." (1985)
, "In memory of my father: Australia" (1989), the essay "One and a half Rooms" (1985) are dedicated to parents.
Brodsky with his wife Maria, nee Sozzani.
Photo by M. Baryshnikov
In 1977, Brodsky took American citizenship, in 1980 he finally moved from Ann Arbor to New York, and later divided his time between New York and South Hadley, a university town in Massachusetts, where from 1982 until the end of his life he taught spring semesters in a consortium of "five colleges"[49].
In 1990, Brodsky married Maria Sozzani, an Italian aristocrat, Russian on his mother's side.
In 1993, their daughter Anna was born[48].
Poet and essayist[edit / edit wiki text]
Brodsky's poems and their translations have been published outside the USSR since 1964, when his name became widely known thanks to the publication of the recording of the poet's trial.
Since his arrival in the West, his poetry has regularly appeared on the pages of publications of the Russian emigration[50].
Translations of Brodsky's poems are published almost more often than in the Russian language press, primarily in magazines in the USA and England[40], and in 1973 a book of selected translations appeared[51].
But new books of poems in Russian are published only in 1977 this is "The End of the Beautiful Era"[26], which included poems from 1964-1971, and "Part of Speech"[52], which included works written in 1972-1976.
The reason for this division was not external events (emigration) — the understanding of exile as a fateful factor was alien to Brodsky's work[53] - but the fact that, in his opinion, qualitative changes were taking place in his work in 1971/72[48].
"Still Life", "To a tyrant", "Odyssey to Telemachus", "The Song of Innocence, aka Experience", "Letters to a Roman friend", "Bobo's Funeral"are written on this fracture.
In the poem "1972", begun in Russia and completed abroad, Brodsky gives the following formula: "Everything that I did, I did not do for the sake of fame in the era of cinema and radio, / but for the sake of my native speech, literature...".
The title of the collection - "Part of Speech" - is explained by the same premise, lapidarly formulated in his Nobel lecture: "who is who, and the poet always knows <...> that language is not his instrument, but he is the means of language"[54].
In the 1970s and 1980s, Brodsky, as a rule, did not include in his new books poems included in earlier collections.
An exception is the book "New Stanzas for August"published in 1983[27], composed of poems addressed to M. B. — Marina Basmanova.
Years later, Brodsky said about this book: "This is the main work of my life <...> it seems to me that as a result, "New Stanzas for August" can be read as a separate work.
Unfortunately, I didnot write The Divine Comedy.
And, apparently, I will never write it again.
And here it turned out to be a kind of poetic book with its own plot..."
[36].
"New Stanzas for August" became the only book of Brodsky's poetry in Russian, compiled by the author himself.
Since 1972, Brodsky has been actively turning to essay studies, which he does not leave until the end of his life.
Three books of his essays are published in the USA: "Less Than One"[55] (Less than one) in 1986, "Watermark" [56] (Embankment of the Incurable) in 1992 and "On Grief and Reason" [57] (About grief and Reason) in 1995.
Most of the essays included in these collections were written in English[58].
His prose, at least to no less extent than his poetry, made Brodsky's name widely known to the world outside the USSR[59].
The collection "Less Than One" was recognized by the American National Council of Literary Critics as the best literary critical book in the USA for 1986[60].
By this time, Brodsky was the owner of half a dozen titles of a member of literary academies and an honorary doctor of various universities, was the winner of the MacArthur Scholarship in 1981.
The next big book of poems — "Urania"[61] - was published in 1987.
In the same year, Brodsky won the Nobel Prize in Literature, which was awarded to him "for a comprehensive work imbued with clarity of thought and poetic intensity" ("for an all embracing authorship, imbued with clarity of thought and poetic intensity")[62].
Forty seven year old Brodsky began his Nobel speech written in Russian, in which he formulated a personal and poetic credo, with the words:
"For a private person who has preferred this privacy to any public role all his life, for a person who has gone quite far in this preference — and in particular from his homeland, because it is better to be the last loser in democracy than a martyr or the ruler of thoughts in despotism to suddenly appear on this rostrum is a great embarrassment and a test"[54]
In the 1990s, four books of new poems by Brodsky were published: "Notes of a Fern"[63], "Cappadocia"[64], "In the vicinity of Atlantis"[65] and published in Ardis after the poet's death and became the final collection "Landscape with a flood"[66].
The undoubted success of Brodsky's poetry both among critics and literary critics[67], and among readers, probably has more exceptions than would be required to confirm the rule[68].
The reduced emotionality, musical and metaphysical complexity especially of the" late " Brodsky repels some artists from him as well.
In particular, we can name the negative work of Alexander Solzhenitsyn [69], whose reproaches to the poet's work are largely ideological in nature.
Almost verbatim, he is echoed by a critic from another camp: Dmitry Bykov in his essay on Brodsky [70] after the beginning: "I am not going to repeat here the common platitudes that Brodsky is "cold", "monotonous"," inhuman"...", - further does exactly this: "In the huge corpus of Brodsky's works, there are strikingly few living texts…
It is unlikely that today's reader will finish reading "The Procession", "Goodbye, Mademoiselle Veronica" or "A Letter in a Bottle" without effort although, undoubtedly, he will not be able to appreciate "Part of the Speech", "Twenty Sonnets to Mary Stuart" or "Conversation with a Celestial": the best texts of the still living, not yet petrified Brodsky, the cry of a living soul feeling its ossification, glaciation, dying."
The last book, compiled during the poet's lifetime, ends with the following lines:
And if you donot expect for the speed of light, thank you,
that is, maybe, the armor of non existence
he appreciates the attempts to turn it into a sieve
and he will thank me for the hole.
— "I was reproached for everything, except for the weather..."[71]
Playwright, translator, writer[edit / edit wiki text]
Brodsky wrote two published plays: "Marble", 1982 and "Democracy", 1990-92.
He also owns translations of the plays of the English playwright Tom Stoppard "Rosencrantz and Guildenstern are dead" and the Irishman Brendan Behan "Talking about a Rope".
Brodsky left a significant legacy as a translator of world poetry into Russian.
Among the authors translated by him, one can name, in particular, John Donne, Andrew Marvell, Richard Wilber, Euripides (from Medea), Konstantinos Cavafy, Constanta Ildefons Galchinsky, Czeslaw Milos, Thomas Wenzlov.
Much less often Brodsky turned to translations into English.
First of all, these are, of course, self translations, as well as translations from Mandelstam, Tsvetaeva, Vislava Shimborskaya and a number of others.
Susan Sontag, an American writer and a close friend of Brodsky, says: "I am sure that he considered his exile as the greatest opportunity to become not only a Russian, but a world poet…
I remember how Brodsky said, laughing, somewhere in 1976-77: "Sometimes it's so strange for me to think that I can write anything I want, and it will be printed"[72].
Brodsky took full advantage of this opportunity.
Since 1972, he has been plunging headlong into public and literary life.
In addition to the three above mentioned books of essays, the number of articles written by him, prefaces, letters to the editorial office, reviews of various collections exceeds one hundred, not counting numerous oral speeches at evenings of creativity of Russian and English speaking poets, participation in discussions and forums, magazine interviews.
In the list of authors on whose works he gives an opinion, the names of I. Lisnyansky, E. Reyna, A. Kouchner, D. Novikov, B. Akhmadulina, L. Losev, Yuri Kublanovsky, J. Aleshkovskogo, VL.
Upland, Vladimir Gandelsman, A. Naiman, R. Delevoy, R. Wilber H Milos, M. strand, D. Walcott, and others.
The largest newspapers in the world publish his appeals in defense of the persecuted writers: S. Rushdi, N. Gorbanevskaya, V. Maramzin, T. Venclov, K. Azadovsky[40].
"In addition, he tried to help so many people" - including letters of recommendation -" that recently there has been a certain devaluation of his recommendations"[73].
Relative financial well being (at least by the standards of emigration) gave Brodsky the opportunity to provide more material assistance.
Lev Losev writes:
Several times I participated in raising money to help old friends in need, sometimes even those for whom Joseph should not have had any sympathy, and when I asked him, he hurriedly began to write a check, without even letting me finish [74].
Russian Russian Samovar restaurant owner Roman Kaplan, who knew Brodsky since the Russian times, is one of the cultural centers of Russian emigration in New York:
In 1987, Joseph received the Nobel Prize…
I have known Brodsky for a long time and turned to him for help.
Joseph and Misha Baryshnikov decided to help me.
They contributed money, and I gave them some share of this restaurant...
Alas, I did not pay dividends, but I solemnly celebrated his birthday every year[75].
The Library of Congress elects Brodsky as the Poet Laureate of the United States for 1991-1992.
In this honorary, but traditionally nominal capacity, he developed an active activity for the promotion of poetry.
His ideas led to the creation of the American Poetry and Literature Project (American Project: Poetry and Literacy), during which since 1993 more than a million free poetry collections have been distributed in schools, hotels, supermarkets, train stations, etc.[76]
According to William Wadsworth, who served as director of the American Academy of Poets from 1989 to 2001, Brodsky's inaugural speech as Poet Laureate "caused the transformation of America's view of the role of poetry in its culture"[72].
Shortly before his death, Brodsky was carried away by the idea of founding a Russian Academy in Rome.
In the autumn of 1995, he approached the mayor of Rome with a proposal to create an academy where artists, writers and scientists from Russia could study and work.
This idea was implemented after the poet's death.
In 2000, the Joseph Brodsky Memorial Scholarship Fund sent the first Russian poet scholarship holder to Rome, and in 2003 — the first artist[77].
English language poet[edit / edit wiki text]
In 1973, the first authorized book of translations of Brodsky's poetry into English was published - "Selected poems"[51] (Selected Poems) in translations by George Klein and with a foreword by Auden.
The second collection in English, "A Part of Speech"[78] (Part of speech), released in 1980; the third, "To Urania"[79] (To Urania) in 1988.
In 1996 he released "So Forth"[80] (So on) — 4 th collection of poems in English, prepared Brodsky.
The last two books include both translations and self translations from Russian, as well as poems written in English.
Over the years, Brodsky less and less trusted translations of his poems into English to other translators; at the same time, he increasingly composed poems in English, although, according to his own words, he did not consider himself a bilingual poet and claimed that "for me, when I write poems in English, it is more like a game...".
Losev writes: "In linguistic and cultural terms, Brodsky was Russian, and as for self identification, in his mature years he reduced it to a lapidary formula, which he repeatedly used: "I am a Jew, a Russian poet and an American citizen"[48].
In the five hundred page collection of Brodsky's English language poetry[81], released after the author's death, there are no translations made without his participation.
But if his essays evoked mostly positive critical responses, the attitude towards him as a poet in the English speaking world was far from unambiguous[48].
According to Valentina Polukhina, "The paradox of Brodsky's perception in England is that with the growth of Brodsky's reputation as an essayist, attacks on Brodsky as a poet and translator of his own poems became tougher"[82].
The range of assessments was very wide, from extremely negative to laudatory, and probably a critical bias prevailed.
The role of Brodsky in English language poetry, the translation of his poetry into English, the relationship between Russian and English in his work are devoted, in particular, to the essay memoirs of Daniel Weissbort "From Russian with love" [83].
He owns the following assessment of Brodsky's English poems:
In my opinion, they are very helpless, even outrageous, in the sense that he introduces rhymes that are not taken seriously in a serious context.
He tried to expand the boundaries of the use of female rhyme in English poetry, but as a result, his works began to sound like W. S. Gilbert or Ogden Nash.
But gradually he got better and better, he really began to expand the possibilities of English prosody, which in itself is an extraordinary achievement for one person.
I donot know who else could have achieved this.
Nabokov could not [84].
Return[edit / edit wiki text]
The perestroika in the USSR and the award of the Nobel Prize to Brodsky coincided with it broke the dam of silence at home, and soon the publication of Brodsky's poems and essays flooded in [85].
The first (in addition to several poems that leaked to the press in the 1960s) selection of Brodsky's poems appeared in the December book "New World" for 1987.
Up to this point, the poet's work was known in his homeland to a very limited circle of readers thanks to the lists of poems distributed in samizdat.
In 1989, Brodsky was rehabilitated according to the 1964 trial[40].
In 1992, a 4 volume collection of works began to be published in Russia[86].
In 1995, Brodsky was awarded the title of honorary citizen of St. Petersburg[40].
Invitations to return to their homeland followed.
Brodsky postponed his arrival: he was embarrassed by the publicity of such an event, honoring, and the attention of the press, which would inevitably accompany his visit[40].
My health also did not allow it.
One of the last arguments was: "The best part of me is already there — my poems"[87][88].
Death and burial[edit / edit wiki text]
General view of Brodsky's grave at the San Michele Cemetery, Venice, 2004.
People leave pebbles, letters, poems, pencils, photos, Camel cigarettes (Brodsky smoked a lot) and whiskey.
On the back of the pa the inscription on the mint is made in Latin — - this is a line from the elegy of Propertius lat.
Letum non omnia finit — Not everything ends with death.
On the Saturday evening of January 27, 1996, in New York, Brodsky was preparing to go to South Hadley and collected manuscripts and books in a briefcase to take with him the next day.
The spring semester started on Monday.
After wishing his wife good night, Brodsky said that he still needed to work, and went up to his office.
In the morning, his wife found him on the floor in the office.
Brodsky was fully dressed.
On the desk next to the glasses lay an open book — a bilingual edition of Greek epigrams.
The heart, according to doctors, stopped suddenly — a heart attack, the poet died on the night of January 28, 1996.
On February 1, a funeral service was held at the Grace Episcopal Parish Church in Brooklyn Heights, not far from Brodsky's house.
The next day, a temporary burial took place: the body was placed in a coffin covered with metal in a crypt in the cemetery at the Church of St. Nicholas.
Trinity Church Cemetery, on the banks of the Hudson River, where it was stored until June 21, 1997.
The proposal sent by telegram by the deputy of the State Duma of the Russian Federation G. V. Starovoitova to bury the poet in St. Petersburg on Vasilievsky Island was rejected — "this would mean solving the question of returning to his homeland for Brodsky" [48].
The memorial service was held on March 8 in Manhattan at the St. Nicholas Episcopal Cathedral.
St. John the Theologian.
There were no speeches.
The poems were read by Czeslaw Milos, Derek Walcott, Seamus Heaney, Mikhail Baryshnikov, Lev Losev, Anthony Hecht, Mark Strand, Rosanna Warren, Evgeny Rein, Vladimir Uflyand, Thomas Venclova, Anatoly Naiman, Yakov Gordin, Maria Sozzani Brodskaya and others.
There was music by Haydn, Mozart, Purcell.
In 1973, in the same cathedral, Brodsky was one of the organizers of the memorial service in memory of Wisten Auden[24][89].
In his widely quoted memoirs dedicated to the last will and funeral of Brodsky, the poet and translator Ilya Kutik says:
Two weeks before his death, Brodsky bought a place for himself in a small chapel in the New York cemetery next to Broadway (this was his last will).
After that, he made a fairly detailed will.
A list of people was also compiled to whom letters were sent, in which Brodsky asked the recipient of the letter to subscribe that until 2020 the recipient would not talk about Brodsky as a person and would not discuss his private life; it was not forbidden to talk about Brodsky as a poet[90].
Most of the statements made by Kutik are not confirmed by other sources.
At the same time, E. Shellberg, M. Vorobyov, L. Losev[91], V. Polukhin[92], T. Venclov[93], who knew Brodsky closely, made refutations.
In particular, Shellberg and Vorobyova stated: "We want to assure you that the article about Joseph Brodsky, published under the name of Ilya Kutik on the 16th page of Nezavisimaya Gazeta on January 28, 1998, is 95 percent fiction."
Losev expressed his sharp disagreement with Kutik's story, who testified, among other things, that Brodsky did not leave instructions regarding his funeral; did not buy a place in the cemetery, etc. [91]
According to the testimonies of Losev and Polukhina, Ilya Kutik was not present at the funeral of Brodsky described by him[94].
The decision on the final resting place of the poet took more than a year.
According to Brodsky's widow Maria: "The idea of a funeral in Venice was expressed by one of his friends.
This is the city that, apart from St. Petersburg, Joseph loved the most.
Besides, speaking selfishly, Italy is my country, so it was better that my husband was buried there.
It was easier to bury him in Venice than in other cities, for example, in my hometown of Compignano near Lucca.
Venice is closer to Russia and is a more accessible city"[95].
Veronica Schilz and Benedetta Craveri agreed with the authorities of Venice about a place in the ancient cemetery on the island of San Michele.
The desire to be buried in San Michele is found in Brodsky's humorous message of 1974 to Andrey Sergeev[48]:
Although an insensitive body
it is equal to rotting everywhere,
devoid of native clay, it is in the alluvium of the valley
lombard rot is not averse.
Later
your continent and the worms are the same.
Stravinsky sleeps on San Michele…
On June 21, 1997, the body of Joseph Brodsky was reburied at the San Michele Cemetery in Venice.
Russian graves were originally planned to bury the poet's body in the Russian half of the cemetery between the graves of Stravinsky and Diaghilev,but this turned out to be impossible, since Brodsky was not Orthodox.
The Catholic clergy also refused burial.
As a result, they decided to bury the body in the Protestant part of the cemetery.
The resting place was marked by a modest wooden cross with the name Joseph Brodsky[96].
A few years later, a tombstone monument by the artist Vladimir Radunsky was installed on the grave[97].
Legacy[edit / edit wiki text]
Russian Russian poet Andrey Ranchin, professor of the Department of the History of Russian Literature at Moscow State University, says: "Brodsky is the only modern Russian poet who has already been awarded the honorary title of a classic[98].
The literary canonization of Brodsky is an exceptional phenomenon.
No other modern Russian writer has been honored to become the hero of so many memoir texts; so many conferences have been devoted to no one"[99].
"For me," Lev Losev wrote in 2006 — " the three best memoir sources in Russian are notes about Brodsky by the late Andrey Sergeev, a recent book by Lyudmila Stern "Brodsky: Osya, Joseph, Joseph" and two volumes of "Brodsky through the eyes of Contemporaries "prepared by Valentina Polukhina"[100].
With regard to Brodsky's creative heritage, the following can be stated with confidence today: at the moment, all publications of Brodsky's works and archival documents are controlled, in accordance with his will, by the Joseph Brodsky Inheritance Fund, headed by his assistant (since 1986) Ann Schellberg, whom Brodsky appointed as his literary executor[101], and his widow Maria Sozzani Brodskaya.
In 2010, Ann Shellberg summarized the situation with the publication of Brodsky's works in Russia:
the foundation cooperates exclusively with the publishing group "Azbuka", and to date we do not intend to publish Brodsky's collections with comments in competing publishing houses.
An exception is made only for the series "The Poet's Library", in which a book with comments by Lev Losev will be published.
In anticipation of the future academic collection, this book will take the empty place of the available commented edition[102][103]
Shortly before his death, Brodsky wrote a letter to the manuscripts department of the Russian National Library in St. Petersburg (where the poet's archive is mainly kept until 1972[104]), in which he asked to close access to his diaries, letters and family documents for 50 years.
The ban does not apply to manuscripts and other similar materials, and the literary part of the St. Petersburg Archive is open to researchers.
Another archive, mainly of the American period of the poet's life, is freely available (including most of the correspondence and drafts[105]) in the Beinecke Library of Yale University, USA[106][107].
The third most important archive (the so called "Lithuanian") was acquired by Stanford University in 2013 from the Katilyusov family, friends of Brodsky[108][109].
For the full or partial publication of any archival documents, the permission of the Inheritance Property Fund is required.
The poet's widow says:
Joseph's instructions relate to two areas.
First, he asked that his personal and family papers in the archive be closed for fifty years.
Secondly, in the letter attached to the will, as well as in conversations with me about how these issues should be resolved after his death, he asked not to publish his letters and unpublished writings.
But, as far as I understand, his request allows the publication of individual quotations from unpublished things for scientific purposes, as is customary in such cases.
In the same letter, he asked his friends and relatives not to take part in writing his biographies[101][110].
It is worth mentioning the opinion of Valentina Polukhina, a researcher of Brodsky's life and work, that at the request of the Hereditary Property Fund, "writing a biography is prohibited until 2071..." — that is, for 75 years from the date of the poet's death, "all Brodsky's letters, diaries, drafts, and so on are closed..."[111].
On the other hand, E. Shellberg states that there is no additional ban, except for the aforementioned letter from Brodsky to the Russian National Library, and access to drafts and preparatory materials has always been open to researchers[112][113].
The same opinion was expressed by Lev Losev[100], whose pen belongs to the only literary biography of Brodsky to date[48].
Brodsky's position in relation to his future biographers is commented on by the words from his letter:
"I do not object to philological studies related to my worst works — they are, as they say, the property of the public.
But my life, my physical condition, with God's help, belonged and belongs only to me…
What seems to me the worst thing about this idea is that such writings serve the same purpose as the events described in them: that they reduce literature to the level of political reality.
Willingly or unwittingly (I hope that unwittingly) You simplify for the reader the idea of my mercy.
You I'm sorry for the sharpness of the tone - are robbing the reader (as, indeed, the author).
And, - the Frenchman from Bordeaux will say — - everything is clear.
Dissident.
For this, these anti Soviet Swedes gave him the Nobel.
And he will not buy "Poems" …
I donot feel sorry for myself, I feel sorry for him"
- Ya.
Gordin.
The Knight and death, or Life as a plan: About the fate of Joseph Brodsky.
Moscow: Vremya, 2010
Among the posthumous editions of Brodsky's works, we should mention the book of poems "Landscape with a Flood" prepared during the author's lifetime[66], ed.
Alexander Sumerkin, a translator of Brodsky's prose and poetry into Russian, with whose participation most of the poet's Ardis collections were published.
In 2000, the reissue of these collections was undertaken by the Pushkin Foundation.
In the same publishing house in 1997-2001, "The Works of Joseph Brodsky: In 7 volumes" were published[114].
Children's poetry Brod The Russian version was first collected under one cover in the book "The Elephant and Maruska" [115].
The English children's poem Discovery was published with illustrations by V. Radunsky in Farrar, Straus & Giroux, 1999.
The Brodsky translator is most fully represented in the book "Exile from Paradise"[116], which includes, among other things, previously unpublished translations.
In 2000, the new York Farrar, Straus & Giroux published a collection in English of Brodsky's poetry and his poems in translation (done, in large part, by the author) in English: "Collected Poems in English, 1972-1999".
Translations into Russian of English poems Brodsky was undertaken, in particular, Andrew Olearum[117] and Viktor Kulla[118].
According to A. Olear, he managed to find more than 50 unknown English language poems by Brodsky in the Beinecke archive[119].
Neither these poems nor their translations have been published to date.
Lev Losev is the compiler and author of the notes of the commented edition of Brodsky's Russian language poetry published in 2011: "Poems and Poems: In 2 t"[120], which includes both the full texts of six books published by Ardis, compiled during the poet's lifetime, and some poems that were not included in them, as well as a number of translations, poems for children, etc.
The fate of the academic edition of Brodsky's works mentioned in the press is currently unknown.
According to Valentina Polukhina, it is unlikely that it will appear earlier than 2071[121].
In 2010, E. Shellberg wrote that " currently, the philologist Denis Nikolaevich Akhapkin conducts textual research in the framework of preparing the first volumes of the scientific publication.
His work is also supported by the American Council on International Education"[102].
A significant body of Brodsky's Russian language literary heritage is freely available on the Internet, in particular on the websites of the Maxim Moshkov Library and the Poetry Library.
It is difficult to judge the textual reliability of these sites.
Currently, the Foundation of the Joseph Brodsky Literary Museum operates in St. Petersburg, founded with the aim of opening a museum in the poet's former apartment on Pestel Street.
The temporary exhibition "The American Cabinet of Joseph Brodsky", including items from the poet's house in South Hadley, is located in the Anna Akhmatova Museum in the Fountain House in St. Petersburg.
Family[edit / edit wiki text]
Father Alexander Ivanovich Brodsky (1903-1984) Mother Maria Moiseevna Volpert (1905-1983) Son Andrey Osipovich Basmanov[122][123][124], 1967 G. R., from Marianna Basmanova Daughter Anastasia Iosifovna Kuznetsova, born in 1972, daughter of ballerina Maria Kuznetsova Wife Maria Sozzani, born in 1969 (marriage from 1990 to 1996 before Brodsky's death) Daughter Anna Alexandra Maria Brodskaya, born in 1993 (from marriage with Maria Sozzani)
Addresses in Saint Petersburg[edit / edit wiki text]
1955-1972 the apartment house of A. D. Muruzi Liteyny Prospekt, 24, sq.
28. The administration of St. Petersburg plans to buy the rooms where the poet lived and open a museum there.
The exhibits of the future museum can be temporarily seen in the exposition of the Anna Akhmatova Museum in the Fountain House.
1962-1972 Benois House — 15 Glinka Street.
Marianna Basmanova's apartment. [source not specified 1053 days]
In Komarov[edit / edit wiki text]
August 7, 1961 in the" Booth", in Komarov, E. B. Rein introduces Brodsky to A. A. Akhmatova.
At the beginning of October, 1961 went to Akhmatova in Komarovo together with S. Shultz.
June 24, 1962 on Akhmatova's birthday, he wrote two poems "A. A. Akhmatova" ("The Roosters will scream and clap...") where did she get the epigraph "You will write about us obliquely" for the poem "The Last Rose", as well as "Behind churches, gardens, theaters..." and a letter[125].
In the same year, he dedicated other poems to Akhmatova.
Morning mail for Akhmatova from the city of Sestroretsk ("In the bushes of immortal Finland...").
Autumn and winter 1962-1963 Brodsky lives in Komarov, at the dacha of the famous scientist biologist R. L. Berg, where he works on the cycle "Songs of a happy Winter".
Close communication with Akhmatova.
Acquaintance with academician V. M. Zhirmunsky.
October 5, 1963 - in Komarov, " Here I am again taking the parade...".
May 14, 1965 - visits Akhmatova in Komarov.
For two days he sat opposite me on the chair where you are sitting now... after all, our troubles are not for nothing — where has it been seen, where has it been heard, that a criminal should be released from exile for a few days to stay in his native city?..
He is inseparable from his former lady.
Very good looking.
Here you can fall in love!
Slim, ruddy, skin like a five year old girl…
But, of course, he will not survive this winter in exile.
Heart disease is not a joke[126].
March 5, 1966 death of A. A. Akhmatova.
Brodsky and Mikhail Ardov have been looking for a place for Akhmatova's grave for a long time, first at the cemetery in Pavlovsk at the request of Irina Punina, then in Komarov on their own initiative.
She just taught us a lot.
Humility, for example.
I think… that in many ways it is to her that I owe my best human qualities.
If it were not for her, it would take more time for their development, if they appeared at all[127].
Publications[edit / edit wiki text]
Brodsky I. Poems and poems.
— Washington;
New York: Inter Language Literary Associates, 1965.
Brodsky I.
A stop in the desert / preface N. N. (A. Naiman).
— New York: Publishing house of them.
Chekhova, 1970.
— 2 ed., Rev.: Ann Arbor: Ardis, 1988.
Brodsky I. the End of a great era: Poems 1964-1971.
— Ann Arbor: Ardis, 1977.
— ROS.
ed.: SPb.: Pushkin Fund, 2000 Brodsky I.
Part of speech: Poems 1972-1976.
— Ann Arbor: Ardis, 1977.
— ROS.
ed.: SPb.: Pushkin's Fund, 2000.
Brodsky I. Roman Elegies.
— New York: Russica Publishers, 1982.
Brodsky I.
New stanzas for August (Poems for M. B., 1962-1982).
- Ann Arbor: Ardis, 1983.
- Russian publishing house: St. Petersburg: Pushkin Foundation, 2000.
Brodsky I. Marble.
— Ann Arbor: Ardis, 1984.
Brodsky I. Urania.
- Ann Arbor: Ardis, 1987.
- 2nd ed., ispr.: Ann Arbor: Ardis, 1989.
Brodsky I. Notes of the fern.
— Bromma (Sweden): Hylaea, 1990.
Joseph Brodsky in the size of the original: [Collection dedicated to the 50th anniversary of I. Brodsky] / comp.
G. F. Komarov — - L.; Tallinn: Publishing house of the Tallinn Center of the Moscow headquarters of the MADPR, 1990.
Brodsky I. Poems / comp.
Ya.
Gordin.
- Tallinn: Eesti raamat; Alexandra, 1991.
Brodsky I. Cappadocia.
Poems.
- St. Petersburg: Appendix to the almanac Petropavlovsk, 1993.
Brodsky I.
In the vicinity of Atlantis.
New poems.
- St. Petersburg: Pushkin Foundation, 1995.
Brodsky I. Landscape with a flood.
- Dana Point: Ardis, 1996.
- Russian ed. (ispr. and add.)
: St. Petersburg: Pushkin Foundation, 2000.
Brodsky I.
The works of Joseph Brodsky: In 4 vols.
/ comp.
G. F. Komarov.
- St. Petersburg: Pushkin Foundation, 1992-1995.
Brodsky I.
The works of Joseph Brodsky: In 7 volumes / ed .
Ya.
Gordin.
- St. Petersburg: Pushkin Foundation, 1997-2001.
Brodsky I. Exile from paradise: Selected translations / ed .
Ya.
Klots.
- St. Petersburg: Azbuka, 2010.
Brodsky I. Poems and poems: In 2 vols.
/ comp.
and note by L. Losev.
- St. Petersburg: Pushkin House, 2011.
Brodsky I. Elephant and Maruska / ill.
I. Ganzenko.
- St. Petersburg: Azbuka, 2011.
In English[edit / edit wiki text]
Joseph Brodsky.
Selected poems.
— New York: Harper & Row, 1973.
Joseph Brodsky.
A Part of Speech.
— New York: Farrar, Straus & Giroux, 1980.
Joseph Brodsky.
Less Than One: Selected Essays.
— New York: Farrar, Straus & Giroux, 1986.
Joseph Brodsky.
To Urania.
— New York: Farrar, Straus & Giroux, 1988.
Joseph Brodsky.
Marbles: a Play in Three Acts / translated by Alan Myers with Joseph Brodsky.
— New York: Farrar, Straus & Giroux, 1989.
Joseph Brodsky.
Watermark.
— New York: Farrar, Straus and Giroux; London: Hamish Hamilton, 1992.
Joseph Brodsky.
On Grief and Reason: Essays.
— New York: Farrar, Straus & Giroux, 1995.
Joseph Brodsky.
So Forth: Poems.
— New York: Farrar, Straus & Giroux, 1996.
Joseph Brodsky.
Collected Poems in English, 1972—1999 / edited by Ann Kjellberg.
— New York: Farrar, Straus & Giroux, 2000.
Joseph Brodsky.
Nativity Poems / Bilingual Edition.
— New York: Farrar, Straus & Giroux, 2001.
Memory[edit / edit wiki text]
A memorial plaque on the house on Leiklos Street in Vilnius, where the poet stayed in 1966-1971
In 1998, the Pushkin Fund published a book of poems by L. Losev "Afterword", the first part of which consists of poems related to the memory of Brodsky.
In 2003, the Foundation of the hereditary Property of I. Brodsky and the widow of the poet Maria Brodskaya (nee.
Things from Brodsky's house in South Hadley were transferred to Russia to create a museum in his homeland.
The library, photos of people dear to Brodsky, furniture that resembles the one that was in his parents ' house (a desk, a secretary, an armchair, a sofa), a table lamp, posters related to Italian trips, a collection of postcards are in the American office of Joseph Brodsky in the Fountain House[128].
In 2004, a close friend of Brodsky, the Nobel Prize winning poet Derek Walcott wrote a poem "The Prodigal", in which Brodsky is repeatedly mentioned.
Since 2004, the Konosh Central District Library has been named after Brodsky, whose reader the poet was during the exile period[129].
In November 2005, the first monument to Joseph Brodsky in Russia was erected in the courtyard of the Philological Faculty of St. Petersburg University, designed by Konstantin Simun.
Konstantin Meladze, Elena Frolova, Evgeny Klyachkin, Alexander Mirzayan, Alexander Vasiliev, Svetlana Surganova, Diana Arbenina, Pyotr Mamonov, Victoria Polevaya, Leonid Margot wrote songs on the poems of I. A. Brodsky lin and other authors.
A fragment of the monument to I. Brodsky in Moscow
There is a Brodsky Lane in Voronezh.
On May 21, 2009, a memorial plaque in honor of the poet Joseph Brodsky by the sculptor George Frangulyan was unveiled on the" Embankment of the Incurable " in Venice.
In Moscow, a monument to the poet by sculptor Georgy Frangulyan and architect Sergey Skuratov was erected on Novinsky Boulevard in 2011.
The poem "From nowhere with love" is included in the title of the film "From Nowhere with Love, or A Fun Funeral", an adaptation of the novel by Lyudmila Ulitskaya "A Fun Funeral".
The film features the ballad "From Nowhere with love" performed by Gennady Trofimov.
In 2009, the film directed by Andrey Hrzhanovsky "One and a Half Rooms, or a Sentimental Journey to the Motherland" was released, based on the works and biography of Joseph Brodsky.
The poet was performed as a child by Evgeny Ogandzhanyan, in his youth — by Artem Smola, in adulthood by Grigory Dityatkovsky.
The name " And.
Brodsky " is an A330 aircraft (tail number VQ BBE)of Aeroflot.
In the fall of 2011, the US Postal Service presented a design of stamps dedicated to the great American poets of the XX century, the release was planned for 2012[130][131].
Among them are Joseph Brodsky, Gwendoline Brooks, William Carlos Williams, Robert Haydn, Sylvia Plath, Elizabeth Bishop, Wallace Stevens, Denise Levertov, Edward Estlin Cummings and Theodore Retke.
The reverse side of the stamp sheet contains quotes from the works of each poet[132].
The stamp contains a photo of Joseph Brodsky, taken in New York by American photographer Nancy Crampton[133].
The song of Andrey Makarevich "In memory of Joseph Brodsky".
On December 1, 2011, in the courtyard of the house No. 19 on Stakhanovtsev Street in St. Petersburg, a memorial sign was installed to Joseph Brodsky in the form of a huge boulder from Karelia, on which the lines from the poem "From the Outskirts to the Center"are carved: "Here I ran again with a Small Hunt through a thousand arches"[134].
On April 8, 2015, a museum was opened in a restored hut in the village of Norinskaya, where Brodsky lived in exile[135][136].
In May 2015, the book by V. P. Polukhina "From those who have not forgotten me" was published.
To Joseph Brodsky.
In memoriam — is an anthology of poetic and prose dedications to the poet, written by almost two hundred domestic and foreign authors[137].
Postage stamp
"75 years since the birth of I. A. Brodsky"
On May 22, 2015, a postage stamp "75 years since the birth of I. A. Brodsky"was put into circulation in Russia.
In addition, an envelope with the image of the poet's house museum in the village of Norinskaya was printed.
On May 24, 2015, the film "Brodsky is not a Poet" by Anton Zhelnov and Nikolai Kartozia was released, telling about the work of Joseph Brodsky[138]
See also[edit / edit wiki text]
Gorbunov and Gorchakov Twenty Sonnets to Mary Stuart Walks with Brodsky A room and a Half, or a Sentimental Journey to the Motherland Museum apartment of I. A. Brodsky American Study of Joseph Brodsky in the Anna Akhmatova Museum in the Fountain House
Notes[edit / edit wiki text]
↑ Show compactly
↑ Go to: 1 2 3 Record #118660136 / / Gemeinsame Normdatei — 2012-2015.
<a href="https://wikidata.org/wiki/Track:Q27302"></a><a href="https://wikidata.org/wiki/Track:Q304037"></a><a href="https://wikidata.org/wiki/Track:Q256507"></a><a href="https://wikidata.org/wiki/Track:Q170109"></a><a href="https://wikidata.org/wiki/Track:Q36578"></a>
↑ Bibliothèque nationale de France: open data platform — 2011.
<a href="https://wikidata.org/wiki/Track:Q20666306"></a>
↑ The film "Brodsky is not a poet", 29th second.
Лос Losev, 2006, p. 323 ↑ Losev, 2006 Горд Gordin, 2010 ↑ Andrzej Dravich.
The faces of my friends.(Joseph Brodsky)
S. S. 5, 6, 72 (fig.
