Anna Akhmatova

Anna Akhmatova was born near Odesa in 1889. Christened as Anna Gorenko, she adopted her pen-name from the family of her mother. She attended school in Tsarskoe Selo and lived most of her life in Saint Petersburg, the city with which so much of her poetry is intimately connected. She frequented the Tower, the famous literary salon of the symbolist poet Vyacheslav Ivanov, and in 1910 she married fellow poet Nikolay Gumilev. Together they became associated with the literary movement know as Acmeism. The couple were divorced in 1918, three years before Gumilev was executed by the Bolsheviks for counter revolutionary activities. Akhmatova achieved fame with her first collection of poems, Evening, published in 1912, and her subsequent collections, Rosary and White Flock consolidated her reputation as one of Russia's leading poets during the period preceding the October Revolution. After 1917 she took the decision to remain in Russia, rather than join those of her fellow writers who were opting to go into exile in the West. Between the publication of the second edition of Anno Domini in 1923 and the death of Stalin in 1953-with a brief reprieve during the Great Patriotic War-she found herself subject to censorship, and in 1946 she was expelled from the Soviet Writers' Union in the wake of the notorious speech by the Communist Party cultural boss Andrey Zhdanov, in which he described her as a 'cross between a nun and a whore'. Nonetheless, although she faced much personal hardship and a protracted exclusion from publication as a consequence of her decision to remain in Russia, she was also able to create Requiem, her great affirmation of solidarity with the victims of the Stalinist purges. After Stalin's death in 1953 the restrictions on Akhmatova's work were gradually relaxed and a selection of her poems, entitled The Course of Time, was published in 1958. She died in Moscow in 1966.

A unique anthology of short stories and poetry by feminist contemporaries of Virginia Woolf, who were writing about work, discrimination, war, relationships and love in the early part of the 20th Century. Includes works by English and American writers Zelda Fitzgerald, Charlotte Perkins Gillman, Radclyffe Hall, Katherine Mansfield, Alice Dunbar Nelson, Edith Wharton, and Virginia Woolf, alongside their recently rediscovered 'sisters' from around the world. This book offers a diverse and international array of over 20 literary gems from women writers living in Bulgaria, Chile, China, Egypt, France, Italy, Palestine, Romania, Russia, Spain and Ukraine.

"To eller tre generationer af russere blev forelsket til akkompagnement af Akhmatovas digte."Sådan beskrev en af tidens kritikere hendes umådelige popularitet. Men efterhånden som det 20. århundredes katastrofer væltede ind over Rusland og resten af verden, fik Akhmatovas poesi dybere og mørkere klange. Hun blev en af sovjettidens forkætrede og fortiede, men alligevel aldrig helt glemte kunstnere. I dag er hendes position på det russiske parnas højere end nogensinde før, og nye læsere verden over får øjnene op for hendes poesi, med dens sublime udtryk for lidenskab, sorg, vrede og forsoning. Dette udvalg er sammensat af digte fra de i alt syv samlinger, som udkom eller var klar til udgivelse i Akhmatovas levetid, suppleret med et par efterladte strofer. Der er i udvalget en overvægt af værker fra den første halvdel af Akhmatovas oeuvre, men når det kombineres med de to sene hovedværker, digtsuiterne Requiem (2019) og Poem uden helt (som er under forberedelse), vil der være balance i den danske præsentation af hendes livsværk.Pressen skrev om Requiem:"Sikke dog poesi kan hysse smukt og storslået!" Lars Bukdahl, Weekendavisen"En afgørende stemme i en poesi på liv og død." Peter Laugesen Information"Billedsprogmættede mareridtsvisioner", "Viser hvilken fremragende digter Akhmatova er." Peter Stein Larsen, Kristeligt Dagblad

Anna Akhmatova (1889-1966) fik sit gennembrud i 1912 med digtsamlingen ”Aften” og blev en toneangivende hovedskikkelse i den russiske sølvalder, der bl.a. omfatter navne som Osip Mandelsjtam, Marina Tsvetajeva, Vladimir Majakovskij og Boris Pasternak. Hendes rigt facetterede kærlighedstematik udfolder sig i en suveræn syntese mellem klassisk og modernistisk formsprog. Akhmatovas digtcyklus Requiem, som blev til over det meste af tre decennier, er i sit udgangspunkt selvbiografisk. Det er forfatterens gribende vidnesbyrd og skamstøtte over Stalintidens rædsler. Men selv efter diktatorens død var Akhmatovas navn forkætret og fortiet. Requiem blev til at begynde med udbredt fra mund til mund og via samizdat (dvs. selvudgivelse; afskrifter). Sidenhen udkom der censurerede uddrag i sovjetiske antologier m.m., og kun i Vesten kunne det læses i sin helhed, såvel på russisk som i talrige oversættelser. Først i 1987 udkom det uforkortet i Sovjetunionen. I dag har det en uanfægtet klassikerstatus i Rusland og er blevet sat i musik af en lang række tonekunstnere. Requiem udkommer her for første gang i sin helhed på dansk.

Anna Akhmatova is considered one of Russia's greatest poets. Her life encompassed the turmoil of the Russian Revolution and the paranoia and persecution of the Stalinist era: her works embody the complexities of the age. At the same time, she was able to merge these complexities into a single, poetic voice to speak to the Russian people with whom she so closely and proudly identified. Way of All the Earth contains short poems written between 1909 and 1964, selected from Evening, Rosary, White Flock, Plantain, Anno Domini, Reed, and The Seventh Book. Intricately observed and unwavering in their emotional immediacy, these strikingly modern poems represent one of the twentieth century's most powerful voices.

With this edition Swallow Press presents two of Anna Akhmatova's best-known works that represent the poet at full maturity, and that most trenchantly process the trauma she and others experienced living under Stalin's regime. Akhmatova began the three-decade process of writing "Requiem" in 1935 after the arrests of her son, Lev Gumilev, and her third husband. The autobiographical fifteen-poem cycle primarily chronicles a mother's wait--lining up outside Leningrad Prison every day for seventeen months--for news of her son's fate. But from this limbo, Akhmatova expresses and elevates the collective grief for all the thousands vanished under the regime, and for those left behind to speculate about their loved ones' fates. Similarly, Akhmatova wrote "Poem without a Hero" over a long period. It takes as its focus the transformation of Akhmatova's beloved city of St. Petersburg--historically a seat of art and culture--into Leningrad. Taken together, these works plumb the foremost themes for which Akhmatova is known and revered. When Ohio University Press published D. M. Thomas's translations in 1976, it was the first time they had appeared in English. Under Thomas's stewardship, Akhmatova's words ring clear as a bell.

Anna Akhmatova (1889-1966) had a life that spanned prerevolution Russia, Bolshevism, and Stalinism. Throughout it all, she maintained a restrained, graceful, yet muscular style that could grab a reader by the throat, or the heart, at a moment's notice. Her themes include romantic yearning and frustration, the pull of the sensory, the emotional power of the mundane, and her belief that a Russian poet could only produce poetry in Russia. By reputation, both Akhmatova's poems and the poet herself are defined by tragedy and beauty in equal measure, and she is for many the quintessential twentieth-century Russian poet. You Will Hear Thunder spans Akhmatova's very early career into the early 1960s. These poems were written through her bohemian prerevolution days, her many marriages, the terror and privation of life under Stalin, and her later years, during which she saw her work once again recognized by the Soviet state. Intricately observed and unwavering in their emotional immediacy, these strikingly modern poems represent one of the twentieth century's most powerful voices.

V etom sbornike vpervye predstavleny stikhotvorenija A.Akhmatovoj v sostave, kotoryj mozhno ozaglavit "Potaennaja Akhmatova".Eto stikhotvorenija Akhmatovoj, kotorye nikogda pri ee zhizni ne byli napechatany, stikhotvorenija, kotorye druzja Akhmatovoj zauchivali naizust i originaly kotorykh szhigalis. V nikh slyshen golos bolshogo grazhdanskogo poeta, razdelivshego stradanija svoego naroda i sumevshego rasskazat o nikh."V Kremle ne nado zhit - Preobrazhenets prav, / Tam zverstva drevnego esche kishat mikroby: / Borisa dikij strakh, i vsekh Ivanov zloby, / I Samozvantsa spes - vzamen narodnykh prav".Serija "Nastojaschaja Akhmatova" otlichaetsja ot vsekh predshestvujuschikh izdanij stikhotvorenij i poem A.Akhmatovoj prezhde vsego kachestvom tekstologicheskoj podgotovki: vse teksty etoj serii svereny po avtografam, khranjaschimsja v gosudarstvennykh arkhivakh i chastnykh sobranijakh, a takzhe po pervym publikatsijam v periodicheskoj pechati. V knigakh etoj serii po vozmozhnosti sokhraneny osobennosti avtorskogo napisanija, sokhranjaetsja avtorskaja punktuatsija podlinnikov, sobljudaetsja vid zapisi tekstov proizvedenij: raspolozhenie strok, otstupov, "lesenka", kursiv, propisnye i strochnye bukvy i t. p.Vse knigi serii snabzheny vstupitelnymi statjami i primechanijami.

Anna Akhmatova (June 23, 1889 - March 5, 1966) is considered by many to be one of the greatest Russian poets of the Silver Age. One of the forefront leaders of the Acmeism movement, which focused on rigorous form and directness of words, she was a master of conveying raw emotion in her portrayals of everyday situations. Her works range from short lyric love poetry to longer, more complex cycles, such as Requiem, a tragic depiction of the Stalinist terror. During the time of heavy censorship and persecution, her poetry gave voice to the Russian people. To this day, she remains one of Russia's most beloved poets and has left a lasting impression on generations of poets that came after her.Rosary, published in 1914, is Akhmatova's second book, and one of her most popular collections. After its publication, Akhmatova became a household name and further established her place among the greatest Russian poets.

Celebrating three Russian literary greats—Alexander Pushkin, Anna Akhmatova, and Andrei Voznesensky—this collection of their writing presents new translations of a combined 44 poems and includes both Russian and English text. Nearly 20 artworks—from colour monoprints to black-and-white collages, illustrations, and photographs—by Pushkin, Voznesensky, Amadeo Modigliani, Nikolai Tyrsa, and Claire Weissman Wilks are also included, opening an artistic dialogue with the poems and the reader. Alexander Pushkin is, perhaps, the greatest of Russian poets and considered the founder of modern Russian literature. Anna Akhmatova is Russia’s singular female poet and perhaps the greatest in Western culture. Andrei Voznesensky was considered one of the most daring writers of the Soviet era, and before his death he was both critically and popularly acclaimed. These three master poets are brought together with masterful translations that engage their many complexities and are a must for personal or academic interests in Russian literature or poetry in general.

Kritiki srazu nazvali moloduju Akhmatovu russkoj Sapfo, po imeni drevnegrecheskoj pevitsy ljubvi. Vekami kopivshajasja dukhovnaja energija zhenskoj dushi poluchila vykhod v Rossii v poezii Anny Akhmatovoj. Vpervye zhenschina obrela poeticheskij golos takoj sily: "Ja nauchila zhenschin govorit". Lirika poeta otrazila motivy "velikoj zemnoj ljubvi", psikhologiju zhenskoj dushi, v ee poezii tragicheskie noty cheredujutsja so svetlymi, likujuschimi... S serediny 20-kh godov Akhmatovu perestali publikovat: tsenzura, travlja, zamalchivanie na protjazhenii desjatiletij. Mnogie proizvedenija ne byli izdany i posle smerti poeta v techenie bolee chem dvukh desjatiletij. Lichnaja sudba byla stol zhe tragichna: "Muzh v mogile, syn v tjurme..." No priznanie i ljubov shirokikh krugov pochitatelej ee talanta i poezii okruzhali Annu Akhmatovu vsegda.

Anna Akhmatova (1889–1966), one of twentieth-century Russia’s greatest poets, was viewed as a dangerous element by post-Revolution authorities. One of the few unrepentant poets to survive the Bolshevik revolution and subsequent Stalinist purges, she set for herself the artistic task of preserving the memory of pre-Revolutionary cultural heritage and of those who had been silenced. This book presents Nancy K. Anderson’s superb translations of three of Akhmatova’s most important poems: Requiem, a commemoration of the victims of Stalin’s Terror; The Way of All the Earth, a work to which the poet returned repeatedly over the last quarter-century of her life and which combines Old Russian motifs with the modernist search for a lost past; and Poem Without a Hero, widely admired as the poet’s magnum opus.Each poem is accompanied by extensive commentary. The complex and allusive Poem Without a Hero is also provided with an extensive critical commentary that draws on the poet’s manuscripts and private notebooks. Anderson offers relevant facts about the poet’s life and an overview of the political and cultural forces that shaped her work. The resulting volume enables English-language readers to gain a deeper level of understanding of Akhmatova’s poems and how and why they were created.

Distributed by the University of Nebraska Press for Whale and Star Press Anna Akhmatova (1889–1966) was a skilled love poet who, through no choice of her own, became a witness to mass violence, a widely recognized exemplar of endurance and moral strength, and finally a symbol of Russian national resilience. At the start of her career, during the final years of the Russian Empire, Akhmatova was a cultural celebrity who fascinated a generation not only with her poetry but also with the drama that she created around herself. After the revolution of 1917, she was attacked as a decadent bourgeois author and driven into silence and obscurity. Living in relative poverty, with her family and friends repeatedly arrested and harassed, and she herself publicly cursed by the representatives of the state, Akhmatova survived the darkest decades of Soviet history. Near the end of her life, when timorous cultural bureaucrats allowed her to reemerge as a public figure, she revealed to readers that even if the "collective" had rejected her as an unworthy member she had continued to write poetry reflecting the trials and calamities of Soviet men and women with greater truth and moral authority than any official poet could attain.

WITH AN INTRODUCTION BY CAROL ANN DUFFYAnna Akhmatova is one of the most accomplished and well loved poets Russia has ever produced. This selection, beautifully translated by poet and novelist D.M. It covers both her earlier work and the poems she produced during her persecution by the Russian authorities.

A definitive body of work by one of the great Russian poets of the twentieth century includes poetry from all of her major collections, including "Requiem," a memorial to the victims of Stalin's terror, as well as twenty poems that have been newly translated for this collection.

From her appearance in a small magazine in 1906 to her death in 1965, Anna Akhmatova was a dominant presence in Russian literary life. But this friend of Pasternak and Mandelstam was a poet in a country where poetry was literally a matter of life and death, as she found when Mandelstam and her own husband, Gumilyev, were executed, and her son imprisoned for many years in the Gulag. Akhmatova's first collection, Evening, appeared in 1912. Rosary (1914) made her a household name. After the Revolution she went in and out of favour with the authorities, who sometimes allowed her to publish, sometimes banned her work. She is now most celebrated in the West for Poem Without A Hero and Requiem, a sequencemourning the victims of Stalin's Terror which was only published (and then outside Russia) in 1963.

Initially published in 1990, when the New York Times Book Review named it one of fourteen "Best Books of the Year," Judith Hemschemeyer's translation of The Complete Poems of Anna Akhmatova is the definitive edition, and has sold over 13,000 copies, making it one of the most successful poetry titles of recent years.This reissued and revised printing features a new biographical essay as well as expanded notes to the poems, both by Roberta Reeder, project editor and author of Anna Akhmatova: Poet and Prophet (St. Martin's Press, 1994). Encyclopedic in scope, with more than 800 poems, 100 photographs, a historical chronology, index of first lines, and bibliography. The Complete Poems will be the definitive English language collection of Akhmatova for many years to come.

From the artistic passion of the St Petersburg poets and bohemians, to the collective suffering of a nation, Anna Akhmatova spoke to, and for, the soul of her people. This magnificent edition includes: more than 800 poems, half of them available in no other translated edition: translator's preface: biographical introduction by Roberta Reeder: more than 125 photographs, including a 65 page photo biography, and 'The Artist's Muse' images of Akhmatova in art: memoir by Isaiah Berlin: comprehensive notes to the poems: index of first lines: bibliography.

Presents works of the Russian poet, written between 1909 and 1961, accompanied by explanatory notes and biographical data