Brodsky Through The Eyes Of His Contemporaries

A fascinating record of conversations with poets about Joseph Brodsky, this collection combines biographical details with a new and authoritative interpretation of the poetics, style, and ideas of one of the most influential poets to emerge in post-Stalinist Russia.

In the new second volume of Brodsky Through the Eyes of His Contemporaries, the collection of interviews features eye-witness accounts of Joseph Brodsky's friends and family members, publishers, editors, translators, students, and fellow poets including John Le Carre, Oleg Tselkov, Petr Vail, Bengt Jangfeldt, Susan Sontag, Seamus Heaney, Derek Walcott, and others. This collection of 40 interviews illuminates an intriguing contemporary phenomenon and affords a fascinating insight into the American literary scene. Continuing the discussion begun in the first volume, this series of interviews contains important discussions on the style, ideas, and personality of one of the most brilliant and paradoxical poets of our time. Subtle, incisive, and rigorous in its critical evaluation, each discussion significantly advances our understanding of Brodsky's complex poetic world. All discussions are linked by core questions that are carefully and sometimes provocatively formulated. The interviews are published together with many unique photographs from the private archives of the author and the interviewees.

Brodsky’s poetic career in the West was launched when Joseph Brodsky: Selected Poems was published in 1973. Its translator was a scholar and war hero, George L. Kline. This is the story of that friendship and collaboration, from its beginnings in 1960s Leningrad and concluding with the Nobel poet's death in 1996. Kline translated more of Brodsky’s poems than any other single person, with the exception of Brodsky himself. The Bryn Mawr philosophy professor and Slavic scholar was a modest and retiring man, but on occasion he could be as forthright and adamant as Brodsky himself. “Akhmatova discovered Brodsky for Russia, but I discovered him for the West,” he claimed. Kline’s interviews with author Cynthia L. Haven before his death in 2014 include a description of his first encounter with Brodsky, the KGB interrogations triggered by their friendship, Brodsky's emigration, and the camaraderie and conflict over translation. When Kline called Brodsky in London to congratulate him for the Nobel, the grateful poet responded, “And congratulations to you, too, George!”

This addition to the highly successful Contemporary Cultures series covers the period from period 1953, with the death of Stalin, to the present day. Both ‘Russian’ and ‘Culture’ are defined broadly. ‘Russian’ refers to the Soviet Union until 1991 and the Russian Federation after 1991. Given the diversity of the Federation in its ethnic composition and regional characteristics, questions of national, regional, and ethnic identity are given special attention. There is also coverage of Russian-speaking immigrant communities. ‘Culture’ embraces all aspects of culture and lifestyle, high and popular, artistic and material: art, fashion, literature, music, cooking, transport, politics and economics, film, crime – all, and much else, are covered, in order to give a full picture of the Russian way of life and experience throughout the extraordinary changes undergone since the middle of the twentieth century. The Encyclopedia of Contemporary Russian Culture is an unbeatable resource on recent and contemporary Russian culture and history for students, teachers and researchers across the disciplines. Apart from academic libraries, the book will also be a valuable acquisition for public libraries. Entries include cross-references and the larger ones carry short bibliographies. There is a full index.

This is an imaginative work of literary criticism. Thirteen scholars have selected a wide variety of Joseph Brodsky's poems written between 1970 and 1994 for detailed discussion in the context of his whole output. The choice of poems reflects Brodsky's diversity of themes and devices. Together they offer a perspective on one of the most original and profound modern poets. This collection should fulfil the often-expressed need for a comprehensive approach to the study of Brodsky's poetry, which is linguistically as well as intellectually demanding.

Readers of poetry make aesthetic judgements about verse. It is quite common to hear intuitive statements about poets' rhythms. It is said, for example, that Joseph Brodsky, the Russian poet and 1987 Nobel Prize laureate, "sounds English" when he writes in Russian. Yet, it is far from clear what this statement means from a linguistic point of view. What is English about Brodsky's Russian poetry? And in what way are his "English" rhythms different from the verse of his Russian predecessors? The book provides an analysis of Brodsky's experiment bringing evidence from an unusually wide variety of disciplines and theories rarely combined in a single study, including the generative approach to meter; the Russian quantitative approach, analysis of readers' intuitions about poetic rhythm, analysis of the poet's source readings, as well as acoustic phonetics, statistics, and archival research. The distinct analytic approaches applied in this book to the same phenomenon complement one another each providing insight alternate approaches do not, and showing that only a combination of theories and methods allows us to fully appreciate what Brodsky's "English accent" really was, and what any poetic innovation means.

This is a selection of papers on Russian literature of the Soviet period presented at the IVth World Congress for Soviet and East European Studies in 1990. The ten articles range from the experimental prose and drama of the 1920s to studies of work by younger writers of the 1980s. The articles include analyses of works by individual writers and examinations of general phenomena, for example, village prose or the way Stalin is presented in literature of the glasnost era.

A deeply researched account of Joseph Brodsky’s evolution in English as a self-translator and a poet in translation Joseph Brodsky’s translations of his own Russian-language poems into English “new originals” have been criticized for their “un-Englishness,” an appraisal based on a narrow understanding of translation itself. With this radical reassessment of the Nobel Prize winner’s self-translations, Zakhar Ishov proposes a fresh approach to poetry translation and challenges the assumption that poetic form is untranslatable. Brodsky in English draws on previously unexamined archival materials, including drafts and correspondence with translators and publishers, to trace the arc of Brodsky’s experience with the English language. Ishov shows how Brodsky’s belief in the intellectual continuity between his former life in the Soviet Union and his new career in the United States, including as Poet Laureate, anchored his insistence on maintaining the formal architecture of his poems in translation, locating the transmission of poetic meaning in the rhythms of language itself. This book highlights Brodsky’s place within the long history of the compromises translation must make between linguistic material and poetic process.