«A moongate in my wall: собрание стихотворений»

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Мария Визи (1904-1994) – поэтесса «первой волны» русской эмиграции. Данное собрание стихотворений, изданное в США, под редакцией Ольги Бакич, наиболее полное на данный момент собрание ее поэтических произведений и переводов. Издание состоит из 4 частей и включает в себя: 1. Три опубликованных сборника М. Визи: 1929, 1936 и 1973 гг. 2. Стихотворения, не вошедшие в сборники, написанные на русском языке. 3. Стихотворения, не вошедшие в сборники, написанные на английском языке. 4. Неопубликованные переводы Вступительная статья и комментарии на английском языке.



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A moongate in my wall: собрание стихотворений (fb2) - A moongate in my wall: собрание стихотворений 865K (книга удалена из библиотеки) скачать: (fb2) - (epub) - (mobi) - Мария Генриховна Визи Мария Визи. A moon gate in my wall: собрание стихотворений Boris Thomson. Foreword

Mary Custis Vezey is a little-known poet of the Russian post-1917 diaspora. She is unusual among emigre writers for two reasons: first, that she spent most of her life in China or the United States, and so did not consider herself an emigre; and second, that she wrote in both Russian and English (indeed her first book contains poems in both languages). She comes from the Chinese branch of the Russian diaspora; its work is much less well-known than those of the European and North American emigre communities.

Mary Vezey published three books of lyric poetry in her lifetime, and many individual poems in a variety of journals and occasional collections. She was also a translator into both Russian and English. Most of her poems are less than twenty lines long, and only a few run to more than fifty. Like many Russian poets who grew up in the 1920s, she chose to follow the more conservative styles of Blok (1880–1921), Gumilev (1886–1921), Akhmatova (1889–1966), and Esenin (1895–1925) — indeed she translated poems by the first three of these — as representatives of a culture that seemed under threat from the Revolution. This allegiance takes the form of themes (in particular, nostalgia and escapism), imagery, rhymes and rhythmic preferences. In her first collections (1929 and 1936) her own individuality is often obscured by these more powerful voices, but her work of the 1950-1980s is more independent. She displays a great interest in technique; several poems exhibit a new rhyming virtuosity, while quite a few are unrhymed, which was unusual in the tradition which she had previously followed. An unexpected development of this period is the attempt to work in the conventions of classical Chinese poetry, which she also translated in these years. In her translations, she shows a widening of interests, not just in the favourite poets of her youth, but also in such difficult poets as Marina Tsvetaeva, of whom she produced some of the best translations in English known to me.

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