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Marina Tsvetaeva (1892–1941)

Author of Selected Poems

270+ Works 1,979 Members 21 Reviews 20 Favorited

About the Author

Marina Ivanovna Tsvetaeva, 1892-1941 Marina Ivanovna Tsvetaeva was born on October 8, 1892 in Moscow. Her first collection appeared in 1910, and she ranks among the major twentieth-century Russian poets. Her numerous lyrics and long poems are distinguished by great vigor and passion and an show more astonishing technical mastery. Her language and rhythms are highly innovative. In subject, her poetry varies greatly, often diary-like but also intensely concerned with the fate of her generation, of Russia, and of Europe. Tsvetaeva did not shy away from controversial topics, often opposing received dogma, be it Soviet or Russian emigre. She frequently subsumed herself in other characters, merging dramatic and lyrical elements. Particularly striking are her long poems Poem of the Mountain, Poem of the End, and Ratcatcher and her later collections Craft (1923) and After Russia (1928). After emigrating from the Soviet Union, Tsvetaeva also seriously turned to prose. (Bowker Author Biography) show less
Image credit: Marina Tsvetaïeva en 1925

Works by Marina Tsvetaeva

Selected Poems (1971) 389 copies
Letters: Summer 1926 (1985) 226 copies
Earthly Signs (1988) 147 copies
Poesie (2007) 33 copies
My Pushkin (1937) 31 copies
Werken (1999) 29 copies
After Russia (1992) 21 copies
Milestones (2003) 19 copies
Sonecka (1937) 18 copies
Letter to the Amazon (1982) 18 copies
Le ciel brûle (1987) 17 copies
Herinneringen en portretten (1981) 17 copies
El Diablo (Spanish Edition) (1990) 17 copies
Correspondance 1922-1936 (2004) — Author; Author — 13 copies
Mi madre y la música (1987) 11 copies
The Demesne of the Swans (1957) 10 copies
Phoenix (1990) 9 copies
Piru ja muita kertomuksia (2006) 9 copies
Stikhotvoreniya. Poemy (1997) 8 copies
Tres poemas mayores (1991) 8 copies
Liebesgedichte (1997) 7 copies
Viva voz de vida (2008) 7 copies
Antología 100 poemas (1997) 7 copies
De jongen (1971) 7 copies
Levend over levend (1996) 7 copies
Le notti fiorentine (2011) 6 copies
Lettere (2010) 6 copies
Mein weiblicher Bruder (1995) 5 copies
Les Carnets : 1913-1939 (2008) 4 copies
La Historia De Soniechka (2010) 4 copies
Indicios terrestres (1992) 4 copies
Le Gars (1992) 4 copies
Ariadna (2006) 4 copies
Стихи и поэмы (1988) 4 copies
Les Arbres (2013) 4 copies
Elu tules : pihtimused (2007) 4 copies
Phaedra (2011) 3 copies
Luulet (1994) 3 copies
Il poeta e altre poesie (2006) 3 copies
Neovdašnje veče (1977) 3 copies
Taccuini 1919-1921 (2014) 3 copies
L' armadio segreto (1991) 3 copies
Zwanenkamp (2020) 3 copies
Mon frère féminin (2018) 3 copies
DEPOIS DA RÚSSIA (2001) 3 copies
Nieuwjaarsgroet (2008) 3 copies
Svodnye tetradi (1997) 2 copies
Briefe an Ariadna Berg (1996) 2 copies
Locuciones de la sibila (2008) 2 copies
Ariane (2001) 2 copies
Souvenirs (2006) 2 copies
Sette poemi (2019) 2 copies
Histoire d'une dédicace (1999) 2 copies
Les poésies d'amour (2015) 2 copies
Izbrannoe (2009) 2 copies
Proza (1989) 2 copies
Volshebnyy fonar (2018) 2 copies
Laiškai į Vilnių (2004) 2 copies
Irdische Zeichen (1990) 2 copies
Digte (1989) 2 copies
L'anima in fiamme (2008) 2 copies
Le cahier rouge (2011) 2 copies
Лирика (1999) 2 copies
Поручаю ветру (1998) 2 copies
Gruß vom Meer. (1994) 1 copy
Fites 1 copy
Hodina duše 1 copy
O DIabo 1 copy
Gedichte 1 copy
Après la Russie (2023) 1 copy
Der Prokurisk (1993) 1 copy
Pisma. 1937-1941 (2016) 1 copy
L'offense lyrique (1992) 1 copy
De vie à vie (2023) 1 copy
Phèdre (1999) 1 copy
Octobre en wagon (2007) 1 copy
Проза 1 copy
Театр 1 copy
Youthful Verses (2020) 1 copy
Lettres à Anna (2003) 1 copy
Sochinenija 1 copy
Black earth (1992) 1 copy
Uchenik 1 copy
Les flagellantes (1989) 1 copy
Poema de la fi (1992) 1 copy
Izabrane pjesme (2012) 1 copy
Romantika: théâtre (1998) 1 copy
Le conte de ma mère (1988) 1 copy
Theater (2012) 1 copy
Incontri (1992) 1 copy
La tosaerba 1 copy
Lirika (2008) 1 copy
Il Campo dei cigni (2017) 1 copy
Una dedicatoria (1997) 1 copy

Associated Works

Against Forgetting: Twentieth-Century Poetry of Witness (1993) — Contributor — 336 copies
The Penguin Book of Women Poets (1978) — Contributor — 299 copies
Erotica: Women's Writing from Sappho to Margaret Atwood (1990) — Contributor — 168 copies
The Stray Dog Cabaret (2006) — Contributor — 116 copies
The Penguin book of Russian poetry (2015) — Contributor — 93 copies
Gods and Mortals: Modern Poems on Classical Myths (1684) — Contributor — 69 copies
Russian Poets (Everyman's Library Pocket Poets) (2009) — Contributor — 67 copies
1917: Stories and Poems from the Russian Revolution (2016) — Contributor — 36 copies
Ode aan de voetganger (2013) — Contributor — 12 copies
Der Irrtum. Russische Erzählungen. (1999) — Contributor — 6 copies

Tagged

Common Knowledge

Canonical name
Tsvetaeva, Marina
Legal name
Tsvetaeva, Marina Ivanovna
Birthdate
1892-10-08
Date of death
1941-08-31
Gender
female
Nationality
Russia
Country (for map)
Russia
Birthplace
Moscow, Russia
Place of death
Yelabuga, USSR
Cause of death
Suicide (Pendaison)
Places of residence
Nervi, Russia
Berlin, Germany
Paris, France
Prague, Czechoslovakia
Yelabuga, Russia
Education
Sorbonne
Occupations
translator
poet
Playwright
writer
essayist
Relationships
Efron, Sergei (husband)
Efron, Ariadna (daughter)
Mandelstam, Osip (lover)
Tsvetaeva, Anastasia (sister)
Short biography
Marina Ivanovna Tsvetaeva was born in Moscow, Russia, a daughter of Ivan Vladimirovich Tsvetaev, a professor of Fine Art at the University of Moscow, and his second wife Maria Alexandrovna, a concert pianist. Anastasia Tsvetaevna was her younger sister. The family traveled abroad and Marina attended schools in Switzerland and Germany, and studied history and literature at the Sorbonne. In 1910, she self-published her first collection of poems. In 1912, she married Sergei Efron, also a poet and a Russian military officer, with whom she would have three children. Her second collection of verses, Magic Lantern, also appeared in 1912. Between 1917 and 1922, she wrote a cycle of six plays in prose and verse. In 1919, in the aftermath of the Russian Revolution, in an attempt to save her two daughters from starvation, Marina placed them in a state orphanage, but Irina died there of malnutrition. Marina and her daughter Ariadna then left Russia in 1922 to join Efron in Berlin. They lived in Paris and Prague and had a son, Gregori. The family returned to Moscow in 1939. Efron and Ariadna were arrested on charges of espionage in 1941. He was executed, and Ariadna was sent to a forced labor camp. Marina Tsvetaeva committed suicide that year at age 48. Much of her work was re-published posthumously in the Soviet Union after 1961, and brought her international recognition as a major poet.

Members

Reviews

Tsvetaeva is fascinating, the translation if readable and has a wonderful rhythm, but I have very low tolerance for, as the blub itself puts it, a lyrical diary that pays hommage to other poets. There's just too many poems in which Tsvetaeva talks about whom she wants to sleep with, or whom she's sleeping with, or subtle variations on that wanting to sleep with stuff. And for whatever reason, I have a very hard time reading 'tribute to...' poems.

Given these facts--which are about me, not the book--this is a pretty solid volume. When Marina's imagining herself as an aged grandmother hitting on the young men, it's fun. The poems to Alya are very moving. Some of the narratives are masterpieces of compression. She's funny, she's smart, and the context for the volume makes it worth a look: Tsetaeva wrote these poems during the chaotic years after the revolution, while her husband was away fighting the Bolsheviks.… (more)
 
Flagged
stillatim | 1 other review | Oct 23, 2020 |
Love is flesh, it is a
flower flooded with blood.
Did you think it was just a
little chat across a table

a snatched hour and back home again
the way gentlemen and ladies
play at it? Either love is…
– A shrine?
– or else a scar.
 
Flagged
systemfailure | Jun 16, 2020 |
And overflowing their rims,
into the black earth, to nourish
the rushes unstoppably
without cure, gushes
verse


This was a necessary refuge, a raft where the sea's bed is murky. There is so much doubt, singed with hunger on these pages, yet there's a human exuberance. There's agency, not tr potlatch, no Cleopatra dissolving a priceless pearl in and drinking the dregs, as Calasso noted. There are quests and memorials. There is rapt ardor even when the soul's been steeped in grief. There's a determination to right the course when fate has proved abusive.

The last concept, of sense-making within the delirium of an overturned world is evidenced in the sublime An Attempt At Room, a poem which appears to me to be the analogy of making a home in a collapsing building.

For a rendezvous is a locality,
A list - calculation, sketch -
Of words that are not always apposite,
Of gestures all wrong, simply out of touch.


Reading her lines, one can inhale the ancient perseverance, the ability to manage the ignoble and the banal with no chance for posterity. There's a line in a novel I broached recently, an exile is a refugee with a library.
… (more)
 
Flagged
jonfaith | 2 other reviews | Feb 22, 2019 |
Essays by one of the greatest Russian poets of the Twentieth Century provide a taste of the literary and cultural life of her emigre life. With only her poetry for support she shares her personal experience in difficult times. Joseph Brodsky praised her: "No more passionate voice ever sounded in Russian poetry of the twentieth century."
 
Flagged
jwhenderson | Mar 21, 2018 |

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Works
270
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Members
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Popularity
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Rating
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ISBNs
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