Marina Tsvetaeva
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Marina Tsvetaeva | |
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Born | Marina Ivanovna Tsvetaeva 8 October 1892 Moscow, Russian Empire |
Died | 31 August 1941 Yelabuga, Tatar ASSR, Russian SFSR, Soviet Union | (aged 48)
Occupation | Poet and writer |
Education | Sorbonne, Paris |
Literary movement | Russian symbolism |
Spouse |
Ariadna Èfron |
Signature | |
Marina Ivanovna Tsvetaeva (Russian: Марина Ивановна Цветаева, IPA: [mɐˈrʲinə ɪˈvanəvnə tsvʲɪˈta(j)ɪvə]; 8 October [O.S. 26 September] 1892 – 31 August 1941) was a Russian poet. Her work is some of the most well known in twentieth century Russian literature.[1] She lived through and wrote of the Russian Revolution of 1917 and the Moscow famine that followed it.
Marina attempted to save her daughter Irina from starvation by placing her in a state orphanage in 1919, where Irina died of hunger. Tsvetaeva left Russia in 1922 and lived with her family in increasing poverty in Paris, Berlin and Prague before returning to Moscow in 1939. Her husband
Tsvetaeva died by suicide in 1941. As a lyrical poet, her passion and daring linguistic experimentation mark her as a historical chronicler of her times and the depths of the human condition.
Early years
Marina Tsvetaeva was born in
Tsvetaeva's two half-siblings, Valeria and Andrei, were the children of Ivan's deceased first wife, Varvara Dmitrievna Ilovaiskaya, daughter of the historian
In 1902, Maria contracted tuberculosis. A change in climate was recommended to help cure the disease, and so the family travelled abroad until shortly before her death in 1906, when Tsvetaeva was 14.[2] They lived for a while by the sea at Nervi, near Genoa. There, away from the rigid constraints of a bourgeois Muscovite life, Tsvetaeva was able for the first time to run free, climb cliffs, and vent her imagination in childhood games. There were many Russian émigré revolutionaries residing at that time in Nervi, who may have had some influence on the young Tsvetaeva.[3]
In June 1904, Tsvetaeva was sent to school in Lausanne. Changes in the Tsvetaev residence led to several changes in school, and during the course of her travels she acquired the Italian, French, and German languages. She gave up the strict musical studies that her mother had imposed and turned to poetry. She wrote "With a mother like her, I had only one choice: to become a poet".[2]
In 1908, aged 16, Tsvetaeva studied literary history at the
Family and career
She began spending time at Voloshin's home in the
In 1914, Efron volunteered for the front and by 1917 he was an officer stationed in Moscow with the 56th Reserve.
Tsvetaeva was a close witness of the
She wrote six plays in verse and narrative poems. Between 1917 and 1922 she wrote the epic verse cycle Lebedinyi stan (The Encampment of the Swans) about the civil war, glorifying those who fought against the communists.[1] The cycle of poems in the style of a diary or journal begins on the day of Tsar Nicholas II's abdication in March 1917, and ends late in 1920, when the anti-communist White Army was finally defeated. The 'swans' of the title refers to the volunteers in the White Army, in which her husband was fighting as an officer. In 1922, she published a long pro-imperial verse fairy tale, Tsar-devitsa ("Tsar-Maiden").[1]
The Moscow famine was to exact a toll on Tsvetaeva. With no immediate family to turn to, she had no way to support herself or her daughters. In 1919, she placed both her daughters in a state orphanage, mistakenly believing that they would be better fed there. Alya became ill, and Tsvetaeva removed her, but Irina died there of starvation in 1920.[2] The child's death caused Tsvetaeva great grief and regret. In one letter, she wrote, "God punished me."
During these years, Tsvetaeva maintained a close and intense friendship with the actress Sofia Evgenievna Holliday, for whom she wrote a number of plays. Many years later, she would write the novella "Povest o Sonechke" about her relationship with Holliday.
Exile
Berlin and Prague
In May 1922, Tsvetaeva and Ariadna left Soviet Russia and were reunited in Berlin with Efron, who she had thought had been killed by the Bolsheviks.[5] There she published the collections Separation, Poems to Blok, and the poem The Tsar Maiden. Much of her poetry was published in Moscow and Berlin, consolidating her reputation. In August 1922, the family moved to Prague. Living in unremitting poverty, unable to afford living accommodation in Prague itself, with Efron studying politics and sociology at the Charles University and living in hostels, Tsvetaeva and Ariadna found rooms in a village outside the city. She wrote: "We are devoured by coal, gas, the milkman, the baker... the only meat we eat is horsemeat." When offered an opportunity to earn money by reading her poetry, she had to beg a simple dress from a friend to replace the one she had been living in.[6]
Tsvetaeva began a passionate affair with Konstantyn Rodziewicz , a former military officer, a liaison which became widely known throughout émigré circles. Efron was devastated.[7] Her break-up with Rodziewicz in 1923 was almost certainly the inspiration for her The Poem of the End and "The Poem of the Mountain".[2] At about the same time, Tsvetaeva began correspondence with poet Rainer Maria Rilke and novelist Boris Pasternak.[5] Tsvetaeva and Pasternak were not to meet for nearly twenty years, but maintained friendship until Tsvetaeva's return to Russia.
In summer 1924, Efron and Tsvetaeva left Prague for the suburbs, living for a while in Jíloviště, before moving on to Všenory, where Tsvetaeva completed "The Poem of the End", and was to conceive their son, Georgy, whom she was to later nickname 'Mur'.[6] Tsvetaeva wanted to name him Boris (after Pasternak); Efron insisted on Georgy. He was to be a most difficult child but Tsvetaeva loved him obsessively. With Efron now rarely free from tuberculosis, their daughter Ariadna was relegated to the role of mother's helper and confidante, and consequently felt robbed of much of her childhood.[6] In Berlin, before settling in Paris, Tsvetaeva wrote some of her greatest verse, including Remeslo ("Craft", 1923) and Posle Rossii ("After Russia", 1928). Reflecting a life in poverty and exiled, the work holds great nostalgia for Russia and its folk history, while experimenting with verse forms.[5]
Paris
I Know the Truth
I know the truth—give up all other truths!
No need for people anywhere on earth to struggle.
Look—it is evening, look, it is nearly night:
what do you speak of, poets, lovers, generals?
The wind is level now, the earth is wet with dew,
the storm of stars in the sky will turn to quiet.
And soon all of us will sleep under the earth, we
who never let each other sleep above it.
"I know the truth" Tsvetaeva (1915).
Trans. by Elaine Feinstein
In 1925, the family settled in Paris, where they would live for the next 14 years.[5] At about this time Tsvetaeva had a relapse of the tuberculosis she had previously contracted in 1902. She received a small stipend from the Czechoslovak government, which gave financial support to artists and writers who had lived in Czechoslovakia. In addition, she tried to make whatever she could from readings and sales of her work. She turned more and more to writing prose because she found it made more money than poetry. Tsvetaeva did not feel at all at home in Paris's predominantly ex-bourgeois circle of Russian émigré writers. Although she had written passionately pro-'White' poems during the Revolution, her fellow émigrés thought that she was insufficiently anti-Soviet, and that her criticism of the Soviet régime was altogether too nebulous.[5] She was particularly criticised for writing an admiring letter to the Soviet poet Vladimir Mayakovsky. In the wake of this letter, the émigré paper Posledniye Novosti, to which Tsvetaeva had been a frequent contributor, refused point-blank to publish any more of her work.[8] She found solace in her correspondence with other writers, including Boris Pasternak, Rainer Maria Rilke, the Czech poet Anna Tesková, the critics D. S. Mirsky and Aleksandr Bakhrakh, and the Georgian émigré princess Salomea Andronikova, who became her main source of financial support.[9] Her poetry and critical prose of the time, including her autobiographical prose works of 1934–7, is of lasting literary importance.[5] But she felt "consumed by the daily round", resenting the domesticity that left her no time for solitude or writing. Moreover her émigré milieu regarded Tsvetaeva as a crude sort who ignored social graces. Describing her misery, she wrote to Tesková: "In Paris, with rare personal exceptions, everyone hates me, they write all sorts of nasty things, leave me out in all sorts of nasty ways, and so on".[8] To Pasternak she complained "They don't like poetry and what am I apart from that, not poetry but that from which it is made. [I am] an inhospitable hostess. A young woman in an old dress." She began to look back at even the Prague times with nostalgia and resent her exiled state more deeply.[8]
Meanwhile, Tsvetaeva's husband Efron was developing Soviet sympathies and was homesick for Russia.[5] Eventually, he began working for the NKVD, the forerunner of the KGB. Their daughter Alya shared his views, and increasingly turned against her mother. In 1937, she returned to the Soviet Union. Later that year, Efron too had to return to the USSR. The French police had implicated him in the murder of the former Soviet defector Ignace Reiss in September 1937, on a country lane near Lausanne, Switzerland. After Efron's escape, the police interrogated Tsvetaeva, but she seemed confused by their questions and ended up reading them some French translations of her poetry. The police concluded that she was deranged and knew nothing of the murder. Later it was learned that Efron possibly had also taken part in the assassination of Trotsky's son in 1936. Tsvetaeva does not seem to have known that her husband was a spy, nor the extent to which he was compromised. However, she was held responsible for his actions and was ostracised in Paris because of the implication that he was involved with the NKVD. World War II had made Europe as unsafe and hostile as the USSR. In 1939, Tsvetaeva became lonely and alarmed by the rise of fascism, which she attacked in Stikhi k Chekhii ("Verses to Czechia" 1938–39).[5]
Last years: Return to the Soviet Union
In 1939, she and her son returned to Moscow, unaware of the reception she would receive.
Efron and Alya were arrested on espionage charges in 1941; Efron was sentenced to death. Alya's fiancé was actually an NKVD agent who had been assigned to spy on the family. Efron was shot in September 1941; Alya served over eight years in prison.[5] Both were exonerated after Stalin's death. In 1941, Tsvetaeva and her son were evacuated to Yelabuga (Elabuga), while most families of the Union of Soviet Writers were evacuated to Chistopol. Tsvetaeva had no means of support in Yelabuga, and on 24 August 1941 she left for Chistopol desperately seeking a job. On 26 August, Marina Tsvetaeva and poet Valentin Parnakh applied to the Soviet of Literature Fund asking for a job at the LitFund's canteen. Parnakh was accepted as a doorman, while Tsvetaeva's application for a permission to live in Chistopol was turned down and she had to return to Yelabuga on 28 August.
On 31 August 1941, Tsvetaeva hanged herself in Yelabuga.[10] She left a note for her son Georgy ("Mur"): "Forgive me, but to go on would be worse. I am gravely ill, this is not me anymore. I love you passionately. Do understand that I could not live anymore. Tell Papa and Alya, if you ever see them, that I loved them to the last moment and explain to them that I found myself in a trap."[11]
According to the book The Death of a Poet: The Last Days of Marina Tsvetaeva, the local NKVD department tried to force Tsvetaeva to start working as their informant, which left her no choice other than to die by suicide.[12][13]
Tsvetaeva was buried in Yelabuga cemetery on 2 September 1941, but the exact location of her grave remains unknown.
Her son Georgy volunteered for the Eastern Front of World War II and died in battle in 1944.[14] Her daughter Ariadna spent 16 years in Soviet prison camps and exile and was released in 1955.[15] Ariadna wrote a memoir of her family; an English-language edition was published in 2009.[16] She died in 1975.[17]
In the town of Yelabuga, the Tsvetaeva house is now a museum; there is a monument to her. The apartment in Moscow where she lived from 1914 to 1922 is now a museum as well.[18] Much of her poetry was republished in the Soviet Union after 1961, and her passionate, articulate and precise work, with its daring linguistic experimentation, brought her increasing recognition as a major Russian poet.[5]
A
In 1989, in Gdynia, Poland, a special-purpose ship was built for the Russian Academy of Sciences and named Marina Tsvetaeva in her honor. From 2007, the ship served as a tourist vessel to the polar regions for Aurora Expeditions. In 2011, she was renamed MV Ortelius and is currently operated by Oceanwide Expeditions as a tourist vessel in the polar regions.
Work
Amidst the dust of bookshops, wide dispersed
And never purchased there by anyone,
Yet similar to precious wines, my verse
Can wait – its time will come.
Tsvetaeva (1913).
Trans. Vladimir Nabokov, 1972[20]
Tsvetaeva's poetry was admired by poets such as Valery Bryusov, Maximilian Voloshin, Osip Mandelstam, Boris Pasternak, Rainer Maria Rilke, and Anna Akhmatova. Later, that recognition was also expressed by the poet Joseph Brodsky, pre-eminent among Tsvetaeva's champions. Tsvetaeva was primarily a lyrical poet, and her lyrical voice remains clearly audible in her narrative poetry. Brodsky said of her work: "Represented on a graph, Tsvetaeva's work would exhibit a curve – or rather, a straight line – rising at almost a right angle because of her constant effort to raise the pitch a note higher, an idea higher (or, more precisely, an octave and a faith higher.) She always carried everything she has to say to its conceivable and expressible end. In both her poetry and her prose, nothing remains hanging or leaves a feeling of ambivalence. Tsvetaeva is the unique case in which the paramount spiritual experience of an epoch (for us, the sense of ambivalence, of contradictoriness in the nature of human existence) served not as the object of expression but as its means, by which it was transformed into the material of art."[21] Critic Annie Finch describes the engaging, heart-felt nature of the work. "Tsvetaeva is such a warm poet, so unbridled in her passion, so completely vulnerable in her love poetry, whether to her female lover Sofie Parnak, to Boris Pasternak. [...] Tsvetaeva throws her poetic brilliance on the altar of her heart’s experience with the faith of a true romantic, a priestess of lived emotion. And she stayed true to that faith to the tragic end of her life.[22]
Tsvetaeva's lyric poems fill ten collections; the uncollected lyrics would add at least another volume. Her first two collections indicate their subject matter in their titles: Evening Album (Vecherniy albom, 1910) and The Magic Lantern (Volshebnyi fonar, 1912). The poems are vignettes of a tranquil childhood and youth in a professorial, middle-class home in Moscow, and display considerable grasp of the formal elements of style. The full range of Tsvetaeva's talent developed quickly, and was undoubtedly influenced by the contacts she had made at Koktebel, and was made evident in two new collections: Mileposts (Versty, 1921) and Mileposts: Book One (Versty, Vypusk I, 1922).
Three elements of Tsvetaeva's mature style emerge in the Mileposts collections. First, Tsvetaeva dates her poems and publishes them chronologically. The poems in Mileposts: Book One, for example, were written in 1916 and resolve themselves as a versified journal. Secondly, there are cycles of poems which fall into a regular chronological sequence among the single poems, evidence that certain themes demanded further expression and development. One cycle announces the theme of Mileposts: Book One as a whole: the "Poems of Moscow." Two other cycles are dedicated to poets, the "Poems to Akhmatova" and the "Poems to Blok", which again reappear in a separate volume, Poems to Blok (Stikhi k Bloku, 1922). Thirdly, the Mileposts collections demonstrate the dramatic quality of Tsvetaeva's work, and her ability to assume the guise of multiple dramatis personae within them.
The collection Separation (Razluka, 1922) was to contain Tsvetaeva's first long verse narrative, "On a Red Steed" ("Na krasnom kone"). The poem is a prologue to three more verse-narratives written between 1920 and 1922. All four narrative poems draw on folkloric plots. Tsvetaeva acknowledges her sources in the titles of the very long works, The Maiden Tsar: A Fairy-tale Poem (Tsar-devitsa: Poema-skazka, 1922) and "The Swain", subtitled "A Fairytale" ("Molodets: skazka", 1924). The fourth folklore-style poem is "Byways" ("Pereulochki", published in 1923 in the collection Remeslo), and it is the first poem which may be deemed incomprehensible in that it is fundamentally a soundscape of language. The collection Psyche (Psikheya, 1923) contains one of Tsvetaeva's best-known cycles "Insomnia" (Bessonnitsa) and the poem The Swans' Encampment (Lebedinyi stan, Stikhi 1917–1921, published in 1957) which celebrates the White Army.
Emigrant
Subsequently, as an émigré, Tsvetaeva's last two collections of lyrics were published by émigré presses, Craft (Remeslo, 1923) in Berlin and After Russia (Posle Rossii, 1928) in Paris. There then followed the twenty-three lyrical "Berlin" poems, the pantheistic "Trees" ("Derev'ya"), "Wires" ("Provoda") and "Pairs" ("Dvoe"), and the tragic "Poets" ("Poety"). "After Russia" contains the poem "In Praise of the Rich", in which Tsvetaeva's oppositional tone is merged with her proclivity for ruthless satire.
Satire
Satire is a secondary element after lyricism in Tsvetaeva's poetry. Several satirical poems, moreover, are among Tsvetaeva's best-known works: "The Train of Life" ("Poezd zhizni") and "The Floorcleaners' Song" ("Poloterskaya"), both included in After Russia, and The Ratcatcher (Krysolov, 1925–1926), a long, folkloric narrative. The target of Tsvetaeva's satire is everything petty and petty bourgeois. Unleashed against such dull creature comforts is the vengeful, unearthly energy of workers both manual and creative. In her notebook, Tsvetaeva writes of "The Floorcleaners' Song": "Overall movement: the floorcleaners ferret out a house's hidden things, they scrub a fire into the door... What do they flush out? Coziness, warmth, tidiness, order... Smells: incense, piety. Bygones. Yesterday... The growing force of their threat is far stronger than the climax." The Ratcatcher poem, which Tsvetaeva describes as a lyrical satire, is loosely based on the legend of the Pied Piper of Hamelin. The Ratcatcher, which is also known as The Pied Piper, is considered by some to be the finest of Tsvetaeva's work. It was also partially an act of homage to Heinrich Heine's poem Die Wanderratten. The Ratcatcher appeared initially, in serial format, in the émigré journal Volya Rossii in 1925–1926 whilst still being written. It was not to appear in the Soviet Union until after the death of Joseph Stalin in 1956. Its hero is the Pied Piper of Hamelin who saves a town from hordes of rats and then leads the town's children away too, in retribution for the citizens' ingratitude. As in the other folkloric narratives, The Ratcatcher's story line emerges indirectly through numerous speaking voices which shift from invective, to extended lyrical flights, to pathos.
Tsvetaeva's last ten years of exile, from 1928 when "After Russia" appeared until her return in 1939 to the Soviet Union, were principally a "prose decade", though this would almost certainly be by dint of economic necessity rather than one of choice.
Translators
Translators of Tsvetaeva's work into English include
Cultural influence
- 2017: Zerkalo ("Mirror"), American magazine in MN for the Russian-speaking readers. It was a special publication to the 125th Anniversary of the Russian poet Marina Tsvetaeva, where the article "Marina Tsvetaeva in America" was written by Dr. Uli Zislin, the founder and director of the Washington Museum of Russian Poetry and Music, Sep/Oct 2017.[23]
Music and songs
In 1973, Soviet composer
Tribute
On 8 October 2015, Google Doodle commemorated her 123rd birthday.[28]
Translations into English
- Selected Poems, trans. ISBN 0-19-211803-X
- The Demesne of the Swans, trans. Robin Kemball (bilingual edition, Ardis, 1980) ISBN 978-0882334936
- Marina Tsvetayeva: Selected Poems, trans. ISBN 978-1852240257
- "Starry Sky to Starry Sky (Miles)", trans. Mary Jane White. (ISBN 0-930100-26-3(cloth)
- In the Inmost Hour of the Soul: Poems by Marina Tsvetayeva , trans. ISBN 0-89603-137-3
- Black Earth, trans. Elaine Feinstein (The Delos Press and The Menard Press, 1992) ISBN I-874320-00-4 and ISBN I-874320-05-5 (signed ed.)
- "After Russia", trans. Michael Nayden (Ardis, 1992).
- A Captive Spirit: Selected Prose, trans. J. Marin King (Vintage Books, 1994) ISBN 0-86068-397-4
- Poem of the End: Selected Narrative and Lyrical Poems , trans. ISBN 0-87501-176-4 ; Poem of the End: Six Narrative Poems, trans. Nina Kossman(Shearsman Books, 2021) ISBN 978-1-84861-778-0)
- The Ratcatcher: A Lyrical Satire, trans. Angela Livingstone (Northwestern University, 2000) ISBN 0-8101-1816-5
- Letters: Summer 1926 (Boris Pasternak, Marina Tsvetayeva, Rainer Maria Rilke) (New York Review Books, 2001)
- Earthly Signs: Moscow Diaries, 1917–1922, ed. & trans. Jamey Gambrell (Yale University Press, 2002) ISBN 0-300-06922-7
- Phaedra: a drama in verse; with New Year's Letter and other long poems, trans. Angela Livingstone (Angel Classics, 2012) ISBN 978-0946162819
- "To You – in 10 Decades", trans. by ISBN 978-0-9779852-7-2
- Moscow in the Plague Year, translated by ISBN 978-1-935744-96-2
- Milestones (1922), translated by Christopher Whyte (Bristol, Shearsman Books, 2015), 122p, ISBN 978-1-84861-416-1
- After Russia: The First Notebook, translated by Christopher Whyte (Bristol, Shearsman Books, 2017), 141 pp, ISBN 978-1-84861-549-6
- After Russia: The Second Notebook, translated by Christopher Whyte (Bristol, Shearsman Books, 2018) 121 pp, ISBN 978-1-84861-551-9
- "Poem of the End" in "From A Terrace in Prague, A Prague Poetry Anthology", trans. Mary Jane White, ed. Stephan Delbos (Univerzita Karlova v Praze, 2011) ISBN 978-80-7308-349-6
- Youthful Verses, translated by Christopher Whyte (Bristol, Shearsman Books, 2021), 114 pp, ISBN 9781848617315
- Head on a Gleaming Plate: Poems 1917-1918, translated by Christopher Whyte (Bristol, Shearsman Books, 2022), 120 pp, ISBN 9781848618435
- Poems, trans. Alyssa Gillespie (Columbia University Press, forthcoming)
- Three by Tsvetaeva, trans. Andrew Davis (New York Review Books, 2024)
Further reading
- Schweitzer, Viktoria Tsvetaeva (1993)
- Mandelstam, Nadezhda Hope Against Hope
- Mandelstam, Nadezhda Hope Abandoned
- Pasternak, Boris An Essay in Autobiography
References
- ^ a b c d e f g h i "Tsvetaeva, Marina Ivanovna" Who's Who in the Twentieth Century. Oxford University Press, 1999.
- ^ a b c d e f g h i j k Feinstein (1993) pix
- ISBN 9780521275743
- ^ Bisha, Robin (2002). Russian women, 1698–1917: Experience and expression, an anthology of sources. Indiana University Press p. 143
- ^ a b c d e f g h i j k "Tsvetaeva, Marina Ivanovna" The Oxford Companion to English Literature. Edited by Dinah Birch. Oxford University Press Inc.
- ^ a b c Feinstein (1993) px
- ^ This is well documented and supported particularly by a letter which he wrote to Voloshin on the matter.
- ^ a b c Feinstein (1993) pxi
- ^ Tsvetaeva, Edited & annotated by Angela . Viktoria Schweitzer, London: Harvill, 1992, pp. 332, 345.
- ^ Cooke, Belinda. "Marina Tsvetaeva, Poet of the extreme". Archived from the original on 20 August 2017. Retrieved 21 April 2009.
- ISBN 978-0-8223-1482-0
- ^ "The Death of a Poet: The Last Days of Marina Tsvetaeva", Modern Language Review, July 2006 by Ute Stock
- ^ "- YouTube". www.youtube.com.
- ISBN 978-0-7679-0056-0.
- ^ "No Love Without Poetry: The Memoirs of Marina Tsvetaeva's Daughter", published by Northwestern University Press, August 2009)
- ^ "No Love Without Poetry: The Memoirs of Marina Tsvetaeva's Daughter", published by Northwestern University Press, August 2009), date of death is stated in the catalogue data.
- ^ "Дом-музей Марины Цветаевой". Дом-музей Марины Цветаевой.
- ISBN 3-540-00238-3.
- ISBN 978-0-520-02895-1
- ^ Brodsky review from Carcanet Press.
- ^ Finch, Annie (8 March 2009). "Marina Tsvetaeva and the Poet-Pair". Poetry Foundation. Retrieved 22 April 2019.
- ^ Zislin, Uli (September–October 2017). "Марина Цветаева в Америке" [Marina Tsvetaeva in America] (PDF). Zerkalo (in Russian). No. 286. MN, USA. Archived from the original (PDF) on 14 August 2018.
- Russian Romance
- ^ Songs by Elena Frolova: Angel and lion – Tsvetaeva, Blok and Mandelshtam, 1992; My Tsvetaeva part 1 and part 2; Annunciation Day (1995 record); El sol de la tarde, 2008, Khvanyn'-Kolyvan, 2007
- Akhmadulinaand Tsvetaeva.
- ^ "From Poetry to Song: A Russian Poet's Work Makes a Debut". Russian Life. 10 August 2020. Retrieved 24 August 2022.
- ^ "Marina Ivanovna Tsvetaeva's 123rd Birthday". 8 October 2015.
External links
- Poetry Foundation profile
- Poetry Academy profile
- "Marina Tsvetaeva, Poet of the extreme" by Belinda Cooke from Poetry Library's Poetry Magazines site.
- Marina Tsvetaeva biography at Carcanet Press, English language publisher of Tsvetaeva's Bride of Ice and Marina Tsvetaeva: Selected Poems, translated by Elaine Feinstein.
- Heritage of Marina Tsvetayeva, a resource in English with a more extensive version in Russian.