The awarding of the 1958 Nobel Prize for Literature to Boris Pasternak and the subsequent calumny of his fellow citizens in Soviet Russia focused unusual attention on Pasternak's great novel,
Dr. Zhivago
, and the small body of his other work. At the time, the latter was only available (in any language, as far as is known) in New Directions'
Selected Writings
of Pasternak,
The awarding of the 1958 Nobel Prize for Literature to Boris Pasternak and the subsequent calumny of his fellow citizens in Soviet Russia focused unusual attention on Pasternak's great novel,
Dr. Zhivago
, and the small body of his other work. At the time, the latter was only available (in any language, as far as is known) in New Directions'
Selected Writings
of Pasternak, first published in 1949. The 1958 edition was issued with a new introduction by Babette Deutsch under the title of the book's main component, Pasternak's autobiography.
Written when he was forty,
Safe Conduct
puzzled many readers in Russia and when it appeared in English, because its isolated sharp impressions and juxtapositions seem to deny chronology, but at least one critic recognized it as "the most original of autobiographies, employing a new technique of great important."
Also included is a group of remarkable short stories, translated by Robert Payne, dealing with the mysteries of life and art, and a selection of the poems that have made Pasternak known, to the few at last, as the "outstanding Russian poet of the century." these are translated by the British Critic and poet C. M. Bowra, and by Miss Deutsch.
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Paperback
,
256 pages
Published
April 14th 2009
by New Directions
(first published December 1st 1958)
There is no denying that Pasternak has an amazing gift for words and descriptions. I'd have thought more of this book if I thought more of his story/autobiography. It's great to see such lush descriptions in language, but a bit stuffed and over-seasoned when the thing you are describing isn't really all that interesting. When you show equal aplomb to making a cup of tea as to falling in love with your language it smacks of showmanship.
Recommends it for:
readers of DOCTOR ZHIVAGO, of Mayakovsky
Recommended to Richard by:
Elaine Feinstein mentioned it in her memoirs
"I am not writing my autobiography. I turn to it when a stranger's so [sic] demands it. Together with its principal character I think that only heroes deserve a real biography, but that the history of a poet is not to be presented in such a form. One would have to collect such a biography from unessentials, which would bear which would bear concessions for compassion and constraint. The poet gives his whole life such a voluntary steep incline that it is impossible for it to exist in the vertical
"I am not writing my autobiography. I turn to it when a stranger's so [sic] demands it. Together with its principal character I think that only heroes deserve a real biography, but that the history of a poet is not to be presented in such a form. One would have to collect such a biography from unessentials, which would bear which would bear concessions for compassion and constraint. The poet gives his whole life such a voluntary steep incline that it is impossible for it to exist in the vertical line of biography where we expect to meet it. It is not to be found under his own name and must be sought under those of others, in the biographical columns of his followers. The more self-contained the individuality from which the life derives, the more collective, without any figurative speaking, is its story. In a genius the domain of the subconscious does not submit to being measured. It is composed to all that is happening to his readers and which he does not know. I do not present my reminiscences to the memory of Rilke. On the contrary I myself received them as a present from him." BP, SAFE CONDUCT, pp 26-27.
I was brought to this book by Elaine Feinstein's memoirs; she said it had sparked her interest in Marina Tsvetayeva, much of whose work she translated. SAFE CONDUCT, however, spends much more time on the impressiveness of Mayakovsky, whom Pasternak seems to have idolized while being one of his chief poetic competitors.
It was later of interest to me that, in one of his false starts, this to study philosophy, he moved to Marburg. I am wondering if he were there when Benjamin and Heidegger, both of whom were studying philosophy, were, something I'll have to try to work out:
"In the first place it was independent, it uprooted everything from its first rudiments and built on a clear space. It did not accept the lazy routine of all conceivable 'isms,' which always cling top their stock omniscience at tenth hand, are always ignorant, and always for some reason or another are afraid of a revision in the fresh air of age-old culture. Unsubjected to a terminological inertia the Marburg school turned to the primary origins, i.e., the authentic signatures of thought, bequeathed by it to the history of thought. . . .
"The second characteristic . . . derived directly from the first and consisted of its selective and exacting attitude to historical development. That repellent condescension to the past was foreign to the school. . . . (p 41)
Pasternak takes the reader into the well-off family he (like Zhivago) came from, with family friends such as Scriabin (BP's first "career" was musician, but Scriabin gently put him off that). He also offers an occasional gem of a generality that shows his perspicuity and the breadth of his interests. Leaving Marburg at the end of philosophy, he notes, "every love is a crossing over into a new faith" (p 63), as the transition from music to philosophy to . . . had been or would be.
There are also stories and poems collected in this volume; I'll have to say that the stories did not spark my interest, and I found the poems, translated by C M Bowra, a classicist, somewhat oddly conventionalized despite their surrealism.
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Pasternakovljeva poetičnost dolazi do izražaja čak i u njegovoj autobiografiji, gde na fin način raspreda sopstvenu priču, produbljujući samu knjigu slojevitošću.
Tako imamo tri dela knjige, gde je svaki delimično posvećen određenim ljudima koji su u tim periodima života uticali na Pasternaka, tako na početku imamo Skrjabina, koji je i kao mentor i kao persona produbio Pasternakovljevo mišljenje o muzici i shvatanje o istoj, s obzirom da je smatrao da je kao pijanista neuspešan, zbog nepostojanja
Pasternakovljeva poetičnost dolazi do izražaja čak i u njegovoj autobiografiji, gde na fin način raspreda sopstvenu priču, produbljujući samu knjigu slojevitošću.
Tako imamo tri dela knjige, gde je svaki delimično posvećen određenim ljudima koji su u tim periodima života uticali na Pasternaka, tako na početku imamo Skrjabina, koji je i kao mentor i kao persona produbio Pasternakovljevo mišljenje o muzici i shvatanje o istoj, s obzirom da je smatrao da je kao pijanista neuspešan, zbog nepostojanja apsolutnog sluha.
Posle njega dolazi deo o Hermanu Koenu, filozofu, osobi koja je uticala na period života tokom studija u Nemačkoj, gde se bliskost javlja radi prisnosti koju je sam filozof/profesor stvorio, spona koja je predstavljala veoma bitnu tačku na tom delu duži života.
I na kraju, poslednji deo nudi priču kao kulminaciju i savršen udarac kraja- Majakovskog. S obzirom da su pisac i Majakovski bili prijatelji, i da je njihov odnos bio veoma komplikovan ali i zanimljiv, ovde nam Pasternak nudi savršeno komponovanu priču, koja ipak u glavnu ulogu stavlja Majakovskog, što pokazuje divljenje koje pisac oseća prema njemu, nakon svih onih nesuglasica i ljubomornih ispada, nakon uzdizanja iznad sopstvene sujete.
Čak je i potresan deo opisa dana smrti velikog pesnika, gde se sam Pasternak posle toga našao u njegovom stanu, u društvu tela, kao i prijatelja koji su bili očevidno potreseni neočekivanom odlukom velikana.
Glavna mana autobiografije je nekonzistentnost, koja u nekim trenucima davi da bi druge progutala kao od šale, pa zato, možda i oštro, dajem jednu trojku... iako je, realno 3.5
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Read this in Dutch, when I was 17. It's an autobiography by the Russian writer. I only remember the lyrical pages about birch forest. Afterwards I felt passionate about taking the Transsiberic train.
Begun on Susan Sontag's recommendation, but I found Pasternak's dense poetic style too slow and difficult to read. It might be very rewarding to persevere with, but as usual I get impatient and start thinking "I could be reading Andre Lorde!"
It's very illuminating about his writing, but I was disappointed because I thought this would be about how he accommodated himself to the Soviet system and his dealings with Stalinism.
Boris Leonidovich Pasternak
was born in Moscow to talented artists: his father a painter and illustrator of Tolstoy's works, his mother a well-known concert pianist. Though his parents were both Jewish, they became Christianized, first as Russian Orthodox and later as Tolstoyan Christians. Pasternak's education began in a German Gymnasium in Moscow and was continued at the University of Moscow. Un
Boris Leonidovich Pasternak
was born in Moscow to talented artists: his father a painter and illustrator of Tolstoy's works, his mother a well-known concert pianist. Though his parents were both Jewish, they became Christianized, first as Russian Orthodox and later as Tolstoyan Christians. Pasternak's education began in a German Gymnasium in Moscow and was continued at the University of Moscow. Under the influence of the composer Scriabin, Pasternak took up the study of musical composition for six years from 1904 to 1910. By 1912 he had renounced music as his calling in life and went to the University of Marburg, Germany, to study philosophy. After four months there and a trip to Italy, he returned to Russia and decided to dedicate himself to literature.
Pasternak's first books of verse went unnoticed. With
My Sister Life
, 1922, and
Themes and Variations
, 1923, the latter marked by an extreme, though sober style, Pasternak first gained a place as a leading poet among his Russian contemporaries. In 1924 he published
Sublime Malady
, which portrayed the 1905 revolt as he saw it, and
The Childhood of Luvers
, a lyrical and psychological depiction of a young girl on the threshold of womanhood. A collection of four short stories was published the following year under the title
Aerial Ways
. In 1927 Pasternak again returned to the revolution of 1905 as a subject for two long works: "Lieutenant Schmidt", a poem expressing threnodic sorrow for the fate of the Lieutenant, the leader of the mutiny at Sevastopol, and "The Year 1905", a powerful but diffuse poem which concentrates on the events related to the revolution of 1905. Pasternak's reticent autobiography,
Safe Conduct
, appeared in 1931, and was followed the next year by a collection of lyrics,
Second Birth
, 1932. In 1935 he published translations of some Georgian poets and subsequently translated the major dramas of Shakespeare, several of the works of Goethe, Schiller, Kleist, and Ben Jonson, and poems by Petöfi, Verlaine, Swinburne, Shelley, and others.
In Early Trains
, a collection of poems written since 1936, was published in 1943 and enlarged and reissued in 1945 as
Wide Spaces of the Earth
. In 1957
Doctor Zhivago
, Pasternak's only novel - except for the earlier "novel in verse",
Spektorsky
(1926) - first appeared in an Italian translation and has been acclaimed by some critics as a successful attempt at combining lyrical-descriptive and epic-dramatic styles.
Pasternak lived in Peredelkino, near Moscow, until his death in 1960.
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