By Marina Tsvetaeva, Elaine Feinstein
Whilst Elaine Feinstein first learn the poems of Marina Tsvetaeva in Russian within the Nineteen Sixties, the come upon remodeled her. 'What drew me to her initially,' she writes, 'was the depth of her feelings, and the honesty with which she uncovered them.' Her translations, first released to nice acclaim in 1971, brought Tsvetaeva to English readers. It used to be the beginning of Feinstein's carrying on with engagement with a poet who has been an everlasting, not easy thought to her, and whose lifestyles she has written. To this enlarged variation Elaine Feinstein provides 5 significant items. 'Girlfriend', a series of lyrics, was once written for Tsvetaeva's lover Sofia Parnok. In 'New Year's Greetings' she replied to the demise of Rainer Maria Rilke. 'On a pink Horse' is a dramatic fairytale of strength and cruelty. 'Wires', of which lyrics have been incorporated within the previous variation, now seems to be in complete; and a formerly passed over lyric from 'Poem of the End' has been translated. With a brand new advent, notes and bibliography of works in English, Bride of Ice brings Tsvetaeva to a brand new new release of readers.
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Extra info for Bride of Ice : New Selected Poems
It isn’t beauty, its second name (paper) third, or fourth : pinkish underskin scored with short parallels, like prayer is made to know order or a God . 40 not present at the creation of longing. Tearing back the bark you made there a ﬁre to heat the sentence until meaning relented, ash . the syntax, ash the ﬁfth you lent it, which is metaphor which is nomenclature, bark backward curling as if you knew words from . damage. If only it had been real ﬁre you stole from the dictionary of agony : of ﬁve kinds the sixth is not knowing the diﬀerence— 41 The Word from His Mouth, It Is Perfect as when afterward blood returns its stir to the ear though his salt still haunts the mouth it is said God spoke to matter during creation what was asked of it and what sound came after what remains remembered in ﬂesh of such speech is it longing is the birch its shape curled bark a presentiment of pain its whiteness is it that of skin vacant as the place he’d taken among ﬁddleheads 42 surely alone is the reliquary I take to the river’s ruined mill the town bell tolling eleven is the bones I keep behind words’ closed carved doors if matter is the ﬁrst martyr there is nowhere left to go hear me my way alone I bequeath to the compass each step hedged between hours I leave a lily carried for the marriage of what turns away 43 Long after Hopkins Nothing at dusk, lord, but dust and road to keep it.
Gelid nebulae of frogs’ eggs. 51 Ash, birch, beech, pine. Among them, understory where ferns forest the ﬂoor in miniature. Seeds reel down from a supreme unraveling. Upwards, fungus terraces the trunks; lichen further whitens blanch; the path doesn’t end here, disperses where forked inﬁnitely. Lent to the lingering shapes of trees, death lives an other kind of life. 52 Errant : Reply. You are here now infernal beneath the meadow’s far hem : do you want it to go on, this life a screed of signs, this struggle under the slumber of everything : you have tunneled this far : there is, isn’t there, a language entirely wakeful, you ask : because all you left behind has dreamt of it 53 As being is to begin.
31 iii. “Netted Chain” is an organic syntax. Is one kind of sentence— . — . “Venus” is another. And . 32 iv. “Fragile”—rhizomic spreading beneath—you lay down; . “Male” ﬁddleheads furred and pale— . it wasn’t long before— 33 v. pinnate— . penetrate. 34 vi. Eventually you found yourself on the page : “index . of anatomy”—see : venation—how there’s a language describing entirely : . tongue—see : how willingly you brought your body to him . 35 vii. (see also : “Hart’s Tongue”)— . 36 viii. how there’s a method entirely the end of love : how willingly .