#yevtushenko

[terrorignitis]

you still haven't returned | Yevgeny Yevtushenko

[tavolgisvist]

We were just having a bit more fun and I don’t see music as that serious. I think it occasionally gets very serious with something like “Give Peace a Chance”, “Stopping Vietnam”. That’s bloody serious and good luck to it and if it gets serious – great! – but when you’re just singing something like “Flock of Seagulls” stuff it’s just songs. It’s just “I love you baby” really in a way. I think it’s just best to look at it for what it is instead of getting serious. I remember having a joke on this sax player once in Germany. My girl friend at the time sent me this “Yevtushenko” – the Russian poet, poems and it was all a bit heavy you know and we weren’t really into it. We used to pose a little bit with all that stuff, pipes on the top deck of the buses and think we were Dylan Thomas students and all that. So she sent me these “Yevtushenko” and we were sitting in the dressing room and this sax player came in and we didn’t really know him very well. He was from Hamburg so we were all kidding on we were really into this and I was going “….And the flesh that Creeps…..” I can’t remember the poem it was all dead serious. He tip-toed in and he thought we were like for real having a poetry reading and he thought we were like that. Anyway we were actually taking the piss so he crept in, he unpacked his sax very quietly and he crept out and we just peeped ourselves laughing ‘cos that was it. We were really sending up that attitude and I still prefer to send up that attitude although I realise that obviously at times you just can’t be flippant all the time but I think that to just be deadly serious about everything is dulling.

(Paul McCartney, 1983, interview with Neil Tilly for fanzine BREAKOUT! (Issue 15) Aug/Sept 1983)

[dk-thrive]

Reader: Yevtushenko claims that in Russia a poet is something more than just a poet. Is that true? Poet: No, nothing can be more than a poet.

— Vera Pavlova, "Heaven Is Not Verbose: A Notebook." Translated by Steven Seymour. (via Poetry Foundation)

[broadsidemagazine]

"Yevtushenko, Lorca, and Bob Dylan", written by Josh Dunson

"Mr. Dylan's compositions don't fit into any pigeonhole; the minute you have one characterized, it flies away. His lyrics mix a solo sermon out of Guthrie's conversational folksay with a dash of Rimbaud's demonic imagery or even a bit of Yevtushenko's social criticism." Robert Shelton, New York Times, April 13, 1963

A lot of other people have been comparing Bob Dylan not only to Yevtushenko but to Garcia Lorca, especially after hearing Bob do his “Hard Rain's A-Gonna Fall”.

It is difficult to fit any true poet in a “pigeonhole”. That's too small a space for a creative artist, too small for a roving singer like Bob Dylan. When asked how he writes his songs, Bob just says they're up there in the air, and he just picks them down, and if he didn't, somebody else would. I think there's more in this thought than merely modesty. In it there are many scatterings of truth.

Why is it when you read through great poets of different cultures and different times that much of their imagery is similar, and many times they talk about the same feelings and things? One way of answering this is to say there are certain common events all these poets see and react to -- war, love, nature, children; and that their images likewise come from common experience. The way Bob Dylan might answer it would be that these poets reached up into the same piece of air, and what they pulled down, in their individual ways, was their poems and their songs.

A number of people see Yevtushenko and Dylan as being close together. as both being social critics, and thereby playing a similar role in their respective countries. It seems to me that the impact of and the poetry itself are quite different. In Russia there is the tradition of the poet as an important social critic that dates back to Pushkin, and goes right through the Soviet period beginning with Mayakovsky and finally to the present day where Yevtushenko’s most recent book, published in 1962, sold out its edition of 100,000 copies. America's most important social critics have been her novelists, ie: Harriet B. Stowe’s Uncle Tom’s Cabin, and her journalists, ie: Lincoln Steffens’ Shame of the Cities. Our poets, even our popular ones like Robert Frost and Carl Sandburg, undergo book editions of 5 to 10 thousand with the publisher still taking a loss.

But we have had our great social poets, and I think when Bob’s work is fully evaluated he will number among them. Bob does not mince words when he speaks about the "masters of war”:

I hope that you die and your death will come soon, I’ll follow your casket by the pale afternoon, And I’ll watch while you’re lowered down to your death bed, Then I’ll stand over your grave ‘til I’m sure that you're dead.

Yevtushenko wishes death on the anti-semites in Babi Yar:

How horrible it is that pompous title the anti-semites calmly call themselves,  Society of the Russian Race. No part of me can ever forget it. When the last anti-semite on the earth is buried for ever let the International ring.

Yevtushenko sees in the death of the anti-semites a re-affirmation of the society in which he lives. Dylan in his songs too calls for the righting of the wrongs in his society, but they are so multitudinous and deeply imbedded what may be necessary is a new society as Woody Guthrie visualizes. A striking difference between Yevtushenko and Dylan is that Bob’s action is much more intense -- he will follow the war planner's casket to make sure that he is dead. And in “Emmett Till” he lashes out not only at the lynchers but at the great mass of us who by standing aside and failing to take action against racism permit it to continue:

If you can't speak out against this sort of thing, A crime that's so unjust,  Your eyes are filled with dead man's dirt, Your mind is filled with dust. Your arms and legs they must be in shackles and chains, Your blood must refuse to flow, For you would let this human race, Fall down so godawful low.

Intensity added to a wide-ranging view gives us this Dylan verse in “With God On Your Side” which has implications much deeper than only the problem of anti-semitism:

When the second World War came to an end We forgave the Germans and then we were friends. Though they murdered six million, In the ovens they fried, The Germans now, too Have God on their side.

I get the feeling on hearing Dylan and reading Lorca that they both pull their poems out of the same body of air, although there are marked differences and Bob has never read Lorca. It is as though they met one night on a mountainside and looked out over the world’s lands and oceans and saw the same things and agreed to tell us, each in his own way, what they saw. Bob sings: “I heard the sound of a thunder that roared out a warning” while Lorca says: “these clouds are broken by fistblows of coral that carry a fiery cocoon on their backs.”

Bob is much influenced by Woody Guthrie, of course, and I think it is here where comparisons become the most meaningful. Woody did not confine himself to “silo sermons” and those who say he “did not exceed the boundaries of talk song” should take another look at his work. His imagery many times is subtle, strong and lyrical:

I tell you about the winds and the weathers and oceans and the lands and the continents that have riz and sunk since this little hunk of dirt first whirled off the burning sun. I tell you of the men and the women that bathed their eyes in the zig zag lightning and hugged and kissed in the rumbling thunder and about every union wheel that ever did run down a union road…

Bob Dylan’s “Hard Rain” and “Blowin In The Wind” come to mind right away. He means it sincerely when he sings in his “Letter To Woody”:

Hey Woody, but I know that you know All the things that I’m sayin and many times more.

(Broadside #27, June 1963)

[ginzyblog]

Remembering Yevtuschenko on his birthday. “Yevgeny Yevtuschenko, his night suppertable loaded with cabbage soup, Vodka, bread, pickled mushrooms, conversation in his dascha, Peredelkino an hour’s drive out of Moscow, December 1985. My interpreter with glasses listening, had said (as Russian yuppie journalist), “I know what buttons to push, who to telephone, I can get along with this system, “ in the car on the way out. “ (caption and photo: Allen Ginsberg / Courtesy Stanford University Libraries / Allen Ginsberg Estate) #yevtushenko #yevgenyyevtushenko #russianpoets #russia #allenginsberg #poetry #poetrycommunity (at Peredelkino, Moskovskaya Oblast’, Russia) https://www.instagram.com/p/B0ExscYBBw7/?igshid=7dqdjb7n4wv0

[vasilinaorlova]

Фотография Евтушенко в музее Истории Братскгэсстроя / Photo of the poet Yevgeny Yevtushenko in the History Museum of Bratskgesstroy

[ceeturnalia]

Yevgeny Yevtushenko, 1932—2017

[4eternal-life]

Disbelief in Yourself Is Indispensable

While you’re alive it’s shameful to put yourself into                                                            the Calendar of Saints. Disbelief in yourself is more saintly. It takes real talent not to dread being terrified by your own agonizing lack of talent.

Disbelief in yourself is indispensable, indispensable to us is the loneliness                                        of being gripped in the vise, so that in the darkest night the sky will enter you and skin your temples with the stars, so that streetcars will crash into the room, wheels cutting across your face, so the dangling rope, terrible and alive, will float into the room and dance invitingly in the air.

Indispensable is any mangy ghost in tattered, overplayed stage rags, and if even the ghosts are capricious, I swear, they are no more capricious than those who are alive.

Indispensable amidst babbling boredom are the deadly fear of uttering the right words, and the fear of shaving, because across your cheekbone graveyard grass already grows.

It is indispensable to be sleeplessly delirious, to fail, to leap into emptiness. Probably, only in despair is it possible to speak all the truth to this age.

It is indispensable, after throwing out dirty drafts, to explode yourself and crawl before ridicule, to reassemble your shattered hands from fingers that rolled under the dresser.

Indispensable is the cowardice to be cruel and the observation of the small mercies, when a step toward falsely high goals makes the trampled stars squeal out.

It’s indispensable, with a misfit’s hunger, to gnaw a verb right down to the bone. Only one who is by nature from the naked poor is neither naked nor poor before fastidious eternity.

And if from out of the dirt,                              you have become a prince,                                                  but without principles, unprince yourself and consider how much less dirt there was before, when you were in the real, pure dirt.

Our self-esteem is such baseness . . . The Creator raises to the heights only those who, even with tiny movements, tremble with the fear of uncertainty.

Better to cut open your veins with a can opener, to lie like a wino on a spit-spattered bench in the park, than to come to that very comfortable belief in your own special significance.

Blessed is the madcap artist, who smashes his sculpture with relish, hungry and cold–but free from degrading belief in himself.

Yevgeny Yevtushenko 

translation by Albert C. Todd