By Valentina Polukhina (auth.)
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Extra info for Brodsky through the Eyes of his Contemporaries
And there was a very strong desire to try everything out. For the first two or three years his poetry oscillated between the influence of Lorca and that of Nezval, between that of Baratynsky and that of Slutsky, though there is a group of poems which are all his own, which are unlike anyone else's. Nevertheless it was a time of endless experiment. Above all there was this ability of his to foreswear the canonisation of his own momentary lucky strokes of the pen; after all, he could have successfully worked the poetic vein of 'Pilgrims' and that group of poems for quite some time.
Russian poetry, after a few decades of our Soviet reality, has lost one culturally imperative, and as far as Russian literature is concerned, a seemingly genetically inherent factor and one without which a man is not fully conscious of his own humanity - a tragic perception of the world. Soviet literature has cultivated a non-tragic perception of life. The quasi-success of our political system has imposed itself on everything, starting with an empirical groundwork and ending up with a metaphysics.
For there was no suit 32 Yakov Gordin made against the powers that be, or against the times. It was a suit of a different kind altogether. It was a monster of a question to be asked - almost unanswerable. This one is closely related to it. I ask people coming from the Soviet Union: What is going on there? Are they reading Brodsky? How do they relate to him? ' So, in this epoch of reconstruction, does Brodsky matter for Russia, or doesn't he? Well, it's nonsense of course, because there are so many very different things going on.
Brodsky through the Eyes of his Contemporaries by Valentina Polukhina (auth.)