Andreï Voznesenskii

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(5168) Voznesenskii, Andreï (1933-2010). 9 Poems.

“Ballada 41-go goda” (Ballade of the Year 1941)
“Svad’ba” (The Wedding)
“Posledniaia Elektrichka” (The Last Suburb Train)
“Parabolicheskaia Ballada” (A Parabolique Ballad)
Osen’” (Autumn)
“V.Bokovu” (to V. Bokov)
“Ballada Tochki” (The Ballad Point)
“Goia” (I Am Goya)

Original typescript, 1st copy. 11 pages. Looseleaf sheets bound by a contemporaneous rusted paperclip. 28,5cm. An exceedingly rare example of a provincial samizdat from the same origin of Belagorsk.

As one of the foremost poets of post-Stalinist Russia, Andrei Voznesenskii was the author of approximately 40 volumes of poetry in Russian, two collections of fiction, at least three plays and two operas. From an early memory Voznesenskii recalled seeing his father home during the war with practically nothing in a small rucksack but containing a a little book of reproductions of Goya’s etchings. His youthful impressions of the war amplified by the grotesquerie of Goya’s visions would ultimately provide the origins for his greatest work “Goia”.
Voznesenskii’s poetry was accused of being experimental for experiment’s sake, bombastic, superficial and being the embodiment of an over-simplification of moral rhetoric. The author was accused of being a spy for the CIA and he was hounded by criticism that reached a peak in a particular period when he was denounced by none other than Nikita Khrushchev himself. At the same time Voznesenskii countered by attacking the literary establishment and all the effects that the Soviet centralisation of all literary production controlled. His popularity can only be considered by today’s standards in the same context as that of a rockstar. His poetry readings sold out stadiums, hundreds of thousands subscribed to buy “An Achilles heart”. Even today his writings continue to enjoy continued popularity; after the fall of the Soviet Union he travelled extensively and maintained relationships with prominent writers and artists around the world.
Voznesenkii’s popularity and the comparative sparse available of his texts led to his being distributed in samizdat for which there would have been considerable financial reward. As a figure in the “super-poet” category emerged in the mid Soviet period this samizdat certainly stands as a historical document highlighting not only a time of cultural
See Biographical Dictionary of Dissidents in the Soviet Union, page 629 (Martinus Nijhoff 1982)

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