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List of contents
Table of ContentsAcknowledgments
Preface
Oksana Rosenblum
Introduction: "The Ukrainian Avant-Garde and Its Roots: The Poetics of Mykola (Nik) Bazhan"
Galyna Babak
COLLECTIONS
¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿/The Seventeenth Patrol (1926)
Translator's Essay: "Jumping the Corral Fence"
Svetlana Lavochkina
¿¿¿¿¿ ¿¿¿¿¿ / Trooper's Song
¿¿¿¿¿ ¿ ¿¿¿¿¿¿ / Imobe of Galam
¿¿¿¿¿¿¿¿¿ ¿¿¿¿/The Sculpted Shadow (1927)
Translator's Essay: "Mykola Bazhan's The Sculpted Shadow: Echoes of Acmeism"
Dr. Amelia Glaser
¿¿¿¿¿¿ ¿¿¿¿ / An Autumn Road
¿¿¿¿¿¿¿ ¿¿¿¿¿ / Horseshoes
¿¿¿¿¿¿ ¿¿¿¿¿¿ / A Moment in the Night
¿¿¿¿¿¿¿ ¿¿¿¿ / Indistinct Sound
¿¿¿¿¿¿¿¿ / Fern
¿¿¿¿ ¿¿¿¿¿¿¿¿¿ / The Blood of the Captive Women
¿¿¿¿¿¿¿¿ / Lovage
¿¿¿¿¿¿-¿¿¿¿¿ / Love Potion
¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿ / The Infinite Road
¿¿¿¿¿¿¿/Edifices (1929)
¿¿¿¿¿¿ / The Road
¿¿¿¿¿¿ ¿¿¿¿ / A Night Cruise
¿¿¿¿¿ ¿¿¿¿¿¿¿ / To My Friend
¿¿¿¿¿¿¿¿ / Foxtrot
¿¿¿¿¿¿ ¿¿¿¿¿¿¿¿¿¿¿ / Elegy for Circus Attractions
¿¿¿¿¿¿¿ / Edifices: ¿¿¿¿¿ / Cathedral, ¿¿¿¿¿ / Archway, ¿¿¿¿¿¿¿ / Building
¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿ / Conversation of Hearts
Short Poems (1923-1927)
Translators' Essays
Ostap Kin, Ainsley Morse, Mykyta Tyshchenko
Seán Monagle
¿¿¿¿¿ ¿¿¿ / Trumpet of Swarm
¿¿¿¿-¿¿¿¿ / Ruhr-March
¿¿¿¿-¿¿¿¿ / Aero-March
¿¿¿¿ ¿¿¿¿¿¿¿ ¿¿¿ / Hops of Green Legs
¿¿¿¿ / Circus
Long Poems (1929-1930)
¿¿¿¿¿¿¿¿¿ ¿¿¿ / Night of Hoffmann
¿¿¿¿¿ ¿ ¿¿¿¿¿ / Ghetto in Uman'
Translator's Essay
Prof. George G. Grabowicz
¿¿¿¿¿¿ / Blind Bards
Prose (1927)
Translator's Essay
Dr. Roman Ivashkiv
¿¿¿¿¿¿¿ ¿¿ ¿¿¿¿¿¿¿¿¿¿¿ ¿¿¿¿¿¿¿: ¿¿¿¿¿¿¿ ¿¿¿¿¿ / Meeting at the Crossroad Station: A Conversation Among the Three (1927)
Afterward: "From the Whirlpool of Creativity to Living on the Edge of a Psychological Abyss: Mykola Bazhan in the 1920s and 1930s"
Dr. Eleonora Solovey
Information about the editors, translators, and contributing writers
Illustrations
Index
About the author
Mykola Bazhan (1904-1983), one of the most important representatives of Ukrainian literary renaissance of the 1920s, was born into an educated family of Polish-Lithuanian roots in Kamyanets'-Podil's'kyi in Ukraine. Bazhan emerged as a futurist; however, in the 1920s and early 1930s he embraced romantic Expressionism, with frequent references to the turbulence of Ukrainian history. During his extensive career spanning some six decades, Bazhan was prolific as a poet, literary critic, translator, editor, art collector, and a political and cultural figure. Despite the fact that Bazhan not only survived the purges but eventually became an influential political figure, his early works continued to be repressed until the early 1990s.
Oksana Rosenblum is an art historian and translator residing in New York City. Her projects have included visual research for the newly created museums of Jewish History in Warsaw and Moscow. Oksana's poetry translations from Ukrainian and book reviews appeared in Kalyna Review, National Translation Month, and Versopolis.
Lev Fridman is a Speech-Language Pathologist based in New York City. He has facilitated translation projects and publications, and his own writings and translations have appeared in
Ugly Duckling Press,
Odessa Review, and
The Café Review. His most recent research has focused on the literary legacy of Mykola Bazhan.
Anzhelika Khyzhnya is a scholar and journalist. She holds an MA in Slavic Languages and Literature, and is a PhD candidate at the University of California, Berkeley. Her research interests include linguistic aspects of early 19th century Russian and Ukrainian prose, Ukrainian poetry of the 1920s, and the relationship between literature and the visual arts.
Summary
This bilingual Ukrainian-English collection brings together the most interesting experimental works by Mykola (Nik) Bazhan, one of the major Ukrainian poets of the twentieth century. As he moved from futurism to neoclassicism, symbolism to socialist realism, Bazhan consistently displayed a creative approach to theme, versification, and vocabulary.
