By Sanna Turoma
Expelled from the Soviet Union in 1972 and commemorated with the Nobel Prize fifteen years later, poet Joseph Brodsky in lots of methods healthy the grand culture of exiled author. yet Brodsky’s years of exile didn't render him motionless: even though he by no means back to his liked Leningrad, he was once unfastened to shuttle the area and write approximately it. In Brodsky overseas, Sanna Turoma discusses Brodsky’s poems and essays approximately Mexico, Brazil, Turkey, and Venice. difficult conventional conceptions at the back of Brodsky’s prestige as a number one ?migr? poet and significant descendant of Russian and Euro-American modernism, she relocates the research of his shuttle texts within the various context of latest go back and forth and its critique. Turoma perspectives Brodsky’s commute writing as a reaction not just to his exile but in addition to the postmodern and postcolonial panorama that at the beginning formed the writing of those texts. In his Latin American encounters, Brodsky indicates disdain for third-world politics and invokes the elegiac style to reject Mexico’s postcolonial truth and to mockingly include the romanticism of an past Russian and eu imperial age. In an essay on Istanbul he assumes Russia’s ambiguous place among East and West as his personal to barter a unique, and debatable, interpretation of Orientalism. And, Venice, the emblematic vacationer urban, turns into the location for a reinvention of his lyric self as extra fluid, hybrid, and cosmopolitan. Brodsky in another country finds the poet’s formerly uncharted trajectory from alienated dissident to celebrated guy of letters and gives new views at the geopolitical, philosophical, and linguistic premises of his poetic mind's eye.
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Additional info for Brodsky Abroad: Empire, Tourism, Nostalgia
Pushkin’s wilderness of “kholm lesistii” (forested hill) is replaced by the “peninsula of factories, paradise of work shops and arcadia of mills,” where the lyric subject is encountered not by Pushkin’s “three pine trees” but by three street-lights: “Is it really not me, / lit-up by three street-lights . . Is it really not me? Something here has changed forever” (1:203). Brodsky’s discovery of the liminal Leningrad echoes the symbolist fascination with the liminal Petersburg, but instead of the decadent borderland kabak, Brodsky embraces an entire borderland neighborhood.
Elegiia” (“Elegy”) dedicated to A. G. Naiman, “Zimnim vecherom v Yalte” (“On a Winter Evening in Yalta”), “Posviashchaetsia Yalte” (“Homage to Yalta”), “V al’bom Natal’i Skavronskoi” (“For the album of Natalia Skavronskaia”), “S vidom na more” (“With a view to the sea”), “Pered pamiatnikom A. S. Pushkinu v Odesse” (“In front of A. S. 62 The poems, with their southern location associated with tourism, erotic encounters, and literary exile, anticipate Brodsky’s poems about Venice written later in emigration; this parallel will be discussed in more detail in chapter 6.
The poems capture the existential autsaiderstvo, a word Brodsky used in a letter to Exile, Tourist, Traveler 35 Irina Tomashevskaia written from his internment, to describe his position in Soviet society at the time of his arrest: “I lived differently and that is why I am not so dismayed by all that happened to me. I do not even think about the reasons. In my opinion, nobody is to be blamed. ”49 The sense, in Brodsky’s poems of the early 1960s, of displacement and elegiac disillusion pronounced through reflections on travel conducted outside the officialdom of Soviet turizm is clearly contrary to the Soviet mainstream.
Brodsky Abroad: Empire, Tourism, Nostalgia by Sanna Turoma