Iosif brodskii (29 risultati)

Paperback. Condizione: Very Good. Shipped within 24 hours from our UK warehouse. Clean, undamaged book with no damage to pages and minimal wear to the cover. Spine still tight, in very good condition. Remember if you are not happy, you are covered by our 100% money back guarantee.

Condizione: Very Good. 1988. Paperback. 8vo. good copy in original wrappers.Poetry. . . . . Books ship from the US and Ireland.

Paperback. Condizione: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condizione: Very Good. 1988. Paperback. 8vo. good copy in original wrappers.Poetry. . . . .

Soft cover. Condizione: Very Good.

First Edition. Fine cloth copy in a near-fine, very slightly edge-nicked and dust-dulled dust-wrapper, now mylar-sleeved. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description: 131p. ; 24cm. Subjects: English poetry -- 20th century. 1 Kg.

paperback. Condizione: Good. Softcover book, light wear to cover and book edges.

First Edition. Fine cloth copy in a near-fine, very slightly edge-nicked and dust-dulled dust-wrapper, now mylar-sleeved. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description: 131p. ; 24cm. Subjects: English poetry -- 20th century. 1 Kg.

Hardcover. Condizione: Used; Very Good. **SHIPPED FROM UK** We believe you will be completely satisfied with our quick and reliable service. All orders are dispatched as swiftly as possible! Buy with confidence! Greener Books.

Soft cover. Condizione: Very Good. No Jacket. A lovely clean copy.

Soft cover. Condizione: As New. Mos. -Nash Dom- 1998/, pp. 304. Trans from English. Comments on Russian poetry and prose by Nobel Prize winner. ISBN 5891360098.

Softcover. Condizione: Fine. Leichte Kratzer / Abnutzungen / Druckstellen; Leichte Gebrauchsspuren. Iosif Brodskii, Nobelevskii laureat i odin iz samyh znachitelnyh i svoeobraznyh russkih poetov, byl sozdatelem ogromnogo i mnogoobraznogo poeticheskogo mira. V dannoi knige predstavlena ego lirika - filosofskaya i lyubovnaya. S neobyknovennoi ostrotoi oshchushchavshii dramatizm chelovecheskoi zhizni, Iosif Brodskii v svoih stihah dal takzhe vysochaishie obrazcy ponimaniya zahvatyvayushchei prelesti zhizni. Lyubov, dazhe esli ona stanovitsya v konce koncov tragicheskim fonom sushchestvovaniya, beskonechno obogashchaet poeta i pridaet moshchnyi impuls ego vdohnoveniyu. Lyubov i smert - vechnye temy - v stihah Brodskogo predstayut v sovershenno novom oblichii. …

Paperback. Condizione: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

Condizione: Bueno. 120 página. MARCA DE AGUA. APUNTAS VENECIANOS. JOSEP BRODSKY. EDHASA. 1993 106pp RUSTICA CON SOLAPA  19X13. Español.

Paperback. Condizione: nrVG. 1st Edition. From the library of Donald Davie 1922-1995, poet and literary critic, and his wife Doreen. Her signature at start of book. With some annotation by her. Book is in near very good condition with minor but just noticeable signs of wear and/or age.

Condizione: Very Good.

Condizione: New. Idioma/Language: Inglés. «Oso lasai zegoen dena. Noizbehinka ontzi urri argiztatu gutxi batzuk igarotzen ziren, ontziek beren helizeekin asaldatzen zuten CINZANO neoi handi baten isla, ur azaleko olio geruza beltzean berriro finkatzen saiatzen zena. Hori lortu baino askoz lehenago isiltasuna itzuliko zen». Joseph Brodsky, Ur-marka «Egia da Veneziarekin zerikusia zuten liburu asko irakurriak nituela, baina Brodskyrena bestelakoa zen, oso bestelakoa; ez, noski, gida liburu bat, ez turistak bisitatzen ez dituzten leku bereziak bisitatzea gomendatzen duen horietakoa, ezta bidaia liburua ere. Zalantza egiten dut Venezia bera den liburu honen gai nagusia; Venezia aitzakiatzat harturik, Brodsky, denborari buruz eta urari buruz (sinonimoak berarentzat, azken buruan) hausnarketan aritzean, saiatzen da azaltzen nola denbora eta ura gauzatu diren Venezia deituriko leku batean, edo nola Venezian denbora bera ikusgai bilakatu den, begiratu ahal dugun fenomenoa. Denbora aipatzen denean, iragana, oraina eta geroa datoz, bizitza eta heriotza, arbasoek utzitakoa eta gure huskeria, gure ezereza. Agian begirada da liburu honen gai nagusia, Venezia begiaren paradisua baita Brodskyren ustez». Rikardo Arregi Diaz de Heredia, hitzatzean «Poeta Veneziara egindako lehen bidaian, 1972an, idatzitako Laguna izeneko olerkian dagoeneko agertzen dira, garatu gabe, edo senaz iragarrita, ia hogei urte beranduago Ur-markak saiakera honetan jorratuko diren hainbat irudi eta intuizio. Gauza bera gertatzen da 1982ko Veneziar ahapaldiak poema parearekin. Batek irudipena izan dezake hiriak poetarengan utzitako lehen zirrara haiek baieztatu eta haietan sakontzeko saiakerak baino ez direla hurrengo bisita guztiak, bere buruari (edo bere irakurleei) guztiz argitu arte metafora bakoitzaren atzean zer ezkutatzen den». Angel Erro, hitzatzean *** Nota: Los envíos a España peninsular, Baleares y Canarias se realizan a través de mensajería urgente. No aceptamos pedidos con destino a Ceuta y Melilla.…

Hardcover. Condizione: Very Good. Condizione sovraccoperta: Very Good. 1st Edition. ex libris but in lovely condition. No damage or pencil marks.

Soft cover. Condizione: Very Good. Paperback 1990. Flat spine. Flat covers. Clean & tight book. No inscriptions. Flat pages. Dispatched Royal Mail First Class with TRACKING next working day or sooner securely boxed in cardboard. ref 215.3::: Marbles: A Play in Three Acts.

Condizione: Nuevo. Narrativa.

Condizione: Nuevo. «Oso lasai zegoen dena. Noizbehinka ontzi urri argiztatu gutxi batzuk igarotzen ziren, ontziek beren helizeekin asaldatzen zuten CINZANO neoi handi baten isla, ur azaleko olio geruza beltzean berriro finkatzen saiatzen zena. Hori lortu baino askoz lehenago isiltasuna itzuliko zen». Joseph Brodsky, Ur-marka «Egia da Veneziarekin zerikusia zuten liburu asko irakurriak nituela, baina Brodskyrena bestelakoa zen, oso bestelakoa; ez, noski, gida liburu bat, ez turistak bisitatzen ez dituzten leku bereziak bisitatzea gomendatzen duen horietakoa, ezta bidaia liburua ere. Zalantza egiten dut Venezia bera den liburu honen gai nagusia; Venezia aitzakiatzat harturik, Brodsky, denborari buruz eta urari buruz (sinonimoak berarentzat, azken buruan) hausnarketan aritzean, saiatzen da azaltzen nola denbora eta ura gauzatu diren Venezia deituriko leku batean, edo nola Venezian denbora bera ikusgai bilakatu den, begiratu ahal dugun fenomenoa. Denbora aipatzen denean, iragana, oraina eta geroa datoz, bizitza eta heriotza, arbasoek utzitakoa eta gure huskeria, gure ezereza. Agian begirada da liburu honen gai nagusia, Venezia begiaren paradisua baita Brodskyren ustez». Rikardo Arregi Diaz de Heredia, hitzatzean «Poeta Veneziara egindako lehen bidaian, 1972an, idatzitako Laguna izeneko olerkian dagoeneko agertzen dira, garatu gabe, edo senaz iragarrita, ia hogei urte beranduago Ur-markak saiakera honetan jorratuko diren hainbat irudi eta intuizio. Gauza bera gertatzen da 1982ko Veneziar ahapaldiak poema parearekin. Batek irudipena izan dezake hiriak poetarengan utzitako lehen zirrara haiek baieztatu eta haietan sakontzeko saiakerak baino ez direla hurrengo bisita guztiak, bere buruari (edo bere irakurleei) guztiz argitu arte metafora bakoitzaren atzean zer ezkutatzen den». Angel Erro, hitzatzean.…

Condizione: leido. 1. ed. edición. tela sobrec. BUEN ESTADO 224.

Condizione: Bien. Gracias, su compra ayuda a financiar programas para combatir el analfabetismo.

Rústica. Condizione: New. Condizione sovraccoperta: Nuevo. 1. LIBRO.

Rústica. Condizione: New. Condizione sovraccoperta: Nuevo. 01. Oso lasai zegoen dena. Noizbehinka ontzi urri argiztatu gutxi batzuk igarotzen ziren, ontziek beren helizeekin asaldatzen zuten CINZANO neoi handi baten isla, ur azaleko olio geruza beltzean berriro finkatzen saiatzen zena. Hori lortu baino askoz lehenago isiltasuna itzuliko zen . Joseph Brodsky, Ur-marka. . Egia da Veneziarekin zerikusia zuten liburu asko irakurriak nituela, baina Brodskyrena bestelakoa zen, oso bestelakoa; ez, noski, gida liburu bat, ez turistak bisitatzen ez dituzten leku bereziak bisitatzea gomendatzen duen horietakoa, ezta bidaia liburua ere. Zalantza egiten dut Venezia bera den liburu honen gai nagusia; Venezia aitzakiatzat harturik, Brodsky, denborari buruz eta urari buruz (sinonimoak berarentzat, azken buruan) hausnarketan aritzean, saiatzen da azaltzen nola denbora eta ura gauzatu diren Venezia deituriko leku batean, edo nola Venezian denbora bera ikusgai bilakatu den, begiratu ahal dugun fenomenoa. Denbora aipatzen denean, iragana, oraina eta geroa datoz, bizitza eta heriotza, arbasoek utzitakoa eta gure huskeria, gure ezereza. Agian begirada da liburu honen gai nagusia, Venezia begiaren paradisua baita Brodskyren ustez . Rikardo Arregi Diaz de Heredia, hitzatzean. . Poeta Veneziara egindako lehen bidaian, 1972an, idatzitako Laguna izeneko olerkian dagoeneko agertzen dira, garatu gabe, edo senaz iragarrita, ia hogei urte beranduago Ur-markak saiakera honetan jorratuko diren hainbat irudi eta intuizio. Gauza bera gertatzen da 1982ko Veneziar ahapaldiak poema parearekin. Batek irudipena izan dezake hiriak poetarengan utzitako lehen zirrara haiek baieztatu eta haietan sakontzeko saiakerak baino ez direla hurrengo bisita guztiak, bere buruari (edo bere irakurleei) guztiz argitu arte metafora bakoitzaren atzean zer ezkutatzen den . Angel Erro, hitzatzean. LIBRO.…

Inscribed to a Jewish émigré journalist at BBC Russian --- First edition, first issue, of this celebrated collection of poetry, the second by the future Nobel Prize winner - and the first one prepared by himself and with his consent. Boldly inscribed by Brodsky to Sam Yossman (1946-2023), a Jewish émigré journalist and writer who worked for the BBC Russian service for 20 years, broadcasting under the name Sam Jones. He interviewed many leading figures and was "known throughout the Soviet Union for his rock music program on the Russian service called 'Babushkin Sunduk', or Grandma's Hope Chest, still remembered by millions in the former USSR" (Lithuanian Jewish Community). In 1964, Joseph Brodsky (1940-96) was sentenced to five years at a hard labour camp for "social parasitism". His trial gained international attention and members of both the Russian and international intelligentsia, including Anna Akhmatova, appealed for his liberation. As a result, he returned to his native Leningrad in 1965 to discover that his first poetry collection, Stikhotvoreniia i poemy [Verses and Poems], had been issued that same year in the US without his participation by Inter-Language Literary Associates, gathering some of his earlier samizdat publications. One of Brodsky's main bibliographers, Lev Losev, recounts that the poet was disappointed with the collection because its editors included his "juvenilia" works from 1957-61 and overlooked numerous mistakes. In 1965-67, he actively worked on the preparation of a new collection of his works, our Ostanovka v pustyne. As opposed to the earlier edition, he himself selected all the poems, their sequence and division into six parts, each with its own title. Brodsky added twenty-three poems from the previous collection, four translations from John Donne, and his works written between 1965 and 1969 these latter poems were never published before and constitute "more than two thirds of the book" (Losev, our translation here and below). Losev states that Brodsky gave the manuscript to an American professor, George Kline, in Leningrad in June 1968: "This was a dangerous venture both for Kline, who smuggled the manuscript out, and even more so for Brodsky. After the recent trial of [writers Andrei] Siniavskii and [Iurii] Daniel, the very phrase 'transferring manuscripts to the West' already sounded like 'espionage' or 'treason against the motherland' [.] Brodsky, however was determined to venture in this project." The edition was delayed into 1970 until the receipt of Brodsky's most recent poem, "Gorbunov i Gorchakov" ["Gorbunov and Gorchakov"], which was inspired by his experience in a Soviet psychiatric prison and became one of the highlights of the collection. The collection was published in New York by Izdatelstvo imeni Chekhova [Chekhov publishing house], a revival of the famous Russian emigré publisher of the 1950s. Brodsky's poetry collection was among the first books to be issued by this new publishing house and was edited by the Columbia University professor and translator Max Hayward together with George Kline. In his memoirs about this publication, Kline claims that they decided not to indicate their names in the edition because the KGB had already taken note of Kline, particularly for his connection with Brodsky. The author of the preface, Evgenii Naiman (1935-2021), a poet, essayist, and Brodsky's lifelong friend, also remained anonymous, signing his name as "N.N." In the New York newspaper Novoe Russkoe Slovo [New Russian Word] of July 7, 1970, the writer Argus (Mikhail Aizenshtadt) "hailed the book as evidence of the resistance of the young intelligentsia against the Soviet regime" (Losev). Two years after the collection's publication, Brodsky was forced to leave Russia and moved to the US. In 1987, he received the Nobel Prize for Literature and is now considered the most important Russian poet of the second half of the 20th century. Provenance: Sam Yossman (inscription by the author dated.…

Poetry on the wall - signed by the poet --- A scarce poetical poster, signed by the future Nobel Prize laureate and "the most popular Russian poet of the second half of the 20th century" (Shubinskii, our translation here and ). A very early US production of the poet and apparently Brodsky's first separate work to be printed by "the most important and legendary foreign publisher of Russian literature, the pinnacle of tamizdat history" (Oborin). Written in early 1966, the poem reflects on the destruction of a Greek church in Leningrad to make way for a concert hall marking the 50th anniversary of the October Revolution. Just a few months earlier, Joseph Brodsky (194096) had returned from exile in a labour camp, where he had been sent for "social parasitism." In 1972, he was forced out of his homeland and settled in the US, where, thanks to his close friends Carl and Ellendea Proffer, he became Poet in Residence at the University of Michigan. In 1971, the Proffers founded a small publishing house named "Ardis" in the basement of their Ann Arbor house, publishing banned Russian literature and, in doing so, "completely changed the map of Russian literature" (Oborin). Thanks to Ardis, works excluded from Soviet publishing became accessible to readers in both the West and the USSR. From 1977 onwards, Ardis published the majority of Brodsky's Russian poetry. After Carl Proffer's death in 1984, Brodsky remarked: "What Proffer did for Russian literature is comparable to Gutenberg's invention, for he brought back the printing press. By publishing in Russian and English works that were not destined to appear in print, he saved many Russian writers and poets from oblivion, distortion, neurosis, and despair. Moreover, he has changed the very climate of our literature" (quoted by Voronina). A very early professional collaboration between Brodsky and Ardis, this broadside-poster was apparently published in 1972, as catalogued by Harvard and other libraries. It features a rare translation by Jamie Fuller (b. 1945), previously printed in Ardis's Russian Literature Triquarterly, (#1, Fall 1971), alongside a handful of her other translations of Brodsky. This translation appears to have been published nowhere else. In his detailed biography of Brodsky, Lev Losev refers to a limited edition of 200 copies of Stop in the Desert in Fuller's translation, misdating it to 1973 and mistakenly describing it as a poetry collection; but we have found no trace of such a collection elsewhere. This broadside is indeed limited to 200 copies, most of them hand-numbered and signed by Brodsky this one being no. 200. The broadside was likely produced for Brodsky's public poetry readings both to promote his work and to help raise funds during his first year in the United States. His first public appearance in America took place on 12 September 1972, at Rackham Hall Auditorium, University of Michigan. Later that autumn, he gave readings in New York, at the Donnell Library and the New School. While copies of the broadside are held in several American university collections, very few have appeared on the market in recent decades: we are aware of only two other copies. From the publication of Selected Poems (Penguin Books, London, and Harper & Row, New York, 1973) onwards, English translations of Brodsky's poetry came to be dominated by George Kline, who played an essential role in establishing Brodsky's reputation in the English-speaking world. Kline's translation "Halt in the Desert" appeared in Selected Poems (1973), and earlier in The Living Mirror: Five Young Poets from Leningrad (Victor Gollancz Ltd., London, 1972). Another translationlikely also by Klinetitled "A Stopping Place in the Wasteland" was published in Unicorn Journal in 1968. Provenance: From the estate of Ellendea Proffer (Ellendea Proffer Teasley (b. 1944), co-founder of Ardis publishing house, writer, translator of Russian literature into English, and Brodsky's lifelong friend; by repute). Phy.…

Softcover. First edition; 8 1/4 x 5 1/4; pp. [6], 5-114, [1]; beige wraps, printed and illustrated in black; a bit of age-toning to spine and margins of wraps; minor wear to corners and tips of spine; small rubbed spot to upper corner of ffep (removed bookshop label); small, closed puncture to lower margin of back wrap; very good or better condition.Brodskii began writing poetry in the 1950s and by 1960, after meeting and becoming close friends with several leading figures of the Russian literary scene, including Anna Akhmatova and Dmitrii Bonyshev. In 1963, his poetry was denounced for being anti-Soviet and pro-Jewish, he was accused of parasitism, arrested, and sentenced to hard labor. He would be eventually released and would emigrate, first to Vienna in 1972, and then permanently to Ann Arbor. He would go on to teach at the University of Michigan, Columbia, Queens College, Smith, and Cambridge, and would win the Nobel Prize in 1987. All of his life's work, but for 4 poems, would be published abroad. Arguably one of his most celebrated volumes of verse, "The End of a Wonderful Era" would solidify the widespread of Brodskii being the biggest living poet, writing in his native Russian. 2.…

Nobel-Prize winning poetry pre- and post-emigration - "avec best pozhelaniiami" --- Two first editions, both volumes inscribed by the future Nobel Prize winner to a Russian woman of letters living in Los Angeles and New York, and an important figure of the Russian community in the USA. This is Brodsky's first collaboration with Ardis, "the most important and legendary foreign publisher of Russian literature, the pinnacle of the history of tamizdat" (Oborin, our translation here and elsewhere). By creating Ardis, the American Slavists Carl and Ellendea Proffer "completely changed the map of Russian literature" (Oborin): thanks to them, works that had no place in Soviet publishing houses became available to readers in the West and the USSR. During one of their trips to the Soviet Union in 1969, the Proffers met Nadezhda Mandelshtam who introduced them to Moscow literary circles and to Joseph Brodsky (1940-96), who was to become the major Russian poet of post-war 20th century and winner of the Nobel Prize for Literature in 1987. These two contacts led the Proffers to the Soviet literary underground and enabled them to collect unpublished works by contemporary authors and rare editions of Russian literature from the early 20th century. Two years later, the couple founded a small publishing house, "Ardis", naming it after the estate from Vladimir Nabokov's novel Ada. The office of this private enterprise was located in the basement of the Proffers' house in Ann Arbor, Michigan. "In the best times it had three or four full-time employees, but often it would be the publishers Carl and Ellendea Proffer themselves who were typing, proof-reading (mostly at night), packing and mailing books. This publishing house acquired almost a mythical status as a refuge for uncensored literature among the Russian intelligentsia" (Lev Losev). Ardis published works and translations of the main Russian authors of the 20th century, including Osip Mandelshtam, Mikhail Bulgakov, Anna Akhmatova, Vladimir Nabokov, Velimir Khlebnikov, Andrei Platonov, Sasha Sokolov, Vasilii Aksenov, Sergei Dovlatov among many others. Brodsky became close friends with the Proffers and when he was forced to leave his homeland in 1972, they helped him emigrate to America and secured a place for him at the University of Michigan. Since 1977, the vast majority of Brodsky's Russian poetry had been published by Ardis. After Karl Proffer died of cancer in 1984, Brodsky stressed in his memorial: "What Proffer did for Russian literature is comparable to Gutenberg's invention, for he brought back the printing press. By publishing in Russian and English works that were not destined to appear in print, he saved many Russian writers and poets from oblivion, distortion, neurosis, and despair. Moreover, he has changed the very climate of our literature. Now the writer whose work is rejected or banned is personally freer, because he knows that he can, after all, send his work to Ardis." When preparing his first post-emigration collection of poetry in the US, Brodsky argued with Karl Proffer about the composition of the book: Brodsky wanted an edition of only new (post-1971) poems, while "Proffer did not want to leave out the other high quality poems that had been written since Brodsky's earlier collection A Stop in a Desert [Ostanovka v pustyne] (1970)". One of the editors of the present edition, Lev (Aleksei) Losev (1937-2009), also a Russian poet, literary critic, essayist and the author of one of the main biographies of Brodsky, remembers that as a result of this argument, Ardis decided to publish two collections of poetry simultaneously: in the first, The End of a Beautiful Era Brodsky's poems written before leaving Russia; in the second, Part of Speech [Chast rechi] poems written in the West. Another editor of both works was the writer Vladimir Maramzin (1934-2021). In 1974, he was arrested for compiling a typewritten collection of Brodsky's works in 5 volumes for samizdat; since 19.…