Bella Akhmadulina


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Akhmadulina, Bella Akhatovna

 

(also Izabella). Born Apr. 10, 1937, in Moscow. Soviet Russian poetess; graduated from the Gorky Institute of Literature in 1960.

Akhmadulina’s work was first published in 1955. The collection of poems The String was published in 1962 and the collection Music Lessons in 1970. She is also the author of the narrative poem My Genealogy (1964) and of essays, screenplays, and translations of poems—from Georgian and other languages, including a collection of poems by the Georgian poetess Anna Kalandadze, Fly, Leaves (1959).

REFERENCES

Ognev, V. “Struna” (review). Literaturnaia Rossiia, Mar. 8, 1963.
Tsurikova, G. “Poeziia, igra, zhizn’.” Literaturnaia gazeta, Mar. 17, 1964.
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And, one of the major poets of the ironically named Bronze Age (the 60s) was a woman, Bella Akhmadulina (1937-2010).
During the 1990s, the Russian poetry scene was by and large populated by the last generations of Soviet writers--including some officially recognized Soviet poets, such as Bella Akhmadulina, but perhaps dominated by poets who had emerged from the underground, like Dmitry Prigov or Olga Sedakova.
Bella Akhmadulina and "Troeverie" in Vozle Elki (Around the Christmas Tree).
Bella Akhmadulina, the doyenne of the poetry of the first thaw, has twice called in print for the publication of Shvarts's poetry, and pointed out that her manuscript has been kept without reply by the Leningrad division of the Soviet Writer publishing house.
Bella Akhmadulina in one of her poems in the appendix is ready to blame Voznesenskii for some of his stylistic "pranks," but she is even more eager to defend him because of his prophetic insights.
The characters who emerge most vividly are Andrei Voznesensky and Yevgeny Yevtushenko, but Lili Brik, Bella Akhmadulina, and Maya Plisetskaya are Ford's heroines.
Teffi, and Bella Akhmadulina), and the relatively obscure (Elisaveta Kulman, Adelaida Gertsyk, and Vera Merkureva) are presented together to give the impression of literary strength and diversity not reflected in the numerous tomes in Russian and English which have paid polite lip service to the doyennes they could not avoid including (Akhmatova and Tsvetaeva), as they relegated a few to the denigratory class of "women's lyrics" or "women's writing" (by men), and ignored the rest, which are finally uncovered for the English speaker.
Sonia Ketchian's study is the first book dedicated to the art of Bella Akhmadulina (b.