In the days of October Marina Tsvetaeva is in Crimea. After a brief return to Moscow, depart for the Crimea with her husband Sergei Efron, who soon will join volunteer army (Dobrovol'českaja Armija) fighting the Bolsheviks. Returning to Moscow to take his two daughters, Ariadna and Irina, the poet will remain locked in the new capital of the nascent state of the Soviets, while her husband seems lost. These will be for Marina Tsvetaeva years of loneliness, hardship, fear and anxiety for the fate of loved ones, but also years of fruitful creative and beautiful works of art: they see the light collections Mileposts II and The Demesne of the Swans, where he weeps sunset of the old patriarchal Russia; and are composed poems such as The Tsar-Maiden and The Red Horse, in which we see the innovative spirit of a poetics of stylistic experimentation, riecheggiamenti folk lyricism and a completely original.
They are also the years of the prose of Clues land and the intense interest in the world's theater capital (as well as sentimental friendship with actress Sofia Gollidej (Holliday) which will be the protagonist of the story of Sonechka). Finally, these are the years of the life of a literary experiment and very special: the notebooks that Voland presents a valuable edition edited by Pina Napolitano.
Notebooks, covering the years 1919-1939, were published posthumously in 2001.'s Edition focuses on Italian Muscovites four years, 1919-21, prior to the exile (in Berlin in May 1922 and then in Czechoslovakia '25 in Paris). The editors Russians illustrate the difficulties of deciphering and clarify that it did not claim to offer a critical edition of a text fragment that makes its typological specificity (it is also proposed a comparison with the famous "fallen leaves" of Vasily Rozanov) : living document, annotation of everyday life but also obvious result of momentum creative, expressive research and suggestions of fiction. As he pointedly noted the Italian curator, focus is on the meeting with Vyacheslav Ivanov, maître à penser of Russian symbolism, then emigrated to Rome.
Ivanov says that Tsvetaeva "Notebooks are fine, but they are only material ... you have to write a novel, a truly great novel." She replies, "it's still early for me, for now I can only see myself and my things in the world," Ivanov and concludes: "Well, you write about it, of your things, the first novel will be intensely individual, then will be the 'objectivity'.
Notebooks transpires in the tragic antithesis - central in the work of the author - in everyday life (byt) and be (bytie); and there are the great themes of motherhood, love, history, death and truth. A bold outline of a autobiographical novel which then expands in the other notebooks not present in Italian and also in the famous red notebook of '32 recently published in facsimile (St. Petersburg, 2013): here, among other things is the first draft of the Lettre à l'Amazone, inspired by the work of the poet Natalie Clifford Barney, who deservedly Publishers International reproduce Gathered Italian readers. The fragmented narrative-autobiographical of all of these texts also involves the poetry of Tsvetaeva and extends, as shown by numerous editorial choices (in Italy, for example, those edited by Serena Vitale), even the rich and intense correspondence.
In Notebooks affects the plot of the lyrical intonations and the coldness of the notes relating to the newspaper. Central relationship with her daughter Ariadna, whose artistic gift shines through many of her songs in the text, in a sort of split and self-identification between mother and daughter. Also affects the tragic relationship with the other daughter, Irina, who will soon die orphanage Kuntsevo and remains silent, awkward presence in the conscience of the mother. Notebooks are a veritable encyclopedia of life, or rather, survival in Moscow during the years of destruction and at the same time, a continuous reverberation of citations dall'intertesto Russian literary and poetic corpus cvetaeviano. The reader is lost, wandering, verbal and braiding here seem recognizable faces, places, circumstances and voices. As far as possible the apparatus of notes provides a foothold as a lifesaver.
There is no shortage of quotes also Tsvetaeva's first collection of poems, Evening Album of 1910: that the publisher Julian Ladolfi recently proposed in the beautiful translations of Paola Ferretti, the introduction of which are traced with precision the lines of development of the various thematic cycles of young poet, who will then coherent development in the work of maturity. It is the organic nature of the message that affects Marina Tsvetaeva, from early works to maturity, in its ongoing dialogue with his great contemporaries, from Tolstoy to Blok, Rilke, to Voloshin and Pasternak. In this light notebooks play a role in bonding as themes, tones, bursts of poetry, which are offered to the reader in the form of a 'novel individual. "