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Confession (Alexander Pushkin by Innokenty Smoktunovsky)

In continuation with various translations of Russian poetry, here is an amazing example of work by Innokenty Smoktunovsky. In 1982 he recorded a TV programme dedicated to Alexander Pushkin, and this particular poem, Confession, is undoubtely one of his best works. The range of emotions he is able to convey in two minutes is overwhelming and confirms his status as one of the best, genuine Russian actors.

The English text (translated by Katharena Eiermann)

Alexander Pushkin, Confession (1828)

I love you, though I rage at it,
Though it is shame and toil misguided,
And to my folly self-derided
Here at your feet I will admit!
It ill befits my years, my station,
Good sense has long been overdue!
And yet, by every indication
Love’s plague has stricken me anew:
You’re out of sight – I fall to yawning;
You’re here – I suffer and feel blue,
And barely keep myself from owning,
Dear elf, how much I care for you!
Why, when your guileless girlish chatter
Drifts from next door your airy tread,
Your rustling dress, my senses scatter
And I completely lose my head.
You smile – I flush with exultation;
You turn away- I’m plunged in gloom,
Your pallid hand is compensation
For a whole day of fancied doom.
When to the frame with artless motion
You bend to cross-stitch, all devotion,
Your eyes and ringlets down-beguiled,
My heart goes out in mute emotion,
Rejoicing in you like a child!
Dare I confess to you my sighing,
How jealously I chafe and balk
When you set forth, defying
Bad weather, on a lengthy walk?
And then your solitary crying,
Those twosome whispers out of sight,
Your carriage to Opochka plying,
And the piano late at night…
Aline! I ask but to be pitied,
I do not dare to plead for love;
Love, for the sins I have committed,
I am perhaps unworthy of.
But make believe! Your gaze, dear elf,
Is fit to conjure with, believe me!
Ah, it is easy to deceive me!…
I long to be deceived myself!.

A Billionaire Handbook (On “Social Network” the Film)

I‘ve just come back from the screening of “Social Network” in one of the central cinemas in Moscow. By the look of it, Moscow bloggers, the users of Vkontakte.ru and Loveradio listeners had the chance to see the film before everyone else: the film’s official screenings start tomorrow.

Just this morning I was thinking about why people never seem to get what they want. Clearly, it is because of three things:

  1. they do it wrong;
  2. they do it with wrong people;
  3. they don’t want it badly enough.

And that is really it. “Wrong” may be outdated or inappropriate for the kind of work you’re doing. Having right people around you is also very important. Not the kind of people who are always happy with whatever you do either because they don’t care that you become better than you are, or because they are afraid that you may forget them once you’ve taken off. The right people are those who help you grow and who want you to grow. And, last but not least, you’ve got to want it so bad that you live and breathe your idea.

You think this modus operandi is too good to be true? Welcome Mark Zuckerberg (Jesse Eisenberg). Of course, the story of Facebook is far more complex than what can be jammed into one and half hours of screening time. The creators omitted the take-off of Facebook in Europe, and after a while only a Social Media pro can match the scene in the film with the actual date. The issues with privacy, sharing, and data, as well as the entire social “paraphernalia” in the guise of groups, causes, etc., are left behind. Instead, at the heart of the film is the story of one Harvard geek who was never accepted into any clubs and who thus decided to create a club where everyone could belong.

What separates Zuckerberg’s character from the rest is this absolute refusal to be a loser. Nerd or snobbish he can be, one thing is clear: the guy had such complete belief in himself that many of us wish we could borrow from him. He was studying at Harvard, one of the most prestigious universities in the world. He lived on campus, pretty much free from mundane concerns. And there was one small “but”: he was rejected by a girl he fancied a lot. The inception of the social network had therefore started in the most perfect conditions: the absence of problems and a tiny bit of despair. Free but impassioned mind allows you to create masterpieces.

Zuckerberg was so good at programming that he was obviously doing “it” right; what is more important, he was doing it with the right people. Some gave him a hand with algorithms, others helped with programming, some dropped ideas in conversations, but in the end nobody was able to do what he was doing. Most importantly, he was tapping into the right idea – even if it was not entirely his. Not only people around him were ‘right’ for his project, he was giving to those who registered with Facebook the ‘right’ set of functions. He was in the right conditions, and he was extending and multiplying them.

The conflict between Eduardo Saverin (Andrew Garfield) and Sean Parker (Justin Timberlake) is the battle of minds, and both were right for Zuckerberg in one way or another. Eduardo supplied Mark with resources for Facebook to actually happen; Sean’s doubtless entrepreneurial skill helped to propel the social network to the global level and make it a worldwide success. And even though Sean got really close to Mark, the latter didn’t let him off for letting Eduardo down. When the time came, Zuckerberg somehow managed to marry business thinking with a little bit of old school friendship.

As a film, Social Network is by no means a phenomenon or even a groundbreaking movie. It is well made, and Armie Hammer, in particular, does amazing work playing the Winklevoss twins. Justin Timberlake looks promising, although I’d like to see him in more introspective, “classical” films. Yet the film’s remarkable achievement is in that it shows in a short space of time how to grab the chance and not to leave any stone unturned until the big goal is hit. Is Zuckerberg good? Yes. Is he nice? No. After all, the question was never about money – it was about “being the CEO, bitch” and making history. He did both.

Would you?

Photo credit – Facebook Gets Movie Treatments as Social Media at High (International Business Times, 15 September, 2010).

Wait for Me (Konstantin Simonov)

Wait For Me is not just a war-time poem; even in normal, peaceful life there are plenty of chances to fight, to struggle and to survive.

Continuing with the subject of life-marking texts or art pieces, one of them was Wait for Me. I remembered it because I started reading Paul Eluard’s letters to Gala, and they immediately strike you with their overwhelming intensity, even more so in the letters of Gala than Paul’s. This is true, at least, for her early letters written in 1916 when Eluard was at war. She complained that she was beside herself with terror that something bad could happen to him, and begged him to stay somewhere safe, even among the bourgeoisie that he hated, only so that he could be back and she could love him.

Reading those letters made me remember the poem Wait for Me (Жди меня) by the Soviet poet Konstantin Simonov. I wondered if there was a translation, and indeed there is a very good translation by Mike Munford from the UK. In fact, I am really impressed, not merely with the quality of translation, but the very fact that Simonov’s work has been rendered into English and analysed. Munford makes a very important comparison between the poems by Rupert Brooke and Simonov’s, between the moods of two lyrical heroes trapped in the battlefield: while Brooke’s mood is almost suicidal, Simonov is showing the remarkable will to live and laughs in the face of death. One may say, it is no wonder that Brooke died and Simonov survived in the war.

Yet there was more to Wait for Me than meets the eye. As it happens, the story that we read in the poem is somewhat different from the story that was taking place in the poet’s life. Petrarch’s or Dante’s delight in the beauty of their Muses tend to overshadow the fact that their love was unrequited. In case with Wait for Me, we’re likely to read it as a poet’s vow to his beloved to come back against all odds because she faithfully waits for him. Sadly, Valentina Serova, a Soviet actress, for whom the poem was written, was far from this ideal. Even if this was not the case at the start of the war, it would be later, and Simonov the poet could most likely foresee it. Suddenly we catch the glimpse of despair that is shaken off by the sheer force of the same will to live that separated Simonov from other war-time poets before and after him.

As with every good poetry, this text has transcended the immediate context in which it was written. It is no longer just a war-time poem or a poem about war. Even in normal, peaceful life there are plenty of chances to fight and to struggle. Whether men or women, each of us needs this person who can wait – as long as it takes, against all odds, even against themselves.

konstantin simonov wait for me
Konstantin Simonov, the author of the poem Wait for Me.

I urge you to visit Mike’s website, and I am very grateful to him for doing this kind of work.

Konstantin Simonov, analysis of his poetry, and notes on translation.

Wait for Me

by Konstantin Simonov (translated by Mike Munford)

Wait for me, and I’ll come back!
Wait with all you’ve got!
Wait, when dreary yellow rains
Tell you, you should not.
Wait when snow is falling fast,
Wait when summer’s hot,
Wait when yesterdays are past,
Others are forgot.
Wait, when from that far-off place
Letters don’t arrive.
Wait, when those with whom you wait
Doubt if I’m alive.

Wait for me, and I’ll come back!
Wait in patience yet
When they tell you off by heart
That you should forget.
Even when my dearest ones
Say that I am lost,
Even when my friends give up,
Sit and count the cost,
Drink a glass of bitter wine
To the fallen friend –
Wait! And do not drink with them!
Wait until the end!

Wait for me and I’ll come back,
Dodging every fate!
“What a bit of luck!” they’ll say,
Those that would not wait.
They will never understand
How amidst the strife,
By your waiting for me, dear,
You had saved my life.
Only you and I will know
How you got me through.
Simply – you knew how to wait –
No one else but you.

1941

More on Literature and Russia

Enter Reed.co.uk Short Film Competition

I know that when I’ve written Parma Ham, I’m going to dedicate it to the world’s largest direct marketing company. But while I’m writing that one, Reed.co.uk, a UK job advertising agency, has got along with the BBC Film Network, Screen Wm, Northern Film and Media, and Screen Yorkshire, for its annual Short Film competition. The task is to show your love for Mondays, and the winner gets 10,000K, plus there are three prizes for runners-up.

The page to find out the terms and where to send your videos.

The page to read more about competition.

Reed’s YouTube channel.

I guess entering the competition can at best open you the door into Film industry. And below is the video submitted by a Mancunian candidate. If you’re from Manchester reading this post, let’s see how many familiar places you can find!

The competition ends on 28 February, 2011.

A Metaphor for the Will to Live

The film after Stephen King’s novel is counted by many as a favourite for a good reason. Shawshank Redemption is the metaphor for the will to live, the power of focus, the ability to create the most amazing thing undercover (under the cover of Ursula Anders, perhaps), and the relentless determination to get what one wants.

It so happens that we often watch films passively, i.e. we merely watch what we look at, and we rarely try to see the same situation re-enacted in our own life. Shawshank Redemption is so much bigger than a mere story of how one innocent man ran away from prison, started a new life under the new name, and got even with his adversaries. Some of us have already had such redemptions in our own lives, and some may yet have to experience them.

I wouldn’t want to contemplate just yet exactly how Shawshank Redemption manifested itself in my life, simply because I don’t think the process is over. But what I do want to do, is to share with you a story that I started telling in this post. Sometimes great things come to us in dreams, and sometimes we can make them happen. My goal has been for a long time to visit my home city but not until earlier this year did I get serious enough to put up a photo of Moscow on my desktop. Since May, every single time I turned up my laptop, which I did nearly every day, I saw the photo below. I don’t remember either how I found it, or the name of the photographer. But I was looking at it, even though I almost never hung out near the Bolshoi Theatre in the evening, so the sight of the fountain was by no means marked by any personal memories or experience. And just when it began to look like I had to postpone the visit, all pieces fell together, and I hit the goal.

The fountain in front of the Bolshoi Theatre, Moscow

The truth is, very often we let life get in the way of whatever we want to do, and I have sometimes done the same. Life is the prison, and occasionally it takes some impressive skill to fool the wardens. God knows, under what covers you may have to work to create your tunnel. But if you can accept responsibility for this and to work out the system of getting out, you will soon be enjoying the life you wanted – much sooner than you’d have thought.

By the way, if you haven’t discovered it yet, this is the official website of Shawshank Redemption the film. Available on the site are a full screenplay and analysis of the script and the film, including some explanations by the director Frank Darabont.

The Song That Is Me (Performed by Rupert Everett)

This may or may not be surprising, but the song I absolutely love is I Say a Little Prayer for You. It’s a kind of a good omen song: whenever I hear it, good things happen. A dull party begins to sparkle, wind beneath my wings becomes stronger… When I realised a few years ago that I’d definitely have another wedding in my life (because my first marriage ended), I knew that this would be the song I wanted to hear. A couple of times I even thanked DJs for playing the song without my request.

I asked a friend of mine recently to suggest a song that could be “me”. After some thinking he suggested Red Roses for the Blue Lady. As for me, considering what I know about myself, I Say a Little Prayer for You is the song I’d choose for myself.

I write about different favourite actors on this blog. One of them is Rupert Everett whom I haven’t mentioned for a while. And, speaking of fortunate occurrences, back in 2005 I worked as a researcher on a BBC’s Songs of Praise programme dedicated to the impending release of the first installment of The Chronicles of Narnia, The Lion, The Witch, And The Wardrobe. Everett gave his voice to the character of Mr Fox. This was the first time I worked for a TV programme, but what I’ve always loved about the Beeb is that they gave you full control and responsibility for your tasks. So, I was given access to a few databases and a task to find contact details of a few actors’ agents, to ask them whether or not the actors in question would be available to take part in the programme.

The third candidate was the one whose agent was the hardest to reach; it took me two and half weeks. Jim Broadbent‘s agent got back on the same day, with the positive response. But imagine my ecstasy when I saw the name of Rupert Everett on the list. Imagine how much happier I felt when his agent forwarded my email to his publicist who kindly got in touch with details on how and where to fax the questions.

Sadly, it looks like I love Rupert for his slightly less-known films (like, The Madness of King George), while his version of my favourite song that played in My Best Friend’s Wedding eluded me because I’ve never seen the film. The world moves in mysterious ways, and the justice has now been done. Strangely enough, although I’m not religious, I do say little prayers for people I love.

The Alternative Map of Moscow Underground

Moscow tube map with “proper names

Considering that Bloggers Portraits are being shot in the studio located on the lower ground floor, that is underground, the theme of “alternative” thinking thus continues with this map of the Moscow underground (Metro). It is an amazing, beautiful, old place; the first line was built between 1932 and 1933 and went in operation in 1935. And while hardly anyone would consider offering alternative station interiors, the attempts to throw a new look at the stations’ names have been diverse and sundry. This is the most recent one, and I appended a bilingual metro map, too. The best translation, possibly, is that of Dostoevskaya station. Naturally, it commemorates the Russian author; however, the translators decided to render the name literally, hence it became Suitablyeatable.

Given Dostoevsky’s popularity in the recent years, “suitablyeatable” becomes him, too.

Alternative Moscow tube map

Life Is a Bowl of Eugene O’Neills

The great American playwright, a winner of the Nobel Prize and the Pulitzer Prize, Eugene O’Neill, not only exerted much influence on American drama, but also inspired parodies. As I’m going through my bookshelves, I’ve found a collection of parodies on, and by, English and American authors. The text below, written by Frank Sullivan, makes a mockery of his great fellow countryman.

Frank Sullivan. Life is full of Eugene O’Neills

My next dramatic work will be a sextilogy, so called because it will consist of six plays all filled with sex. The acting of it will require fifteen hours. There will be twenty-four different kinds of sex in it, an all-time record. Of these, seven are completely new and have never before appeared in any dramatic work not written by Earl Carroll. Of the seven, six were discovered last spring (in the love season) by the Sullivan-National Geographic Society Expedition to the summit of Haverlock Ellis. The seventh is a new, rustproof, non-collapsible kind of sex, invented by myself after years of research during my odd moments; moments which grew odder and odder as my investigations progressed. This new variety of sex is made from goldenrod, and I call it Tooralooraluminum.

The sextilogy will concern the goings-on of a family named Baddun. The family consists of a Confederate Baddun, who is hated by his wife, Alla Baddun, who in turn is loved by their son, Earle Baddun, and hated by their daughter, Alice Baddun, who is in love with her father and her brother.

As the sextilogy opens, the Badduns are discovered having a snack of breakfast consisting of creamed henbane, toadstools, sous-cloche, and Paris-green pudding with strychnine sauce. A percolator of Prussic acid bubbles cozily on the range. The favors are special suicide revolvers which, by simply pulling the trigger, can also be used for murdering one’s next of kin.

The Badduns sit there glowering at each other. Earle is staring at Alice. Alice shudders, and buries her face in a remote part of her hand, where she thinks Earle will never find it.

EARLE – Nice weather we’re having.
ALICE (sternly) – Earle!
EARLE – What?
ALICE – Why do you say that? You know it’s not nice weather we’re having. It may be nice weather for others, but it can never be nice weather for us Badduns. Why do you look at me like that, Earle, with desire in your elms? For God’s sake, stop looking at me like that, Earle! Don’t touch me, Earle!
EARLE – All right, I won’t – if you incest.
ALLA – Life is just a bowl of cherries.
EARLE – Mother, may I be excused from table?
ALLA – Why, my son?
EARLE – I want to shoot myself. I’ll only be gone a minute.
ALLA – But why do you want to shoot yourself, my boy?
EARLE – It’s all so horrible, Mother.
ALLA – What’s horrible, dear?
EARLE – Life, Mother, Life. When I was in the army, every mother I shot seemed to look like every other mother I shot, and every mother looked like you, Mother. And then every other mother began to look like me, Mother, and I felt that every time I killed somebody’s mother I was committing suicide and every time I committed suicide I felt I looked like every other Eugene O’Neill.
ALLA – Life is just a bowl of Eugene O’Neills.
EARLE – Oh, never leave me, Mother! You and I will go away together, away from all this, far away. I know an island in the Pacific –
GENERAL BADDUN (eagerly) – Say, is it a little short island about seventeen miles in circumference, with palm trees all over it?
EARLE – Yes, and a cliff at the southern extremity.
GENERAL – That’s the one! I know that island.
EARLE – You do!
GENERAL – I’ll say I do! Boy, if it could talk, the stories that island could tell about me!
EARLE – It’s certainly a small world.
ALICE (shuddering) – It’s a horrible world… Mother!
ALLA – What?
ALICE – Stop looking at father like that. Father!
GENERAL – What?
ALICE – Stop looking at mother like that. Earle!
EARLE – What?
ALICE – Stop looking at me like that.
EARLE – Alice!
ALICE – What?
EARLE – Stop looking at father like that. And, Dr. Joseph Collins, you stop looking at Love and Life like that.
ALLA – Life is a bowl of Dr. Joseph Collinses.
GENERAL – May I have another cup of Prussic acid, Alla? Two lumps please… Thanks. My, I always say there’s nothing like a cup of good strong, black prussic acid to wake you up in the morning and clear the brain of cobwebs. Alla, are you will being unfaithful to me with that ship captain?
ALLA – Which one, dear?
GENERAL – You know – the one that’s my step-cousin or something.
ALLA – I thi-ink so, but I’m not sure. You know my memory. What’s his name?
GENERAL – Brump. Captain Adam Brump.
(ALLA takes an address book from her crinoline and consults it.)
ALLA – Let me see-ee – Bradge, Braim, Brattigan, Brelk, Briffel, Broskowitz – yes, here he is, Brump. Captain Adam Brump. But why do you ask about him, dear? Anything wrong with him?
GENERAL – No, no! Fine fellow. Go right ahead. Have a good time. You’re only young once.
ALICE (gloomily) – It’s not so. We Badduns are always Jung.
ALLA – Life gets Adler and Adler.
EARLE – Oh, Mother dear, I’m afreud, I’m so afreud. Let us go to my island in the Pacific.
(ALICE shudders).
ALLA – General, I wish you’d speak to Alice about this constant shuddering. She’ll have the plaster shuddered off half the rooms in the house if she doesn’t quit.
(Enter NORN, a maid.)
NORN – The coffin man is here, sir.
GENERAL – Tell him we don’t want any today.
EARLE – Oh, we don’t, don’t we!
(EARLE draws a revolver and shoots his father).
NORN (shouting downstairs to the coffin man) – One on the coffin, Joe.
(From below, like an echo of the voice of the tragic and relentless Fate that pursues the Badduns, floats the answering voice of the coffin man: “O.K.”)
EARLE – I’m not sorry I shot Father. He looked like a Philadelphia postman.
ALLA – Life is a Philadelphia postman – slow, gray, inexorable.
ALICE – Life is a bag of mail. And death – death is a canceled stamp.
EARLE – Birth is a special delivery.
ALICE – Better we Badduns had never been born. Here, Earle. Here is a cigar.
EARLE – Why do you give me a cigar, Alice?
ALICE – For scoring a bulls-eye on Father, Earle. Does anybody else wish to take a chance? Step right up, folks…
EARLE – Cigars. When I was in the army, every cigar I smoked looked like every other cigar. Every time I smoked a cigar I felt I was committing suicide.
ALICE – I shall go mad.
ALLA – You will go mad.
EARLE – She will go mad.
AUDIENCE – We shall go mad.
EARLE – You will go mad.
EUGENE O’NEILL – They will go mad.
EARLE (turning quickly to O’Neill) – Are you Eugene O’Neill, the playwright?
GENE – To put it mildly, Son.
ALLA – Give him the works, Earle.
ALICE – Yes, give it to him, Earle. See how he likes being bumped off.
EARLE – Mr O’Neill, on behalf of those members of the casts of your recent plays who have not died like flies from overwork, it gives me great pleasure to plug you with this thirty-eight calibre –
GENE – But –
ALLA – What is life, Gene, but one great big But?
(EARLE shoots GENE.)
ALICE – Now, come on. Let’s boil this thing down to three acts.
ALLA – One act, or I won’t commit suicide.
ALICE – All right, one it is. Get up, Father. Snap out of that coffin.

And Yes I Said Yes I Will Yes, And Other Famous Last Lines

When I was still at the academia, I did a bit of research into the speeches from the scaffold. I studied 16th century, as you know, and it registered only few examples thereof. The interest was sparked partly, if I can recall, by the passage from Dostoevsky’s “Idiot” in which the count Myshkin contemplates the feelings of the person about to be executed.

The page to which I’d like to redirect you, however, has little to do with capital punishment. Michael Erins has meticulously assembled the famous last lines in literature from texts as different as Qu’ran and Joyce’s “Finnegan’s Wake”. The choice is fairly random but serves well to open up the topic of what, and why, makes for a good close to the story. Some examples, to wet your appetite:

1.) “and yes I said yes I will Yes.”

Ulysses

Author: James Joyce

Molly Bloom’s soliloquy at the conclusion of James Joyce’s literary epic recounts her first meeting with husband Leopold and how she realized her love for him in one exceptionally long passage.

4.) “So we beat on, boats against the current, borne back ceaselessly into the past”.

The Great Gatsby

Author: F. Scott Fitzgerald

In 14 words, F. Scott Fitzgerald sums up one of the major themes of his quintessential novel of the jazz age – that of clinging so hard to the past that the present seems muddy and unfulfilling.

6.) “He loved Big Brother.”

1984

Author: George Orwell

Considered one of the most bone-chilling final lines in literary history, thoughtcriminal Winston Smith has once again become a brainwashed puppet of a totalitarian dystopia after an impassioned struggle for personal freedom.

18.) “He had already chosen the title of the book, after much thought: The Pacification of the Primitive Tribes of the Lower Niger.”

Things Fall Apart

Author: Chinua Achebe

After 25 chapters of postcolonial tragedy, author Chinua Achebe points an ironic, scathing, challenging eye back at the Europeans who tore to pieces a proud Nigerian tribe.

31.) “I have no children by which I can propose to get a good single penny; the youngest being nine years old, and my wife past child-bearing.”

“A Modest Proposal”

Author: Jonathan Swift

Biting and hilarious, the greatest essay ever written about the benefits of eating babies concludes with a knee-slapper whereby the author excludes himself from any hypothetical economic sanctions.

41.) “God – people – people don’t do things like that.”

Hedda Gabler

Author: Henrik Ibsen

Proud Hedda Gabler commits suicide with her military father’s guns seemingly out of nowhere, shocking her understandably confused husband and friends.

Michael’s website on Masters in Education is dedicated to accumulating information and resources for everyone interested in this academic degree.

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