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208

Notes

Introduction: ‘And Every Evening Surprised that I Was Still Alive I Repeated Verses’

1. Matthew Arnold, On the Modern Element in Literature. Inaugural Lecture deliv-ered at the University of Oxford, 14 November 1857, quoted in Susan Bassnett, Comparative Literature: A Critical Introduction. Oxford: Blackwell, 1993.

2. Sean O’Faolain, A Nest of Simple Folk. London: Jonathan Cape, 1933. 3. Ivan Turgenev, A Nest of Gentlefolk, trans. Jessie Coulson. Oxford University Press,

1959. Russian original: Ivan Turgenev, Dvoryanskoe gnezdo. Moscow, 1895. 4. George Moore, The Untilled Field. London: William Heinemann, 1903. 5. Ivan Turgenev, A Sportsman’s Sketches, trans. Constance Garnett. London: J. M.

Dent, 1932. Russian original: Ivan Turgenev, Zapiski Okhotnika. Moscow, 1852. 6. Ronan Bennett, Zugzwang. London: Bloomsbury, 2007. 7. Tom Murphy, The Cherry Orchard. London: Methuen Drama, 2004. 8. Thomas Kilroy, The Seagull: After Chekhov. Oldcastle: Gallery Press, 1993. 9. Boey Kim Cheng, ‘The Dublin–Moscow Line: Russia and the Poetics of Home in

Contemporary Irish Poetry’, Irish University Review, 2, 2006, p. 353.10. Terence Brown, ‘Translating Ireland’, Krino, 7, 1989, p. 139.11. By ‘Eastern European literature’ I refer to the literary writing of all of the countries

in the communist-dominated Eastern Europe behind the Iron Curtain, including the states of the former USSR.

12. See Ruth Padel, 52 Ways of Looking at a Poem. London: Vintage, 2004, p. 25.13. Chris Miller, ‘The Mandelstam Syndrome and the “Old Heroic Bang”’, PN Review,

31.4, March–April, 2005, p. 18.14. Ibid. 15. See Justin Quinn, ‘Heaney and Eastern Europe’, in The Cambridge Companion to

Seamus Heaney, ed. Bernard O’Donoghue. Cambridge University Press, 2009, p. 92.16. Padel, 52 Ways of Looking at a Poem, p. 25.17. Ibid. 18. Ibid. 19. Miller, ‘The Mandelstam Syndrome’, p. 15.20. Evgeny Pasternak, Boris Pasternak: The Tragic Years 1930–60. London: Faber, 1981,

p. 34.21. See ibid. 22. Nadezhda Mandelstam, Hope Abandoned. London: Penguin, 1975, p. 146.23. Miller, ‘The Mandelstam Syndrome’, p. 15.24. ‘Самиздат’ (‘samizdat’/‘self-publishing’) was coined as an opposite term to

‘госиздат’ (‘gosizdat’/‘state publishing’). The two terms were coined by fusing the first two syllables of the word ‘издательство’ (‘izdatelstvo’/‘publishing house’) with the pronoun ‘сам’ (‘sam’/‘self’) or with the first syllable of the adjective ‘государственное’ (‘gosudarstvennoe’/‘of the state’). This type of word creation was characteristic of the neologisms invented by the Soviets. Through ‘samizdat’ many censored literary works were disseminated in the form of typescripts. See Mandelstam, Hope Abandoned, p. 3.

25. See Padel, 52 Ways of Looking at a Poem, pp. 25–6.26. See Nadezhda Mandelstam, Hope Against Hope. London: Penguin, 1975, p. 412.27. Ibid. 28. Mandelstam, Hope Abandoned, p. 159.29. Ibid. 30. Olga Ivinskaya, A Captive of Time: My Years with Pasternak, trans. Max Hayward.

New York: Doubleday, 1978, p. 16.31. Clarence Brown, Mandelstam. Cambridge University Press, 1973, p. 3.32. Mandelstam, Hope Abandoned, p. 286.33. See ibid., p. 114.34. See John Crowfoot, ‘Introduction’, in Emma Gerstein, Moscow Memoirs, ed. and

trans. John Crowfoot. London: Harvill, 2004, pp. xviii, 107. 35. See among others: Simon Karlinsky, Marina Tsvetaeva: The Woman, her World, and

her Poetry. Cambridge University Press, 1985, pp. 114, 202, 221.36. Ibid., p. 42.37. See ibid., p. 23.38. Ibid., p. 496.39. Ibid., p. 21.40. See Anne Applebaum, Gulag: A History. London: Penguin, 2003.41. Cited in ibid., p. 348.42. See Shane Alcobia-Murphy, Sympathetic Ink: Intertextual Relations in Northern Irish

Poetry. Liverpool University Press, 2006, p. 164. 43. Mandelstam, Hope Against Hope, p. 198.44. See A. V. Blium, Za kulisami ‘Ministerstva Pravdy’: Tainaya istoriya sovetskoi tsenzury,

1917–1929. St Petersburg, 1994, pp. 82–93.45. See ibid. 46. See Jeffery Brooks, Thank You, Comrade Stalin: Soviet Public Culture from Revolution

to Cold War. Princeton University Press, 2000, p. 5.47. Max Hayward, ‘Introduction’, in Olga Ivinskaya, A Captive of Time: My Years with

Pasternak, trans. Max Hayward. New York: Doubleday, 1978, p. xxx.48. Ibid., p. xxix.49. Quoted in Brooks, Thank You, Comrade Stalin, p. 108.50. See Geoffrey Hosking, Russia and the Russians: From the Earliest Times to 2001.

London: Penguin, 2002, p. 479.51. See Hayward, ‘Introduction’, p. xxx.52. See Hosking, Russia and the Russians, p. 479.53. Mandelstam, Hope Against Hope, p. 200.54. Pasternak, Boris Pasternak, p. 83.55. See Hayward, ‘Introduction’, p. xxx.56. ‘Shock worker’ is the translation of the Russian term ‘ударник’ (‘udarnik’). In

Soviet terminology the word was used to describe a super-productive worker who over-fulfilled the quota demanded by the state. See S. L. Oshegov and N. J. Shvedova, Tolkovoy slovar russkogo yazyka. Moscow: Az, 1992, p. 855.

57. See David Brandenberger and Kevin Platt, ‘Introduction: Tsarist-Era Heroes in Stalinist Mass Culture and Propaganda’, in Epic Revisionism: Russian History and Literature as Stalinist Propaganda. Madison: University of Wisconsin Press, 2006, p. 9.

58. See Harold Swayze, Political Control of Literature in the USSR, 1946–1959. Cambridge, MA: Harvard University Press, 1962, p. 17.

59. Leon Trotsky, Literature and Revolution. Chicago: Haymarket Books, 2005.60. See Swayze, Political Control of Literature in the USSR, p. 38.

Notes to Introduction 209

61. Despite being classified by the Union of Soviet Writers as ‘growing into socialism’, Pasternak believed in Soviet ideology only at the beginning of his career. When he came aware of the inequalities created by the regime, he turned his back on communism. He was particularly shaken by Mandelstam’s arrest in 1934. See Hosking, Russia and the Russians, p. 480; Hayward, ‘Introduction’, p. xxxi.

62. Jay Parini, Why Poetry Matters. New Haven: Yale University Press, 2008, pp. 130–1.63. Pasternak, Boris Pasternak, p. 219.64. Ibid. 65. Mandelstam, Hope Abandoned, p. 367.66. Miller, ‘The Mandelstam Syndrome’, p. 16.67. See Dennis O’Driscoll, Stepping Stones. London: Faber, 2008, p. 383.68. See ibid. 69. See ibid. 70. Boey, ‘The Dublin–Moscow Line’, p. 371. 71. Mary Orr, Intertexutality: Debates and Contexts. Cambridge: Polity Press, 2007, p. 7.72. J. P. Plottel and H. Charney (eds), Intertextuality: New Perspectives in Criticism. New

York Literary Forum, 1978, pp. xix–xx.73. Julie Sanders, Adaptation and Appropriation. Abingdon: Routledge, 2005, p. 14.74. Ibid.75. Adrienne Rich, ‘When We Dead Awaken’, in Feminism: A Reader, ed. Maggie Hum.

Hemel Hempstead: Harvester Wheatsheaf, 1992, p. 369.76. Riffaterre quoted in Graham Allen, Intertextuality. Abingdon: Routledge, 2000,

p. 132. 77. See ibid.

1 No Vodka, Aquavit or Uisquebaugh: The Russian Connection in the Work of Seamus Heaney

1. Eugene O’Brien, Seamus Heaney: Creating Irelands of the Mind. Dublin: The Liffey Press, 2005, p. 126.

2. Ibid. 3. See Seamus Heaney, Preoccupations: Selected Prose 1968–1978. London: Faber,

1980, p. 217. 4. Seamus Heaney, ‘Place and Displacement: Reflections on Some Recent Poetry

from Northern Ireland’, in Contemporary Irish Poetry: A Collection of Critical Essays, ed. Elmer Andrews. Basingstoke: Macmillan, 1992, p. 127.

5. Ibid. 6. Ibid. 7. Ibid. 8. Seamus Heaney, The Government of the Tongue. London: Faber, 1988, p. 41. 9. Ibid. 10. O’Brien, Seamus Heaney: Creating Irelands of the Mind, p. 153.11. Frank Kinahan, ‘Artists on Art: An Interview with Seamus Heaney’, Critical

Inquiry, 8.3, 1982, p. 409.12. Ibid. 13. Dennis O’Driscoll, ‘Heaney in Public’, in The Cambridge Companion to Seamus

Heaney, ed. Bernard O’Donoghue. Cambridge University Press, 2009, p. 59. 14. O’Driscoll, Stepping Stones, p. 297.15. Ibid.

210 Notes to Chapter 1

16. Heaney, The Government of the Tongue, p. 38.17. Ibid. 18. Ibid. 19. Ibid.20. Ibid., p. 39.21. Ibid., pp. 39–40.22. Ibid., p. 40. 23. Ibid., p. 39.24. Ibid., p. xx.25. Ibid.26. Ibid.27. Seamus Heaney, The Redress of Poetry. London: Faber, 1995, p. 93.28. Ibid. 29. O’Driscoll, Stepping Stones, p. 297.30. Jerzy Jarniewicz, ‘The Way via Warsaw: Seamus Heaney and Post-War Polish

Poets’, in Seamus Heaney: Poet, Critic, Translator, ed. Jason David Hall and Ashby Bland Crowder. Basingstoke: Palgrave, 2007, p. 104.

31. Heaney, The Government of the Tongue, p. xix.32. Heaney, Preoccupations, p. 219.33. Ibid. 34. Heaney, The Government of the Tongue, p. 93. 35. See ibid., p. xx.36. See Heaney, ‘Place and Displacement’, p. 130. 37. Ibid., p. 127.38. O’Driscoll, Stepping Stones, p. 382. 39. Ibid. 40. Quinn, ‘Heaney and Eastern Europe’, p. 93.41. Ibid., p. 94.42. O’Driscoll, Stepping Stones, p. 297.43. Helen Vendler, Seamus Heaney. London: Fontana Press, 1999, p. 117.44. Seamus Heaney, Station Island. London: Faber, 1984, pp. 32–3. 45. Viktor Shklovsky, ‘Art as Technique’, in Russian Formalist Criticism: Four Essays,

trans. and ed. Lee Lemon and M. J. Reiss. Lincoln: University of Nebraska Press, 1965, p. 3.

46. See ibid., p. 12.47. See ibid., pp. 3–24.48. See ibid., p. 12.49. See ibid. 50. See ibid.51. See O’Driscoll, Stepping Stones, p. 113.52. Ibid. 53. See Heaney, Station Island, pp. 32–3.54. Terence Patrick Dolan, A Dictionary of Hiberno-English. Dublin: Gill and Macmillan,

2006, p. 147.55. Heaney, Station Island, p. 32.56. Ibid.57. See Michael Parker, Seamus Heaney: The Making of the Poet. London: Macmillan,

1993, p. 189. 58. John Brown, In the Chair: Interviews with Poets from the North of Ireland. Cliffs of

Moher: Salmon Publishing, 2002, p. 79.

Notes to Chapter 1 211

59. Ibid. 60. Heaney, Station Island, p. 32. 61. Ibid. 62. Ibid., pp. 32–3. 63. See John Goodby (ed.), Irish Studies: The Essential Glossary. London: Arnold,

2003, pp. 89–90. 64. Heaney, Station Island, p. 18. 65. See Anton Chekhov, The Island: A Journey to Sakhalin, trans. L. Trepak and

M. Trepak. Westport: Greenwood Press, 1977. 66. See Applebaum, Gulag, p. 15. 67. See J. T. Rufa, The Problem of Gender and the Quest for Justice in Chekhov’s ‘The

Island of Sakhalin’. Lewiston: Edwin Mellen Press, 1999, p. 11. 68. Anton Chekhov, A Journey to Sakhalin, trans. Brian Reeve. Cambridge: Ian

Faulkner Publishing, 1993, p. 371. 69. Chekhov, The Island, p. xvii. 70. Anton Chekhov, Ostrov Sakhalin: iz putevych zapiskov. Moscow: Russkaya mysl,

1895. 71. Heaney, The Government of the Tongue, p. xviii. 72. Heaney, The Redress of Poetry, p. 93. 73. Heaney, Station Island, p. 18. 74. Ibid. 75. Parker, The Making of the Poet, p. 187. 76. Ibid. 77. Shklovsky, ‘Art as Technique’. 78. Ibid., p. 12. 79. Heaney, Station Island, p. 18. 80. Ibid. 81. Heaney, The Government of the Tongue, p. xvii. 82. See Hosking, Russia and the Russians, p. 327. 83. See Robert Service, A History of Modern Russia: From Nicholas II to Putin. London:

Penguin, 2003, p. 72. 84. Ibid. 85. Anton Chekhov, Sakhalin Island, trans. Brian Reeve. London: Oneworld Classic,

2007, p. 297. 86. See Heaney, Station Island, p. 20 87. Ibid. 88. See Heaney, The Redress of Poetry, p. 193. 89. O’Driscoll, Stepping Stones, p. 259. 90. Ibid. 91. Ibid. 92. Ibid., p. 260. 93. Ibid. 94. Ibid., p. 258. 95. Seamus Heaney, The Spirit Level. London: Faber, 2001, p. 25. 96. See Seamus Heaney, Field Work. London: Faber, 1979, pp. 61–4. 97. See O’Driscoll, Stepping Stones, p. 258. 98. Heaney, Station Island, p. 17. 99. Rufa, The Problem of Gender and the Quest for Justice, p. 9.100. See Applebaum, Gulag, p. 15.101. Shklovsky, ‘Art as Technique’, p. 12.


102. Seamus Heaney, Seeing Things. London: Faber, 1991, p. 48. 103. Olga Carlisle, ‘Boris Pasternak’, in Writers at Work: The Paris Review Interviews, ed.

George Plimpton. London: Secker, 1963, p. 101.104. G. S. Vydrevich, Boris Pasternak. St Petersburg: Diamant, 1997, p. 53. 105. Ibid., p. 82.106. Ibid., p. 87.107. Ibid., p. 94. 108. Tsvetaeva, Sobranie sochineniy, vol. 5, pp. 241–5.109. See Marina Tsvetaeva, Art in the Light of Conscience: Eight Essays on Poetry, trans.

Angela Livingstone. Tarset: Bloodaxe, 2010, pp. 32–8.110. Boris Pasternak, My Sister – Life, ed. and trans. Mark Rudman. Evanston:

Northwestern University Press, 1983, p. xiv.111. See Tsvetaeva, Art in the Light of Conscience, pp. 32–8. 112. Ibid., p. 33.113. Ibid. 114. Ibid., pp. 33–5. Tsvetaeva, Sobranie sochineniy, vol. 5, pp. 241–2.115. Mark Rudman, ‘Introduction’, in Pasternak, My Sister – Life, p. xiv.116. Heaney, Seeing Things, p. 48. 117. Pasternak, My Sister – Life, p. 134.118. Heaney, Seeing Things, p. 48.119. See Pasternak, My Sister – Life, p. 13. In My Sister – Life the Russian title of the poem

‘Плачущий сад’ (‘The Weeping Garden’) is translated as ‘The Weeping Orchard’.120. Heaney, Seeing Things, p. 48.121. See Hayward, ‘Introduction’, p. xxxiii.122. See Carlisle, ‘Boris Pasternak’, p. 107.123. Pasternak, Boris Pasternak, p. 57.124. See Carlisle, ‘Boris Pasternak’, p. 107.125. Carlisle, ‘Boris Pasternak’, p. 107.126. Mandelstam, Hope Against Hope, p. 189.127. See Daniel Tobin, Passage to the Centre: Imagination and the Sacred in the Poetry of

Seamus Heaney. Lexington: University Press of Kentucky, 1998, p. 230.128. Heaney, The Government of the Tongue, p. 109.129. See ibid. 130. See Carlisle, ‘Boris Pasternak’, p. 101.131. Heaney, Seeing Things, p. 48.132. Carlisle, ‘Boris Pasternak’, p. 107.133. Ibid., p. 106.134. Ivinskaya, A Captive of Time, p. 45.135. See Service, A History of Modern Russia, p. 365.136. Mandelstam, Hope Against Hope, p. 23.137. Seamus Heaney, ‘Current Unstated Assumptions about Poetry’, Critical Inquiry,

7.1, 1980, p. 650.138. Ibid. 139. Jonathan Hufstader, Tongue of Water, Teeth of Stones: Northern Irish Poetry and

Social Violence. Lexington: University of Kentucky Press, 1999, p. 51.140. Alan Robinson, Instabilities in Contemporary British Poetry 1800–2000. London:

Macmillan, 1988, pp. 141–2.141. David Wheatley, ‘Professing Poetry: Heaney as Critic’, in The Cambridge

Companion to Seamus Heaney, ed. Bernard O’Donoghue. Cambridge University Press, 2009, p. 128.


142. See Clarence Brown, Mandelstam. Cambridge University Press, 1973, p. 7.143. Ibid., p. 14.144. See Osip Mandelstam, ‘The Nature of the Word’, in Mandelstam: The Complete

Critical Prose and Letters, ed. and trans. Jane Gary Harris. Ann Arbor: Ardis, 1979, p. 132.

145. Heaney, The Government of the Tongue, p. xix.146. Ibid. 147. See Jane Gary Harris, Osip Mandelstam. Boston: Twayne Publisher, 1988, p. ix.148. See Brown, Mandelstam, p. 3.149. See Harris, Osip Mandelstam, p. ix.150. Brown, Mandelstam, p. 4.151. See Harris, Osip Mandelstam, p. x.152. Brown, Mandelstam, p. 5.153. Heaney, The Government of the Tongue, p. xix.154. Heaney, The Redress of Poetry, p. 193.155. See Brown, Mandelstam.156. Ibid., p. 3.157. Heaney, Preoccupations, p. 220.158. Ibid. 159. Ibid. 160. Seamus Heaney, ‘Envies and Identifications: Dante and the Modern Poet’, Irish

University Review, 25.1, 1985, p. 14.161. Ibid. 162. Ibid. 163. Henry Hart, Seamus Heaney. Poet of Contrary Progressions. Syracuse University

Press, 1992, p. 63.164. See ibid. 165. Ibid. 166. Heaney, ‘Envies and Identifications’, p. 18.167. Heaney, The Spirit Level, p. 57.168. See for example: Osip Mandelstam, ‘The Morning of Acmeism’, in Mandelstam:

The Complete Critical Prose and Letters, ed. Jane Gary Harris. Ann Arbor: Ardis, 1979, p. 61; Osip Mandelstam, ‘Conversation about Dante’, in Mandelstam: The Complete Critical Prose and Letters, ed. Jane Gary Harris. Ann Arbor: Ardis, 1979, p. 421.

169. Mandelstam, ‘Conversation about Dante’, p. 430.170. See Heaney, ‘Envies and Identifications’, p. 15.171. Ibid., p. 16.172. Heaney, The Government of the Tongue, p. xix.173. Heaney, ‘Current Unstated Assumptions about Poetry’, p. 650. 174. Ibid. 175. Ibid. 176. Heaney, The Government of the Tongue, p. xix.177. Heaney, Preoccupations, p. 218.178. Seamus Heaney, Crediting Poetry. Loughcrew: The Gallery Press, 1995, p. 27.179. Heaney, The Spirit Level, p. 57.180. Heaney, Crediting Poetry, p. 28.181. See ibid. 182. Ibid. 183. Ibid.


184. Seamus Heaney, ‘What Makes a Good Poet?’, Portal, 2, July, 2000, p. 5.185. Heaney, The Government of the Tongue, p. xix.186. See Heaney, Seeing Things, p. 76.187. See Heaney, Preoccupations, p. 219.188. Osip Mandelstam, Selected Poems, ed. and trans. Clarence Brown and W. S.

Merwin. Harmondsworth: Penguin, 1986, p. 108.189. Ibid. The Russian original reads as follows: ‘Да, я лежу в земле, губами шевеля,/ Но

то, что я скажу, заучит каждый школьник:/ На Κарасной площади вего круглей земля/ И как скат ее твердеет добровольный’. Osip Mandelstam, Sobranie sochineniy, vol. 1. Moscow: Terra, 1991, p. 214. The translators Richard and Elizabeth McKane suggest that the first line has Stalin’s Georgian name Dzhugashvili encrypted: ‘Da ya lezhu v zemle gubami shevelya’. See Osip Mandelstam, The Moscow and Voronezh Notebooks. Tarset: Bloodaxe, 2003, p. 193.

190. Mandelstam, Selected Poems. 191. Heaney, Seeing Things, p. 76.192. Ibid.193. Alan Peacock, ‘Meditations: Poet as Translator, Poet as Seer’, in Seamus Heaney:

A Collection of Critical Essays, ed. Elmer Andrews. London: Macmillan, 1992, p. 251.

194. Ibid. 195. See Heaney, ‘What Makes a Good Poet?’196. Heaney, Seeing Things, p. 76.197. Ibid.198. Quinn, ‘Heaney and Eastern Europe’, p. 99.199. See John Crowfoot, ‘Introduction’, in Emma Gerstein, Moscow Memoirs, ed. and

trans. John Crowfoot. London: Harvill, 2004, p. xx; Hayward, ‘Introduction’, p. 133.

200. See Boris Pasternak, Stikhotvoreniya. St Petersburg: Diamant, 1975, p. 73.201. See Mandelstam, Hope Against Hope, p. 174.202. Heaney, Seeing Things, p. 76.203. See Liz Curtis, Ireland and the Propaganda War: The British Media and the ‘Battle for

Hearts and Minds’. Belfast: Sásta, 1998.204. See Jean Baudrillard, ‘Simulacra and Simulations’, in Jean Baudrillard: Selected

Writings, ed. Mark Poster. Cambridge: Polity Press, 1988, pp. 194–200.205. Heaney, Crediting Poetry, p. 27.206. Seamus Heaney, ‘The Peace of the Word’, The Sunday Times ‘Culture Supplement’,

17 January 1999, p. 11.207. O’Brien, Seamus Heaney: Creating Irelands of the Mind, p. 96.208. Ibid. 209. Heaney, Crediting Poetry, p. 14. 210. Ibid. 211. Seamus Heaney, North. London: Faber, 1975, p. 67.212. Ibid.213. Heaney, Seeing Things, p. 48.214. See Carlisle, ‘Boris Pasternak’, p. 101.215. Heaney, North, p. 67.216. Heaney, Seeing Things, p. 48.217. Heaney, North, p. 68.218. See Heaney, The Government of the Tongue, p. 96.219. See Carlisle, ‘Boris Pasternak’, p. 107.


220. Elmer Andrews, The Poetry of Seamus Heaney: All Realms of Whisper. Basingstoke: Macmillan, 1988, p. 113.

221. Heaney, North, p. 68.222. See Brown, Mandelstam, p. 270.223. See ibid., p. 271.224. Harris, Osip Mandelstam, p. 35. 225. Vendler, Seamus Heaney, p. 88.226. See ibid. 227. As mentioned earlier, Heaney claims that he became familiar with Mandelstam’s

poetry thanks to Brown’s and Merwin’s selection of poetry (see Heaney, Preoccupations, p. 219). Therefore, we will refer to the English translation of ‘Tristia’ as printed in Mandelstam, Selected Poems, p. 46.

228. Mandelstam, Selected Poems, p. 46. 229. Ibid., p. 47.230. Andrews, The Poetry of Seamus Heaney, p. 114.231. Hufstader, Tongue of Water, p. 51.232. Heaney, North, p. 67.233. See Sydney Elliot and W. D. Flackes, Northern Ireland: A Political Directory

1968–1999. Belfast: The Black Staff Press, 1999, pp. 681–8. 234. Heaney, North, p. 68.235. See Mandelstam, Hope Against Hope, p. 205.236. Andrews, The Poetry of Seamus Heaney, p. 114.237. Ibid. 238. Heaney, The Government of the Tongue, p. 39.239. Ibid. 240. Seamus Heaney, Opened Ground: Poems 1966–1996. London: Faber, 1998, p. 88. 241. See O’Driscoll, Stepping Stones, pp. 40 and 436. 242. Heaney, The Spirit Level, p. 57.243. See Robinson, Instabilities, p. 127.244. Heaney, The Spirit Level, p. 57. 245. Ibid.246. Heaney, Opened Ground, p. 88.247. See Heaney, Preoccupations, p. 219.248. Mandelstam, Selected Poems, p. 46.249. Mandelstam, Sobranie sochineniy, p. 73.250. The following translations of lines from the Russian original are my translations,

which are intended to render the content and not the form of the source text. 251. Mandelstam, Sobranie sochineniy, p. 73.252. Mandelstam, Selected Poems, p. 46.253. Mandelstam, Sobranie sochineniy, p. 73.254. My translation.255. Mandelstam, Selected Poems, p. 46.256. Heaney, Opened Ground, p. 319.257. Ibid. 258. Ibid. 259. Ibid. 260. Heaney, Crediting Poetry, p. 10.261. Ibid.262. Ibid. 263. Heaney, The Government of the Tongue, p. 39.


264. Heaney, Opened Ground, p. 319.265. Ibid., p. 320.266. Ibid. 267. Ibid. 268. Ibid. 269. Ibid. 270. Heaney, The Government of the Tongue, p. 39.271. Heaney, Opened Ground, p. 320. 272. Heaney, The Government of the Tongue, p. 39. 273. Heaney, Opened Ground, p. 320. 274. See Kinahan, ‘Artists on Art’, p. 413.275. Heaney, North, p. 67.276. See John Haffenden, Viewpoints: Poets in Conversation. London: Faber, 1981,

p. 72.277. Ibid. 278. Osip Mandelstam, ‘The Word and Culture’, in Mandelstam: The Complete Critical

Prose and Letters, ed. Jane Gary Harris. Ann Arbor: Ardis, 1979, p. 113.279. Seamus Heaney, Field Work. London: Faber, 1979, p. 33. 280. Ibid. 281. See ibid. 282. Mandelstam, ‘The Morning of Acmeism’, p. 61.283. Mandelstam, ‘The Word and Culture’, p. 113.284. It is interesting to note that the above-quoted passage from ‘Word and Culture’

did not only inspire Heaney. In McGuckian’s poem ‘Elegy for an Irish Speaker’, for example, we can determine certain verbal and imagery parallels. The fol-lowing lines read as a direct allusion to Mandelstam’s text: ‘the living furrow of your spoken words / that plough up time. / Instead of the real past / With its deep roots’. See Medbh McGuckian, Selected Poems. Meath: Gallery Press, 2001, pp. 80–1.

285. See Mandelstam, Selected Poems, p. 28.286. Neil Corcoran, The Poetry of Seamus Heaney: A Critical Study. London: Faber, 1998,

p. 102.287. Mandelstam, Selected Poems, p. 28. 288. Heaney, Opened Ground, p. 163. 289. Boris Pasternak, Izbrannoe. Moscow: Diamant, 1997, p. 285.290. See e.g. Hayward, ‘Introduction’, p. xxxiii.291. Pasternak, Izbrannoe, p. 285.292. My translation. 293. Pasternak, Izbrannoe, p. 285.294. In Shakespeare’s play, Hamlet addresses his dead father, who appears to him in

the shape of a ghost. Old Hamlet had been murdered by his brother Claudius, who after his death married Gertrude, his brother’s widow and young Hamlet’s mother. Old Hamlet assigns to his son the task to avenge his death by bringing the truth to light and killing Claudius.

295. Pasternak, Izbrannoe, p. 285.296. Heaney, Field Work, p. 33.297. Haffenden, Viewpoints, p. 72.298. Heaney, Field Work, p. 34.299. Ibid. 300. Ibid.


301. Mandelstam, ‘The Morning of Acmeism’, p. 61.302. Mark Willhardt with Alan Michael Parker (eds), Who is Who in Twentieth-Century

World Poetry. London: Routledge, 2001, p. 8.303. Mandelstam, ‘The Morning of Acmeism’, p. 63.304. Gleb Struve, ‘Anna Akhmatova’, in Anna Akhmatova, Sochineniye. Moscow:

Interlanguage Literary Association, 1967, p. 12.305. Ibid. 306. Harris, Osip Mandelstam, p. 21.307. Ibid., p. 19.308. Mandelstam: ‘The Morning of Acmeism’, p. 61.309. Ibid. 310. Jane Gary Harris, ‘Preface’, in Jane Gary Harris, Osip Mandelstam. Boston: Twayne

Publishers, 1988, p. I.311. Mandelstam, ‘Conversation about Dante’, p. 407.312. Heaney, Field Work, p. 34.313. Mandelstam, ‘Conversation about Dante’, p. 407.314. Heaney, Field Work, p. 34.315. Quoted in O’Driscoll, ‘Heaney in Public’, p. 69.316. Barbara Hardy, ‘Allusions, Appropriations, Assimilations’, in Seamus Heaney: Poet,

Critic, Translator, ed. Jason David Hall and Ashby Bland Crowder. Basingstoke: Palgrave Macmillan, 2007, p. 195.

317. Seamus Heaney, Finders Keepers: Selected Prose 1971–2001. New York: Farrar, Straus and Giroux, 2002, p. 439.

318. Applebaum, Gulag, pp. 474–5.319. Ibid., p. 475.320. Solomon Volkov, Conversations with Joseph Brodsky, trans. Marian Schwartz.

New York: The Free Press, 1988, p. 4.321. Ibid.322. Applebaum, Gulag, p. 475.323. Ibid.324. O’Driscoll, Stepping Stones, p. 376.325. Ibid.326. Applebaum, Gulag, p. 476.327. Heaney, Finders Keepers, p. 439. 328. See Volkov, Conversations with Joseph Brodsky, p. 4.329. See O’Driscoll, Stepping Stones, p. 376.330. Volkov, Conversations with Joseph Brodsky, p. 98.331. Ibid.332. Ibid.333. O’Driscoll, Stepping Stones, p. 376.334. Volkov, Conversations with Joseph Brodsky, p. 150.335. O’Driscoll, Stepping Stones, p. 375.336. Seamus Heaney, Electric Light, London: Faber, 2001, p. 64.337. O’Driscoll, Stepping Stones, p. 375.338. Ibid., p. 378.339. Ibid. 340. Ibid., pp. 64–5.341. Quoted in O’Driscoll, Stepping Stones, p. 379.342. Ibid. 343. Applebaum, Gulag, p. 511.


344. Heaney, Electric Light, p. 65.345. Seamus Heaney, ‘Introduction’, in Seamus Heaney, Beowulf. London: Faber,

1999, p. xxv.346. Ibid. 347. O’Driscoll, Stepping Stones, p. 378.348. Ibid., pp. 378–9.349. Ibid., p. 378.350. Ibid., p. 379.351. Volkov, Conversations with Joseph Brodsky, pp. 10–11.352. Catherine Malloy and Phyllis Carey, Seamus Heaney: The Shaping Spirit. Newark:

University of Delaware Press, 1996, p. 21.353. O’Brien, Seamus Heaney: Creating Irelands of the Mind, p. 125.354. Ibid. 355. Ibid., pp. 125–6.356. Joseph Brodsky, Nativity Poems. New York: Farrar, Straus and Giroux, 2001,

p. 79.357. Ibid., p. 99.358. Heaney, Electric Light, p. 72.359. Heaney, Beowulf, p. xxvi.360. Heaney, The Government of the Tongue, p. 38.361. See Brodsky, Nativity Poems, p. iv.362. Peter Vail, ‘Conversation with Joseph Brodsky’, in Joseph Brodsky, Nativity

Poems. New York: Farrar, Straus and Giroux, 2001, p. 103.363. Ibid., p. 104.364. See O’Driscoll, Stepping Stones, pp. xxvi, 378–84.365. Personal letter to the author from Seamus Heaney, written 2 April 2008 in

Dublin.366. Brodsky, Nativity Poems, p. 79.367. Ibid.368. Heaney, Opened Ground, p. 308.369. Ibid. 370. Brodsky, Nativity Poems, p. 78.371. Ibid., p. 79.372. O’Driscoll, Stepping Stones, p. 24.373. Brodsky, Nativity Poems, p. 78.374. Ibid., p. 79.375. Heaney, Seeing Things, p. 62. 376. Ibid. 377. See Brodsky, Nativity Poems, p. iv. 378. Ibid., p. 98.379. Ibid., p. 99. 380. See Heaney, Seeing Things, pp. 51–108.381. Ibid., p. 56.382. Ibid., p. 57. 383. Ibid., p. 76.384. Ibid., p. 65.385. Ibid., p. 55.386. Ibid., p. 56.387. Ibid., p. 65.388. Ibid., p. 69.


389. Brodsky, Nativity Poems, p. 99.390. Heaney, Seeing Things, p. 71.391. Brodsky, Nativity Poems, p. 101.392. Heaney, Seeing Things, p. 71.393. Heaney, Electric Light, p. 72.394. Personal letter from Heaney to the author, written 2 April 2008 in Dublin. 395. Ibid. 396. Rachel May, The Translator in the Text: On Reading Russian Literature in English.

Evanston: Northwestern University Press, 1994, p. 60.397. See ibid. 398. L. L. Kopilov, Vsya russkaya literatura. Minsk: Sovremenniy literator, 2003,

p. 78.399. Ibid., p. 96.400. See David McKittrick and David McVea, Making Sense of the Troubles. London:

Penguin, 2001, p. 327.401. Alexander Pushkin, Lirika. Minsk: Kharvest, 2003, p. 203.402. Heaney, Electric Light, p. 72.403. Pushkin, Lirika, p. 92.404. Heaney, Electric Light, p. 72.405. Heaney, The Redress of Poetry, p. 191.406. Heaney, The Government of the Tongue, p. xxi.407. Heaney, The Redress of Poetry, p. 4.408. O’Brien, Seamus Heaney: Creating Irelands of the Mind, p. 145.409. Shklovsky, ‘Art as Technique’, p. 22.410. Ibid.

2 ‘Punching Holes in History’: Tom Paulin’s Interest in Russia

1. Hufstader, Tongue of Water, p. 190. 2. See Haffenden, Viewpoints, p. 159. 3. Ibid. 4. Tom Paulin, Ireland and the English Crisis. Newcastle: Bloodaxe Books, 1984,

p. 16. 5. Ibid., p. 17. 6. Haffenden, Viewpoints, p. 159. 7. Paulin, Ireland and the English Crisis, p. 17. 8. Ibid. 9. Ibid. 10. Haffenden, Viewpoints, p. 173.11. Ibid. 12. See Tom Paulin, Writing to the Moment: Selected Critical Essays. London: Faber,

1996, p. 105.13. Ibid. 14. Haffenden, Viewpoints, p. 168.15. Ibid.16. Tom Paulin, ‘Introduction’, in The Faber Book of Political Verse, ed. Tom Paulin.

London: Faber, 1986, p. 17.17. Ibid. 18. Ibid. 19. Tom Paulin, Minotaur: Poetry and the Nation State. London: Faber, 1992, p. 231.


20. Paulin, ‘Introduction’, p. 52.21. Haffenden, Viewpoints, p. 157.22. Tom Paulin, The Road to Inver: Translations, Versions, Imitations, 1975–2003.

London: Faber, 2004.23. Ibid., p. 100.24. Paulin, The Road to Inver, p. 100.25. Personal email from Tom Paulin, 13 February 2008.26. André Lefevere, Translating Literature: Practice and Theory in a Comparative Literature

Context. New York: The Modern Language Association of America, 1992, p. 70.27. Ibid.28. Ibid. 29. Don Patterson, Orpheus: A Version of Rilke. London: Faber, 2006, p. 80.30. Ibid. 31. Lefevere, Translating Literature, p. 70.32. Volkov, Conversations with Joseph Brodsky, p. 53.33. See E. Tauscher and E. Kirschbaum, Grammatik der russischen Sprache. Düsseldorf:

Brückenverlag, 1987.34. Vladimir Nabokov, ‘Problems of Translation: Onegin in English’, in The Translation

Studies Reader, 2nd edn, ed. Lawrence Venuti. London: Routledge, 2008, p. 118.35. Volkov, Conversations with Joseph Brodsky, p. 86.36. Ibid. 37. Ibid. 38. Clive Scott, Translating Rimbaud’s ‘Illuminations’. University of Exeter Press, 2006,

p. 16.39. Ibid., p. 28.40. See ibid. 41. See ibid., p. 16.42. Bertolt Brecht, Poems 1913–1956, ed. John Willet and Ralph Mannheim. London:

Methuen, 1976, p. 470.43. See Lawrence Venuti, The Translator’s Invisibility: A History of Translation, 2nd edn.

Abingdon: Routledge, 2008, pp. 19–20.44. See Scott, Translating Rimbaud’s ‘Illuminations’, p. 13; André Lefevere, Translation,

Rewriting and the Manipulation of Literary Fame. London: Routledge, 1992, p. vii.45. Scott, Translating Rimbaud’s ‘Illuminations’, p. 6. 46. See Venuti, The Translator’s Invisibility. 47. Ibid., p. 15.48. Ibid.49. Ibid.50. Walter Benjamin, ‘The Task of the Translator: An Introduction to the Translation

of Baudelaire’s “Tableaux Parisiens”’, trans. Harry Zohn, in The Translation Studies Reader, 2nd edn, ed. Lawrence Venuti. London: Routledge, 2008, pp. 75–82.

51. Ibid. 52. Venuti, The Translator’s Invisibility, p. 68.53. See John Bailey, The Claims of French Poetry: Nine Studies in the Greater French Poets.

Freeport: Books for Library Press, 1967, pp. 150–3.54. See Louis Becq de Fouquières, ‘André Chénier: sa vie et ses œuvres’, in André

Chénier: poésies. Paris: Gallimard, 1994, p. xxxiv.55. See Bailey, The Claims of French Poetry, pp. 150–3.56. See Elaine Feinstein, A Captive Lion: The Life of Marina Tsvetaeva. London:

Brookmount House, 1987, p. 80.


57. See Karlinsky, Marina Tsvetaeva, p. 72.58. See ibid., p. 88.59. Marina Tsvetaeva, Stikhotvoreniya i poemy. New York: Russica Publisher, 1982, p. 70.60. Paulin, The Road to Inver, p. 33.61. In The Road to Inver, he does not only translate Tsvetaeva’s ‘André Chénier’ from

Russian into English, he also translates ‘Iambe VIII’, a poem by Chénier, from French into English, renaming it ‘From the Death Cell’. His translation of the French poem reads as a poem about the Dirty Protest of Republican prisoners in Northern Ireland in the 1980s. The fact that Paulin refers to André Chénier in dif-ferent ways and contexts supports the assumption that, through the medium of the French poet, he seeks to establish a link between different political conflicts. See Paulin, The Road to Inver, p. 19.

62. Tsvetaeva, Stikhotvoreniya i poemy, p. 70.63. Paulin, The Road to Inver, p. 33.64. See Feinstein, A Captive Lion, p. 95.65. See Tim Pat Coogan, The Troubles: Ireland’s Ordeal 1966–1996 and the Search for

Peace. London: Arrow Books, 1996, pp. 150–1.66. Tsvetaeva, Stikhotvoreniya i poemy, p. 70.67. Paulin, The Road to Inver, p. 33.68. Marina Tsvetaeva, A Captive Sprit: Selected Prose, ed. and trans. J. Marin King.

London: Virago, 1983, p. 90.69. Lawrence Venuti, ‘Translation, Communication, Utopia’, in The Translation

Studies Reader, 2nd edn, ed. Lawrence Venuti. London: Routledge, 2008, p. 499.70. Haffenden, Viewpoints, p. 169. 71. Venuti, ‘Translation, Communication, Utopia’, p. 482.72. Ibid. 73. Ibid. 74. Anna Akhmatova, Beg Vremini. Moscow: Slovo, 1995, p. 282.75. Paulin, The Road to Inver, p. 73.76. See Alain Rey (ed.), Le Petit Robert des noms propres. Paris: Éditions de Septembre,

1994, p. 1359.77. See ibid. 78. See Service, A History of Modern Russia, pp. 210–54.79. Akhmatova, Beg Vremini, p. 282.80. Paulin, The Road to Inver, p. 73.81. Amanda Haight, Anna Akhmatova: A Poetic Pilgrimage. Oxford University Press,

1976, p. 189.82. Venuti, ‘Translation, Communication, Utopia’, p. 482.83. Paulin, Ireland and the English Crisis, p. 191.84. Ibid., p. 182.85. Ibid. 86. Ibid., p. 15.87. Ibid., p. 191.88. See ibid., p. 15.89. Elaine Feinstein, Anna of All the Russians: The Life of Anna Akhmatova. London:

Phoenix, 2006, p. 10.90. Akhmatova, Beg Vremini, p. 364.91. Paulin, The Road to Inver, p. 16.92. Judith Hemschemeyer, ‘Translator’s Preface’, in The Complete Poems of Anna

Akhmatova, ed. Roberta Redder. Sommerville, MA: Zephyr Press, 1990, p. 5.


93. See Swayze, Political Control of Literature in the USSR, pp. 38–9. 94. Ibid. 95. D. M. Thomas, ‘Introduction’, in Anna Akhmatova: Selected Poems, ed. and trans.

D. M. Thomas. London: Penguin, 1988, p. 2. 96. John Sinclaire (ed.), Collins English Dictionary 21st Century Edition. London:

Collins, 2001, p. 1568. 97. John Sinclaire (ed.), Collins Cobuild English Language Dictionary. London: Collins

ELT, 1990, p. 1496. 98. Paulin, Writing to the Moment, p. 248. 99. Ibid., p. 262.100. Ibid., p. 185.101. Ibid., p. 178.102. Sinclaire, Collins Cobuild English Language Dictionary, pp. 186–7.103. Ibid., p. 187.104. Edmund Spenser, A View of the State of Ireland, ed. Andrew Hadfield. Oxford:

Blackwell, 1997, p. 17.105. Seamus Deane, ‘Civilians and Barbarians’, in Ireland’s Field Day, ed. Seamus

Deane and Seamus Heaney. London: Hutchinson, 1985, pp. 31–42.106. Haffenden, Viewpoints, p. 158.107. Ibid. 108. Paulin, Ireland and the English Crisis, p. 191.109. See Scott, Translating Rimbaud’s ‘Illuminations’, p. 13.110. Lefevere, Translation, Rewriting, p. vii.111. Scott, Translating Rimbaud’s ‘Illuminations’, p. 10.112. See ibid., p. 8.113. See ibid., p. 23.114. See ibid., p. 20.115. See ibid., p. 18.116. See ibid., p. 31.117. See ibid., p. 104.118. See ibid., p. 28.119. See McKittrick and McVea, Making Sense of the Troubles, pp. 167–84; Paul Dixon,

Northern Ireland: The Politics of War and Peace. Basingstoke: Palgrave, 2001, pp. 190–241; Anthony Alcock, Understanding Ulster, Belfast: Ulster Society, 1994, pp. 65–75.

120. Mandelstam, Hope Against Hope, p. 152.121. Ibid., p. 170.122. Akhmatova, Stikhotvoreniya, p. 267.123. Paulin, The Road to Inver, p. 44.124. Akhmatova, Stikhotvoreniya, p. 267.125. Paulin, The Road to Inver, p. 44.126. Personal email from Tom Paulin, 13 February 2008.127. Lefevere, Translating Literature, p. 22.128. Ibid., p. 92.129. Seamus Heaney, Wintering Out. London: Faber, 1972, p. 29.130. Akhmatova, Stikhotvoreniya, p. 267.131. Paulin, The Road to Inver, p. 44.132. See Goodby (ed.), Irish Studies, p. 114.133. Mandelstam, ‘The Morning of Acmeism’, p. 63.134. Swayze, Political Control of Literature in the USSR, p. 201.


135. See Tom Paulin, The Secret Life of Poems: A Poetry Primer. London: Macmillan, 2008, p. 5; Tom Paulin, ‘The Vernacular City’, in The Cities of Belfast, ed. Nicolas Allen and Aaron Kelly. Dublin: Four Courts Press, 2004, p. 233.

136. Paulin, ‘The Vernacular City’, p. 233.137. See Curtis, Ireland and the Propaganda War.138. Clive Scott, Translating Baudelaire. University of Exeter Press, 2000, p. 5.139. Scott, Translating Rimbaud’s ‘Illuminations’, p. 23.140. Service, A History of Modern Russia, p. 224.141. Scott, Translating Rimbaud’s ‘Illuminations’, p. 13.142. Ibid., p. 6.143. Scott, Translating Baudelaire, p. 9.144. See Lefevere, Translation, Rewriting, p. vii.145. See Patricia Blake (ed.), The Bedbug and Selected Poetry by Vladimir Mayakovsky.

Bloomington: Indiana University Press, 1975, p. 237.146. Ibid., ‘Introduction’, p. 11.147. Hosking, Russia and the Russians, p. 434.148. See ibid. 149. See ibid.150. Edward Brown, Mayakovsky: A Poet in the Revolution. Princeton University Press,

1988, p. 206.151. Elsa Triolet, Mayakovsy, Russian Poet, trans. Susan de Muth. New York: Hearing

Eye, 2002, p. 63.152. Vladamir Mayakovsky, Polnoe sobranie sochineniy, vol. 10. Moscow:

Gosudarstvennoe izdatelstvo khudozhestvennoy literatury, 1958, p. 286.153. Blake, ‘Introduction’, p. 29.154. See Paulin, Ireland and the English Crisis, p. 16.155. Mayakovsky, Polnoe sobranie sochineniy, p. 286.156. Paulin, The Road to Inver, p. 13.157. See Blake, The Bedbug, p. 313.158. See Lefevere, Translating Literature, p. 52.159. See ibid. 160. Mayakovsky, Polnoe sobranie sochineniy, p. 286.161. Paulin, The Road to Inver, p. 13.162. See Brown, Mayakovsky, p. 356.163. Mayakovsky quoted in Triolet, Mayakovsky, p. 63.164. Applebaum, Gulag, p. 79.165. See ibid., pp. 84–5.166. Triolet, Mayakovsky, p. 24.167. Goodby, Irish Studies, p. 248.168. See Service, A History of Modern Russia, p. 248.169. Emma Gerstein, Moscow Memoirs, ed. and trans. John Crowfoot. London: Harvill,

2004, p. 39.170. See Lefevere, Translation, Rewriting, p. vii.171. See Scott, Translating Rimbaud’s ‘Illuminations’, p. 8.172. Brown, Mayakovsky, p. 15.173. Mayakovsky, Polnoe sobranie sochineniya, p. 286.174. Paulin, The Road to Inver, p. 37.175. John Wakeman, ‘Vladimir Mayakovsky and That’s What’, in Vladimir Mayakovsky,

Pro Eto – That’s What, trans. Larisa Gurevy and George Hyde. Todmorden: Art Publications, 2009, p. 12.


176. Tony Harrison, Phaedra Britannica. London: Rex Collings, 1976, p. vi.177. Benjamin, ‘The Task of the Translator’, p. 77.178. Service, A History of Modern Russia, p. 211.179. Paulin, The Road to Inver, p. 65.180. Walter Arndt, Pushkin Threefold. London: George Allen, 1972, p. 170.181. Rey, Le Petit Robert des noms propres, p. 2023.182. Paulin, Ireland and the English Crisis, p. 17.183. Elmer Kennedy-Andrews, Writing Home: Poetry and Place in Northern Ireland,

1968–2008. Cambridge: Brewer, 2008, p. 189.184. Paulin, The Road to Inver, p. 65.185. Paulin, Writing to the Moment, p. 248.186. Arndt, Pushkin Threefold, p. 170.187. Paulin, The Road to Inver, p. 65.188. Paulin, Ireland and the English Crisis, p. 69.189. Paulin, The Road to Inver, p. 65.190. Arndt, Pushkin Threefold, p. 170.191. Paulin, The Road to Inver, p. 65.192. Paulin, Ireland and the English Crisis, p. 18.193. Ibid. 194. Paulin, The Road to Inver, p. 65.195. Arndt, Pushkin Threefold, p. 170.196. Paulin, The Road to Inver, p. 65.197. Paulin, Writing to the Moment, p. 262.198. Paulin, The Road to Inver, p. 65.199. Paulin, Writing to the Moment, p. 138.200. Lefevere, Translation, Rewriting, p. vii.201. Lefevere, Translating Literature, p. 7.202. Scott, Translating Rimbaud’s ‘Illuminations’, p. 104.203. Ibid., p. 22.204. Paulin, The Road to Inver, p. 100.205. Benjamin, ‘The Task of the Translator’, p. 77.206. Shane Alcobia-Murphy, Governing the Tongue. Cambridge Scholar Press, 2005,

p. vii.207. Tom Paulin, The Wind Dog. London: Faber, 1999.208. Tom Paulin, The Invasion Handbook. London: Faber, 2002.209. Tom Paulin, A State of Justice. London: Faber, 1977, p. 29.210. Tom Paulin, Liberty Tree. London: Faber, 1983, p. 25.211. Haffenden, Viewpoints, p. 171.212. Tom Paulin, The Strange Museum. London: Faber, 1980, pp. 42–7.213. See Mikhail Bakhtin, ‘Discourse in the Novel’, in The Dialogic Imagination: Four

Essays by M. M. Bakhtin, ed. Caryl Emmerson. Austin: University of Texas Press, 1981, p. 311.

214. Ibid., p. 324.215. Hufstader, Tongue of Water, p. 195216. Paulin, The Strange Museum, pp. 42–3.217. Ibid. 218. Ibid., p. 43.219. Ibid. 220. Kennedy-Andrews, Writing Home, p. 186.221. Brown, In the Chair, p. 155.


222. Ibid.223. Robinson, Instabilities, p. 101. 224. Paulin, The Strange Museum, p. 43.225. See Hosking, Russia and the Russians, pp. 360–1.226. Fyodor Dostoevsky, Predstuplenie i nakasanie. Moscow, 1846. 227. Paulin, The Strange Museum, p. 43.228. Ibid. 229. Paulin, Ireland and the English Crisis, p. 16.230. Robinson, Instabilities, p. 101.231. Haffenden, Viewpoints, p. 171.232. Bakhtin, ‘Discourse in the Novel’, p. 271.233. Ibid. 234. Ibid., p. 324.235. Paulin, The Strange Museum, p. 46.236. See Bakhtin, ‘Discourse in the Novel’, pp. 259–422.237. Heaney, Station Island, p. 32.238. Paulin, The Strange Museum, p. 46.239. Mandelstam, Hope Against Hope, p. 118.240. Harris, Osip Mandelstam, p. 103.241. Paulin, The Strange Museum, p. 46.242. Mandelstam, Selected Poems, p. 108. 243. Paulin, Liberty Tree, p. 47.244. Haffenden, Viewpoints, p. 164.245. Ibid., p. 164.246. Paulin, The Strange Museum, p. 47.247. Harris, Osip Mandelstam, p. 19.248. Paulin, Ireland and the English Crisis, p. 15.249. Paulin, The Strange Museum, p. 47.250. Mandelstam, ‘The Morning of Acmeism’, p. 63.251. See Service, A History of Modern Russia, p. 71.252. See Paulin, The Strange Museum, p. 37.253. See Heaney, Seeing Things, p. 76.254. Paulin, The Strange Museum, p. 37.255. Service, A History of Modern Russia, p. 71.256. Paulin, The Strange Museum, p. 37.257. Paulin, The Strange Museum, pp. 37–8.258. Ibid., p. 38.259. Brown, In the Chair, p. 161.260. See Haffenden, Viewpoints, p. 168. 261. See ibid. 262. See ibid. 263. Paulin, The Strange Museum, p. 29.264. Haffenden, Viewpoints, p. 168.265. See Hosking, Russia and the Russians, p. 434.266. Ibid. 267. Paulin, The Strange Museum, p. 29.268. See Haffenden, Viewpoints, p. 168.269. See Anton Chekhov, Chajka. Moscow: Russkaya mysl, 1896. 270. Leon Trotsky, My Life: An Attempt at an Autobiography. London: Penguin, 1971,

p. 179.


271. Paulin, The Strange Museum, p. 29.272. See Rey, Le Petit Robert des noms propres, p. 343.273. Haffenden, Viewpoints, p. 169.274. See ibid. 275. Ibid., p. 159.276. See Brown, In the Chair, p. 155.277. Paulin, The Strange Museum, p. 26.278. Ibid. 279. See Shklovsky, ‘Art as Technique’, pp. 3–24. 280. Ibid. 281. See Goodby, Irish Studies, p. 40.282. Paulin, The Strange Museum, p. 26.283. Haffenden, Viewpoints, p. 159.284. Paulin, The Strange Museum, p. 27.285. Ibid. 286. Haffenden, Viewpoints, p. 159.287. See Karlinsky, Marina Tsvetaeva, p. 69.288. Paulin, Liberty Tree, p. 35.289. Ibid. 290. Paulin, Ireland and the English Crisis, p. 186.291. Ibid., p. 191.292. Paulin, Liberty Tree, p. 35.293. Paulin, Writing to the Moment, p. 139. 294. Mandelstam, Hope Against Hope, p. 63.295. Paulin, Liberty Tree, p. 35.296. Dolan, A Dictionary of Hiberno-English, p. 239.297. Paulin, Liberty Tree, p. 35.298. See Mandelstam, Hope Against Hope, p. 176.299. Paulin, Minotaur, p. 213.300. Ibid. 301. Paulin, ‘Introduction’, p. 18. 302. Haffenden, Viewpoints, p. 157.303. Paulin, Liberty Tree, p. 35.304. Robinson, Instabilities, p. 115.305. See among others: Osip Mandelstam, The Moscow and Voronezh Notebooks: Poems

1930–1937, trans. Richard McKane and Elizabeth McKane. Tarset: Bloodaxe, 2003, pp. 122, 123.

306. Tom Paulin, Crusoe’s Secret: The Aesthetics of Dissent. London: Faber, 2005.307. Paulin, The Strange Museum, p. 37.

3 The Russian Dimension in the Poetry of Medbh McGuckian: ‘My Words are Traps through which you Pick your Way’

1. See among others: P. Williams, ‘Spare that Tree’, Honest Ulsterman, 86, 1989, p. 50; J. Simmons, ‘A Literary Leg-Pull?’, Belfast Review, 8, 1984, p. 27.

2. See Clair Wills, Improprieties: Politics and Sexuality in Northern Irish Poetry. Oxford: Clarendon Press, 1993, p. 158.


3. Peter Sirr, ‘“How things begin to happen”: Notes on Eiléan Ní Chuilleanáin and Medbh McGuckian’, Southern Review, Summer 1995, p. 460.

4. Ibid. 5. Vona Groarke, ‘Interview with Medbh McGuckian’, Verse, 16.2, 1999, p. 38. 6. See ibid. 7. Kennedy-Andrews, Writing Home, p. 235. 8. See Alcobia-Murphy, Sympathetic Ink, p. 55. 9. See Shane Alcobia-Murphy and Richard Kirkland, ‘Interview with Medbh

McGuckian’, in The Poetry of Medbh McGuckian, ed. Shane Alcobia-Murphy and Richard Kirkland. Cork University Press, 2010, p. 201.

10. Ibid. 11. Ibid. 12. Swanie Morris, ‘Under the North Window. An Interview with Medbh McGuckian’,

The Kenyon Review, 22.3–4, Summer/Fall 2001, p. 71.13. See among others: Shane Alcobia-Murphy, ‘“You Took Away my Biography”: The

Poetry of Medbh McGuckian’, Irish University Review, 28.1, Spring–Summer 1998, p. 126; Kennedy-Andrews, Writing Home, p. 234.

14. Alcobia-Murphy, Sympathetic Ink, p. 164.15. Shannon Hipp, ‘“Things of the Same Kind that Are Separated Only by Time”:

Reading the Notebooks of Medbh McGuckian’, Irish University Review, 39.1, Spring/Summer 2009, p. 131.

16. Alcobia-Murphy and Kirkland, ‘Interview with Medbh McGuckian’, p. 201.17. See Vona Groarke, ‘Medbh McGuckian’, in The Verse Book of Interviews: 27 Poets on

Language, Craft and Culture, ed. Brian Henry and Andrew Zawacki. Amherst: Verse Press, 2007, p. 108.

18. Hipp, ‘Things of the Same Kind that Are Separated Only by Time’, p. 131.19. Ibid., p. 132.20. Stacia L. Bensyl, ‘To Populate New Ground: Fertility Imagery in the Poetry of

Medbh McGuckian’. Dissertation. University College Dublin, 1989, p. 193.21. Ibid. 22. Kathleen McCracken, ‘An Attitude of Compassion’, The Irish Literary Supplement,

Fall 1990, p. 20.23. Ibid. 24. See Sarah Broom, ‘McGuckian’s Conversations with Rilke in Marconi’s Cottage’,

Irish University Review, 28.1, Spring–Summer 1998, p. 134.25. Alcobia-Murphy, ‘You Took Away my Biography’, p. 110.26. Medbh McGuckian, On Ballycastle Beach. Oldcastle: Gallery Books, 1995, p. 61.27. Roland Barthes, ‘The Death of the Author’, in Image, Music, Text, ed. and trans.

Stephen Heath. London: HarperCollins, 1977, p. 146.28. Ibid. 29. Ibid.30. Ibid., p. 142.31. Ibid., p. 146.32. See Frank Sewell, ‘Medbh McGuckian Talks to Frankie Sewell’, in New Writing from

the School of English, ed. Carol Rumens. Belfast: Brangle Publishing, 1993, p. 55.33. Medbh McGuckian and Nuala Ní Dhomhnaill, ‘Comhrá, with a Foreword and

Afterword by Laura O’Connor’, Southern Review, 31.3, Summer 1995, p. 605.34. Sewell, ‘Medbh McGuckian Talks to Frankie Sewell’, p. 55.35. Ibid., p. 56.36. Ibid.


37. Ibid. 38. Ibid.39. Ibid.40. Ibid.41. Ibid., p. 97.42. Medbh McGuckian, ‘Drawing Ballerinas: How Being Irish Has Influenced Me as

a Writer’, in Wee Girls: Women Writing from an Irish Perspective, ed. Lizz Murphy. Melbourne: Pinifex, 1996, p. 186.

43. See ibid., p. 188.44. Ibid.45. Ibid.46. See Deirdre Murphy, ‘Interview with Medbh McGuckian’, Irish Literary Supplement,

Spring 1997, p. 21.47. McCracken, ‘An Attitude of Compassion’, p. 20.48. Rebecca E. Wilson, Sleeping with Monsters: Conversations with Scottish and Irish

Women Poets. Dublin: Wolfhound Press, 1990, p. 2. 49. Medbh McGuckian, Captain Lavender. Oldcastle: The Gallery Press, 1994, p. 9.50. McCracken, ‘An Attitude of Compassion’, p. 20.51. Richard Kirkland, ‘McGuckian and the Politics of Minority Discourse’, in The

Poetry of Medbh McGuckian, ed. Shane Alcobia-Murphy. Cork University Press, 2010, p. 153.

52. Helen Blakeman, ‘I am Listening in Black and White to What Speaks to Me in Blue: Medbh McGuckian’, Irish Studies Review, 11.1, 2003, p. 64.

53. Barthes, ‘The Death of the Author’, p. 159.54. McGuckian quoted in Alcobia-Murphy, ‘You Took Away my Biography’, p. 121.55. Ibid.56. Barthes, ‘The Death of the Author’, p. 159.57. Medbh McGuckian, Marconi’s Cottage. Winston-Salem: Wake Forest University

Press, 1992, p. 29.58. See Alcobia-Murphy, Sympathetic Ink, p. 249.59. McGuckian, Marconi’s Cottage, p. 29.60. Ibid. 61. See Shklovsky, ‘Art as Technique’. 62. Michaela Schrage-Früh, ‘Self and Place in the Early Poetry of Medbh McGuckian’,

in The Poetry of Medbh McGuckian, ed. Shane Alcobia-Murphy. Cork University Press, 2010, p. 39.

63. Ibid.64. McGuckian, ‘Drawing Ballerinas’, p. 203.65. See Brown, In the Chair, p. 179.66. See Robert McNeal, Bride of the Revolution: Krupskaya and Lenin. Ann Arbor:

University of Michigan Press, 1992, p. 65.67. See ibid., p. 62.68. Ibid. 69. See Alcobia-Murphy, Sympathetic Ink, p. 249.70. McGuckian, Marconi’s Cottage, p. 29.71. McNeal, Bride of the Revolution, p. 99.72. McCracken, ‘An Attitude of Compassion’, p. 20.73. Rachel Blau DuPlessis, The Pink Guitar: Writing as Feminist Practice. London:

Routledge, 1990, p. 61.74. Ibid.


75. McNeal, Bride of the Revolution, p. 37. 76. Brown, In the Chair, p. 179. 77. McGuckian, Marconi’s Cottage, p. 29. 78. McNeal, Bride of the Revolution, p. 66. 79. Ibid. 80. McGuckian, Marconi’s Cottage, p. 29. 81. Ibid. 82. McNeal, Bride of the Revolution, p. 83. 83. Michaela Schrage-Früh, ‘An Interview with Medbh McGuckian’, Contemporary

Literature, 46.1, 2005, p. 6. 84. Sewell, ‘Medbh McGuckian Talks to Frankie Sewell’, p. 52. 85. See McNeal, Bride of the Revolution, p. 37. 86. McGuckian, Marconi’s Cottage, p. 29. 87. McNeal, Bride of the Revolution, p. 185. 88. McGuckian, Marconi’s Cottage, pp. 14–15. 89. Ann Charters and Samuel Charters, I Love: The Story of Vladimir Mayakovsky and

Lili Brik. Toronto: McGraw-Hill Ryerson, 1979. 90. See Alcobia-Murphy, Sympathetic Ink, p. 26. 91. R. Brandes, ‘A Dialogue with Medbh McGuckian’, Studies in the Literary

Imagination, 30.2, 1997, p. 46. 92. Blake, ‘Introduction’, p. 12. 93. Williams, ‘Spare that Tree’, p. 50. 94. Simmons, ‘A Literary Leg-Pull?, p. 27. 95. Charters and Charters, I Love, p. 29. 96. George Hyde, ‘Translating Mayakovsky’s That’s What’, in Vladimir Mayakovsky,

Pro Eto – That’s What, trans. Larisa Gureyeva and George Hyde. Todmorden: Arc Publications, 2009, p. 21.

97. Susan Shaw Sailer, ‘An Interview with Medbh McGuckian’, Michigan Quarterly Review, 32.1, 1993, p. 118.

98. Brown, In the Chair, p. 180. 99. Ibid. 100. See Bakhtin, ‘Discourse in the Novel’, p. 311.101. Ibid., p. 271.102. Kennedy-Andrews, Writing Home, p. 235.103. Vladimir Mayakovsky, Vladimir Mayakovsky: tragediya. Moscow: Sovermennik,

1913. 104. Barthes, ‘The Death of the Author’, p. 147.105. Ibid. 106. Ibid. 107. McGuckian, Marconi’s Cottage, p. 14.108. Ibid. 109. Charters and Charters, I Love, p. 106.110. See ibid.111. See Sewell, ‘Medbh McGuckian Talks to Frankie Sewell’, p. 56.112. See ibid.113. Wilson, Sleeping with Monsters, p. 2.114. Charters and Charters, I Love, p. 196.115. Ibid., p. 103.116. Ibid., p. 29.117. McGuckian, Marconi’s Cottage, pp. 14–15.


118. Charters and Charters, I Love, p. 100.119. Sewell, ‘Medbh McGuckian Talks to Frankie Sewell’, p. 51.120. Charters and Charters, I Love, p. 29.121. Ibid., p. 37.122. Ibid., p. 52.123. Ibid.124. See Williams, ‘Spare that Tree’, pp. 49–52.125. Broom, ‘McGuckian’s Conversations with Rilke in Marconi’s Cottage’, p. 133.126. McGuckian, Marconi’s Cottage, p. 15.127. Charters and Charters, I Love, p. 52.128. See Bakhtin, ‘Discourse in the Novel’, pp. 270–1.129. Ibid.130. Catriona Clutterbuck, ‘The Poetics of Subjectivity in the Early Poetry of Medbh

McGuckian’, in The Poetry of Medbh McGuckian, ed. Shane Alcobia-Murphy and Richard Kirkland. Cork University Press, 2010, pp. 53–4.

131. Ibid., p. 54.132. Ibid.133. Peter Denman, ‘Ways of Saying: Boland, Carson, McGuckian’, in Poetry in

Contemporary Irish Literature, ed. Michael Kenneally. Gerrards Cross: Colin Smythe, 1995, p. 170.

134. See Calvin Bedient, ‘The Crabbed Genius of Belfast’, Parnassus: A Poetry Review, 16.1, 1990, p. 208.

135. Sewell, ‘Medbh McGuckian Talks to Frankie Sewell’, p. 57.136. See Feinstein, Anna of All the Russians, p. 91.137. Mandelstam, Hope Against Hope, p. 53.138. See ibid. 139. See Alcobia-Murphy, Sympathetic Ink, p. 120.140. Sewell, ‘Medbh McGuckian Talks to Frankie Sewell’, p. 65.141. See Thomas, ‘Introduction’, pp. 1–12. 142. Wilson, Sleeping with Monsters, p. 2. 143. Morris, ‘Under the North Window’, p. 71.144. John Willet (ed.), Brecht on Theatre: The Development of an Aesthetic. New York:

Hill and Wang, 1964, p. 192. 145. McGuckian, On Ballycastle Beach, p. 36. 146. See Denman, ‘Ways of Saying: Boland, Carson, McGuckian’, p. 170.147. McGuckian, On Ballycastle Beach, p. 36.148. Sewell, ‘Medbh McGuckian Talks to Frankie Sewell’, p. 56.149. See McCracken, ‘An Attitude of Compassion’, p. 20.150. Applebaum, Gulag, p. 104.151. McGuckian, On Ballycastle Beach, p. 36.152. Mandelstam, Hope Against Hope, p. 419.153. Ibid., p. 12.154. McGuckian, On Ballycastle Beach, p. 36.155. Mandelstam, Hope Against Hope, p. 119.156. See David Beresford, Ten Men Dead. London: Collins, 1994; McKittrick and

McVea, Making Sense of the Troubles.157. McGuckian, On Ballycastle Beach, p. 36.158. Mandelstam, Hope Against Hope, p. 146.159. Ibid. 160. McGuckian, On Ballycastle Beach, p. 36.


161. Wills, Improprieties, p. 173.162. Mandelstam, Hope Against Hope, p. 360.163. McGuckian, On Ballycastle Beach, p. 36.164. See Mandelstam, Hope Against Hope, pp. 400–1.165. McGuckian, On Ballycastle Beach, p. 36.166. Ibid.167. Ibid., p. 37.168. Ibid. 169. Ibid. 170. McCracken, ‘An Attitude of Compassion’, p. 20.171. Ibid. 172. McGuckian, Marconi’s Cottage, pp. 12–13.173. See Alcobia-Murphy, Sympathetic Ink, pp. 118–21.174. Hayward, in Mandelstam, Hope Abandoned, p. 7.175. McGuckian, On Ballycastle Beach, p. 58.176. See McGuckian quoted in Alcobia-Murphy, Sympathetic Ink, p. 118. 177. See Alcobia-Murphy, Sympathetic Ink, pp. 118–19.178. Mandelstam, Hope Against Hope, p. 351.179. Mandelstam, Hope Abandoned, p. 274.180. Ibid. See Alcobia-Murphy, Sympathetic Ink, p. 120.181. McGuckian, Marconi’s Cottage, p. 12.182. Mandelstam, Hope Abandoned, p. 531.183. Ibid., p. 367.184. Ibid. 185. Ibid., p. 444.186. Mandelstam, Hope Abandoned, p. 170.187. See among others: Bensyl, ‘To Populate New Ground’, p. 193.188. See Alcobia-Murphy, Sympathetic Ink, p. 118.189. McGuckian, Marconi’s Cottage, p. 12.190. Mandelstam, Hope Abandoned, p. 162.191. See ibid. 192. Ibid., p. 203.193. McGuckian, Marconi’s Cottage, p. 13.194. Mandelstam, Hope Abandoned, p. 347.195. Ibid. 196. See ibid., p. 541.197. Ibid., p. 584.198. Ibid., p. 625.199. See ibid.200. Ibid., p. 262.201. McGuckian, Marconi’s Cottage, p. 13.202. Mandelstam, Hope Abandoned, p. 286; see Alcobia-Murphy, Sympathetic Ink,

p. 118.203. McGuckian, Marconi’s Cottage, p. 13.204. Mandelstam, Hope Abandoned, p. 256.205. Ibid., p. 262.206. Ibid.207. Ibid., p. 505. 208. Alcobia-Murphy, Sympathetic Ink, p. 72.209. Padel, 52 Ways of Looking at a Poem, p. 19.


210. See Carl R. Proffer, ‘Tsvetaeva: A Biographical Note’, in Marina Tsvetaeva, A Captive Spirit: Selected Prose, ed. and trans. J. Marin King. London: Virago, 1983, pp. 5–10.

211. Karlinsky, Marina Tsvetaeva, p. 21.212. Marina Tsvetaeva, A Captive Sprit: Selected Prose, ed. and trans. J. Marin King.

London: Virago, 1983, p. 9.213. See ibid., p. 10.214. Tsvetaeva, Art in the Light of Conscience, p. 173.215. McGuckian quoted in Alcobia-Murphy, Sympathetic Ink, p. 65.216. Benjamin, ‘The Task of the Translator’, p. 77.217. Roland Barthes, The Pleasure of the Text, trans. Richard Miller. New York: Hill and

Wang, 1975, p. 6.218. Karlinsky, Marina Tsvetaeva, p. 98.219. McCracken, ‘An Attitude of Compassion’, p. 20.220. See Alcobia-Murphy, Sympathetic Ink, pp. 231–8.221. Alcobia-Murphy, ‘You Took Away my Biography’, p. 114. 222. See Tsvetaeva, A Captive Spirit, p. 53. 223. Alcobia-Murphy, ‘You Took Away my Biography’, p. 114. 224. Ibid., p. 115. 225. Ibid. 226. Tsvetaeva, A Captive Spirit, p. 53.227. Ibid. 228. Ibid., p. 59. 229. Ibid. 230. See ibid., p. 58.231. See ibid., p. 59.232. Kennedy-Andrews, Writing Home, p. 233.233. Wilson, Sleeping with Monsters, p. 4.234. McGuckian, On Ballycastle Beach, p. 40.235. Alcobia-Murphy, ‘You Took Away my Biography’, p. 116. 236. Ibid. 237. Tsvetaeva, Art in the Light of Conscience, p. 136.238. Feinstein, A Captive Lion, p. 142.239. McGuckian quoted in Alcobia-Murphy, ‘You Took Away my Biography’,

p. 116.240. McGuckian, ‘Drawing Ballerinas’, p. 198.241. Feinstein, A Captive Lion, p. 170.242. Ibid., p. 36.243. Ibid., p. 240.244. See McGuckian, ‘Drawing Ballerinas’, p. 198.245. See Tsvetaeva, Art in the Light of Conscience, p. 173.246. Brown, In the Chair, p. 178.247. Kimberly S. Bohman, ‘Borders or Frontiers? Gender Roles and Gender Politics

in McGuckian’s Unconscious Realm’, Irish Journal of Feminist Studies, 1.1, March 1996, p. 129.

248. See ibid.249. McGuckian, On Ballycastle Beach, p. 40.250. Karlinsky, Marina Tsvetaeva, p. 179.251. Ibid., pp. 179–80.252. McGuckian, On Ballycastle Beach, p. 40.


253. See Tsvetaeva, Sobranie sochineniy, vol. 4, pp. 120–31.254. McGuckian, On Ballycastle Beach, p. 40.255. Feinstein, A Captive Lion, p. 26.256. Karlinsky, Marina Tsvetaeva, p. 24.257. Ibid. 258. Ibid. 259. Tsvetaeva, A Captive Spirit, pp. 271–94.260. Ibid., p. 271.261. Ibid., p. 279.262. McGuckian, On Ballycastle Beach, p. 40.263. See Karlinsky, Marina Tsvetaeva, p. 212; Ivinskaya, A Captive of Time, p. 162.264. Feinstein, A Captive Lion, pp. 101–2, 145.265. Ivinskaya, A Captive of Time, p. 169.266. See Viktoria Schweitzer, Tsvetaeva, ed. Robert Chandler and H. T. Willets.

London: Harvill Press, 1992, p. 372.267. Karlinsky, Marina Tsvetaeva, p. 169.268. Ibid., p. 175.269. Schrage-Früh, ‘An Interview with Medbh McGuckian’, p. 12.270. Mandelstam, ‘Conversation about Dante’, p. 397.271. It is interesting to note that McGuckian returns to Osip Mandelstam’s image of

the rumpled sheets as a symbol of poetic imagination in ‘The Dream Language of Fergus’. In this poem, however, the trope is used in a positive way: ‘Your tongue has spent the night / In its dim sack […] the excommunicated shadow of your name / Has rumpled the sheets of your mouth.’ See McGuckian, On Ballycastle Beach, p. 57.

272. Feinstein, A Captive Lion, p. 269.273. Alcobia-Murphy, Sympathetic Ink, pp. 58–9.274. McGuckian, On Ballycastle Beach, p. 41.275. McCracken, ‘An Attitude of Compassion’, p. 20.276. See Alcobia-Murphy, Sympathetic Ink, pp. 55–60.277. McGuckian, On Ballycastle Beach, p. 16.278. Ibid., p. 32.279. Ivinskaya, A Captive of Time, p. 220.280. See Williams, ‘Spare that Tree’, pp. 49–52.281. Ivinskaya, A Captive of Time, p. 11.282. See Hayward, ‘Introduction’, p. xxxiv.283. See ibid., p. xxxv.284. See ibid.285. See Ivinskaya, A Captive of Time, p. 10.286. M. Worton and J. Still (eds), Intertextuality: Theories and Practice. London:

Methuen, 1990, pp. 1–2. 287. Ibid., p. 2. 288. Ibid. 289. Alcobia-Murphy, Sympathetic Ink, p. 56.290. See Hayward, ‘Introduction’, p. xxxiv.291. McGuckian, On Ballycastle Beach, p. 16.292. See Alcobia-Murphy, Sympathetic Ink, p. 55.293. Ivinskaya, A Captive of Time, p. 21.294. Ibid.295. Ibid., p. 18.


296. In A Captive of Time, Ivinskaya frequently refers to Pasternak as ‘BL’, an acronym which is composed from his first name and his father’s name, that is, ‘Boris Leonidovich’.

297. Ivinskaya, A Captive of Time, p. 18.298. Ibid., p. 7.299. DuPlessis, The Pink Guitar, p. 11.300. Parini, Why Poetry Matters, pp. xii–xiii.301. McGuckian, On Ballycastle Beach, p. 16.302. See Alcobia-Murphy, Sympathetic Ink, p. 55. 303. Ivinskaya, A Captive of Time, p. 95.304. See ibid.305. See ibid., pp. 95–105.306. See ibid., p. 9.307. Ibid., pp. 8–9.308. McGuckian, On Ballycastle Beach, p. 16.309. Ivinskaya, A Captive of Time, p. 38.310. See Alcobia-Murphy, Sympathetic Ink, p. 56.311. Ivinskaya, A Captive of Time, p. 38.312. See Alcobia-Murphy, Sympathetic Ink, p. 56.313. In A Captive of Time Ivinskaya frequently refers to Pasternak as ‘Boria’, using the

diminutive of ‘Boris’.314. Ivinskaya, A Captive of Time, p. 39.315. Wilson, Sleeping with Monsters, p. 3.316. Ivinskaya, A Captive of Time, p. 77. 317. Wilson, Sleeping with Monsters, p. 3.318. Ivinskaya, A Captive of Time, p. 218.319. Ibid., p. 212.320. Ibid., p. 187.321. Ibid., p. 364.322. McGuckian, On Ballycastle Beach, p. 16.323. See Ivinskaya, A Captive of Time, p. 22. 324. See ibid., p. 117. 325. See ibid., p. 94.326. Parini, Why Poetry Matters, p. 9.327. See Begoña Aretxaga, Shattering Silence: Women, Nationalism, and Political

Subjectivity in Northern Ireland. Princeton University Press, 1997, pp. 105–22.328. See Alcobia-Murphy, Sympathetic Ink, p. 56.329. Allen, Intertextuality, p. 7.330. See among others: Ivinskaya, A Captive of Time, p. 18. 331. Ibid., p. 71.332. Quoted in ibid., p. 43.333. Broom, ‘McGuckian’s Conversations with Rilke in Marconi’s Cottage’,

p. 135. 334. Alcobia-Murphy, Sympathetic Ink, p. 57.335. McGuckian, On Ballycastle Beach, p. 16.336. Alcobia-Murphy, Sympathetic Ink, p. 57.337. Ivinskaya, A Captive of Time, p. 176.338. Ibid., p. 173.339. Ibid.340. Ibid., p. 58.


341. See among others: ibid., pp. 43, 172, 198.342. See ibid., p. 39.343. Ibid., p. 173.344. Padel, 52 Ways of Looking at a Poem, p. 18.345. Ivinskaya, A Captive of Time, p. 39.346. McGuckian, On Ballycastle Beach, p. 32.347. Schweitzer, Tsvetaeva, p. 277.348. Ibid. 349. Karlinsky, Marina Tsvetaeva, p. 161.350. Ibid. 351. Ivinskaya, A Captive of Time, p. 168.352. Ibid. 353. Schrage-Früh, ‘An Interview with Medbh McGuckian’, p. 6.354. See Michaela Schrage-Früh, Emerging Identities: Myth, Nation and Gender in the

Poetry of Evan Boland, Nuala Ní Dhomhnaill and Medbh McGuckian. Trier: WVT, 2004, p. 154.

355. Parini, Why Poetry Matters, p. 21.356. Ibid. 357. See Alcobia-Murphy, Sympathetic Ink, pp. 72–9.358. Tatyana Tolstoy, Avec Léon Tolstoï: Souvenirs. Paris: Albin Michel, 1975. 359. Tatyana Tolstoy, Tolstoy Remembered, trans. Derek Coltman. New York: McGraw-

Hill, 1977. 360. Tanya Albertini, ‘Afterword’, in Tatyana Tolstoy, Tolstoy Remembered, trans. Derek

Coltman. New York: McGraw-Hill, 1977, p. 293.361. Ibid. 362. See Daniel Gilles, ‘Introduction’, in Tatyana Tolstoy, Tolstoy Remembered, trans.

Derek Coltman. New York: McGraw-Hill, 1977, pp. 5–6.363. Ibid., p. 6.364. Albertini, ‘Afterword’, p. 293.365. Gilles, ‘Introduction’, p. 5.366. Morris, ‘Under the North Window’, p. 70.367. DuPlessis, The Pink Guitar, p. 14.368. Kennedy-Andrews, Writing Home, p. 7.369. Gilles, ‘Introduction’, p. 3.370. See Sewell, ‘Medbh McGuckian Talks to Frankie Sewell’, p. 59.371. Ibid. 372. Ibid. 373. Padel, 52 Ways of Looking at a Poem, p. 34.374. See Bensyl, ‘To Populate New Ground’, p. 193. 375. McGuckian, Marconi’s Cottage, p. 31.376. Tolstoy, Tolstoy Remembered, p. 23.377. Sailer, ‘An Interview with Medbh McGuckian’, p. 113.378. DuPlessis, The Pink Guitar, p. 8.379. Alcobia-Murphy, Sympathetic Ink, p. 77.380. Tolstoy, Tolstoy Remembered, p. 126.381. Ibid., p. 125.382. Wills, Improprieties, pp. 62–3.383. Ibid.384. See among others: Tolstoy, Tolstoy Remembered, pp. 100, 116.385. Ibid., unnumbered collection of pictures inserted between pp. 154–5.


386. Elaine Showalter, ‘Feminist Criticism in the Wilderness’, in The New Feminist Criticism: Essays on Woman, Literature and Theory. London: Virago, 1986, p. 263.

387. Parini, Why Poetry Matters, p. 12.388. McGuckian, Marconi’s Cottage, p. 31.389. Tolstoy, Tolstoy Remembered, p. 138.390. Ibid., p. 95.391. Ibid. 392. McGuckian, Marconi’s Cottage, p. 31.393. Parini, Why Poetry Matters, p. xi.394. McGuckian, Marconi’s Cottage, p. 32.395. See Tolstoy, Tolstoy Remembered, pp. 38, 104.396. See ibid., p. 38. 397. Ibid. 398. Hipp, ‘Things of the Same Kind that Are Separated Only by Time’, p. 132.399. McGuckian, Marconi’s Cottage, p. 31.400. Morris, ‘Under the North Window’, p. 66.401. Hipp, ‘Things of the Same Kind that Are Separated Only by Time’, p. 131.402. DuPlessis, The Pink Guitar, p. 151.403. McGuckian, Marconi’s Cottage, pp. 10–11.404. Alcobia-Murphy, Sympathetic Ink, pp. 60–3.405. Wills, Improprieties, p. 189.406. Broom, ‘McGuckian’s Conversations with Rilke in Marconi’s Cottage’,

pp. 145–50.407. McGuckian, Marconi’s Cottage, p. 11.408. Allen, Intertextuality, p. 1. 409. Wills, Improprieties, p. 189.410. Karlinsky, Marina Tsvetaeva, pp. 162–9.411. McGuckian, Marconi’s Cottage, p. 10.412. Brown, Mandelstam, p. 64. 413. Ibid., p. 60.414. McGuckian, Marconi’s Cottage, p. 11.415. Tsvetaeva, Sobranie sochineniy, vol. 3, pp. 142–59.416. See Brown, Mandelstam, pp. 60–8.417. Ibid., p. 62.418. See ibid. 419. Ibid., p. 63.420. McGuckian, On Ballycastle Beach, p. 16.421. Karlinsky, Marina Tsvetaeva, p. 168.422. Ibid., p. 162.423. See ibid.424. Ibid., p. 163.425. Ibid. 426. McGuckian, Marconi’s Cottage, p. 11.427. See Karlinsky, Marina Tsvetaeva, p. 167.428. Ibid., pp. 167–8.429. See ibid., p. 168.430. Quoted in ibid., p. 163.431. Brown, Mandelstam, p. 78.432. McGuckian, Marconi’s Cottage, p. 10. 433. Brown, Mandelstam, p. 175.


434. Ibid., p. 79.435. See Wills, Improprieties, p. 173.436. See Alcobia-Murphy, Sympathetic Ink, pp. 236–8.437. Ibid., p. 236.438. Hipp, ‘Things of the Same Kind that Are Separated Only by Time’, p. 131.439. Alcobia-Murphy, Sympathetic Ink, p. 159.440. See ibid., pp. 158–64.441. Ibid., p. 158.442. Schrage-Früh, ‘An Interview with Medbh McGuckian’, p. 6.443. Mandelstam, ‘Conversation about Dante’, p. 407.444. McGuckian and Ní Dhomhnaill, ‘Comhrá’, p. 606.445. McGuckian, Selected Poems, p. 82.446. Osip Mandelstam, ‘Journey to Armenia’, in Mandelstam: The Complete Critical

Prose and Letters, ed. Jane Gary Harris. Ann Arbor: Ardis, 1979, p. 345.447. McGuckian, Selected Poems, p. 82.448. Mandelstam, ‘Journey to Armenia’, p. 350.449. Ibid., p. 358.450. Margaret Drabble and Jenny Stringer, The Concise Oxford Companion to English

Literature. Oxford University Press, 2003, p. 521.451. Mandelstam, ‘Journey to Armenia’, p. 367.452. McGuckian, Selected Poems, p. 83.453. Mandelstam, ‘Journey to Armenia’, p. 367.454. Osip Mandelstam, ‘Addenda to Journey to Armenia’, in Mandelstam: The

Complete Critical Prose and Letters, ed. Jane Gary Harris. Ann Arbor: Ardis, 1979, p. 384. These two sentences do not exist in the Russian original. They seem to have been inserted by the translator to explain the cultural background of the scene described in the paragraph to the non-Russian-speaking reader. Employing ‘nuptial animation’, McGuckian does not use Mandelstam’s words but terms potentially added by the translator. It is very likely that the Irish poet is not aware of the origin of the expression.

455. Mandelstam, ‘Conversation about Dante’, p. 407.456. Kennedy-Andrews, Writing Home, p. 7.457. Barthes, The Pleasure of the Text, p. 14.458. Ibid. 459. Kennedy-Andrews, Writing Home, p. 235.460. McGuckian, Selected Poems, p. 83.461. Mandelstam, ‘Journey to Armenia’, p. 357.462. Ibid., p. 368.463. McGuckian, Selected Poems, p. 84.464. Ibid. 465. Mandelstam, ‘Journey to Armenia’, p. 364.466. See among others: Bill Rolston, Drawing Support 3: Murals and Transition in the

North of Ireland. Belfast: Beyond the Pale Publications, 2003, pp. 17, 21.467. McGuckian, Selected Poems, p. 84.468. Mandelstam, ‘Journey to Armenia’, p. 367.469. Ibid., p. 390.470. Bohman, ‘Borders or Frontiers?’, p. 119.471. McGuckian, Selected Poems, p. 85.472. Mandelstam, ‘Journey to Armenia’, p. 350.473. Ibid., p. 353.474. Kennedy-Andrews, Writing Home, p. 235.


Conclusion

1. Bakhtin, ‘Discourse in the Novel’, p. 292. 2. Heaney, The Government of the Tongue, pp. 107–8. 3. Heaney, ‘Introduction’, p. xxv. 4. Kennedy-Andrews, Writing Home, p. 188. 5. Paulin, The Road to Inver, p. 65. 6. Paulin, The Strange Museum, p. 43. 7. Haffenden, Viewpoints, p. 168. 8. Kennedy-Andrews, Writing Home, p. 188. 9. Paulin, Writing to the Moment, pp. 104–5.10. Boey, ‘The Dublin–Moscow Line’, pp. 371–2.11. O’Brien, Seamus Heaney: Creating Irelands of the Mind, p. 146.12. Paul Durcan, Going Home to Russia. Belfast: The Blackstaff Press, 1987. 13. Seán Dunne, The Road to Silence: An Irish Spiritual Odyssey. Dublin: New Island

Books, 1994.

Notes to Conclusion 239

240

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249

Index

Acmeists, 50–2, 116Akhmatova, Anna, 2, 4, 7, 11, 40, 52, 53,

74, 79, 82–98, 133, 147–9, 158–9, 202–3, 207

Alcobia-Murphy, Shane, 110, 130, 131, 132, 134, 135, 140, 141, 154, 156, 158, 161, 162, 163, 169, 171, 177, 178, 181, 182, 184, 187, 188, 194, 201

Alfred, William, 23Anglo-Irish Agreement, 92, 95Arkhangelsk, 52, 55Auden, Wystan Hugh, 53–4

Bakhtin, Mikhail, viii, 111, 114, 116, 118, 129, 141, 146

Barkova, Anna, 4Barthes, Roland, 132, 135, 142, 160,

198, 223Belfast, 14, 28, 71, 82–3, 86, 93, 97,

111–13, 122, 124, 127, 129, 134, 139, 199

Benjamin, Walter, 77, 91, 160Bennett, Ronan, 1Beowulf (Heaney translation), 56, 58Brecht, Bertolt, 76, 148Brik, Lily, 133, 140, 141, 144–5, 146,

203Brodsky, Joseph, vi, 7, 11, 52–65, 75,

87, 202, 204, 207Brown, Clarence, 4, 27, 31–2, 42, 188,

189, 193, 194

Canary Wharf, London, bombing, 54Carlisle, Olga, 23–4censorship, 3, 5, 7, 26–7, 66, 208 n. 24Central Asia (Akhmatova in), 147Cheka, 5, 157Chekhov, Anton, 1, 11, 15–21, 119, 120,

202, 207Claudius (in Hamlet), 49, 127–8

Dante, 21, 28–30, 56Deane, Seamus, 2, 90

Dostoevsky, Fyodor, 111, 113, 141Dublin, 20, 54Dunne, Seán, 2, 207DuPlessis, Rachel Blau, 137, 172, 182,

183, 187Durcan, Paul, vii, 2, 207

Eastern Bloc, 2–3, 7, 8, 11, 72, 127Eastern Europe, 2–3, 10–13, 40, 43–5,

72, 109, 123–4, 126, 128, 208 n. 11Ellmann, Richard, 23, 25Esenin, Sergei, 4, 11

Feinstein, Elaine, 65, 161, 164, 166, 167, 168

Fellow Travellers, 6–7, 97Field Day Theatre Company, 15French Revolution, 77–8, 80–2Friel, Brian, 1, 15, 207Futurists, 99, 102, 104, 140, 144–6

Glavlit, 5Gulag, 4–5, 26, 28, 35, 110, 128, 148,

160, 170, 171

Heaney, Seamus, vii, viii, ix, 1, 2–3, 7, 8, 9, 10–70, 94, 115–16, 117, 127, 202, 203–4, 206, 207

‘Arion’, 58, 65–70, 204‘Audenesque’, 52–7, 204‘Away from it All’, 20–1‘Chekhov on Sakhalin’, 15–21, 23‘Exposure’, 36–40, 45‘Flight Path’, 21‘From the Canton of Expectation’,

43–5‘Glanmore Sonnet’, first, 45–50, 127‘Glanmore Sonnet’, second, 50–2 ‘M.’, 29–31, 41‘Making Strange’, 13–15, 115poem no. XX (‘Squarings’), 31–6, 63‘Sandstone Keepsake’, 19–21‘The Sounds of Rain’, 22–6, 36–7‘The Wanderer’, 41–3

250 Index

Herbert, Zbigniew, 12Hunger Strikes (Northern Ireland), vii, 15,

20–1, 107, 111, 118, 126, 139, 154, 156, 195, 199, 201, 203, 205

inner émigré, vii, 28, 40, 128IRA (Irish Republican Army), 54, 55,

133, 135, 146Ivinskaya, Olga, 4, 133, 167, 169–81,

203

Kafka, Franz, 55Karlinsky, Simon, 161, 163, 164, 166,

167, 191, 192Khlebnikov, Velimir, 4Kilroy, Thomas, 1Koktebel, 161–2, 189Kremlin, the, 32–3, 139Krupskaya, Nadezhda, 133, 135, 136,

137, 138, 139, 203

Lefevere, André, 74–5, 76, 77, 91, 94, 98, 100, 103, 109

Lenin, Vladimir Ilyich, 99, 110, 112, 117, 118, 124, 133, 135, 136, 138, 139, 143

Lyublyanka prison (Moscow), 27, 101, 157

Magilligan internment camp (Co. Derry), 20, 21

Mandelstam, Nadezhda, 3–7, 11–12, 24–5, 28–9, 92, 115, 126, 133–6, 147–59, 192, 202, 203, 207

Mandelstam, Osip, vii, 2–7, 11, 24–48, 92–7, 110–11, 115–16, 126–9, 133, 147–55, 168, 188–207

Mayakovsky, Vladimir, 4, 6, 74, 98–104, 133, 140–7, 202, 203

Maze Prison (Northern Ireland), 15, 20, 21, 111, 126, 139

McGuckian, Medbh, viii, 1, 2–3, 5, 7–8, 9, 119, 130–201, 202–7, 217 n. 284

‘The Aisling Hat’, 157, 194–201, 203‘Balakhana’, 147–53, 154, 161‘The Dream Language of Fergus’, 153,

194, 203, 234 n. 271‘Elegy for an Irish Speaker’, 194, 203,

217 n. 284

‘Gráinne’s Sleep Song’, 169, 170, 171–8, 179

‘Harem Trousers’, 161–9 ‘The Invalid’s Echo’, 153–9, 161 ‘Little House, Big House’, 169, 170,

174, 178–81, 187, 191‘The Man with Two Women’, 140–6,

161 ‘Shaferi’, 135–40, 161‘A Small Piece of Wood’, 181–8 ‘Visiting Rainer Maria’, 157, 188–94

McNeal, Robert, 135, 136, 137, 138Menshikov, Alexander, 83–4Merwin, W. S., 31–2, 42Miłosz, Czesław, 20 Mitchel, John, viiMoore, George, 1Morrison, Danny, 20–1, 40Mossbawn (Heaney farm), 43, 60–1Muldoon, Paul, vii–viii

Nabokov, Vladimir, 75Ní Dhomhnail, Nuala, 161–3Nobel Prize, 25, 31, 43

O’Faolain, Sean, 1Orthodox Church, 3, 105, 125

Pasternak, Boris, 2–3, 6–7, 11, 22–6, 34–40, 45–50, 74, 96, 127–33, 163, 167, 188, 192, 202–7

Paulin, Tom, viii, 1–3, 7–9, 71–129, 202–7

‘Anastasia McLaughlin’, 111, 122–4, 205

‘André Chénier’, 74, 77–82, 87, 91‘Black Bread’, 111, 124–9‘The Impossible Pictures’, 111, 117–19,

120, 129‘Last Statement’, 98–104‘March, 1941’, 82–7, 88–9‘My Name’, 87–91‘A Nation, Yet Again’, 104–9, 204 ‘The Other Voice’, 110–16, 119, 120,

128, 205 ‘Trotsky in Finland’, 111, 119–22, 124‘Une Rue Solitaire’, 73, 109‘Voronezh’, 74, 91–8

Peredelkino, 6, 23, 37, 174, 178Peter the Great, 66, 83–4

Index 251

Plekhanov, Gregory Valentinovich, 112–14, 129, 202, 205

Pushkin, Alexander, 65–70, 74, 78, 104–9, 141, 202, 204

Raskolnikov, Rodion Romanovich (in Crime and Punishment), 112–14

Red Square (Moscow), 32–3, 63, 116Riffaterre, Michel, 8Rilke, Rainer Maria, 188–92Russian Civil War, 78, 80, 165Russian Revolution, 4, 6, 24, 25, 38,

78–9, 81, 82, 96, 99, 102, 112, 119, 122, 135–40, 142, 143, 144, 145, 160, 181

‘samizdat’ (self-publishing), vi, 3, 27, 208 n. 24

Scott, Clive, 76, 77, 91, 109Second World War, 35–6, 83, 147Shakespeare, William, 48–50, 127–8,

217 n. 294Shalamov, Varlam, 5Shklovsky, Viktor, 13, 15, 17, 21, 70,

102, 143–5, 148, 202Simpson, Louis, 14socialist realism, 5–7, 24, 26, 52Spenser, Edmund, 89–90Stalin, Joseph/Stalinist era, 3, 4, 5, 6,

11, 24–43 passim, 48, 49–50, 55, 57, 83–104 passim, 110, 126, 127, 133, 147–53, 155, 157, 160, 169, 170, 174, 203, 205

Tabize, Titian, 4Tolstoy, Leo, 141, 181–6, 203Tolstoy, Tatyana, 181–8, 203Treaty of St Petersburg, 19

Trotsky, Leon, vii, 6, 110, 111, 112–13, 114, 119–22, 124, 129, 205

Troubles, the (Northern Ireland), vi, vii, viii, 1, 3, 4, 9, 202

and Heaney, 7, 17, 19, 20, 35, 39–40, 43, 50, 54–5, 57

and McGuckian, 134, 136, 139, 140, 141, 142, 143, 144, 148, 149, 151, 152, 155, 163, 165, 167, 177, 187, 206

and Paulin, 77, 79, 82–3, 85, 86, 87, 94–5, 96, 97–8, 104, 110, 111, 113–14, 117, 118, 126, 204–5

Tsarist empire, 16, 21, 108, 115, 118, 146Tsvetaeva, Marina, 2, 4, 7, 22, 74,

77–82, 133, 159–69, 178, 179–80, 188–93, 202, 203

Ulster Scots, 97, 126Ulyanov, Alexander, 117–18, 129, 202,

205Union of Soviet Writers, 5–6, 25, 88,

175, 210 n. 61United Irishmen, 90, 102, 104, 105,

109, 204

Venuti, Lawrence, viii, 76–7, 82, 87Voloshin, Elena Ottobaldovna, 161–2,

189Voloshin, Maximilian, 161, 189

White Army, 80, 81, 160White Sea Canal, 102Wicklow, 28, 36–7, 39, 40, 48

Yasnaya Polyana (Tolstoy estate), 181, 185, 186

Yeats, William Butler, vi, vii, 54, 133

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