I present to you a Mayakovsky mega-post, for your delectation. Not only was V-Mak kind of a hunk; he was also the consummate poet. All too often he is remembered as a prettyboy, not a serious lyricist. Contemporary critics tended to rank him quite highly, however. Shklovsky called him “a poet’s poet.” Roman Jakobson’s admiration, as will be seen, ran even deeper. Trotsky identified him as “a colossal talent,” even if he criticized some of his poems.
Bengt Jangfeldt wrote a detailed biography of Mayakovsky back in 2007, which was translated last year and published by University of Chicago press. You can download it below, along with a volume he edited of recollections by Jakobson of his youthful involvement with the avant-garde movement in Russia titled My Futurist Years. Jakobson is particularly excellent, but both are great reads.
Moreover, I’ve taken the liberty of assembling a number of high-quality images of the great poet, as is my wont. These were scattered across the web, made all the more disparate by the varied ways his name is transliterated into Latin in different European languages. Following the images, Jakobson’s excellent 1931 essay “On a Generation that Squandered Its Poets” appears. Here are the books for download.
- Bengt Jangfeldt, Mayakovsky: A Biography (2007)
- Roman Jakobson, My Futurist Years
- Roman Jakobson, Language in Literature
Berlin, Germany: 1931
Whether I or he
Mayakovsky’s poetry — his imagery, his lyrical composition — I have written about these things and published some of my remarks. The idea of writing a monograph has never left me. Mayakovsky’s poetry is qualitatively different from everything in Russian verse before him, however intent one may be on establishing genetic links. This is what makes the subject particularly intriguing. The structure of his poetry is profoundly original and revolutionary. But how it is possible to write about Mayakovsky’s poetry now, when the paramount subject is not the rhythm but the death of the poet, when (if I may resort to Mayakovsky’s own poetic phrase) “sudden grief” is not yet ready to give in to “a clearly realized pain”?
During one of our meetings, Mayakovsky, as was his custom, read me his latest poems. Considering his creative potential I could not help comparing them with what he might have produced. “Very good,” I said, “but not as good as Mayakovsky.” Yet now the creative powers are canceled out, the inimitable stanzas can no longer be compared to anything else, the words “Mayakovsky’s last poems” have suddenly taken on a tragic meaning. Sheer grief at his absence has overshadowed the absent one. Now it is more painful, but still easier, to write not about the one we have lost but rather about our own loss and those of us who have suffered it.
It is our generation that has suffered the loss. Roughly, those of us who are now between thirty and forty-five years old. Those who, already fully matured, entered into the years of the Revolution not as unmolded clay but still not hardened, still capable of adapting to experience and change, still capable of taking a dynamic rather than a static view of our lives.