Anna Akhmatova*

Anna Akhmatova (1889—1966) is a Russian poet who lived most of her life in Saint Petersburg. Her first poetry collection, Evening (1912), established her as a significant poet, and her next two books Rosary (1914) and White Flock (1917) continued to build her reputation.

After the Russian Revolution of 1917, Akhmatova chose to remain in Russia even as other writers were fleeing to the West. Requiem, which she primarily wrote between 1935 and 1940, at first was about the arrest of her common-law husband Nikolay in 1935, but then became even more about the arrest of their son Lev in 1938 and his subsequent trial and sentencing.

The following is the tenth section from Requiem as translated by Stephen Capas. It appeared in the literary journal Cardinal Points in 2021.

Crucifixion

1

Don’t weep for me, Mother,
As I lie in my grave.

Choirs of angels hymned the glorious hour,
Dissolved in flame, the heavens glowed overhead.
“Why hast though forsaken me, my Father?”
And “Mother, do not weep for me,” he said.

2

Magdalen sobbed and wrung her hands in anguish,
The disciple whom he loved was still as stone.
But no one dared to look toward the place where
The Mother stood in silence, all alone.

1940-43

This post was suggested by my friend Burl Horniachek.

*This is the second Kingdom Poets post about Anna Akhmatova: first post.

Entry written by D.S. Martin. He is the author of five poetry collections including Angelicus (2021, Cascade) ― a book of poems written from the point-of-view of angels. His books are available through Wipf & Stock.

Jennifer Reeser

Jennifer Reeser is a formalist Louisiana poet who has published five collections, including: An Alabaster Flask, and Sonnets from the Dark Lady and Other Poems, which was a finalist for the Donald Justice Prize.

She has been highly praised by such formalist poets as X.J Kennedy and A.M. Juster, who called her “…our top Native American poet.” As a translator, she has published poetry from Russian (Anna Akhmatova), French, and various Native American languages.

Her recent collection Indigenous (Able Muse Press) was awarded “Best Poetry Book of 2019” by Englewood Review of Books. Her new book Strong Feather is scheduled to appear this March.

The following poem is from Indigenous and was included in the anthology Christian Poetry in America Since 1940 (2022, Paraclete Press).

O Great Spirit

Great Spirit of the God who is alive,
Whose risen Son I seek before the dawn
Who makes the black and gold sunflower thrive
The earthworm loosen soil beneath the lawn;
Great Spirit, grant my late grandmothers’ looks
Attend me while I rub her cherry hutch.
Great Spirit, grant my late grandfather’s books
Preserve his signature I love to touch.
Surround and show to me that massive clouds
Of witnesses ― undauntable or docile.
Allow their countenances to enshroud
My shoulders, spoken of by Your Apostle.
Send generous Nunnehi to my steeple,
Returning me at last to my dark people.

Posted with permission of the poet.

Entry written by D.S. Martin. He is the author of five poetry collections including Angelicus (2021, Cascade) ― a book of poems written from the point-of-view of angels. His books are available through Wipf & Stock.

Anna Akhmatova

Anna Akhmatova (1889—1966) is a Russian poet who suffered extensively under communism. In the ‘20s she was officially criticised for her poetry’s preoccupations with love and God. Her first husband was executed on trumped-up charges, she was present at the arrest of her friend Osip Mandelstam (who died in a concentration camp), her son was twice imprisoned (the second time serving five years in a gulag), and her work was often kept from the public. In 1946 she was denounced by the communist party for “eroticism, mysticism, and political indifference.”

Extensively, between 1935 and 1940, she worked in secret on her long poem Requiem which she finally completed in 1961. It appeared in book form in 1963, but wasn’t published in the Soviet Union until 1987. Requiem uses Biblical themes, such as Christ’s crucifixion, to reflect the situation in Russia ― particularly using images of Jesus’ mother and of Mary Magdalene to express the suffering of women under the Stalinist government.

In 1950 she wrote a few poems praising Stalin, in an attempt to gain her son’s freedom and to gain favour with the authorities. These poems were eliminated from all Russian editions of her work after the Soviet premier’s death.

She was short-listed for the Nobel Prize in 1965. At the time of her death she was recognized as the greatest woman in Russian literature.

I Taught Myself to Live Simply

I taught myself to live simply and wisely,
to look at the sky and pray to God,
and to wander long before evening
to tire my superfluous worries.
When the burdocks rustle in the ravine
and the yellow-red rowanberry cluster droops
I compose happy verses
about life's decay, decay and beauty.
I come back. The fluffy cat
licks my palm, purrs so sweetly
and the fire flares bright
on the saw-mill turret by the lake.
Only the cry of a stork landing on the roof
occasionally breaks the silence.
If you knock on my door
I may not even hear.

This is the first Kingdom Poets post about Anna Akhmatova: second post.

Entry written by D.S. Martin. His latest poetry collection is Ampersand (2018, Cascade). His books are available through Amazon, and Wipf & Stock, including the anthologies The Turning Aside, and Adam, Eve, & the Riders of the Apocalypse.

Jane Kenyon*

Jane Kenyon (1947—1995) was poet laureate of New Hampshire at the time of her death. She published four volumes of her own poetry, and a collection of Anna Akhmatova's poems translated from Russian. Her posthumous essay collection, A Hundred White Daffodils, reveals the importance of the local church, she and her husband Donald Hall attended.

The following poem did not appear in any of the books published in her lifetime, but in Otherwise: New & Selected Poems, which Graywolf published in 1996. Some of the most spiritual poems in that collection are among the New poems. According to the New York Times Book Review, Kenyon "sees this world as a kind of threshold through which we enter God's wonder."

In the Nursing Home

She is like a horse grazing
a hill pasture that someone makes
smaller by coming every night
to pull the fences in and in.

She has stopped running wide loops,
stopped even the tight circles.
She drops her head to feed; grass
is dust, and the creekbed’s dry.

Master, come with your light
halter. Come and bring her in.

*This is the second Kingdom Poets post about Jane Kenyon: first post,
third post.

Entry written by D.S. Martin. His latest poetry collection, Conspiracy of Light: Poems Inspired by the Legacy of C.S. Lewis, is available from Wipf & Stock as is his earlier award-winning collection, Poiema.