By Sanna Turoma
Expelled from the Soviet Union in 1972 and commemorated with the Nobel Prize fifteen years later, poet Joseph Brodsky in lots of methods healthy the grand culture of exiled author. yet Brodsky’s years of exile didn't render him motionless: even though he by no means again to his cherished Leningrad, he was once unfastened to commute the realm and write approximately it. In Brodsky overseas, Sanna Turoma discusses Brodsky’s poems and essays approximately Mexico, Brazil, Turkey, and Venice. hard conventional conceptions at the back of Brodsky’s prestige as a number one ?migr? poet and significant descendant of Russian and Euro-American modernism, she relocates the research of his go back and forth texts within the various context of latest trip and its critique. Turoma perspectives Brodsky’s trip writing as a reaction not just to his exile but in addition to the postmodern and postcolonial panorama that at first formed the writing of those texts. In his Latin American encounters, Brodsky shows disdain for third-world politics and invokes the elegiac style to reject Mexico’s postcolonial fact and to paradoxically embody the romanticism of an prior Russian and eu imperial age. In an essay on Istanbul he assumes Russia’s ambiguous place among East and West as his personal to barter a different, and arguable, interpretation of Orientalism. And, Venice, the emblematic vacationer urban, turns into the location for a reinvention of his lyric self as extra fluid, hybrid, and cosmopolitan. Brodsky in a foreign country finds the poet’s formerly uncharted trajectory from alienated dissident to celebrated guy of letters and gives new views at the geopolitical, philosophical, and linguistic premises of his poetic mind's eye.
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Extra info for Brodsky Abroad: Empire, Tourism, Nostalgia
An exilic writer is no longer a traveler but a privileged immigrant. In this speech Brodsky seems to take up the challenge that Edward Said, Brodsky’s contemporary and another American immigrant intellectual, set forward a few years earlier in “Reflections on Exile,” published initially in Granta in 1984 and many times since. Said’s essay is one of the most influential reassessments of the exilic condition in recent decades. It starts out as a critique of the humanistic understanding of exile, advocated, for instance, by George Steiner, who looks at exile as aesthetic gain and a seminal experience in producing twentieth-century Western literature.
The arrogant indifference is soon, however, turned into an expression of melancholia and sense of loss, articulated through explicit autobiographical 44 Exile, Tourist, Traveler references in the last stanza, in which the speaker refers to the beloved’s deception, which has caused the irreparable parting: Зачем лгала ты? И зачем мой слух уже не отличает лжи от правды, а требует каких-то новых слов, неведомых тебе—глухих, чужих; но быть произнесенными могущих, как прежде, только голосом твоим.
There is no progress. ] The arrogant indifference is soon, however, turned into an expression of melancholia and sense of loss, articulated through explicit autobiographical 44 Exile, Tourist, Traveler references in the last stanza, in which the speaker refers to the beloved’s deception, which has caused the irreparable parting: Зачем лгала ты? И зачем мой слух уже не отличает лжи от правды, а требует каких-то новых слов, неведомых тебе—глухих, чужих; но быть произнесенными могущих, как прежде, только голосом твоим.