Forbidden at all times, Yunna Moritz. Biography, writing books and bans on them
In Soviet times, books by one writer or another were constantly banned from publication. These works were called anti-Soviet. But now is a completely different time. The so-called freedom of speech is just empty words of politicians. Even today it is forbidden to publish one’s opinion if it is not liked by higher-ranking citizens.
Brief biography of Junna Moritz
Yunna was born on June 2, 1937 in Kyiv. Her father was a transport line engineer, and her mother was a versatile person. She made money from whatever she could: she taught at a local gymnasium, worked as a nurse in a hospital, in arts and crafts, and even managed to become a lumberjack.
The girl’s inner world changed with her father’s rapid loss of vision. The year she was born, he was arrested and tortured incessantly for several months. After these tortures, he was found innocent and sent home. He returned home, but his vision began to actively leave him.
Such torment of her father aroused conflicting feelings towards power in the girl; she, already as an adult, expressed her opinion through writing incriminating books.
Yunna Moritz, whose biography later was not the easiest, became a writer. She studied to be a philologist, and later to become a poet.
Icebreaker trip
Yunna spent the entire summer and autumn of 1956 traveling on an icebreaker. She became acquainted with the Arctic, the hardships of life in harsh conditions and with people who spent almost their entire lives in this snowy and frozen place.
You can live without shops and television, the press and a hot bath. You can live in such a place, communicating with silence and stars, think about the eternal and rest your soul. This is exactly what nineteen-year-old Junna Moritz discovered for herself. The girl’s biography as a writer began in the Arctic. The girl’s mood and thoughts went in a completely opposite direction.
Expulsion from the Literary Institute
A completely different Yunna Moritz returned home from the Arctic. The biography of this writer could have become completely different if she had not spoken her opinion directly and out loud. Because the student increased an unhealthy mood in her work, she was expelled from the institute.
They also wrote a terrible article about her in Izvestia. It said that she was almost an enemy of the people and a disgrace for the whole country! This article was published by Zhuravlev. He later published Akhmatova’s own poems under his own name, correcting them quite a bit.
Blacklist and ban on writing
The writer wrote her “Cape of Desires” about one of the places in the Arctic. The book was published at the huge request of Nikolai Tikhonov.
Then she wrote poetry. Some were called “Fist Fight” and were banned from publication. But Yuna Moritz is not so simple. The biography of Vladimir Tsybin, head of the poetry department at the Young Guard magazine, almost deteriorated because of these poems. He published Yunna's poems in one of the issues. After this unauthorized act, he was simply fired.
Biography of Yunna Moritz for children
Since children's poems had not yet been banned, Yunna began to devote her time to writing just such works. The following amazing poems came from her pen: “A Big Secret for a Small Company,” “Happy Bug,” “Bouquet of Cats,” “The Roof Was Driving Home” and other masterpieces. The complete collection of poems for children is called "Books for children from 5 to 500 years old."
Initially, these poems were published in the magazine “Yunost”, where they had to create a separate section “For younger brothers and sisters”. We, of course, are familiar with all the children's works of this poetess. Many of us grew up reading these poems and watching cartoons, for which Yunna also wrote scripts.
Based on her scripts, you can watch cartoons and remember your childhood: “The Pony Runs in a Circle,” “The Hard-Working Old Lady,” “The Boy Walked, the Owl Flew,” and several other well-known drawn stories.
Didn't share the truth with Facebook
"The dead cannot go on hunger strike." This was the name of a short essay that Yunna Petrovna Moritz published on her Facebook page. The writer's biography already had stories about the publication ban. But Yunna Petrovna could not even think that in modern times they would start shutting her mouth again.
She dedicated the essay to Russian journalists who were killed while working in Ukraine. The hunger strike of Savchenko, the perpetrator of these murders, is also mentioned. In her published essay, Yunna opposed the release of Savchenko and awarding her the title of hero.
The poetess's page was simply blocked by the Facebook administration. They didn't even explain the reason for their actions.
In response to the blocking, the poetess published several more poems, highlighting them on the above-mentioned social network. This is “Yuh knows what,” I am not threatened by despondency and boredom,” “Aggression of Russophobic sentiments on Facebook.” In these verses, Yunna accused the network of supporting Savchenko, her henchmen and patrons, of supporting the arson of people in Odessa and other atrocities.
It is this event that proves to us that we cannot speak openly and express our opinions even in the twenty-first century.
Yunna Petrovna (Pinkhusovna) Moritz was born on June 2, 1937 in Kyiv. In the same year, her father was arrested, released a few months later, but after the torture he suffered, he quickly began to go blind. According to the poetess, her father’s blindness had an extraordinary impact on the development of her inner vision. In 1954 she graduated from school in Kyiv and entered the philological faculty of Kyiv University. By this time, the first publications in periodicals appeared. In 1955 she entered the full-time poetry department of the Literary Institute. A. M. Gorky in Moscow and graduated in 1961, despite the fact that in 1957 she was expelled from there along with Gennady Aigi for “unhealthy moods in creativity.” This was a serious “repression” with eviction from Moscow, which in 1957 was fraught with more than just “disgrace”. In 1961, the poetess’s first book in Moscow, “Cape Zhelaniya” (named after the cape on Novaya Zemlya), was published, based on impressions from a trip to Arctic on the icebreaker "Sedov" in the summer of 1956.
Her books were not published (for the poems “Fist Fight” and “In Memory of Titian Tabidze”) from 1961 to 1970 (at that time there were “black lists” for publishers and censorship) and from 1990 to 2000. (Post-War Russian Poetry, Edited by Daniel Weissbort, Penguin Books, London, 1974). But her “pure lyricism of resistance,” stated in the book “By the Law - Hello to the Postman,” is open to a wide range of attentive readers, and the space of this resistance is enormous along all radii. The poem “The Star of Serbia” (about the bombing of Belgrade), which was published in the book “Face,” as well as the cycle of short prose “Stories about the Miraculous” (published in “October”, in the “Literary Gazette”) are dedicated to the highest values - human life and human dignity. ”, and abroad, and now it has been published as a separate book - “Stories about the Miraculous”).
Her lyrical poems are written in the best traditions of classical poetry, and at the same time absolutely modern. Yunna Moritz says about her literary teachers and passions: “My contemporary was always Pushkin, my closest companions were Pasternak, Akhmatova, Tsvetaeva, Mandelstam, Zabolotsky, and my teachers were Andrei Platonov and Thomas Mann.”
She includes among her poetic circles “Blok, Khlebnikov, Homer, Dante, King Solomon - the alleged author of the Song of Songs - and the poets of Greek antiquity” (from an Interview with the Gazeta newspaper, May 31, 2004).
Yunna Moritz is the author of poetry books, including “In the Lair of the Voice” (1990), “Face” (2000), “Thus” (2000), “According to the Law - Hello to the Postman!” (2005), as well as books of poetry for children (“A Big Secret for a Small Company” (1987), “Bouquet of Cats” (1997)). Many songs have been written based on the poems of Yunna Moritz. She is a magnificent artist; her books contain hundreds of sheets of her own graphics, which are not illustrations, but “such poetry in such a language.”
Yunna Moritz's poems were translated by Lydia Pasternak, Stanley Kunitz, William Jay Smith with Vera Dunham, Thomas Whitney, Daniel Weisbort, Elaine Feinstein, Caroline Forché. Her poems have been translated into all European languages, as well as Japanese and Chinese.
Prize winner named after. A.D. Sakharov - “for the civil courage of the writer”, the Triumph Prize (Russia), the Golden Rose (Italy), the International Moscow Book Fair Prize in the Book of the Year category - Poetry 2005, the Prize named after. A. Delviga - 2006, prize of the International Book Fair in the category “Together with the book we grow” 2008.
Biography………………………………………………………………………………….3
Creativity…………………………………………………………………………………6
Poems for children…………………………………………………………………...8
Bibliography……………………………………………………………………………….11
List of references………………………………………………………...12
Appendix 1 – Covers of published books by Yunna Moritz…………………..13
Appendix 2 – Photos of Yunna Moritz…………………………………..15
Biography
...It will remind you that the soul is
...Not a measure, but an excess,
...And that talent is not a mixture
...Everything that people love,
...And the worst thing is
...And the best that will happen. . .
(c) Yunna Moritz
Yunna Petrovna (Pinkhusovna) Moritz was born on June 2, 1937 in Kyiv. In the same year, her father was arrested, released a few months later, but after the torture he suffered, he quickly began to go blind. According to the poetess, her father’s blindness had an extraordinary impact on the development of her inner vision.
In 1954 she graduated from school in Kyiv and entered the philological faculty of Kyiv University. By this time, the first publications in periodicals appeared.
In 1955 she entered the full-time poetry department of the Literary Institute. A. M. Gorky in Moscow and graduated in 1961, despite the fact that in 1957 she was expelled from there along with Gennady Aigi for “unhealthy moods in creativity.” This was a serious “repression” with eviction from Moscow, which in 1957 was fraught with more than just “disgrace”.
In 1961, the poetess’s first book, “Cape Zhelaniya” (named after the cape on Novaya Zemlya), was published in Moscow, based on her impressions of a trip to the Arctic on the icebreaker “Sedov” in the summer of 1956.
Her books were not published (for the poems “Fist Fight” and “In Memory of Titian Tabidze”) from 1961 to 1970 (at that time there were “black lists” for publishers and censorship) and from 1990 to 2000. However, despite the ban, “Fist Fight” was published by the head of the poetry department of the magazine “Young Guard” Vladimir Tsybin, after which he was fired.
But her “pure lyricism of resistance,” stated in the book “By the Law - Hello to the Postman,” is open to a wide range of attentive readers, and the space of this resistance is enormous along all radii. The poem “The Star of Serbia” (about the bombing of Belgrade), which was published in the book “Face,” as well as the cycle of short prose “Stories about the Miraculous” (published in “October”, in the “Literary Gazette”) are dedicated to the highest values - human life and human dignity. ”, and abroad, and now it has been published as a separate book - “Stories about the Miraculous”).
Her lyrical poems are written in the best traditions of classical poetry, and at the same time absolutely modern. Yunna Moritz says about her literary teachers and passions: “My contemporary was always Pushkin, my closest companions were Pasternak, Akhmatova, Tsvetaeva, Mandelstam, Zabolotsky, and my teachers were Andrei Platonov and Thomas Mann.”
She includes among her poetic circles “Blok, Khlebnikov, Homer, Dante, King Solomon - the alleged author of the Song of Songs - and the poets of Greek antiquity” (from an Interview with the Gazeta newspaper, May 31, 2004).
Moritz's language is always natural, devoid of any false pathos. The richness of colors, the use of precise rhymes interspersed with assonance - this is what distinguishes Moritz's poetry. Repetitions often sound like spells, metaphors open up ever new possibilities for the interpretation of her poems, in which she tries to penetrate into the essence of existence.
Yunna Moritz is the author of poetry books, including “In the Lair of the Voice” (1990), “The Face” (2000), “Thus” (2000), “According to the Law - Hello to the Postman!” (2005), as well as books of poetry for children (“A Big Secret for a Small Company” (1987), “Bouquet of Cats” (1997)). Many songs have been written based on the poems of Yunna Moritz.
She is a magnificent artist; her books contain hundreds of sheets of her own graphics, which are not illustrations, but “such poetry in such a language.”
Yunna Moritz's poems were translated by Lydia Pasternak, Stanley Kunitz, William Jay Smith with Vera Dunham, Thomas Whitney, Daniel Weisbort, Elaine Feinstein, Caroline Forché. Her poems have been translated into all European languages, as well as Japanese and Chinese.
Junna Moritz Awards:
1. Prize named after A. D. Sakharova - “for the civil courage of the writer”
2. Triumph Award (Russia)
3. “Golden Rose” (Italy)
4. national award “Book of the Year” (within the framework of the International Moscow Book Exhibition-Fair) in the nomination “Poetry - 2005”
5. Prize named after. A. Delviga - 2006
6. national award “Book of the Year” (within the framework of the International Moscow Book Exhibition-Fair) in the nomination “Together with the book we grow - 2008”.
Creation
The dominant feature of Moritz’s poetry is a dynamic and multidimensional comparison and comparison of life and creativity. Art is an inseparable and irreplaceable part of existence, equal in rights in relation to nature and man, not needing justification by extra-artistic goals: “About life, about life - what else? / The poet sings until he drops..."
The character of the lyrical heroine Moritz is distinguished by sharp delineation and certainty: extraordinary temperament, concentration on her main task, categorical judgments, uncompromisingness, inevitably leading to isolation. The constant antipode and opponent of the poetess, the object of sarcastic, sometimes deliberately rude attacks, is the pseudo-intelligentsia, inclined to boast of their “chosenness” and feign “spirituality.” At the same time, for simple, sincere people engaged in real work, the poetess always has both kindness and warmth: “But have you ever looked into the souls of people / Walking through the cold in tears?”
The cult of creative effort in Moritz's poetry is based on a deep belief in the inexhaustibility of human potential. The poems, which are an example of actually realized harmony, themselves convey to the reader that charge of life-creative energy, which is intended to help in following the high and severe ethical code enshrined in Moritz's poetry.
The stylistic origins of Moritz’s poetics are in the “Silver Age,” as evidenced by the statements of the poetess, who proposed the termite “Akhmatsvet” as a unique “unit” of women’s poetry in Russia. In Moritz’s artistic practice one can see a fruitful continuation of both traditions – Akhmatova’s (visible plasticity of figurative details, an atmosphere of mystery, harmony of composition) and Tsvetaev’s (nervous tension of intonation, lyrical maximalism, a tendency to hyperbole). To this we must add clear echoes of Blok’s poetic world (the attraction of metaphors to extreme symbolic polysemy, the oxymoronic combination of “high” and “low”). Moritz's work is a rare example of a fairly harmonious combination in an individual innovative experience of poetic impulses received from the symbolist, acmeist and futurist art systems.
Moritz acquired her individual and catchy poetic style already in the early 1960s, and her further creative path was an increasingly consistent implementation of immediately identified opportunities. In this sense, Moritz belongs to those masters whom Tsvetaeva called “poets without history”: all the poems written by Moritz over forty years form a unity, strengthened by the poetess’s loyalty to the eternal themes of life and death, love, creativity.
Yunna Moritz did a lot of poetic translations of such authors as:
· Miguel Hernandez
· Moses Teif
· Humberto Saba
· Betty Alver
· Yiannis Ritsos
· Georgos Seferis
· Konstantinos Cavafy
· Rita Bumi-Papa
Federico Garcia Lorca
· Ovsey Driz
· Riva Balyasnaya
· Aron Vergelis
· Rasul Gamzatov
· Vitaly Korotich
Poems for children
In the view of Yu. Moritz, childhood is the naked secret of the world spirit, and in childhood lies the secret of poetry. Moritz's children's poems are marked by paradox, playful humor, and unfeigned kindness. The impetus for writing children's poems was both the birth of a son and a freer atmosphere in children's publishing houses. In “children's poems, Moritz creates a paradise, where only real miracles are possible, and helps children not to part with childhood and fairy tales. Dreams and fantasy transform the real world beyond recognition, literally turning it upside down.
Epithets play an important role - “rubber” hedgehog”, “raspberry” cat. Ordinary or extravagant, they are accurate in terms of internal perception.
Moritz's poems are characterized by an inner musicality. Many poems, due to their melody, became songs (“The dog can bite”, “Rubber hedgehog”). The most important role in her artistic system is played by a refrain rare for modern poetry: repetition or variation of key lines or stanzas imparts semantic harmony to the poems and at the same time creates a magical atmosphere. The poems in their design resemble an ornament; the interweaving of images, motifs, and details mean so much in them (“Crimson Cat”).
In the poems for children by Yu. Moritz, joy dominates, sometimes festively ringing, sometimes muted and lyrical (“Bouquet of Cats”). Many children's poems give the impression of theatrical performances. The poetess opposes cliches; artistic primacy is an indispensable quality of her adult and children's poems.
1. Big secret for a small company
Under the sad moo,
Under a cheerful growl,
Is born into the world
A big secret
For the little one,
For such a small company,
For such a modest company
So huge
Oh, if only it were with someone...
Oh, if only it were with someone...
Oh, if only I could be with someone
Talk!
2. Rubber hedgehog
Through the viburnum grove,
Through the aspen grove
For the puppy's name day
In a crimson hat
A rubber hedgehog was walking
With a hole in the right side.
Visited the hedgehog
Rain umbrella
A hat and a pair of galoshes.
ladybug,
flower head
The hedgehog bowed affectionately.
Hello, Christmas trees!
What do you need needles for?
Are we the wolves around?
Shame on you!
It hurts,
When a friend bristled.
Dear bird,
Please come down -
You have lost your pen.
On the red alley
Where the maples turn red,
A find awaits you in the bureau.
The sky is radiant
The cloud is clear.
For the puppy's name day
Rubber hedgehog
He walked and whistled
A hole in the right side.
Many tracks
This hedgehog passed by.
What did he give to his friend?
He talks about this to Van
Whistling in the bath
A hole in the right side!
Bibliography
Books of poetry(Annex 1):
1. "Cape of Desire". Sov. pis. M., 1961.
2. "Vine". Sov. pis. M., 1970.
3. "A harsh thread." Sov.pis., M., 1974.
4. "In the light of life." Sov.pis., M., 1977.
5. "Third eye". Sov.pis., M., 1980.
6. "Favorites". Sov.pis., M., 1982.
7. "Blue Fire". M., Sov.pis., 1985.
8. "On this high bank." M., Sovremennik. 1987.
9. "Portrait of sound." PROVA D`AUTORE, Italy. 1989.
10. "In the Lair of the Voice." M., Moscow worker, 1990.
11. "Face". Poems. Poem. M., Russian book. 2000.
12. "In this way." Poems. St. Petersburg, "Diamond",
13. "Golden Age". 2000, 2001.
14. “According to the law - hello to the postman!” M., Vremya, 2005, 2006.
Prose:
"Stories about the miraculous." M., Vremya, 2008
Books for children “from 5 to 500 years old”:
1. "Lucky Bug" M., Publishing House "Malysh", artist I. Rublev, 1969
2. “A big secret for a small company.” M., 1987, 1990.
3. “Bouquet of cats.” M., Martin, 1997.
4. “Vanechka.” Book of acrostics. Chelyabinsk, AutoGraph. 2002.
5. “Move your ears” For children from 5 to 500 years old. M., Rosmen. 2003, 2004, 2005, 2006
6. "Tumber-Bumber." M. Publishing house "Papa Carlo", artist Evg. Antonenkov, 2008
List of used literature
1. Arzamastseva I.N., Nikolaeva S.A. Children's literature: Textbook for students. higher and Wednesday ped. textbook establishments. – M.: Publishing Center “Academy”; Higher school, 2000.
2. Book for family reading: Poems, stories, fairy tales for children Art. doshk. age: Book for parents / Comp. Z.Ya. Rez et al., eds. V.M. Loginova. – 2nd ed. – M.: Education, 1991.
3. Who is who in Russia: Reference publication. – M.: Olympus, ZAO Publishing House EKSMO-Press, 1998.
4. Reader on children's literature: Textbook for students. avg. ped. textbook establishments / Comp. I.N. Arzamastseva, E.I. Ivanova, S.A. Nikolaev. – 2nd ed., stereotype. – M.: publishing center “Academy”, 2000.
Internet resources:
5. www.owl.ru/morits/ - Official website of Yunna Morits
Annex 1
Covers of published books by Yunna Moritz
Appendix 2
Photos by Yunna Moritz
June 2, 1937
“The revolution is dead, and its corpse stinks,” is how, according to Yevtushenko, Yunna Moritz formulated her position while still a student.
Yunna Petrovna Moritz is a Russian poet, born in Kyiv on June 2, 1937. “In the year of my birth, my father was arrested on a slanderous denunciation, after several months of torture he was found innocent, he returned, but quickly began to go blind. My father’s blindness had an extraordinary influence on the development of my inner vision,” writes the poet.
In 1961 she graduated from the Literary Institute, from which two years earlier she was expelled due to “the growth of harmful tendencies in her work.” In 1963, the magazine Yunost published a poem by Moritz dedicated to the memory of T. Tabidze, which, according to Yevtushenko, “caused anger in the Central Committee, but many liberals did not really like it for its harshness.”
“For many years I was not allowed to go abroad, despite hundreds of invitations from international poetry festivals, forums, universities and the media - they were afraid that I would run away and thereby ruin international relations. But still, since 1985, I had author’s evenings at all the famous international poetry festivals in London, Cambridge, Rotterdam, Toronto, Philadelphia. The poems have been translated into all major European languages, also into Japanese, Turkish, and Chinese,” writes Yunna Moritz in her biography.
Yunna Petrovna is also a magnificent artist; her books contain hundreds of sheets of her own graphics, which are not illustrations, but “such poetry in such a language.”
Yunna Moritz is also the author of cartoon scripts for children: “A Big Secret for a Small Company” (1979), “The Boy Walked, the Owl Flew” (1981).
As for the awards, for the author of poetry these are the readers who love and appreciate her work. “My awards are as follows: “Golden Rose” (Italy), “Triumph” (Russia), the Prize named after. HELL. Sakharov (Russia)".
CHICKEN
The chicken went outside to sit,
The street came out to look at the chicken!
I'm sitting next to the chicken, I'm holding a pineapple
And I look at the street looking at us.
Whole pineapple! It's for the whole street
And also for Yunna Moritz and for the white chicken.
My constellation is Gemini,
My element is air.
Mercury, carnelian, Wednesday
They bring me good luck.
And, as the sages believe,
This is the alignment of the stars -
It's Wednesday or never
I mean something.
Mercury floats in the darkness
And carnelian is in Taurida,
And on earth is my environment
Brings me luck.
And on Wednesday - I'm tipsy,
I'm at my best on Wednesday
Ah, it's Wednesday or never
I mean something!
And if anyone rejected
My collection is in publishing,
When I was young
And I led a dog’s life, -
So it was on Thursday
On Thursday or Tuesday, -
After all, it's Wednesday or never
I mean something.
When on one of the other days
I will become a light light
Where in the horn of the Milky Way
The spirit of the constellations burns, -
Then I will write more clearly
About this, about this, -
Open, third eye, read
My good news!
The painter has a brush and paints,
The violinist has a bow and a violin,
But the poet has nothing.
For the artist - a play and tips,
Intrigue, tears and smile.
But the poet has nothing.
The football player has a goal
He throws something at them.
But the poet has nothing.
The astronaut has a rocket,
A moving portrait of a poet.
But the poet has nothing.
No one will say: "This critic is
An inveterate pessimist and whiner,
And his views are gloomy,
Prudence and cold shine,
No soil, no people's fate..."
The critic has the soul of a poet.
But the poet has nothing.
Oh, even nothing like that?!
Anyone has the soul of a poet,
And what? What? So what?
Many have three souls of a poet,
And five, and seven! And the poet -
Poems... and nothing more!
PORTRAIT OF SOUND
When a vague image is suggested to me,
I draw it with a pencil
And I listen to the flexible line...
Until the light of recognition flashes
And with him - from the darkness a rapturous portrait
Living sound with a merciful smile.
Then, opening my blouse at my throat,
I take the subtle, like a glass blower,
And I breathe living sound into this film -
And all my life goes into it
In a transparent form, like a stream of air...
And sound's beloved face
So iridescent and, God, so loud!
Yunna Moritz
Yunna Petrovna (Pinkhusovna Moritz) was born into a Jewish family. As Moritz says, “in the year of my birth, my father was arrested on a slanderous denunciation, after several tortured months he was considered innocent, he returned, but quickly began to go blind. My father’s blindness had an extraordinary impact on the development of my inner vision"
In 1954 she graduated from school in Kyiv and entered the philological faculty of Kyiv University. By this time, the first publications in periodicals appeared.
In 1955 she entered the full-time poetry department of the Literary Institute. A. M. Gorky in Moscow and graduated in 1961, despite the fact that in 1957 she was expelled from there along with Gennady Aigi for “unhealthy moods in creativity.”
In 1961, the poetess’s first book, “Cape Zhelaniya” (named after the cape on Novaya Zemlya), was published in Moscow, based on her impressions of traveling around the Arctic on the icebreaking steamer “Sedov” in the summer of 1956. She later recalled about that trip:
“I never forget the people of that Arctic, where I saw a completely different way of life, not the mainland, without any shops, streets, cinemas, where life depended on radio operators, on radiation, navigation, aviation, ice reconnaissance, there space is inside a person. In the mirror of the Arctic you can see who you are and what is the value of your personality, your actions, your mind and talent to be human. The feeling of the Arctic is a gift of fate, especially at 19 years old, it is divine wealth and frost resistance to “public opinions”"
Her books were not published (for the poems “Fist Fight” and “In Memory of Titian Tabidze”) from 1961 to 1970. Despite the ban, “Fist Fight” was published by the head of the poetry department of the Young Guard magazine, Vladimir Tsybin, after which he was fired. It was also not published from 1990 to 2000)
In the book “By the Law - Hello to the Postman,” Yunna Moritz declared the theme of her poetry to be “pure lyricism of resistance.” The poem “The Star of Serbia” (about the bombing of Belgrade), which was published in the book “Face,” as well as the cycle of short prose “Stories about the Miraculous” (published in “October”, in the “Literary Gazette”) are dedicated to the highest values - human life and human dignity. ”, and abroad, and now it has been published as a separate book - “Stories about the Miraculous”).
Yunna Moritz says about her literary teachers and passions: “My contemporary was always Pushkin, my closest companions were Pasternak, Akhmatova, Tsvetaeva, Mandelstam, Zabolotsky, and my teachers were Andrei Platonov and Thomas Mann.” In an interview with RG in 2012, she also mentions Lermontov, Leo Tolstoy, Shakespeare and Ovid. She includes among her poetic circles “Blok, Khlebnikov, Homer, Dante, King Solomon - the alleged author of the Song of Songs - and the poets of Greek antiquity” (from an interview with the Gazeta newspaper, May 31, 2004).
Moritz's language is always natural, devoid of any false pathos. The richness of colors, the use of precise rhymes interspersed with assonances - this is what distinguishes Moritz's poetry. Repetitions often sound like spells, metaphors open up new possibilities for the interpretation of her poems, in which she tries to penetrate into the essence of existence (Wolfgang Kazak)
“An artist can be better than his time, like Chekhov, or maybe worse, like Yunna Moritz, but both types are necessary for our self-knowledge,” Dmitry Bykov wrote about Moritz.
Yunna Moritz is the author of poetry books, including “In the Lair of the Voice” (1990), “Face” (2000), “Thus” (2000), “According to the Law - Hello to the Postman!” (2005), as well as books of poetry for children (“A Big Secret for a Small Company” (1987), “Bouquet of Cats” (1997)). Many songs have been written based on the poems of Yunna Moritz.
Her poems have been translated into European languages, as well as Japanese and Chinese.
I didn’t forgive him anything.
I dedicated poems to him,
so that the glimmer of hope fades.
But when the silvery heron
my sadness is like the last straw,
will overflow on an autumn Thursday,
flying over a beet field...
I somehow have a triangular sense
I drive the saving wedge
into a silvery memory,
so that the hearts have the last knowledge
Don't vulgarize it with a happy ending.
The day is short,
and my path is so long...
I named the flower - and the flower turned red,
The corolla flared up and pollen splashed out.
I named the bird - the bird's voice sang,
The chick fluttered out of the egg into the light.
She named the day and hour - and, as is customary here,
This day has come, this hour.
I named the child and it was born
And will live after us.
I'll also mention some of the things
What is still nameless is dark.
My magic is simpler than steamed turnips,
But it will remain a secret.
JUNNA MORITZ
NEBULARY OF BREATHING AND SINGING
This is the shore that I dream about.
And moon rocks on it.
And I see moonstones
And I know that it is them.
And I see moon rocks.
And a blue bird on them.
And I see a blue bird
And I know it's her.
And I see a blue bird
Heavenly roses above her.
I see heavenly roses
And I know that it is them.
I see heavenly roses
Wreaths of Madonnas' smiles,
Gazelle smile of the universe,
And I know that it is them.
Everything here is iridescent, unsteady,
Wavy and hazy, like life,
Like the shore that I dream about
When the spirit awakens,
And I see moon rocks
And a bluebird on them,
And I see a blue bird -
Heavenly roses above her,
I see heavenly roses
Wreaths of Madonnas' smiles,
Gazelle smile of the universe -
And I know that this is the case with me.
And evergreen stars,
And waves, and air, and blood
They flow, they double, they triple,
Secretly intertwined with me.
And my cloak won't dry anymore
In the mists swirling here:
Our universe is foggy
Sings foggy songs!..
And I would be in the place of the universe
Shrouded the mystery in fog
And sang foggy songs
About the mystery in your fog!
I would sing foggy songs,
If only there were a universe!..
Such vague songs
So that the wind could not dispel
Nebula where the moon rocks are
And a bluebird on them,
The nebula where the blue bird is
Heavenly roses above her,
Heavenly roses - nebula!-
Wreaths of Madonnas' smiles,
Gazelle smile of the universe,
Nebula of the beginning, the end,
Grapevine Nebula,
Flowing misty life,
The haze of breathing and singing,
Nebula, one nebula!...
JUNNA MORITZ
TAVRIDA
Almond trees were blooming there. The sea was draughty
Between roofs, ledges, railings.
And lives floated in space,
And someone's whisper spoke
About it. It smelled tenderly of summer,
Heavenly moisture, cucumber.
A soul constrained by a skeleton,
I did this with my face
That the appearance became a face
Fates. Sticking out of the carving
Features in a semi-wild fracture:
A brazier is an eye, a cheekbone is a Kalmyk,
And dry your cracked lip. Above the almonds
Bakhchisarai, Where the Scythians fried trout,
Time rushed by, devouring
Aquamarine April,
Me with you, and everyone with everyone,
From all sides, from the inside, from the outside.
All-consuming time
Undying time
The spit was spit on the fire.
But my youth was still shining -
This joy is sweeter than glory,
Twice as large as immortality.
Let anything happen, -
I was happy, free,
Loved, happy, free,
With everyone and alone!
I walked around in something that was so unfashionable,
But sacrificially and nobly
Time has been kind to the spirit within me.
JUNNA MORITZ
GURZUF
There was something from the previous century,
From his crystal, silver
In the cypress tree that was yesterday
Trembling like the soul of a man.
Oranges, jasmine, camphor
They became a smell. And lighting
It gave meaning to everything.
It was July and it was hot,
And the glow of otherworldly life
Bordered with lemon and persimmon,
Yard, fence, Greek gardener,
Eaters and mass in the house,
And the golden stream flows
On a hill in the magnificent Crimea.
And the illumination that descended in us
It gave meaning to everything.
These were the talents of nature,
Those who move their hands
Generating winds and waters,
Rewarding our peoples,
So that the light of love and freedom
Instill radiant peace.
Yes! I saw being like this.
I lived that day and loved it,
I ate apples straight from the branches
And, the notebook, placed on the railing,
She told her something in a whisper,
And my soul hovered above me
And reigned in my notebook.
I lived that day and loved it!
Poet Junna Moritz was born on June 2, 1937.
* * *
You are young and fierce, but know that you will
More tender than sadness, and more affectionate than rye.
And everything that you now mercilessly judge -
You will spare, have mercy, save!
And in this light the world will appear whole,
And you will see him alone,
That he was, is and will be black and white,
Shimmering in every depth.
And in this black and white bubbling,
Where everything is - as the creative spirit wanted,
You will hear swimming and flying
Helpless, animated bodies.
Then in tears you will cling to your earthly homeland
And you will prefer for the rest of your days
The helplessness of animate life
To the soulless immortality of stones.
JUNNA MORITZ
THE ESCAPE
Come on, soul, come on -
Let's get behind the fence
There's a pink tram
Running through the snow
At the coffee shop around the corner
The grains are roasted
And the stairs are broken
Smells like a black drink.
Give it back, give it back, give it back
Star, my luminary,
Those few days
Which were not enough!
To the rustle of mandolins,
Playing on the Christmas tree
Let's peel the tangerine
And let's take the book off the shelf,
In a mysterious speech
Delving until dawn,
Let's throw the jacket off our shoulders
On the lake parquet
And, having excommunicated the face
From reading for a moment,
We'll find it eventually
Peace and enlightenment.
JUNNA MORITZ
* * *
I didn’t drink vodka with geniuses
And she didn’t let them get close to her.
I was not a young poet,
She did not cherish her ears and did not caress her eyes.
On tiptoes without standing in front of anyone,
I didn’t glow, I didn’t breathe darkness
And it didn’t smell fresh at all
On those who trade in praise.
And more than that! Gloomy look
For many captivating things
Pushed me out of all the galaxies,
Out of the ordinary, to say the least.
And no lace in the world
We were unable to bring in the fog
And envelop my millstones in darkness
And the plans of a seething volcano.
So God helped me not to get into the retinue
To none of the patriarchs of the Muse,
Don't trump him with love to your heart's content,
Do not enter into praising alliances,
Don't fall prey to darkness and emptiness
In a hall filled with fans...
Live on what only you say
And not what they said about you!
JUNNA MORITZ
COUNTRY OF MY LOVE
I am a strange person, I love my country,
I especially love it in tragic times,
When from all sides they blaspheme her alone
And they persecute you with slander - in an epoch-making harem.
Throw wood into the fire, but I won’t hand it over -
I am a strange person, at any time
I love my country, and this is intravenous,
And regardless... when my country
He openly doesn’t love me for lying!
The era is such that vile lies
He has every right to mock us,
But miraculously I’m alive, and I won’t give her up -
The country of my love!.. And I won’t let her give up!
I am a strange person, I am hundreds of thousands of years old,
Where is the Eternal Now and eternal repetitions.
I love my country, both its darkness and its light.
I especially love it - accompanied by the barking of the fascist pack!
Only the light of love
This gift from God
I'll take it with me
I'll call it fate, -
Only the light of love
Only he gave birth
The essence is the winged path
Through any nightmare!
Only the light of love
God's grace
I'll take it with me
I'll call it fate, -
Only this light
Will read us
Where there is no death,
Where you and I are.
Only the light of love
This God's light
I'll call it fate -
Once and for all!
Was life hard?
I will answer - no!
Does pain help?
I will answer - yes!
This light of love -
There's a file on me
Just don't tear it
And don't lose...
And for God there are no dead -
Everyone is alive!
Only the light of love -
The path from hell to heaven.
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