PUBLICATIONS
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NOVELS


The Case-Book of Inspector Mylls, Zakharov Books, Moscow, 2008
A Parade of Mirrors and Reflections (Novella), Deti Ra No 3, Moscow, 2009


COLLECTIONS OF POETRY

IN RUSSIAN

The Ship of Autumn, UDN University Press, Moscow,1991

Sealed Up Messages, Valentine Books, Moscow, 1992

Sounds and the Stars, Lenore Books, Moscow, 1993

In the White Flame of Waiting, Sov-VIP Press, Moscow - Oslo, 1994

Field of Eternal Stories, Third Wave Books, Moscow - Jersey City, N.J., 1996

Graffiti, Third Wave Books, Moscow - Jersey City, N.J., 1998

Visitors Book, Third Wave Books, Moscow - Jersey City, N.J. 2001


IN ENGLISH

Shadow of Time, The Goldsmith Press, Ireland, 2005

Morning at Mount Ring, Doghouse Books, Ireland, 2007


LIMITED EDITION PUBLICATIONS:

Verses Between the Lines, Third Wave Books (1987)


ANTHOLOGY EDITING

Poetry of Silence, A&B Press (1999)

Zhuzhukiny Deti, Russian Short Stories in the Second
Half of the 20th Century, NLO Books (2000)

The Imagist Poets, an anthology. Progress Publishing, 2001. - The Independent/Ex Libris Award for the best translated work published
in book-form in the year 2001

A Night in the Nabokov Hotel: 20 contemporary poets from Russia. Dedalus Press, Dublin, 2006.


PERIODICALS

Short stories and poems were translated into
German, French, Italian, Japanese, Spanish, Hebrew, Slovenian, Romanian,
Croatian, Hungarian and Macedonian languages and published in magazines
and anthologies.


REVIEWS




Morning at Mount Ring, a collection of haiku by Anatoly Kudryavitsky, has been published by and available to order via Doghouse Press, Ireland.
Send orders to: http://www.doghousebooks.ie


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Morning at Mount Ring
by Anatoly Kudryavitsky

A Review by Robert D. Wilson

Simply Haiku: A Quarterly Journal of Japanese Short Form Poetry. Winter 2007, vol 5 no 4


Anatoly Kudryavitsky is one hell of a haiku poet. His book, Morning at Mount Ring, stands far above most of the haiku books I have read in the past several years.

Kudryavitsky has a genuine respect for the genre and the culture that gave it to the world, and doesn't see a need like some English-language poets to redesign the genre to mirror and elevate his ego. He writes poetry he obviously lives, painting truth with light, shadow, and varied shades of ah. Take for instance, the book's first haiku:

awakening
to the echo of wind chimes,
ten thousand birds and I

At dawn, the poet wakes up to the song of wind chimes. Not just him but a thousand birds as well. "Ten thousand" is a term borrowed from Chinese Tang Dynasty poets, signifying eternity. The poet feels at one with his surroundings in nature and symbiotically joins nature as a whole in celebrating the morning. Even for someone unfamiliar with Chinese poetry and its influence on Japanese poetry, this haiku invites interpretation indigenous to the reader's own cultural memory and social context.

Kudryavitsky is equally adept writing senryu:

police station
a map of Africa
behind bars

Many African nations are caught up in a web of transitional chaos, their futures up in the air, their geography, hotbeds of corruption, demogogy, despotism, instability, and violence. This particular senryu calls to mind Desmond Tutu's imprisonment in the Republic of South Africa when it was under apartheid rule.

One's familiarity or lack of familiarity, however, regarding African politics, determines how this poem is interpreted. This senryu has universal appeal because of its ability to connect with multiple mindsets.

I've heard it said many times that it's hard to say something in a haiku that hasn't already been said. Kudryavitsky writes with an original voice, drawing from the world he experiences. Take for instance:

climbing cloud peaks
for the first time -
New Year's moon

This haiku invokes multiple images: A peak, clothed in a cloud cloak, is climbing on New Years Day; the poet himself is climbing up and down more than one cloud covered peak from morning until after the sun sets. On the last mountain top he climbs, Kudryavitsky is greeted by the bright New Year's moon. The interpretation of this haiku may differ from the poet's intent, but invokes memories, feelings, and mental pictures, nevertheless, influenced by experience and perception indigenous to the reader's cognitive world. More than a postcard moment, the words, eleven in total, say much.

between snowfalls:
the moon through
cherry blossom petals

Anatoly Kudryavitsky paints with nuances, using words to craft a delicate, symbiotic balance between nature and cognitive perception. He paints a picture that is more than picture, breathing into his canvas what words in the West often fail to say.

The poet is experiencing a cold winter. There has been lots of snow, even as the season nears its end. Cherry blossoms are blooming, bringing a new kind of whiteness to the countryside. The poet looks up at the moon through the blossom laden treetops. White blossoms, white snow, and the white moon; the white representing purity, newness, and clarity.

The poems in this book are not uneven. Almost every one of them is a gem. I recommend this book without any reservation. It is more than just a pleasant read; it is an exemplary example of modern day haiku.

Morning at Mount Ring
by Anatoly Kudryavitsky
Doghouse
(c) 2007
ISBN 978-0-9552003-5-9



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Morning at Mount Ring, Anatoly Kudryavitsky. Doghouse, 2007, 60 pp.
ISBN 978-0-9552003-5-9. 12 Euros.

Reviewed by Patricia Prime

Stylus Poetry Journal. Issue 28: January 2008


Anatoly Kudryavitsky was born in Moscow and now lives in Dublin where he teaches creative writing to aspiring authors from Ireland's minority ethnic communities. He is not only a teacher but a poet and editor. This collection brings together 100 of Kudryavitsky's haiku and senryu written over the past three years. They have been shaped into two sections: "Waiting for the Moon, Hibernian Haiku" about the Irish genius loci and "Morning at Mount Ring, Travel Haiku". The collection closes with "Unobana in Full Bloom, Haiku Versions of Medieval Japanese Zen Poems". Cover illustration is by Christine Zeytounian-Belous (Paris, France) and illustrations are by members of Shodo-Geijutsu-In Foundation (Japan Calligraphy Art Academy).

The poems reflect consummate artistry. With extraordinary spareness, simplicity, beauty and language, the poet captures the eternal in the everyday.

These haiku and senryu are intimate, yet universal. We accompany the poet at leisurely pace on the path he creates from "Hibernian Haiku" containing poems about the seasons and on to "Travel Haiku" and his final offering "Haiku Versions of Japanese Zen Poems."

The glowing cover illustration brings us in and leads us to Kudravitsky's Preface. In this opening piece the poet tells us about his writing:

From 1998 to 2003 I travelled extensively, and later summoned the pervading atmosphere of the places I visited into my Travel Haiku. Approximately at the same time I started to write another cycle of miniatures that I called Hiberian Haiku. It is about the genius loci, i.e. about our fields and streams, hills and rivers.

The reader is grateful for this eloquent Preface and to have accepted the poet's invitation to visit his haiku. "Waiting for the Moon, Hibernian Haiku opens the collection. This is a cycle of haiku that takes us through the seasons. From 'Spring':

puddles on the lawn
a lone narcissus
gazing at itself

The poetic form of haiku seems to be a perfect literary medium for Kudryavitsky with which to convey his connection between the world and his inner landscape. It permits a focus on a moment in time - a moment of depth and clarity. His haiku from 'Summer' effectively communicate that connection with enormous emotional power:

downpour at Carrowkeel
tourists hiding
in megalithic graves

We laugh and marvel at this witty, imaginative haiku from 'Autumn':

lightning strikes -
a huge umbrella pats another
on the back

'Winter and New Year' bring the seasons to a close with the poet's keen awareness of his surroundings and his intimacy with them, as we see in the following haiku:

heavy with snow,
barley bows to landing
snowflakes

In the travel haiku from the title section, "Morning At Mount Ring," we travel from Africa, Dover, the Deutche Bank, Lausanne, and various places to the final haiku in this section:

sunset in the park
a man playing giant chess
against his shadow

In the last section, 'Unobana in Full Bloom, Haiku Versions of Medieval Japanese Zen Poems', the author tells us: "The nine poems (waka) from imperial poetry anthologies, actually, never existed as haiku - until now." Two examples of haiku from this section are

your colour is delight,
o flowering plum,
but now: your perfume!

after Kazan, (968-10008)

drenching myself,
I break off a spray of wisteria -
spring's end

after Nakatsukasa, (before 1265)

This is a poetry of vividness, strength and high skill as we move with the poet from the opening cycle to the final image of "barren willows . . . / to the waves facing them / there comes no autumn" - after Bunya Yasubide (mid 10th c.), which leaves us with the final symbol of the end we're all obliged sooner or later to tackle...




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MORNING AT MOUNT RING
Haiku and senryu. Haiku versions of Medieval Japanese Zen Poems
Anatoly Kudryavitsky
DOGHOUSE Books. �12. Pbck. 60pp. ISBN 978-0-9552003-5-9

Moscow-born Anatoly Kudryavitsky�s marvellous book, a genuinely smashing introduction to the world of early Japanese poetry contains some versions that were broadcast on RTE and were published in a variety of journals, including The SHOp and Haiku Scotland. The various forms of haiku have become popular among quite a few Irish poets, although one suspects the old argument as to whether they can only really be done in Japanese persists. There are, moreover, some striking visual representations of haiku here, so the reader is invited in to the real thing, as it were. The author does concede that some of his versions are �re-workings,� an honest admission at a time when we have too many Irish poets calling themselves translators when they don�t translate. Kudryavitsky, in a short but revealing Preface, is very honest about he came to haiku and what reservations he had about the form. One hundred haiku and senryu are represented here. A great book for Irish haiku enthusiasts and for anyone interested in how cultures can meld and come together, perhaps even producing a third �culture�, which is interpretation. The author now lives in Dublin. Congratulations to Doghouse.

Fred Johnston
KIOSQUE! BOOK NEWS AND REVIEWS
The Western Writers Centre, Galway, Ireland


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The collection of poems by Anatoly Kudryavitsky entitled Shadow of Time has been published by and available to order via Goldsmith Press.

Send orders to: The Goldsmith Press. Great Connell, Newbridge, Co. Kildare, Ireland.

The book is also available in some Dublin book-shops, e.g. The Waterstones (Dawson St.), Books Upstairs (College Green), Hodgis and Figgis (Dawson St.).


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Anatoly Kudriavitsky's
Shadow of Time

Dublinka: Poetry Reviews. November 2006


Poet and translator, Anatoly Kudriavitsky recently launched a new book called A Night in the Nabokov Hotel; a bilingual translation of 20 Russian poets, many of whom he new personally. Now if like me you agree that the Russians as a nation are unsurpassed in their poetry, then you're probably quite excited by the possibility of reading this anthology. The poems I heard on the night were fantastic but unfortunately the book sold out at the reading before yours truly could manage to get his hands on one. Nevertheless I did get my hands on Shadow of Time, an earlier collection by the author. It contains the poem Pseudoaluminium and the Big Plans, which also appears in A Night in the Nabokov Hotel. The poem has been lauded in Russia as an outstanding anti-war poem, although on the night, Kurdiavitsky quipped that he hadn't realised it was one. It opens with the line:

The bigger the house,
the smaller the occupants of the house.

and ends with the lines

They hope it contains much
pseudoaluminium,
the raw material of super-high-speed bombers
and portrait frames.

In doing so the poem reminds us of the link between war and economy. Of the complicity of society and even perhaps aesthetics, in the production of terror and neocolonial enterprise. The picture frame is empty. There is, nothing to put in it. Despite its brilliance, its owners are without face, without soul even. Elsewhere in the poem he speaks of skyscrapers. He is speaking overtly of international bankers and the technocrats who crank the wheels of oppression, but implicitly of the greater occidental middle class. The poem further states that even though the devil (or war) gradually loses its prestige, the process of exploitation continues. Not just in the big plans, but in the little plans. In the extraction of the raw material for picture frames. The victims are without face. Obliterated. They will not make the portrait frames.

Kurdiavitsky also made one further interesting comment at the reading. He spoke of the difficulty of translation. And even though a man of many tongues, he wondered whether his translation of the poem, into his mother language, Russian, from the English, quite conveyed what he meant. It is an interesting comment. Because in a sense, it removes the debate of the difficulties and complexities of the merits of a given translation from the mind of the poet who has produced the work. Even though the mind of the poet holds the concepts and ideas of the poem, it can not readily switch them into and between languages. He acts as an intermediary between languages. And he, like a translator, is not necessarily assured of the correctness of his translation. It's a startling admission. It tells us something about the tyranny of language over the human mind. And it tells us something of that accessible subterranean world that lies beneath expression.


by Dublinka. Sunday, November 19, 2006

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A Night in the Nabokov Hotel, the anthology of contemporary Russian poetry edited and translated by Anatoly Kudryavitsky, has been published by and available to order via Dedalus Press, Dublin, Ireland.
Send orders to: http://www.dedaluspress.com
The book is also available from Hodgis and Figgis (Dawson St., Dublin 2)


Reviewed here: http://www.transcript-review.org/en/issue/transcript-29-bordered-by-the-sea/found-in-translation


MORE PUBLICATIONS


TRANSLATIONS PUBLISHED IN BOOK-FORM

Emily Dickinson, Selected Poems

Stephen Crane, Collected Poems

Jim Morrison, Selected Poems

Anize Koltz, Selected Poems

Desmond Egan, Selected Poems

John Galsworthy ''Jocelyn''

Willian Somerset Maugham ''Ashenden'', Up in the Villa''

Stephen Leacock ''Selected Short Stories''

Arthur Conan Doyle ''Selected Short Stories''


IRISH POETS TRANSLATED INTO RUSSIAN

Pat Boran, Theo Dorgan, Desmond Egan, Rita Ann Higgins, Brendan Kennelly, Ann Leahy, Sean Lysaght, Thomas McCarthy, Medbh McGuckian, Paula Meehan, Noel Monaghan, Eilean Ni Chuilleanain, Nuala Ni Dhomhnaill, Julie O'Callaghan, Mary O'Donnell, Ciaran O'Driscoll, Dennis O'Driscoll, Mary O'Malley, Frank Ormsby, Cathal O'Searcaigh, Gerard Reidy, Paul Perry, Peter Sirr, Jo Slade, Joseph Woods, Macdara Woods


ENGLISH, SCOTTISH AND WELSH POETS TRANSLATED INTO RUSSIAN

David Constantine, D J Enright, W N Herbert, Ted Hughes, Jackie Kay, Joanne Limburg, Carol Rumens, Fiona Sampson, Anne Stevenson


AMERICAN POETS TRANSLATED INTO RUSSIAN

Robert Lowell, Mark Strand, Charles Simic, Jim Kates


RUSSIAN POETS TRANSLATED INTO ENGLISH

Gennady Aigi, Ivan Akhmetiev, Gennady Alexeyev, Vladimir Aristov, Sergey Biryukov, Vladimir Earle, Dmitri Grigoriev, Elena Katsuba, Konstantin Kedrov, Igor Kholin, Victor Krivulin, Alexander Makarov-Krotkov, Arvo Mets, Vsevolod Nekrasov, Rea Nikonova, Genrikh Sapgir, Asya Shneiderman, Sergey Stratanovsky, Alina Vitukhnovskaya


MORE PUBLICATIONS

Russian poems from NOVAYA YUNOST magazine (1997)

Translation of three stories by G.K. Chesterton into Russian