Word: pasternak
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...CORRESPONDENCE OF BORIS PASTERNAK AND OLGA FREIDENBERG 1910-1954 Edited by Elliott Mossman Harcourt Brace Jovanovich 365 pages...
...novel in this century has drawn such worldwide acclaim," said the London Daily Express of Doctor Zhivago. That was the trouble. By the time an English version reached the U.S. in 1958, two years after Boris Pasternak had sent his manuscript out of the Soviet Union, the novel's potential readers were already weary, and wary, of the Pasternak affair. It had been in the headlines for more than a year. In literary circles, skepticism and envy were aroused by the celebrity of the author and by his Nobel Prize. More disturbing to some intellectuals was the political aspect...
...extraordinary gathering, if only for the new talent on display. Andre Malraux, Boris Pasternak, Andre Gide, Bertolt Brecht--all had come together at the International Writers' Congress for the Defense of Culture in Paris during June of 1935, to protect the rise of fascism in Europe. These were the so-called "engaged writers," men and women who believed that art and politics go hand in hand, that one cannot exist without the other. In the fact of Hitler's spreading madness, they held rallies, made speeches, organized...
...second day of the Congress, Pasternak, one of the Soviet delegates, stood at the podium. A respected poet, he had not yet written Dr. Zhivago, the work that was to insure his literary immortality. "I understand that this is a meeting of writers to organize assistance to Fascism. I have only one thing to say to you: Do not organize. Organization is the death of art. Only personal independence matters. In 1789, 1818, 1917, writers were not organized for or against anything. Do not, I implore you, do not organize...
...Left Bank, a fascinating study of writers, artists and politics from the Popular Front to the Cold War. Herbert Lottman shows--among other things--that Pasternak was right. Organization did living on, in a sense, the death of art; those writers who joined forces in the 1930s against the Nazis produced few lasting works, while the loners, like Jean-Paul Sartre or the anti-semitic Louis-Ferdinand Celine, continued to create masterworks. It is a disturbing correlation that Lottman serves up without comment for his reader to ponder...