After Russia (1928) is considered to mark the high point in Marina
Tsvetaeva's output of shorter, lyrical poems. Tsvetaeva told Boris
Pasternak that all that mattered in the book was its anguish.
Breathtaking technical mastery and experimentation are underpinned
by suicidal thoughts, a sense of exclusion from the circle of human
love and companionship, and an increasing alienation from life
itself. The sequence `Trees' evokes the hills and woods of Bohemia
where Tsvetaeva loved to roam, while `Wires' takes telegraph wires
as the central image for the geographical distance separating her
from Pasternak.
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