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HOW TIMES HAVE CHANGED. From the magazine “Woman’s Fate” (Zinocha Dolja), dated July 15, 1937. Translated from Ukrainian. TRIUMPHS OF LIUBKA KOLESSA IN LONDON On June 3rd Liubka Kolessa was presented to the former queen of Spain at a reception at the Austrian embassy. That same evening she appeared for the second time “on radio” through television. Television — it is a new invention, something like a small movie, only films are not run on it. The picture is transmitted from a studio. Therefore about one to two thousand people saw Liubka live as she played Ukrainian compositions of Barvinsky and Nyszankiwsky for the first time on the piano (on May 21, on a Friday, at 9 p.m.) dressed in a Ukrainian folk costume; the second time she performed on June 3rd, when she played mainly Strauss and Mo zart. Because television sets are very expensive, only the wealthy and famous Englishmen can own them — that is the influential group. Getting these acquainted with Ukrainian music, with Ukrainian folk costumes, is very important. It must be stated that our pianist makes friends with great success for herself and her nation. She will perform again in the Fall. Receptions for her are already in the planning stages. Liubka Kolessa — photo of her television appearance in London, 1937 Любка Колесса — телевізийний знімок в Лондоні. 1937 р. Світлина з "Жіночої Долі” 1937), are reprinted here in their totality, but they represent no more than one-third of the total output. The core of the volume is made up of new, hitherto uncollected and mostly unpub lished poems written between 1944 and 1985. Livyts’ka is a master of short, intensely personal lyric poems, and her themes are love between a man and a woman, nostalgia for the lost homeland, old age and solitude, God, and death. Vohon’ і popil, a collection of outspoken erotic poems, was, undoubt edly the first verse of its kind written by a woman in Ukrainian literature. Critics have detected influences of Anna Akhmatova, for some reason no one has pointed out the affinities with the poetry of Maria Pawlikowska-Jasnorzewska, a contemporary of Livyts’ka who was very active at the same time and in the same place, albeit in the Polish literary milieu in Warsaw. Livits’ka’s first collection is a unified cycle which the author herself (in an interview in the journal Suchasnisf) described as a cycle of a woman who begins with marriage and then goes through the stages of great love, followed by disappointment, apathy, sor row, and finally a return to her own self. Sim liter consists of lyrics expressing the exiled poet’s love and nostalgia for the Ukraine. Livyts’ka as a teen-ager experienced at first hand the short-lived Ukrainian independence, her father was minister of foreign affairs of the Ukrainian Republic and later headed the Ukrainian government in exile. Thus Livyts’ka’s patriotic poe try, despite occasional lapses into clich6 and sentimental pathos, has a ring of sincerity and intense personal involvement. Livyts’ka’s most interesting poetry, however, is from her mature period. Bohdan Rubchak, the author of a fifty-page analytical essay included in the book, writes: “Her dark song of love is embodied in moving and authentic lines, and the likes of which are seldom found in our poetry, and if you consider the fact that these lyrics were written by an eighty-year-old woman poet, the phenomenon may be unique also in world poetry.” Rubchak finds elements of existential philosophy in Livyts’ka’s new verse, where the solitude of unrequited love and the soli tude of exile are overcome by acceptance and understanding of the human condition. The mature Livyt’ska-Kholodna writes about growing old, about the desire for love, about fear of death, about God and eternity, about her bittersweet affirma tion of life. Many of her masterpieces were composed quite recently: e.g., Nich pid Ivana Kupala (1970), Bezprychal’nist’ (1973), Ostannia moiytva (1975), Vnukam (1983), Kukhonna romantyka (1984), and Zhadka (1985). This is modern poetry at its best. The young-in-spirit Natalia Livyts’ka-Kholodna has found a common language with the generation of her grand children. Marta Tarnawsky University of Pennsylvania Видання C оюзу Українок A мерики - перевидано в електронному форматі в 2012 році . A рхів C У A - Ню Йорк , Н . Й . C Ш A.
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