Finestein's translations are so awful, it is no wonder that few English speakers want to know who Tsvetaeva is. She loses the rhythm, rhyme, literary devices, and everything for which Tsvetaeva's poetry is so loved. The duality of meanings and word play is also completely lost. Try Angela Livingstone's translations - they are excellent.

Read this book! and read about her life. She witnessed so much darkness and her words open up these experiences, lay them bare. I really wonder what her writing would have been if she had lived a different life, one without so much tragedy. She also recognized, as did Virginia Woolfe, that it is difficult for women to write amidst the responsibilities of everyday life -- "I have no time to think . . . I have only ever been myself in notebooks . . . for all my life I have been leading a child by the hand." Her work stays with you long after the book closes.

Marina Tsvetaeva was born in Moscow in 1892, published her first poems at 18, and was married with two children when the Russian Revolution began. She endured numerous hardships -- one of her children died of malnutrition -- and a period of exile. She returned to Russia in 1939, but was so beset by her circumstances that she committed suicide in 1941. These passionate and autobiographical poems are deep and important. I don't know Russian, so cannot comment on the translation. From them one learns about Tsvetaeva the artist: her subjects are love and transformation, nature, poetry, love, and her complicated, exasperating country -- and, later, the bleakness which enveloped her. Poetry was serious business in Russia, and this poet was one of the greats.

I expected a lot more from this biography. It is muddled, confusing and full of inaccuracies. To start with, there seems to be a real problem with patronymics, which shouldn't happen in a book about a Russian man! For example, Pushkin's lover, Anna Petrovna Kern, appears on the index both as "Kern, Anna Petrovna" and "Petrovna, Anna" - as if she were two different people! This is annoying for anybody who knows that "Anna Petrovna" (name+patronymic) means only "Anna, daughter of Peter", and gives no clue as to the person's surname. All right, this may not be the author's fault, but that of the person in care of the index. And yet, the book itself has many mistakes of the kind. For instance, the chapter dedicated to Pushkin's wife, Natalya Nikolaevna Goncharova, opens with the words "It was at a Moscow ball in the winter season of 1828 that Pushkin first saw Natalya IVANOVNA Goncharova (my capitals), then a sixteen-year-old beauty..." This mistake is repeated more than once. In fact, Natalya Ivanovna was Natalya Nikolaevna's mother, Pushkin's mother-in-law. A biography cannot contain such inaccuracies. Besides, Pushkin's numerous love affairs and relationships are insufficiently explicated, and the whole of the narrative is confusing and takes you annoyingly back and forward through the years. A biography should be more accurate and more carefully written. I enjoyed some parts, though - but I'm afraid it was mostly because of my own interest in its subject!

Dostoevsky once said that Alexsandr Pushkin was the quintessential Russian man because of his compassion and empathy for mankind, despite all of the humiliation and misery that he suffered from his friends, family, and the rest of high society during the later years of his life. Although this description of Pushkin may be colored by Dostoevsky's own Russian nationalistic orientation, Pushkin's impact on Russian literature and culture remains undisputed.

The first part of Feinstein's biography was a bit slow due to the monotonous presentation of Pushkin's love interests, one after another. However, a number of erotic poems and epigrams were included that Pushkin wrote during his earlier years which I found particularly amusing for their juvenile and frivolous nature. Considering the aura of sanctity that was built up around Pushkin's reputation as the figurehead of Russian literature after his death, these lyrics help to paint a picture of who the real man actually was. The plot finally picks up towards the end of the book with the introduction of Georges d'Anthés (the man who fatally shot Pushkin in a duel) and the description of d'Anthés' public flirtation with Natalya (Pushkin's wife), only to be followed by his sudden and suspicious marriage to Ekaterina (Natalya's sister). All of these events made Pushkin the focus of public scrutiny and humiliation, which inevitably led to his fatal encounter with d'Anthés. Feinstein presents a lot of evidence in an attempt to shed light on d'Anthés' complicated personality and why things happened as they did. Although most of this evidence is speculatory, it still makes for interesting reading.

I encountered a number of editorial mistakes in this book which were a bit annoying, although they did not overly detract from the continuity of the plot. Some have already been mentioned by previous customer reviewers, such as the listing of Anna Petrovna Kern (one of Pushkin's premarital lovers) and Anna Petrovna as two separate people in the index when they are actually one in the same person. Additionally, Ibrahim Gannibal, Pushkin's legendary Negro great-grandfather who was a general under Peter the Great, was mistakenly identified as his grandfather at various points in the book. Most aggravating for me, however, was the author's habit of going back and forth in time, such that it became difficult to understand the sequence in which events took place.

Overall, I found this book interesting and worth my time reading. Feinstein presents Pushkin's life story in an engaging and readable style that is well-suited for general readers who have little prior knowledge of the man or his works. Nevertheless, the book is detailed enough such that we are able to gain a good understanding of Pushkin's personality and the circumstances that motivated him to write each of his major works.

It is hard to believe that the man regarded by most Russians as the cornerstone of their literature is not better known in the West; trying to understand Russia without knowing anything about Pushkin smacks of trying to understand the English-speaking world without knowing anything about Shakespeare. Ms. Feinstein does an excellent job describing the life and work of this extrordinary man and his effect on his times and the Russian people. The chapter on the events leading up to the fatal duel reads like Greek tragedy and I was alternately fascinated and horrified by the attitudes of Russian high society and the government towards Pushkin and his inevitable confrontation with d'Anthes. My two quibbles are that the epilogue really doesn't tell us much about what happened to the major characters in Pushkin's life after he died and that Ms. Feinstein's proofreader did not catch that Ibrahim Hannibal was Pushkin's maternal great-grandfather, not his maternal grandfather; the relationship is misstated a number of times in the book. These two fairly minor points aside, this is a book I would recommend to anyone wanting to know more about Russia's greatest writer, Blok's "one bright name: Pushkin."

It is always interesting to have a sequel to a novel, and this one was. Good read, but a bit too much like a romance novel aimed at mainly women.

Elaine Feinstein, a friend of Ted Hughes, has written what amounts to the first full length biography of the former poet laureate. Readers, especially those with a strong interest in his first wife, Sylvia Plath, will feel, I suspect, rather let down by this book, even though the bulk of the biography seems to be about Hughes' relationship with Plath. Feinstein's caution and wish not to offend - Ted's living family, friends, and maybe Ted himself - is evident throughout the book. But more than that, there seems to be little here that readers have not already read before in various sources. Anyone familiar with one or more of the several Plath biographies, or Lucas Myer's recent memoir, 'Crow Steered, Bergs Appeared,' will find the information on Hughes' years in Cambridge, his meeting of Plath and their life together until her death in 1963 completely unsurprising. There are a few 'new' bits of information with regard to Hughes' childhood in Yorkshire but nothing of major interest. There are also some interesting pieces of information regarding his relationship with Assia Wevill and about Assia herself, but again, not much we didn't already know. The relationships he had with Emma Tennant and Jill Barber are better and more thoroughly documented respectively in Tennant's book 'Burnt Diaries' and presumably in Barber's forthcoming memoir. Almost nothing is said about his 2nd wife Carol, or Hughes' children with Plath, seemingly because the biography is unauthorized and Feinstein wishes not to infringe on the personal life of the still living wife and children of her friend Hughes. This restraint for the sake of the living is admirable, but it hardly makes for a well-rounded bio (readers interested in the inherent implications and difficulties of writing biographies would do well to read Janet Malcolm's 'The Silent Woman'.) Indeed, Carol Hughes becomes hardly more than a footnote in her husband's life in this book. In any event, the personal details entailed are certainly not salacious; in fact, I've read quite a few things in Plath bios, on the internet and in the newspapers that are hinted at in this book but never fully explained, or left out altogether, probably because they would be considered too disparaging to the subject. I personally have no problem with this - biography is more than simply gossip and the airing of dirty laundry (at least it should be.) Feinstein is mildly defensive of Hughes when it comes to his personal behaviour in relationships with women, and strikes a balance between that defense and holding Hughes accountable for his actions or non-actions. Feinstein also seems to have a genuine respect and fondness for Hughes, although her use of the first person in some sections in the book throw the reader out of 'biography' and into 'memoir'. I came away with the feeling that biographers should never personally know their subjects, and if personal friends write books about the lives of those friends, the books are more properly called memoirs. The biggest surprise is the fact that Ted's work seems to be discussed hardly at all. Again, since this book is unauthorized I can only assume that Feinstein was unable to get the permission to quote freely from Ted's works. Perhaps I'm wrong, but in any case I was very disappointed at the lack of in-depth discussion of Hughes' work. There are repeated references to Hughes' interest in astrology, hermeticism and neoplatonism, but not much discussion of these influences overall. Basically, I came away from reading this bio no more informed about Ted Hughes than I had been before I read it. For me, Hughes remains a creative, talented, engimatic presence in 20th century literature. I look forward to subsequent biographies that may offer a more psychologically in-depth portrait of the man with a more detailed analysis of his work. Feinstein's book is a general primer for those that want an overview of Hughes' life but not much substance.

It's a pity my review comes late in the queue, because this book is not as bad as other reviewers make out.

Essentially, this book is a history of Ted Hughes' life. It makes no great claims to interpret his ideas inside the covers. What I liked about this book was its attempt to make a balanced description of what happened with Sylvia Plath and the other significant people in his life. The author avoids the rancor and emotionalism that must certainly have engulfed Ted in the years subsequent to Sylvia's suicide.

It's the first account of Ted I have read which suggests that although he had a weakness for beautiful women, he was very patient and kind with Sylvia and tried to help her even after their separation. He continued to support her growing fame after her death. In this book he comes over as a likeable, thoughtful man ' a gentle giant amidst circumstances fraught with extremity.

This biography is wonderfully written and compulsively readable. But most importantly, it finally sheds light on the full, real, complex people that Ted Hughes and Sylvia Plath were. It also dispells and negates much of the awful Anne Stevenson/Olywn Hughes biography, "Bitter Fame".

This book captures the man that captured Plath. It's a much for all fans of both.