By Yannis Ritsos
Approximately this author
Yannis Ritsos is taken into account to be one of many 5 nice Greek poets of the 20th century, including Konstantinos Kavafis, Kostas Kariotakis, Giorgos Seferis, and Odysseus Elytis. The French poet Louis Aragon as soon as acknowledged that Ritsos used to be "the maximum poet of our age."
He has been nominated for the Nobel Prize in Literature 9 occasions. All nominations were unsuccessful, arguably because of his left-wing political beliefs.
When he received the Lenin Peace Prize (also referred to as the Stalin Peace Prize sooner than 1956) he declared: "this prize is extra very important for me than the Nobel Prize".
His poetry has been banned long ago every now and then in Greece, as a result of his left wing beliefs.
Yannis Ritsos was once born in Monemvassia (Greece), on might 1st, 1909
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Additional resources for Yannis Ritsos: Selected Poems
Sample text
The four years in these various concentration camps did not, however, silence him. On Makronisos he placed his poems in a bottle which he buried in the stony ground; on Agios Efstratios ('Ai Stratis') he was able to recite his works to his fellow prisoners - which explains the straightforward style employed during this period. Probably the most celebrated individual piece is the 'Letter to Joliet-Curie', dated November 1950, a poem which was smuggled out of Greece at the time, unknown to its author.
He followed the somnambulist's steps above him on the roo£ Each step echoed without end in his own hollowness, thick and muffled. He stood at the window, waiting to catch him if he fell. But if he too was pulled down in his fall? A shadow of a bird on the wall? A star? He? His hands? The thud was heard on the stone pavement. Dawn. The windows opened. The neighbours ran. The somnambulist was running down the fire escape to look at the one who had fallen from the window. 55 Shadows of Movement ' I'll go away' - she said - ' I'll go away.
We should also add that Ritsos, a poet not normally given to theorizing in prose about his verse, has never theless issued in recent years some crucial statements of intent. In an unpublished introduction to Testimonies broadcast in Prague in October 1962, he spoke about his growing conscious ness of all that is 'vague, perplexing, incomprehensible and directionless in life . ', about his desire to hide the tragic element of the poems behind a 'mask of impassivity', about his love for the words 'perhaps' and 'or', his fear of rhetoric, his continuing gratitude for everything that life has to offer, and his unshaken belief that the role of ar t is to transform negation into affrrmation.