Although the Russian poet Anna Akhmatova (1889–1966) never received the highest literary honour, the Nobel Prize, the veneration she enjoyed during her lifetime as well as her ever increasing posthumous fame have made her one of the luminary figures of modern Europe. Few authors of the past century have been portrayed more often in paintings, sculptures or photographs; few bodies of poetry has been more extensively translated, interpreted, recorded and illustrated; few individuals have featured more in the letters, journals or memoirs of her contemporaries. The extensive biographical chronicles of Lydia Chukovskaya, Emma Gerstein, Mikhail Ardov and other associates have helped create a larger-than-life and almost heroic image of the poet, which has become inseparable from her work.
Anna Akhmatova herself propelled this image to mythical dimensions through the consistent self-stylisation and dramatisation of her own persona. A modern-day Cassandra, she lamented, exhorted, raged. Her view of life was characterised by an omnipresence of violence, betrayal and death. Her first husband was executed as a counterrevolutionary; her son was repeatedly sent to labour camps for political reasons; her second husband was murdered in prison; numerous friends and colleague were victims of the so-called purges.
Meanwhile, she was prohibited from publishing, forced to eke out an existence, mostly living in other people's apartments, places of asylum, emergency accommodation. The body of work that she was able to garner in the midst of her extreme suffering in life and love is a unique and varyingly orchestrated requiem. The fact that the poet was officially and publicly reviled as “half whore, half nun” in the post-war Stalinist period is certainly due to the aura and exalted image that enveloped her, and which was to be maligned at all costs – because it posed an intolerable provocation to the Soviet literary scene.
Among those who accompanied Anna Akhmatova throughout the “century of the wolves” and enjoyed her steadfast trust was Nadezhda Mandelstam.