Is Bella Akhmadulina's own daughter Anna. Interview with Bella Akhmadulina's daughter Elizaveta Kulieva: "One who is alone cannot be counted"
DatsoPic 2.0 2009 by Andrey Datso
Bella Akhmadulina is a rare, stunning, remarkable phenomenon in Russian poetry. Her poetry is masculinely strong, her poetic talent is exceptional, and her mind is impeccable. She is recognizable in every line, it is impossible to confuse her with anyone ...Bella Akhmadulina was born on April 10, 1937 in Moscow. Her father was the Deputy Minister - Akhat Valeevich Akhmadulin, a Tatar by nationality, and her mother was a translator of Russian-Italian origin. There is nothing surprising in the fact that the intelligent atmosphere prevailing in the family contributed to the development of Bella's creativity.
She began to publish at school, by the age of fifteen, having found her own creative style, she was engaged in a literary circle. Therefore, when the question arose of where to go to study after school, the decision was unambiguous - only the Literary Institute. True, she was expelled from it for some time when the poetess refused to support the persecution directed against Boris Pasternak, but the official reason for her expulsion was an unsatisfactory assessment on the subject of Marxism-Leninism. Then, at the institute, she was reinstated and graduated in 1960, and in the same year she already gained some fame thanks to her numerous poetry performances at Luzhniki, Moscow University and the Polytechnic Museum. She, along with her comrades in the shop, with Andrei Voznesensky, with Yevgeny Yevtushenko, (she was married to him from 1955 to 1958) with Robert Rozhdestvensky gathered incredible audiences. True, Bella wrote her most famous poem “On my street which year ...” back in 1959, when she was only twenty-two years old. Subsequently, Mikael Tariverdiev (1975) will write marvelous music to these poems, and this romance will sound in the cult Soviet film by Eldar Ryazanov "The Irony of Fate, or Enjoy Your Bath!"
The first collection of the poetess "String" was published in 1962. In 1964, Bella Akhatovna became a film actress, starring in the film "Such a Guy Lives" by Vasily Shukshin, where she played the role of a journalist. This film was awarded the Golden Lion at the Cannes Film Festival. Then another film work followed - in the film "Sport, Sport, Sport" in 1970. In the same 1970, another collection of poems by Akhmadulina, Music Lessons, was released. Then followed: "Poems" (1975), "Snowstorm" (1977), "Candle" (1977), "Mystery" (1983), "Garden" (1989). The latter was awarded the State Prize of the USSR.
Akhmadulina was the first wife of Yevgeny Yevtushenko, later - the wife of Yuri Nagibin. From the son of the Balkar classic Kaysyn Kuliev - Eldar Kuliev in 1973, she gave birth to a daughter, Elizabeth.
A huge place in the heart of the poetess was occupied by Georgia, which Akhmadulina visited in the seventies, and which she fell in love with with all her heart. Bella translated the poems of Georgian poets: G. Tabidze, N. Baratashvili and I. Abashidze, trying to convey the beauty of their words, their incredible lyricism to Russian-speaking readers. In 1974, she married Boris Messerer, and this was her fourth marriage.
Daughter Elizaveta Kulieva, like her mother, graduated from the Literary Institute.
The second daughter, Anna, graduated from the Polygraphic Institute and designs books as an illustrator.
In 1979, the poetess took part in the creation of the literary almanac "Metropol". The almanac was uncensored, which corresponded to the freedom-loving spirit of Akhmadulina. She more than once supported the disgraced Soviet dissident authors: Vladimir Voinovich, Lev Kopelov, Andrei Sakharov, Georgy Vladimirov. She published statements in their defense in The New York Times, her speeches were broadcast on Voice of America and Radio Liberty. The poetess died in 2010, on the twenty-ninth of November. In recent years, according to her husband, Bella Akhatovna was very ill, almost blind and moved by touch, but the spirit of this extraordinary woman was not broken. She did not like to reproduce in her lyrics the story of spiritual sorrow and suffering, but she often pointed to them, she understood the underlying basis of being: “Do not cry for me ... I will live!”
Interview with Bella Akhmadulina's daughter Elizaveta Kulieva: "One who is alone cannot be counted."
April 10 is the first birthday of Bella Akhmadulina, celebrated without her. After her departure. The poet, to whom "the task was dictated from heaven," would have turned 74. A year ago, at about the same time, we agreed with Bella Akhatovna to make a book of conversations. Because of problems with her eyes, Akhmadulina did not write for a long time, but to tell - oh, there was something to tell! She was full of enthusiasm, in great shape. Impatiently, on the phone, she began to talk about what was intended for the book. Then she fell ill ... Now everything connected with the name of Akhmadulina seems especially precious. In Liza Kulieva, the bland resemblance to her mother is not immediately evident. But - some kind of turn of the head, suddenly the same modulation of voice, laughter - and for a moment it’s like Bella in front of you, not repeated (who would dare to encroach on it!), But passing on to the youngest daughter what she herself called "the mark of our unity" . Today, Elizaveta Kulieva, in an exclusive interview with NG, tells what her mother and her sister Anna were like in life.
- Several years ago, in an interview with a magazine, Bella Akhatovna called her love for you meek and added that, apart from this feeling, she does not help you in anything else. How much is Bella Akhmadulina's meek love?
- I will try to explain what, according to my feelings, meek love in my mother's understanding. As a child, she herself suffered from suffocating love, which is characteristic of many parents. This is such an overabundance of feelings, overwhelming with excessive guardianship. Grandmother was a very energetic, strong-willed person. Probably, her desire to penetrate into all the nooks and crannies of her daughter's existence frightened her mother, especially considering the unusual nature of her nature, the subtlety of the psyche, the need to be alone with her thoughts.
Mom lacked personal space, she felt increased care as evil. Therefore, she was always afraid to press on us with her love, she tried to give the children more air. In her case, gentle love meant very strong feelings, but with a minimum of obvious supervision. Mom quite consciously, clearly formulating for herself, gave us considerable freedom.
Bella Akhmadulina is a Soviet poetess, translator, writer, her work became one of the bright pages of the poetic boom of the 60s. She always called herself only a poet and found inspiration in simple things.
Childhood and youth
Isabella Akhatovna Akhmadulina was born in April 1937 in Moscow into an intelligent and wealthy family. Her father served as a deputy minister, her mother was a KGB major and worked as an interpreter.
Together with them, Bella Akhatovna Akhmadulina began to appear at creative evenings, where she read her works penetratingly, in a manner peculiar only to her. Her light, airy poems were a success. Although there were many critics. Akhmadulina was reproached for her intimacy, old-fashionedness and pompous style.
The second poetry collection Chills was published in Frankfurt in 1968. A year later, another book of lyrics appeared, called Music Lessons. Bella Akhmadulina created a lot and with anguish. Her writings, read in one breath, have been through suffering. The collections "Blizzard", "Poems", "Candle" followed one after another.
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Poet Bella Akhmadulina
In the 1970s, Bella Akhmadulina visited Georgia. This country and its culture made a great impression on the poetess. However, like Akhmadulina on Georgia. The result of this mutual love is a collection of poetry "Dreams of Georgia". Bella Akhatovna translated poems by Galaktion Tabidze, Nikolai Baratashvili, Simon Chikovani and others into Russian. And the journal "Literary Georgia" published the works of Akhmadulina even at a time when there were ideological prohibitions on them in Russia.
Akhmadulina is the author of many essays about outstanding creative personalities. She wrote works about Vladimir Nabokov, and other talented people, many of whom she was personally acquainted with.
Literary evening of Bella AkhmadulinaIn 1979, Bella Akhmadulina became one of the creators of the Metropol, an uncensored almanac. Often she openly supported Soviet dissidents, among whom were Lev Kopelev, and many others. The statements of the poetess in their defense were published by the New York Times. They were read out on Voice of America and Radio Liberty.
In 1993, Akhmadulina put her signature under the "Letter of Forty-Two", the authors of which demanded that the president ban "all types of communist and nationalist parties." In 2001, Bella Akhatovna signed a letter in defense of the NTV channel.
Movies
Bella Akhmadulina starred in only two films - "Such a guy lives" and "Sport, sport, sport." The first picture, the scriptwriter and director of which was, was released in 1959, when Bella was 22 years old. Akhmadulina played a journalist who writes about a simple guy who committed a heroic deed.
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Leonid Kuravlev and Bella Akhmadulina in the film "Such a guy lives"
The tape was awarded the Golden Lion at the Venice Film Festival. In the film "Sport, Sport, Sport" by Elem Klimov, Bella Akhmadulina read her poems about sports and athletes.
But if Akhmadulina in the role of an actress can only be seen twice, then her poems and songs often appear in the tapes, bringing an unusual charm and an amazing romantic aura. Movies that have become cult are an example. In "" a song sounds on the verses of Bella Akhatovna "On my street which year ...", performed. Later, a number of songs to the words of Akhmadulina replenished the repertoire of the Russian pop prima donna.
Bella Akhmadulina - "Oh, my shy hero." Reader Svetlana NemolyaevaIn "Cruel Romance" the heroine sings "And in the end I will say." The verse "Oh, my shy hero", read in "", is also an essay by Akhmadulina from the collection "Chills". Unforgettable and original is the style of Bella Akhmadulina's recitation. , who voiced Piglet in the cartoon about, took "Akhmadulin intonations", for which the poetess jokingly thanked her for the "planted pig".
Often the unusual name of the poetess inspired her colleagues to humorous epigrams. Writers preferred to combine Bella Akhmadulina and in their lines. Both poets refused commemorative orders in honor of the anniversary of the Writers' Union, so soon an epigram spread in the poetic environment:
"Only Bella and Bulat refused awards."Personal life
Akhmadulina married at an early age, as soon as she was 18 years old. Her first husband was Yevgeny Yevtushenko. Together they lived for 3 years. The divorce took place after a pregnancy interrupted at the request of the spouse. Later, Eugene reproached himself for the rash proposal, which was the beginning of the end of his relationship with his wife.
... Being a guest of Kashif Elgarov, a living legend of our literature, looking at numerous photographs in which the aksakal has been captured for more than six decades, he drew attention to three almost identical photographs taken in the autumn of 1956 on the Red Square of the capital. On them, Kashif, a student of the Literary Institute, is depicted with his teacher, songwriter Alexander Kovalenkov, the author of the lines popular in those years, “The sun hid behind the mountain, / The river rifts were clouded, / And along the steppe road / Soviet soldiers went home from the war”, his wife Elizabeth and classmates - Stas Valis, about whom I did not find any information even on the all-knowing Internet, and Bella Akhmadulina (1937-2010), whose name speaks for itself.
Along with these photographs lay another one taken in the same year, but not in the capital, but in Nalchik. On it next to Kashif (with a stack of books in his hands) are two young guys. These are the Mullaev brothers - Zuber and Boris. The latter is better known as Barasbi, in whose filmography the films Avalanche from the Mountains, Hero of Our Time, Horseman with Lightning in His Hand, Camp Goes to the Sky, Wild Terek, Peaks Don’t Sleep, Wounded stones", "Let's part - while good", "Road to the edge of life" and a number of others.
And who is the boy? I asked more out of curiosity than any interest.
- This is Eldar Kuliev, - answered Kashif.
And the photographs that happened to be nearby formed a mosaic of human fate.
Wikipedia on the personal life of Bella Akhmadulina reports as follows: “From 1955 to 1958, Akhmadulina was the first wife of Yevgeny Yevtushenko. From 1959 to November 1, 1968 - the fifth wife of Yuri Nagibin. This marriage collapsed, according to Nagibin himself in his published "Diary" and Vasily Aksyonov's fictionalized memoirs "Mysterious Passion", because of the bold ... experiments of the poetess. In 1968, while divorcing Nagibin, Akhmadulina took care of her adopted daughter Anna. From the son of the Balkar classic Kaysyn Kuliev - Eldar Kuliev (1951-2017) in 1973, Akhmadulina gave birth to a daughter, Elizabeth. In 1974 she married for the fourth and last time - to the theater designer Boris Messerer ... The first daughter, Anna, graduated from the Polygraphic Institute, draws up books as an illustrator. Daughter Elizabeth, like her mother, graduated from the Literary Institute.
The site http://sobesednik.ru contains an interview with Alla Grigoryevna Nagibina, the widow of the famous writer Yuri Nagibin. It is full of the most piquant details, which we will omit, and reproduce only the main thing: “In 1967, passions boiled in the company of those whom we now call the “sixties”. Yuri Nagibin put his wife, Bella Akhmadulina, out on the street, firmly declaring: “I will no longer live with you!” - Bella didn't want to leave Yuri. For eight years of marriage, they often parted, once a break in relations reached a year. Therefore, everyone thought: they will rage, rage and reconcile. But Nagibin said: "That's it!"
... Why Nagibin was adamant, it becomes clear if you read a scene from Vasily Aksenov's novel "Mysterious Passion". In it, he described the separation of Yuri Nagibin and Bella Akhmadulina, in the novel he calls her Ahho or Nella: “He opened the door with his key, stepped inside and immediately flew back to the stairwell ... Excessive perfume, excessive coffee, excessive nicotine, excessive cognac ... He reached the living room and playfully called, "Ahho!" The answer was silence, slightly broken by the disturbing female snorer. He stepped into the bedroom and was dumbfounded ... "
Alla Nagibina continues: “Marriage with the son of the Balkar classic Kaysyn Kuliev, Eldar, is the most mysterious in Akhmadulina’s biography. Where this man came from, no one in Bella's company understood. For example, Nagibin writes that he met him in a restaurant, where ... he stood up for a young man. Eldar was 17 years younger than Bella, but they became friends. Maybe that's why, having filed an official divorce from Akhmadulina, Nagibin relented towards her and bought an apartment for her and her husband. - They lived in the same house, on Chernyakhovsky Street, as Yuri and I did.
... Bella did not live long with him.
But it was not the details of the personal life of Bella Akhmadulina and Eldar Kuliev, which, unfortunately, are available to everyone on the Internet, that prompted us to turn to this story, but the interconnection of random, at first glance, episodes that formed its basis.
... Literally a couple of days after the meeting with Kashif, it became known about the death of Eldar Kuliyev on January 14 of this year. The obituary, which was placed by the republican newspapers, said that Kaysyn's son “made a three-episode television film at the Dovzhenko film studio according to his script “Wounded Stones”; his story "Farewell Look" "received recognition in the literary and reader's environment."
On the same day, Sergey Kasyanov, a former Nalsk resident, who now lives in Moscow and works as a concert director, came to the publishing house. Sergey is a very famous person in pop circles. What he does and who he is is revealed by the information posted on the Center for the Revival of Operetta website: “This man accompanied Alla Bayanova on her creative path for 20 years, helping her organize concerts and creative meetings. With his help, Vladimir Zeldin, Lyudmila Lyadova, Rimma Markova and many other idols of the Soviet era, who found it difficult to adapt to the market realities of the changed country, gathered full houses. He managed to remind the general public of the still talented "old men".
Sergey is responsible for organizational work with creative teams, including tours around the country.
We have known Sergei for a long time, he took part in a number of our expeditions around the republic, and when he comes to Nalchik he makes himself felt. It was during this visit that he saw the photographs taken from Kashif Elgarov lying on the table and prepared for scanning. He peered and said inquiringly: “Bella Akhmadulina?” A, having received an affirmative answer, continued: “Surprisingly, we just remembered her. The fact is that I brought from Moscow the icon of Bella, which Volodya Mokaev gave her, but it so happened that she could not pick it up. And the icon returned to Volodya again.
But in order for the reader to understand everything in this story, it must be told first.
And it was like that. In 1970, Eldar and Bella arrived in Nalchik. At first they lived in Kaysyn's apartment, but then Akhmadulina (for well-known reasons) moved to the Rossiya Hotel; their room was on the top floor. Young people led a riotous life, and she demanded money. One day, Eldar called Volodya Mokaev, now a well-known artist, poet, musician, museum worker, in a word, a person who was comprehensively developed and creatively accomplished. Volodya and Eldar had known each other since childhood, as they lived in neighboring houses along Lenin Avenue. Mokaev responded to a request to help out financially - he came to the Rossiya Hotel, giving the last triplet. At that time, the amount was quite substantial. Volodya recalls how Bella, standing on the balcony, looked at the mountains, read poetry, ending them with the words: “Pushkin, Lermontov, and now I saw them.”
This was not their only meeting. Unfortunately, the cheerful life continued and the icon that Akhmadulina brought with her went to ensure it. Volodya was asked to sell it. But there was no buyer for this unusual thing, and it so happened that it was left to Mokaev on account of the amounts received from him.
This icon is unusual - from the Russian North, they are called “Northern Letters”. North Russian icon painting is characterized by simplicity of images, brightness and purity of colors. The Akhmadulinsky one depicts Nil Stolobensky (end of the 15th century - 1555), who founded the Nilo-Stolobensky hermitage and canonized as a saint. Neil's asceticism reached the point that he even refused to sleep lying down and, in order not to take a horizontal position, drove stakes into the wall of the cell; leaning on them, and rested. That's why they called him the Stylite. These pegs are also on the icon.
In short, the icon remained in the collection of Vladimir Mokaev. In subsequent years, Bella repeatedly came to Kabardino-Balkaria, they saw each other. At one time there was even talk of publishing his book, which Akhmadulina promised to attach to one of the foreign publishing houses. But this has not yet come to pass.
And then this is what happened. According to Volodya, one night in 2010, in a dream, he heard a voice telling him to return the icon to Akhmadulina. Mokaev told his wife about this, and they both decided that such a dream most likely portends an imminent departure.
Volodya did not even have to think about how to transfer the icon. On the same day at the exhibition in the Republican Museum of Fine Arts in Nalchik. where Mokaev works as the chief custodian, he met a young man who introduced himself as Sergei Kasyanov. During the conversation, it turned out that the concert director is now organizing a creative evening for Bella Akhmadulina. Sergei agreed to hand over the icon.
But this never happened. November 10, 2010 ended the life of one of the most brilliant poets of our country. The icon of Nile the Stylite never returned to her. After the death of Bella, Kasyanov called Mokaev and asked what to do next. Volodya asked to give the icon to his daughter Bella, but she refused to take it, saying that her mother had not told her anything about it.
Neil the Stylite has returned to our city...
... Volodya brought the icon to the publishing house. I held in my hands this small board, blackened from time to time, and tried to understand what was behind this cycle of events: from Moscow to Nalchik, then to Moscow and back to Nalchik; who this shrine was for the one to whom it belonged, why it left her hands and never returned, although circumstances seemed to favor this.
Neil the Stylite could answer my questions, but he was silent: icons do not speak, they only look...
Shortly after the death of Bella Akhmadulina, an interview with her daughter, Elizaveta Kulieva, was published on the Sobesednik.ru website. Here are some snippets from it:
“... Mom was afraid for her insight. It was believed that she, like an x-ray, sees people through. Mom had a definition: "a benign person."
She cracked through the “poor quality” like a clairvoyant. I have always been surprised that vigilance, flair in it in an incomprehensible way are combined with innocence. I did not suspect only its scale. In recent months, when we were in close contact, my mother's disarming credulity downright slayed me at every step.
Usually it all depended on her relationship to the person. If she was disposed towards him, then she trusted him enthusiastically, boundlessly. If a negative attitude arose (and often biased, inexplicable), then - absolute hostility. She was not rude - although she allowed herself to be harsh when confronted with scoundrels. But mother made an aloof, gloomy face, as if expressing: I am so bored with you. The word "boring" was defining in her attitude to a large part of humanity. This does not mean that she despised anyone. I just couldn't find common ground...
... So I'm thinking: what unites the three of us? We are all different - mom, Anya, me. However, there is a family trait, it is not ... bam, genetically transmitted, our mother raised us in such a way that we are not capable of meanness. Both my sister and I do not know how to weave intrigues, to slander. At work, it’s easier for me to directly embed than to act on the sly ... It wasn’t that my mother, for example, said: “Sit down, girls, I will explain to you what is good and what is bad.” Never - in an edifying form, never - notations, but everything she said was about this: a person must be honest, generous; greed, cowardice, vanity are disgusting. By "good quality" was meant openness, inability to betray, the ability to sympathize. I mean, she raised us. Including mentioning situations and her own actions when she showed these traits.
… Only a few months have passed since my mother passed away, and now we just feel a gaping hole in the place of the heart. It seems to me that another six months or a year will pass and I will understand: my mother is in everything that is in the world, around. I will feel it flowing into me, into Anya, into every surrounding thing ... It will be so. In the meantime, her physical absence is a failure, a huge emptiness. And the fact that my mother is a great poet, so from childhood we learned well to separate one from the other. Anya and I do not feel like the children of the great poet, but the children of our mother. And at the same time we know that she is a great poet. For us, it's completely unwoven."
... Bella Akhmadulina left. Gone forever. But they remained, and remained forever, her poems, her unique voice. And an icon that remembers the warmth of her hands.
SHE DESPITED THE SOVIET LANGUAGE
In poetry, Bella was not a rebel. She readily acknowledged the supreme role of her teachers. This iconostasis - Tsvetaeva, Akhmatova, Pasternak and Mandelstam - was her altar, she wrote in verse that they all said that there was nothing more. It seems to me that, on the contrary, it is necessary to rebel viciously, from youth to tear paper, and not glue the pages. This did not happen with Akhmadulina - but much more happened.
Bella's innovation was that she despised the Soviet language and introduced archaism into it, gallant refined expressions, she turned poetry towards the individual, towards private life. It is difficult to put her on a par with Khlebnikov, Mayakovsky or Brodsky. Although Brodsky gallantly called her the best - but, obviously, after himself ...
And, of course, her passion for friendship. Her poetry is the poetry of friendship. Hence Pushkin's intonations. Once, when she was tired, she called it - "asexual monster friendship." It's very accurate.
TWO MASKS - BELLA AND VYSOTSKY
It is rather comparable to Vysotsky, they are two parallel phenomena. Vysotsky consisted of a guitar, of wheezing, of poetry, of bohemia - drunkenness and life to break. Akhmadulina also consisted of different parts.
If Vysotsky has a wheeze, then Akhmadulina has a silver spring voice. Strong and bewitching. This is her raised chin, bangs. But the main thing that united them was a poetic mask. And with a mask jokes are bad. Bella was secretive. The mask makes a person impregnable, creates myths, but prevents one from feeling oneself.
A great poet is either afraid of cats, or God, or death. There are many careless judgments about the existence of the Almighty in her poems. But it was charismatic for the 60s. Volodya also had his own mask. But she broke down sometimes strongly ... I believe that these two images - Bella and Volodya - are a monument to their time.
Demonic Mind
Akhmadulina is damn, demonically smart. And a lot of loneliness has accumulated in her, precisely because of the mind. Bella is also absolutely stranded. All the Tatar-Mongolian yoke was united in it in the sense of energy. She wrote both at night and after drinking. There was a queen of bohemia, and a queen of moral court - it's paradoxical, but true.
And Bella had a good idea of who was who. Then in Moscow there were only two places where distinguished guests sought - this is the Kremlin and the attic of Messerer and Akhmadulina. And there, in the attic, everyone was given such comic "shoulder straps". Antonioni came, so he was a marshal. Brodsky is also a marshal. And I slowly grew in ranks there ...
Without her, the sixties would have been skinny, bony. She was soft tissue, the flesh of a woman.
It had everything - sex and charisma ...
I fell in love with her in the ninth grade, at the age of 15. I went to her evenings in the Tchaikovsky Hall. And he suffered from the thought that here is a woman living a festive, carnival life, and I am such an old Moscow schoolboy. But in the end, it was she who confused me and even seduced me with something - even before we met.
And we met violently in 1978, when we were making Metropol. She was bold, in the prime of beauty and very seductive, irresistible. I was her faithful knight, served as a feeling. Not only schoolchildren fell in love with her, but also generals of the KGB, Sakharov, and, I am sure, Brezhnev would have taken an autograph willingly. She had everything - sex, and drunkenness, and charisma, and a high chin.
Messerer - the light of life
Borya is her savior, her muse. They are an interesting combination. There everyone is the Master and Margarita in front of each other. Borya always dressed her in the best, and it was always black and white. He prolonged its existence and extracted from it many verses that would have remained as dust. Now he cares endlessly about her archive. And he is heartbroken. This is love to death.
In her youth, she knew how to walk a lot ... but this is from other people's words, I already know her differently, stable. But her friendship with my namesake Venichka Erofeev, who was also such a synthetic figure, is also understandable. His "Moscow - Petushki" is strongly associated with drunkenness, with sharp assessments of what is happening around. In this they are united.
Around "one hundred and first kilometer"
There was some kind of evolution in Bella when she looked around and realized that there was one "one hundred and first kilometer" around her. And somehow she fell silent. And that silence was her strength. She just didn't lie.
Rather, time a little begged for her right to exist, than vice versa.
The youngest daughter of Akhmadulina Elizaveta KULIEVA: “Mom always remained a child - that’s why she looked young”
Vladimir Pozner in his book writes about the attitude to the poetry of Akhmadulina, Voznesensky in the 60s - they say, they did not go for poetry, for spiritual freedom. Compared the attitude towards them and to Vysotsky. Measuring, by the way, Akhmadulina eternity, and Vysotsky - today's day.
Mom considered Vysotsky a genius. They were friends. Once Vysotsky came to our house at the "Airport" - I was five years old, and Anya, my sister, was ten. And suddenly my mother said: "Vladimir Vysotsky will arrive now." We didn’t know who it was, but by intonation we understood that it was some kind of wonderful person. He came and gave us an Alice in Wonderland record. We have always been proud of the inscription on the disc: "Ana and Lisa from Vladimir Vysotsky."
- Is it true that poetry is born from burning pain or love?
I know exactly what hurt my mother, she always sympathized with people forced to work hard to earn a living. And my mother's heart broke when she saw homeless animals. And when faced with cruelty.
I make a living from advertising. From childhood, my mother taught my sister and me how important it is not to depend on anyone. And my independence was the subject of her pride. There is just nothing reprehensible in advertising: it is the best of everything that is shown on TV.
- How she endured aging - it's hard for such a beauty ...
At heart, my mother was a child and therefore always looked young. And she was not afraid of age: ugly old age and nostalgia for lost youth are the lot of stupid people. Mom was smart and looked great. She was oppressed by something else: in recent years, due to blindness, she could not read and write. I think she simply decided not to live, because she could not vegetate in idleness. This is how I explain her illness and sudden departure to myself.
- They say that Akhmadulina treated money condescendingly?
Yes, sometimes there was not enough money: in the early 80s, my mother was forbidden, books were not published. At one time, our nanny, instead of receiving a salary from her mother, worked part-time with her neighbors - so that Anya and I could eat well. These are the people you've met before.
- How did you celebrate birthdays, what did you give?
Mom turned a birthday into an unforgettable holiday. While I slept, piles of gifts were placed under my pillow, or when I woke up, a bicycle drove into the room. And there was always a huge children's table on the terrace. And along with the gifts, my mother gave me a poem.
In general, my mother knew how to rejoice and please others. Her tragic image is rather that Bella Akhmadulina, which was created by the public. She loved life very much. Her early texts are full of this delight in life, love for everything that exists. That's what I love most about her. And that's the kind of mother I miss the most.