Poet and Russian translator, born in Moscow in 1937 and died on November 29, 2010. For the depth and quality of his poetic production, characterized by its perfect metric rigor and his exquisite attention to expressive purity, it is regarded as one of the leading female voices of Russian poetry in the second half of the 20th century, during the so-called "Thaw" period.
Born in a cosmopolitan family in which crossed branches of tartar and Italian descent, the young Bella Ajatovna Ajmadulina soon showed an unusual interest in knowledge of different humanistic cultures. So, after taking a degree in literature at the prestigious Gorky Institute, undertook a long trip to Central Asia, where he/she had the opportunity to absorb some of the most relevant literary traditions of his people.On his return to the capital Moscow, he/she contracted nuptials with one of the most outstanding figures of the contemporary Russian poetry, the poet Yevgeny Yevtushenko Alexandrovich, who would separate subsequently. In the company of East - and United, both to the also poet Voznesensky-, Ajmadulina became at the beginning of the 1960s in one of the voices in the poetic generation happened in the Soviet Union after the demise of Stalin, in a political and cultural period known as the "Thaw". The relative freedom that enjoyed the writers during this period allowed Moscow poet to translate into his poems all nonconformity that, years ago, had caused him serious clashes with the rigorous dictatorial Stalinist system, clashes that had provoked publishing silence was reduced work of literature by the author.
But at the beginning of the sixties he/she broke, finally, in the literary landscape of the nation, thanks to the collection of poems entitled Struna (the harp, 1962), a work which won an exceptional reception by readers and critics (knowledgeable, in part, of a good portion of the unpublished work of Ajmadulina, until then only released in private circles). In this collection of poems, the young poet showed one of the rules most characteristic of their particular way of understanding the fact consisting to observe at all times a special respect for the traditional metric forms, poetic. Next to this constant in all his lyric work, Bella Ajatovna Ajmadulina made gala, since its first printed title, a respectful approach to the popular records of the language, always within a creative coordinate governed by their continuous research on poetic language, its desire to achieve greater expressive purity and his firm belief in the symbolic value of the word. In a nutshell, force a poetry that knew to be nonconformist of his message in a so meticulous and perfectly elaborate robes which included its author, its own right among the main cultivators of the poetic virtuosity in the Russian literature of all time.
To Struna (the harp or in other translations, the rope) followed by a second lyrical delivery posted under the heading of Dozhd (rain, 1963), work which came to confirm the mastery of the Moscow-based poet. A year later, Admadulina gave to print Moya rodoslovnaya (my genealogy, 1964), a new book of poems which, without abandoning the strict formal requirements present in previous books, uses experimental innovations to denounce - with a sincerity bordering on recklessness - the outdated, ossified and reactionary mentality of those opening to preserve strict Stalinist orthodoxy.
After five years of publishing - although not creative - silence, Bella Ajmadulina returned to the shelves of libraries with Uroki muzyki (lessons of music, 1969), a poetic delivery that came to inaugurate the stage of maturity of its lyrical production. In this work, the still young poetess introduced a substantial thematic innovation which, without coming to present at their earlier stage loving Affairs, added a serene but bitter reflection about the role reserved to the poet - and, in general, the artistic creator - in contemporary society. Consistent with this more reflective nature of their new content, the formal aspect of the poetry of Ajmadulina takes off now its old expressive virtuosity to win in sobriety and restraint, but without losing one iota of this expressive purity that also characterized the lyrical compositions of the first stage.
The rest of the original work of Bella Ajatovna Ajmadulina comes complete with a collection of poems entitled Stikhi (verses, 1975). In addition, thanks to its careful cultural training, Moscow writer was author of numerous poetic translations of compositions written in different languages.
SLONIM, Marc. Writers and problems of Soviet literature, 1917-1967 (Madrid: Alianza Editorial, 1974)