This double existence (“as though at the verge of double being,” to quote Tyutchev, whose poetry probably is closest to hers) is the first such case in literature. Most bilingual writers remain themselves when moving to another language. Kane in English is a different person with a different memory. Yet all of this is painted on a Russian canvas; grows from Russian soil, from clay (a word that occurs repeatedly in her poetry, which is important and revealing); from the Russian subconscious and Russian intimations of God. It is Kane’s religious sensibility – not at all church-based, and even more definitely not sectarian – that places her poetry into the tradition of Tyutchev, Tarkovsky, Zabolotsky; it is this circle of authors that determines its poetics and themes.
Poetry needs no introduction, justification or explanation. Kane is a mature poet who has found a way to draw a lyrical theme out of her drama and to transmute this drama into literary fact. Since by now thousands of our compatriots – former, returned, or living in two countries – are burdened with such a double being, this book will be in demand, it will be read, and it will lighten many a soul.
This is the first case in which I do not regret that a talented poet left Russia. She emigrated into literature. And that is the best thing you can choose to do with yourself.
Зимородок / Kingfisher
Посвящаю с любовью моей семье: Аде и Зиновию (Жене) Кане, Брюсу Эсригу и Ариели
и с благодарностью – моим учителям: Вячеславу Лейкину, Стелле Вербицкой, Профессору Эллен Чансес, Крейгу Келлер, Мастеру Ченг Хсианг Ю, Сенсею Грегу О’Коннор, Роберту Фридману