Марина Цветаева. Проза поэта

...T͡Svetaevskai͡a proza s pervykh slov, s pervykh strok ocharovyvaet, zavorazhivaet: pered chitatelem razvorachivaetsi͡a muzykalʹno-poėticheskoe polotno vospominaniĭ, kriticheskikh zamechaniĭ, dnevnikovykh zapiseĭ. Ėto ta Muzyka, kotorai͡a vylilasʹ v Liriku, i ta Lirika, kotorai͡a porodila Prozu, prozu liricheskui͡u, kak opredelila ee sama T͡Svetaeva. Poėtomu ispolʹzovanie stikhotvornykh priemov, poėticheskikh obrazov v ėtoĭ proze zakonomerno. To, chto ne vyplesnulosʹ v stikhi, vyskazalosʹ v proze, a tak kak v osnove i togo i drugogo lezhat biograficheskie fakty, my stalkivaemsi͡a s neobychnym i͡avleniem: Marina T͡Svetaeva rasskazala o vremeni i o sebe i͡azykom poėzii i prozy, i ėti dva zhanra organichno dopolni͡ai͡ut drug druga.

...Tsvetaeva's prose fascinates and fascinates from the first words, from the first lines: a musical and poetic canvas of memories, critical remarks, and diary entries unfolds before the reader. This is the Music that turned into Lyrics, and the Lyrics that gave rise to Prose, lyrical prose, as Tsvetaeva herself defined it. Therefore, the use of poetic techniques and poetic images in this prose is natural. What did not spill out into poetry was expressed in prose, and since both are based on biographical facts, we are faced with an unusual phenomenon: Marina Tsvetaeva spoke about time and herself in the language of poetry and prose, and these two genres organically complement each other.