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Yevgeny Yevtushenko (1933-2017) - name also spelled Jevgeni Jevtusenko; Evgenii Evtushenko

 

Internationally one the best-known poets of the post-Stalin period, who became with The Third Snow (1955) and other works a spokesperson for the younger generation. Throughout the Khrushchev and the Brezhnev periods Yevgeny Yevtushenko travelled widely abroad, giving readings as a symbol of a new freedom in the Soviet Union. Especially in the United States the 6-foot-3-inch Siberian poet received a great deal of attention. Yevtushenko's early poems show the influence of Mayakovsky. In spite of his outspokenness and conflicts with the authorities, he was also loyal to communism.

"Why is it that in folk songs of all nations and all ages people express the desire to become birds? Because birds know no borders. People are mortally envious of animals for their freedom, and probably that is why we try to deprive them of it by forcing borders on them—be they the barriers of zoo, the bars of a circus cage, or the transparent but still prison-like walls of an aquarium. People insult their one God-given planet with impassable fences (which Robert Frost described with such a bitter irony)—with barbed wire, with iron or newspaper curtain. The division, the separation of the earth's surface, turns into mutual verbal and physical cannibalism. Our lack of knowledge of each other is like that of a blind sculptor, dangerous in his aggressive naiveté, who creates figures of so-called enemies." (from Divided Twins: Alaska and Siberia by Yevgeny Yevtushenko, translated by Antonina W. Bouis, Viking Studio Books, 1988, p. 33)

Yevgeny Yevtushenko was born in Zima in Irkutsk, a small junction on the Trans-Siberian Railway. He was a fourth-generation descendant of Ukrainians exiled to Siberia under the Czars. Both of his parents were geologist. Yevtushenko's father, Aleksandr  Rudolfovich Gangnus, was of Latvian descent, the son of Rudolf Gangnus (1883-1949), a mathematician and high school teacher. Yevtushenko's maternat grandfather, Yermolai Yevtushenko, was a Red Army commander. Both became victims of Stalin's purges.

Yevtushenko's parents separated in the late 1930s. The young Yevgeny moved with his mother, Zinaida Ermolaevna, to Moscow, but after the German invasion, they were evacuated to Zima. In 1944 they returned back to Moscow.

At school Yevtushenko was a bad student. After being expelled, he accompanied his father on geological expeditions to Kazakhstan in 1948 and to the Altai mountains in 1950. Yevtushenko's first published poem appeared in a sporting jounal in 1949; at that time he wanted to become a soccer player.

Razvedchiki griadushchego (1952, Prospectors of the Future), with which Yevtushenko debuted as a poet, earned him a place at the prestigious Gorky Institute of Literature, but he was soon kicked out for insubordination. 

A few years after Stalin's death in 1953, a period of "thaw" began in Soviet culture. Zima Junction (1956), Yevtushenko's first important narrative poem, was about his visit to his birth town in the summer of 1953. In the Soviet Union it was received with enthusiasm: Yevtushenko touched a taboo subject, the burden of Stalin's heritage. Reviews in the West were generally favourable, even though Charles Higham did not like Yevtushenko's free style of writing. "It reads like chopped-up prose, full of boring anecdotes and conversations, devoid of a single strinking image and only tolerable at all because of its directness and lack of pretension." ('The Dullness of Yevtushenko' by Charles Higham, The Bulletin, March 19, 1966)

Yevtushenko gained international fame with Babi Yar (1961). The poem is one of most famous literary treatments of the massacre of Jews in occupied Kiev on 29 September 1941. Yevtushenko denounced the Nazis and at the same time criticized – like an over-enthusiactic member of the Komsomol – his own country for forgetting the message that the "Internationale unites the human race." "O my Russian people! / I know that you are really international. / But those with unclean hands / Have often loudly taken in vain / Your most pure name." (The Soviet Government and the Jews 1948-1967: A Dumented Study by Benjamin Pinkus, 1984, p. 115)

Originally published in the Literaturnaya Gazeta (19 September, 1961), Babi Yar provoked a storm of controversy by breaking the silence about Soviet anti-Semitism. Vladimir Firsov, an anti-experimentalist poet, argued that Yevtushenko sympathized more with Jewish than Slavic victims. Recitals of the poem drew crowds of young people. Yevtushenko stood before the audience as a very courageous person. The writer and painter Olga Carlisle (granddaughter of Leonid Andreyev) described him as a "very tall and slender man with "transparent blue eyes. . . . He is fair and has high cheek bones, his eyes are narrow and shrewd. His manner has a kind of winning candidness, yet it seemed a little calculated, as that of a flirtatious child." ('Yevtushenko, Yevgeny (Aleksandrovich),' in World Authors 1950-1970, edited by John Wakeman, 1975, p. 1579) Babi Yar was not officially printed in Russia until 1984. Nevertheless, it was frequently recited in both Russia and abroad. 

Composer Dimitri Shostakovich set the words to music as the first part of his Thirteenth Symphony;  four other poems by Yevtushenko completed the text for the five movements of the work. Despite advisement of Premier Khrushchev, the Soviet Presidium, and a number of artists and writers to call off the premiére, the symphony was performed on December 18, 1962. Shostakovich's work was banned until Yevtushenko made alterations in his verse. The Communist Party secretary Nikita Khrushchev forced to add lines about the Slavs slaughtered in Kiev.

'Nasledniki Stalina' (1961, The Heirs of Stalin) was a slap in the face of the cultural elite. Curiously, it was published presumably with Party approval in Pravda, and contained a warning that Stalin did not die. "And I appeal / to our government with a plea: / to double, / and treble, the guard at this slab, / so that Stalin will not rise again, / and with Stalin-the past." In a interview Yevtushenko confessed that he broke down in tears upon learning of the dictator's death in 1953. Awakening began from the funeral, where people were trampled to death.

Yevtushenko dealt with burning topics of the day with a strong rhetorical note; his poems echoed the feelings of a whole disillusioned generation. It has been said that most of his political poems are bad verse in a good cause. In the West, Yevtushenko attacks on Stalinism and bureaucracy resonated with the New Left.

As a correspondent for Pravda, Yevtushenko visited Cuba, where befriended Fidel Castro, and wrote with Enrique Piñeda Barnett the screenplay for Mikhail Kalatozov's episodic film Soy Cuba (I Am Cuba), released two years after the missile crisis in 1964. This propagandistic work fell soon into obscurity, but decades later in was  and hailed as a masterpiece especially due to Sergei Urusevsky's innovative camerawork. Yevtushenko's Cuban friends included the dissident poet Heberto Padilla (1932-2000), whose work he made known in the Soviet Union. He adviced Padilla to keep a low profile. 

In December 1962, Nikita Khrushchev arranged an informal discussion with Soviet intelligentsia, in which Yevtushenko defended the right of artist and writers to decide on their own what art was. To  Khrushchev's remark, "If person is born ugly, only the grave will correct him,"  he replied: "Nikita Sergeevich, we live in a time when mistakes are corrected not by graves, but by live, honest, and truthful Bolshevik words." (Zhivago’s Children by Vladislav Zubok, 2011, p. 212)

When the famous eighty-eight-year-old American poet Robert Frost visited the Soviet Union in 1962, he met Yevtushenko in Moscow. Later Frost wrote in an unfinished letter that "the nearest anything disagreeable was with their most prominent poet of all, Yevtushenko, who had been to Cuba and found refreshment of the revolutionary spirit there in friendship with Castro, and may be coming here." (Robert Frost in Russia by Franklin D. Reeve, 1964, p. 61) Nevertheless, the two writers went to the Café Aelita, where they drank Georgian wine and recited poetry.

Yevtushenko was allowed to travel widely in the West until 1963, when he published 'Notes for an Autobiography' without official permission in the moderately left-wing French newspaper L'Express. As a result, his privileges and favors were withdrawn, but restored two years later. The text appeared in English in book form, entitled A Precocious Autobiography (1963).

At the time of the 1968 Soviet Invasion of Czechoslovakia, Yevtushenko was on vacation in the Crimea with Vasily Aksyonov; Aksyonov drowed his rage in alcohol, Yevtushenko send a cable to Leonid Brezhnev in protest: "I DON'T KNOW HOW TOO SLEEP. I DON'T KNOW HOW TO CONTINUE LIVING," he complained. (Problems of Communism, January-February 1968, p. 68) Yevtushenko also denounced the invasion in the poem 'Russian Tanks in Prague.' However, this was not known in England, where his former friend Kingley Amis joined a campaing against Yevtushenko, after he was nominated for the poetry chair at Oxford. Yevtushenko did not get the post.

From the 1970s, Yevtushenko was active in many fields of culture: writing novels, acting, film directing, and photography. He gained a huge success with the play Under the Skin of the Statue of Liberty, which was produced in Moscow by Yuri Lyubimov. "Mr. Yevtushenko, increasingly orthodox in his writings and regarded by younger writers as a full‐fledged member of the Soviet Establishment, has his players re‐enact the assassinations of President Kennedy, Robert F. Kennedy and Dr. Martin Luther King Jr. But in one scene that suggests his targets are beyond America as well as in it, the actors also crucify Christ on an iron curtain." (Hedrick Smith in The New York Times, October 29, 1972) Another highlight in the life of Yevtushenko in the same year: with Stanley Kunitz, James Dickey, Richard Wilbur, and the former Senator Eugene J. McCarthy, he filled the Felt Forum of Madison Square Garden on January 28 – twice in a single evening.

Yevtushenko remained politically outspoken throughout his career. The KGB records show that he was active behind the scenes in support of Solzhenitsyn when the Nobel Prize Winner was arrested and exiled. Yevtushenko sent an immediate telegram of protest to Brezhnev, in which he said that while he disagreed with Solzhenitsyn on many points, the author's explosive study Gulag contained "terrible documented pages about the bloody crimes of the Stalinist past." ('Excerpts From Yevtushenko Statement,' The New York Times, 18.2.1974)

Moreover, Yevtusenko wrote to the KGB chief Yuri Andropov, the future general secretary of the Communist Party: "There is only one way out of this situation, but nobody will dare choose it: recognize Solzhenitsyn, restore his membership in the Writers' Union, and afterward, just declare suddenly that Cancer Ward is to be published." (Alexander Solzhenitsyn: A Century in His Life by D.M. Thomas, 1999, p. 358) Later he also suggested that Boris Pasternak's Nobel Prize for Literature, which the author had rejected under pressure of the Soviet Government, should be posthumously restored. "He earned it with his entire life and work," Yevtushenko stated in an article. ('Posthumous Nobel For Pasternak?' The Washington Post, January 2, 1988) His own speeches were constantly censored in magazines. In 1985, when Mikhail S. Gorbachev had just risen to power, Literaturnaya Gazeta left out several major sections of Yevtushenko's remarks about Stalin's purges, the evils of collectivization, and the privileges of the elite. Yevtushenko himself declined to comment on the editing.

Wild Berries (1981), Yevtushenko's first novel, was rejected by critics (the author was advised to stick to poetry), but it became a huge popular success. The story, which fused the past and the future, history and fantasy, dealt with, among other things, the Stalinist collectivization of agriculture and the elimination of the kulaks, land-owning peasants.

Yevtushenko directed the film Kindergarten (1983) and acted in it. "As a debut for any writer-director, "Kindergarten" would be highly ambitious--a large-scale World War II epic as seen through the eyes of a child. Not surprisingly, Yevtushenko’s vision is often poetic; yet "Kindergarten," for all its impressive craftsmanship, is disappointingly conventional." (Kevin Thomas, Los Angeles Times, April 26, 1986) Vanessa Redgrave starred in Yevtushenko's film Stalin's Funeral (1990). "Five years ago, "Stalin’s Funeral" would have been a sensation. . . . Now, however, the Soviet audience is all too well acquainted with the evils of the Stalin regime, so long hidden behind the heroic propaganda." (Carey Goldberg, Los Angeles Times, December 26. 1990)

When Yevtushenko was appointed in 1987 honorary member of the American Academy of Arts and Sciences, the Russian-born poet Joseph Brodsky resigned in protest - he considered his colleague a party yes man. Brodsky bitterly stated: "He throws stones only in directions that are officially sanctioned and approved." ('Brodsky Quits Arts Group Over Yevtushenko Induction' by Edwin McDowell, The New York Times, June 20, 1987) Yevtushenko's readers defended the poet faithfully, stating that "you can't blame him that he survived."

Yevtushenko became a member of the Congress of People's Deputies in 1989 and next year he was appointed vice president of Russian PEN. In 1993 Yevtushenko received the Defender of Free Russia medal, which was given to those who took part in resisting the hard-line Communist coup in August 1991.

After the accession of Gorbachev to the CPSU general secretaryship, Yevtushenko introduced to Soviet readers many silenced poets in the journal Ogonek. He aroused public awareness of the pollution of Lake Baikal, and following the collapse of communism, he supported the plan to erect a monument to the victims of Stalinist repression opposite Lubianka, headquarters of the KGB. In Don't Die Before You're Dead (1995) Yevtushenko gave his satirical account of the August 1991 coup, which eventually lifted Boris Yeltsin to power. In one scene the slain Grand Duchess Olga whispers her last poems into Yeltsin's ear.

Yevtushenko was married four times: in 1954 he married Bella Akhmadulina, who published her first collection of lyrics in 1962. After divorce he married  Galina Semyonovna Sokol. Yevtushenko's third wife was the British translator Jan Butler; they married in 1978. Butler worked as a translator in Moscow for thirteen years. In 1986 Yevtushenko marrried Maria Novika. Since 1994, Yevtushenko was a professor at the University of Tulsa, Oklahoma, where taught poetry and film. His criticism of President Vladimir Putin was considered mild compared to the dramatic impact he made with his attacks on the legacy of Stalinist cultural policy. Yevtushenko died on April 1, 2017, in Tulsa, Oklahoma, at the age of 84. He had suffered from cancer. 

For further reading: Soviet Russian Literature: Writers and Problems by M. Slonim (1967); 'Introduction' by Robin Milner Gulland, in Selected Poems, translated by Robin Milner-Gulland and Peter Levi (1962/2008); 'The Politics of Poetry: The Sad Case of Yevgeny Yevtushenko' by Robert Conquest, in New York Times Magazine (30 September, 1973); 'Yevtushenko, Yevgeny (Aleksandrovich),' in World Authors 1950-1970, edited by John Wakeman (1975); Soviet Russian Literature Since Stalin by Deming Brown (1978); Evgenii Evtushenko by E. Sidorov (1987); Soviet Literature in the 1980s by N.N. Shneidman (1989); Refernce Guide to Russian Literature, ed. by Neil Cornwell (1998); Strict Wildness: Discoveries in Poetry and History by Peter Viereck (2008); Grazhdane, poslushaĭte menia!: Evgeniĭ Evtushenko, lichnostʹ i tvorchestvo by E. Sidorov (2010); Evtushenko: Love Story by Ilʹia Falikov (2014); Ne tolʹko Evtushenko by Vladimir Solovʹev (2015);'Yevgeny Yevtushenko,' in ¡Some People!: Anecdotes, Images, and Letters of Persons of Interest by Robert Lima (2015); Moi drug--Evgeniĭ Evtushenko by Feliks Medvedev (2017); "IA vam neobkhodim ...": Evgeniĭ Evtushenko: Vstrechi by Arnolʹd Kharitonov (2018); Poets of the Round Table: Jidi Majia in Conversations with Sixteen World Poets on Poetics, Poetry and Eco-writing by Jidi Majia, Jidi Majia (2023)

Selected works:

  • Razvedchiki griadushchego, 1952 [Prospectors of the Future].
  • Treti sneg, 1955 [Third Snow]
  • Shosse entuziastov, 1956
  • Stantsiia Zima, 1956
    - Winter Station (translated by Oliver J. Frederiksen, 1964) / Zima Junction (in Selected Poems, translated by Peter Levi and R.R. Milner-Gulland, 1962)
  • Obeshchanie: stikhi, 1957 [Promise]
  • Dve liubimykh, 1958 [Two Loves]
  • Luk i lira, 1959 [The Bow and the Lyre]
  • Stikhi raznykh let, 1959
  • Chetvertaia meshchanskaia, 1959
  • Iabloko, 1960 [The Apple]
  • Red Cats, 1961
  • Baby Yar, 1961
    - Babiy Yar (in Selected Poems, translated by Peter Levi and R.R. Milner-Gulland, 1962) / Babi Yar (tr. 1968)
    - Babi Jar (suom. Markku Lahtela Lahtela, teoksessa Olen vaiti ja huudan, 1963)
  • The Milky Way / D. Ulzytuev, 1961 (translator)
  • A Network of Stars / T. Chiladze, 1961 (translator)
  • Don't Fall to Your Knees! / G. Dzagorov, 1961 (translator)
  • Posle Stalina, 1962 [After Stalin]
  • Vzmach ruki: stikhi, 1962 [A Wave of the Hand]
  • Selected Poems, 1962 (translated by Peter Levi and R.R. Milner-Gulland)
  • Nezhnost': Novye stikni, 1962 [Tenderness: New Poems]
  • Nasledniki Stalina, 1963
    - The Heirs of Stalin (in Current Digest of the Soviet Press, 1962)
  • Autobiografia, 1963
    - A Precocious Autobiography (translated by Andrew R. MacAndrew, 1963)
  • Selected Poetry, 1963 (edited by R.R. Milner-Gulland)
  • Soy Cuba, 1964 (screenplay with Enrique Pineda Barbet, film dir. by Mikhail Kalatozov)
  • The Poetry of Yevgeny Yevtusenko, 1964 (translated by George Reavey, as Early Poems, 1989)
  • Khochu ia stat' nemnozhko straromodym, 1964 [I Want to Become a Bit Old-Fashioned]
  • Bratskaya Ges, 1965
    - The Bratsk Station (in Bratsk Station and Other New Poems, translated by Tina Tupikina-Glaessner, Geoffrey Dutton, Igor Mezhakoff-Koriakin, 1967)
  • Khotiat li russkie voiny?, 1965
  • Poems, 1966 (translated by Herbert Marshall)
  • Yevtusenko Poems, 1966 (translated by Herbert Marshall)
  • Yevtusenko's Reader: The Spirit of Elbe, A Precocious Autobiography, Poems, 1966
  • Kater zviazi, 1966 
  • Kachka, 1966 [Swing-Boat]
  • The Execution of Stepan Razin, op. 119, 1966 (score by Dinitri Shostakovich, 1966)
  • Poems Chosen by the Author, 1966 (translated by Peter Levi and Robin Milner-Gulland)
  • The City of the Yes and the City of the No and Other Poems, 1966 (translated by Tina Tupikina-Glaessner, Geoffrey Dutton, Igor Mezhakoff-Koriakin)
  • So mnoiu vot chto proiskhodit, 1966
  • New Works: The Bratsk Station, 1966 (translated by Tina Tupikina-Glaessner, Geoffrey Dutton, Igor Mezhakoff-Koriakin; as Bratsk Station and Other New Poems, 1967)
  • Stikhi, 1967
  • Bratskaia GES: stikhi i poema, 1967
  • Mezdu gorodom da i gorodom net, 1967
    - Kyllä ja Ei (suom. Erkki Peuranen, 1967)
  • New Poems, 1968
  • Tramvai poezii, 1968 [Tram of Poetry]
  • Tiaga val'dshnepov, 1968
  • Idut Belye Snegi, 1969
  • Flowers and Bullets, and Freedom to Kill, 1970
  • Kazanskii Universitet, 1971
    - Kazan University and Other New Poems (translated by Eleanor Jacka and Geoffrey Dutton, 1973)
  • Ia sibirskoi porody, 1971 [I'm of Siberian Stock]
  • Doroka nomen odin, 1972 [Highway Number One]
  • Stolen Apples, 1972 (translated by James Dickey, et al.)
  • Izbrannye proizvedeniia, 1975 (2 vols.)
  • Poiushchaia damba, 1972 [The Singing Dam]
  • Under the Skin of the Statue of Liberty, 1982 (play)
  • Poet v Rossii – bol’she, chem poet, 1973
  • Intimnaia lirika, 1973 [Intimate Lyrics]
  • Ottsovskii slukh, 1975
  • Izbrannye proizvedeniia , 1975 (2 vols.)
  • Proseka, 1976 [The Track]
  • Spasibo, 1976 [Thank You]
  • From Desire to Desire, 1976 (G.B. title: Love Poems, 1977)
  • Ivanovskie sittsy, 1976
    - Ivan the Terrible and Ivan the Fool (translated by Daniel Weissbort, 1979)
  • V polnyi rost, 1977
  • Zaklinanie, 1977  [A Spell]
  • Utrennii narod, 1978  [The Morning Crowds]
  • Prisiaga prostoru, 1978 [An Oath to Space]
  • Kompromiss Kompromissovich, 1978
  • The Face Behind the Face, 1979 (translated by Arthur Boyars and Simon Franklin)
  • Heavy Earth, 1979 (translator)
  • Tiazhelee zemli, 1979 [Heavier than Earth]
  • Kogda muzhchine sorok let, 1979
  • Doroga, ukhodiashchaia vdal’, 1979
  • Svarka vzryvom, 1980
  • Talant est' chudo nesluchainoe: Kniga statei, 1980
  • Tochka opory, 1980
  • Tret’iapamiat’, 1980 [Third Memory]
  • Poslushaite menia, 1980 [Listen to Me]
  • Ardabiola, 1981
    - Ardabiola: A Fantasy (translated by Armorer Wason)
    - Ardabiola (suom. Ulla-Liisa Heino, 1984)
  • Yagodnyye mesta, 1981
    - Wild Berries (translated by Antonina W. Bouis, 1984)
    - Mansikkamaat (suom. Ulla-Liisa Heino, 1982)
  • Invisible Threads, 1981 (tr. by Paul Falla and Natasha Ward)
    - Näkymättömät langat (suom. Pentti Saaritsa, 1982)
  • Ia sibiriak, 1981 [I'm a Siberian]
  • Sobranie sochinenii, 1982
  • A Dove in Santiago, 1982 (translated by D.M. Thomas)
  • Dye pary lyzh, 1982 [A Pair of Skis]
  • Belye snegi, 1982 [White Snows]
  • Mama i neitronaiia bomba i drugie poemy, 1983 [Mother and Neutron Bomb and Other Poems]
  • Otkuda rodom ia: stikhotvoreniia, 1983 [Where I Come From]
  • Voina – eto antikultura, 1983
  • Stikhotvoreniia i poemy, 1952-1964, 1983
  • Stikhotvoreniia i poemy, 1965-1972, 1984
  • Stikhotvoreniia i poemy, 1973-1983, 1984
  • Kindergarten, 1984 (screenplay)
  • Fuku, 1985
    - Fuku: runoelma (suom. Ulla-Liisa Heino, Ilpo Tiihonen, 1986)
  • Pochti naposledok: novaia kniga, 1985
    - Almost at the End (translated by Antonina W. Bouis, Albert C. Todd, and Yevgeny Yevtushenko, 1987)
  • Dva goroda, 1985 [Two Towns]
  • More, 1985
  • Poltravinochki, 1986
  • Stikhi, 1986
  • Zavtrashnii veter, 1987 [Tomorrow's Wind]
  • Sud, 1987 [The Trial],
  • Stikhotvoreniia ipoemy 1951-1986, 1987 (3 vols.)
  • Posledniaia popytka: Stikhotvoreniia, 1988
  • Pochti v poslednii mig, 1988 [Almost at the Last Moment]
  • Nizhnist': poezii, 1988
  • Divided Twins: Alaska and Siberia - Razdel'ennye bliznetsy, 1988 (translated by Antonina W. Bouis)
  • Poemy o mire, 1989 [Verses on Peace]
  • Detskii sad Moscow, 1989 (screenplay)
  • Stikhi, 1989
  • Grazhdane, poslushaite menia..., 1989 [Citizens, Listen to Me. . . ]
  • Liubimaia, spi..., 1989 [Loved One, Sleep...]
  • Detskii sad: kinostsenarii, 1989
  • Pomozhem svobode, 1990
  • Politika privilegiia vsekh, 1990
  • Propast – v dva psyzhka?, 1990
  • Belorusskaia krovinka: otryvok iz poemy, stikhi, 1990  
  • Fatal Half Measures: The Culture of Democracy in the Soviet Union, 1991 (edited by Antonina W. Bouis)
  • The Collected Poems 1952-1990, 1991 (ed. by Albert C. Todd)
  • Net let: liubovnaia lirika, 1993
  • Ne umirai prezhde smerti:russkaia skazka, 1993
    - Don't Die Before You're Dead (translated by Antonina W. Bouis, 1995)
  • Moe samoe-samoe, 1995
  • Pre-Morning. Predutro, 1995 (bilingual edition)
  • Medlennaia liubov', 1997
  • Pervoe sobranie sochinenii v vos'mi tomakh, 1997-
  • Izbrannaia proza, 1998
  • Volchii pasport, 1998
  • The Best of the Best: A New Book of Poetry in English and Russian, 1999
  • Kradenye iabloki, 1999  
  • "IA prorvus' v dvadtsat' pervyi vek--", 2001
  • Walk on the Ledge: A New Book of Poetry in English and Russian, 2005 (edited by Gracie and Bill Davidson)
  • Pamiatniki ne emigriruiut: stikhi XXI veka, 2005
  • Ardabiola: ranniaia proza, 2006
  • Shestidesantnik: memuarnaia proza, 2006
  • Okno vykhodit v belye derev'ia--: izbrannoe, 2007  
  • Pervoe sobranie sochineniy, 2004-2008 (8 vols.)
  • Ves' Yevtushenko: stikhi i poemy, 1937-2007, 2007
  • Yevtushenko: Selected Poems, 2008 (translated by Robin Milner-Gulland and Peter Levi; with an introduction by Robin Milner-Gulland)
  • IA prishel k tebe, Babii IAr-- :istoriia samoĭ znamenitoĭ simfonii XX veka, 2012
  • Schastʹia i rasplaty: stikhi 2011-2012 godov, 2012
  • 90 Seconds in the Space, 2014
  • Zheleznye semechki: stikhotvoreniia, 2014
  • IA prishel v XXI vek: Stikhi i proza 2001-2014, 2014
  • Volchii pasport, 2015
  • Poėziia Pobedy: Stikhotvoreniia, pesni, poėmy, 2015 (sostaviteli Evgeniĭ i Mariia Evtushenko)


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