In any case for the most part we called one another, truly, making the most of our most illuminating discussions on verse and writers. After I examined perusing Akhmatova's own short "Journals" of her companionship with painter Amadeo Modigliani in Paris in 1910-1912, Diana kept in touch with her masterful sonnet "Modigliani" for the Christian Science Monitor, where she griped to me, they had forgotten the commitment to me since it was I who had informed her regarding the kinship, yet in republication in the Armenian papers she made certain the devotion was not forgotten, so I gladly have it now.
At the Boston Globe Book Fair (October 1976) that Diana sorted out brilliantly for a long time I read the Armenian unique of a couple of lyrics (I presented in Eastern Armenian and Russian interpretation Gevork Emin's short ballad, "Walnut Tree") and Diana read her delightful English interpretation.
In 1989, Diana's most up to date book of verse, About Time: Poems, motivated me to compose an article on it, "Rehashing Diana Der Hovanessian's About Time: Poems," which was distributed in the Armenian Weekly (March 4, 1989); the Armenian Mirror-Spectator (March 11, 1989). Twice I evaluated Diana's books, The Other Voice: Armenian Women's Poetry Through the Ages and The Second Question.
Diana referenced the title of her prospective book, The Second Question, via telephone that she was sending to me, including, "I thank your mom in my book" (Mother Bertha Nakshian Ketchian had passed on in 1990), I reviewed promptly our telephone discussion of a couple of years back.
I had imparted to Diana that at whatever point mother, a Genocide survivor, met an Armenian, her first inquiry was "The place are you from?" and the second would be "How could you endure?" Diana changed these words creatively to depict her Genocide survivor grandma. She further asked me to survey that volume since Louisiana Literature was intrigued. It was republished in the Armenian Mirror-Spectator, on March 7, 2009.
When I welcomed F.D. Reeve, who had met Akhmatova in 1962 amid his visit to the Soviet Union as associate and mediator to writer Robert Frost (F.D. Reeve, Robert Frost in Russia, Atlantic Little-Brown, 1964; Zephyr Press, 2001), to talk at the Harvard Russian Research Center, I welcomed Diana to meet her kindred American artist. Diana thoughtfully recommended assembling a couple of dear companions after his introduction at her Cambridge home close-by.
I recollect Edie Haber and Katherine O'Connor came to Diana's. As I was leaving, Diana continued rehashing to me, "Thank you, what some help, what some help." As I was escorting Franklin and his better half Ellen over the Yard, Franklin shocked me, "Thank you for taking me back to Russian." He got some information about my finished book original copy on Akhmatova, I disclosed to him Sam Driver had perused it and kept in touch with me it was "the most fundamentally significant work on Akhmatova to date." Asking about my interpretation of the cited section in my composition, Franklin offered to transform my strict interpretations into stanza so his name could support me.