The art of literary hoaxes. Five most famous hoaxes of Russian literature

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Mystification has always been, to one degree or another, characteristic of literature. Strictly speaking, what is a literary work, if not an attempt to convince someone - the reader, the critic, himself - of the existence of a reality invented by the writer? Therefore, there is nothing surprising in the fact that not only worlds composed by someone appeared, but also fake works and invented writers.

Many researchers call the Homeric poems the first literary hoax - the personality of Homer was, in their opinion, invented, and the works attributed to him are the fruit of a collective work that lasted, perhaps, for more than one decade. Certainly a hoax - a parody epic "Batrachomyomachia", or "The War of Mice and Frogs", attributed in turn to Homer, the ancient Greek philosopher Pigret and a number of other, less prominent poets.

In the Middle Ages, the appearance of hoaxers was “facilitated” by the attitude of people of that time to literature: the text was sacred, and God directly transmitted it to a person, who, therefore, was not the author, but only a “conductor” of the Divine will. Other people's texts could be borrowed, altered and modified quite calmly. It is not surprising that almost all the then popular works - both secular and ecclesiastical character, - were added and supplemented by scribes. In the Renaissance, when interest in ancient authors and their texts was especially high, along with previously unknown original works ancient authors began to appear numerous forgeries. Historians were added - Xenophon and Plutarch. They “found” the lost poems of Catullus, the speeches of Cicero, the satires of Juvenal. They "looked" for the writings of the Church Fathers and scrolls with biblical texts. Such fakes were often arranged in a very inventive way: manuscripts were made, which were given an "old" look, and then, under mysterious circumstances, they were "discovered" in old monasteries, ruins of castles, excavated crypts and similar places. Many of these forgeries were not exposed until several centuries later.

The real explosion of literary hoaxes came in the second half of XVIII century. So-called imaginary translations were especially popular. In 1729, Charles Montesquieu published a "translation from the Greek" of the poem "Temple of Cnidus", in 1764 English writer Horace Walpole passed off his novel The Castle of Otranto - by the way, the first "Gothic" novel - as a translation of an Italian manuscript. For greater certainty, Walpole also invented the author - a certain Onofrio Muralto. Daniel Defoe was a real master of passing off his texts as others - out of the five hundred books he wrote, only four came out under his real name, and the rest were attributed to various historical and invented personalities. Defoe himself acted only as a publisher. So, for example, three volumes of The Adventures of Robinson Crusoe were written by a “sailor from York”, “History of the Wars of Charles XII, King of Sweden” - by a certain “Scottish officer in the Swedish service”, “Notes of a Cavalier” were issued by him for the memoirs of a nobleman , who lived in the 17th century, during the Great Mutiny, and "The Narrative of all the robberies, escapes and other affairs of John Sheppard" - for suicide notes real-life famous robber John Sheppard, written by him in prison.

But the most famous literary hoax of that time was, of course, the Songs of Ossian, created by the talented English poet and literary critic George MacPherson in 1760-1763 on behalf of the Scottish bard Ossian, who allegedly lived in the 3rd century. Ossian's works were a tremendous success with the public, were translated into many languages, and before they were exposed, they managed to leave a deep mark on world literature.

Macpherson published "Ossian" at a time when the Scots and Irish, united by a common historical roots and equally secondary position in relation to the British, began to actively revive their culture, language, historical identity. In this situation, pro-Gaelic critics were ready to defend the authenticity of the poems even in the face of obvious evidence to the contrary, and even after the final exposure and recognition of Macpherson himself as a falsification, they assigned him a prominent place in the pantheon of figures of the Gaelic Renaissance. The Czech philologist Vaclav Ganka found himself in a similar situation. In 1819, he published the "Kralovedvorskaya Manuscript", allegedly found by him in the church of the city of Kralev Dvor. The manuscript was recognized as a monument of the 13th century, proving the antiquity of Czech literature, which actually did not exist by the beginning of the 19th century. A few years later, Ganka published another manuscript - "Zelenogorskaya", called "The Court of Libushe", dating back to the 9th century - to those times when the rest of the Slavs did not have not only literature, but even writing. The falsity of the manuscripts was finally proven only in 1886, but even after that the name of Vaclav Ganka enjoys great respect - as a patriot who did a lot to raise the prestige of Czech literature.

Unfortunately, not all hoaxers survived the exposure so successfully. Known tragic fate the brilliant English poet Thomas Chatterton. In addition to those published under his own name satirical works, Chatterton created a number of poems attributed to him who lived in the XV century monk Thomas Rowley and some of his contemporaries. And Chatterton, with early age distinguished by his love of old books, approached his deception with all seriousness: he fabricated manuscripts on genuine parchment of that time, written in Old English in an old, hard-to-read handwriting. Chatterton sent some of his "finds" to the already mentioned Horace Walpole - he, according to Chatterton, should have favorably treated fictional creativity. medieval monk. At first, everything was so, but then Walpole guessed about the fake. In 1770, Chatterton committed suicide - he was not yet eighteen years old. English literary critics call him one of the most brilliant poets in Great Britain. Unfortunately, having played with someone else's, fictional life, Thomas Chatterton lost his ...

Among the most famous hoaxers, Prosper Mérimée should also be mentioned. He first published a collection of plays under the name of the fictitious Spanish actress Clara Gazul, then a collection of idiosyncratic ballads in prose, Guzla, attributed to the equally unreal Serbian storyteller Iakinf Maglanovich. Although Merimee did not hide much - in the playbook there was even a portrait of Gazul printed, which was a portrait of Merimee himself in a woman's dress: anyone who knew the writer by sight would easily recognize him. Nevertheless, Alexander Sergeevich Pushkin himself succumbed to the hoax, translating 11 songs from Guzla for his collection Songs of the Western Slavs.

Pushkin, by the way, himself was no stranger to hoaxes: publishing the famous Belkin Tales, the poet himself acted only as a publisher. And in 1837, Pushkin published the article "The Last of the Relatives of Joanna d'Arc", where he quoted Voltaire's letters - composed by the poet himself. He also resorted to "imaginary translations" - for censorship reasons, many of his "free-thinking" poems were accompanied by postscripts: "from Latin", "from Andrei Chenier", "from French" ... Lermontov, Nekrasov, and other authors did the same. There were many outright fakes: fake novels by Walter Scott, Anna Radcliffe and Balzac, plays by Molière and even Shakespeare were published. The question of whether Shakespeare himself was not the greatest literary hoax, we modestly put out of the brackets.

In Russia over the past two hundred yearsliterary hoaxesand hoaxers abounded. For example, Kozma Prutkov is a self-satisfied graphomaniac whose literary activity took place in the 50s and 60s of the 19th century. Only after some time it became clear that Prutkov was created by the Zhemchuzhnikov brothers and A. K. Tolstoy. The image of Prutkov is so overgrown with flesh and blood that it was published complete collection of his works, his portrait was painted, and his relatives began to appear in literature - for example, in 1913, the non-existent publishing house "Green Island" published a collection of the first poems of his "niece" Angelica Safyanova - a literary hoax of the writer L.V. Nikulin.

Another similar case is the beautiful and sad story of Cherubina de Gabriac. The image created by Maximilian Voloshin and Elizaveta Dmitrieva (married Vasilyeva) struck the imagination of contemporaries with its tragic beauty, and the exposure of the deceit led to a duel between Voloshin and Gumilyov and Vasilyeva's almost complete departure from literature. It wasn't until many years later that she released another collection of poetry, The House Under the Pear Tree, again under a false name, this time by the Chinese poet Li Xiangzi.

The most famous hoax of the twentieth century was the image of the novelist Emile Azhar, brought to life by the famous French writer Romain Gary, laureate of the Goncourt Prize. Tired of his established literary reputation, in 1974 Gary publishes Azhar's first novel, The Fat Man, which immediately won love and recognition. Already next novel Azhara was awarded the Prix Goncourt - thus, Romain Gary (or rather, Roman Katsev - the real name of the writer) became the only winner in the world twice of this award, which is never awarded twice. Azhar, however, refused the award - and as it turned out, Paul Pavlovich, Gary's nephew, who later ended up in a psychiatric clinic, was hiding under this name. And it soon became known that Pavlovich only played - at the request of his uncle - the role of Azhar, about which he wrote in his book "The Man Who Was Trusted." In 1980, Romain Gary - and along with Emile Azhar - committed suicide.

What made all these - and many others - people, undoubtedly talented, often even brilliant, hide their faces behind someone else's mask, waiving the rights to own works? Except for obvious cases when the reason was greed or other, much more noble, but also completely understandable reasons (as, for example, in the story of Vaclav Ganka), the motives for such behavior, often leading to the most sad consequences, are unclear. For example, many acquaintances of Chatterton were perplexed - if he published his works under his own name, he would win universal recognition. But Chatterton felt much more confident in the role of "Rowley" than when he was himself. So did MacPherson - remaining himself, he wrote much weaker than reincarnated as Ossian. Such a "mask", often completely replacing the face, is a necessary element of mystification. The game - an unconditional condition of any creativity - acquires exaggerated dimensions with mystifiers. The creator of a mystification can often create only by dissolving his true "I" in a mask invented by him, creating not only his own world, but also the demiurge of a dash of the only inhabitant of this world. The invented mask helps the writer to move away from the restrictions imposed on him (or by himself) - class, stylistic, historical ... He gets the opportunity, rejecting his own "I", to gain creative freedom in return - and thus build himself anew. Since the era of modernism, the idea of ​​a game, a split personality, a "hidden" author has dominated literature itself. The authors build themselves, their biography, according to the laws of the texts they have written - the text, thus, is much more real than its author. The boundaries between literature and life are shifting: the figure of the author becomes an element of the artistic structure of the text, and as a result, a kind of complex work is obtained, consisting of the text itself (or texts) and the constructed author.

From this point of view a virtual reality, which has settled on the Internet, provides simply unlimited opportunities for various kinds of hoaxes, putting existing people and fictional characters on an equal footing from the very beginning. Both those and others have only an email address and the ability to generate text. All the dangers that lay in wait for their predecessors have now disappeared: there is no need to present manuscripts, to appear in person at various events, follow up language features or track allusions and borrowings in your own and other people's works. Anyone who has entered the expanses of the World Wide Web with his literary - or pretending to this title - creativity, becomes real at the moment of his appearance, and it should be borne in mind that in the event of an exit from the virtual space, his existence will have to be proven again. Because what was generated by the Internet should also live in it.

After all, the well-known phrase “The whole world is a theater, and the people in it are actors” applies to any world, regardless of its reality.

The problem of literary hoax is one of the most urgent in contemporary literature. According to the classification proposed by E. Lann, all literary hoaxes are divided into two types: fake works of impersonal creativity; forgeries of author's works attributed to: a) writers, b) historical figures, c) fictitious authors (Lani E. Literary hoax. M.. 1930, p. 67).

A special place among hoaxes is occupied by the falsification of folklore texts. The most famous was the "Kraleddvor Manuscript" by the Czech philologist V. Ganka (1817). For about 50 years, it was considered one of the most valuable sources for the reconstruction of Slavic mythology. An example of the literary hoax of Scottish folklore is the "Songs of Ossian" by J. MacPherson (1760-1763). Of the hoaxers of Russian folklore, I.P. Sakharov (1807-1863) gained the greatest popularity, his "Tales of the Russian people" are still being reprinted and cited by many researchers.

The most striking literary hoaxes of the 19th - early 20th centuries, created by Russian writers and poets, are as follows: "The Tales of the Late Ivan Petrovich Belkin" by A. Pushkin, "Letters and Notes of Ommer de Gel" by P. Vyazemsky, "Egyptian Nights" by A. Pushkin, completed by V. Bryusov (included in the collected works of Pushkin in 1919), Kozma Prutkov, but in fact A.K. Tolstoy and the Zhemchuzhnikov brothers, Cherubina de Gabriak, invented by M. Voloshin, the poet Vasily Shishkov, an "acquaintance" of V. Nabokov, poems by the poet of the 19th century. V. Travnikova from the archive "found" by Vl. Khodasevich, "A. Vyrubova's Diary", created by P. E. Shchegolev and A. N. Tolstoy, N. Nekrasov's poem "Lights", "discovered" by E. Vashkov.

Sensation of the 20th century was a hoax by the French writer of Russian origin Romain Gary (Roman Kasev). In 1956, for the novel The Roots of Heaven, he received Goncourt Prize. In 1974, Gary publishes the novel "The Big Weasel" on behalf of the writer Emile Azhar. Azhar's second novel, Life Ahead, wins the Prix Goncourt. Thus, Gary became the only winner of two Prix Goncourt (it is not awarded twice).

Postmodernism builds literary mystification on new round, realizing in literature the statement: “nobody writes books”, since “all books are written by nobody” (Max Fry / Svetlana Martynchik). The realization that "can there be literature without hoaxes" gives rise to actual literary hoaxes ("the great Eurochinese humanist" Holm van Zaychik / writer Vyacheslav Rybakov and orientalist Igor Alimov) and literary projects based on a hoax: Boris Akunin (individual project by Grigory Chkhartishvili), Marina Serova (publishing project carried out by a group of authors).

Mystification in a number of ways coincides with the concept of a pseudonym. The possibilities of using a pseudonym are undoubtedly wider, but the main specific difference between mystification and stylization is not inherent in it. Brilliant examples of stylization can serve as the works of Felix Salten - the author of "The Deer Bambi", who created memories on behalf of the famous Viennese prostitute Josephine Mutzenbacher and Norwegian writer and the philosopher Justin Gorder, who published a letter from Blessed Augustine's beloved Floria Emilia, allegedly discovered by the author in Argentina, on bookstores.

Municipal General Education State-financed organization

"Secondary School No. 54"

Orenburg

Research topic:

« Art literary hoaxes »

Ibragimova Olga

Place of study: 8A class student

MOBU "SOSH No. 54"

Orenburg

Supervisor:

Kalinina Irina Borisovna

teacher of Russian language

and literature

2015-2016 academic year year

1. Introduction.

1.1. Mystification - what is it? .............................................. 3

1.2. Goal and tasks. ……………………………………. 4

1.3. Hypothesis……………………………………………...4

1.4. Object of study. ……………………………....4

1.5. Subject of study. ……………………………..4

1.6. Research methods. ……………………………...4

2. The main part.

2.1.1. Why literary hoaxstill not describedas an independent art form?........5

2.1.2. Literary hoax is a synthetic art form. ........6

General laws of the art of literary mystification.

2.2.1. Causes of hoaxes. ………………………7

2.2.2. Special techniques of literary hoax ... 8

2.2.3. Exposing hoaxes…………………....9

Disclosed literary hoaxes……….9

3. Conclusion.

4. List of used literature.

Introduction.

Hoax - what is it?

Once at a literature lesson, when we studied the life and creative path of A.S. Pushkina, literature teacher Irina Borisovna, mentioning the poet's uncle, Vasily Lvovich Pushkin, who himself was famous poet, said that he was the owner of the manuscript of the monument ancient Russian literature"The Tale of Igor's Campaign", which burned down during the fire of Moscow in 1812, and that there is a version that Vasily Lvovich himself was the author of "The Tale of Igor's Campaign". During this period in Russian and European literature there were many literary forgeries or literary hoaxes. And since hoaxes are interesting to me, I decided to continue working on this topic.

It should be clarified what a literary hoax is. Usually this is the name of literary works, the authorship of which is deliberately attributed to some person, real or fictional, or passed off as folk art. At the same time, literary hoax seeks to preserve the stylistic manner of the author, to recreate - or create from scratch - his creative image. Hoaxes can be produced for completely different purposes: for profit, to shame critics or in the interests of literary struggle, from the author's lack of self-confidence or for certain ethical reasons. The main difference between a hoax and, for example, a pseudonym is the fundamental self-delimitation of a real author from his own work.

Mystification has always been, to one degree or another, characteristic of literature. Strictly speaking, what is a literary work, if not an attempt to convince someone - the reader, the critic, himself - of the existence of the reality invented by the writer? Therefore, there is nothing surprising in the fact that not only worlds composed by someone appeared, but also fake works and invented writers. All those who were guided by the desire to attribute to the author a work that was not written by him stopped at the fact that they created a work and put on it not their own names, but the name of the mentioned author. Others did not attempt to publish poems under their own names, but always signed with the names of fictitious characters. Still others called their poems "translations" from foreign authors. Some authors have gone further, becoming "foreigners" writing in Russian. I wanted to learn more about the art of literary hoaxes. I turned to the Internet and found little-known, and even unique publications, on the basis of which I wrote my scientific work.

aim my work is: to reveal the general patterns of the art of literary mystification

Tasks:

Learn as much as you can about literary hoaxes.

To reveal the features of the art of literary hoaxes.

Describe the features of the art of literary hoaxes.

Prove that literary hoax is a synthetic art form.

Identify as many causes of literary hoaxes as possible.

Determine how the hoax is exposed.

Find as many literary hoaxes as possible.

Organize the collected material.

Research hypothesis: The art of literary hoaxes is a synthetic art that has existed for a very long time and has its own laws and canons.

Object of study: literary hoaxes.

Subject of study: Literary hoaxes as art.

Research methods:

Complex analysis- consideration of the object with different points vision.

The imperial method is the collection of data and information about the subject of research.

Data processing method.

Method of induction - a method in which a general conclusion is built on the basis of partial premises

Generalization method - a method in which general properties subject.

Main part.

Literary mystification as art.

Why is literary hoax still not described as an independent art form?

"Literary hoaxes have existed as long as literature itself." Almost every article about literary hoaxes begins with this phrase, and it is impossible not to agree with it. As soon as books began to be printed, writers also appeared who wished to play pranks on their contemporaries, and more often on their descendants. Apparently, there is some kind of attractive force in "fooling" as many people as possible at the same time. "Reader, … laugh: the top of earthly pleasures from around the corner to laugh at everyone", - Pushkin wrote frankly. Of course, the reasons that pushed the writers to hoaxes were, as a rule, more serious and deeper, but the love of a joke cannot be discounted.

And here the question involuntarily comes to mind: why literary hoax, having existed for more than one thousand years, has not yet been described as an independent art form (after all, it is described, for example - and quite thoroughly - the art of war, which, like the art of hoax, is largely based on intuition? Most of the articles only tell the stories of certain long-unraveled literary hoaxes; at best, they are classified according to the attribute of a literary work: a writer, a historical person, or a fictional author. Meanwhile, literary hoaxes have their own general limitations and special possibilities, their own rules and their own methods, their own laws of the genre. Suffice it to say that in a literary hoax, the work of art itself becomes an enlarged sign, which the mystifier operates in life - in the game, and the general opinion about this work of art is the same subject of the game as the work itself. In other words, in the "table of ranks" of this game, literary hoax is higher than the artwork. And this game has its craftsmen and losers, its masters and even geniuses. Of course, literature is not single genus art, misleading many people; there have been hoaxers in painting and music, in archeology and cinema, and even in science. But my interests are connected, first of all, with literature.

Literary hoax is a synthetic art form.

Is literary hoax a synthetic art form? First you need to know what a synthetic art form is. synthetic arts- these are the types artistic creativity, which are an organic fusion or a relatively free combination different types arts, forming a qualitatively new and unified aesthetic whole. Indeed, if talent and a pen (quill pen, pencil, typewriter, computer keyboard) are enough to write a significant literary work, then the hoaxer must also have the ability to mislead a large number of people outside the process of creating a literary work. . If the writer knows the art of playing in the Word, then the mystifier must also have the art of playing in Life, since literary mystification is collective game conducted both in life and in literature. Moreover, not only those who take the hoax offered by him at face value take part in the game involuntarily, but also those who are “on the side” of the hoaxer, dedicated to the hoax. There may be few of them, one or two people, or, as in Shakespeare's hoax, dozens, but, with rare exceptions, they always take place.

Lann E. L. "Literary hoax".

Dmitriev V. G. Hiding their name: From the history of pseudonyms and anonymous names / Dmitriev, Valentin Grigorievich, Dmitriev, V.G. - M.: Nauka, 1970. - 255s

"Alexander Pushkin. The Little Humpbacked Horse, 3rd edition; M., ID KAZAROV, 2011

Y. Danilin Clara Gazul \ Joseph L "Estrange \ Giakinf Maglanovich \ © 2004 FEB.

Gililov I.M. A play about William Shakespeare, or the Mystery of the Great Phoenix (2nd edition). M.: Intern. Relations, 2000.

Encyclopedia of pseudonyms of Russian poets.

Kozlov V.P. Secrets of falsification: A guide for teachers and university students. 2nd ed. Moscow: Aspect Press, 1996.

REVIEW

For the research work of Parilova Ekaterina Yuryevna, a student of the 10th grade of the Municipal Educational Institution "Rudnogorsk Sosh"

Topic: "The art of literary hoaxes."

The work of Ekaterina Parilova is dedicated to the art of literary hoaxes.

There is no exhaustive survey of literary forgeries in any language. The reason is not difficult to establish: the science of literature is powerless to check its entire archive. It is powerless because this verification presupposes the existence of primary sources, i.e., manuscripts that do not raise doubts about authenticity. But what an incalculable number of such manuscripts have been irretrievably lost! And, as a result, the history of world literature, knowing about the falsification of many monuments, tries to forget about it.

The purpose of the study: to identify the general patterns of the art of literary mystification.

Research objectives: to find out as much data as possible about literary hoaxes; reveal the features of the art of literary hoaxes; describe the features of the art of literary hoaxes; prove that literary hoax is a synthetic art form; identify as many causes of literary hoaxes as possible; establish how the hoax is exposed; find as many literary hoaxes as possible; organize the collected material.

When writing a research paper, the student used the following methods: 1) Complex analysis; 2) Imperial method; 3) Data processing method; 4) Method of induction; 5) Method of generalization.

The paper gives a rationale for the relevance of the topic under study, put forward goals, set tasks, formulate a hypothesis; methods, object and subject of research are defined; a review of the literature on the topic is given. The material in the work is presented in compliance with internal logic, there is a logical relationship between the sections. The author's erudition in the area under consideration is traced. In my opinion, the work has no flaws. I found no errors or inaccuracies in it. I recommend using the material of this research work for teachers of the Russian language and literature.

Reviewer: Ziatdinova Tatyana Alexandrovna, teacher of Russian language and literature, MOU "Rudnogorsk school"

textual criticism of the text is a branch of philological sciences that studies works of writing and literature in order to restore the history, critically check and establish their texts, which are then used for further research, interpretation, publication and other purposes.

Mystification is an attempt to mislead someone (readers, the public, etc.), presenting a non-existent phenomenon or fact as real. Literary hoaxes are works whose authorship is attributed to another person (real or fictional) or folk art.

The custom to encrypt your surname or replace it with another dates back to time immemorial. Far from always literary work is the true name of its creator. For various reasons, authorship is often masked. We offer you to learn more about the most striking literary hoaxes of the 20th century and the pseudonyms of writers.

Nickname Cherubina de Gabriac

Hoax In the fall of 1909, a letter in an envelope arrives at the editorial office of the Apollo magazine. lilac. The editor of the magazine, esthete Sergei Makovsky, carefully opening the envelope, sees snow-white sheets with poems that are perfumed and lined with dry leaves. The verses are signed very briefly - "Ch". Makovsky convenes the entire editorial staff, which consisted mainly of young men, and they read poetry together. Their lines are bright, spicy, and they decide to publish them immediately. The illustrations for them are made by Eugene Lansere himself, one of the leading artists of those years. The mysterious writer periodically calls the editorial office and reports something about herself. For example, that her name is Cherubina de Gabriac, that she is Spanish, but writes in Russian that she is beautiful and deeply unhappy. Literary Russia goes crazy with delight, the entire editorial staff of Apollo is in absentia in love with a stranger.

exposure Until the incognito was revealed, Elizaveta Dmitrieva, a teacher at the Petrovsky Women's Gymnasium, wrote caustic critical notes on Cherubina de Gabriac's poems on her own behalf and wondered if this was a hoax - provoking the literary community to hold own investigations and thereby fueling interest in the mysterious Spaniard, that is, in fact, creating a “famous poetess” out of thin air. This is partly why everything was revealed quite quickly: already at the end of 1909, the poet Mikhail Kuzmin found out that it was Dmitrieva who spoke on the phone on behalf of de Gabriac, a very smart and talented girl, but not at all a beauty, and in addition she was also lame. The St. Petersburg cavaliers, who fell in love with the Spanish beauty in absentia, were severely disappointed. At the end of 1910, another selection of Cherubina's poems appeared in "Apollo", with the final poem "Meeting" signed real name poetesses. The exposure turned out to be a severe creative crisis for Dmitrieva: after the break with Gumilyov and Voloshin and the scandalous duel between the two poets, Dmitrieva fell silent for a long time. However, in 1927, while in exile, at the suggestion of a close friend of recent years, a sinologist and translator Y. Shchutsky, she created another literary hoax - a cycle of seven lines “The House under a Pear Tree”, written on behalf of the “philosopher Li Xiang Zi”, exiled to a foreign land "for faith in the immortality of the human spirit."

The meaning of the hoax Maximilian Voloshin liked Dmitrieva's poems, but when he brought the poetess to Makovsky, one of the publishers of Apollo, they did not impress him. Perhaps due to the fact that Elizabeth herself seemed unsightly to him. Voloshin and Dmitrieva conceived the hoax in the summer of 1909 in Koktebel: a sonorous pseudonym and a literary mask of a mysterious Catholic beauty were invented.

Quote“I am at a big crossroads. I left you. I won't write poetry anymore. I don't know what I will do. Max, you brought out the power of creativity in me for a moment, but took it away from me forever later. Let my poems be a symbol of my love for you” (from a letter from Elizaveta Dmitrieva to Maximilian Voloshin).

Poetry

Alias ​​Max Fry

Hoax Beginning in 1996, the St. Petersburg publishing house "Azbuka" began to publish books by the writer Max Fry. Genre - fantasy with elements of parody. The novels gradually gained popularity, and by 2001 Max Frei had become one of the most published Russian science fiction writers. In the end, the popularity of the author grew to such an extent that it became necessary to present it to the public: Fry became a real star.

exposure Max Frei is not listed among foreign authors, for Russia such a name and surname are not typical - which means that this is a pseudonym, everyone decided. The publisher joked that Max Fry was a blue-eyed black man. This continued until the fall of 2001, until the presenter introduced Svetlana Martynchik to the audience as the real author of Max Fry's books on the air of Dmitry Dibrov's TV program. And then a scandal broke out: Martynchik accused Azbuka of trying to register Max Fry as a trademark and put literary blacks to write for her.

The meaning of the hoax In the 1990s, against the background of the rushing on domestic market stream of foreign fiction, Russian authors are somewhat lost. As a result, books began to appear domestic origin but under foreign names. Dmitry Gromov and Oleg Ladyzhensky wrote on behalf of Henry Lion Oldie, while Elena Khaetskaya became Madeline Simons. For the same reason, the pseudonym "Max Fry" was born. By the way, Fry's books were always copyrighted by Martynchik herself. In fact, we are talking about a publishing, not a writer's hoax: the figure of the author is carefully mythologized, and at the time the pseudonym is revealed, if the author still retains popularity by that time, you can make good money.

Quote“Already after the story was revealed with an attempt to register the name of Max Fry as a trademark, they [the Azbuka publishing house] quickly suggested to me: let's put the guys in jail, and they will write books - candidates of philological sciences, no lower! So, they will write a book a quarter, and I will be paid a hundred thousand rubles for this, also a quarter” (from an interview with Svetlana Martynchik).

P.S. Books from the cycle "Labyrinths of Echo" you can take in central library, the city children's and youth library, the library named after L.A. Gladina.

Nickname Boris Akunin

Hoax In 1998, the detective novel "Azazel" was published about the adventures of a young St. Petersburg detective Erast Fandorin. On the cover is the author - Boris Akunin. The genre - "intelligent historical detective story" - was in demand, although not immediately. At the beginning of the 2000s, Akunin's books become bestsellers, and talks about film adaptations begin, which means much more money for the author than just royalties for novels.

exposure As Akunin's books became more popular and their audiences widened, various suggestions were put forward, including that the author was actually Vladimir Zhirinovsky or Tatyana Tolstaya. However, already in 2000, it became known that this pseudonym was hiding a Japanese translator, deputy editor-in-chief of the magazine “ Foreign literature» Grigory Chkhartishvili. He himself admitted this, giving several interviews and starting to appear in public not only as Chkhartishvili, but also as Akunin.

The meaning of the hoax Throughout the 90s, writing popular books of the "low genre", that is, detective stories and thrillers, was considered an occupation unworthy of an intelligent person: the author should not have been smarter than his works. In addition, as the writer himself admitted in an interview, the merchandisers of bookstores would never pronounce Chkhartishvili's last name anyway. And Boris Akunin speaks easily, and immediately sets the reader who graduated from school to classic XIX century. "Aku-nin" in Japanese means " bad person"," scoundrel. According to another version, this pseudonym was chosen in honor of the famous Russian anarchist Bakunin. Well, maybe.

Quote“I needed a pseudonym because this kind of writing is very different from all my other activities. When Akunin sits down at the computer and starts pounding on the keyboard, his thoughts do not work as well as those of Chkhartishvili, who is writing an article or essay. We are so different. Akunin is much kinder than me. This is first. Secondly, he, unlike me, is an idealist. And, thirdly, he knows for sure that God exists, in which I envy him” (from an interview with Grigory Chkhartishvili).

P.S. You can take B. Akunin's books in any library in Apatity.

AliasesAnatoly Brusnikin, Anna Borisova

Hoax In the fall of 2007, all of Moscow was hung with advertisements for the novel The Ninth Spas. The author is an unknown Anatoly Brusnikin. According to rumors, the AST publishing house invested up to a million dollars in the advertising campaign - a huge amount of money even for the pre-crisis book market. Hardly few famous writer could qualify for such investments. Suspiciously laudatory texts in the yellow press are added to the usual reviews in decent publications, and the writer Elena Chudinova claims that the plot of the book was stolen from her. In addition to The Ninth Savior, Hero of Another Time and Bellona also came out.

exposure Suspicion quickly falls on Grigory Chkhartishvili: the action of the novel takes place at the end of the seventeenth century, and the book was written in the language of the nineteenth century, like the novels of Boris Akunin. Well, the pseudonym is painfully similar: both here and there “A. B." The search for the true author is carried out mainly in tabloids and is fueled by the publishing house itself: some facts are periodically leaked to the press, for example, an indistinct photograph of Brusnikin, where he either looks like Chkhartishvili, or does not. In the meantime, at the beginning of 2008, the Atticus publishing group, which has much less financial resources, publishes the novel “There” by another unknown author, Anna Borisova (as well as “The Creative” and “Vremena goda”). Finally, in mid-January 2012, the writer Grigory Chkhartishvili officially announced on his blog that Anatoly Brusnikin and Anna Borisova are him.

The meaning of the hoax Inventing Borisova and Brusnikin, Chkhartishvili set up an experiment - on himself and the publishing market. Can publishers promote an unknown writer from scratch and will the reader accept this writer? How much money is needed for this? Which genres is the market ready to accept and which are not? In fact, a whole marketing study came out of the hoax.

Quote“I was occupied with the following business challenge. Suppose there is some unknown writer, in which the publishing house is ready to seriously invest, because it firmly believes in the prospects of this author. How to act? How much money to invest in promotion, so as not to remain in the red? What methods to use? What is the sequence of steps? I talked face-to-face on this topic with Jan Helemsky, head of the AST publishing house. I remember being flattered that he said, without even reading the manuscript of Brusnikin's first novel: "I'm in the game, I'm very interested"" (from Grigory Chkhartishvili's blog).

P.S. You can take A. Brusnikin's books "The Ninth Savior" and "The Hero of Another Time" in the central library, the city children's and youth library, the L.A. Gladina library, and the family reading library. And the books by A. Borisova “There” and “Vremena goda” are in the central library and the family reading library.

Alias ​​Holm van Zaychik

Hoax Since 2000, seven novels have been published in Russian under common name"Eurasian Symphony" by a certain Dutch writer and humanist Holm van Zaichik about a utopian-sympathetic parallel historical reality in which China, the Mongol Empire and Rus' are united into one superpower Ordus. These stories belong simultaneously to the genres of alternative history and detective story, are mixed with Chinese stylization, heavily flavored with political propaganda with the addition of love lines and with a huge number of well-recognized quotes.

exposure The secret of van Zaichik was an open secret from the very beginning, although parody interviews were published on behalf of the "humanist". The fact that behind this pseudonym, referring to the name of the Dutchman Robert van Gulik (one of the greatest orientalists of the 20th century and the author of the famous detective stories about Judge Dee), two St. Petersburg authors are hiding, became known a year later, when they began to receive for their project literary awards at fantasy festivals, and then honestly admit in an interview that they are.

The meaning of the hoax The frankly ironic content of the work (a utopia that parodies Russian history, and even many of the characters have real prototypes among friends and acquaintances of the authors) encouraged the co-authors to continue the game. At the same time, the serious science fiction writer Rybakov and the serious historian Alimov would look bad as authors on the cover of such a book. But the frankly banter van Zaichik is very good. At the turn of the millennium, literature gravitated towards anti-utopias, no one wrote utopias, and an additional literary game was required to justify positive prose.

Quote“I love utopias. Their appearance is always a harbinger of a sharp historical breakthrough. We ate dystopias. Any appearance of utopias heralds leaps in development. The rejection of utopia is, in principle, the rejection of historical effort in general. Easy, accessible skeptical disbelief that we can and should be good” (from an interview with Vyacheslav Rybakov).

P.S. You can take all the books of Holm van Zaichik in the central library, the city library for children and youth, and the family reading library.

Nickname Mikhail Ageev

Hoax In 1934, the book “Affair with Cocaine” was published in Paris - a confessional story of the protagonist growing up in pre- and post-revolutionary Moscow against the backdrop of historical events. The novel was liked by most famous émigré authors and critics, including Merezhkovsky and Khodasevich. Even then it was believed that this was someone's pseudonym, since Ageev did not have any other texts (except for the story published with the novel), and the author of one book, who appeared out of nowhere, is an extremely suspicious phenomenon. In the 1980s, the novel was republished in the West, and it had big success. In the 90s he got to Russia. Intelligent schoolchildren and students read to them, and, perhaps, it was he who influenced Pelevin when he wrote Chapaev and Void.

exposure For a long time there was a popular version that Ageev is none other than Vladimir Nabokov: the facts of the biography of Nabokov and the protagonist of "The Cocaine Romance" coincided, structurally this thing resembled Nabokov's early works, and finally, the names of the characters were often found in Nabokov's texts. At the same time, the well-known poetess Lydia Chervinskaya insisted that the author was a certain Marco Levi, but her version was not taken into account. Finally, in 1996, thanks to the efforts of literary critics Gabriel Superfin and Marina Sorokina, it turned out that the author's name was really Levy, but not Marco, but Mark. The fact is that the novel quite accurately describes the Moscow private gymnasium Kreiman, in which Mark Levy really studied during the years described by the author. All questions were finally removed in 1997, when Levy's own letters were found and published, in which he agrees to publish his book.

The meaning of the hoax The biography of the real author of "Affair with Cocaine" is full of white spots. It is known that in the 1920s - 1930s he wandered around Europe, studied in Germany, worked in France, possibly collaborated with Soviet intelligence, changed Soviet citizenship to Paraguayan, then returned the Soviet one. After the war, he lived in Yerevan, where he died in 1973. With such a biography and in that historical situation, the publication of a confessional novel under a pseudonym seems to be a reasonable precaution: the author invented a “writer” who is not connected with the outside world by political, social or other obligations, which means that he is free to say whatever he wants.

Quote“In 1930, he (Levi. - “RR”) left Germany and came to Turkey, where he was engaged in teaching languages ​​and even literary activities. He wrote a book called "The Tale of Cocaine", which was published in the Parisian émigré publication "House of Books". Levy points out that the book is harmless, it does not contain a single word directed against the USSR, and in general this is his forced work, written for the sake of its existence. From the conversations that took place, one could conclude that Levi, apparently, thought through and realized the depth of the mistake he had made and is trying to make amends for it in practical work. (From the certificate of the Soviet Consulate General in Istanbul).

P.S. You can take M. Ageev's book "A novel with cocaine" in the central library and the library named after L.A. Gladina.

Nickname Abram Tertz

Hoax From the beginning of the 1960s, works signed by a certain Abram Tertz began to appear in Russian-language foreign publications. One of the most famous was the story "Lubimov" - about a small Soviet town in which a bicycle master seized power, became a dictator and began to build real communism. The same author published an ironic and caustic article on socialist realism.

exposure In the USSR, Tertz's texts were considered anti-Soviet and discrediting "the Soviet state and social order”, after which the KGB took up the search for the author. How exactly the authorship of Sinyavsky was established is not known for sure - perhaps it is about someone's betrayal or about a handwriting examination. In 1965-1966, a high-profile trial took place over Andrei Sinyavsky and Yuli Daniel (he also published in the West under a pseudonym). And although collective letters were received in defense of the writers both from abroad and from many of their Soviet colleagues, nevertheless, the court found them guilty. Sinyavsky received seven years for anti-Soviet agitation and propaganda. In 1991, the case was reviewed and the sentence was overturned. But what remains is a letter from Mikhail Sholokhov, in which he calls the books of Sinyavsky and Daniel "mud from a puddle."

The meaning of the hoax Pure precaution. To publish in the West, and even with texts that censorship would never have allowed in the USSR, under one's own name was pure suicide. By publishing under pseudonyms, the authors tried to protect themselves and their loved ones. However, Sinyavsky continued to publish prose under the name of Abram Tertz even after his release from the camp and departure for emigration. According to the version voiced by his wife Maria Rozanova after the death of the writer, the pseudonym was taken in honor of the hero of the Odessa thug song - a pickpocket. By this, Sinyavsky, as it were, admitted that he was leading dangerous game. And having become famous under this name, he no longer wanted to refuse it: the biography of a fictional writer turned out to be more glorious and exciting than that of a real one.

P.S. Collected works of A. Terts (in 2 volumes) you can take in the central library, the city library for children and youth, the family reading library, libraries No. 1 and No. 2.

Nickname Emile Azhar

Hoax In 1974, the writer Emile Azhar publishes his debut novel "Darling". Critics take it with a bang, and then the author, who writes under this pseudonym, is also announced - the young writer Paul Pavlovich, the nephew of the famous writer Romain Gary. His second novel, A Whole Life Ahead, wins the Prix Goncourt, the main literary award France. In total, Azhar published four novels.

exposure Gary claimed that it was he who discovered the writer's talent in his nephew. However, some suspicions arose quite soon: the debutant Pavlovich's novels were too mature and skillful. However, until Gary's suicide in late 1980, it was not known for certain who Azhar was. A few days before his death, the author completed the essay "The Life and Death of Emile Azhar", which was published in the summer of 1981, in which he outlined in detail the history of his hoax.

The meaning of the hoax By the mid-1970s, Romain Gary, once a favorite of the public and critics, laureate of the Goncourt Prize, was considered exhausted and exhausted. By creating a pseudonym, Gary wanted to prove to both his critics and himself that this was not so. As a result, he became the only person in French history to win the Prix Goncourt twice. But it was the fame that went not to the writer himself, but to Azhar, who was invented by him, that caused a deep mental crisis, and then Gary's suicide: if at first the writer laughed at critics who began to chase a new star, then in the end someone else's success, which, in theory , should have belonged to him, began to oppress him.

Quote“I have been expelled from my domain. In the mirage I created, another one settled. Having materialized, Azhar put an end to my ghostly existence in it. The vicissitude of fate: my dream turned against me ”(Romain Gary“ The Life and Death of Emile Azhar ”).

P.S. Books by R. Gary (“Kites”, “Promise at Dawn”, “Dance of Genghis Khaim”, “Light of a Woman”, “Pseudo” and “Fears of King Solomon” - the last two novels published under the pseudonym E. Azhar) you can borrow from the central library and other city libraries.

Writers' pseudonyms

Anna Akhmatova

Gorenko Anna Andreevna (1889-1966)

Russian poet. With her pseudonym, Anna Gorenko chose the surname of her great-grandmother, who was descended from the Tatar Khan Akhmat. She later said: "Only a seventeen-year-old crazy girl could choose Tatar surname for a Russian poetess... That's why it occurred to me to take a pseudonym for myself, because my dad, having learned about my poems, said: "Do not shame my name." "And I don't need your name!" - I said ... "(L. Chukovskaya" Notes on Anna Akhmatova ").

Arkady Arkanov

Steinbock Arkady Mikhailovich (born 1933)

Russian satirist. In the early 1960s, Arkady Steinbock began to engage in literary activities, but not everyone liked his surname - it was too Jewish. As a child, Arkady was simply called Arkan - hence the pseudonym.

Eduard Bagritsky

Dzyubin Eduard Georgievich (1895-1934)

Russian and Soviet poet, translator. Possessed phenomenal memory, could recite the verses of almost any poet by heart. Where the pseudonym comes from is unknown, but the times were "purple" then. He also published in Odessa newspapers and humorous magazines under the pseudonyms "Someone Vasya", "Nina Voskresenskaya", "Rabkor Gortsev".

Demyan Bedny

Pridvorov Efim Alekseevich (1883-1945)

Russian and Soviet poet. The surname of Yefim Alekseevich is by no means suitable for a proletarian writer. The pseudonym Demyan Poor is the village nickname of his uncle, a people's fighter for justice.

Andrey Bely

Bugaev Boris Nikolaevich (1880-1934)

Russian poet, prose writer, critic, publicist, memoirist, leading theorist of symbolism. The pseudonym Andrey Bely was suggested to him by his teacher and mentor S.M. Soloviev ( White color- "the complete synthesis of all mental abilities").

Kir Bulychev

Mozheiko Igor Vsevolodovich (1934-2003)

Russian science fiction writer, screenwriter, historian-orientalist (candidate historical sciences). Author scientific works in history South-East Asia(signed with his real name), numerous fantastic stories, stories (often combined into cycles), the collection "Some Poems" (2000). The pseudonym is composed of the name of the wife (Kira) and the maiden name of the writer's mother. As the writer admitted, the idea of ​​a pseudonym arose long ago, when he was still a graduate student at the Institute of Oriental Studies and wrote the first fantastic story. He was afraid of criticism, ridicule: “I skipped the vegetable base! He didn’t show up for the trade union meeting… And he also indulges in fantastic stories.” Subsequently, the name "Kirill" on the covers of books began to be abbreviated - "Kir."

Voltaire

François-Marie Arouet (1694-1778)

French writer, philosopher and educator. One of the greatest French philosophers-enlighteners of the XVIII century, poet, prose writer, satirist, essayist, founder of Voltairianism. Nickname Voltaire - an anagram of "Arouet le j(eune)" - "Arue the Younger" (Latin spelling - AROVETLI)

Arkady Gaidar

Golikov Arkady Petrovich (1904-1941)

Soviet writer, grandfather of Yegor Gaidar, one of the founders of modern children's literature. The most famous of his works are "The Fate of the Drummer", "Timur and his team". There are two versions of the origin of the pseudonym Gaidar. The first, which has become widespread, is "gaidar" - in Mongolian "a rider galloping in front." According to another version, Arkady Golikov could take the name Gaidar as his own: in Bashkiria and Khakassia, where he visited, the names Gaidar (Geidar, Khaidar, etc.) are very common. This version was supported by the writer himself.

Alexander Herzen

Yakovlev Alexander Ivanovich (1812-1870)

Russian writer, philosopher, revolutionary. Author of the novel "Who is to blame?", the essay "Past and Thoughts". Herzen - illegitimate sonRussian writer, philosopher, revolutionary. Author of the novel by the landowner Ivan Alekseevich Yakovlev and the German woman Henrietta-Wilhelmina Louise Gaag. The surname Herzen - "child of the heart" (from German Herz - heart) was invented by his father.

Grigory Gorin

Ofshtein Grigory Izrailevich (1910-2000)

Maksim Gorky

Peshkov Alexey Maksimovich (1868-1936)

Russian writer, public figure, literary critic, publicist, first Chairman of the Board of the Union of Writers of the USSR. The first story was published in 1892 under the pseudonym Gorky, which characterized hard life writer, this pseudonym and used in the future. At the very beginning of his literary activity He also wrote feuilletons in Samarskaya Gazeta under the pseudonym Yehudiel Khlamida. M. Gorky himself emphasized that the correct pronunciation of his surname is Peshkov, although almost everyone pronounces it as Peshkov.

Irina Grekova

Elena Sergeevna Wentzel (1907 - 2002)

Russian prose writer, mathematician. Doctor of Technical Sciences, author of numerous scientific papers on problems of applied mathematics Efim Alekseevich Pridvorov (1883-1945), university textbook on probability theory, books on game theory, etc. Like Lewis Carroll, scientific works published under her real name, and novels and short stories under a “mathematical” pseudonym (from the name of the French letter “y”, which goes back to Latin). As a writer, she began to publish in 1957 and immediately became famous and loved, her novel "The Department" was literally read to the holes.

Alexander Green

Grinevsky Alexander Stefanovich (1880-1932)

Ilya Ilf

Fainzilberg Ilya Arnoldovich (1897-1937)

Veniamin Kaverin

Zilber Veniamin Alexandrovich (1902-1988)

Soviet writer, most famous work- the novel "Two Captains". The pseudonym "Kaverin" is taken from a hussar, a friend of the young Pushkin (brought by him under his own surname in "Eugene Onegin").

Lewis Carroll

Charles Lutwidge Dodgson (1832-1898)

English mathematician and theologian, as well as a writer, author of the fairy tale "Alice in Wonderland". The magazine publisher and writer Edmund Yates advised Dodgson to come up with a pseudonym, and an entry from February 11, 1865 appears in Dodgson's Diaries: "Wrote to Mr. Yates, offering him a choice of pseudonyms: 1) Edgar Catwellis (the name Edgar Cuthwellis is obtained by rearranging the letters from Charles Lutwidge ); 2) Edgard W. C. Westhill (the method of obtaining a pseudonym is the same as in the previous case); 3) Louis Carroll (Louis from Lutwidge - Ludwik - Louis, Carroll from Charles); 4) Lewis Carroll (according to the same the principle of "translating" Charles Lutwidge's names into Latin and back "translating" from Latin into English)". The choice fell on Lewis Carroll. Since then, Charles Lutwidge Dodgson signed all his “serious” mathematical and logical works with his real name, and all his literary works with a pseudonym.

Eduard Limonov

Savenko Eduard Veniaminovich (born 1943)

The infamous writer, journalist, public and political figure, founder and head of the liquidated National Bolshevik Party. Since July 2006, he has been an active participant in the Other Russia movement, opposition to the Kremlin, and the organizer of a number of Marches of Dissent. The pseudonym Limonov was invented by the artist Vagrich Bakhchanyan (according to other sources - Sergey Dovlatov).

Alexandra Marinina

Alekseeva Marina Anatolyevna (born 1957)

Author of numerous detective novels. In 1991, together with her colleague Alexander Gorkin, she wrote the detective story "Six-winged Seraphim", which was published in the magazine "Militia" in the fall of 1992. The story was signed by the pseudonym of Alexander Marinin, made up of the names of the authors.

Evgeny Petrov

Evgeny Petrovich Kataev (1901-1942)

Russian and Soviet writer, brother of the writer Valentin Kataev, co-author (together with I. Ilf) famous novels"Golden calf", "12 chairs", etc. The pseudonym Petrov is a surname derived from a patronymic, since one Kataev, i.e. his brother Valentine, was already a famous writer.

Kozma Prutkov

Alexei Tolstoy and the Zhemchuzhnikov brothers - Alexei, Alexander and Vladimir.

Prutkov is a fictional writer, a unique literary phenomenon. Two talented poets, Count A.K. Tolstoy and Alexei Mikhailovich Zhemchuzhnikov, together with Vladimir Mikhailovich Zhemchuzhnikov and with some participation of Zhemchuzhnikov’s third brother, Alexander Mikhailovich, created the type of important self-satisfaction and self-confidence of the Petersburg official (director of the assay tent), out of vanity exercising in various kinds of literature. famous quotes: “If you want to be happy, be it”, “Look at the root!”, “Do not cut everything that grows!”, “It is more useful to go through the path of life than the whole universe”, “An egoist is like one who has long been sitting in a well”, “Genius like a hill rising on a plain", "Death is set at the end of life in order to more conveniently prepare for it", "Do not take anything to extremes: a person who wants to eat too late risks eating the next day in the morning", "I do not quite understand , why do many call fate a turkey, and not some other bird more like fate?".

George Sand

Aurora Dupin (1804-1876)

French writer. Since it was almost impossible for a woman to get published at that time, Aurora Dupin took on a male pseudonym.

Igor Severyanin

Lotarev Igor Vladimirovich (1887-1941)

Poet of the Silver Age. The pseudonym Severyanin emphasizes the "northern" origin of the poet (he was born in the Vologda province). According to another version, in his youth he went with his father on a trip to Far East(1904). This trip inspired the poet - hence the pseudonym Severyanin. Most literary activity, the author preferred writing Igor-Severyanin. The pseudonym was perceived by him as a middle name, not a surname.

Hope TEFFI

Lokhvitskaya Nadezhda Alexandrovna (1872-1952)

Russian writer, poetess, author of satirical poems and feuilletons. She was called the first Russian comedian of the beginning of the 20th century, "the queen of Russian humor", but she was never a supporter of pure humor, she always combined it with sadness and witty observations of life around her. She explained the origin of her pseudonym as follows: she knew a certain stupid person named Stefan, whom the servant called Steffi. Believing that stupid people are usually happy, she took this nickname as a pseudonym for herself, shortening it "for the sake of delicacy" to "Taffy". Another version of the origin of the pseudonym is offered by researchers of Teffi's work, according to which the pseudonym for Nadezhda Aleksandrovna, who loved hoaxes and jokes, and was also the author literary parodies, feuilletons, became part of literary game aimed at creating an appropriate image of the author. There is also a version that Teffi took her pseudonym because her sister, the poetess Mirra Lokhvitskaya, who was called the "Russian Sappho", was printed under her real name.

Daniil Kharms

Yuvachev Daniil Ivanovich (1905-1942)

Russian writer and poet. Yuvachev had a lot of aliases, and he effortlessly changed them: Khharms, Khaarms, Dandan, Charms, Karl Ivanovich Shusterling and others. ") most accurately reflected the essence of the writer's attitude to life and work.

Vasily Yan

Yanchevetsky Vasily Grigorievich (1875-1954)

Dmitriev V. G. Invented names: (Stories about pseudonyms) / V. G. Dmitriev. - M.: Sovremennik, 1986. - 255 p.

The book tells about the reasons for the appearance of pseudonyms and cryptonyms, about the ways of their formation, about the role they played in the work of a number of prominent Russian and foreign writers, explains the semantic meaning of many foreign pseudonyms. Fascinating stories will acquaint the reader with other methods of disguising the author, with invented names that writers endowed their literary opponents and characters in books. Separate chapters are devoted to the pseudonyms of artists, theater and circus performers.

Story one. Why is an alias needed?

Second story. How aliases were created.

Story three. Ancient times.

Story four. At the dawn of Russian literature.

Story five. Lyceum "cricket".

Story six. An acquaintance of Pechorin.

Seventh story. From beekeeper Rudy Pank to Konrad Lilienschwager.

Story eight. From Savva Namordnikov to Nikanor Shabby.

Ninth story. How did the Iskra-ists sign?

Story ten. Antosha Chekhonte and his contemporaries.

Eleventh story. Sespel means snowdrop.

Story twelve. Why is the surname double?

Thirteenth story. The alias serves as a mask.

Story fourteen. Pseudonyms of revolutionaries.

Story fifteen. Aliases of the artists.

Story sixteen. stage aliases.

Location of the book: central city library.

Dmitriev V. G. Hiding their name: From the history of pseudonyms and anonymous names / Dmitriev, Valentin Grigorievich, Dmitriev, V.G. - M.: Nauka, 1970. - 255 p.

The book tells about the origin of pseudonyms, reveals their semantic meaning, methods of their formation, an attempt is made to systematize some facts from this interesting area of ​​literary criticism, the most bright examples from Russian and foreign literature.

Location of the book: Library named after L.A. Gladina.

Osovtsev, S. What is in my name for you? // Neva. - 2001. - No. 7. - S. 183-195.

Sindalovsky N.A. Pseudonym: legends and myths of the second name // Neva. - 2011. - N 2. - S.215-238.