Modern literature is collection of prose and poetry written at the end of the 20th century. - the beginning of the XXI century.

Classics of modern literature

In a broad view, modern literature includes works created after the Second World War. In the history of Russian literature, there are four generations of writers who have become classics. modern literature:

• The first generation: writers of the sixties, whose work took place during the “Khrushchev thaw” of the 1960s. Representatives of the time - V. P. Aksenov, V. N. Voinovich, V. G. Rasputin - are characterized by a manner of ironic sadness and an addiction to memoirs;
• Second generation: the seventies - Soviet writers 1970s, whose activities were limited by prohibitions - V. V. Erofeev, A. G. Bitov, L. S. Petrushevskaya, V. S. Makanin;
• The third generation: writers of the 1980s who came to literature during perestroika - V. O. Pelevin, T. N. Tolstaya, O. A. Slavnikova, V. G. Sorokin - wrote in conditions of creative freedom, relying on getting rid of censorship and mastering experiments;
• Fourth generation: writers of the late 1990s, prominent representatives prose literature– D. N. Gutsko, G. A. Gelasimov, R. V. Senchin, Prilepin, S. A. Shargunov.

Feature of modern literature

Modern literature follows the classical traditions: the works of modern times are based on the ideas of realism, modernism, postmodernism; but, from the point of view of versatility, is a special phenomenon in the literary process.

artistic literature XXI century seeks to move away from genre predestination, as a result of which canonical genres become marginal. The classical genre forms of the novel, short story, story are practically never found, they exist with features that are not characteristic of them and often contain elements of not only different genres, but also related species art. Known are the forms of a film novel (A. A. Belov "The Brigade"), a philological novel (A. A. Genis "Dovlatov and Surroundings"), a computer novel (V. O. Pelevin "The Helmet of Horror").

Thus, modifications of established genres lead to the formation of unique genre forms, which is primarily due to the isolation of fiction from the mass literature, which carries genre certainty.

Elite literature

At present, the prevailing opinion among researchers is that modern literature is poetry and prose of the last decades, transition period turn of the XX-XXI centuries. Depending on purpose contemporary works distinguish between elite and mass, or popular, literature.

Elite literature – « high literature", which was created in a narrow circle of writers, clergy, artists and was available only to the elite. Elite literature is opposed to mass literature, but at the same time it is a source for texts that are adapted to the level of mass consciousness. Simplified versions of the texts of W. Shakespeare, L. N. Tolstoy and F. M. Dostoevsky contribute to the spread of spiritual values ​​among the masses.

mass literature

Mass literature, unlike elite literature, does not go beyond the genre canon, is accessible and is oriented towards mass consumption and commercial demand. The rich genre variety of popular literature includes love story, adventure, action, detective, thriller, science fiction, fantasy, etc.

The most demanded and replicated work of mass literature is a bestseller. The world bestsellers of the 21st century include a series of Harry Potter novels by J. Rowling, a cycle of publications by S. Mayer "Twilight", a book by G. D. Roberts "Shantaram", etc.

It is noteworthy that mass literature is often associated with cinema - many popular publications have been filmed. For example, the American TV series "Game of Thrones" is based on the series of novels by George R.R. Martin "A Song of Ice and Fire".

Much is debatable and I do not agree with much, but several theses are very strong and true.

Dmitry Bykov. Does not apply

Modern Russian literature is monstrously unprofessional, and this is the only thing that can be said about it. It lives in the same deep spiritual province as Russian education, cinema, fundamental science and all other areas of spiritual activity, and it is very boring to talk about it. Russian literature is not read in the West and not known in the East. She had not had success for a long time, which all of Russia would talk about. In a Russian bookstore, as a rule, there is nothing to buy.

From foreign literature in Russia, most often the most stupid texts are translated, because from the world cake everyone eats out the cake that is too tough for him. IN Soviet time not only friends published in Russia Soviet Union, but also, for example, John Gardner (not a detective, but the one who is "October Light"), and Joseph Heller, and Truman Capote, and modern Russian prose works as if neither William Gaddis, nor Ralph Ellison, nor D.F. existed in nature. Wallace, or Don DeLillo, or T. Coragessan Boyle (the last two were translated, from afar - but they disappeared like that, few noticed and not mastered at all). I'm not a fan of Pynchon, at least not of Gravity's Rainbow, but it's a significant work, whatever one may say, that has given birth to a new literary wave; in Russia, it made absolutely no impression, and not because it came out 40 years after the American publication, but because reading it, after all, requires some effort. True, the translation by Nemtsov and Gryzunova turned out to be such that in English I still somehow understand this book, but in Russian, to tell the truth, with difficulty.

The narrative techniques of modern Russian prose are more old-fashioned than in the century before last, when Tolstoy experimented with the novel genre, and Dostoevsky was looking for a synthesis of fantasy and physiological essay ("Double", let's say). Russian prose has never really been able to build a fascinating plot with an unexpected ending, but now it has forgotten how to do what Soviet fiction writers have worked out. Living heroes, whose names would become common nouns, we have not had for twenty years. In ninety texts out of a hundred, the only hero of any note is the author himself, but more often than not he is so disgusting—both to himself and to the reader—that you want to quickly banish him from memory. The style of modern Russian prose is exhaustively described by the Soviet couplet "I have one string, Kazakhstan is my country." In addition, at the very time when all World culture is looking for compromises between mass character and seriousness - Russian prose has finally stratified into monstrous chewing gum a la Dontsov or Minaev and an arthouse that is not interesting to anyone, through which it is difficult to wade through even the most sophisticated reader. It is difficult for him to break through, however, not because it is so hot how difficult it is written, not because he has verbal lace in the spirit of Sasha Sokolov or his epigone Goldstein, but because everything written does not concern the reader at all. This is literature of pure self-service. If, however, modern Russian prose, with the courage of a neophyte, takes on the solution of world problems, like Maxim Kantor in the novel Red Light, it either endlessly repeats itself (and Kantor, by the way, diligently repeats The Drawing Manual), or slides into a completely indecent feuilletonity, or voices obvious things in such a cloth language that even the author's long-standing anger does not save: the engine does not start, the text stands still.

All this has been said many times, and one more repetition will not change anything - except for the on-duty and predictable cries that the author himself is a fool and has written himself long ago. It makes sense to talk about the reasons for this state of affairs, but I'm afraid that the reason is well known: lack of motivation. You usually take up prose, hoping either to solve world problem, or to cope with an interesting technical problem, or, at worst, to amuse the reader and earn money, but all this must be done seriously, and not carelessly. In contemporary Russia, even the oprichniks work in a slipshod manner, who have at least sadomasochistic or material incentives; all others are so unprofessional that it is humiliating to analyze their actions. Writing is not that very difficult, contrary to the old Serapion formula, but it requires some kind of erudition, perseverance, study of the material. Where the word weighs nothing, the author has no incentive for all these beautiful pursuits; in Soviet times, people could write on a table and believe that they had a bomb in their table. Today, the word is worth so little, and the violation of the simplest rules is so total and obvious that even the most stubborn idealist will not invest in such a dubious activity as the search for meaning or the fight against vices. Writing good literature is the pleasure of a very few, and today the number of writers almost equals the number of readers. Of course, writing remains one of the most powerful self-hypnosis, a unique way of dealing with the meaninglessness of existence, but writing itself, the process of stringing words on a thread of a plot, will not save anyone from anything. In the best case, you get a LiveJournal, a diary about nothing, at worst - the so-called automatic writing. The construction of a utopia, a fascinating story, the reprisal against vices - all this is possible where a person knows what he lives for. IN modern Russia the very posing of such a question is equated with extremism, because the creation of a high-quality text in itself violates homeostasis (we call it stability). Everything of any quality today is a political challenge, because the main sign of the times is the state's attitude towards mediocrity. The Nikolaev “dark seven years”, the analogue of which we are now apparently living, was marked by a complete lack of literature: Nekrasov, in order to fill Sovremennik with at least something, had to write, together with Panaev, the longest novel “Three Countries of the World”. Today's thick magazines are also filled with God knows what. The only novel, about which they spoke and wrote, - "Appeal to the ear" by Anton Ponizovsky, and the most interesting thing in it is documentary recordings of other people's monologues; everything else is so secondary and cardboard that you want to scroll through it. Pavel Sanaev's book "Chronicles of Gouging" aroused some interest, proving only that any sequel is worse than a prequel: "Bury me behind the plinth" - living book, generated by living longing and anger; "Chronicles" is a set of clichés, a book whose characters evoke neither pity, nor envy, nor anger. The author of "Plinth" wrote what he thought, not particularly hoping for reader recognition; the author-hero of "Gouging" tries to think and write what will resonate with the mass reader - and this is very felt.

The most reliable way to evaluate a book - at least when choosing it in a store - is to read its first and last phrase; we used to do just that in What to Read magazine, putting these same phrases instead of reviews. If you look at most of today's novelties from this point of view, the reader will find with longing the first phrase that does not catch, and the last one that does not leave behind anything like an "extended ghost of being." The distance between these phrases is not interesting to pass - just as uninteresting as to go from Samogonsk to Kislosvishchevo. I will not deprive the reader of one of the few pleasures available to him - to do this experiment on his own. If he is too lazy to go to the bookstore, let him take a walk through the prose " magazine hall". I recommend that the most meticulous ones read the first and last paragraphs - okay, you can’t judge anything from one phrase. In the overwhelming majority of cases, the first paragraph will describe the scenery verbosely and tritely - the weather, the interior - or it will contain a squeamish monologue of the hero, doomed to drag himself into such an interior in such weather; in the finale there will almost certainly be a rhetorical question or a painfully dull maxim in which there is neither novelty nor even false significance.

Are there any talented writers in today's Russia? Eat. There are far fewer talented publishers - the publisher is focused not on finding new names, but on milking out old ones that guarantee at least sluggish reader interest. Putting your texts on the Internet is no more fruitful than throwing them in the trash: of course, some publicity is provided, but the context is able to kill any new book. Tons of graphomania, among which something suddenly flashes, will not so much shade this novelty as stifle it. In addition, for literature, a successful debut is not enough - growth is needed. And remember, which of the modern Russian writers, whose discovery was joyfully welcomed, is at least growing somewhere or at least not bringing down the bar. Aleksei Ivanov, in my opinion, evolved interestingly, but he also grew downwards, based on the criteria of literary quality. One can hope for Prilepin, Buksha, Yevdokimov - but it is enough to look at how every developing phenomenon is poisoned in Russia and how they begin to love anyone who has finally surrendered to circumstances: “Another one who has fallen down!” So I don't know how long they will last.

The way out of this situation is obvious: life will begin and literature will appear. You can’t endlessly chew on Russian questions - they have not changed in the last five centuries; you can not repeat the same circle - it bothers the reader, and the writer, and the outside observer. All words have been said, but the situation is unchanged; no iPad, iPhone, Internet can update the Russian situation, in which there have been no “new people” since Chto Delat. All the curses of Herzen and Pecherin, all the invectives of Shchedrin and Pisarev, all the conjectures of Levin and Nekhlyudov are one-on-one applicable to today's situation, and this is unbearable. Russian prose has nothing to talk about - everything is said; and in order to move into the depths of a hero, this hero is needed. A production novel cannot be written without production. It is impossible to write a family saga in conditions of complete disintegration of the family - and the climate in society, primarily moral, is such that it is difficult for people to simply tolerate each other. Everything is useless. Any movement, as in zugzwang, worsens the situation: we seem to be comfortable in this dirt and stink, and if we move, then, God forbid, a revolution will happen. In the same way, it is almost impossible to write good children's literature where there is no image of the future: whether we like it or not, children are still the future, and we know nothing about it and do not want to know.

It remains to be hoped that not far off is your Oblomov, your Fathers and Sons, and there, what the hell is not joking, and War and Peace. But for this it is necessary that the seven-year period should last exactly seven years. Otherwise, Goncharov would die of laziness and “fatness of the heart”, Turgenev would finally break ties with his homeland, and Tolstoy would shoot himself, disguising this case as a hunting accident.

From a position of becoming domestic literature the first decade of the 21st century is most significant.

In the 1990s, a kind of “reset” of the Russian literary process took place: along with the beginning of the book boom and the emergence of “returned literature”, we witnessed a certain struggle of Russian writers with the temptation of permissiveness, which was overcome only by the beginning of the 2000s. That is why the process of consciously laying the foundation new literature should be attributed to the beginning of the new century.

Generations of writers and genres of modern literature

Modern Russian literature is represented by several generations of writers:

• the sixties, who declared themselves back in the period of the “thaw” (Voinovich, Aksyonov, Rasputin, Iskander), professing a peculiar style of ironic nostalgia and often turning to the genre of memoirs;
• "seventies", the Soviet literary generation (Bitov, Erofeev, Makanin, Tokareva), who began literary path in conditions of stagnation and professing a creative credo: “Circumstances are bad, not a person”;
• the perestroika generation (Tolstaya, Slavnikova,,), which actually opened the era of uncensored literature and engaged in bold literary experiments;
• writers of the late 90s (Kochergin, Gutsko, Prilepin), who made up the group of the youngest figures in the literary process.

Among the general genre diversity of modern literature, the following main directions stand out:

• postmodernism (Shishkin, Limonov, Sharov, Sorokin);

• « women's prose"(Ulitskaya, Tokareva, Slavnikova);

• mass literature (Ustinova, Dashkova, Grishkovets).

Literary trends of our time in the mirror of literary awards

In the matter of considering the literary process in Russia in the 2000s, it would be most indicative to refer to the list of laureates , moreover, the awards were predominantly non-state, since they were more focused on the reader's market, which means they better reflected the main aesthetic demands of the reading public in the past decade. At the same time, practice points to the definition of the delimitation of aesthetic functions between awards.

As you know, the phenomenon of postmodernism arises and strengthens simultaneously with the growing need for a reassessment of cultural or historical experience. This trend was reflected in the Russian Booker Prize, which announced itself back in the early 90s, which at the beginning of the century continued to “collect” samples of literary postmodernity under its auspices, designed to introduce the reader into a “parallel culture”.

During this period, awards were given to:

• O. Pavlov for "Karaganda deviatiny",
• M. Elizarov for the alternative history "Librarian",
• V. Aksyonov for a fresh look at the Enlightenment in "Voltaireans and Voltaireans".

At the same time, completely diverse

Reading Russia has witnessed another curious trend that has demonstrated public interest in major literary forms, so familiar to admirers of classical Russian literature. This phenomenon was reflected, first of all, in the winners of the Big Book award, where the traditional character of the literary presentation and the volume of the work were put at the forefront.

During the mentioned period, the Big Book was received by:

• D. Bykov, again for " Boris Pasternak»,
• for the military biographical "My Lieutenant",
• V. Makanin for the modern Chechen saga "Asan".

Notable was also the accompanying “ big book» the practice of "special prizes" that marked the works of Solzhenitsyn and Chekhov, which made it possible to stimulate mass interest in the works of the classics.
The subcultural segment of literature was provided at that time, first of all, with the help, since the choice of the winner here was carried out either using online surveys or based on the results of online sales in online stores.

Our presentation

The considered trends indicate the syncretism of the modern literary process. The modern reader, as well as the writer, is looking for the most acceptable option for obtaining a new literary experience- from the usual classic eye to catchy postmodern, which means that domestic culture meets the challenges of the 21st century with a living and developing literature.

The events that took place in the last decades of the last century affected all spheres of life, including culture. IN fiction significant changes were also observed. With the adoption of the new Constitution, a turning point occurred in the country, which could not but affect the way of thinking, the worldview of citizens. New values ​​have emerged. Writers, in turn, reflected this in their work.

The theme of today's story is modern Russian literature. What trends are observed in the prose of recent years? What are the characteristics of 21st century literature?

Russian language and modern literature

The literary language is processed and enriched by the great masters of the word. It should be attributed to the highest achievements of the national speech culture. Wherein literary language cannot be separated from the people. Pushkin was the first to understand this. The great Russian writer and poet showed how to use the speech material created by the people. Today, in prose, authors often reflect vernacular which, however, cannot be called literary.

Time frame

When using such a term as "modern Russian literature", we mean prose and poetry created in the early nineties of the last century and in the 21st century. After the collapse of the Soviet Union, cardinal changes took place in the country, as a result of which literature, the role of the writer, and the type of reader became different. In the 1990s, the works of such authors as Pilnyak, Pasternak, Zamyatin finally became available to ordinary readers. The novels and stories of these writers were read, of course, before, but only by advanced book lovers.

Exemption from prohibitions

In the 1970s soviet man I couldn't calmly go to a bookstore and buy Doctor Zhivago. This book, like many others, was banned. for a long time. The representatives of the intelligentsia in those distant years it was fashionable, if not aloud, but to scold the government, to criticize the "correct" writers approved by it and to quote the "forbidden". The prose of disgraced authors was secretly reprinted and distributed. Those who were engaged in this difficult business could lose their freedom at any moment. But forbidden literature continued to be reprinted, distributed and read.

Years have passed. Power has changed. Such a thing as censorship simply ceased to exist for some time. But, oddly enough, people did not line up in long lines for Pasternak and Zamyatin. Why did it happen? In the early 1990s, people lined up at grocery stores. Culture and art were in decline. Over time, the situation improved somewhat, but the reader was no longer the same.

Many of today's critics of the prose of the XXI century respond very unflatteringly. What the problem of modern Russian literature is, will be discussed below. First, it is worth talking about the main trends in the development of prose in recent years.

The Other Side of Fear

In times of stagnation, people were afraid to say an extra word. This phobia in the early nineties of the last century turned into permissiveness. Modern Russian literature of the initial period is completely devoid of an instructive function. If, according to a survey conducted in 1985, the most read authors were George Orwell and Nina Berberova, after 10 years the books "Cop nasty", "Profession - killer" became popular.

At the initial stage of its development, modern Russian literature was dominated by such phenomena as total violence and sexual pathologies. Fortunately, during this period, as already mentioned, the authors of the 1960s and 1970s became available. Readers had the opportunity to get acquainted with the literature of foreign countries: from Vladimir Nabokov to Joseph Brodsky. The work of previously banned authors positive influence on Russian contemporary fiction.

Postmodernism

This trend in literature can be characterized as a peculiar combination of worldview attitudes and unexpected aesthetic principles. Postmodernism was developed in Europe in the 1960s. In our country, it took shape in a separate literary movement much later. There is no single picture of the world in the works of postmodernists, but there is a variety of versions of reality. The list of modern Russian literature in this direction includes, first of all, the works of Viktor Pelevin. In the books of this writer, there are several versions of reality, and they are by no means mutually exclusive.

Realism

Realist writers, unlike modernists, believe that there is a meaning in the world, however, it should be found. V. Astafiev, A. Kim, F. Iskander are representatives of this literary movement. It can be said that in last years the so-called village prose. So, often there is an image provincial life in the books of Alexei Varlamov. Orthodox faith is, perhaps, the main one in the prose of this writer.

A prose writer can have two tasks: moralizing and entertaining. There is an opinion that third-class literature entertains, distracts from everyday life. Real literature makes the reader think. Nevertheless, among the themes of modern Russian literature there are no last place occupies a criminal The works of Marinina, Neznansky, Abdullaev, perhaps, do not lead to deep reflections, but they gravitate towards a realistic tradition. The books of these authors are often called "pulp fiction". But it is difficult to deny the fact that both Marinina and Neznansky managed to take modern prose your niche.

In the spirit of realism, the books of Zakhar Prilepin, a writer known public figure. Its heroes mainly live in the nineties of the last century. Prilepin's work causes a mixed reaction among critics. Some consider one of his most famous works - "Sankya" - a kind of manifesto for younger generation. Prilepin's story "Vein" Nobel laureate Günter Grass called it very poetic. Opponents of the Russian writer's work accuse him of neo-Stalinism, anti-Semitism and other sins.

Women's prose

Does this term have a right to exist? It is not found in the works of Soviet literary critics, yet not many people deny the role of this phenomenon in the history of literature. contemporary critics. Women's prose is not just literature created by women. It appeared in the era of the birth of emancipation. Such prose reflects the world through the eyes of a woman. The books of M. Vishnevetskaya, G. Shcherbakova, M. Paley belong to this direction.

Are the works of the Booker Prize winner Lyudmila Ulitskaya women's prose? Maybe only individual works. For example, stories from the collection "Girls". The heroes of Ulitskaya are equally men and women. In the novel "The Case of Kukotsky", for which the writer was awarded the prestigious literary award, the world is shown through the eyes of a male professor of medicine.

Not many modern Russian works of literature are being actively translated into Russian today. foreign languages. Such books include novels and stories by Lyudmila Ulitskaya, Viktor Pelevin. Why are there so few Russian-speaking writers today who are interesting in the West?

Lack of interesting characters

According to the publicist and literary critic Dmitry Bykov, in modern Russian prose, the outdated narrative technique. In the past 20 years, not a single living thing has appeared, interesting character, whose name would become a household name.

Moreover, unlike foreign authors trying to find a compromise between seriousness and mass character, Russian writers as if divided into two camps. The creators of the above-mentioned "pulp fiction" belong to the first. To the second - representatives of intellectual prose. A lot of art-house literature is being created that even the most sophisticated reader cannot understand, and not because it is extremely complex, but because it has no connection with modern reality.

publishing business

Today in Russia, according to many critics, there are talented writers. But good publishers are not enough. On the shelves of bookstores regularly appear books "promoted" authors. Of the thousands of works of low-quality literature, not every publisher is ready to look for one, but worthy of attention.

Most of the books of the writers mentioned above reflect the events not of the beginning of the 21st century, but Soviet era. In Russian prose, according to one of the famous literary critics, nothing new has appeared in the last twenty years, since writers have nothing to talk about. Under the conditions of the disintegration of the family, it is impossible to create a family saga. In a society that prioritizes material matters, an instructive novel will not arouse interest.

One may not agree with such statements, but in modern literature there really is no modern heroes. Writers tend to look to the past. Perhaps soon the situation in the literary world will change, there will be authors who can create books that will not lose popularity in a hundred or two hundred years.

Modern Russian literature (literature of the late 20th century - early 21st century)

Direction,

its time frame

Content

(definition, its "identification marks")

Representatives

1.Postmodernism

(early 1970s - early 21st century)

1. This is a philosophical and cultural trend, a special frame of mind. Originated in France in the 1960s in an atmosphere of intellectual resistance to an all-out offensive mass culture on human consciousness. In Russia, when Marxism collapsed as an ideology that provided a reasonable approach to life, rational explanation left and an awareness of irrationality came. Postmodernism has focused on the phenomenon of fragmentation, the splitting of the consciousness of the individual. Postmodernism does not give advice, but describes the state of consciousness. The art of postmodernism is ironic, sarcastic, grotesque (according to I.P. Ilyin)

2. According to the critic Paramonov B.M., “postmodernism is the irony of a sophisticated person who does not deny the high, but understands the need for the low”

His "identification marks": 1. Rejection of any hierarchy. The boundaries between the high and the low, the important and the secondary, the real and the fictional, the author's and the non-author's have been erased. Removed all style and genre differences, all taboos, including profanity. There is no reverence for any authorities, shrines. There is no desire for any positive ideal. The most important techniques: grotesque; irony, reaching cynicism; oxymoron.

2.Intertextuality (citation). Since the boundaries between reality and literature are abolished, the whole world is perceived as a text. The postmodernist is sure that one of his tasks is to interpret the legacy of the classics. At the same time, the plot of the work most often does not have independent meaning, and the main thing for the author is the game with the reader, who is supposed to identify plot moves, motifs, images, hidden and explicit reminiscences (borrowings from classical works calculated on the reader's memory) in the text.

3.Expansion of the readership by attracting mass genres: detective stories, melodramas, science fiction.

The works that laid the foundation for the modern Russian postmodern

prose, are traditionally considered "Pushkin House" by Andrey Bitov and "Moscow-Petushki" by Venedikt Erofeev. (although the novel and story were written in the late 1960s, the facts literary life they became only in the late 1980s, after publication.

2.neorealism

(new realism, new realism)

(1980s-1990s)

Borders are very flexible

This is a creative method that draws on tradition and at the same time can use the achievements of other creative methods, combining reality and phantasmagoria.

"lifelike" ceases to be main characteristic realistic writing; legends, myth, revelation, utopia are organically combined with the principles of realistic knowledge of reality.

The documentary “truth of life” is forced out into thematically limited spheres of literature, recreating the life of one or another “local society”, whether it be the “army chronicles” of O. Ermakov, O. Khandus, A. Terekhov or the new “village” stories of A. Varlamov (“ House in the village"). However, the attraction to the literally understood realistic tradition is most clearly manifested in the mass pulp fiction- in detective stories and "police" novels by A. Marinina, F. Neznansky, Ch. Abdullaev and others.

Vladimir Makanin "Underground, or a Hero of Our Time";

Ludmila Ulitskaya "Medea and her children";

Alexey Slapovsky "I am not me"

(the first steps were taken in the late 1970s in the “prose of the forties”, which includes the work of V. Makanin, A. Kim, R. Kireev, A. Kurchatkin and some other writers.

3Neonaturalism

Its origins are in the "natural school" of Russian realism of the 19th century, with its focus on recreating any aspect of life and the absence of thematic restrictions.

The main objects of the image: a) marginal spheres of reality (prison life, night life streets, “weekdays” of a garbage dump); b) marginal heroes who “dropped out” of the usual social hierarchy (homeless people, thieves, prostitutes, murderers). There is a "physiological" spectrum literary themes: alcoholism, sexual desire, violence, illness and death). It is significant that the life of the "bottom" is interpreted not as a "different" life, but as everyday life naked in its absurdity and cruelty: a zone, an army or a city garbage dump is a society in a "miniature", the same laws apply in it as in " normal" world. However, the boundary between the worlds is conditional and permeable, and “normal” everyday life often looks like an outwardly “ennobled” version of the “landfill”

Sergei Kaledin "Humble Cemetery" (1987), "Stroybat" (1989);

Oleg Pavlov "A government fairy tale" (1994) and "Karaganda deviatiny, or the Tale of the last days" (2001);

Roman Senchin "Minus" (2001) and "Athenian Nights"

4.Neo-sentimentalism

(new sentimentalism)

This is a literary trend that brings back, actualizes the memory of cultural archetypes.

The main subject of the image is private life (and often intimate life), realized as the main value. The “sensitivity” of modern times is opposed to the apathy and skepticism of postmodernism; it has bypassed the phase of irony and doubt. In a completely fictitious world, only feelings and bodily sensations can claim authenticity.

The so-called women's prose: M. Paley "Cabiria from the bypass channel",

M. Vishnevetskaya "The month came out of the fog", L. Ulitskaya "Kukotsky's case", works by Galina Shcherbakova

5.Postrealism

(or metarealism)

Since the early 1990s.

This literary direction, an attempt to restore integrity, attach a thing to meaning, an idea to reality; search for truth, genuine values, appeal to eternal themes or eternal prototypes contemporary themes, saturation with archetypes: love, death, word, light, earth, wind, night. History, nature, high culture. (according to M. Epstein)

“A new ‘artistic paradigm’ is being born. It is based on the universally understood principle of relativity, dialogic comprehension of a continuously changing world and the openness of the author's position in relation to it,” M. Lipovetsky and N. Leiderman write about post-realism.

The prose of post-realism carefully examines "the complex philosophical collisions that unfold in the daily struggle of the" little man "with the impersonal, alienated worldly chaos.

Private life conceived as a unique "cell" world history, created by the individual efforts of a person, imbued with personal meanings, “stitched” with the threads of a wide variety of connections with the biographies and destinies of other people.

Post-Realist Writers:

L. Petrushevskaya

V. Makanin

S.Dovlatov

A. Ivanchenko

F. Gorenstein

N. Kononov

O. Slavnikova

Y. Buyda

A.Dmitriev

M. Kharitonov

V. Sharov

6.post-postmodernism

(at the turn of the 20th and 21st centuries)

His aesthetic specificity determined primarily by the formation of a new artistic environment- the environment of "technoimages". Unlike traditional "text images", they require an interactive perception of cultural objects: contemplation / analysis / interpretation are replaced by project activities reader or viewer.

The artistic object "dissolves" in the activities of the addressee, continuously transforming in cyberspace and becoming directly dependent on the design skills of the reader.

Characteristic features Russian version of post-postmodernism are new sincerity, new humanism, new utopianism, a combination of interest in the past with openness to the future, subjunctiveness.

Boris Akunin

Leading themes in contemporary literature:

Autobiography in modern literature

A.P. Chudakov. "Darkness falls on the cold steps"

A. Nyman "Stories about Anna Akhmatova", "The Glorious End of Infamous Generations", "Sir"

L. Zorin "Proscenium"

N. Korzhavin "In the temptations of the bloody era"

A. Terekhov "Babaev"

E. Popov " True story"Green Musicians"

New realistic prose

V. Makanin "Underground, or a Hero of Our Time"

L. Ulitskaya "Medea and her children", "The Case of Kukotsky"

A. Volos "Khurramabad", "Real Estate"

A. Slapovsky "I am not me"

M. Vishnevetskaya "A month came out of the fog"

N.Gorlanova, V.Bukur "The Novel of Education"

M. Butov "Freedom"

D. Bykov "Spelling"

A. Dmitriev "The Tale of the Lost"

M. Paley "Cabiria from the bypass channel"

military theme in modern literature

V. Astafiev "Merry Soldier", "Cursed and Killed"

O. Blotsky "Dragonfly"

S. Dyshev "See you in paradise"

G. Vladimov "The General and his army"

O. Ermakov "Baptism"

A. Babchenko "Alkhan-Yurt"

A. Azalsky "Saboteur"

The fate of the literature of the Russian emigration: "the third wave"

V. Voinovich "Moscow 2042", "Monumental Propaganda"

V. Aksenov "Crimea Island", "Moscow Saga"

A. Gladilin "Big Running Day", "Shadow of the Rider"

A. Zinoviev “Russian fate. Confessions of a Renegade"

S. Dovlatov "Reserve", "Foreigner. Branch"

Y. Mamleev " eternal home»

A. Solzhenitsyn “A calf butted with an oak”, “A grain fell between two millstones”, “Open your eyes”

S. Bolmat "Themselves"

Y. Druzhnikov "Angels on the tip of a needle"

Russian postmodernism

A.Bitov Pushkin House”, V. Erofeev “Moscow-Petushki”

V. Sorokin "Queue", V. Pelevin "Life of insects"

D. Galkovsky "Endless dead end"

Y. Buyda "Prussian Bride"

E. Ger "Gift of the word"

P. Krusanov "Bite of an angel"

Transformation of History in Modern Literature

S. Abramov "A quiet angel flew by"

V. Zalotukha "The Great Campaign for the Liberation of India (Revolutionary Chronicle)"

E. Popov "The Soul of a Patriot, or Various Messages to Ferfichkin"

V. Pietsukh "The Enchanted Country"

V. Schepetnev "The sixth part of darkness"

Science fiction, utopias and dystopias in modern literature

A. Gladilin "French Soviet Socialist Republic»

V. Makanin "Laz"

V. Rybakov "Gravilet" Tsesarevich "

O. Divov "Culling"

D. Bykov "Justification"

Y. Latynina "Draw"

Modern essay writing

I. Brodsky "Less than one", "One and a half rooms"

S. Lurie "Interpretation of fate", "Conversation in favor of the dead", "Successes of clairvoyance"

V. Erofeev "Wake for Soviet literature”, “Russian Flowers of Evil”, “In the Labyrinth of Cursed Questions”

B. Paramonov "The End of Style: Postmodernism", "Next"

A. Genis "One: Culturology", "Two: Investigations", "Three: Personal"

Modern poetry.

Poetry at the turn of the 20th and early 21st centuries was influenced by postmodernism. There are two main poetic trends in modern poetry:

c o n c e p tualizm

m e t a r e a l i z m

Appears in 1970. The definition is based on the idea of ​​a concept (concept - from the Latin "concept") - a concept, an idea that arises in a person when perceiving the meaning of a word. The concept in art is not just lexical meaning words, but also those complex associations that arise in every person in connection with the word, the concept translates the lexical meaning into the sphere of concepts and images, giving rich opportunities for its free interpretation, conjecture and imagination. The same concept can be understood different people in different ways, depending on the personal perception of each, education, cultural level and specific context.

Therefore Sun. Nekrasov, standing at the origin of conceptualism, proposed the term "contextualism".

Representatives of the direction: Timur Kibirov, Dmitry Prigov, Lev Rubinshtein and others.

This is a literary movement that depicts a deliberately complicated picture of the surrounding world with the help of expanded, interpenetrating metaphors. Metarealism is not a denial of traditional, habitual realism, but an extension of it, a complication of the very concept of reality. Poets see not only the concrete, visible world, but also many secret things that are not visible to the naked eye, they receive the gift of seeing through their very essence. After all, the reality that surrounds us is not the only one, according to metarealist poets.

Representatives of the direction: Ivan Zhdanov, Alexander Eremenko, Olga Sedakova and others.

Modern dramaturgy

L. Petrushevskaya “What to do?”, “Men's zone. Cabaret", "Twenty-Five Again", "Date"

A. Galin "Czech photo"

N. Sadur "Wonderful Woman", "Pannochka"

N. Kolyada "Boater"

K. Dragunskaya "Red play"

Revival of the detective

D. Dontsova "Ghost in sneakers", "Viper in syrup"

B. Akunin "Pelageya and the white bulldog"

V. Lavrov "City of Sokolov - the genius of the detective"

N.Leonov "Protection of Gurov"

A.Marinina "The Stolen Dream", "Death for the sake of death"

T. Polyakova "My favorite killer"

References:

T.G. Kuchina. Modern domestic literary process. Grade 11. Tutorial. elective courses. M. Bustard, 2006.

B.A. Lanina. Modern Russian Literature. 10-11 class. M., "Ventana-Count", 2005.