Modern Russian literature is heterogeneous and diverse in its aesthetic principles and philosophical attitudes. It develops along the lines of three art systems- realism, modernism and postmodernism, which have their own trends. The most popular and fruitful of them is realism.
The artistic system of realism includes three directions (currents): neoclassical (traditional), conventionally metaphorical, "other prose".
"Other prose". In the early 1980s, works of authors appeared in literature who opposed their ideas to generally accepted ones. Official literature put a person on a pedestal, sang about him as the creator and creator of his own destiny and happiness, made him believe that one person is able to change the world. In their works, representatives of the "other prose" showed complete dependence Soviet man from the domestic environment, he is just a small cog in a huge machine.
Three currents can be distinguished in "other prose": "historical", "natural", and "ironic avant-garde". But this division is rather arbitrary, since the features of the works of one trend may be inherent in the works of authors of a different direction.
The works of the "historical" trend showed the events of history from new side. Despite the well-known opinion and political assessment, the unusual angle allows you to better understand and sometimes re-evaluate what happened. The hero of "historical" works is a person who is inseparable from the history of his country. Historical events affect the fate of a person, changing it. But the writers of this trend considered the Soviet person from a humanistic point of view, and not from a political or social point of view.
Representatives of "historical" prose: M. Kuraev.
The "natural" course of the "other" prose is distinguished by the depiction of cruel reality. "Naturalists" describe in detail the negative aspects of life, truthfully depict dark moans public consciousness that have not previously been shown in the literature. The themes of the works were hazing in the army, and afghan war, cynicism, alcoholism, prison life. The authors only show real phenomena and deeds, but do not give any assessment to the described events and heroes. An objective narrative, as close as possible to reality, which the “naturalists” aspired to, allows the reader to form his own opinion about what is happening. 
Representatives of the "natural" trend: S. Kaledin, Yu. Stefanovich, M. Paley, G. Gabyshev, O. Ermakov, L. Petrushevsky, S. Dyshev.
The ironic avant-garde is a current that takes its origins from the ironic story of the 1960s. In their works, the "avant-gardists" beat, parodied already known plots. The life events depicted in the works are so fantastic and unusual that sometimes they seem unreal.
Avant-garde writers destroy stereotypes, ridicule the techniques and plots of classical literature.
Representatives of the "ironic avant-garde": V. Pietsuha, S. Dovlatov, E. Popov, M. Weller.
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Alexander Mironov “AUTOBIOGRAPHICAL NOTES” AND OTHER PROSE
I want to tell, yes, I want to turn into a point and back - into meat. A point is a line in potency, meat is an artistic outgrowth on a dead frame of empty (cosmic) content.
I'm tired, yes, of copying later growths - the soul returns to space in the form of a dot and prepares supplies of fresh meat.
On Judgment Day, absolutely inedible meat cows and bloody fleshy squares will fall from the sky. At that time the food of all is bewilderment. Mona Lisa, Sartre and Francesca da Rimini will be eaten. The survivors will leave, backing away, into the squares, where, at last, repentance will overtake them.
Let the meanings be afraid doomsday Nonsense!
May the senselessness of the Day of Judgment of the Divine Meaning be afraid.
THE NAILS OF OUR IDEA
Signs and signs
Our life, dear reader, due to a certain autism of our minds, has its own noise property for each of us - as a Chinese does not understand a Georgian, so often we confuse the dictionaries of Ushakov and Dahl, and say, for example, at a party by chance to the author of notorious writings: “How beautiful is your language!” - take it to you and sip: "Yes, it is perfectly adapted - it crumbles and grinds."
Let's be afraid of unnecessary noise and leaks in consciousness - we will organize our dictionaries.
Everyone knows, for example, that even healthy person a hallucination occurs.
This is related to what was said above, but, in addition, this is the area of \u200b\u200bliterature. Students suffer from hallucinations, as well as officials, the author also has hallucinations, but first: who are students? - This product is unripe, officials, on the contrary, the product is overripe. Gogol spread more and more about officials, while Dostoevsky loved students, and, in general, this is enough, we only note that officials and students are not a social product, but m and f, while literature is the science of myths, extracting the root from myths, those. creation of a new myth; all other interpretations are inhuman, because the substitution of a myth by a living person usually leads to murder.
The co-authorship of a murder is unlikely to give the reader much pleasure, but he will enjoy the collapse of ideas and the collapse of closed cycles in his evening leisure hours. I take the liberty of saying that the main task of the author has always been: to find a reader, even if he lives in Hondolause.
So let the noise merge s with the noise of Letheian water, and all who have not yet disintegrated, let them organize their dictionaries, for the author will write not in the language (Dal) and not even I s to about m (Ushakova), but with the tongue!
You and I, reader, are a narrow-minded sect, we are a cycle without end and beginning, ephemeral as a myth, let's agree not to confuse m and f with the self of our visions, - after all, who knows how much we suffer from the era, and they will not help us then well-organized dictionaries, for we will write h and n about in n and k, and think: a relic of the past, say student, and think: the hope of the future. But enough about that.
Let us say more about the place of action, for it was sometimes forgotten to warn about it, we will add up the city from different times, and if the dear reader is familiar with the times x And y, it is our duty to notify him that there are many such holes where times tend to (- x) and, often, even to (- y). But all this, however, is only to confirm such a widespread opinion that soon there will be no more time. Of course, we will get rid of all sorts of vulgar symbolism, such as: a clock without hands, endlessly going crazy heroes, natural disasters and above all this is the flaunting face of a tyrant. We have only one hero going crazy, and for quite realistic reasons: once his watch stopped, and he forgot whose subject he was - Nicholas I or the High Priest - and went crazy, of course, but the question, as you see, it's not worth it.
<ПРЕДИСЛОВИЕ>
In essence, through all the work of A. Mironov one theme comes through: the torment of misunderstanding of a word, not just a word, but a humanitarian word - Flora Verbal, in the words of the author. This expression is a metaphor for a peculiarly understood soulfulness, as the Fathers of the Church understood it, a sphere of undivided thoughts, where the imaginaries of good and evil (the true separation of these concepts is highlighted by the concept of the Good) freely flow into each other, forming an insoluble ambivalent speculation of selfhood. This concept of sincerity is transferred by the author to culture, to the object closest to the author - verbal creativity.
In conversations, the author repeatedly defined his way of expression as intentional eclecticism (a composite cultural text). Having doubted how fair such a definition is, we, however, point out that it philosophically substantiates the theme that shines in the poems of A. Mironov. The metaphor that so pleased Osip Mandelstam, who saw in it almost the only way to interpret the word, is seen by the author as a terrible Minotaur, devouring its soul in literature, or rather, the very literature of this soul of literature - a saving message; in other words, this is just a flat metaphor - a self-enclosed tragic game containing an infinite number of rules - variations, but devoid of access to the Word, which became Flesh. The role of metaphor in Theology is described by Dionysius the Areopagite. Metaphor is a verbal constructive canopy, discarded by the inexpressible Meaning. There is no isolation here, because there is always an actual infinite opposition: up - down, good and evil - are not essential here. The worm, which God calls Himself in the Psalm of David, cannot be opposed to the Creator, nor can it be compared with Him. The course of this type in Theology is truly amazing, but it does not lead to the ground, but to the Apophatic Theology of Dionysius, where God is no longer described by images of position, i.e. ultimately, to ecstatic contemplation, to Awareness, to where there are no more images, no metaphors - there is itself - Dionysius would have kept silent, we say - Reality. Such are the properties of theological metaphor; they are verified practically through the Church Experience, but since not everyone will decide on such a verification, let's not be unfounded and return to the flat metaphor. “Any word is a bundle, and the meaning sticks out of it in different sides”(O. Mandelstam). Such a metaphor is assimilated from the point of view of information theory, and not from the point of view of proper spiritual Nutrition ( cultured people, unlike beggars, are fed up with one culture). This endless capacity of the vague concept of "culture", the metaphorical nature of extra-theological culture itself, touches the author. Epistemological theories of culture do not explain anything: perhaps they will someday be reduced to biology (as Eisenstein dreamed), i.e. to fallen nature. The circle will close. A robot equipped with a program can, given all the details, recreate itself, but it will never be able to recreate the program. The torment of I=I identity, described by Florensky, will burn out the entire cultural Flora with Pyrrhonic fire. When it will no longer be possible to write, people will still create themselves - this will be the possession of the self. Perhaps then the beggars from culture will appear, hungry, but devoid of illusions. This possibility appears first of all in the program of technocratic humanities (VV Ivanov, S. Eisenstein and others). But from the spiritual standpoint - and such were, are and will remain - even the Verbal Flora - for all its decorative and transient wretchedness, calendarism - retains a dissimilar likeness (an expression of Dionysius the Areopagite) of the richness of super-essential word-giving, as earthly food is the image of heavenly bread, assimilated for the future and completely, and not partially and then thrown out. Although its usefulness is limited, it is obvious: like any dissimilar likeness, it is, if not a building image, then an image repelling towards building images, i.e. to the images of Theology, where nature is already getting used to the very program of Being and ceases to be only its phenomenon.
The agony of birth, repulsion from Flora Verbal and captured in the poems of A. Mironov with all the paradoxical nature of their form, parody speculating on the so-called "spiritual" values.
Born in 1948 in Leningrad. My childhood, apparently, somehow differed from the happy lubok of many of my peers: perhaps, by numerous non-childish phobias and a completely incomprehensible feeling of disgust, which sought and did not find a point of application. The possibility of writing poetry appeared to this feeling as a fertile bosom. The first tender experiences always lead somewhere away from something, but to what? - this is not always clear even to the elder: from some “Eternal Hoarseness and Snoring” for some “limits” I fled to the “Carnival of the Great Judgment”, not really knowing who its Organizer is, who and for what they are trying. I completely excluded myself from the number of defendants: that's what Carnival is for. Poetic visions were anticipated by visual ones - it was the blood that the cruel and beautiful Angels shed without stint: a continuous slaughter and flowers intoxicated with blood - some Florensky would call me, a child, a demon (following the example of what he did with Blok ).
I see everything now simply: mortal, bottled, canary longing, plus the endless song of our Eternal Tomorrow, and even the imperialism of school knowledge-ignorance - these are the elements of the composition growth medium for an immature orph.
They say that the Orphics will receive communion from the source of Mnemosyne, but this contradicts the fact that, “forgetting what is behind, stretching forward,” to which, from childhood, either the Lord’s or the servile rod inclines us: this is for the best: the memories are bourgeois and smell expensive hookah.
I stretch forward: the reverence for the incomprehensible and hard-to-reach helped me educate myself, as well as my comrades in idleness - or rather, the eclectic spirit that accompanied us everywhere, taught to distinguish between fat and fat-free. I sometimes look with disgust at people devouring whipped cream, because I know - this is a trap: in less than a minute, a new star will light up on the shoulder straps of such an eater: The gods require sacrifice. So these Gods caught me: first the slime, then the priest, and finally the victim.
In 1965, in my opinion, V. Erl and I were drawn to Moscow: he - to the grave of Khlebnikov, me - just like an ephemera, from my familiar place to Nowhere. At Pasternak's grave, for the first time, I felt like a poet. He returned to Leningrad prolific: he began to throw out. One thing struck me: no matter how much and from whom I licked, some force removed me from complete imitation: rather, communication with other people's texts turned into a seance, evocation of spirits. Since then, the concept of plagiarism has been inaccessible to me: the medium's heart glows tremulously and terribly over a trembling saucer. Subsequently, quotation, the appeal of motives, became for me a conscious and noble tool, a foreshadowing of the silent conversation of Orphic souls. But even here the deepest dialogue is still possible: here, too, the departed are, as it were, resurrected in the image of the future Resurrection. Among the first to whom I wish this is O. Mandelstam, the deepest connoisseur of tender rubbish - truly imperishable - who penetrated into the depths of its mysterious composition with the weedy and tender instrument of the word. His best oracles are filled with soft, unobtrusive magic, where the word really sticks out in bundles of meanings in different directions. This is proof that such a word - humbly, remembers the miracles of the Exodus, remembers itself - like dust under the breath of Meaning, but dust, attracted by Wisdom flexible, thin, hard, elusive, in short, the one that they unsuccessfully try to mummify in the concept-non-concept "culture ".
Mandelstam, Kuzmin "Alexandrian Songs" are my good interlocutors. Like many others, I consider I. Brodsky a significant poet; however, its significance is very monumentally limited; his poetry is rather a general cultural phenomenon than a purely poetic one; in it there is little understanding of the word as a canopy, an image, a seraphim covering its tracks; that is, she says only what she says, and in this sense it clearly resembles the poetics of officialdom. Her significance lies in what she remembered for the first time - after a long silence - in popular topics: here, rather, a sensitive mind manifested itself than a poet's eye. A semblance of stoic masculinity under the hand of whimsical, cyclical rock is her camouflage as attractive as it is unchanging. “ Eternal themes”and puns at the level of legalized vulgarity.
All of the above applies to my apology for the word as a sociable phenomenon.
<АНКЕТА О БЛОКЕ>
1. Is the block “obsolete”? For you personally and in general, objectively?
It seems to me that in this issue winks "a slap in the face of public taste" - it's nice to say, an echo of the futuristic past. A reasonable answer would probably also contain a tautological wink.
“Objectively”, however, since “aging” results in “death”, it is more appropriate to speak of “transformation”.
2. Is Blok for you the first poet of the beginning of the century, perhaps the best Russian poet of the 20th century?
First, fifth, last? - The ministries of the hierarchs of symbolism are hypostatically different, in other words, “hagiographic”, and therefore does it make sense to remember the linear series? (Analogue: who is "first" and "better" - Chrysostom or Basil the Great?). The “Sobor of Blok”, where the principle of dependence, as in a genuine Council, is “charismatic concelebration”, is a cathedral of symbolism, and A. Blok is one of its bishops, the most “warm”, perhaps who sinned with excessive humanity (“lyricism” ?) against the general “priestly action”.
3. Do you perceive his work as a whole and, accordingly, evaluate or give preference to any volume of his “novel in verse”, section, cycle?
It seems to me that it is more useful and nutritious for the mind to perceive Blok's poetry as a "single whole", "a path", "living about oneself" (A. Blok). The autobiography of Blok's "novel in verse" is his "Adam's stone", if we remember that each bishop of symbolism nurtured "his own "Golgotha""; to put it simply, everyone tried to be true to his ideal of “Demiurge-Authority-Culture”. A. Bely, for example, is no less “autobiographical” in his work, but his “life” is extended into “other villages” (he wanted to become a “brick” “ tower of babel” Steiner; remained so in mature period, after settling all his “accounts” with the “doctor” (see his most interesting letter to Razumnik about his “autobiography”). “Vesi” of A. Blok is warmer and more transparent: he creates a microcosm of his “selfhood”, where the “synthesis” of “history and personality”, “personality and culture”, and even “God-Man and Human” takes place: how else to explain this - “in a white corolla of roses”? ...? And the story of his Beautiful Lady? - "Sofia" - Strangers - Katya? (Protecting his “path” in articles and correspondence with A. Bely, he painfully “reflects”, refuses the “artificial Golgotha” imposed on him - only in order to create “his own “Golgotha””, where the Demiurge, the Poet and the Man are equalized .) Personally, I prefer A. Bely’s “novel”: it is “stretched out” (for its entire long life), more contradictory (= heterogeneous in expressions - “acts”: poems, prose, monographs, articles, letters that are part of an organic whole), finally, masochistic (manifestation of “aristocratism”: fear of “history”, “culture”, etc. .d., etc., and at the same time - an unbridled desire for these "scourges").
4. What is the significance of the religious and mystical aspect of Blok's poetry for you? What do you think about the attitude of his poetry to religion (primarily Christian), to mysticism in the broadest sense of the word?
The religious and mystical aspect of A. Blok's poetry is his literary “charisma”: “demonism” in the purest sense of the word: not “evil”, but “restlessness”, wandering “in the fields without return”. I think about. P. Florensky had in mind this “purity” of demonism (“demonology”) of A. Blok in his anonymous article about him, of course, being himself somewhat “stained” with the terminology of symbolism.
5. Does the poem “The Twelve” hinder or help you perceive Blok’s work as a whole, especially the work before 1917?
It helps, of course, it helps - that “air” that he (A. Blok) began to “breathe” and suddenly “suffocated”, according to E. Zamyatin (Obituary. “Notes of the Dreamers”). By the way: the “environment” of his death was also very ritualistic - he broke the bust of the “idol” - Apollo; “on the left” and “on the right” of himself put the mother and beautiful lady, repeatedly repeated “Lord, have mercy” (see Blokovsky collection. Memoirs of N. Pavlovich).
6. What do you think of Blok as a person? As an individual personality and as a Russian historical type?
I “said” so much that this question acquired “additional complexity” for me: the “individual” personality of A. Blok is fully described by the “plastic” vocabulary of his “poetics” (is there an opinion that he was the “most sincere” Russian poet? ). And russian historical type”: well, what is - - - “whip”? This is a Khlysty dance around an artificially created void called “A. Blok” (I don’t mention the conscientious Soviet researchers connected with “him” (- with “Her”? -) by the bonds of necrophilia. However, there are also good work(“acts”)). Yes, of course, the monotony of this dance is amazing. Not fair. Not fair.
7. How do you explain Blok's great popularity among the readership, in official Soviet literary criticism - especially in comparison with his contemporaries? Is this state of affairs fair?
8. Did your attitude to Blok's poetry change significantly in the mature period of your life?
It reached the peak of "Compassion" and has not changed since then. Is there some terrible secret(“antinomy?”) in the ability of the artist to exist completely “artificially” and at the same time to be a stupid “transfer sheet” of being. Perhaps the synthesis of this “mystery” is “foolishness”? In the end, it is not Blok's “personal” and not “social” life that has to be sympathized with, but precisely his “charisma”.
9. What feelings does the passing anniversary of the Blok evoke in you, the forms of its holding, the atmosphere?
Anniversary of A. Blok - this is his "transformation" (thank God, not the only one!) - anti-"Favor" on seven hills. In vegetable shops, you often see bags with the touching inscription “Sorry, Leonardo”. In our area, no one will ask for forgiveness from a “totem” (even the most “random”) subjected to the operation of “massification”.
Note: the responder to the “questionnaire” apologizes for the many quotation marks. But for a correct understanding of both answers and questions, he considered them necessary, as well as many "questions" that "prevailed" over "answers."
A FEW WORDS BEFORE THE PREFACE
Where to run from tautology or alliterative delirium: over the years, my Muse has not matured and become more feminine: she has all the same intemperance and licentiousness: she just fluttered like a sparrow, which a kind person throws seeds without looking. But these seeds are really seeds. national culture. She unconsciously pecked them along with pebbles, tares and grains until she regained consciousness. She stopped, looked around: someone patted her, fucked her, and here's the result: she got pregnant, she's in the middle. Poor blind fool. She can't have an abortion. Aborting a bird is a terrible stupidity. Therefore, it is at the mercy of the editors and the author of the collection that you, my dear readers, read.
FOREWORD
Try to chew me, dear readers. All the best to you, Author
Dear Nikolai Ivanovich! Forgive me for sending you poems with typos. Corrected where possible, I think you'll understand.<…>
I think that some of the texts will seem interesting to you. As for me, I have already left them somewhere to the side. On occasion, I will give new ones, there will be time - I will rewrite with my own hand, as in prehistoric times. Lena has the originals, and she has enough worries of her own. Therefore - a request: you really keep all this right. My condition is the strangest. I don't drink for a long time, though. So, life has brought.
<…>Very interesting, what did you write about me? In general, I am very pleased with our renewed communication. It's so hard in the desert, where there are only units and churches, sorry for the sentiment.<…>I lost my job and a lot of money. Oh oh oh! I lie and dangle my legs with pleasure, that at least this torment is over. Tired of this "crematorium" with accidents and idiots, although I received decently. God be with him, with all this. Of course, I will look for a job. And so I want to go to the hospital or go somewhere, even to Siberia, to the taiga. Maybe get a disability? Join the labor market? Join the Writers' Union? See how many ideas. There is just no money.
I return to the sheep: I wonder how this “novye” will seem to you? And is it “new”? Is it possible to say: “he nevertheless reached somewhere“ in search of his own self ”?” (Do you remember, “Moscow - Petushki”: “And my deaf-mute grandmother from the stove says: “What have you come to, Dashenka, in search of your self?”).
In a word, I'm waiting for your critics.
I subscribe with sim.
P.S. Yes, I am attaching almost last poem about the forthcoming presidential elections in Russia.
I hear the gray raven bird choir
soon the first sheet will appear
the first president was a conductor
and the second as there is a karateka
gives the Patriarch a bouquet
a sort of flower salad
in the other picture he is so cute
hands folded like a catholic
two deans behind him
watch him motionless
frozen in a karate pose
Today I was walking along the Fontanka and, turning towards the Mint, I saw a slogan on the wall - in yard-long letters: “Yudin, free Khodorkovsky!” Here. People seem to be different, but the topics are the same - at least write music. Imagine: at night, a Jeep Cherokee stops, two or three people get out of it with oil paint and write.
<АВТОБИОГРАФИЧЕСКИЕ ЗАПИСКИ>
1948: born in the family of a geologist and an astrologer: in a dream, my mother continued to dig her blockade trenches, and my father, a laborer, tried to read our common family future by the Kremlin stars. At that time, I still did not suspect that I lived in St. Petersburg.
This ghost of a name arose much later: it began with a small school dissidence, cemented by an attempt at pathetic self-education (being 17 years old, I forged the year of birth in my passport in order to enroll in the student hall of the Public Library), settled down and made sure of a real, and maybe even Just literary history my poor and sad city.
The city, as you know, grew on bones, and I, like him, grew and flourished on poetic bones (I think that not only the bones of Kuzmin and Akhmatova belong to St. Petersburg, but also the bones of Mandelstam, Klyuev, Zabolotsky and , Lord, "Russian" poets: Aronzon, R. Mandelstam, I. Brodsky).
Life is sometimes limited by “timelessness”, and writing, fortunately, is limited only by time, and time, as you know, itself sets its own boundaries. I do not know when I will die, but everything I have written can be considered my posthumous autobiography, and the sooner the better.
What happened in forty-eight when I was born? Yes, nothing happened. The Kursk did not sink, and the captain of the Nemo was still alive.
My poor, beloved and deceased mother, having eaten a salad of besieged quinoa, Vsevolozhsk sorrel and American stew, let in the seed of a sailor foreman who sailed on a minesweeper in the Baltic throughout the war - God passed: mines exploded, torpedoes swept near the left ear. - God died, probably in order to become my poor, beloved, miserable late father:
Kharms originated from beluga caviar 1 .
For example, I was simply born badly and still cannot identify myself with our yesterday and future tomorrow. I loved my parents, their memory is dear to me - my memory, but the times were not “vegetarian”, so I do not exclude such a detective factor as “substitution”.
It is useless to explain why I think so. Of course, I am conceited, but my pride does not extend beyond the genus of dinosaurs, well, let's say, also nucleic acids. And yet I dreamed, turning someone's time back, to the timeless year of the revolution, to finally receive, after vain labors, a belated and unnecessary nobility.
But dreams are dreams. I am a plebian by blood and spirit. It's a blessing that people like me are legion. (Watch the abbreviation of speech.)
Born in 1948.
He began writing regularly in the mid-1960s. By this time I had become acquainted with people who were subject to the same disease. It was the circle of the poets of Malaya Sadovaya, as they are now called. V. Erl, E. Wenzel, T. Bukovskaya, N. Nikolaev, A. Gaivoronsky. Malaya Sadovaya is a rather conditional designation. Rather, we can talk about a certain spatial area, the peripheral nodes of which were the Big and Small Halls of the Leningrad Philharmonic, respectively, Arts Square, on the other hand - Public library and even the Palace of Pioneers. These were places of thoughtless, unspecified, but frequent meetings and contacts.
For a while I visited Leto, who was led by a wonderful, very kind and soulful person S. Davydov. There also came the magnificent poet Evg. Feoktistov. Unfortunately or fortunately, I had to part with Leto because of my first publication in the magazines "Edges" and "Sphinxes". Some KGB men, abhorring me personally, called the leader Lito S. Davydov to the carpet, threatened him with something, advised me to rein in.
And I owe this publication to my acquaintance with Moscow poets, members of the SMOG association, which included L. Gubanov, V. Aleinikov, Yu. Kublanovskiy, V. Batshev, Yu. Vishnevskaya. Literary dissidence in Moscow, unlike in Leningrad, then flourished quite violently. As is known, A. Ginzburg and Yu. Galanskov were the inspirers of this movement. There were some attempts on the part of Muscovites to infect the second capital of the empire with a rebellious spirit; rubber matrices, photocopies of "Faces" were brought.
However, the Leningrad writing underground somehow quietly, but definitely got away from this. Not only because of cowardice, I think, but rather because of the preservation of a certain literary innocence, which eschews political speculation.
Be that as it may, the Leningrad bohemia lived its own intense life. Komsomol liberals of the late thaw easily organized all sorts of poetry evenings(of course, half-closed) in various cafes in the city. The most popular place was the so-called "Cafe of Poets" on Poltavskaya. The works of poets were paid for with amazingly delicious cocktails, which included real rum, cognac and other natural ingredients. The real currency was the constant and very chaste attention of the listeners.
One of the brilliant poets of that time, L. Aronzon, often performed at these evenings. His appearance was the condition of the evening, which he sometimes flaunted with invariable irony, very flatteringly introducing us, modestly refusing to read, but, as a rule, always finishing the evening with his reading at the request of those assembled.
By the end of the sixties, Komsomol liberalism dried up, the possibilities of oral explications were sharply reduced. People, like birds, left their homes.
"COLLECTION"
“Εποχη” - π
a story about how the name arose, after what was written, after reading the first part of the “Pillar” by P. Florensky, but suddenly at some moment the feeling of the adequacy of the state of the soul with the “Pyrrhon Fire” arose: briefly, ironically describe this as an instant illusion, that gave rise to the name, and then explain that the poems of that period are too vital to claim a comprehensive skepticism, but do not forget about compliments to yourself.Interlude.
A small piece of biography?
“Gnostic cycle”: it is difficult here: to remember a samizdat work (some Frenchman?): “Gurdjieff’s teachers or students” 2: “My laughter”, spend time, remember what, how and why.
“Civil cycle”: the name is completely ironic - the weakest verses, but with a transition to symbolism: “Over the Old Testament”, “Salieri” - the mutual irony of symbolist and civil themes.
With irony: “Acmeism”, “Clarism” - a stream of the 70-80s.
P.S. - here are all free verses and P.S.
Publication N.I. Nikolaev and V.I. Erl
_________________________________
1) See “Conversations” by L. Lipavsky. - N.N., V.E. 211)
2) Probably referring to the book by Raphael Lefort "Master Gurdjieff". - N.N., V.E.
“Other” prose unites authors whose works appeared in literature in the early 1980s, who opposed their demythologising strategy to the official one. Exposing the myth about a man - the creator of his happiness, active position whom the world transforms, the writers showed that the Soviet man is entirely dependent on the domestic environment, he is a grain of sand thrown into the whirlpool of history. They peered into reality, trying to reach the bottom in search of truth, to discover what was obscured by the stereotypes of official literature.
“Other” prose is a generating name for authors who are very different in their stylistic manners and thematic attachments. Some of them tend to depict automated consciousness in a stagnant circle of existence (A. Ivanchenko, T. Tolstaya), others turn to the dark "corners" of social life (S. Kaledin, L. Petrushevskaya), others see - temporary man through the cultural layers of past eras (E. Popov, Vik. Erofeev, V. Pietsukh). But for all the individuality of the writers, united "under the roof" of "another" prose, in their work there is common features. This is opposition to officialdom, a fundamental refusal to follow the prevailing literary stereotypes, an escape from everything that can be regarded as biased. "Other" prose depicts the world of socially "shifted" characters and circumstances. It is, as a rule, outwardly indifferent to any ideal - moral, social, political.
Three trends can be distinguished in the "other" prose: "historical", "natural" and "ironic avant-garde". This division is rather arbitrary, since the historical perspective is also inherent in works that are not included in “historical” prose, and an ironic attitude to reality is generally a peculiar sign of all “other” prose.
The division of "other" prose into "historical", "natural" and "ironic avant-garde" is convenient when analyzing the artistic specificity of works and corresponds to internal logic literary situation. The "historical" trend is an attempt by literature to look at the events of history, which previously had a distinctly transparent political assessment, with open eyes. Non-standard, unusual angle allows a deeper understanding historical fact, sometimes overestimate it.
In the center of the "historical" stories is a man whose fate is historical, but not in a pretentious sense. It is inextricably linked with the ups and downs of existence. Soviet state. This is a person who has the history of the country as his own past. In this sense, the works of the "historical" trend are genetically connected with the novels and short stories of Y. Dombrovsky, Y. Trifonov, V. Grossman, whose heroes believed their lives in history. material from the site
But unlike traditional realism"historical" prose explores the phenomenon of Soviet man from the point of view of general humanism, and not social or political.
In "historical", as in all "other" prose, the concept of history is a chain of accidents that affect a person's life, changing it radically. Moreover, the concatenation of accidents can create absolutely fantastic combinations, seemingly impossible in life, and yet absolutely realistic. That is, "historical" prose draws the fantastic from the very public life, exposing it and matching it with the life of an individual.
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Modern Russian literature is heterogeneous and diverse in its aesthetic principles and philosophical attitudes. It develops in line with three artistic systems - realism, modernism and postmodernism, which have their own trends. The most popular and fruitful of them is realism.
The artistic system of realism includes three directions (currents): neoclassical (traditional), conventionally metaphorical, "other prose".
"Other prose". In the early 1980s, works of authors appeared in literature who opposed their ideas to generally accepted ones. Official literature put a person on a pedestal, sang about him as the creator and creator of his own destiny and happiness, made him believe that one person is able to change the world. In their works, representatives of the "other prose" showed the complete dependence of the Soviet person on the domestic environment, he is just a small cog in a huge machine.
Three currents can be distinguished in "other prose": "historical", "natural", and "ironic avant-garde". But this division is rather arbitrary, since the features of the works of one trend may be inherent in the works of authors of a different direction.
The works of the "historical" trend showed the events of history from a new perspective. Despite the well-known opinion and political assessment, the unusual angle allows you to better understand and sometimes re-evaluate what happened. The hero of "historical" works is a person who is inseparable from the history of his country. Historical events affect the fate of a person, changing it. But the writers of this trend considered the Soviet person from a humanistic point of view, and not from a political or social point of view.
Representatives of "historical" prose: M. Kuraev.
The "natural" course of the "other" prose is distinguished by the depiction of cruel reality. "Naturalists" describe in detail the negative aspects of life, truthfully portray the dark groans of public consciousness, which have not previously been shown in literature. The themes of the works were hazing in the army, the Afghan war, cynicism, alcoholism, and prison life. The authors only show real phenomena and actions, but do not give any assessment to the described events and heroes. An objective narrative, as close as possible to reality, which the “naturalists” aspired to, allows the reader to form his own opinion about what is happening.
Representatives of the "natural" trend: S. Kaledin, Yu. Stefanovich, M. Paley, G. Gabyshev, O. Ermakov, L. Petrushevsky, S. Dyshev.
The ironic avant-garde is a current that takes its origins from the ironic story of the 1960s. In their works, the "avant-gardists" beat, parodied already known plots. The life events depicted in the works are so fantastic and unusual that sometimes they seem unreal.
Avant-garde writers destroy stereotypes, ridicule the techniques and plots of classical literature.
Representatives of the "ironic avant-garde": V. Pietsuha, S. Dovlatov, E. Popov, M. Weller.
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“Other” prose unites authors whose works appeared in literature in the early 1980s, who opposed their demythologising strategy to the official one. Exposing the myth of a man - the creator of his own happiness, whose active position transforms the world, the writers showed that the Soviet man is entirely dependent on the domestic environment, he is a grain of sand thrown into the whirlpool of history. They peered into reality, trying to reach the bottom in search of truth, to discover what was obscured by the stereotypes of official literature.
“Other” prose is a generating name for authors who are very different in their stylistic manners and thematic attachments. Some of them tend to depict automated consciousness in a stagnant circle of existence (A. Ivanchenko, T. Tolstaya), others turn to the dark "corners" of social life (S. Kaledin, L. Petrushevskaya), others see a modern person through the cultural layers of past eras (E. Popov, Vik. Erofeev, V. Pietsukh). But for all the individuality of the writers, united “under the roof” of “another” prose, there are common features in their work. This is opposition to officialdom, a fundamental refusal to follow the established literary stereotypes, an escape from everything that can be regarded as biased. "Other" prose depicts a world of socially "shifted" characters and circumstances. It is, as a rule, outwardly indifferent to any ideal - moral, social, political.
Three trends can be distinguished in the "other" prose: "historical", "natural" and "ironic avant-garde". This division is rather arbitrary, since the historical perspective is also inherent in works that are not included in "historical" prose, and an ironic attitude towards reality is generally a peculiar sign of all "other" prose.
The division of "other" prose into "historical", "natural" and "ironic avant-garde" is convenient when analyzing the artistic specificity of works and corresponds to the internal logic of the literary situation. The "historical" current is an attempt by literature to look at the events of history, which previously had a distinctly transparent political assessment, with open eyes. Non-standard, unusual perspective allows a deeper understanding of the historical fact, and sometimes overestimate it.
In the center of the "historical" stories is a man whose fate is historical, but not in a pretentious sense. It is inextricably linked with the vicissitudes of the existence of the Soviet state. This is a man who has the history of the country as his own past. In this sense, the works of the "historical" trend are genetically linked with the novels and short stories of Yu. Dombrovsky, Yu. Trifonov, V. Grossman, whose heroes believed their lives in history.
But unlike traditional realism, "historical" prose explores the phenomenon of Soviet man from a general humanist point of view, and not from a social or political point of view.
In "historical", as in all "other" prose, the concept of history is a chain of accidents that affect a person's life, changing it radically. Moreover, the concatenation of accidents can create absolutely fantastic combinations, seemingly impossible in life, and yet absolutely realistic. That is, "historical" prose draws the fantastic from social life itself, exposing it and matching it with the life of an individual.
