The phenomenon of camp prose in Russian literature. Lesson-research "Camp theme in Russian literature of the XX century"

One of the most terrible and tragic themes in Russian literature is the theme of the camps. The publication of works on such topics became possible only after the 20th Congress of the CPSU, at which Stalin's personality cult was debunked. The camp prose includes the works of A. Solzhenitsyn “One Day in the Life of Ivan Denisovich” and “The Gulag Archipelago”, “Kolyma Tales” by V. Shalamov, “Faithful Ruslan” by G. Vladimov, “The Zone” by S. Dovlatov and others.

In his famous story One Day in the Life of Ivan Denisovich, A. Solzhenitsyn described only one day of the prisoner - from getting up to lights out, but the narrative is structured in such a way that the reader can imagine the camp life of the forty-year-old peasant Shukhov and his entourage in its entirety. By the time the story was written, its author was already very far from socialist ideals. This story is about the illegality, the unnaturalness of the very system created by the Soviet leaders.

The prototypes of the central character were Ivan Shukhov, a former soldier of Solzhenitsyn's artillery battery, and the imprisoned writer himself, and thousands of innocent victims of monstrous lawlessness. Solzhenitsyn is sure that the Soviet camps were the same death camps as the Nazis, only they killed their own people there.

Ivan Denisovich got rid of illusions a long time ago, he does not feel like a Soviet person. The camp authorities, the guards are enemies, non-humans with whom Shukhov has nothing in common. Shukhov, the bearer of universal human values, which failed to destroy the party-class ideology in him. In the camp, this helps him to survive, to remain a man.

Prisoner Shch-854 - Shukhov - is presented by the author as a hero of another life. He lived, went to war, fought honestly, but was captured. From captivity, he managed to escape and miraculously break through to "his own". “Shukhov was beaten a lot in counterintelligence. And Shukhov's calculation was simple: if you don't sign it, you'll have a wooden pea jacket; if you sign, you'll live a little. Signed."

In the camp, Shukhov tries to survive, controls every step, tries to earn money wherever possible. He is not sure that he will be released on time, that they will not add another ten years to him, but he does not allow himself to think about it. Shukhov does not think about why he and many other people are imprisoned, he is not tormented by eternal questions without answers. According to the documents, he sits for treason. For the fact that he carried out the task of the Nazis. And what task, neither Shukhov nor the investigator could come up with.

By nature, Ivan Denisovich belongs to natural, natural people who appreciate the very process of life. And the convict has his own little joys: to drink hot gruel, smoke a cigarette, eat a ration of bread, snuggle up somewhere warmer, and take a nap for a minute.

In the camp, Shukhov is saved by work. He works enthusiastically, he is not used to hacking, he does not understand how one can not work. In life, he is guided by common sense, which is based on peasant psychology. He "strengthens" in the camp without dropping himself.

Solzhenitsyn describes other prisoners who did not break down in the camp. The old Yu-81 sits in prisons and camps, how much Soviet power costs. Another old man, X-123, is a fierce champion of the truth, deaf Senka Klevshin, a prisoner of Buchenwald. Survived torture by the Germans, now in a Soviet camp. Latvian Jan Kildigs, who has not yet lost the ability to joke. Alyoshka is a Baptist who firmly believes that God will remove "evil scum" from people. Captain of the second rank Buinovsky is always ready to stand up for people, he has not forgotten the laws of honor. Shukhov, with his peasant psychology, sees Buynovsky's behavior as a senseless risk.

Solzhenitsyn consistently depicts how patience and hardiness help Ivan Denisovich survive in the inhuman conditions of the camp. The story "One Day in the Life of Ivan Denisovich" was published during the "Khrushchev thaw" in 1962, caused a great resonance among the readership, revealed to the world the terrible truth about the totalitarian regime in Russia.

In the book "Kolyma Tales" created by V. Shalamov, the whole horror of the camp and camp life is revealed. The writer's prose is amazing. Shalamov's stories saw the light after the books of Solzhenitsyn, who, it would seem, wrote everything about camp life. And at the same time, Shalamov's prose literally turns the soul, is perceived as a new word in the camp theme. In the style and author's view of the writer, the height of the spirit with which the stories are written, the author's epic comprehension of life are striking.

Shalamov was born in 1907 in the family of a Vologda priest. He began writing poetry and prose at a young age. Studied at Moscow University. Shalamov was first arrested in 1929 on charges of distributing an allegedly false political testament of V. Lenin. The writer spent three years in camps in the Urals. In 1937 he was arrested again and sent to Kolyma. He was rehabilitated after the XX Congress of the CPSU. Twenty years in prisons, camps and exile!

Shalamov did not die in the camp in order to create a kind of Kolyma epic, impressive in terms of its psychological impact, to tell the merciless truth about life - "not life" - "anti-life" of people in the camps. The main theme of the stories: a man in inhuman conditions. The author recreates the atmosphere of hopelessness, moral and physical impasse, in which people find themselves for many years, whose condition is approaching the “beyond human” state. "Hell on earth" can engulf a person at any moment. The camp robs people of everything: their education, experience, connections to normal life, principles and moral values. Here they are no longer needed. Shalamov writes: “The camp is a completely negative school of life. Nothing useful, necessary, no one will take out from there, neither the prisoner himself, nor his boss, nor his guards, nor unwitting witnesses - engineers, geologists, doctors - neither superiors, nor subordinates. Every minute of camp life is a poisoned minute. There are many things that a person should not know, and if he saw it, it would be better for him to die.

The tone of the narrator is calm, the author knows everything about the camps, remembers everything, is devoid of the slightest illusions. Shalamov argues that there is no such measure to measure the suffering of millions of people. What the author is talking about seems impossible at all, but we hear the objective voice of a witness. He tells about the life of the camps, their slave labor, the struggle for bread rations, illnesses, deaths, executions. His cruel truth is devoid of anger and powerless exposure, there is no longer the strength to be indignant, feelings have died. The reader shudders at the realization of how "far" mankind has gone in the "science" of inventing torture and torment of their own kind. Writers of the 19th century never dreamed of the horrors of Auschwitz, Majdanek and Kolyma. material from the site

Here are the words of the author, spoken in his own name: “The prisoner learns to hate work there - he cannot learn anything else there. He learns there flattery, lies, petty and big meanness, becomes an egoist.<…>Moral barriers have been pushed aside. It turns out that you can do meanness and still live ... It turns out that a person who has committed meanness does not die ... He values ​​\u200b\u200bhis suffering too highly, forgetting that every person has his own grief. He has forgotten how to treat other people's grief sympathetically - he simply does not understand him, does not want to understand ... He has learned to hate people.

In the piercing and terrible story "Vaska Denisov, the thief of pigs" it is told to what a state hunger can bring a person. Vaska sacrifices his life for food.

The fear that corrodes the personality is described in the story "Typhoid Quarantine". The author shows people who are ready to serve the leaders of the bandits, to be their lackeys and slaves for the sake of a bowl of soup and a crust of bread. The hero of the story, Andreev, sees in the crowd of such lackeys Captain Schneider, a German communist, an educated person, an excellent connoisseur of Goethe's work, who now plays the role of a "heel scratcher" for the thief Senechka. After that, the hero does not want to live.

The camp, according to Shalamov, is a well-organized state crime. All social and moral categories are deliberately replaced by opposite ones. Good and evil for the camp are naive concepts. But still there were those who retained their soul and humanity, innocent people, reduced to a bestial state. Shalamov writes about people "who were not, who did not know how and did not become heroes." In the word "heroism" there is a shade of splendor, brilliance, short duration of an act, and they have not yet come up with a word to define the long-term torture of people in camps.

Shalamov's work became not only a documentary evidence of great power, but also a fact of philosophical understanding of an entire era, a common camp: a totalitarian system.

Didn't find what you were looking for? Use the search

On this page, material on the topics:

• camp prose review
• camp prose definition
• an essay on the camp theme in Russian literature
• camp prose in Russian literature of the 20th century
• camp life in 20th century literature

CAMP PROSE IN RUSSIAN LITERATURE OF THE SECOND HALF OF THE XX CENTURY

1. Problem-thematic specificity of the works united by the term "camp prose". Its place in Russian literature of the second half of the twentieth century.

"Camp prose" - literary works created by former prisoners of places of detention. It is generated by an intense spiritual desire to comprehend the results of the catastrophic events that took place in the country during the 20th century. Hence the moral and philosophical potential contained in the books of former Gulag prisoners I. Solonevich, B. Shiryaev, O. Volkov, A. Solzhenitsyn, V. Shalamov, A. Zhigulin, L. Borodin and others, whose personal creative experience allowed them not only to capture the horror of the Gulag dungeons, but also to touch upon the “eternal” problems of human existence.

Naturally, in their creative searches, representatives of the "camp prose" could not pass by the artistic and philosophical experience of Dostoevsky, the author of Notes from the House of the Dead. It is no coincidence that in the books of A. Solzhenitsyn, in the stories of V. Shalamov, in the stories of L. Borodin and others, we constantly encounter reminiscences from Dostoevsky, references to his Notes from the House of the Dead, which turn out to be the starting point in artistic calculus. In their reflections on the human soul, on the struggle between good and evil in it, these prose writers come to the same conclusions as their great predecessor came to, who argued that evil lurks deeper in humanity than the socialists assume.

The first camp things came into being in a rarefied atmosphere of ignorance about the life of the Archipelago. Information about prisons and zones was blocked in the closed sections of the archives and libraries.

The meaning of "camp prose" is determined by the fact that it allows a deeper understanding of the processes taking place in modern reality. Acquaintance with "camp prose" convinces how inexhaustible are the psychological depths of a person who is capable not only of spiritual ascent, but also of various forms of moral decline. With all the aesthetic diversity and stylistic diversity, "camp prose" is permeated with the idea that in the bloody events of the twentieth century. the person himself is also guilty, who turned out to be not so perfect.

2. Memoirs and biographical books of E.S. Ginzburg "The Steep Route" (1967), A.V. Zhigulina "Black Stones" (1988), O.V. Volkov "Immersion in darkness" (1957-1979). "The Gulag Archipelago" A.I. Solzhenitsyn is the main book on this subject.

Memoirs and biographical books, which have always gravitated towards the historical genre, acquire special significance. “A Steep Route” by E. Ginzburg, “Black Stones” by A. Zhigulina, “Immersion in the Darkness by O. Volkov” were written by people who fell into the Stalinist meat grinder. Having found themselves in the camps on slander, having experienced horrific suffering and humiliation, these authors poured out on the pages of books all the pain of their tortured souls, a heavy offense at flagrant injustice, and their works acquired the sound of genuine, historically reliable documents.

"Steep Route" (1965) E.S. Ginzburg is the most interesting demonstrative document of the era and at the same time a passionate, very subjective monologue of a woman, an intellectual, a thinking person. This book reveals an attempt to comprehend the causes of the tragedy that befell her and her comrades in misfortune, faith in the final triumph of justice and at the same time the naivety of many judgments, born of the ideas of her time.

E.S.Ginzburg's book is a dramatic story about eighteen years of prisons, camps and exiles, striking in its merciless truthfulness and causing the deepest respect for the strength of the human spirit, which was not broken by terrible trials.

It is impossible not to see how the author's thought beats in the book in search of an answer to the questions that worried the public in the 50s and 60s: who is to blame? How and why did the events associated with the era of the cult of personality take place? Where is the guarantee that this will not happen again? But there is no clear answer in the book. It is no coincidence that the book clearly defines the starting position of the author of "The Steep Route" and very vaguely outlines the author's views at one of the final stages of her journey: "... I considered it my duty to finish everything to the end ... the transformation of a naive communist idealist into a person who thoroughly ate from the tree of the knowledge of good and evil ... "

"Black Stones" (1988) A.V. Zhigulin considered the main book of his life.

Back in the years of stagnation, he read the works of Alexander Solzhenitsyn and Varlam Shalamov in samizdat and was struck by their substantive depth and artistic power. Naturally, he could not pass by the life and philosophical experience of F.M. Dostoevsky, who also had to spend years "in the depths of Siberian ores."

Once in Kolyma, Zhigulin became interested in studying camp folklore: thieves (and in fact, folk) songs, anecdotes, jokes, "translations" of individual words pronounced on the "hair dryer".
He wrote all this in a special notebook, which was confiscated from him upon his release in 1954. Collecting dictionaries of the Russian language throughout his life was the poet's hobby, they occupied a significant place in his home library.

Immediately after his release, Zhigulin, in his own words, "who did not really know how to write either poetry or prose", with his usual accuracy and attention to detail, recorded in his diary memories of the most important events related to the period of the KPM and the prison-camp odyssey. After 30 years, these recordings were very useful to him in his work on the Black Stones.

“Anatoly began writing in small notebooks in 1954, when he was brought from Kolyma to one of the Voronezh camps in connection with the revision of the case of the youth anti-Stalinist organization,” Irina Zhigulina recalled. “The first two notebooks (No. 1 and No. 2) were written pencil. The first is almost all devoted to poetry. He restores the first lines of poems written in prison during the long investigation of 1949-1950 in the camp (without explaining what those lines are). Texts were not recorded out of caution. He eagerly tries to write new poems, makes free translations from Horace, thinks about poetry, about life, but not a word about the camp past ...

Notebook No. 2 is like a pulsating naked heart. He is already frankly writing about his painful feelings, doubts. Makes notes about Kolyma and military childhood.

With his "Gulag Archipelago" A.I. Solzhenitsyn took the most decisive step towards the synthesis of art and history. It is no coincidence that he gave his book such a genre designation - "the experience of artistic research." And it was this book, despite its "convulsiveness and incompleteness" (which the author explained by the persecution to which he was then subjected), that made the strongest impression on the reading society both in the Soviet Union and abroad.

The most important source of shock was the factual material that Solzhenitsyn presented on the basis of 227 testimonies of former Gulag prisoners, conversations with various people, his own research and his own biography. During the years of the “thaw”, something about mass repressions in the “period of the cult of personality” became known, something wandered in rumors and rumors. But what Solzhenitsyn did stunned readers of the 1970s. He was the first to give a systematic overview of the crimes of the ruling regime against its people: here is the history of all the waves of mass repression, starting in 1921 (the concentration camps for peasant families during the Tambov uprising) and ending in 1948 (the expulsion of the Black Sea Greeks); here is the history of the most high-profile political trials, starting from 1918 and up to the trials of 1937-1938; here is an overview of all varieties of punitive institutions created by the Soviet government, all the "islands" and "ports" of the Gulag; here is the longest list of construction projects carried out by the slave labor of prisoners "from the first five-year plan to Khrushchev's times"; here is a terrible classification of methods for breaking the will and personality of the prisoner during the investigation.

This book finally dispelled the illusions about the so-called "advantages of real socialism." It showed the whole world that the regime that came to power as a result of the October coup was criminal from the very beginning.

What is on the conscience of this regime - the destruction of tens of millions

Soviet people, i.e. genocide of their own people. All of the above, of course, refers to the field of historical knowledge. But the emotional impression that the real facts and documentary materials presented in the "Archipelago" caused, like a chain reaction, gave rise to an aesthetic effect - the reader's value attitude. It is impossible not to take into account the fact that the individual facts cited by Solzhenitsyn are, one might say, ready-made images, the fantasy of the most inventive novelist fades before them - they are so stunning in themselves, so capacious in their generalizing power. These facts, moreover, are stated by the plastic word of Solzhenitsyn the artist and are emotionally colored by his undisguised feeling. And from the alloy of vital material and the incandescent feeling of the author-researcher, a certain poetics arises.

Solzhenitsyn, in his study of the Soviet punitive system, puts the "human dimension" at the forefront. The main focus of the author's attention is: what does the Gulag do with the human soul? Does a person have the ability to resist this soulless colossus? Of the seven parts in the "Archipelago", only one part, small in volume, is directly devoted to the designated problem - this is the fourth part, which is called "The Soul and the Barbed Wire". But in the “soul and barbed wire” situation, the author presents the fates of hundreds of people who passed through the “sewer pipes” of the Gulag, told in all other parts. Solzhenitsyn shows how purposefully and mercilessly the GULAG corrupted the soul of an individual, how the system managed to achieve the corruption of millions (“mass scab of souls” the author calls this epidemic) and how this corruption manifested itself (fear, lies, secrecy, cruelty, informing, and most importantly - slave psychology).

In essence, the memories of the Author about his shameful deeds and about his former political convictions are in the nature of repentance. And from this begins the process of his spiritual ascent. Solzhenitsyn notes the main steps along which the soul of a prisoner of the Gulag rises: here are the lessons of intellectual self-reliance, learned from communication with smart people with whom prison life brought him together, here is a sober awareness of the incommensurability of his own misfortune with the epic overflow of the tragedy of millions of victims of tyranny. And finally, this is a grateful feeling for one's prison, close to the religious idea of ​​martyrdom.

3. The theme of repression in the novels of A.N. Rybakov "Children of the Arbat", "35th and other years" (1988-1989).

In his novel "Children of the Arbat" (1966-1983), A. Rybakov tries to comprehend the inner life of "a man with tiger eyes" - Stalin. The writer is sure that the dictator distorted the main ideas of Lenin, betrayed the cause of the founder of the party. This manifested itself in the curtailment of the NEP, in forced collectivization, in the nurturing of a gigantic bureaucratic apparatus, in the cultivation of leaderism, in the substitution of "socialist democracy by a completely different regime." Stalin "even then, in his youth ... understood that democracy in Russia is only freedom for unleashing brute forces. Brute instincts can be suppressed only by strong power, such power is called dictatorship." In the name of "socialist paradise" on earth, according to Stalin, it is necessary to deal ruthlessly with political opponents. "Death solves all problems. There is no person and there are no problems." Power must be based on fear. "Fear must be maintained by any means, the theory of an unquenchable class struggle provides every opportunity for this. If several million people die in the process, history will forgive Comrade Stalin."

The theme of Stalin's repressions is the most important in the novel "Children of the Arbat". The book recreates the events of 1933-1934: the XNUMX party congress, the preparation of the assassination attempt on S.M. Kirov, the fierce struggle for power of various forces in the party and the country, numerous arrests of innocent people, the daily life of political prisoners. The complete absurdity of the reasons for the arrest is interesting: Boris Soloveichik is serving a link for incorrect punctuation in the slogan, the son of a White émigré Igor is paying for his Komsomol naivety, the typographical typographer Ivashkin is exiled for a trifling typo in the newspaper, the cook of the district canteen is punished for having a dish called "lazy cabbage soup" on the menu ", Sasha Pankratov was convicted for offering to study accounting and publishing a wall newspaper at the institute ... Of course, all these ridiculous accusations are not accidental. They help instill fear and humility in the people. And fear is born when there is no confidence in one's own safety.

Rybakov shows in his novel that the system of fear rests on the silent non-resistance to the evil of many people. Here is a description of the illegal exclusion from the party of the deputy director of the institute, Krivoruchko: "Trying not to look at Krivoruchko, the members of the bureau voted to expel him from the party." Everyone understands that meanness is being committed, but no one protests.

In the novel "Children of the Arbat" there are images of bloody executioners, NKVD workers, faithful executors of Stalin's will. Before us are real historical figures (Yagoda, Vyshinsky, Yezhov, Poskrebyshev) and fictional figures (Yuri Sharok, Baulin, Diaksv, Baranov). The ascent to the heights of power of the "quiet man with violet eyes" - Yezhov is described in some detail: work in the Central Committee in 1927, a leading post in Kazakhstan, the skillful implementation of the Stalinist personnel policy. The terrible thing is that the actual head of the NKVD "is free from any moral brake, from ethical conventions." To match the chief of the NKVD and the investigator Dyakov, who believes "not in the real guilt of people, but in the general version of guilt." It is clear that the essence of the investigation is to ensure that "the general version ... can be skillfully applied to a given person and create a specific version." The person under investigation for Dyakov is just a unit necessary for the protocol. The protocol is necessary for sentencing. The scoundrel and traitor Yury Sharok is internally close to Dyakov. The path to the "organs" lies through the renunciation of his own brother, from Lena Budyagina and Sasha Pankratov. It is in the NKVD that the young careerist feels safe: "No one will touch him there, they themselves touch everyone." In Yuri Sharoka, the makings of an opportunist and a sophisticated executioner are fully manifested. Such qualities quickly find application in the NKVD. "Yura immediately took root in the new conditions, approached this institution ..." In "Children of the Arbat" another type of executioner is shown - Baranov, authorized by the NKVD. It is on the conscience of this "fat man with a well-fed official face" that the death of the exiled Kartsev lies ...

Camp prose in modern literature

Topic: Man and lack of freedom in the work of Varlam Shalamov (on the example of "Kolyma Tales" as a "document of the era")

Lesson type: combined lesson.

Lesson forms: conversation with elements of a role-playing game and the use of individual advanced tasks.

Methods: heuristic (partially search), method of creative reading, frontal survey.

Lesson Objectives:

educational - to give an idea of ​​camp prose in modern literature; to show how Varlam Shalamov portrays a person in the conditions of the camp (to acquaint students with the biography and features of creativity through the analysis of the Kolyma Tales).

Educational - to continue developing the ability to analyze a literary text and understand the author's position; improve the skills of the ability to give a moral assessment of what is read; to develop interest in the history of the Motherland through the study of a work of art.

nurturing - to cultivate respect for literature and the values ​​of national culture.

Equipment and materials:

VCR, footage from the film director V. Fatyanov "The Last Fight of Major Pugachev";

Works of camp prose: A. Solzhenitsyn "The Gulag Archipelago", O. Volkov "Immersion in Darkness", A. Zhigulin "Black Stones", Yu. Vinogradov "The Tenth Circle of Hell", V. Shalamov "Kolyma Tales", etc.;

Portrait (photocopy) of V. Shalamov;

Photocopies of V. Shalamov's stories "Berries", "Resurrection of the Larch";

Newspaper "Several Lives of Varlam Shalamov";

A series of illustrations "Life and work of Varlam Shalamov".

Stages of the lesson.

Epigraph to the lesson:

Varlam Shalamov.

Organizational stage:

Greetings.

Definition of absent.

The stage of preparing students for the conscious assimilation of new material:

- Introductory speech of the teacher about the camp prose in modern literature (the title of the topic of the program section, a brief description).

The topic of the lesson.

Goal setting.

Stage of assimilation of new knowledge:

3.1. Leading individual tasks:

Message on the topic "Biography of Varlam Shalamov".

The history of the creation of "Kolyma stories".

1. Dramatization of the story "On the show", a conversation with students.

3.3 Viewing an excerpt from the film director V. Fatyanov “The Last Fight of Major Pugachev”, analysis of the story “Berries”

3.4. Analysis of the story "The Resurrection of the Larch", the philosophical meaning of the story.

Summing up the lesson.

Homework and instructions for its implementation

During the classes:

I. organizational stage.

Greetings.

Definition of absent.

Checking students' readiness for the lesson.

Organization of attention.

The stage of preparing students for the conscious assimilation of new material:

Teacher's introductory remarks on camp prose in Russian literature.

Today we begin the study of especially tragic pages in the history of Russian literature - this is camp prose.

Please write down the topic of the section in your notebook.

As an epigraph to our lesson, I chose the words of Varlam Shalamov:

The Kolyma camp (like any camp) is a negative school from the first to the last hour. A person, in order to be a person, does not need to know at all and even just see the Kolyma camp.

Varlam Shalamov.

The 20th century has become for the Russian people a century of severe trials and innumerable human victims. The Revolution, the Great Break, the War are the milestones of the way of the cross in Russia, where the fate of a person cannot be separated from the history of the people.

Camp prose...

The emergence of this literature is a unique phenomenon in world art.

Why did these scary books appear?

A. Solzhenitsyn, one of the discoverers camp prose said: “They were born of the desire to comprehend what has been happening for several decades, to tell about the millions of innocent victims, to show that there is violence as a system, as a form of government.”

Authors of the most famous camp prose - writers with personal tragic experience, They not according to others wrote their books, while they themselves went through humiliation, bullying, beatings, hunger, cold, hellish labor.

A. Solzhenitsyn "The Gulag Archipelago"

Y. Dombrovsky "Faculty of unnecessary things";

A. Zhigulin "Black Stones";

O. Volkov "Immersion in darkness";

I. Solonevich "Russia in a concentration camp";

V. Shalamov "Kolyma stories".

These writers in their works were able to convey all the horror of the camp dungeons, turned to the eternal problems of mankind, and, above all, to the ratio of good and evil in the human soul.

Setting the goal of the lesson.

The theme of our lesson is "Man and lack of freedom in the work of V. Shalamov."

(write the topic in your notebook )

Today we will get acquainted with the biography and features of V. Shalamov's work, analyze his "Kolyma stories"; let us consider how Shalamov shows a person in a camp.

Explanation of the new topic.

The biography and work of the writer are inseparable, especially such a writer as V. Shalamov.

Words from the newspaper:

It is not difficult for me to return to the sensations of childhood. I will never forget Kolyma. And yet, these are different lives. In general, the experience would be enough for several lives.

A). Message on the topic "Biography of V. Shalamov".

Implementation of an advanced individual task (IOP)

Now Vanya will introduce you to the biography of V. Shalamov, and you, in the course of his message, make a summary of the main dates that are indicated on the board:

WRITE ON THE BOARD:

1926 - 1928..

1937

1943

1951

1956

As it was correctly noted in the message, the tragedy of the fate and life of V. Shalamov is a clash of the individual with a totalitarian state.

b). The history of the creation of "Kolyma stories".

Introductory speech of the teacher

Today in the lesson we will slightly open some pages of the writer's work, who spent 20 years in camps. Varlam Shalamov is "Kolyma stories" first of all. It was they who became a formidable document of that era.

“Shalamov, like no one else, managed to tell the world about all the horrors of the camp, giving an exhaustive analysis of not only the camp life of those years, but also the broadest generalized analysis of the time”, - wrote Irina Pavlovna Sirotinskaya (she is a researcher of his archives and creativity).

Implementation of an individual lead task

Student Message

Sergey will tell about the history of the creation of the Kolyma Tales, and you will add collections to the abstract.

"Kolyma Tales" were written between 1954-1973

He devoted twenty years to the creation of the Kolyma epic. It is difficult to find suitable words to appreciate this feat of a man and a writer.

145 stories make up collections

"Kolyma stories" 33 stories 1954-1962

"Left Bank" 25 stories 1956-1965

"Shovel Artist" 28 stories 1955-1964

"Essays on the underworld" 8 stories 1959

"The Resurrection of the Larch" 30 stories 1965-1967

"Glove, or KR - 2" 21 stories 1962-1973

Teacher's conclusion:

Genre of the story in the work of Varlam Shalamov not accidental. He himself wrote: Roman is dead. People who have gone through revolutions, wars and camps do not care about romance. The novel should be replaced by a new prose - a document.

Shalamov puts forward documentary principle, and everything that has been suffered by one's own blood, transformed and illuminated by the fire of talent, comes out on paper as a document of the soul.

Let's go back to the lesson:

“The Kolyma camp (like any camp) is a negative school from the first to the last hour. A person, in order to be a person, does not need to know at all and even just see the camp Kolyma.

What does Shalamov say about camp life?

So why does Varlam Shalamov write about the horrors of Kolyma?

The Kolyma Tales will help us answer this question best of all.

V). Analysis of "Kolyma Tales"

The first story that we will get acquainted with in the lesson is "TO PRESENT"

Now this story will be staged.

Your task is to answer the question: what shows Varlam Shalamov a man in a camp. I would love to hear your opinion on what you see.

Interview with students.

How did you see camp life?

What shocked you the most?

Tell me about your impressions?

Kolyma is a place where all previous human laws, norms and habits are cancelled. And the worst thing is that death is a common occurrence.

- Who was the most difficult to survive in these conditions?

The most difficult under these conditions was the intelligentsia (in our case, it was Garkunov). His speech is fundamentally different from the jargon of the thieves, he tries even in such a situation to talk to them on "YOU"

Why does the episode end with death for Garkunov?

It is very difficult to predict the behavior of a person in such a situation. But in Kolyma, it seems to me, their own laws of survival operate: after all, Naumov was able to repulse the person on whose behalf the story is being told. He directly tells him : “It won’t work, Naum, you know me.". And Garkunov, apparently, gave the impression of a kind person who can be broken, which is why they kill him because of a woolen sweater.

Whose words are striking in their inhumanity?

Naumov's phrase made a special impression on me: “Couldn’t they have done without it? This thing has been ruined …» Moreover, the indignation is not caused by the murder of a person, but by the damage caused by the thing that he won at cards.

- How shows a person in the conditions of the camp Varlam Shalamov?

RECORDING THE OUTPUT:

The reality of the world in which the heroes of the Kolyma Tales live is death. There are people without a past, without a biography, without memories. There, a person thinks only about himself, about how to survive.

A good example of this is the story "BERRIES"(collection "Kolyma stories").

G). The story "Berries".

Let's see excerpt from the film directed by V. Fatyanov "The Last Fight of Major Pugachev"

While watching, try to find evidence for the words of V. Shalamov: "The Kolyma camp is a negative school from the first to the last hour."

So, why is the camp a negative school?

the inhumanity of others;

impossible hard work;

it is impossible to save comrades;

Those who read Varlam Shalamov note that “Nowhere in his stories Shalamov judges anyone, teaches or condemns anyone.”

Let's turn to the text:

“Rybakov, my comrade, was picking berries in a tin can”

Is the attitude of the narrator towards Rybakov expressed?

(Yes, of course. He calls him his comrade.)

And another phrase from the text:

After the murder of Rybakov:“The jar rolled away, I managed to pick it up and hide it in my pocket. Maybe they will give me bread for these berries - after all, I knew for whom Rybakov collected them. ”

- If this happened in a peaceful life, how would you react to the act of the narrator?

You cannot call such a person a friend.

And in this situation, can you condemn the act of the narrator?

Why?

Because you have to survive in Kolyma. There is nothing to help the dead, but you yourself have to climb.

WE WRITE THE FOLLOWING CONCLUSION IN THE NOTEBOOK:

In camp life, everything is evaluated from a different perspective, so Shalamov does not judge anyone, does not teach, does not condemn.

An artistic feature of the "Kolyma Tales" is an extraordinary symbolism. Yes, in this story.

Berries seem to be a symbol of life, gratuitous gifts of nature, who did not understand who touched them: the masters of life, thieves, friends or enemies of the people ... But in Kolyma, these gifts of nature bring death.

And in this story, how did you see the person in the image of V. Shalamov?

Thinking only for himself, about how to survive.

Shalamov himself said: "There is no friendship in the cold and in hunger". Perhaps that is why in his stories it is every man for himself.

Conversation with students

In the stories that we have just talked about, can you single out the plot?

Yes. They have an action, the content is conveyed, there are characters, they can be retold.

But there are also non-plot stories in the Kolyma Tales - one of them - "RESURRECTION OF THE LARCH"(collection "Resurrection of larch").

Year of writing -1966. This is the time when Shalamov returned to the mainland. His wife and daughter did not accept him, despite the fact that he was rehabilitated. He was lonely, suspicious, carried a piece of bread in his pocket. Camp habits remained for a long time. Kolyma made him so. This loneliness lasted until the end of days.

At home, you got acquainted with this story, and I would like to draw your attention to the highlighted passages.

What do you know about the branch described in the story?

sent from Kolyma

her life could last 200, 300, 600 years

she died

but in Moscow came to life in chlorinated water.

- How does the fate of this branch resemble the fate of Varlam Shalamov himself and people like him?

It was important after liberation to find strength for resurrection.

Teacher generalization

People released from concentration camps were like the dead in the physical and moral sense. We have already said that the reality of the world in which the heroes of the Kolyma Tales live is death.

What could bring them back to life?

Find the words in the text!

“To help others remember, to remove this heavy burden from your soul: to see this, to find the courage not to tell, but to remember .... at least in your own, personal sense take on some responsibility, perform some personal duty. Help comrades - those who survived after the concentration camps of the Far North.

Did we get an answer to the question of the lesson?

4. Summing up the lesson.

What new did you learn today at the lesson, having studied the work of Varlam Shalamov?

After today's lesson, I was convinced how extraordinary a person V. Shalamov was: smart, interesting, who survived hunger, cold, and humiliation. And most importantly, he did not break down, did not lose his "I".

Shalamov went through such conditions under which a person cannot remain soft and trusting. After studying his work, I realized how tragic the fate of a person living in a totalitarian state.

Why do we, living in the 21st century, need to know camp prose?

Camp prose is part of our culture, our literature. The writers who were not afraid to tell us about it believed that over time their stories and stories would cease to be secret and become public knowledge. literature.

5. Homework.

I really hope that you will read other stories by Varlam Shalamov.

And your homework will be an essay - a reasoning, the topic of which I chose the words of Varlam Shalamov.

Composition - reasoning “I dreamed of becoming Shakespeare, but the camp broke everything” (V. Shalamov).

In memory of this lesson, you will have the stories of V. Shalamov, and I also want to distribute poems that especially struck me in the Kolyma Notebooks. You will tell me your opinion about them in the next lesson.

One of the innovative and interesting themes in the literature of the 1960s was the theme of Stalin's repressions. The national tragedy that engulfed the entire country determined the course of development of Russian literature. Talented authors appeared who were in opposition to Stalin's political regime. They, in turn, gave rise to such a unique phenomenon as samizdat. Their books were published abroad, drawing the attention of the world community to the danger of totalitarianism, which threatens all people. It was the authors of "camp prose" who made a huge contribution to debunking the myths about the grace of Big Brother and his all-encompassing power, paving the way for freedom of thought and speech. In order to characterize this difficult phenomenon in Soviet literature, it is necessary to sort out the list of writers of camp prose and at least approximately know how and what they wrote about.

V. Shalamov (1907-1982) - a writer with a difficult creative destiny. He himself went through the camp dungeons. He began his career as a poet, and in the late 50s-60s he turned to prose. In his stories, with a sufficient degree of frankness, camp life is conveyed, with which the writer was familiar firsthand. He knew how to give vivid sketches of those years, to show images not only of prisoners, but also of their guards, the heads of the camps where he had to sit. In these stories, terrible camp situations are recreated - hunger, dystrophy, humiliation of people by brutal criminals. The Kolyma Tales explores collisions in which the prisoner "swims" to prostration, to the threshold of non-existence.

The main idea in his stories by V. Shalamov- this is not just a transfer of an atmosphere of horror and fear, but an image of people who at that time managed to preserve the best human qualities in themselves. They are ready to help, because they have the feeling that you are not only a cog in a huge machine of suppression, but, above all, a person in whose soul hope lives.

Zhigulin "Black Stones": a summary

The representative of the memoir direction of "camp prose" was A. Zhigulin. Zhigulin's story "Black Stones" is a complex, ambiguous work. The plot of the story "Black Stones"- a documentary and artistic narrative about the activities of the KPM (Communist Youth Party), which included thirty boys who, in a romantic impulse, united for a conscious struggle against the cult of Stalin's personality. Composition in the story "Black Stones" built as the author's memories of his youth. Therefore, unlike the works of other authors, there is a lot of so-called "complimentary romance" in it. But at the same time, Zhigulin managed to accurately convey the feeling of his era. With documentary authenticity, the writer tells how the organization was born, how the investigation was carried out, what this system is like. Zhigulin clearly described the conduct of interrogations:

“The investigation was generally conducted vilely ... The records in the protocols of interrogations were also vilely conducted. It was supposed to be written down word for word - how the accused answers. But the investigators invariably gave our answers a completely different color. For example, if I said: “Communist Party of Youth,” the investigator wrote down: “Anti-Soviet organization of the KPM.” If I said: "meeting", - the investigator wrote "assembly"

The author warns that the main task of the Soviet regime it was to “penetrate into a thought” that had not even been born yet, to penetrate and strangle it before birth. Hence the premature cruelty of a self-adjusting system. For playing the organization, a semi-childish game, but deadly for both sides (which both sides knew about) - ten years of a prison-camp nightmare and a broken life. This is how the totalitarian system works.

Analysis of Vladimov's story "Faithful Ruslan"

Another striking work on this topic was the story "Faithful Ruslan" by G. Vladimov. This work was written on behalf of a dog specially trained to lead prisoners under escort, “make a selection” from the same crowd and overtake hundreds of miles away crazy people who risked escaping. A dog is like a dog. A kind, intelligent creature that loves a person more than a person himself loves his relatives, and destined by the dictates of fate, the conditions for the birth and upbringing of a camp civilization, to carry out the duties of a guard, and, if necessary, an executioner.

In the story, Ruslan has one production concern for which he lives: this is to maintain order, elementary order, and the prisoners would maintain the established system. But at the same time, the author emphasizes that he is too kind by nature (brave, but not aggressive), smart, reasonable, proud, in the best sense of the word, he is ready for anything for the sake of the owner, even to die.

But the main idea of ​​Vladimov's story just consists in showing: all the best abilities not only of a dog, but of a person, can be directed to evil. The most holy intentions are transformed into sinful ones: truth into deceit, goodness into malice. Devotion is transformed into the ability to turn a person around, take him by the hand, by the leg, take him by the throat, risking, if necessary, his own head, and turn a stupid bunch called “people”, “people” into a harmonious stage of prisoners - into operation.

Analysis of Solzhenitsyn's story "One Day in the Life of Ivan Denisovich"?

The undoubted classic of "camp prose" is A. Solzhenitsyn. His works on this topic appeared at the end of the thaw, the first of which was the story "One Day in the Life of Ivan Denisovich". Initially, the story was even called in the camp language: "Sch-854. (One day of a prisoner)". The idea of ​​the story "One Day in the Life of Ivan Denisovich" in a small "time-space" of the story, many human destinies are combined. These are, first of all, the film director Ivan Denisovich and the film director Tsezar Markovich. Time (one day) seems to flow into the space of the camp, in which the writer focused all the problems of his time, the whole essence of the camp system. He also devoted his novels “In the First Circle”, “Cancer Ward” and a large documentary and artistic study “The Gulag Archipelago” to the topic of the Gulag, in which he proposed his concept and periodization of the terror that unfolded in the country after the revolution. This book is based not only on the personal impressions of the author, but also on numerous documents and memoirs of prisoners.

Interesting? Save it on your wall!

* This work is not a scientific work, is not a final qualifying work and is the result of processing, structuring and formatting the collected information, intended to be used as a source of material for self-preparation of educational work.

Introduction.

Reasons for addressing this topic. Goals and objectives

Main part

A word about writers. The significance of Solzhenitsyn, Shalamov in literature and the development of the country's social thought.

The fate of the book "One Day in the Life of Ivan Denisovich"

a) time and space in a work of art;

b) "the camp through the eyes of a peasant." The role of episodes in the disclosure of content.

3) V.T.Shalamov. The fate of the books

a) the story "The Wanderer" Reception of comparison as a means of revealing the character, state of a person;

b) the autobiographical nature of the stories.

4) Experience in the comparative - comparative nature of the works of Solzhenitsyn and Shalamov

III. Conclusion.

Bibliography

Goals and objectives.

Show the significance of Solzhenitsyn, Shalamov in literature and the development of the country's social thought.

Show publicism, appeal of stories to the reader.

Analyze individual episodes, their role in the overall content of the narrative, compare the characters in the works of Solzhenitsyn and Shalamov: portrait, character, actions ...

Based on the works of Solzhenitsyn and Shalamov, to show the tragic fate of a person in a totalitarian state.

Introduction.

…People of spirit and intellect

Must be aware of their independence

and freedom, its determinability from within,

but also its social mission, its

calling to serve the cause of justice

through their thought and creativity.

The future of humanity depends on

Will the world be connected

Spiritual and social movement

And creation is fair and humane...

K. Berdyaev.

The theme of captivity, guard or prison, was not a discovery of the literature of the 20th century. At the origins of this literary tradition is “Notes from the House of the Dead” by F.M. Dostoevsky. But never before has this topic occupied such an extensive place in the literary stream. Politics and literature became closely intertwined only in the 20th century.

Now the literature about the camp is huge, the most famous are the works of Solzhenitsyn, Shalamov, Snegov. I would like to dwell on the works of two writers - the founders of camp prose. I wanted to learn not only about the literary feat of the two writers, but also to imagine the history of this topic, the features of its artistic solutions and the place in the spiritual life of our people in the 60s and today.

“Camp prose” is a 20th century term. “Notes from the House of the Dead” by F.M. Dostoevsky also told about the experience in hard labor, but there was no definition of “camp” itself. There were no camps as a mass phenomenon - and it is they who set the theme of the work.

Main part.

A word about writers.

A.I. Solzhenitsyn.

Born in 1918 in Kislovodsk. Graduated from Rostov University. In 1941 he went to the front, in 1945, when he was already arrested by the captains (military censorship), his letters to a close friend were opened, which contained a negative assessment of Lenin and Stalin. Until 1953, he was kept in camps of a general and special type.

In 1956 he was rehabilitated and works as a teacher in Ryazan. In 1962, the Novy Mir magazine published the work One Day in the Life of Ivan Denisovich. Solzhenitsyn is experiencing an unprecedented creative upsurge: at the same time he begins: "The GULAK Archipelago" (materials flow from former prisoners from all over the country).

In 1964, the writer was nominated for the Lenin Prize, but did not receive it due to a change in political course. In 1966, the story was published for the last time in the Soviet press.

In 1970, Solzhenitsyn was awarded the Nobel Prize, which he could not receive personally.

At that time, the campaign against the writer intensified in the USSR, because. he gave permission for the publication in Paris of the book "August 14" and later - "The GULAK Archipelago", outlining the history of repressions in the USSR since 1918.

In 1974 the writer was expelled from the country. For a long time he lived and worked in the USA. Perestroika led to the fact that in 1990 Solzhenitsyn was returned to Soviet citizenship, and in 1994 he returned to his homeland.

The fate of the book "One Day in the Life of Ivan Denisovich"

“I haven’t read anything like this in a long time. Good clean, great talent, no falsehood…” This is the very first impression of A.T. Tvardovsky, who read the manuscript of this story. Tvardovsky made incredible efforts to ensure that Solzhenitsyn's story saw the light of day.

Varlaam Shalamov wrote: “Dear Alexei Isaakovich! I didn’t sleep for two nights, reading the story, rereading it, remembering…”

“I was stunned, shocked,” Vyacheslav Kondratiev wrote about his impressions. - once in my life I really realized that the truth can ... "

After the 22nd Congress, when N.S. Khrushchev launched a "Furious attack on Stalin", Solzhenitsyn decided to give the manuscript "Sch-854" as the story was originally called in the Novy Mir magazine. This was the first time in Soviet fiction a work about the Stalinist camps.

The story "One day of Ivan Denisovich".

Time and space in a work of art.

While reading the work, it was interesting for me to learn about the author's attitude towards his heroes: the author treats some heroes with sympathy, others with irony, and a third with hostility. I decided to think: what explains the choice of Shukhov for the role of the central character.

After reading the story, I asked myself a number of questions:

1) What saves a person in an inhuman life? (on the example of the camp in which Shukhov was imprisoned)

2) What keeps camp life going? What keeps a person alive in general?

3) What role does the biography of the characters play in the story?

4) Kokov moral subtext of the situation: Shukhov - Caesar.

Analysis of the work

“The camp through the eyes of a peasant,” said Lev Kopelev, handing Solzhenitsyn's manuscript to Tvardovsky. Yes, through the eyes of Shukhov, because through the eyes of Buinovsky or Caesar we would have seen the camp differently. The camp is a special world with its own “landscape”, its own realities: zone, zone lights, towers, guards on towers, barracks, wall paneling, barbed wire, BUR, head of the regime, condo with withdrawal, full punishment cell, convicts, black jacket with a number , rations, a bowl of gruel, guards, shmon, dogs, a column, an object, a foreman, a foreman ... Solzhenitsyn recreates the details of camp life: we see what and how the convicts eat, what they smoke, where they get smoke, how they sleep, what they dress and put on shoes, where they work, how they talk among themselves and as with the authorities, what they think about the will, what they fear most of all and what they hope for. The author writes in such a way that we learn the life of a convict not from the outside, but from the inside, from “him”.

Solzhenitsyn created on the pages of his works the image of a huge impressive force - the Gulag Archipelago. The documentary The Chosen One shows Solzhenitsyn's map of the Gulag archipelago. In one of its points - the camp "One day ...".

Tvardovsky considered "a good choice of hero." According to the author, “the image of Ivan Denisovich was formed from the soldier Shukhov, who fought with him in the Soviet-German war (and never sat), the general experience of prisoners and the author’s personal experience in the Special Camp as a bricklayer. The rest of the faces are all from camp life, with their true biographies.

Talking about the camp and camp inmates, Solzhenitsyn writes not about how they suffered there, but about how they managed to survive, preserving themselves as people. Shukhov forever remembered the words of his first brigadier, the old camp wolf Kuzemin: “That’s who dies in the camp: who licks bowls, who hopes for the medical unit, and who goes to knock on the godfather.”

In "One day ..." there are people about whom the author talks with great sympathy: these are the foreman Tyurin, Shukhov, the commander of the rank Buinovsky, the Latvian Kildigs, Senka Klevshin. The writer singles out one more hero, not named by name. Only half a page is occupied by a story about a "tall, silent old man." He sat in prisons and camps for an uncountable number of years, not a single amnesty touched him. But he didn't lose himself.

His face was exhausted, but not to the weakness of a disabled wick, but to a hewn, dark stone. And by the hands, large, in cracks and blackness, it was clear that not much had fallen to him in all the years to sit out as a moron.

"Nerks" - camp "aristocrats" - lackeys: orderlies in the barracks, foreman Der, "observer" Shkuropatenko, a hairdresser, an accountant, one of the KVCh - "the first bastards who were sitting in the zone, these hard workers considered people below shit."

As you can see, in the author's characteristics, short, mean, the moral aspect is very strongly expressed. He is especially noticeable in the clash scenes: Buinovsky - Volkovoy, the foreman - Tyurin - foreman Der. Of great importance are short episodes that reveal the relationship of prisoners: Shukhov - Caesar, Shukhov - Senka Klevshin. The best pages of the story include those episodes that show the 104th brigade at work.

The fate of the heroes of the story convinces that Solzhenitsyn did not lead the history of totalitarianism from 1937, but from the first post-October years. This is evidenced by the camp terms of convicts. The unnamed "tall, silent old man" has been sitting since the early Soviet years. Shukhov's first foreman, Kuzemin, was arrested in "the year of the great turning point," and the last, Tyurin, in 1933, in "the year of the victory of the collective farm system." The reward for courage in German captivity was a ten-year term for Senka Klevshin... With the thought of them, with memories of them, Solzhenitsyn began work on his main book, The Gulag Archipelago, which opens with a dedication:

I DEDICATE

to all those who did not have enough life

tell about it.

And may they forgive me

that I didn't see everything

I didn't remember everything

didn't think of everything

A word about the writers Varlam Shalamov.

Born in 1907, and Vologda. His father, a man of progressive views, kept in touch with the exiles who lived in Vologda. The youthful ideal of Varlam is the People's Will - the sacrifice of their feat, the heroism of the resistance of all the might of the autocratic state. In 1926, Shalamov entered the Moscow State University at the Faculty of Soviet Law, actively participated in rallies, literary debates, and poetry reading. On February 19, 1929, Shalamov was arrested for distributing Lenin's will - "a letter to the Congress" - and sentenced to three years in a camp. In 1932 he returned to Moscow and worked in magazines. In 1937 he was arrested again and spent 17 years in the Kolyma camps. In July 1956 he was rehabilitated and returned to Moscow. He writes poems that are published in Znamya, Moscow, Yunost.

His stories about Kolyma life are not printed, they are returned, he died in 1982 without seeing his Kolyma Tales published.

About the fate of the book

Essays from camp life were distributed in samizdat in 1978. A separate book of Shalamov's stories is published in London. In Tolka's homeland in 1987, his first works from the "Kolyma notebooks" appeared.

The Kolyma epic of V.T. Shalamov includes collections of stories and essays: “Kolyma stories”, “Left Bank”, “Essays on the underworld” ... He has a large work “Antiroman” in the tragic epic of Kolyma stories there is no fiction.

The story "Stlanik" by V. T. Shalamov

Better to die standing than to live on your knees.

The story "Stlanik" was written by the Russian writer Varlam Tikhonovich Shalamov in the fifties of our century, during his residence in the Kalinin region, and belongs to the cycle "Kolyma stories". Like many other writers of that time, Varlam Tikhonovich fell victim to totalitarianism. Endless exiles, gold mines, taiga business trips, hospital beds... In 1949, in Kolyma, he first began to record his works. In documentary-philosophical prose, Shalamov expressed the entire long-suffering experience of superhuman trials in Stalin's strict regime camps. Hunger, cold, beatings and humiliation stopped only after the writer was rehabilitated in 1956. But this event, alas, was not the end of all the suffering suffered. As a writer, the author of many thoughtful works, the worst awaited him: a boycott by various literary publications, a complete disregard for creativity. Shalamov's stories were not published. This was motivated by the fact that they lacked enthusiasm, only one abstract humanism. But how could a person who suffered so much from this regime, praise him? Despite the fact that his stories were constantly returned by the editors, he continued to write. The most difficult state of health did not allow him to do it himself, so he dictated his poems and memoirs. Only five years after the death of the writer, in 1987, his first works were published: works from Kolyma notebooks. Among them is the story I'm reviewing.

Dwarf is a taiga tree, a relative of cedar, growing, due to its unpretentiousness, on mountain slopes, clinging to stones with its roots. It is remarkable in that it is able to respond to environmental conditions. In anticipation of a cold snap or snowfall, it clings to the surface, spreads out. This is the literal meaning of the story, its theme. But it seems to me that this tree for Shalamov is not only a weather forecaster. He writes that the dwarf is the only evergreen tree in these northern regions, the tree of hope. Strong, stubborn, unpretentious, he is like a man left alone in the fight against the elements. In summer, when other plants try to bloom as quickly as possible, overtaking each other in this, the elfin, on the contrary, is invisible. He is an unshakable ideologist of the struggle, embraced by the warm breath of summer, does not succumb to temptation and does not change his principles. He is constantly alert and ready to sacrifice himself to the elements. Doesn't it look like people? Remember what humiliation Boris Pasternak was subjected to? And a little later, already, it would seem, at a completely different time, mockery of Andrei Dmitrievich Sakharov? Yes, these people survived, although they were misunderstood by the majority and rejected. But many others broke down under the yoke of the totalitarian system. Were they unfaithful to their ideals or just too trusting? Maybe they really faded and left behind only an extinct, cold forest?

Shalamov wrote about the dwarf tree as too trusting a tree: one has only to make a fire near it, as it immediately raises its fluffy green branches. The fire will go out, and the dwarf, upset by the deceit, will sink, covered with snow. According to the author, human feelings are not so refined. But despite this, people too often remain deceived. If a tree is then able to return to everyday life, then a person is rarely. The appearance of a fire in the life of a cedar can be compared, in my opinion, with the period of the Khrushchev “thaw”. How many people then became victims of deception, betrayal!

As Shalamov wrote, a person has only five senses. Yes, maybe they are not enough to recognize the changes taking place around, but they are quite enough to be imbued with those thousands that took possession of the writer. After reading the story, I realized how important hope is for a person, faith in the best. Like a sprout, an evergreen tree, breaking through a blizzard and cold to sunlight, hope in the human mind makes him believe, defend his ideals. No wonder they say that she is the last to die. In addition, the thought of the exorbitant courage of both a lonely taiga tree and many people fighting for justice did not leave me. Review - a study containing a critical assessment. My rebellious nature, of course, could help me in criticism, but only when I disagree with something. This seemingly abstract work contains so many hidden meanings and various arguments that I simply cannot argue with, that I can only fully share my opinion with the author. If the criticism is positive, then the review was a success for me. And finally, I want to say that it would be wonderful if the fire in the soul of every fighter for justice burned as hot and bright as firewood from a wonderful taiga tree.

An experience of the comparative nature of the works of Solzhenitsyn and Shalamov.

Conclusion.

1) The books of Shalamov, Solzhenitsyn are books of warning. A monstrous experiment on humanity has no right to exist, the regime of a totalitarian state is terrible and cruel. We should be grateful to the people who survived in inhuman conditions and told the world the truth about political prisoners.

2) It is important for Shalamov and Solzhenitsyn to make readers participants in what is happening here and now, to create the illusion of presence. Human attention.

Shalamov's task is to answer the question: can a person endure more than any animal, especially when it comes to 38 years.

3) We perceive the books of repressed writers as a document created on biographical material. These are the Steep Route E, Ginsburg, Black Stones by A. Zhigulin. Simultaneously with these works, during the perestroika years, “Children of the Arbat” by A. Rybakov, “Faculty of Useless Things” by Y. Dombrovsky, “Verny Ruslan” by G. Vladimirov were published.

And this is not all works. This means that the topic continues to be relevant for both writers and readers.

Bibliography.

A.I. Solzhenitsyn "One Day in the Life of Ivan Denisovich".

V.T.Shalamov "Kolyma stories".

S. Averintsev Magazine "New World" 1998 No. 12.

E. Volkova "Varlam Shalamov: the duel of the word with the absurd."

Journal "Questions of Literature" 1997 No. 6.

N.A. Berdlev "The fate of man in the modern world"

Magazine "New World" 1990 No. 1.

A. Latynina "Solzhenitsyn and We"

Magazine "New World" 1990 No. 1.

Dictionary for this topic.

TOTALITAR, -th, -th; -ren, -rna (book). Based on the complete domination of the state over all aspects of society, violence, the destruction of democratic freedoms and individual rights. T. mode. totalitarian state.

DICTATORY, -s, and.

1. State power, ensuring the complete political domination of a certain class, party, group. Fascist d.d. of the proletariat(in Russia: the power of the working class proclaimed by the Bolshevik Party).

2. Unlimited power based on direct violence. Military d.

REPRESSION, -and, and., usually pl. A punitive measure emanating from government agencies. Get repressed. victims of repression.

TERROR, -a, m.

1. Intimidation of their political opponents, expressed in physical violence, up to destruction. Political vol. Individual vol.(single acts of political assassinations).

2. Hard intimidation, violence. T. tyrant.

adj. terrorist, -th, -th (to 1 value). T. act.

GULAG, -a, m. Reduction: the main administration of the camps, as well as an extensive network of concentration camps during the mass repressions. Gulag prisoners.

ZEK, -a, m.(simple). Same as a prisoner.