INTRODUCTION

In the late 1980s, the literary critic G. Belaya, in the article “Other Prose”: a harbinger of a new art”, asked the question: “Who is referred to as a“ other ”prose”? and named the most different writers: L. Petrushevskaya and T. Tolstaya, Venedikt Erofeev, V. Narbikov and E. Popov, V. Pietsuha and O. Ermakov, S. Kaledin and M. Kharitonov, V. Sorokin and L. Gabysheva and others. These writers are really different : by age, generation, style, poetics. Some did not leave the underground before glasnost, others managed to break into the press even at the time of the existence of censorship. One gets the impression that according to the department of "other prose" things are brought in that are "terrible" in content. Attempts are being made to reveal the specifics of "other prose" with the help of the terms "neonaturalism", "new physiology", etc. The work of the writers presented in this course work is attributed to the period of "other prose" or, as it is also called, "cruel", and causes special interest, because not considered earlier in term papers.

The relevance of this topic lies in its little-studied. For the first time within term paper the reflection of the spiritual degradation of the personality in the Russian prose of the twentieth century in the works of V. Astafiev, S. Kaledin, L. Gabyshev is considered. The topic has been little studied and represents a lot of unexplored material. This is the reason for choosing this particular topic for our course work.

The purpose of the course work: to explore the spiritual and social degradation of the individual in the works of L. Gabyshev, S. Kaledin, V. Astafiev.

Objectives of the course work:

1) consider the originality of the conflict of personality and time in the work of V. Astafiev;

2) reveal the originality of the reflection of the collapse of the personality in the social environment of the 80-90s of the twentieth century in the work of S. Kaledin;

3) to reveal the specificity of the image of the degrading hero in the work of L. Gabyshev.

Our work consists of introduction, two chapters, conclusion, bibliography.

In the first chapter (theoretical), we made an attempt to holistically consider such a phenomenon in the literature of the 80-90s of the twentieth century as “other prose”.

In the second chapter (“The originality of the works of writers of “other prose”), the tasks set in the course of the course work are considered. For example specific works we explore the means of expressing the spiritual and social degradation of the individual in the works of V. Astafiev, (“ Sad detective”, “So I want to live”, “Merry Soldier”, “Cursed and Killed”), S. Kaledina (“Humble Cemetery”), L. Gabysheva (“Odlyan or Air of Freedom”).

In conclusion, conclusions are drawn about the work done.

"Other prose" as a phenomenon in the literature of the 80-90s of the twentieth century

Literature of the second half of the twentieth century and the place in it of "another prose"

russian literature astafiev gabyshev

"Other prose"? this is the generating name of a stream of literature that in the early 1980s united authors very different in their stylistic manners and thematic attachments. It included such writers as T. Tolstaya, V. Pietsukh, V. Erofeev, S. Kaledin, L. Petrushevskaya, E. Popov, A. Ivanchenko, M. Kuraev, T. Nabatnikova and others. Some of them were inclined to depict automated consciousness in a stagnant circle of existence (A. Ivanchenko, T. Tolstaya, M. Paley), others turned to dark "corners" social life(S. Kaledin, L. Petrushevskaya), others saw modern man through the cultural layers of past eras (E. Popov, V. Erofeev, V. Pietsukh), through the prism of a historical event (M. Kuraev). But for all the individuality of the writers, united by "another prose", in their work there were common features.

"Other Prose" refused teaching, preaching, in general, any moralizing. The position of the author was not only not expressed clearly, but, as it were, was absent altogether. "Other Prose" broke with the tradition of the "author-reader" dialogue: the writer portrayed - and retired, he did not give any assessment to the depicted.

Conditionally metaphorical prose clothed reality in fantastic forms. Conventionality helped to show the absurdity, dehumanization, criminality of the totalitarian system. "Other prose" did not create fantasy world, she discovered fantasticness in the surrounding, real.

Here, in this prose, chance reigned. It is she, in conjunction with the equally total absurdity, that controls the destinies of people. At the heart of the "other prose" was a stereotype - life's chaos is back side and a direct consequence of the system beautiful phrases and omissions, the all-embracing hypocrisy of both man and society. Therefore, the “other prose” depicted a destroyed life, a catastrophic history, a culture that was becoming obsolete.

The necessary element of "other prose" is absurdity. It was not a principle or technique, it was not created or constructed by the author (as in the theater of the absurd, for example, where the effect is achieved by deliberately skipping some logical link in the chain of cause-and-effect relationships). "Other prose" moved the reader to other spheres, to other people. Her art space housed in filthy dormitories for "limits", in communal apartments, in kitchens, in barracks, where hazing ruled, in cemeteries, in prison cells and storerooms. Her characters are mostly outcasts: homeless people, lumpen, thieves, drunkards, hooligans, prostitutes, etc. Absurdity in "other prose" arose from real life, he constituted its internal quality, generated by social, historical, everyday reality. The absurdity of life determined the value orientations. “The absurd makes the consequences of actions equivalent. He does not advise to act criminally. It would be childish, but he dooms remorse to the futility.

"Other prose" is existential literature. In this case, existentialism is completely devoid of a theoretical shell, it is hardly conscious. It, most likely, spontaneously originated from everyday life in the conditions of successive “border situations”. For the characters of "other prose" "existence in the world" is replaced by everyday life. It is in his own life that the hero realizes himself.

The writers of the "other prose" were characterized by an almost constant appeal to previous cultures. Their cultural background was literary reminiscences the beginning of the twentieth century, Gogol, Dostoevsky, although the literature of the past for them is the subject of ironic rethinking, and not following tradition or meaning-generating soil. Irony, and gloomy at that, is the most important feature of the “other prose”.

"Another prose" sought to free a person from illusions and dogmas, from the official ideology. Disbelieving in the classic national tradition direct impact of literature on life, "other prose" was often pessimistic. Moreover, it combined the ruthlessness of omniscience about the hero with literary game. The conflicts of the "other prose" consisted in the discord of meaning and existence, life and fate, name and image.

In "other prose" the role of time is extraordinarily great. It could appear as an independent artistic image(A. Ivanchenko, L. Petrushevskaya, M. Kuraev). This time is alienated. “Ultimately, this is a time of timelessness, static, cruel, crossing out years, strength, dreams, and in return leaving a gap, a dash between dates, or dust, or burned-out coals. But this image of time fills the whole picture of the universe - it dictates the general rhythm of being” (Lipovetsky). The image of time grew into an image of an imaginary history, an absurd dead end historical movement. This continuous stream, in which a person is alienated from himself, predetermines the impossibility of any other life, the impossibility of an existential outcome. “Borderline situations” become everyday life, a habit. The writers of the "other prose" saw no way out of this habitual circle.

Even in ordinary episodes, there was a state of “quiet madness of reality”, some kind of phantasmagoria, and this ceased to be a pathology, but “turned into a habitual norm of existence, elevated to the scale of the eternal law of being” (Chuprinin). Space in "other prose" works is usually limited and well-defined. It could be closed, as in a "natural" flow. It always concentrates typical, recognizable constants of Soviet and post-Soviet reality, which appear as eternal and unchanging conditions for the existence of a person, formed by previous decades.

Different works of "other prose" were united by a common typological feature - a pathos that denied official literature in relation to the literature. At the heart of the "alternative" aesthetics lay the desire to oppose the optimistic concept of reflecting the external world with the concept of fixing a deep crisis and his, and the inner, personal world of a person. The “other prose” of the 1980s can be viewed as a subsystem by analogy with the concept of “subculture” that exists in cultural studies, denoting “a sovereign integral formation within the dominant culture, distinguished by its own value system, customs, norms” (Gurevich). This is a marginal direction in which the realistic basis remains, but modernist (existential or playful) tendencies are specifically manifested in it. “Other prose”, which was considered by the critics of the mid-1980s as a kind of ideological and aesthetic conglomerate, potentially contained several stylistic trends that subsequently diverged. One of them is existential, the other is ironic prose. This division is rather arbitrary, since historical time- something secondary in relation to the time of human Existence, and an ironic attitude to reality in general is a peculiar sign of all "other prose".

The existential flow of the “other prose” focused attention on a person whose existence is tragic, and this tragedy is not realized by the hero himself, although he is felt. Kierkegaard's description applies to such a hero: "Lonely, abandoned to himself, he stands in an immense world, and he has no present where he can rest, no past for which he could yearn, since his past has not yet arrived. just as there is no future for which he could hope, for his future has already passed ... He cannot grow old, since he has never been young, he cannot become young, since he is already old; V in a certain sense he cannot even die, since he did not live; in a certain sense it is impossible for him to live, since he has already died; he cannot love either, since love is always in the present, and he has neither present, nor past, nor future, and at the same time he is a receptive soul, and he hates the world only because he loves it ”(Kierkegaard ). Existential realism focuses on human personality not in the system of socio-historical coordinates, but taken in the existential dimension. At the same time, a paradoxical combination is observed: in human nature, nevertheless, the socially typical appears, often expressed in naturalistic forms (“new natural” prose), and the generic, ontological appears. In this coordinate system, before life and being, the state, the people, and individual person. They are in a state of constant disharmony, historical or domestic.

Isolation in the existential flow of "other prose" "historical" and "natural" lines is convenient in the analysis artistic specificity works and corresponds internal logic literary situation of the late 1980s, when it became clear that some historical events and a different angle of the image of a person.

The "historical" line is an attempt by literature to look at the events of history, which previously had a distinctly unambiguous political assessment, from the standpoint of man-in-the-world, and not man-in-history. Non-standard, unusual accents allow 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 vicissitudes of existence. Soviet state. This is a person for whom the history of the country is part of his own existence. In this sense, the works of the historical line of existential realism are genetically linked with the novels and short stories by Yu. Dombrovsky, Yu. Trifonov, V. Grossman, whose heroes believed their lives in history.

But unlike traditional realism"historical" prose explores the phenomenon Soviet man from a general humanist point of view, not a social or political one.

In "historical" prose, as in "other prose" in general, the concept of history is a chain of accidents that affect a person's life, changing it radically. Moreover, the concatenation of chances can create absolutely fantastic, impossible combinations, and, nevertheless, absolutely realistic. That is, "historical" prose draws fantastic from the very public life, exposing it and matching it with the life of an individual

In works of socialist realism love scenes depicted, as a rule, very sparingly or not shown at all. Criticism even invented special term- "animation", which assessed situations like the above, used by writers to humanize their characters.

In the works of "other prose", on the contrary, they rarely did without bed scenes one is more outspoken than the other. One got the impression that due to this, first of all, freedom is realized, which a person acquires with getting rid of totalitarianism. The lack of a sense of proportion also affected the fact that the pages literary works profanity abounded. Moreover, some authors gave it out in plain text, avoiding the usual dots in such cases, accepted in the civilized world and consecrated by centuries-old traditions.

G. Belaya was right when she called "chernukha", i.e. depiction of an exceptionally low-lying human life, one of the main signs of "another prose". cruel truth about society was intended to expose lies, falsehood, embellishment of reality, hypocrisy and demagogy, common both in life and in the literature of socialist realism.

Great Russian literature is a great deceiver of the youth, because it incites and mobilizes for a life that can never be.
V. Pietsukh

Reflecting on the phenomena that take place in contemporary literature, about those works that attracted the attention of readers with their unconventionality, the literary critic S. Chuprin gave the definition of “other prose”. "Other prose" - that is, unusual for the reader, unlike everything that we were familiar with before. "Other Prose" was new wave in Russian literature.

Attention should be paid to the fact that in modern literature a situation has developed that is very reminiscent of the one experienced by literature at the turn of the 19th-20th centuries. At that time, there was also a sharp change in views on established principles - moral, social, political. The current attitude of the majority resembles the above. For myself, I call this “unbelief.” The old system of values ​​has collapsed, and the new one has not been formed. This “unbelief” is also felt in the work of Russian writers as representatives of that new society that arose in the place of the former, Soviet one. I would like to find out the main features of this new “other prose” using the example of the work of L. Petrushevskaya and her story “My Circle”.

First of all, the question arises, what is this “own circle”, what in question in the story. At first, we are presented with just the usual circle of acquaintances, friends main character. Among them are the physicist Serge, Andrei, who lives like a slurp, the swindler Lenka, the beautiful Tanya ... Then, as the action develops, it becomes clear that this is not just a circle of acquaintances, but a vicious circle from which none of the characters can get out break out. And this circle is the circle of everyday life, everyday life, prosaic and, most importantly, inhumanity. We do not see manifestations of the goodness of humanity, warmth in the relations of familiar people.

In Russian literature XIX century, often the everyday life of heroes with all its everyday worries means that the heroes find peace of mind, peace, harmony. Petrushevskaya destroys all values ​​and traditions, does not see harmony in the world, moreover, she denies the possibility of harmony in general. She portrays her heroine in her everyday life, but this life is devoid of harmony, comfort, humanity, kindness. And there is no way to change the course of such a life. The author proves this in every detail. So, for example, we see that in the "circle" the same topics are constantly discussed: they are burning that it is impossible to live without children, it is not even accepted, that the most important thing is to mess with them during the days, and at night on the weekend "to feel like people and go on a spree"; “the crown number of Andreeva’s program was dancing with Marisha”; “the event caused a terrible laugh, but everyone knew that there was a game here, that Zhora was playing with student years bon vivant and libertine." Phrases like “asked again”, “and then we all again” are constantly heard. So there is this feeling of endless movement in a circle, hopelessness. Jokes are repeated, topics of conversation do not change, that is, “entertainment” always follows the same program.

The heroine recently buried her mother, and now she herself is terminally ill. She will experience all the terrible suffering that her mother experienced. Despite the fact that the heroine is always among the people of "her own circle", she is incredibly lonely. Her life is cruel and meaningless, as, in fact, the life of the people around her. The world in which they live is devoid of peace, eternal foundations. The heroes have lost their sanity.

The fate of the heroine's son becomes the center of the tragedy. She is divorced from her husband, who already has new family. It seems to be logical for the father to take his son after the heroine is gone, because everyone knows that she will die soon. However, one can hardly expect that ex-husband will take to live a child from an unloved woman. An indicative episode proving the uselessness of the child to the father is the following moment of the story: one day the ex-husband looks into the house former wife where old friends gathered. He asks where his son, Alyosha, to which the heroine defiantly indifferently replies that the boy, apparently, is walking. "It's already the first hour of the night! Kolya said and went into the hallway. But the impulse to go look for his son ended as follows: “he didn’t get dressed, but on the way he turned into the restroom and calmed down for a long time,” then he came into the room, forgetting about his son, that this was no longer his home, lay down on the sofa. He did not go out into the street to find his child, not to mention the fact that he would take on such a burden - raising an orphan.

In this scene, the heroine thought of everything in advance: she sent her son to the dacha so that he could spend the night alone in the country house, did not interfere with the company, strictly forbade him to return and call. But she took the key to the house from his jacket. The boy returned, but did not call. When the guests left the apartment, they saw Alyosha sleeping on the stairwell, buried in the railing. The mother, in front of the entire "circle", including the child's father, beats the sleeping boy so that his nose bleeds. She is furious, they drag her into the apartment, hold the door, and Nikolai grabs the child in his arms, takes him away with a cry: “That's it! I'm taking! Such a scum!"

The heroine thought out this scene in advance in order to provoke “her own circle” to manifest human feelings. She does this in the name of her son, his future.

Petrushevskaya does not have a climax of the story, just as there is no plot, it seems that the narration begins not from the first, but from the subsequent pages of the book. There is a feeling that we have known these people for a long time, that we just entered this company at a time when the conversation was already in full swing. There is no denouement either, just a single stream of thoughts of the heroine, on whose behalf the narration is going on. That is, the whole story resembles one big monologue. The author uses this particular form of presentation in order to emphasize complete frankness and trust.

The life depicted in L. Petrushevskaya's story "My Circle" is a petty, senseless swarming, in which there are no high ideals, there are simply no human values. The writer does not judge the characters, does not express his attitude towards them, their actions, but simply records what is happening.

alternative culture. Encyclopedia

Other Prose

corpus of texts formed in the 1970s and 1980s outside the official Soviet literature, ignored and not recognized by her.

It is important to immediately distinguish between D. P. and dissident creativity: it was fundamentally non-ideological from the very beginning. All-corrosive, gloomy skepticism has become a way of seeing here, indifference, multiplied by doubt, has become the cornerstone. Again, this was not the doubt of the subversives, but rather something like Sartre's existential nausea. According to "other texts" one could understand that the authors were sick of everything: moralism and politics, pathos and lyrical confession, classical literature and religion, the institution of the family, and any institutions in general. The teacher's tradition of Russian classics was especially resented.

The man in D.P. didn't sound proud, he didn't sound at all - he was more like... stank. I singled out the physiological with all the pores. But at the same time he remained absolutely closed, his actions had no justifications or motivations. Hence - permanent insanity. Characters D.P.s are often inadequate, simply insane, or subject to the most unusual delusions and phobias. At the same time, the authors simply do not consider it necessary to waste time on their more detailed drawing. Enough name, age, gender, a couple of portrait features - almost like in the questionnaire. The habitual structure of speech also breaks: the obscene syllable becomes as common a technique as, for example, zaum (before that, securely buried in the era of the futurists) or “stream of consciousness”.

The violence reflected in the speech responds with violence that overwhelms the plots. Murder and suicide are no longer something extraordinary; interesting ways and details. And even much more: beatings and humiliation, detailed pornographic scenes, all kinds of sexual perversions, torture, cannibalism, coprophagia. Again, too human reactions to all this turn out to be superfluous: all the same secretions from too much shock, cries of pain or pleasure are enough. Even more enjoyment. Indeed, the heroes of D.P. are able to enjoy absolutely everything. They savor life, they savor death. But - no misanthropy. D.P. (and this is her strange relationship with Dostoevsky, even more so with Gogol) is internally scandalous, she is replete with absurd situations. Even the most creepy scenes are described in such a way that they look first of all as a monstrous absurdity, rather, they do not frighten, but cause a smirk. Such, for example, are Yuri Mamleev's "poor little men" who turn own life to the wild circus. However, Mamleev, who declares moderate conservatism, still has some kind of reflection. Vladimir Sorokin and Yegor Radov go further: all humiliations, insults and torments pass as part of a chilly game, no one worries about anything, only reacts to various stimuli. Here all the characters are already something like a humanoid ornament on the surface of language games. Sorokin endlessly shuffles styles, using one, but always trouble-free technique: at some point, a carefully constructed, linear narrative that looks like all Russian literature at once goes crazy. And a monstrous mess begins, with everyone already listed features; however, most of all Sorokin loves human feces and anthropophagy, Radov loves drugs. Accordingly, for one, the world looks like a scene from a distorted socialist realist novel, and for another, it looks like a hallucination of an experienced "junkie". Yulia Kisina offered a delicious cocktail of psychedelics and good mysticism in her stories. Sasha Sokolov's approach is typologically similar to Sorokin's, but here the carefully cherished old-fashioned style becomes too intrusive: characters, situations, metaphors are tailored whimsically and for harsh Russian places outlandish, but they become boring even faster than the monsters of Sorokin and Mamleev.

Close to D.P. and Viktor Erofeev, who skillfully combines pornography, eschatology and moderate traditionalism in his novels. However, what he does best is to present an invoice to Russian classics for any reason. The specter of moralism hovering over it seems to frighten Erofeev much more than the most dashing antics of his colleagues. Not so with Eduard Limonov. His earliest, most famous texts are filled with the deepest sincere despair; he swears, rebels and torments his flesh with ever new pleasures, because he is afraid to find himself in a bourgeois, predictable situation - hence his further famous transformation into his own hero, rebuilding life according to the intended plot.

Of course, D.P., who had run out of bile and poison, did not initially claim to be folded into a particular school. But it is enough that she cursed and vomited over all the centuries of violent goal-setting and sensitive leadership, censorship and revolutionary narrow-mindedness, guild subordination and schoolboy duty. That is, a kind of sanation of literature took place, largely one-sided, but sufficient to free the next generation of writers from the heavy ghosts of the past.

"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 man - the creator of his happiness, active position which the world transforms, the writers showed that the Soviet person 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 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 a "different" 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 the world of socially "shifted" characters and circumstances. It is, as a rule, outwardly indifferent to any ideal - moral, social, political.

In "other" prose, three trends can be distinguished: "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 in the analysis of the artistic specificity of works and corresponds to the internal logic of the 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 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 the 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.

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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.