Egor Otroshchenko. Century = text. Issue 1: 1901

Century = text. Issue 1: 1901
Egor Otroshchenko

Publication date: March 7, 2000

We do not pretend to construct a scientific history of Russian literature of the twentieth century. The selection of texts and publications, with all our desire for objectivity, naturally bears the imprint of the author's voluntarism, which, in our opinion, has both its advantages and disadvantages. The rest is for the reader to judge.

Poem of the Year

I am the sophistication of Russian slow speech,
Before me are other poets - forerunners,
I first discovered deviations in this speech,
Singing, angry, gentle ringing.
I am a sudden break
I am the playing thunder
I am a transparent stream,
I am for everyone and no one.
The splash is multi-foam, torn and fused,
Gemstones of the original land,
Forest roll calls of green May √
I will understand everything, I will take everything, taking everything from others. Forever young, like a dream,
Strong because you're in love
Both in yourself and in others,
I am an exquisite verse.

K. Balmont ("World of Art" #5)

Phrase of the year

The stupid penguin timidly hides its fat body in the rocks.

M. Gorky. Song about the Petrel. "Life" #4.

Book of the Year

L. Andreev. Stories. - St. Petersburg.

The first collection of stories by Leonid Andreev. The book includes: “Grand Slam”, “Angel”, “Silence”, “Valya”, “The Story of Sergei Petrovich”, “On the River”, “Lies”, “At the Window”, “Once Upon a Time”, “In dark distance."

Theater Production of the Year

A. Chekhov. Three sisters.

On January 31, the premiere took place on the stage of the Moscow Art Theater.

Event of the year

On February 24, the Church Gazette published the resolution of the Holy Synod on the excommunication of L. N. Tolstoy.

First publication

Boris Zaitsev. Story "On the Road". "Courier", July 15, signature: P. Zaitsev.

Teffi (N. A. Lokhvitskaya). Poem "I had a crazy and beautiful dream." "North" #35, signature: Lokhvitskaya.

Controversy

Andreevsky S. Degeneration of rhyme (Notes on modern poetry). "World of Art" #5.

“Obviously, something irreparable has happened to the old forms of lyricism. Now these forms either disharmonize with the new content, or force new singers, as if through a winding spring, to sluggishly and imitatively sing of what has long been “described and sung” with unattainable power. Indeed. Look back at these tens of thousands of poems that have appeared in our magazines, newspapers and in their supplements over the last thirty years. Has at least one of them emerged from the sea of ​​oblivion? Remember these countless couplets glorifying spring, sunrises, sunsets, nights, gardens, alleys, clouds, dreams, love, sadness, hope, delight and despair √ all these plays are decidedly the same, they are all banal and all forgotten... The undoubted ancestor of the decadents was K. K. Sluchevsky... He was the first to dishevel romantic verse to the point of complete disregard for He began to write sketchily, sometimes even chaotically, introducing the reader into the jungle of his thoughts and impressions, almost inaccessible to an outsider, - he wrote down sharp, sometimes clumsy pictures from life, - he set out his dreamy philosophy in poetry - and cared only about one thing: to quickly express everything that passed through his head and heart, risking being either completely misunderstood or ridiculed... Decadents are looking for new forms. So far, as if involuntarily, they only deny the old forms by filling them with incomprehensible nonsense... Perhaps all the poetry of Sluchevsky and all the curious samples of the decadents constitute only rough sketches - just preparation for developing first the content and then the form new lyrics... But one way or another, for the old metrical poetry, in the words of Mitya Karamazov, “the cycle of time is completed.”

Bryusov V. Reply to Mr. Andreevsky. "World of Art" #5.

“In our time, there are no great poets at all,” says Mr. Andreevsky. It is difficult to argue with him, because he measures the importance of a poet by success. However, success is a conditional concept┘ Nowadays┘ a “mass” of readers has formed that is alien to poetry , because it is generally alien to poetry, poems do not have success among this mass, but they did not have it even in the time of Delvig, when this mass was still semi-literate. If we abandon the measure of success and judge only by the intensity of creative forces in the art, then our time will have to be compared (as has been done more than once) with the Renaissance... Verse does not degenerate, but is reborn, entering a higher stage of development. For Mr. Andreevsky, the technique of verse is something defined forever, which “can be achieved,” which can equally everyone uses it, just as they use notepaper prepared in a factory. But is the versification that has existed until now such perfection that it has nowhere to go forward?┘ Isn’t it natural┘ that new poets introduce new techniques into verse? This only testifies to the life of the verse; the immutability of poetic technique would be the immobility of a corpse┘ New poetry┘ finally frees the poet from the bonds of “poetic rules”. Modern verse should obey the vibration of the artist's soul, and not the counting of feet. Each verse, and not a whole poem, should have its own meter, depending on what it expresses."

Chronicle

died On July 8, the poet Ivan Konevskoy .

“In the summer of this year, Russian young poetry was destined to suffer a bitter loss: Ivan Konevskoy died, drowned while swimming in the Aa River, in Livonia” ( V. Bryusov. Wise Child. In Memory of Ivan Konevsky. “World of Art” #8-9).

died On August 14, G. A. Machtet .

took place in the hall of the Geographical Society On November 27, the first meeting of the “Religious and Philosophical Meetings” . The members of the Council of the “Assemblies” are: Bishop Sergius (Rector of the St. Petersburg Theological Academy), D. S. Merezhkovsky, V. S. Mirolyubov, V. V. Rozanov and V. S. Ternavtsev. The main provisions concerning the activities of meetings are as follows: clergy and secular persons can participate in meetings. Since the “Religious and Philosophical Assemblies” have the task of discussing issues of faith on the basis of perfect tolerance and in a broad philosophical light, any person can take part in the interviews, no matter what their degree of closeness to the church.

Characters and performers

Bunin I.

Leaf fall. Poems. - M.

“Like a strong artist, Ivan Bunin writes briefly, boldly, broadly and at the same time with a deliberate stroke. In two or three lines he outlines the whole picture, and it seems as if by some magic it unfolds in all its beauty in front of you┘

Only one reproach can be made to the poet. In all the poems included in this collection, the source of inspiration is the landscape. People somehow don’t catch the poet’s attention, and this results in a somewhat monotonous impression...

Ivan Bunin belongs as much to the old as to the new . The beauty and music of old verse are dear to him, but he is looking for new , freer and even more pleasing sound combinations to the ear, and at the same time, his aesthetic sense does not allow him any antics, denial of the meaning of “degenerate rhyme,” etc.” ( Sergei Verb (S. S. Goloushev). Poet of Russian landscape. "Courier", November 14).

Three stories: 1. Bonfire. 2. Pass. 3. In August. "Russian Thought", book VIII.

“In his sketches, Bunin gives experiments in that prose lyricism, which, in our opinion, has a great future. The whole task of the author of stories comes down to evoking a mood in the reader. These are, as it were, poems in prose, lyrical passages, capturing the poetic moods of the soul , which appeared as a result of completely random situations in life... This kind of illumination of life, but in works with a broader and more harmonious concept - which Mr. Bunin does not have - it seems to us that this will be the ideal that a fiction writer of the near future will set before himself, who has to really say new word" ( A. Izmailov. "Birzhevye Vedomosti", September 3).

Korolenko V. G.

Siberian stories. 1. Frost. 2. The last ray. 3. The sovereign's coachmen. "Russian wealth" ##1, 2.

“The reputation of the “head of modern fiction writers” acquired by Vladimir Galaktionovich through seminar criticism┘ has been shaken. This reputation of the “head” has been shaken to such an extent that even the promotion of Vladimir Galaktionovich to an honorary academician could not restore it. Recently, the “heads” of fiction have already been considered not Vladimir Galaktionovich, but Anton Pavlovich Chekhov and Mr. Maxim Gorky, especially since the first killed not only Ostrovsky, but even Shakespeare with his brilliant drama “Three Sisters”, and the second, with great impudence, began to take out all kinds of tramps on solemn triumphal chariots and the goldmines. The old glory of Vladimir Galaktionovich faded before the bright, almost unbearable radiance of the glory of the new geniuses. Apparently, this circumstance somewhat alarmed the former “head” of fiction, and he began to take some measures to raise his lost reputation... Vladimir Galaktionovich opened in "Russian Wealth" series of "Siberian Stories"┘ In his quest for the brightness of his paintings, Vladimir Galaktionovich reaches such rhetorical "beauties" that in the past only Marlinsky captivated, and in our time captivates only Mr. Maxim Gorky, whose laurels obviously they are not allowing Vladimir Galaktionovich to sleep peacefully" ( V. Burenin. Critical Essays. "New Time", April 20).

Gorky M.

Three. "Life", 1900 (vols. XI-XII), 1901 (vols I-IV).

“If earlier Mr. Gorky offered to the attention of readers individual scenes from the life of a tramp, if earlier he painted tramps in the “heroic” moments of their lives┘ now the author of “Chelkash” sets broader goals: he tries to sketch a synthetic picture of a “tramp” life┘ follows watching how “tramp” moods and aspirations are gradually born, strengthened and growing in the soul of this person, how the tramp’s worldview “crystallizes”: he creates entire epics of tramp life” ( V. Shulyatikov, “Courier”, December 21).

Veresaev V.

Doctor's notes. "God's Peace" #1-5

There are 2 publications per year (not counting magazine publications): in July and November.

"The truthful essays of Mr. Veresaev had an undoubted success among readers, and the best proof of this is the attacks on the author by his fellow doctors, who, obviously, adhere to the famous profession de foi of the poet in medicine:

The darkness of low truths is dearer to us
The deception that exalts us,

trying, however, to apply this theory not to mutual relations among themselves - that’s why our augurs lack naivety - but to the relationship between doctors and patients" ( V. G. Podarsky (N. S. Rusanov). "Russian Wealth" # 7).

“By its rare fearlessness, by its amazing sincerity and noble simplicity, Mr. Veresaev’s book “Notes of a Doctor” belongs to the number of remarkable and exceptional phenomena not only in Russian, but also in European literature. Not like a seasoned specialist, bruised by his specialty to the point of darkening his reason, but As a person with a broad social outlook and a sensitive conscience, Mr. Veresaev begins to reassess established values ​​√ and the picture he sketched shines with the colors of truth and true, deep humanity" ( L.-ev. (L. Andreev) . "Courier", December 6 ).

Andreev L.

Stories. - St. Petersburg.

“The form of short stories is now in great fashion. Not a month goes by without several volumes of “Stories”, “Essays and Stories”, “Little Stories”, “Sad Stories”, “Funny Stories”, etc. appearing on the book market. In the vast majority of cases, all this does not rise above the level of mediocrity...

The collection of stories by Mr. Leonid Andreev stands out sharply from this dull, gray mass. There are only ten of these stories... But, despite this, you clearly see, if not all the features and details of the author’s physiognomy, then at least the undoubted originality of this physiognomy. Real, genuine originality, and not a counterfeit, unbreakable originality, of which there is so much nowadays. Maybe the word won't make it! √ the originality of Mr. Andreev, who is still at the beginning of his path, will ultimately lead him to places that are not entirely healthy, but one can, it seems, guarantee that even in this sad case he will be “on his own” ( N. Mikhailovsky. “Russian Wealth” #eleven).

“Mr. Andreev’s stories were lucky. As soon as they appeared in the collection, they aroused lively interest and sympathy in literary criticism... Given the modern literary squalor and impoverishment, such ardent attention is not surprising. But still one cannot help but recognize it as exaggerated and the admiration for Mr. Andreev - somewhat excessive.

First of all, Mr. Andreev’s small collection gives us too little material to be able to guess about the author’s future. Nor does it give a complete clear idea of ​​Mr. Andreev (which the reader always has the right to expect from the first collection). The stories collected in it are so different in their artistic merit that it is difficult to reconcile with the idea that they belong to the same person. As much as some testify to the original personality of the author and his undoubted literary talent, others highlight the immaturity of this talent, the ill-conceived thoughts and creative ideas of the author. Therefore, it seems to us that we should not be so hasty in passing judgment on his young work" ( E. Koltonovskaya. Stories by Leonid Andreev. "Education" #12).

Volynsky A. L.

Kingdom of Karamazov. N. S. Leskov. Notes . - St. Petersburg.

“┘If it is difficult to grasp the psychological content of the Karamazovs in a living synthesis, then it is incomparably easier to collect the elements of mystical sermon scattered in them, especially with the proper readiness to be imbued with it. It is precisely this penetration that distinguishes Mr. Volynsky’s articles. Fate would have it that the seeker of a “new cerebral line" found in "The Karamazovs" a "new beauty" and bowed to it with the zeal of a convert. One cannot but agree that all this is really "terribly good" - good especially with the convinced look with which it is all presented and which allows the reader, for his part, also draws a completely serious conclusion: since it is impossible, of course, to assume that Mr. Volynsky writes all his critical studies in a state of “crazy bacchanalian emotion,” then he, Mr. Volynsky, must admit that in them the world is not depicted as it really is, that is, in other words, that everything is “the other way around” in them; or, if this reasoning does not apply to him, then he must inevitably agree to his exclusion from the number of deep souls, must accept, as well deserved, something like this sentence: despite the external attributes of scholarship and noisy pathos, Mr. Volynsky is a frivolous and superficial writer" ( Review without signature . "Russian wealth" #8).

Chekhov A.P.

Three sisters . "Russian Thought" #2.

“I take upon myself... a feasible task: to take a closer look at the nature of life, the artistic reflection of which is the drama of Mr. Chekhov. But what kind of life is this! Truly the vegetation of zoophytes...

The centuries-old kingdom of human polypnyaks living according to zoological custom and without any criticism, before the strong wall of which the most powerful ideological current is powerlessly broken...

Here are the three main figures of the play, three sisters, Olga, Masha and Irina, who from the very beginning of the action show “dissatisfaction with the environment” of their nearest coral polypnyak and are eager to dream of a distant, sun-drenched fantasy reef atoll, “Moscow”, but so with with these powerless outbursts of their gelatinous organization, they remain in the same lime bush, side by side with the same neighbors in the colony" ( V.G. Podarsky (N.S. Rusanov). "Russian Wealth" #5).

“Three Sisters” is a talented, beautiful, artistic lie. And like any untruth, it is full of authorial arbitrariness, exaggeration and, so to speak, artistic obsession. Alas, too much in this play is done, if not at the behest of the pike, then at the author’s behest, without sufficient grounds" ( Unknown (I.N. Potapenko) . "Russia", March 16).

Rozanov V.

In a world of the unclear and unresolved. - St. Petersburg.

“Everyone instinctively feels that the riddle of being is actually the riddle of being being born ; that is, that it is the riddle of being born . What is sex? What is sexual?

First of all, a point covered in darkness and horror; beauty and disgust; a point that we do not even dare to name by name, and in special books we use the terms of Latin, that is, a dead language that we do not perceive with vividness. Amazing instinct; It’s amazing this feeling with which a person’s “tongue sticks to the larynx,” he “can’t find words,” doesn’t “dare” to speak as soon as he approaches the root and foundation of being in himself” ( V.V. Rozanov . In the world of the unclear and unresolved ).

“It is clear that the author does not at all value the opinion of the large public. He did not make any effort to make the new book more understandable, more transparent for those who cannot or do not want to encounter “stumbling blocks” on the way to their acquaintance with writers; Rozanov does not to "courtesy", not to pedagogical techniques. Realizing the importance and significance of the issues he raised, convinced that sooner or later people, now clouded by the evil of the day, will certainly come to drink at the source of living water, the author strains all his efforts to preserve future generations this source...

“Chaotic, full of brilliant insights, Rozanov’s book is a deeply cultural phenomenon, and as such goes beyond the boundaries of literary criticism” ( D. Filosofov. “World of Art” #5).

Merezhkovsky D. S.

L. Tolstoy and Dostoevsky. - St. Petersburg.

“The entire book is written in the intense tone of prophetic “verbs”, revelations and mysterious predictions that Mr. Merezhkovsky has recently adopted... In the first part, “Tolstoy and Dostoevsky as People,” he, with true superhuman unceremoniousness, climbs into Tolstoy’s soul, delves into the most intimate corners her and, when he does not find the material he needs, plunges into the boundless sea of ​​arbitrary guesses and unfounded assumptions... Mr. Merezhkovsky transfers the characterization of Levin entirely to Tolstoy, as he previously attributed to him the character traits of Olenin and Eroshka in “Cossacks.” And this is what he does every time he needs to attribute this or that trait to Tolstoy. This is called psychological criticism - to look for explanations of certain characteristics of the heroes of works in the life and character of the author" ( A. I. Bogdanovich. Critical notes . "The World of God" #eleven).

“We have written a lot, an infinite amount, about Dostoevsky and Tolstoy, especially about Tolstoy. But for the most part they were discussed from a conventional, party point of view. Since they turned out to be allies in reality or in the imagination of the critic, they were praised because they presented themselves opponents - they were condemned, even scolded... Such methods are alien to G. Merezhkovsky. He went through a different school and knows well that approaching artists with ready-made standards and requirements is the surest way to misunderstand them or even not understand them at all. Therefore, he does not so much judge Tolstoy and Dostoevsky as tries to reduce their creativity to the true source, that is, to the inner experiences of the artists. This method was carried out in the West with particular persistence by Friedrich Nietzsche... From this new point of view, very skillfully carried out by Mr. Merezhkovsky, Count Tolstoy and Dostoevsky, both as people and as writers, turn out to be completely different from what we are accustomed to thinking of them as...

Its second (book. √ E.O. ) quality, equally rare among modern critics, is the conscientiousness and solid literary training of its author┘ Finally, one cannot fail to mention that the book is written in a very beautiful, rich imagery, soft and colorful language┘ Elegance of form, along with clarity of presentation - these requirements must be presented to all writers and no sublimity of thought exempts them from them" ( L. Shestov. About Merezhkovsky's book . "World of Art" #8-9).

First book almanac "Northern Flowers" . - M.

“Russian decadents, after quite a long silence, perked up again and set out on a campaign, this time under the sign of poetic eclecticism, declaring in the introduction to the collection “Northern Flowers” ​​that “they would like to become outside the existing literary parties, accepting everything in their collection , where there is poetry, no matter what school their author belongs to." The intention is very laudable, but its execution speaks rather of a selection, and a very definite one at that. Each author, as they say, tried to prove himself as wonderful and terrible as possible, and the result was generally a bouquet that is quite reminiscent of the notorious collections of Valery Bryusov and Dobrolyubov, which at one time revealed to the amazed reader all the brilliance and beauty of home-grown Verlaines and Huysmans... That in modern art there is a movement towards the search for new beauty is an undoubted and gratifying fact, but the path of modern decadence can least of all bring us closer to it. For this, first of all, talent and power of thought are needed, that is, exactly what the sad maniacs do not have, Messrs. Balmontov, Bryusov, Dobrolyubov and Rozanov with their brethren" ( A. I. Bogdanovich. "Peace of God" #6).

“┘I confess that I have never encountered a more unceremonious, shameless and stupid abuse of the name of Pushkin, a more reckless orgy of vanity, rejoicing under the shadow of Pushkin’s authority┘ the almanac of the false successors Delvig and Pushkin is filled entirely with decadentism of all kinds: frank, pure, or covered with historical masks. Decadent - “shaggy and naked”, if I may speak in the style of Mrs. Z. Gippius, who, also, probably, in order to maintain the “Pushkin traditions”, placed in the Scorpio “Northern Flowers” ​​some kind of hot delirium about mermaids , entitled "Holy Blood".

Among the non-decadent writers, Anton Chekhov and Mr. Rozanov joined the “Northern Flowers” ​​company. The first - obviously just to get rid of it - gave "Scorpio" a story so incredible, and at the same time obscene in theme and careless in writing, that it is even strange to see Anton Chekhov's signature under it. The second gave birth to a bunch of aphorisms, of which Mr. Rozanov’s author’s self-determination brilliantly stands out for its brevity and expressiveness: “I am mediocre.” They say that the beginning of self-knowledge is the beginning of wisdom. Judging by the frank aphorism, Mr. Rozanov will very soon be wise as a serpent and ┘ gentle as a dove" ( Old Gentleman (A.V. Amphiteatrov) . "Russia", June 25).

Berdyaev N.

The fight for idealism . "The Peace of God" #6.

“For anyone who looks closely at the complex soul of a modern intelligent person, at his deep moral needs, at modern trends in the field of philosophy and art, it should be clear that we live in an era of spiritual fermentation. Only a person hypnotized by some dogma can deny this. The template progressive worldview of the recently departed century has fallen into a blind alley and there is nowhere to go further on the previous path. It is necessary to reconsider the current formulas and look for new paths. I take the liberty of categorically asserting that the song of positivism, naturalism and hedonism is sung along all lines. The fight for idealism , the struggle for a more joyful and bright worldview, in which the highest and eternal demands of the human spirit will be satisfied... We need moods that capture our spirit in order to rise above the ugly vulgarity of a drab life, in order to be imbued with that enthusiasm, without which nothing great in history has been accomplished The struggle for idealism is a testament from the 19th century to the 20th. The coming 20th century belongs to idealists who will not only realize the social ideals of the second half of the 19th century, but will also pour sublime spiritual content into new forms" ( N. Berdyaev . The struggle for idealism ).

“I wanted to talk quite calmly about Mr. Berdyaev’s article. But no, I feel that this task is beyond my strength. This is not an article, but a volcano, erupting in honor of idealism both molten lava of hot feelings and whole blocks of cobblestones skillfully directed straight in the forehead of the ideological friends of the young philosopher, and clouds of transcendental smoke... especially smoke, so that at times the volcano itself is shrouded in fog, and its presence is judged more by explosions and great thunder and trumpet calls: then the new Empedocles reads a lecture to the Titans in the belly of Etna about love and hatred, while on the slope of the mountain sandals, or, rather, prosaic boots, which Mr. Berdyaev had not yet had time to wear out, are melancholy visible, walking behind the coffin of Russian orthodox Marxism" ( V. G. Podarsky (N. S. Rusanov ) "Russian wealth" #7).

Minsky N.

Philosophical Conversations . "World of Art" #2, 3, 4, 7.

“What is cannot be. Minsky proves this, as far as I can judge, with harmonious logic, with all the weapons of reason. But although what is cannot be, it still exists; this contradiction is eliminated by recognition God, who, thus, is √ “Cannot be.” It is clear that God “Not,” the God whom we, who exist, kill, displace from where we are by what we are , is not only not the Father , but in general God, who has nothing to do with us, just as we have nothing to do with him, for we and he mutually exclude each other.

The consciousness of this truth is Minsky’s “religion”. If such consciousness, he says, becomes the property of everyone, human life will change." ( Z. Gippius . Bread of Life . "World of Art" #11-12).

P. Ya. (Yakubovich P. F.)
Under the pseudonym L. Melshin

Book stories "Stepchildren of Life" . - St. Petersburg.

“L. Melshin┘ belongs to the number of writers “swimming against the tide.” He is a representative of the generation of intelligentsia leaving the historical stage┘ we have before us not a populist fiction writer who blindly accepts the utopian worldview and gives a picture of life drawn from old stencils , but a very thoughtful psychologist, a psychologist of “hopeless suffering” ( V. Shulyatikov . About L. Melshina . “Courier”, November 7).

Serafimovich A.

Essays and stories. Book 1 . - St. Petersburg.

“Another outstanding writer of everyday life of “folk” life. This writer of everyday life, Mr. Serafimovich, bears little resemblance to modern artists of words who are engaged in depicting the life of various folk “layers”. If, when dealing with this kind of images, the luminaries of modern Russian literature set themselves, first of all, psychological tasks emphasize, first of all, psychological moments and, moreover, such moments that are a distant echo of the struggle for existence; if the very facts of the struggle for existence are of secondary importance in the eyes of literary luminaries, then Mr. Serafimovich, on the contrary, brings these facts to the fore His heroes, people of labor, always act only in moments of intense struggle for life" ( V. Shulyatikov . In the "spontaneous" struggle for life . "Courier", July 30).

Other works

Merezhkovsky D. S. Love is stronger than death. Italian novella of the twentieth century . - M.

Kuprin A. The story "On a hike" . "Magazine for everyone" #7

Bunin I.A. Wild flowers . Collection of poems and stories for youth. - M.

The story "Pines" . "The Peace of God" #11.

Gorky M. Stories from life on the outskirts of the city. 1. Song about the blind . "Magazine for everyone" #1.

Stories. Ed. 3rd, vol. 1-5 . - St. Petersburg.

Balmont K. Poetry cycle "The Artist is the Devil. The Book of Saturnalia" . "Monthly essays" #1-3, 6, 9, 11-12.

Sluchevsky K. Poetry collection "Songs from the Corner" . - St. Petersburg.

Annensky I. Melanippa the Philosopher . - St. Petersburg.

Yushkevich S. The story "Notes of a student Pavlov" . "The Peace of God" #7.

Timkovsky N. Story and story. Book II . - M.

Golenishchev-Kutuzov A. Poems (1894-1901) . - St. Petersburg.

P. Ya. (Yakubovich P. F.) . Poems, volume two (1898-1901) . - St. Petersburg.

Chirikov E. Essays and stories. Book 3 . - St. Petersburg.

Rukavishnikov I. Poems and prose. Book 1 . - St. Petersburg.

Boborykin P. D. The story "Classmates" . "Bulletin of Europe" ##1, 2.

Novel "Cruel" . "Russian Thought" #1-6.

Serafimovich A. On the estuary. Feature article . "Life", vol. 1.

Krestovskaya M. V. The story "Confession of Mytishchev" . "Russian Thought" #2.

Galina G. Poems . - St. Petersburg.

Sergeev-Tsensky S. The first book of poems "Thoughts and Dreams" . - Belgorod.