Egor Otroshchenko. Century=text. Issue 26: 1926

Century=text. Issue 26: 1926
Egor Otroshchenko

Date of publication: September 8, 2000

POEM OF THE YEAR | EVENTS | ABOUT FORMALISTS | BOOK OF THE YEAR | CHARACTERS AND PERFORMERS

Poem of the Year

In clothes from ancient words
Against the backdrop of the marble choir
I plunged my sharp face into the stalls,
But the lily appeared to me from the choir.
The depth trembled in her eyes
And the knock of homemade knitting shone,
And on the mountain of the fountain there is a red shine,
The memorized cackling of masks.
And life appeared like a garden to me,
Alas, not a lush Polish garden.
And I emerge from the columns
My gloomy nights.
But how can I live among crowded hearths,
In the cloak of a tragic hero,
With the habit of retreating back
Take two steps, with your back bent.

Const. Vaginov . [Poems]. - L.

Events

On December 28, 1925, committed suicide S. Yesenin .

Vyach.Polonsky. In memory of Yesenin . "New World", #1.

Sergei Yesenin died. He died absurdly, somehow choking, as if he had ended his life in a spasm that had plagued him in recent years. A gem, perhaps the brightest, has fallen out of our modern literature.
He died in the prime of his talent, at the zenith of his fame. Physical death preceded his physical decline. True, in Yesenin’s last verses the “funeral sadness” sounded stronger than before, “death trembling” began to run through more often - some disastrous premonitions guided his pen...

Gorodetsky S. About Sergei Yesenin . "New World", #2.

It is difficult to get used to the idea that Yesenin is no longer among us. It is difficult to get rid of the feeling of resentment at this unauthorized departure from us. And so much sugary honey has already been poured on his grave that it’s difficult to write about him now...
Yesenin was the only modern poet who subordinated his entire life to writing poetry. For him there were no values ​​in life except his poetry. All his antics, bravado and fury were caused only by the desire to fill the emptiness of life from one poem to another. In this sense, he was not only the last poet of the village, but also the last esthete of a bygone era...

A. Voronsky About the departed . "Red Nov", #1.

Rosstani:

The brief message in all its eeriness and inevitability, the station platform, the imperious clang and the confident, soulless rumble, the smoke of a steam locomotive, the smell of engine oil and petroleum, a small carriage at the end of the train, an almost childish brown oak coffin swinging in its arms on top of thick, dense and discordant ranks, past the “steel cavalry” frozen in mute tranquility - here is the winner and here is the vanquished, - a funeral hall surrounded by a mourning hall, a leaden and green face, churchly and mournful, at the bridge of the nose and under the eye there are burns from a steam heating pipe - the last kiss, - once unruly hair the color of ripe rye, which has lost its soft and delicate shine, leanly and smoothly combed back and instead of blue eyes, blind hollows that have sunk into the depths, a funeral procession through dirty streets desiccated by the thaw, damp and loose earth, crying, hasty, familiar work with shovels - everything is immutable and closed, and we say - he was.

On Moscow's crooked streets
To die, to know, God destined me...

Yesenin was bored. He expected a miracle, a miracle, from the Russian revolution. He hoped that in her fiery font the world would be born anew. He approached the revolution with mysticism and abstract rebellion. But the revolution proceeded along crooked, roundabout roads. The revolution gave birth to the NEP. She demanded minor cultural work. Yesenin became more and more bored. He saw gray everyday life, failures, and tried to lose himself in revelry.

Something is lost forever by everyone.
May my blue! June is blue!
Isn’t that why it smells like carrion?
Over the loss of this revelry.

The exacerbation of his melancholy is not accidental, nor is his death accidental. Quite a few sincere, sensitive, ardent, talented people broke down during these transitional days, unable to adapt to the new complex and motley environment...

...we are orphans, we have lost a poet of great power and talent. He gave us a lot, but we had the right to expect new poetic revelations, new words and new songs.

But the songs are sung and rudely cut short by the poet himself.

About the Formalists

Lezhnev A. On modern criticism . "New World", #2.

...Formalism attracts young people because it supposedly reveals all the secrets and mysteries, discovers a mechanism where an organism was supposed to be, and in front of an astonished public disassembles this mechanism into parts. Of course, in the end, the body is also a mechanism, but the mechanism is incomparably more complex than those produced by industry. Formalist reconstructions are also related to real works of art, as an artificially made automaton is to an animal. They approach research not as histologists, but as mechanics - and where there is tissue, they try to detect gears and wheels.

What they discovered in the field of structure and laws of art is extremely poor and wretched. Viktor Shklovsky sees art as something like a chess game, where the number of squares and pieces is limited and moves are inevitably repeated. Discarding the content of art, which fills it with the noise of life and living blood, they are left with only its shadow, with a series of simple and repetitive techniques. But if the techniques are repeated, and more than one era is not content with the old art and creates a new one, then the matter is obviously not in the techniques or not in them alone.

Book of the Year

Bunin I. Mitina's love . - L.

Characters and performers

Pasternak B. Selected Poems; Zenkevich M. Under the steamship's nose; Antokolsky P. West; Radimov P. Cart; Parnok S. Music; Fedorchenko S. Five Winds; Livshits B. Patmos; Spassky S. Earth time; Zvyagintseva V. Moscow wind. | Voronsky A. Cranes over Rotten Pigs | Bely A. Moscow eccentric | Gorky M. The Artamonov case | Klychkov S. Chertukhinsky balakir | Ivanov Vs. Ghafir and Mariam | Zavadovsky L. Enmity | Nikandrov N. Love of Ksenia Dmitrievna | Other works

Pasternak B.

Selected Poems . - M.

Zenkevich M.

Under the ship's nose . - M.

Antokolsky P.

West . Poetry. - M.

Radimov P.

Cart . - M.

Parnok S.

Music . Poetry. - M.

Fedorchenko S.

Five winds . - M.

Livshits B.

Patmos . Poetry. - M.

Spassky S.

Earth time . - M.

Zvyagintseva V.

Moscow wind - M.

“The time, so recent, when poetry made up three quarters of book production, has passed away irrevocably. From the forefront of literature, they gradually moved into the background, and then almost completely disappeared behind the scenes. In 21, they were published a lot, in 24 they were published only a few times, in 26 they stopped publishing altogether. The doors of the publishing houses were tightly closed in front of the dumbfounded poets. Only for the lucky few there was a loophole left. But in order to be included in their number, you must first die. Not everyone smiles at such a prospect. Therefore, there is nothing It's amazing that a dozen and a half poets united in order to publish their works during their lifetime. This heroic - in our times - attempt deserves all respect. I don't know whether the "Knot" tied by the poets will be strong enough. I even think that of the ten books published by this association, half could easily lie in the editorial portfolio. But still, the remainder is enough to justify its existence. "The Knot" shows poets whose works we relatively rarely see on the pages of our magazines, and books We won’t find it on store shelves. They write little and sparingly, they print them even more sparingly and less. Their names are not widely popular. Meanwhile, among them there are interesting and original poetic individuals, brightly colored, and some have a strong influence on modern poetry.
In first place, of course, we must put Pasternak... From Pasternak a straight line leads to Antokolsky. This is a line of not only succession, but also discipleship. Antokolsky is a student of Pasternak, although he interpreted the teacher’s techniques in a rather unique way.

He produced a theatricalization of Pasternak. The shy, intimate and tongue-tied Pasternak recited in Antokolsky's poems, acquired pop brilliance and social swagger, the polished smoothness of antitheses and noisy pomp of rhetoric, theatrical romanticism and Rostanovsky showmanship. He grew up. No wonder in one of his best poems (“Night Conversation”) we read:

And clinging to the iron bonds,
Both of them bent over the abyss in an arc.
And a thunderstorm illuminated the scene for them.

Exactly - the stage . This is not an accidental slip of the tongue. Antokolsky's poems are performed on stage. Their characters are drama actors or, better yet, actors. They are in makeup and costumes. All the depth and sincerity of Pasternak disappeared in these poems. They are external and shiny. One cannot deny their merits, their solemn swiftness, ... their brightness and ringing...

In contrast to Pasternak, Antokolsky is all about the public. In “The West” there is not a single love or, in general, “purely lyrical” poem. Themes of the poems: the approaching death of Western culture, the dull voice of the revolution breaking through the jazz band noise...

Zenkevich represents a completely different type of poet. It basically took shape before the revolution. He was on the extreme left of Acmeism, far from the intimacy of Akhmatova, the exoticism of Gumilev, and the Hellenism of Mandelstam. In Zenkevich's book, published by "Knot", there are no some characteristic features characteristic of the author of "Wild Porphyry": a tendency towards physiology, "scientific poetry"; The love of technology, which makes him similar to the futurists, is less emphasized. But as before, he has a strong realism of writing (sometimes turning into naturalism), somewhat tough masculinity, his original, sometimes artificial rhyme is greatly complicated... Zenkevich has lyrical arias, and does not have that free lyrical stream that flows in Yesenin’s poems. Lyricism seeps through his lines and words in heavy and slow drops. His muse is gloomy and looks from under her brows...

Zenkevich's poetry is characterized by a broad outlook and a wide range of topics. On the contrary, Rodimov is confined to a narrow everyday circle. This is the poet of the peasantry, - perhaps more precisely, of the wealthy peasantry. All his poetry is genre, everyday, “the motley litter of the Flemish school.” In the leisurely flow of hexameters and pentameters, each time a small genre picture unfolds, almost an idyll, where a person is characterized not directly, but indirectly, through things. Here Radimov is undoubtedly a master. But since the area of ​​his themes is very narrow and limited, and his approach is more external, his mastery takes on the character of monotony.

In these four books (by Pasternak, Antokolsky, Zenkevich, Radimov), there is something positive that the “knot” gave. Perhaps also interesting is S. Fedorchenko’s fairy tale “Five Winds” (imitation of folk art), although it does not represent anything significant. The poems of S. Parnok ("Music") might not have appeared without great damage to the reader, who does not need to hear Anna Akhmatova repeat herself for the tenth time. If he really wants to, he can turn to the original. Spassky and Zvyagintseva do not yet (or no longer) have their own faces. And Benedict Livshits is almost a mirror image of Mandelstam with his Hellenism. ( A. Lezhnev. “Red Nov”, #8).

Voronsky A.

Cranes over Rottenfoots. (Alexey Tolstoy). "Red Nov", #9.

“Alexey Tolstoy is a juicy, rich, excellent everyday worker. His noble Trans-Volga region continues to fascinate the reader to this day...

Tolstoy is a writer of everyday life not only of the landowners of the Volga region, but also of our intelligentsia. In addition to his stories, about the intelligentsia of the times on the eve of the revolution, he wrote the largest novel of his works, “Walking through Torment” - a visual, expressive, artistic document of that era... The desolate environment of selfishness, vices, perversions, neurasthenia, spicy vulgarities and joyless existence is shown a writer of skillful skill and knowledge. The days of February and October were worse for Tolstoy, and his attempts to descend into the revolutionary underground were completely unsuccessful. In the new, Soviet edition, the novel is reworked in these chapters.

Tolstoy and even Prishvin, from the previous pre-revolutionary generation, are almost the only writers who touch modern reality. True, Tolstoy, especially, approaches our Soviet life with the greatest caution and caution. This caution demonstrates how difficult it is for a writer of the old school to reflect and depict revolutionary modernity. It is not for nothing and not by chance that in Tolstoy’s works of recent years such an honorable place is occupied by fantasy, adventure, and convention - “Aelita”, “Riot of the Machines”, “Union of Five”, “Hyperboloid”...

We do not have a caring attitude towards artists. Neither does Tolstoy. A. Tolstoy is vilified and demolished. But it’s a strange thing, they read his things with interest, they follow him closely. Our youth, broad party and Soviet circles know him. It seems to us that the reader is more right here than the zealous vilifiers - critics and reviewers.

A. Tolstoy is a rare talent.

In his style of writing, he belongs to the realistic school of the classics; it, contrary to Lef’s opinion, has far from outlived its usefulness. Tolstoy's realism is touched by impressionism, but in moderation, without extremes and without exaggeration. Tolstoy has double vision, he has his own theme. He sees the world and people in his own way. He speaks Russian perfectly. His language is light, transparent, clean. He hears how our native word sounds . His images are expressive and apt, but they never stick out like splinters, they are not pretentious or contrived. When Tolstoy writes: “in the green sky a star, clear as a piece of ice, glowed,” this is better than flashy imagist tricks. Our young writers have a lot to learn here.

A. Tolstoy is entertaining. He is an interesting storyteller. He is our most entertaining writer. In this he follows the best traditions of Western European literature. The art of telling interesting stories has never been cultivated or encouraged in our country. Together with Kuprin, A. Tolstoy introduces into our art the European and American style of being not only instructive, but also entertaining. Lately, however, the writer has sometimes overused his entertainment, but he still has a sense of proportion even in such things as “Hyperboloid.”

Tolstoy loves funny things. His laughter is light, good-natured, not clingy, there is no sarcasm, no accusation, no hidden melancholy and sadness. In his laughter there is something of the Russian Rotteners, of their nonsense and nonsense. He seems stupid and naive. - “In Moscow,” says a paramedic while fishing in a remote province, “they built an iron tower behind the Crimean Bridge - and from it they talk around the globe... This bandit told me last year that a telegraph operator will climb onto the tower and begins to cover the entire globe, curses the entire world bourgeoisie... At first, he says, the world bourgeoisie could not understand what these words were? They called in the specialists. They said: this is obscene, they are covering you up from Moscow."

Tolstoy knows how to push the boundaries of everyday limitations. He does not get bogged down in regionalism, does not stay too long in Gnilopyaty and firmly remembers that the reader lives in Novorossiysk, and along the Volga, and in Siberia, and in Arkhangelsk. His characters bear a strong imprint of their native way of life, but the writer knows how to generalize. That’s why his lame master still touches him, and Mishuka is still alive and well.”

Bely A.

Moscow eccentric . The first part of the novel "Moscow". - M.

Moscow is under attack . The second part of the novel "Moscow". - M.

"A. Bely is an undeniable, but controversial writer. Each of his books meets with enthusiastic admirers and no less bitter detractors. A genius - say some, a psychopath - others answer. We prefer definitions that are simpler and less personal... First, let’s note the first and indisputable : A. Bely is an experimental writer, all the time conducting some not entirely safe experiments on the word and the vital material subject to this word... Let's face it: no Moscow, to which we were once accustomed on a daily basis, is not “shown” at all. This is the strength and weakness of A. Bely, this is the difficulty of his task...

...much is controversial, much has failed, but the novel should not be judged by individual particulars - a torn quote, a separate caricatured face sounds absurd, the details of the composition themselves are ugly, perhaps there is not even a single face that could withstand historical criticism , and, despite all this, the goal is achieved: the spectacle of the era perceived by the author, reflected by some specially designed eye, rises in all its deplorable ugliness.

It seems that the author’s purely stylistic techniques will meet with the greatest objections. They are built on the sound correspondence of the word to the one being described or on emphasizing its root, figurative meaning. The word is deformed in all possible senses, the boundaries of arbitrariness permissible in a given case are often violated. In his own defense, the author can only say one thing: the theme, developed in this way, required appropriate stylistic means. In general, nothing can be corrected or smoothed out in the novel - it will remain one of the rare and most interesting verbal experiments." ( K. Locks , About the controversial and indisputable . "Red Nov", #11).

"The hypnotic musical power that marks the first part of the novel weakens and finally disappears completely in the second part...

Verbal and sound caricature gradually changes A. Bely and later turns into abstract invention, into philological spells." ( S. Pakentrager. "Print and Revolution", #8).

Gorky M.

The Artamonov case . - M.-L.

“The Artamonov Case” is convincing proof that the creative path of a great artist is far from over. This is undoubtedly one of the most significant, if not the most significant thing in modern Russian literature." ( M. Polyakova. "Print and Revolution", #5).

Klychkov S.

Chertukhinsky balakir . Novel. - M.-L.

“...you don’t need to belong to the few seers in order to feel the writer’s sadness and be convinced that it is in this sadness - in the artificial paradise he created that he seeks refuge for his sensitivity and for his misanthropy.

Klychkov’s work emanates from distant grandfatherly antiquity, dense village, Old Believer forest fairy tales... As if they were authentic - the balakir Pyotr Kirilych, the miller Spiridon, Akim, Feklusha, the novel is replete with the richest folklore, as if the secret prayers of the "tablers", hen parties, the expulsion of the priest, a wedding, a funeral firmly chains the reader to history, to life - one cannot believe this: the writer is disingenuous, cunning, with everyday details he frames a fiction, a chimera, a dream. He is only truthful when he says that he cannot distinguish between real and false...

"Chertukhinsky Balakir" is a work of great social significance...

Our masculinist current is extremely strong. Perhaps she prevails. It would be more correct, however, to say: we have two jets. One of them, through Vsev.Ivanov, Leonov (“Badgers”), Seifullina, Neverov, and partly through Pilnyak, accompanies and makes friends with October. These writers are not afraid of the “iron devil” and do not look for solutions to the “damned questions” of our time in the gray-haired patriarchy...

Another stream is the stream of Klychkov, Klyuev, and partly Yesenin. I won’t say that they are reactionary in a narrow political sense. In their own way, they are both for October and for May, but they are scared of the Iron Age, the city, they are drawn to the sychen mash, to the patriarchal hillbilly, not believing at the same time in its return. They are quietists. The poetry of creative, transformative, liberating labor, the poetry of “paradise” created by man of his own free will and desire, with his own hands and brain, is alien to them.

Sergei Klychkov in “Chertukhinsky Balakir” managed to find the most vivid artistic embodiment of these sentiments. At the same time, his novel seems to emphasize and summarize the divergence in our literature of two main lines: the urban, cheerful one, calling on people to overcome the inertia of natural forces, and the rural, pessimistic, wounded, passive, fearful of the age of steam and electricity. Such a discrepancy is a kind of signal, it is worth thinking about it carefully.

However, Klychkov can be called a village writer only in a very conditional sense... The working village ... does not interest the writer. This is the fundamental difference between Klychkov and previous populist literature... Klychkov is more interested in folklore, intimate, narrowly individual and religious experiences...

Klychkov's novels are indicators of the collapse of our populism. Once strong for its social sentiments, it has completely eroded these days.

Klychkov is extremely talented. From the point of view of folklore, the novel has first-class value...

The artistic merits of the novel are high and undeniable. The writer’s native speech is beautiful and pure, a colloquial, simplified tale with subtle, heartfelt and intense lyrical digressions, with half-jokes, jokes, and moderate loquaciousness...

All this is good, very good.

But it’s not good, but bad with Spiridon’s faith, with the book “Golden Mouth”, with demons, with goblin, werewolves, with the kingdom of the dam. What an ideological and naive old man! What neutralizes this mysticism and forest devilry is that it is apparently wild for the writer himself to sometimes talk seriously about hearth and church demons, about trees visiting each other.

Regarding all these amazing and extraordinary stories, it remains to say in the words of the writer:

- Yes, that's true . That's right !" ( A. Voronsky . Moonlight fogs . Krasnaya Nov, #10).

Ivanov Vs.

Ghafir and Mariam . - M.-L.

“My spring melt. With joy melting, quickly as forest snow, I watch how sleepy birds slowly glide over the logs, over the plump grasses, where their shadows are heavy, as if cast from cast iron.

In the desert, the horses of my friends abandoned the corpses of their owners, and yet there is no loneliness in my soul."

This is how the book begins, this is how the first story “Meeting” begins, this is the leitmotif of the book. For Ivanov, the death of a person is a broken branch in the dense vegetation of life, where stones, birds, grass, people form one whole without any advantages over each other in the artist’s worldview...

For Ivanov, nature is not static - it is in the eternal movement of juices, flesh, love, hatred, struggle, and man is only one of the elements in this movement. That is why the description of man closely alternates with the description of nature, that is why in Ivanov’s works there is almost no room box and people, without dwelling on the tragic, move on, cheerfully pushed by the full-blooded instincts of life. ( Fedor Zhits. “New World”, #4).

"Vs. Ivanov is much more complex and refined than people think. More refined indeed. Sands, grasses, trees, people, colors, smells - all this serves him as material for ornament. A person here is no more important than a shade of the color of the sky or a shadow fallen from the stone. This is not pantheism, or rather, not only pantheism, when the poet speaks of the consciousness of the unity of nature and the equality of things. Here we see rather a purely aesthetic attitude towards the world: all objects and phenomena are equally close and equally distant, because they are considered only as a decorative element, as an interesting colorful spot or an exquisite line. Vsev. Ivanov’s prose is ornamental not only in the formal sense. It is ornamental in essence." ( A. Lezhnev. “Press and Revolution”, #5).

Zavadovsky L.

Feud . Stories. - M.

Leonid Zavadovsky’s wonderful book is especially noticeable against the background of our so-called “village” literature, which is ultimately quite grey, wretched and untruthful...

One of the particularly valuable qualities of the book is complete concreteness and reality in the depiction of people, settings and actions. This is achieved by very simple techniques and testifies to a detailed, definitive knowledge of the village, landscape, peasant life and the entire way of village life in general. Zavadovsky organizes and presents the material like a peasant. And this thoroughly peasant perception of the environment, material, theme, combined with an honest approach, with a desire for objectivity, fills Zavadovsky’s stories with a seemingly gloomy, joyless effect on the reader at first glance...

The landscape is also processed with the same love and care, which gives some landscape and hunting scenes a completely mature and masterful completeness...

But individual mistakes look all the more annoying: clumsy rearrangements of words almost turn into a manner - “without taking your eyes off your pants torn to shreds on the surface”... or, for example, the unclear structure of a phrase: “a dog with a wide chest, a powerful neck, armored thick wool like a shield, thin, playful legs"... It is also not good to call sheep, cows and horses - "cows", "horses", "sheep". This gives the language a touch of a certain sweetness, while it is precisely the sweetness and sweetness that the very essence of Zavadovsky’s work is hostile to. ( B. Guber. "Red Nov", #8).

Nikandrov N.

Love of Ksenia Dmitrievna . - M.

“There are four stories in all: “The Love of Ksenia Dmitrievna”, “The Cattle”, “Professor Serebryakov” and “Consolation to Everyone”. The unifying connection of these stories is the author’s kindness. The author treats his characters very warmly. And this, of course, is good - the author should be humane to the tip of your nails. However, you should not reduce your humanity to marmalade...
All four stories would have benefited greatly from a thorough editing of the editor's pencil. The author writes unbearably long, sloppy, and his entire fictional wardrobe suffers from a fair amount of wear and tear." ( L. Voitolovsky. "New World", #3).

And others:

Averchenko A. Death of an African hunter . - M.-L.

Mr. Tsatskin . - M.-L.

Notes of a Theater Rat . With a foreword by Vs. Meyerhold. - M.-L.

Men . - M.-L.

Menagerie of Constantinople . - M.-L.

People close to the population . - M.-L.

Scythe on a stone . - M.-L.

My old box . - M.-L.

Ninotchka . - M.-L.

Woman in a restaurant . - M.-L.

Odessa case . - M.-L.

The case of the Petletsovs . - M.-L.

Business man's day . Stories. - M.

The man behind the screen . Stories. - M.

Agnivtsev N. Your people's commissars are at your home . - M.

From powder to truck . Poems 1916-1926 - M.-L.

Aizman D. Editor Solntsev . A collection of short stories with an autobiographical sketch. - L.

Akulshin R. October . - M.-L.

Ditties . - M.

Alexandrovsky V. Savvy years . Poetry. - M.

Aseev N. Executed land . Fantastic stories. - M.

The best . - M.

Auslander S. Babies . Stories. - M.-L.

Babel I. The story of my dovecote . Stories. - M.-L.

Cavalry . - M.-L.

The end of St. Hypatia . - M.-L.

Barto A. Red balls . Poetry. - M.-L.

Pioneers . - M.-L.

May Day . - M.

Bezymensky A. Cargo . - M.

Komsomol. Epic pages. - M.-L.

Belyaev S. Fire . Stories. - M.-L.

Belyaev A. Head of Professor Dowell . - M.-L.

Brik O. and Mayakovsky V. Radio - October . - M.

Bulgakov M. Treatise on Housing . Stories. - M.-L.

Stories . - L.

Bunin I. Gentleman from San Francisco . Stories. - M.-L.

Vaginov K. [ Poems ]. (The book is not named by the author. - E.O.) - L.

Vashantsev S. Blood . Story. - M.-L.

A thousand years . Stories. - M.-L.

Vesely A. Native country . Novel. - M.

Wild Heart . - M.-L.

Filkina career . - M.-L.

Bitter blood . Stories. - Rostov-on-Don - Krasnodar.

Veresaev V. Pushkin in life . - M.

Web . Stories. - M.

Vetrov V. Cedar spirit . Novels and stories. - M.-L.

Vinogradov V. Sketches about Gogol's style . - L.

Volnov I. Shaking department . - M.

Voronsky A. Literary records . - M.

Gilyarovsky V.A. Moscow and Muscovites . - M.

Golikov A. (Gaidar) In the days of defeats and victories . Tale. - M.-L.

Life is nothing. (Lbovschina). - Perm.

R.V.S. A story for youth. - M.-L.

Gorodetsky S. About Ivan the Atheist . - M.-L.

From darkness to light. There were villagers . - M.-L.

Gorky M. Gorodok . Notes from diaries. Memories. - M.-L.

Grabar L. In the mosses . Stories. - M.

Green A.S. Captain Duke. Story. - M.

Golden Pond . Stories. - M.-L.

Navigator of the "Four Winds" . Stories. - M.-L.

The story of a murder . - M.

On the hillside . - M.

Grossman L. The Poetics of Dostoevsky . - M.

Yesenin S. Selected poems . - M.

Zharov A. Stroy . Poetry. - M.

Zhitkov B. About the elephant . - L.

Orlyanka . Stories. - M.-L.

Zavalishin A. First pancake . Stories. - M.

Zaitsev B. Sin . - L.

Zamyatin E. Society of Honorary Bell Ringers . Tragicomedy in 4 acts. - L.

Flashlight . - M.-L.

Zoshchenko M. Female fish . - M.-L.

Monkey tongue . Humorous stories. - M.

Hard times . Humorous stories. - M.

Apollo and Tamara . - L.

Dear citizens . - M.-L.

American advertising . - L.

Матренишье . - M.-L.

Scary night . - L.

A crisis . - L.

Aunt Marya told . - L.

Ten stories . - L.

Agitator . - M.-L.

Ivanov Vs. Incident on the Thun River . Stories. - M.-L.

How mounds are created . - M.-L.

Brazilian love . Stories. - M.

Tuub Koya Desert . Stories. - M.-L.

Kaverin V. Nine tenths of fate . - M.-L.

The end of Khaza . Stories. - L.

Night of October 26th . - L.

Ahead of all . - M.-L.

Kasatkin I. Old woman . - M.

Kataev V. Stories . - L.

New stories . - M.

Kirillov V. Selected poems . - M

Kruchenykh A. The Robber Vanka-Cain and Sonya the Manicurist. Crime novel . Book 132. - M.

Calendar . Poetry. Introduction by B. Pasternak. Product # 133. - M.

Death of Yesenin . Product #134. - M.

1. Yesenin and Moscow Kabatskaya. 2. Love of a bully. 3. Two autobiographies of Yesenin. Product # 135. - M.

Yesenin's black secret . Product # 136. - M.

The faces of Yesenin from cherub to hooligan. Yesenin in life and portraits. Product # 137. - M.

New Yesenin . About the first volume of "Collected Poems". Product # 138. - M.

To combat hooliganism in literature . 1. “Cement” by F. Gladkov. 2. Another singer of hooliganism (I. Sadofiev). 3. L. Sosnovsky and late anxiety. 4. Tricks of the Yesenists. 5. "Dunka-Rudikha". Product # 140. - M.

Hooligan Yesenin . Product # 141. - M.

Leonov L. Stories . - M.-L.

Records of Kovyakin . - M.-L.

Lydin V. Great continent . - M.-L.

The ships are coming . Novel. - M.-L.

Mariengof A. Poems and Poems . 1922-1926. - M.

Memories of Yesenin . - M.

Marshak S. Seven Wonders . - L.-M.

Machtet T. Korkin lug . Stychi. - M.

Mayakovsky V. Walking . - M.

Favorites from Favorites . - M.

Spain. Ocean. Havana. Mexico. America . - M.-L.

Neverov A.S. Marya Bolshevik . Stories. - M.-L.

Pots . Stories. - M.-L.

Ridiculous B. Poems . With a foreword by Vyach.Ivanov. - L.

Nikitin N. Panburley's grave . - L.

Stories . - L.

With a pencil in hand . Essays and stories. - M.-L.

About the former merchant Khropov, about Olympiada Ivanovna and about the cheerful artist Mokin . Tale. - M.-L.

Novikov I. The collapse of numbers . Stories. - M.

Modern stories . Book 1, Book 2. - M.

Oreshin P. Village cell . - M.

Train . Poetry. - M.

Front garden . Stories. - M.-L.

Pilnyak B. Russia in flight . - M.-L.

The Heirs and Other Stories . - M.-L.

Blizzard . Story. - M.

A story about keys and clay . - M.-L.

Poletaev N. Harsh light . Poems 1918-1925. - M.-L.

Potekhin Yu. Operation to Professor Fox . - M.-L.

Rozanov I. Yesenin about himself and others . - M.

Romanov P. Brownie . - M.-L.

Stories of love . - L.

Russia _ Novel. - L.

Sandomirsky Yu. The Coming War. (The powerlessness of the strong). Novel. - M.

Svirsky A.I. Good time . Stories. - M.-L.

Slezkine Yu. Cucumber Queen . - M.-L.

With different eyes . Novel. - M.

Slonimsky A. Stories about 1905 . - L.

Lavrovs . Novel. - M.-L.

Sobol A. Saloon car . - M.-L.

Sokolov-Mikitov I. Bylitsy . - M.

Teleshov N. Kramola . - M.-L.

Rogue . Stories. - M.-L.

Tolstoy A. Black Friday . - L.

Stories . - L.

Hyperboloid of engineer Garin . Book two. "Red Nov", #4, 7-9.

Tretyakov S. Roar, China! Poetry. - M.

Teffi Summer holiday . - M.-L.

Instead of politics . - M.-L.

Life and Collar . - M.-L.

Daddy . - M.-L.

Dexterity of hands . - M.-L.

Utkin I. The Tale of the Red Motel, Mr. Inspector, Rabbi Isaiah and Commissioner Bloch . - M.

Fedin K. Stories . - M.

Cities and years . Novel. - M.-L.

Black Sasha. Katyusha. (Poems for children). - Rostov-on-Don.

Chetverikov D. Buryan . Take. - L.

Chukovsky K. Fedorino grief . - M.-L.

Nekrasov . Articles and materials. - L.

Miracle tree . - L.

Confusion . - M.-L.

Pigs . - L.-M.

Shaginyan M. Three machines . - M.

Shengeli G.A. How to write articles, poems and stories . - M.

Shershenevich V. And so the result . - M.

Shirman G. Constellation of the Serpent . - M.

Lightning cuneiform . - M.

Shishkov Vyach. Sherlock Holmes - Ivan Puzikov. Joking stories . - M.-L.

Courthouse . - M.-L.

Foreign fog . - M.-L.

Devilry . - M.-L.

Shitty thing . - M.-L.

Shklovsky V. The Third Factory . - M.

Sholokhov M. Azure steppe . Stories. - M.

Two-husband . Story. Ed. F. Berezovsky. - M.-L.

Don stories . With a foreword by A. Serafimovich. - M.

Ehrenburg I. Summer 1925 . - M.

Three stories about pipes . - L.