Translated material
Egor Otroshchenko. Century=text. Issue 27: 1927
| Russian Journal / Reading Circle / Century=text www.russ.ru/krug/vek/20000915.html |
| Century=text. Issue 27: 1927 Egor Otroshchenko Date of publication: September 15, 2000 POEM OF THE YEAR | EVENTS | CHARACTERS AND PERFORMERS Poem of the Year Epilogue The show is over. It's time.Things look clearer and sadder. The sound of a human ax rings. The mountain speaks to Prometheus, The kite looks into the eyes of Prometheus. Woe! How much flour is there in turtles, Cave ancestors, crowded Forums and markets are sleeping dead. Feast again! And just look down In a quick flash of a voltaic arc, Don't rock, my rock, The kite looks into the eyes of emptiness, .......................................... Here we are even, kite, me and you. |
P. Antokolsky. "Red Nov", #10.
Events
On December 5, F. Sologub died .
Characters and performers
Declaration of the All-Union Association of Workers' and Peasants' Writers "Pass".
“By uniting writers, “Pereval” does not give them any mandate.
"Pass" calls on them, first of all, to create a truly revolutionary cultural environment in which it will be easier for him to understand the vastness of the horizons that have opened up to the demands of the new man.
"Pereval" formulates its views in the following provisions:
1. The cultural revolution, into which the USSR has entered, urgently requires expression in artistic creativity of the forces of the new classics - workers and peasants.
2. Fiction in the USSR is called upon to fulfill the social order given to it by the October Revolution, the working class and the Communist Party. It must influence the oppressed classes of the world, organizing and revolutionizing them for social emancipation.
3. The assigned tasks can only be achieved if there is a highly developed artistic expression, form and style. Great content requires expression in the most perfect and diverse forms. This implies the need to maintain a continuity with the artistic mastery of Russian and world classical literature.
4. “Pass” denies any primitive orientation that reduces artistic creativity to wingless everydayism, belittling the emotional impact of the artistic image.
5. “Pass” recognizes the writer’s right to choose a topic at his own discretion, provided that in his work he will be organically connected with modernity and the social order of our era.
6. “Pass” treats every artistic individuality with care and attention, striving to influence it, supporting and guiding those who are wavering.
7. At the same time, “The Pass” sweeps aside all groups stuck in the pre-revolutionary period of literature, alien to modernity in their artistic essence, and all new literary formations frozen in a dead stabilization state, which contradicts the constantly developing artistic revolutionary thought.
8. To achieve the goals outlined in the declaration, it is necessary to create an artistic center around which, on the basis of the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks “On the party policy in the field of fiction,” all active writers of the USSR would unite, preserving creatively independent features.
9. Believing in the possibility of creating such a center, we call on all writers who share our views to unite around “The Pass” in their future creative work.
Central Moscow department of "Pereval".
List of members of the Moscow department of "Pereval".
M. Prishvin, S. Malashkin, B. Huber, N. Zarudin, I. Evdokimov, L. Zavadovsky, M. Barsukov, N. Dementiev, E. Bagritsky, D. Gorbov, N. Ognev, P. Shiryaev, A. Lezhnev, A. Yasny, M. Sosnovin, P. Druzhinin, V. Lazarev, M. Ruderman, N. Zamoshkin, N. Smirnov, D. Brodsky, M. Golodny, M. Yakhontova, E. Sergeeva, V. Nasedkin, I. Kasatkin, A. Peregudov, D. Altauzen, E. Vihrev, E. Erkin, V. Vetrov, M. Skuratov, A. Dyakonov, T. Igumnov, R. Akulshin, Sergadzhan, A. Khovanskaya, V. Kudashev, L. Lavrov, L. Katansky, D. Fibih, A. Platonov, D. Kedrin, S. Berkovich, G. Munblit, A. Karavaeva, V. Dynnik, A. Malyshkin, S. Pakentreiger, I. Kubikov, A. Prishelets, E. Strogova, I. Kataev, T. Korneychik, D. Semenovsky, I. Trishin and others."
Ivanov Vs.V.
Secret of secret. Stories. - M.-L.
“Mature mastery, a sense of proportion came to the writer at a moment when he was clearly sad and lost the joy of life. In Vsev. Ivanov’s new stories, man is completely subordinated to the primitive element of life. The writer ceases to see the creative principle in man, and this is the most alarming thing not only for him , but also for our literature. Vsev.Ivanov is one of our best young writers, he has a good artistic past. And there is hardly anything accidental in this shift of the writer...
In the literature of our days, provincial, village themes occupy more and more place. They threaten to become the main ones, predominant. The district creeps in from every pore: ignorance, savagery, isolation from cultural centers, smuggling and confusion, the philistinism recovering and strengthening in everyday life, the monotony of life. It’s as if a wave has subsided and here on the sand there is garbage, mud, some debris, chips are lying around...” ( A. Voronsky . Writer, book, reader. “Red Nov”, #1).
Breath of the desert. Stories. - L.
""Life, like a word, is bitter and sweeter than everything else," - the last two books of Vs. Ivanov, one of the especially talented writers in the young pre-October fiction, tell about human life, about its innermost secrets. These books, being an indicator of the undoubted growth of the writer , at the same time confirm that Vs. Ivanov, like most modern prose writers, is going through a period of deeply creative turning point. He, the two books under review, are, first of all, books of contradictions. In the later works of Vs. Ivanov there is nothing that attracted and What was pleasing in his early, partisan-combat stories: there is no thematic breadth, no magnificent heroism, skillfully combining posterity with artistry, no sparkling image that surprises with the richness of its depiction. The external colorfulness of the image fades - the image becomes organic, used only due to artistic necessity ", and the verbal script is clarified and refined, acquiring a clear, strict usefulness. The main advantage of Vs. Ivanov’s latest stories and stories is their completeness, sharpness and conciseness." ( N. Smirnov . New World, #8).
Selvinsky I.
Ulyalaevshchina. Epic. - M.
“The long poem, instead of the lyric poem, in recent years seems to be becoming the predominant poetic genre. Poets, apparently, are beginning to compete with prose writers, in any case, they do not want to cede to them that battlefield that seduces with the obligatory facets of events, or in technical language - plot...
Of course, it would be more accurate and correct to call “Ulyalaevshchina” a story in verse, but the point is not in the title, just as it is not in the definition of that “constructivism” that the author claims...
The material in the epic, despite the framing plot, clearly prevails. This is precisely the main drawback of the “constructivist” Selvinsky - he is too immersed in the heavy materiality of details. They put pressure, overload the narrative, which moves, flopping in all directions, like a cart filled with all sorts of good things...
If the whole story were written in such heavy material terms, if it were given exactly what is called “constructivism” and of which there is very little in it, we would have a work that was quite consistent in style. But this style is not fully sustained; it is constantly interrupted by abstruse shifts unjustified by the real meaning of things, completely inconsistent with the adventures of Father Ulyalaev. A fascination begins with the sound element of the word for its own sake, with paint and image for the sake of pretentiousness and surprise...
Selvinsky's verse itself - strong and thick, of course, has predecessors - Mayakovsky and Pasternak. How the disparate influences of these two deeply dissimilar poets merged in his poetic consciousness into one whole is the task of a special and necessary study. Necessary because Selvinsky is not a simple imitator, working alternately under one or another poet. He found some average, some resultant - an extremely curious phenomenon, indicating that Mayakovsky and Pasternak did such work on the structure of poetic image and expression that can already be taken out of brackets and defined as the common property of the era. The main thing in this work is the involvement in the field of poetry of all life material, deliberately prosaic shifts, courage and novelty of poetic syntax and rhyme." ( K. Locks. Selvinsky's epic . "Red Nov", #3).
Taffy N.A.
Sweet memories. (Emigrant stories). - M.-L.
In a foreign land. - L.
Cyrano de Bergerac. (Emigrant stories). - M.-L.
Parisian stories. - M.
Tango of death. - M.-L.
“Taffy? Yes, Teffi, the same one who so pleased us in the hammock after breakfast at the dacha, in the train compartment or in the dentist’s waiting room just before the drill.
The world of slackers and parasites with unknown incomes and professions - Michels, Anetas, ladies simply pleasant and pleasant in all respects, two aesthetic ladies on the cover - in general, all that broken life that has long been downtrodden and forgotten. And all this in a circulation of eight thousand.
Not for everyone? No, of course, not for everyone. So, for the general reader. Is it really so? Has the time for irresponsible chatter already come, the time for the “cute” naivety of secular fools?
...we ...don't understand what's going on? Where do these people come from, and, most importantly, who needs their liquid shadows on the screen of our reality?" ( V. Yakerin. "Red Nov", #4).
Vesely A.
Bolshoi zapev. - M.-L.
“The Big Song” by Artem Vesely consists of two stories: “Rivers of Fire” and “Wild Heart” and the novel “Native Country”...
In modern prose, the novel “Native Country” is the best artistic page depicting the elements of October...
The “Big Lead” clearly demonstrates the formal growth of Artem Vesely. True, the prose writer in “Native Country” still has not mastered the art of composition, but his love for a well-aimed word and lyrical digressions sometimes makes one remember Gogol. In addition to his apprenticeship, Artem Vesely is also an innovator (it’s not for nothing that he dedicated his collection to Velemir Khlebnikov). Not all of his innovations are equally convincingly motivated - there are, for example, abuses of deliberate democratization of speech, but this is primarily a consequence of the writer’s youth. Artem Vesely began publishing only in 1921 and in five years of work he accomplished as much as many fail to do in perhaps a decade." ( V. Krasilnikov. "Red Nov", #9).
Russia, washed in blood. "Bosom". Literary and artistic collections. Book 10. - M.
“Artem Vesely is not one of the “fashionable” proletarian writers. His name has not yet occupied such a prominent place as, for example, Yu. Libedinsky or F. Gladkov. Artem Vesely was moderately praised, patted on the shoulder sympathetically, but without enthusiasm. Few doubted his talents, but Artem Vesely was “trumped” only in cases of extreme necessity. And he himself, a wild man, not very sociable, did not impose himself on the reader, beating his chest with his fist, did not yell at crossroads about his wealth. Artem Vesely remained in aside from the craze of self-promotion, which, like a bad disease, has infected some “young people". Meanwhile, this writer deserves a lot of attention. A few years will pass - the works of Artem Vesely will be translated by foreigners, and his absurd name will become on a par with the most glorious names of our latest literature. ..
The author calls his work a novel. This is a very conventional designation: “Russia, Washed in Blood” is devoid of a plot, there are no individual heroes in it, and the unfolding events are not centralized. A living stream of people and events flashes before our eyes, motley and motley, like a gigantic panorama, pleasantly surprising with the audacity of its scope, bright colors, and rich power of depiction.
It is possible that in the future (I think this is exactly what will happen) the artistic fabric will become denser, and an organizing stream will emerge from the widest flow, which will determine the direction and meaning of what is happening.
But already the “two wings” published in the tenth collection “Nedra” are enough to rank the new work among the largest creations of our literature of recent years.” ( Vyach. Polonsky. Critical notes about Artem Vesel. “New World”, #3.
Kirillov V.
Blue country. Second book of poems. - M.-L.
Gerasimov M.P.
Earthly radiance. - M.-L.
“It is in the uncertainty of the desires of the poet (V. Kirillov - E.O.), in the romantic transcendence of his ideals that one must see the reasons for the sharp thematic change - the poems of the second collection bear little resemblance in mood to the things of the first. During the years of war communism, Kirillov walked ahead of the phalanx of those glorifying October , the coming reign of the Commune was already visible to him, but the NEP inspires him to such confessions:
And life became clearer, like a number on an account.I can't escape from the iron choir,
Until someone stops you from spinning
And the sun, and the heart, and the roar of the engine...
Themes of a personal nature (death, love) predominate in “The Blue Country” and they are usually developed in terms of “autumn” sad confessions. The heavy paw of symbolism - Kirillov is one of Balmont's gifted students... - is increasingly leaving its unpleasant imprint on the lyricist's life philosophy... The collection contains a number of poems struggling with the primacy of the personal principle, ...but there are few of them, and a threat hangs over Kirillov the danger of feeling like a lonely renegade.
The central place in Gerasimov’s “Earthly Lights” is occupied by gloomy feelings - old themes are leaving the poet...
The themes of a “spattered” personal life and the subtle skill of the lyricist are essentially new for Gerasimov, alien to him as the creator of the “Electropoem”. This explains his timidity, the tongue-tiedness of his first experiments in lyrical art...
A talented poet must clearly understand the hopelessness of the nook into which his personal moods lead him. If the poet is frozen at one point (for example, on thoughts of death), then his repetitions no longer affect the reader." ( V. Krasilnikov. "Red Nov", #12).
Zoshchenko M.M.
What did the nightingale sing about? Sentimental stories. - M.-L.
“The path of a humorist writer (if he is a sincere writer) can be schematically defined as follows: the first period is a period of cheerful laughter, careless fun, youthful mockery; and the second is a period of bitter, chilled reflection. This path was followed by Gogol and Chekhov, and many other humorists , regardless of the size of their talent. And Zoshchenko, apparently, is following the same path. With his new book, he has entered the second phase: these are no longer the small, prickly, funny stories of the book “Dear Citizens”; the humor of “sentimental stories” is shaded, softened by the author's sincere bitterness (sometimes skillfully disguised), sad sympathy for the mental and material squalor of philistine life.
But here Zoshchenko faces a serious danger: after all, the main basis of his undoubted talent is his unique syntax, which so aptly reflected the new in the language of the post-revolutionary city, its philistine strata. And in these stories the center of gravity is shifted to the plot and psychological analysis. And so - because of Zoshchenko’s style, the familiar face of the one whose powerful influence is so clearly reflected in Leonov’s “Kovyakin’s Notes” and Nikitin’s “Oboyan Tales” and on many other things in young Soviet literature begins to show through. I'm talking about the author of "Mirgorod"...
However, we can talk about influence, but not about imitation. This influence (especially stylistic), apparently, is felt by the author himself - perhaps unconsciously.
There is a calm tenderness, skeptical gentleness, and good-natured irony in these stories, marking the transition from carefree youth to creative maturity." ( A.R. Paley. "New World", #6).
Zamyatin E.I.
Unholy tales. - M.
“Zamiatin is a great and talented master, who has long since moved away from modernity with a wry smile, and remains in creative oblivion. The recently published book “Unholy Stories” is offensively bad for Zamyatin: he - alas! - has nothing to write about. How his word has faded , what a metallic coldness emanates from this book, where only one story (“Rus”) - a sculpturally completed landscape of quiet Volga antiquity - reminds of the former character! ( N. Smirnov. New World, #9).
Tikhonov N.S.
Search for a hero. Poems 1923-1926. - L.
“The Quest for a Hero” is the foundation of the building of a new synthetic verse. N. Tikhonov worked long and hard, but “shook up the winter hut”, connecting into one line of succession the primordial traditions of Russian poetry with the culture developed by modernity. He won his specifically literary persona through exemplary perseverance and rare conscientiousness. Now external weapons alone give the poet the indisputable right to put as an epigraph to his activities his own remarkable lines from the poem “In Karelia”:
I'm here to look you in the eyesTo the slums demanding a word..."
( I. Postupalsky. New World, #9).
Guber B.
Neighbours. Stories. - L.
"Guber's language more clearly than anything else proves the author's indisputable right to the title of artist. Every line, every epithet reveals serious concern for the strength and compressed expressiveness of the style, which is called upon to actively participate in the construction of the image. In the best things of Huber we do not feel at all verbal voids, so abundantly decorating the pages of many everyday life writers. Guber loves words - his epithet is laconic, comparisons are compressed and figurative, psychological and everyday details, drawn with seeming dryness, play with the true colors of life." ( D. Gorbov. "Red Nov", #3).
And others:
Averchenko A.T. A terrible pronoun. - M.-L.
Cheap life. - M.-L.
A person who is lucky. - M.-L.
The gallant life of Constantinople. - M.-L.
Bunny on the wall. - M.-L.
Humor of the old days. 29 stories. - M.
Akulshin R.M. Untied sheaves. - M.-L.
Christ seller. - M.
Altaev A. The Great Rebellion. Novel. - M.-L.
Antokolsky P.G. Third book. - M.
Ardov V.E. A mess on the air. Stories. - M.
Aseev N.N. Frost. Poetry. 1925-1926. - M.-L.
Time for the best. - M.
Semyon Proskakov. Poetic notes to materials on the history of the Civil War. - M.
Babel I.E. Benya Krik . Movie story. - M.
Bezymensky A.I. Part ticket #224332. Poems of Lenin. - M.-L.
Felix. A poem. - L.
Bely A. Baptized Chinese. Novel. - M.
Belykh G. and Panteleev L. Republic of Shkid. - M.-L.
Belyaev A. Island of lost ships. Novel. The Last Man from Atlantis. Novel. - M.-L.
Belyaev I. Genuine Yesenin. - Voronezh.
Belyaev S. Radio brain. Novel. - M.-L.
Bibik A.P. Tough study. Stories. - M.
Bolshakov K. Night. A novel. - M.
The fate of accidents. Stories. - M.
The path of the lepers. Stories. - M.
Borisoglebsky M. Topo. Novel. - L.
Budantsev S.F. Japanese duel. Stories. - L.
Kamandarm. (Mutiny). Novel. - M.-L.
Bunin I.A. Chang's dreams. Selected stories. - M.-L.
Bukharin N.I. Angry notes. (On the social significance of Yesenin’s poetry). - M.-L.
Vasilenko V. Black River. Second book of poems. - L.
Vashantsev S. Stories. - M.
Duel. - M.
Veresaev V.V. In dry fog. Stories. - M.
Stories about the Japanese War. - M.
Stories. - M.
Vesely A. Stories. - M.-L.
Vinokur G.I. Criticism of a poetic text. - M.
Vladimirova A. Poems. - M.
Vlasov-Oksky N.S. Colored tent. Poetry. - M.
Gaidar A. Horsemen of the impregnable mountains. Tale. - M.-L.
Corner house. Stories. - M.-L.
Gerasimov M.P. Lyrical evening. - M.
Hungry M. Selected poems. - M.
Gorodetsky S.M. Moscow stories. - M.
Gorky M. Twenty six and one. Tale. - M.-L.
Grabar L. People-people. - L.
Stories with funny endings. - L.
Green A.S. In law. - M.-L.
Marriage of August Esborn. - L.
Ships in Lisse. Novels and stories. - L.
Black Diamond. Stories. - L.
Cheerful travel companion. Stories. - L.
Grossman L.P. Fight for style. Experiments in criticism and poetics. - M.
Gukovsky G.A. Russian poetry of the 18th century. - L.
Gumilevsky L.I. Weavers. Novel. - M.-L.
Yesenin S. Poems and prose. - M.-L.
Chosen Yesenin. Poems and poems. - M.-L.
Zharov A.A. Lead and patience. Poetry. - M.-L.
Zavadovsky L. Song of the Gray Wolf. Stories. - M.
Enmity. Stories. - M.
Zavalishin A. In the dark. Stories. - M.-L.
Zoshchenko M.M. Philistine bias. - L.
Social sadness. - L.
Stories. - M.
Pale-faced brothers. Humorous stories. - M.
Little nothings of life. - M.
Barettes. - M.-L.
Ivnev R. Open house. Novel. - L.
Inber V. Comet catcher. - M.-L.
Sunny bunny. - M.-L.
Isakovsky M. Wires in straw. The first book of poems. - M.-L.
Kaverin V.A. Big game. - M.
Diamond suit. - L.
Kataev V.P. Embezzlers. Novels and stories. - L.
The funny thing is. Selected humorous stories. - M.
Kirsanov S.O. Experiments. Preliminary book of poems. 1925-1926. - M.-L.
Kissin B. Poems. - M.
Klychkov S.A. Talisman. - L.
Krinitsky M. Girl from Ladoga. Novel. - L.
Kruchenykh A.E. Four phonetic novels. Product #142. - M.
New in the writing technique of Babel, Artem Vesely, Vs. Ivanov, Leonov, Seifullina, Selvinsky and others. Products #144. - M.
Talking Cinema: 1st Book of Poems about Cinema. Scripts. Personnel. Libretto. The book is unprecedented. Product #150. - M.
About the article by N. Bukharin against Yesenin. - M.
Hooligans in the village. A play in two acts. - M.-L.
Kuprin A.I. Selected works. - M.
Shulamith. Stories. - M.
Lavrova K. Double. Poems 1920-26 - M.
Levin B. Philistines. - M.-L.
Leikin N.A. The merchant turned around. - M.-L.
For fun. - M.-L.
Puppies, carpet and organ. - M.-L.
Leonov L.M. Thief. A novel in 4 parts. - M.-L.
Leshchinsky N.E. To native shores. Novel. - M.-L.
On my way. Stories. - M.
Lidin V.G. Paths and miles. - L.
Son of man. Stories. - M.-L.
Lugovskoy V. Flashes. - M.
Lukashin I. Through the stumps. Novel. - M.
Lyashko N.N. Maryina's homeland. Stories. - M.
Mariengof A.B. A novel without lies. - L.
Mayakovsky V.V. We are our great-grandfathers. Poetry. - M.
How to make poetry. - M.
Fine! October poem. - M.-L.
Nappelbaum I. My home. Poetry. - L.
Nasimovich A.F. Axe. Stories. - M.
Neverov A.S. Drops against mischief. - M.
Nikitin N.N. Ekaterinburg stories. - M.
Lyrical land. Stories and essays. - L.
Nikonov B. Poet-baker. Historical novel. - L.
Nikulin L. Adjutants of the Lord God. Chronicle novel. - M.
Out of the blue. Selected humorous stories. - M.
Seraphim Zherebetsky . - M.-L.
Novikov I.A. Cherries. Stories. - M.
Obradovich S.A. Reality. Poem. - M.
Ovchinnikov I. On the breakthrough. Stories. - M.
Oleynikov N. Fighting days. - M.-L.
Oreshin P.V. Little people. Tale. - M.-L.
Spring. Poetry. - M.-L.
Poems for the village. - M.-L.
Pasternak B.L. Two books. Poetry. - M.-L.
Nine hundred and fifth year. - M.-L.
Petrov E. Without report. Humorous stories. - M.
Pilnyak B.A. It's a mess. - L.
Time spilled. Stories. - M.-L.
Chinese story. - M.-L.
The next stories. - M.
Stories. Introductory article by A. Voronsky. - M.
Platonov A. Epifansky locks. - M.
Potekhin Yu.N. Oscar Bush's mistake. Novel. - M.
Prishvin M.M. The pursuit of happiness. - M.
Rakovsky L. Green America. Novels and stories. - L.
Rozhdestvensky Vs.A. Big Dipper. Book of lyrics. (1922-1926). - L.
Romanov P.S. Promised land. Stories. - M.
Without bird cherry. Storybook. - M.
Friendly people. Stories. - M.
Nice places. - M.
Enchanted villages. Stories. - M.
An incomprehensible phenomenon. Stories. - M.
Romm A. Night viewing. Poetry. - M.
Roslavleva N. Wind and night. Poetry. - L.
Sadofev I.I. Sounding blood. Book of eight lines. (1920-1926). - L.
Sannikov G.A. Selected Poems. - M.
Seifullina L.N. Offenders. Stories. - M.-L.
On a weekday. Stories. - M.-L.
Two friends. Stories. - M.-L.
Selvinsky I. Records. - M.
Semenov S.A. Hunger. Diary novel. - L.
Serafimovich A.S. Catfish. Stories. - M.-L.
Iron stream. (Excerpts from the story). - N.-Novgorod.
Iron stream. (From a story by the same author). - M.-L.
Stories. - M.-L.
Slonimsky M.L. Land life. Stories. - M.-L.
Soloviev B. Milestones. Poetry. July 1924-June 1927. - L.
Sukhotyn P. Cherries for compote. Novel. - M.-L.
Tikhonov N.S. Reds on the Araks. Road. Face to face. - M.-L.
A risky person. Stories. - M.
Fat T. A third of the soul. - M.
Tolstoy A.N. Moscow nights. Stories. - M.
Ancient path. Stories. - M.
High society bandits. Stories. - M.
The English, when they are nice. - L.
Trenev K.A. Elections. - M.-L.
Tretyakov S.M. I'm Lee-Yan. A poem. - M.-L.
Gas masks. Melodrama in three acts. - M.-L.
Utkin I.P. Lyrics. - M.
To a beautiful girl. Poetry. - M.
Fadeev A. Defeat. Novel. - L.
Against the stream. - L.
Fedin K.A. Transvaal. Stories. - M.-L.
Guys. Tale. - L.
The Norovchat Chronicle, written by the novice Ignatius of the Simonov Monastery in the summer of 1919. - L.
Forsh O.D. Hot shop. - M.-L.
Chapygin A.P. Razin Stepan. The novel is historical. - M.
Chetverikov D. Everyday life. Stories. - L.
Chicherin A.V. Steep climb. Lyrics. - M.
Chukovsky K.I. Hedgehogs laugh. - L.-M.
Shaginyan M.S. Selected stories. - L.
Is the writer sick? - M.-L.
Schwartz E. In the cold. - M.
Shengeli G.A. Mayakovsky to his full height... - M.
North. - M.
Shiryaev P. Tsikuta. Stories. - M.
Shishkov Vyach. I. Marriage. - M.-L.
Beaded mug. - M.-L.
Shklovsky V.B. Techniques of the craft of writing . - M.-L.
Shmelev I.S. Funny adventure. Stories. - M.-L.
Sholokhov M. About Kolchak, nettles and other things. Stories. - M.-L.
Eikhenbaum B.M. Literature. Theory. Criticism. Controversy. - L.
Engelhardt B.M. Formal method in the history of literature. - L.
Erkin E. August. Poetry. - M.
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