Egor Otroshchenko. Century=text. Issue 35: 1935

Century=text. Issue 35: 1935
Egor Otroshchenko

Publication date: November 10, 2000
POEM OF THE YEAR | EVENTS | CHARACTERS AND PERFORMERS

Poem of the Year

On the day when I'm gone,
you get up in the morning and wash your face,
in a transparent room you will double
among the landscape of air and walls:
a building has collapsed here of my soul,
there is laziness and freshness, there is no recollection.

A.Nikolev . From the series "Elysian Joys" . First published in the book. "Samizdat of the century" (Mn.-M., 1997).

Events

"Crocodile" is completely prohibited. For even such lines are considered criminal:

I am glad
Leningrad ."

( K. Chukovsky . Diary ).

In #5 of "Literary Contemporary" the chapter "The Morning of Mr. Bloom" from "Ulysses" by J. Joyce, translated by V. Stenich, is published .

From the preface by D. Mursky: “Joyce is the end of the road that Flaubert was the first to step on and which leads further and further from the classical bourgeois novel into the swamp of modern prosaicism, complete passivity and extreme decadent aestheticization. In the opposite direction from the same classical bourgeois novel goes the path of the socialist "realism, heroic and active realism, involved in the great work of changing the world. The path of Joyce and the path of Soviet literature form an angle of 180 degrees."

Characters and performers

Zaslavsky D. Literary rot | Slonimsky M.L. The Tale of Levinay | Grinberg I. Paths of the novel | Nikitin N.I. Let's talk about the stars | Kataev I.I. Fatherland | Kaverin V.A. Wish fulfillment | Stepanov N. Notes on poetry | Shiryaev P.A. High land | Prokofiev A.A. Favorites | Other works

Zaslavsky D.

Literary rot . "Pravda", January 20.

"Literary Newspaper"... with a jubilant look told the reader... that... Dostoevsky's novel "Demons" is already in the proofs. It is published by the Academy... It is an outright lie that the novel "Demons" is the largest work of art of the 19th century... The counter-revolutionary intelligentsia has always been drawn to "Dostoevshchina" as a philosophy of double-dealing and provocation, and in the novel "Demons" - this double-dealing is smeared with special voluptuousness. The novel “Demons” is the dirtiest libel directed against the revolution... from “Demons” the counter-revolution extracted its slanderous “arguments”. In these conditions... the choice of "Demons" for a separate publication... cannot but be considered strange, to say the least."

Slonimsky M.L.

The Tale of Levinay . - M.

“The depth of feelings and thoughts invested in a work of art, their diversity - all this decisively influences the quality of the political orientation of the work.

Slonimsky wrote a truly party story, with an interesting concept, with a consistently pursued ideological concept, but the plan was not realized in all respects, not all images are of equal value. Starting from structure and ending with stylistics, the story gives an uneven impression" ( V. Druzin . "Literary Contemporary" # 6).

“The Tale of Levinay” can least of all be classified as one of those not very valuable biographical novels that at one time, with the light hand of Vinogradov and Grossman, were ready to acclimatize to our literary soil. The story happily lacks all sorts of “historical” trinkets characteristic of this kind of work, which usually interfere with the understanding of the complex social relations of the era and are used as a kind of historical and theatrical props.

The writer's free orientation in the most complex historical material is a distinctive feature of the new work. "Levine" is an excellent evidence of how important it is for a writer, having studied documents and organically perceived their main content, to break free from their power. Only then is the writer able to give not a historical chronicle, but a work of art. Any deviations from history will be justified in this case by preserving the internal logic of events, organizing the work in accordance with the fundamental lines of development of events. This is exactly what M. Slonimsky did" ( M. Maisel . The Tale of the Courage of a Communist . "Star" # 5).

Grinberg I.

Paths of the Novel . "Literary Contemporary" #7.

“The novel in its classical form was formed under capitalism and as a reflection of the contradictions of capitalism. Does this mean that the novel will be destroyed along with the bourgeoisie?

Undoubtedly, our novel, a socialist novel, in its very essence, is qualitatively different from a bourgeois novel. Between the novel of socialism and the novel of capitalism there lies the same gulf as between the bourgeois novel and the epic of tribal society. The difference here is hidden not only in completely new themes, new motives. First of all, it consists in knowledge adequate to reality, which is the basis of our reality. Socialist ties are opening up in all their fullness and complexity. Personal, individualistic perception, which narrows, limits and distorts, is discarded.

Thus the basis for broad epic action emerges. The novel includes great socialist conflicts, historical events, historical people - in the broadest sense of the word. For what Stendhal once dreamed of - “great national plots” - are possible only in a socialist novel.

The episodic nature that corroded the bourgeois novel has no basis in the socialist novel. Many diverse people, diverse events are united by deep epic action. Epic is a word that is increasingly repeated in our art.

But let's not think that we are returning to the old epic. Our heroes will not become heroes of antiquity. Our art is deeply hostile to bourgeois egocentrism. But the impersonality of the epic of tribal society is also alien to him.

Man stands at the center of our art. But this is no longer a lonely individualist... The new man, the man of socialism, is a developed and complex individual, and at the same time he is the focus, the exponent of the interests of society...

Our literature creates the basis for monumental, generalizing images. Our most advanced writers, armed with the method of Marx-Lenin-Stalin, armed with the experience of fighting for the party, for the dictatorship of the proletariat, are especially decisively moving towards epic breadth and syntheticity. "Destruction" and "Chapaev", "Virgin Soil Upturned" and "The Big Conveyor" - these are the first steps of the socialist novel.

This is where the epic begins, a new epic, unprecedented, “humanized,” a socialist epic.”

Nikitin N.N.

Let's talk about the stars . - L.

“Let's Talk About the Stars” is a story that, on the whole, stands at the level of our modern requirements for literature. First of all, it has one valuable quality, which Nikitin’s previous works often lacked - artistic seriousness and a certain depth in the development of the theme...

The style and rhythm of the narrative speak of the great work done by Nikitin during his “silence.” Nikitin's previous hesitations between naturalism and impressionism have now given way to the researcher's calm and restrained attitude towards the image and the word in general. This is a sign of maturity; came to Nikitin, evidence of his movement towards realism" ( I. Oksenov . "Star" # 2).

Kataev I.I.

Fatherland . Novels and stories. - M.

“Kataev is one of those rapidly growing writers of the second generation, for whom each new book is a big step towards high artistic mastery and great ideological horizons. After “The Movement” - a book of purely sketches - this is a significant success for the author and all Soviet literature” ( N. Ostrogorsky . "New World" # 11).

Kaverin V.A.

Fulfillment of desires . Novel. - L.

“Kaverin’s name is quite well known. What was new in his work back in the “Prologue” (a book that was not sufficiently appreciated in its time) receives more serious expression in “The Fulfillment of Desires.” First of all, it is new and significant for Kaverin, a formalist - experimenter - the desire to look life “straight in the face”, the need to “master” those parts of it that he had previously passed by” ( M. Egart . “New World” # 12).

Stepanov N.

Notes on Poems . "Literary Contemporary" #1.

“Pushkin said about the poets of his time: “It wouldn’t hurt our poets to have a much more significant sum of ideas than they usually have. With memories of past youth, our literature will not move far forward" ("On the Syllable"). These words of Pushkin do not prevent us from remembering even now. Although our poetry mainly lives now on the themes given to it by our era of building socialism, nevertheless, "memories of past youth", the themes of "friendship", "glory", "youth", etc. occupy an inordinately large place in it. Not to mention such poets as Zharov or Utkin, who throughout their poetic career rarely go beyond limits of 3-4 topics, moreover, very traditional and banal ones, “youth” and “love” - this is the vicious circle in which poets find themselves...

In those conditions of increasing demands on the meaning, on the ideological and even philosophical depth of poetry that are currently presented to poets, the choice of topic becomes one of the most crucial moments. We have two different trends: some poets strive to keep up with the newspaper, responding with poems to a new topic every day, others, on the contrary, come to “eternal” topics... at the same time not going beyond the boundaries of their traditional interpretation.

One of the reasons for this underestimation and simplification of the topic, its accidentality, is that our poets looked up to the pre-revolutionary poetic culture - Acmeism and Futurism. From Acmeism came an admiration for little things, a conventional, aestheticized objectivity of the topic; from futurism - disdain for the theme and, in general, for the semantic fabric of the verse...

Many poets believe that it’s all about the theme - no matter how, what verse means it is expressed, speaking in the same language about a factory, and a tractor, and about personal experiences, and about the world revolution...

The most dangerous thing to do is to take the path of thematic poetry, to separate the theme from the other components of the poem. It is precisely this “emancipation” of the theme, the neglect of all other elements of the verse, the simplified presentation of the theme, which boils down to a “retelling,” the approximate word, which only retells the theme-plot, without ideologically deepening it, without “revealing” it in the word, is the main mistake of those of our poets who widely use modern themes (Bezymensky, Selvinsky, Aseev, Kirsanov, etc.).

The theme is devoid, on the one hand, of generalization, “typification,” and also of specific sensory expression in the image. A “naked” abstract theme, or a theme empirically simplified, equally drops out of poetry.”

Shiryaev P.A.

High land . Romantic story. - M.

“The revolution rehabilitated the “special theme”. In essence, it destroyed it, because now there is no such part of Soviet reality in which, on one scale or another, the battles of our era were not played out. Soviet literature has a novel about the construction of a hydroelectric power station and a story about the Karabugaz mirabilite , - and the themes of these works are not so much special as concrete.

“High Land” by Pyotr Shiryaev is a short story about a horse farm, or rather a horse breeding state farm.

The topic is purely special. And yet the author decided to provide it with a subtitle - “romantic narrative”. This subtitle would be considered somewhat pretentious if it did not so correctly define the nature of the book. In fact, Shiryaev’s book is a romantic narrative, an excited and upbeat story about the deeds and days of one of the giants of socialist construction" ( A. Roskin . "New World" # 7).

Prokofiev A.A.

Favorites . - L.

“In “The Selected Ones,” perhaps more fully and definitely than in other books published so far, A. Prokofiev’s unique creative personality emerges. The very division of the book makes it possible to become better acquainted with the main directions of A. Prokofiev’s poetic work: with poems , dedicated to the civil war, imitations of folklore motifs, finally, with attempts to create a folk mass song, etc.

Beginning with “Street of Red Dawns,” A. Prokofiev affirms a fundamentally new type of lyricism, accessible only to a poet closely connected with the revolutionary class, who experiences all the events of the era as his own. First of all, the lyrical hero of A. Prokofiev’s poems is not a loner, albeit revolutionary-minded, but an ordinary participant in the great historical epic...

In an effort to expand the thematic possibilities of lyrical verse, to some extent return it to the epic, Prokofiev... thoroughly engaged in research in the field of folklore...

The visual means of folk poetic speech cannot, naturally, serve the purposes of either realistic or emotional-lyrical characterization...

But Prokofiev... knows how to solve the problem of mastering folklore poetic technique. In many poems... the elements of emphatically prosaic and official everyday speech are sent out to meet the epic elements; in these cases, folklore motifs are inevitably interpreted ironically. Prokofiev's irony... which is one of the means of critical development of folklore motifs, has, of course, nothing in common with Zabolotsky's irony, directed in a completely different direction, and there is no need to talk about any harmful influences here...

The book “Favorites”... testifies that in the person of Prokofiev we have one of our greatest and most original poets, one of those who, from the first book, have been pushing their own independent poetic line” ( M. Gutner . “Star” # 6).

Other works

Avrushchenko V. Poltava (Poems). - Poltava.

Adalis A.E. Kirov . Lyric poem. - M.

Axelrod Z. And again poetry (1932-1934). - Mn.

Altauzen D.M. Ode to Youth (Poems). - M.

Ardov V.E. And laughter and sin . Humorous stories. - M.

Arsky P.A. The Kremlin song . - M.

Comrade harvest . Song. - M.

Collection (Poems). - M.

Aseev N.N. Songbook . - M.

Afanasyev V. East . Poetry. - M.-Khabarovsk.

Babel I.E. Stories . - M.

Balin A. Shore . Lyrics. - Irkutsk.

Batrak I.A. In the footsteps of life . Fables. - L.

Bakhmetyev V.M. Offensive . Novel. - M.

Poor D. One Hundred Fables . - M.

Strike the enemy . - M.

Berggolts O.F. Night in the New World . Stories. - L.

Bobovich B.V. Pursuit (Poems). - M.

Brown N.L. Duel (Poems). - M.

Bytovoy S. Birthday . Poetry. - Khabarovsk.

Vartanov V. From the heart . Book of poems. - Rostov n/a.

Vasin E. Battle satire (Poems). - Tashkent.

Vashantsev S.I. Cannes . Tale. - M.

Vvedensky A.I. Volodya Ermakov . - M.

Veresaev V.V. Pushkin's wife . - M.

Vesely A. Chapany (Story). - M.-Kuybyshev.

Vinogradov A.K. Exiles . Three letters. - M.

Guy A. Step into life . Poetry. - Khabarovsk.

Gaidar A.P. Military secret (Tale). - M.

Harry A.N. Strings (Stories). - M.

German A.V. Gilya (Poems). - M.

Gladkov F.V. Old secret . A story about the past. - M.

Golovanivsky S. Waiting for a meeting (Poems). - M.

Hungry M.S. Selected Poems . - M.

Urban Ya.Z. My country . Poetry. - M.

Caucasian recording (Poems). - Kyiv.

Gribachev N. North West . Collection of poems. - Petrozavodsk.

Grossman V.S. Glückauf . Novel. - M.

Happiness . Stories. - M.

Guber B.A. Indian summer . Tale. - M.

Gusev V.M. Glory (Poems). - M.

A. D' Actile Communard pipe . Based on the short story by Ilya Ehrenburg (Poems). - M.

Demidov A.A. Forest . Novel. - M.

Dobychin L.I. City En (Tale). - M.

Doroshin M. Crossroads of happy roads (Poems). - Kursk.

Druzhinin P.D. Silver Wind (Poems). - M.

Evstafiev P. Line and score . Novels and stories. - L.

Zharov A.A. New book (Poems). - M.

Zhitkov B.S. Animal Stories . - M.

Viktor Vavich (Novel). - L.

Zavadsky L. Gold . Novel. - Voronezh.

Earthly V. Country of Flowers . Poetry. - Saratov.

Zoshchenko M.M. Stories . - L.

Selected Stories . - L.

A funny adventure (Stories). - M.

Ilf I., Petrov E. Wonderful guests (Humorous stories). - M.

Serene cabinet (Stories). - M.

Sense of proportion (Feuilletons). - M.

Inber V.M. Lane in my name . Poetry. - M.

Selected Works (Prose). - M.

Selected Poems . - M.

Isakovsky M.V. The verse . - Smolensk.

Isbakh A.A. Blue Bird (Stories). - M.

Kaverin V.A. The Taming of Robinson, or Paradise Lost (Comedy in 5 acts and 6 scenes). - L.

Selected stories and stories . - L.

Kalashnikov P.I. Sparks of the backwater . Selected Poems. - Arkhangelsk.

Kamensky V.V. Ivan Bolotnikov . Poem. - M.

Karavaeva A.A. Stories . - M.

Kartsev A.D. Highway . Novel. - M.

Kassil L.A. Conduit and Shvambrania (Author's adaptation of the books "Conduit" and "Shvambrania" for older children). - M.

Kirsanov S.O. Poem about a Robot . - M.

Cinderella . A poem of all the fairy tales in 12 chapters and 3 riddles with a key. - M.

New . Poetry. - M.

Kiselev A. My comrades . Poetry. - Ivanovo.

Knyazev V.V. For a quarter of a century (1905-1930) . Book of selected poems. - L.

Kovalenkov A. Green Coast (Poems). - M.

Kolbasyev S.A. Rules for joint navigation . Stories. - M.

Kolychev O.Ya. Near the Black Sea . Poems and poems. 1932-1935. - M.

Kornilov B.P. My Africa (Poem). - L.

New (Poems). - L.

Kostrov G.A. The first song is Metro . Poetry. - M.

Kryuchkin M. Morning in reconnaissance (Poems). - Minsk.

Lavrenev B.A. Big Land (Tales and Stories). - L.

Levin B.M. He speaks as he writes (Stories). - M.

Levin K.Ya. Russian soldiers (Novel). - M.

Lugovsky In . Clearing . Poetry. - Moscow-Irkutsk.

Lugovskoy V.A. One-volume book (Poems). - M.

Danchara . A poem. - M.

Selected Poems . - M.

Lyashko N.N. Sweet hard labor . Novel. - M.

Makarenko A.S. Pedagogical poem . - M.

Neverov A.S. Tashkent is a grain city (Tale). - M.

Nezlobin N.I. Eremin's treasure (Poem). - M.

Nikitin N.N. The Crime of Kirik Rudenko (Novel). - L.

Novikov A.N. Feats of arms of simpletons (Tale). - M.

Novikov-Priboy A.S. Potholes (Tale). - M.

Nozdrin A.E. Selected Poems . - M.-Ivanovo.

Obradovic S.A. Selected Poems . - M.

Ozolin Ya . Night sun (Poems). - Omsk.

Olender S.Yu. New Year . 2nd book of lyrics. - M.

Olesha Yu.K. Favorites . - M.

Oshchakevich F. Wind from China . Poetry. - Frunze.

Panov N.N. Novellas (Poems). - M.

Paustovsky K.G. The fate of Charles Lonseville . - M.

Petnikov G.N. Poems . - Kyiv.

Petrovsky D.V. Selected Poems . - L.

Pilnyak B.A. The Birth of Man . Stories. - M.

Selected Stories . - M.

Stones and Roots (Essays on Japan). - M.

Poletaev N.G. Selected Poems . - M.

Polonskaya E.G. Of the year . Selected Poems. - L.

Pomorsky A.N. Selected Poems. 1908-1934 . - M.

Prishvin M.M. Hunter's Tales . - M.

Reut K. Belief . Poetry. - Sverdlovsk.

Romanov P.S. Stories . - M.

Rubinshtein L.V. Path of the Samurai (Tale). - M.

Rykachev Ya.S. Complex move (Tales and stories). - M.

Rylenkov N.I. Meetings . 2nd book of poems. - Smolensk.

Sannikov G.A. East . Poems and poems. 1925-1934. - M.

Sayanov V.M. Oleg's shield . Tale. - M.

Selected Poems . - M.

Svetlov M.A. Selected Poems . - M.

Sedykh K. Heart . Poetry. - Irkutsk.

Sergeev-Tsensky S.N. Lighthouse in the fog . Stories. - M.

Zauryad-regiment . Novel. - M.

Slezkin Yu.L. Renunciation . Novel. - M.

Sokolov-Mikitov I.S. Ship routes . - L.

Surkov A.A. Homeland of the courageous . 3rd book of poems. (1934-1935). - M.

Tarlovsky M.A. Birth of the Motherland . Poetry. - M.

Tarussky N. I'm sailing up the Vas-Yugan . Poems. 1928-1934. - M.

Tvardovsky A.T. Collected Poems (1930-35) . - Smolensk.

Timokhin V. Youth (Poems). - Saratov.

Tikhonov N.S. Funny Horses (Stories). - L.

Stories . - L.

Tynyanov Yu.N. Stories . - M.

Utkin I.P. Selected Poems . - M.

Ushakov N.N. Selected Poems . - M.

Peace for us . Poetry. - M.

Fish G.I. We will be back, Suomi! (Novel). - M.

Chapygin A.P. Selected Works . - L.

Chekulaev S. Motherland (Poems). - Kursk.

Chernyshev F. A wonderful guide (Lyric-humorous poem). - M.

Chukovsky N.K. Padyspan . Stories. - M.

glory _ Novel. - L.

Shemshelevich L.V. Movement . Poetry. - Rostov n/a.

Shengeli G.A. Glider . Poetry. - M.

Shpanov N.N. Four bars (Novel). - M.

Shubin K.K. Third front . Novel. - M.

Shumskaya E.I. Thief (Poems). - M.

Ehrenburg I. Without taking a breath . Novel. - M.

Erlikh A.I. The Average Man (Stories). - M.

Yakovlev A.S. Lights in the field . Novel. - M.