Translated material
Egor Otroshchenko. Century=text. Issue 40: 1940
| Russian Journal / Reading Circle / Century=text www.russ.ru/krug/vek/20001215.html |
| Century=text. Issue 40: 1940 Egor Otroshchenko Publication date: December 15, 2000 POEM OF THE YEAR | BOOK OF THE YEAR | EVENTS | SELECTED QUOTES | CHARACTERS AND PERFORMERS Poem of the Year Insomnia I'm crazy, probably crazy,Everything seems to me: in silence The working bird woodpecker It hits my wall with its beak. Okay - let him fuss |
A. Gitovich . From the series "Separation".
"Literary Contemporary", #1.
Book of the Year
Akhmatova A. From six books. Poems. - L.
“Akhmatova’s poetry “sank” for many years - her last book was published in 1923. Akhmatova continued to write poems that we did not read. And now, after 17 Soviet years - a geological period of time - her new book appears.
New verses are placed at the beginning, followed by selected verses from the previous five books in reverse chronological order. The material is arranged in the correct sequence: the impatient lover of poetry has the opportunity to say to himself from the very first page: Akhmatova in 1940 still writes well. And even better than before...
The range of life phenomena illuminated in the work of this extraordinary master is very limited. You walk through six of her books as if walking between the walls of a gorge. Akhmatova always depicts the relationships of loving people in the same context - the loving self-crucifixion of a woman. When you read a lot of wonderful Akhmatova poems in a row, you don’t have enough air. After all, love relationships in real life are so much richer and more meaningful than what Akhmatova writes about, and develop on such different planes that for an active person of our time this masterful poetry becomes simply monotonous. I mean by this that this active person is in love and rejected, that is, in relation to the perception of Akhmatova’s poems, he is in the best position.
The perception of these verses is, as it were, a test of the quality of our new life attitude, its diversity and orientation towards the general, not the particular, towards the destinies of humanity. And the quality of our love is different - it is, as Mayakovsky said, “more grandiose than Onegin’s love.” Akhmatova’s heroine and we are too different people. This cannot but affect, despite the past and present skill of the poet." ( V. Pertsov . Reading to Akhmatova. "Literary Newspaper", #38).
Events
On March 10, died M.A. Bulgakov .
“Mikhail Afanasyevich Bulgakov was always a sincere and restless artist. He went through a complex and difficult creative path and will go down in the history of Soviet literature as an outstanding and unique master.” ( Presidium of the Union of Soviet Writers . "Literary Newspaper", #16).
Selected Quotes
E. Schwartz . Shadow. A tale in three acts. "Literary Contemporary", #3.
" Shadow (Goes to the throne, sits down)
I could stretch across the floor, climb up a wall and fall out of a window at the same time - is he capable of such flexibility? I could lie on the pavement, and passers-by, wheels, horses’ hooves would not cause me the slightest harm, but he could adapt to the terrain like that? In two weeks I learned life a thousand times better than he did. Silently, like a shadow, I penetrated everywhere, and spied, and eavesdropped, and read other people's letters. I know the whole shadow side of things, and only in the shadow side of things is their true meaning. And now I sit on the throne, and he lies at my feet."
Characters and performers
Adalis A.
Lyrics and sparrows . "Literary newspaper", #28.
“Our best lyricist, in the most typical and literal sense of the word, was Stepan Shchipachev today. All the praise attributed to lyricism by opponents of the propaganda, civic, journalistic style applies to him. “Transparency,” “calmness,” “silence,” “depth ", "warmth" - all these old words define Shchipachev's work quite correctly and accurately. But tell me, aren't his best poems typical of Soviet thinking and the morality of an advanced Soviet person, and not just examples? Means of calm, deep philosophical propaganda our worldview? Integrity. The clarity and definiteness of the worldview here turns into clarity and definiteness - the qualities of art... - this is ideological art. Go ahead, try to write such poetry without being our poet! And even if our poet wants to sing unprincipled poetry, he cannot It will work out or it will turn out badly. He is not a sparrow, but a lyricist...
The wretched idea that poetry is something not “militant”, that is, different from politics, from modernity, is either a refuge for mediocrities and hacks who profane the social theme, or a shelter for holy fools, torn off, amputated from our living, struggling, joyful, suffering and victorious world. But the real, honest truth is that the civil and the poetic, the personal and the general of a true poet are one. A true poet must be a leading figure of his time, he cannot help but be!
Khmelnitskaya T.
Solid lines. (Simonov's poetry). "Literary Contemporary", #2.
"Konstantin Simonov is perhaps the most prominent figure among young contemporary poets of the last generation. He entered literature quite recently with the hasty and confident gait of a contemporary, involved in all the acute and exciting events of his era and his country, eagerly rushing to all current topics, always staying true to one.
He amazed everyone with his versatility, energy, perseverance, ability to work, and sensitivity of thought. True, he undoubtedly has less direct lyricism, genuine poetic breathing, and closeness with the poetic word than such of his peers as Shefner, Chivilikhin, Shubin, at least. He also does not have an organic relationship with the chosen image and material, specifically colored and warmly lived in verse, such as, for example, Tvardovsky’s village, the province and student dormitory of the young poet S. Smirnov, the author of the collection “Friendship”. And yet no one, including Dolmatovsky, whose poetic path is considered by Simonov himself as the typical path of a poet of his generation, has such a scale of creativity, such logic of thought, such a clear sense of purpose. This is the secret of Simonov's quick and well-deserved success... Simonov, more than any other modern poet, while remaining in the traditional form of verse, destroys the idea of poetry as a specific art form. In his poems, the difference ceases to be felt not only between poetry and prose, but also between poetry and a theater play and film script. The theme, the hero, the material outgrow the verse, taken out of the verse. For Simonov, poetry is not a lyrical immersion in oneself, but, first of all, thoughts in order. This is an accurate focus on the topic; it is not only overcoming the difficulties of understanding reality, but also the fight against the ambiguity of consciousness."
Kaverin V.A.
Two captains. Book 1. - M.-L.
“Kaverin consistently and generally successfully works in the difficult, important and almost unused genre of the educational novel in our literature. Successfully - we can say so without hesitation, because the weaknesses and shortcomings in interesting works never erase the meaning of these works. The writer’s path is here is in many ways reminiscent of the path of his heroes, where direct movement towards the goal, movement without searches and contradictions, which are the source of movement forward, is almost impossible." ( B. Kostelyanets . Captain Tatarinov wins. "Literary Contemporary", #8-9).
“The life that Kaverin opens before us... is, it would seem, not only an ordinary, but even a well-known life... But this ordinary life is illuminated in such a new way by the unusual events and relationships unfolding in it that we see her again and as if for the first time.
Dostoevsky, in his own words, considered it his artistic task to “find man in man with complete realism” and characterized himself as a “realist in the highest sense”... So for Kaverin, exclusivity, unusualness of events and conflicts is a means of creating such an atmosphere around heroes, which forces them to open up and clarify before us, forces them to reveal and clarify the ordinary.
That is why unusual events and relationships are the key to ordinary life for Kaverin...
“Two Captains” depicts the people of our days as they should be (Sanya, Korablev). This makes the novel modern, and not just topical (as a novel about polar explorers could easily be), modern in the best sense of the word.
That is why “Two Captains” also seems to me to be one of the best books for youth written over the last two decades." ( S. Khmelnitsky . The Fate of Heroes. "Literary Contemporary", #10-11).
Fryerman R.
Wild dog Dingo or a story about first love. - M.
“As soon as it (the story - E.O.) saw the light, many critics, without bothering to think about it, immediately declared it “wonderful”, “inspirational”, “talented”, in a word, almost a sign time... But is this success really deserved...
Let's take a closer look at this story, which is making a "triumphant procession". At first she is really captivating. I like the soft and lyrical tones, the spirit of romance that permeates it, and is attracted by the harsh nature of the Far East, against which the action unfolds. The children's world depicted in the story is of interest. But when reading a book, simultaneously with sympathy for it and its characters, a feeling of annoyance, dissatisfaction, and, finally, complete disappointment appears, first in a small dose. What's the matter, why such a reaction? And here, realizing this, thinking about it, getting used to the story, we see the main thing that pushes us away from it - its artificiality. The story does not contain what constitutes the true beauty of a work of art - the poetry of life, the embodiment in art of words, images and pictures of reality, there is no deep progressive idea. But this is precisely what gives strength and irresistibility to a work of art, makes it an object that ignites the hearts of people, calling for action, for struggle...
Ilya Ilf in his “Notebook” gave an apt description of the creative method of some Soviet writers. “Most of our authors,” Ilf ironically notes, “suffer from a tendency toward observation that is tiresome for the reader.” This irony seems to be directly directed at the author of “The Tale of First Love.” In Fraerman’s work there is so much tedious observation, or rather a contemplative attitude towards the surrounding world, that in places the story simply tires when reading." ( A. Volozhenin . "New World", #6).
Sorokin G., Fleet A.
Prose poet. "Literary Contemporary", #5-6.
“We thoughtfully and calmly sorted through the sheets of Viktor Gusev’s “Lvov Notebook” (“Red Nov”, #1, 1940).
We have not inhaled such fragrant rhythmic prose since the death of I.S. Turgenev.
The image of the notebook hero, deputy. political instructor Vasya, given by the author in his formation:
“He became comfortable in the flames, and soon his enemies bowed to his faithful grenade...”
"...His name is Vasya, reader, look, the son of the working people. He is twenty-three years old. He has been in the army for three years."
The same Vasya -
“He entered polling stations as an agitator, helped two unfortunate old women, and imprisoned three Petliurists.”
V. Gusev's transition to prose should be welcomed in every possible way.
With extreme laconicism, unusual for our prose writers, V. Gusev depicted a whole series of well-known Western Ukrainian facts and phenomena, filling to capacity the notebook purchased in Lvov with them.
In V. Gusev’s prose, full of fresh images, rhythm does not obscure the meaning:
“It’s twelve twenty according to Moscow time. There’s nowhere for an apple to fall in the hall. The chairman says, trying not to worry: “Who is for Soviet power?” From young to old, everyone’s eyes are clouded. Hundreds of hands, like one hand, rise up. For! "
Having analyzed the Lvov Notebook, we established:
1. The rhythm of the prose is skillfully achieved by Gusev’s persistent use of rhyme.
2. Due to an oversight by the editors, and perhaps also by the author, the “Lvov Notebook” was typed and printed in the form of a poem in verse.
We believe that V. Gusev, as a prose writer, deserves to be treated with more care.
And others:
Aduev N. Estrada. Poems, monologues, feuilletons. - M.
Azarov V. City of my youth. Poetry. - L.
Ardov V.E. A rare specimen. Stories. - M.
Out loud and to yourself. Humorous stories for the stage. - M.
Aseev N.N. Mayakovsky begins. A story in verse. In 17 chapters with an epilogue. - M.
Belyaev A.R. A man who has found his identity. Novel. - L.
Bill-Belotserkovsky V. Stories. - M.
Bolshakov M. In the smoke of fires. Novel. - M.
Borisov L. Never setting sun. Book of stories. - L.
Brazhnin I. Friends meet. Novel. - L.
Brick B.I. Shamil. A poem. - L.
Vvedensky A.I. Poetry. - M.-L.
Gaidar A.P. Stories. - M.-L.
Hungry M.S. Songs. - M.
Green E. Stories. - L.
Dolmatovsky E. Three seasons. Poetry. - M.
Zamoyskiy P.I. Shepherd boy. Tale. - M.
Zoshchenko M.M. Stories, novellas, theater, feuilletons. 1937-1939. - L.
Stories. - M.
Stories. - L.
1935-1937. - L.
Pop. - L.-M.
Cunning and smart. - M.-L.
Ilf I. Notebooks. - M.
Inge Y. City on the Baltic. Poetry. - L.
Kamensky V.V. Life with Mayakovsky. - M.
Kantorovich L. Boy. Tale. - L.
Karavaeva A.A. Stories. - M.
Kataev V.P. Near Smorgon. Stories. - M.
Kedrin D. Witnesses. Book of poems. - M.
Kirsanov S.I. Four notebooks. Poetry. - M.
Kovalenkov A. Farewell. Poetry. - M.
Kolychev O.Ya. Shchors. Poem. - M.
Kratt I. Gold. Novel. - L.
Lebedev B. Ballads and poems. - M.
Lebedev-Kumach V. Fighting songs and poems. - M.
Sentinels of the Soviet seas. Poetry. - L.
Levin K.Ya. Russian soldiers. Novel. - M.
Libedinsky Yu.N. Batash and Batai. Tale. - M.
Lidin V.G. Actress. Stories. - M.
Lifshits V. The third day of spring. Poetry. - L.
Lozin V. This is where I live. Poetry. - L.
Martynov L. Poems. - M.
Matusovsky M. My pedigree. Poetry. - M.
Moskvin N.Ya. Twenty-five stories. - M.
Nikitin N. It started in Kokand. Novel. - L.
Novikov I.A. A cunning feather. Stories. - M.
Ozerov L. Dnieper region. Book of poems. - Kyiv.
Pasternak B.L. Selected translations. - M.
Prishvin M.M. Fox bread. Book of stories. - M.
Prokofiev A. In defense of lovers. Poetry. - L.
Banner. Poetry. - L.
Rozhdestvensky V.A. Window to the garden. Book of lyrics. - L.
Simonov K. Poems of the thirty-fifth year . - M.
Suvorov. A poem. - M.-L.
Poetry. - M.
Slavin L. Stories. - M.
Soloviev L.V. Solar master. Stories. - M.
Troublemaker. (Hajja Nasreddin in Bukhara). - M.
Spirov M. Flight. Poetry. - M.
Surkov A.A. This is how we grew up. Poetry. - M.
Tarussky N. Nights in the forest. Poems. 1934-1939. - M.
Tvardovsky A.T. Selected Poems. - M.
Tolstoy A.N. Emigrants. Tale. - M.
Utkin I.P. Poetry. - M.
Fadeev A.A. Birth of the Amgun regiment. - L.
Fedin K.A. New stories. - M.
Sanatorium Arcturus. Novel. - M.
Fleet T. Talents inside out. (Lit. parodies). - L.
Kholopov G. Bear Log. Novel. - L.
Churilin T. Poems. - M.
Shengeli G.A. Selected Poems. 1914-1939. - M.
Shefner V. Bright Coast. Poetry. - L.
Shklovsky V.B. About Mayakovsky. - M.
Minin and Pozharsky. - M.
Sholokhov M.A. Quiet Don. (Final part.) "New World", #2, 3.
Shubin P. Sail. Poetry. - L.
Shumskaya. E.I. To my country. Poems for the stage. (Monologue, feuilleton, short story). - M.
Shchipachev S.P. Lyrics. - M.
Poetry. - M.
Erlikh A.I. War stories. - M.
Yashin A. Mother. Poem. - M.
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