Andrey Levkin. Kitchen hermeneutics 4

Kitchen hermeneutics 4
Mikhail Kononov. Naked Pioneer: A Novel. - St. Petersburg: Limbus Press, 2001

Publication date: March 21, 2001

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From the beginning, all this seemed like complete nonsense, not even self-expression, but just like that, the “piss” overcame. A certain girl who has not yet felt carnal desires and is also a collectivist pioneer is in V.O. war as the second number of the machine gun crew. Used by the entire officer corps many times a night, it, in clear contradiction with this, has the ability to fly in a dream over real areas, carrying out the strategic instructions of its chief commander, General Zukov.

That is, it’s kind of either nonsense, or tapestries like Komar and Melamid, in letters. But it reads well and the book is not bad at all.

“But someone must feel conscious in themselves, right? Especially if you dream of joining the Komsomol, as it should be. The Komsomol member himself has already signed the recommendation,” he managed to do before his death, the kingdom of heaven, the world was a guy. His signature will never be erased : with a chemical pencil! but you didn’t throw your corn anywhere, Igrun. Morally, of course, it was very difficult if, of course, you didn’t know what you were fighting for, didn’t clearly see a big, lofty goal, didn’t have a real Komsomol spark in your soul.”

And if we look at this story, taking up Konon’s agent of writing (the one who writes, the author’s golem - see previous issues), we will get a rather interesting result. In fact, Kononov launched into space someone whom all his life, or something, he wanted to understand. That is, he invented it not even out of the need to write this book, but in order to feel through his writing what he always wanted to feel. And this is a good basis (justification, motivation) for writing.

That is, Kononov managed to write the text in such a way that a being arose in it that was able to fit all the problems of life into a single difference: between the body and - well, the soul, say, or some kind of out-of-body faction ( "Free! Free, finally free ! Fuck you all!.." ). That's all - this letter agent does not and cannot have any other duties, only to hold out as long as possible where it is possible to maintain these two states of aggregation. Moreover, the longer the text, the more clearly this opposition will penetrate into the reader. The simplest example of a writing creature (not a reproach to him at all).

Accordingly, the time, place, and character were wisely chosen (who else can we relate to the body with which God knows what is being produced?). And what is easier than sleep to produce such a separation? Of course, this whole kilometer-long patter of individual speech serves as a mediator between the bodily and out-of-body factions. It serves, first of all, to remain as long as possible in the state of a being that distinguishes only the body and not the body, and everything else is so for it. This is the patter of writing agents who are in a hurry to complete their task before they forget what it was, and until the author pulls them back, annulling them with his personal problems.

“As soon as he lays his head on the hard sidor, curls up under his quilted jacket, tucks his sharp little knees to his stomach, his blue icy eyes will immediately roll into oblivion. And almost immediately the glorious fighter Mukhina Maria, the faithful little wife of the regiment, the bright bride of her death, departs , - she flies out on a night raid along the route laid out by General Zukov and approved, of course, at the headquarters of the Supreme Commander-in-Chief, in the Kremlin. It is possible, by the way, that he signed it himself, having familiarized himself with the plan for the secret operation “End of the Dragon.” he developed it? Oh, it’s better not to think!!”

Somewhere in part three it is already clear: that’s it, the author is exhausted - the flow of text has stopped, the author has lost his golem, the presentation falls into the traditionalist, fades out, however - technically (statement in the first person, in which the main heroine speaks about herself in the third person , almost imperceptibly moves into the presentation simply from the third, and then scripted dialogues will appear). It would be possible to carry the same stream of muttering through to the output and the cover, but it is precisely this transition that is implied by the text itself - this story needs to be anchored, grounded, otherwise the charm of the first parts would remain a separate muttering.

It’s the same with the ends, there are probably three of them, if not four. The first one, when the presentation entered the “third person”, would have been suitable. But, perhaps, in this case the break itself would have been some kind of foreseen, and so, in this pause, one gets the real impression that the author himself, in general, did not fully understand how exactly what wrote the text, managed to do all this.

That is, somewhere at the moment of transition to the third person, the agent of writing - who showed itself so much at the beginning - disappears and it remains for the physical author to complete the story. At the same time, the strangest thing is that he writes it as if without understanding it - without understanding how it was all written: symbols begin to appear, some direct similes, and then a transparent girl flies over the battlefield, saving and preserving. However, the author learned something from his writing agent; this completed summary is not too awkward to read. Actually, it’s simple here - the agent couldn’t stand it any longer, he didn’t have enough variety of his sensations, but the author is able to technically write out the tail of the text.

A similar method of storytelling is known, slightly modified by Wolfgang Koeppen. Koeppen, however, did not bother - in accordance with certain aesthetic rules - to somehow slow down his language, which somewhat blurred the effect of the letter. He, perhaps, disdained to treat his letter artistically. He, that is, was not interested in remaining normal.

Actually (perhaps because there is nothing else there besides this technique), this problem itself - jumping out of the body and returning to it, retaining the experience of out-of-body - is best visible in Kononov. That is, as a result, the text in its design coincides with what was written about: while the author is an agent of writing, he flies like a Seagull and sees everything, and as soon as he is woken up, he again becomes the author, whom, like the Fly, everyone fucks. All vowels, consonants and punctuation marks. It is unlikely that this was invented on purpose; when the tasks are so simple and specific, everything will certainly come together.

The case when a person knows how to work with the one in himself who writes is quite rare. Known, for example, in the version of Brodsky, who was only engaged in pitting (starting from the 70s) two different phases in one poetic text - not himself and himself. Of course, this is also a question of the existence of the one who writes: can experience become a habitat?

In essence, this is just NLP, which here performs a dual function - it fucks the reader until he loses his own discourse, and helps the author keep himself in the necessary tone - in touch - as Kononov himself would say: turning from a used “Fly” into a flying “Seagull” ", - in touch with General Zukov. Well, this is NLP, if only because all these girlish and military details are written not by, say, Lena Fanailova, but by the bearded man Kononov, who, in fact, invented them.

That is, everything is wonderful. But let’s look at how this is done and, accordingly, what are the possibilities of this writing option.

Of course, this is NLP. There’s already a problem here: NLP is perceived completely differently by the author and by the readers. Moreover, the author, being loaded with his own NLP, is not able to assess its impact on the reader.

Possibilities? Well, with NLP they are always very narrow. Again, why is everything so long? No, if it were shorter, the effect would not have had time to occur. This is prose, it is so long. In poetry, of course, everything would be shorter: in essence, “The Naked Pioneer” is a prose version of Mr. Mamonov’s theme “I eat in garbage dumps, I drink from puddles. The rain wets me, the rain is like a shower to me. And the sun.. Cars are driving and crushing me. But instead of asphalt, I dream of the earth. And the sun... I'm looking for bread crumbs on the ground. You kick me, but you also miss me... I'm the worst, I'm worse than you. unnecessary, I'm disgusting, I'm trash. And... I'm a gray dove. I'm the worst, I'm worse than you. I'm the most unnecessary, I'm trash. BUT I CAN FLY!

But inertia is inevitable. This agent of writing is solely concerned with preserving the ability to fly. It’s as monotonous as being a metro driver, probably: one of them fell out of the cab behind Paveletskaya in February...

But here an interesting story begins again. As soon as something is found that can imitate and record the relationship between soul and body for a sufficiently long period of reading, uncontrolled associations begin. Although the author may have made the heroine a Lolita on purpose, in general, this whole story with an anima in a fragile body automatically squeezes out precisely the Lolita type of the heroine. As for the rest, associativity is simply rushing.

Taking into account what has been said that Kononov’s agent of writing, although his anima, has no experience of girlish textures, then we are talking about the production of reality from artifacts, like Prigov. And this is actually good - it means that the current agents of writing have begun to somehow interact with each other: there can be no talk of any direct use of someone else’s experience. Consequently, with the current state of literature as such, things are going well (this is a socially significant conclusion, ignoring narrow professional matters).

In general, the topic of associations not controlled by the author's writing agent is too good to be dealt with in the case of Kononov (his physiology is too invented). And the theme of the heightened sensation of the subject, located in the gap between body and soul (adding here also to the letter itself), is also not resolved in two paragraphs. Here it is possible to note only the heightened sense of texture in this state. And here the agent of Kononov’s letter found himself in some not exactly curious state - in some very mysterious, but recognizable space.

The author processes this recognition quite sentimentally:

“The seagull flies and sees the breath of every iris in the swamp, every silvery bell with carved scalloped edges, hanging on its thin, thread-like, winding stem. He sees and hears the ringing and rustling of underground waters, and the sighs of tits sleeping in the bushes, and the displeased snort of a mole , - here is a world miner, they saw: - in Stakhanov style, on the night shift he makes a new passage from a hole to the surface, where small strawberries, like a scattering of sparks from an extinguished cigarette, - a fly during the day in the thick grass would never have seen I didn’t find it. Only at night in flight you see how bright everything on the earth really is, glowing from within, except that the stones and the earth itself, the soil darkens dully, blindly and silently. Would remain forever in this transparent world, among the transparent rainbows, tender. radiances, sparkling reflections - but you can see and feel this only in a dream, and in the daytime, in reality, you can’t take anything with you from a dream, I realized even in childhood.”

Well, with such adventures, almost everything turns into texture - including people, their actions, connections, etc. And this is very scary for a physical person. the author, for his state of mind. Therefore, they usually try to get out of such a situation. Kononov, for example, did not develop this texture that was revealed to him, but preferred to place it in some familiar sphere. Here the textures are translated into such a gentle presentation, but what is the result? And a fairy tale, that’s what “The Naked Pioneer” is.

So the novel is an undoubted feat of the writing agent M. Kononov, who managed to discover this rather forgotten space of fairy tales and take root in it.

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