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It was such a diagnosis that his wife, an indispensable second -plan character, made the storyteller , whose task is to demonstrate the rhetorical superiority of amateurs from literature over her recognized professionals. The authorship of this brilliant characteristic is not so important. It is important that she likes the writer.

Alexander Zholkovsky, who does not need to be presented, is strong that he is ready to look at himself through any lenses and even flirts without the usual hypocrisy for memoirs. When his "vignettes" in the fields of the beloved humanities "of the text of life" have just begun to appear, the hydraulicity in determining the genre was immediately noticed by criticism . That's what the calculation: KICH is an ambivalent phenomenon (bakhtinists, without hands!), In other words, a conscious setup. OK, let's not lie to each other, ”the subject of the narrative tells us, with pleasure, staggering between his numerous Identites from the Soviet linguist to the American Slavist,“ I have nothing to add to the big narratives in which I drew up, hit the post -strokesturism. I have a pile of impressions from my own “I” in different “here” and “now”, and everything else is applied. And not because I am the coolest (although not without that), but because it is the rest with necessity surrounds me. Or I surround him, what's the difference ... So the pragmatist of the frivolous self -certification is understandable. Moreover, if M.L. Gasparov stood, not ado, “ records and extracts ”, and I.P. Smirnov was restrained by “evidence and guesses”. Vignettes is a search for a legitimate form of narcissism, which in its usual manifestation gives rise to a well -mannered person of guilt. Hence the frequent masochism of the author’s Alter -Ego - a clear thing, "more than pride."

The book "Eroshida and other vignettes" is the most complete collection of notes that Alexander Zholkovsky, according to his estimates, is conducting about thirty years. The fact that the “vignettes”, “it turns out ... can develop in a solid volume” 1 is not so, frankly, a surprise, taking into account non -fiction ratings in the field of non -profit literature and the frequency of the author’s appearance in the press. Compared to the previous edition 2 , the volume grew by four copyright sheets, although thanks to a successful composition it seems more. The material was assigned to the sections: "Childhood, adolescence, universities", which is inevitably stretching after them "in people", then the capacious "there" and the compromise "here and here." Finally, the fifth section is a bonus to a strict chronology of the main four, where the reaction to the "prose of the philologist" is discussed. The narcissistic narrative acquires excessive completeness here, unexpectedly identified not with a postmodern game, but with an earlier autoanalysis project in the spirit of S. Eisenstein . We have to believe the quote that the “erotic”, along with “Potemkin”, “looks like a chronicle, but acts as a drama” (P. 601). Thus, unlike the usual memoir format, the book exposes its design and describes itself.

The author may, of course, be on duty to annoy the relevance of the genre and the abundance of similar products, but it is more interesting to write to compete, and to compare the interested reader. Even on the most superficial gaze, Ventytist 3 Zholkovsky receives a head start compared to other humanities who fell into the temptation of fiction. The rhythm of reader walking should also be counted. Not every philological prose is convenient to read at breakfast and (then) in the toilet, in the subway and in the country. Thus, A.P. Chudakov (Submissible on pp. 574-575) obliges an epic scope, L.Ya. Ginzburg (sung on p. 580-586) - existential depth, M.L. Gasparov (spread out throughout the "Erosiped") - intellectual inaccessibility, which he is effectively and almost convincingly not guessed. On the contrary, Zholkovsky’s book is convenient to read in all the places mentioned, and this is a guarantee that it will be read immediately by acquisition. But autobiographical notes are an already gambling and grateful thing. At least, it guarantees healthy interest from a certain part of the audience, unlike scientific articles, the interest in which is often a mysterious origin (unless, of course, these are articles that vignetist wrote on leisure or in a past life).

As for a healthy interest, he was taken into account by the author with ironic helpfulness. The book has a pointer of the names where the ANKA-machine gunner is chasing Leonid Andreyev, and the “grandmother, old woman”, at the same time encoding the household character, Zoshchenko and his own “grandmother of my colleague C.”. Magnering over his scientific approach to data processing, the vignetist appears in about the same "festive-winging manner", in which described on p. 166 mathematician proposed to use the services of mail to transfer thoughts to a distance. Simple sarcasm forces Bakanov, Colonel and Vasiliev, Comrade to turn from real, albeit over the years of anecdotal servants of the regime - into comedy masks. In turn, “Berlin, Isaiah, Sir” and “Hamlet, Prince” among teachers, friends and colleagues are an ironic, but firm oath of history. The person of the second half of the last century cherishes his irony - a cure for stupidity and aggression. He, that is, the vignetist, carefully cultivates his “pettiness”, aversion to pathos and large forms, in other words, “karamzinism”, as Arkady Blumbaum mentioned in the sign, was successfully expressed about the previous vignettes. By the way, in the future editions of Vignetok (bro. And additional), the pointer can be expanded at the expense of concepts that happily supplement the personalities. For example: "INVOVATIA (obsolete) ..." or "Semiotics, (false) science ..." 4 .

The irony of the “archaist -innovator” inherent in the Vignetist is by no means total - otherwise the fight against a large style would be a primitive antithesis of the latter. In those rare places of the text where seriousness is suddenly exposed and “the last straightforwardness” (the head of the “main”), a tired person is shown from under the narrative mask, ready to share the most important - experience of freedom: “Now the products are filled, read books - I don’t want to, but the unity of unity of command is a sharp shortage: there is no one to command, no main” (S. 562). But these places are measured with therapeutic stingy. The aforementioned experience captures precisely because it is free from "spirituality". In the event of a high usage, the vignetist has always been prepared a phrase, involuntarily donated to him by the Jewish Slavophile Naum Korzhavin - “UnFortunatly, fucking” (P. 393). It is better to show off “too human” - male charm, excellent health, unique memory, always and everywhere reactive, unfading wit - how to teach, manage, evaluate from the point of view of eternity. A preventive measure, so to speak. The consequences of injury?

By the way about her. The vignetist fruitfully jugles the remnants of structuralist methods, translating arrows from ideology to personality, that is, switching codes and rebuilding from one level to another. Thus, the section "In people" ends with a detailed analysis of the hero’s actions, previously described in 32 points, dotted with the life of the "average dissenting 70s" (P. 280). The carrier of quote, among other things, the initials AZ 5 immediately turns into a material for analysis. Once the same was done by V.Shklovsky (“Review of this book” in the 1928 book “The Hamburg Account”), however, no one has reached the real structural analysis of “oneself” in the Russian tradition. Either by laziness, or from excessive Petit - to himself, science, etc. The transformation of structuralism into sport in Zholkovsky is no coincidence. Even in the period of the corresponding storm and onslaught, he was not like that. A bold revision of poetics, and even with a claim to return formalists from the almshouse, where the semiotics put them with duty with respect, did not lead to the result, which later seemed obvious to foreign colleagues. Zholkovsky did not become his own in the Tartu Circle, although in one of the responses to the "erotic" he is attributed to the role of the leading figure of the semiotic movement. The passages cited in the book do not require the arrangement of additional accents: “I remember how Borya Uspensky informed me that he had just given his“ poetics of composition ”(1970) and does not intend to engage in poetics anymore, because all the main has now been done” (P. 218). The skepticism was not least heated by the "Cossack" mustache of Lotman (S. 343), as well as its rejection of our time. In connection with Lotman's love for the nobility of the 19th century, the question arose, but the question did not sound, “in which place of settled the Pale of Settlement he would like to be born” (P. 240). Such a well -thought -out “workshop” blasphemy, easy testing of an interested reader no longer pulls on a provocation, but entertains well. As, however, the charming dogmatism of the writing himself. In response to a ballad about the theory that a long-haired Marxist-Litrate-Litrate Roader Terry Igalton sang at the seminar, he boils: "For whether the formalists, the dry boots trampled and found out how the" overcoat "was made?!" (S. 386).

Accounts accounts; All the eternity of the burdock will eat. Small stories are scattered, sometimes sprouted from other people's heads and texts, sometimes sucked out of the phrase, sometimes from the word, sometimes from articulation ("Skiing is not getting it - weave" on p. 75, etc.). “Only citabable words remain in the memory,” the vignet plays at the minimalism of his entries about the great. This sadness is recognizable and inevitable, how inevitable failures of memory and the collapse of illusions are inevitable. Everyone who relies on their personal "hard drive" is confident in his reliability. And in the end, everyone remains access to a miserable handful of "citabable" files, manipulations with which it is so difficult to turn into readable literature. To admit beautifully - this is already half ahead, and the vignetist is well known. In the story of failed attempts to make out the morning the drunken transcript of the feast of Pasternak's table conversations is more notorious "spirit of time" than in other lengthy and suspicious reconstructions of someone else's discourse. So the sadness is bright if it is not pretended. You won’t lie - you won’t tell, or where the memoir will not fit, the vignette will leak there. This heavy fake under the vigorous Stalinist song about the advantages of aviation over the infantry I would like to finish the praise of this penetrating book with an erotic title.

Notes:

1 Novikova L. Books for a week // Kommersant. #4 (2843). January 14, 2004.

2 Zholkovsky A. Memoir vignettes and other non-fictions. (= Urbi. Literary almanac. Issue 30. Series "New notebooks" (5)). SPb., 2000. (Rep. See: Blumbaum A. // New Russian Book. # 5. 2000 ).

3 Journalist of Book Review, although he formed a word, called Zholkovsky "one of the first Russian structuralists." This is as if Lenin is called one of the first Russian socialists.

4 Literature for children and youth is rich in inspirational examples. Compare: "Show - 1) Bernard, 2) spectacle" (Zhitinsky A. Journey Rock -dyletant. L., 1990. P. 411).

5 Zholkovsky A. Zh/Z: notes of the former pre-post-structuralist // Zholkovsky A. Inventory. M., 1995; Zholkovsky A.K. Zh/Z-97 // Moscow-Tartusk Semiotic School. History, memories, thoughts. Ed. S.Yu. Neklyudova. M., 1998. A hint of the initial book of Rolan Bart "S/Z" with its apology ambiguous, floating identity at the author’s level, storyteller, character certifies enthusiasm for the game, his other, etc. I must say that the railway is not lonely in his stylizations. Once, in an email from Sergei Zenkin, I drew attention to the good in my naturalness signature SZ.