Correction from corner to corner

The conflict moved to the epistolary stage

On Saturday, April 7, on the day of the rally in Ostankino, it was almost impossible to buy Kommersant. There was a letter to Parfenov Kiselev - a public and richly fictional statement of care. It was the first swallow. Then it was poured from a bucket. And after all, everyone read, reduced like a mad. "And what about Kiselev?" "Let Dobrodaeva read." “Did you see a letter? And you read. "

Suddenly the epistolary genre became socially relevant. Gogol - Belinsky. Gershenzon - Vyacheslav Ivanov ("Correspondence from two corners"). Eidelman - Astafyev. That's okay. But this has not happened for a long time. And now ...

There is such a property of journalism: the problem cannot be considered vital longer than a week. After the expiration of the deadline, another problem is appointed vital. It is called all this "information occasion." No journalist - there is no problem. The problem, of course, remains, but remains without acute medial attention.

The situation around NTV, with its unconditional social significance, has become a vivid example of conceptualism in journalistic art (if such a phrase is generally correct), because journalism itself was leading the theme of journalism.

Information-emotional intensity weakened, the “flood of feelings” gradually enters its legitimate shores, the poster-blowing rhetoric is forgotten, thank God, quickly enough. But something should stay? Really letters?

Letters are usually placed in the last volume of the collection of writing works. Sometimes even in addition to the will of the author. I remember one such last volume, unfortunately, what writer. Tom began with a literary will. The testament ended with a desperate request never, under any conditions and under any circumstances to publish private letters. Signature. We turn the page. The next calmly appeared: "Letters." Such is the scientific-historical cynicism.

The authors of the current correspondence, correspondence “from corner to corner”, or, one can still say, correspondence “around the corner”, not that they did not try to maintain privacy, but even vice versa - they corresponded exclusively through many -threaded newspapers. At the same time, the tone with varying degrees of skill was faked under an intimate one.

Chronicle, if suddenly someone does not remember, such. April 7 - a letter to Parfenov Kiselev (“Zhenya, I better turn in writing, besides I tore my voice”). On the 9th there - Kiselev writes to Parfenov (“Leonid! I could not choose the word for handling”). On the same day, the prodigal son of NTV Oleg Dobrodeev writes Kiselev (“Zhenya! Genre of open letters to you becomes a beaten technique”). Then Alfred Koch erupted (“Dear Ntvshniki!”). On the same day, Viktor Shenderovich sends "a completely open letter to Alfred Koch." And here is Berezovsky. Some kind of epistolary bacchanalia. At first this: “You hold people for cannon fodder, you boys in hostages, because they do not know another life, except to be attached by the umbilical cord to the“ results ”, which means that you are doing this molestation of young people.” So vigorously and highly artistic, not without a well-worn overlament of Parthenov writes Kiselev, laying the foundation for a literary and artistic tournament. Further - in terms of arts, it rushed, as they said in my childhood, "shit through the pipes." “You perfectly remember that evening in Ostankino, a crowded correspondent and my insincere statement that I wanted to calm people ...” This is Oleg Dobrodeev to the motive “You remember, Alyosha communicates with Kiselev. Further, but already in the manner of something like “Girls from Nagasaki” he continues: “One person is a master’s plane, a master's yacht will be taken to the affectionate Dali, others will remain in the place of a conflagration, inflated for this prospect.” A fire, bloated for the prospect - this, you must agree, is strong.

Berezovsky, as a writer, is directly Protopop Avvakum, as if he had lived in our such difficult time: “Come back! I repent. It’s also to blame. The very first one was divorced. He did not take into account him, Putin, a Chekist sharpening. I will work out. You will soon choose the next president yourself. Do not make mistakes. "

Moreover, what is interesting: the tonality and argumentation of the messages smoothly moved from moral claims to aesthetic claims. Everyone seems to have forgotten about the essence of the matter and began to push the taste and style. Not only is it on your own, but also for the style of the opponent.

Kiselev - Parfenova: “You always fought for the style. But what you did is a banal betrayal in difficult times - this is a crime before the style. ” Koch - NTV journalists: “You have lost the style. This is the beginning of the end. This false pathos. This false passionarity. This is fortissimo. Tear. It is all stylistically - helpless. Toilet flag. Devoted boys. Fire -breathing Kiselev - Delphic oracle. Night gatherings (Camlavia). " Shenderovich = - Kochu: “Our bad snop is annoyed, our fortissimo does not like. Stasov, you understand. " And this is nothing that the presumption of taste is included in a visual contradiction with the individual taste of almost each of the discussion. The tendency deserves to think about it.

The very least formed economic and legal rhetoric has not become convincing for anyone. She, as always, gives way to “pure art”. It is clear that it is not the “withdrawal of assets”, and not “the rights of shareholders”, and not “investments in the real sector”, and not “imperfection of the judicial system”, but again the notorious “taste”, “style”, “faithful tone”, that is, absolutely blurry, but traditionally heating the hearts of all those who have been involved in the “ancient dispute between the Slavs between themselves,” are again called up to save the world. To save the world is again entrusted to beauty. And from beauty, especially from one who will save us? Photo of Ruslan Yamalov