he was a professional, a real publisher, so the editorial board that will be engaged in the publication of these letters should include, who do you think, nina petrovskaya's first husband, the same one, they later divorced, by the way, and bryusov, to tell you the truth, took her away from her husband, but nevertheless the husband should be on the editorial board, of course, balmont, of course, andrei bely, yes, all these people should definitely be engaged in, that is, editing there, well, not editing, in any case, to ensure that... this correspondence was competently published, that's it - bryusov could not have imagined that 10 years after his death, and her death, it would already be the thirties in stalin's soviet union, no one was interested in nina petrovskaya, in general, these letters lay in the archive for a long, long time, only in the 2000s they were published, by the way, very well published with very deep, serious comments, a wonderful introductory article. in

the publishing house new literary review, if anyone wants to read such a real epistolary novel, a tragic novel, of incredible intensity, then i highly recommend it find this book, she says awkwardness arises when you read it, but at the same time you understand that this is really a vivid example, this is what the silver age was, how people lived, how they simply really sacrificed their lives, these letters clearly show these fluctuations from despair. hope, they parted, then came together again, then they met in moscow on nikitsky boulevard, then they went to paris, then again she showered him with reproaches and could not forgive him that here this way of life, this kitchen, this cooking, this game of cards on sundays, what bryusov really loved to do and what he found rest in from all these poetic flights, this is so important to him that he cannot leave his wife. and give himself entirely to nina, as she,

nina gave herself to him. nina, in fact, wanted equality, she wanted equality in these relations. yes, by the way, here we can again recall chekhov's the seagull, where everything was exactly like this. and bryosov wrote a novel "the fiery angel", a novel that enjoyed success, a novel in which he killed nina, that is, at the end of this novel, nina dies, in general, it is clear that as a literary character, he no longer needs her and probably as a prototype of this character too, nina was, of course, furious, she was a very harsh woman, and there is evidence from bryusov, he writes about this to zennaidiya nikolaevna a gippius, with whom he was also connected by such very whimsical relations, as all the symbolists with each other. bryosov writes that once in one of performances, by the way, it was almost chekhov's seagull, well, maybe not a seagull, but in any case it was definitely in moscow. theater, yes, which is covered

with the name of chekhov, nina petrovskaya approached him, took a browning out of her muff and wanted to shoot at him, there were several people nearby, as bryusov said, who managed to get ahead of her, snatched this very browning from her, the shot did not take place, but bryusov writes, this browning, therefore, appeared a few weeks later in another story, and he still shot, and bryusov himself recalls lermontov's photographer: that he did not have time to get scared, everything happened very quickly, but in any case nina petrovskaya was exactly like that: love, death, eros, thanatos, all this was embodied in her fate, but even this could not induce bryusov to abandon this constant that was in her life, then she began to act on him in other ways, she began to openly cheat on him with a variety of people, and naturally with people from the literary world, and one...

he was the nephew of mikhail kuzmin, another very important poet of the silver age, it was with him that nina had an affair, with him nina went to italy, later auslender also wrote about this. and some kind of fiction, and nina wrote some stories, that is, this is also very characteristic, here they live everything, that they live immediately into literature, and such an impression that they lived, and khadasevich wrote about this, not just in order to live, but so that what they lived was like today people take selfies, yes, here he went, they took selfies in much the same way, all of this went into literature, but another thing is that some people managed to connect it, some people managed not to disappear, not to vanish, but for nina

petrovskaya, unfortunately, all these experiments on her own destiny that she carried out, they did not pass without a trace for her, because gradually her psyche simply began to... wear out, she began to be unable to withstand this frantic tension in which she lived, or rather, i would even say so, she could not give up this tension, she could not simply forget life, she couldn't just meet some normal person, leave these madmen, yes, just spit on them and live some human, female fate, which probably, well, theoretically was possible, but she was not psychologically ready for it. things started with her, well, such sad, but in general, in human terms, understandable things, she became addicted to alcohol, in 1911, they finally decide to break up finally, this is where their letters end, and bryusov insists that nina go to

europe, she really goes to germany for treatment, then she moves to italy, she never returned to russia and lived abroad until the end of her days, but the end of her life... was very sad, because in europe she turned out to be of no use to anyone, all these experiences, experiments that she did on herself did not pass without a trace, she aged early, her health was ruined, she could not find the means of subsistence, plus the first world war begins, the revolution begins, in general she really drags out the most terrible existence, she also has a sick younger sister on her hands, whom she is forced to look after, that's the only thing...

the story of pinocchio, it was she who translated this fairy tale for him, from which he would later write his famous golden key or the adventures of buratino, so already at the same time nina ivanovna should be infinitely grateful, but for her, cooperation with the day before had extremely negative consequences, because the day before was an openly pro-soviet newspaper, it was made with money the kremlin, in exile, everyone understood this very well, namely... collaboration with the newspaper the day before actually put tolstoy before a choice: either you are with us, or you are with them, but the exile told him no, then he returns to the soviet union, and here his very interesting soviet fate takes shape, she did not follow him to the soviet union, perhaps

no one invited her there, and no one was waiting for her there, and no one needed her, she goes, returns to paris, where they look at her very askance, precisely because she had tarnished herself. tarnished her reputation by collaborating with a pro-soviet newspaper, so there are no more opportunities for her to collaborate or work in the émigré press, she actually finds herself in a situation of boycott, in isolation, she writes letters, she asks for help, they give her some crumbs, but it's all nothing, it's terrible poverty, it's hopelessness, then her beloved... younger sister, the only one who connected her with life, dies in her arms, and after that life finally loses its meaning for her, in 1928 nina petrovskaya committed suicide in paris, in a poor hotel, and khadosevich

soon after wrote a short epilogue, well, not an epilogue, an apitaph, an obituary, yes, dedicated, dedicated to her death. that he gave himself up recklessly became such material for the creative destiny of other people ended up in general oblivion this story, which personally touches me very much, i myself have such a novel, which is called the mental wolf, where i just reflect on this

relationship between people who create and people, which involuntarily or voluntarily become material for creativity, in many ways the fate of nina petrovskaya remains for me some kind of... chorus, reproach, i really want to now, 100 years later, tell her gratitude for what she was, for the life she lived, for how she... gave herself away, without thinking or condemning her, to bow to her. dear friends, this was the podcast life of the remarkable, and we talked about a truly remarkable woman, nina petrovskaya. and with you was the writer alexey varlamov. this podcast is a must-read. yaglai

nabatnikova, director, writer. today my guests are oleg demidov, poet, critic, literary critic and ekaterina dvigubskaya, director, writer. we will discuss maringof and his novel "cynics". this is the second leader among the circle of poets and majinists. the most famous of them is sergei yesenin, but nevertheless moringov is also quite famous, and he begins to try himself as a prose writer after the success of poetry, the novel "cynics" is published, but it is published by the german publishing house petropolis in 1928, and this causes a certain scandal, after which the novel is banned in soviet russia and is published again only. already in the eighty-eighth year. oleg, please tell us why this happened. it is necessary

to enter such a historical and cultural context to understand what kind of time it is, right? and this is firstly, secondly, it is necessary to understand the biography of anatoly borisovich maringov, because he succeeded as a poet, and was one of the leading poets not only of the moscow order of imzhinistvo, yes, this is the turn of the tenth, the beginning of the twenties, well, and in general throughout literary russia, yes, and after his death. this will not be published, yes, because they have already begun to slowly tighten the screws, they have begun to standardize literature, they were looking for something new as he wrote, he can no longer, and no one soviet art, let's say so, yes, and he tried prose, after yesenin's death he wrote small memoirs, so ... it's called a memory of sergei yesenin, right? but they were very close to yesenin, right?

of course, best friends, they rented the same apartment, traveled a lot together, published books, were engaged in their own business, they have there was a cafe building a pegasus, and so on and so forth, yes, and he looked, these memories are selling well, and the most favorable assessments were from critics, from colleagues, and he decided to rewrite these memories into a novel, which is so ... called a novel without lies, many are sure that this is again a memoir, yes, but this is not quite true, there is such a concept as a non-fiction novel, yes, that is, a novel without fiction, a novel without lies, again, this is how it is translated, it was discovered by european slavists, american slavists in the second half of the 20th century, and maritgov, in 1926, had already created all of this, and after the success of the novel, without lying, he again worked exclusively on prose and...

he was just totally unlucky, and he hadn't been very lucky in life in general, the death of his mother and the death

of his father, the death of his best friend, and then the novel was banned, banned for a completely idiotic reason, the book was published not in russia, but in germany, and petropolis verlak was such an amazing publishing house, where absolutely soviet authors like zovshchenko and some fellow travelers were published, some anti-soviets. so to speak, the dashing years, complete chaos, the era of change, and the cynics - these are the main characters vladimir and olga. the most important thing in this novel is, in my opinion, the imagery, the way the novel is written, not about what, but how? it is clear that the scenery, this is the revolution, terrible times,

the way this cannibalism is described, all the time about eating people, this is, practically. this is rhythmic, like music, all the time this disrupts the rhythm of the novel, these inserts, and it is generally written very curiously, it is not even like a novel, but such a great-great verse poem, written brilliantly, you sit there, read it, i sat with a pencil all the time putting check marks, because well, these are such unexpected, unlike anything else, word counting, images, it's all so... intertwined, twisted, that you just sit and don't understand how a person could come up with this, to compose words like that, unique optics, but this is where the techniques of magenists come in, right, to create an image from some unexpected things, but for example, his poems are more difficult for me to read, but the novel is read in general, well, in one breath,

at the same time, that it is very poetic, it is figurative, this is of course, well, reading, in general, serious.

at war and does some machinations, here olga, you can say, captures almost every man she meets, and somehow, in general, vladimir perceives this whole story, he patiently endures everything, he adores olga, probably, these are some kind of unusual family relationships, and maybe the novel is easy to read precisely because there is some kind of plot. narrative and we follow what will happen to them, how they develop such a relationship, what will happen to olga, well of course, it is always modern, actually, if we turn to modern art , sex violence sells well, there is also sex violence, but if we say it very simply and banally, but it seems to me, she is still very complex herself, she is complex for herself,

she is interesting, smart, this is olga, well, that is why maybe she is attractive to men. yes, but you know, no one likes good girls by and large, everyone likes women with a beater, only a woman with a beater, you never know what to expect from her, in what second she will either fall in love with you, or shoot you, the trouble for her is that she herself does not know what to expect from herself, the whole novel is about how olga tries to understand herself in a revolutionary world, in these terrible events, tries to understand what kind of man she wants to be with, tries to understand what she should do in life, yes, some kind of her own destiny, tries to find her destiny, of course, there is a wonderful passage, when the matter is already coming to an end, vladimir says: olga, well do something, yes, maybe in a movie, yes,

you want to act, she says, i don't want to act in a movie, it's better to act in photographs, but that's not very interesting either, have a baby, she says, no, it doesn't look like it. and she would like something, it seems to me that she provokes herself, around, those people she comes across, it's a provocation all the time, when a person is not calm with herself, and for her, it seems to me, her main problem is that i am not calm with myself, but can you imagine it? heads really were flying like football swords. oleg, tell me, please, and is this an autobiographical novel or can it be copied from life, that is, where did moringov

get the material? the texture was generally great. yes, if you look at the literary world of that time, then here, in my opinion, as olga it is easy to guess lilla yuryevna brik, yes, whom all literary moscow knew, and not only moscow, all literary russia. exactly the same episode happened in the life of lilla brik and osip at the very beginning of their relationship, if we talk about some other texture, there is a wonderful critic. cultural scientist alexey yuryevich kolobrodov, yes, when we were doing in in the thirteenth year, the collected works of moringoff, and he wrote a provocative article for this collected works, where

he says that vladimir and olga, their relationship is a kind of application of the relationship of moringoff himself and sergei yesenin. no, well , moringoff is still a normal person, he was happily married all his life to one woman, in general, this is still. probably a very bold assumption, very-very, well, you know, that i generally this idea is banal, but if you imagine those times, god was abolished, all the foundations of society, all knocked out, imagine what they had in general , in developed people, what was going on in their souls, in their heads, when you don’t understand at all what to rely on, there is no god, there is no sex either, it seems, there is some kind of licentiousness from this and there are, well, some... these are experiments all the time, plus there are also experiments in art, art is very avant-garde, so what was going on with them there, it seems to me, they were boiling in

some kind of boiling cauldron. if we also talk about the texture, then let's remember the finale of tsinnikov, yes, and olga calls vladimir, says: i i shoot myself, and vladimir is rushing at full speed, trying to save her, but, naturally, nothing works out, it’s very slow and idiotic. texture, then exactly the same episode happened in the life of the poet and mazhinist, a close friend of morenhof, vadim gabrielovich shershenevich, and if we take life again , he was in love with the actress yulia dezhur, yes, he dated her for a long time, they had a very difficult relationship, so she acted exactly like olga, well, we can say that moringov uses...

this bolshevik power was presented negatively in this novel and it played, it might have seemed negative, but that's how tamgov described what was actually happening, yes, his heroes behave cynically, strangely, yes, but this novel did not glorify the soviet power at all, not at all, but what did moringov do, as a very smart person, and there were two epigraphs, in them he says that his heroes can do anything and he... is not obliged to share their feelings, their position, their life, but katya, as a director, probably understands that it is impossible to create a convincing character,

yes, alive, we believe in this olga, we believe in this situation, it is impossible if you yourself have not gone through a similar experience, well here i do not quite agree with you, because playing a killer, it is not necessary to become a killer, in general it is possible and it is necessary to have such an experience, and it is not necessary to have such.

i know that maringov was quite a family man, of life, yes, of the traditional views of a person, he was always a family man, right, there was some experience before anna borisovna nekritina, yes, they are in some shit this is not his life design, you understand, that they are not his method, so to speak, of personal life, this podcast is a must-read,

he does not accept what the bolsheviks do in terms of politics, yes, he opens up, accepts the system, but his brother sergei occupies a high place in this hierarchy, he arranges for olga, actually, yes, his mistress. katya, tell me, please, do you think that such a family system is cynical? listen, i generally like the word cynics, it is sonorous, you know, it, the novel is much.

scarier than this word, which actually the novel is named, the fact that cynics are like a glass of champagne that you drink there, i don’t know, in the evening, dancing, somewhere, i don’t know, somewhere on the table, conditionally, and the novel is scary and deep about broken people, cynics, it seems to me that in this word, how the novel is named, there is also some kind of provocation, because well, cynics, well, this is not at all, this is a cheerful word, and the novel is not at all cheerful.

the heroine is also provocative, it is clear that writing about very good and correct people is boring, but you always want to find some kind of worm in a person, to understand why she is for it's more interesting to watch such a... person, well, in principle, even we in life, we are curious about people, interesting, and interesting people are rare, they go against the flow, very correct, i will add about how this novel is written, yes, yes, that is, what is my magenism, yes, yes, yes, i see, you are saying this, but you are saying it in your own way, yes, like women, yes, yes, yes, and, why are we

interested in the novel, because it is a terrible time? absolutely terrible, yes, but there are some sparks of life, and these sparks strike us vladimir and olga. what is imaginism according to moringhoff - it is a combination of pure and impure, yes, that is. some kind of naturalism, some kind of sweat, blood, this is cannibalism, that is, i feel a lot of naturalism , unpleasant, yes, but at the same time there is a description of porcelain, which is described so that it seems to you that you bring this cup to your lips, there is always this dirt, dirt, dirt old surviving objects there is marvelous silk, and it is all so intertwined, crystal. beautiful clothes in my opinion on beautiful clothes on ugly people that make you laugh, there's some lace there, yes, beautiful clothes on beautiful people that make you wonder, it 's all wildly curious, and the image should be built

on this very opposition of two principles, yes, if we describe poverty, hunger, cannibalism, yes throughout the text, well, what is this, it will be black, that is, it gives... that's the place moringov occupied, let's say , in the general literary context due to the fact that the novel was banned, and it was published there only in the late eighties, it seems to me, moringov went unnoticed by many, he is not as popular as yesenin, and we

do not know much about him, so it is simply interesting to understand what place he occupied in the literary system, considering that he lived his whole life in russia, regarding he lived his whole life in russia, in the mid-twenties he managed to travel around europe, was in berlin, was in paris, he traveled, looked, is it worth leaving russia, if he leaves, then where, and what experience do his comrades, friends have, who have already emigrated, something like that the same as alexander borisovich kusikov, the rest, yes, and he understood that he couldn’t do without russia, yes, there’s nothing to do in europe, that he would go there, as he would have to work, because they wouldn’t pay as much for prose, for... poetry there as seriously as in soviet russia, that is, the migration option would have greatly limited him, of course, of course, regarding his place in literature, then moringov tries to find himself after he

is banned from writing prose, he understands that writing some kind of socialist realist prose text is not read not about him, that would be great, i think, but he tried yes...

some were successful, but most were filmed after the two-hundredth, hundredth performance, before the dress rehearsal. no, respectable, but not enough by soviet standards, if you look at it that way, writers are always unhappy with how everything is going for them, although from my point of view moringov is lucky, because he was not repressed, he earned literary income, which is already quite a lot, when he moved from kirochnaya to borodinskaya, and this is in petersburg, yes, yes, the next tenants who moved in - into a pickled apartment, right? they left a memory later that they were moving in there, and the front door had some crazy number of locks, about 10 pieces, chains, is this some kind of paranoia, well, these were the thirties, this was

stalin's terror, and moringov seriously feared for his life, and he was not the only one, he , in my opinion, mentioned mandelstam's poems in his plays, yes, he somehow hid them there, so to speak, absolutely forbidden, exiled to vladivostok and died there, yes, and the intelligentsia, who understood who such mandelstam, read his poems, and she, sitting in the hall, was clearly surprised at how cunningly moringov did all this. ekaterina, and i want to return to the conversation about the heroine olga, could she have gone according to some other scenario? well, yes, what? could it have been with such a heroine or

could it all have ended just like this? listen, but this is such an image of a destroyer, she destroys what we have already said, like other people's lives, well , it is logical that she should destroy herself, that is, it is very difficult to imagine that this a woman will suddenly start cooking borscht or go - to serve some soviet service, well, she serves the soviet government, she has her own secretary, she serves herself quite well, as we understand from the book, she occupies some, well, high post, not being able to do anything at the same time, not being able to do anything at the same time, and i think that in general and doing nothing and not even pretending that she is doing something, and not trying, well, it is clear that she should have ended up the way she ended up, and it seems to me that her death with these candies, which i can't rest, she's so paradoxical, because she's cheerful, she's also... somehow she tastes, on the one hand, candy, like

candy, she tastes it, at the same time she's seriously dying, she's probably still experiencing incredible torment, because she 's having an operation, and it says there that they're not giving her anesthesia, that is, can you imagine, it's a spinal operation, how painful it is, she , maintaining her, actually this pose, she plays the whole thing until the end in laughter.

of course, she's mocking, and also, look at her faith in her feminine strength, it's just

it's amazing, it seems to me that she's real, well, she's a pamphlet, she's even a dominatrix , that is, she humiliates men so easily and naturally that men are completely subdued by this and generally obey the rules that olga dictates to them, she doesn't even care that vladimir has taken a mistress, this pear-shaped marsha, she pushes him towards this, she keeps saying: look at those calves, how something is written there two, two hearts, what legs, yes, but it seems to me that he 's going to this morphusha, as ekaterina correctly noted, because olga told him: go to this morphusha, how can you not appreciate her, such beautiful full legs, and he, in fact, does this too like a puppet, isn't he, yes, she's getting married, she 's marrying him wonderfully, this year i have...