yes, yes, for three, that is, 2 liters of a palette per day, there was an interesting case, when this type of preparation was just being restored, there was such a significant break. they didn’t spend 13 or 15 years there, and in general, they restored it. i just went, uh, as a conditional crew commander. that is, as an instructor. yes, as an instructor should work, as a rule, we had instructors involved in all these types. well, otherwise, how can he e something, yes, teach us a feature, in general, the preparation lies in the fact that we say do as i do, yes they they do as i said, and so do our doctors . this six-liter block of water, and not a barrel , was rinsed with alcohol in order to be sure to infect. yes, and they forgot to drain the alcohol from the ingots. yes, in the end. here we go to training. with this tank, we don’t know what is poured in there good or bad. this is bad for those conditions. he was well over 40 there. k in general, i was terribly thirsty and, moreover,

er, the venue was. e under er, baikonur summer turned out to be hot. the earth was completely dry. and these are the capacitors, which we taught you to dig, yes, which meant that you can use them to draw water. they don't work at all. and the doctors, then, were part of the survival department and, accordingly, as a military partnership, we were military and so on. it took on its role. therefore, we, in order not to hand over ours, we asked for clean water with this. yes, yes, we also studied with this water. in general, in the end, uh, they drank. one third of everything i lost. yes, yes, yes, well, as if i just had to support it in my mouth, yes, and i spat, i lost 12 kg. that's up to two days the scheme, too, training was carried out mercilessly from another by his superior. what does he say? uh,

well, two, i don't give a damn about my health there , i'll think about the crew. i say alekseevich did not want to drink there, although his lips were swollen, his tongue was swollen. in general, there cracked into space from training. now it is very hard , scary, and sometimes dangerous. let's think, uh, we're talking about today's training in 50 years in 50 by some human in space. i hope the astronauts will be as brave strong courageous people, you know, and literate , i would like to see, uh, the prospects are, as they are now, well, at the level. yes, there is planning, the whole thing is going on, there is a martian, smart program. i would like this whole thing to stand, because well, if the moon is more or less known on mars, i think that you can find a lot of interesting things there for yourself. hurry, but from the point of view. here,

cosmonauts. i think that good guys are now in the detachment. here, uh, strongly motivated interested will be sure what the future will be? yes and it will interesting, yes anatolic, unfortunately, uh, time flies like space flight. we have not touched on a lot, so on 10 our only first meeting. we will meet again, discuss other extreme, er, types of training for cosmonauts. and this was a podcast of space history. i am anton wardrobe. good day, dear viewers of channel one. i dmitry bug invite you to the next edition of the literary podcast. let them not speak, let them read. in our

podcast, we talk with those who make modern literature, read modern books and classics and we wish you to read with pleasure. today we are doing this together with pavel basinsky writer and columnist. e of the russian newspaper. good afternoon, pavel hello, i am very glad to see you and today we will talk about what you wrote in past years, what you write now and if you allow, and i would start the conversation with your series of books about fat women. so after all, it is correct to say a cycle of books about leo tolstoy. and not only about him, but about those who are connected with him in very close ties or complex ties so right when i wrote the first book or in thick, escape from paradise, i did not conceive of any cycle. eh, but then it happened. yes, we can say that the cycle and how

many books are already already quite a lot. she considers. the first is israel, then the saint against the lion. this tolstoy church is thick. he is kronstadt then a lion in the shade. leo is a mustache, and then i had such a short, complete biography of tolstoy leo tolstoy is a free man, which the young guard came out with. and uh true story on its knees, it turns out five five books, for now the last one, like now the last one for now. we wish you new books - this is the true story of anna karenina. and tell me, please, how did it happen, but you did not expect the cycle to be thick, but what played a role here. uh, such a deafening success of the first book, i’m not afraid of this word, or the inexhaustibility of lev nikolayevich’s personality that it was , probably, success also played some role,

when i wrote the flight of israel, not only didn’t think about success, i didn’t think at all that this book was someone will print anything and even though i they don’t believe, but the book, he says, was published in 2010. it was the centenary of the departure and death of tolstoy, i did not think that there would be 100 years. it's true, it's just a coincidence. yes, i just became interested in this topic of tolstoy's departure . uh, well, the book really had success. probably this played some role in the fact that i began to continue to write it in thick, but still not only not so much. it's just that tolstoy is such a figure, mmm, that if you take up some topic in his life, in this case, departure and death, then automatically some new incredible interesting topics are popping up while i was doing this topic. i was interested in the topic of tolstoy church conflict with the church. well, it's not new, but of course, not explored, not thought out. i would say that nothing new seems to

be written about everything. and yet. every time you open you discover something new. well, i would say that everything is written, er, i dare to argue. of course, there are classic books. this is boris himbab, for example, the author of a series of books, but i would say that tolstoy is not awarded such attention as dostoevsky, for example, for the anniversary. 40 books came out abruptly, for example, 40 in one clip. shall we not offend anyone by naming any names? but speaking in general, it seems to me that there are not enough, and such fundamental serious books, all the more understandable to the general public, i see. well, probably old tolstoy scholars are old. so the schools are gone. hudzi, goose difenbaum. e hmm bulgakov a. zhdanov new is not that they did not come

to eat, for example, a wonderful book. andrey zorin yes, tolstoy's life in my opinion. uh, viewed as text? yes, here is the biography of andrei zorin, yes, yes, very strongly from them. yes, that's why they come out. the state museum of tolstoy works there, yasnaya polyana collections, which are, well, probably, yes, probably, something like that. strong understandable tolstoyan school today, as before, it was possible, no, but i'm talking a little about something else. i'm talking about those uh books that, well, would help, uh, take a fresh look at tolstoy for a very large wide circle of people, and your book was just like that, because i'm my student i say that you read pavel basinsky this person loves the late tolstoy and it's very easy to love the late tolstoy, really. i think there is another point here. eh,

i once thought, what is the secret of the success of tikhonov shevkunov's book, e, not saints, well, well, i wrote. yes, today the water was written by a monk. so what? and he removed the fear of monastic life from the average reader, because, well, an ordinary person imagines a monastery there is something incomprehensible, something of a mystical indication. here, look, they simple people. they are not saints. although maybe saints and uh, that was the reason. well , except that she's really good. that, in my opinion, was the success. i think partly. the same thing happened with my thick book, because people form ideas from school. that's about this some very angry gray beard. means the old people who hung. yes, it is perceived

as late. for everyone, tolstoy's perception, in general of the whole world, is hmm. a gray-haired old man with beards , bushy mustaches and a very angry with a look. and this kind of, so to speak, fear of this figure, and i wrote to him as a person, it turns out. well, he rushed about, it turns out he sinned, it turns out he had a complicated relationship with his wife, like a complicated family history, like many of us. it seems to me that this book also bribed unhappy families. they are all happy in their own way, as we know, but really, but i think there was another fear or another prejudice, but these years, well, these years. let's clarify. it is approximately. uh, after anna karenina, probably, yes, the end of the seventies. yes, anna karenina was published in the seventy- fifth dash 77. but the seventy-ninth eighties of the writing of the confession is such a turning point. and i think that another important warning is that these

years are perceived as a crisis and nothing more. well, this is some kind of decline, a crisis of old age, or the case of the young tolstoy who writes kazakov there war and peace and other masterpieces. and this is something so mezheumochnoe not quite. uh, ripe or overripe, isn't it? well i think that in the minds of most people and war and peace were already written by the gray-bearded tolstoy although this, if young, of course, young still , yes, full of strength in general and uh twenty -eighth, fifty-eighth thirty years 63 35, but you and i yes, twice as much consciousness of the majority people - this is so this is how he wrote the war of the world. here is such a tolstoy tolstoy here, therefore, and, of course, tolstoy after the spiritual crisis tolstoy philosophers tolstoy religious preacher and so on. and there is

a fat one. people have. uh, some kind of fear and not something to be afraid of, but just that's what there is some kind of barrier to his perception. now, he's not really human. i would say so man. well, as if the undead, but how, yes. someone wrote that residents or such a teacher with a capital letter is sure to. here, although caricature yes, yes, yes, i can’t be silent. here, um, what is my faith, what is my faith? yes , what kind of art was with the late tolstoy as we remember, this i remind of our dear viewers. he refuses. here are the publications of works of art completely completely and publishes and writes writes you are artistic also not published. why publishes basking dew should have been published. and here are some other sundays, it was finally the ninth year. no, at the beginning. yes, at the beginning he

simply refuses to write. he's writing. uh, only such short stories. that's how people live and so on. uh, well, then he writes more than that, uh, this is a common mistake. that tolstoy began to write worse after the spiritual upheaval? here is tolstoy during the war of the world anna karenina - this is sunday's delusion with artistic points. sorry in terms of style. this is a much more accurate thing, and more than anna karenina , especially war. i'm not talking about their otzhimurat and father sergius and the death of ivan ilyich sunday, how would it be another sin to perceive this as really such a detailed moralizing, which is, but, yes, really sunday. this is a novel where the author stands behind the back of each character

and breathes on the back of his head, you can feel it, but this one also has, uh, no, the avant-garde of this thing is definitely avant-garde, yes, because when you feel it all the time. this is the breath of the author. here you get a slightly different impression. let's say in karenina's bath you rarely feel tolstoy's breath when he condemns someone or someone often. yes, often yes, well, on sundays in this regard, they are interesting at the avant-garde forever. it works differently, its effect can be compared, but it lets me. spectators, but with the impact of the black square compared to raphael's madonnas, we find it difficult to love him, like mmm something attractive beautiful graceful. yes, probably so. well, probably, yes, although, i it seems that katyusha maslova can, but you can love, i don’t know, yes, yes, yes, well, we know that

leaving is not only leaving yasnaya polyana, e.g., in the autumn of 910-1910, but this leaving is what is practically the main thing for all the main characters of tolstoy are deer in the story of the cossacks and andrei bolkonsky, of course, and uh, prosecutor golovin in the story of the death of ivan ilyich and their luda. of course they leave their usual life. this is what scopism is. yes flight, i would say, not even leaving. but it is precisely escape that is not escape from problems. rather, run away from yourself, from yourself. what happens to father sergius, what happens to the reindeer cossacks. uh, what's going on with pierre bezukhov and balcony? yes, with anyone, with anyone from his main e, all his main characters, and the second - it was tolstoy's hmm.

it's me. here i found out in the process, as it were , of studying his biography, which is very important tolstoy dreamed of without changing, in general, uh, mask. here, not just get away from yourself, but live under a different name. yes, no one knew who he was in there. as a result, bulletins appear in newspapers. yes, he is running he thinks that he disappeared in the third grade, he goes mixed with the people, and in the newspaper journalists write that leo tolstoy is at such and such a station for such yes, therefore , father sergius yes, therefore, unfinished death. the notes of the elder fyodor kuzmich are a legend that alexander i did not die in taganrog, but he changed his body and began to live on the side of siberia, uh, tolstoy knew, of course, this is a legend, but she was interested in him once he became her, how would this fake in general art is important. this is what interested him. fedya protasov yes, which is

a corpse, yes, effective suicide, how would you live, but everyone thinks. you no longer have. you live somewhere under some other name, and anna karenina of course, of course, warmed him. this is an idea. that warmed this idea, perhaps it was due in many respects to this. is this possible ? the most important thing hmm is the semantic distance between leaving and running. flight is. well, so to speak, anywhere, if from this, probably to hell. this is probably not an escape. meaningful. probably this flight is not successful , as many people interpret. uh, the last escape 100 yes, he is going, uh, it has not yet been proven where yes is completely somewhere to the south, having visited optina hermitage yes, and quite accidentally catches a cold and falls ill. well, that is, this escape is, as it were , a failed, unsuccessful, perhaps even meaningless, as many say, not me. eh,

after all, the flight of israel - is it usually the flight of nonsense darkness, external or not? as the matter is that hmm here all the same it is necessary to distinguish. uh, tolstoy's specific act was really ran away from that one. in general, from the horror that happened to yasnaya polyana mainly. not by him, of course, of course, but by his fault. this was due to the testament in it. well, i write, there, it is quite detailed, but, and the second point, really. he warmed this topic of care. he tried to leave home several times throughout his life. it wasn't the first one. uh, and he really believed that he would rent a hut somewhere and live to take his daughter to him. sasha because you still need it. yes, maybe there will still be makovitsky doctor. hello shower shower, yes, uh, and no one will know that this is the great tolstoy and he will be such a diogene to live there he was tormented,

glory tormented him with this infinity of camera shooters. uh, uh, yasnaya polyana, uh, and he really wanted his unity, but he couldn't find it. of course you, when i wonder what, when he understood it, but he understood. this is on the train when sasha brought newspapers from the station. and he saw what he said, all the newspapers are full of my departure and literally in an hour the temperature rises there and that means in the vestibule was smoky. yes, but all this specifically happened after he saw it, it means that he will not run away anywhere. well, i think it's still important to see it. maybe i'm wrong, and not only, uh, such fatigue from glory and so on, but deep, like before the twentieth century. they would say an existential act is important. and in general , for russia, a very important act is an attempt,

realizing the complexity of the way to avoid it is known. e, here is this e famous moment, and the samara horror, and in the late sixties, when in in such a dirty arzamas hotel room, he went there, completely for some business needs. yes, he suddenly realizes that well, i have my own point of view. yes, they don’t share it, they don’t share it. almost nobody. i don't attach much importance to zamaz horror. what happened to the fat one? just finished work on the double world, the work was terribly stressful with headaches. it had to be handed over. everything is already on time russian is. no, publications. yes, and for a long time. yes, and here it is finished. he is there, so to speak, already there territory runs and he rides. uh, means to buy the estate looked at the newspaper. here is some kind of nizhny novgorod province. so it's a pretty cheap belt. and, most likely,

just drive through and really in the hotel before that he was sitting in blue, yasnaya polyana, and he wrote war no. then he leaves, it turns out that it’s night in the hotel and he is attacked by an inexplicable fear, but in fact, well, now it’s called a panic attack, really inexplicable and that ’s why it’s scary, because he can’t explain to himself what to do. he got scared. well just lost my nerves, just lost my nerves in unfamiliar surroundings. but you never know, which is curious that the next day he writes about this in his arzamas horror andreevna. yes, they corresponded every day when he left somewhere, they wrote two letters a day, and he writes. he says nothing about the fear of death. there's not a word. he just says, some kind of longing attacked me , and i can’t explain it, then he says, the next day. she returned to me again, but i was already ready for her. and so it was not so scary. but 10 years later, when he

writes notes of a madman, he remembers this and explains it with the fear of death. and there the red square appear. here something such a wonderful definition to him was talstom, as an artist to use real cases of real people, he mercilessly used real people for his characters, because in the late seventies. yes, indeed , the fear of death comes to him, just after which, after writing in korea, but still it seems to me, i think that our opinions to each other do not contradict, because but this fear is angst, what he wrote about to the bright mountains or kirk yegor in any way they say in different ways. hmm, this is the ultimate fear, without a reason for fear. it is not fear, to lose a loved one or homeland or some thing. yes, this is the ultimate absolute fear. for women on march 8, if

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a literary podcast. let them not speak, let them read. i am dmitry bug talking with literary critic journalist pavel basinsky. and now i remind our tv viewers that in the middle of a conversation we usually have such an interruption. this is a kind of, and the genre of conversation, uh, with an interlocutor and with the audience at the same time, and we do one of the three, either we read a poem or demonstrate and stroking some old book that i love, and maybe the audience loves it too, or we read a familiar quote from the classics. and today, e, we are reading a poem, this poem by arseny aleksandrovich tarkovsky, my favorite poet, and a very famous e. and the poem - it needs to be reviled. well, firstly, and

hmm tarkovsky is known as a supporter of the exact rhyme of classical verse, he had articles about this, but in the first one with a trophy. here there is absolutely e unconventional strange rhyme begins the poem so soul, flashed on the fly , the whites did not see in the room, where in the fingers of the merciful sorceresses the child's body gently warmed, but look, what a rhyme is here, but, no, there is no soul that flashed on the fly. merciful sorcerers is a rhyme that is composed of the end of a line on the fly and the beginning of the next line is, but such an absolute enumeration, which, uh, is very typical for tarkovsky, but even this is not important, but it is important that we see here, the implementation of the key theme of tarkovsky very often in russian literature of world literature. we see a description of death description

the moment when the soul leaves the body, when the body parted with the soul, they are eternal , indestructible, the soul returns to the lord for a believer or closes the circle of reincarnations for people of other faiths, and the theme of tarkovsky is different. and what happens to the soul before it enters this body, and this is an obstetric poem. and as a matter of fact. and if you understand this, then what follows becomes very, but clear, intelligible and prophetic the soul that flared up on the fly, not they saw in a white room, where the ripe body of rain gently warmed in the fingers of the merciful sorceresses, posada passed the day before and the earth did not have time to dry so

much lilac in june that the radiance of the sky turned blue and in july and august there was so much light from three windows and so much light into the sky fountains. beat that my soul from behind the grave in the day of creation, how the soil is warmed up in this poem. eh, as if the poet absorbs the moment of his birth, which we don’t know about and tolstoy talks about it, we don’t know the birth and death of tolstoy, there are beautiful fragments, famous when and good hands. here they wash some kind of lokhana, yes. uh, a well-known fact includes here, as it were, the moment of birth and the moment of death, because tarkovsky was born on june 25 at such a peak of summer. uh, ivan kupala is close and so on. and, uh, my soul from behind the grave in the day of creation, how the soil is warmed up, we see this right now. that is, here there is such a shift in time and in this poem, analyzing the moment

the soul enters the body, the poet speaks to us through death , we see this overcoming time in the poem. uh, autumn of tarkovsky, which we have now read. well, now let's get back, uh, k. i am leo tolstoy and, most importantly, to pavel bakhinsky. let's go back to the past in our podcast, it is customary to talk about such an anthropological dimension of fate. well, how did it happen that pavel basinsky, who was born in volgograd, a southern man became, e, a student of a literary institute, but at first it seems a student of the faculty of foreign languages. how did all this happen and how did you get into literary criticism? where did they serve? how it all started already many years ago. tell us, please, well never of course in childhood

there adolescence. i did not think that i would become a literary critic, i even began to write. i had many different dreams. yes, such children from an aquanaut to an international journalist, and in order to travel, i didn’t want to travel abroad to see measures, of course, and so on. it seemed to me that the most beautiful trees in the world. this is a palm tree uh-huh, and then i realized, after all, birches, they are palm trees. well, the spectacular figures of our time with you. yes, foreign observers. well, yes, the club program 6. they want they want to travel. that's what the critics will definitely not think saratov university. i entered simply because , firstly, i wanted to study at the university, and secondly, well, to be honest, i wanted some kind of independence and, again , there. i enrolled to learn english well then to be marching. yes, yes, birches, then beautiful logic. so i

didn’t even know about the existence of a literary institute. i just didn’t know, but i accidentally fell into my hands, literary russia now i remember where there was an announcement about a creative competition, which is held at a literary institute. just what is the fate of the population, as they say now, yes, pavel basinsky in saratov comes across in literary russia and i sent him there. well, i quickly wrote some two articles, even to say rather eternal literature, i sent them. i was sure that , of course, i would not get anywhere. somewhere institute. well, everything, the lord just sent the second detachment and left. and then there's this clutch. yes, fate came to me there, yes, yes, i came on a motorcycle, my friend just ride me. uh, i say, come on, let's go to the city, we've arrived there. this is me going to the hostel. i am looking at a letter from this institution. you passed the competition, and before admission, but admission there is something not

a day and a half, it is there for 2 weeks. yes, let's say, that is, in 2 weeks you have to be in moscow with documents, that you have already dropped out of exams? yes? and ready to surrender. well pass the exam. maybe yes it was. so, in general, i did all this in - in quickly, quickly, which means i did it, i arrived, well, i didn’t get in. the first one was very funny, because i passed. e. there were also four exams plus a swampy secondary was a certificate. well, as now school food is all the same yes, the average ba. i had five four eczema. he gave us five five, four, that is, well, just one point for the full package, i don’t enter, but only two critics were taken. there were three of us in general for criticism, but they took only two that year. that year they decided to manage the country. this year there were two critics, the wonderful

sasha lufsov. and uh, larisa shulman whom i was friends with and they are friends, uh, they got all the pyaterochkas in the exams, and therefore they took me no, therefore, so that a poet there about bunnies would be handed over to triples there and acted there, well, they simply took more of them and took more. that's why i was terribly offended by moscow, even wrote about it, then the story of the moscow prisoner. yes, i just somehow perceived in moscow such an enemy that must win, in the end it’s just like that. david and goliath, it's just that i came for the second year, again passed the competitions and did so, i got criticized and criticized. actually did it. it was the course. it was the course of sel to alekseevich surganov, who was scared grateful, who was not only my teacher, in general, was a father with him at home often . why me cooled down very much loved me

very blessed to me, and i am terribly grateful to him. well, literature, by the way, on gorky as a result, because he was the head of the department, soviet literature, and i graduated from the institute and wanted to graduate school. so i thought that i would write about feta, there was the thesis alexei said, pash , you know, we need to say we need it, they say again. yeah well, that's why it started too everything from alekseevich me. in general, he forced me to study, but i am terribly grateful to him, because then gorky simply became part of your book. we remember, say , but the literary institute of that time, according to my perception from the outside. i did not study there, but i was friends with many. as you know, this is after all such an island of freedom. much more was said at the lecture. what could be seen in the press or at moscow state university yes, of course, well, completely free to give or speak? oh, on

the side of gumilyov, they dated it. yes? gumilyov well, maybe, uh, in fact, brovsky is completely calm, of course, well, of course , we went ourselves with danish ones. things are there in the hostel and no one because of this, in general, especially. i don't think they were being followed. reminds me of a literary podcast. let them not speak, let them read. i am dmitry bak talking with literary critic journalist pavel basinsky. in a word. here is a literary institute, and then criticism, but we already know that in the final hmm a book about a fat man. this is not a criticism, absolutely exists. you now have a whole book. she is not alone. here i am showing it from uh, no need for a violinist. this is a novel with criticism, as it is said here, this is a collection of various materials about criticism. there are other books. still, how is it, uh, there is still

a critic in your self-consciousness, and in my opinion, this is a person who does not think in books. he still thinks in terms of some kind of point reviews , portrait responses, he reacts to what is happening right now, of course, yes, well, with criticism. i had two stages. here is a novel. yes, an affair with criticism, because at first i was lucky that i immediately, damn it, at the institute, when i was studying, published a literary newspaper for a student. it was impossible, but i will not hide it. uh, just worked in the literature department. uh, a very great friend of my parents. and the restart of andrianov’s bitterness, which was not, so to speak, uh, they published me, because he said no, but simply because, uh, i took upon myself what other critics of such an abusive policy did not want to take on. oh, by the way, that's because basinsky of that time is a synonym for such

a zail. yes, yes, yes, i became a zail, and so i print such filiton, but also very funny, because this was soviet time even before the 8th early seventies and the authors could not be called by name. because if you call them by their names, despite the fact that a literary newspaper is not a newspaper, true, but criticism nonetheless. it was considered directive in our country, well, it’s understandable to name the author , they will stop simply throwing him out of the task of this critic. it was just a firing squad. yes, yes, here is a literary newspaper, so i scolded. well, he didn't say. that was very funny. i even want to re-read it all somehow, but you had a magazine in the novel by one author, he says there is such nonsense, after all, they called it yes , they called it hmm and uh, but the thing

is that everything i still stumbled for a minute, because i wrote a sileton, and a woman’s prose and then i meet the light intensely, it’s wonderful to write honestly, right? and she says, something in general made us thrown out, all the female authors of all the desired economy were thrown out of all plans, because in the literary newspaper there is criticism of women's prose. i stopped doing criticism just for a long time until the early nineties. it was really easy when she stopped being a director. yes, yes, and in the ninety-first year i was invited by a literary newspaper , andrianov continued to work there, but igor petrovich zolotovsky became the editor of the department. he read one of my whole cycle was such reviews he liked it. he invited me to work and gave me such a full card of everything that he wanted from that moment on , whatever he wanted, whatever. this is bass. i

even remember a little today with shame, this is because there was a certain hunter in it. azat is such no well, i liked the scolds of the left and the right, but the literature is still liberal, damn it, the newspaper has always had an article. rex the gun there, famous about knowledgeable people, is still a scary person and scolded prokhanov. we have a studio scary man get him on the fence. rather, it was on the pen. it was dangerously wrong, but i think for a young critic. it's not bad. well, uh, after all , i don’t like it when young critics are toothless , so you have to be toothy after all, as it were show that i'm a little afraid. and tell paul and the current criticism. doesn't she pretend to become directive again, that these are wrong, and read the correct ones, only these are not readable. still. it probably is, of course, well it is