quite familiarize yourself, but if you try to use this oil, then i think it will help you. you just need to buy a small jug, a little drop of this oil to carry with you or take a bath with this oil. well, the details. i think i will tell you in the next editions. this is a witty podcast. and i'm svetlana dear, and today we talked about the turning point in april and touched on the topic of essential oils a little. hello, my name is dmitry bag. i'm the host of a literary podcast called let them not talk, let them read. of course we are on our podcast. eh, we talk about literature a lot. i hope it is meaningful, but all our conversations

aimed at ensuring that everyone who sees and hears us read, read with pleasure. this is our mantra, our spell, our call, our recommendation, our order, whatever. it can be designated, but the main goal of our podcast is e. remind me that reading is not the past. uh, back to the last session. this topical fashion is wonderful when communicating to life through literature. that's exactly about it. today we will be talking to the guest of today's edition of the literary podcast. this is sergei ivanovich chuprinin. ah, literature. let's start from the very beginning, editor-in-chief of the znamya magazine, here i am at the anniversary celebrations, and you recently celebrated your whiter sergei ivanovich heard from you a wonderful formula that you and a southerner are at the same time, how it happened and where at

this intersection of literature and literary criticism. i was really born in the north, where my parents were exiled to build the pechora railway it was called a small station, where there was no bookstore, silpo was as it should be and it sold three four five books. and when i turned i do not know years. most likely, that lies parents presented for a birthday. big money, i went to the store. i think that i should buy this for myself, and i bought a book. it was, of course, a fateful act, as they say, all my life i wanted to do literature and only literature from the age of 8 right, yes, this, well, not from 8:00, maybe from the eighth grade, maybe from the ninth, i began to buy other books. what book did you buy, then remember

a few stories of the kabardian writer. hachi, mochi died. uh-huh, i think this is due either to the fact that i did not understand anything in the literature, or with the choice that was presented. i think, well, in the eighth ninth grade. i have already started buying political collections. i have my favorite boom writers. these are the years this is the beginning of the sixties of the beginning of the sixties , and again, my first book was with god, evgeny yevtushenko, a promise, of course, of course, here. the first tale i read about and fell in love with univer was aksyonov's star ticket oh, this is a great thing. so, in this sense, i am a thaw person of that same couple. i say again that i was not a muscovite to me residents of a big city. i only recognized everyone from a distance , and it seemed to me even more attractive than if i really were at the luzhniki stadium, hmm, at

some mayakovsky poetry concert or something like that. it was something unattainable. we are extraordinarily attractive. of course, i described it all rhymes. how without this young man? yes, wait a bit, the stories have been published. yes, thank god, i never published it, and in this sense i say that russian literature is of great harm. i don't know, understand. well , already in the first year. it was already south. it was already rostov university, when my parents returned to their historical homeland, and i came with them and entered the rostov inter-regional school. and there, too, two fateful events occurred. i first published in a newspaper for soviet science. there was the university printed newspaper published an article about young, poetic students who studied with me at the same philological faculty for the second time, for the first time

, at the student scientific conference with a report on nikolai gumilyov. so those were the two most important events. then it happens to a lot of people, but not many, then it turns out to be editors-in-chief of magazines, and you read the criticism. this is interesting, how criticism is present even in the eighth grade. aha log like corners it's supposed to be time already died. these were the critics of the new world of lashina and so on youth evgeny lawyer sidorov living stanislav sadit other authors, well, no, no, this is, and this is the third fateful dog, but after some time in the fourth year. for the first time in my life, i became the editor-in-chief of a literary magazine, which i invented myself, together with friends, friends who studied with me, already

ate, my grandfather was called modestly, but well. i think it's dandelion. it was the first samozdat in the south of russia, as it turned out later before that, no samosas. yes, it wasn't there. it's all written about it. i hope, uh, as long as they haven't been taught the conference has already been. i understood. now. i understand that the magazine had four copies, the third issue and the last one came out in 10 copies already, and we took one copy to the region. ah, the university library. i was a few years ago in rostov, he still managed. there is a fund in the catalog, it's wonderful. so everything is buried. this is us, as a matter of fact, then i didn’t have any exhaustion. next moscow to engage in literature. it is not clear that we need to study further and it is clear that ideally it would be good to become

the editor-in-chief, indeed, magazines think of me, the young chip coach did not think, they are completely like that. well, well, you were a literary historian and you remain. that is, you are the main specialist in the most prolific russian writer, let's take a break from the moscow art theater. let our interlocutors on the other side of the screen try to guess. which russian writer is the most prolific? this is peter 200 babarykin , of course, yes. as they called him ironic for this most colossal writer, by the way, not the worst. it's not the worst thing to read. interestingly, not everything has been preserved ; it was possible to meet a novel. vasily terkin , including, by the way, where did the name come from? yes, including a member of the paris commune

, because when revolutionary battles were going on in paris, there they beat themselves up, they broke the first the russian thick magazine did not bankrupt him. and how, well, under him, he stopped publishing a library for children. yes, but this is postgraduate study. this is already a learned occupation hmm here. eh, let's say too me really. i would also like to go a man with literary ambitions. i really worked a little in newspapers in ordinary areas, and then veteranov's newspaper, and then i was already from graduate school, i already went through a literary newspaper. there 13 years. this is a whole whole epoch it was a whole epoch and the literary newspaper was a wonderful, perfect publication and influential and debatable hugs, unlike other soviet ones, if i were the director or the minister. as there was a rubric of this, if the minister was a director, this

was the second notebook. it was a debate about life. and i worked. the first notebook or literary newspaper consisted of two notebooks, 16 pages, the last band was humorous the first eight pages or pages, and literature the second. oh, social problems, i remind you so, so you have it. dear our viewers, and i wrote it in print. well, you are nice. here than in my opinion. maybe disagree. you always left some traces that you patented. i don’t know, one word revives you to feel. eh, there is no such person in the literary workshop who does not know that a there is a word you enliven and sergeevich came up with it and was accepted. uh, he probably really is, yes, uh, they don't claim. yes , i hope. tell me please, but what is at that moment, well, in that era. i mean already

the seventies, of course, years to a greater extent, which i also partially found that i was a book critic. it came out with a circulation of 10 or even 20,000 copies. it is beyond the present moment. yes and so the book went right away for later, they still went differently, someone wrote a monographic work about some class, or a classic of the 19th century, or a classic of the soviet era. i have no personal work. there is not even a turnover about anyone. although i prepared a few of the distant babarykin and other writers of the early 20th century. that in those years, here was at first at first most of all poetry i had a close-up book. these were portraits of the most stupidly interesting poets are far from all. of course, he couldn’t be there, for example, brodsky’s forces naturally were there or henry sapgir couldn’t be there, or i don’t know sergei

gandleevsky there, that is, authors who were either in exile or in the underground, but were not recognized by the soviet government in any way, but the rest there i had martynov breeze slutskoy yevgeny vinokurov yes , you never know remarkably darkovsky, by the way. by the way, tarkovskaya, it’s not real for me and it was very open to the elders, then there is his martynov and his tarkovsky. you are the author of the preface to the legendary book of the eighty-second year, arseniy of tarkovsky, plump gray. well, in general, it must be said that literary criticism, of course, it seems to me. uh, 2020 at that time, uh, was very important, that is, they listened to it. she somehow built a literary space. for example, alamarchenko writes in tarkovsky barcelona that he is in tune with his contemporaries and takes all this on faith, although tarkovsky made his debut in the sixty-second year. first

book. he has a not quite debut new book. and at that time, at the age of 55, he made his debut together, uh, with the voznesensky yevtushenka and company, so the comparison is later than them. mm. even later than them, of course, in the late fifties. voznesensky began to publish and vtushenko read a successful article. article. she became an event to me and they talked, m-m corresponded, so they listened about it. well, in general, it is, yes it is. yes . indeed, it was so much more appreciated. actually, three things. uh, first of all, the so-called courage. that is to say, that the other still, for censorship editorial and other reasons, did not dare to say , for example, for the first time i quoted gumilyov, whom i then loved very much without naming him. she said that as one old poet said and then it was so fashionable.

i remember the collection of the institute of slavic studies of protein studies, where in the note there are two wonderful co-speakers vyacheslavvich ivanov vladimir nikolaevich toporov, both deceased now, uh, gave a footnote, and there was another footnote to the footnote and there uh was as you say, and as it was said for nonsense for failures for loss all dear and for what could have been otherwise for not needing another georgiy ivanov gv ivanov sent great have you remember, almost emphasis, however, i remember exactly this quatrain, because i saw it then , by the way, and there is one from the main, well, such theses of our my, but today, our podcast together. you know, i would just like to say even at the very beginning. here you are encouraged to read. but i came into the world. well, somehow stalk. while still being mastered in the literature, when

literature was one of the most important things in the country. i this call to this call of yours today would sound strange. yes, it was not necessary to call once and people went to the stadium to listen to culture, there was literature, central t-shirt. look, there was literature in society. i will say that everything was built around this. i even wrote in front of the word one of my books, literature was one of the most important things in the country. and how am i now annoyed? how can i grieve with the fact that this is the former, this is the device of our culture gone. well, you know were almost gone. we are trying to prevent this, as if culturally speaking. by the way, i am the author of the aphorism. eh, or even proverbs are not given to everyone, but to compose a proverb. i composed yevgeny yevtushenko said that the poet of russia is more than a poet, and i came up with the idea that a poet in russia is no more than a poet. and this describes, unfortunately, the end of an era, er, of the literature

of centrism, with which nothing can be done. so, i continue my criticism. that's what else i wanted to say, so i dared. but the taste is, of course, appreciated. this is understandable, and the third was greatly appreciated, the quality of the letter, the quality of the letter, the self-credit matter. why, how he himself wrote, how he builds a phrase, how a paragraph is a tool, how he deserves criticism, this is science or literature. as a matter of fact, yes, that's when this dispute flared up in the direction of those who think that physics is literature, of course, i am also for this that criticism is literature of the same kind as a friend, others, of course, e on lyrics and criticism. the same. this is such a statement on the material, uh, read books, and not on the material of the reality of some kind of literature absolutely solidarity themselves science works in categories. true false. right wrong true or false, but there are no correct critics,

wrong opinions. yes, it's just that some become well-known, some leave the shchenko editor of the one we have already mentioned. uh, the library for reading magazine he wrote about the first volume of dead souls, it's a dirty, imperfect, terrible piece of work. uh, the birdies' hotel is coming. two russian peasants are standing there, and he is laughing. what kind of women french or something, but this opinion is difficult to argue, but it has lost reality, so criticism is not science, of course. this is scary. well, now let's go back to our conversation with the editor-in-chief of the znamya magazine , literary critic sergei ivanovich chuprinin, so i will always remember your book. if i'm not mistaken, the eighty-sixth year, i didn't find it on my shelf quickly before leaving here. criticism is criticism. a or eighty-eight, maybe 88,

probably, right? this is your book, she, for the first time, turned her gaze to explore already now. yes, not about a bunny for criticism. what heroes were there, how they fought and competed with each other then it was, and very different writers wrote well. it is very important to write well to write in such a way that it would be interesting to read tiredness. yes , indeed, i am firmly convinced that criticism of this criticism and this book is valid. i just know, the first one is the only one , and then already, not so long ago, about five years ago, i republished it for essays. it does not even consist of an article, it consists of essays on figures, but figures, yes from key figurines from mark sedlov, whom you already mentioned, to completely new people who

appeared. here is at least a reissue in the nineties at the beginning of the 2000s , here's something else that i discovered. eh, book. well, of course, it's not the earliest, it's wonderful. here it is depicted. this is the library of aganioka, the publishing house, however, the ninetieth year is the thirty- seventh number here, i read one paragraph of a book called the situation. this is a book, despite its modest size. here is a paragraph of theirs in quotation marks conservatives are. for example, the burial of our open information society seems to upset us. even the current publicity, which is a sin to hide, is far from freedom of speech in one single country, and even more so from the free exchange of information on an international scale. well, you know, your style is recognized, well , as if it were written not even yesterday, but just today, that is, nothing has changed. take a look at the imprint imprint, what circulation, well, yes, say. yes, i predict that the circulation

is 50 thousand, my god 150.000 150.000. this diverged. here in this book brochure the situation was interesting. eh, far away. it is not always the case now that speech, not sergei ivanovich's criticism in general, we will return to this. and now the very thing that i have prepared for you today. and this poem by boris pasternak is a thunderstorm, instant for a century, pretending to be a simple analysis, i will say two things, but firstly, i will still read this poem from a book close to your heart, because this is a respectable poet's library. uh series second edition of her blue color, this book came out at 65 checking myself. yes, it was in the sixty-fifth year, and most importantly, that its compilers and the author of the article e hmm and andrey of austria's accrual data is an absolutely classic such publication. and why

are you close to your heart, our dear interlocutors , you know from the second part of our program. although they accepted it, he said that he was a child. thaw yes, this says a lot. well , the second thing i pretend. ah, my simple analysis. but what uh, here hmm everything is complicated and this poem can be said. so it will be a good merculo the lilac wind at that time, he picked up an armful from the field and mitrashin, as if simply, that is, the sentence flows from one line to another, they can be read in poetic rhythm. and you can read it together and there is one incomprehensible word trafil, well, the german verb trefen trave get rophan - it will be possible to get it and so on. uh, uh, this poem is talking about. how do you, of course, remember a very simple thing, but that it is at night, and the lightnings snatch out

the familiar picture, which we remember, e by the way they see during the day, but at night they e look as if they were photographs in their military from the darkness, we recognize acquaintances who seem unfamiliar to us, this is what we are talking about here. well, uh, thunder and lightning are presented in such a personified form this is a photographer. if you remember the old days, the photographer would put on his big camera, uh, pull the trigger on the black cape over his head , simultaneously press the uh, another hook would twitch the flash. magnesium is all this uh, zarya here is such a picture here, but the most important thing at the end yes sergey ivanovich is the same poem absolutely, amazing, not always e reader fascinated by this beautiful complexity, a and beautiful vagueness gets to the end boris pasternak instant thunderstorm for a century. and

then summer said goodbye to the station, took off his hat, took 100 blinding photographs at night as a keepsake of thunder, froze. at that time, a bunch of lilacs, having picked up a bunch of lightning from the field, they trafiled to light up the management’s house, and when the building covered the forest, a wave of evil kinship spread. and like coal according to the drawing, a downpour struck, all the lashes began to blink. the collapse of consciousness. it seemed get excited. even those corners of the mind, where it is now as bright as day, what happens at the end, and in another place boris pasternak says that a work of art. whatever they are , they always talk about the moment of their birth. this is a very subtle note it has.

my attitude to what pasternak gives us in poetry, because this poem is not about how lightning snatches familiar pictures from the night, but about how this very poem is born before our eyes and at the end we see an amazing insight when the cover building, a wave of gloating erupted. and as charcoal in the drawing means, charcoal pencil, of course. e, the downpour struck with all the whip. why do we weave? because the jets are parallel, as if branches intertwined in a wattle fence, and the collapse of consciousness began to brighten. and it seemed to be charging. even those corners of the mind, where it is now as bright as day, not a thing to illuminate those areas of consciousness where it is dark, this is not the most, the main thing is not the most. the main thing is to take pictures out of the darkness. the most important thing is to understand that even what seems to you to be light, clear, and transparent, but still. even this

you are indistinct until you bring yourself into this poetic state. the main thing is not to snatch the light out of the darkness, and the main thing is to see a different quality of light even those corners of the mind, where it is now light as in the daytime , are lit up with a new color. i understand. this is precisely at the moment when thunder and lightning in the complex, deliberately complicated image of a photographer light these candles and, uh, strive to get into the management’s house and give us a picture that is familiar to us by day and not visible at night boris pasternak thunderstorm. instant for a century. well, we will now return to the conversation sergey ivanovich after this beautiful poem, which i love very much, in which even the words are rearranged for a treasure trove, yes.

an instant thunderstorm for a century is an inversion, this is not a very natural word order for the russian language. let's return to our conversation and talk about your editorial work. firstly, it is very important to me how literary magazines live now. how the znamya magazine lives what has changed and i would very much like to talk about your projects. here from this series, and here we see one volume from a two-volume book, uh, created by sergei ivanovich chuprinin new russia world of literature. let's start this amazing project with him. there is a famous dictionary of russian writers, where articles are written about all the writers who had at least one book of the 19th century. a huge team of 19th-century authors is working on this seven-volume edition. they write and continue to write the last volume has not yet come out, and here is one chuprint. e

wrote eh, these two volumes, it's a wonderful work. i think that and through that is, through 200 years. uh, in those twenty or thirty. uh, years will be judged by mm on this book here there is, for example, twitchy no, petrovich well , that's all, of course. this is a poet, a songwriter. here there are such namely as a tree, and a hole db nobody knows, but they have books, what can you say about this work of yours. it's not criticism, it's quite already. i usually say that my base profession is a critic, and having been engaged in editorial activity for the last 30 years, as an editor, and editorial activity to a certain extent interferes with buckwheat studies. you lose your freedom of movement. well, yes, you seem to squeeze in some kind of yourself you. all the same, a journal of some kind of too bold statement of yours critical can

be used professionally incorrectly, some cautious one, too . yes, yes, yes, you keep yourself in control, but according to your soul, according to your spiritual inclinations, the latter. well, 30 years, probably no less. i'm sorry, i'm high fire word educator. it didn’t get to the bottom at all, but it’s very important that it’s not so important to win an argument, even if participation in various literary disputes is not silent. still, thank god, i'm typing the plot now i'll tell you, and you're 57 years old. oops, this is serious. yes, that's why, of course, i had to participate in some discussion articles and all that. it is more interesting for me to share my experience and add some

new additional knowledge to my experience. why the idea of ​​a dictionary arose, it was such a time, in general, when i took up all this, she stopped writing things that were not very clear about literature, what was happening in life was incomprehensibly literary-centrism. it seems to be ending, what happens to the writers who live beyond outside the russian federation , no one knows anything about m-m writers of authoritative brand-bearers, as i call them? and everything seems to be known. yes, if the more modest names, but also worth it. yes, remember gogol, yes, tell the sovereign, emperors, that such a thing lives. well, yes, of course, this is, of course, in fact, every person who takes up a pen has come and fixed it. but it’s so at least somehow differently no one yes, yes, then

another idea arose, so that maybe these are on their own, but again indeed, my favorite book. life according to the concepts is beautiful, this is an attempt. to give a theoretical outline, literature , based on the current flowing literary facts, everyone knows what it's like to write a table or go under the knife, uh, well, you're not talking about this later time, but nevertheless. here are the current students. i'm not sure they understand what it means to let go. yes, that's about it, yes, yes, and somehow transformed in the last decades of the twentieth century and in the first of the current plot. and what happens to roman well, and so on and so forth. this is the author's of course, a reference book, because this is my point

of view, yes, at the kursk literary institute which is called maintaining the modern literary space. not quite science, of course, but probably your studios about the thaw let's round everything off with them. after all, this is also not science, and the same thing with the thaw. i first took up this at the end of the eighties, the time was such a yard, here it is, again , predotebelnaya, which then resulted in perestroika. that's what yes about the image of our very culture. uh-huh i released you atrich,

who are some, who, probably, the work that sounded the most, who most passed, then remained 30 years passed life radically, maybe became pregnant, and it occurred to me to return to this again, that is, something not in the present is changing the image the past, of course, yes, definitely, definitely. i decided to return to this again , it is pointless to release an ontology, because all these texts are now in life, yes. yes, and so on, but there was also a chronicle of the most important events. she usually starts. i have 5 march 53 subscribers from the date of stalin's death did not end in the sixty-eighth year, when the troops of the warsaw pact entered prague. here's another story that ended for you, about which others for 15 years. as a matter of fact, 15 years, yes it is curious. by the way, this is the time, these are the times of such a sharp renewal of abrupt changes

everywhere. here is what they call movement they repeated in the 20th century. three times in russia. yes, yes, and every time for 15 years the silver age is moving, the thaw is moving. and this is what we call class restructuring. and for this time just appeared in the press, a huge fantastic number of documents and archival documents and memoirs and codes of correspondence, and what is there just not a huge word is very important. i, for example, could not simply accommodate this huge house. yes, tom sergei ivanovich primitive it would seem that way along the chronology of chronology, of course, yes, such a number happened to someone and such and such this happened, such and such an event was printed. uh,

it happens there, well, the most unexpected, for example , rapprochement. well, let's say november 1962. one day in a new world the eleventh issue simultaneously with it in the pioneer magazine bonfire brodsky the first publication to fight for one month is huge, stunning of all events with the release of one day and the inconspicuous publication of a nursery rhyme long in sudebrodsky will, as it were , say that a bonfire is needed yes, yes, yes, yes, great, because everything is close. yes, as everything changes, i will say that the book, thank god, the second one came out. it has already, in fact, been handed over to the publishing house, we are polishing it by the president. i really want them to rule longer, so that there would be less accuracy and more corrections were not published on

social networks. yes yes yes. keep in mind that someone will wake up, clarify and say no, it was not at all like that. i am very grateful to all my under this readers in social networks and in a short preface to this volume, it will also be big too, somewhere under 1.000 pages of gratitude i will say exactly. what is it. this is already a biographical dictionary. there , let's say i have a course on the essay, fraternal where am i? well, i'm trying to give a slightly different than usual look at this historical the figure is. eh, essay. oh, anchor who wrote. hello, literary work yes yes yes yes yes yes yes yes and thus, as it were, planted borodsky. uh-huh and, of course, about such

titanic figures as the tvardovsky pizhey man, i am writing to the board of the room, they are worthy people dementiev and lakshina vinogradov and i. yes, i'm holding myself. it is already owed to very, very many writers that time is in a wide range. he began to marry us before the war. well, here we are , at the end of our conversation, plunged into the era, and the domination of the literature of the centrism of literature centrism, when each literature. my opinion , every literary gesture resonates sometimes delight yes sometimes unfortunately repression and an act of no freedom. and uh, i think that hmm this paphos is a very good conclusion to today's conversation, because life goes on wives continue to come out. you keep working we are waiting