tuesday to him friday to thursday. i am smarter than him , this is very important, because a person can be, uh, and in this and uh, the complexity of human nature, i am a scoundrel. there, too, on tuesdays and fridays, it very rarely happens that even the most terrible villain, so that he acts evil 7 days a week, and this is both a horror and a human mystery that he can , indeed, behave vilely, er, 6 days a week or even 29 days a month, and on the thirtieth day it becomes possible to perform an act of a saint even, or at least not be such a scoundrel and a fool as he is it was 20 days, uh, a month, and this is the difficult part of human nature, with which , including, of course, uh, they fight and overcome it and win and call us , christianity wins. so good with you, dear friends on this easter night. actually, i 'm about to finish. what i would like to say

is that we started with the personal. yes, me too. i want to end with this. hmm, it is very important for me once i read one. some actor , i think he's famous, he said, why don't i go, uh, to the russian church, well, to the orthodox church in general, the christian church, because there put on their knees. and i somehow thought about it and one smart person told me that this is a fundamental misunderstanding of what is happening in the church, because he says on his knees a person will leave sin, that is, a person kneeled. here at that very tree of the knowledge of good and evil. yes, when he violated what god told him, he knelt down there. he became addicted to sin, and the church raises a man from his knees, and god raises a man from his knees. this is the whole task. yes, this divine, so that a person gets up from his knees, yes, when we wisdom in the church. i'm sorry many people think it's forgive it stand up straight. yes , straighten up, and and therefore we do not have before the trinity, kneeling prayers, they are

forbidden. moreover, i would pick up your idea and on the icon of sunday you see there, just the same main plot. this is christ bending down. yes, kneeling adam, barely takes them out and grabs them by the hands. there is a feeling that god grabs your hand and pulls you out of hell. it is certainly a very graphic image that is comforting. uh, to what you just said, it's hard something to add, but really this is, uh, an easter feeling and all the next u time until the ascension and then it will be completed. eh , it's really such a feeling that i , thanks to what happened, overcoming everything that is connected with me, my physical infirmities, my spiritual infirmities. my bad deeds or bad thoughts, thoughts and

so on. eh, this gives a charge for all the following, so to speak, e year , eh, until you again, eh, meet with the moth and the pharisee and start further with all the stops. yes it is. listen it's so cool. yes, it's so great that we live in a certain liturgical rhythm. and that's three, then we've got lined up. it's me. that's just what i think, this is one of my most important acquisitions when i ended up in the church, here. built-in precisely the liturgical rhythm never and nowhere has there even been anything close. thank you. to you, dear friends pavel giants. i am vladimir legoyda. today we gathered with thoughts, feelings, and emotions about the great easter holiday

good day, dear viewers of channel one. i'm dmitry bug, i invite you to another edition of the literary podcast. let them not speak, let them read. in our podcast, we are talking to those who make modern literature, read modern books and classics, and 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 the past years, what you write now and if you allow, and i would start the conversation with your cycle of books about fat women. so it's right say a series of books about leo tolstoy. and not only about him, but about those who are connected with

him by very close bonds or complex bonds so correctly, when i wrote the first book or in the thick one, escape from paradise, i did not conceive 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 is the tolstoy church. tolstoy, he is kronstadt, then a lion in the shadow of a lion - this is a mustache, and then i had such a short one, full biography of tolstoy leo tolstoy is a free man who young guard came out. and uh true story, anna karenina turns out five five books at the moment the last one, as i spring. it says the last one for now. we wish you new books - this is the true story of anna karenina and please tell me how it happened, but you didn’t 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, what was it, 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 someone would print this book, and even, although they don’t believe me, but the book, they say, 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 well , the book really had success. probably this played some role in the fact that i began to continue to write this in thick, but still not just not so much. it's just tolstoy , such a figure. hmm, that if you take on a topic in his life, in this case , death and departure, then some

new incredibly interesting topics automatically pop up while i was studying. this topic. i was interested in the theme of tolstoy church conflict church. well , it's not new, but of course, it's not researched, it's not thought out. i would say that nothing new seems to be written about tolstoy. and yet. every time you open you discover something new. well, i would say that both everyone wrote e, i dare to argue. of course, there are classic books. this is boris himbab, for example, the author of a cycle of a whole book, but i would say that tolstoy is not awarded the same attention as dostoevsky, for example , on the anniversary of the dostoy. 40 books have been published, 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 of such fundamental serious books, all the more understandable to the general public. it’s clear, probably from the old tolstoy

of the old, so to speak, the schools left gudzi, gusinbaum. e hmm bulgakov e. 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. eh, viewed as text? yes, here is a biography biography of andrei zorin, yes. yes, a very powerful book. that 's why it appears, there are yasnaya polyana collections of dnte, the state museum of tolstoy is working, which well, probably, yes, probably, that's some kind. strong understandable tolstoyan school today, as before, it was possible, no, but i'm talking a little about friend. i'm talking about those books that , well, would help a very large wide circle of people to take a fresh look at tolstoy, and your book was exactly like that, because i

tell my student what i read. these are pavel basinsky. this man loves the late tolstoy and it's very hard to love the late tolstoy, really. i think, here is another moment here, i once thought, what is the secret of the success of tikhonov shevkunov's book, 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 an ordinary reader, because, well, an ordinary person imagines a monastery there is something incomprehensible, something of a mystical indication. look, they are ordinary 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, well, people form ideas from school. that's about this very angry gray beard, which means the old people who hung, then he perceives him as a late everyone. yes, tolstoy's perception, in general of the whole world, is hmm. a gray-haired old man with beards, bushy mustaches and a very angry look. and this kind of, so to speak, fear of this figure, and i wrote to him as a person, it turns out. mm metal 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, well, really, but i think that was and another fear or another prejudice, but these years, well, these years. let's clarify. it's about. 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. e. i think that another important prejudice is that these years are perceived as a crisis and nothing more. well , this is some kind of decline, the crisis of old age, or the case of the young tolstoy who writes the cossack 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, both war and peace were already written by a gray-bearded tolstoy although young, of course, young still. yes, u is full of energy in general and uh twenty-eighth eh, fifty-eighth. this is 30 years old, 63 35. well , you and i are twice as old, but, but in the minds of most people, 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. eh, some kind of fear and also be afraid, but it's just that there is some kind of barrier to his perception. now, he's not really human. i would say so, but he is a man. well, as if i'm not afraid. yes, how yes someone wrote that residents or such a teacher with a capital letter is sure to. here, although caricously yes, yes, yes, i can’t be silent. here, um, what is my faith, what is my faith? yes, what is art, but with the late tolstoy as we remember, i remind our dear viewers, he refuses. here are the publications of works of art completely completely and publishes and writes writes

you also only do not publish art. why publishes basking rosnata was published. uh, here are some other things on sunday 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. what tolstoy after the spiritual upheaval became write worse? here are the tolstoy periods of the war of the world anna karenina, this is a delusion of khadzhimurad, although sunday is sunday from an artistic point of view. sorry in terms of style. this is a much more refined thing, and than a on karenin, all the more there is no 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, but yes, really is sunday. this is a novel where the author stands behind each character and breathes into the back of his head. it is felt, but in this there is also, uh, no, the avant-garde of this thing is definitely definitely avant-garde, yes, because when you feel all the time, this is the breath of the author. here you get a slightly different impression. let's say in the root bath you rarely feel tolstoy's breath when he condemns someone or someone. oh well, on sunday, in this respect, an interesting thing on the avant-garde of the eternal, it acts differently and the impact can be compared, but let it be forgiven me. spectators, but with the impact of a black square compared to madonna rafael we have it it's hard to love, like mm something

attractive beautiful graceful. yes, probably so. well, probably, yes, although it seems to me that katyusha maslova can, but you can love , i don’t know, yes, yes, well, we know that leaving is not only leaving yasnaya polyana, uh, in the fall of 910-1910, but leaving this is what is the main thing for almost all the main characters of tolstoy, this is olenin in the story the cossacks and andrei bolkonsky, of course, and uh , prosecutor golovin in the story about the death of ivan ilyich and their luda. of course they leave his usual life. this is such scopism. yes, flight, i would say, not even leaving. but it is precisely escape that is not the same as escape from problems. rather, here is an escape from oneself, here from oneself. what happens to father sergius, what happens to lenin cossacks. uh, what

's going on with pierre bezukhov and balcony? yes, with anyone, with anyone from his main uh, all the 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 would have dreamed of changing at all. eh, lichen. here, it’s not just to get away from yourself, but to live under a different name. yes, no one knew who he was, as a result , bulletins appear in the newspapers. and yes, he is, 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 such and such a station for such. yes, perhaps, therefore, therefore father sergius. yes, therefore, unfinished death. notes of startsev fyodor kuzmich this is a legend that alexander the first did not die in taganrog, it means that siberia changed his business

uh, tolstoy knew, of course, that this is a legend, but she was interested in him since he became her, how would this fake, in general, be artistically embodying it is important. that's what he was interested in fedya protasov yes, who now certified the corpse, yes, effective suicide, how would you live, but everyone thinks that you are gone. 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 semantic distance between departure and flight flight is. well, so to speak, anywhere, if israel and then probably to hell. perhaps this flight is not 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. uh, after all, the flight of israel is usually the flight nonsense, darkness, external or not. thank you. the fact is that hmm here still needs to be distinguished. eh, tolstoy's specific act was indeed running away from that one. in general, from the horror that happened to yasnaya polyana mainly. not for him, of course, of course, yes, through his fault. it had to do with 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 makovitsky will still be a doctor. hello souls, he is souls, yes, uh, and no one will know that this is the great tolstoy and he will be such a diogenes to live there he was tormented, glory tormented him this infinity of camera shooters. uh, uh, yasnaya polyana uh, and he really wanted his privacy, but he couldn't find it. of course you, when i wonder what, when he understood it, but he understood. it's in train, when sasha brought newspapers from the station. and he saw what he said, all the newspapers are full of my departures and literally in an hour. yes, he has a fever. and that means they were smoky in the car. yes, but all this specifically happened after he saw, so 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 the twentieth century. they would say an existential act is important. and generally speaking for russia, a very important act is an attempt, realizing the complexity of the way to avoid it is known. eh, this is the famous moment of the artsaman horror, and at the end of the sixties, when 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 on the cast, they don’t share it, they don’t share it. almost nobody. i don't attach much importance to moscow's horror. and what happened tolstoy just finished work on a double world work was monstrously tense with headaches, i had to give up. everything is already on time russian is. yes, yes, duration. and so he

finished. so to speak, he is already working there as proofreaders, and he is on his way. uh, means to buy the estate looked at the newspaper. here is some kind of nizhny novgorod province. so, there are quite cheap lines. and, most likely, just drive through and really in the hotel before that he sat in sydney, yasnaya polyana and wrote, he was war and peace. then he leaves, it turns out that it is night in the hotel and he is attacked by an inexplicable fear, but in fact in fact, well now it's called a panic attack, really inexplicable and that's why scary, because he can't explain to himself what to do. what was he afraid of? well, they just lost their nerves, they just lost their nerves in unfamiliar surroundings. but you never know, which is also curious that the next day he writes about this in his arzamas horror. andrei yes, they corresponded every day when he was leaving somewhere, there are two letters a day that they wrote, and he writes that he does not say anything about the fear of death. there's not a word. he

just says, some kind of longing has attacked me here. well, i can’t explain, 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 is the red square. it's clear? 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 do not contradict each other, because but this fear is angst, about which he wrote to the bright mountains or kerk yegor says it 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. petrovna by the way, i was in love with you. well, just a little ivan grigoryevich where? for example, i am very glad that we met after so many years. even in such circumstances. they look like they are killers people civic motivation is not enough to kill a person who needs to be buried from life.

reminds me of 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 viewers that, in the middle of a conversation, we usually have such an interruption. it's a peculiar, a genre conversation, uh, with the interlocutor and with the audience at the same time and we do one of the three, either we read a poem or demonstrate and stroke some old book that i love, or 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 alexandrovich tarkovsky, my favorite poet, and a very famous e. and the poem is a needs understanding. well, first of all, am. tarkovsky is known as a supporter of the exact rhyme of classical verse. he had about this article, but in the very first stanza there is absolutely. uh, an unconventional strange rhyme begins the poem so the soul that flared up on the fly was not seen in the white room, where in the fingers of the merciful sorceresses the child's body gently warmed, but look, what a rhyme is here, but the soul flared up on the fly, no. merciful sorceresses 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 interruption, which, uh, is very typical for tarkovsky, but even this is not important, but it is important what we see here, uh the implementation of the key theme of tarkovsky is very common in russian literature in world literature. we see a description of death, a description of the moment when the soul leaves the body, when the body parted with the eternal soul, they are 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, as i call it uh-huh. yes, it is not entirely clear, but it is a poem about my own birth. and as a matter of fact.

and if you understand this, then the future becomes very, but clear, intelligible and prophetic the soul that flared up on the fly , the whites did not see in the room, where in the fingers of merciful sorceresses the gently warm body of rain, posada passed the day before and the earth did not have time to dry out so much there was lilac in june that the radiance of the sky turned blue and in july and august there was so much light from the three windows and so much light into the sky from the 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 and the moment of his birth, which we do not know about and tolstoy talk about it, we do not know the birth and death of tolstoy there are wonderful fragments, known when and kind hands. some lokhana is washing him there, 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 times and e, in this poem analyzing the moment the soul enters the body, the poet speaks to us through death, we see this is overcoming time in the poem, arseny of tarkovsky, which we have now read. well , now let's get back, uh, to. i am leo tolstoy and, most importantly, to pavel basinsky. 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 a student of a literary institute, but at first he seems to

be a student of the faculty of foreign languages ​​in saratov university happened and how you came to literary criticism, where you served , how it all began 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 aquanauto to an international journalist, and in order to travel, i didn’t want to travel abroad to see the world here, and so on. it seemed to me that the most beautiful trees in the world. it's a palm tree uh-huh and then i i already understood, 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 i'll be criticizing, that is, saratov university definitely didn't think.

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 entered in order to learn english well, then i will march. yes, birches, then beautiful logic. that's what i didn't know about the existence of a literary institution. i just didn’t know, but i accidentally fell into the hands of a literary russian now i remember where there was an announcement about a creative competition, which is held at a literary institute. just what a fateful day, as they say now, yes, pavel basinsky in saratov ends up 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. well, somewhere institute. well, everything god just sent and left for the old detachment. and then there's this clutch. yes

, fate further came to me there, yes, yes, he came on a motorcycle, my friend just ride to me. uh, i say, come on, let's go to the city, we've arrived there. this is me going to the hostel, looking at the letter. if these are institutes, 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 be, yes it was. so, in general, i did all this 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 are also four exams, plus a swampy secondary was a certificate. it doesn't. now the food of the school anyway yes, the average ba. i was five four eczema, gave us 5 5 4, that is, well, just one point for the full

package, i do not 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. yes there were two criticism. these are two critics, the wonderful sasha lufsov. and uh, larisa shulman whom i was friends with and they are friends with, they got all the pyaterochkas in the exams, and therefore they took me no, therefore, so that the poet there about bunnies was handed over to triples there and acted directly, well, they simply took more 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 perceived in moscow somehow such an enemy, which should win in the end simply, right? david and goliath just and i arrived already on the second year again passed the competitions and did

so, got on got to criticism and criticism. actually did it. it was the course. it was the course of sel to alekseevich surganov, to whom he was terribly grateful, who was not only my teacher, in general, his father was with him at home, it was often why i loved me very much, he was very fond of 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 wanted to finish at the institute to graduate school. so i thought that i would write about feta, there was the thesis alexei said, pash, you know, he tells us, is this institute necessary? yet again? well, that's why it all started from alekseevich me too. 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, she was friends with many. as you know, this is still such an island of freedom much more was said in the lecture. what could be seen in print or at moscow state university , of course. well, completely free to teach or say, she is god and gumilyov. here it is dated. yes, gumilyova well, maybe, uh, in fact , they spoke quite calmly in brov, well, of course, they went, uh, themselves with the 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 bug 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 book about tolstoy. 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 point reviews , portrait responses, he reacts to the fact that is happening right today, of course, yes, well, with criticism. i had two stages. here is a novel. yes, a novel with criticism, because at first the evil is that i immediately, damn it, the institute, when i studied, published a literary newspaper for a student. it was impossible 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 is not something to say, uh hmm , they printed me because he said no, but simply because, uh, i took on what other critics did not want to take, which as if abusive. oh, by the way, that's because the basinsky of that time is a synonym for such a zail. yes, yes, yes, i became a zail, so i print such filiton ones, but it’s also very funny, because the soviet era was still in the eight-eighties and the beginning of the eighties 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. we considered it directive. well, of course, yes, if you name the author , they will stop him, they will simply throw him out of the west twenty years before this criticism. it was just a firing squad. yes, yes, here is a literary newspaper, so i scolded. well, he didn't say. it was very funny. i even want

to re-read it all somehow, but you had a situation in the novel by one author, he says there is such nonsense, they still called it. yes, it was hmm and uh, but the thing is that i still stumbled on a minute, because i wrote, and the prose of a woman, and then i, if a person of the light is intense, it’s wonderful to write a writer, right? and she says something at all made us get kicked out all plans. all all women's authors have thrown out all the desired economy, because in a literary newspaper there is criticism of women's prose. i stopped doing criticism just for a long time until the early nineties. that's real. just when she stopped being a director. yes, yes, 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. we liked it. he invited me to work and gave me this full as it were blanche uh-huh write whatever he wanted with this huge, whatever. it's solitaire. yes? i even remember a little today with shame. this is because there was a certain hunter in it. azat is such not well, i liked the critics of the left and the rights, and the literary liberal, damn it, newspaper has always had an article. the famous enemy with a gun is remembered there, the man is still scared and the man swore about the khan to get on the fence. or rather, the pen was dangerously wrong, but it seems to me, for a young critic. it's not bad. well, i still don't like it when young critics are so toothless , you have to be toothy after all, as if to show

that i was a little afraid. and tell paul and the current criticism. doesn't she pretend to become directive again, that these are wrong, and read these correct ones, but you don't read these, all the same. it probably is, of course. well, it was it was even the soviet years, what about today? i think it's a different problem. she hmm she reformatted with criticism. it seems to me that today she still leaves the blog. although, uh, they still somehow don’t want the welfare this critical is to be recognized, strictly speaking, as criticism. yes, because there are no criteria, yes, what i want, i write, it really is the other way around. uh, a blogger is terribly dependent on his subscribers. they must like him in order to be able to create some kind of informational post, artificial ones, if he has fed a certain number of his subscribers. he he can't say things that they won't like. understandable, understandable, therefore, too

, perhaps even more dependent than when, for example, i worked in a literary newspaper. it’s clear, but uh, i would sum up our conversation with a formula, the formula that uh, it’s not so important an evil critic or a kind, important, good one, he is sensitive, or this is the property of many and many works of pavel basinsky, like criticism, we said, uh, at the end of our conversations about this, but in general, we have created such a very multifaceted and unique portrait of a person who at the same time continues to engage in literary criticism. and writes extensive books. first of all, olga nikolaevich tolston, although not only the name of this person pavel basinsky, we thank you for participating in our podcast. let them say count. thank you see you again. thank you. thank you, and with pleasure, i say to our viewers.