uh, how would 50 people in the universe love these 50. and , probably, i think that in space, well, on the moon we should definitely be not only because there are minerals. fly there for 3 days, and everything is fine there and back 3 days. it's all good. but the moon will give us a clue. so, are we lonely in the universe, that is, tsiolkoff said that the universe is teeming with intelligent life, but the moon is such an interesting body hmm, that mmm, perhaps there are some manifestations of the mind that we can get in touch with it and check. i think everything should to develop, but not so fast rather, that's 50 years ago, not a computer, but me phones right now, a terrible breakthrough in technology exists in two centuries. before that, the 800th generation lived somehow calmly, and then we invented a steam locomotive , radio, rocket planes, all this is developing rapidly. we will develop electronics already

, there will be some kind of person. in general, it’s scary to think that you can already print all these printers. well, i think i don’t want to interrupt you, of course, to stop. unfortunately, time flies. it was very informative to talk with sergey nikolaevich samburov, chief specialist of the radio engineering system of the republic of kazakhstan energy about konstantin eduart tsiolkovsky, his heritage , his works on communication with the international space station station mir, as well as satellites, which are made by ordinary students. hello, my name is dmitry bag. i am the host of a literary podcast called let them not speak, let them read,

of course, we are in our podcast. eh, we talk about literature a lot. i hope meaningful, but all our conversations aimed at ensuring that everyone who sees us and hears 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. the editor-in-chief of the magazine is known to start with the very beginning. 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 northern southerner at the same time somehow 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 , a small station, it was called it, there was no bookstore , it was silpo as it should be and it sold three four five books. and when i turned i do not know years. quicker everything that my parents gave me for my 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 deal with 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 started buying other books. what book did you buy, then remember a few stories of a kabardian writer, hachi motives. uh-huh, i think this is due either to the fact that i did not understand anything in literature, or with the choice that was provided. i think that the second is everything, yes, well, in the eighth and ninth grade. i have already started buying political collections, damn it, my favorite writers have appeared poetry boom. these are the years of the early sixties , early sixties, early sixties , and again, my first book was with god, evgeny yevtushenko, a promise, of course, yes. 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 learned everything only from a distance, and it seemed to me

even more attractive than if i really were at the hmm luzhniki stadium , a poetry concert or a mayakovsky monument or something like that. it was something unattainable but extraordinarily attractive and of course, as i wrote poems. how without this young man? yes, wait a bit, the stories were not published. yes, here never published, thank god, and in this sense i say that it is a great harm to russian literature. i'm not nice, understandably, but already in my freshman 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 rostov furniture. and there, too, two fateful events occurred. i first published in the newspaper soviet science. there was

a university newspaper , an article was published about young poets, students who studied with me at the same faculty of philology for the second, for the first time spoke 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, turns out to be the editors-in-chief of a journal of knowledge. and read the criticism. this is interesting, how criticism is present even in the eighth grade. yeah magazine, i guess everyone read the ogl. this time has already died. these were the critics of the new world, tires and so on. these were the critics of yunost evgeny jurist sidorovna, not living stanislav sadit other authors, well, no, no, this is it, 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 and my friends, who studied with me, already ate. he was somewhere 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 there was no samos. yes, it wasn't there. it's all written about it. i hope, uh, no scientific yet the conference has already taken place. i understand. now. i understood 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. e to 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 preserved. this is us, as a matter of fact, there was no more extinction beyond me. next moscow to engage in literature. it is clear that we need

to study further and it is clear that ideally it would be good to become the chief editor, indeed magazines, a young, chip coach thinks of me. absolutely 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 is the most colossal writer, by the way, not the worst. it's not the worst thing to read. interestingly, not everything has been preserved for a century who died in 21 under soviet rule, the author of the remarkable memoirs of his era rolled around

met with the world could meet with the novel. vasily terkin, including, by the way, where did the name tvardovsky come from yes, including a member of the paris commune because when revolutionary battles were going on in paris, he began to beat himself up, to be there, to write a person about it too, brought down the first russian tolstoy magazine bankrupted him. and as it were, well, with him he stopped going out and the library for reading. yes, but this is postgraduate study. this already 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 the veterans of power newspaper, and then i was already from graduate school already passed the newspapers. there 13 years. this is a whole whole epoch, it is a whole epoch. or the same ones, too, the newspaper was a completely remarkable publication and an influential and nuclear discussion.

unlike other soviet ones, if i were the director or the minister, how was the rubric of this, if the minister were the director director, it was this was the second notebook. it was a debate about life. and i worked in the first notebook and literary, and then it also consisted of two notebooks, 16 pages, the last page was a humorous first eight pages or pages of literature, the second. i remind you of public problems, so you have it. dear our viewers, i wrote and printed. well, you are nice. that's what, in my opinion, murki disagree. you always left some traces that you patented. i don’t know, one word makes you feel alive, but e, there’s no such thing a person in a literary workshop who does not know that a there is a word you enliven and sergeevich came up with it and was accepted. e, probably

so, yes, uh, they don’t claim, but i hope, please tell me, but what is it at that moment, well, in that era. i mean, already the seventieth, of course, years to a greater extent, which i also partially found out what the book of criticism was like. 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 macro-graphic work about some class or a classic of the 19th century or a classic of the soviet era. i have no personal work. not even about anyone. although i have prepared a few of the distant bariks and other writers of the early 20th century. what in those years was, at first, at first, most of all poetry, i had a close-up book. these were portraits of the most stupidly interesting poets

, far from all. of course, i couldn’t be there, for example, brodsky naturally was there at all, or genrikh sapgir couldn’t be there, or i don’t know sergei there gandleevsky, 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 i had there martynov briz slutskoy evgeny vinokurov yes, you never know remarkably darkovsky, by the way. by the way, i have a book on tarkov and opened very elders, that is, his martynov and otorvkov. 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 did not listen to it 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 makes his debut together, er, with voznesensky yevtushenka and companies, so the comparison is later than them. mm. even later than them, of course in the end fifties. voznesensky began to publish and vtushenko was read, the article , a successful article, stopped the event for me. and they talked, corresponded, so they listened to the occasion. 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 what the other, for censorship editorial and other reasons, did not dare to say , for example, for the first time i forgave gumilyov , whom i then loved very much without naming his name,

but he said the same as one old poet said then it was so fashionable. i remember the collection of the institute of slavic studies was kanistiki, where in the note the wonderful two co-speakers vyacheslavovich ivanov and 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 the loss of everything dear and for what could have been otherwise for the fact that there is no need for another georgy ivanov g. ivanov sent business. how cool they have to remember, almost to the point, however, i remember exactly this quatrain, because i saw it then this, by the way, is one of 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 he became timid, while he is still getting used to literature, when literature was one of the most important things in the country. this call to this call of yours today would sound strange. yes, there was no need to call once and the little people went to the stadium to listen to culture, there was literature, and in society was literature. built around this. i even wrote ahead of the word in one of my books. literature was one of the most important things in the country. and how am i now annoyed? how can i say that what the old structure of our culture has gone to. well, you know were almost gone. we are trying to prevent this, as if culturally speaking. by the way, i am the author of an aphorism or even a proverb, not everyone is given, but to compose a proverb. i composed yevgeny yevtushenko said that the poet of russia is more than

a poet, 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, uh, the literature of centrism, with which nothing can be done, so, and i continue my studies in 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 one was much appreciated, the quality of the letter, the quality of the letter of the credit itself matter. yes, that's how he wrote, how he builds a phrase, how a tool of a paragraph of criticism is science or literature. as a matter of fact, yes, then this dispute flared up from the very beginning , took aside those who think that criticism is literature. of course, i am also for this that criticism is literature, the same mouth as a friend, others, of course, lyrics and criticism. the same. this is such a statement based on the material, er, of books read, and not on the material of reality, as in literature, science works in

categories. true false. right wrong true or false, but there is no right criticism, no right changes. yeah , some of them just become public some leave the sink editor of the already mentioned e, the magazine for reading he wrote about the first volume of dead souls, this is a dirty, imperfect terrible work. uh, the birdies' hotel is coming. two russian peasants are standing there, and he is laughing. what kind of french women or what, but this opinion is difficult to argue, but it has disappeared reality, so criticism is not science, of course. it's scary. well, now let's go back to our conversation with the editor-in-chief of the magazine znamya to literary critics sergei ivanovich chuprinin, so i remember forever 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, and it, uh, first drew the eye of the researcher even now. yes, not about a bunny for criticism. what heroes were there, how they fought and competed with each other then it was yes , and very different writers wrote well, it is very important to write well. well, few writers. it is interesting for me to write in such a way that it was interesting to read, yes, that's why i dreamed. yes, indeed, i am firmly convinced that criticism is criticism, and this book really is. i just know, the first one is the only one, and then not so long ago, about five years ago, i republished it with the addition of essays.

it doesn’t even consist of an article, it consists of essays on figures, but figures, yes, but the key figures of sedlov , whom you already mentioned before completely new people who appeared. at least, a reprint in the nineties, at the beginning of the 2000s what i discovered. uh, book. well, of course, it's not the earliest, it's wonderful. here it is depicted. this is a library, an aganyoka, a publishing house, however, the ninetieth year is the thirty-seventh issue, here i will 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 place of the open information society. ours, on the other hand, are upset even by the current publicity, which is a sin to hide and is far from freedom of speech in one single country, and even more so to free exchange of information on an international scale, but do you know your style is recognizable? well , as if it was written not even yesterday, but

just today, that is, nothing has changed. take a look at the imprint imprint, what circulation, yes, say. yes, i predict that the circulation is 50 thousand, my god 150.000 150.000. it diverged. here in this book pamphlet the situation was interesting. eh, far away. this is not always the case, now sergei ivanovich’s speech is not generally criticism, we will return to this. and now the very thing that i am for you cooked today. and this poem by boris pasternak is a thunderstorm, instantaneous for a century, pretending to be a simple analysis, i will say two things. well, firstly, i will still read this poem from e, a book close to your heart, because this is a respectable poet's library. uh series the second edition of her blue color, this book came out sixty- fifth. i check myself. yes, it was in the sixty- fifth year, and most importantly, that its compiler and

author of the article. e hmm and andrey data accrual is an absolutely classic such edition. why close to your heart you er, 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. e, that's what, e, here hmm everything e is complicated and this poem can be pronounced, so it will be a rose of merculology at this time, he, having picked up an armful with fields of trafina for these pranks at home, as if it were simple, that is, a sentence flow from one line to another they can be read in poetic rhythm. can i read and together 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. as you, of course, remember a very simple thing, yes, that at night , uh, lightning bolts snatch out familiar e pictures that are remembered to us by the way they are seen in the daytime, but at night they look, as if photographs snatched from darkness. we recognize acquaintances who seem unfamiliar to us, this is what we are talking about here. well and uh, thunder and lightning presented in such a personified form is the photographer. if you remember the old days , the photographer, crouched down on his large camera , put on, uh, pulled the trigger on the black cape on his head, simultaneously pressed another trigger, twitched the flash. magnesium is all this, dawn. here is such a picture, but the most important thing at the end yes, sergei ivanovich , this poem is absolutely amazing and not always e reader fascinated by this beautiful

complexity, a and boris pasternak's thunderstorm reaches the end with beautiful obscurity instant 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, trafiled them to light up the administration’s house, and when the veil of forestry spread a wave of evil kinship. and like coal according to the drawing , a downpour struck, all the lashes began to blink. the collapse of consciousness. it seemed, but the charger. 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 the work art. whatever they are, they always talk about the moment of their birth. this is a very subtle note it has. 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 of the building spilled wave of malice. and as charcoal in the drawing , i mean a charcoal pencil, of course. e, the downpour struck everyone. 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 light up. even those corners of reason. where now it is as bright as day, not a thing to illuminate those parts 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, transparent, but familiar. even this is incomprehensible to you until you bring yourself into this poetic state. the main thing is not to snatch the light from the darkness, and most importantly to see a different quality of the light even those corners of the mind, where it is now light as in the daytime , are illuminated 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 is not visible at night boris pasternak thunderstorm. instant for a century. well, we will now return to the conversation of sergei ivanovich after this

beautiful poem, which i love very much, in which even the words are rearranged for a well, yes. an instant thunderstorm for a century is an inversion, this is not a very natural word order in russian, let's return to our conversation. and let's talk about your editorial work. firstly, it is very important to me how literary magazines live now. what about the magazine znamya 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 using. new russia world of literature. let's start with him and start this amazing project. there are famous words, russian writer, 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's another accepted. e wrote, and these two houses are a wonderful work. i think that through that is, through 200 years. uh, in those twenty or thirty. eh, years will be judged by m-m, according to this book there is, for example, a twitchy one, petrovich well , everything is clear here. this is a poet, a songwriter. here there are such namely as the tree genea dyrkach db no one knows, but they have books, what do 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 self-imposed after you, after all, a magazine and some too impudent statement of yours critical can be used professionally incorrectly by some the same caution. yes, yes, yes, yes, you control yourself, but according to your soul, according to spiritual inclinations, that is, the latter. well, 30 years, probably no less. i'm sorry, i'm high fire word educator. it is not high at all, it is not so important to win the dispute, although i have taken part in various literary disputes in my century, glory. god is typing right now i will tell you, and you are 57 years old. oops, this is serious. yes, therefore, of course, i had to participate in some discussion articles and all that. i'm more interested in sharing my

experience and add to your experience, but some new additional knowledge. 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 over, what happens to the writers who live outside the russian federation, no one knows anything about the writers of the authoritative brand-bearers, as i call them? uh, everything seems to be known here. well, yes, especially if modest names, but it's also worth remembering gogol, yes. tell the sovereign, the emperor, that such a thing lives. yes, of course, in fact , every person who takes up a pen came and fixed it. but it's so at least

somehow, otherwise, no one but you, yes, yes, then another idea arose. maybe these are on their own, but again, forgive me for the highly flogged encyclopedic studies, and it really turned out to be my most favorite book. life according to the concepts is beautiful, this is an attempt. hmm to give a theoretical outline, literature, based on the current flowing literary facts, everyone knows what it's like to write a table or visit under the knife, uh, well, you're not talking about this later time, but nonetheless. 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 decade of the twentieth century into the first of the current plot. and what happens to roman

well, and so on, yes dictionary entries, this is copyright, of course, a reference book again, because this is my point of view. well, this might be interesting. yes, and now i’m reading a course at the literary institute, which called literary space. not quite science, of course, but probably your studios about the thaw let's round everything off with them. still, this is also not science, and the same with otyu. the first time i did this was at the end of the eighties, the time was such a yard, here it is, again, before the debility, which then resulted in perestroika. that's what is the image of our

very culture. uh-huh i released you atrich, who are some in that, probably talongia selected piece, which sounded the most, which were the most played, then and 30 years have passed, my life has changed radically , maybe i got pregnant, and it occurred to me to return to this again, that is, and something of the present is changing the image of 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 live, yes. yes, but there was also a chronicle of the most important events. she usually starts. for me, march 5, the fifty -third day from the date of stalin's death did not end in the sixty-eighth year, when the warsaw pact troops entered prague that's it for you, another historical era, about which others are 15

years old. as a matter of fact, 15 years, yes it is curious. by the way, what is this? here are the times these are the times of such a sharp renewal of drastic changes everywhere. this is what they call movement they repeated in the 20th century, and in russia three times. yes, yes, and every time for 15 years the silver age is moving, the thaw is moving. and this is what we call the restructuring of power. and during this time , just appeared in print, a huge fantastic number of documents and archival documents and memoirs and codes correspondence and what is there just not a word is very important. for example, i couldn't just fit in. it's a huge house. yes, tom sergey ivanovich is the president, he is so big in chest format, yes, it's true. so i started building. this is the most simple. primitive it would seem that way along the chronology

of chronology, of course, yes, such a number happened to someone and so-and-so this happened , so-and-so printed event. and-and there, well, the most unexpected, for example, rapprochement. well, let's say november 1962. one day in a new world number 11 at the same time in the pioneer magazine bonfire brodsky the first publication within one month is a huge, stunning event with the release of one day and water 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, yes great, how how everything is getting closer, yes, as everything changes, i will say that the book is glory, god has come out now the second one is being prepared. it has already, in fact, been handed over to the office, we are polishing it

by the president. i really want it to be correct longer, so that there is less inaccuracy and no more amendments were 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 will also be big also somewhere under 1.000 pages i will say gratitude. what it is. 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 figure and there is an anchor about an anchor.