experience, yes, this is something to some extent, maybe not so often, but something happened there from loved ones, there just on the street, so from high school students, and this is such a common phenomenon, especially now it’s about they began to actively talk about it, thank god, it was precisely thanks to the fact that they began to talk that it will be restored, in our generation it’s just like some kind of norm , and tatyana’s behavior was, well , look, because if this happened on... with as a child and teenager where should a teenager go to to the school psychologist, to the mother, well, first of all, the children are afraid, these girls are afraid of what the mother or psychologist will say, you put on a short skirt, but here is a common formula, went where there was no need to go, for example, another fear, i i know him for sure from the cases that i read, the information is leaking, yeah. unfortunately, the girl also receives

secondary trauma, because - yes, evil, unwise teenagers of her own age begin to blame her, bully her, it turns out that it has only gotten worse, that’s how it is, after all, we with you now, we won’t overload the whole society, and i’ll tell you even more that sometimes retraumatization occurs, even from this very acute reaction of sympathy, when my mother suddenly... begins to fight in hysterics, and somehow my poor thing is dragging the light, where, in general, to put it mildly, this is such a procedure, and this is even more traumatizing here, and even adults are even more traumatized by this, i’m not talking about a child, a small one, that’s why we have hotlines, there are closed ones on the internet like anonymous communities, anonymous groups, in who you can come and talk to, you just have to do it, and yes, unfortunately, at the institute of school psychologists, it’s not always like that. ok, but the problem

is objective, with all due respect to colleagues, but sometimes it happens, yes, sometimes it’s just there without their participation, in such cases , again, well, sometimes children hide it, girls hide it simply because they love their mother very much , they understand that if mom finds out now, she won’t survive, she will die, dad will go kill someone now, dad will be imprisoned, this plays out very quickly in a child’s head or a teenager’s, so yes, it’s better not to tell anyone anything. this is a psych podcast and today we are talking about sexualized violence and its victims. how can parents talk to their child in advance? i understand that, of course, for most of us parents it’s scary to open our mouths on this topic, we seem to be mystically afraid of bringing some kind of trouble onto our child’s head, even admitting the possibility of such a scenario. that's what i'm saying now. i understand that

there is some kind of block right inside me, yes, i probably don’t if i had a daughter, i could talk to her in case she rapes you, yes, just because i’m scared to say it, but should parents still somehow talk to theirs, well, first of all, of course, the girl, in general we are very we carefully follow this policy that you have boundaries, no one should touch you without your permission, yes, yes, starting from the very there...

do something there, run, why can it be completely useless, because what children growing up in a normal environment experience such a shock in which they simply do not know, they can neither run nor scream, and at most, yes, such a state of complete stupor, there is complete muteness, then they will still feel guilty for this, that i should, but there is such a state of shock there, adults there are becoming stiff, not to mention the child,

popular bloggers are talking about this, thank god, in this regard we have a huge breakthrough, which depends on the parents, our task is to always be stable, accessible, warm for children so that no matter what happens, the child understands that i can come home, i can come to mom, to dad, they won’t die, they won’t run out there to kill someone, but they will help me, well, maybe at first there will be some negativity there, but they are worried, but globally they will accept me and help me. this is the very question, question, question, now i want to renew my relationship with my mother, i haven’t communicated for twenty-four years, well, she doesn’t make requests, she’s already arriving there, she doesn’t even know that i have three children, she’s only seen my eldest, but i want her to be 80 years old; my mother

will have time to communicate with her, not like i do with everyone else. i forgave, i understood everything, it doesn’t matter, just communicate with her, with my sister, and what can you advise, and why do you see obstacles, what do you see as problems here, well , they think that i’m some kind of person for them, well, many relatives , how dirty, something is wrong with me, they don’t want to communicate, so as not to take on the feeling of trauma of my guilt, but i don’t know, somehow... forced to communicate, well, in general, i need to somehow help, suggest how you can communicate not even with your mother, with your sister, what is the purpose of this communication, what do you do you want the goal to support the illusion for my children that it is possible and necessary to talk

with their relatives, try to build relationships, so that the children need this?

that we will sit at the same table, drink tea, there will be some tasty treats, and we will simply communicate about the weather, at least there will be no omissions, aggression, negativity, something neutral, even if it is illusory, well feigned, it won’t be true, you know that children in orphanages who were abandoned by their mother, but they have the same illusion that their mother is somehow kind, good, she just didn’t understand something, yeah. now i’ll come to her and tell her that look how cool i’ve grown up, look how great i am, look, i have my own family, i ’ve achieved a lot, mom suddenly something happens, some gears fall into place, and we suddenly we will find ourselves in some magical reality, where this table is set, where these delicacies stand, where we drink tea, if the family

has never been capable of this in its life, and what will come from where, you and i cannot change the past , yes, but everything is in our power still live in the present and the future, i have one more question from...

i also just thought about this, that for parents this is a monstrous trauma, this is pain, yes, this is where the feeling of guilt comes into full swing, and for prosperous parents, in responsible families, this kind of thing happens, and it seems to me that when a mother or father concentrates on how to help the child, yes, how to protect the child, punish the criminal, help the child cope with this situation, this may be the case.

of course, of course, yes, because - it's the activity that is involved, you see, there are a lot of difficult moments, in this very story of passing the application, in fact, sometimes it may not pass in the first instance, but then we apply further, that is, here again, if we get involved in this , why am i talking about this support, you can’t quit in the middle, well, it’s impossible, because there the area was closed further, but we’re going to the next one, and right up to... well, friends, today we touched on heavy material, the relevance of which, let’s say, it’s undeniable, it’s probably always been this way, in the case of sexualized violence, we’ve known it since ancient times, but thank god, we’re talking about it today, openly, professionally, deeply, all aspects, because the past cannot be changed, but there is the present ,

there is a future and it’s great if not only the person who is in trouble, but the whole society can unite, concentrate and help the victim, make sure that life is still joyful and happy. i am grateful to our heroine today for her courage and openness opportunity. so that the skin, so as not to spoil the skin,

you need to cry, well, yes, what is more pleasant and ends quickly and quickly, this podcast is a must read, i am aglana batnikova, my guest today is dmitry danilov, writer, poet, playwright. hello, hello, hello, we are discussing daniil kharms. the founder of the absurd genre, an amazing author, this is a portrait of danil kharms, painted by alisa ivanovna porette, with whom he was friends, it seems to me very expressive, yes, dmitry, how did it happen that kharms worked all his life in table, only his children's

poems were published, for the magazines chish and yesh, everything that kharms represents for us today - and publishing anything beyond the limits of this method became, well, not that impossible, there were some isolated cases , but this became very difficult, and kharms wrote texts that, well, they simply sharply contradicted the main line of soviet literature, yes, yes, so he simply

had a chance, well, well, maybe, if he had been a more successful person in life, may be he would have succeeded somehow. you think that he is unlucky, but it seems to me that the story of the rescue of his manuscript is absolutely fantastic, he is very lucky posthumously, in life he is lucky posthumously, and during his life he had a very difficult fate, which is why he initially had practically no chance under soviet conditions censorship to publish their texts, so here the reasons are on the surface, there’s nothing, nothing special about it, just some authors, for example,

and there was a suitcase with these manuscripts and he by some miracle he survived, that is, they didn’t burn him there in the heating stove, but they took him to druskin’s home, and druzkin kept this archive for many years, he basically

kept it, because marina malevich then had a very difficult fate, it was. well , i read kharms’s diaries that it was not almost a miracle for him, but i had the feeling, when i was very frustrated by this, that he did not publish there, that is, he had some terrible experiences about his poverty, his fall, here in material sense, yes this poverty, the inability to settle in life, yes, but at the same time, i didn’t see any kind of uncertainty anywhere.

his death, in general, these were listeners of the highest level, but really, i don’t remember now that i read somewhere about any of his... attempts to get published somewhere, i even now, here we are we’re talking to you, he didn’t even really try, you know, i don’t remember something, but he probably tried, but somehow, well

, somehow i don’t have these left, he was probably trying to publish something, here he is not at all avoided going out to a wide audience, we can remember the famous evening of the three left hours, where the abereuts gave a very bright, eccentric, well, such a performance, sorry for... as far as i remember about the stables and messes, he said at another performance he had a performance at some institute or technical school in some educational institution.

and does not have, so to speak, such feedback, feedback from the general public and any broad literary recognition, can

you imagine this simply through imagination artist, you know, i don’t need to imagine this, i was in this situation myself, i actually started writing, it’s very interesting, when i was 20 years old, you know, i had two starts like this: in literature, my first start was unsuccessful, i was 20 years old, it was the ninetieth year, that is, still - one might say, perestroika had not yet ended, so i started writing short prose, so i didn’t have any response, i tried to submit these stories of mine to magazines, no, no there was no reaction, here i am for several years i wrote like this, just really, into the table and beyond the circle. my few friends, it didn’t go away, but this is in general, but this circle of friends supported, just as they supported, supported, yes supported, and these were very understanding friends, so

their assessment would be important to me, but still this - this is , by and large, writing on the table, that's why i know this situation, moreover, when i later spent several years in this situation, i somehow left - literature studies for several years, and then already there, when i was already over 30, already at the very beginning of the 2000s, i again made a second attempt, and it also took some time for me to get some publications, that too, well, you know, i had to hit my head against this wall, well, the man from podolsk probably became the milestone after which this writer’s fate turned around, after all, the first milestone was a novel in a horizontal position, which...

that’s why i imagine the position of an author writing on the table, well, i imagine, just i was, of course, i don’t want to compare myself with kharms, this is somehow generally unethical and not good, so, but i understand that this, well, for me it was a rather unpleasant experience, some kind of response is important, important. feedback and some kind of audience, audience, after all, for me this is, well, i fully admit that there are such giants of the spirit for whom this is not important, yes, for whom it is important to just work, there are probably such authors, yes, that’s it and i can say that i bow before such an attitude, but for me it was still important, why not a person from podolsk like you were inspired by this story, firstly, i... i had this, i had this desire, to write a play, well, i just wanted some variety, and some new literary territory to explore, so i’m

in the news by chance i saw... a message about how some person was detained by the police, here in russia, and he was subjected to some strange interrogation by the police, he later told reporters that he was asked some completely wild questions, he and didn’t understand what it was, i somehow immediately clung to it, thought that this maybe the plot of the play, i came up with this play for a very long time, you literally know, about three years, it’s funny, it sounds funny, yes, no, well, it’s not funny at all, this is basically a serious work from the beginning of the work. yes, well, yes, that’s how it gradually began to come up, i had the idea of ​​these police intellectuals, that is, i wanted to turn the usual image of a policeman upside down as brutal, yes, these are police intellectuals who talk to the detained hero, not about crime somehow, but about the world around us, about culture, about literature, and

gradually philosophy. there is no symbolic meaning in this, i just know podolsk well enough, i lived there near podolsk at one time and visited there often, you yourself are a person with a longer background, well, i’m from moscow myself, i was actually born and raised in the garden center of moscow ring, but i’ve been there for some time, in general , i have some relations with podolsk, i know this city quite well, so it’s just

natural that... it’s important for a writer to write about what he knows, of course, yes, yes, you can recognize this image of a policewoman, she is somehow very gentle, she kindly addresses the characters, she seems to soften all the conflicts, but at the same time, in my opinion, she is the most terrible person in this play, and frankly, icy horror these affectionate words suggest her, that is, this image also somehow came quickly, this one , this one...

there is clearly a lack of a female character, i then came up with this woman policeman, but i didn’t have any prototype, it’s just crazy , but this is a huge success, well, i also like this image i like it, in the end, but how he is, how he is portrayed in the film adaptation, do you like it, like it, of course, victoria isaakova played wonderfully, wonderfully, very much, she incredibly fits the type, it seems to me, yes, wonderful, and according to the type, just perfect , and she managed to convey this demonic quality... and at the same time this cat-like softness, specific, this is a wonderful role, i think, simply. this podcast is a must read. i am looking for nabatnikov. today we are discussing daniil kharms and his creative heritage with dmitry danilov, writer, poet, playwright. dmitry, do you consider kharms your literary teacher? maybe you are inheriting some of his literary tradition, this absurdity, right? funny

tragedy, harns for me is not so much a teacher as an inspirer, he definitely served as an inspiration for me, i actually started, started writing, largely under the impression of his texts, so they inspired me to try something, word teacher, it still probably presupposes some kind of communication in life, some kind of contact, well, somehow i’m not very i imagine a teacher who passed away... several decades before my birth, i probably wouldn’t call him a teacher, but an inspiration - that’s absolutely true, this is one of the few authors who inspired me to start writing, yes , well, i can’t say that i’m continuing some kind of tradition, i probably wouldn’t do it that way, but i find some kind of similarity in the fact that in your play the man from podolsk is something

tragic? and scary, but it seems funny. kharms also surprisingly combines humor in at the same time a tragedy, in this sense it is completely unique and inimitable. that through his work we feel both the tragedy of existence and its at the same time funnyness, absurdity, but some kind of, i don’t know, paradoxicality, yes, indeed, kharms had at the same time an amazing sense of the funny, some absolutely unique, and at the same time acutely tragic worldview ,

probably to achieve, but how does kharms achieve it, do you think, with the help of some philological techniques, some kind of verbal machine, yes, because in general oboriuts, how they differ in what - the peculiarity of this movement, that is, what manifestos they had, yes, on what they based their views on art, well, it’s quite difficult for me to talk about this, well, i’m like... like that, maybe a prose writer at the same time, so i’ll probably turn to your poetic country here, you know, what i write has nothing to do with the heritage of the aberiuts, the aberiuts, as far as i

remember now, they are all - we started, we started with the unification of a real unification real art, yes, they started from such... the mainstream of futuristic futurism, kharms and vedensky have quite a lot of zaum, here are their early texts, they are somewhere in the mainstream of zaomi, that is, this is a break in semantics, this is onomatopoeia, meaningless letter combinations, the accumulation of all this creates a certain, well, very strange effect, then they are already in a mature period, but i... i’m talking about kharms and vedensky, first of all, these are the main ones, they were the main aberuts, these are them, these are the main authors, but they were friends comrades, a lot of fate walked side by side, yes, yes, yes, they were friends, yes, so, at

the mature stage of his work, well , at least kharms moved on to a more word traditional does not really suit him, of course, yes , so, yes, and this is some kind of understandable, yes, that is, already. kharms has the pinnacle of his abstruse creativity - this is the famous and greatest simple poem , the death of kazimir malevich, this is one of the pinnacles of all russian poetry in general, it is absolutely amazing, after this he moves on to more like this, well, a stupid word, but more understandable by this type of writing, to more understandable poetics, where there is coherence, where there is some kind of plot, where there is some kind of statement, so... but even at this stage, kharms and vedensky, they are always, well, they were always far from ordinary realism, that is, they wrote texts that were very unusual for their time, and not only for their own,

now it also looks quite unusual, in fact, no matter how many times i reread kharms, although i’ve been reading him all my life, this one in general - not such a large corpus of his prose works, but they can be endless reread and dive. in these short stories, just like in some kind of omot, but here is a completely otherworldly space, which is formed in a completely unexpected way, and you can’t even understand how it’s done, that’s what you’re saying, yes, you can’t understand, how this is done, it seems to me, this is generally a property of any real art, what is the property of everything ingenious, everything, yes, everything ingenious, there must be some kind of miracle, something that you think you do? you really put yourself in a kind of dumbfounded state kharms he is wonderful, probably for his time too, wonderful outside of time, but it is difficult to imagine these thirties and the formation of soviet literature.