head, but khadosevich himself had to be removed from kokola, he's not there, of course, as an emigrantactly with zamyatin, this is the cover of 1979, almonakh arose spontaneously, there are also several such stories preceding this spontaneity, i like most of all what repin has - it means his arm hurt, the doctors asked his friends to watch him so that he wouldn't strain his arm, and so, uh, and he always, when he came to korne ivanovich and wanted to draw someone, took a napkin or something, and so one day karne ivanovich pushed a notebook towards him, here is a hand-hand... and he even drew with a match in this almonakh, there are repin's drawings with a match, which are dipped in ink, here are the first notes in the chukokal - these are repin's drawings, domestic, everyday ones, and then he saw , korne ivanovich, that this is an incredible treasure, these notes were created in moments of rest, here is repin's workshop korne ivanovich, this is the day of tolstoy's death, that is, when the newspapers reported tolstoy's death, this is repin reading this newspaper, yes, he wanted it. pho

its meaning for her, in 1928 nina petrovskaya committed suicide in paris, in a poor hotel, and khadosevichoon after wrote a short epilogue, well, not an epilogue, an apitaph, an obituary, yes, dedicated, dedicated to her death. that he gave himself up recklessly became such material for the creative destiny of other people ended up in general oblivion this story, which personally touches me very much, i myself have such a novel, which is called the mental wolf, where i just reflect on this relationship between people who create and people, which involuntarily or voluntarily become material for creativity, in many ways the fate of nina petrovskaya remains for me some kind of... chorus, reproach, i really want to now, 100 years later, tell her gratitude for what she was, for the life she lived, for how she... gave herself away, without thinking or condemning her, to bow to her. dear friends, this was the podcast life of the remarkable, and we talked about a truly remarkable woman, nina petrovskaya. and with you was the writer alexey varlamov. this podcast is a must-read. yaglai nabatnikova,

its meaning for her, in 1928 nina petrovskaya committed suicide in paris, in a poor hotel, and khadosevichot an epilogue, but an epitaph, but an obituary, yes, dedicated, dedicated to her death, where he grieved greatly about what happened to her - happened, he mourned her fate, wrote those very memoirs necropolis, the end of renata, but in some sense one can assume that khotosevich loved her very much, and for her he was a young man, she never took him seriously, but this is the unspoken, unrequited love of khotosevich, this is the grief about her female fate, about a man who loved literature so much, loved literary people so much that he recklessly gave himself up and became such material for... for the creative fate of other people, this story ended up in oblivion, which personally, i am very touched by it, i have a novel called the mental wolf, and where i reflect on this relationship between people who create and people who involuntarily or voluntarily become material for creativity, in many ways, the fate of nina petrovskaya remains for me some kind of reproach, a reproach, i really