Genre Biography Book

The text is to quote about the traction to documentary on your days write a lot. On a greater extent of trust in the documentary genre. About the popularity of memoirs, diaries, about the revived interest in the books of the series "Life of wonderful people", which significantly squeezed novels. There are many explanations for this phenomenon. Some believe that the reader attracts in documentary prose historically-concrete, “unrefined” truth, not burdened by artistic speculation.

Others see in documentary evidence of the increased interest in social analysis; The third ... in a word, just as it exists, but the words of academician V. Zhirmunsky, at least a hundred quite rightful definitions of romanticism, there are dozens of quite reasonable, reasonable and convincing arguments in favor of documentaryism. The problem of documentary genre deserves a separate, serious conversation, but we wanted to dwell on only some issues, much less global, but one way or another related to the problem affected.

And in particular, to turn to how it is decided in the genre of a literary portrait, so popular today, and at the same time look at some of its acquisitions and costs. Recently, the proportion of the so-called critical-biographical essay, which reigned in literary science, has noticeably decreased markedly. Or, rather, this type of research acquired some new features that take it beyond the usual and rather stamped “critical-biographical” ...

increased interest in the creative personality of the writer, considered not in isolation, but in close connection with the literary and social life of his time, is a characteristic feature of today's literary criticism. In this interest in the individual moral experience of the writer's personality, apparently, the reasons for unprecedented demand for a literary portrait lurk.

The rare number of the “Literary Newspaper” or “Literary Russia” is complete without a literary portrait in extreme cases without “strokes to the portrait”. And it is not so difficult to understand. After all, the “literary portrait” is not only an application for “artistry”, but also a promise of something reliable, genuine, unit. The trust in the genre of the “Literary Portrait” is so great that in a number of publishers they were conceived and not without success were implemented by a series of books of this kind.

For several years now, a similar series has been released in Novosibirsk. The reader received the literary portrait of the playwright V. Lavrentiev, the novelist A. Ivanov, the narrator I. Lavrov, the poet L. Martynov and others. About some books of this series were already written in the journal “Questions of Literature”. Close -like series are published in the publishing house "Soviet Russia" and "Children's Literature".

I must say, however, that the genre signs of a literary portrait are not yet so rigidly regulated by science to observe them strictly. There is a rather free possession of this form of narrative. So free, by the way, by the way, that sometimes you are perplexed: what does this essay or hastily written report “Visiting the author” have this essay to the literary portrait? However, the well -known costs in the development of the genre do not cancel the general trend, do not remove a wide reader's interest in literary essays, in which, in the words of A.

Morua, "the history of a person is not separated from the history of the writer." On the pages of "questions of literature" more than once it has been said about the works of A. Makarova, as a type of research, the most modern, open to meet the moral needs of the reader. Take, for example, one of his best essays “in the depths of Russia” is about the stories and stories of V.

Astafyev, or rather, about in, Astafyev - a man, a warrior, a citizen. In the portrait of V. Astafyev, created by a talented critic, the main thing is highlighted: the merger into one inextricable whole of human fate and creativity. The pages of the biography here serve to the assertion of the thought of the inextricable connection of the writer's fate with the fate of the Motherland, the country, the people.

Astafyev wrote a small essay on the prose writer E. Nosov 1.

A leisurely conversation on the shore of the Sejm River flows, the story of the life of the writer, the author of many stories and short stories - “Red Wine of Victory”, “Behind the Forests”, “In the Clean Field, behind the Linery”. Astafyev talks about the front -line years of his friend, who fought in the calculation of the millimeter gun, “the most battle and dangerous in the last war”, about a serious injury in battle.

In these lines there is a portrait of more than one writer B. Nosov, this is a biography of a whole generation, whose work goes by its origins in the days of the most grave tests of the people. On the rights of a friend, V. Astafyev also expresses his reproach by E. Nosov: did the writer have a approach to the main topic, to the topic of the last war, which is what to say to the former front -line soldier and about which he writes little about.

The luck or failure of the genre in question is in no way connected with the volume of, so to speak, the “personal” information that the critic owns. It happens like this: the author will report two or three precious details-and the portrait is ready, "neither add nor reduce."It happens differently: a heap of biographical information is piled, and the portrait of the writer is like in a muddy mirror.

Today it has become fashionable to begin the biographical book “Fascinating”, from some intriguing episode that finds close kinship, the proximity of writing with the hero of the book. At the same time, the details of personal life are confidently reported, the statements of the writer are transmitted, which require careful attitude to themselves. You feel otherwise when you see how sometimes two or three strokes, without memoir excesses, the appearance of the writer is recreated and becomes visible, tangible to his spiritual beginning.

In one of his essays, A. Tvardovsky recalls the first meeting with M. in two paragraphs of this essay that the poet’s moral dominant is revealed, who is invisibly present in his every creation: “There was definitely nothing like the Russeninsky type, emphasized an elegant manica and a tie ... a tall, very white hand and a narrow white hand raised to glasses raised to glasses raised to glasses raised.

Some even the elegance of the usual gesture, somehow unexpectedly combined with the simple large features of the dark face and were not at all peasant ... Having risen to the rostrum, Isakovsky, contrary to the solemnity of the moment, said that he did not have verses, he would read the poems that he has-this incorruptible accuracy, to pedantry, the rejection of all claims in everything, even in everything, even in everything.

Little things, over the years of acquaintance, and then friendship with the poet, revealed to me as one of its characteristic features. ”2 They highlight the most important thing in the moral and creative appearance of M. Isakovsky: We see the poet distinctive, strong, who will smell like shame, the influences of fast -flowing fashion. Isakovsky can be said, ”the author of the essay continues,“ that he has weak verses.

He sometimes says words taken from the usual hearing of the vocabulary of newspapers, but it can never be said about him that he says words that he himself does not believe in. The study of the artist’s creative personality in her connections, with literature and the public environment, requires the creators of literary portraits and - wider - a biographical essay in general a large tact and considerable exposure to avoid sweeping estimates, anniversary tones, etc.

Unfortunately, even in good works, costs of this kind are quite significant. You understand that the author was guided, as they say, with good intentions, sought, for example, to comprehend the writer's contribution to the consideration of a particular important problem, but still, in fact, it is awkward. Motyashov, the author of a small essay on Z. Voskresenskaya 3, rightly considers the writer's work as a significant contribution to modern Leninian.

The usual method of comparison and comparison is typed. The critic correlates the books of Z. Voskresenskaya with the stories of A. Kononov, the dry facting of which he contrasts the “generous, juicy, colorful” style of the writer; Compares the essays of Z. Voskresenskaya with the collection “Children about Lenin”, published in the year, again paying tribute to the creative fantasy of the author of the “expensive name”.

But the comparisons do not end there. The critic goes to the classics - to the essay of M. Gorky "V. And here the author, I think, loses a sense of proportion. The point, of course, is not that the critic “dared” to disturb the great writer. The point is the level and manner of these comparisons. This, for example, is about how M. Gorky and Z. Voskresenskaya depict Plekhanov.

Of course, the young reader will better imagine a character when he hears his lively speech ... ”And Z. Voskresenskaya Plekhanov says ..." ... if Gorky Plekhanov is self -serving and narrower, he strokes his button on a frock coat, then Voskresenskaya, he nervously twists her, as if twisting himself. This is where the button led. It is unlikely that you need to continue the quote - its meaning is already quite clear.

If, however, to leave aside this is a low-current comparison, then still there is a different, more important question: why is it necessary to create a certain semblance of a literary desert around a writer or writer in order to make the true meaning of his work? Why you need to compare the stories of Z. Voskresenskaya with a collection of essays of the year!

And why, in this case, do not turn to the works of the 10ths in which the facts of the Leninist biography are understood creatively, with the imagination, what does the critic insist on in his book? The authors face even greater difficulties when they relate to the difficult moments of the biography of their hero, to which there is no unequivocal attitude. Often, unfortunately, in such cases, a sober analysis is replaced by a literary “lawyer”, which does not always convince the reader.

The author of the literary portrait P. Vasiliev E. Belenky 4 does not close his eyes on the contradictions of the poet’s life and creative path and, it seems, is full of desire to understand and explain them. But these explanations sometimes accept the nature of protective speech, and the poet will willy-nilly, with all the good attitude to him by the researcher, looks ...

the defendant.For example, we are talking about the “physiological frankness” of images in some verses by P. Vasiliev - and a quote from Engels is immediately involved in the aid, who at one time praised a verta for “expression of natural, healthy sensuality and carnal passion” 5. It comes time to talk about the “cruel” poetry - the author of the essay is immediately ready to justify them, expanding the Russian national tradition through peculiarly understood "Russian delete." This time there is a link to the block, its "Scythians".

Gorky, who put the world of the bourgeoisie and the bourgeois intelligentsia in the center of the last novels. With this approach, when the analysis of contradictions is replaced by the desire to justify something in creativity, in the life of the poet, the reader eventually turns out to be unarmed to the rather harsh sentence of E. Belenky himself: “In his P.