Bessonov is a poet biography

The main articles they left. They remained “here is a good plot for Bosch about the poet Arsenia Bessonov -“ Here is a good plot for Bosch about the poet Arsenia Bessonov - he lived in Perm from a year. In the year he graduated from the Faculty of History of Perm State University. He entered the graduate school of the Department of Philosophy of the Perm State Pedagogical University.

Laureate "Ilya-Premium" of the year. Poems were published in the collections “The first greens” is breaking through the series “Ilya-Premya”, “The shelter of unknown poets. Wild Russians ”, several almanacs, including the Ilya Almanac. He died on June 16. And for the sake of preserving the fragile, erased memory in the year, annual readings of the memory of poets who left the young in e - later expanded the range: "At the end of the 20th - early XXI centuries." The name is the readings “They left.

They remained ”the poet and writer Yevgeny Stepanov presented: the so -called anthology of the departed poets he had previously released. The organizers were Boris Kutenkov and Irina Medvedeva, who experienced the death of the poet in his own fate: her son Ilya Tyurin died in the format immediately developed: the event lasts three days, each of which sounds about ten stories about poets, as well as reports of famous philologists on the topic of poetry and early death.

Live ”, which included many collections of early departed poets of post -Soviet era, memories of them and literary texts; Readings “They left. They remained ”became a tradition and continued in the year by the second volume - dedicated to the heroes of the late Soviet era. Currently, work is underway on the third volume of anthology dedicated to poets who have gone young in the years of the 20th century, and work on the book series of copyright collections continues.

Now the project “They are gone. They remained ”is represented by a constant column on Pechorin. The articles come out with the preface of one of the project curators and the collections of gone poets, whose verses must very much remember and read in our time. The poetry of Arsenia Bessonov, along with classical clarity, contains some game with the reader.

The poet writes: children and animals, play quieter, quieter, because God - he fell asleep. Let him sleep and do not hear, do not hear, does not hear our crying rumble. Bessonov’s image contains a rebus component: what do we deal with - with a speech gesture or with a psychological gesture clothed in a speech form? The question is not in terms: in which section we will read the strip of Bessonov, the content depends.

If we have a psychological gesture, then it inevitably assumes this and now this situation. And then we see a playful seal of a sacred phenomenon. The ingenuous imperative: “Children, do not make noise! If a speech gesture removed from a situational context unfolds before our eyes, then we are dealing with a respectful distance between a person and the Absolute, which is inevitable where a person is expelled from a mysterious Eden and sent to earthly journey.

And then the ordinary “Children, do not make noise! Bessonov, judging by the text, has somewhat paradoxically implemented both the possibilities of a lyrical plot. At the same time, the internal distance between a person and the Absolute is preserved, because it is obvious that in the verses of Bessonov it is not a sound insulation, which seemed to be needed by the sleeping God, but about the eternal everyday pranks of people and animals, which should not invade the pristine peace of the universe, where the highest mind is seredly inhabited.

Next, the author unfolds the lyrical plot in which the worldly temptation of the Earth’s creature and humanly vulnerable! Bessonov continues: let him sleep and does not hear, does not see, he does not heed the human walls, let him dream of a blessed, unexplored, inconsistent world without longing. In the line of poetic liberty - or a kind of playful apocryph - the poet actually claims that people and animals know a little more than their creator.

He does not see what is happening in reality. Bessonov’s god is somewhat detached from reality and immersed in the contemplation of some cloudless pictures: the boy Adam there with a careless girl Eva play in the garden. Branches of the careless eternal good Tree take trouble. Everything is fixable, after all, I am a naive boy, and the girl is you. Return to the abandoned Eden at Bessonov becomes possible when, having gained inner maturity, a person heartily minds about his pristine purity.

The redemption of earthly suffering and mistakes in a different being, the leitmotif, related to the eternal return of Nietzsche, is also present in other poems of our hero. In the poem “Birth of tenderness” we read: why does the boy wake up with biliary pain of swollen glands, blushing to tears, at thirteen to fourteen years old, Pubertat's days, and is afraid, not knowing that now everything is different, everything is just seriously?

Each poet, being a inhabitant of eternity, belongs to his era. Therefore, Mandelstam, a hero of a different era, should not have been mentioned, if not for the Mandelstami allusion.In Mandelstam, in essence, the “two” Petersburg speaking of Pubertat’s onset, Bessonov in his own way varies the Mandelstam's conjugation of childhood and life bitterness, vital herial. If Acmeist Mandelstam, experiencing the impressions of being “on the tongue, taste, color”, remotely echoes the Horace, the poet of the details, then Bessonov goes in a different way.

His world has a touching-naive prototype and a sensual image endowed with a certain purebin. Perfect and intentionally repeated! As if disputing himself in the “Birth of Tenderness”, as if tired of saying acute topics on everyday life, the author exclaims conciliatoryly: calm down, wait! After all, it is easy to hear through the rattle of iron worlds, far away - a whisper: “Dear! And love, not only a heart memory that stores fragments of eternity, associates Arseny with the illuminations of heavenly being.

Have you heard the mumbled mate? And the buzzing, like a hive, honey? We are talking about a certain old woman, in the last conqueror of hearts, and how once her friend, Kolka, whispered to her: “After all, to the coffin? And the eyes go out. In cordially intense erotic love, he and her at Bessonov paradoxically, unexpectedly, inexplicably return to the pristine state of Adam and Eve.

Arseny Bessonov also gives rise to a component of a poetic apocryph of a poetic prank. Rating back, into a sweet childhood out of adulthood, the poet skeptically remarks: my House is so fragile and thin! Moisture in the sand flows longing, although I do not know, a stupid chicken, that only one who builds his house on sand from the sand yesterday. However, in poetic mythology, Arseniy Bessonov, sand becomes a kind of symbol of the highest selflessness, eternal game, which children are capable of, in contrast to boring adults.

In this poetry, the longing for eternal childhood is guessed by the highest naturalness that Bessonov praises him, literally playing one of the motives of the Holy Scriptures: here is a good plot for the Bosch - without any beauty and gloss: in the arena of the zemshar circus, on its all -standing stages of the Pharisees with changing together they represent a new miracle - an unprecedented number under the number under the number By the name: "The camel jump through the ear of that needle of the ancient with the onset of God's kingdom - the same paradise hail - is only better and more cooler." However, trainers and people who are eager for an unprecedented spectacle experience an unexpected fiasco: trainers with a strict look begin to work with a whip.

The Gospel Maxim: “There is no need to explain that literary liberty in relation to the sacred primary source has nothing to do with blasphemy. Despite the abuse of shrine, while literary liberty, like any apocryth, does not encroach on the sacred territory, but prudently exists from it, maintaining a respectful distance towards it. In fact, if the Scripture says wealth as an obstacle to salvation, then Bessonov does not revise the gospel dictum as it was partly the case of Leo Tolstoy, but it is said about the danger of impeccable wealth, but about the danger of civilizing the reins, which encroaches on the pristine nature of the cosmos.

It remains to note in brackets that in the Gospel we are apparently not about a camel, an exotic animal like Arseny Bessonov, but about a sea rope called a “camel”. He cannot go into the needle ear without the help of higher powers with all this, of course, does not argue, and in a parallel with canonical truth constructs his joke-tragic world, boldly periphrazing the scripture, Bessonov does not encroach onto the sacred sphere, but respectfully pushes away from it, speaks about the aesthetic sphere, where the impartial game is a frightened game of the fright Child and natural freedom of a hunchbacked camel.

He is a symbol of personal self -sufficiency, creative freedom of man in the bizarre stream of the universe. The poet Arseny Bessonov left early. His life, which began in the year, ended in believed that the poet had gone where he had been striving all his life - into the mysterious bright weights, into the fields of Eden. What literary testament did Arseny Bessonov leave us?

Avoiding unnecessary thoughtfulness, I would like to notice that he, like any true poet, felt and expressed the nerve of his era. Learning with the classics - almost primarily at Mandelstam, who said “everything is far from dispelled,” Arseny never repeated the samples, albeit the great, was looking for his unique paths. In the poetry of Bessonov, the constants are alive to the modern author of literary culture, generated by the line of the XX-XXI centuries and not similar to everything previous with all the inevitable rollbacks of various eras.

If any historical past of culture is seriously seriously as the subject of a responsible museumification, then Bessonov-a person piercingly modern-is inclined to cleansing laughter in verses, he sometimes has a holy fidgeted, deliberately stunned himself-for example, showing the whole universe as a kind of irresponsible game of children and animals. However, for this, it would seem, unscarriedly flat, almost decorative poetic panel is present and guessed infinitely much that the author intentionally does not speak, for example, the inherent in almost any adult tragedy of the loss of childhood as a reminder of eternity, as evidence of distant Eden.

Sometimes Bessonov tells about terrible things, contrasting resorting to laughter and primitive to display them. With the poetics of the primitive, Bessonov is also consistent with the poetics of minimalism. A child who plays in the sandbox and not at all a giant in Mayakovsky’s style - this is the ideal phenomenon in the poetic iconography of Arseniy Bessonov. His aspiration to touchingly small, in contrast to all monumental, is consistent with the era of postmodernism, turning into globalism.

Simply put, postmodernism is an excess of information in the world. As the most diverse information is in one eclectic iconic field - for example, on the Internet - postmodernism becomes globalism. Globalism is total eclecticism. As a hostage of his era, Arseniy Bessonov, at least partially gives her tribute, contradictly mating children's frivolity and responsible sacred topics, realizing that they should not concern these responsible topics and recklessly, Bessonov, as it were, translates the “metaphysical debt” into a relatively perplexed language, communicates with the reader in the artistic language of minimalism.

Nevertheless, the personal core of Bessonov’s poetry is not in minimalism as such - the fact of form - but in ideal artistic aspirations.

The once fashionable word “ideal” is hardly in honor and most importantly, hardly in use. Bessonov boldly renews innovatively - he daringly translates into a modern artistic language - almost religious ideals that once lived in the poetry of the Golden Age.