2008 -- newrussian.org

Нет большего заблуждения, чем распространенное в русской публике мнение, что писатель существует для читателя. [Shestov. Philosophy of Tragedy.]

... философия трагедии находится в принципиальной вражде с философией обыденности. Там, где обыденность произносит слово "конец" и отворачивается, там Ницше и Достоевский видят начало и ищут.

To write about Russian Literature is to write a tragedy.

The last from the Age of Modernity, when man was the measure of all things.

Not any more.

A shadow of man -- lolita, what? ...

Age of Men. Masses. People...

How tired I am of them.


Where are you, hero?

Hiding. Or dead?

... Russian Corner (new, not used)

"Russian Literature, Chapter Two" [ my second webpage ]

Chronology [mine]

Not just "Zero Years," I do not know what to highlight since 1960s!

30+ years -- and nothing?

... I do not know if any new "Big Book" was written in Russian, since I was born. 60 years without new great novel? Not in Russian literature! Unless, there is no Russian any more.

So, what can I say about books of the 2000s, 1990s, 1980s?

-- Sorokin? Pelevin?

New names, not the new WORD (Dostoevsky about Pushkin).

Not "Doctor Zhivago"?


Maybe "Master and Margarita"?

Maybe, not is was BEFORE me.

What about AFTER me?

I am not in Russia since 1980, and this fact looks like an answer.


-- Rassadin : Путин — деятель эпохи Сорокина, Пригова, Пелевина, Акунина, совершенно безотносительно к тому, как он к ним персонально относится. (Предполагаю, критически, кроме, может быть, последнего.) Эпохи «симулякра» — слово достаточно безобразное, но выразительное: в словесности происходит именно симуляция той духовной жизни, на непрерывность которой всегда уповала русская литература. Pomo-President = simulacra ("cult of negation").
20.12.2007 Культура | Невидимый боец, или Культ вычитания | В.В. Путин как эстетическая проблема * Станислав Рассадин, обозреватель «Новой» nabokov interview01

I pride myself on being a person with no public appeal. I have never been drunk in my life. I never use schoolboy words of four letters. I have never worked in an office or in a coal mine. I have never belonged to any club or group. No creed or school has had any influence on me whatsoever. Nothing bores me more than political novels and the literature of social intent.

You write everything in longhand, don't you?

Yes. I cannot type.

Would you agree to show us a sample of your rough drafts?

I'm afraid I must refuse. Only ambitious nonentities and hearty mediocrities exhibit their rough drafts. It is like passing around samples of one's sputum.


What is your opinion of the so-called "anti-novel" in France?

I am not interested in groups, movements, schools of writing and so forth. I am interested only in the individual artist. This "anti-novel" does not really exist; but there does exist one great French writer, Robbe-Grillet; his work is grotesquely imitated by a number of banal scribblers whom a phony label assists commercially.

[Nabokov's chapter?]

... "Vanity Fair" : Ansenov, Voinovich and Others on youtube.com.


Nabokov and Pasternak? How far back yo go to find solid russian literature?

I read Petrushevskaya in 1970, she was good then, if not better.

... Russian language died (?)

Serious question. If true, no chance for literature.

Topic for Father-Russia? For Book of Fool? Century of Antohins?

How to think about it?

... Russian Literature Post-Soviet :

концептуализм — Кибиров, Пригов, Рубинштейн

метаметаморфизм(метареализм) — Кедров, Жданов, Парщиков, Ерёменко, Арабов, Кривулин, Шварц, Стратановский, Аристов, Драгомощенко

«время по Москве» — Кенжеев, Гандлевский, Цветков, Веденяпин

Вавилон — Кузьмин, Медведев, Воденников, Анашевич

другие — Кублановский, Лосев, Чухонцев, Иртеньев, Губерман, Ольга Седакова, Татьяна Бек, Олеся Николаева, Гандельсман, Амелин, Рыжий, Шиш Брянский, Светлана Кекова, Елена Фанайлова, Вера Павлова

[W] -- what could I say?


No comments.


... kind of literature.

МАКСИМ КРОНГАУЗ Утомленные грамотой for vtheatre.net/ru :

... интернет-орфография сводится к фонетическому письму, то есть “пишут, как слышат”.


Третье мнение сводится к тому, что в Интернете царит элементарная безграмотность, носящая хаотический характер.

Мы имеем дело скорее с анти-грамотностью, чем с без-грамотностью.


Культура — замечательная вещь, и орфография как часть культуры тоже. И не только потому, что она КУЛЬТУРА, но и потому, что, как правило, она дает определенные преимущества людям, ею обладающим. И орфография в том числе. Контркультура же всего лишь доставляет удовольствие (несколько деструктивного свойства). И то не всем.

Опубликовано в журнале: «Новый Мир» 2008, №5

POMO.ru :

http://culture.niv.ru/doc/poetics/rus-postmodern-literature/index.htm РУССКАЯ ПОСТМОДЕРНИСТСКАЯ ЛИТЕРАТУРА

... "Театр без спектакля": "Дисморфомания" Владимира Сорокина

http://culture.niv.ru/doc/poetics/rus-postmodern-literature/113.htm Korkia * Виктор Коркия. СВОБОДНОЕ ВРЕМЯ

Перебираю прошлое в уме.
Читаю, но не вижу в этом смысла.

ИЛЬИН Илья Петрович. Постструктурализм. Деконструктивизм. Постмодернизм. http://culture.niv.ru/doc/culture/ilyin/index.htm

... Ирина Сандомирская "КНИГА О РОДИНЕ"
Опыт анализа дискурсивных практик. http://culture.niv.ru/doc/culture/sadomirskaya-rodina/index.htm

From the Past:

[ Часть семнадцатая



     Гул затих. Я вышел на подмостки. 

     Прислонясь к дверному косяку, 

     Я ловлю в далеком отголоске 

     Что случится на моем веку. 

     На меня наставлен сумрак ночи 

     Тысячью биноклей на оси. 

     Если только можно, Авва Отче, 

     Чашу эту мимо пронеси. 

     Я люблю твой замысел упрямый 

     И играть согласен эту роль. 

     Но сейчас идет другая драма, 

     И на этот раз меня уволь. 

     Но продуман распорядок действий, 

     И неотвратим конец пути. 

     Я один, все тонет в фарисействе. 

     Жизнь прожить — не поле перейти. 
... as if Evtushenko wrote it.



nothing to quote. very soon.
... art * kino * teatr

from fool.vtheatre.net/amer

     How do you write? What are your methods? 

     I find now that index cards are really the  best  kind  of
paper   that   I  can  use  for  the  purpose.  I  don't  write
consecutively from the beginning to the next chapter and so  on
to  the  end.  I  just fill in the gaps of the picture, of this
jigsaw puzzle which is quite clear in my mind,  picking  out  a
piece  here  and  a piece there and filling out part of the sky
and part of the landscape and part of the -- I don't  know,  the
carousing hunters.

     Another aspect of your not entirely usual consciousness
is the extraordinary importance you attach to color. 

     Color.  I think I was born a painter-- really!-- and up to
my fourteenth year, perhaps, I used to spend most  of  the  day
drawing  and painting and I was supposed to become a painter in
due time. But I don't  think  I  had  any  real  talent  there.
However, the sense of color, the love of color, I've had all my
life:  and  also  I  have  this  rather freakish gift of seeing
letters in color. It's called color hearing. Perhaps one  in  a
thousand  has  that.  But  I'm  told by psychologists that most
children have it, that later they lose that aptitude when  they
are  told  by stupid parents that it's all nonsense, an A isn't
black, a B isn't brown-- now don't be absurd.

     What colors are your own initials, VN? 

     V is a kind  of  pale,  transparent  pink:  I  think  it's
called,  technically,  quartz  pink: this is one of the closest
colors that I can connect with the V. And the N, on  the  other
hand,  is  a greyish-yellowish oatmeal color. But a funny thing
happens: my wife has this gift of seeing letters in color, too,
but her colors are completely different.  There  are,  perhaps,
two  or  three  letters  where  we  coincide, but otherwise the
colors are quite different. It turned out,  we  discovered  one
day, that my son, who was a little boy at the time-- 1 think he
was  ten  or  eleven--  sees  letters  in  colors,  too.  Quite
naturally he would say, "Oh, this isn't  that  color,  this  is
this  color,"  and  so on. Then we asked him to list his colors
and we discovered that in one case, one letter which he sees as
purple, or perhaps mauve, is pink to me and blue  to  my  wife.
This is the letter M. So the combination of pink and blue makes
lilac  in  his  case.  Which  is  as  if genes were painting in

     Whom do you write for? What audience? 

     I don't think that  an  artist  should  bother  about  his
audience.  His  best  audience  is  the  person  he sees in his
shaving mirror every morning. I  think  that  the  audience  an
artist  imagines,  when  he imagines that kind of a thing, is a
room filled with people wearing his own mask.

     In your books there is an  almost  extravagant  concern
with  masks and disguises: almost as if you were trying to hide
yourself behind something, as if you'd lost yourself. 

     Oh, no. I think I'm always there;  there's  no  difficulty
about  that.  Of  course  there is a certain type of critic who
when reviewing a work of fiction keeps dotting all the i's with
the author's head. Recently one  anonymous  clown,  writing  on
Pale  Fire  in  a  New York book review, mistook all the
declarations of my invented commentator in the book for my own.
It is also true that some of my more responsible characters are
given some of my own ideas. There  is  John  Shade  in  Pale
Fire,  the  poet.  He  does borrow some of my own opinions.
There is one passage in his poem, which is part  of  the  book,
where he says something I think I can endorse. He says-- let me
quote  it,  if  I  can  remember;  yes, I think I can do it: "I
loathe such things as jazz, the white-hosed moron  torturing  a
black   bull,   rayed   with   red,   abstractist  bric-a-brac,
primitivist  folk  masks,   progressive   schools,   music   in
supermarkets,  swimming  pools,  brutes, bores, class-conscious
philistines,  Freud,  Marx,  fake  thinkers,  puffed-up  poets,
frauds and sharks." That's how it goes.

     It  is  obvious that neither John Shade nor his creator
are very clubbable men. 

     I don't belong to any club or group. I don't  fish,  cook,
dance,  endorse  books,  sign  books, co-sign declarations, eat
oysters, get drunk, go to church, go to analysts, or take  part
in demonstrations.

     It  sometimes  seems to me that in your novels-- in
Laughter in the Dark for instance-- there  is  a  strain  of
perversity amounting to cruelty. 

     I  don't know. Maybe. Some of my characters are, no doubt,
pretty beastly, but I really don't care, they  are  outside  my
inner  self  like the mournful monsters of a cathedral faзade--
demons placed there merely to show that they have  been  booted
out. Actually, I'm a mild old gentleman who loathes cruelty.

... fiilmplus.org/kino : century 21

Поймем ли, что русская литература — лучшее, а возможно, единственное, что Россия дала миру? http://www.novayagazeta.ru/data/2008/18/27.html

ШЗ Аксенов 5/5

... filmplus.org/rat -- RAT1