Volga - XXI century (Saratov)

“Dragonfly made of hardened steel...”

Volga - XXI century (Saratov)*

A good-quality, “linen-like” monochromatic cover, issues of different colors - rich blue, green, brick, etc. - create a tantalizing and at the same time decorous variety of colors on the bookshelf, sorting in the mind by number - in this red-brown, - an interesting play by Alexei Slapovsky, I want to re-read it... The magazine is a significant volume - each issue, combining two issues, has an average of 300 pages. The positioning logo is a winged elephant walking straight towards the reader along the staff. The elephant steps confidently, but the rulers of the staff do not bend under it, as if feeling its wings above them... The magazine “Volga - XXI century” already at first glance inspires confidence.

Its history, or rather its evolution, also inspires confidence. This review cannot do without literary “archaeology”.

The birth of the magazine was not marked with any special seal. “Volga - XXI Century” is the successor to “Volga”, which began publishing in 1996 and then joined the ranks of other regional “thick” literary magazines - “Don”, “Ural”, “Siberian Lights”, “ Far East“... All of them were simultaneously bodies of the Union of Writers of the RSFSR and local writers' organizations. The editors-in-chief were approved by the regional committee, the Central Committee of the CPSU and the secretariat of the Writers' Union of the RSFSR. Such an abundance of abbreviations and acronyms in the names of the “founders” largely determined the policy of the journals. The first editor-in-chief of Volga was the “Russophile” Nikolai Shundik, he was replaced by Nikolai Palkin, who continued Shundik’s line, but strengthened the “provincialism” of the magazine. How did “Volga” later manage to acquire a freedom-loving nature?

Volga, despite its regionalism, acquired a liberal orientation when Sergei Borovikov became its editor-in-chief in 1984. He gradually managed to move the magazine away from the tutelage of the regional committee...

The years 1988-1996 can be called the peak years in the history of Volga. At that time, “thick” literary magazines, and “Volga” among them, actively “returned” previously prohibited literature to the reader and discovered modern new names. “Volga” published works by V. Nabokov, I. Shmelev, B. Zaitsev, N. Berdyaev, and was the first to publish individual works by V. Pietsukh, V. Sorokin, E. Rein, V. Pavlova... Special issues of “Volga” published “Son human” by A. Me (while the author was still alive), the first translation of travel notes by A. Dumas the Father “From Paris to Astrakhan”. The magazine showed a natural interest in names from the provinces (A. Ozhiganov, Samara; S. Soloukh, Kemerovo; A. Titov, Lipetsk region) and in Volga local history (notes of the Saratov bishop, who secretly married Galina Vishnevskaya and Mstislav Rostropovich in the house church; history of Volga shipping companies). Several special local history issues with unique materials were published. Was considerable specific gravity Russian-German Volga region materials (historical and cultural publications by A. Herman, I. Schleicher; essays about the famous composer A. Schnittke and the famous artist J. Weber, etc.).

“Volga” was the third - after “Znamya” and “October” - a magazine that registered as a periodical under the Press Law of September 1990, receiving No. 61 (today’s new publications have numbers with a very large number of numbers).

The line in the title of this review, “Dragonfly made of hardened steel...”, was found in a poem by one of the authors of “Volga - XXI Century” Alexey Alexandrov. The quote (out of context) perfectly characterizes “Volga”. The fate of this “dragonfly”, a literary and artistic publication, really resembles more the hardening of steel than the life of an elegant creature... Having left the Writers’ Union in 1990, the magazine also left the “Privolzhsky Book Publishing House”, which paid printing costs, calculated royalties for authors and salaries for employees . Sergei Borovikov wrote appeals to the Saratov administration, went to the authorities - to no avail. The Russian PEN Center, with a request for assistance from “Volga” signed by Fazil Iskander, Andrei Voznesensky, Bella Akhmadulina and other major metropolitan poets, turned to the governor of the Saratov region, Dmitry Ayatskov, but he did not even respond.

Volga employees began to earn money themselves - they began publishing and selling fiction books for children and teaching aids, created by the editors book Shop(they hired a KamAZ truck, which went to Moscow to buy books, then the entire editorial staff unloaded it with their own hands). Stationery items were added to the books sold. There was a period when “Volga” was published directly in the editorial office - having received the “Maly Booker” in 1994, the magazine acquired its own printing press and binding equipment. But there wasn’t enough money even for paper. For some time, “Volga” lived on custom printing - waybills, menus, even graphomaniac books... But they failed to stay afloat. In 2000, the editors addressed readers with the news that the publication of the magazine had ceased.

Two years later, at the forum of young writers in Lipki, Deputy Prime Minister Valentina Matvienko was asked a direct question about the fate of the Volga. And Matvienko’s answer - her call to Ayatskov - decided the matter. The magazine (under the name “Volga - XXI century”) was resumed, Nikolai Bolkunov became editor. In 2007, the tender for the publication of Volga - XXI Century was won by Sergei Grishin, who invited the head of the criticism department of the former Volga, Anna Safronova, to become an editor. Through the efforts of A. Safronova and her team, “Volga - XXI Century” protects the free spirit of “Volga”.

Let's open the magazine. What are the names and texts - insights, discoveries, stars - of “Volga - XXI century”?

The play “Fool (“Don’t let me kill you...”)” by Alexey Slapovsky. Named after the hero, a “displaced person” whose name Fool is a homonym for our curse, the drama raises one of the most important modern themes - life among “others”, the feeling of oneself as an “other”. Almost all of us are “displaced persons”, which is emphasized in the play and by the author’s recommendation that one actor play several roles - the faces of strangers and supposedly “our own”... A. Slapovsky’s artistic speech, as always, is ironic, lively, polyphonic.

Ksenia Golubovich’s style and natural sense of context in her work “How I was and stopped being a translator in Yasnaya Polyana" K. Golubovich gives birth to a subtle, nuanced, unpredictable verbal fabric, impressing the reader’s stylistic flair.

Experiences of Sergei Borovikov, speaking in the “In its own format” section with the already known to the reader and cumulatively replenished cycle “In the Russian genre”. Borovikov “photographs” Russian life and his inner insights: a squirrel in a wheel as the most vile mockery of man against an animal... a woman “with a forever tortured face”... heroes dressed to the nines and sparkling cars in the post-war film “Spring”... a homeless man stranded near a garbage can in reading the book found in it...

The regular sections of the magazine are traditional: “Poems”, “Literary criticism”, “From cultural heritage”... With the exception of the unexpected stratification of the classic section “Prose” into sections “Big Book”, “Simply Prose” and “Sentimental Reading”, as well as “Point immediately”, “Debut”, etc. Prose, even worthy of “thick” literary magazines, is really different.

The big book is, first of all, an inexhaustible, tenacious novel genre. For example, Vera Afanasyeva’s work “Favorite Novel”, published in a Saratov magazine, is a paraphrase of “The Master and Margarita”, written on modern material, with recognizable historical figures (“they live with spots on their bald head, and how they live…”), the latest technology, television broadcasts (from hell), the possibilities of plastic surgery... The technique of paraphrase is naked - the author not only transforms well-known characters and plot situations, but also repeatedly admits this (“but, as a critic to the creator, I must say that you were too fascinated by your hero and to those who wrote about it before you”, “they probably want me to go there naked. Is that how it’s supposed to be?”). Like Bulgakov, in “Favorite Novel” Moscow, Jerusalem and eternal and endless times and spaces are intertwined. There are also funny author's strokes. The Master and Margarita are simultaneously replaced by a young writer, a janitor girl. Pontius Pilate is in love with Mary Magdalene. The future evangelist Mark serves as Pilate's secretary. But the essence remains eternal: good is part of evil, and against the backdrop of evil it is more amazing and valuable.

In “simple prose”, represented mainly by stories, the breath of the present pleases - the craving for a living, enchanting reality even in such a clockwork doll as Milochka in Anna Andronova’s “Cobalt Cup”, the resurrection of the past in the perception of the world by an old person (associating a cat with a deceased husband) in her “Neighbours”, the photographic significance and imperishability of any life episode and intersection with the line of someone’s life in Olga Klyukina’s “That Address”, the rare precision of mutual love, the union of the “light-footed, young” Miluna and the forty-five-year-old philosopher Renato “with gray-haired temples and eyes like dark olives” in “The Call” by Tatyana Lebedeva...

The words “sentimental” and “reading” can be perceived negatively, but the magazine’s editor, Anna Safronova, insists on the opposite effect - according to her, the rubric simply hints at the outdated “sentimental” nature of these works. And it’s true - for example, children’s love for parents (Olesya Kopteva. “Papa est’”) and parental love for children (Vera Agafonova. “Painted Joy”), unfortunately, become literary rudiments, and the eternal childishness of the soul - a moral rudiment...

The poetry in the Saratov magazine is existential, experimental, sensitive to internal form words.

“What do wasps know about awareness?” - Grigory Gelyuta asks a philosophically punning question. “We sting (then regret), we talk about humanity”...

The familiar world is transformed beyond recognition:

turtle to lion cub:
you have such grown up hands
grey eyes
royal insignia

(Evgeny Proshchin. “Turtle for a lion cub...”)

Reality with a “rope of sand” (Maria Tashova), “a tree coming out from around the corner” (Sergei Lange), “fish fed with lilac bread with thin fingers of pianists” (G. Gelyuta), “a priest looking at a person into the light” (Igor Karaulov), colorful, multifaceted and yet it is an exact copy of our world. Love has lived for many centuries in the bottomless world “between skin and skin” (Evgenia Rits). The first snow is “still the first,” but “it will still melt” (Alexander Yakubovich). And the tragic irony of existence reigns: “God spat Dante, and there are circles in hell” (Gennady Kanevsky).

The reader of “Volga - XXI Century”, saturated with ultra-modern poetic searches, is happy to touch the world of culture of the sixties, for example, its kindly and curious representative Vladimir Kovenatsky.

“Volga - XXI Century” is welcoming to all literary generations.

A worthy tribute to the older generation - military prose, presented in issue 3-4 for 2007 in the section “In war as in war” according to the gradation of artistic verisimilitude - Vladimir Karpov’s story “C’est la vie”, fragments of Mikhail Alekseev’s autobiographical novel “Occupants”, front-line letters from Saratov resident Anatoly Dzyakovich... The texts have something in common (thematically and in the title of the section) with a critical article about Viktor Kurochkin’s story “In War as in War,” published in this issue. The works are woven into the fabric of the magazine organically - the theme of the holy war will never become biased...

The youth in the magazine are also breathing deeply. For example, Evgeny Novitsky with his “ Best book about love,” which was longlisted for the “Debut” prize and presented in the introduction to the magazine version by Alexey Slapovsky, is very good in its creative freedom. He creates an ultra-modern love triangle (Nastya - Kolya - Ada - Nastya) and an insert remake of “Fathers and Sons”, adapted for children (“Zhenek and Arkasha walked home ...”). Pushes and erases the boundaries of the world and the text. “Stream of consciousness” describes sexual intercourse in fractions of a second. The characters spend one and a half magazine pages talking to each other in continuous quotes from Zemfira’s songs. The author experiments, organizing (perhaps, I would still like to say, mounting) the chronotope of the text, working in parallel and intersecting plans.

“Volga - XXI Century” gladly pays attention to poetry festivals - Saratov “Debut-Saratov”, Nizhny Novgorod “Strelka” and others - and their cultural promoters (for example, Mikhail Bogatov, Evgeny Proshchin, whose interesting prose and poetry are presented in issue 5- 6 for 2007), and the vast majority of festival participants and guests are young and middle-aged people...

In a regional magazine, criticism could be the weak link. But not in “Volga - XXI century”. The criticism here is at a decent level.

Literary criticism in the form in which it exists in Russia (not literary-centric, with wide access to society, with the expectation of a heartfelt conversation with the reading public) is perhaps a typically Russian phenomenon. In the West, criticism (or maybe we need to choose a different concept and use the word “criticism” only in relation to the Russian art of evaluating a work?) is different - positioning itself, artistic, written mainly for the initiated. “Volga - XXI century” knows a lot about Russian criticism.

The regular authors of the “Literary Criticism” column (Roman Arbitman, Oleg Rogov, Alexey Alexandrov, Sergey Borovikov, Sergey Trunev, etc.) have their own position, a recognizable style. R. Arbitman is precise in his formulations, he is a connoisseur not only of “living classics,” but also of high reading and a stern judge of mass cult literature. O. Rogov is perspicacious, clearly sees the central, the main thing in the subject of his critical assessment, and finds a pearl in a pile of trinkets. The living style of S. Borovikov sometimes creates amazing literary critical situations - read, for example, his article “Hellish Color” (No. 7-8 for 2007), and its hero Sergei Chudakov may begin to “double” in your mind as a real man and like a literary hoax, it will be so alive and at the same time almost Lebyadkin-like curious - both in the texts (with their semantic filigree) and in biographical gestures... Criticism of serious, scientific works(for example, philosophical, aesthetic, cultural, art) is the prerogative of S. Trunev with his ironic view.

The magazine is pleased to present fiction books - for example, works by the authors of Vremya, undoubtedly one of the best publishing houses of today. Columnist Anna Safronova selected three books published by Vremya (by Boris Evseev, Yuri Druzhkov, Oleg Pavlov), and the criticism is not interested in their commonality, but in their differences. The deafening spontaneity of B. Evseev’s book “Revolution Square. A novel and six stories”... The demonstrative unpredictability of the movement of Yu. Druzhkov’s novel “Who’s Crying for You?” - the author here creates a typical “open work” (U. Eco’s term), the course of which is impossible to anticipate... The calm, clear manner of narration in O. Pavlov’s novel “In Godless Lanes”... These authors dialectically complement each other.

“Volga - XXI Century” is also characterized by critical passages about prose, which “falls short of serious literature, but is too complex for advanced housewives” (O. Rogov). In this field, which is rightfully accepted by omnivorous literary criticism, but usually ignored by “thick-magazine” criticism, the sharpener of “Volga” criticism sparkles most brightly... Countercultural literature has fit into the printing landscape, but the language with which it needs to be evaluated has not yet been invented, it is at the stage formation. The growth of a new alphabet with a lexical body can be traced through the example of the critical work of O. Rogov. Alejandro Jodorowsky’s counterfeit “carnivalization” is described by the critic as a “circus”, a “booth show”: in the work “everything is “make-believe”, and criticism, without using complex terms, also looks for a “make-believe” language, a descriptive language. Attempts to create terminology (as if forming a directory of countercultural literature) are being made: “Psychedelic esotericism is the most correct designation for the work of the Chilean film director, actor and writer Alejandro Jodorowsky,” etc., but they are surrounded by humorous idioms (“Although in the absence of fish, Werber is a prophet”) , extreme compression of concepts and plots (“Ultimately the text (“Ghosts” by Ch. Palahniuk. - E.Z.) - about the love of pain, about the extreme desirability of the devil in our lives, about the impossibility of freedom”).

The original critical column “Publisher” (hosted by Anna Safronova) presents the reader with the work of Russian and foreign publishers. The word “creativity” here is not a reviewer’s slip and does not imply the poetry and prose of the publishers themselves. The choice of authors and works for publication is also creativity, a talented example of which can be a selection of books by original authors published by Vladimir Orlov under the brand “Cultural Layer”: “Favorites. 736 poems + other materials” by Evgeny Kropivnitsky, “Words on Paper” by Yuri Smirnov, “Rolled Cast of a Face” by Evgeny Horvat, “Suitcase” by Anatoly Makovsky, etc.

“Volga - XXI century” speaks not only the language of literature, but also the languages ​​of cinema, theater, painting, music...

The magazine sometimes emphasizes - throws stones, leveling itself, or does it still encourage? - literary-centricity of individual works and authors (Henry Miller, Chuck Palahniuk, etc.). But he rightfully considers literature “first among equals” and especially favors those types of art whose works contain verbality in their synthetic nature - cinema, theater. Hence the publication of not only plays, for example, the above-mentioned drama by A. Slapovsky, but also Andrei Bezdenezhnykh’s film story “Fatalism” with its magnificent visuals, and the presence of a separate section “Film Review”... Its presenter Ivan Kozlov even throws out a protest against literary centricity: “How- It has become a custom that thoughts about what has been read, seen or heard are usually written down using words. Although sometimes you want to formalize these impressions in the form of a musical phrase or dance. Maybe this is a form of future criticism...”

Ivan Kozlov writes his “letters about cinema” figuratively and meaningfully. He is a connoisseur of cinema (both auteur cinema, mass cult cinema, and the “golden mean”), but, honoring the laws of this game world, he does not play along with anyone - neither the filmmakers, nor the film viewer, without abandoning, as in Antonioni’s film “Blow Up”, the players in virtual tennis supposedly a dropped ball... He vigilantly sees the “highlight” in the movie, and the one that is actually a cliche, but a desired cliche. For example, ZRD, that is, the mysterious Russian soul, is a “time-tested brand”... He is an irritant, a polemicist. The famous “Island” in the context of Kozlov’s assessments bifurcates, if not stratifies: “The film is shot tightly, according to the Russian-Hollywood pattern: here you cry, here you laugh; reactions are predictable and directed..."...

Non-verbal forms of art - painting, sculpture, music - are successfully “translated” into the language of words on the pages of the magazine. “If you pass by a rose, don’t look for it...” The exhibition “Study of the Rose”, organized in Saratov for the 100th anniversary of the symbolist exhibition “Blue Rose”, gives the reader a true “immersion in the rose”... And together with the musician Anatoly Katz, according to his memoirs, one can recreate the image of the cello virtuoso Svyatoslav Knushevitsky, whose friends his name was Light... “Let all the flowers bloom” - this phrase perfectly characterizes the riot of types of art, creative manners and alphabets in the literary magazine “Volga - XXI century” and defines the direct path to “articles about life”, an undoubted attribute of the thick literary magazine.

New types of art - performance, installation, environment - require a purely modern language, and the magazine knows it. For example, E. Strelkov’s article “Below Nizhny. Volga myths and hoaxes”, dedicated to the works of the artists of the “Dirigible” group in the genres of book art and media installations. The author highly values ​​fiction and its verisimilitude. New art is directly linked to reality - the boundaries of reality and fiction are finally destroyed... Myth-making, closely connected with landscape, ecology, and worldview, is actively being born and revived. The organic combination of the ancient Slavic and the new is reflected, for example, in the computer game “WaterBust”, which represents a virtual beauty contest, the participants of which are mermaids from the carved boards that decorated the huts of the Old Believers in the north of the Nizhny Novgorod region. A sound installation and an artist’s book populated with the sounds of the past - snatches of Volga chants, boatswain’s pipes and bell ringings - “shards of an acoustic cast from a culture no longer accessible to us.” Individual fragments are perceived harmoniously, but the confusion of the entire melody is reminiscent of the disruption of the Volga sonata, the strength of which has been undermined by reservoirs and toxic waste. An invariant of this theme is the intentionally repulsive-looking whistles in the shape of Volga reservoirs. If you decide to bring one to your lips, you will press your finger over the hole with the inscription “Mologa”, “Stavropol-on-Volga”, “Yurievets” (cities flooded by reservoirs) and you will hear how the general tone of the “sound of the river” changes... I am reminded of the poems of Arseny Tarkovsky in 1933 : “Here is Yuryevets, Yuryevets, what a city - / You look at it through binoculars from above... / Right next to the water, under the very mountain... / Why sleep and wonder about Yuryevets’ fate...” Tarkovsky’s prophetic heart was already saying goodbye to the city then?..

Modern projects are becoming limitless. Volzhans, in honor of fellow countryman artist Pavel Kuznetsov, made apple jam and sent it in jars with the inscription “Recommended for tea” to Russian and foreign museums that house paintings by the Saratov artist.

The aroma of the inter-museum tea party mentioned in the magazine merges with the “aromas of transparency” of Saratov nature, glorified by the brush of Kuznetsov (the talented article by Igor Sorokin “Saratov by Pavel Kuznetsov. Notes of a local resident” in issue 3-4 for 2007). “The soul is torn from the tension of feelings, the Divine combination,” wrote Pavel Kuznetsov to Savva Mamontov about his perception of Saratov nature. The typical Saratov “color formula” is captured by the artist with amazing precision - dust, trembling of the sultry air, and at the same time the Volga world under the fibers of Kuznetsov’s brush - a different, original reality, a world image. Saratov is not identical to itself here. The painting of Pavel Kuznetsov, for example, makes fountains flow, to which the city authorities at that time never bothered to supply water...

The magazine is cut and sewn in Russian, but does not suffer from Russophilia - in its criticism it pays attention to foreign-language writers (for example, German- and Russian-speaking Olga Voinovich, Evgeniy Horvat), from the pages of the “Through the Eyes” section western man” boldly looks at the beloved “ditty Saratov” (S. Chudakov), the poetic “Stadt Saratov-am-Himmel” (G. Kanevsky) as “one’s own, different, different.” Cursory assessments of foreigners (“... it’s hard to imagine that young people here live the same normal life as we do in large Western cities”), having the right to life, dissolve in the general greatness of Saratov-grad.

The image of the city, native to “Volga - XXI Century,” is lovingly recreated in the magazine, and the texts are even dedicated to the personified Saratov. See, for example, the dedication of Valery Volodin “To the priceless friend - Saratov”, preceded by his story “Nobody from anywhere and nowhere”. The work develops the Russian literary line of the “little man” and the “man in a case”, who here received the inconspicuous surname Serkov. The text is honorably dedicated to Saratov, because the “little man”, under the pen of Volodin, acquires a priceless treasure - memory, what remains if you subtract the forgotten from the experience.

By the way, the editorial office of “Volga - XXI Century” was located in Saratov on Bolshaya Sadovaya Street... Why not a haven for a “thick” literary magazine?.. And now it is located on Moskovskaya Street...

“Volga - XXI century” exists as a single text, lives as a single being. From issue to issue the magazine becomes more interesting, richer, better.

His freedom-loving and sometimes risky orientation effectively contradicts his provincial origin. The modernity of “Volga - XXI century” is clearly manifested in the theme park (a person in a “different” space, the feeling of the world as a text, etc.), the faces and guises of the “alien” word (remakes, allusions), the synthesis of arts, forms of existence of the word.

Combining the original and the newest, “Volga - XXI Century” creates a new mythology and contributes to the formation of a new reader.

Elena Seifert

* From the editor: everything said in the review refers to the period before May 25 of this year, when by the decision of the founders, none of the former employees remained in the journal, and E.S. was appointed editor-in-chief. Danilova (Martynova), member of the Saratov Writers Association. About the fruits of the work of the Association and E.S. Martynova, in particular, see: Sergei Borovikov Saratov Tales. Rec. on the Reader for primary and secondary schools. - Znamya, 2008, No. 6.

(1) “Happiness for everyone, freely, and let no one leave offended!” (2) With these words, already so textbook for us, the novel by the Strugatsky brothers “Roadside Picnic” ends. (3) The main character, having almost reached the Golden Ball, which fulfills any desire, cannot understand what he needs for happiness. (4) What to ask for? (5) Material goods? (6) Glory? (7) Love? (8) Talented children? (9) What miracle must happen for you to feel, as if in a soul captivated by a joyful feeling, as if spring Flower, happiness sprouts?

(10) What do you need to become happy? (11) Try asking this question to your friends - they will be embarrassed and begin to joke, hinting at the inappropriateness of such a “childish” question that came from somewhere in the fairy-tale world. (12) It will seem absurd to them to seriously discuss and reflect on the topic of happiness, since even this concept for them is akin to a lie and fiction.

(13) But in fact, we have all already reached our Golden Ball. (14) Our Golden Ball is life. (15) It’s just that the moment when we determine our path and look for the doors that we are going to open is not highlighted in a separate episode, not marked in red in our life calendar. (16) Our choice occurs spontaneously, imperceptibly; consciously or not, we are all drawn to what we think will make us happy.

(17) But since we do not clearly formulate either the goals or the meaning that we put into the concept of happiness, then we move towards it, as if in a fog, half-consciously, instilling in ourselves that ours is a thoughtless, blind path, the way birds return home after wintering , - this is the road to happiness.

(18) Someone thinks that there is no happiness. (19) There is eternal movement, achieving the next goal, and then short minutes of peace, and again - on the road. (20) Maybe this is the problem - not feeling happy moments of relaxation, always rushing forward, thinking: and there, around the next corner, I will finally be happy! (21) Here lies the trap, the crafty choice that has caught us in a trap. (22) That's why modern man lives: born - kindergarten; then - school; then – university; then - work. (23) Life is laid in a Procrustean bed, life path marked, the paths of life are already paved, there are signs all around, traffic controllers are waving their sticks - you won’t get lost. (24) Moving along this road, a person achieves something - then he is called successful; if he doesn't have a high-paying job, he's considered a failure. (25) But pay attention: they call him, they consider him... (26) The opinion of society, fashion determine a person’s path to happiness. (27) But if life success someone considers it synonymous with happiness, this does not mean at all that someone else should think the same way. (28) Who said that my happiness is a villa among orange groves or a silver Cadillac? (29) I have my happiness, what my soul wants... (30) What does it want? (31) And what are you willing to give for real, genuine, eternal happiness? (32) Someone else’s life, as Redrick Shewhart did for the opportunity to ask the Golden Ball for any wish? (33) Or just a piece of conscience, as some do, exposing their neighbors for the sake of moving up the career ladder?

(34) For some reason, people communicate little with themselves. (35) Our own self is “Mr. X” for us; we do not hear his voice, we do not heed his requests. (36) We consider the most important values ​​to be those recognized by society. (37) And then we ask ourselves in disappointment: “So what? (38) Well, I achieved this and that... (39) Where is the happiness?” (40) This question most often appears not because we need more and more, but because we need something else. (41) Maybe something that is very close. (42) But we, lifting our heads up, do not see that it is nearby. (43) Remember, from Bunin: “And happiness is everywhere...” (44) But we, blinded by the unattainable, go into the distance and, like wildflowers, crush what is right under our feet, very close.

(According to N.V. Agafonov*)

* Nikolai Viktorovich Agafonov (born in 1956) is a modern writer and publicist.

Text Information

Problems	Author's position
1. The problem of happiness. (What makes a person happy?)	Life, its diversity, the ability to choose your own path - all this makes a person happy.
2. The problem of moral choice. (Is it possible to break the laws of morality for the sake of the possibility of achieving happiness and success in life?)	The author does not give a direct answer to the question posed, but the author’s position is clear. You cannot give up a “piece of conscience” for the sake of achieving your own well-being, “happiness”; you cannot break the laws of morality in order to achieve your own goals. Society’s opinion and fashion should not be decisive factors in the formation moral principles a person, his life path.
3. The problem of the influence of public opinion on ideas about happiness. (Is it always public opinion Does happiness coincide with what a person needs?)	Often public opinion about happiness does not coincide with what a person really needs.
4. The problem of finding happiness. (What is happiness? Where to look for it?)	Each person solves this problem in his own way. It is important not to miss your happiness, which may be very close.
5. The problem of difficulty in finding happiness. (Why is it difficult to find happiness?)	The difficulties in finding happiness are due to the fact that the moment when we determine the path of life is not isolated as a separate episode; the choice always happens spontaneously, imperceptibly.

Dear teachers, we really need your help! You are my last hope, because... I really hope for your high professionalism and complete objectivity. Please evaluate my essay based on Agafonov’s text (the fact is that the tutor completely disagrees with the expert who checked my work).
Sincerely, Vladimir.
Text: (1) Among the chronological dust, by some miracle, the story of one
a Russian soldier who once stood at a post in Peterhof.
(2) The Russian Tsarina passed by him with her favorite physician
Lestocq, who complained that in Russia everything is for sale, everyone can be bought,
that in this unscrupulous country you can’t find a person ready to serve not
for fear, but for conscience. (3) The gaze of the queen’s favorite fell on the chilled soldier:
“Well, at least take him!” (4) Lestok threw a coin at the feet of the sentry and insinuatingly
in a purring voice, asked to pick her up. (5) The soldier stood motionless in place.
(6) Then the nobleman, not wanting to remain a fool in front of his patroness,
repeated his request in a more categorical tone and even stamped his foot. (7) But
The sentry didn’t even raise an eyebrow. (8) Here the courtier lost his head out of anger and, tearing out
curses and threats, began to approach the guard. (9) He decisively directed at
Lestocq bayoneted and ordered to stop. (10) Spoiled by slavish obedience
surrounding, the nobleman backed away in fear. (11) The queen triumphantly
laughed and did not hesitate to prick her favorite:
– (12) You see, my dear, not everything in Rus' is corrupt!
(13) And then she laid a ruble at the soldier’s feet:
– (14) You’ll take it when you change.
(15) Of course, today no one would dare to vouch for the veracity of this
historical anecdote. (16) Very often real facts and fiction are bizarre
are mixed together, the event in an altered form is, as it were, embalmed by memory,
turns into a kind of instruction, direction, covenant, carefully conveyed through
time for descendants. (17) Then it is not the factual side of this or that that becomes important
another legendary event, and why in our time they suddenly remember it.
(18) I recently read that in former times generals avoided
use forests for military operations, although it would seem that the dense thicket promised
serious advantages: you can sneak up on the enemy, suddenly
strike, hide again in the dense thickets. (19) The point, it turns out, is this:
the generals were afraid that the soldiers, having lost the control of the officers, would simply
They can simply run away like hares and hide in the bushes. (20) But if your
a commander is not an officer in epaulettes, but an unsleeping conscience if he is in charge of you
not fear of punishment, but military honor, duty to comrades in arms, to the fatherland, then
what colossal advantages the army receives! (21) Each fighter turns into
an impregnable, indestructible fortress.
(22) What has been said is true not only in relation to wartime, but also in
in relation to our ordinary life. (23) Greed, bribery, greed
tear the people into separate individuals, and then everyone is for himself, and personal interest
becomes above all. (24) But we’ve already been through this: let’s remember the feudal
fragmentation, when everyone lived their own and for themselves. (25) How did it all end?
(26) Centuries of forced slavery, loss of national identity...
(27) By the way, do you know who that young honest soldier was who
bowed his head before the arrogant handout of the courtier? (28) Alexander
Vasilievich Suvorov! (29) The great Russian commander, who later won
many glorious victories! (30) So, as they say, draw your own conclusions...
(According to N. Agafonov.)
My essay (all errors saved):
What is conscience? What should a conscientious person be like, and why should people not have such qualities as greed and selfishness?
It is these questions that Nikolai Agafonov discusses, thereby revealing to us the main problem of the text: why do people need to live according to their conscience?
In his text, the author talks about a Russian soldier who did not pick up a coin thrown at his feet, even under the threats of the queen’s favorite. Thus, Agafonov makes it clear to us what a conscientious person should be. The narrator is also convinced that “if your commander is not an officer in epaulettes, but an unsleeping conscience,” then “every fighter turns into an impregnable, indestructible fortress.” With this, the author explains how important such a quality in a person as conscience is, and in the author’s opinion, people need it and in ordinary life, otherwise such qualities as greed and selfishness will flourish, which will lead to “loss of national identity.”
The author's position is extremely clear. He believes that people should have a conscience, and the more such people there are, the better.
I completely agree with the author’s position and would like to provide the following arguments as proof.
An example of a conscientious person can be considered Lefty, the main character of Leskov’s work “Lefty”. Where a Tula master shoes a flea, and at the same time the reward is unimportant for him.
In contrast to Lefty is a character like Chichikov, the hero of Gogol’s work “Dead Souls.” He is engaged in illegal activities, buying up dead people for his own profit and he does not care about the opinions of others, and his conscience does not want to awaken in him.
An example of a whole society of people without conscience are the heroes living in the city to which Khlestakov, the hero of the work “The Inspector General,” comes. In this city, no one is afraid to engage in bribery, and they all very clearly demonstrate their lack of conscience.
In conclusion, I want to say that this problem is always very important, because if there are few people in the world who live according to their conscience, then people will become cruel and everyone will only care about “personal interest.”
R.S. My teachers are especially contentious about the criteria - K-2 and K-4 (now I’m completely confused about what they give points for in K-4: one says that I just have examples without arguments and, therefore, no points for K-4, and another says that these are correct literary arguments, and only 2-3 sentences are missing in paragraph 5 (agree/disagree). And this teacher gives 2 points for K-4. Which one is right? ). According to K-2: one says that this is just a retelling, and it is necessary to write about relevance, and gives a zero. Another says it's a very good comment and rates it 1-2 points. My mind is blown! If it’s not difficult, describe my work according to all the criteria.
Thank you very much!

Denis Vladimirovich, I won’t describe all the criteria, since I don’t have time. I will only say that you need to repeat punctuation in introductory constructions and complex sentences (especially complex sentences) and the spelling of conjunctions and allied words, as well as -tsya/-tsya in verbs (a very simple rule). In addition, it is worth paying more attention to the words: “a conscientious person” (instead of “conscientious”), “goes in opposition” (look up this word in Ozhegov’s dictionary), “buys up dead people” (is he buying up people? dead people are corpses?), “conscience does not want to awaken” (how can it want something?). I also didn't really like something about the way you framed the problem. A few rhetorical questions - coup, however, the last question (about greed, etc.) is not related to the problem.

As for the arguments, I agree with the teacher who thinks that you gave examples. What is an argument? This is a judgment that confirms some other judgment (thesis). In this case, the thesis is that people need a conscience (“must be present,” although this, in my opinion, is not a very good formulation). You must support this thesis with arguments. You write that Lefty has a conscience, but Chichikov and the residents of city N do not. It does not follow from these statements that conscience is necessary. That is, these examples need to be “brought”, completed, formulated to the level of arguments. By the way, you yourself call these examples (“an example can be considered”, “an example<...>are").

Now regarding “agreement-disagreement”. “The examinee expressed his opinion on the problem formulated by him, posed by the author of the text (agreeing or disagreeing with the position of the author), argued it (gave at least 2 arguments, one of which was taken from fiction, journalistic or scientific literature).” Agreement or disagreement is not the only requirement. You need to say what you think. If you agree, then write about it and formulate your position so that it is truly in tune with the author’s opinion.

And now about the comments... In my opinion, you “fish out” the author’s position from the text: give a quote and explain what conclusion you draw from these words. Should I comment? problem, based on the text. The textual commentary is most valued now (and, it seems to me, it’s easier to write it). This means that you follow the author in solving the problem. Where does the author begin? Because he addresses this problem for some reason. This text does not say anything about the reasons, but many do say so.
Then the author draws attention to certain aspects of the problem. After all, it is very complex, complex: you can talk about how to educate conscience in a child, or about what role it plays in our lives, or just figure out what it is, etc. But one cannot grasp the immensity, and the author almost always selects only a few aspects from a great many. Something evokes emotions in the author, for example, anxiety - for example, the fact that conscience has now been forgotten. In addition, the author, as a rule, gives examples through which his position is revealed. In your case, this is an example with a “chilled soldier” - Suvorov, by the way! And the example of generals who avoided forests.

Hello, I had the same text on the Unified State Exam. But I wrote an essay on a different problem - What is the reason for the loss of national identity and dignity?
Did I correctly identify the problem from several possible ones?

Leonid Andreev's story “Biteer” is about compassion and a person’s responsibility for those he has tamed. Subsequently, this idea was formulated and presented to the world in the form of an aphorism by another master of words, the French writer A. de Saint-Exupery. The author of the story calls to feel the pain of the suffering living soul of a homeless dog.

History of creation and description of the story

The story of a stray dog ​​is told by an outside observer. Kusaka grew up and became an adult dog despite the ruthless circumstances in which she found herself. The dog has no home and is always hungry. But the main thing that haunts her is the cruelty of people, strong people who have the opportunity to offend a weak animal. Kusaka dreams of affection and one day she dares to accept it, but as a result she gets hit in the stomach with a boot. She doesn't trust anyone anymore. One day, finding himself in the garden of someone else's dacha, the dog bites a girl who wants to pet her. This is how she meets a family of summer residents and becomes “her” dog here.

A kind attitude and daily food change not only the life, but also the character of a homeless animal. Kusaka becomes affectionate, guards the dacha and amuses the new owners with his funny joy. However, autumn comes, the girl Lelya and her family leave for the city, leaving her four-legged friend at an abandoned dacha. The story ends with the sad howl of the homeless and no longer needed Kusaka.

Main characters

L. Andreev wrote that by making the dog the main character of the story, he wanted to convey to the reader the idea that “every living thing has the same soul,” which means it suffers equally and needs compassion and love. Kusaka has a loyal heart, knows how to be grateful, is responsive to affection and is capable of love.

Another heroine of the story, the girl Lelya, on the contrary, does not value fidelity; her love is selfish and fickle. The girl could be better, she has good moral inclinations. But her upbringing is occupied by adults, for whom well-being and tranquility are more important than such “little things” as compassion and responsibility for the weak being who has trusted them.

Story Analysis

In a letter to K. Chukovsky, Leonid Andreev writes that the works included in the collection are united by one idea: to show that “all living things suffer the same suffering.” Among the heroes of the stories there are people of different classes and even a stray dog, but, as part of the “living”, they are all united by “great impersonality and equality” and are equally forced to confront the “enormous forces of life.”

The writer shows the difference between pity, mixed with momentary emotions, and real, living and active compassion. The selfishness of the girl and her family is obvious: they are glad that they were able to shelter a homeless animal. But this joy is not based on responsibility and largely comes from the considerations that a dog brightens up the country life of summer residents with its inept and unbridled display of joy. It is not surprising that pity for a homeless animal easily turns into indifference at the mere thought of the personal inconvenience of a dog living in a city house.

The story seems like it could be a story with a happy ending. Like those in Christmas stories. But L. Andreev aims to awaken the conscience of people, to show the cruelty of indifference to the suffering of a weak being. The writer wants a person to accept the pain of someone else’s soul as his own. Only then will he himself become kinder, closer to his high calling - to be human.

Vera Agafonova was born in 1979 in Western Kazakhstan. Graduated from the Faculty of Foreign Languages ​​at Kostroma State University. Published in regional media. Works as a translator and lives in Saratov.

A semicircular petal, a round notch... The paper crunches deliciously as it separates under the scissors. Marina listens to this pleasant crunch and is even slightly distracted from her work. The scissors slip, pinching the delicate skin on the finger. Mother, all-seeing and omnipresent, immediately exclaims from behind:

- Marinochka, honey, be careful! Take care of your hands.

Mother is right. You need to take care of your hands. They are strange, these hands: they can casually, as if by accident, throw strange berries onto a white sheet - and have difficulty holding a cup of tea.

They are also not particularly friendly with scissors, so scissors take revenge on them - this is how today, despite this, you have to take this unfriendly little thing and cut paper. Flowers - daisies, orchids, daisies - are scattered across the white field; you need to collect them, turn them inside out and write riddles and fun tasks on them.

The father squeezes into the door, chewing a sandwich, meticulously examining the daisies and typing:

-You suffer from nonsense, Marishka! I'd rather watch TV.

Marina looks at him - and her eyes are huge, with a cornflower field in each - she just looks. The father sighs and leaves to watch the football game.

Marina unwraps a daisy, slightly mutilated by scissors, and writes: “Read a poem in a child’s voice.” And she herself begins to mentally quote: “The bull walks, sways, sighs as he goes...”. The bull is great - he’s rocking, but he’s still going. “Now I’m going to fall...”

Previously, Marina also knew how to walk, until she was six years old. And then some invisible and indomitable snake, having drilled the ground at Marina’s feet, penetrated into her feet and made its way higher and higher, forcing the girl to first hobble awkwardly, like a bull from a poem, and then sit down in a chair and never get up again. But Marina is happy because she has cornflower blue eyes that see a beautiful world - much more beautiful than everyone else sees. She also has hands that cannot unlock the apartment door, but can open the magic door in the easel - and the world behind her is even more amazing. And these hands can also carry this huge world - a field of flowers, a sky permeated with sunlight - and show it to all those who have not noticed such beauty.

Today Marina draws her flowers because tomorrow is her birthday. Guests will come - about twenty people, no less. They won’t dance because they are shy, so you need to make sure they don’t get bored; then no one will remain silent and stealthily glance at her iron trap. “This is my chariot!” Marina sometimes laughs, and her cornflower blue eyes become darker.

The mother takes a large dish from the cupboard and begins to knead the biscuit. On the wall, above her head, hangs a picture - a lilac meadow, falling stars and a woman - bright, lonely, showered with falling stars. Marina looks at her for a long time, silently, and then asks:

-Mother. Will you marry me?

The mother stops stirring the dough for a second and then calmly answers:

- Of course, I will. How?

Marina looks with cornflower blue eyes at the fair woman, just looking. Somewhere, there is probably a prince on a white horse, but her iron rattle obviously won’t be loaded onto this horse. But she has cunning hands, and a magic brush key, with which you can unlock the treasured door - just touch the easel. You can invite dazzling butterflies, golden deer with huge sad eyes, and rain illuminated by the sun to the lilac meadow. And give all this to the friends who will come tomorrow for her birthday - so that they would be happy, and surprised, and laugh - and so that it would all be sincere.

Vera Brezhneva never ceases to delight her fans with new images. The Russian singer continues to publish photos from her photo shoots and share her plans for the near future.

Brezhnev and Meladze are now raising no less, but five children. It is worthy of respect. But the star couple still does not have a child together. Vera Brezhneva is the mother of two beautiful daughters - sixteen-year-old Sofia and seven-year-old Sarah. But the famous producer Konstantin Meladze has three children from a previous marriage - seventeen-year-old Alice, thirteen-year-old Liya and twelve-year-old Valery.

According to rumors, Vera Brezhneva, although a good mother, is quite strict. She tries from childhood to instill in children the right values ​​for a full life in modern society.

And so, in one of the last interviews, the star announced that she was not even against replenishment. This is due to the fact that the singer’s eldest daughter is already almost an adult and will soon escape from parental care.

Vera Brezhneva remembers with warmth the first years of motherhood. And when she begins to think that soon she will need to actively take care of only one of her daughters, this categorically does not suit her. The star frankly states: “How is it that Sarah will really be alone? Then I want more!

Konstantin Meladze reacted quite calmly to such a statement from his soulmate. We can assume that the couple really has plans for another child.

True, the media have already talked about Vera Brezhneva’s pregnancy three times. And all the rumors turned out to be untrue. But fans of the star couple still hope for it.

Former member of the VIA-Gra group, and now popular solo performer Vera Brezhneva, is rarely criticized by fans. In general, they are completely satisfied with both the singer’s work and her appearance.

However, this time everything went wrong. The star posted a new photo on her Instagram. In the photo, Vera is standing on a luxurious balcony, the beauty of which fans immediately admired in the comments: “The balcony is lovely!” "Magic balcony!" “Nice balcony”

But the singer herself received much fewer compliments. Of course, fans liked her hair, but her smile raised many questions. Fans doubted whether Vera was rejoicing or screaming in this photo. Some even wrote that with such teeth, the artist should smile less often: “Is this really a smile? Or a scream of horror? “Why is she laughing so constantly? Maybe you need to smile less often..." "Mouth all over your face... this is no longer a smile.” “The smile is terrible, the teeth are crooked, but the hair is gorgeous. I really like both the color and the length. Cool mop."

Recently, Russian singer Vera Brezhneva showed off her image from a new photo shoot.

In the photo, the singer walks down the street in a light trench coat, leopard print shoes and sunglasses. Vera's image is full of elegant negligence and lightness.

“After a busy day of filming with the coolest crew. You can go home beautiful, why not?” Vera Brezhneva commented on the photo.

Fans of the singer, as often happens on Brezhneva’s page, rushed to express love and admiration. “Vera, you always look charming and beautiful. There is no person like you, with such a big soul and love. Vera, always smile, because if you don’t smile, the whole world will go out, because, Vera, a smile always suits you”, “You came out of May with a flying gait!”, “Well done, beauty!”, “ Businesswoman", "Magic!". In a few hours, Vera’s photo collected more than 100 thousand likes.

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1st ALL-RUSSIAN OLYMPIAD FOR SCHOOLCHILDREN IN LITERATURE academic. SCHOOL STAGE. GRADE 8 Assignments, answers and assessment criteria 1. “OH, HORSES, HORSES, WHAT THE HORSES!..” Read. A) Three years ago, one winter evening< >the troika drove up, and a traveler in a Circassian hat, in a military overcoat, wrapped in a shawl, entered the room, demanding horses. The horses were all in full speed. At this news the traveler raised his voice and his whip; but Dunya, accustomed to such scenes, ran out from behind the partition and affectionately turned to the traveler with the question: would he like to have something to eat? Dunya's appearance had its usual effect. The passerby's anger passed; he agreed to wait for the horses and ordered himself dinner. Taking off his wet, shaggy hat, unraveling his shawl and pulling off his overcoat, the traveler appeared as a young, slender hussar with a black mustache. B) Muromsky’s horse, which had never been hunting, got scared and bolted. Muromsky, who proclaimed himself an excellent rider, gave her free rein and was internally pleased with the opportunity that saved him from an unpleasant interlocutor. But the horse, having galloped to a ravine that it had not previously noticed, suddenly rushed to the side, and Muromsky did not sit still. Having fallen rather heavily on the frozen ground, he lay cursing his short mare, which, as if coming to its senses, immediately stopped as soon as it felt itself without a rider. Ivan Petrovich galloped up to him, asking if he had hurt himself. Meanwhile, the stirrup brought the guilty horse, holding it by the bridle. He helped Muromsky climb onto the saddle, and [Ivan Petrovich] invited him to his place. 1. Write the name of the author and the titles of the works (individually and collectively) from which these passages were taken. Also write the name of Ivan Petrovich from the second passage. 2. Imagine that horses have the gift of speech. Write a monologue of the horse at the post station about the events of the story or a monologue of Muromsky’s horse about the owner and his daughter. Volume of words. Answers and evaluation criteria 1. A.S. Pushkin (1 point), “Belkin’s Stories” (1 point), “Station Warden” (1 point), “Young Peasant Lady” (1 point), Berestov (1 point). Only 5 points. 2. Monologue of a horse. 1

2 Interesting content, accuracy of characteristics, presence/absence of factual errors Referral to the text of the work Unity of style and general logic of the text General literacy (presence/absence of spelling, punctuation, speech, grammatical errors) Total 0 10 points 25 points 2. WORKING WITH TEXT. This task contains two options. Choose ONLY ONE of them. Option 1. Prose text Read. Write an essay about this story, answering the questions posed (you may not answer all the questions). Write in a coherent text, freely, clearly, convincingly and competently. Recommended word count. Vera Agafonova (b. 1979) DRAWN JOY Semicircular petal, round notch The paper crunches deliciously as it separates under the scissors. Marina listens to this pleasant crunch and is even slightly distracted from her work. The scissors slip, pinching the delicate skin on the finger. Mother, all-seeing and omnipresent, immediately exclaims from behind: Marinochka, honey, be careful! Take care of your hands. Mother is right. You need to take care of your hands. They are strange, these hands: they can casually, as if by accident, throw strange berries onto a white sheet and have difficulty holding a cup of tea. They are also not particularly friendly with scissors, so scissors take revenge on them, just like today, despite this, you have to take this unfriendly little thing and cut paper. Chamomile flowers, orchids, daisies are scattered across the white field; you need to collect them, turn them inside out and write riddles and fun tasks on them. The father squeezes into the door, chewing a sandwich, meticulously examining the daisies and typing: You suffer from nonsense, Marishka! I'd rather watch TV. Marina looks at him and her eyes are huge, each with a cornflower field, she just looks. The father sighs and leaves to watch the football game. Marina unwraps a daisy, slightly mutilated by scissors, and writes: “Read a poem in a child’s voice.” And she begins to mentally quote: “The bull walks, sways, sighs as he goes.” Well done bull, he's rocking, but he's still going. "Now I'm Falling" 2

3 Marina used to be able to walk too, until she was six years old. And then some invisible and indomitable snake, having drilled the ground at Marina’s feet, penetrated into her feet and made its way higher and higher, forcing the girl to first hobble awkwardly, like a bull from a poem, and then sit down in a chair and never get up again. But Marina is happy because she has cornflower blue eyes that see beautiful world much more beautiful than everyone else sees. She also has hands that cannot unlock the apartment door, but can open the magic door in the easel and the world behind it is even more amazing. And these hands can also carry this huge world, a field of flowers, a sky permeated with sunlight, and show it to all those who have not noticed such beauty. Today Marina draws her flowers because tomorrow is her birthday. About twenty guests will come, no less. They won’t dance because they are shy, so you need to make sure they don’t get bored; then no one will remain silent and stealthily glance at her iron trap. “This is my chariot!” Marina sometimes laughs, and her cornflower blue eyes become darker. The mother takes a large dish from the cupboard and begins to knead the biscuit. On the wall, above her head, hangs a picture of a lilac meadow, falling stars and a bright, lonely woman, showered with falling stars. Marina looks at her for a long time, silently, and then asks: Mom. Will you marry me? The mother stops stirring the dough for a second and immediately calmly answers: Of course, I will. How? Marina looks with cornflower blue eyes at the fair woman, just looking. Somewhere, there is probably a prince on a white horse, but her iron rattle obviously won’t be loaded onto this horse. But she has cunning hands, and a magic brush key, with which you can unlock the treasured door just by touching the easel. You can invite dazzling butterflies, golden deer with huge sad eyes, and rain illuminated by the sun to the lilac meadow. And give all this to her friends who will come tomorrow for her birthday so that they will be happy, and surprised, and laugh, and so that it will all be sincere. (2007) 1. How is the main character described? How does she feel about her illness? 2. What details in her portrait do you remember and why? 3. What is the author’s attitude towards his heroine? 4. How are Marina’s father and mother described? 5. What words and phrases are repeated in the story? Why does the author need this? 6. Why does the story take place on the eve of the heroine’s birthday? 7. How do you understand the title of the story? 3

4 Option 2. Poetic text Read. Write an essay about this poem, answering the questions posed (not all questions can be answered). Write in a coherent text, freely, clearly, convincingly and competently. Recommended word count. Viktor Genrikhovich Hoffman () Blizzard A reckless, wild force, A noisy guest from distant latitudes, Finally, the blizzard has begun to swirl, And sweeps through all the nooks and crannies. But the madness of the snow is closer, Than the bored gloomy rain, Tired of swearing and slurping in the well-trodden slurry in winter. I love this wide whistle, Like Pugachev’s raid in the steppe, Let it blind and scratch your cheeks, Let the endless snow hit your face. But when Satan, getting excited, I go towards her faster and faster, The approach of the abyss is clearer, The feeling of life is sharper. (2011) 1. How is the blizzard described in the poem? 2. What can you say about the lyrical hero of the poem? 3. What works that describe a blizzard do you know and in what ways can they be compared with Victor Hoffmann’s poem? 4. Why is the blizzard compared to the “Pugachev raid”? 5. What is the author’s attitude towards the blizzard? How is this attitude reflected in artistic techniques? 6. How do you understand the meaning of the last stanza? 4

5 Evaluation criteria Points Presence/absence of direct, coherent answers to questions and 15 presence/absence of errors in understanding the text. Grading scale: General logic of the text and composition of the work. 10 Rating scale: Supporting evidence with text, appropriateness of citation. 5 Presence/absence of stylistic, speech and grammatical 5 errors. Presence/absence of spelling and punctuation errors 5 (within the limits of the material studied in the Russian language). Maximum score 40 For ease of assessment, we suggest focusing on the school four-point system. Thus, when assessing the first criterion, 0 points correspond to a “two”, 5 points to a “three”, 10 points to a “four” and 15 points to a “five”. Of course, intermediate options are possible (for example, 8 points correspond to a “B minus”). The maximum score for all completed tasks is 70.5

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Read it.

• A) Three years ago, one winter evening<…>the troika drove up, and a traveler in a Circassian hat, in a military overcoat, wrapped in a shawl, entered the room, demanding horses. The horses were all in full speed. At this news the traveler raised his voice and his whip; but Dunya, accustomed to such scenes, ran out from behind the partition and affectionately turned to the traveler with the question: would he like to have something to eat? Dunya's appearance had its usual effect. The passerby's anger passed; he agreed to wait for the horses and ordered himself dinner. Taking off his wet, shaggy hat, unraveling his shawl and pulling off his overcoat, the traveler appeared as a young, slender hussar with a black mustache.
• B) Muromsky’s horse, which had never been hunting, got scared and bolted. Muromsky, who proclaimed himself an excellent rider, gave her free rein and was internally pleased with the opportunity that saved him from an unpleasant interlocutor. But the horse, having galloped to a ravine that it had not previously noticed, suddenly rushed to the side, and Muromsky did not sit still. Having fallen rather heavily on the frozen ground, he lay cursing his short mare, which, as if coming to its senses, immediately stopped as soon as it felt itself without a rider. Ivan Petrovich galloped up to him, asking if he had hurt himself. Meanwhile, the stirrup brought the guilty horse, holding it by the bridle. He helped Muromsky climb onto the saddle, and [Ivan Petrovich] invited him to his place.

1. Write the name of the author and the titles of the works (individually and collectively) from which these passages are taken. Also write the name of Ivan Petrovich from the second passage.
2. Imagine that horses have the gift of speech. Write a monologue to the horse at the post station about the events of the story or monologue of Muromsky's horse about the owner and his daughter. Volume – 150–200 words.

Answers and evaluation criteria

1. A.S. Pushkin (1 point), “Belkin’s Stories” (1 point), “Station Warden” (1 point), “Young Peasant Lady” (1 point), Berestov (1 point). Only 5 points.
2. Monologue of a horse.

Task 2. WORKING WITH TEXT.

Option 1. Prose text

Read it. Write an essay about this story, answering the questions posed (you may not answer all the questions). Write in coherent text

Vera Agafonova (b. 1979)

PAINTED JOY

A semicircular petal, a round notch... The paper crunches deliciously as it separates under the scissors. Marina listens to this pleasant crunch and is even slightly distracted from her work. The scissors slip, pinching the delicate skin on the finger. Mother, all-seeing and omnipresent, immediately exclaims from behind:

- Marinochka, honey, be careful! Take care of your hands.

Mother is right. You need to take care of your hands. They are strange, these hands: they can casually, as if by accident, throw strange berries onto a white sheet - and have difficulty holding a cup of tea.

They are also not particularly friendly with scissors, so scissors take revenge on them - this is how today, despite this, you have to take this unfriendly little thing and cut paper. Flowers - daisies, orchids, daisies - are scattered across the white field; you need to collect them, turn them inside out and write riddles and fun tasks on them.

The father squeezes into the door, chewing a sandwich, meticulously examining the daisies and typing:

– You suffer from nonsense, Marishka! I'd rather watch TV.

Marina looks at him - and her eyes are huge, with a cornflower field in each - she just looks. The father sighs and leaves to watch the football game.

Marina unwraps a daisy, slightly mutilated by scissors, and writes: “Read a poem in a child’s voice.” And she begins to mentally quote: “The bull walks, sways, sighs as he goes...”. The bull is great - he’s rocking, but he’s still walking. "Now I'm going to fall..."

Previously, Marina also knew how to walk, until she was six years old. And then some invisible and indomitable snake, having drilled the ground at Marina’s feet, penetrated into her feet and made its way higher and higher, forcing the girl to first hobble awkwardly, like a bull from a poem, and then sit down in a chair and never get up again. But Marina is happy because she has cornflower blue eyes that see a beautiful world - much more beautiful than everyone else sees. She also has hands that cannot unlock the apartment door, but can open the magic door in the easel - and the world behind her is even more amazing. And these hands can also carry this huge world - a field of flowers, a sky permeated with sunlight - and show it to all those who have not noticed such beauty.

Today Marina draws her flowers because tomorrow is her birthday. Guests will come - about twenty people, no less. They won’t dance because they are shy, so you need to make sure they don’t get bored; then no one will remain silent and stealthily glance at her iron trap. “This is my chariot!” Marina sometimes laughs, and her cornflower blue eyes become darker.

The mother takes a large dish from the cupboard and begins to knead the biscuit. On the wall, above her head, hangs a picture - a lilac meadow, falling stars and a woman - bright, lonely, showered with falling stars. Marina looks at her for a long time, silently, and then asks:

- Mother. Will you marry me?

The mother stops stirring the dough for a second and then calmly answers:

- Of course, I will. How?

Marina looks with cornflower blue eyes at the fair woman, just looking. Somewhere, there is probably a prince on a white horse, but her iron rattle obviously won’t be loaded onto this horse. But she has cunning hands, and a magic brush key, with which you can unlock the treasured door - just touch the easel. You can invite dazzling butterflies, golden deer with huge sad eyes, and rain illuminated by the sun to the lilac meadow. And give all this to the friends who will come tomorrow for her birthday - so that they rejoice, and are surprised, and laugh - and so that all this is sincere.

1. How is the main character described? How does she feel about her illness?
2. What details in her portrait do you remember and why?
3. What is the author's attitude towards his heroine?
4. How are Marina's father and mother described?
5. What words and phrases are repeated in the story? Why does the author need this?
6. Why does the story take place on the eve of the heroine's birthday?
7. How do you understand the title of the story?

Option 2. Poetic text

Read it. Write an essay about this poem, answering the questions posed (not all questions can be answered). Write in coherent text, freely, understandably, demonstrably and competently.

Victor Genrikhovich Hoffman (1950–2015)

BLIZZARD

Reckless, wild force,
A noisy guest from distant latitudes,
Finally the blizzard began to swirl,
And it sweeps through all the nooks and crannies.

But snow madness is closer,
Than bored gloomy rain,
Tired of being in the well-trodden slurry
Cursing and slurping in winter.

I love this wide whistle,
Like Pugachev’s raid in the steppe,
Let it blind and scratch your cheeks,
Endless snow hits your face.

But when Satan got excited,
I'm going towards her faster and faster
The approach of the abyss is clearer,
The feeling of life is sharper.

1. How is the blizzard described in the poem?
2. What can you say about the lyrical hero of the poem?
3. What works that describe a blizzard do you know and how can they be compared with Victor Hoffmann’s poem?
4. Why is the blizzard compared to the “Pugachev raid”?
5. What is the author's attitude towards the blizzard? How is this attitude reflected in artistic techniques?
6. How do you understand the meaning of the last stanza?

Evaluation criteria

For ease of assessment, we suggest focusing on the school four-point system. Thus, when assessing the first criterion, 0 points correspond to a “two”, 5 points to a “three”, 10 points to a “four” and 15 points to a “five”. Of course, intermediate options are possible (for example, 8 points correspond to a “B minus”).

The maximum score for all completed tasks is 70.