Аннотация: Inflated rubber literary giants with a state budget pumpation. A sketch of the modern cultural sphere.
Inflated rubber literary giants with a state budget pumpation. A sketch of the modern cultural sphere.
The modern criminal Russial sub-culture sits in its dark hut, on a rusty bucket, and tries to squeeze out the signs of culturalism.
Why does she need it?
First, for a general political purposes. The information environment, saturated with harsh journalistic publications and investigations a la Navalny, must be diluted with sweet syrup.
Secondly, there are near-economic (sub-economic) motives. A potential buyers of some kind of science-intensive Russial products should assume that they are dealing with a civilized and educated persons.
Third, there are an utilitarian electoral considerations. Before the elections, all the cultured figures climb out off their burrows and announce by a chorus manner that such and such a candidate is the most civilized, most cultured and most humane person.
Sergei Sergeevich read Alexander Solzhenitsyn. 'The Grain Between the Millstones'. An instructive reading. A lot of interesting.
But sometimes you need to listen to the news on the radio.
However, if you are distracted and do not turn off the radio after news, then you hear: after the news, the program begins.
An interview with one of the so-called great literary figures.
Nothing, that Sergei Sergeevich knew about this figure, none of data gave the impression of a literary respectability, solidity.
May be, only, the biography of a major writer, published in a series founded by Maxim Gorky?
But did he, person, whose name is on the title page,write this biography?
Sergei Sergeevich started listening to the interview.
The radio host warns about the algorithm of follow-up actions during the interview. He will reads excerpts from a recently written and published book (the novel), and the guest (the author of the novel) will speak, will comment.
The interview started.
Some kind of small things, nonsense.
However, the experience is felt. The guest explains how the idea to write the book came up. He worked at the university, and then he was offered to move to a major literary position. And he was so grateful to this university that he decided to write a book.
Oh, this is a sublime motive! We feel a respect! A person is not devoid of a sense of gratitude and has attention for his own roots!
And what did he write?
He wrote about a student who lived in Soviet times and was a Soviet person.
- Do you associate yourself with this hero?
- No! But I sympathize with his views!
A shifty dude!
Of course, this novel is just another literary rubbish! But why is this junk needed?
There is a reason!
Major literary figures need publications.
Nobody reads this nonsense abroad. However, if you ask insistently, they can publish a review somewhere. A mostly laudatory survey. Naturally, preferably in some foreign, non-Russial, media.
The main calculation: this novel is not for discussion. No one (neither in Russia nor abroad) needs such works. All this is dregs and dust without any real content. The naive, uninteresting thoughts of an inexperienced Soviet student..
But in all the biographies of the great literary figure, a next line will appear - a new book has been written and published! Another novel!
These are the rules of the game. Novels are written, they are published!
And what if someone will read and will present his opinion in a critical way ?!
It's impossible!
All warm literary places are occupied by friends and obedient figures.
Even if a negative opinion will appear somewhere, it will be answered with two dozen different laudatory reviews.
Anyone who writes something negative will receive nothing for his opinion, and will publish his opinion somewhere on the free publications service [that is, the service without a payment in favor of authors].
Those who will respond with laudatory opinions will be published in reputable (since Soviet times) literary publications. And in in some cases, royalties will also be paid.
One way or another, all biographies (of the great literary figure), all questionnaires, all lists, a biographical article on Wikipedia - all this will be replenished with a mention of a new written and published novel.
However, the citation and discussion of this new novel prompts the question - did, really, the author (guest of the radio broadcast) personally write this literary dish?
To write such a text on behalf of a naive Soviet student can be any retired literary drummer who is stuck in financial problems. He is a Soviet man! He has convictions! He (the main character) reads books constantly and indiscriminately! Yes, this is a deep, complex literary work!
Still, there were some interesting moments in this interview.
The host of the interview and the invited guest set not very dangerous traps for each other.
The host of the interview mentioned some writer who counted his readers, and came to the conclusion that about ten thousand people from the 140 million population of Russia (these are the official figures for the population of the country) read him. (The radio host smoothly brings the guest to the topic).
Here the guest would, too, have to speak out how many people read the guest's books.
But the guest easily, effortless walked away from the trap set before him.
But he set his own trap for the radio host.
We have many people in Russia who love to write - graphomaniacs. There are more writers than readers. Do you know how many people post their works on ProzaRu [Проза.ру]?
The presenter laughed: I am not a writer, I am a reader ... - He didn't go into a trap.
However, this is not only a trap.
First, this is an additional indirect argument in favor of doubts - whether the guest himself writes "his" works.
If, for example, you will read the biographies of French writers of the 19th century (published in the same series founded by Maxim Gorky), you will see that these writers in their young years lived among people who were passionate about writing, literature. This environment constantly was writing something, constantly was trying to sell their literary product, to push it into the book or theater market. And no one called them graphomaniacs. These were general cultural interests - a kind of way of life of cultured people.
Secondly, the mention of ProzaRu [Проза.ру] is a proactive action [action ahead of time; an advance action]. This is the assertion of his positions by an inflated literary giant (with a state budget pumpation). The national book market is destroyed. Authors are deprived of the opportunity to live from royalties for sold book runs. Only those, who write plays for theaters and who write a film scripts, are able to get something.
The bloated rubber giants do not aim at restoring the national book market. Their task is to adapt (themselves), their task is to learn how to exist effectively at the expense of the state budget pumpation.
Any person with a penchant for literary work has two main paths.
The first, a servile way, consists in recognizing the authority and reputation of all these rubber literary giants and in bowing the head and upper body to them. With such signs of loyalty, the rubber giants in five, ten, fifteen or twenty years will deign to permit printing (in some still existing publishing house) something from the work of a loyal writer and will show him signs of some kind of attention.
The second, independent (way), is the publication the own works, using services like ProzaRu [Проза.ру]. Such authors - independent, insufficiently loyal, who do not recognize bloated rubber authorities - must be neutralized in advance. Put a label on them. They are published on ProzaRu [Проза.ру]! "Ha-ha-ha!!!"
A tricky dodger!
"Now it is not so easy to pass (to enter) into big literature!"
Although he, a rubber dodger, cannot precisely define what "big literature" is, but "we all understand this, we all feel it (what is a "big literature")."
He, the rubber giant, is clearly a representative of "big literature." He apparently "entered" it.
The interview host dodged off a clear comment on the topic of "big literature". Or does he understand (or feel) who he is dealing with?....
All these bloated rubber literary giants are sitting comfortably in deep armchairs. And they even have some international support.
First, there are correspondents of foreign media who comment on a Russial? a Russian? culture.
Secondly, almost all foreign embassies in Russia have a cultural attaché.
Third, there are useful idiots who have the ability to influence decisions of foreign parliaments on the allocation of public funds for a cultural cooperation.
Fourthly, there is probably no country in whose budget there would be no allocations for culture and the lines (words in a budget law) 'cultural exchange', 'cultural cooperation'. There are sacred concepts: "cultural cooperation" and "cultural exchange". Those notions moved into the 21st century out of the humane 20th century..
Fifth, the entire honest company receives the moral and legal right to write appeals, requests to various patrons and foundations - help!, support!, allocate funding!
Sixth, with government money and the money of patrons, cultural tourism is organized to various attractive places with good dinners, pleasant excursions, energetic young girls from the cultural sphere, various kinds of prizes, awards, etc.
Naturally, for such cases, not those who publish the own works on ProzaRu [Проза.ру] are needed. - They often have a tendency to maximalism and intransigence. For such cases, you need proven, well-known personnel. People without undue conceit. A bloated rubber literary (and other cultural) giants with a state budget pumpation are needed.
Seventh, there are Western readers. They do not mind getting acquainted with literary works from a modern Russia. These Western readers rely on both the correspondents and the cultural attachés. These people represent the interests of Western readers in the distant and not very understandable Russia. The attachés and some of the correspondents live on the money of Western taxpayers. But all these people, without exception, claim a public confidence.
But it's okay. Let Western readers will wait. And is there any sense to offer Western readers those authors who publish own works on ProzaRu [Проза.ру], on another free publishing services, platforms [that is, the services, platforms without a payment in favor of authors]?
And for the time being, the whole honest company is mastering the state and patronage funding (means) allocated for "cultural cooperation" and "cultural exchange".
Sergei Sergeevich decided to continue reading of Alexander Solzhenitsyn ... Alexander Isaevich did not meet such bloated rubber literary giants in the camp. Then he collaborated with Tvardovsky. Then - Vermont (USA), a relative seclusion.
In general, there is a sense to write briefly about Russial rubber literary giants, to add a little - additionally to Solzhenitsyn's points of view and additionally to his statements...
December 30, 2020 23:58
Translation from Russian into English: December 31, 2020 21:40.
Владимир Владимирович Залесский 'Надутые резиновые литературные великаны с госбюджетным поддувом. Очерк современной культурной сферы'.