Evgeny STEPANOV
Literary critic, publisher. Born in 1964 in Moscow. President of the Union of Writers of the XXI century. Lives in Moscow.

POETRY OF THICK MAGAZINES: "NEW WORLD", "CHILDREN OF RA", "BANNER"

At the present time, Russian poetry is flourishing, and in various cities - in Moscow and St. Petersburg, Saratov and Tambov, Kiev and Dnepropetrovsk, Kharkov and Perm, New York and Helsinki, Yekaterinburg and Berlin, Voronezh and Novosibirsk, Lipetsk and Vladivostok. .. It will be possible to fully realize this, in my opinion, only years later. Now the process of accumulation of poetic material is intensively going on.
At the moment, dozens of literary magazines are published in the country, in which poems are published - "New World", "Banner", "Children of Ra", "Khreshchatyk", "Zinziver", "October", "Friendship of Peoples", "Siberian Lights" , "Volga", "Volga-XXI century", "New Coast", "Moscow", "Youth", "New Youth", "Slovolov", "Orpheus", "Union of Writers", "Studio" and others.
There are specialized poetry magazines - "Arion", "Journal of Poets", "Act. Literary samizdat”, “Poetry”, “Air”, “Draft”, “Interpoetry”, online publications “The Other Hemisphere”, “45th Parallel”, etc.
Some of the listed magazines are included in the most famous Internet portal "Journal Hall" (www.magazines.ru) - "Arion", "New World", "Znamya", "Children of Ra", "Khreshchatyk", "October", " Friendship of Peoples”, “New Youth”, “Siberian Lights”, “Volga”, “New Coast”, “Union of Writers”, “Studio”.
ZhZ is a large-scale electronic repository of Russian literature, representative of the trends in Russian belles-lettres, including poetry. Having included in its ranks, for example, such original publications as "Khreschatyk", "Children of Ra", "Interpoetry", "Union of Writers", "ZHZ" opened additional features to legitimize a number of poets unrecognized by the "thick magazine" mainstream. ZhZ has reduced the queues for publications, actually improving the literary process - now the poets do not have to wait for years for a new publication, because the number of publications included in the prestigious portal has increased.
In fact, ZhZ, as a product of communicative globalization, has become a single gigantic literary publication that gives the reader the opportunity for an adequate reception of what is happening in the world of belles-lettres.
The role of literary magazines in the life of modern Russian society is still great. It is comparable to the "stagnant" era. Despite the fact that their circulation has significantly (many times!) decreased, magazines are read online, primarily on the portals "Journal Hall", "Reading Room" (www..promegalit.ru). Only the Journal Hall portal (where Novy Mir, Banner, and Children of Ra are located) is visited by more than 15,000 visitors a day. Therefore, to say that interest in thick magazines (and in poetry in particular) has disappeared is wrong.
Any literary magazine has its own policy, including its own criteria for selecting poetic texts.
Separately modern magazines(none of them!) give a panoramic poetic picture, first of all, they form public opinion, actually building hierarchical structure in the literary world. This is how editorials work. This is how literary critics work.
Unfortunately, criteria for evaluating a modern poetic text have not been developed - they are subjective (including, of course, the author of this article).
At the moment, we are clearly observing local reference communities that promote certain literary groups, individual names. In the professional workshop, the vast majority of critics are poets, moreover, they are gifted poets, with pronounced passions and often remarkable organizational skills, that is, they are people who form public opinion, form it in connection with own ideas about poetry (which is natural) and in connection with their own practice of versification.
Critics who regularly and systematically write about poetry and who do not write (do not publish) poetry are few. Lev Anninsky, Roman Arbitman, Nikolay Bogomolov, Pavel Kryuchkov, Vladislav Kulakov, Alla Marchenko, Andrey Nemzer, Vladimir Novikov, Natalia Ivanova, Anna Safronova (she used to write poetry), Elena Trofimova, Sergey Chuprinin. Who else?
For the most part, poets have taken the critical craft into their own hands. We will name (in alphabetical order) the most notable - Mikhail Aizenberg, Alexei Alekhin, Sergey Arutyunov, Dmitry Bak, Alexander Barash, Sergey Biryukov, Maria Bondarenko, Tatiana Bonch-Osmolovskaya, Dmitry Bykov, Andrey Vasilevsky, Evgenia Vezhlyan, Lyudmila Vyazmitinova, Maria Galina, Anna Glazova, Irina Goryunova, Tatyana Grauz, Faina Grinberg, Vladimir Gubailovsky, Danila Davydov, Evgenia Dobrova, Sergey Zavyalov, Sergey Kaznacheev, Elena Katsyuba, Konstantin Kedrov, Bakhyt Kenzheev, Kirill Kovaldzhi, Andrey Korovin, Leonid Kostyukov, Gennady Krasnikov, Yuri Kublanovskiy , Anna Kuznetsova, Dmitry Kuzmin, Ilya Kukulin, Victor Kulle, Boris Kutenkov, Maxim Lavrentiev, Evgeny Lesin, Stanislav Lvovsky, Yuri Milorava, Arsen Mirzaev, Yuri Orlitsky, Alexey Parshchikov, Vadim Perelmuter, Andrey Permyakov, Kira Sapgir, Olga Sedakova, Daria Sukhovey, Dmitry Tonkonogov, Ilya Falikov, Natalya Fateeva, Evgeny V. Kharitonov, Sergey Tseplakov, Arkady Shtypel, Andrey Shcherbak-Zhukov, the list goes on.
Form public opinion and poetry departments of thick literary magazines.
The purpose of this article is not an analysis of poems, not a literary controversy. In this case it is meaningless. The goal is to identify trends in the editorial policy of literary journals in the field of poetry, primarily those of Novy Mir, Children of Ra, and Znamya, journals where poetry is published most frequently and (in our opinion) resonantly.

"NEW WORLD"

Novy Mir is one of the oldest domestic literary magazines, published since 1921. Chief Editor- Literary critic and poet, graduate and teacher of the Literary Institute. A. M. Gorky Andrey Vasilevsky.
The editorial board (editorial board) includes: Andrey Vasilevsky, Mikhail Butov, Ruslan Kireev, Olga Novikova, Pavel Kryuchkov (editor of the poetry department), Vladimir Gubailovsky, Maria Galina, Sergey Kostyrko.
Novy Mir is a nationwide brand created by generations of Russian (Soviet) writers. Long years The journal was the printed organ of the Writers' Union of the USSR.
As a rule, five selections of poems are printed in each issue of Novy Mir.
The main reference point of NM is traditional syllabo-tonic poetry, which develops the traditions of acmeism and post-acmeism, the traditions of the Soviet poetic school.
Regular contributors to the magazine are poets Alexander Kushner, Yuri Kublanovsky, Andrei Vasilevsky, Evgeny Rein, Naum Korzhavin, Anatoly Naiman, Gennady Rusakov, Dmitry Bykov, Irina Vasilkova, Bakhyt Kenzheev, Alexei Tsvetkov, Oleg Khlebnikov, Irina Ermakova, Alexander Kabanov...
By publishing these authors, Novy Mir builds its own hierarchy of the literary process, showing its preferences.
The circle of poets of the "New World" does not include many other well-known authors. Since 2000, such poets as Bella Akhmadulina (already deceased), Andrey Voznesensky (already deceased), Viktor Bokov (already deceased), Yunna Moritz, Konstantin Vanshenkin, Igor Shklyarevsky, Dmitry Sukharev, Vsevolod Nekrasov (already deceased), Vasily Kazantsev, Viktor Sosnora, Alexander Tkachenko (already deceased), Alexei Khvostenko (already deceased), Anri Volokhonsky, Yevgeny Yevtushenko, Yuri Vlodov (already deceased), Sergei Mnatsakanyan, Tatyana Shcherbina, Dmitry Tseselchuk, Ry Nikonova , Sergey Sigey, Elena Katsyuba, Alexander Skidan, Konstantin Kedrov, Slava Lyon, Alexander Chernov, Rina Levinzon, Ivan Zhdanov, Alexander Eremenko, Alexey Parshchikov (already deceased), Sergey Biryukov, Yuri Belikov, Vladislav Drozhashchikh, Andrey Sannikov...
This list includes traditionalists, avant-gardists, and regional poets, some of whom have long become living classics.
Sometimes Novy Mir publishes poets of futuristic traditions, but these are single actions that do not change the editorial policy as a whole.
The opinion about avant-garde poetry was unequivocally formulated on the pages of "NM" by Andrey Vasilevsky, calling, in particular, the poetry of Gennady Aigi "an apology for the imaginary."
I would compare the policy of the "New World" in the field of avant-garde poetry with jumping over a step, when entire generations are hushed up. For example, the journal does not contain poems by post-futurists Konstantin Kedrov, Elena Katsyuba, Sergei Biryukov, Ry Nikonova, Sergei Sigei, but there are poems by their younger colleagues - Evgeny V. Kharitonov, Natalia Azarova, Maxim Borodin. It does not publish Novy Mir by the metametaphorists Ivan Zhdanov, Alexander Eremenko, Alexei Parshchikov (already deceased), but willingly publishes, for example, the poet Yevgeny Chigrin, following them in an obvious literary wake.
The minimalist Vsevolod Nekrasov was not published in Novy Mir, but the minimalist poems were published by the editor-in-chief Andrey Vasilevsky, who, in general, as an author, is no stranger to formal, playful experiments.
As a result, entire poetic generations are out of sight of the editors.
Students are becoming more in demand than teachers (authors from around the world).
"New World" gives a certain touch to the poetic palette modern Russia, pursuing a policy of literary centrism, avoiding extremes.
However, the history of literature shows that extremes in poetry also have enduring significance.

"CHILDREN OF RA"

"Children of Ra" is a literary magazine of poetry and prose published since 2004. Founded in 2004 in Saratov. Since 2011, it has been published under the auspices of the Union of Writers of the 21st Century. Publisher - Holding company "West-Consulting".
The name of the journal did not come about by chance. The word "Ra" has many interpretations. This is the ancient name of the Volga, and the God of the Sun, and the Russian avant-garde. All these meanings are more or less applicable to the name of the journal, which arose on the banks of an ancient river. Poets, according to the editors, are always the children of the Sun, and the Children of Ra are published by authors who profess not only syllabo-tonic principles, but are also focused on searching in poetry, looking for their own, avant-garde word.
The editor-in-chief and co-founder is a literary critic and poet, candidate of philological sciences Yevgeny Stepanov. Member of the editorial board and co-founder - poet and singer-songwriter Ella Burdavitsyna (Elana).
The editorial board includes: Alexey Alexandrov, Yuri Belikov, Sergey Biryukov, Alexander Davydov, Maria Bondarenko, Konstantin Kedrov, Kirill Kovaldzhi, Andrey Korovin, Boris Markovsky, Evgeny Minin, Yuri Milorava, Evgeny Minin, Arsen Mirzaev, Yuri Orlitsky, Sergey Popov, Elena Safronova, Evgeny Stepanov, Andrey Tavrov, Evgeny Kharitonov, Atner Khuzangai, Elana. From 2004 to 2011, 83 issues were published. Each issue of the magazine "Children of Ra" is dedicated to one city (region). Issues dedicated to Saratov, Tambov, Samara, Kostroma, Krasnoyarsk, Novosibirsk, Lipetsk, Irkutsk, Perm, Yekaterinburg, St. Petersburg, Moscow, Nalchik, Nizhny Novgorod, Stavropol, Udmurtia, Russian literary diasporas of Australia, Berlin, Dnepropetrovsk, Kiev, New York, Paris, Kharkov, Helsinki, the poetry of Azerbaijan, Belgium, Bulgaria, Israel, Ireland, Sweden and many other countries, etc. The magazine contains such poets as Dmitry Avaliani, Maxim Amelin, Gennady Aigi, Alexey Alexandrov, Igor Alekseev, Vladimir Aleinikov, Vitaly Amursky, Vladimir Aristov, Sergey Arutyunov, Oleg Asinovsky, Pavel Baikov, Stanley Barkan, Tatyana Beck, Rodion Beletsky, Yuri Belikov, Larisa Berezovchuk, Olga Beshenkovskaya, Igor Bolychev, Dmitry Bobyshev, Vladimir Boyarinov, Joseph Brodsky , Dmitry Bykov, Mikhail Boyko, Tamara Bukovskaya, Mikhail Buznik, Vladimir Burich, Sergey Biryukov, Nikolai Bokov, Andrey Vasilevsky, Svetlana Vasilenko, Alexander Veitsman, Igor Vinogradov, Alina Vitukhnovskaya, Yuri Vlodov, Anri Volokhonsky, Mikhail Vyatkin, Aron Gaal, Dmitry Grigoriev, Boris Grinberg, Nikolai Gritsanchuk, Andrey Gritsman, Nikolai Gudanets, Danila Davydov, Evgeny Daenin, Anastasia Denisova, Arkady Dragomoshchenko, Vladimir Druk, Alexander Eremenko, Mikhail Eremin, Olga Ermolaeva, Felix Philipp Ingold, Maxim Zamshev, Kristina Zeytunyan-Belous, Sergey Zubarev, Alexander Kabanov, Konstantinos Cavafy, Alexey Karakovsky, Elena Katsyuba, Konstantin Kedrov, Bakhyt Kenzheev, Vladimir Klimov, Yuri Kobrin, Daniel Korbu, Alexander Kondratov, Andrey Korovin, Anatoly Kobenkov, Kirill Kovaldzhi, Anna Kuznetsova, Marina Kudimova, Anatoly Kudryavitsky , Konstantin Kuzminsky, Marina Kulakova, Vyacheslav Kupriyanov, Mikhail Kreps, Maxim Lavrentiev, Vladimir Leonovich, Lubomir Levchev, Rina Levinzon, Evgeny Lesin, Slava Lyon, Eduard Limonov, Sveta Litvak, Valery Lobanov, Olga Logosh, Igor Loschilov, Igor Panin, Alexander Petrushkin, Jacques Prevert, Salah Mahdi, Yevgeny Minin, Sergei Mnatsakanyan, Yuri Orlitsky, Oleg Prokofiev, Alexander Radashkevich, Leon Robel, Gerhard Rum, Natalia Rubanova, Marina Savvinykh, Andrey Sannikov, Viktor Sanchuk, Roman Solntsev, Viktor Sosnora, Daria Sukhovey, Andrey Tavrov, Alexander Tkachenko, Tumas Transtremer, Natalya Fateeva, Alexander Fedulov, Evgeny V. Kharitonov, Alexey Khvostenko, Dmitry Tseselchuk, Alexander Chernov, Evgeny Chigrin, Ivan Chudasov, Viktor Shirali, Vladimir Shpakov, Danil Fayzov, Mikhail Faynerman, Felix Chechik, Elana, Valentin Yarygin and many others.
The main profile of the journal is the poetry of the regions of Russia and Russian diasporas abroad. Gennady Aigi, Anna Alchuk, Valery Prokoshin, Tatyana Beck were regularly published in Children of Ra. And this edition has its own priorities, its own scale of “values”. The regular authors of the magazine are Slava Len, Konstantin Kedrov, Elena Katsyuba, Sergey Biryukov, Evgeny Stepanov, Evgeny V. Kharitonov, Marina Kudimova, Sergey Arutyunov, Andrey Korovin.
The New World and Children of Ra have quite a few authors in common. For example, Kirill Kovaldzhi, Marina Kudimova, Andrey Korovin, Mikhail Buznik, Vladimir Zakharov are published in both editions.
In general, the palette of genres in Children of Ra is somewhat more diverse than in The New World, but even here we see the priority of syllabic tonics. 80% of the poetic texts published in the journal are written in regular verse.
Ver libres (Vyacheslav Kupriyanov, Yuri Milorava, Valery Zemskikh, Arsen Mirzaev, Natalya Nikulina, Tatyana Vinogradova, Evgeny V. Kharitonov, Pavel Baikov), palindromes (Alexander Bubnov, Konstantin Kedrov, Elena Katsyuba, Boris Grinberg, Vadim Gershanov, Fedor Maltsev) are also published ), visual poetry (Lawrence Blinov, Valery Sherstyanoy, Dmitry Zimin, Mikhail Lezin), monostiches (Sergey Biryukov, Tatyana Danilyants, Vladimir Monakhov Elena Seifert, Lyubov Krasavina, Margarita Al), zaum (Sergey Biryukov, Olga Zikrat, Arsen Mirzaev, Valery Kislov, Pyotr Kazarnovsky), etc.
The magazine tries to present different trends in Russian poetry, believing that both traditions (syllabo-tonic and avant-garde) have the right to exist.

Znamya is the most famous literary magazine published since 1931. Initially, it was a publication of the Literary Association of the Red Army and Navy, and from 1934 to 1990, Znamya was published under the auspices of the Writers' Union of the USSR. After a year and a half of litigation with the joint venture, the magazine gained independence.
The editor-in-chief is a critic, Doctor of Philology Sergey Chuprinin. The editorial board (editorial board) includes: Natalia Ivanova, Elena Kholmogorova, Olga Eromolaeva (editor of the poetry department), Anna Kuznetsova, Karen Stepanyan, Evgenia Vezhlyan. An interesting fact: three doctors of philological sciences (Chuprinin, Ivanova, Stepanyan) and two candidates of philological sciences (Kuznetsova, Vezhlyan) work in the editorial office of Znamya.
Alexander Kushner, Inna Lisnyanskaya, Konstantin Vanshenkin, Oleg Chukhontsev, Olesya Nikolaeva, Gennady Rusakov, Evgeny Bunimovich, Vera Pavlova, Vladimir Gandelsman, Mikhail Aizenberg, Elena Fanailova, authors of Moscow Time by Sergei Gandlevsky, Bakhyt can be safely called the leading poets of the Banner. Kenzheev, Alexei Tsvetkov.
From the younger generation, Maxim Amelin, Maria Stepanova, Andrey Nitchenko are published.
The editors show great interest in regional poets, in particular, the authors of the magazine are Irina Evsa, Yuri Belikov, Vitaly Kalpidi, Andrei Sannikov, Sergei Ivkin, Oleg Dozmorov, Alexander Petrushkin, Janis Grants, Dmitry Masharygin and many others.
Sots art on the pages of Znamya is regularly presented by Timur Kibirov.
Znamya, like Novy Mir, is a traditional poetry journal adhering to a centrist position, publishing mainly authors of the syllabo-tonic tradition.
Free verse, monostiches, visuals, zaum, palindromes (other types of game poetry) are hard to imagine on the pages of this magazine.
For more than thirty years, the poetry department of the magazine has been headed by Olga Ermolaeva, who builds her own hierarchical system in the world of literature. Ignoring a number of avant-garde poets, Znamya, we must pay tribute to the editors, printed big selections outstanding poet-experimenter - Victor Sosnora. Andrei Voznesensky and Bella Akhmadulina also published here.
All three listed authors - for comparison! - in the 2000s they were never published in Novy Mir.
Undoubtedly, the palette of poetic names presented in Znamya is much wider than in Novy Mir.
On the whole, the three listed journals, being included in ZhZ and supplementing each other, give a fairly panoramic picture of contemporary Russian poetry.

January 18 is considered to be the birthday of Novy Mir magazine. This year the publication is 85 years old.

The Novy Mir magazine is one of the oldest monthly literary, artistic and socio-political magazines in modern Russia.

The idea of ​​creating the magazine belonged to the then editor-in-chief of Izvestia, Yuri Steklov, who proposed creating a monthly literary, artistic and socio-political magazine on the basis of the Izvestia publishing house, which was carried out. The magazine began publication in 1925.

For the first year, the monthly was led by Anatoly Lunacharsky, People's Commissar of Education, who remained a member of the editorial board until 1931, and Yuri Steklov.

In 1926, the leadership of the magazine was entrusted to the critic Vyacheslav Polonsky, who turned the new edition into the central literary magazine of the time. Polonsky directed the magazine until 1931, and already in the early 1930s, Novy Mir was recognized by the public as the main, main magazine of the then Russian Soviet literature.

After the war, the well-known writer Konstantin Simonov, who headed the magazine from 1946 to 1950, became the editor-in-chief, and Alexander Tvardovsky replaced him in 1950. This first tenure of Tvardovsky as editor-in-chief was short-lived. In 1954, he was removed from the leadership, but in 1958 he again became the editor-in-chief, and a period in the history of the magazine was inextricably linked with his name. Thanks to Tvardovsky, the small story "One Day in the Life of Ivan Denisovich" by the Ryazan teacher Alexander Solzhenitsyn could appear on the pages of the magazine, which became a milestone not only in the literary, but also in the political life of the country. In 1970, Tvardovsky was removed from his post as chief editor, and died soon after.

After Tvardovsky's death until 1986, Novy Mir was headed first by Viktor Kosolapov, then by Sergei Narovchatov and Vladimir Karpov.
In 1986, for the first time, the magazine was headed by a non-partisan writer - prose writer Sergei Zalygin, under whom the circulation of the magazine rose to a record high of two million seven hundred thousand copies. The success of the magazine was associated with the publication of many previously banned books in the USSR, such as Doctor Zhivago by Boris Pasternak, Pit by Andrei Platonov, but especially Alexander Solzhenitsyn's works The Gulag Archipelago, In the First Circle, Cancer Ward.

The most high-profile publications of the magazine in its entire history were: "The Black Man" by Sergei Yesenin (1925); "Not by Bread Alone" by Vladimir Dudintsev (1956); "One Day in the Life of Ivan Denisovich" by Alexander Solzhenitsyn (1962); "Blach" by Chingiz Aitmatov (1986); "Advances and Debts" by Nikolai Shmelev (1987); "Pit" by Andrey Platonov (1987); Doctor Zhivago by Boris Pasternak (1988); The Gulag Archipelago by Alexander Solzhenitsyn (1989); "Sonechka" by Lyudmila Ulitskaya (1993); "Prisoner of the Caucasus" by Vladimir Makanin (1995); "Freedom" by Mikhail Butov (1999) and many others.

In 1947-1990 the magazine was an organ of the Union of Writers of the USSR. But since 1991, thanks to new funds legislation mass media, the magazine "New World" has become a truly independent publication, not directly associated with any of the creative unions or public organizations.

With the development of perestroika, the editorial charter changed, and at some point Zalygin was already voluntarily elected editor-in-chief by the editorial office. But in 1998, the five-year term for which he was elected expired and Sergei Pavlovich refused to run.
In 1998, literary critic Andrey Vasilevsky was elected editor-in-chief of the magazine.

Today, like all “thick” magazines, Novy Mir is forced to survive in the market situation. The impossibility of existence without sponsorship, the inability of most potential readers to acquire a relatively expensive magazine, the inevitable fall public interest- all this forced a change in editorial policy.

If earlier the magazine was based on novels published with a continuation from issue to issue, today the magazine has reoriented itself to "small" forms - a short story, a cycle of stories.

The current circulation of the magazine hovers around the figure of only 7,000.

Currently, Novy Mir is published on 256 pages. In addition to novelties of prose and poetry, the magazine offers the traditional headings "From Heritage", "Philosophy. Story. Politics", "Far Close", "Times and Mores", "A Writer's Diary", "The World of Art", "Conversations", "Literary Criticism" (with the subheadings "The Struggle for Style" and "In the Course of the Text"), "Reviews . Reviews”, “Bibliography”, “Foreign book about Russia”, etc.

The editor-in-chief is Andrey Vasilevsky. Responsible secretary prose writer Mikhail Butov. Ruslan Kireev is in charge of the prose department. The department of poetry is headed by Oleg Chukhontsev, the department of criticism - Irina Rodnyanskaya, the department of history and archives - Alexander Nosov. Freelance members of the editorial board (and now Public Council) are Sergei Averintsev, Viktor Astafiev, Andrei Bitov, Sergei Bocharov, Daniil Granin, Boris Ekimov, Fazil Iskander, Alexander Kushner, Dmitry Likhachev and other respected writers.

The material was prepared by the editors of rian.ru based on information from RIA Novosti and open sources

This term has other meanings, see New World ... Wikipedia

This term has other meanings, see New way. "New Way" is a Russian religious and philosophical journalistic journal, created in 1902 and existed until the end of 1904. A magazine originally intended for ... ... Wikipedia

New World: Contents 1 Printed publications 1.1 Magazines 1.2 Newspapers ... Wikipedia

New World: Contents 1 Russia 2 Ukraine 2.1 Crimea ... Wikipedia

"New world"- NEW WORLD lit. artistic and societies. polit. magazine, until 1991 organ of the USSR Writers' Union. Published in Moscow since 1925. Among the editors. N. M. A. Lunacharsky, Yu. Steklov (Nakhamkis), I. Skvortsov Stepanov (1925), V. Polonsky (Gusev) (1926 31), I. Pronsky (1932 37), V. ... ... Russian humanitarian encyclopedic dictionary

This term has other meanings, see New world (meanings). "New world". 1988, No. 7. ISSN ... Wikipedia

- "NOVY MIR" monthly literary, artistic and socio-political magazine, ed. Izvestia of the Central Executive Committee of the USSR and the All-Russian Central Executive Committee. Since 1925 it was published under the editorship of A. V. Lunacharsky and I. I. Stepanov Skvortsov, and since 1926 they and V. P. Polonsky, which was ... Literary Encyclopedia

- "New world". 1988. No. 7. 0130 7673. Traditional magazine cover. In this issue, for example, poems by Vladimir Tsybin, Konstantin Vanshenkin, Nona Slepakova, Leonard Lavlinsky, Y. Daniel, a story by Tatyana Tolstaya, ending ... ... Wikipedia

Specialization: contemporary art Frequency: 6 times a year Abbreviated name: NoMI Language: Russian Editor-in-chief: Vera Borisovna Bibinova ... Wikipedia

- (“New World”) is a monthly literary, artistic and socio-political journal, an organ of the Union of Writers of the USSR. It has been published in Moscow since January 1925. The first editors were A. V. Lunacharsky, Yu. M. Steklov, and I. I. Skvortsov Stepanov; With… … Great Soviet Encyclopedia

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Andrey Voznesensky Virabov Igor Nikolaevich

"Banner" and "Youth". What about New World?

For the first time, Voznesensky's poems were published by Literaturnaya Gazeta - on February 1, 1958, Earth was published. "We loved to walk barefoot on the ground, / on the soft, smoking, sweet ground." And further: “To me, a Turk is a countryman. Both Mongol and Pole. / A countryman in calluses, in the world - a countryman "...

It was a debut. The very first. Then his poems, little by little, cautiously went to other newspapers. From thick magazines.

“Once my poems reached a member of the editorial board of a thick magazine. He calls me to the office. He sits down - a sort of welcoming carcass, hippopotamus. Looks in love.

No "buts". Now it is already possible. Don't hide. He's been rehabilitated. There were mistakes. What a beacon of thought! Tea will be brought now. And you are like a son...

No "buts". We give your poems to the number. We will be understood correctly. You have the hand of a master, you are especially good at signs of our atomic age, modern words - well, for example, you write “caryatids ...” Congratulations.

(As I later realized, he mistook me for the son of N. A. Voznesensky, the former chairman of the State Planning Commission.)

- ... That is, if not a son? How is the same name? Why are you fooling us here? Bring on all sorts of nonsense. We won't allow it. And I kept thinking - like such a father, or rather, not a father ... What other tea?

For those who don't understand. The namesake, Nikolai Alekseevich Voznesensky, was predicted in the late forties, almost as a "successor" to Stalin. The struggle for proximity to power is a fraught thing. In 1949, that Voznesensky was assigned to the "Leningrad case", removed from all posts, convicted as a conspirator and shot. And five years later, in 1954, they rehabilitated.

The writer Anatoly Gladilin worked at Komsomolskaya Pravda in those years - he will also remember how he first met Andrei in the editorial office, with whom he was friends for many years later:

“He brought, of course, poetry, and I was the first to publish it in Komsomolskaya Pravda in 1959. The poem was called "Heart". In general, it was lucky that we met with him, because I did not work there for long ... Then the rapid rise of Voznesensky began, and Yevtushenko and Rozhdestvensky were well-known before him ... Bulat was just starting then. I remember that I lived then in the center, not far from the Central House of Writers, and many people visited me then. It is strange, but young poets more often than others, it seems, were printed then by the Znamya magazine. The editor there was Comrade Kozhevnikov, not the most progressive, to put it mildly. Nevertheless, the same Kozhevnikov published Andrei's poems about the Polytechnic, skipping the following lines there: “Hurrah, student sharaga! / Well, shy away / by combining your cracks! / How the Oshanins prevented us from meeting! “... After that there was a scandal, and“ Oshanin ”had to be removed. Kozhevnikov could hardly have missed it by accident. I think he just had some sort of scores of his own with the author of the “Hymn to Democratic Youth”, which was then sung everywhere. And here is such a case - it’s convenient for Oshanin to call in with the hands of Voznesensky ... "

Many years later, in the seventies, Vadim Kozhevnikov would sign a letter against Solzhenitsyn and Sakharov, and it would no longer be acceptable to remember something good about him. But Voznesensky remembered well:

"The Znamya magazine was even then the best magazine poetry. The liberal Novy Mir was the leader in prose and social thought, but because of the gloomy alertness of the great Tvardovsky, the poetry department was weak there.

A lot of bad things are being said about the editor Vadim Kozhevnikov. I'll tell you something else. A tall athlete with a Roman bronze profile, he was a prominent figure in the literary process. Under the guise of orthodoxy lurked the only passion - a love of literature. He was a screamer. He did not listen to his interlocutor and shouted lofty words in a high, strong treble. It can be seen hoping that he will be heard in the Kremlin, or not trusting the dilapidated listening devices. Then, shouting, he smiled shyly at you, as if apologizing.

As a substitute, he took the refined intellectual Boris Leontyevich Suchkov. He went through the Gulag as a spy for all intelligence agencies, whose foreign languages he knew. With thin lips he tasted poetry. But sometimes panic seized him, as, for example, it was with my lines, absolutely innocent: “landing pad”. It was about an actress, but he saw politics here and turned pale with horror.

You are right, of course, but why tease the geese? - he told me, and replaced "genius" with "epiphany" in "Autumn in Sigulda".

Znamya printed my Goya. This publication came as a shock to officialdom. At a meeting of editors, the all-powerful head of the Central Committee's department for ideology, D. A. Polikarpov, branded these poems. Kozhevnikov stood up, shouted at him, tried to protect me. My destiny as a poet began with Goya. The first abusive article "Conversation with the poet Andrei Voznesensky" in "Komsomolskaya Pravda" smashed "Goya". Following were the articles of Gribachev, who frightened everyone, and the frightened Oshanin. For them, formalism was a phenomenon similar to Weismannism and Morganism. He seemed more dangerous than political mistakes - people are semi-literate and superstitious, they were afraid of mysticism and verbal conspiracies. Since then, the most zealous of official critics have attacked all my publications, which only increases, perhaps, a surge of reader interest.

Kozhevnikov was not afraid and printed "The Triangular Pear". There were lines:

I love my critics.

On the neck of one of them

fragrant and naked,

shining anti-head!..

... I tried to prove that this was not about Khrushchev, that I had in mind my scolders Prokofiev and Gribachev, whose portrait resemblance inspired such an image in me. But this only aggravated my “guilt” ... Posters were pasted all over the country, where the Mukhina worker and collective farm woman swept dirty rubbish - spies, saboteurs, hooligans and a book called “Triangle Pear”.

So my fate was intertwined with the fate of the Znamya magazine and the best things of those years - Paris without Rhymes, Merlin's Monologue, Autumn in Sigulda and others were published here. True, they did not print Ozu. But it's not their fault. Apparently, the possibilities were limited.

In addition to the "Banner" - there was also "Youth", where Valentin Kataev was. Actually, “Youth” began with Kataev, and soon poetic youth got used to gathering around the samovar bought by the editor himself (natural, on pine cones and coals!). Many believe, and not unreasonably, that in terms of its influence in domestic journalism, the figure of the editor of Yunost was comparable to that of the editor of Novy Mir Tvardovsky...

In the 1970s, Kataev wrote a sparkling preface to Voznesensky's book The Shadow of Sound. Andrei Andreevich shyly crossed out some compliments addressed to him. Kataev grinned: “Well, if you don’t want to be called a genius, it’s up to you…”

It is worth recalling, nevertheless, to bring here a piece of ripe prose - from that article by Valentin Kataev about Voznesensky:

“He entered the entrance hall, as always, in a short jacket and a fur hat sprinkled with snowflakes, which gave his somewhat elongated young Russian face with strangely attentive, watchful eyes an even more Russian look, perhaps even Old Slavonic. Remotely, he resembled a rynda, but without an axe.

As he took off his fur gloves, Oza appeared from behind him, also showered with snow.

I wanted to close the door behind her, from where cold was pulling down my legs, but Voznesensky held out defenselessly bare, narrow palms to me.

Do not close, - he whispered pleadingly, - there is more ... Sorry, I didn’t warn you. But there is more...

And through the door gap, widening it to the extent of necessity, sliding over the old oilcloth and felt, warmly dressed guests from the Moscow region, men and women, began to penetrate close one after another, crowding the tiny entrance hall in one minute and then shyly spreading further throughout the apartment.

I thought that there would be three or four of them, - Voznesensky apologized in a whisper, - but it turns out there are five or six of them.

Or even seventeen or eighteen, I said.

I am not guilty. They themselves.

It's clear. They sniffed out that he was coming to me to read new poems, and joined. Thus, he appeared along with the entire random audience. It was somewhat reminiscent of a barrel of kvass traveling through the city on a hot day, followed by a queue of thirsty people with cans in their hands.

A mountain of fur coats is heaped under the stairs.

And here he is standing in the corner near the door, straight, motionless, at first glance quite young - modesty itself - but through this imaginary modesty a frightening impudence persistently shines through.

A grown-up boy with a finger, a test tube with a luminous reagent of an infernal fortress. Arthur Rimbaud painted by Rublev.

He reads a new poem, then old poems, then generally everything that he remembers, then everything that he has half forgotten. Sometimes you can hear him well, sometimes the sound goes away and only the image remains, and then you have to read his moving, whitened lips yourself.

His audience won't move. Everyone froze, fixing their eyes on the poet, and read the lines that disappeared on the air from his lips. There are writers, poets, students, playwrights, an actress, several journalists, acquaintances of acquaintances and strangers of strangers, unknown young people - boys and girls in dark gray pullovers, two physicists, a grinder from an automobile factory - and even one antagonistic critic with a reputation as a shirt -a guy and a truthful fellow, that is, a liar, which the world did not produce ... "

In this very article (“Voznesensky”, published in the collection “Miscellaneous” in 1970), Kataev will also remember how Yuri Olesha dreamed of writing the book “Depot of Metaphors”. And he will be surprised: here, Voznesensky's poems are the “depot of metaphors”. And in the metaphor it is not just decoration, but a lot of meanings and meanings.

... And, by the way, in the "New World" Voznesensky's poem "At the opening of the Kuibyshev hydroelectric power station" was nevertheless published - in the eleventh issue for 1958. True, this was when Konstantin Simonov was in charge of Novy Mir. And under Alexander Tvardovsky - in any. Gladilin recalls that he “did not let Akhmadulina, Voznesensky, Yevtushenko, Okudzhava, Rozhdestvensky, Moritz stay a kilometer away.” Semyon Lipkin in his "Meetings with Tvardovsky" names Maria Petrov and Brodsky among those rejected. Why?

Sofya Karaganova, editor of the poetry department of the magazine under Tvardovsky, will recall later (Questions of Literature. 1996. No. 3): “I propose to print Voznesensky’s poem“ The Grove ”, A.T. writes on the manuscript:“ The first half of the poem can be understood and accepted, but further I don't understand anything anymore. Why should I assume that the reader will understand and be pleased?

Let's interrupt Karaganova for a while - to recall the lines from Voznesensky's "Grove": "Do not touch a person, a tree, / do not make a fire in it. / And this is how it is done in it - / God, don't bring it! / Do not hit a person, bird, / shooting has not yet been opened. / Your circles are lower, quieter. / The unknown is sharper ... "

“... Voznesensky is becoming more and more famous, he brings poetry to Novy Mir, but everything is rejected. “This is from the evil one,” said A. T. I defend Voznesensky: “I believe in him.” I quote, albeit paraphrasing, Pasternak: “At the end of the road I will fall, as if into heresy, into unheard-of simplicity!” A. T. laughed: “That's when we will print it, but for now let others print it.”

Once, with chagrin, I said to Alexander Trifonovich:

- Novy Mir published Voznesensky when he was still unknown to anyone. He is talented, now famous, but we do not print him.

Well, that doesn't make sense at all. They would say - he is talented, but they don’t publish him, here it is ...

And indeed, when Voznesensky was no longer printed (they didn’t print at all for a year and a half or two: “signer”), the poems he offered to the magazine were immediately signed into the set by Tvardovsky ... I don’t know of a single case when A.T. publicly - orally or in press - criticized the poet, whose poems he himself did not accept.

By the way: Karaganova's mention of "signer" is about Voznesensky's signature under a letter in defense of Solzhenitsyn and Sakharov. Or in defense of Sinyavsky and Daniel. It will be later. Voznesensky will always be among the "signers" of letters that one is ashamed not to sign. Not a single vile letter will ever have his signature.

As for magazines... In our times, he will nostalgically remember what it all started with: Lately. This is not a denim "Youth", born of the thaw. They are printed brilliantly, with perfect taste, like catalogs of galleries or museums. All of them are in patent leather shoes ... "

In the late fifties, there was a lot of tension with patent leather shoes. It’s not that the shoes don’t worry, it’s just that many people are dope in their heads! - they naively thought: it is more important that the poems be - shine.

As if poems for life are more interesting than shoes. Ha ha ha.