The beginning of this year was marked by a joyful event for the cultural life of the city. Made in Finlandliterary and artistic magazine “Other shores Vieraat rannat” No. 19 for 2015. works of our fellow countrymen have been published: annotation on the video disc of the head of the Tula club of Orthodox writers “Spring” Vladimir Aleshin and poems by a participantJoint-stock non-profit association for the development of art and cinematography "Preobrazhenie" and the Tula Club of Orthodox Writers Natalia Redozubova.

Earlier, in the previous issue of the magazine, it was publishedreview-essay by Nina Gade on the book of the Tula poet Valery Savostyanov “Russian Cross” . Such commonwealth and bilateral cultural interest are not accidental. The magazine publishes Russian-speaking authors from all over the world: from the USA, England, Israel, Germany, Estonia and, of course, Russia. The editor of the magazine, Olga Pussinen, believes that “it is through the creativity of our compatriots that the Russian diaspora in Finland gets the opportunity to find out how they live, what they think about and what they breathe.” modern Russia» .

And the vectors of her aspirations are multifaceted: this is the heroic past, the memory of the feat of our ancestors who defended their native land from fascism; and attention to today, its inconspicuous, but everyday life that shapes the fate of an ordinary working person; this is also high lyricism, addressed to the origins and meaning of existence; it is an attitude and openness to the world beyond borders, divisions, and conventions.

Thanks to this, it became possible to create a uniquevideo books “In a Strange Paradise” based on poems about emigration by Nina Gade , Russian poetess living in Denmark. The idea of ​​creating a video disc belongs to the master of artistic expression, laureate All-Russian competition readers to Vladimir Aleshin. He, possessing an unerring creative ear, was able to hear the depth of Nina Gade’s poetic images, the harmony of the sound of the lines and the psychological dissonance deliberately applied for artistic purposes; understand the need to reflect and read them in their homeland.

Natalia Redozubova's interests are multifaceted. As artistic director school theater and course teacher Orthodox culture, she writes poetry, scripts, reviews, and is a literary editor of documentaries. She has been published in regional publications: the magazines “Priokskie Dawns”, “Contraband”, the newspaper “No Problems”, the anthology “Three Centuries of Tula Poetry”, etc. In 2015 she won the Open Diocesan Literary Competition “Transfiguration” in the category “Poetry”. Offered to the readerthe selection of poems includes both early and newly created lyrics . These are philosophical and landscape sketches, comprehension of life and love through the means of the poetic word.

The announced works can be found on the Eurasian magazine portal and in the magazine “Other Shores Vieraat rannat” (Finland, Helsinki) No. 19 for 2015. Access mode:

Aivar Pau

Leaked documents obtained by Postimees reveal Estonia's plan, with its own participation, to begin burying radioactive metals of foreign origin - uranium and thorium - in Estonian port facilities.

It is very likely that the Department environment will soon issue permits for the implementation of this plan to a certain circle of enterprises, at the center of which will be OÜ NPM Silmet with the involvement of companies associated with Tiit Vähi (Sillamäe Port and Silpower), AS Ökosil, a company owned by him jointly with the Ministry of the Environment, and completely state enterprise Estonia Energy.

The reason for these plans was the feature production process NPM Silmet: rare earth metals are delivered from foreign mines to Estonia, containing the raw materials columbite and tantalite, which, however, also contain the radioactive metals uranium and thorium (U-238 and TH-232). NPM Silmet could not find any reasonable use for the last two metals, and the owners of the company refused to remove them from Estonia, although the corresponding promise was made to the state on the basis of a valid environmental permit.

So, at the moment, the enterprise has accumulated closed barrels with almost 535 tons of radioactive industrial waste. The only plan to get rid of them arose in cooperation with the University of Tartu, with which NPM Silmet entered into an agreement on May 20, 2016 to carry out both chemical and industrial and legal analyses.

The concentration and activity of radioactive substances in the resulting mixture should become extremely low (below 300 ppm), which is below the lower limits permitted by law. But here you need to know that, according to Estonian laws, oil shale ash is also recognized as a hazardous waste due to its acidity and other indicators.

The process itself should look like this: first NPM Silmet mixes its waste with oil shale ash from the power plant of the electricity producer Silpower, then the resulting mixture is taken by the joint venture of the Ministry of the Environment and Tiit Vähi Ökosil, to which the same ministry has issued all kinds of permits for working with oil shale ash and other hazardous waste in Sillamäe port.

Ökosil puts the resulting mixture into its incineration storage facility and then, after mixing it with water, uses it in the form of rock ash for expansion work at Sillamäe port. If necessary, oil shale ash from Enefit is also used in the process.

DANGERS AND RISKS

But there are several questions about the package of plans that NPM Silmet submitted to the Ministry of Environment for permission late last year.

Firstly, Estonian laws are against it. For example, the Waste Law is very clear that mixing hazardous waste with other waste is prohibited, and NORM waste, as well as oil shale ash, are hazardous.

Editorial team:

Editor-in-chief – Olga Pussinen
Editorial Board – Leonid Kornienko, Marina Kroshneva
Compiled by Lyudmila Yakovleva
Computer layout – Daria Zueva

PUBLICATION HISTORY:

The magazine “Other Shores” as a magazine is very young. Initially, the publication was an almanac, the first issue of which was published in 2002. It was printed in St. Petersburg at the expense of the authors. The compilers of the first issue were: poet, literary critic Robert Vinonen, poet and translator Eleonora Ioffe and Belarusian poet, prose writer, public figure, who then lived in Finland, Vladimir Neklyaev. The title of the almanac, as is clear from the editorial preface, is inspired by the lines of Pushkin:
Here is a wooded hill, above which
I sat motionless and looked
To the lake, remembering with sadness
Other shores, other waves...
(“I visited again...”)

The same preface also contains the following warning: “What new can our “Other Shores” reveal to the reader? One should not expect the notorious emigrant “stamp” on the texts here - this wave came here under different event-psychological conditions.”
In the very first issue, the traditional structure of the publication was formed: “POEMS AND PROSE”, “CRITICISM AND PUBLISHING”, “TRANSLASES FROM FINNISH”. Among the authors of the first issue were Larisa Klarina, Toivo Ryannel, Elena Lapina-Balk, Valery Susi, Natalia Meri, Lyudmila Kohl, Natalia Peysonen, Jakub Lapatka, Eleonora Ioffe, Vladimir Neklyaev, Robert Vinonen...

Subsequently, the publication underwent changes: the “Humor” section was added to the three above-mentioned sections (starting from issue 7 it is called “Satire and Humor”), and a children’s page began to appear regularly. Since the 10th issue, the children's page has acquired a special status: now it is, in fact, a magazine within a magazine called “PO-READ-KA”. It is addressed to both children and adults. Compiled by “PO-CHITAI-KI” Leonid Kornienko. Other sections appear less regularly (for example, “Free Tribune”, “Books by Our Authors”).

Gradually, authors from other countries began to “flock” to our “Shores”. Sometimes very far from Finland. For example, we published authors from England, the USA, and Israel. Our regular author, prose writer Pavel Dolokhov (now, unfortunately, deceased), lived in England, Boris Yudin and Pavel Roshchin sent poems from the USA (now the prose of Semyon Kaminsky comes from there), and from Israel we received poems by Felix Chechik. Materials began to arrive from Russia, Estonia, and Germany. In fact, the publication has become international. Our Association is also international - in addition to local authors, it also includes writers from Russia. And in Estonia there is our author - member of the Association Maria Rosenblit. Members of our Association are the author’s backbone of the publication.

From the 7th issue (since 2008), “Other Shores” became a magazine. Our magazine is published twice a year, the approximate volume of each issue is one hundred pages. Issue 12 is currently being prepared for publication. Financial assistance to the publication is provided by the Ministry of Education of Finland and the Embassy Russian Federation, a magazine published in Finland. Despite the eight-year journey, it is too early to say that “Other Shores” has completely found its identity. The status of the journal, which is still new for us, requires the development of an independent concept for the publication. We certainly need an influx of fresh creative forces, we are always in search of new ideas, new strategies. The authors of “Other Shores” always have something to present to the most demanding readers. In this we see our creative potential and the key to further development.

Time and place

Other shores. Magazine about Russian culture abroad. Publisher - Union of Theater Workers of Russia. With the support of the Administration of the President of the Russian Federation.

Four issues of the magazine about Russian culture abroad, “Other Shores” (a deliberate echo of Nabokov’s “Other Shores”) were published more than in a timely manner - in a year when we managed to quarrel with almost all of our former republics. The editors seemed to be trying to fix what the politicians had ruined. Therefore, among the authors and heroes of the magazine, it is pleasant to see Georgian, Moldavian, Azerbaijani, Ukrainian, Lithuanian, Estonian and other names - we do not and cannot have cultural differences with them.

No less timely is the discussion about the Russian language in general and outside Russia, announced in the first issue and continuing in the rest (more on this below), as well as other materials almost ahead of the curve: No. 3 - July-September - letters of Empress Maria Feodorovna, ashes which was recently transferred from the tomb of the Danish kings in Roskilde to the Peter and Paul Fortress and buried next to the grave of her beloved husband Alexander III. No. 4 - October-December - Tom Stoppard, who recently visited Russia, talks about his trilogy “The Coast of Utopia”, and a piece from it is being published. Meanwhile, the play “Shipwreck” (the second part of the trilogy) is being staged by the Russian Youth Theater - get ready for the premiere!

The editors showed agility by publishing excerpts from the new novels by Chingiz Aitmatov “The Eternal Bride” and Viktor Kozko “Time to Collect Bones”: it is always prestigious to get ahead of other magazines! It’s just not clear why the section where they are published is called “Book Review” - after all, this is prose, not reviews or reviews.

The magazine really covers a wide cultural space, I mean not only geographically, but also thematically, and poses serious questions. Just look at the headings: Language and culture, Education, Museums, Persons, Archive, Research, From afar, Publishing and, naturally, - Theater, Tour, Master-Class.

Oddly enough, the materials of these theater sections (the magazine is made by STD!) seemed weaker to me than others, although their undoubted advantage is their wide coverage of regions - “ours” visited Kazakhstan, Ukraine, Azerbaijan, and Uzbekistan , not to mention far abroad. But they are written somehow too hastily, sometimes looking like reports or newsletters. And, in general, they are similar to each other. Although there is some interesting material here too. This is Eteri Kekelidze’s story about the play “Russian Laughter”, staged by Roman Kozak with the help of three Baltic theaters based on Dostoevsky’s stories “Crocodile...”, “Bobok” and “Someone else’s wife and husband under the bed”. The author notes the director’s sharp choice of actors, as a result of which the result was not a “combined team”, but a single whole. The director was close to the idea of ​​M.M. Bakhtin about the carnival nature of Dostoevsky’s works, and he made a performance in the style of “Russian absurdity”. The premieres took place in Riga, Vilnius and Tallinn. It’s a pity that they didn’t make it to Moscow, because, judging by the interesting analysis, the performance turned out to be extraordinary.

The most successful sections seemed to me to be Persons And From afar. And among them, I certainly highlighted the conversation between Evgeniy Glukharev and Tomas Venclova and the materials of Elena Movchan.

Tomas Venclova, son of the famous Lithuanian poet Antanas Venclova, in Soviet years was a dissident, then emigrated to the USA, and since then we have known little about him. Once or twice I only had the chance to hear him through “enemy voices.” And here is a most interesting return. The conversation is philosophical in nature. The dialogue is about good and evil - a constant value in the world that moves in space and time, about historical optimism, about the relationship of art with power, including democratic power, about the revision of Lithuanian traditions in literature (we are talking about the best, according to T Venclova, modern Lithuanian writer Marius Ivaskevicius), about trends in Lithuanian life. Thomas's brilliant poetry complements this significant conversation.

One can say about E. Movchan that she was created for this section. Or a section - for her. She knew everyone she wrote about personally - the Ukrainian writer and artist, creator of a series of Ukrainian stamps Yuri Logvin, and the philologist, writer, teacher, educator Levon Mkrtchan, and the former editor-in-chief of the magazine “Friendship of Peoples” Sergei Baruzdin. This allowed her to show, as it were, the main thing about these people from the inside, and the sincere intonation of her story inspires trust. I think the most difficult thing for E. Movchan was to write about Baruzdin, with whom she worked for many years. He was a complex person, and the author of the memoirs (and by genre these materials most likely belong to memoirs) does not bypass the difficult moments in the life of his character (Baruzdin died in 1990), reveals the background to his controversial actions, which makes his figure clearer and more significant.

“Reflections on the fate of actor Nurmukhan Zhanturin” by N. Staroselskaya also stands out. It’s not for nothing that they are called “Pacer”. This is truly the fate of a foreign-walking person, very characteristic of our time.

In the section From afar The most interesting, fantastically interesting one is, of course, Ilya Rudyak, who emigrated from Odessa to America in 1980 - a writer, film and theater director, publisher, who created the House of Russian Books in Chicago, which turned into a piece of Russia. Dmitry Amosov spoke about it in detail and fascinatingly.

Probably, Alexander Segen’s “Chinese Album” could be no less significant in this section. Segen is a talented prose writer, but acts here rather as an official - a representative of the delegation of the Union of Writers of Russia. Half of the material is written as a report on a business trip (very reminiscent of Soviet times).

And now let me return to the beginning, to the first issue, which opens with the problematic, key material of Yuri Prokhorov, Doctor of Pedagogical Sciences, Rector of the State Institute of Russian Language. A.A. Pushkin. The article is accurate, deep, modern. It seems that this year has been declared the year of the Russian language? So the magazine hits the bull's eye again. Yuri Prokhorov easily refutes the laments that are constantly heard today about the death of the Russian language by Pushkin, showing the very process of change, development of the language, its transition from native to foreign, etc. depending on new communication spaces.

The discussion also includes stories about teaching Russian in different countries. Noriko Adachi’s information about how she teaches Russian in Japan is very interesting, although it seems somewhat naive. It turns out that the concept of “lifelong education” is widespread in Japan, and among its students there are many people 70-85 years old. The difficulties of teaching in Georgia and other countries are described. However, the level of material in this section is uneven. Indicative in this sense is the article by Eteri Kekelidze, which comes down to purely practical problems that the Center of Russian Culture in Tallinn faces today - who should own the house, who should do the repairs, who will pay the rent, whether the house should be transferred from the City Chancellery to the department cultural values, etc. The issues are important, of course, but they should be resolved not through the pages of a thick magazine, but in another way.

And Vasily Sergeev’s article “Sevastopol Experiments” seemed completely unacceptable to me. It is about the Ukrainization of Crimea. The author openly mocks the Ukrainian language (is it even possible to mock any language?!), into which signs and documents began to be translated in Sevastopol. He calls it “paper Ukrainian gobbledygook.” He dies laughing when he sees, instead of a blue mailbox with the inscription “Mail”, a yellow one with the inscription “Poshta”. Or instead of “Food for kittens” - “Food for kittens”. And he also has big claims against Yanukovych, who has already traveled to Russia and negotiated with Putin, but betrayed (! - EM.) Russia, declaring that “there is no problem of the Russian language, but there is a problem of the Ukrainian language.” Vasily Sergeev, of course, is free to write whatever he wants, but whether it’s worth publishing is up to the editor to decide.

How hard it is to start new magazine, I know firsthand. Once upon a time in the early 70s, a small team - about fifteen people - led by Yu.I. Surovtsev (alas, deceased), which included N. Staroselskaya and me, created the magazine “Literary Review”. It was a difficult matter. For a long time we looked for the concept of the publication, the face of the magazine, the authors - the best, professional and honest, corresponding to this face, we tried on what the layout should be, but it was also complicated. Finally found. And the magazine was good until it began to fall apart due to lack of funding - perestroika began. True, he rebuilt into another best magazine- “New Literary Review”, but that’s another story.

The difficult but useful experience of “Litoboz” for the editor of “Other Shores” was clearly not in vain. It seems that the magazine is gradually achieving its goals. From issue to issue it develops and even gets thicker: in No. 1 there are 72 pages, and in No. 4 - 112! And its design can only cause quiet envy: it is exquisitely beautiful, printed on chalk and even tinted paper, which is not just beautiful, but emphasizes the time, etc. (See Maria Feodorovna's letters and photographs), color was skillfully used - exactly the same, without going overboard. The magazine contains many high-quality illustrations. In short - everything is with him. But it is known that there is no limit to perfection!

Announced 6 international competition translation of Finnish poetry "From North to East". Deadline October 28, 2018.

Organizer: Association of Russian-speaking writers of Finland and the magazine “Other Shores Vieraat rannat”.

Everyone is invited to participate.

Literary translations into Russian of Päivi Nenonen’s poetic cycle “Gathering Yourself” (“Itsensä kokoamalla”), written in Finnish, are accepted. For contestants who do not speak Finnish, an interlinear translation will be offered and a poetic meter will be indicated, which must be adhered to when translating.

The cycle proposed for competitive translation consists of three poems. Participants in the competition can send a translation of both the entire cycle and one poem in the cycle, but they must take into account that preference in the formation of the Long and Short lists will be given to the works of translators who have fully completed the competition task.

The translation for the competition is typed inside the file in Microsoft program Office Word, *doc format (font: Times New Roman straight, 12 points, black, line spacing: 1). The author needs to download the file and fill out the table on the first page, then type in his translation option on the second page. Then save the data and give the file a name. The file name indicates the surname in Latin letters and is assigned “na konkurs” separated by a space. For example, if your name is Ivan Ivanovich Ivanov, then the file will be called: Ivanov_na_konkurs.doc It should be borne in mind that the table indicates your real surname (first and patronymic), and not a pseudonym. Anonymous translations, translations under a pseudonym, as well as translations with blank author’s data in the jury table will not be considered.

Transfers are accepted by email [email protected]

• Diploma of Gold, Silver and Bronze levels.
• Publication of the winning translations in the journal “Other Shores Vieraat Rannat”.
• Invitation to the winners' creative evening in Helsinki.
• Ferry ticket Helsinki - Stockholm or Helsinki - Tallinn.