Lyudmila Gurchenko: biography, personal life, family, husband, children - photo. Their wife, the magnificent Lucy. Six husbands of Lyudmila Gurchenko The first husband of Lyudmila Gurchenko Boris Andronikashvili

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Biography, life story of Andronikashvili Boris Borisovich

Andronikashvili (real name - Pilnyak) Boris Borisovich - Soviet writer, screenwriter, actor.

Childhood and youth

Boris was born in Moscow on October 28, 1934. His father is Boris Andreevich Pilnyak (real name is Vogau), a Russian writer and prose writer. Mother - Kira Georgievna Andronikashvili, Soviet actress and director of Georgian origin, hereditary princess.

In 1937, when Boris was only three years old, his father was arrested. The writer was charged with state crimes. Kira Georgievna, fearing for the fate of her son, sent the boy to Tbilisi, to her mother, grandmother Bori. She adopted her grandson and gave him her last name - Andronikashvili. In 1938, Boris Andreevich was shot. Kira Georgievna was repressed. The only close person for Borya in the whole wide world was his grandmother. True, he also had other relatives - for example, a star aunt, a Georgian actress. Bori also had cousins ​​- Eldar and Georgy Shengelaya (both became film directors).

In his youth, Boris Andronikashvili left for Batumi and entered the local nautical school there. In the early 1950s, the young man went to conquer Moscow. He easily entered VGIK at the screenwriting and film studies department. In 1959, Boris received a diploma of higher education.

Creation

The writer Boris Andronikashvili began publishing his works in 1973. The first book published was “The month of August. Novels and stories. In 1977, two books by the author were published at once - “Red Horses. Stories" and "Tangerine Coast. Novels and stories. In 1979, Andronikashvili was admitted to the Union of Writers of the RSFSR.

CONTINUED BELOW

In 1984, the writer published Roses on the March. Novels and Stories", in 1987 - "Reading the Pages of the Past ...", in 1989 - "Don Alonso: a novel, stories", in 1992 - "Hope golden pets". Posthumously in 2007, two volumes of selected works of the author were published.

Andronikashvili made his film debut in 1957. He played Prince Archil in the drama Otar's Widow. The next time Boris appeared on the screen only in 1966. He played in the cinema infrequently - his filmography includes only seven works. In 1974, Boris Andronikashvili acted as a screenwriter for the Soviet family film Captains.

Personal life

While studying at VGIK, Boris met. They began an affair. In 1958, the lovers got married, but their marriage did not last long - only three years. In 1959, about the middle of their short family life, the couple had a daughter.

After a divorce from Boris, he met with an actress for five years. The couple thought about signing and officially becoming a family, but in the end, Boris broke up.

The second wife of Andronikashvili was Rusudan Khantadze, an artist. In 1970, their daughter Kira was born, in 1973 their son Alexander was born. Rusudan was a faithful companion of the writer's life until the end of his days.

Death

, Russia

Boris Borisovich Andronikashvili(cargo. ბორის ანდრონიკაშვილი , real name Pilnyak, also Andronikashvili-Pilnyak; October 28, Moscow - ) - Soviet writer, actor and screenwriter. Member of the Union of Writers of the RSFSR since 1979.

Biography

Born October 28, 1934 in Moscow in the family of writer Boris Pilnyak (pseudonym Boris Andreevich Vogau) and actress Kira Georgievna Andronikashvili. In 1937, my father was arrested on charges of state crimes. The mother, fearing for the fate of her son, sent him to Tbilisi to her grandmother, who adopted her grandson and gave him her last name - Andronikashvili. In his youth he went to Batumi, where he entered the Batumi Naval School.

In the early 1950s, he left for Moscow, where he entered the screenwriting and film studies department of VGIK, graduating in 1959. As a student, he met his first wife Lyudmila Gurchenko. In 1959, their daughter Masha was born, and three years later their marriage broke up. After that, he met with Nonna Mordyukova for 5 years. They wanted to get married, but it never came to a wedding. The second wife of Boris Andronikashvili was the artist Rusudan Khantadze, with whom he lived until the end of his days. In marriage, they had a daughter and a son.

Family

• Parents:
  • Father - Boris Andreevich Pilnyak (1894-1938), writer, convicted and shot in 1938. In 1956 he was rehabilitated.
  • Mother - Kira Georgievna Andronikashvili (1908-1960), actress and director, princess of the Andronikashvili family, repressed in 1938. Rehabilitated in 1956.
• Aunt - Nato Vachnadze (1904-1953) - actress, People's Artist of the Georgian SSR, Honored Artist of the RSFSR.
• Cousins ​​(sons of Nato Vachnadze):
  • Eduard Nikolaevich Shengelaya (b. 1933) - film director.
  • Georgy Nikolaevich Shengelaya (b. 1937) - film director.
• Wives:
  • Lyudmila Markovna Gurchenko (1935-2011) - actress, director, singer, People's Artist of the USSR.
  • Nonna Viktorovna Mordyukova (1925-2008) - People's Artist of the USSR.
  • Rusudan Khantadze is an artist.
• Children:
  • Maria Borisovna Koroleva (née Andronikashvili, R. 1959), daughter of Lyudmila Gurchenko.
  • Kira Borisovna Andronikashvili (b. 1970), daughter of Rusudan Khantadze.
  • Alexander Borisovich Andronikashvili (b. 1973), son of Rusudan Khantadze.

Filmography

Actor

• - Otar's widow - Prince Archil
• - A game without a draw - episode
• - Do not believe that I am no more
• - Oboe
• - Life of Don Quixote and Sancho
• - Death of Orpheus

Screenwriter

• - Captains

Bibliography

• - The month of August. Leads and stories.
• - Red horses. Stories.
• - Mandarin Coast. Leads and stories.
• - Roses on the march. Leads and stories.
• - Reading the pages of the past ...
• - Don Alonso: novel, short stories. ISBN 5-265-00882-9
• - About my father // Friendship of peoples, 1989, No. 1. p. 147-155
• - Hope pets of gold. ISBN 5-244-00520-0
• - Favorites. Volume 1. Miracles. ISBN 978-5-7784-0355-0
• - Favorites. Volume 2. Saturday, Sunday. ISBN 978-5-7784-0356-7

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Notes

Links

• Boris Andronikashvili at the Internet Movie Database

An excerpt characterizing Andronikashvili, Boris Borisovich

Outside, weeping and shouting were heard somewhere in the distance, and fire was visible through the cracks of the booth; but it was quiet and dark in the booth. Pierre did not sleep for a long time and with open eyes lay in the darkness in his place, listening to the measured snoring of Plato, who lay beside him, and felt that the previously destroyed world was now being erected in his soul with new beauty, on some new and unshakable foundations.

In the booth, which Pierre entered and in which he stayed for four weeks, there were twenty-three captured soldiers, three officers and two officials.
All of them then appeared to Pierre as if in a fog, but Platon Karataev remained forever in Pierre's soul the strongest and dearest memory and personification of everything Russian, kind and round. When the next day, at dawn, Pierre saw his neighbor, the first impression of something round was completely confirmed: the whole figure of Plato in his French overcoat belted with a rope, in a cap and bast shoes, was round, his head was completely round, back, chest, shoulders, even the arms that he wore, as if always about to embrace something, were round; a pleasant smile and large brown gentle eyes were round.
Platon Karataev must have been over fifty years old, judging by his stories about the campaigns in which he participated as a longtime soldier. He himself did not know and could not in any way determine how old he was; but his teeth, bright white and strong, which kept rolling out in their two semicircles when he laughed (as he often did), were all good and whole; not a single gray hair was in his beard and hair, and his whole body had the appearance of flexibility and especially hardness and endurance.
His face, despite the small round wrinkles, had an expression of innocence and youth; his voice was pleasant and melodious. But the main feature of his speech was immediacy and argumentativeness. He apparently never thought about what he said and what he would say; and from this there was a special irresistible persuasiveness in the speed and fidelity of his intonations.
His physical strength and agility were such during the first time of captivity that he did not seem to understand what fatigue and illness were. Every day in the morning and in the evening, lying down, he said: “Lord, put it down with a pebble, raise it up with a ball”; in the morning, getting up, always shrugging his shoulders in the same way, he would say: "Lie down - curled up, get up - shake yourself." And indeed, as soon as he lay down to immediately fall asleep like a stone, and as soon as he shook himself, in order to immediately, without a second of delay, take up some business, the children, having risen, take up toys. He knew how to do everything, not very well, but not badly either. He baked, steamed, sewed, planed, made boots. He was always busy and only at night allowed himself to talk, which he loved, and songs. He sang songs, not like songwriters sing, knowing that they are being listened to, but he sang like birds sing, obviously because it was just as necessary for him to make these sounds, as it is necessary to stretch or disperse; and these sounds were always subtle, tender, almost feminine, mournful, and his face was very serious at the same time.
Having been captured and overgrown with a beard, he, apparently, threw away everything that was put on him, alien, soldierly, and involuntarily returned to the former, peasant, people's warehouse.
“A soldier on leave is a shirt made of trousers,” he used to say. He reluctantly spoke about his time as a soldier, although he did not complain, and often repeated that he had never been beaten during his entire service. When he told, he mainly told from his old and, apparently, dear memories of the "Christian", as he pronounced, peasant life. The proverbs that filled his speech were not those, for the most part, indecent and glib sayings that the soldiers say, but these were those folk sayings that seem so insignificant, taken separately, and which suddenly take on the meaning of deep wisdom when they are said by the way.
Often he said the exact opposite of what he had said before, but both were true. He loved to talk and spoke well, embellishing his speech with endearing and proverbs, which, it seemed to Pierre, he himself invented; but the main charm of his stories was that in his speech the simplest events, sometimes the very ones that, without noticing them, Pierre saw, took on the character of solemn decorum. He liked to listen to fairy tales that one soldier told in the evenings (all the same), but most of all he liked to listen to stories about real life. He smiled joyfully as he listened to such stories, inserting words and asking questions that tended to make clear to himself the beauty of what was being told to him. Attachments, friendship, love, as Pierre understood them, Karataev did not have any; but he loved and lived lovingly with everything that life brought him, and especially with a person - not with some famous person, but with those people who were before his eyes. He loved his mutt, loved his comrades, the French, loved Pierre, who was his neighbor; but Pierre felt that Karataev, in spite of all his affectionate tenderness for him (with which he involuntarily paid tribute to Pierre's spiritual life), would not have been upset for a minute by parting from him. And Pierre began to experience the same feeling for Karataev.

ანდრონიკაშვილი, ბორის, real name Pilnyak; October 28, 1934, Moscow - 1996) - Soviet writer, actor and screenwriter. Member of the Union of Writers of the RSFSR since 1979 "Journal Hall". "/>

name	Boris Andronikashvili
original name	ანდრონიკაშვილი, ბორის ბორისის ძე
birth name	Boris Borisovich Vogau
Date of Birth	28.10.1934
Place of Birth	Moscow, USSR
Date of death	1996
place of death	Moscow, Russia
profession	actor, screenwriter,
years of activity	1957 - 1996
imdb_id	0029076

Boris Borisovich Andronikashvili(ka ანდრონიკაშვილი, ბორის, real name Pilnyak; October 28, 1934, Moscow - 1996) - Soviet writer, actor and screenwriter. Member of the Union of Writers of the RSFSR since 1979 "Journal Hall".

Biography

Born October 28, 1934 in Moscow in the family of writer Boris Pilnyak (pseudonym Boris Andreevich Vogau) and actress Kira Georgievna Andronikashvili. In 1937, my father was arrested on charges of state crimes. The mother, fearing for the fate of her son, sent him to Tbilisi to her grandmother, who adopted her grandson and gave him her last name - Andronikashvili The site of the Kultura TV channel, December 3, 2007. In his youth, he went to Batumi, where he entered the Batumi Naval School.

In the early 1950s, he left for Moscow, where he entered the screenwriting and film studies department of VGIK, graduating in 1959. As a student, he met his first wife Lyudmila Gurchenko. In 1959, their daughter Masha was born, and three years later their marriage broke up. After that, he met with Nonna Mordyukova for 5 years. They wanted to get married, but the wedding never came to fruition. The second wife of Boris Andronikashvili was the artist Rusudan Khantadze, with whom he lived until the end of his days. In marriage, they had a daughter and a son.

Bibliography

1. 1973 - August month. Leads and stories.
2. 1977 - Red horses. Stories.
3. 1977 - Tangerine Coast. Leads and stories.
4. 1984 - Roses on the march. Leads and stories.
5. 1987 - Reading pages of the past ...
6. 1989 - Don Alonso: novel, stories. ISBN 5-265-00882-9
7. 1992 - Gold pets of hope. ISBN 5-244-00520-0
8. 2007 - Favorites. Volume 1. Miracles. ISBN 978-5-7784-0355-0
9. 2007 - Favorites. Volume 2. Saturday, Sunday. ISBN 978-5-7784-0356-7

Filmography

Actor

1. 1957 - Otar's widow - Prince Archil
2. 1966 - Game without a draw - episode
3. 1975 - Do not believe that I am no more
4. 1977 - Oboe
5. 1988 - Life of Don Quixote and Sancho
6. 1998 -

Screenwriter

1. 1974 - Captains

Family

• Parents:
  • Father - Boris Andreevich Pilnyak (1894-1938), writer, convicted and shot in 1938. In 1956 he was rehabilitated.
  • Mother - Kira Georgievna Andronikashvili (1908-1960), actress and director, princess of the family

ABOUT MY FATHER

Boris Andreevich Pilnyak was born on October 12, 1894. He is atbelongs to that generation of Soviet writers whose flourishing underwent into the twenties. (Mayakovsky was a year older, a yearyounger - Yesenin.) Here is the last personal biographical note compiled by the writer himself for the reference book.

“Boris Pilnyak (pseudonym of Boris Andreevich Vogau).

Born in Mozhaisk, Moscow province.

The father comes from the German colonists of the Volga region, who movedto Russia in the sixties of the 18th century under Catherine II , after times destruction of the Seven Years' War. Mother - Russian, was born in the Volzh familymerchant. Both father and mother received higher education, - fatherwas and is a veterinarian.

Graduated from high school - Moscow Commercial Institute,economic department.

The revolution caught a student and an aspiring writer. Blizorthe bone did not give a rifle in his hands. Literary inclinations sent to provincial newspaper feuilletonist.

In 1919, the first book of short stories was published.

In 1920 he graduated from the institute.

In 1920, he wrote the novel "The Naked Year", which gave him fame,caused great critical controversy, created a literary schoollu. Translated into English, French, German, Norwegian, Spanish, Japanese, Georgian, Jewish.

Wrote ten volumes of short stories and short stories and a novel.

Having started publishing in Kolomna, meeting the revolution in Kolomna, he traveled a lot. In addition to the USSR, there was: in England, Germany, Greece, Turkey, Palestine, in the Pamirs, on the border of Afghanistan, on Svalbard, in Mongolia,in China, in Japan.

Engaged in the literary community, was at one time beforechairman of the All-Russian Union of Writers.

The pseudonym appeared in 1915 and comes from the Ukrainiannegative "pilnyanka" - a place of forest development. In the village underby the name where Boris Andreevich lived in the summer, the inhabitants were calledPilnyakami. Sending stories from there, Boris Andreevich for the first time underwritten with a pseudonym.

And here is another autobiography that tells about childhood and the beginning creative activity.

"Childhood. In the passage room there is a mirror hanging on the wall, into which I fit in with my horse. I - il Ruslan, il Ostap (mostinsulting - call me Farlaf!). For many hoursdy day - for months - I sit on my horse, covered with the same skinchild, - I, hung with maces, pikes, spears, swords, archus, in front of a mirror. I rush to the enemy, I infect the Pechenegs and the sexestsev: I'm talking to myself - I'm remaking under the mirror not only Ruslana and Ostap, but also all Dikan evenings, but also the pampas of Mine Reed. I wave my arms, I ride my horse, I scream, I gro zhus. I do not hear what is happening around me in the house - my mother knows that if it is inopportune to call me from the mirror, I will be embarrassed, I will burst into tears from resentment, - my sister knows that I will beat her with Ruslan if she interrupts my lies. - All this was almost thirty years ago, - what antiquity! - I still remember that then in front of the mirror -I enjoyed - and still remember that I sit in front of the mirrorit was necessary.

And from childhood. I had to go to that street orto my father in the outpatient clinic - I came home and told me that on the streettse led an elephant, that a tiger was brought to the dispensary to dad (in childhoodfor a long time I was sure that there was corned beef - elephant meat, layered meat on). My childhood passed between Mozhaisk and Saratov, in SaraI lied incredibly about Mozhaisk, in Mozhaisk - about Saratov, on planting them with all the marvelous things that I have heard and that I have read. I lied for in order to organize nature in an order that seems to me the best and most busy I lied incredibly, suffered, despised by the environmentchewing, but not to lie - could not.

My best stories, short stories and novels have been written, of course,in childhood - because then I most intensely felt creativesome instincts: these novels died, weathered from memory.

I started writing early, at the age of thirteen I was published ... "

These games at the mirror and "lies" Boris Andreevich considered the beginningcreativity. Referring to a later age, he wrote: “I do not writeI can’t, how - the thought belongs to L. Tolstoy - “like a pregnanta woman, having become pregnant, cannot but give birth ... ". I write in the morning, thisan hour after sleep, and on these days I ask you not to wake me - I do not writemore than two hours a day. I write almost without corrections. Roughly writeI always send the same amount - an eighth of a sheet. - ReflectionsI do not wash my things at the table - at the table I write down what I have thought before ... Our life is built in a hectic way, we all hang on the phonehook, this most ignorant apparatus that creeps into your house around the clock without asking - I need a much smaller number of people than the amount that needs me - there were occasionsteas, when they took off work for a day, two, three, - on the fourth, on the fifththat day, in such cases, I fell into the state of a person who weanedfrom smoking tobacco, and drove innocent people to all sorts of hell, domestic ones in the first place ... I remember dozens of cases, howstories emerged. I will give examples. - I was with Al. Den. wild, hehad to go somewhere to Kyakhta, he told me the reasons for the train ki. Returning from him, I got off the tram on Strastnaya Square, - I remember this place on Strastnaya, I stopped to knock out a pipe,stuffed it with English tobacco, lit it, inhaled the smell of virginia - and realized that I would have a story that arose from the story of the Wild and the smell of tobacco Capstan factories. A year later, the story was written:ryi cheese." - I went with Kuroda-san to the Crimea to his compatriots, who raised the "Black Prince" from the Black Sea. There was a blue light in the car, Ottokochi's face was green - I realized that I was not going by railnoah road, but according to the plot. Six months later, a story was written: "Siher sea." - With the exception of the seven cases when I wrote to order(and wrote my worst stuff), I didn't write because I wanted to write sat on a given topic, but because this topic was born against my will, each time unexpectedly. Each of us sees, hears,washes thousands of things - of this thousand, the rest for the deskthere is a dozen, - and each unit of this ten is unexpected.

Childhood and youth were spent in Mozhaisk, Bogorodsk (Noginsk) andKolomna. On the houses where the writer lived in Noginsk and Kolomna,now plaques. The family was small - father, mother and sister Nina. For the first time Boris Andreevich was published in 1909. od nako himself indicates in a number of questionnaires a different date - 1915, counting the first experiences are weak. He also did not like to remember a small book.zhechku "With the last steamer" (1918) - for the same reason. Authenticconsidered the collection “Bylye” to be the beginning of creativity, which was “translatedthe most literary work in the RSFSR about the revolution” (letter B. Pilnyak to Literaturnaya Gazeta in 1929). In the 20th year the stories included in the book were reworked into the novel Nakedyear", which became widely known and translated into manylanguages. In this novel, for the first time in Soviet literature, the Bolsheviks appear - "people in leather jackets", strong-willed, resolute,whose will Russia will be transformed. The novel was critically acclaimedno-significantly. Along with laudatory and even rave reviewsthere were others: the writer was reproached for seeing the revolutionspontaneous, unorganized, compares it with a blizzard, considers the eyesforgiving, but not directed, not led by anyone force, like hurricane. And in the Bolsheviks, in their "leather jackets" he also noticed as if only external, and not a force cemented by the party; in andaffairs in general in the revolution are biological processes, unbridled, some kind of like an unleashed beast. But Pilnyak knew that he himself cases, how small the Bolshevik party was in the revolutionunion, how "thin", in the words of Lenin, was its layer, like onebut they were in "Russian cities and villages" and how many cruellybones, by no means inevitable, are explained by their small number.As for the district life, which Boris Andreevich knew especiallybut it’s good (“he truly feels the district,” wrote M. Gorky to A. K. VoRonsky, recommending that he involve Pilnyak in the planned publication niyu), - and it is also discussed in the novel "The Volga flows into the Caspian Sea", - here, more than in large cities, all that wild, uncontrollable force, which is called originality, orthe eccentricity of a provincial nature. County life gave thatsome intricacies, such pretentious compositions of absurdities,which big cities never dreamed of and in which - in a distortedform - the characteristic features of the era were more clearly manifested. The revolution has begunelated, originated, ascended not only in Petrograd, Nizhny and Kharko ve, but also among the "Russian cities and villages" and established itself only with victory in them. County - means something more than a place of residence philistine, this is Russia. The revolution also pulled veils of propriety, and the dark power of instincts was revealed,suppressed and carefully hidden, and then burst out.For describing them, critics called Pilnyak a naturalist. Behind itthe accusation was an invitation to write in a smooth, soothing way;naturalism was allowed only in descriptions of whites. However, Boris Andreevich knew that there was truth in the cruelties of the revolution. Seifullina and other writers who also did not embellish the dark inman, were subjected to similar attacks.

Answering them, Pilnyak pointed out what he considered the main witch for the artist - the need to express themselves and through themselvesthe contemporary world, as it is, as it is seen, and, moreover,stated that literary talent cannot be raped, even if the author himself tries to do it. The writer defines hima talent that cannot be redeemed. "Naked Year", in a word, youcaused a lot of controversy that continues to this day. Unusuala different manner of presenting the material, compositional techniques, a peculiarvocabulary - some liked it, others did not. Hostile Peelsome of the critics radiated malice, indulged in unworthy tricks,put on various labels. This has been criticism since those times insteadcalm, thorough, reasoned analysis of the meritsand the shortcomings of the works took up, so to speak, stigmatizing personallyauthor's sti. I will give as an example the style of two leading critics-publiclyceumists - Vyach. Polonsky and V. Shklovsky.

“Pilnyak is the most chaotic, the most discordant and obscure writingbody of modernity. In his revolutionary things, everything is confused, mixed up, shifted, put on his head, overturned, as in a kaleidoscope.Chaos, so dear to his heart of romance, he is like a reception renes in the composition of his works. Sweeping, i.e. perfectthe uttermost disorder, he made the principle of creativity. That's whyplanning plans is his favorite thing: not knowing the measure in anything, he shifts and moves them wherever possible, bringing the presentation to deliriumas in "St. Peterburg". For the same reason, the acceptance of suspensionrampages through its pages, giving many of them an extremelyview. He loved the most extravagant things inventedformalists, and, as soon as the discussion turned to the exposure of the device, Peel nyak began to expose the reception this way and that, flirting with them and turning in all directions. (Vyach. Polonsky. "On Literature".)

“In Pilnyak's writings, he is a thunderous man. In every thing he hasblizzard and Russia, as there was an appendix to the thin number of "Niva" ...Pilnyak loves in this way, in a simple way, in Russian, you know,wear subject. But besides that, he wears round glasses; such glasses with dark, thick horn rims taught to wear the euroAmerican singers. In Russia they are worn by: Boris Pilnyak, VsevolodIvanov, Mil Levidov, Mikhail Koltsov and all diplomatic chickensera, - those, like sailors who visited Japan, a tattoo. And those(glasses), put Pilnyak on the little pink nose of Nikolai Ni kitina. Pilnyak's voice is bass; he lives at Nikola on Posada, oho leans on the wolves. Restless at home. Angry at me." (AT. Shklovsky. "Five portraits". S. 71.)

"Angry at me." Still would! After all, this is not a friendly skit,as it may seem, but the so-called criticism. “Pilnyak's novel is a cohabitation of several short stories. You can make out two novelsand glue a third of them. Pilnyak sometimes does just that. For Pilnya how the main interest of constructing things is in the actual meaningbridges of individual pieces and in the method of their gluing. Therefore, Pilnyakso fond of piling up material, telling the story of the Riga publicpersonal home, make quotes from Masonic books, from modern pi satels, to insert contemporary anecdotes into the book, etc.” (Ibid., p. 74.)

Love for the meaningless "heap of material", bass, cartlocation of glasses “on a pink nose”, place of residence - everything goes to delo, in order to bring down interest in the writer, “from whose books he looked atnine-tenths of the prose art of that era” (E. Tol flock-segal ""Elemental Forces": Platonov and Pilnyak"). Pilnyakwas one of the most widely read writers, it was this that led the Cree ticks out of myself.

If large publicists allowed themselves this, then it is possible toput that critics wrote less, or even not critics at all,erists And here is how foreign researchers write about the same(article taken from the Bulletin "Russian Literature" July 1984, according tosacred entirely to Boris Pilnyak); “Zamiatin noticed at Pilnot an attempt to give a composition without heroes ... Refuting Peel's stylenyaka at the syntactic level, Zamyatin singled out its values ​​onlevel of "architectonics".. "The Naked Year" was the novel thatstood in the center of attention not only Zamyatin, as criticism. "Nakedyear" was the first major attempt to embrace the new form of the novelthe historical totality of revolutionary Russia in 1919. And Howas if the type of novel created by Pilnyak corresponded to the dynamicshistory: in relation to the traditional Russian novel "Nakedyear" created the impression of fragmentation, incoherence, "disintegration"habitual forms that dominated the Russian novel of the era of realism ma” (A. Flakker. Constructiveness of the "Naked Year".

""Fragmentation", "disintegration of habitual forms" in comparison with Russianrealist novel" - this is understandable, it is moreis the object of criticism than noses and glasses.

E. Zamyatin, referred to by A. Flakker, Yugoslavinvestigator, wrote in the article "New Russian Prose": "In the compositionPilnyak's on-line technique has its own and new - this is the constant use of the "shift of planes" technique. One plot plane - suddenly, torn - is replaced by another, sometimesmultiple times on the same page. This approach has been used beforein the form of a constant alternation of two or more plot threads (Anna plus Vronsky; Kitty plus Levin, etc.). e) but no one go - with such a frequency of oscillations as in Pilnyak.

By the way, in the same book “Five Portraits” by V. Shklovsky, an articleabout Zamyatin is entitled "The Ceiling of Evgeny Zamyatin". Leonid Leonew at Shklovsky “Imitated Dostoevsky well and for a long time, sowell, that this raised doubts about his talent. Fedin toofrom Shklovsky “... gets angry and says that I have not read the novel. No, I divided the novel into lessons and read it. Cut the novel into pieces I draw new novels from him under Walter Scott, Dickens and Ehrenburg "Andrey Bely with him" fought with art, and his artate ... he turned out to be a writer in a shoemaker's mask.

Pilnyak, at least, was not called a shoemaker.

The most dangerous, however, in the early 20s were reproaches not in formalism me, although they were quite menacing. Worse was the accusationin petty-bourgeoisness, seeking out in the work of "political prestigegiving". It was worth pointing out the "shadow" side of the matter, the shortcomings - as accusations immediately poured ina solid course of the revolution", in digging in "garbage heaps", etc. Andit's all about the writer, who enjoys a well-deserved fame as a singerrevolution. (Boris Andreevich wrote in 1924 in "Excerpts fromdiary": "We have a European-equipped Kashirskaya power planttion, but half of Russia still lives without kerosene - and so, more intelligently pi to say that Russia sits in the dark in our evenings than to write that we have electrification.”) They did not forgive Pilnyak for hisimages, independence. He stated his position in the same "Fromsnatches from the diary. Then in 1924 in the publishing house "Circle"the idea arose to release a collection of "Writers about themselves", so itsent "Excerpts ...", in which he expressed a "seditious thought": comMoonies - for Russia, and not vice versa, and, "since the communist and I power in Russia is determined by the historical destinies of Russia,"I'm with the communists." From the age of 24 they did not forgive him for this position, commemorating it this way and that, but he did not retreat from it. That thoughtthat the communists are for Russia, and not vice versa, and that the communistwhich literature cannot be artificially created (ibid., in "Separation kah. "), “because now, while communism does not yet exist, it iswill be permeated with politics,” seemed blasphemous to everyone.(The theses that Boris Andreevich sketched on a piece of paper have been preserved.ke paper a few years later, preparing for a performance. And there again - "you cannot create literature by orders.") This position, expressedmarried, moreover, with excessive, annoying nudity, wouldla one of the obvious and secret reasons why the orthodox kritiki never ignored Boris Andreevich.

And what was it like for them to read such, for example, lines: “I take newspapersand books, and the first thing that strikes them is lies everywhere: in work, in social life, in family relationships. Everyone lies: the communists, and the bourgeois, and the worker, and even the enemies of the revolution, the entire Russian nation.What is it? - mass psychosis, disease, blindness» ("Third Capital","Mother-stepmother"). True, even before Pilnyak, one of the wasps noticed this.founders of the Decembrist society A. Muravyov: “In Russia, lies are a characteristic feature of those in power; everyone lies - from the sovereign to the very his last subject. And before the start of perestroika, each of us could say this. Vyach. Polonsky complains that when Pilnyaktaken for his "harshness" and "exaggeration", he, shrugging his shoulders, replied that he did not take responsibility for all the opinions of his personalpress. (By the way, in the story "The Third Capital" the words about the universal liespoken by a foreigner.)

The idea that the communists are not good in themselves, but onlybecause they are involved in the historical fate of Russia, it seemsstrange, unusual. It's impossible to tell right away what's so puzzling about her. Russia comes to the fore, that is, the people, acceptthe meaning of power is reaped. Fasting is removed from under the powers that bement, they themselves decrease in size and, as it were, move away, frommessiahs turn into figures who still need to prove their zeal.

It is easy to understand from these examples how much Pilnyak irritated everything official. The press called him petty-bourgeois, bourgeoisnym and a traitor.

The further, the more it was required to write everything filtered, fromcast in round or at least square shapes, where there is no pain and lacerations, and even more so there is no doubt. And it has already become clear that neither during the revolution, nor after it, there have ever been mistakes, but only a smooth progressive path upward, to ever new achievements. But Boris Andreevich believed that the writer is obliged to speak only the truth, because he is the voice of the people - his right, his, so to speak, cross - serving the truth, such and that which he sees as the only one. “I had a bitter glory to be a man who goes on the rampage. And yet a bitter glory did not fall - my duty - to be a Russian writer, honest with himself and with Russia,” he wrote in the story Splashed Time (1924). Such an attempt - “to be honest with oneself and with Russia” - was the publication of “The Tale of the Unextinguished Moon”, which followed shortly after the “Excerpts from the Diary”, the entire circulation of which was confiscated and which finally strengthened Pilnyak’s reputation as a person, at least careless. The failed publication played further decisive role in his destiny.

In The Tale of the Unextinguished Moon, already in 1926, Pilnyak saw some features of the future personality cult, its, so to speak, still young, emerging stage. But no longer harmless, already associated with the destruction by Stalin of major statesmen of his party comrades. We are talking about Frunze. The most important, however, here is that Pilnyak exposed the mechanism of destruction, which was based on the main postulate - discipline, loyalty to the orders of the party. In the name of this imaginary fidelity, many later laid down their heads before they realized that a coup had taken place, that Lenin's associates - in the name of the "unity" of the party, its "monolithism" - were ruthlessly destroyed, and they were replaced by careerists or unreasoning performers. For the first time, the system is laid bare here when, in the name of a falsely understood party duty, a person goes to a senseless death, in other words, silently allows himself to be killed. Indeed, Army Commander Gavrilov, not wanting an operation and feeling healthy, dutifully goes under the knife in the name of party discipline. In the name of party discipline, unrighteous deeds are committed, they slander the innocent and slander themselves. mechanism - albeit in an undeveloped form, but with all the established features - this mechanism is described in the literature for the first time.

Neither Stalin nor Frunze were named, but contemporaries instantly recognized familiar features. The press fell upon Boris Andreevich, who was at that time abroad, with unrestrained abuse. The frenzy with which they cursed him is significant in itself. Boris Pilnyak is a muddler, he has immature ideological positions, he does not understand the course of events, he does not see the progressive course of the revolution - these accusations were the mildest, and, by the way, they have stuck with him since then and wander from work to work. These routine reproaches are painstakingly copied by orthodox critics from each other to this day, adding to them "modernism", a word which they consider especially destructive. Meanwhile, there is no confusion in accusing Stalin of maliciously sending Frunze to the operation. The accusation is quite direct and clear. It is no coincidence that in 1937 Pilnyak was charged with the “Mahogany”, and there was not a word about the “Unextinguished Moon”: they preferred not to recognize the persons acting in it, not to recognize the fact of the violent death of Frunze.

In the era after the XX congress, veterans of the revolution, as well as the Red Army, contacted me, looking for documentary evidence version of the murder of Frunze, set out in "The Tale of an outstanding lu us." The lack of clarity so far in the organization of the murder of Kirov, and the death of Ordzhonikidze, Kuibyshev and others, suggests that such actions did not leave traces. However, in M. V. Frunze. Memoirs of friends and associates ”(M .: Voenizdat, 1965) we find at least three places confirming the version put forward by Pilnyak. Frunze's closest friend and associate, I.K. The coincidence of individual remarks indicates that Boris Andreevich received material from Frunze's closest associates, that is, the story is basically documentary.

The wrath of all those who still believed in the then leadership of the party, and all those who were toadying, fell upon Pilnyak. Their envious ears stuck out from articles in which Pilnyak was reproached for traveling abroad a lot, and also many writes. Irritated by his independence, courage. But there were those who sincerely considered his story slanderous. Answering them all, Boris Pilnyak seemed to repent, but this repentance has a strange character: he does not remove the main thing in the story. Repents as if out of politeness. Here is the letter: “In May of this year, in Novy Mir, my Unextinguished Moon was published, which received such unfortunate fame for me ... The formal side of the emergence of this story in print is as follows. After writing Luna, I gathered a group of writers and my acquaintances from the party (as I usually do) to listen to their criticism - including the editor of Novy Mir. The story was listened to by a comparatively large number of people, approved and immediately taken for publication for Novy Mir, - the editor also suggested that I write a preface, which was not in the original version ... And let me tell you in essence. Now, in the back number (I in no way want to justify myself with this letter) I see that the appearance of my story and the publication of it are the essence of tactlessness.But believe me that in the days of writing it I did not have a single unworthy thought - and when I returned from abroad, I heard how my story was accepted by our public - I had nothing but bitter bewilderment, because in no way, not for a single minute did I want to write things "insulting the memory of Comrade Frunze" and "malicious slandering the party" (as it was written in the June "New World"). Judge for yourself - how could I suspect the fate of this story in any minimal measure, when it, the story of a non-party writer, was approved by respected party members and accepted for publication by your publishing house, the publishing house of the Central Executive Committee? - Never, not for one minute, I wanted to write a thing that could be offensive to the party!

All the years of the revolution, and to this day, I have felt and feel that I am an honest person and a citizen of my republic, and a person who does the work necessary for the revolution to the best of his ability, and only he who does nothing does not make mistakes ...

I am a writer whose name was born of the revolution and whose whole fate is connected with our revolutionary public; I read the June "New World" abroad, in China, in Shanghai - and at the same hour I went to our consul, F.V. shamefully branded "slanderer". Despite the fact that there was almost nothing in the press about my hardships, rumors leaked into various circles, including philistine circles, quite widely, the philistine "sympathizes" with me. - And I ask for your help so that I can liquidate and "slanderer" and "sympathy" of the layman, neither for me nor for our public, and so that I can dispel the unpleasant atmosphere that has arisen around my name in that healthy public, for which I want to work. The legal design of the car, now fallen on me, it is not at all clear to me whether this is a judgment and punishment, whether this is an expression of distrust, whether this is a protection against repetition: therefore I am not approaching now with a yardstick of jurisdiction. I do not have the right to be published in our most responsible publications - but I can submit my work to other publishing houses: for myself, I decide this in such a way that I should not publish at all, because I don’t want to be “nimble” in any way and I want to obey the will that forbade me to publish.

My position is further complicated by the following. More than anyone else, I can see the significance of Soviet literature for the whole world: our books are translated all over the globe as innovative in literature, my “Naked Year”, in particular, in France, the first edition sold out in two weeks, like no other book even in my homeland. I have now returned from abroad, from a trip to Japan and China. What I say, I am sure, will be confirmed by our plenipotentiaries, comrades Karakhan and Kopp. I spoke there as a representative of the Soviet public in In Japan, a special issue of Nichirogeizutsu was published in honor of me, I worked there on organizing a Japanese-Russian magazine that would not cost us a penny; in China, I organized Sino-Russian Society for Cultural Relations, Shanghai Tolst Zhurcash "Southern Country" provided me with its pages for this About creatures. The success of the work that fell to me, I in no way I attribute it to myself, considering it the success of our public,of which I was the master. I arrived at my homeland - and I find myself in the position of Khlestakov in relation to Japan and China, in the positionKhlestakov putting our literature and the public. I don't have a rightyou don't respect your work - and I don't have the rights whipwith our public. In Japan, I wrote about Russia and Russian,Veteran literature in "Osaka-Asahi-Shimbun", in the largest newspaper withwith a circulation of one and a half million, and in the socialist magazine Kaizo: correspondents of Japanese newspapers come to me who have received on kaz from their publishers to telegraph the contents of my Japanesearticles - correspondents ask when my articles will appearin one of the central newspapers, where they are waiting for them by natural hodo things - what should I answer them ?!.

I ask you to consider my work in Japan and help me with dignity before the Japanese and Chinese to get out of the situationin which I found myself.

Good luck,

Bor. Pilnyak

I could write to you because my business is pouring over legal fences, about morality nom oppression that I have - but this, II think it goes without saying."

Pilnyak, in this so-called penitential letter, acknowledges himselfguilty only of tactlessness. But neither slander nor "offensivestory for the memory of Frunze" he does not recognize and, moreover, claims that "he felt and feels himself an honest man and citizenDanin of my republic”, i.e. not guilty of anything. Then comes the row demands and accusations. And in tone, this "repentant" letter is notsuch. On the contrary, Boris Andreevich points out that thanks to he received a lot of criticism while he was doing an important job in Japan and China, he found himself in an awkward position. Also typical herean indication of the sympathy of contemporaries - orally, of course, appreciatingwhether the "Moon" as a civil feat of the writer.

This letter defends the dignity of the writer who dared youto lead on public display the holy of holies - the Stalinist partya kitchen in which many poisons were cooked - some were poisoned by them,others are befuddled.

"The Tale of the Unextinguished Moon" did not accidentally come out of everythingliterary heritage of Pilnyak first. It has been in the West for a long timebecame a textbook, and in the socialist countries it also opened numerous publications of Boris Andreevich, as soon as it became possible. The problems of the dictatorship of the proletariat, everywhere assuming the character of personal power, have been and still are - until the creation of the rule of law - in the center of attention of the progressive forces in the camp of socialism.

Zavolochye also belongs to the same time - it was published in the 3rd issue of Krasnaya Nov, all in the same 1925, two months before Luna, - standing, as it were, aloof from the main problems of modernity and the ideological struggle of the Pilnyak. Critics saw here again, first of all, the “sexual question”. “Pilnyak has a long story about a scientific expedition to the north,” writes Vyach. Polonsky.- It was made up of highly qualified people, heroes, knights of science. They experience many hardships, they go to their death in the name of science - this, it would seem, is the apotheosis of man! But on the expedition, among the participants is a woman, a chemist. Around her, the struggle of males began to boil. Among the competitors, ready to cut the opponent's throat, was her university friend. In a scientific expedition - the best human selection! - the picture that we saw in "In the ravine" is played out: it turns out there is no difference; the beast crawled out of the lair, it was not tamed. To save the expedition, to save the scientists from mutual extermination, the female must be killed. shot like an animal. In this episode, almost the central one in Zavolochie, one can feel the deepest conviction of the author in the indestructible power of animal nature, mother earth, which pulls towards itself with strong, invisible, deadly threads. Sex, the secret of sex, just like spring, birth and death, is “immutable”, “the most important thing”.

However, their insight failed them again. Critics did not notice that the main thing here is still the problem of violence against a person. The head of the expedition to Svalbard, in which there is only one woman, does not hesitate to kill her and her chosen one so that the rest of the men do not fight among themselves during the forced wintering. The head of the expedition, also rigorous, strong-willed, who defined as "trifles" even a shipwreck that condemned them to wintering, without hesitation, sends a bullet to the head of a woman and her lover, who have merged in a kiss. At the same time, scientific measurements of water temperature and, in general, the very course and mode of the expedition should not have suffered in any case. Those people who want to exclude passions from life - let's not say - the most beautiful, but, in any case, the most inevitable in the existence of all normal people, in the name of so that they only work - these people are the real rapists, no matter how high motives they are guided by. Tyrants, by the way, also always hide behind the supposedly good of people, none of them does not admit to deliberate villainy. Description of severe conditionsThe arctic, the struggle for survival cause when reading the story is distantassociation with the works of Jack London. But the heroes of London are fighting for personal interests, they are tragic, because humanwhat kind of life is sacrificed to the “yellow devil”, the base one. Here all the same is presented as the need not to disrupt scientific bots, measurements of air humidity and in general - to survive. Execute some so that others can survive. And again, there is one leader over all,who administers judgment and punishment. He can send to unnecessaryoperation, and may be executed. However, criticism chose to overlookthis moment and not understand its meaning, stopping your inquisitive gazeon the “sexual” problem, already tested on Pilnyak even earlier in the early twenties, when an allegedly new puri triumphed tan morality. Even Yesenin in 1925 spoke in defense of Pilnyak on this occasion: “We wrote a lot about Pilnyak. At one time they were terribly praised, almost extolled to the skies, but then suddenly, for no reason at all, it became very fashionable to scold him. "Have mercy those, - is heard from the lips of homegrown critics, - but what kind ofwriter, if he saw nothing in the revolution except the genitals?" This terribly stupid and illiterate approach speaks only about the ignorance of our critics or about the fact that they have not read Pilnyak. Pilnyak is an amazingly talented writer, perhaps a littleendowed with the gift of plot fantasy, but on the other hand, possessing the most subtlemastery of words and gait of moods. He has excellent places in his "Materials for the Novel" and in "The Naked Year", which, according to descriptions and lyrical digressions are in no way inferior to GoGolya A stupid critic or a stupid reader always sees in a writer not his face, but necessarily warts or moles. That Pilnyak Op. but describes on the way of his stories how males crush women in all racial roads and spaces, does not at all show its existenceness. This is only his distinctive mole, and not bad at all, but,on the contrary, it is beautiful. This juiciness is as true as life itself.” (“About Soviet Writers”. M .: Khud. Literature, 1988. S. 611.)

Critics preferred to talk about anything but the existenceall the problems raised by Pilnyak. This was especially pronouncedreaching the curiosity, in the history of the publication of "Mahogany" -The Volga flows into the Caspian Sea.

About the expedition that gave Pilnyak material for Zavolochye, we canbut read in the memoirs of cameraman Sergei Lebedev "Tape of Memory" (M.: Art, 1974). While still a student at VGIK, he sentflew on the Perseus on a scientific expedition to Svalbard: “I’m going toSever, I will be the first Soviet cameraman filming the Arctic!” Getting acquainted with the ship, in the library he saw a man "with soapycheeks," who shaved. “He adjusted his glasses in a thin gold rimve and looked at me. Green pupils stared intently out ofunder thick red brows. He was wearing a tightly buttoned tolstoyand high hunting boots. So the meeting of the cameraman took placewith Pilnyak, whom Lebedev at first mistook for a librarian. Borice Andreevich nicknamed him Kino Semenovich, and with his light hand this name was established for him. Under it, he also appears in Zavolochie.The Perseus set sail on August 25, 1924.

Arkhangelsk writers invited Pilnyak to a debate. Wenteveryone from the ship, including the head of the expedition I. I. Mesyatsev. In ArKhangelsk argued about the same thing as in Moscow at the Polytechnic museum, and in many other places: about the ways of developing the proletarianliterature. Pilnyak's surname on the poster was typed in boldfont, his books were listed. The rest, judging by the poster, had no books. “But this,” notes S. Lebedev, “did not prevent them from expressingbe categorical. Not only Pilnyak got it. For whimpering braidsTili Chekhov, for non-resistance - Leo Tolstoy. And Bunin and AndesRay was issued on the first number. Boris Pilnyak took the floor last.He was received kindly. Apparently a lot of people have read it. And I will speakhe drank well, convincingly. Defended Russian literature, Russian writers. He said that one should judge literature not by speeches, but by books. It's a pity the Arkhangelsk comrades haven't written anything yet.interesting. After all, the first business of a writer is to write. Pilnyak left the podium to applause.

When leaving the White Sea, at the White Sea lighthouse, "Perseus" indarkness ran into a sailboat with a cod. The sailboat was called "Virgin".“This is how it happens, Kino Semenovich,” Pilnyak philosophized.vast expanses of the sea, two grains of sand collide - "Perthis" and "Virgo" ... Constellations.

Both suffered from sea rolling. “We needed assistants capable of holding a tripod ... The most active and reliable among them isPilnyak. He, like others, liked to look into the vizier. We went down together to the iceberg and filmed "Perseus" from there. Almost rubbedsang the catastrophe: “the whaleboat tipped over, and Pilnyak, having lost his balancethis, hung on board. We did not get lost on the whaleboat. Instant gaffstuck on the ice. Pilnyak, not at all frightened, calmly choseon a hummocky platform. Seals, a she-bear with a cub onice at the side. Svalbard. September was running out, naked, devoid ofvegetation, the surface of the islands seemed reddish-brown. K moryu glaciers were sliding down. Ledges of rocks have become bird colonies. At the sound of the ship's whistle, thousands of birds took to the air.

It was the first Soviet ship, the first expedition to Svalbardgene. The Dutch administration and engineers were warmly welcomed. PeelNak spoke German. “Pilnyak and I through a powerful station alongSelka sent radiograms to Moscow. Responsibilities of an interpretercoal mines owned by a Norwegian companynyal Romanovsky, secretary of the commission, a former Russian officer. Himworried about everything that happens in the homeland. With deep anguish, heworn out this word: motherland. Unlike me, he read The Naked Year, which gave Pilnyak a reason to sarcastically drive to my address: they say,emigrants are more inquisitive than I am.”

Upon his return, "Kino Semenovich" made a film, the text of the creditsoffered to write to Boris Andreevich. Supervised by S. VaSiliev, one of the Vasiliev brothers, the authors of Chapaev. In "Kinoncase” dated December 9, 1924, it was reported that a review had taken placeFilm Expedition to Svalbard.

Summing up, S. Lebedev, in particular, writes: “I was convinced andin the great importance of the text in cinema.The laconic titles written by B. Pilnyak were distinguished by their subtlety andcapacity. You can't take anything away, you can't add anything."

In Zavolochye, Pilnyak writes about himself in the third person: the artistLachinov. “Only three days before leaving for Arkhangelsk did he learn about expedition and in three days got ready to go. Something personal blows and from the phrase: “... and from time, from meetings, from people, from the habit that they are watching you - such a habitually beautiful way of walking, goto speak, to shake hands, to smile - somewhere there, before glory, was preservedsuch a simple, healthy and joyful person, bohemia, student, son county doctor, who once left home, to Moscow, to glory, yes and stuck on the road, having lost his house.

Three years have passed since Zavolochie and The Unextinguished Moon. During this time, Boris Andreevich published: "Collected Works" in 6volumes (1929); the first volume of the newly launched 8-volume collection;the books Mother of the Cheese-Earth (1926); "Zavolochye", "Roots of the Japanese Sun", "Next Stories", "Splashed Time", "Stories", "Storyzy from the East "(all 1927); "Chinese Tale" (1928) and manyindividual stories and short stories. In 1929 in Berlin as a publisherpetropolis, where Soviet writers were published, came out "Stossto life" and "Mahogany".

None of the works of Boris Pilnyak - and they have always beensomething like a red rag for some critics - did not cause suchscandal. It broke out everywhere and went on the rise. But in this campaign there was a specific feature, not yet seen:lurking to outdo each other, hooting, exaggerating, critics smashed to smithereens the story, which not read. Here are just one article titles: "Unacceptable phenomenon", ""Mahogany" with whitecore", "Against the roll call with white emigration", "Sovietwriters must determine their attitude towards antisocialB. Pilnyak's stupidity", "Inadmissible roll call", "Boris Pilnyak -own correspondent of the White Guard. Chairman of the All-RussiaUnion of Writers”, “Check the Union of Writers”, “Against notcues with emigrants ", etc.

L. Kolodny, analyzing that period, correctly notes: “BorisPilnyak, Evgeny Zamyatin were among the first to be subjected to furious herbsle at the command of the leader. Andrey Platonov, Mikhail Bulgakov ... In those years, the General Secretary of the Central Committee of the All-Union Communist Party of Bolsheviks did not publicly express his assessments, others did it for him - the General Secretary of the RAPP Leopold Averbakh, Vardin and others ... "But notonly. There were many of them - sincerely convinced and toadying.They "violently smashed Pilnyak, Zamyatin, Platonov, who tried tobe the first to analyze the command-hell that has grown before their eyesministerial system, covered by socialist slogansgami". (Mosk. Pravda. 1988, July 31.)

Even Mayakovsky did not stand aside. In the article "Our relationship nie” there are such lines: “The Tale of the“ Red Tree ”by Boris Pilnyak (so, or what?), However, and other stories of him and many othersdidn’t read,” however, “in these days of thickening clouds, this is equal to frontyour treason." Even Galina Serebryakova, who later ended up inStalinist camps, then joined the general choir (“Inadmissibleroll call"). Vyach Polonsky, recognizing in words that the true hu the contractor always creates a “picture of the world” (meaning I. Babel, B. Pilnyak, A. Vesely), now also opposed Pilnyak.

The campaign against Boris Andreevich was the first organizedpolitical action of this kind.

As for Mayakovsky, he clearly lied - Pilnyawhen everyone read it. There is a photograph left in memory of owls local performance by Pilnyak, Mayakovsky, Kirsanov, Jack AltauZena and others in front of the Red Army soldiers of the 1st Infantry Regiment of the Red Army just in the same 1929. Mayakovsky and Pilnyak stand on the picture next to it, towering above the rest. There is a figurative storyBoris Andreevich's cousin, singer Nonna Petrovna Raenko about how she met Mayakovsky at Boris's apartmentAndreevich on Vorovsky Street: “He was sitting in a low chair when Ientered. And now it rises, rises, rises, everything moves upwards, like a tower.Mayakovsky was friends with both Andronikashvili sisters - Nata Vachnadze and Kira Georgievna (wife of Boris Pilnyak), met with Boris Andreevich at A. V. Lunacharsky, was, in short, a hoAs an acquaintance, if not a friend, he could not, of course, not read Pilnyak. Another thing is that he probably did not share his convictions.

Even at the very beginning of the campaign, unaware that it was aimed not only against him, but also against the All-Russian Union of Writers,Boris Andreevich addressed a letter to the editors of Literaturnaya Gazeta, exposing the direct lies contained in the editorial,opened the campaign.

“In the Literaturnaya Gazeta, No. 19, in the editorial of B. Volin, write about me: "B Pilnyak wrote the novel" Mahogany ". Not onthere was no reason for this work to be includedin the general range of our literature. The novel was rejected by the editors veterinary magazines. And what? "Mahogany" Pilnyak renders printed in the publishing house "Petropol" *, in the publishing house BerLinsky White Guards. How could Pilnyak transfer this novel there? Didn't he understand that in this way he comes into contact with an organization viciously hostile to the Land of the Soviets? Why did Pilnyak, chairman of the All-Russian Union of Writers, not protest ifthis novel was published by emigrants without his knowledge and against his will?”

* An error in the name of the publishing house was made in Literaturnewspaper." (Ed. note)

I answer.

1) The story "Red Tree" was completed on January 15, 1929 - on February 14 I sat down to write the novel (now being completed), "Red Tree" in which it is processed into chapters - in my writing desk there is a manuscript of "Mahogany" marked by one of the editors " Krasnaya Nov": "For printing in№3.23 (11) 1928..."*

The story, Mahogany "did not appear in the RSFSR, not because it was banned, but because I decided to redo it.

2) Nevertheless, "Mahogany" appeared as a separate book in "Petropolis" ...

I, along with other Soviet writers, concludedhowl agreement with a member of the collegium of defenders of the Leningrad court in thatthat it represents my copyright outside the USSR.The agreement was intended to avoid disadvantageous for Soviet writersconsequences due to the lack of literary conventions - the fact that aboutpublications of Soviet writers, at least a day earlier than in the USSR,will appear abroad. A similar one was organized by GorKim, when Ladyzhnikov was in Berlin, representing"Knowledge". Under this agreement, I was obliged to send manuscripts toLeningrad immediately after they were written ... About the fact that "Krasnoe de revolution" appeared in "Petropolis", I found out only whengot a book - moreover: in the prospectus of "Petropolis", this publisherof the Berlin White Guards, as Volin defines it, I read that books of my comrades on Soviet literature were published there, andnamely, you. Andreeva, Vera Inber, V. Kaverina, N. Nikitina, Pant.Romanov, A. Tolstoy, K. Fedin, Yu. Tynyanov, A. Sytin and others -and did not find a single name of émigré writers. Later "Krastree" in the same publishing house appeared "Quiet Dan" by Sholokhov. The list of given authors did not give me the idea that I"in contact with an organization viciously hostile to the Land of the Soviets".

3) Volin turns to me with the question: “Why is Pilnyak not abouttested if this novel was printed by emigrants?" - WhyVolin does not address the same question to all those authors listed above, who also published in this publishing house?

Nevertheless ... I protested ... when reviews about the Mahogany appeared in the white press. Mahogany is not for the Russian readerwell known - therefore I found it necessary to express my protest not inUSSR, and abroad - and abroad I published below blowing letter.

This is followed by a protest, in which the main place is: “Do not having the leisure to argue with emigrants, I find it necessary to bring to the attention of readers who respect the fate of the USSR that it is not first, and tenth and fortieth - indeed, in Russia there are stillrags of the past, townsfolk, restorers, petty thieves, debaucherynicks and loafers, -

The Soviet Union is strong enough to see and not be afraid of thesebedbug cracks, which, by the way, are diligently destroyed and destroyedthe identification of which "Mahogany" helps.

The letter to Litgazeta ends with the following paragraph:

“In conclusion, let me say the following. Volin's articlethe reaction of Komsomolskaya Pravda has already begun. I feel myself in atmosphere of bullying. In such circumstances, it is difficult to make excuses and work even more difficult, but nevertheless: being one of the founders of Soviet literature, having published the first book of stories in the RSFSR aboutVeteran literature - I want and will work only for the Soviet literature, for this is the duty of every honest writer and person.

P.S. I ask Komsomolskaya Pravda and other newspapers, this letter is not reprint.

B.P.”

The letter was published, but the harassment continued, takingincreasingly rude. Gorky intervened in it, speaking in behind Pilnyak's shield. But that didn't help either. The campaign grew:the Veteran community against Pilnyakovshchina”, “Forays of the classenemy in literature”, “On the anti-Soviet act of B. Pilnyak”, “Pisatels condemn Pilnyakovism”, “Lessons of Pilnyakovism”, “AgainstPilnyakovism and reconciliation with it, etc. Disputes, resolutions,condemnation. I could fill several pages with headings alone. The whole humor is that the people who spoke so passionately in defensethat Soviet power, they did not even know what they were protecting it from. For a long timenoticed - the more truthful a thing, the more it causes indignationnie. But here even this could not be said - "Mahogany" no one read.

Campaign no less intense than subsequent prophetsboots of Akhmatova and Zoshchenko, continued throughout September - December,It moved the next year and ended only in April 1931. .

All this time, the story, in which 51 standard pages, that is, two printed sheets with a tail, was stubbornly called a “novel”.

M. Gorky criticized Pilnyak's work and social behavior more than once, but he did not agree with such an attitude towards him, which "as it were, destroys all his merits in the field of Soviet literature." He wrote about this in the article “On the Waste of Energy” (1929): “All my life I have been fighting for a cautious attitude towards a person, and it seems to me that this struggle should be intensified in our time and in our situation ...” Gorky’s article caused attacks on himself. However, he did not back down. In a new newspaper speech, “All About the Same,” he spoke even more broadly: “Besides Pilnyak, there are many other writers on whose heads, unanimous” people publicly try the strength of their fists, trying to convince the authorities that it is they who know how to to protect the ideological purity of the working class and the virginity of young people.For example, Evgeny Zamyatin, this terrible enemy of reality, created by the will and mind of the working class ... As far as I know Zamyatin, Bulgakov, and also all the other damned and damned, they, in my opinion, they do not try to prevent history from doing its work, a wonderful and great work, and they do not have blind organic enmity towards the honest workers of this great and necessary work.

E. Zamyatin was worked on at the same time as Pilnyak. He was guilty of the same: he had his own "picture of the world." He also could not stand toadying and baseness. Back in 1921, he wrote: "Literary centaurs, crushing each other and kicking, rush in a competition for a magnificent prize: the monopoly right to write odes, the monopoly right to chivalrously throw mud at the intelligentsia." In 1930, despite the rabid persecution, the printing of the eight-volume collected works of Pilnyak was completed; Zamyatin was not published at all. Having addressed a letter to Stalin and throwing in it a retrospective look at the history of systematic and ever-increasing barriers in the way of his work, he came to a climax; “The death of my tragedy “Atilla” was truly a tragedy for me: after that, the futility of any attempts to change my position became completely clear to me, especially since the well-known story with my novel “We” and “Mahogany” by Pilnyak soon played out. To exterminate the devil , of course, any manipulation is permissible - and the novel, written nine years earlier, in 1920, was filed next to the "Mahogany" as my last, new work. A persecution, hitherto unprecedented in Soviet literature, was organized, which was noted even in the foreign press. Justifying his request to let him go abroad, Zamyatin further writes: “Ilya Ehrenburg, remaining a Soviet writer, has long been working, mainly for European literature - for translations into foreign languages; why is it that what is allowed to Ehrenburg is not be allowed for me? And at the same time I will remember one more name: B. Pilnyak. Like me, he fully shared the role of the devil with me, he was the main target for criticism, and to rest from this persecution he allowed to travel abroad; why, then, what is allowed to Pilnyak,can't be allowed for me too?"

Boris Andreevich really went to America and Japan then, wrote “OK, an American novel” and a book about Japan “Stones androots." For permission, he turned to Stalin. Perhaps it was he who suggested to Zamyatin the idea of ​​writing a letter to Stalin.

In all this there is, as it were, a contradiction: on the one hand, persecution, on the other, the writer is intensively printed, his collections are published withworks, books; he travels abroad. The point is that it was not yet a later style developed, in which a different or independentbut the thinkers were simply silenced. Still holding on, weakening, settingka Lenin - Lunacharsky - Gorky, supported by Frunze, under whose leadership the resolution of the Central Committee of the All-Union Communist Party of Bolsheviks was prepared on the letter round of 1925. This attitude was for the diversity of literature, for pluralism. Answering the doctrinaires, A. V. Lunacharsky wrote: “To bemaybe you don't like Pilnyak's novels, he might bepathetic to you, but if you are so blind that you cannot seehow huge it provides the material of real observations and in whatefnomial combination, how it allows you to grab a whole row by the very nerveevents, a whole series of phenomena, if you do not feel at allthe brightness of the positions, the curiosity of the points of view on which he becomes you are hopeless, and this is horror for you, not only as a critic, but even as a person. This means that you do not know how to analyze,that you have cut off for yourself the opportunity to enjoy and know more, thenbecause in art pleasure goes along with knowledge. ("History of Western European Literature". State Publishing House. Part 1. S. 29.)

Returning to the "Red Tree", we note the history of the originintent. The appearance of the young Platonov was not accompanied by suchresonance as an entrance to the literature of Ivanov, Leonov, Olesha. Only critic N. Zamoshkin noted that Platonov follows the line of "the most painfulour artistic resistance". However, Pilnyak drewmania for Platonov. At the end of 1928, he wrote: “The systems we havein brilliant order for five years already - and the writers who came forlast year: Yu. Olesha, P. Pavlenko, Andrey Platonov in systemswere not. Even Libedinsky and Fadeev, the great systematizers,and those arose before the systematization. And Olesha, and Ivanov, and Platonov -accepted because they are individual, that is, they violate the system.Pilnyak liked to work with young people. Known things writtentogether with Pavlenko, Zarudin, Belyaev, Alekseev. In 1928Pilnyak and Platonov on a business trip from the "New World" are sentto Voronezh, where they write essays "Che-Che-O". Under the essays is the address Pilnyak - Yamskoye field. Apparently, Platonov lived with Boris Andreevich for some time. They also wrote together the play Fools in the Periphery.

"Che-Che-O" is dedicated to social inequality and bureaucracy in pro provinces. A comrade from the capital smokes Herzegovina Flor, and the province tion smokes weed; does not have basic amenities; lives on pennies, eats poorly; development is hindered by bureaucracy - a social disease; the bureaucrat is dangerous even in private life, gloomy even in the family; the worker is sad and silent, because honest labor leads nowhere. The mass is not people: culture is “thrown” into the mass. “If you put a controller over the driver, then the locomotive of history will burn down, dragging on the brake being pressed.”

The Mahogany was written immediately after the essays and the play, in March 1929. "Che-Che-O" predicts many situations and the general mood of the "Mahogany", which then grew into the sharply modern novel "Volga flows into the Caspian Sea." The great opponent of everything progressive, V. Yermilov, wrote angrily about essays; “The enormous, intense and most difficult work on zoning, which is nothing more than work on socialist construction, is also presented by the authors of the essay as a bureaucratic bacchanalia organizational madness that suffocates the individual.

Already a month after the end of The Mahogany, Boris Andreevich began to process it into a novel. This novel, re-released 59 years later, tells of the construction the Moscow-Volga canal, in general about socialist construction; about what hinders him; about the new way of life and about the new that begins to see in the Soviet man - the owner of the earth (then still the owner); about the new generation of the working class. And about what hinders a new life (here the “Mahogany” is woven in). Here are pests, restorers - not only of furniture, but also of former life - all sorts of representatives of the old way of life, clinging to this old one in a vain attempt to preserve it; they are both direct enemies of Soviet power and true revolutionaries. The novel is action-packed. One and the same episode turns to the reader with its different faces, like a cube. In this multicolored whole life of that time. In the center of the story is the ancient Kolomna, with the old towers of which the new channel of the Moskva River rises. With sobs, many-pood old heralds of holidays and misfortunes, dropped from the bell towers, fall to the ground. Equality, women sky question. In a word, old and new Rus', district and socialism. Truthful and honest painting. The reader will probably pay attention to how acute the issues of morality and people's attitudes were already at that time.

Boris Andreevich was arrested on October 28, 1937, on the birthday of his son, who was three years old, at a dacha in Peredelkino.

In the morning he was cheerful. They congratulated their son, gave him gifts, remembered 1934, when he was born. They traveled then with KiraGeorgievna to Scandinavia and Poland They sorted out Finnish, Swedefriends, Andersen Nekse, Nordal Grieg, who lived with them for1934 volume by Knut Hamsun. Since then, it seemed like an eternityAnd after all it was quite recently And the truth, how many events. Tra geeky, incomprehensible. What a tough year. Arrests, trials, death anddisappearance of friends. No one came in during the day. Only the postman brought a few telegrams from Tbilisi; from sister and brother KiraGeorgievna and from Titian and Nina Tabidze (Titian was best man atwedding of Boris Andreevich and Kira Georgievna), from other friendsBoris Leonidovich Pasternak, Nikolai Fedorovich Pogodin with daughterwhom Tanya came to congratulate. Pogodin sat and soon left.Pasternak had some people. The day slowly leaned towards sunset. We sat down to drink tea .. Only when it got dark, someone looked at the light

Boris Andreevich nodded: "Let's go." Kira Georgievna, restrainingtears, took out the bundle. "Why?" - Boris Andreevich rejected. "KiraGeorgievna, Boris Andreevich will be back in an hour!” - reproachfully skahall man in white. Mom persistently held out the bundle, tearinggame proposed by a kind person, but Boris Andreevich knotdid not take. "He wanted to leave home a free man, not Ares tantom,” my mother realized.

Boris Andreevich, of course, did not return. A month later there was an arestovan directly at the studio and Kira Georgievna. She graduated from VGIK indirecting workshop of S. M. Eisenstein, managed to star inhow many films, including starring in "Eliso" N. M. Shengelaya and "The Earth is thirsty" by Yu. Ya. Raizman. Kira Georgievna was inwomen's camp near Akmola, together with the sister of M. Tukhachevsky.

Anna Akhmatova writes in 1938:*

Boris Pilnyak

You alone will figure it all out.

When sleepless darkness bubbles around,

That sunny, that lily-of-the-valley wedge

Breaks into the dark December night.

And along the path I go to you

And you laugh carefree laughter

But coniferous forest and reeds in the pond

They respond with some strange echo ...

Oh, if I wake the dead with this,

Forgive me, I can't help it:

I'm about you, as about my own, I grieve

And I envy everyone who cries

Who can cry at this terrible hour

About those who lie there at the bottom of the ravine...

But boiled away, not reaching the eyes,

Moisture did not refresh my eyes

* "Poems and Poems". Owls. writer. Leningrad. otd. 1976. S. 191.

She was married five times, had many admirers. Her stormy, passionate and amorous nature, as Lyudmila Gurchenko admitted, demanded a way out. And her many men were in some way temporary fireflies who flew to a bright light to bask in its rays and show themselves. Today it is no secret to anyone that they often very skillfully used Lyudmila Markovna's popular fame, extracting considerable benefits for their personal person. However, Gurchenko was never a “whipping girl”. She had a strong and domineering character, sometimes capricious to indecent. And I must admit that living together with a star was far from sugary.

Vasily Ordynsky

Photo frame from the film "Shield and Sword"

The first lover of eighteen-year-old Lucy was film director Vasily Ordynsky. Gurchenko met him in her second year at VGIK. The romance that ensued between them lasted no more than a year. For Lyudmila, everything that happened remained, as it were, behind the scenes, just a touch in the beginning biography of the actress. There is no doubt: there was a certain benefit in these relations. Vasily Ordynsky even invited her to play the lead role in one of his films. But the members of the artistic council, observing the honor and conscience of Soviet cinema, gave a complete refusal to the young actress. And yet the status of "passion" of a fairly well-known director made itself felt. Otherwise, she would not have been invited to the main role in Eldar Ryazanov's film "Carnival Night", which brought phenomenal success and national recognition to Lyudmila Gurchenko.

Boris Andronikashvili

Photo frame from the film "Otar's Widow"

Parting with Ordynsky was easy and painless. Soon, on her life path, Boris Andronikashvili met - a student of the screenwriting department of VGIK, a recognized idol of the girls of the course, with an irresistible appearance. Lyudmila, without knowing it, succumbed to the charms of a spectacular young man and married him. Boris became the first official husband of Gurchenko and the father of the only daughter of the actress, Masha. After two years of family life together, they broke up: "ice and fire" in the relationship turned out to be completely incompatible.

Photo frame from the film "Beloved woman mechanic Gavrilov"

From childhood, I fell in love at all crossroads and with all movie characters, if "he had teeth like chalk, whiskers like Budenaga." In short, in all the "dark-haired eagles." At the institute I fell in love on every floor. A handsome man has passed - the heart of ek! But she quickly became disillusioned. And suddenly fell in love. Deeply in love, for real

Lyudmila Gurchenko later recalled this marriage in her book “Lucy, stop!”.

“With this young man, we approached each other like in a song:“ You and I are two banks of the same river. This can be seen from the present bell tower, but then ... Despite his exquisite appearance, from which you initially do not expect anything deep, he was a complex person with a set of extraordinary qualities - large and small. All his pockets were filled with rare books interspersed with newspapers and magazines. I read everything in the world. He had a special sense of humor. He believed that his personal criticism was the most accurate and original. Distinguished by musicality, masculine charm.

“Everything in it was out of reach for me. And vice versa. He treated my profession with irony. He considered a musical picture-comedy to be a spectacle far from art. Well, success with the public ... When I got into a field that was not “my own” (I was interested in his complex screenwriting profession), I was always amazed at how much irony my “jump” from a frivolous, primitive acting life into his mysterious world caused in him ... sometimes he skillfully knew how to live side by side, being only on his own shore. With incredible willpower, I had to learn to live alone together ... "

Photo frame from the film "Carnival Night"

It's amazing how long I could not comprehend that, from the head to the tips of the fingers - from here to there - Boris is not my man. Beautiful, but alien. It is very, very difficult to understand yourself, and even more difficult to explain to others how a long relationship ends. I passionately wanted happiness, and this was my misfortune ...

Then there was a fleeting connection with the actor of the Sovremennik theater Igor Kvasha. Igor almost publicly beat his chest, swore eternal love to Lyudmila Gurchenko and firmly promised to marry. However, he did not have the courage to “set sail” forever from the warmed family hearth and destroy his real marriage.

Alexander Fadeev Jr.

Photo frame from the film "Station for two"

And for many, the decision of the star actress to marry the adopted son of the famous Soviet writer Alexander Fadeev Jr. was unexpected.

“There is someone to sleep with, but there is no one to wake up and drink coffee in the morning with”, - Lyudmila Markovna noted sadly in one of her books.

The future spouses met at the WTO restaurant - the most fashionable and visited by actors institution. Alexander was also an actor, but little known and "not inspiring great abilities." However, he more than paid for it in constant spree, and the WTO restaurant became his real “theater”, where Alexander was the number one client for local waitresses. It couldn't go on like this. Moreover, the husband, at any opportunity, tried to prick his wife: they say, your popularity is not for long and will end soon. They broke up two years later...

To say that the recognized Soviet diva grieved greatly about this would be unfair. And it is not always necessary to blindly believe the writer's memoirs of our celebrities: sometimes they contain a lot of personal and hidden things. After the divorce, Lyudmila Gurchenko did not live long with film actor Anatoly Vedenkin. Then there was a stormy romance with the artist Boris Diodorov: she simply took him away from under the nose of his legal wife. “Stumbled” on the charms of the charming Lyudmila Gurchenko and Vladimir Vysotsky. For this random episode of communication, Marina Vlady hated the star actress forever.

Joseph Kobzon

Photo "Wikipedia"

The third official husband of Lyudmila Gurchenko was Joseph Kobzon. For the first time they saw each other in 1964 in the corridor of the All-Union Theater Society. And soon Joseph called Lyudmila and invited her to dinner. This was the beginning of the love story of two stars - passionate and outstanding natures, which could not but end in a legal marriage. Now it is difficult to judge which of them was right or wrong. But the family life of a famous singer and famous actress did not work out. Moreover, she became unbearable. They parted as completely strangers, who, it seems, had nothing to say to each other ...

Photo frame from the film "Love and Doves"

Fool, it seemed to me that I would “rebuild” it. What naivete. He so needed a director of his appearance and repertoire nearby. Great opportunities will not replace taste, style

In his book Stop, Lucy! Gurchenko wrote the following about this marriage:

“It was one of the worst mistakes of my life. You had to run from him like Harun. Faster doe. But there was no one to guide me. What's the point that one composer was horrified: “Lucy, what have you done?” And where were you before?

“Those few days in less than three years brought such a puzzle ... Much, much can be voiced. But why? It is enough that for three years after that I could not imagine a single person nearby. One, only one. God forbid. Never. Never. No no. I know that I learned a lot about myself then.”

Photo frame from the film "Five Evenings"

Constantine Cooperweiss

Photo frame from the movie "Sky Swallows"

“When we met Kostya, he was Kostya Mikhailov. It turned out that his wife's parents forced him to take her last name. Change last name? How is it? It's my father's name! I even choke at the thought of changing my surname under pressure. This is where I put my pressure on. And Kostya Mikhailov became Kostya Cooperweiss. I was satisfied…”- Lyudmila Gurchenko wrote about her fourth husband in the book “Lucy, stop!”.

She met the 23-year-old pianist at a difficult time for herself: her father, whom she literally idolized, died. And she, like an ordinary woman, wanted to find support in this difficult moment: to be honest, just cry, speak out and find sympathy. It was such a person that Konstantin Kuperweis seemed to Lyudmila.

I've been told for years that this is for life. How else? Such love! The kind that had to be believed. But it turned out that all the words and confessions are just zilch! 18 years of solid zilch, huh?!

Photo frame from the film "The Recipe for Her Youth"

After the first meeting, she invited him to the press bar of the Moscow Film Festival, where they spent a warm and unforgettable evening. Konstantin, one might say, was the ideal husband for Lyudmila Gurchenko. He fulfilled every whim of his star wife. The producer, personal secretary, financial director and even the nanny of her daughter Masha - one cannot count the responsibilities that fell on the shoulders of the young spouse. Konstantin did not even notice that in general he was once a talented musician and could achieve a successful career. However, everything was "eaten" by the environment in which he communicated and "spun". Of course, in the sea of ​​adoration and love for Lyudmila, there was no time to think about herself. And by the eighteenth year of their married life together, Constantine Cooperweiss suddenly had an epiphany: he seemed to wake up from a lethargic dream. His decision to leave was unexpected for Lyudmila Gurchenko.