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The presentation on the topic "Writers of the XX-XXI centuries" (Grade 11) can be downloaded absolutely free of charge on our website. Project subject: Literature. Colorful slides and illustrations will help you keep your classmates or audience interested. To view the content, use the player, or if you want to download the report, click on the appropriate text under the player. The presentation contains 21 slide(s).

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Literature of the turn of the XX-XXI centuries

Since 1990 it has been the literature of the transitional period. The transition from censored Soviet literature to the existence of literature in completely different conditions of freedom of speech. The modern literary process of the 21st century is compared with the literary process of the beginning of the 20th century - with the Silver Age and the literature of the twenties.

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First - half of the 90s

In the 1st - half of the 90s, during the perestroika era, Russia experienced a literary boom. Glasnost, the complete abolition of political censorship led to an abundance of translated foreign literature, we all began to read the detectives Chase, Agatha Christie. Russian literature, banned under Soviet conditions, has returned to us. "Returned Literature" - Solzhenitsyn's novel "The Gulag Archipelago", Boris Pasternak "Doctor Zhivago", Mikhail Bulgakov " dog's heart”, “Children of Arbat A. Rybakov, prose by I. Babel, A. Platonov and many others.

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4 "generations" of contemporary writers

1 generation of modern writers Writers of the sixties who burst into literature during the thaw of the 1960s, the symbols of their time - V. Aksenov, V. Voinovich, F. Iskander, V. Rasputin. Today they are recognized classics of modern literature, distinguished by ironic nostalgia and commitment to the memoir genre.

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2nd generation - the authors of the generation of the 1970s, the children of the winners of the war, the Soviet generation. We have already written in conditions of creative lack of freedom. These are V. Erofeev, A. Bitov, V. Makanin, L. Petrushevskaya, V. Tokareva. For them, the phrase “A person is good, circumstances are bad” has become relevant and close.

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3 generation of writers

3 generation of writers With perestroika, a new generation of writers came to literature - V. Pelevin, T. Tolstaya, L. Ulitskaya, O. Slavnikova, V. Sorokin. They began to work without censorship, freely mastering literary experiments, touching on previously forbidden topics.

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4 generation of young writers

4th generation of young writers In the late 1990s, another generation of very young writers appeared. Russian literature discovers new literary names of such bright prose writers as D. Gutsko, A. Gelasimov, I. Stogoff, S. Shargunov, I. Kochergin, R. Senchin, Z. Prilepin.

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A special phenomenon is the phenomenon of literary awards

Literary awards aim to influence the literary process, to discover new names. At present, there are several hundred literary awards in Russia. The most significant literary awards. In 1991, following the British model, the Russian Booker was founded - the first non-state award in Russia after 1917. The purpose of the award is “to draw the attention of the reading public to serious prose, to ensure the commercial success of books. The Booker Prize is awarded for the best domestic novel of the year written in Russian, regardless of the place of its publication. Distinctive feature: emphasis on dissident literature. Over the 20 years of the award's existence, such famous writers as V. Aksenov, G. Vladimov, V. Makanin, B. Okudzhava, L. Ulitskaya and others have become its winners.

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Youngest Literary Award

The youngest literary award, founded in 2005, is the Big Book. The most significant and main literary award in the country in terms of remuneration. 1st prize - 3 million rubles, 2nd prize - 1.5 million rubles, 3rd prize - 1 million rubles. The cash component is mainly provided by Gazprom. Awarding not only works of art, but also literature in the non-fiction genre (fictionalized biographies of great people). The second in the world after the Nobel Prize. The Big Book has the highest rating. She "unwinds" writers' names. It makes modest writers "media" people, draws attention to them.

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Experiments in literature

Having survived the "transitional period", literature began to develop more interestingly, a frank experiment began in it, new topics and directions came. Today, the literary process includes many directions: secular realism, mass literature, literature for clerks, blogging literature, the dystopian novel, postmodernism.

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A variety of popular literature is a bestseller. Ranking lists of book sales, large circulations. Bestsellers are the literature of mass demand that will be in demand in the first place. A bestseller is by no means only cheap reading, the lists of the most popular books also include truly wonderful examples of popular literature. Among the most interesting books read there are such authors as Tatyana Ustinova, Polina Dashkova, Sergey Lukyanenko, Evgeny Grishkovets, Daria Dontsova, Boris Akunin, Alexandra Marinina.

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The Modern Literary Process at the Turn of the 20th - 21st Centuries

The modern literary process at the turn of the 20th - 21st centuries deserves special attention: 1) the literature of the end of the century sums up the artistic and aesthetic searches of the entire century; 2) the latest literature helps to understand the complexity and debatability of our reality; 3) their experiments and artistic discoveries it outlines the prospects for the development of literature in the 21st century.

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Unique personalities

Refined Lyudmila Ulitskaya, raised by admirers to the rank of a seer and guru Viktor Pelevin, the grand master of the domestic intellectual detective Boris Akunin, a young writer Dmitry Glukhovsky. These are the authors who make real Russian literature. Unique personalities create unique literature, which has always been characteristic of living and free Russian literature.

Literature of the late 20th - early 21st centuries. prose dominance. "The End of the Age of Lyrics" (M. Lipovetsky). Loss of reader attention. The ultimate complexity of the language. Elitism; orientation to the poetry of the Silver Age and the ever-growing interest in the work of I. Brodsky. Postmodern tendencies; materialism as one of the leading trends in the development of modern poetry. The sound of the sixties: A. Voznesensky, E. Evtushenko, B. Akhmadulina. Conceptualism by D. Prigov, L. Rubinshtein, T. Kibirov. Elena Schwartz. Olga Sedakova. Lev Losev. Tatyana Voltskaya.

Literature of the late 20th - early 21st centuries. The neoclassical (realistic) direction, which traditionally addresses the social and ethical problems of life, continues the traditions of Russian literature with its preaching and teaching position; she is characterized by psychologism and philosophy, an active life position of the hero who is looking for solutions to problems; dialogue between the author and the reader. This trend mainly includes writers of the older and middle generation: A. Solzhenitsyn, V. Astafiev, V. Belov, G. Vladimov, V. Rasputin, V. Aksenov, B. Vasiliev, and others.

Literature of the late 20th - early 21st centuries. Writers of the conditionally metaphorical direction build the artistic world on the basis of various types conventions (fabulous, fantastic, mythological); they are not characterized by deep psychologism, voluminous characters. Conditionally metaphorical prose has a strong playful beginning: the characters play a given role. Writers of this trend often turn to the genres of parables and legends. These are the writers F. Iskander, A. Kim, V. Krupin, L. Petrushevskaya, V. Pelevin

Literature of the late 20th - early 21st centuries. "Other prose". The term "other prose" appeared in Russian literature in the late 1980s. The works of T. Tolstoy, V. Pietsukh, S. Kaledin, L. Gabyshev and others turned out to be acutely polemical in relation to Soviet reality and ways of depicting it. This direction is characterized by a negative reaction to officialdom, the image of the world as absurd, illogical. In the world of "other prose" there is no ideal, no one is going to return good for good, and life is a petty swarming in everyday affairs without a special purpose. The author's position is disguised or absent: the writer is not obliged to judge the heroes, to give spiritual instructions. In the late 80s, "other prose" predicted a great future. But today it is losing its position, because the reality that called it into being disappears.

Literature of the late 20th - early 21st centuries. Postmodernism as a literary trend that developed in the West in the 6080s of the XX century came to Russia later and flourished in the 90s. The emergence of postmodernism is associated with the general spiritual, cultural and social situation in the world. “This situation is characterized ... by increasing atomization, division, alienation of people, worldviews ... loss of integrity and in inner world of a person, and in human communities”, an ever-increasing “sense of global loneliness of a person in a house, in a country, on Earth, in space and, accordingly, a sense of hopelessness and defenselessness”. This provokes the loss of a common scale of values, of any authorities and guidelines. The central moments of the postmodernist picture of the world are the devaluation of reality, the destroyed hierarchy, the mixing of styles, the closest connection with the modern subculture, the polyphony of cultures, an essential element of the game, intertextuality. By affirming the postulate of the “end of literature”, when nothing new can be written, postmodernism perceives foreign languages, cultures, signs, quotations as its own and builds a new artistic world from them, like from fragments or puzzles.

Literature of the late 20th - early 21st centuries. I. Solzhenitsyn. Two-part stories: "Nastenka", "Apricot Jam", "On the Edge" The tragic fate of a person in a totalitarian state, the impossibility of individual freedom. V. P. Astafiev. "Flying goose" The tragedy of the military generation. Yu. V. Buyda. "Eva Eva" (from the book "The Prussian Bride") Terrible consequences of the war; war and children, war and woman, war and nations.

Literature of the late 20th - early 21st centuries. "Women's prose": L. Ulitskaya. “Daughter of Bukhara”, “The Chosen People” (from the cycle “Poor Relatives”); V. Tokareva. "I am. You're. He is"; V. Solovyov. "Enter twice." "Women's problems": love, family, motherhood, etc. L. Petrushevskaya. "Glitch", "Waterloo Bridge"; V. Tokareva. "The happiest day", G. Shcherbakova. "Boy and Girl" Problems of the younger generation: the search for an ideal, loneliness, relationships with adults, etc.

Literature of the late 20th - early 21st centuries. V. G. Rasputin. "Women's conversation", "To the same land" Moral principles, the role of women in society, family, love. Moral choice, preservation of traditions, the problem of power, the search for a positive hero. "Other prose" L. Petrushevskaya. "Own Circle", "New Robinsons" Spiritual loneliness, hopelessness of human existence 1 V. Pietsukh. "Killer Miller", "Men went out to smoke ..." T. Tolstaya. "Fakir", "Sleepwalker in the Fog", "Heavenly Flame" Extremely condensed immersion in everyday life, the theme of loneliness, lack of goals, ideals, the author's position is devoid of teaching, edification, etc.

Literature of the late 20th - early 21st centuries. V. Pelevin. "The Life of Insects", "Yellow Arrow" The spiritual inferiority of people is embodied in the metaphor of V. Makanin. "Prisoner of the Caucasus" Destruction of the spiritual principle in a person in an endless, "bad" war, the author's polemic with Dostoevsky. Y. Buyda. "Blue Lips" (from the book "The Prussian Bride") The problem of human memory, the author's polemic with Nabokov

Literature of the late 20th - early 21st centuries. T. Tolstaya. "Plot" Polyphonism of cultures, styles, artistic languages ​​in S. Mikhailov's story. "Amba" Tolerance, respect for the other, urban motifs in the story Postmodernism is the dominant trend in literature of the late 20th and early 21st centuries. Postmodernism as an art system; inclusion of the experience of postmodernism in modern realistic literature.

Literature of the late 20th - early 21st centuries. Distinctive features mass literature Distinctive features of elite literature The use of a set of plot clichés and clichés, a strict system of genres (detective story, melodrama, thriller, action movie, fantasy, etc.) An artistic experiment Blurred author's position or its absence. Pronounced author's position. Stereotyping, adaptation of the ideas of genuine art. Appeal to human instincts, desires. Unique author's idea. Appeal to traditional moral values.

Literature of the late 20th - early 21st centuries. Characteristic features of modern literature: 1. The absolute freedom of the writer creates in an uncensored space. This turned into, especially in the early 90s, the so-called "liquidation of gaps" by turning to taboo topics ( social bottom, erotica, mysticism, etc.). 2. Transitivity, echoes with the literature of the Silver Age “today literature lives according to the laws of the turn of the century, just like a hundred years ago, the content of literature is the tragic contradictions of reality”; “Summing up, apocalyptic moods, a dispute with the classical tradition, discussions about a new hero, the search for an adequate language for the coming century are all features of the literature of the turn of the century, symbolically sandwiched between the words end and beginning.”

Literature of the late 20th - early 21st centuries. 3. Genre transformations, the search for a new word Writers are actively engaged in genre creation. The line between fiction and documentary is blurred: genres of memoirs, documentary chronicles, historical novels, various forms of autobiographies are popular today. In fiction, preference is given to short prose: the favorite genre is the short story. 4. Dialogue of cultures The prose of modern Russian writers is in a single experimental space with the prose of modern foreign authors: M. Kundera, M. Pavic, X. Murakami, P. Coelho and others. "IN new Russia the writer is doomed to be modern. He stands at the same crossroads as any other author living at the very end of the 20th century.”

Literature of the late 20th - early 21st centuries. 5. Polyphony - the absence of a single method, a single style, a single leader. Modern literature is a space of coexistence and interaction of different artistic languages. 6. Today's literature is made up of people of different generations. These are sixties writers (V. Aksenov, V. Voinovich, A. Solzhenitsyn, F. Iskander and others); authors of the generation of the 70s (S. Dovlatov, A. Bitov, V. Makanin, L. Petrushevskaya, V. Tokareva and others); generation of "perestroika" (V. Pelevin, T. Tolstaya, Yu. Polyakov, L. Ulitskaya, V. Sorokin, A. Slapovsky, V. Tuchkov, O. Slavnikova, etc.); young writers who came to literature in the late 90s (A. Utkin, A. Gosteva, I. Stogoff, E. Radov, B. Shiryanov, I. Denezhkina, etc.).

Literature of the late 20th - early 21st centuries. 7. Finding a new hero is one of key issues era change. It is especially acute in the prose of young authors: A. Utkina, E. Radov, S. Shargunova, I. Stogoffa and others. modern prose is distorted by the grimace of a skeptical attitude towards the world ... His actions are frightening, and he is in no hurry to decide either on his own personality or on his fate. He is gloomy and irritated in advance by everything in the world, for the most part he seems to have absolutely nothing to live for. (But he does not want to.) He is vulnerable, like a greenhouse plant, and is inclined to reflect even the shadow of an emotion ... He does not believe in anything and wants almost nothing. He is terribly lacking in energy, he is a clear example of the action of entropy that hit the world and the humanity living in it. He is terribly weak, this hero, and defenseless in his own way. For all his romanticized arrogance, he is just a little man talking about himself.

Postmodernism as a literary trend that developed in the West in the 60-80s of the 20th century came to Russia later and flourished in the 90s. The emergence of postmodernism is associated with the general spiritual, cultural and social situation in the world. “This situation is characterized by ... an increasing atomization, separation, alienation of people, worldviews ... a loss of integrity both in the inner world of a person and in human communities”, an ever-increasing “sense of global loneliness of a person in a house, in a country, on Earth, in space and, accordingly, a sense of hopelessness and defenselessness. This provokes the loss of a common scale of values, of any authorities and guidelines. The central moments of the postmodernist picture of the world are the devaluation of reality, the destroyed hierarchy, the mixing of styles, the closest connection with the modern subculture, the polyphony of cultures, an essential element of the game, intertextuality. By affirming the postulate of the “end of literature”, when nothing new can be written, postmodernism perceives foreign languages, cultures, signs, quotations as its own and builds a new artistic world from them, like from fragments or puzzles.

Features of modern literature 1. Absolute freedom - the writer creates in an uncensored space; 2. Genre transformations, the line between fiction and documentary is blurred. The genre of the story, novel, documentary chronicles is popular; 3. Dialogue of cultures (connection with foreign literature); 4. Search for a new hero (skeptic, prone to reflection, defenseless); 5. Intertextuality; 6. Connection with Russian classics, transformation of classical literature.

Four "generations" of modern writers Writers of the sixties - "truants of socialist realism" characteristic features this generation is served by a certain sullenness, contemplation, rather than active action. Their rhythm is moderato, their thought is reflection, their spirit is irony, their cry - but they don’t scream…” (M. Remizov) Victor Astafiev Fazil Iskander Vladimir Voinovich Valentin Rasputin Evgeny Yevtushenko Vasily Aksenov

Four "generations" of modern writers Writers of the seventies - the "generation of the stragglers" Sasha Sokolov Venedikt Erofeev Vladimir Makanin Lyudmila Petrushevskaya Arkady and Boris Strugatsky Andrey Bitov We were voracious readers and fell into dependence on books. Books have absolute power over us. In place of psychological prose comes psychopathological. We are no longer interested in the Gulag, but in the disintegrating Russia itself.”

Four "generations" of modern writers Writers of the eighties - "generation of perestroika" Vladimir Sorokin Yuri Mamleev Tatiana Tolstaya Alexey Slapovsky Victor Pelevin "This prose revived interest in the "little" man, touched upon previously unknown topics of Russian literature. For them, modern is a concentration of social horror, taken for the everyday norm.

Four “generations” of contemporary writers Writers of the 1990s-2000s – the “next generation” Ilya Stogov Evgeny Grishkovets Dmitry Bykov Pavel Sanaev Oleg Shishkin “Young writers are the first generation of free people in the history of Russia, without censorship. New Literature does not believe in "happy" social change and moral pathos. She was tired of endless disappointments in man and the world. Instead of parodies of old literature, she is crazy about her "big style".

Foreign Literature Irving Welsh (England) Julian Barnes (England) Erlend Lou (Norway) Frederic Begbeder (France) Michel Welbeck (France) John Boyne (Ireland) Jordi Galceran (Spain) Raymond Carver (USA) Patrick Suskind (Germany) Bernard Werber ( France)

Literature and the Internet. Literature and PR “The general rule is that all authors of the Internet write badly. Both debutants and those who have already taken place on the other side of the Looking Glass. Tempts the ease of network publishing. Typed, clicked the "mouse" - and the planetary reader is guaranteed. The screen underestimates the merits of the work, magnifying its shortcomings” (New Literary Review magazine) “In the new situation, the role of the writer has changed. Previously, this workhorse was ridden, now it must go itself and offer its working arms and legs ”(Tatyana Tolstaya)

Literature and the Internet. Literature and PR works of authors belonging to different generations here you can get information about modern writers and get to know them virtually - it combines information about the best literary resources of the Russian Internet: electronic libraries, reviews of new books, literary competitions and much more is located on the network portal " Russian magazine. In total, 24 magazines are posted here, one of the largest electronic libraries modern and classical Russian and foreign literature.

Prizes in Literature (Russia) Russian Booker is a literary prize for the best novel in Russian, first published last year. Awarded since 1992 (winners - Elena Kolyadina "Flower Cross" (2010) National bestseller - awarded in St. Petersburg for the best novel written in Russian during calendar year. The motto of the award is “Wake up famous!”. Awarded since 2001. (laureates - Dmitry Bykov "Ostromov, or a Sorcerer's Apprentice" (2011) "Debut" - is awarded to authors of literary works in Russian who have not exceeded the age of 35 at the time of the award, regardless of their place of residence. The award is annually awarded five to seven nominations reflecting the main types fiction. (Laureates of "Big Prose" - Olga Rimsha for the story "Quiet Water". "Small Prose" - Anna Geraskina for the story "I Can't Hear You". "Big Book" is a national literary award. It is the largest literary award in Russia and the CIS and the second the largest literary award in the world in terms of the prize fund (5.5 million rubles) after the Nobel Prize in Literature (2010 Pavel Basinsky, "Leo Tolstoy. Escape from Paradise"

Prizes in Literature (Abroad) The Nobel Prize in Literature, an annual award for literary achievement, awarded annually by the Nobel Committee in Stockholm, has been awarded since 1901 (2010 - Mario Vargas Llosa "War of the End of the World", "For detailed description structures of power and for the vivid portrayal of a man who has risen, fought and suffered defeat” The Booker Prize (International) is one of the most prestigious awards in the world of English and world literature. Awarded to an author residing in one of the countries of the Commonwealth of Nations, Ireland, for a novel written in English language. It has been awarded since 1969 (worldwide - every two years) (2011 - Philip Roth, USA - "Nemesis") The Goncourt Prize is the most prestigious French literary award for the best novel, named after the Goncourt brothers (2010 - Michel Houellebecq " Map and territory")

The main trends in modern literature Neoclassical prose - refers to social and ethical issues, based on the traditions of Russian literature (V. Rasputin, V. Astafiev); Conditional-metaphorical prose is characterized by a fairy tale style of narration, fantasticness (V. Makanin, F. Iskander, the Strugatsky brothers); "Another" prose - an ironic rethinking of cultural traditions (T. Tolstaya, L. Petrushevskaya, V. Erofeev, S. Kaledin) Postmodernism - (V. Pelevin, V. Sorokin, S. Sokolov, Ven. Erofeev) Brutal prose - (Zakhar Prilepin, I. Stogov); Neorealism - (Yuri Mamleev, K. Pleshakov, O. Zoburn); Dramaturgy - (E. Grishkovets, N. Kolyada); Poetry: conceptualism (T. Kibirov, D. Prigov), materialism (I. Zhdanov, O. Sudakova).

The 20th century that has come to an end has gone down in history, gradually opening up more and more opportunities for comprehending the latest literary styles. The period of literary development (1990s), as close as possible to today, the most difficult to study. The complexity and uniqueness of the literary situation of the last decade and a half of the 20th century lies in the diversity of aesthetic quests of modern writers.

The best traditions of Russian literature are the basis of the work of many contemporary poets. Glushkova Tatyana Mikhailovna followed the main and only, in her opinion, Pushkin tradition. She was known not only as a poet, but also as a literary critic. Her critical word was distinguished by its multidimensionality, subtle penetration into the matter of the verse.

Glushkova Tatyana Mikhailovna Glushkova Tatyana Mikhailovna (), poet, prose writer, critic. Was born in Kyiv. She survived the Great Patriotic War in a Little Russian village. At the age of 13, she lost her parents. In 1960 she graduated from the Literary Institute. Until 1964 she worked as a guide in the Pushkin Reserve in Mikhailovsky, then as a radio journalist and librarian in Kyiv.

Temple of Kyiv Sophia It is no coincidence that her parents named her Tatyana - in honor of the beloved heroine of Pushkin. Her soul was truly Russian, like Pushkin's Tatyana. And the language of her poems and prose is deeply Russian. “Everyone in my family was non-partisan, I would define their ideology as a passionate cult of labor in the name of the Fatherland, a cult of all non-possession,” says Tatiana Glushkova about her parents. And she continued this ancestral line of service to the Motherland with courage and uncompromisingness. In 1960, at the height of Khrushchev's persecution of the church, she wrote a cycle of poems about the Kiev Sophia Cathedral. The head of her seminar at the Literary Institute, a classic of Soviet literature, refused to defend her diploma for such poems. Tatyana Glushkova is the keeper of the Russian word, the bearer of the Russian spirit. What happened to her homeland happened to herself. This is the cry of her soul. Poets would probably say - the cry of a wounded bird. First of all, I have in mind the poems about 1991, when the long-term union of the Soviet republics was destroyed.

The Hour of Bolovezhia When my Motherland was gone, I didn't hear anything about it: so, protected by God, I fell ill! - so that it would not be bitterer and more painful for me ... When my Motherland was gone, I was there, where there was not a grain of light: obscured, rejected, reprimanded - or burned to ashen coals. When my Motherland was gone, I walked along the path to the Unearthly Fatherland. But even there, as if on a combustible feast, the nightingale of Volokolamsk did not sing ... When my Motherland was gone, I then knocked on the gates of hell: take me! .. If only my country would rise from its weakness. When my Motherland was gone, death arose all over the sublunary world, with a bony hand on an iron lyre rattling a song of discord and chains. When my Motherland was gone, He who came to us from Nazareth, orphaned no less than a poet of the last terms of my Motherland. April 8, 1992 Monument to Pushkin How gloomy, how scary in Moscow! The snow melted - and a thick green on the glorious, recalcitrant head suddenly appeared, frightening the living gaze. It flows along your chest, along the ramen, along the old lionfish. Oh my God! It’s not Pushkin ahead, then death - and evil imprints of decay! H a d a p a r a x a rage over you! They sneer: they say, you are like dust ... Oh, snowfall, give him his shirt, wrap him in a fluffy snow coat! He is cunning, your senseless executioner! He strangles oblivion, then love. He stench swirls to the holy headboard, he laughs, hearing the Russian cry.

In the work of E. Asadov, the influence of Russian classics is also noticeable: civil lyrics, romantic poems about love, a cycle about nature, in which Yesenin's intonation is heard, especially in a poem about a red-haired mongrel. Asadov's life was sealed by the war, leaving him disabled. But despite this, it is he who is the author of the most sincere and tender poems about love, which are also interesting for modern youth.

Eduard Arkadyevich Asadov was born on September 7, 1923 in the city of Merv, Turkestan Autonomous Soviet Socialist Republic, into an Armenian family. He studied at the 38th Moscow school, which he graduated in 1941. One week after High school prom the Great Patriotic War began. Asadov volunteered for the front, was a mortar gunner, then commander of the Katyusha battery on the North Caucasian and 4th Ukrainian fronts. On the night of May 3-4, 1944, in the battles for Sevastopol near Belbek, he was seriously wounded by a mine fragment in the face. In 1946 he entered the Literary Institute. A. M. Gorky, who graduated with honors in 1951. In the same year, he published his first collection of poems, The Bright Road, and was accepted as a member of the CPSU and the Writers' Union. He died on April 21, 2004 in Odintsovo. Eduard Asadov bequeathed to bury his heart on Sapun Mountain in Sevastopol, however, according to the testimony of museum workers on Sapun Mountain, relatives were against it, so the will

Russia did not begin with a sword Russia did not begin with a sword, It began with a scythe and a plow. Not because the blood is not hot, But because the Russian shoulder has never been touched by malice in her life... And the battles ringing with arrows Only interrupted her eternal work. No wonder the horse of the mighty Ilya Osedlan was the master of the arable land. In the hands, cheerful only from work, By good nature, sometimes retribution did not rise immediately. It's true. But there was never a thirst for blood. And if the hordes prevailed, Forgive me, Russia, the troubles of sons. If it were not for the strife of the princes, How would the hordes be given in the muzzle! But only meanness rejoiced in vain. With a hero, jokes are short-lived: Yes, you can deceive a hero, But to win - that's already pipes! After all, it would be as funny as, say, to fight with the sun and the moon. That guarantee is Lake Peipus, the Nepryadva River and Borodino. And if the darkness of the Teutons or Batu Found an end in my homeland, Then the current proud Russia is a hundred times more beautiful and stronger! And in a fight with the most fierce war, She managed to overcome hell. That's the guarantee - hero cities In the fireworks on a festive night! And my country is always so strong That it never humiliated anyone anywhere. After all, kindness is stronger than war, As disinterestedness is more effective than a sting. The dawn is rising, bright and hot. And it will be so forever indestructible. Russia did not begin with a sword, and therefore it is invincible!

In 1979, this poem was written, a reflection on the fate of the motherland, on the origins of the heroism of the Russians, on the mystery of the Russian soul. The invincibility of the Russian people is based on kindness, love for peaceful labor and readiness to defend their homeland. The native land helps the defenders of the motherland, they are inspired by the glory of their fathers and grandfathers. The poem remained relevant in the 21st century, which is why it was republished in 2003.

Akhmadulina Bella Akhatovna One of the greatest Russian lyric poets of the second half of the 20th century. She was born on April 10, 1937 in Moscow. She wrote poetry from childhood, studied in the ZIL literary association with the poet E. Vinokurov. The poetry collection Chills, in which all the poems written over 13 years were collected, was published in emigre publishing house"Sowing" (1969, Germany). Despite this "seditious" event, Bella Akhmadulina's books, although subjected to strict censorship, continued to be published in the USSR. In 1977 she was elected an honorary member of the American Academy of Arts and Letters. In 1988, the book "Selected" was published, followed by new collections of poetry.

Not a word about love! Not a word about love! But I don’t say a word about her, the nightingale has not been found in the larynx for a long time. There is a flame in the middle of an empty sky, but even on the night of the moon there is not a word about love! To keep the moon above my head I got used to increase labor, to excite thoughts. But in the current moon - meaningless beauty, and the Arbat spreads like a desert of white dunes. Sister-poet-singer babbles about love - half-heartedly squint and smile half-heartedly. How visibly erected from the depths of the full moon chamber for the Deity, and the door is not locked. How thin is poor Gogol there, at the head of the boulevard, and lonely near the universal polynya. There has never been such a long moon over the world, now it will pass. Not a word about love! I lived for so long that my heart became dull, but survived in the battle with the adversity of being, and again fresh, fresh in it is someone's power and mercy. Those two under the moon - really you and me?

These are lines about eternal love in a constantly changing and renewing world. It would seem that everything is in the past, the soul got used to everything, but a wonderful moonlit night awakens memories. And in the guise of young lovers, the heroine recognizes her features and the features of her lover. So love is alive, it is renewed and continues.

Nadezhda Mikhailovna Polyakova (, Saint Petersburg), poet, writer, translator. She also wrote for children (“Nasha Neva”, 1961; “Snowballs”, “Good Summer”, 1962; “We Fly Around the Earth”, 1963, etc.) She was born in the village of Basutino, Novgorod Region. Graduated from Leningrad State University. Member of the Great Patriotic War. Member of the Writers' Union of the USSR. In "New Times" she taught and continued active writing until her death. Nadezhda Mikhailovna Polyakova

Dreams are not dreaming of our will, Like a verse under someone's dictation. I act all in the same role In the serials of these night. I'm running from someone somewhere, Freezing in the thick grass. I see again the soldier's overcoat In bloodstains on the sleeve. I see those who have been killed long ago, Without leaving the stray fire. And the Messerschmitts are buzzing over me And looking for me. Oh, how tired of these dreams! Just dreaming again and again. I wake up in my bed and deny my dreams. In this life I was useful, I accepted everything that was given. Isn't there a higher film studio To watch another movie? Lamentation of the poets of Russia What empty words to mutter, Fists to knock on the table? Do not save Russia with verses by reviving deserted villages. Only which of you will go to the wilderness, To the burdock expanse of the country? No relatives there, and no neighbors, And no plow, no harrow. Childhood is golden, What was hungry, barefoot. The grandfather's legacy has rotted, Smoke does not flow from the chimney. Do not walk with a careless gait, Knocking down dew from fragrant herbs. And you drop a Nostalgic tear into your glasses of vodka.

Through all my long life Nadezhda Polyakova carried the memory of the war. The war burst into her early poems in vivid episodes, it comes in terrible dreams to later lyrics. This is her heavy cross, an unhealed wound. Defending her homeland in battle, the poetess cannot remain indifferent to her future fate. In a poem of recent years, he reproached the younger generation, vegetating in inaction. The rhetorical question is extremely pointed: "But which of you will go to the wilderness, to the burdock expanse of the country?" And it is necessary to go, because the abandoned villages and villages, the rotten grandfather's inheritance, present such a terrible picture that memories of a hungry barefoot childhood, in comparison with them, seem like golden dreams. With pain in his heart, the author describes the drunken nostalgia that overwhelmed his contemporaries. Not whining and inaction, but real actions are needed in order to save Russia through the "revival of deserted villages", first of all, returning to the origins, to nature, to the original village life.

Modern poetry continues to develop in the best traditions of Russian literature. The memory of the Great Patriotic war. Decay Soviet Union, interethnic conflicts, complications of the international situation, environmental disasters - all the problems of the late 20th - early 21st century are reflected in the work of poets. Now poetry is defined not by groups and trends, but by a small circle of poetic names belonging to different generations and representing different poetic inclinations. It seems that not the critics, but the poets now feel the inexhaustibility of the classical paths, they return to them in order to go through the untrodden, thereby returning dignity to poetry and to our life - poetry, words, personality.