Village prose of the 50s and 80s. Rural prose: a recommendatory list of references

"VILLAGE" PROSE 60-80s

The concept of "village" prose appeared in the early 60s. This is one of the most fruitful trends in our domestic literature. It is represented by many original works: "Vladimir's Country Roads" and "A Drop of Dew" by Vladimir Soloukhin, "Habitual Business" and "Carpentry Stories" by Vasily Belov, "Matrynin's Yard" by Alexander Solzhenitsyn, "Last Bow" by Viktor Astafiev, stories by Vasily Shukshin, Evgeny Nosov , novels by Valentin Rasputin and Vladimir Tendryakov, novels by Fyodor Abramov and Boris Mozhaev. The sons of peasants came to literature, each of them could say about himself the very words that the poet Alexander Yashin wrote in the story "I Treat Rowan": "I am the son of a peasant ... Everything that is done on this land, on which I am not alone, concerns me. I knocked out the trail with bare heels; in the fields that he plowed with a plow, in the reaping that came with a scythe and where he threw hay into haystacks. "

“I am proud that I left the village,” F. Abramov said. V. Rasputin echoed him: “I grew up in the countryside. She nurtured me, and it is my duty to tell about her. " Answering the question why he writes mainly about village people, V. Shukshin said: "I could not talk about anything, knowing the village ... I was brave here, I was here as independent as possible." S. Zalygin wrote in his “Interview with myself”: “I feel the roots of my nation exactly there - in the village, in the arable land, in the most basic bread. Apparently, our generation is the last one that saw with its own eyes that thousand-year way of life, from which we came out almost everything and everyone. If we do not talk about it and its decisive alteration within a short period of time - who will? "

Not only the memory of the heart nourished the theme of “small homeland”, “sweet homeland,” but also pain for its present, anxiety for its future. Exploring the reasons for the acute and problematic conversation about the village, which was conducted by literature in the 60-70s, F. Abramov wrote: “The village is the depths of Russia, the soil on which our culture grew and flourished. At the same time, the scientific and technological revolution, in the age of which we live, has touched the village very thoroughly. Technique has changed not only the type of farming, but also the very type of peasant ... Along with the old way of life, the moral type goes into oblivion. Traditional Russia is turning over the last pages of its thousand-year history. Interest in all these phenomena in literature is natural ... Traditional crafts are dying out, local peculiarities of peasant dwellings, which have evolved over centuries, are disappearing ... Language bears serious losses. The village always spoke a richer language than the city, now this freshness is leached out, washed away ... "

The village presented itself to Shukshin, Rasputin, Belov, Astafiev, Abramov as an embodiment of the traditions of folk life - moral, everyday, aesthetic. In their books, there is a noticeable need to take a look at everything that is connected with these traditions and what broke them.

"Habitual business" is the title of one of V. Belov's stories. These words can define the inner theme of many works about the countryside: life as labor, life in labor is a common thing. Writers draw the traditional rhythms of peasant work, family worries and anxieties, everyday life and holidays. There are many lyrical landscapes in the books. Thus, in B. Mozhaev's novel "Men and Women", attention is drawn to the description of "unique in the world, fabulous flood plains of the Oka", with their "free forbs": "Andrey Ivanovich loved meadows. Where else in the world is there such a gift from God? So as not to plow and not sow, and the time will come - the whole world will leave, as for a holiday, in these soft manes and in front of a friend, playfully scythe, one week to blow baked hay for the whole winter cattle ... Twenty-five! Thirty wagons! If the grace of God has been sent down to the Russian peasant, then here it is, here, in front of him, spreads out in all directions - you cannot grasp it with your eye. "

In the protagonist of B. Mozhaev's novel, the most intimate is revealed, that which the writer associated with the concept of “the call of the earth”. Through the poetry of peasant labor, he shows the natural course of a healthy life, comprehends the harmony of the inner world of a person who lives in harmony with nature, rejoicing in its beauty.

Here is another similar sketch - from F. Abramov's novel “Two winters and three summers”: “… Mentally talking with the children, guessing on the tracks how they walked, where they stopped, Anna did not even notice how she went to Sinelga. And here it is, her holiday, her day, here she is, the joy she has suffered: the Prysslin brigade at the reaping! Mikhail, Liza, Peter, Gregory ...

She got used to Mikhail - from the age of fourteen she has been mowing for a peasant and now there are no mowers equal to him in all Pekashin. And Lizka also leads the swath - you will envy. Not into her, not into her mother, into her grandmother Matryona, they say, by a grip. But small, small! Both with scythes, both hitting the grass with scythes, for both the grass lies under the scraps ... God, did she ever think that she would see such a miracle! "

Writers have a subtle sense of the deep culture of the people. Comprehending his spiritual experience, V. Belov emphasizes in the book “Lad”: “Working beautifully is not only easier, but also more enjoyable. Talent and work are inseparable. " And one more thing: “For the soul, for memory, it was necessary to build a house with carvings, or a temple on the mountain, or to weave such lace, from which the distant great-great-granddaughter's eyes would take their breath away and light up.

Because man does not live by bread alone ”.

This truth is confessed by the best heroes of Belov and Rasputin, Shukshin and Astafiev, Mozhaev and Abramov.

In their works, it is necessary to note the pictures of the brutal destruction of the village, first during collectivization ("Eves" by V. Belov, "Men and Women" by B. Mozhaev), then during the war years ("Brothers and Sisters" by F. Abramov), during the years the post-war hard times ("Two winters and three summers" by F. Abramov, "Matrenin's yard" by A. Solzhenitsyn, "Habitual business" by V. Belov).

The writers showed the imperfection, the disorder in the everyday life of the heroes, the injustice done over them, their complete defenselessness, which could not but lead to the extinction of the Russian village. “There is neither subtract nor add. This is how it was on earth, ”A. Tvardovsky will say about it. The "information for thought" contained in the "Supplement" to "Nezavisimaya Gazeta" (1998, No. 7) is eloquent: "In Timonikha, the native village of the writer Vasily Belov, the last man, Faust Stepanovich Tsvetkov, died.

Not a single man, not a single horse. Three old women. "

And a little earlier, Novy Mir (1996, No. 6) published a bitter, hard reflection by Boris Yekimov, At the Crossroads, with dire predictions: “Beggar collective farms are already eating up tomorrow and the day after tomorrow, condemning those who will live on this the land after them ... The degradation of the peasant is worse than the degradation of the soil. And she is there. "

Such phenomena made it possible to talk about "Russia we have lost." So the "village" prose, which began with the poeticization of childhood and nature, ended with the consciousness of a great loss. It is no coincidence that the motive of "farewell", "last bow", reflected in the titles of the works ("Farewell to Mother", "The last term" by V. Rasputin, "Last bow" by V. Astafiev, "The last suffering", "The last old man of the village "F. Abramov), and in the main plot situations of the works, and the presentiments of the heroes. F. Abramov often said that Russia says goodbye to the countryside as to a mother.

In order to highlight the moral problems of the works of "village" prose, let us put the following questions for the eleventh graders: - What pages of the novels and stories of F. Abramov, V. Rasputin, V. Astafiev, B. Mozhaev, V. Belov are written with love, sadness and anger? - Why was the man of the “hardworking soul” become the first-planned hero of the “village” prose? Tell us about it. What worries him, worries him? What questions do the heroes of Abramov, Rasputin, Astafiev, Mozhaev ask themselves and us, the readers?

The feeling of the Motherland is surprising and inexpressible ... What a bright joy and what the sweetest melancholy it gives, visiting us either in the hours of separation, or in the happy hour of soulful rest. Leonid Leonov Leonid Leonov All recent years so All recent years, the so-called village called village prose, most of all, prose was most concerned with the moral health of a person - the health of a person - and a person of the present, and a person of the present, and a person of the future. man of the future. Valentin Rasputin Valentin Rasputin Ermolova Oksana Vladimirovna

Rural prose is a trend in Russian literature of the ies, comprehending the dramatic fate of the peasantry, the Russian village in the 20th century, marked by heightened attention to morality issues, to the relationship between man and nature. FA Abramov, VI Belov, VG Rasputin are considered the largest representatives, "patriarchs" of the trend. The writer and film director V.M. Shukshin became a bright and original representative of the “village prose” of the younger generation. Also village prose is represented by the works of V. Lipatov, V. Astafiev, E. Nosov, B. Mozhaev and other authors. F.A.Abramov V.I. Belov V.G. Rasputin V.M. Shukshin Astafieva B. Mozhaeva Ermolova Oksana Vladimirovna

Fedor Alexandrovich Abramov () “I am proud that I left the village” Readers' comments: “Abramov is a unique author, very sincere and truthful. His works sink into the soul and are remembered to the smallest detail. " “Awesome books about life and work, love and war. Classic." “It is imperative to read such books, so as not to be Ivans who do not remember kinship.” Ermolova Oksana Vladimirovna

Fedor Abramov was born in the village of Verkola, Arkhangelsk region. From the third year of the philological faculty of Leningrad State University, he joined the people's militia. After being wounded, he was taken out of the besieged city on the ice of Lake Ladoga. As a non-combatant he was left in the rear units, then taken to the Smersh counterintelligence agencies, where he served until the end of the war. Returning to Leningrad State University, he graduated with honors, then headed the department of Soviet literature there for several years. Abramov devoted all his work to his native northern village. His main brainchild was a tetralogy about the large Pryaslin family and their village Pekashino. The first novel Brothers and Sisters (1958) covers the spring and summer of 1942; the second - Two winters and three summers (1968); the events of the third - Crossroads (1973) - take place in 1951. The final novel - "Home" - tells about the village of the 70s. In the novels, the entire history of the country is shown through the history of the family. For the writer, Pryaslin is the "strongest root" of life. They are by no means ideal people, but the village and the whole country stand on them. Ermolova Oksana Vladimirovna

Valentin Rasputin was born in the village of Atalanka, Irkutsk Region. After graduating from the local primary school, he was forced to leave fifty kilometers from the house where the secondary school was located (the famous story "French Lessons" would later be created about this period). After school, he entered the Faculty of History and Philology of Irkutsk University. He made his debut as a storyteller (the first collections The Edge Near the Sky and Kostrovye New Cities were published in 1966). The first work that brought him fame was the story Money for Mary (1967). The talent of the writer was revealed in full force in the story "The Last Term" (1970). This was followed by the stories "Live and Remember" (1974) and "Farewell to Matera" (1976), which put their author among the best contemporary Russian writers. In 1981, new stories were published: "Natasha", "What to convey to the raven", "Live and love forever." The appearance in 1985 of Rasputin's story "Fire" aroused great interest among the reader. In recent years, the writer has devoted a lot of time to public and journalistic activities. Lives and works in Irkutsk. Ermolova Oksana Vladimirovna

Viktor Petrovich Astafiev () “We sang the last lament - about fifteen people were found mourning about the former village. We sang it at the same time. As they say, we cried well, at a decent level. Worthy of our history, our village, our peasantry. " Ermolova Oksana Vladimirovna

Victor Astafiev was born in the village of Ovsyanka, on the banks of the Yenisei. At the age of seven, he lost his mother - she drowned in the river. He will never get used to this loss. All he "does not believe that mom is not and never will be." His grandmother, Ekaterina Petrovna, became the boy's intercessor and nurse. “I began an independent life immediately, without any preparation,” Astafyev would write later. In the work of Astafyev, two major themes are equally embodied - the military and the village. The war appeared in his works as a great tragedy ("The Merry Soldier", "So I Want to Live", "Cursed and Killed", etc.). At first, the village theme was most fully embodied in the first book "The Last Bow", the story "Ode to the Russian Garden", the story Living Life, many Zatesya ... They have the feeling of a small homeland with its courtyard and arable land as a harmonious universe. Poeticization of the naturalness of the natural and economic cycle of life. Inclusion in it as a measure of the truth of human existence. The originality of national characters. Ermolova Oksana Vladimirovna

Vasily Ivanovich Belov (1932) “Not to love the peasantry means not to love oneself, not to understand or to humiliate him - it means to cut the branch on which we are sitting. What, however, we often did in the past, we are doing not without success and now ... ”Ermolova Oksana Vladimirovna

Vasily Belov was born in the village of Timonikha, Vologda region. His father Ivan Fyodorovich died in the war, his mother Anfisa Ivanovna single-handedly raised five children (in his memoirs "Irrevocable Years" Belov describes in detail all the village relatives). After seven years of study in a village school, he worked as an accountant, then graduated from the FZO, where he received the specialty of a locksmith, minder and electrician. He served in the army in Leningrad. In the newspaper of the Leningrad Military District, he published the first poems "On Guard of the Motherland", and then entered to study at the A. M. Gorky Literary Institute in 1964. Belov lives permanently in Vologda, without breaking ties with the "small homeland" Timonikha, from which he draws of his work, starting with the story "Berdyayka Village" and the book of poems "My Forest Village" (both). After them the book of stories "Sultry Summer" (1963) and "River Izluki" (1964) were published. The publication of the novella "Habitual Business" (1966) brought Belov wide fame, confirmed his reputation as one of the founders and leaders of "village prose". This reputation was strengthened by the publication of the story "Carpentry Tales" (1968). The life of the village and collectivization are devoted to the novels "Eves" (1976), The Year of the Great Turning Point (1987) and the Sixth Hour (). Many of Belov's stories and stories, as defined by the critic Y. Seleznev, are not rich in external events, sharp plot twists ... There is no entertaining intrigue in them either. But they are rich in man. According to another critic, M. Lobanov: He has access not to speech husk, but to the spirit of the national language and its poetry. Ermolova Oksana Vladimirovna

Vasily Makarovich Shukshin () "I could not talk about anything, knowing the village ... I was brave here, I was here as independent as possible." Ermolova Oksana Vladimirovna

His homeland is the village of Srostki, Altai Territory, his parents are peasants. After leaving school, Shukshin served in the navy, worked as a loader, locksmith, teacher, school director. Then he graduated from the directing department of VGIK, after which he began his triumphant path in cinema as a director, actor and screenwriter. The debut in prose took place in 1961, when his stories were published by the magazine October, and two years later (simultaneously with the release of his first film Such a Guy Lives), the first collection of stories, The Villagers, was released. Subsequently, during the life of the author, the collections There, in the Distance (1968), Countrymen (1970), Characters (1973) were published. The heroes of the stories were usually the villagers, one way or another, colliding with the city, or, conversely, the townspeople who were in the village. At the same time, a village man is most often naive, simple-minded, benevolent, but the city does not meet him kindly and quickly wraps up all his good impulses Ermolova Oksana Vladimirovna

In addition to the stories, the Shukshin created two novels - the traditionally family Lyubavins (1965), which tells about the village of the twenties, and the cinematic novel about Stepan Razin I Came to Free You (1971). In addition, he penned such film stories as Kalina Krasnaya (1973), which became the most famous film by Shukshin, Call me into the bright distance ... (1975), as well as a fantastic fairy tale-parable Until the third roosters (1974), an unfinished story- parable And in the morning they woke up ... (1974), tale-tale Point of view (1974). Shortly before his sudden death, Shukshin received permission to shoot a film about Razin, whose personality he considered extremely important for understanding the Russian character. In the words of critic V. Sigov, in him there is a riotous love of freedom, reckless and often aimless activity, the ability to impulse and flight, the inability to moderate passions ... - that is, those features and qualities that Shukshin gave to many of his other characters, in full representing the village of his day. Ermolova Oksana Vladimirovna

Boris Andreevich Mozhaev () “It's time to wake up. It's time to understand the simple truth - everything starts from the ground. There is no strong state, the land of which does not feed its people. A man must be reborn if we want to live in prosperity and be an independent state Ermolova Oksana Vladimirovna

Boris Mozhaev was born in the village of Pitelino, Ryazan province. In 1940, after graduating from school, he entered the shipbuilding faculty. In 1941 he was mobilized, served in the Soviet Army until 1954. In 1948 he graduated from the Higher Engineering and Technical School of the Navy in Leningrad. As a cadet, he attended lectures at the Faculty of Philology of Leningrad University. Served in the Navy as a military engineer in Port Arthur, Vladivostok. After demobilization, he became a Far Eastern correspondent for Stroitelnaya Gazeta, and later worked for Izvestia. Ermolova Oksana Vladimirovna

In fact, the story of Polyushko-Pole (1965) was Mozhaev's first work on a village theme. In 1966, a work was published in Novy Mir that put Mozhaev among the brightest representatives of village prose - the story of the Living (originally it was given the name From the Life of Fyodor Kuzkin). The tragicomic History of the village of Brekhova, written by Pyotr Afanasyevich Bulkin (1968), Staritsa Proshkina (1966), Without a Purpose (1965) and other stories and essays, were also written about the life of the Soviet village by Mozhaev. But his main work was a novel-dilogy of Men and Women. The novel, as well as some of the writer's other works, is set in the fictional Tikhanovsky district of the Ryazan region. Talent, acute polemical gift, deep erudition, made Mozhaev a prominent publicist and essayist, who combined competence, bright language and fearlessness. No matter how rampant the censorship was, Mozhaev defended the owner's independence of the worker, the economic independence of the farmer - from year to year, from genre to genre, be it an essay or a novel, an article or a script. Ermolova Oksana Vladimirovna

Mozhaev's prose is characterized by acute journalism, the documentary basis of many works, as well as a tendency towards satire, humor, and anecdote. His heroes are mostly courageous, active people, possessing the boundlessness of human stubbornness, born of love for independence. Ermolova Oksana Vladimirovna

Sources: Literature. Grade 11. textbook ed. V.P. Zhuravleva Site "Wikipedia" Site "Centralized library system of Apatity" Site "Yandex - pictures" Ermolova Oksana Vladimirovna

The concept of "village" prose appeared in the early 60s. This is one of the most fruitful trends in our domestic literature. It is represented by many original works: "Vladimir's Country Roads" and "A Drop of Dew" by Vladimir Soloukhin, "Habitual Business" and "Carpentry Stories" by Vasily Belov, "Matrynin's Yard" by Alexander Solzhenitsyn, "Last Bow" by Viktor Astafiev, stories by Vasily Shukshin, Evgeny Nosov , novels by Valentin Rasputin and Vladimir Tendryakov, novels by Fyodor Abramov and Boris Mozhaev. The sons of peasants came to literature, each of them could say about himself the very words that the poet Alexander Yashin wrote in the story "I Treat Rowan": "I am the son of a peasant. Everything that happens on this land, on which I have more than one path, concerns me. knocked out with bare heels; in the fields that he plowed with a plow, in the reaping that came with a scythe and where he threw hay into haystacks. " “I am proud that I left the village,” F. Abramov said. He was echoed by V.

Rasputin: “I grew up in the countryside. She nurtured me, and it is my duty to tell about her. " Answering the question why he writes mainly about village people, V. Shukshin said: "I could not talk about anything, knowing the village. I was brave here, I was here as independent as possible." FROM.

Zalygin wrote in his “Interview with myself”: “I feel the roots of my nation exactly there - in the village, in the arable land, in the most basic bread. Apparently, our generation is the last one that saw with its own eyes that thousand-year way of life, from which we came out almost everything and everyone. If we do not talk about it and its decisive alteration within a short period of time - who will? " Not only the memory of the heart nourished the theme of “small homeland”, “sweet homeland,” but also pain for its present, anxiety for its future. Exploring the reasons for the acute and problematic conversation about the village, which was conducted by literature in the 60-70s, F. Abramov wrote: “The village is the depths of Russia, the soil on which our culture grew and flourished.

At the same time, the scientific and technological revolution, in the age of which we live, has touched the village very thoroughly. Technique has changed not only the type of farming, but also the very type of peasant. Along with the old way of life, the moral type goes into oblivion. Traditional Russia is turning over the last pages of its thousand-year history. Interest in all these phenomena in literature is natural. Traditional crafts are fading away, local features of peasant dwellings, which have evolved over centuries, disappear. Language bears serious losses.

The village always spoke a richer language than the city, now this freshness is leached out, washed out. ”The village presented itself to Shukshin, Rasputin, Belov, Astafyev, Abramov as the embodiment of the traditions of folk life - moral, everyday, aesthetic. In their books, there is a noticeable need to take a look at everything that is connected with these traditions and what broke them. "Habitual business" is the title of one of V.

Belova. These words can define the inner theme of many works about the countryside: life as work, life in work is a common thing. Writers draw the traditional rhythms of peasant work, family concerns and anxieties, weekdays and holidays. There are many lyrical landscapes in the books. So, in the novel by B.

Mozhaeva "Men and Women" draws attention to the description of "unique in the world, fabulous flood plains of the Oka", with their "free forbs": "Andrey Ivanovich loved meadows. Where else in the world is there such a gift from God? So as not to plow and sow, and the time will come - go out with the whole world, as for a holiday, in these soft manes and in front of a friend, playfully with a scythe, one week to swing blown hay for the whole winter to cattle Twenty-five! Thirty wagons!

If the grace of God has been sent down to the Russian peasant, then here it is, here, in front of him, spreads out in all directions - you cannot grasp it with your eye. " In the main character of the novel by B. Mozhaev, the most intimate is revealed, that which the writer associated with the concept of “the call of the earth”.

Through the poetry of peasant labor, he shows the natural course of a healthy life, comprehends the harmony of the inner world of a person who lives in harmony with nature, rejoicing in its beauty. Here is another similar sketch - from F. Abramov's novel “Two winters and three summers”: “Mentally talking with the children, guessing on the tracks, how they walked, where they stopped, Anna did not notice how she went to Sinelga. And here it is, her holiday, her day, here it is, the joy she has suffered: the Prysslin brigade at the reaping! Mikhail, Liza, Peter, Grigory She got used to Mikhail - from the age of fourteen she has been mowing down for a peasant and now there are no mowers equal to him in all Pekashin. And Lizka also leads the swath - you will envy.

Not into her, not into her mother, into her grandmother Matryona, they say, by a grip. But small, small! Both with scythes, both hitting the grass with scythes, for both the grass lies under the scythes God, did she ever think that she would see such a miracle! " Writers have a subtle sense of the deep culture of the people. Comprehending his spiritual experience, V.

Belov emphasizes in the book "Lad": "Working beautifully is not only easier, but also more enjoyable. Talent and work are inseparable. " And one more thing: “For the soul, for memory, it was necessary to build a house with carvings, or a temple on the mountain, or to weave such lace, from which the distant great-great-granddaughter's eyes would take their breath away and light up. Because man does not live by bread alone ”.

This truth is professed by the best heroes of Belov and Rasputin, Shukshin and Astafiev, Mozhaev and Abramov. In their works, it is necessary to note the pictures of the brutal ruin of the village, first during collectivization ("Eves" by V. Belov, "Men and Women" by B. Mozhaev), then during the war years ("Brothers and Sisters" by F.

Abramov), in the years of the post-war hard times ("Two winters and three summers" by F. Abramov, "Matrenin's yard" by A. Solzhenitsyn, "The usual business" by V.

Belova). The writers showed the imperfection, the disorder in the everyday life of the heroes, the injustice inflicted on them, their complete defenselessness, which could not but lead to the extinction of the Russian village. “There is neither subtract nor add. This is how it was on earth, ”A.

Tvardovsky. The "information for thought" contained in the "Supplement" to "Nezavisimaya Gazeta" (1998, 7) is eloquent: "In Timonikha, the native village of the writer Vasily Belov, the last man, Faust Stepanovich Tsvetkov, died. Not a single man, not a single horse. Three old women. " And a little earlier, Novy Mir (1996, 6) published the bitter, hard reflection of Boris Yekimov, “At the Crossroads,” with dire predictions: “Beggar collective farms are already eating up tomorrow and the day after tomorrow, condemning those who will live on this land to even greater poverty after them the degradation of the peasant is worse than the degradation of the soil.

And she is there. " Such phenomena made it possible to talk about "Russia we have lost." So the "village" prose, which began with the poeticization of childhood and nature, ended with the consciousness of a great loss. The motive of "farewell", "last bow", reflected in the titles of the works ("Farewell to Mother", "The last term" by V.

Rasputin, "The Last Bow" by V. Astafiev, "The Last Suffering", "The Last Old Man of the Village" by F.

Abramova), and in the main plot situations of the works, and the presentiments of the heroes. F.

Abramov often said that Russia was saying goodbye to the countryside as to a mother. In order to highlight the moral problems of the works of "village" prose, let us pose the following questions for the eleventh graders: - What are the pages of the novels and stories of F. Abramov, V. Rasputin, V.

Astafieva, B. Mozhaeva, V. Belova are written with love, sadness and anger? - Why was the man of the “hardworking soul” become the first-planned hero of the “village” prose?

Tell us about it. What worries him, worries him? What questions do the heroes of Abramov, Rasputin, Astafiev, Mozhaev ask themselves and us, the readers?

And in artistic terms, and in terms of the depth and originality of moral and philosophical problems, "village prose" is the most striking and significant phenomenon of literature of the 60-80s.

By the nature of the social and moral-philosophical content, this was the deepest, "root" opposition to the ideology of "developed socialism" and in general to the fundamental principles of official ideology and "the most advanced teaching"; that is why “village prose” became the literary soil of the “Young Guard” direction of literary and social thought.

The "new wave" of "village prose" was composed of the most talented writers. A. Solzhenitsyn in the 70s and later, answering the question of how he sees the "core" of modern Russian literature, invariably listed fifteen names of writers, and two-thirds of this list - writers-"village": F. Abramov , V. Astafiev, V. Belov, V. Shukshin, V. Rasputin, E. Nosov, V. Soloukhin, B. Mozhaev, V. Tendryakov.

The literature of this period is characterized by an extraordinary topicality. Its movement is closely connected with the movement of social life. Literature directly reflects the state of village affairs.

Hence its characteristic features:

acute problematicity, and the problems are of a social, socio-psychological nature, so to speak, "economic affairs";

"Essayism": the essay is at the forefront of the literary process, the actual artistic genres are as if in the "second echelon", but the problems raised by the essay are developed in them psychologically and at a different, much higher level of generalization.

Thus, the subject of the image is "business", the form is a production plot, the framework and content of which are determined by the socio-economic problem.

Hence - the interest of writers to a special type of heroes.

Who is raising the collective farm? Or trying to raise?

As a rule - a person from the outside: the new chairman, or the secretary of the district committee, or the chief agronomist, etc. (The old ones are all falling apart before, the new one is called upon to fix things).

This social status of the hero of the literature of the 50s determines its character series. The heroes of the works are almost always leaders: chairmen of collective farms, secretaries of district and regional committees, directors of MTS, chief engineers and agronomists, etc. This is literature about peasant life, but in essence, almost "without peasants." It is difficult to recall even one or two significant works, in the center of which there would be simply a peasant.

The object of the image and the sphere of action, relatively speaking, is not a hut, but an office.

and a life question, the main problem of the day - the problem of daily bread.

Naturally, socio-economic problems were in the center of attention, their content determined genre types (essay, socio-psychological story and story), features of conflicts, forms and typology of plots, and the attention of writers was attracted as heroes or not heroes, first of all, people. on which, in those conditions, the solution of the problems depended and who were looking for this solution, i.e. bosses, leaders. The language of this prose is rather average, often inexpressive.

works of Russian literature dedicated to village life and referring primarily to the depiction of those humane and ethical values \u200b\u200bthat are associated with the centuries-old traditions of the Russian countryside.

DL artistic pathos is bi-directional: major art patterns can be traced through pathos. On the one hand, this pathos is critical. (Soviet reality is critically interpreted). The critical pathos is not accidental: the problem is historically objective. Russia in the 10-20s of the 20th century was a country predominantly rural, peasant, then the processes: world war, collectivization, the second world war, revolution - these are clear signs of the feeling of crisis, disintegration, destruction of the surrounding world. This is what worried the village writers, hence the acute critical pathos of the perception of the world. The second element of pathos, on the other hand, ideologizing, constructing, associated with the creation of the myth of the Russian village. The myth does not need to be understood as a value judgment, it is an attempt to construct the ideal of interaction between the world and the person, which is seen by the village writers, from the elements of history, the previous culture, based on spiritual, moral tradition. The myth of the Russian village addressed first of all to history, its traditions, foundations, was supposed to help to find new ways. Conclusion: Bidirectional pathos creates a complete picture of the world, where the village world is in the center, the human world is part of the large surrounding living world, a person is perceived as a part of living being. A harmonious existence is possible if a person understands his place in the world. Rustic

the world is important not in itself, but as a place, a meeting point of a person with the universe, a cycle of being. Different processes: which destroy and turn to foundations, an attempt to search, construct on the basis of this general model of values.

The problems of relations between generations, the problems of preserving traditions, the search for the meaning of human existence are important. The story also poses the problems of contradictions between town and country, the problem of the relationship between the people and the authorities.

The writer initially puts spiritual problems in the foreground, which inevitably entail material problems.

V. Rasputin's story "Farewell to Matera" (1976) - one of the most significant, summit works of village prose. A concrete life situation here acquires a generalized symbolic meaning. The genre of the story can be defined as a philosophical parable. The writer reflects anxiously on the fate of his homeland, of the entire land, of which Matera is a model.

Matera is an island on the Angara, where people have lived for more than three hundred years, from generation to generation cultivating the fertile Siberian land, which gives them bread, potatoes, and cattle fodder in abundance. One gets the impression of eternal life: the old women on the island no longer remember exactly their age. They say goodbye to Matera as to a living being. They explain her departure by the interference of an unreasonable human will in the natural course of things, in a rational life arrangement. The disappearance of Matera is tantamount to the end of the world. But all this is obvious only to the old women, the old man Bogodul and the author himself. Daria Pinigina, "the oldest of the old women", is especially upset by what is happening. She "sees in memory" the whole story of Matera. The image of Daria, it seems to me, is Rasputin's greatest success. It is unique in its dramatic psychologism and philosophical nature. In her thoughts, Daria always turns to the ancestors who lived and died in order to prepare the life of new generations who left them their spiritual experience. The heroine has a heart for her whole family, so the desecration of the mothers' graves by "evil spirits" from the sanitary and epidemiological station becomes a real disaster for Daria and other old residents of Matera. In their opinion, this is a sign of complete savagery of a person. Thus, one of the main philosophical meanings of the story is that life on earth does not begin with us and that it does not end with our departure. As we treat the ancestors, so the descendants will treat us. Rasputin, through the lips of his heroine, Daria, speaks of the most important things - the preservation of memory, roots, traditions. Daria's memory cannot be washed away by the waters of the Angara.

She even her hut, in which many generations of ancestors lived, and she is only a temporary mistress, she sees off her last journey, as if she were alive, washing and whitewashing for the last time. The writer shows how the ties with Matera are weakening from generation to generation. Darya's fifty-year-old son Pavel is no longer sure if the old people are right in their furious defense of the island, and his son Andrei is arguing with his grandmother about technical progress. In the further existence of the island, he sees no point and agrees to give it "for electricity." Thus, Andrei renounces his homeland and unites with strangers, "officials", for whom the inhabitants of Matera are "flooded citizens." Rasputin is not at all against progress, but he is alarmed by the fact that a person is lost behind him. In the lips of Daria, motherly anxiety and pain for the human soul, disfigured by civilization, sound. The heroine sees that it is no longer machines serving people, but people serving machines and warns:

"You will soon lose yourself on the way." The story has twenty-two chapters, which reproduce the life of the inhabitants of Matera in the last three months of their stay on the island. The plot develops slowly, allowing you to peer into every detail of a forever passing life, into the details of a familiar landscape, which became especially expensive on the eve of death. Daria Pinigina, the patriarch of the village, has a strict and fair character, which attracts the weak and the suffering to her, the features of her native nature. She finds herself in the center of the intertwining of storylines associated with other residents of Matera: Bogodul, Katerina and her son Petrukha, Nastasya, the wife of grandfather Yegor, Sima, raising her grandson Kolya. Daria's house is the last stronghold of the "habitable" world in the confrontation with the "madness, undead" embodied in the men sent to burn down the unnecessary buildings, trees, crosses in the cemetery, as well as in the chairman of the former village council Vorontsov.

The tragic denouement of the story shows the author's position. But the resolution of the conflict is ambiguous. The story's conflict has a socio-historical meaning. The collision of the old and the new appears as an attempt to "break in half" the age-old foundations of life. This philosophical and moral work touches on the problems that became relevant at the end of the twentieth century: the economic consequences of scientific and technological progress, the advance of civilization to a few corners of patriarchal life. But, in addition, “farewell to Matera” also considers eternal questions: relations between generations, the search for the meaning of human existence, the expectation of death. In the social and everyday issues of the story - the difference between urban and rural ways of life, the destruction of traditions, the attitude of the people to the authorities - their deep, essential meaning is highlighted. Rasputin's stories, especially "Farewell to Matera" - a real requiem for the outgoing Russian village. “Matera will go to electricity,” - so it is said in this story about the fate of the village.

Rural prose is one of the trends in Russian literature of the last century. It originated in the 50s. The works of representatives of this trend have been studied by schoolchildren for more than a decade in Russian literature lessons. Many stories and novellas of the "village bumpers" writers have been filmed by both Soviet and Russian filmmakers. The work of the brightest representatives of rural prose is the topic of the article.

Features of village prose

Valentin Ovechkin is one of the first prose writers who glorified the life of the Russian hinterland in the pages of his works. The very definition of village prose did not immediately enter literary criticism. The belonging of the authors, who today are usually called "village breeders" writers, to a certain direction in prose have long been questioned. Nevertheless, over time, the term acquired the right to exist. And this happened after the publication of Solzhenitsyn's story "Matrenin's Dvor". Village prose was understood not only as works dedicated to the villagers, but also as a complex of artistic and stylistic features. What are they all about?

Village writers in their works raised issues of ecology, preservation of national Russian traditions. talked about history, culture, moral aspects in the life of the inhabitants of the provinces. One of the brightest representatives of rural prose is F. Abramov.

In his small, capacious works, he was able to show the life of a whole generation, whose representatives, as you know, especially experienced the consequences of the historical events of the 20s of the last century, the hardships of the post-war period. But the work of this prose writer will be briefly described below. First, it is worth giving a list of writers, "village breeders".

Representatives of the village prose

F. Abramov stood at the origins of the literary movement. V. Belov and V. Rasputin are also put on a par with this writer. It would be impossible to reveal the theme of Russian village prose without mentioning such works as "Tsar-Fish" by Astafiev, "Living Water" by Krupin and, of course, "Matrenin's Dvor" by Solzhenitsyn. Vasily Shukshin made an important contribution to the development of village prose. A bright rustic flavor is present on the pages of Vasily Belov's books. The list of writers who have dedicated their works to the customs and traditions of the Russian village also includes N. Kochin, I. Akulov, B. Mozhaev, S. Zalygin.

Interest in writers-"village breeders" was observed in the 80s. However, with the collapse of the USSR, other genres became popular. Today the books of Vasily Belov, Fyodor Abramov, Valentin Rasputin, the stories of Alexander Solzhenitsyn have found a new life. They are regularly republished, feature films are made on them (films "Live and Remember" in 2008, "Matrenin's Dvor" in 2013).

Fedorov Abramov

One of the most famous representatives of village prose was born in the Arkhangelsk region, but spent most of his life in Leningrad. Abramov volunteered for the front in 1941, went through the entire war. And only after graduation he was able to get higher education at the Faculty of Russian Philology.

Abramov is called the patriarch of village prose for the scrupulousness with which he tried to comprehend the causes of the tragedy of the peasantry, the social characteristics of the village. Addressing this topic put Abramov on a par with the most significant figures in Soviet literature of the sixties and seventies.

Why were so many forced to leave their home in the 50s and go to the city? Abramov, along with Shukshin and Rasputin, tries to answer this question in his works, which have long become classics of Russian prose. At the same time, the fate of the hero who left the village is always tragic. Abramov's style, like the style of other village writers, is not grotesque or imaginative. The most significant work in the work of this prose writer is the novel "Brothers and Sisters".

Vasily Belov

This writer is a native of the village of Timonikha, Vologda Oblast. Belov knew firsthand about the hardships of village life. His father died during the Second World War, his mother, like millions of Soviet women, was forced to raise children on her own. And she had five of them. In one of his works, "Irrevocable Years", the writer told about the life of his relatives - villagers.

For many years Belov lived in Vologda, not far from his small homeland, from which he drew material for literary work. The novel "Usual Business" brought wide popularity to the writer. And it was this work that secured him the title of one of the representatives of village prose. In Belov's stories and novellas, there are no sharp plot twists, there are few events and almost no intrigue. Belov's advantage is the ability to masterfully use the folk language, to create vivid images of the villagers.

Valentin Rasputin

A well-known prose writer once said that it was his duty to tell about the village, to sing it in his works. He, like the other writers discussed in this article, grew up in a village. Graduated from the Faculty of History and Philology. A debut in literature was the publication of the story "The Edge of the Sky". "Money for Maria" brought fame.

In the seventies, the books of Rasputin Valentin Grigorievich enjoyed considerable popularity among the Soviet intelligentsia. The most famous works are Farewell to Matera, Live and Remember. It was they who ranked the prose writer among the best contemporary Russian writers.

Other Valentin Grigorievich - collections, which included the stories "The Last Term", "Ivan's Daughter, Ivan's Mother", "Fire" and the stories "Kostrovye New Cities", "Siberia, Siberia". More than once filmmakers have turned to the work of this writer. In addition to "Live and Remember", other films based on the works of Rasputin should be mentioned. Namely: "Vasily and Vasilisa", "Meeting", "Money for Maria", "Rudolfio".

Sergey Zalygin

This author is often ranked among the representatives of village prose. Zalygin Sergey Pavlovich for several years served as editor of the "New World". Thanks to him and some other writers in the late 80s, publication resumed. As for the work of Zalygin himself, he created such stories as "Oskin argish", "To the mainland", "Morning flight", "Common people".

Ivan Akulov

"Kasyan Ostudny" and "Tsar-fish" are stories included in the list of the most significant works of village prose. Their author - Akulov Ivan Ivanovich - was born into a peasant family. The future writer lived in the village until he was nine years old. And then the family moved to the city of Sverdlovsk. Ivan Akulov went through the war, was demobilized in 1946 with the rank of captain. His creative path began in the 50s. But, oddly enough, he began to write not about the war. In his literary works, he recreated the images that he remembered in his childhood - the images of ordinary village residents who endured many hardships, but did not lose their strength and faith.

Vasily Shukshin

It is worth telling about this writer, known not only as a representative of village prose, but also as a director, screenwriter with a rare original talent. Vasily Shukshin was from the Altai Territory. The theme of a small homeland ran as a red thread in his work. The characters in his books are contradictory, they can not be attributed to either negative or positive characters. Shukshin's images are alive, real. After the end of the war, the future writer and director, like many young people, moved to the big city. But the image of the village remained in his memory, and later such works of small prose as "Cut off", "Mother's Heart", "Kalina Krasnaya" appeared.

"Matrenin Dvor"

Solzhenitsyn cannot be attributed to the representatives of village prose. Nevertheless, the story "Matrenin's Dvor" is one of the best works reflecting the life of rural residents. The heroine of the story is a woman devoid of self-interest, envy, and anger. The components of her life are love, compassion, work. And this heroine is by no means an invention of the author. Solzhenitsyn met the prototype of Matryona in the village of Miltsevo. The heroine of Solzhenitsyn's story is a semi-literate villager, but she attracts the attention of readers, as Tvardovsky said, no less than Anna Karenina.