Kazarin biography. Well ice. Poetry. Monographs and study guides

Every morning I jump out of bed and step on a mine. This mine is myself. After the explosion, I spend the whole day picking myself up piece by piece.

It is generally accepted that writing is hard, painful, terrifying work, a nightmarish occupation. But the thing is, my stories have guided me through life. They called, I followed the call. They ran up and bit my leg - I responded by writing down everything that happened during the bite.

The writer must first of all be obsessed. He must be feverish with heat and delight. Without this burning, he had better do something else - pick peaches, dig ditches; God knows, it will be healthier. How long ago did you write a story in which your true love or true hatred somehow came out on paper? When was the last time you dared to release your dearly beloved partisan opinion to strike the page like lightning? What is the best in your life, and what is the worst, and when will you bother to tell the world about it, in a whisper or at the top of your voice?

When people ask me where I get ideas, I laugh. It's so strange, we're so busy looking outside for ways and means that we don't have time to look inside.

If you are going to convince the reader that he really got into the world you created, you need to influence all his senses in turn: color, sound, taste, texture. If the reader feels the warmth of the sun on his skin, feels his sleeves fluttering in the wind, then half the job is done. The most incredible stories can be made plausible if the reader - with all his senses - feels himself in the thick of things. So he can't stay away. Willy-nilly, he will have to participate.

Read authors who write the way you want to write yourself, who think the way you yourself want to think. But read also those authors who think differently from you, or write differently than you would like to write - in order to get an incentive to look in a direction where you would not look for many years.

In order to feed your Muse, you yourself need to experience eternal hunger since childhood - an insatiable desire to live. If you didn't, it's too late to start. But better late than never. Well, are you ready?

Feeding the Muse seems to me an endless pursuit of hobbies and attachments, checking these attachments for compliance with your present and future needs, moving from the simplest textures to more complex, from naive to more sophisticated, from condos to intellectual.

I've heard simple farmers talk about their very first wheat harvest on their first farm since moving out of state, and if it wasn't Robert Frost talking, it was his brother, even if it was his fifth cousin. I heard machinists talk about America in the spirit of Thomas Wolfe, who traveled the whole country in his author's style, how they themselves drive around it on their locomotives. I have heard mothers talk about the long night after the birth of their first child, when they feared they might die with the child. I heard my grandmother talk about her first ball at the age of seventeen. And all of them, ignited by the soul, became poets.

The text is born from an enduring curiosity about all forms of art, from bad radio shows to good theatre, from nursery rhymes to symphonies, from jungle hut to Kafka's "Castle" - the ability to weed out the superfluous, find the truth, taste it and save it for later use is born. . Being a son of your time means being able to do all of the above. And do not turn away for the sake of money or vanity from all that you have collected in a lifetime.

We all need someone who is older, wiser and taller than us to say that we are not crazy after all and that what we are doing is normal. It's okay, damn it, great! After all, it is so easy to doubt oneself: as you look around, at other writers, other intellectuals who are united in a single opinion, you will burst into a blush of guilty shame.

Many people, when they are fourteen or fifteen, get rid of their childhood loves, their first intuitive passions, reject them one by one, and when these people become adults, they no longer have fun, rapture, ardor and taste for life. They are condemned by others, and they condemn themselves, and thereby drive themselves into confusion.

All my creative activity, all my development, all my new works and new loves came out of that primordial childhood love for monsters, which opened up in me at the age of five and which I carefully preserved at twenty, and at twenty-nine, and at thirty .

This is where my career as a science fiction writer began. I never again listened to those who made fun of my passion for space flights, circuses or gorillas. If something like this happened, I took my dinosaurs and left the room.

For ten years, I wrote at least one story a week, for some reason guessing that one day the day would come when I would stop bothering myself, and everything would work out by itself.

When I was in my early twenties, I lived the following schedule. On Monday, early in the morning, I made the first draft of a new story. On Tuesday I corrected him. On Wednesday I ruled again. On Thursday he ruled again. On Friday I straightened it out again. On Saturday, with the noon mail, I sent the sixth, and final, draft to New York. And on Sunday? On this day, I thought about all the crazy ideas that fought for my attention.

If you sort through all my stories, there will be only one or two written in hot pursuit of the events that happened to me. Almost all my life I resisted desperately when I was sent somewhere to imbue the local color, "absorb" the customs of the natives, landscapes and impressions. I realized long ago that I couldn't think straight, that almost all of the "absorption" work was done by my subconscious mind, and that it could be many years before impressions were ready to be used.

The more I did, the more I wanted to do. You become greedy. You are feverish. You are intoxicated with work. You don't sleep at night because ideas - your own monsters - are rushing to freedom and make you toss and turn from side to side. It's a wonderful lifestyle.

WORK. This is the first inscription. RELAX. This is the second one. And here is the last, third: DON'T THINK!

The feeling of professional inferiority often reflects true ineptitude, resulting simply from lack of experience. So - work, gain experience in order to feel free in writing, like a fish in water.

We are never idle. We are bowls that fill up constantly, without much noise. The trick is to figure out how to tip that cup and pour beauty into the world.

“Every morning I jump out of bed and step on a mine. This mine is myself.”

I have already written about how much I love the work of Ray Bradbury. I re-read many of his books and more than once, therefore, when I saw a volume of “Zen in the Art of Writing Books”, unknown to me, I was very happy, deciding that this was something new. By the title, you might think that this book is a guide for beginner writers, a kind of master class from Bradbury, something like How to Write Books from Stephen King. This is not entirely true.

Unlike King's book, written as a real guide and set of practical tips for beginning writers, Bradbury's Zen ... is a collection of essays published at various times in various publications. Five forewords (four of them to his own books, one to the anthology Fantasy and Science Fiction since 1939), two articles for Writer magazine, one for the Capra Press annual almanac, one for a non-fiction anthology about writing craft, one for Film Comment magazine. So with the world on a string, a collection turned out, the name of which was given by one of the works included in it. Oh, yes, I almost forgot - for dessert, eight poems by Bradbury about art and creativity are published at the end of the book. They are considered poetry, apparently, because they are written in a column. For me personally, all of Bradbury's work is very poetic, but the verses printed in this book will be more prosaic than many of his stories, although it is possible that the translator simply did not cope well with the poetic form.

"I discovered surprise and surprise in the craft of writing."

Let's return to "Zen ..." - the collection gives an idea of ​​​​how the great American storyteller created his books. Bradbury talks to the reader, talking about how he wrote The Martian Chronicles and Dandelion Wine, Fahrenheit 451 and Something Terrible Coming, where ideas for stories come from, what tricks he used to to catch and keep the Muse near him, as libraries help to create - the writer shares all this without concealment, with his characteristic humor and warmth of heart. Throughout the collection, the idea is clear that anyone can become a writer, but for this you need to work daily for many years. The main thing is not to stop being surprised by the world - only then you can surprise someone yourself.

"When life does not run to save itself, it freezes - for the same purpose."

Do not read this volume at once, swallowing page after page in a wild race. In principle, it’s not worth reading like that at all, especially Bradbury, and especially “Zen ...”. Firstly, then a small collection will last for a very short time - literally for a couple of hours; secondly, given that the theme of all the works of the collection is the same - creativity - in different essays written in the period from 1961 to 1990, Bradbury repeats some of his theses, and the overall impression is blurred if you run the reader's distance at sprint speed . After all, prefaces are meant to precede the main reading, not instead of it. Therefore, “Zen…” is better to read “on a teaspoon” - each article of the collection is full of vivid images and energy, interesting thoughts and funny observations, and each one needs to leave time to feel the “aftertaste” from it. Even in his journalistic works, Bradbury creates his own recognizable atmosphere, weaving a magical world out of words, fabulous, frightening and pleasing at the same time. Enjoy it.

PS. The most important point is that if you are not yet familiar with the writer's work (it's hard to believe that there are), then you should not read this book, otherwise you will deprive yourself of the pleasure of a personal discovery of his magical world. Read Bradbury's fiction books first, and even better: before reading a particular novel, read the preface to it from this collection. Since publishers often don't bother to include prefaces or essays of any kind in books, Zen in the Art of Bookwriting can be used as an appendix of "Publicist Ray" to "Big Literary Bradbury".

Score: 8

It is never too late to learn, especially from such a bright and talented writer as R. Bradbury. When you pick up this small collection of poems and articles written in different years, there is a feeling of closeness of revelation, because the author is going to speak to you directly, not hiding behind the backs of his characters. It’s really worth learning from Bradbury, and not only the ability to create literary texts, but also the most important thing - to live brightly, breathe deeply and spend every day like the last, so that when you wake up the next morning, full of ideas and energy, repeat this cycle to infinity, well or how much the Lord has measured for us. Surprisingly, without blaming anyone in his speeches, without trying to seem better than he really is, the author denounces greed, hypocrisy and pride, makes him work on himself, and wage this struggle constantly, without stopping or relaxing. However, closer to the point, let's see what the collection is like in terms of its content.

The entire content of the book can be roughly divided into three parts. The first is recommendations for novice authors, a master class from the master. The second is a selection of introductory articles to collections and the most famous novels, where we will learn the history of the creation of the most famous works, listen to Bradbury's work experiences in conjunction with theater and cinema. And finally, we are invited to get acquainted with a number of author's poems, because it is not without reason that many see in the image of this writer, first of all, a romantic and a poet. It’s not even worth mentioning that everything is written in a fascinating, emotional, inspirational and lively artistic language. It is better to talk about the shortcomings. First, the sections should be marked in the content and the introductory articles to the novels and collections should be arranged according to the chronology of the release of the works - a purely cosmetic moment, but still. Secondly, more new material could have been offered, only two essays were written especially for this collection, the rest is a reprint of old works.

The first section seemed to me the most interesting, where the author reveals his creative secrets, gives valuable advice and guidance. It seems that everything is simple, you can get to this with your own mind, but as always - we miss the most obvious things, do not pay attention to them, and when someone points us to these simple truths, this produces a revelation effect. Putting your life on paper, not chasing money and popularity - these are not just empty words, Bradbury himself lived and worked in full accordance with these principles, which is why he eventually received both money and fame. The author calls for constant work, for self-improvement - you can't just sit down at a computer and become a writer overnight - many years of training, thousands of unsuccessful stories written "in the wastebasket". The main thing is not to stop until you write your first worthy thing, for Bradbury it was the story "The Lake", but before that there were a lot of unsuccessful, imitative works, without which there are no masterpieces.

The second part of the collection consists of introductory articles to collections and novels, I have already read a lot of this before, but, as you know, repetition is the mother of learning, articles collected under one cover produce an additional effect, illustrating different stages of becoming a master. It was not possible to avoid self-repetitions here, from time to time you notice that you have already read the story of the creation of a story several articles earlier or you hear the same story from personal experience for the second time. In this part, it is worth noting the history of the creation of the "Martian Chronicles" - a chain of important meetings and amazing coincidences, makes you think that it was not without the intervention of Providence. In The Hidden Mind, the author shares not only the history of the creation of the Irish cycle, but also his experiences in dramaturgy, work on writing a play based on Irish material. The author also talks about the attitude to the theater in an essay dedicated to Fahrenheit 451, tells about the creation of a play based on the book.

An essay about creating a screenplay for the film adaptation of the novel Trouble Coming is dedicated to interaction with the world of cinema. It is known that Bradbury in Ireland also wrote the script for the film version of Moby Dick. Thanks to this collection, the author is revealed not only as a famous writer, but also as a playwright, screenwriter, and poet. The book ends with a selection of Bradbury's poems. I can't say that I liked the verses given here, I just prefer a different kind of poetry. I like it better when, in individual stories, Bradbury switches to poetry in prose. It seems that in the verses for this collection the author continues to share life's truths, it's like a brief artistic digest of additional essays that could be included in this book in prose, but the author decided to express his thoughts in verse. It seems inappropriate to criticize something here, because lyrics are a very intimate moment, the perception of images and rhythm plays a decisive role here, and everyone has their own.

Summing up, I can evaluate this collection quite positively. In my opinion, it is aimed at an already prepared reader who is familiar with the most famous novels and stories of the author. The essays collected here make it possible to assemble a holistic image of the creator in the head, to generalize and supplement something, to remind something - as a result, individual strokes add up to a single portrait canvas. It was interesting to learn how favorite novels were created, to get acquainted first-hand with the methods of the author's work, and most importantly, to assess how time-consuming the work of a real writer is, distancing himself from the conjuncture and day labor. I read this book in one breath, it is quite short, half the size of a standard collection of short stories. With a few examples, you understand that the author could tell about each of his stories the story that gave him inspiration to create the plot. The writer's autobiography could take several solid volumes, but thanks to his creative approach - each work of Bradbury is a particle of life, carefully preserved in the pantries of memory and passed on to us, ordinary readers.

Russia

E. V. Kuznetsova

Yuri Viktorovich Kazarin(born June 11) - poet, linguist, professor of the philological faculty of the Ural State University. A. M. Gorky.

Biography

Born in the city of Sverdlovsk. Graduate of the Faculty of Philology of USU. Since 2010, he has been working at the Department of Modern Russian Language, Ural State University. In - gg. taught Russian abroad. He defended his doctoral dissertation on the topic “Poetic Text as a Unique Functional and Aesthetic System” in Moscow. At USU, he reads all the main courses in the specialty "Russian language". Research interests: poetic phonosemantics, lexicography, lexical semantics, language ability, Russian language poetic personality, philological analysis of poetic text, etc. Student of Professor E. V. Kuznetsova. Belongs to the Ural Semantic School. Participates in the lexicographic work of the Department of Modern Russian Language, Ural State University.

Member of the Union of Writers of Russia (since a year, one of the guarantors - A. A. Tarkovsky). Chairman of the Yekaterinburg branch of the Writers' Union of Russia (2003-2010). Since 2010 - head. department of poetry of the magazine "Ural". Winner of several literary awards (Moscow, Yekaterinburg, Perm). Poems were published in the magazines "Ural", "October", "Znamya", "Youth", "New World", etc., as well as in the USA, Spain and Italy.

Major editions of poetry and prose

• "Weather" (poems), 1991;
• "After the Flood" (poems), 1994;
• "The Fifth Book" (poems), 1996;
• "Field of View" (poems), 1998;
• "Swimmer" (poetry and prose), 2000 (additional ed. - 2006);
• "Escape" (poems), 2002;
• "Counterclockwise..." (poems), 2005;
• "Selected Poems 1976-2006", 2006;
• "Kamensky elegies", 2009;
• "Kamensky elegies. Part two", 2010;
• "Kamensky elegies. Part three. Angel. Bird. Man", 2011.
• "Kamensky Elegies", Izbornik, 2012

Monographs and study guides

• Poetic text as a system, 1999;
• Problems of phonosemantics of poetic text, 2000;
• Linguistic Analysis of a Literary Text: Textbook for High Schools, 2000 (co-author);
• The poetic state of the language (attempt to comprehend), 2002;
• Philological text analysis: Workshop, 2003 (co-author);
• Linguistic analysis of a literary text. Theory and practice, 2003 (co-author);
• Philological analysis of the poetic text: a textbook for universities, 2004;
• Last poem. 100 Russian poets. XVIII–XX centuries Anthology-monograph, 2004
• Poetic graphics: monograph, 2007 (co-authored);
• Prosody. Book about versification, 2007;
• Text workshop: a book about text creation, 2008;
• Poet Boris Ryzhiy, 2009;
• Fundamentals of text creation, 2009;
• Poetry and Literature, 2011;
• Ural Semantic School: history, people, events, 2011;
• Poets of the Urals, 2011;
• Conversations with Maya Nikulina: 15 evenings;
• Last poem. 100 Russian poets. XVII-XX centuries Anthology monograph, 2011 (reissue)
• First Poem: 100 Russian Poets of the 18th–20th Centuries. My Poem: App. to the anthology-monograph. "The Last Poem", 2011;