To the paustic writer who enjoyed by the recognition of contemporaries. Powers about the craft and vocation of the writer

Most Kaluzhan senior and secondary generations are familiar with the work of Konstantin Georgievich Powest. With school benches, we remember the wonderful works of the writer: "Northern Tale", "Kara-Bugaz", "town on the river". The crown of the writer and his creative and moral quest is the autobiographical "story about life", in which he portrayed his not a simple fate against the background of the processes occurring in our country in the 30s of the past century. Konstantin Georgievich traveled a lot, throwing the whole country and polim, collecting lively interesting material for his future wonderful works. "Usually the writer knows himself better than critics and literary critics," wrote a paustovsky in joining the first of its collection of works, "in his work, I owe many to poets, writers, artists and scientists of different times and peoples. But most of all I have to Life itself, simple and significant. Her witness and participant I was lucky to be. " Indeed, the reader should be familiar with the difficult, but interesting life of K. G. Powest.

Konstantin Georgievich Powesta was born on May 31, 1892 in Moscow in the family of railway statistics. His father took place from Zaporizhzhya Cossacks, moved after the defeat of the Snack on the banks of the River River, near the White Church. The grandfather's grandfather lived there - former Nikolaev soldiers and grandmother-Turkish. Despite the profession, statistics requiring a sober look at things, his father was an incorrigible dreamer and Protestant. Because of these of their qualities, he did not stand for a long time in one place. After Moscow served in a wine, Pskov and, finally, donkey, in Kiev, where Kostya studied in the 1st Kiev classical gymnasium. The writer's mother is a daughter serving on a sugar factory - there was a woman powerful and harsh.
The Paust family was big and diverse, prone to art. They sang a lot, played on the piano, argued, the theater loved reverently. When Konstantin was in the sixth grade, their family broke up. Since then, he himself had to earn a living and learning. The future writer was interrupted by rather severe labor - tutoring. In 1911, in the last class of gymnasium, Kostya wrote his first story and published it in the Kiev literary magazine "Lights". After graduating from the gymnasium, he spent two years in Kiev University, and then transferred to Moscow University and moved to Moscow. At the beginning of World War, Konstantin worked as an counselor and conductor at the Moscow tram, then - by Sanitar on the rear and field of sanitary trains. In the fall of 1915, he switched from the train to the field sanitary squad and held with him the long way of retreat from Lublin in Poland to the town of Nesvizh in Belarus. In a detachment from Konstantin, the joke of the newspaper he accidentally found out that both his brother was killed on different fronts. He returned to his mother - she lived at that time in Moscow, but he could not sit on the spot for a long time and again began his Skital life: went to Yekaterinoslav and worked there at the Bryansk Society Metallurgical Plant, then moved to Yuzku to Novorossiysk Plant, and from there Taganrog on the boiler plant of Nes-Wilde. In the autumn of 1916, he left the boiler plant in the fishing artel on the Sea of \u200b\u200bAzov.
The writer began his first novel "Romance" in 1916 in Taganrog. Then he moved to Moscow, where he caught the incorrect February revolution, and began working as a journalist. The further formation of the writer took place under Soviet power and determined the entire further life path of Konstantin Georgievich. In Moscow, the writer survived the October Revolution, becoming a witness of many events of 1917-1919, heard Lenin several times and lived with a tense life of newspaper editions. But soon Konstantin Georgievich "Completely". He went to the mother to Ukraine, survived several coups in Kiev, then left in Kiev to Odessa. There, for the first time he fell on Wednesday of young writers - Ilf, Babel, Bagritsky, Shengheli, Lion Slavina. But the writer did not give rest of the "Musa of Far Fountation", and he, having spent two years in Odessa, moved to Sukhum, then in Batum and Tiflis. From Tiflis he traveled to Armenia and even got into Northern Persia.
In 1923, Konstantin Georgievich again returns to Moscow, where he works as a height editor for several years. At the same time, begins to be printed. The first "real" book of the writer was the collection of stories "Council ships", written in 1928. In the summer of 1932, the writer begins to work on the wonderful book "Kara-Bugaz". Collecting material for its works, Konstantin Georgievich traveled a lot around the country, getting acquainted with life and life of ordinary people. During the years of his writer's life, he was on the Kola Peninsula, he lived in a meschecher, the Caucasus and Ukraine, Volga, Kama, Don, Dnipro, OKU, and the gum, Ladoga and Onega Lakes were in Central Asia, in the Crimea, in Altai, in Siberia , in the wonderful northwest - in Pskov, Novgorod, Vitebsk, in Pushkin Mikhailovsky.
When the Great Patriotic War began, Konstantin Georgievich works by the military correspondent on the South Front. After the end of the war, he travels a lot again. In the 50s and early 60s, he visited Czechoslovakia, lived in Bulgaria in completely fabulous fishing towns of Nessebar (Messemeria) and Sozopol, trampled Poland from Krakow to Gdansk, sailed around Europe, visited Istanbul, Athens, Rotterdam, Stockholm , In Italy (Rome, Turin, Milan, Naples, Italian Alps), she seemed to see France, Provence, England, where he was in Oxford and Shakespeare Stradford. In 1965, because of his stubborn asthma, the writer lived for quite a long time on the island of Capri - a huge rock, completely overlooking fragrant herbs, Smolny Mediterranean pine - Piniya and waterfalls of the scarlet Tropical Bougainvillea, - on Capri, immersed in warm and transparent water of the Mediterranean Sea. The impressions of these numerous trips, from meetings with the most different and interesting people, formed the basis of the stories and travel essays of the writer ("Picturesque Bulgaria", "Amfora", "Third Meeting", "Crowd on the Embankment", "Italian meetings", "fleeting Paris, "La Fire Mansha", etc.), which is interested in the reader, will find in the collection of works by K. G. Powest.
Posted by Konstantin Georgievich for his life a lot, but he did not leave the feeling that he needed to do a lot. His favorite science in the gymnasium was geography. She impassively confirmed that there are extraordinary countries on Earth. He knew that the then our meager and unsecurned life would not give him the opportunity to see them. The cherished dream was clearly uncomfortable. But it did not die from that. The state of the future writer could be defined by two fame: admiration for the imaginary world and - longing because of the inability to see it. These two feelings prevailed in his youthful verses and the first immature prose. Writing life Konstantin Georgievich began with the desire to know everything and see everything. And that she ended. Poetry of wanderings, sprinkling with an untruthful reality, formed the best alloy to create books. Almost every story and every story of the writer are visible traces of wandering. At first it was south. "Romance", "shine clouds", "Kara-Bugaz", "Kolkhida", "Black Sea" and a number of stories, including "labels for colonial goods", "lost day", "sailing master", "SINYE" and some others. The first trip of the writer north - to Leningrad, Karelia and the Kola Peninsula - just stolen him. There, Konstantin Georgievich first recognized the captivating power of the North. The first white night over the Neva gave the writer more for the knowledge of Russian poetry than dozens of books and many times of reflection over them. The north called for such books such as the "Fate of Charles Lonsievil", "Lake Front", "Northern Tale", and such stories like "Bearing sugar" and "runaway meetings". But the most fruitful and happy for the writer turned out to be familiar with the middle lane of Russia. It happened quite late when Konstantin Georgievich was already under thirty years. "Of course, before that, I have been in Central Russia, but always in passing and sweep," the writer recalled, "this sometimes happens: you will see any wildlife or a village on Kozochior - and suddenly remember that I have already seen her when It was for a long time ago, maybe even in a dream, but I loved with all my heart. It also happened with Middle Russia. She took possession of me immediately and forever. I felt it as my real long-time homeland and felt Russians to the last resolution. With Times I do not know anything closer to me than our ordinary Russian people, and nothing more beautiful than our land. I do not exchange the average Russia for the most famous and amazing beauty of the globe. Now I am with a condescending smile I remember the youthful dreams of tice forests and tropical thunderstorms. All the elegance of the Neapolitan Gulf with its feast feast, I will give for the wet from the rain of a junk bush on the sandy shore of the Oka or for a winding sponge of Tarusk - on her modest shores I am often often and for a long time. The biggest, simple and freakty happiness I found in the forest Meshchersk region. The happiness of the proximity to your land, concentration and inner freedom, favorite spirit and intense labor. "It is the Central Russia that the writer is obliged by a majority of his works. In our region, the writer touched the purest sources of the people's Russian language. Each book is a meeting of many people of different ages, nationalities, classes, characters and actions.
Konstantina Georgievich has always been interested in the life of wonderful people. The writer tried to find common features of their characters - those traits that put forward them in the ranks of the best representatives of humanity. In addition to individual books about Levitan, Cyprosen and Taras Shevchenko, he has heads of novels and leads, stories and essays dedicated to Lenin, Gorky, Tchaikovsky, Chekhov, Lieutenant Schmidt, Viktor Hugo, block, Pushkin, Christian Andersen, Maupassana, Flaubrah, Bagritsky , Lermontov, Mozart, Gogol, Vrubel, Dickens and Edgar by. But still, more often and more thanks, Konstantin Georgievich wrote about people of simple and unknown - about artisans, shepherds, ferryrs, forest rigors, buoyers, worshives and rustic children - the writer's dusty friends. About fifteen years, the writer lived in Tarus, calling it the "place of fruitful inspiration", and residents "talented and unexpected, hardworking and sharp in the tongue." In the Kaluga Territory, the writer wrote a lot of his works that became the masterpieces of world and Soviet literature. One of his Tarusk stories is "conversation on a river boat", the writer considered the recognition of the love of Russian nature and Russia.

G. Trefilova

Pause Powesty in its best samples is now generally accepted. It does not need any in defense, nor in condescension. And there was time - not so long ago - her poetics met the distrust, she seemed uncannical. Now we arrangely arguing about her, more and more investigate it.

The measure of the maturity and perfection of the books of the writer, who was published in the twenties - thirties and now, of course, is different. Various and their "aesthetic attitude" to reality. One thing is the exotic stories "about ships and captains", where the own impressions of the young Odessa journalist are not easily pierced through the intonation of Green and Babel. Another thing is a purposeful pathos in lyrical reports intended for the magazine "Our Achievements", or in the lead "Kara-Bugaz", naturally imagined the Soviet literature of the thirties and so that corresponding to the overall ministry of those years. One business-autobiographical cycle "The Tale of Life" with its historical realities, the particular fantasy "Night Dilijans", dedicated to the Great Tappy Andersen and similar to the exquisite fairy tale about him.

But the paustovsky is recognizable everywhere.

He takes us into the worst of fields, produced by fresh wind, in the dusk of wet, shady forests of the meshbra; He opens the tempting roads and trails, the calling of the tireless traveler to change the comfort of unassuming rural paintings on a slurred movement of large cities, where everything breathes the story, the continuity of generations, where the dust is a thousand-year dust, where the solemn halls of museums and libraries, majestic monuments are stored

Slightly prominent words of gray manuscript. Divine peace of mysterious graves.

That is his world. This is life, what it happens, which one can be more - what should be. This is a temple of the unraveling nature, art and beauty, where peacefully and friendly centuries, peoples, culture.

And this is the found ground, where each Tresting grows to multiply the beautiful, and the man is a creator, demiurge, or recalling the ancient language of the sacred books, the "crown of creation".

From the books of Powestament comes the feeling of constancy. We do not expect any novelty about them for themselves, nor did not dislike for themselves. They are the roads to us, which there are, how can there be the ways of the word of love, said not for the first time, but with the former uneasy of feelings.

These books are one attempt to catch and consolidate such spiritual relations and properties, without which life lines, discolored and fades. The cult of nature, creativity, beauty, femininity, poetry, no exterminable faith in the celebration of freedom, good and light - here is the paustic and former and current one.

The moral and philosophical basis of the world of the writer is the eternal "disorder" of the ideal that requires realization in a changeable and conflict earthly importance. There is also his strength, and its weakness. The weakness is that as soon as he leaves the soil of imaginary and desirable, so all the tricks of the "hasty truth of life" become on his way as evil, to avoid which is much easier than overcome. Power - in the tightness of the call to man and humanity.

But the soul of the works of the paustovsky, the focus of everything much is significant and kind that they carry the reader is the image of the Motherland, which shining us is visible, it is invisible - from the pages of his books. For many years of literary activity of the writer, the feeling of the Motherland in his work was increasingly fastened and gained strength to freely, fully and infected in his best things, from the stories of the Meshorski cycle, which began more than thirty years ago, and to Ilinskogo Omut, written quite recently. It is the national-patriotic beginning of the books of the paustovsky most of all towards them in the folk consciousness as strong value. It informs them citizenship and modern sound, it specifies and sanctifies his understanding of the ideal, it makes it a successor of the best traditions of domestic culture, the fate of which is nestless from the Russian fate: the Motherland, "quiet and nomuda land under a non-labor", -

Her steppes cold silence,

Her forests of vast bars.

The spills of the rivers similar to the seas ...

"Right spills" - this association seems to have had to arise by itself, and it arises. As it often happens at the paustovsky, after the verses, their author himself becomes a character, hero. So there is a story about the guarantee of the Tenginsky regiment Mikhail Lermontov.

In the short life of the hero, the writer elects only one episode: a random meeting with Maria Shcherbatova on the roads of Russia during the spring of the Spring, their sublime, dreary and underwent feeling to each other, their willingness to reject the "secular chains and shine of the tedious bal", their predetermined fate of the separation .

Tones, in which the entire episode is painted, are characteristic of the "love lyrics" of the paustovsky. And the very name of Maria, the stock is consecrated in our poetry, one of the most beloved writers.

The reckless, inecilious aspiration of Pirosman's referee to the singer who is not able to understand it; Italian Maria in the Night Dilijanse - from the number of women "amazing beauty whose faces, as if from the inside, begging burning their passion"; Maria in the Smoke of the Fatherland; Adorable Maria from the head "All this fiction" in "Tale of Life": "It seemed to me impossible to live in the distance from Mary. I was ready for everything - let it never take me at me, but maybe I suddenly hear in the morning, in the afternoon or evening her distant voice. Let the same sky stretches over us, and this is a cloud similar to the head of the knight in the pick-up, will be the same to both she, and me. "

And one more image of the coachable passion, eliminating all the obstacles that approvers in his highest take-off as the main case of life, overshadowed everything, is the love of the gray church of Marshal and singer Maria Cherni in a small exquisite stylization of "streams, where Trout is splashing."

In our strict, socially deterministic literature to justify the love of the warrior and citizen, to justify the act of the old Marshal, at least for a time in violation of the order of his soldiers for the sake of his beloved woman, is not quite the usual resolution of the eternal conflict of debt and passion, unusual For one literary, but also for the late folk tradition (remember: "And overboard it throws into a reclining wave"). The harsh civilian morality is cruelly punishable for such preferences, it does not forgive them. And art, no matter how it failed to them, most often completes their tragic junction, which we know from the history of the heroes of Shakespeare and Dante, Tolstoy and Gogol: death from his father paid the younger son of Taras Bulba for love for a beautiful Polyachka.

In the novel of the paustovsky, the lick holiday of love is justified and consecrated. It is romantic not only essentially, but also in circumstances, and on a softened, gracious, only an alleged junction. The story of the narrator does not rise to shove beauty, and he will dismay the eyes of the cruelty of the world, hurrying to leave it somewhere outside the rockets of the narration.

But outside these borders remains much more. One of the essential features of the Pown's lyrical prose is that the "novels" of his heroes and heroines, with all the fatality of their passions, is "love by air", as it would call it M. Privina: there are no children from her. The interest of "organic life" - communications, marriage, families - is not present here or present with the state-looking convention, which was adopted in an old moral fiction. From all this, one thing is just an attractive "gliding cloud" of purified spirituality, ascended above everyday relations: it either precedes them, that is, they have been underdeveloped, "not condensed", or already "stared". Even with the Kurtisani Lucien on the "Need of Life", a flap of vulgarity and a carnal sophistication is inconspicuous; Even the pancake of Women Maupassan is presented in the "Golden Rose" who rejected the heart of a little poor worker to squat from pain, "dashing of conscience and in vain regrets" later, when he finally believed in that, "that love is not only lust, but also a victim, and hidden Joy and poetry of this world. "

Not one love, - creativity also carries this poetry. But there is a prose of every day. The heroes of the paustic in various ways will be afraid.

One thing is possible thanks to the exclusivity, the genius that knocks them out of the usual track of human buses and predetermines their great, all-consuming calling. These are people of immortality, people of glory - poets, composers, artists who represent the most detailed possibilities of the human person at all: Pushkin, Cyprosen, Levitan, Chekhov, Bunin, Tchaikovsky, Andersen, Van Gogh, Maupassan.

Others, which especially applies to our contemporaries, whom it is psychologically difficult for us to perceive in a purely legendary plan, although it is involved in somehow everyday everyday life, they are still elevated above it by the subjective observation of the artist, seeking and often finding special perspective and halo for them . These are the portrait portrait sketches of Lugovsky, Dovzhenko, Yuri Oleshi: "It always seemed to me (and maybe it was really so) that Yuri Karlovich all his life talked with geniuses and children, with merry women and good cranks ... Oleshi existed ... a special life, carefully chosen from them from the surrounding reality and decorated with its winged imagination. This life was noisy around him, as described by him in the "envy" branch of a tree, full of flowers and leaves. "

Words about the "special life" - whether to consider them carefully selected or scrambled randomly - many open in the narrator itself, and in his heroes. Because the third group of his characters are a lot of unlucky people who together make up the people - in the image of the writer as rich in this creative, aesthetically special life.

"" The books of the paustovsky are full of rare benevolence to the person, the ability even to discern the ability to see the fact that he still gives him a small right to preserve the human name: such a speculator who saved children from the fascist concentration camp, and such a thief is smart in the "beginning of an unknown century. Each new writer's book - and more than other cycle of autobiographical leaders - again and again claims: no minor lives, there are no uninteresting people, there are no instructive meetings.

This romantic key reports the prose of the paustic inherent ease, elegacity. She is repelled from everyday life, from everyday "businesslikeness", she seeks to preserve his festibility, bring it to us, readers, in a clean, unspoiced form.

The problem of the holiday and everyday life was solved by many Soviet writers - the contemporaries of Powesta Starting from the twenties. For example, for the heroes of Alexander Green, the provision of "holiday" could be someone's unknown wealth - winnings, inheritance or treasure, who fell into noble and generous hands. For the heroes of Yuri, the collision of the "holiday" with the "case" ended tragically: broken "branch, full of flowers and leaves". When L. Seifullina issued his "contemplative" "hunting stories", she tried to justify: "The reader needs such a smile in the literature. In such stories, there is the right to exist in our everyday, which is not fair consists of suffering, from doubt, from stresses. It consists of smiles, and out of jokes, and from trips to nature. " (It is worth comparing this official "in nature" with the words of Pown; "People usually go into nature, as in vacation. I thought that life in nature should be a permanent state of a person.")

This preserved - not without well-known losses - the poetry sharply opposed the book of the writer with emotional decisions and the primitive rationalism of "gray" literature, hopelessly depressed by life and only in him believing the "truth of life."

How exactly the writer seeks to cause a particularly happy state in us, which is necessary for the perception of the beautiful and which he considers the close to Pushkin's concept of inspiration, - when are we "new all impressions of being"? To the fruitful concentration of this state, it asks us usually from the very first words and lines - their choice, their placement, measured rhythm of calm phrases, verified by the naturalness of even respiration (just like, in a witty guessed of the writer, the cesura gecmeter corresponds to a pause between two coastal waves) :

"But the most time we spent on pre. I saw a lot of picturesque and deaf seats in Russia, but hardly ever I see the river more virgin and mysterious than the right.

Pine dry forests on her shores were stirred with century-old oak groves, with thickets of willow, alder and aspen. Ship pines, fed by the wind, lay like copper cast bridges, above her brown, but completely transparent water. With these pines we wanted a streamlined segments. "

The main background of this rhythm can, of course, be interrupted by a lively replica, dialogue, changing the tempo of speech, which is not at all monotonne. But nowhere she does not break nervously and suddenly, but smoothly, is balanced, calming down by the end:

"In the morning we went to the sav-klepika. There was a quiet day day. Rusty leaves flew to the ground. The forest edge went into a tender MGLU, argued into a farewell fog. And with an overflow ringing, the first cant of cranes was high above us. "

As aphutes, "overflows", transitional sounds and paints, beloved by the writer and the most variety of words used by him, does not seek to strange or surprise; Their dignity is not in the "selflessness" of meaning or unusual sound, but above all in their relevance, and the easier they, the better. This is the tradition of harmonious prose, coming from Lermontov, Turgenev, Bunin. It, as it were, the memory of the commensuity and musicality of the classical verse is preserved. In the prose of paustovsky, this "memories of the verse" is also realized and literally: the author's narration is very often merged with the rows of Pushkin, Blok, Bolsova, Bratyan, Maya, Voloshin - the range of names can be expanded to infinity.

The writer appears the zealous keeper of the Pushkin Covenant "Commonity and Support." The combination of artistic means used does not refute traditional pictusivity, but, on the contrary, it strives it. In the era of the onslaught of formal innovations and loosening established norms, when innovators-modernists are attempted on a literary language, and the Dogmatic Archaists, and everyone who has the courage to hold, the paustic style looks intentionally and persistently conservative, if not forget that this word has and A great positive meaning: in the "Tale of the Forests" there is an image of a scientist who preserved the valuable seeds of wheat during the Leningrad blockade. He died of hunger, but did not touch these rare grains and did not give them to dilute - retained, taking on the post-block future. He was also a "conservative."

The writer is looking for opportunities for enriching prose at the expense of professional and scientific vocabulary - the vocabulary of pilots, sailors, botany. He wrote many times about preserving and multiplying the treasures of a native "diamond" language. But each find is introduced carefully, without any violations of the prose equilibrium.

Powesta has, though, their addictions and "small weaknesses", sometimes well-conscious and serve as the subject of humorous self-criticism. There are, for example, pet words: "slow", "wandering"; There are preferences, in a romantic style is easily explained. For example, the preference of a high word low, intimate word official. In the "Ilinskaya waters" he writes: "We do not like Paphos, obviously because we do not know how to express it. As for the protocol dryness, in this respect we move, fearing so that we are not accused of sentimentality. And meanwhile, many, including me, I want to say not just the "field of Borodin", but the "great fields of Borodin", as in the old days, not embarrassed, said the "Great Sun of Austerlitz".

Of course, not in some words matter. From the entire system of the writer's opinion, it follows that if he talks about a dwelling, then it will be a flat, more often a room, a wage, house, mezzanine, that instead of service will be work, work, instead of a store - some lauree, instead of "grocery" - Market, bazaar. The official language of business securities, if it is not a stylization, not a colorful old man, the writer avoids, the stationery hates Luta with hatred and pursues with the degree of fierce, when humor seems inappropriate.

The same balance of equilibrium is observed by the writer and in the composition of his novel. An artistic intuition of an experienced entertaining storyteller almost unmistakably tells him where to start, to work for climax, where, interrupting confidential recognition, insert a funny episode where to complete a solemn speech with a joke or landscape.

A variety of paustic landscapes is difficult not only to exhaust, but also classify. This is a special topic. It is easier to mention them in common: everywhere is the holiday of spring, luxury summer painting, is a luxurious summer picture, whether the suburmed meadow is represented with his inexhaustible dismantling or deaf forest thickets - nature is caught, as a house, far from spontaneousness, and its beauty is the beauty of healthy, good And, I want to say a noble creature, just as her unfaviming and unsightly disease is a disease, and not evil. She can cry, capricious, cunning, like children, as a person, and not as a power opposing him ("Rain, quiet and sullen, like an unfortunate Jew, has kept on the roofs and glasses with liquid jets on the holes of the merchants").

In the thirties, Paustovsky paid a lot of attention to the topic of the conversion of nature by the Socialist Society. Now it takes not so much the motive of "taming", "restructuring" of nature, how much less radical, but no less topical and socially significant trends in assistance, leaning, cultivation, security is characteristic of which caution of the paustic landscape accommodates equipment . It cannot be said that his nature is wild and untouched; Even less - that it is comfortable or, according to some, class-park. But the plane, leaving the long white trail in the sky, and the buzz of the tractor in the Far field appear at the writer as part of it: not the technique "conquers" nature, but, on the contrary, it seems to absorb, digest, absorbs the technique, no longer threatened . Then the technique becomes his home, like, for example, a tired old loudspeaker in the deserted winter Livadia ("Handful of the Crimean Land"): "He honestly worked and the days and nights, got into the sun, dried and crashed in the sun, rust squeezed his metal Parts, the wind did a little bat seed into it, shoved him the throat of a pipe. In the end, he was tired, the hoarse from the need to crossed the noise of the sea and the wind, caught up, began to cough and even at times completely lost his voice and published only a squeak and grinds.

He suffered from cold and loneliness, especially in those wild nights, when it was not even the most shy little star, which could regret it.

But for a minute he did not cease to do his job. He could not shovel. He did not have the right to do it in the same way as the lighthouse caretaker could not ignite every evening the lighthouse fire. "

Pause Pause - reflecting and several "teacher", although not in the narrow-country sense of the word. Tools of lyric patterns do not exhaust it, it remains a place for journalism. For many years of creative activity of the writer, this side has undergone particularly noticeable changes in his books. Apparently, faith in the effectiveness of the direct and loud "oratoriosky" word, to which he had often had often resorted, later he was significantly undermined. Over time, pathos of the solemn endings and monologues, pronounced heroes, has become more chaste and more hidden. To see it, it is enough to compare the "Northern Taist" with the "Love of Life." The straightness of the tension-pathetic speeches Nicano Ilyich and Shchedrin in the first of these books would no longer satisfy the storyteller in the autobiographical cycle; The appointment of these appeals to the audience remains the same, the amount of them only increased, but now they are more motivated artistically and more carefully stylistically processed, most often in the form of "lyrical deviations", sometimes ironically reduced or complicated, regret.

Powestoys love and knows how to give their stories the nature of free improvisation. There may not be: being, the presence of its own through plot in the traditional sense: being, the existence is allowed, for example, the topic of the Ilinskaya Omut, the near and distant picturesque plans of the Central Russian Plain.

As for the plots of the writer, they, in full compliance with his poetics, remain the stories of the novel, the story, a post-plane story, that is, genres, meaningly an individual event or fate - "Incident", often an accident: "I was attracted in life more In total, such cases, circumstances and people, the writer is recognized - who left the feeling of non-liberty flashing. "

As soon as the need for a detailed plot arises, in the sense of "clutch" of characters and relations, the author is in a difficult position. In its multi-faceted reports that are not a series of novel, (as a "golden rose") and not bound by a single figure of the hero narrator (as in the "story of life"), the plots are nude-conditional. The actors are usually associated with the "electoral affinity" of shower, common spiritual aspirations and inclinations, such as attitudes towards a musical work, book, painting, historical event ("Tale of Forests", "Northern Tale", "Fatherland").

The same feature affects the decision of the problem of the artist - the people. In the books of the paustovsky and there is a big role in the case: artist, artist, writer, the composer finds admiring connoisseurs somewhere in the village wilderness, he opens its popular audience in them, and at the same time the authentic address of his own creativity (such "personal" perception Heroine "Tale of the Forests" of Lermontov's poems; Heroes of the Smoke of the Fatherland - Pushkin Rows; Music created by Grig for Dagni Pedersen; Tchaikovsky's attitude to the girl Fene; Meeting of the Writer Leontiev with the reader; Forest hut Pianist Richter and so on).

Perhaps this is this circumstance - the relationships and "clutch" on "reflected", secondary life reasons - it is especially sharply felt by other readers as a conventionality and affects the perception of the writer's creativity as a whole, encouraging sometimes - it is very rash and wasteful - to attribute his books to the so-called "Fiction".

But the fiction, literature "finished forms", there is no significant relationship with the reality. Modern cybernetics would say that it contains a tight minimum of information, its philosophy is mainly "commercial", its techniques, style, tricks - everything is borrowed and the calculation of it - to the undeveloped taste that will not be noticed.

Even the weakest works of the paustovsky, which he numerates as a failure, is something qualitatively different. And his best books with their ability to see that the writer has first of all the ability to see beautiful, give us a whole world.

The writer passed along the era of the wanderer of the Green Jungle Meshbra, the Schedule of the midday countries of the Mediterranean, Patriot and a citizen of the "Poetry Countries". He was washed by the hands of a student water of forest rivers, Rosis of the onset meadows and, having traveled to Mileeometer, imaginary and valid, having met and betrayed (and having come friends!) With many good people, he regret only that I still saw a little.

In our world - "The world was previously unknown goals and aspirations, tasks and feats, new restraints, new rigor and new tests," as one of the contemporaries of the paustovsky said, his books have proven persistence, it would seem unstable things, the life of life, eternal in His inexhaustible diversity.

Loyalty to itself, the chosen path acts in his books as the undoubted moral dignity of the artist, the life and biography of his handy for the accuracy of the truths produced by him.

This integrity, the nobility of the spiritual appearance of the writer attracts the heart of readers to him and create students. Creative "heirs" of paustovsky, our today's so-called lyrical prose is a special question that requires attention, study. But these heirs are, there are many of them, and their attitude towards the teacher is often the most touching, which indicates the viability and seriousness of his "easy", winged muse.

Keywords: Konstantin Powesty, the author's style of Powesta, idiosity of the paustic, criticism for the work of Konstantin Poist, criticism on the works of Konstantin Poist, analysis of works by Konstantin Poist, download criticism, download analysis, download

Powesty

Powesty

Paust Konstantin Georgievich (1893-) - Soviet writer. Son cross coat man. He studied in Kiev, then at Moscow Universities. Was workers at metallurgical factories in Yuzku, Ekaterinoslava, Taganrog, a tram conductor in Moscow; During the imperialist war he was a sanitary, sailor, a reporter and editor of newspapers. He participated in the Civil War (in battles against Petlisur). P. Printed its first work in 1912, a professional writer became from 1927.
P.'s own literary activity began a series of novels depicting the life of sailors and life of seaside southern cities. These early works of P. maintain a number of traits of the petty-bourgeois intelgent perception of reality. The writer is acutely interested in the problem of dream inconsistencies and reality. He pays special attention to the image of a "small" person; Such for example. The image of an engraver in the novel "labels for colonial goods" ("Countercasters", 1928), who lived a dream "On the ocean, about silver spring, about the yellow brilliance of others and desert coast" and the reality of the cruel reality of tsarist Russia inevitability Returned poverty and arbitals to the kingdom. Later, this engraver "promoted the revolution." In the earliest stories of P., a passive-contemplative approach to reality is revealed, the writer admires in these novels by the sea, the power and witty of sailors, it does not go here further than the image of the spontaneous, individualistic rebellion against capitalist exploitation ("Queen of Dutch", "Conversation during a shower" , "Judicial conspiracy"). For the most part, the realistic novels of the paustovsky are imbued with lyricism, it is sometimes of the excessive sophistication. In its composition, this is usually the stories from the first person, notes, letters, diaries, etc.
If in the early novels P. is expressed a contemplative approach to the intellectual dreamer, actually turned off from social practice, then in the following works by P. P. proceeds to the image of intellectuals included in the practice of social struggle. The horizon of the writer expands, its works get a pointedness. In the novel "Shine clouds", intellectuals, like Captain Kravchenko, writer Berg, a journalist Baturin, in the fight against the enemies of the Soviet Union cease to be people, "cut off from their century," and find, although late, their place in the new life. The plot node of the novel - the search for the stolen enemy pyrrison drawings of the valuable for the Soviet Union of the invention. Fighting with the enemy, the heroes of the intellectuals return to life, rebuild. They feel involved in the practice of revolutionary reality. The final head of the novel shows these people reborn. Writer Berg, summing up the successful operation, says: "If it were not for these searches, you would spill in our skepticism." "He began to live wide and young." Baturin felt like a fighter. He will call "to fruitless land, to noisy holidays, to joyful pupils of people, to the wisdom of each, the most insignificant thing." True, Baturin has no proletarian understanding of the tasks of the revolution. The meaning of the novel is the approval of the need to include an intellectual in revolutionary work as the only path on which the narrowness of the horizon of a small person is overcome. Despite the fact that in this novel, adventurous motives are unnecessary, despite the fact that the writer could not give a realistic interpretation of the episodes of class struggle to the merit paustovsky, it is necessary to put a psychologically convincing interpretation of those changes that undergoes the bolers and the best part of the intelligentsia in the conditions of the victorious struggle of the proletariat .
With much greater ideological-artistic maturity, P. "Kara-Bugaz" was written, originally intended for the younger and nominated P. in the first ranks of Soviet literature. In the "Kara-Bugaz" with all force, it is characteristic of P. Ability to combine romantic pathos with a realistic image of reality phenomena. Kara-Bugaz - the Bay of the Caspian Sea, which contains hundreds of millions of tons of Mirals (glauble salts), millions of tons of bromine, barite, sulfur, limestone, phosphorites. These colossal wealth, the old autocratic Russia was impossible to master it, it begins to broadly develop a proletarian state. A powerful plant is built in Kara-Bugaz, they are involved in the construction of nomads-Turkmen, the terrible wilderness turns into a flowering garden. P. creates a number of exciting artistic expressive episodes; Such is for example. The scene of the first socialist competition of the Turkmen in the breakthrough of the tunnel. "Kara-Bugaz" in abundance includes historic. Documents (reports of Captain Zherebtsov), excerpts from speeches, digital references, scientific explanations, etc.; At the same time, P. far from the factual approach to reality. In the "Kara-Bugaz" elements of an art essay, travel literature, dramatically rich novels about the Civil War, Psychological Sketch were organically connected. In the narrative, the compressed and at the same time convex portraits-characteristics were involved in the narration. Transferring a kind of color of the landscape of Turkmenistan and the features of cultural and domestic traits of its population, the paustovsky is free from cheap aesthetic exoticism. In the wonderful fairy tale of Bekmet about Lenin Powesta, gives a sample of the artistic recreation of creativity of the masses. A distinctive feature of the book and in the fact that it seems to be in the future, he is hosted by a romantic purposefulness.
In the story "The Fate of Charles Lonsievil" P. passes from the image of the practice of social. Construction to such a show of the past, which does not only take out of modernity, but also brighter its significance. The action of the story is deployed in the era of Nikolai I. P. It does not accidentally choose its hero of the revolutionary-Republican Charles Lonsievil, who has fallen into Russia after the retreat of the Napoleonic army: it was such a person who was able to especially acute the barren validity of Nikolaev Russia. The position of such a person in Russia is tragic, and only death eliminates Lonseville from life imprisonment in the Shlisselburg fortress. The slave Russian reality is opposed to the forbidden memories of the terrible uprisings of serf workers. The story "The Fate of Charles Lonsievil" is characterized by a concise, strictly drawn plot, picking up historical facts, faces, events, acutely conducted class struggle lines, vivid characteristics, agitated and courageous tongue.
The author of a large number of essays and the novel, Paustovsky earned a high assessment of his creativity given by the most prominent figures and writers of our era - N. K. Krupskaya, M. Gorky, R. Rollyn and others. "Kara-Bugaz" and "Charles Lonsevil" fate translated To German, French and English Yaz. Bibliography:

I. Meetage, sea sketches, ed. "Library of Sparky", M., 1927; Sea sketches, stories, ed. Central Committee of the Union of Vodnikov, M., 1927; Counter ships, stories and stories, ed. "Young Guard", (M.), 1928; Shine clouds, ed. "Proletary", Kharkov, (1929); Notes Vasily Sedykh, Giz, M. - L., 1930; Valuable cargo, ed. "Young Guard", M., 1931; Kara-hell, ed. The same, M., 1932; Kara-Bugaz, ed. The same, M., 1932; Best Catcher Brigade of the USSR, (sketch), ed. 2nd, Kogiz, M., 1932; The fate of Charles Lonseville, ed. "Young Guard", Moscow, 1932. P. Published over one hundred stories and essays in periodical press: "True", "Komsomolskaya Pravda", "Evening Moscow", "Red Novy", "Siberian lights", "30 days", "Change", Almanac "Year Sixteenth", "La Litterature International" (Moscow), "Regards" (Paris) and others.

II. J. E., "Young Guard", 1927, VI (Review of "Mijetoza"); Rozhkov P., "Book and Revolution", 1929, X (review of the "glittering clouds"); Krupskaya N. K., Gas. "Komsomolskaya Pravda", 1932, No. 5; Pavlenko P., Excellent book, "Literary Gazeta", 1932, No. 56, 11 Dec.; His own, "Red Nove", 1932, XII; Yudin S., the book, which is visiting, "Book - Youth", 1932, VIII-IX; Tretyakov S., Gas. "True", 1933, No. 6, 6 Jan; Kolesnikova, on the verge between essay and tale, "October", 1933, VI; Duchinskaya S., what they say about the "Kara-Bugaz" guys, "Book - Youth", 1933, VIII-IX; Trifonova T., "Cutter", 1933, II; Friedman B., "Young Guard", 1933, II; Yagling B., "Our Achievements", 1933, I; L. L., a book, infecting creativity, "Siberian lights", 1933, III-IV; Slavin L., a book for all (notes of the writer), "Evening Moscow", 1933, 13 Feb.; et al. (reviews about "Kara-Bugaz"); Ice M., "Children's literature", 1932, XIII (review about "Kara-Ada"); Kravtsov, "Children's literature", 1932, II-III (review of "valuable cargo"); Friedman B., New book K. Powest, "Young Guard", 1933, VIII; Reznik O., Tale of many faces and problems, "Children's and Youth Literature", 1933, VI; Shklovsky V., Historic Roman from General Representations, "Literary Gazeta", 1933, No. 53, November 17; Paustsky K., reproach Return, answer to the article Shklovsky, ibid, 1933, No. 53, November 17; Shklovsky V., Moliere wigs, ibid, 1933, № 55, November 29 (OTF. On the "Fate of Charles Lonsievil").

Literary encyclopedia. - at 11 tons; M.: Publishing House of the Communist Academy, Soviet Encyclopedia, Fiction. Edited by V. M. Friece, A. V. Lunacharsky. 1929-1939 .

Powesty

Konstantin Georgievich (1892, Moscow - 1968, ibid.), Russian writer. Father - Railway statistics, descendant of Zaporizhzhya Cossacks, mother originated from the intelligent Polish family.

Childhood and adolescence of the writer passed in Kiev. He studied (1 year) on the natural branch of the physico-mathematical F-Ta, then on the philosophical department of the historical and philological F-TA Kiev University (1911-13); In 1914, Moskovsky UN-T (did not graduate). Until 1929, he changed a lot of professions: from the Went tram and Sanitar in the 1st World War to the factory worker in the south of Russia, a member of the fishing artel at the Sea of \u200b\u200bAzov, teachers and a journalist. The first story "On the water" publ. In 1912, the first book "Sea sketch" (1924, publ. In 1925) remained unnoticed. The first novels of "Romance" (1916-23, publ. In 1935) and the "glistening clouds" (1929) identified as the writer characteristic of the writer's high and ideal, to clean noble people, hope for the ambulance victory of the kingdom of harmony over spiritual murderer. "Romantic maturity," said Paustovsky, "does not allow a person to be false, ignorant, cowardly and cruel. The romantic is enclosed by a refining force. " This conviction was reflected in the fame of the reports written in the robust in the con. 1920 - Nach. 30s. "Production" prose: "Kara-Bugaz" (1932) and "Colchis" (1933) - about people changing the face of the desert and draining the malaria swamps. The confidence of the writer is that "true happiness is primarily a lot of knowledgeable, and not ignorant", the idea of \u200b\u200bthe high ethical value of various knowledge was manifested both in the mentioned works of the writer and in his numerous stories, poetic and cognitive - even in those cases When the facts in them were complemented by fiction ("Basket with spruce bumps", 1954, about the episode from the life of an outstanding Norwegian composer E. Grieg), in historical standards ("The Fate of Charles Lauleville", 1933, - about the officer of the Napoleonic army, which fell into Russian captivity; "Northern Tale", 1938, - About the Decembrists and their descendants), in peculiar artistic studies of the world of nature and related people (the story "Meshcherskiy side", 1939; "Black Sea", 1936; "The Tale of Forests", 1948, where one of the main characters is P. I. Tchaikovsky). The essence of creativity, the human being of the art is one of the central Topics of Paustovsky (Biographical books "Orest Kiprensky", "Isaac Levitan", both - 1937; "Taras Shevchenko", 1939; "Golden Rose", 1955). Among other works of Paustovsky, which included in the literature, primarily as a master of lyrical novels, is the cycle of the "Summer Days" stories (1937), where life is depicted as a "leisurely happiness" of sincere and unfortunate people on the lap of nature, the autobiographical epic "Tale of Life" ( h. 1-6, 1945-63).

Literature and language. Modern illustrated encyclopedia. - M.: Rosman. Edited by prof. Gorkina A.P. 2006 .

Konstantin Georgievich Powesty- Russian Soviet writer; Modern readers mostly know such a line of his creativity, as a story and stories about nature for the children's audience.

The paustovsky was born on May 31 (May 19, under Art. Art.) 1892 in Moscow, his father was a descendant of the Cossack family, worked by railway statistics. Their family was pretty creative, they were musical on the piano, they often sang, loved theatrical productions. As Powestovsky himself said, his father was an incorrigible dreamer, so the places of his work, and accordingly, the stays were changed all the time

In 1898, the Paust family settles in Kiev. The writer called himself "Kievanin in the soul", many years of his biography were connected with this city, it was in Kiev, he took place as a writer. Konstantin's place of study was the 1st Kiev classical gymnasium. As a student of the last class, he wrote his first story, which was printed. Even then, it was decided to be a writer, but he did not think of himself in this profession without the accumulation of life experience, "to go to life." It had to do it also because his father threw his family when Konstantin studied in the sixth grade, the teenager was forced to take care of maintaining relatives.

In 1911, Paustovsky - student of the historical and philological faculty of Kiev University, where he studied until 1913. Then he was transferred to Moscow, to the university, but already at the Faculty of Faculty, although he did not reach the end: the study was interrupted by the First World War. His, like a younger son in the family, did not encourage himself in the army, but he worked the car tram, on a sanitary train. On one day, being on different fronts, two of his brothers died, and because of this, the paustovsky came to the mother to Moscow, but stayed there only for a while. At that time, he had a variety of jobs: Novorossiysk and Bryansk metallurgical plants, a boiler plant in Taganrog, a fishing artel on Azov and others. In the Holidays of Leisure, Paustovsky worked on his first story, "romance", throughout 1916-1923. (She will be published in Moscow only in 1935).

When the February Revolution began, Paustovsky returned to Moscow, collaborated with newspapers as a reporter. Here I met the October Revolution. In the post-revolutionary years, he made a large number of trips around the country. In civil war, the writer was in Ukraine, where he was called to serve in Petlyurovskaya, and then to the Red Army. Then over the course of two years, Pouustovsky lived in Odessa, working as a newspaper "Sailor". From there, drought by the thirst for long wanderings, he went to the Caucasus, lived in Batumi, Sukhumi, Yerevan, Baku.

Return to Moscow took place in 1923. Here he worked as an editor of growth, and in 1928 his first collection of stories came out, although they used to publish some stories and essays separately. In the same year, he wrote the first novel - "gliding clouds". In the 30s Powesty - journalist immediately several publications, in particular, the newspaper "True", the magazines "our achievement", etc. These years are also filled with numerous travels around the country, which gave material for many artistic works.

In 1932, his story "Kara-Bugaz", which became a turning point. She makes a writer famous, in addition, from now on, Pouustovsky decides to become a professional writer and leaves work. As before, the writer travels a lot, for her life he traveled almost the entire USSR. His favorite corner became the vesetcher, which he devoted a lot of inspirational lines.

When the Great Patriotic War began, Konstantin Georgievich also had a chance to visit many places. On the South Front, he worked as a military correspondent, not leaving literature classes. In the 50s The place of residence of Powesta was Moscow and the tire on the Oka. The postwar years of his creative path are marked by appeal to the topic of writing work. Throughout 1945-1963. Powesta worked on the autobiographical "story about life," and these 6 books were the main work of his life.

In the mid-50s. Konstantin Georgievich becomes a writer with a world name, the recognition of his talent goes beyond the borders of the native country. The writer gets the opportunity to go on a journey throughout the continent, and he enjoys it with pleasure, going to Poland, Turkey, Bulgaria, Czechoslovakia, Sweden, Greece, etc. In 1965, a long time lived on the island of Capri. In the same year, he was a nominee for the receipt of the Nobel Prize in literature, but in the end it was awarded M. Sholokhov. Powesty - Cavalier of the orders of "Lenin" and a labor red banner, was awarded a large number of medals.

To Onstantin Powesta worked at the factories, he was the harmony tram, Sanitar, a journalist and even a fisherman ... What would a writer do, wherever I rode, whoever acquainted - all the events of his life sooner or later became themes of his literary works.

"Youth poems" and the first prose

Konstantin Powesta was born in 1892 in Moscow. The family had four children: Powesta had two brothers and sisters. Father was often translated by the service, the family moved a lot, in the end they dated Kiev.

In 1904, Konstantin entered the first Kiev classical gymnasium here. When he moved to the sixth grade, his father left the family. To pay for their studies, the future writer had to work as a tutor.

In his youth, Konstantin Powetsky was fond of the work of Alexander Green. In the memoirs, he wrote: "My condition could be defined by two words: admiration for the imaginary world and - longing because of the inability to see it. These two feelings prevailed in my youthful verses and the first immature prose. " In 1912, the first story of the paustovsky "on the water" was published in Kiev Almanacé "Lights".

In 1912, the future writer entered the Faculty of Historical and Philology of Kiev University. After the beginning of the First World War, he was transferred to Moscow: his mother, sister and one of the brothers lived here. However, during the war, Pouustovsky almost did not study: at first he worked as a leader tram, then settled on a sanitary train.

"In the autumn of 1915, I switched from the train to a field sanitary squad and went with him the long path of retreat from Lublin in Poland to the town of Nesvizhi in Belarus. In the detachment from I got a fearned ripping newspaper, I learned that on the same day two of my brothers were killed on different fronts. I stayed at my mother completely alone, except for half-blind and sick my sister. "

Konstantin Powesty

After the death of the brothers, Konstantin returned to Moscow, but not long. He traveled from the city to the city, working on the factories. In Taganrog, Pouustovsky became a fisherman in one of the artels. Subsequently, he said that he made him a writer. Here, Powesta began to write his first novel "Romance".

During his trips, the writer met Ekaterina Zagorskaya. When she lived in the Crimea, a resident of the Tatar village nicknamed her Hatice, also called her and paustovsky: "She love her more mom, more himself ... Hatice is a gust, the line of divine, joy, longing, disease, unprecedented achievements and torment ..." In 1916, the couple had married. The first son of Pownist - Vadim - Born in 9 years, in 1925.

Konstantin Powesty

Konstantin Powesty

Konstantin Powesty

"Profession: Everything is known."

During the October coup, Konstantin Paustovsky was in Moscow. For some time he worked here with a journalist, but soon she went for his mother again - this time in Kiev. Having survived here a few coups of the Civil War, Powesta moved to Odessa.

"In Odessa, I first got on Wednesday of young writers. Among the "Sailor" officers were Kataev, Ilf, Bagritsky, Shengheli, Lev Slavin, Babel, Andrei Sable, Semen Kirsanov and even an elderly writer Yushkevich. In Odessa, I lived near the sea and wrote a lot, but not yet printed, considering that I had not yet achieved the ability to master any material and genre. Soon I again took possession of the "Musa of Far Fountation". I left Odessa, lived in Sukhum, in Batumi, in Tbilisi, was in Erivani, Baku and Julf, until finally, did not return to Moscow. "

Konstantin Powesty

In 1923, the writer returned to Moscow and became the editor in the Russian telegraph Agency. During these years, Powesty wrote a lot, his stories and essays were actively printed. The first compilation of the story of the author "Council Ships" came out in 1928, then the novel "Shine clouds" was written. Konstantin Paustovsky has been cooperating with many periodic publications during these years: it works in the Pravda newspaper and several magazines. The writer responded about his journalistic experience: "Profession: everything is known."

"Consciousness of responsibility for millions of words, the rapid pace of work, the need to accurately and unmistakably regulate the flow of telegrams, select from a dozen facts one and switch it to all cities - all this creates the nervous and restless mental organization, which is called the" journalist temperament ".

Konstantin Powesty

"Tale of life"

In 1931, Pouustovsky finished the story "Kara-Bugaz". After her publication, the writer left the service and devoted all his time literature. In the following years he traveled around the country, wrote a lot of artistic works and essays. In 1936, Paustovsky divorced. The second wife of the writer became Valery Valishevskaya-Navashica, with whom he met shortly after the divorce.

During the war, Powesta was at the front - the military correspondent, then he was transferred to TASS. Simultaneously with the work in the news agency Pouustovsky wrote a novel "Smoke of the Fatherland", stories, plays. Evacuated in Barnaul Moscow Chamber Theater put the performance on its work "until the heart stops."

Powesty with the son and wife of Tatiana Watermelon

The third wife of Konstantin Powesta was the actress of the Meyerhold Theater Tatyana Evteeva-Arbuzov. They met when both were married, and both left their spouses to create a new family. Pouustovsky wrote his Tatiana that "such love was not still in the world." They got married in 1950, and in the same year they had a son Alexey.

After a few years, the writer went on a trip over Europe. Traveling, he wrote way essays and stories: "Italian meetings", "fleeting Paris", "La Mansha Lights". The book "Golden Rose", dedicated to literary creativity, was published in 1955. In it, the author is trying to comprehend the "amazing and excellent area of \u200b\u200bhuman activity." In the mid-1960s, Paustovsky finished the autobiographical "story about life", in which he says among his creative path.

"... The writing was done for me not only the occupation, not only the work, but the state of my own life, inner my state. I often caught myself on the fact that I live as if inside a novel or story. "

Konstantin Powesty

In 1965, Konstantin Powetsky nominated the Nobel Prize in literature, but I received it that year Mikhail Sholokhov.

In the last years of the life of Konstantin Powesty, Asthma was sick, he had several heart attacks. In 1968, the writer did not. According to the will, he was buried on the cemetery in Tarusa.