"The so-called camp theme in the literature is a very large topic where one hundred such writers will be located as Solzhenitsyn, five such writers, like Lion Tolstoy. And no one will be cramped. "

Varlam Shalamov

"Camp theme" and in historical science, and in fiction - immense. She again rises in the twentieth century. Many writers, such as Shalamov, Solzhenitsyn, Sinyavsky, Aleshkovsky, Ginzourg, Dombrovsky, Vladimov testified about the horrors of camps, prisons, insulators. All of them looked at the eyes of people who were deprived of their liberty, who had known how to destroy the human itself through repression, destruction, violence. And only the one who passed through all this can fully understand and evaluate any work about political terror, concentration camps. We can only feel the truth in your heart, somehow survive her in their own way.

Varlam Shalmov in their "Kolyma stories" in the description of concentration camps and prisons seeks the effect of vital persuasiveness and psychological reliability, the texts are filled with signs of unadial reality. His stories are closely related to serving the reference of the writer himself on Kolyma. This proves a high degree of detailed. The author pays attention to terrible details that cannot be understood without mental pain - cold and hunger, sometimes depriving a person, purulent ulcers on their feet, severe lawlessness of criminals.

In the Shalamov Camp, the heroes have already moved the line between life and death. People seem to show some signs of life, but they are essentially the dead, because they are deprived of any moral principles, memory, will. In this closed circle, forever stopped the time, where hunger reign, cold, bullying, a person loses his own past, forgets his wife's name, loses touch with others. His soul no longer distinguishes where the truth, where is a lie. Even every human need for simple communication disappears. "I would still like to lie to me or will not, I was out of truth, outside of a lie," Shalamov points out in the story "Meeting". A person ceases to be a man. He no longer lives, and does not even exist. It becomes a substance, inangering matter.

"Hungry said that it was a creamy oil on a lend lodge, and less shelter was left when the clock was put and the heads of the shots moved the crowd out from the barrel with Solidol. The lucky was swallowed this creamy oil on the lendlis - not believing that it was just a solidol, because healing American bread was also tasteless, also had this strange iron flavor. And everyone who managed to touch Solidola, a few hours licked their fingers, swallowed the smallest pieces of this overseas happiness, to taste like a young stone. After all, the stone will also be born not a stone, but a soft oil being. Being a substance. Substance stone happens in old age. "

The relationship between people and the meaning of life is brightly reflected in the story "Carpenters". The task of the builders is to survive "today" in the fifty-degree frost, and "further" than for two days, did not make sense to build plans. People were indifferent to each other. "Frost" got to the human soul, she was freezing, squeezed and maybe it will forever remain cold. In the same product of Shalamov indicates a deafly closed space: "A thick fog that there was no man in two steps", "few directions": hospital, watch, dining room ...

Shalamov, unlike Solzhenitsyn, emphasizes the difference between the prison and the camp. The picture of the world is inverted: a man dreams of a camp not to get free, and in prison. In the story, the "tombstone" is a clarification: "Prison is freedom. This is the only place where people are not afraid, they said everything that thought. Where they rest to the soul. "

In the stories of Shalamov, not just Kolyma camps, warped with barbed wire, outside of which free people live, but all that is outside the zone is also drawn into the abyss of violence, repression. The whole country is a camp, where all those living in it are doomed. The camp is not isolated part of the world. This is a cast of that society.

"I am going away, the personnel disabled person of hostility, saved, even escaped by doctors from the paws of death. But I do not see the good in my immortality for myself or for the state. Our concepts changed the scale, crossed the borders of good and evil. Salvation may be good, and maybe not: I did not decide this question for myself and now. "

And already later, he decides for himself this question:

"The main result of life: life is not good. My skin updated all - the soul was not updated ... "

Varlam Shalamov is one of the greatest Russian writers of the 20th century, a man of inflexible courage and a clear, piercing mind. He left behind after herself astounding in depth and artisticities - Kolyma stories, drawing a ruthlessly truthful and piercing picture of life and human destinies in Stalin's Gulag.kolovsky stories for Shalamov attempt to deliver and solve the most important moral issues of time, questions that simply cannot be Allowed on a different material. This is, first of all, the question of the legality of the struggle of a person with the state car, about the possibility of actively influenced by his fate, about the ways of preserving human dignity in inhuman conditions. It is even even to imagine that mental tension was shalovy these stories. He, as if repeatedly re-caused the ghosts of victims and executioners. Artistic and specific, documentary stories of Shalamov are pharmaceutically with a powerful philosophical thought, which gives them a special intelligent container. This thought is impossible to locate in Barack. Her spiritual space makes up all human being. There is a solid quality of Kolyma stories to their compositional integrity with seemingly visiting the incompleteness of the plots. The Kolyma epic consists of 6 books, the first of which is called - Kolyma stories, and the books of the left bank, artist shovel, essays of the criminal world, the resurrection of larch, glove, or KR-2.Bniga Kolyma stories consist of 33 stories, Standing in a strictly defined, but not chronological order. This order allows you to see Stalin's camps as a living organism, with your history and development. And in this sense, Kolyma stories are nothing but a novel in themellas, despite numerous statements of the author himself about death in the twentieth century of the novel as a literary genre. (Andreev, Golubev, Crysta), extremely close to the author. His blood involvement in the events described, the confessional character of the narration is felt everywhere. If the Kolyma stories are not separate, but entirely, like a novel, they produce the strongest impression. They show the nightmare of inhuman conditions as it can only be shown - without injection of sensitivity, without psychological delights, without unnecessary words, without aspiration to hit the reader, sternly, concisely and for sure. But this is a laconicism - pressed to the limit of anger and the pain of the author. The effect of the impact of this prose is in the contrast of the tranquility of the author, his slow, calm on the form of the narrative and explosive, burning content. The camp in the stories of Shalamov is, at first glance, the image of absolute evil. Constantly coming to the mind of the hell's metaphor implies not only inhuman flour of prisoners, but also another: hell is the kingdom of the dead. In the stories of Shalamov, hitting the Ice Kingdom of Kolyma, fascinated by this new versic, follow him almost automatically and you can not stop until you reach the end. One of the stories, the "tombstone", so begins: "Everyone died ..." The writer in turn resurrects in memory of those who met and who survived in the camps: his comrade, shot for non-fulfillment of his site, French Communist, Whose Brigadier killed in one blow of the fist, his classmate, with whom they met in 10 years in the camera of Butyrsk prison ... The death of each of them looks like something inevitable, everyday, ordinary. Death is not the worst - that's what is striking most. More often she is not a tragedy, and salvation from MUK, if it is their death, or the opportunity to extract any benefit if someone else's. In another story with a calmness of calmness, the author tells how two stakes digging out of the freezing land just the buried corpse, rejoicing his luck - the underwear of the dead they will be trained at the bread and tobacco ("night"). An incredible hunger is the strongest of all Kolym senses . But the food turns only into the utilitarian process of maintaining life. All prisoners eat very quickly, fearing to lose and without that scanty soldering, eat without spoons, through the side of the plates, letters licking her bottom. Under these conditions, a person is notic. One young man eating the meat of human corpses from the morgue, cutting pieces of human flesh, "not fat, of course" ("Domino"). Life of prisoners - another circle of Kolyma hell. Similarity of housing - huge barracks with multi-storey bars accommodating 500-600 people, mattresses stuffed only with dry branches, blankets with gray letters "legs", full antisanitary, diseases - dystrophy, pellagra, ration - which are not at all a reason for hospitalization ... So step by step, the reader will increasingly find out and becomes a witness to the depreciation of the human existence, depreciation of the personality, the full devaluation of concepts about good and evil. The topic of the crust of the human soul becomes a leitmotif for the author of Kolyma stories. He considered it one of the most important and difficult for the writer: "Here is the main theme of time - the plant, which Stalin introduced into the souls of people," Another important feature of Shalamov's stories is connected with the fact that the Gulag is considered by both the exact socio-psychological model of totalitarian, Stalinsky Societies: " ..Lar - not opposition to Hell Paradise, but the cast of our life ... camp ... Miropod-like. There is nothing in it, which would not be in the wild, in his device, social and spiritual "Another bright feature, a relative camp with a free world - impunity by the power of the property. The pictures of their atrocities are almost surrealistic. They robbed, crippled and kill prisoners, take Bribes, make forgings. They are allowed any cruelty, especially with respect to weak, those who are sick, who do not fulfill the norm. Shalamov's stories are very cruel in its plots. Very bitter and merciless. But they do not suppress the soul - do not suppress, thanks to the huge The moral strength of the heroes: Crista, Andreeva, Golubeva or the narrator itself - thanks to the power of their inner moral resistance. These heroes were seen in camps all the steps of the lowestness and spiritual fall, but they themselves resisted. So, no matter how difficult it is possible. Even in Kolyma hello! This is probably the main lesson of Shalamov for us, his readers. Moral lesson for the present and future, without teaching and moralization.

Discipline: Literature

Course 1.

Semester 2.

Topic: Artistic peculiarity of prose V.T. Shalamov.

Number of hours on this lesson: 2

Motivation

Special attention in modern literary studies is paid to the study of the artistic world of Russian writers of the twentieth century. The literary process of this time reflected a new phase of social and historical development, with which the revaluation of all values \u200b\u200bis connected, the tragic "sensetratrats" and "bogauutrats", including with the advent of totalitarian states, fascist and Stalinist concentration camps in which millions of people. Varlam Tikhonovich Shalamov in camps and prisons spent about 20 years and tragic "sensetutratrats" experienced on its own "negative" experience. In his works, he created a unique model of understanding reality, in which the crisis of cultural and public consciousness was reflected and their own tragic worldview.

Purpose:

- - reproduce the content of the literary work;

- Analyze and interpret the artwork, analyze the episode of the studied work, explain its connection with the problem of the work.

Tasks:

• introduce the tragic fate of Varlam Tikhonovich Shalamov;
• identify the features of the "new prose" "Kolyma stories"; reveal art methods and techniques of mapping with Shalamov's "negative experience" stay in Stalin camps;
• develop the skills of literary analysis;
• to form a civil position of students.

The word teacher

On October 30, the All-Russian Memorial Day of the victims of political repression. Remind us about the tragic pages of our story.

The best people of the country are scientists and writers, engineers and diplomats, artists and military - stayed for barbed wire. Those who suffered for their beliefs calledpolitical prisoners.

The prison system, investigative insulators, and camps launched the whole country. The gulag has become a symbol of arbitrariness and violence.

The words of the drug addict are scary that the population of the country is divided into three categories: prisoners, consequent and suspects.

From 1930 to 1953, 18 million people visited the barracks of the camps and colonies. Each fifth of them is political prisoner. 786 thousand people are shot.

Tens of millions of our fellow citizens became victims of mass violence, and it raised to one extent to virtually all. From the state terror in our country, many writers suffered:

• Boris Pilnyak October 28, 1937, arrested at his dacha in Transmekino and on April 21, 1938.
• Isaac Babel on May 16, 1939 was arrested at the cottage in Transmekino and on January 27, 1940 he was shot.
• Osip Mandelstam was serving twice the term in the link in a ridiculous charge of counter-revolutionary activities. In the official certificate received by the widow of the poet, it was said that he died on December 27, 1938 in the Far Eastern camp.
• Boris Pasternak was forced to abandon the Nobel Prize.
• Marina's husband Tsvetaeva Sergey Efron and Daughter Ariadne were arrested.
• In 1935, the only son of Anna Akhmatova Lion Nikolaevich Gumilyov was arrested.

Name V.T.Shalamova occupies a special place in this list. First arrested in 1929 on charges of distributing the supposedly fake political will V.I. Lenin (it was a famous letter XII party congress), a young writer spent in the camps of the Western Urals about three years. In 1937 he was arrested again and sent to Kolyma. It fell almost 20 years in prison, camps, links, loneliness and forgetry in recent years of life, held in a nursing home and psychiatric hospital.

The tragedy of Varlam Shalamov was not unique. Such is the reality of the country with the totalitarian regime: millions of innocents passed through the camps in our country. It is known that the labor of prisoners in the 30s. It was used intensively for the development of the Far Eastern and Northern Outlet of the USSR. The slightly population and the harsh nature of these places created ideal conditions for the isolation of large masses of people. In the encyclopedia "History of Russia and its closest neighbors", published in 2000, recorded: "The most terrible camps were Kolyma. In the camps, people died primarily from hunger and related diseases. In Kolyma, in 1928 they found the gold deposit, and later and other minerals. To master the ice desert, the concluded was literally from scratch, paying for thousands and thousands of lives the construction of cities and villages in eternal Merzlot. "

Shalamov, anticipating that his prose will cause many questions that it will be difficult for perception, wrote a number of theoretical works ("About prose", 1965; "New Prose", 1971), which explained to its originality, his reflection About how to write about the camp.

Student performance

Shalamov marked her "Kolyma stories" as "new prose", having in mind both their ideological and conceptual and purely aesthetic novelty.

Shalaov believed that the theme itself, unusual and complex, dictates a writer certain artistic principles. First of all, the "new prose" should disclose a vital topic. The cross-cutting theme of "Kolyma stories" is a camp, as a school of evil, because in it a person is passed through the meat grinder and freed from everything too human. The camp - the abolition of every earthly human order, this is "hell", disbuilt. Shalamov understands that human moral and physical forces are not limitless. He is trying to figure out the psychology "Giving" (camp jargon), people who have come down to the limit of physical and mental opportunities, and cannot respond to their actions. People who live only by elementary animals by instincts, with a perverse consciousness, with atrophied will. It is noteworthy that "the Gulag is considered in Shalamovsky stories as an accurate socio-psychological model of totalitarian, and in part and any society" [Gromov 1989: 12].

The new content should have gained a new form. Shalamov believed that he was "successful and conscious struggle with what is called the story genre" [Shalamov 1989: 58]. For the "new prose" is not a mandatory development of the plot and the development of character, the individualization of the speech of heroes, since the only type of individualization is the originality of the author's face. This is confirmed by the author in a letter to I.P. Sirutinskaya, the publisher of his books: "There is no plot in my stories, there are no so-called characters. Each writer reflects the time of knowledge of his own soul "[Shalamov 1989: 62]. Shalaov describes in detail the structure of this prose.Subject: The fate of martyrs, not former who did not know and who did not become heroes.Heroes : People without a biography, without the past and without the future.Act: Scene finish.Style : short, phrase; Cleanliness of tone, cutting off all extra, halftone (like Gauguen). The narrative is epically calm, there is no discharge of sensuality, the author's comment is concise and impartial.

One of the main principles is that the "new prose" "can only be created by people who know their material perfectly. There are things in human life, touching the artist should be particularly careful, because any negligence of fiction, artificiality is able to easily turn into blasphemy, a kind of indifferent salary. Shalamov denies the principle of "tourism", that is, the principle of "over life" or "outside." In contrast to fiction, the writer puts forward the principle of documentality. With the meticulousness of ethnographer, it describes V. Hashamov to the label of the camp life, in his stories the proportion of details and details of household arrangement is very large. But with all the concreteness and the "physiological" accuracy of descriptions in front of the reader a highly artistic prose. This is an art in which the facts and fiction are indefinite, "unique specifics of life and generalization"

One of the fundamental principles of the "new prose" is laconicism. Huge sense, and most importantly, a huge load of feelings do not give to develop a patter, trifling. "It is important to resurrect feeling" [Shalamov 1996: 430]. In essence, V.Shalamamov denies the "literature". Briefness, simplicity, clarity of presentation in the "new prose" - in his opinion, it is also overcoming "everything ... what can be called" literature "[Shalamov 1996: 430]. In the "Kolyma stories" there are no lengthy descriptions, digital material, conclusions, they are far from journalism.

It should be noted another bright feature of the Shalamovsky "new prose" a special role in it belongs to the details creating the subtext. Their novelty, loyalty to the fact and feeling, the accuracy is forced to believe in the story not as information, but as in an open heart wound. But their role is not only in this. According to Shalamov's wording, this is "detail-symbol, a detail-mark that translates the whole story to another plan, giving a" subtext ", who serves as the author's will, an important element of the art decision, an art method" [Shalamov 1996: 430]. Kak notes E. Mikhailik , "Kolyma stories" always mean more than one, "what is reported." Multipleness, multi-dimensionalness is the form of their artistic existence.

For "Kolyma stories" is characterized by composite integrity. The plot of one story develops into another, also associated stories. Such a composition helps to comprehend the causes that led to the tragedy, and the logic of the transformation of the classic "near" in a pitiful creature with a disheveled psyche.

According to I.Shihich, "the personal, the inner theme of Shalamov is not a prison, not a camp at all, but a Kolyma with her experience of the grandiose, unprecedented, unprecedented extermination of man and the suppression of human. "Kolyma stories" is an image of new psychological patterns in human behavior, people in new conditions. Do they remain people?

The theme of the resurrection, the acquisition of a re-showing membrane is one of the key to Shalamov (see the story "Meeting", where the hero suddenly recalls the capital word and it turns out to be a symbol of his revival to life). The soul occurs as a new leather on frostate hands (see the story "Glove").

We list the briefly the main artistic principles of Shalamov's prose, keeping the wording as possible:

• at the heart of the "new prose" - the camp theme is the main, the main question of our days ";
• the main task of the "new prose" - show new psychological patterns, new in the behavior of a person who is revened to the level of animal, in other words, the writer must show how the camp life destroys the familiar moral and cultural mechanisms when a person approaches the state to the state "for humanism ";
• the heroes of the "new prose" - martyrs, not former, who did not know and did not become heroes, "" People are taken here without a biography, without the past and without the future, taken at the time of their present - animal or human? ";
• the principle of documentality is put forward on the fore. "Everything that comes out for the document is no longer a realism, but is a lie," but at the same time it should be a highly artistic work;

• "New Prose" requires LAKONISM, it should be simple and clear;
• An important element of the artistic solution is the details - symbols that create subtext often they carry an increased semantic and ideological load;
• "New Prose" is focused on the compositional integrity of the stories that make up the content of the collection: "In the collection you can replace or rearrange only a few stories."

View presentation "Details symbols in" Kolyma Stories "V.T. Shalamov. "

Research work in groups

1 group - the story "Poor of hell"

2 Group - Snake Caster Story

3 Group - Story "Handwriting"

4 Group - Nature Day

5 Group - the story "dry soldering"

6 Group - Story "Resurrection of Larch"

The task:

1. Prepare a brief retelling of the work
2. Find the reflection in the story of the following principles of "new prose":

• "The heroes of the" new prose "- martyrs, not former, who did not know and who did not become heroes", "People without a biography" are taken here "
• "The camp life destroys the usual moral and cultural mechanisms"
• "Everything that goes for the document is no longer a realism, but is a lie"
• Give examples illustrating the laconium "new prose"

1. Find in the text details-symbols that reveal the basic idea of \u200b\u200bthe work?

Output:

Hall, historical and psychological accuracy characteristic of Shalamov prose, and bright artistic details symbols allow you to create a kind of artistic image of the world - Kolyma "Antimir".

Questions on the subject of classes:

1. Where and when was Shalamov born? What can be said about his family?
2. Where did I study V. Hashamov?
3. When V. Shalamov was arrested and for what?
4. What was the sentence?
5. When and where was the punishment of Shalamov?
6. When was Shalamov again arrested? What is the reason?
7. Why did he extended the term in 1943?
8. When shalammes are released from the camp? And when will return to Moscow?
9. What year does it begin to work on the "kram" stories "?
10. Name the basic principles of the "new prose" of Shalamov.
11. What questions do the author puts in his stories?
12. Which of the stories of Shalamov made the most impression on you, why?

Estimates, commenting

Final word of the teacher

In "Kolyma Stories", the universal model of the world is being implemented, who first declared himself in the myth: a person is negligible in the face of the highest, more often evil, forces, but in this a rayful non-free world, "the" mortal winds "is opposed to the world of forever live culture.

Reflection

What have you already knew on this topic? What did you know new? What is especially remembered in a lesson?

Homework

Write an essay: "Two glances on the camp theme: A.I. Solzhenitsyn and V.T. Shalamov " Literature

1. Esipov V. V. Varlam Shalamov and his contemporaries. - Vologda: Book Heritage, 2007. - 270 s.ISBN 978-5-86402-213-9
2. Sirotinskaya I. P.My friend Vamlam Shalamov . - M., 2006.
3. By the century from the birthday of Varlam Shalamov Conference Conference (Moscow, 2007)
4. Shklovsky E. A. Vamlam Shalamov. - M.: Knowledge, 1991. - 64 p.ISBN 5-07-002084-6
5. Esipov V. V. Shalamov. - M.: Young Guard, 2012. - 346 p .: Il.- (Life of wonderful people: Ser. Biogr.; IP.1374).ISBN 978-5-235-03528-7
6. Dmitry Nich. Varlam Shalamov in the testimony of contemporaries. Collection . - Personal publication. The edition is the third, supplemented. PDF, 2012. - p. 568.
7. Zhuravina L. V. At the bottom of the day: aesthetics and poetics of prose Varlam Shalamov: a monograph. - 3rd ed., Stereotype. M.: Flint, Science, 2013. - 232 p.,
8. Russian writers, XX century. Bibliographic dictionary: in 2 hours / ed. N.N. Skatova. - M.: Enlightenment, 1998.

application

Instructions for students

How to write an essay.

Dear Students!

Genre Essay implies freedom of creativity. It can be written in any style, it is your thinking about the heard read, read, viewed.

Essay (from the French Essai "Attempt, Sample, Essay") - Prosecical composition of a small volume and free composition, expressing individual impressions and considerations on a specific occasion or question and knowingly not claiming an exhaustive answer. This is a new, subjectively painted word about anything, having a philosophical, historical and biographical, journalistic, literary-critical, popular or fictional nature.

Essay style is different:

• picture
• aphorist
• paradoxical

For the transfer of personal perception, the development of the world author Essay

• attracts numerous examples
• conducts parallels
• picks up analogy
• uses all sorts of associations.

The essay is characterized by the use of numerous means of artistic expressiveness:

• metaphor
• allegorical and Proverd Images
• symbols
• comparison

Essay will look richer and more interesting if there are:

• unpredictable conclusions
• unexpected turns
• interesting clutch

I wish you success!

Estimation Essay

The evaluation criteria of the essay can be transformed depending on their specific form, while the general requirements for the quality of the essay can be assessed by the following criteria:

2. Kolyma "Antimir" and its inhabitants

According to E.A.shklovsky: "To write about the work of Varlam Shalamov is difficult. It is difficult, first of all, because his tragic fate, which has largely affected the famous "Kolyma stories" and many verses, as if contributes to proportionate experience. Experience that you will not regret the enemy. " Almost twenty years in prison, camps, links, loneliness and forgetry in recent years of life, a pitiful home for the elderly and in the end - death in a mental hospital, where the writer was forcibly transported to die soon from the inflammation of the lungs. In the face of V.Shalamov, in his gift of a large writer, a nationwide tragedy was shown, which received his martyr witness with his own soul and blood paid for terrible knowledge.

Kolyma stories - the first collection of the stories of Varlam Shalamov, which reflects the life of the prisoners of the Gulag. Gulag is the main management of the camps, as well as the branched network of concentration camps during massive repression. The collection was created from 1954 to 1962, after the return of Shalamov from Kolyma. Kolyma stories are an artistic understanding of all seen and experienced Shalamov for 13 years spent in custody on Kolyma (1938--1951).

The problems of their work V.T.Shalamov formulated as follows: "Kolyma stories" is an attempt to deliver and solve some important moral issues of time, questions that simply cannot be resolved on another material. The question of the meeting of man and the world, the struggle of a person with the state car, the truth of this struggle, the struggle for themselves, inside itself - and beside themselves. Is an active influence on their fate, grinding the state vehicle, the teeth of evil. Illusory and severity of hope. The ability to rely on other forces than hope. "

As G.L.Nafagin wrote: "The realistic works about the system of Gulag were dedicated, as a rule, the life of political prisoners. They drew camp horrors, torture, bullying. But in such works (A. Solzhenitsyn, V.Shalamova, V. Grossman, An.Marchenko) was shown by the victory of the human spirit over evil. "

Today it is becoming increasingly obvious that Shalamov is not only and maybe not so much a historical certificate of crimes that forget - criminal. Shalamov is a style, unique rhythm of prose, innovation, all-pervading paradoxics, symbolism, brilliant possession of a word in his meaning, sound appearance, a thin strategy of the master.

The Kolyma wound is constantly bleeding, and, working on the stories, Shalamov "shouted, threatened, crying" - and rubbed tears only after the story is over. But at the same time it was not tired of repeating that "the artist's case is exactly the form", work with the word.

Shalamovskaya Kolyma is a lot of the islands camps. It was Shalamov, as Timofeev argued, found this metaphor - "Camp Island". Already in the story "Snake Camery" prisoner, the "Kinoszenarist in his first life", with bitter sarcasm speaks about the sophistication of the human mind, who invented "things like our islands with all the incredibility of their lives." And in the story "Man from a steamhouse" a camp doctor, a man of a sharp sardonic mind, expresses his listener a hidden dream: "... if our islands - did you understand me? "Our islands failed through the Earth."

Islands, Islands Archipelago is an exact and highly expressive image. They are "caught" forced isolation and at the same time connected to a single slave mode of all these prisons, camps, settlements, "business trips", which were included in the system of Gulag. Archipelago - a group of close to each other of the sea islands. But Solzhenitsyn "Archipelago", as the nefagin claimed, is primarily a conditional term metaphor, denoting the object of study. Shalamova "Our Islands" is a huge holistic image. He is not subject to the narrator, he has an epic self-development, he absorbs and subordinates his ominously inclusive, his "plot" everything, absolutely everything is the sky, snow, trees, faces, fate, thoughts, shootings ...

Nothing else, that would be located outside the "our islands", in "Kolyma stories" do not exist. That, dologer, free life is called "First Life", she ended, disappeared, melted, it is no longer no longer. Yes, and was she? The prisoners of "our islands" think about it as a fabulous, non-efficient land, which lies somewhere "behind the blue seas, behind the high mountains," such as in the "snake spellier". The camp swallowed any other existence. He subjugated everything and all the ruthless dictation of his prison rules. I crush irrelated, it became a whole country. The concept of "Kolyma Country" is directly stated in the story "The Last Major Pugacheva Major": "In this country, hopes, and therefore, there was a country of rumors, guesses, assumptions, hypotheses."

The concentration camp, who embedded the whole country, the country facing the huge archipelago of camps, is such a grotesque-monumental image of the world, which consists of the mosaic of "Kolyma stories". It is in its own way or appropriate, this world. This is how the camp looks like for prisoners in the "Taiga Golden": "A small zone is a shipment. Large zone - Mountain control camp - endless barracks, artantic streets, Triple barbed wire fence, Winter Loafers, similar to Bunches. " And then it follows: "The architecture of the small zone is ideal." It turns out, this is a whole city built in full compliance with its appointment. And the architecture is here, and even the same, to which the highest aesthetic criteria are applicable. In short, everything is as necessary, everything is "like people."

Borery M. reports: "This is the space of the country of Kolyma. The laws of time apply here. True, unlike hidden sarcasm in the image, it seems to be a normal-appropriate camp space, the time camp is frankly disabled beyond the scope of natural flow, it is a strange, abnormal time. "

"Months in the Far North are considered for years - so great experience, human experience gained there." This generalization belongs to an impersonal narrator from the story "The Last Fight of Major Pugacheva". But the subjective, personal perception of time is one of the zekov, former doctor Glebov in the story "At night": "Real was a minute, an hour, day from the lift to St., then he did not make any strength and did not find his strength to make her strength. Like all" .

In this space, the life of the prisoner occurs in this time. It has developed its own way, its own orders, its own value scale, its own social hierarchy. Shalmov with self-gerological meticulousness describes this way. Here are the details of household arrangement: how, for example, a camp barak is built ("a rare fence in two rows, the gap is filled with pieces of kinding moss and peat"), how to drown a stove in the barrack, which is the homemade camp lamp - the gasoline "bamb" ... Social camping device is also a subject of careful description. Two poles: "Boltari", they are "friends of the people" - on one, and on the other - political prisoners, they are "enemies of the people." Union of Vorivsky laws and government settings. The vile power of all these Fedhek, the sehets serviced by a variety of worshi from "Masha", "Vornekov", "cheerbral heels". And no less merciless borders of the whole pyramid of official chiefs: brigadiers, accountors, warders, convoirs ...

Such is the initial and established order of life on the "Our Islands". In other mode, the Gulag could not perform their function: absorb millions of people, and instead of "issuing" gold and forest. But why are all these Shalamov "ethnography" and "physiology" cause a feeling of apocalyptic horror? It's quite recently one of the former Kolyma prisoners recently told that "Winter there, in general, a little colder than Leningrad" and that on Butughage, for example, "the mortality in reality was insignificant," and to combat the Queen, the relevant medical and preventive measures were carried out , like a forced drinking of fancabber extract, etc.

And Shalamov has about this extract and about much more. But he is not ethnographic essays about Kolyma writes, he creates the image of Kolyma, as the incarnation of a whole country turned into a gulag. The apparent outlaits are only the "first layer" of the image. Shalamov goes through "ethnography" to the spiritual essence of Kolyma, he is looking for this essence in the aesthetic core of real facts and events.

In the antimire of Kolyma, where everything is aimed at breaking, the remnation of the dignity of the prisoner is eliminating the personality. Among the "Kolyma stories" there are those described by the behavior of creatures, sowing almost until the complete loss of human consciousness. Here is the novel "At night". The former doctor Glebov and his partner of the Bagressets commit the fact that on the scale of generally accepted moral norms was always considered extreme blasphemy: tear up the grave, undressing the corpse of the oppariator so that his miserable lingerie will exchange on bread. This is already the populated: the person is no longer there, a purely animal Vital Reflex remained.

However, the antimire of Kolyma not only exhausted mental forces, not only goes out of mind, but this is the final - Fazis, when the reflex itself disappears: the person himself disappears: a person already does not care. This state is described in the story "Single Measurement". A student of Dugaev, quite another young - twenty-three years, is so crushed as the camp that even his suffering has no strength. It remains only - before execution - the dull regret, "which worked in vain, in vain, this last thing today".

As Nafagina points in. L.: "The idleness, herself writes Shalamov about the calculation of man by the system of Gulag. Alexander Solzhenitsyn, who read the sixty kolym stories of Shalamov and his "essays of the criminal world," said: "Shalamov's camp experience was pretty and longer than mine, and I respectfully recognize that it was him, and I didn't get to touch the bottom of the absence and despair, To whom the entire camp weight pulled us. "

In "Kolyma stories", the object of comprehension is not a system, but a person in the millstone system. Shalamov is not interested in how the repressive car is working, but how "works" the human soul, which is trying to crush and grind this car. And dominates the "Kolyma stories" not the logic of the clutch of judgment, and the logic of the clutch of images is an anti-artistic logic. All this is directly related not only to a dispute about the "image of the uprising", but significantly wider - to the problem of adequate reading "Kolyma stories", in accordance with their own nature and the creative principles that guided their author.

Of course, Shalamov is extremely expensive, everything is human. It sometimes even with asylum "deprives" from the gloomy chaos of Kolyma the most microscopic evidence that the system failed to unzind in human souls, then the primary moral feeling, which is called compassion ability.

When Doctor Lydia Ivanovna in the story "Typhoic Quarantine" faces a gentle voice of the Feldscher, which spoiled on Andreeva, he remembered her "for his whole life" - "For the Good Word, said on time." When the elderly instrument girl in the story "Carpenters" covers two intellectuals-irregularity, which was called by carpenters, just at least a day to stay in the warm carpentry workshop, and gives them their own hand-made sol. When bakers from the bakery in the story "Bread" try primarily to feed the camps sent to them. When the fierce fate and the struggle for the survival of the Zeki in the story "Apostle Paul" burn a letter and a statement by the only daughter of the old carpenter with renunciation from his father, then all these seemingly minor actions appear as acts of high humanity. And the fact that the investigator performs in the story "Handwriting" - he throws a CRIST's case included in the next list of sentences to execute, is a desperate act, a real feat of compassion.

So, the normal "average" person in completely abnormal, absolutely inhuman circumstances. Shalamov explores the process of interaction between the Kolyma prisoner with the system not at the level of ideology, not even at the level of everyday consciousness, but at the level of the subconscious, on the border strip, where the Gulag Daville pushed the person - on the bridge of the face between the person, still preserving the ability to think and suffer And the impersonal being, which no longer owns and begins to live the most primitive reflexes.

Among the literary values, open era of publicity, the name of Varlam Shalamov, in my opinion, is one of the most tragic names in the domestic literature. This writer left the descendants striking in the depth of the artistic heritage - "Kolyma stories", a work about life and human destinies in the Stalinist Gulage. Although the word "life" is inappropriate when it comes to the pictures of the human existence depicted by Shalamov.

It is often suited that "Kolyma stories" - an attempt of the writer to put and solve the most important moral issues of time: the question of the legality of the struggle of a person with the state car, the opportunity to actively influence their fate, about the ways of preserving human dignity in inhuman conditions. I also seem otherwise the task of a writer depicting hell on Earth called "Gulag".

I think the work of Shalamov is a singing of a society that made this. "Kolyma stories" - spit in the face of the Stalinist regime and everything that personifies this bloody era. What ways to preserve human dignity, which allegedly says Shalamov in the "Kolyma stories" can speak on this material, if the writer himself calmly states the fact that all human concepts are love, respect, compassion, mutual execution - seemed to prisoners "comic concepts " He does not seek ways to preserve this very advantage, prisoners simply did not think about it, did not ask such questions. It remains to be amazed how inhuman facilities were the conditions in which hundreds of thousands of innocent people were, if every minute of "that" life was filled with thoughts about food, clothing that can be extracted by removing it from the recently deceased.

I think the issues of human management by their own fate and preserve dignity are applicable more to the work of Solzhenitsyn, who also wrote about Stalin's camps. In the works of Solzhenitsyn characters really reflect on moral issues. Alexander Isaevich himself said that his heroes were put in softer conditions, rather than the heroes of Shalamov, and explained this by different terms of the conclusion in which they were, the authors of eyewitnesses.

It is difficult to imagine what spiritual voltage was Shalamov these stories. I would like to dwell on the composite features of the Kolyma Story. The stories of stories at first glance are unbounded among themselves, nevertheless they are compositely integral. "Kolyma stories" consist of their 6 books, the first of which is called - "Kolyma stories", then adjoin the books "Left Bank", "Artist shovels", "Essays of the Criminal World", "Resurrection of larch", "Glove, or Cr -2 "

The book "Kolyma stories" includes 33 stories located in a strictly defined order, but not tied to chronology. This construction is aimed at portraying Stalin's camps in history and development. Thus, the work of Shalamov is nothing but a novel in themelles, despite the fact that the author has repeatedly declared death in the XX century of the novel as a literary genre.

The narration in the stories is conducted from a third party. The main characters of the stories are different people (Golubev, Andreev, Crysta), but they are all extremely close to the author, because they are directly involved in what is happening. Each of the stories resembles the confession of the hero. If we talk about the skill of Shalamov - the artist, about his manner of the presentation, it should be noted that its prose's language is simple, extremely accurate. The intonation of the narration is calm, without darling. Surgo, concise, without any attempts of psychological analysis, even somewhere documented the writer speaks of what is happening. I think Shalamov seeks stunning influence on the reader by contrasting the calmness of the unhurried, calm narrative of the author and explosive, horrific content.

The main image that combines all stories is the image of the camp as an absolute evil. "Camp - Hell" - a permanent association coming to the mind during the reading of "Kolyma Story". This association occurs even not because they constantly come across the inhuman flour of prisoners, but also because the camp seems to the kingdom of the dead. Thus, the story "The tombstone" begins with the words: "Everyone died ..." On each page, we meet with death, which here can be called among the main characters. All the heroes, if we consider them in connection with the prospect of death in the camp, can be divided into three groups: the first heroes who have already died, and the writer remembers them; The second - those that will die almost certainly; And the third group - those who may be lucky, but it is not for sure. This statement becomes most obvious if you remember that the writer in most cases talks about those who met and who survived in the camp: a person who was shot for non-fulfillment of the plan with his plot, his classmate, with whom they met in 10 years in the Butyrskaya chamber Prisons, the French Communist, whom the Brigadier killed by one blow of the fist ...

But death is not the worst thing that can happen to a man in the camp. More often it becomes salvation from Muk, for the one who died, and the ability to learn any benefit if another died. Here it is worthwhile to turn to the episode of the oscillation of the lacking by the larders from the larger of the land just a buried corpse: everything that the heroes are experiencing - the joy because the lingerie of the dead can be changed tomorrow on bread and tobacco ("night"),

The main feeling that the heroes pushes into nightmarish actions is a sense of permanent hunger. This feeling is the strongest of all feelings. The food is what life supports, so the writer in detail describes the process of adopting the food: the prisoners eat very quickly, without spoons, through the board the plates, licking her bottom to the tongue. In the "Domino" story, Shalamov depicts a young man, who ate meat of human corpses from the morgue, cutting down "non-fat" pieces of human flesh.

Shalamov draws life of prisoners - another circle of hell. The housing of prisoners serve huge barracks with multi-storey departures, where 500-600 people are located. Prisoners sleep on mattresses stuffed with dry branches. Everywhere full antisanitarian and, as a result, illness.

Shalamov examines the gulag as an exact copy of the model of the Totalitarian Stalin's Society: "... camp is not opposed to Hell Paradise. And the cast of our lives ... camp ... Miropodaen ".

In one of the books-diaries of 1966, Shalamov explains the task set by him in the "Kolyma stories": "I am writing not to repeat the described. So it does not happen ... I write so that people know that such stories are written, and they themselves decided to some kind of decent act ... "