tag:blogger.com,1999:blog-5232864737676768592024-03-06T04:30:26.007-08:00The Noise of Time / TNTOn culture, history, politics; film and photography; ideas and memories; Russia and U.S.Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.comBlogger56125tag:blogger.com,1999:blog-523286473767676859.post-40826791856940997642024-02-09T18:03:00.000-08:002024-02-09T18:20:20.753-08:00Kira Kovalenko and Kantemir Balagov, Guest Directors, Telluride Film Festival 2021<div class="separator" style="clear: both; text-align: center;"><a href="https://www.indiewire.com/wp-content/uploads/2022/06/kantemir-and-kira.jpg?w=1280&h=853&crop=1" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="800" height="267" src="https://www.indiewire.com/wp-content/uploads/2022/06/kantemir-and-kira.jpg?w=1280&h=853&crop=1" width="400" /><span> </span></a></div><div class="separator"><br /></div><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;"><o:p></o:p></span></p><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;">Some of the most powerful tragic stories originate at the borderline between tradition and modernity. Our two guest directors hail from such a space, North Caucasus. There, according to legend, Prometheus, the primal modernizer, was chained to Mount Elbrus as punishment for giving the humans the new technology—fire.</span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img alt="undefined" src="https://upload.wikimedia.org/wikipedia/en/d/da/Unclenching_the_Fists.jpg" style="margin-left: auto; margin-right: auto; text-indent: 0px;" title="Unclenching the Fists" /></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: verdana;">Unclenching the Fists. 2021</span></td></tr></tbody></table><p></p><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;"><br /></span></p><span> </span><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;">In their art, Kira Kovalenko and Kantemir Balagov embraced the explosive forces produced by the clash of cultures, its violence, and the deep trauma left in its wake. Perhaps their mentor Alexander Sokurov chose to locate his film school in their hometown of Nalchik—the capital of Kabardino-Balkaria, where a quarter of a million people live in the shadow of Mount Elbrus—because it is place where tribal traditions and Russian imperial modernity have long been locked in a brutal embrace. If so, he has not been disappointed in his students.<o:p></o:p></span></p><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;">While Kovalenko and Balagov have collaborated on their film projects, each has chosen a path of her or his own. Both have been recognized at Cannes, among other venues, Kantemir for <a href="https://youtu.be/_OmXazQPVMA?feature=shared" target="_blank">TESNOTA</a> (CLOSENESS) (2017) and <a href="https://youtu.be/73_7Y95snIs?feature=shared">BEANPOLE</a> (2019), and Kira for <a href="https://youtu.be/Ml45Zu8rNnw?feature=shared" target="_blank">UNCLENCHING THE FISTS</a> (2021). BEANPOLE and UNCLENCHING THE FISTS were chosen to represent Russia at the Academy Awards.<o:p></o:p></span></p><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;">Honors aside, the two have opened a fascinating dialogue, reminiscent of the golden age of Italian cinema, that offers new ways of seeing — universally relevant, yet steeped in local particularities of ordinary lives.<o:p></o:p></span></p><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;">Set in a small mining town in North Ossetia and shot with the nervous immediacy by a hand-held camera, Kovalenko’s UNCLENCHING THE FISTS distills a family story to its almost literal essence—how to unlock a father’s fists as he grips his daughter in a deadly embrace, both characters frozen in time by a violent trauma. Balagov’s CLOSENESS, a story of grinding cultural friction and individuation, ends on an ambiguous note: a rebellious young woman rejoins her parents as they flee their home to seek refuge in a distant city.<o:p></o:p></span></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img alt="'Closeness' Review: A Russian Kidnapping Drama Unsettles in Unexpected Ways - The New York Times" height="225" src="https://static01.nyt.com/images/2020/04/30/arts/30closeness-art/merlin_171911568_45d97aa4-5f76-4c06-bf4c-840fa0731b38-videoSixteenByNineJumbo1600.jpg" style="margin-left: auto; margin-right: auto; text-indent: 0px;" width="400" /></td></tr><tr><td class="tr-caption" style="text-align: center;">Unclenching the Fists</td></tr></tbody></table><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;">Balagov’s BEANPOLE, set in Leningrad at the end of World War II, closes with two war-scarred young women embracing the illusion of a false pregnancy. Here Balagov goes for the jugular: is art — also an illusion — what sustains us? Real art—a miracle, as in the films of Kira and Kantemir—does.<o:p></o:p></span></p><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;">In a feat of historical irony, the Russian invasion of Ukraine and the brutal political repression imposed by the Kremlin have forced these two apolitical but deeply humane film makers to flee their country. Opposed to the war, they now seek a new home in the U.S. Like Prometheus from a lost play by Aeschylus, they are now unbound and free to create. Among the works they selected is a startling set of films, all sharing in the notion of “miracle."<o:p></o:p></span></p><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;">Welcome to the mountains of Telluride!<o:p></o:p></span></p><p class="MsoBodyText2" style="line-height: 32px; margin: 0in; text-align: left; text-indent: 0.5in;"><span style="font-family: verdana;">—Grisha Freidin. August 2021</span></p>Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-67325157938028664502022-08-31T13:25:00.006-07:002022-09-13T11:18:07.116-07:00Михаил Сергеевич Горбачев (1931–2022)<div style="text-align: left;"><span style="-webkit-text-size-adjust: 100%; display: inline; font-size: medium; text-size-adjust: 100%;"><img alt="https://drive.google.com/uc?export=view&id=1gmaE5N9-rPb9kFMBcvOQOv3fuAuiguEW" src="https://drive.google.com/uc?export=view&id=1gmaE5N9-rPb9kFMBcvOQOv3fuAuiguEW" style="height: auto; max-height: 80%; max-width: 80%; width: auto;" /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="-webkit-text-size-adjust: 100%; display: inline; font-family: inherit; text-size-adjust: 100%;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="-webkit-text-size-adjust: 100%; display: inline; font-family: inherit; text-size-adjust: 100%;">Умер Михаил Сергеевич Горбачёв. Как же я и все МЫ ему обязаны! Не стану перечислять ни благодеяния, ни ошибки. Главное, он изменил наш мир к лучшему и дал возможность нескольким поколением подышать свободой, узнать правду и увидеть мир. </span><span style="font-family: inherit;">Как Моисей, он сумел, часто не отдавая себе отчета, вывести СССР и Восточную Европу из пустыни коммунизма, не пролив морей крови. Вечная память ему за это.</span></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">Мне посчастливилось с ним познакомиться на приеме и Джорджа Шульца в Стэнфорде в 1992 году. Он только что вернулся из имения Рейгана на юге Калифорнии и выступал в Стэнфорде. Мне хотелось лично вручить ему мой перевод <a href="https://thenoiseoftime.blogspot.com/search?q=Federalist" target="_blank">Американских Федералистов</a>, который был для него сделан и издан в январе 1991. Я подошёл к нему и с подобающими словами дал в руки переплетённый в кожу томик. Он улыбнулся, взглянул мне в глаза с хитринкой и выпалил: «А у меня уже есть.» Но тут же поблагодарил за книжку и перевод и стал в шутливом тоне жаловаться, как ему Рейган все уши прожужжал своими разговорами об Америке — Божьем граде на холме. Я ему ответил в том же духе. </span><span style="font-family: inherit;">Он был раскован, очарователен и излучал какую-то человеческую благодать. </span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">В августе 1991, во время путча, я был в Белом доме в Москве, и был там же, когда он вернулся из Фороса и выступал перед делегатами в наспех созванной сессии. Распаленный полновластием Борис Николаевич Ельцин науськивал зал на Горбачева, нависал над ним и грубо заставлял его читать невыверенную (и, как оказалось, подтасованную) копию стенограммы заседания его совета министров 19 августа. На этом заседании, за исключением Николая </span><a href="https://ru.wikipedia.org/wiki/%D0%92%D0%BE%D1%80%D0%BE%D0%BD%D1%86%D0%BE%D0%B2,_%D0%9D%D0%B8%D0%BA%D0%BE%D0%BB%D0%B0%D0%B9_%D0%9D%D0%B8%D0%BA%D0%BE%D0%BB%D0%B0%D0%B5%D0%B2%D0%B8%D1%87" style="font-family: inherit;" target="_blank">Воронцова</a><span style="font-family: inherit;"> и Саламбека </span><a href="https://ru.wikipedia.org/wiki/%D0%A5%D0%B0%D0%B4%D0%B6%D0%B8%D0%B5%D0%B2,_%D0%A1%D0%B0%D0%BB%D0%B0%D0%BC%D0%B1%D0%B5%D0%BA_%D0%9D%D0%B0%D0%B8%D0%B1%D0%BE%D0%B2%D0%B8%D1%87" style="font-family: inherit;" target="_blank">Хаджиева</a><span style="font-family: inherit;">, министры изменили своему президенту и проголосовали в пользу путчистов. Горби понимал, что его подставляют, и отказывался. А в это время вся совковая делегатская шобла ревела, будто хотела его распять. Похоже было на римских воинов на <a href="https://www.artic.edu/artworks/59856/the-crucifixion">Распятии Кранаха Младшего</a>. А ведь они только недавно перед ним пресмыкались. </span></span></div><div style="text-align: left;"><span style="font-family: inherit;"><span style="font-size: medium;"><br /></span></span></div><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0y_p6dgHMjbxSlPPhnMkt58UdxyyJXPC1WE82MGOYu6SkhVHHFdNqjRJAQFNrPksCFmKCzCsxWnpxFbSm4OA0YSMrhkFRnF658B5Zfw5m8PBIvtMjrUEpmz0uDOrNo3L22lUqxosDmHqQeCYrjB_h4UAjB2EiHpyqW24RyjNHe-np1H3et8zlqERlgQ/s400/%D0%93%D0%BE%D1%80%D0%B1%D0%B0%D1%87%D0%B5%D0%B2%20%D0%B8%20%D0%95%D0%BB%D1%8C%D1%86%D0%B8%D0%BD1.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-size: medium;"><img border="0" data-original-height="300" data-original-width="400" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0y_p6dgHMjbxSlPPhnMkt58UdxyyJXPC1WE82MGOYu6SkhVHHFdNqjRJAQFNrPksCFmKCzCsxWnpxFbSm4OA0YSMrhkFRnF658B5Zfw5m8PBIvtMjrUEpmz0uDOrNo3L22lUqxosDmHqQeCYrjB_h4UAjB2EiHpyqW24RyjNHe-np1H3et8zlqERlgQ/s320/%D0%93%D0%BE%D1%80%D0%B1%D0%B0%D1%87%D0%B5%D0%B2%20%D0%B8%20%D0%95%D0%BB%D1%8C%D1%86%D0%B8%D0%BD1.jpg" width="320" /></span></a></div><span style="font-size: medium;"><span style="font-family: inherit;"><br /></span></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;">Мне тогда пришла в голову идея оперы «Горбачёв и Ельцин». Часть либретто до сих пор где-то валяется. У Горбачева там была ария в день Чернобыля: "Все прогнило!" И её подхватывали Александр Николаевич <a href="https://ru.wikipedia.org/wiki/%D0%AF%D0%BA%D0%BE%D0%B2%D0%BB%D0%B5%D0%B2,_%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B0%D0%BD%D0%B4%D1%80_%D0%9D%D0%B8%D0%BA%D0%BE%D0%BB%D0%B0%D0%B5%D0%B2%D0%B8%D1%87" target="_blank">Яковлев</a> и Эдуард Амвросиевич <a href="https://ru.wikipedia.org/wiki/%D0%A8%D0%B5%D0%B2%D0%B0%D1%80%D0%B4%D0%BD%D0%B0%D0%B4%D0%B7%D0%B5,_%D0%AD%D0%B4%D1%83%D0%B0%D1%80%D0%B4_%D0%90%D0%BC%D0%B2%D1%80%D0%BE%D1%81%D0%B8%D0%B5%D0%B2%D0%B8%D1%87" target="_blank">Шерваднадзе</a>. Но это, как говорится, из другой оперы... </span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span><span style="font-family: inherit;">В конце приема у Шульца удалось поговорить с Раисой Максимовной, сказать ей о том, как мы в Москве тогда в августе 91-го переживали за них в Форосе, и она взяла и расплакалась. Я тогда не знал, что у нее был срыв во время путча, когда семья имела все основания бояться за свою жизнь. Было неловко, но печально и по-человечески трогательно. А ведь я и </span></span>писать <span><span style="font-family: inherit;">стал о современной политике с моей <a href="https://web.stanford.edu/~gfreidin/Publications/columns/gorb_other_woman.htm" target="_blank">статьи</a> в New Republic о том. как и почему </span></span>их любовь друг к другу, которую они не скрывали, так претила <span><i>народу</i><span style="font-family: inherit;">. Привыкли люди, что вождь обручается стране, а не какой-то там женщине. Ревновали... </span></span></span></div><div style="text-align: left;"><span style="font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;">Светлая им обоим память!</span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-size: medium;"><span style="font-family: inherit;">И как нам всем повезло, что распасться империи довелось при Горбачеве, а не при Путине, этом <a href="https://ru.wikipedia.org/wiki/%D0%9A%D1%80%D1%8E%D1%87%D0%BA%D0%BE%D0%B2,_%D0%92%D0%BB%D0%B0%D0%B4%D0%B8%D0%BC%D0%B8%D1%80_%D0%90%D0%BB%D0%B5%D0%BA%D1%81%D0%B0%D0%BD%D0%B4%D1%80%D0%BE%D0%B2%D0%B8%D1%87" target="_blank">крючковском</a> гаденыше, который огнём и мечем теперь пытается загнать </span><span>Украину </span><span style="font-family: inherit;">в свой разжиревший от нефти инфернальный российский рейх. </span></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;">30 августа 2022 г.</span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;">Беркли</span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: medium;"><br /></span></div><div style="text-align: left;"><span style="font-family: inherit; font-size: large;"><br /></span></div>Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-71239622501389707432022-03-08T16:24:00.012-08:002022-03-17T11:26:39.272-07:00Небо голубое, красная кровь, белое белье, зеленая трава<div class="separator" style="clear: both; text-align: center;"><a href="https://www.dropbox.com/s/ofh9rmx8vekyu22/GF_%20R%C4%ABgas%20Laiks3.pdf?dl=0" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img alt="Photo by Ignas Staškevičius" border="0" data-original-height="588" data-original-width="1378" height="137" src="https://blogger.googleusercontent.com/img/a/AVvXsEht6ZgFk6lVnJmlwv3AbjnebMUOPwEk6xCB4fRZyfm71eEyGOSHyiLq7aNNBHsvKQuZmSZFwp_i5vAhVZWhLE5Q11kHeCTbM3RFN9NtlKwuWuinK3xR7ZnHWu9ptCNymeTTO79AIx1gWJsE19dR7psII57wrxGuVojWxdVrNp6XfgpbCAe5JPHQC55aZg=w320-h137" width="320" /></a></div><p>В марте 2016 г. мне позвонил незнакомец из замечательного, но тогда еще не известного мне, рижского журнала <a href="https://www.rigaslaiks.ru/">Rigas Laiks</a> и предложил встретиться на предмет интервью. Мне было тогда не с руки. Я не примадонна и легко соблазняюсь на беседу, но, наверное, мне хорошо тогда писалось и не хотелось отвлекаться. Я было отмахнулся. Провинциальный калифорниец, я подумал: Что в Риге до меня и что мне до Риги? Но сильный голос Арниса Ритупса (Arnis Ritups) заставил передумать, и я согласился — вспомнил, как я ликовал, когда в шестнадцать лет ранним летним утром приехал на автобусе в сказочное царство нерусской Риги. Воспоминания себя оправдало. Арнис Ритупс выглядел человеком из сказки. Фотограф-любитель, я не удержался и сфотографировал его.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgAEUtFC7vdSrz66v5x0Xg3p5zGgF7w6jgAJT2DV4Oqeht_9KYFf5zmjDTn3htB-vrRDoycZt4kazQkdesOx6FIRF6oUHEkj_3BtldTJZpHo91R3cqpvY1U923Hsv_8Gd_xJcxngGfcoC4WnY2Vy1e7WLNqUjx2JPyiqOgAKTHN6V4RWxJCkSax-0vGfw=s4037" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3595" data-original-width="4037" height="285" src="https://blogger.googleusercontent.com/img/a/AVvXsEgAEUtFC7vdSrz66v5x0Xg3p5zGgF7w6jgAJT2DV4Oqeht_9KYFf5zmjDTn3htB-vrRDoycZt4kazQkdesOx6FIRF6oUHEkj_3BtldTJZpHo91R3cqpvY1U923Hsv_8Gd_xJcxngGfcoC4WnY2Vy1e7WLNqUjx2JPyiqOgAKTHN6V4RWxJCkSax-0vGfw=w320-h285" title="Arnis Ritups" width="320" /></a></div><p>Мы встретились в берклийском кафе, которое тогда еще называлось The French Hotel, напротив моих любимых заведений: бара Cèsar и ресторана Chez Panisse. Для интервью требуется трезвость, поэтому выбор пал на French Hotel, где подавали только кофе и чай и можно было сидеть, сколько хочешь, за столиком на тротуаре. </p><p>Я думал, управимся за пол-часа. Просидели два-три: я и напротив меня человек в монашеском капюшоне Арнис Ритупс, а за его спиной фотограф Ignas Staškevičius. Не знаю, что об этой сцене думали пешеходы, но нас обходили стороной и не мешали. В Беркли видали и не такое. Беседа получилась интересной и дотошной, Арнис многое во мне всколыхнул и заставил договорить. Спасибо, Арнис!</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEitnZ41zsTqM41yMmmRZlnYvzGmtLwi4ScWHGceNzQu5qfMI1GT-bUVlvWKrV_znE_CLnhEOvP1eS3fCzyKS-sPutKyBZJT5d-yz0lg_fNcIST1nnpWMr1uQJSnVmr1Ak1sIsFts0sVln8s3XnHLHtYxWTBbQXZ51xTs7kkmgW2_4jhY0Nta09eEoLytw=s4166" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3727" data-original-width="4166" height="286" src="https://blogger.googleusercontent.com/img/a/AVvXsEitnZ41zsTqM41yMmmRZlnYvzGmtLwi4ScWHGceNzQu5qfMI1GT-bUVlvWKrV_znE_CLnhEOvP1eS3fCzyKS-sPutKyBZJT5d-yz0lg_fNcIST1nnpWMr1uQJSnVmr1Ak1sIsFts0sVln8s3XnHLHtYxWTBbQXZ51xTs7kkmgW2_4jhY0Nta09eEoLytw=s320" width="320" /></a></div><p>Больше мы с Арнисом не пересекались. Прошло время, я решил, что беседа не удалась. Бывает. Я забыл об этой встрече, пока меня не разбудила в понедельник записка от Маши Слоним со ссылкой на журнал и припиской: "читай - наслаждайся"! На секунду в тяжелой завесе путинской войны появился просвет и сверкнул довоенный, доковидный мир шестилетней давности, да еще и со вступительной заметкой Люси Улицкой о наших давних московских временах. За день-два до этого она с мужем, моим другом Андреем Красулиным, успела покинуть Россию.</p><p>Получилась, как заметил мой кузен Саша Пружинин, что-то вроде исповеди. Кому интересно, полный текст <a href="https://www.dropbox.com/s/ofh9rmx8vekyu22/GF_%20R%C4%ABgas%20Laiks3.pdf?dl=0" target="_blank">здесь</a>, с моей минимальной правкой:</p><p><a href="https://www.dropbox.com/s/ofh9rmx8vekyu22/GF_%20R%C4%ABgas%20Laiks3.pdf?dl=0" target="_blank">Небо голубое, красная кровь, белое белье, зеленая трава</a></p><p>8 марта 2022 г.</p><p>Беркли</p><p> </p><p> </p>Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-5829117121064986422022-01-28T15:46:00.006-08:002022-01-31T10:16:55.539-08:00Иосиф Бродский. Скорбная годовщина<span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; text-size-adjust: auto;"><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgBl4Y0pFDiEdE7frRnl5UWoCNITqOBE-INhc6c72HFR58tm_AIXpwdlcYhvHn3ReT1F96OKzwa4wjUn1v9FHyJjnxd48uTCpj3aV7T87hjHBNG5u7l7GqCT5AEo0yQ-UA2MF_BjzZCGyHuFBJZu2EofB_cInjnzFQC97uMpunKFE7w0Cs86jSYlwsg2g=s1784" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1197" data-original-width="1784" height="269" src="https://blogger.googleusercontent.com/img/a/AVvXsEgBl4Y0pFDiEdE7frRnl5UWoCNITqOBE-INhc6c72HFR58tm_AIXpwdlcYhvHn3ReT1F96OKzwa4wjUn1v9FHyJjnxd48uTCpj3aV7T87hjHBNG5u7l7GqCT5AEo0yQ-UA2MF_BjzZCGyHuFBJZu2EofB_cInjnzFQC97uMpunKFE7w0Cs86jSYlwsg2g=w400-h269" width="400" /></a></div><br /></div><p class="p1" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Сегодня вдруг живо вспомнилось. </p><p class="p2" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p class="p1" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Конец января 1996. Недавно виделись и только что переписывались. 28–го позвонила сестра Марианна, и сразу удар: ты слышал — Иосиф умер. Опустился занавес. Ахнула эпоха. Ушел ее голос. </p><p class="p2" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p class="p1" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Знаю: записей много, но живого голоса я и люди моего поколения лишись навсегда. Думаю, как многие, я привык в его голосе слышать свой. А какой это звук без отзвука? Все равно, что перестать отбрасывать тень. </p><p class="p2" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p class="p1" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Мы с ним часто ездили вдвоем на берег Тихого океана в Сан-Франциско, на Seal Rock. Суровое место. Ветер, волны, туман; за спиной — чудный город, а перед тобой — бесконечная стихия. Последний раз, когда он выступал в Стэнфорде в 1993 или 94 году, у него тембр понизился, и в нем стал слышаться гул морского прибоя. Я ему что-то в этом роде пробормотал тогда, а он, как всегда, криво усмехнулся на комплимент. </p><p class="p2" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p class="p1" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Там, на Seal Rock, в прибое, если сильно захотеть, временами еще можно было услышать его голос. Хотя наверняка не скажу. Давно там не был. </p><p class="p2" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p class="p1" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Сейчас взял с полки его сборник 1990 г. — Худлит, Москва — будто его и не прогнали из страны в 1972-м. Отличный томик. Он открылся на "Наброске" — злом стишке (его словечко) именно 1972 года. Иосиф умел давать сдачи. Сейчас особенно актуально. </p><p class="p2" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Холуй трясется. Раб хохочет.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Палач свою секиру точит.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Тиран кромсает каплуна.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Сверкает зимняя луна.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Се вид Отечества, гравюра.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">На лежаке — Солдат и Дура.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Старуха чешет мертвый бок.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Се вид Отечества, лубок.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Собака лает, ветер носит.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Борис у Глеба в морду просит.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Кружатся пары на балу.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">В прихожей — куча на полу.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Луна сверкает, зренье муча.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Под ней, как мозг отдельный,— туча.</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Пускай Художник, паразит,</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">другой пейзаж изобразит.</p></blockquote></blockquote></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; text-size-adjust: auto;"><p class="p2" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px; text-align: left;"><br /></p></span></blockquote></blockquote></blockquote><span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; text-size-adjust: auto;"><p class="p1" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; text-align: left;">____________</p></span><span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; text-size-adjust: auto;"><p class="p2" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px; min-height: 15px;"><br /></p><p class="p1" style="color: black; font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">На фото (фотографировала моя жена Вики Боннелл) мы с Иосифом. Санта Круз. 1973 г. Тот же Тихий океан. Мы стоим на обрыве. Внизу на пляже снимают голую натуру. Мы наблюдаем.</p></span><div><p></p></div><div><span face="system-ui, -apple-system, BlinkMacSystemFont, ".SFNSText-Regular", sans-serif" style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; text-size-adjust: auto;"><br /></span></div>Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-14780887464119455002021-01-21T15:32:00.001-08:002021-01-21T15:33:54.736-08:00An Epitaph for Trump's Presidency<p><span style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; text-size-adjust: auto; white-space: pre-wrap;"></span></p><div class="separator" style="clear: both; font-family: courier; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Ez4R2j4z2-DuZDUDxdOlis8Olea8zCN9euyRpYzM4K_TFI-dYhz5GXAuT748hDwCVN-FarF-LX10TylUxendIOOz00JA0_TZf55BsJlKtBUWqE8aJZ0q0bWt0BbGL5vQ_ZdPPbhDb62v/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="437" data-original-width="731" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Ez4R2j4z2-DuZDUDxdOlis8Olea8zCN9euyRpYzM4K_TFI-dYhz5GXAuT748hDwCVN-FarF-LX10TylUxendIOOz00JA0_TZf55BsJlKtBUWqE8aJZ0q0bWt0BbGL5vQ_ZdPPbhDb62v/" width="320" /></a></div><p></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: courier;">Trump began his presidency of the United States as a self-pitying pariah narcissist, filled with resentments.</span></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: courier;"><br /></span></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: courier;">He ended it as a pariah narcissist, filled with resentments.<span class="Apple-converted-space"> </span></span></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="Apple-converted-space"><span style="font-family: courier;"><br /></span></span></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: courier;">Such is his nature.<span class="Apple-converted-space"> </span></span></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="Apple-converted-space"><span style="font-family: courier;"><br /></span></span></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: courier;">Scorpion said to frog: it’s in my nature.<span class="Apple-converted-space"> </span></span></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span class="Apple-converted-space"><span style="font-family: courier;"><br /></span></span></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: courier;">Feeling the sting, the frog, in the nick of time, shook him off and jumped to shore.<span class="Apple-converted-space"> </span></span></p><p><span style="font-family: courier;"><span style="background-color: white; caret-color: rgb(5, 5, 5); color: #050505; font-size: 15px; text-size-adjust: auto; white-space: pre-wrap;"></span></span></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: courier;">Frog is still there, reeling from the experience.</span></p><p class="p1" style="font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><span style="font-family: courier;"><br /></span></p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;"><br /></p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">___________________________</p><p class="p1" style="font-family: "Helvetica Neue"; font-size: 13px; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; margin: 0px;">Picture By Kurzon - Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=86612002</p>Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-4211343157751233852020-01-27T15:45:00.003-08:002020-05-24T15:13:45.883-07:00An Afternoon with Joseph Brodsky in San Francisco, December (?) 1988<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1OS5bmAAlueCTO_3cnxkHTetcjeyVGoZGqzXAGslH6sEK1TFjBj4T_RqlV2IDuK5pDD0k3qXxv1YW9HEylqHKbVEUKfkvanoBbn000aK69sToefxm8LvbdUg9NDnxmy2wgtTpfVyyhyphenhyphenvv/s1600/brodsky+SF+1988.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1075" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1OS5bmAAlueCTO_3cnxkHTetcjeyVGoZGqzXAGslH6sEK1TFjBj4T_RqlV2IDuK5pDD0k3qXxv1YW9HEylqHKbVEUKfkvanoBbn000aK69sToefxm8LvbdUg9NDnxmy2wgtTpfVyyhyphenhyphenvv/s400/brodsky+SF+1988.jpg" width="268" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joseph Brodsky. California Street, San Francisco, <br />
December 1988</td></tr>
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I took this photo in San Francisco on a quiet December (?) afternoon 1988. An old friend and, by then, the latest Nobel Laureate, Brodsky came to San Francisco to give a speech at the Commonwealth Club. We met at Stanford Court Hotel and spent two, maybe three hours in intense conversation about our personal lives, reminiscences, literature, poetry, mutual friends, and of course, his new poetry. After a while, we went out for coffee, to refuel. </div>
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We sat at a small cafe outside and continued our conversation, now about his Nobel, the shock of the prize, and what it meant to get so much money in one swoop. Though both of us were by then well established in our new American lives, in our own minds we somehow still figured as "poor immigrants." I remember his answer, offered in his usual semi-dismissive sombre voice. "Money? Now it's just one more thing to be indifferent to." We reminsced about the times both of us were much less indifferent and swapped stories about the roads to enrichment neither of us had taken. One of his stories was about a super-rich girlfriend that he decided not to marry. What was my story — I now can't recall. There probably wasn't one.</div>
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On the way back to his room, I asked him to pose for me and my new Pentax camera, with my favoritewide-angle lens. The son of a photographer, he appreciated the camera, played with it a little and took a few shots (none came out well). He and I loved the quirky fog city, traversed it on foot on many occasions, and had a warm spot for its jerky cable car, especially for the fact that it was totally legit to ride on its footboard. An unquestioned taboo in Russia, it gave us a frisson to avail ourselves of a harmless San Franciscan libertinism. I was able to take this shot just as a cable car was crossing behind him.</div>
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Back in his room, he pulled out a few pages of typescript with his new poetry. It was an event for me each time I could to hear him recite his new verse — it felt like cold water touching a parched throat. It also felt like hearing my own voice but coming from the depths that I myself could never plumb. What were the poems? I don't remember now but I may still have these unautographed sheets somewhere. <br />
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By the time he finished, we realized that he was half an hour late for the Commonwealth Club. I had a very vague idea what honor it was to speak before this august body and suggested he cancel the event so that we could spend the rest of the day together. After all, there was still North Beach and Seal Rock, and the great Dim Sum restaurant on Sansome Street... He knew better. We rushed out of the hotel. He jumped into a cab and sped off. <br />
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The audience at the Club was patient. Brodsky was only forty minutes late. The MC introduced him by saying that among the presidents, prime ministers, Cardinals, authors, and other notables who had ever spoken at the Club, he was the first one to keep the audience waiting for almost an hour. All laughed, uncomfortably, no doubt. In the end though, I am sure they were all happy he managed to show up. No doubt, the poet laureate made sure that they spent the next hour excited, charmed, and entertained. <br />
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This year Joseph would have turned 80. I miss him as much as a quarter century ago when I first learned of his death. I had recently mailed him a pair of Soviet Navy undershirts — they were all the rage among boys in our childhood — wishing him and his wife happy sailing together. He was touched and sent me a post-card with a poem, in English. The verse was addressed to me and invoked my book about our other favorite Joseph, Osip Mandelstam (A Coat of Many Colors). The very language of the poem alluded to an underlying motif in our friendship: the love of English we shared and our life-long dedication to the cause of making it our own. Our friendship, in fact, may have begun back in the 1960s in Moscow over a discussion of Auden’s poetry. He began reciting “Memory of W. B. Yeats” in his vatic baritone, and I finished it for him in my own Muscovite high-pitched voice.<br />
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Back in January 1996, I drafted a ditty in response but hesitated to let go of it, afraid of spooking the good fortune of having a poem dedicated to me. He died before I made up my mind. I cherish the postcard...</div>
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-49912473001605678862020-01-20T18:11:00.000-08:002020-01-20T18:22:28.101-08:00СНЕГ 1969 ГОДА (Из Книги «Моя Азбука»)<div dir="ltr" style="text-align: left;" trbidi="on">
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<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;">Друзья жаловались: в Москве в декабре не выпал
снег. Озадачившись, я принялся ворошить память в поисках московского зимнего снега.
Я люблю снег и, пока жил в Москве, каждый год с нетерпеньем ждал первых
снежинок. </span></div>
</div>
<div class="Text2">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoFGPGLXp3GdcYAU2QLE7e5bZblV0OSmWViiEnHgmXp0kOzmwInZyTUbBpLzhE19JYP0nGWxzmJh1VWoFaetS1r_bntXqVQrH6ZsUcJojQphioLPRrU7t51faRaRSuXbN7THCj2oiLaqR_/s1600/chistye+prudy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="716" data-original-width="875" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoFGPGLXp3GdcYAU2QLE7e5bZblV0OSmWViiEnHgmXp0kOzmwInZyTUbBpLzhE19JYP0nGWxzmJh1VWoFaetS1r_bntXqVQrH6ZsUcJojQphioLPRrU7t51faRaRSuXbN7THCj2oiLaqR_/s320/chistye+prudy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Чистые пруды зимой. 1960-е гг.</td></tr>
</tbody></table>
<span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;">Санки, коньки, елки, праздники, сказочные снегоуборочные чудовища, но
главное — белый пуховой покров, скрадывающий убогость улиц родного города, подолгу
не видавшего ни краски, ни ремонта. Но на моей памяти московские снега принялись
</span><i style="font-family: Verdana, sans-serif; font-size: 12pt; text-indent: 0.5in;">шалить</i><span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;"> уже в шестидесятые годы нынче прошлого века: выпав, они быстро превращались
в уличную жижу, а жижа, лишь подморозит, — в грязный горбатый лёд — проклятье
стариков и старух, переполнявших травматологические отделения московских
больниц. Зато под Москвой зимой снег тогда еще царствовал! Вот из памяти.</span><span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;"></span><br />
<span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;"><br /></span></div>
<div align="center" class="Text2" style="text-align: center;">
<span lang="RU"><span style="font-family: "verdana" , sans-serif;">* * *<o:p></o:p></span></span></div>
<div class="Text2">
<span lang="RU"><span style="font-family: "verdana" , sans-serif;">1969 год. Зима. Мне двадцать три. Я живу один в
какой-то развалюхе на Васильевской (у моей Маши появился другой, и мы
разошлись). Было невесело… </span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP_TQhecdB5ey38TVqJLHgkZ5OdZAhd6qv9-ktTR7VlgUGo_DAtOB6Z86D_MyKeZZF0Ymf34cON7y6LCchM76brD3sH7O8GY7z97KwBXDEI-NNdZGGeYODjeyvjARhTrgRc2Bq6G-CXCkY/s1600/archive-GF-1969.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1228" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP_TQhecdB5ey38TVqJLHgkZ5OdZAhd6qv9-ktTR7VlgUGo_DAtOB6Z86D_MyKeZZF0Ymf34cON7y6LCchM76brD3sH7O8GY7z97KwBXDEI-NNdZGGeYODjeyvjARhTrgRc2Bq6G-CXCkY/s320/archive-GF-1969.jpg" width="245" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">На Васильевской. 1970 г. Фото В. Боннелл</td></tr>
</tbody></table>
<div class="Text2">
<span lang="RU"><span style="font-family: "verdana" , sans-serif;">Но не без друзей. Дима Борисов с Таней (они недавно
поженились) тогда жили-сторожили дачу Эренбургов где-то рядом с давно
заброшенным Новоиерусалимским монастырем. Как они там очутились, точно не помню.
Илья Григорьевич Эренбург умер в 1967, как бы поставив точку на эпохе «Оттепели»,
которой он и дал это имя, а вслед за этим, в 1968-м, советские танки поставили жирную
точку на Пражской весне и вообще шестидесятых. Началась реакция, и все мы,
друзья и люди нашего культурного круга, принялись жить как бы приглушенной жизнью
— уже без будущего. Померкли горизонты. </span></span><br />
<span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;"><br /></span>
<span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;">Но возвращаюсь к даче. Вдова Эренбурга, Любовь
Михайловна Козинцева, жила зимой в городе, а Дима дружил с секретарем ИГ, Натальей
Ивановной Столяровой. На них с Таней можно было положиться. Не сомневаюсь, в
семье Эренбургов еще помнили, как ИГ был растроган, когда на вечере
Мандельштама в МГУ весной 1965 г. молодой студент-историк Дима Борисов читал
стихи великого поэта, восстанавливал связь поколений. В том, что он теперь на
время поселился с женой на даче ИГ, был не только бытовой смысл.</span><br />
<span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA6YRoXMKKl2cFF-XiO9zs2JydpVg9Ow03NxK9X0o9QnsTc-9QinEkB_kU_s7MuT8KHrVs9CjDmQnRbnNe81fApiw-Ahm6B_vEDPFV3jGb_w0knRIM6pcptmiuyzfM1h1Lti7-UzXNktnQ/s1600/%25D0%2598%25D0%25BB%25D1%258C%25D1%258F+%25D0%25AD%25D1%2580%25D0%25B5%25D0%25BD%25D0%25B1%25D1%2583%25D1%2580%25D0%25B3+%25D0%25BF%25D0%25B5%25D1%2580%25D0%25B5%25D0%25B4+%25D1%2581%25D0%25B2%25D0%25BE%25D0%25B5%25D0%25B8%25CC%2586+%25D0%25B4%25D0%25B0%25D1%2587%25D0%25B5+%25D0%25B2+%25D0%259F%25D0%25BE%25D0%25B4%25D0%25BC%25D0%25BE%25D1%2581%25D0%25BA%25D0%25BE%25D0%25B2%25D1%258C%25D0%25B5.+1954.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="630" data-original-width="944" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA6YRoXMKKl2cFF-XiO9zs2JydpVg9Ow03NxK9X0o9QnsTc-9QinEkB_kU_s7MuT8KHrVs9CjDmQnRbnNe81fApiw-Ahm6B_vEDPFV3jGb_w0knRIM6pcptmiuyzfM1h1Lti7-UzXNktnQ/s320/%25D0%2598%25D0%25BB%25D1%258C%25D1%258F+%25D0%25AD%25D1%2580%25D0%25B5%25D0%25BD%25D0%25B1%25D1%2583%25D1%2580%25D0%25B3+%25D0%25BF%25D0%25B5%25D1%2580%25D0%25B5%25D0%25B4+%25D1%2581%25D0%25B2%25D0%25BE%25D0%25B5%25D0%25B8%25CC%2586+%25D0%25B4%25D0%25B0%25D1%2587%25D0%25B5+%25D0%25B2+%25D0%259F%25D0%25BE%25D0%25B4%25D0%25BC%25D0%25BE%25D1%2581%25D0%25BA%25D0%25BE%25D0%25B2%25D1%258C%25D0%25B5.+1954.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Илья Эренбург перед дачей. Картье-Брессон. 1954 г.</td></tr>
</tbody></table>
<div class="Text2">
<span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;">Итак, получив от друзей приглашение, я под вечер,
сел на электричку на Рижском вокзале и в холодном полупустом вагоне за час доехал
до станции Новоиерусалимская. В те годы обыденной антирелигиозной пропаганды и отчаянной
борьбы с сионизмом название станции звучало экзотично, если не сказать
вызывающе, и я в дороге ухмылялся про себя: вот, мол, советский еврей продрог на
пути в Новый Иерусалим. Когда доехал, время было еще не позднее, но час пик был
позади: народу на станции — никого, такси и подавно. Вздохнув, я пешком
отправился разыскивать дачу. Раньше я там никогда не бывал, но маршрут был
простой. Плутать не пришлось, хоть и фонарей было мало. </span><span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;"> </span><br />
<span style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;"><br /></span></div>
<div class="Text2">
<span lang="RU"><span style="font-family: "verdana" , sans-serif;">Пусто и тихо на деревенской дороге: ни людей, ни
машин, и я потопал по проезжей части. По обеим сторонам тянутся черные избушки
под снежным покрывалом. Небо — низкое, звездное; как у Мандельштама, <i>молоком
горит</i>. Серебрится снежный шатер. Мороз пощипывает кожу. Поддувает ветерок. На
голове у меня вязаная лыжная шапка, надвинутая на уши, греет плохо, как и
рыжее, чешское пальто демисезон, в котором я профорсил не одну зиму. Воротник
поднят. На ногах застывшие копытца, то бишь, рыжие чешские ботинки, которые у
меня года через полтора умыкнут ялтинские абреки. Спасает шарфик, повязанный кое-как
вокруг тонкой шеи. Зябко. Пахнет печным дымом. Из-за черных заборов глухо
тявкают собаки. Они: тяф-тяф. А под ногами у меня: хруст-хруст, хруст-хруст.
Умилительный звук, чистый, из детства. <o:p></o:p></span></span><br />
<span lang="RU"><span style="font-family: "verdana" , sans-serif;"><br /></span></span></div>
<div class="Text2">
<span lang="RU"><span style="font-family: "verdana" , sans-serif;">Я — один на дороге. Но не скучно и не страшно. Даже
холод нипочём — видно, расходился. Всё вокруг притихло, умиротворилось, улеглось,
будто и не было час назад грохочущей Москвы. Так и шепчется: «Выхожу один я на
дорогу»! Хотелось топать и топать по насту — до бесконечности. Но не пришлось.
Через полчаса, а то и меньше, я поравнялся с писательской усадьбой. Взялся за
калитку и — остановился: так жалко было расставаться с этой снежной, немножко литературной
идиллией…<o:p></o:p></span></span><br />
<span lang="RU"><span style="font-family: "verdana" , sans-serif;"><br /></span></span></div>
<div class="Text2">
<span lang="RU"><span style="font-family: "verdana" , sans-serif;">Дима с Таней приняли по-братски, и я постепенно стал
оттаивать от холода и горя с моей снежной королевой. В доме покойного главного
западника советской культуры было тепло, <i>по-западному, </i>как мы тогда это
понимали, просторно, чисто и уютно. И Таня с Димой были какие-то другие,
повзрослевшие, не по-городскому минорные и уютные. Таня сценично куталась в
пуховый платок, Дима по-мхатовски приглушенно гудел, сутулился и покашливал, а
я, приехавший из Москвы герой-подранок, всё никак не мог угомониться. Казалось,
мы трое очутились в какой-то новой пьесе и не успели еще заучить каждый свою
роль. <o:p></o:p></span></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvSlq-IkC6oPTV3AD__8ojL52kl1RpyJFQdh__A2NfeI-N_oqbVDdPgS18NHycqGcrJh2rsWGsuNVWbYzcfFuK-Ht2BZ9adxI2_uYc-vlFFHf0nxEI9sa5Qz6mdGbq4D7Pyw0ZRM7wgliO/s1600/Dima+Borisov.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="530" data-original-width="366" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvSlq-IkC6oPTV3AD__8ojL52kl1RpyJFQdh__A2NfeI-N_oqbVDdPgS18NHycqGcrJh2rsWGsuNVWbYzcfFuK-Ht2BZ9adxI2_uYc-vlFFHf0nxEI9sa5Qz6mdGbq4D7Pyw0ZRM7wgliO/s320/Dima+Borisov.jpg" width="220" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Дима Борисов на обложке посмертного сборника 2017 г.</td></tr>
</tbody></table>
<div class="Text2">
<span lang="RU" style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;">Обедали просто, но за накрытым скатертью столом. За
трапезой выпили, конечно, но, по-западному, умеренно.</span><span class="apple-converted-space" style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;"><span lang="RU" style="font-size: 10.5pt; line-height: 200%;"> </span></span><span lang="RU" style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;">Вся внутренняя архитектура этого дома обязывала вести себя по правилам
другой цивилизации, особенно освещенная стеклянная теплица, устроенная —
невиданное дело — прямо рядом со столовой. Отсюда, как мне объяснил Дима с подернутым
иронией ртом, Илья Григорьевич в былые времена поставлял в Кремль выращенную здесь
спаржу — прямо к хрущевскому столу.</span><br />
<span lang="RU" style="font-family: "verdana" , sans-serif; font-size: 12pt; text-indent: 0.5in;"><br /></span></div>
<div class="Text2">
<span lang="RU"><span style="font-family: "verdana" , sans-serif;">Повеяло холодком кремлевских высот<i>. <o:p></o:p></i></span></span><br />
<span lang="RU"><span style="font-family: "verdana" , sans-serif;"><i><br /></i></span></span></div>
<div class="Text2">
<span style="font-family: "verdana" , sans-serif;"><span lang="RU">После ужина пили чай, болтали о литературе,
московских диссидентских делах, сплетнях личных и из высших сфер, о которых у
меня, по крайней мере, было довольно смутное представление. Правда, на этот раз
непосредственное соседство с придворной теплицей, где посреди русской зимы расцветала
доселе неведомая мне спаржа, приоткрыло завесу, за которой скрывались махинации
советской власти.</span><span class="apple-converted-space"><span lang="RU" style="color: black; font-size: 10.5pt; line-height: 200%;"> </span></span><span lang="RU"><o:p></o:p></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span class="apple-converted-space"><span lang="RU" style="color: black; font-size: 10.5pt; line-height: 200%;"><br /></span></span></span>
<span style="font-family: Verdana, sans-serif;">Помню, что не полуночничали. Разошлись рано, тоже, вроде, по-западному. Меня отвели спать на кушетке в кабинете ИГ. Я вошел — и замер. Это был райский уголок для русского интеллигента-западника. Я уже бывал у Корнея Ивановича Чуковского в Переделкине в его обширном кабинете, но куда больше меня поразил элегантный и простой писательский комфорт кельи Эренбурга; а тут ещё и ошеломляющая небрежением к советской цензуре библиотека, где эмигрантская крамола и западная литература стояли вперемежку с нашей дозволенной советской. Были там и картины… Сейчас помню только Шагала, и то лишь по имени…</span></div>
<div class="Text2">
<span lang="RU"><span style="font-family: "verdana" , sans-serif;"><br /></span></span>
<span lang="RU"><span style="font-family: "verdana" , sans-serif;">Почти наугад я снял с полки книжку в голубой
обертке с Троцким на корешке и осторожно прилег. Она не скрипнула — кушетка
Эренбурга! И я пролежал на ней — чинно, на спине, не сгибаясь, как изваяние какого-нибудь
лауреата, заснувшего вечным сном на мраморном надгробии на Пер Лашез. </span></span><span style="font-family: verdana, sans-serif;">Но книгу
развернул. Это была американская биография Троцкого. Я принялся ее усердно читать в надежде найти крамолу.</span></div>
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<span lang="RU"><span style="font-family: "verdana" , sans-serif;">О, вот оно — состояние свободы! <o:p></o:p></span></span><br />
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<span lang="RU"><span style="font-family: "verdana" , sans-serif;">На третьей странице заснул — с увесистым томиком
на груди. Не знаю, менял ли позу во сне, но Дейчера дочитывал уже у себя дома в
Америке, когда учился в аспирантуре. Потом через много лет в руки попала
автобиография Троцкого. Как-то в революционной молодости ему тоже проходилось
лежать на спине под звездами на палубе переполненного парохода, когда он
курсировал между Николаевым и Одессой. Но снега и там не было, как теперь на
Новый год его не было в Москве. Нет его и в окрестностях Сан-Франциско, где я
уже прожил ни много ни мало сорок восемь лет. А вот новоиерусалимский снег 1969
года до сих пор хрустит — не растаял. Наши Палестины...<o:p></o:p></span></span></div>
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<span lang="RU"><span style="font-family: "verdana" , sans-serif;">Беркли, Калифорния<o:p></o:p></span></span></div>
<span style="font-family: "verdana" , sans-serif; text-indent: 0.5in;">01.08.2020</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="mso-ansi-language: EN-US;">P</span><span lang="RU">.</span><span style="mso-ansi-language: EN-US;">S</span><span lang="RU">. Комментируя</span><span lang="RU"> мой "Снег", Мария Константиновна Поливанова напомнила строчки Пастернака из стихотворения 1947 года ("После перерыва"). Надеюсь, я на этот раз все-таки успел.</span></span></div>
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<span style="font-family: "verdana" , sans-serif;">Она шептала мне: "Спеши!"<br />Губами, белыми от стужи,<br />А я чинил карандаши, <br />Отшучиваясь неуклюже. <br /><br />Пока под лампой у стола <br />Я медлил зимним утром ранним, <br />Зима явилась и ушла <br />Непонятым напоминаньем.</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span lang="RU"><br /></span></span></div>
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-32516722022738649942019-10-17T12:29:00.002-07:002022-04-13T18:04:58.599-07:00Message in a Bottle: Osip Mandelstam and His Wire<div dir="ltr" style="text-align: left;" trbidi="on">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpKr8ekIsVT8jmHnnaVm1gnW7uQwkSZHM95a7nii_Q0OGCaCUHHCCh8dJrKkrG5l622G752ZhkxrUKRG2RdPd31XOEJfwIZzzd2kIf-0KDjGE5db5fz4hYeADv4deZc0rtBBakhQEr4wzL/s1600/Mandelstam+1911.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="554" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpKr8ekIsVT8jmHnnaVm1gnW7uQwkSZHM95a7nii_Q0OGCaCUHHCCh8dJrKkrG5l622G752ZhkxrUKRG2RdPd31XOEJfwIZzzd2kIf-0KDjGE5db5fz4hYeADv4deZc0rtBBakhQEr4wzL/s400/Mandelstam+1911.jpg" width="275" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Osip Mandelstam. 1912</td></tr>
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<span face="Verdana, sans-serif" style="font-size: 12pt;">From time to time, a poem that has been tucked away deep in
my unconscious memory, loosens from its niche. It floats up to the surface and keeps
bobbing there on the waves, stirred up by whatever is happening around me. Like
a siren, it begins to call out to me, begging for attention. Usually, such a
poem comes up mangled, almost unrecognizable. As its demands for attention grow,
my faulty memory begins to gnaw on me. At some point, when I am no longer able
to resist the summons, I dash to look it up — no, not to the bookcase, but to my
laptop to type in a line into Google in the hope that Google will oblige. It
does.</span></div>
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<br /></div>
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<span face="Verdana, sans-serif">Of late, the poems that have floated up tend to come from
the corpus of Osip Mandelstam’s early poetry. It all started with the his poem
about a Lutheran funeral (<span lang="RU" style="mso-ansi-language: RU;">Я</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">на</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">прогулке</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">похороны</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">встретил</span> / I
came across a funeral while on a promenade). I was then reading and thinking
about Protestantism in Russia. Another was a charmingly awkward poem about his body
(<span lang="RU" style="mso-ansi-language: RU;">Дано</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">мне</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">тело</span> — <span lang="RU" style="mso-ansi-language: RU;">что</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">мне</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">делать</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">с</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">ним</span>? / A body has been given to me — what
should I do with it?) that popped into my mind as I was reflecting on my own
ageing body. Today’s poem, one that started buzzing in my head a few days ago, arrived
in the form of a set of incomplete lines: “And the day has passed like a <i>something</i>,
a little <i>something</i> and a little ashes” (<span lang="RU" style="mso-ansi-language: RU;">И</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">день</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">прошел</span>, <span lang="RU" style="mso-ansi-language: RU;">как</span>… <span lang="RU" style="mso-ansi-language: RU;">немного</span>… <span lang="RU" style="mso-ansi-language: RU;">и</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">немного</span><span lang="RU"> </span><span lang="RU" style="mso-ansi-language: RU;">пепла</span>). <o:p></o:p></span></div>
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<br /></div>
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<span face="Verdana, sans-serif">No much reflection was needed to realize that I have been concerned
with the slow progress of my manuscript, with days slipping away, consumed with
distractions, some necessary, some trivial — the stuff of life. The rhythm of
the Russian iambic pentameter kept buzzing in my mind until, before I knew it,
I lunged toward my laptop to look up these two lines. To my surprise, the lines
came from the second quatrain of a longer poem. Here it is in all of its transparent
glory:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">Oh sky, oh sky, I shall be dreaming
of thee;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">It could not be that thou’ve gone
utterly blind,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">And the day's burned up like a blank
sheet of paper:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">A little smoke and a little ash.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">Of course, it all made sense: a day immolating like a blank page.
It is a curse of a blocked writer, leaving in its wake nothing but regret and
mourning for time lost — just a little smoke and ashes, melancholy byproducts
of a cremation. Berkeley, where I live, has been under a fire danger alert. The
notion of cremation was further reinforced in the lecture by my friend Olga
Matich about French and Russian cemeteries that I attended a few days ago. Besides,
being in the seventies, mortality is never far from my mind. No doubt, my
unconscious was bemoaning, along with my mortality, the time away from my desk where I commune
with <i>immortality. </i>In less hifalutin terms, if you don’t keep up with
your manuscript, it seems to be saying, your time will be incinerated by the
steady flame of earthly cares and other fleeting preoccupations. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">Simple enough. But the lines belonged to a longer poem,
published in 1913, that appeared to be about something else. My curiosity was
peaked, and I immersed myself in its story, mood, and image. What the lines told me was
a story about a poet on a late fall day in a park in or around St. Petersburg. It
was one of those monochromatic Northern days with a heavy cover of grey clouds
and patchy snow, when the landscape, void of color, can easily remind one of a manuscript
page covered in delicate handwriting. Peter Breughel's winter scenes come to mind or, better still, those of Andre Kertesz.</span></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0gr_kVBHITKttGMzlkQ821efitY3Yt5Pe1GTwzDi-U0O7dP6qVS3ArVSYTqKY22HfnFX1uN6cZP7XHadogR3cVBk5AZp4A2fgQ-F7pwtcTY1TsOI2gkPuypLI9dGfry7eRlgiNP44Dr2P/s1600/andre_kertesz_washington_square_park.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="773" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0gr_kVBHITKttGMzlkQ821efitY3Yt5Pe1GTwzDi-U0O7dP6qVS3ArVSYTqKY22HfnFX1uN6cZP7XHadogR3cVBk5AZp4A2fgQ-F7pwtcTY1TsOI2gkPuypLI9dGfry7eRlgiNP44Dr2P/s320/andre_kertesz_washington_square_park.jpg" width="247" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wshington Square Park. 1970.</td></tr>
</tbody></table>
<div class="MsoNormal">
<span face="Verdana, sans-serif"><br /></span></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">In the opening stanza, Mandelstam elaborates
this similarity further: the patchy snow of the landscape was the last sheet of
a now empty notebook, a sheet that has been torn to pieces and scattered on the
ground.</span></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif"><br /></span></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">The wind is swaying thin branches.<br />
And the voice of brass wire is rising,<br />
And spots of snow — bright patches —<br />
Are all that’s left from a poor notebook.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">One detail “dates” the poem as modern and, given its
specificity, <i>types</i> it as Acmeist, a style cultivated by a group of young Petersburg
poets that Mandelstam belonged to, among them Nikolai Gumilev and Anna Akhmatova. This luminous detail is the reference to the copper telephone wires buzzing in the cold
air in the second line: the “rising voice of brass wire.” In this striking phrase,
Mandelstam merges “brass,” a classical image standing for a wind instrument,
an allegory of fame and glory, with the actual copper wire of the telephone cable
associated with the age of modern electronic communication. Mandelstam, a stickler for
precision, used the exact material term "copper wire," aware that copper and brass were
interchangeable in classical Russian poetry and referred to wind instruments.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">The next quatrain begins with the poet’s apostrophe to the
sky, another poetic commonplace, that in his frustration he accuses of having “gone
completely blind.” The blank grey sky had failed to provide him with the magic
of true inspiration. However great his disappointment, it is still not great
enough for him to abandon the old-fashioned notion, going back to antiquity, of
heavenly forces empowering the speech of the poet. He may be in despair, but he
is still unable to secularize his poetry and to stop blaming his failure on the
gods in heaven. The rhetoric of religion, it seems, was inseparable from the
language of poetry even in the age of copper wire, telephone and telegraph.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">But let us follow the Mandelstam’s lead. As night falls and
the day expires, there seems to be an opening in the cloud cover letting in a
few rays of the setting sun. Such a reading helps explain the shifting of the
similarity between the monochromatic landscape in daylight with the torn
manuscript page of the first stanza with the <i>immolation</i> of the day in the
second. The sunset marking the end of the day, furnishes the flame for the burning
up of the torn manuscript. Hence the second quatrain:<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">Oh sky, oh sky, I shall be dreaming
of thee;<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">It could not be that thou’ve gone
utterly blind,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">And the day burned up like a blank
page:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">A little smoke and a little ash.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">As the poem unfolds, its master metaphor, based on the likeness
of a Northern landscape to a manuscript page turns out to be false. Correspondence
between description and its object, culture and nature, if you will, appears to
be false. The poet’s handwriting was a lie and his lace-like calligraphy meaningless
and useless. At the dawn of electronic communication when the poem was written,
poetry is vanquished by the “invincible vibrations of brass,” read telephone
wires. They obliterate distance as they “slice through space, threading the
black beads of the night.” <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">The filigree of handwriting turned
out to be a lie<br />
And the lace of calligraphy, useless and meaningless.<br />
Only the brass — with its invincible vibration — <br />
Slices through space, threading the black beads of the night.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">The next stanza forms the coda, an open-ended and ambiguous coda,
as it falls on the fourth — even — stanza. In it, the poet is overcome by grief
and failure to find meaning. He abandons rational knowing — the <i>cogito — </i>and
embraces the irrational side of his self. His sole métier is poetic expression
and meditations on mortality. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span face="Verdana, sans-serif">Do I know why I weep?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 0.5in;">
<span face="Verdana, sans-serif">Singing and dying is all I can do.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">Apparently, searching for rational meaning in poetry amounts
to torment. But like the telephone wires that convey human speech converted
into an ordered stream of electrons, the poet, too, is a medium. He is a
go-between, a “brass wire,” if of a different kind. What he communicates are
not streams of electrons but a psychic state, “the dark chaos of his dark
dreams.” In concluding, he pleads with his audience to stop badgering him for
the <i>meaning</i> of his poetry.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">Do not torment me: I signify
nothing,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 0.5in;">
<span face="Verdana, sans-serif">I just embrace dark chaos in my
dark dreams.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">As I make sense out the message in the bottle that
Mandelstam tossed into the flow of time over a hundred years ago, I find myself
pressing my ear to my laptop, trying to hear the humming of its electronic
parts. It is a hopeless exercise. If there is any humming, it is drowned out by
the ambient noise punctuated by the whine of straining car engines climbing up
the hill a few hundred feet from my window. It is early evening in mid-October
in Berkeley, California. The sky is overcast — gone blind. The trees and bushes
in my yard that I see through the window are of ever-darkening green, closing
in on a few white flowers — pieces of a page torn and tossed to the ground in melancholy twilight. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">Mandelstam’s message warms my heart by an unexpected kinship
between the dilemma of his poet and the one I face in my own time: fighting off
the cacophony of information from social networks that threatens to drown out the
infinitely human “dark dreams” of my own mind that sometime come in the form of
half-forgotten lines of Mandelstam’s poetry.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">The poem appeared in a journal in 1913 for the first and
last time. Mandelstam never included it in his books of poetry. But he let the
second stanza, the one that stuck in my memory, exist on its own, placing it as
a stand-alone poem in three books of poetry, including the 1928 <i>Poems</i>,
the last one in his lifetime. He cherished the aphoristic power of the quatrain,
written in a capacious iambic pentameter, and did not want it to be hemmed in
by a somewhat forced juxtaposition of poetry and electronic communication. But
for me, the excitement of discovering a poem that is even more topical today
than a century ago made it possible, even if I have not yet touched my
manuscript today, to be assured that this day will not just burn up, leaving me
with a puff of smoke and a handful of ashes. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span face="Verdana, sans-serif">Berkeley. 16 October 2019<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="stanza" style="background: white; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 0in;">
<span face="Verdana, sans-serif"><a href="https://www.blogger.com/null" name="_GoBack"></a><span class="line"><span lang="RU" style="color: black; font-size: 15pt; mso-ansi-language: RU;">Качает ветер тоненькие прутья,</span></span><span lang="RU" style="color: black; font-size: 15pt; mso-ansi-language: RU;"><br />
<span class="line">И крепнет голос проволоки медной,</span><br />
<span class="line">И пятна снега — яркие лоскутья —</span><br />
<span class="line">Все, что осталось от тетради бедной...</span><o:p></o:p></span></span></div>
<div class="stanza" style="background: white; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 0in;">
<span face="Verdana, sans-serif"><span class="line"><span lang="RU" style="color: black; font-size: 15pt; mso-ansi-language: RU;">О, небо,
небо, ты мне будешь сниться;</span></span><span lang="RU" style="color: black; font-size: 15pt; mso-ansi-language: RU;"><br />
<span class="line">Не может быть, чтоб ты совсем ослепло,</span><br />
<span class="line">И день сгорел, как белая страница:</span><br />
<span class="line">Немного дыма и немного пепла!</span><o:p></o:p></span></span></div>
<div class="stanza" style="background: white; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 0in;">
<span face="Verdana, sans-serif"><span class="line"><span lang="RU" style="color: black; font-size: 15pt; mso-ansi-language: RU;">Жемчужный
почерк оказался ложью,</span></span><span lang="RU" style="color: black; font-size: 15pt; mso-ansi-language: RU;"><br />
<span class="line">И кружева не нужен смысл узорный;</span><br />
<span class="line">И только медь — непобедимой дрожью —</span><br />
<span class="line">Пространство режет, нижет бисер черный.</span><o:p></o:p></span></span></div>
<div class="stanza" style="background: white; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 0in;">
<span face="Verdana, sans-serif"><span class="line"><span lang="RU" style="color: black; font-size: 15pt; mso-ansi-language: RU;">Разве я знаю,
отчего я плачу?</span></span><span lang="RU" style="color: black; font-size: 15pt; mso-ansi-language: RU;"><br />
<span class="line">Я только петь и умирать умею.</span><br />
<span class="line">Не мучь меня: я ничего не значу</span><br />
<span class="line">И черный хаос в черных снах лелею!<o:p></o:p></span></span></span></div>
<div class="stanza" style="background: white; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 0in 0.5in; text-indent: 0.5in;">
<span face="Verdana, sans-serif"><span class="line"><span style="color: black; font-size: 15pt;">24 </span></span><span class="line"><span lang="RU" style="color: black; font-size: 15pt; mso-ansi-language: RU;">ноября</span></span><span class="line"><span style="color: black; font-size: 15pt;"> 1911 </span></span><span class="line"><span lang="RU" style="color: black; font-size: 15pt; mso-ansi-language: RU;">г</span></span><span class="line"><span style="color: black; font-size: 15pt;">. <o:p></o:p></span></span></span></div>
<div class="stanza" style="background: white; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 0in;">
<span class="line"><span style="color: black; font-size: 15pt;"><span face="Verdana, sans-serif">In my own literal translation: <o:p></o:p></span></span></span></div>
<div class="stanza" style="background: white; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 0in;">
<span class="line"><span style="color: black; font-size: 15pt;"><span face="Verdana, sans-serif">The wind is swaying thin branches.<br />
And the voice of brass wire is rising,<br />
And spots of snow — bright patches —<br />
Are all that’s left from the poor notebook.<o:p></o:p></span></span></span></div><div class="stanza" style="background: white; margin-bottom: 0in; margin-left: 0in; margin-right: 0in; margin-top: 12.0pt; margin: 12pt 0in 0in;"><span class="line"><span style="color: black; font-size: 15pt;"><span face="Verdana, sans-serif"><br /></span></span></span></div>
<div class="stanza" style="background: white;">
<span style="color: black; font-size: 15pt;"><span face="Verdana, sans-serif">Oh sky, oh sky, I shall be dreaming of thee;<br />
It could not be that you’ve gone completely blind,<br />
And the day's burned up like a blank page:<br />
A little smoke and a little ash.<o:p></o:p></span></span></div><div class="stanza" style="background: white;"><span style="color: black; font-size: 15pt;"><span face="Verdana, sans-serif"><br /></span></span></div>
<div class="stanza" style="background: white;">
<span style="color: black; font-size: 15pt;"><span face="Verdana, sans-serif">The filigree of handwriting turned out to be a lie<br />
And the calligraphy’s lace, useless and meaningless.<br />
Only the brass — with its invincible vibration — <br />
Slices through space, threading the black beads of the night.<o:p></o:p></span></span></div><div class="stanza" style="background: white;"><span style="color: black; font-size: 15pt;"><span face="Verdana, sans-serif"><br /></span></span></div>
<div class="stanza" style="background: white;">
<span style="color: black; font-size: 15pt;"><span face="Verdana, sans-serif">Do I know why I weep?<br />
Singing and dying are all I can do.<br />
Do not torment me: I signify nothing,<br />
I just embrace dark chaos in my dark dreams.<o:p></o:p></span></span></div>
<div class="stanza" style="background: white;">
<span style="color: black; font-size: 15pt;"><span face="Verdana, sans-serif"><span style="mso-tab-count: 2;"> </span>November
24, 1911<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br /></div>
Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-51692517944301552082019-09-08T17:47:00.001-07:002020-01-06T11:34:34.444-08:00Beanpole (Дылда): Conversation with Kantemir Balagov <div dir="ltr" style="text-align: left;" trbidi="on">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDvaKebThB2_cTJQAog1w6TRnhT0WOEF1XNi2txoQmX5SiJkBc3ySo6pEbfqk_i3-8YUnkCv9GPL01ADM-VanrU9S3tfiZsVnkDKURxYNDP-zCy1pnc0i3VXrUlSj-qqJTqT-h7HCiDina/s1600/dylda+pic1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="1200" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDvaKebThB2_cTJQAog1w6TRnhT0WOEF1XNi2txoQmX5SiJkBc3ySo6pEbfqk_i3-8YUnkCv9GPL01ADM-VanrU9S3tfiZsVnkDKURxYNDP-zCy1pnc0i3VXrUlSj-qqJTqT-h7HCiDina/s400/dylda+pic1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vera Mirochnichenko as <i>Beanpole. </i>Beanpole (Дылда) 2019.</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b style="font-size: 12pt;">New: Beanpole has been selected by the <a href="https://tass.com/society/1079673">Russian Oscar Committee</a> to compete for the Academy Awards as a </b><b>foreign-language</b><b style="font-size: 12pt;"> film from Russia. </b></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;"><b><br /></b></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;"><b>NB. The film will be shown at the<a href="https://tickets.cafilm.org/websales/pages/info.aspx?evtinfo=623809~3ffb1e6a-c24d-489c-af55-d3c0accde4e1&epguid=a0a5438f-6778-4127-bb8f-8f292c417d1b&"> Mill Valley Film Festival</a> on October 9, 2019.</b></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;"><b><br /></b></span></span></div>
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<span style="font-size: 28px;">Film </span><span style="font-size: 28px; letter-spacing: -0.666667px;">Program Note: </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;">What happens when war is given a woman’s face — and body?</span><span style="font-size: 11pt;"> </span><span style="font-size: 12pt;">The two Red Army vets in Kantemir
Balagov’s second feature (after TESNOTA) are women—attractive and very young. Nurse
Iya, nicknamed Beanpole because of her height, and Masha, a decorated war hero,
explore sex, love, death, and procreation in Leningrad, bled white by the war.
The time is fall 1945. So, do not expect a springtime melodrama with white
cranes against a blue sky. Enjoy, instead, the haunting daylight of the subpolar
city; relish its rusty-red interiors inhabited by the heroines who seem to have
walked off a Vermeer canvas (sublime cinematography by Ksenia Sereda). </span><i style="font-size: 12pt;">Beanpole</i><span style="font-size: 12pt;">
offers period authenticity through the lens of the new generation. Winner of
Best Director and the FIPRESCI prize at Cannes’s Un Certain Regard, as well as
Queer Palm.</span></span><br />
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<span style="font-size: 21.0pt;">Conversati</span><span style="font-size: 20.0pt;">o</span><span style="font-size: 21.0pt;">n with Kantemir
Balagov</span></div>
<span style="font-size: 12pt;"><i><br /></i></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><i style="font-size: 12pt;">What follows was adapted from a 45-minute
interview, via Skype, that took place on 10 July 2019 and was arranged by the
Telluride International Film Festival. Published in Telluride Festival's </i><span style="font-size: 12pt;">FILM WATCH 2019. </span><i style="font-size: 12pt;">Click</i><span style="font-size: 12pt;"> </span><a href="https://web.stanford.edu/~gfreidin/Publications/Dylda_FW_Sept2019.pdf" style="font-size: 12pt;">here</a><span style="font-size: 12pt;"> </span><i style="font-size: 12pt;">for a PDF</i><span style="font-size: 12pt;">. </span><i style="font-size: 12pt;">The film had its North American premiere at the Telluride Film Festival and will start appearing in US theaters on 29 January 2020.</i></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA FREIDIN: This will be a conversation across centuries
and continents. I was born deep in the 20<sup>th</sup> century in Moscow a year after the end of WWII and
have lived in California for forty plus years; you are twenty– eight and grew
up in Nalchik in the North Caucasus, more than a thousand miles south of Moscow. For me, your film
was striking, first of all, because you were able to look at Russia’s holy of
holies — the Great Patriotic War, the Blockade of Leningrad — in a totally new
way: a story of two young women veterans making a go at normal life in the fall
1945, in subpolar Leningrad. This is both daring and symptomatic. It is daring
for a man who grew up at the periphery of Russia, whose last name is not
Russian, to take on a central, defining moment for the country’s self-image, even
the legitimacy of its state, and to challenge its deepest dogma. Symptomatic,
because in Russia (as elsewhere) the center doesn’t hold, and a new strong
vision comes, like a hundred years ago, from the country’s periphery. What
moved you to make this film?</span><o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjzi4kG048nUEm3OQ3dPtPz1oBamQttank-FfahC584SPYjOMvQXZLkDkdb391hRbPYsYwlUyR3gE1GytM6LwtFPNX_fHfNKnLIhmgEAG-Y4MEecznIsQXQ7UUnJ_nm15DjDtMbovTpAnB/s1600/Kantemir2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjzi4kG048nUEm3OQ3dPtPz1oBamQttank-FfahC584SPYjOMvQXZLkDkdb391hRbPYsYwlUyR3gE1GytM6LwtFPNX_fHfNKnLIhmgEAG-Y4MEecznIsQXQ7UUnJ_nm15DjDtMbovTpAnB/s320/Kantemir2.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kantemir Balagov</td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR BALAGOV: Thank you. What moved me first was of
course my self-confidence. Sooner or later, it will play a trick on me. But jokes
aside, it all began in 2015 when I read Aleksievich’s <i>Unwomanly Face of War.</i>
I was dumbstruck. I realized I was totally ignorant: I understood nothing about
the war, neither about the feats of courage, nor the evil perpetrated. But the
greatest revelation was the actual role that women played in the war. I had absorbed
the stereotype that women served only as medical personnel or, in any case, stayed
away from combat. Wrong! I had no idea what they had to go through, the
tectonic inner shift they had to undergo, the biological, psychological shift. <span lang="RU" style="mso-ansi-language: RU;">М</span>en, too. A human being, a
biological being, who can generate life, enters war and gets totally surrounded
by death. How can you live in peacetime after that? This question shook me to
the core. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I was spell-bound, astounded by this [spiritual]
destitution. I felt my duty as a human being, as citizen, to tell this story.
Russian cinema today is quasi-patriotic, it carries a subtext “we can do this thing
again [win WWII] — we aren’t afraid of anything” and so forth. This was a
challenge for me, because in a war movie, the usual temptation is to focus on
the transcendent: to show the extremes of human polarities, heroism and its
opposite, evil. Yielding to such a temptation would <span style="mso-spacerun: yes;"> </span>distort the picture of what a Soviet person
was all about.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: Like you, I was moved by Aleksievich’s volume, but
her title, <i>The Unwomanly Face of War</i>, is so pointedly <i>fem. </i>In her
thinking, war is masculine. But your war is a woman, because you have given it
the face of a woman, along with all other organs (almost all), and they
function, they are all in play. When it came out in 1985, her book was
explosive but now, after your film, it becomes clear how much she was smoothing
over the rough edges, even though ostensibly she set out to liberate herself
from the Soviet war mythology — that all must sacrifice themselves for the sake
of the state. But she did not question it the mythology of the feminine. Did she
collaborate with you on the script?<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: No, unfortunately or, perhaps, fortunately, she
did not. Her book was more an inspiration, and we borrowed some characters and
some story elements. But the work on the script was done by Aleksander Terekhov
and me.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: Is your film an allegory about generation? You have
there a three-year-old boy, Pashka, his mother, or mothers, then characters of
an older generation. In the Bible, a happy man is the one who lives long enough
to see the children of his children. In your film, the child character dies,
the pregnancy turns out to be false. Did you wish to say that your characters
will leave the stage without heirs, that they had no future?<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Honestly, when I use material from history, I concentrate
on the dramatic aspect of the story. Allegory is something I begin to construct
while putting together the director’s script or while editing the film. At the
beginning, I am interested in what drives history, what motivates people,
consequences of actions, and so forth. Later, when I was looking at the footage
at the editing stage, I realized [I had an allegory]; what is curious is that I
do certain things always by feel. I do many things by feel.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">I realized that Pashka is for me the personification of a generation
lost. Of course, it is a great misfortune to bury one’s children; for Masha, a
double misfortune, because she did not see him die. But it is obvious, these
people will not leave a legacy. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: For me, it is equally important that Masha and Iya
decide to live the illusion, rather than admit the fact of a false pregnancy. Indirectly,
this says something about art, because art, too, is an illusion: it conveys
this thing or that through allegory or another trope. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Exactly. The ending is a false pregnancy.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: Your film could not have come out of any other
country except Russia. You are a man of Russian culture through and through.
But you deviate from the Russian tradition in one important respect: you have
no saints. You may remember the saying that Alexander Solzhenitsyn liked so
much: without a righteous person, no village can stand ("Matryona's House"). There isn’t even a hint
of one in your film. Nor are there any perpetrators of evil.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: I owe this to literature. When I studied [for five
years] in Alexander Nikolaevich Sokurov’s film workshop, we had a great
emphasis on Russian and foreign literatures. It was Sokurov’s principle: a film
director must read more books and watch fewer films. He always instructed us,
using his film about Hitler (<a href="https://en.wikipedia.org/wiki/Moloch_(film)">Moloch, 1999</a>) as an example, that we must always
try and justify our protagonists, because they will be judged in any case,
without us. We must not place ourselves, as authors, above the protagonist. It
is hubris, and I try to avoid it. I prefer to walk on their path alongside
them, not above them. In any case, this is how I see it is done in belles
lettres. As an author, I am always interested in finding motives for the amoral
choice of my characters, in understanding their motivation and showing the
audience that, under the circumstances, they could not have done otherwise. But
the author must avoid judging them from a high moral perch and issue
pronouncements on what is right and what is wrong. Why? Because I myself do not
know what is right.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: In your film, there are no prayers, no idols, like
busts of Stalin… this is very unusual for a period Russian film.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: We were careful to removes the idols from the
frame, even though the art director tried to insist on having them…<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: What struck me most about “Beanpole” is that you
broke the basic war story formula, one that goes back to Homer, I mean the
masculinity of war. Man goes to war, struggles, endures suffering, prevails,
and — gets the girl. Of course, there was Jean d’Ark, but she was, pointedly, a
virgin. You have none of that.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: There is a striking film by Larisa Shepitko, <a href="https://en.wikipedia.org/wiki/Wings_(1966_film)"><i style="mso-bidi-font-style: normal;">Wings </i>(1966)</a>, a story of a young woman [veteran
pilot] after the war but it takes place later [than <i>Beanpole</i>]. This film
was a source of inspiration, along with Alexei German’s <a href="https://en.wikipedia.org/wiki/My_Friend_Ivan_Lapshin">My Friend IvanLapshin (1985)</a> and Mikhail Kalatozov’s <a href="https://en.wikipedia.org/wiki/The_Cranes_Are_Flying"><i>The Cranes Are Flying </i>(1957)</a>.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSFewujIz0cFesyRrxuY9QUBeZF0R__szNNnO7PcMY9DQN_BHHgFe7uAi7NzxHV_xsowLSkoIXJ5Joy4LAPqp27pRUch-NJ-KVq71TtRCYtxxUec49lMtK_4B6yyy8hv3weFXTv8K-HFLB/s1600/cranes1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="1112" data-original-width="1600" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSFewujIz0cFesyRrxuY9QUBeZF0R__szNNnO7PcMY9DQN_BHHgFe7uAi7NzxHV_xsowLSkoIXJ5Joy4LAPqp27pRUch-NJ-KVq71TtRCYtxxUec49lMtK_4B6yyy8hv3weFXTv8K-HFLB/s320/cranes1.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Concluding shots from <i>The Ctanes Are Flying</i>. 1957</span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: You are in a polemical dialogue with Kalatozov’s <i>Cranes
</i>by playing up references to “The Dying Swan” ballet. I mean the scene in
the hospital when the patients entertain the little Pashka with charades. He
guesses it’s a bird, when a vet who is missing a hand waves his arms in
imitation of “The Dying Swan.” But the boy fails to guess a dog from the patients’
barking, because during the Blockade, all the dogs had been eaten. You seem to
be saying that birds and the hope they represent fit into the official memory
of war, but death from starvation, the eating of dogs and cats, even
cannibalism, is passed over in silence.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3UFzdKQMilZBIVPENQ3JYdAq6ztBTCGL5QIKMpZqU4t3O_uPn24FV7DcbC6ES3SAhL2FOTAuLjJkebZqf0GsUajFequGJNvf-NYlpACfx15SDBL1St89lJLYY6nbBoejdFTKX4pZCoSHQ/s1600/dying+swan1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="825" data-original-width="1600" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3UFzdKQMilZBIVPENQ3JYdAq6ztBTCGL5QIKMpZqU4t3O_uPn24FV7DcbC6ES3SAhL2FOTAuLjJkebZqf0GsUajFequGJNvf-NYlpACfx15SDBL1St89lJLYY6nbBoejdFTKX4pZCoSHQ/s320/dying+swan1.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Beanpole (Дылда) 2019</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Yes, you can say that.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: You also have “The Dying Swan” gesture in one of the
last scenes, when Iya is sitting with her back to us and tries to take off her
bra. <o:p></o:p></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Beanpole (Дылда) 2019</span></td></tr>
</tbody></table>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Yes, of course, it is the same bird.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: Viktoria Miroshnichenko, who plays Beanpole with
such power, is the star of the film. Did you shape the film around her, or did
she fit your original concept?<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: When casting, our chief criterion was the height.
For me the main principle here was yin-yang, and not just in the psychological
sense but in the physical sense, too. I needed something striking because my
heroine represents a composite image. Its source, for the most part, are the
characters in Andrey Platonov’s prose: “Yushka”, “Fro,” “Dzhan.” What I wanted
was to find a person of this type in life, and Vika Miroshnichenko is little bit
like them, not 100%, but her actions and the way of thinking are sometimes a
little off, not exactly as in Platonov but enough so…<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: I understand. She is a “holy fool,” and Platonov’s
characters come from this Russian cultural and literary tradition, but Beanpole
is not entirely “holy.” And that’s the difference between you and Platonov in
terms of moral economy. You have neither saints not fiends. Even your Lyubov
Petrovna, the haughty wife of a high party functionary, who at first attacks
Masha, turns out to be, like Masha, rather soft and vulnerable on the inside. She
says so herself: “We are more alike that you think.”<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: This is exactly what we wanted. We did not want to
follow the well-trodden path, saying that the upper stratum always consists of
parasites and scoundrels.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: You’ve succeeded.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Alas, not everyone sees it this way. On the
contrary, some say that by showing the vast chasm between the top and the
ordinary people, we assumed a judgmental stance. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: Of course, you did not. Even her rather
menacing-looking husband, as it turns out, appreciates human pain and feels it.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Exactly. He says [after the fracas at the table]:
“Now you’ve met, and that’s good.” Meaning, let’s stop tearing at each other
and move on.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: Yes. In Russian, it’s just three words but they
speak volumes! You have extraordinary actors. When Masha explains why she
passed her newly-born to Iya and returned to fighting with her artillery unit,
she says: “To avenge! Avenge!” But the tiny pause between the two words shows
her realizing that she had been caught in someone else’s language, the bombast that
now sounds tinny. Platonov would have envied the emotional precision and the
philosophical depth of her ineloquence. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Thank you.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: I want to go back to the main theme: how you
re–gendered or even un-gendered the war. Beginning with Homer, men fight, shed
blood, sometimes die, in short, men risk their life in combat, but in the end,
the man gets the girl. Man gets compensated for his valor. That’s the basis of
all our war mythology. But you took your story out of this framework
altogether. Your story does not conform to the venerable pattern, and this is
probably why sex in you film is never right. Copulations are odd, to put it
mildly, and love-making never really works. Did you seek to overturn this war
film convention? <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Yes. And this is why [in Russian] the film is
called <i>Dylda</i>, [meaning an awkward giant who is not quite bright]. For
me, it signifies being ungraceful, being disoriented, lost in space, but my
characters, befuddled as they are, have feelings just likes the rest of us, and
like us, they have sex and make love, if in a state of bewilderment. It was
really important for us to show this disorientation of life in the aftermath of
the war.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">What you say about Homer is right. I despise machismo and
testosterone excess. But this [rejection of the Homeric framework] was more a
matter of the unconscious intuition than by design.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: You spent five years studying in Alexander Sokurov’s
film workshop in Nalchik, he is your most important mentor. It occurred to me
when I watched the film, that <i>Beanpole </i>may be affiliated with Sokurov’s <i>The
Russian Ark. </i>There is a scene in his film when, as de Custine tours the
Hermitage, a set of doors opens, revealing a Hermitage storage room during the
Blockade and a curator crazed by starvation to the point of cannibalism.</span><br />
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<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3wkmswC0PgByt_rJ9CFcyNZmAy1AOKLLsfuhZE0yit8ShqtHxEiZwMF8ujikHDw0X9m5Un756Xso3YUss6sgi1DtFrBy7P0z6D4I08BhD8xB6rcxPxZ8saThO2kw58qOPzJ39Dt2KMPsQ/s1600/Russian+Ark+2002.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="889" data-original-width="1600" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3wkmswC0PgByt_rJ9CFcyNZmAy1AOKLLsfuhZE0yit8ShqtHxEiZwMF8ujikHDw0X9m5Un756Xso3YUss6sgi1DtFrBy7P0z6D4I08BhD8xB6rcxPxZ8saThO2kw58qOPzJ39Dt2KMPsQ/s320/Russian+Ark+2002.png" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Alexander Sokurov. <i>Russian Ark. </i>2002</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sokurov
hastily closes the doors, but I had a sense that you entered that storage room
and went on to shoot <i>Beanpole </i>in the blockade Leningrad, while Sokurov
went on with the tour. Sokurov does brilliant, deep exploration of myths, but
you appear to have departed from that universe mythologies in order to take a
fresh look at the world and say new things. At the same time, you are his
disciple, and you have the mastery of his cinematic toolkit. Like Sokurov, you convey
visually a powerful appreciation of the art of painting. Watching <i>Beanploe</i>
makes one feel as if Hermitage paintings framing your humble characters are
staring at the audience from the screen. This sounds like an old story about
the mentor and the disciple. The disciples always go on their own and take with
them the mentor’s most valuable tools.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: What you are saying is very interesting and I will
be thinking about it. I am convinced that Sokurov found <i>Closeness </i>[Balagov’s
first feature film, 2017] not too much to his liking. And I am sure he will not
like <i>Beanpole. </i>He has not seen it yet, but I am 90% sure he will not
like it. I am intrigued by what you are saying there is a lot to reflect on. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: Now I want to return to the question of gender in
your film. I live in California and people here, on the whole, are open-minded
about gender and gender-bending. But even in Moscow, as I was growing up in the
late 1950s and 1960s, I had a few gay friends and thought nothing of it. I
think this is how it is in a big city. Do you expect to be criticized in Russia
for your treatment of same-sex love? Will you be accused of the crime of
“advocating homosexuality”?<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: You know, I was very skeptical when we were
nominated for the Queer Palm at the Cannes Film Festival, but not because of
some antigay prejudices. I am absolutely tolerant of and treat as normal any
form that love is expressed in. Love should not have gender, and for me, this
is obvious. The Queer Palm nomination, by my lights, tended to narrow the whole
complex of motives that made up my characters. It narrowed their range as human
beings. I wanted my characters to be motivated, not by some form of sexual desire
or other, but by the human, heartbreaking feeling of loneliness. A human being
needs another human being first of all; gender comes second. This is why when
people begin to view my characters through the prism of same-sex love, I find
it constricting. But I am not going to protest against it.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: At the time of the film, in that generation, there
may not have even been a language for same-sex love.<span style="mso-spacerun: yes;"> </span>When I was growing up, lesbian love was out
of the ken; male homosexuality was another matter: it constituted a criminal offense.
<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: I suspect, people may not have reflected on what
it was that drew them to each other. Motivation — that was the task I set
before my heroines. But in general, when I studied historical materials,
personal diaries, I did come across same-sex romance among women. So, for me,
all of this is first of all about being human.<span style="mso-spacerun: yes;">
</span>Machismo ss a subject for another film. In this one, the principal
heroine is a woman, and I feel very comfortable with women.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: You were very fortunate in your choice of the
cinematographer. Twenty-three-year-old Ksenia Sereda was a great find!<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Yes, it was a stroke of good fortune that was able
to work as a director of photography. Every person has a male and a female
side. In my case, I try to understand my own femininity with the help of my
heroines. I want to shoot my next film about guys, men, and in this way to
understand better my own male side. It is through my characters that, among
other things, I study myself, and this is why my first two films were about
women. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: You have a striking scene early on that takes place
in a women’s bath house: a gathering of many nude female bodies. It is very
painterly and brings to mind “The Turkish Bath,” an erotic painting by Ingres,
in the oriental style. But Sereda sees it in a way that is the opposite of
Ingres. Whose idea was it?</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQAK4yP-pVtKTuZ4pGFnWcaqlc4imC_X50ouO97wNL4RlU1rAp3b26TRwvxYNGSbz0f_akzeLZpsDy19kdM13FgZ4e376eCOvCZYMH6avTZjXRPpx5p5zlCdIX4k9eUOdSHF1TqNEjiKkU/s1600/Ingres_Marville_Bain_Turc_1859.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="958" data-original-width="863" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQAK4yP-pVtKTuZ4pGFnWcaqlc4imC_X50ouO97wNL4RlU1rAp3b26TRwvxYNGSbz0f_akzeLZpsDy19kdM13FgZ4e376eCOvCZYMH6avTZjXRPpx5p5zlCdIX4k9eUOdSHF1TqNEjiKkU/s320/Ingres_Marville_Bain_Turc_1859.jpg" width="286" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #f8f9fa; color: #54595d; font-family: "arial" , "helvetica" , sans-serif; font-size: 13.6px;">Jean-Auguste-Dominique Ingres. Turkish Bath. 1859.</span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: No. The source of inspiration was, rather,
archival photos.</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioUMN9H8nnDBGpHmqOgxrMcePZomPFL2RmGsKTLTmddBv0dxIQecsuWFTZiqgHzvyymPEgpgM-EFmSPEkLg_BIIVHES7CxsFgRqxW0xonxOhBqNkNiZuBb4hV8Hj5Wb8Xr2AGdSc0Vf_F-/s1600/bath1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="857" data-original-width="1600" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioUMN9H8nnDBGpHmqOgxrMcePZomPFL2RmGsKTLTmddBv0dxIQecsuWFTZiqgHzvyymPEgpgM-EFmSPEkLg_BIIVHES7CxsFgRqxW0xonxOhBqNkNiZuBb4hV8Hj5Wb8Xr2AGdSc0Vf_F-/s320/bath1.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Beanpole (Дылда) 2019</span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: I suspect Ksenia Sereda had seen this painting. It
has the same piling up of female nudes, and for someone who knows this painting
the similarity is striking.</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: That’s curious.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: And then, the echoes of Vermeer, his light, the
color that you called in some interview “the rust of humanity.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Yes, the shot of Beanpole in the hospital comes
from Vermeer’s “Girl with a Pearl Earing.”<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiybXPc4OlLTmcYQfsOpeJIzvLoQhkvoe4GNd4YBTu_gc_FR8As_CFgt1cBf9Jk0DeQuPAoeDX02r94Nu5BXnRYVf7gFg6CjwLbdK2zOIb1ZEsJZRuvMh8TLGcXj8TDNBCUPRkh8tMlyeP-/s1600/Vermeer+girl.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="720" data-original-width="615" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiybXPc4OlLTmcYQfsOpeJIzvLoQhkvoe4GNd4YBTu_gc_FR8As_CFgt1cBf9Jk0DeQuPAoeDX02r94Nu5BXnRYVf7gFg6CjwLbdK2zOIb1ZEsJZRuvMh8TLGcXj8TDNBCUPRkh8tMlyeP-/s320/Vermeer+girl.jpg" width="272" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Vermeer. Girl with a Pearl Earing. 1665.</span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: There is also something from Botticelli’s “La
Primavera.”</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Yes, in a way. it’s a composite image.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: This is brilliant cinematography. When Beanpole has
her seizure, when she freezes, the take lasts for the duration of her fit, in
real time, so to speak. The effect is that a movie becomes frozen into a
photograph and then the photograph comes to, becoming a movie again. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMTgRNe6PGzGy7Ktl36FdzrVGCRmgKGF5gGq2VF9_wGB4D4OdwtQoyeZGWCcVZnsAw_UkNwKLymXqh4LPlSyenFu97Qz5h_pW-tolrEDkQ6aCwDC_NwHLV4bDwnyxRJ-3STvwQR76b9wrk/s1600/Dylda+freeze1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="853" data-original-width="1600" height="170" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMTgRNe6PGzGy7Ktl36FdzrVGCRmgKGF5gGq2VF9_wGB4D4OdwtQoyeZGWCcVZnsAw_UkNwKLymXqh4LPlSyenFu97Qz5h_pW-tolrEDkQ6aCwDC_NwHLV4bDwnyxRJ-3STvwQR76b9wrk/s320/Dylda+freeze1.jpg" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Beanpole (Дылда) 2019.</span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: This was all done on purpose; we made an effort to
time the shots in order to achieve this effect. The idea was that space must
freeze along with the heroine.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: Visually, this is a high note, and Sereda holds it throughout
the film, down to the last shot of Beanpole’s profile, when she has a streak of
blood running down her cheek. Did Masha draw blood when she hit Beanpole?<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: This was unplanned. The blood is real; Masha hit
her so hard, that she drew blood. When this happened, I thought, first, that it
would be too much bleeding. Masha had a nose bleed at the dinner with Sasha’s
parents, and now Beanpole is bleeding. But then it occurred to me that if fate
had given me this shot, it must be made part of the final take.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: What about the Robert Capa photograph of the two
women dancing in the streets of Moscow in 1947? When I saw it first, I knew I
had to write about it, <a href="https://thenoiseoftime.blogspot.com/2012/12/women-dancing-in-streets-of-moscow-on-7.html">and I did</a>.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRcy3ptzrlKL1z1pEP8vcDtG3tf5TgtfVwRpxwVphq_XZkB8dGczX7TLiwYhs_yyntXlTqh7q-7XI4sg_uXC2VN1B994YA0syxhMMg2gLK6C9GFrXcngB_PgGLFoJW10PM3aDD99edhsmA/s1600/capa+women+dancing.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><img alt="" border="0" data-original-height="677" data-original-width="1024" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRcy3ptzrlKL1z1pEP8vcDtG3tf5TgtfVwRpxwVphq_XZkB8dGczX7TLiwYhs_yyntXlTqh7q-7XI4sg_uXC2VN1B994YA0syxhMMg2gLK6C9GFrXcngB_PgGLFoJW10PM3aDD99edhsmA/s320/capa+women+dancing.jpg" title="https://img-fotki.yandex.ru/get/4126/74257169.8ff/0_ab9b7_516b09b1_XXL" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Robert Capa. Moscow 1947.</span></td></tr>
</tbody></table>
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Yes, I studied Capa’s photographic series from
when he and John Steinbeck visited Moscow, Stalingrad, and Georgia. I
researched them when I was working on <i>Beanpole. </i>This particular
photograph of two women dancing was one of my inspiration for the film. The
scene in the film when Masha tries on the green dress — this scene was inspired
by this photograph. When I saw Capa’s photo, I had that heartbreaking feeling
about these women: they lost their youth because of the war. And the green
dress scene in the film is also about lost youth; she took off her soldier’s
uniform for the first time, took off her boots, she put on a dress – but she
feels nothing at all, nothing is coming back… This how it is for Masha. Her
youth came to an end all at once. She did not get to live it: at some point, it
simply disappeared from her life.</span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: This is when Beanpole wants to comfort Masha and
begins to kiss her passionately, but affection does not work; then Masha does
the same to Beanpole who has suddenly gone frozen lying on top of Masha. This
time Beanpole is unresponsive. This is a brilliant take on sexual love, a
reminder that there are situations when nothing works out. People tend to
forget these instances, leave them out of the story, because they want to think
that sex has to be as it is in the films of Antonio Banderas…<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: True. But I thought about something else: from the
outside, it all always looks awkward. It is only in in porno films or in the
particularly passionate movies where sexual love is beautiful, gracious, and so
forth. We tried to avoid this approach, as in the scene of sex in the car…<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: Yes, well done. Two young guys went out cruising,
hunting for girls but it turns out they are miserable, pathetic, embarrassed,
one feels a little sorry for them.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: They are without malice. And the tension is
resolved by their laughter, childish laughter.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">GRISHA: Finally, about politics. You are going against the
grain of the official take on the war. I don’t mean to say that you are taking
it on directly, but the sensibility of the film is deeply subversive.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;">KANTEMIR: Whether it is so or not — time will tell. I try to
be apolitical. When your art gains in political relevance, it loses in artistic
merit. But there is a political subtext in whatever we do, because we cannot
exist without politics. But when you intentionally go for a political end, your
work begins to suffer from calculation and loses value as art.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Berkeley — St.
Petersburg. 10 July 2019</span><o:p></o:p></div>
<!--EndFragment--></div>
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-58328108469316559742018-12-11T16:58:00.002-08:002019-01-07T22:17:59.696-08:00Reflections On Solzhenitsyn's Centennial<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_oMEX813clq1yVqjGQbVIxFhttP_gpusK4EmxACgCfIHEubZ0_e5d9_qMK0hHwejHoddm1hajaVK69L-DoViFPcVhzWdHK8tSBZFp4-oijWHSZcsqSUaqIkk-MPWI9r0zWJ7jU4eIbQdw/s1600/Aleksandr_Solzhenitsyn_1974b.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_oMEX813clq1yVqjGQbVIxFhttP_gpusK4EmxACgCfIHEubZ0_e5d9_qMK0hHwejHoddm1hajaVK69L-DoViFPcVhzWdHK8tSBZFp4-oijWHSZcsqSUaqIkk-MPWI9r0zWJ7jU4eIbQdw/s400/Aleksandr_Solzhenitsyn_1974b.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Solzhenitsyn with <a href="https://en.wikipedia.org/wiki/Heinrich_B%C3%B6ll" style="font-size: medium; text-align: start;">Heinrich Böll</a><span style="font-size: small; text-align: start;"> in </span><a href="https://en.wikipedia.org/w/index.php?title=Langenbroich&action=edit&redlink=1" style="font-size: medium; text-align: start;">Langenbroich</a><span style="font-size: small; text-align: start;">, West Germany, 1974 </span></td></tr>
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One phrase struck me when reading Michael Scammel's column commemorating Alexander Solzhenitsyn's centennial, <a href="https://www.nytimes.com/2018/12/11/opinion/solzhenitsyn-soviet-union-putin.html?action=click&module=Opinion&pgtype=Homepage">"A Writer Who Destroyed an Empire"</a>: Yeltsin’s “foolish desire to introduce Western democracy in Russia.” Foolish, Alexander Isayevich, really? I caught myself arguing with the departed sage. Scammel is right, though: Solzhenitsyn’s aversion to Western democracy and modernity - individualism, secularism, tolerance, the rule of law - was fundamental to his view of the world. His anti-Western, in effect anti-liberal, stance earned him his the nickname "Ayatola Solzhenitsyn." But his even deeper aversion to the Soviet system, for awhile, overshadowed his innate conservatism. Solzhenitsyn's anti-Soviet invective, at first only implied, began early and reached its peak — the publication of Gulag Archipelago in 1973 — when it began to resonate with the jitters shaking up the empire from within. It also dealt a death blow to the flimsier construct of Euro-Communism in Italy and France. With time, his impact waned, as his writings progressively fell out of step with the mood in Russia as in the West. To resort to Solzhenitsyn's own favorite habit of quoting Russian proverbs, each berry has its own day for picking — Каждой ягоде - свой срок.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWntM87joBlN04A620un0IJ1PzhqZtNtHgxHkJL0q2IZNIN3mKNOdvLjvgYuVIrO0DE9x03gdv-cKjYo-t1CaTBpIx9AjJWxyGOn8YLbzem_Ve1Z0WbiXf2p1J87Zb69Mpkz2TeerJWWy6/s1600/One_Day_in_the_Life_of_Ivan_Denisovich_cover.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" data-original-height="376" data-original-width="220" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWntM87joBlN04A620un0IJ1PzhqZtNtHgxHkJL0q2IZNIN3mKNOdvLjvgYuVIrO0DE9x03gdv-cKjYo-t1CaTBpIx9AjJWxyGOn8YLbzem_Ve1Z0WbiXf2p1J87Zb69Mpkz2TeerJWWy6/s320/One_Day_in_the_Life_of_Ivan_Denisovich_cover.jpg" width="187" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The edition I assigned to my class</td></tr>
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I learned this lesson while teaching "One Day of Ivan Denisovich" to Stanford students for over thirty years (1978-2016). My Soviet period syllabus always listed it as required, because I felt that no one should graduate from Stanford's Russian program without reading and understanding this little masterpiece. In the sense of its impact and condensation of key ideas, "One Day" is rather similar to Pushkin's "Bronze Horseman": it's an archetype. Not only did it spawn a whole era of the so-called "village prose" and its antipodes, but it helped to crystalized the ideology of resistance to communism based on what we now refer to as "conservative values," more specifically, values that are considered native to the Russian soil, the Russian version of Blut und Boden. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb-hLibwIfCO7oT0F6rZjpXHRLcR_Jbryli__aCeFkdQFKqCmRPIiv7uukt8g2iuiC3_I339cB5wpDCspc96oCi0WbNfja9s_IIFvm4kOF-XmuowOdu8Wn27zQyHubolIixvorPcKoiCF5/s1600/Odin_den_Ivana_Denisovicha.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb-hLibwIfCO7oT0F6rZjpXHRLcR_Jbryli__aCeFkdQFKqCmRPIiv7uukt8g2iuiC3_I339cB5wpDCspc96oCi0WbNfja9s_IIFvm4kOF-XmuowOdu8Wn27zQyHubolIixvorPcKoiCF5/s1600/Odin_den_Ivana_Denisovicha.jpeg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The first Russian edition of "One Day." 1963.</td></tr>
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There was another, more personal reason: my own first encounter with "One Day" in 1962 when it had just come out. I read it in the cheapest mass edition printed on newsprint as if to match Solzhenitsyn's plain-speaking voice, and I was transformed. As I turned pages, my head was exploding with a burst of indignation and grief for the millions victims of Stalinist repression, hitherto unacknowledged and unmourned. I was sixteen then but I had already come to know two women Gulag veterans who never spoke about their past, and heard plenty of whispered stories about the poet Osip Mandelstam, family members of my friends and, of course, my own. Although only obliquely, I myself was touched by the <i>Dr. Zhivago</i> affair — through my older sister Marianna. She was friends with Irina Emelyanova, daughter of Boris Pasternak's last Muse, <a href="https://en.wikipedia.org/wiki/Olga_Ivinskaya#Relationship_with_Pasternak">Olga Ivinskaya</a> (the prototype for the <i>Zhivago's</i> Lara). Irina (herself a prototype for Katenka, the daughter of Zhivago and Lara) was imprisoned in 1960, along with her mother, both accused of serving as intermediaries between the Nobel laureate Pasternak and his publishers in the West. Irina was released in 1962. Of course, I had my feelings about all of these abominations but to have them publicly articulated in a widely available publication was a revelation. </div>
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<tr><td class="tr-caption" style="text-align: center;">Irina Emelyanova, Irina Odokhovskaya, Marianna Freidina,<br />
<span style="font-size: x-small;"><span style="text-align: start;">Sergey Nekliudov, Alla Tarasova. Moscow, July 1962. </span></span></td></tr>
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Solzhenitsyn's "One Day" was published, indeed broadcast (in hundreds of thousand copies), on Nikita Khrushchev's orders. Khrushchev's aim was to mobilize public opinion against his Stalinist Party rivals. Unintentionally, no doubt, this publication brought about a universal catharsis. The whole vast country let loose a collective moan for all the Gulag victims who had remained unmourned since the 1930s. For this alone, we owe Solzhenitsyn the debt of undying gratitude. But "One Day" was much more than that. <br />
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Each time, rereading "One Day" before my lecture, I felt like a photographer developing a print in a chemical solution. Little by little, political and ideological changes in Russia – and later on in the West – made what seemed like a simple tale of the Gulag horror morph into an anti-modernist, nativist, nationalist allegory. Like Tolstoy and Dostoevsky, the other great Russian writers who donned the mantle of prophet, Solzhenitsyn, it seems, could see far beyond the horizon that was visible to his contemporaries. And he departed from this world in 2008 before the changes he wished for his beloved country matured and began to bear fruit — under Vladimir Putin's cultivation.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjplIG-MarAbg3y6bEUFNQK9kbU5iNlyRGRdfHscY_U0V0CWB1bOSY61cGref5wBFKI3BWwafXrF0Z4KKyNRR7cQOnH-FrJpI_dGbjrxt6osXxVM_r-OkrjjBP3poab5qZr86OUah9BgJP-/s1600/Vladimir_Putin_with_Aleksandr_Solzhenitsyn-1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjplIG-MarAbg3y6bEUFNQK9kbU5iNlyRGRdfHscY_U0V0CWB1bOSY61cGref5wBFKI3BWwafXrF0Z4KKyNRR7cQOnH-FrJpI_dGbjrxt6osXxVM_r-OkrjjBP3poab5qZr86OUah9BgJP-/s320/Vladimir_Putin_with_Aleksandr_Solzhenitsyn-1.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vladimir Putin and Solzhenitsyn in the writer's home. 2007</td></tr>
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Solzhenitsyn's love and respect for custom and tradition grew into rabid nationalism, xenophobia, and aggression against Ukraine; his hope for order, into a brutal suppression of criticism and opposition; instinctive reliance on the folk's common sense for fairness, into a crooked criminal justice system; critique of Western consumerism and hedonism, into obscurantism and intolerance of the state-sponsored Orthodox Church; his opposition to censorship, into a virtual criminalization of free speech on social networks; his disdain for the popular culture of a modern metropolis, into the harsh policing of Russia's own bards and rappers.<br />
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But even in death, perhaps, especially in death, Solzhenitsyn's personal charisma has remained in force, and associating with him can enhance the authority of a politician. Vladimir Putin did not miss the opportunity and spoke at the unveiling of the monument to Solzhenitsyn in the Taganka district in Moscow. The head of the Russian state, he praised Solzhenitsyn for his support of the Russian statism (<i>derzhavnost</i>), a type of polity that favors state over society, and he singled out for special tribute Solzhenitsyn struggle with <i>Russophobia. "</i>Even in exile," <a href="http://kremlin.ru/events/president/news/59371">Putin noted</a>, "Solzhenitsyn did not allow anyone to speak with disdain or ill about his motherland, he opposed all forms of Russophobia."<br />
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A term of relatively recent coinage, Russophobia was popularized in the 1980s by <a href="https://en.wikipedia.org/wiki/Igor_Shafarevich">Igor Shafarevich</a>, who attributed it largely to Jews. Replicating <i>Judeophobia, </i>or anti-Semitism, Russophobia refers to some innate prejudice against Russia as a nation and Russians as an ethnic group — a prejudice that spawns critical opinion of the country and its government. The term is now habitually flung by Russian officials at anyone disparaging Russian policies or actions as a prejudice against Russia held by critics overseas or by Russia's own "internal enemies" (e.g., <a href="https://themoscowtimes.com/news/lavrov-warns-of-arms-buildup-amid-unprecedented-russophobia-60239">Sergei Lavrov in January 2018</a>). Those who know Solzhenitsyn writings from "One Day" to his much later history of Jews in the Russian Empire and Soviet Union (<i><a href="https://en.wikipedia.org/wiki/Two_Hundred_Years_Together">Two Hundred Years Together</a>, </i>2002)will recognize that the seeds of this wholesale inversion of <i>rational</i> critical opinion into an <i>ethnic</i> prejudice were planted by the great author himself.<br />
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<tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="http://en.kremlin.ru/events/president/news/59371"><img border="0" data-original-height="988" data-original-width="1600" height="197" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPZmsKHcgxAF8Vt9akPBL-QiodiGe3nFHm2wFvQpzMbFaajYuqrJTfaS3i00FraGkcMrAs7Vzu8Lw6SbB5S8MI4O1M_j3gcOAjhgb6VRf0XLM-RYKUkF-FHvoNJIX-1QaRDGiGzy-TRpRe/s320/Putin+Solzhenitsyn+monument.jpeg" width="320" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://en.kremlin.ru/events/president/news/59371">Putin at the unveiling of the monument to Solzhenistyn. 12.11.18</a></td></tr>
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This moment of reflection on Solzhenitsyn's centennial unexpectedly illuminated the aphoristic lines Boris Pasternak dedicated to Lenin in his 1928 poem "Lofty Malady." Pasternak offered a formula for the paradox of the Russian revolution: its promise of freedom and justice in 1917 contrasting sharply with the incipient despotism of 1928. He found it in the archetype of divine vengeance for human hubris. <br />
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A genius arrives, heralding [new] privileges,<br />
And he avenges his passing with oppression.<br />
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Предвестьем льгот приходит гений<br />
И гнётом мстит за свой уход.<br />
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Almost a century later and a decade after Solzhenitsyn's passing, these words resonate with the paradox of the now post-communist Russia.</div>
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Berkeley. 12.12.2018<br />
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com2tag:blogger.com,1999:blog-523286473767676859.post-43909735405179177662018-12-07T17:26:00.003-08:002021-02-19T17:10:53.373-08:00Remembering My Friend Valery Chalidze (1939-2018)<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span face=""verdana" , sans-serif">Valery Chalidze, Vera Slonim Chalidze, Ilya Slonim, </span><br />
<span face=""verdana" , sans-serif">Vicki Bonnell, Tanya Litvinov, with the Slonims' </span><br />
<span face=""verdana" , sans-serif">dog Mr. Triqué. Moscow 1970-71.</span></td></tr>
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<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Valery Nikolaevich Chalidze, physicist, legal scholar, and founder of the Human Rights Committee in the Soviet Union, died on January 3, 2018. For unrelated reasons, I could not attend the memorial for him in New York but I recalled a few episodes from our long association, wrote them down and had our mutual friend Jerry Schecter read them at the event. With the first anniversary of his death fast approaching, I decided to publish my recollections here.</span><br />
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<span face=""verdana" , sans-serif">Some seven years apart in age, Valery and I – were brothers-in-law, of sorts. We were married, serially, to the most attractive and smartest young women in Moscow, the Slonim sisters: he, to the younger Vera, I, to Masha. Neither marriage lasted long but enough to produce offspring: his daughter Masha Chalidze and my son Anton Freidin. Both are domiciled in England, both are happy and both have lovely, talented children of their own, second and third cousins all. Our lives were intertwined in other ways... Here, then, are the four </span><span face=""verdana" , sans-serif">luminous </span><span face=""verdana" , sans-serif">moments in the many years of our association.</span></div>
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I. Legal Counsel</span></h4>
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<span face=""verdana" , sans-serif">Spring 1971 was when Valery and I first met. He was or was about to marry Vera Slonim, the sister of my, by then, ex-wife, while I was about to wed Vicki Bonnell, my wife of 47 years, and counting. I remember all of us gathered at the sisters' </span><span face=""verdana" , sans-serif">apartment hosted by their parents, Ilya Lvovich Slonim, a well-known sculptor, and Tatyana Maksimovna Litvinov, a translator of, among others, John Cheever. </span><span face=""verdana" , sans-serif">The friendships among all of us, including our in-laws, were much stronger than marriage. I have old photos that document one such moment. </span><br />
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<span face=""verdana" , sans-serif">After Vicki and I were officially wed, we ran into a problem: Vicki’s visa – she was a US exchange student – was running out, and the authorities refused to extend it. Both of us were aware of the few mixed marriages that ended in forced separation and heartbreak. Chalidze, by then, had already formed the Human Rights Committee and had been dispensing legal advice, gratis, to people who had grievances against and were exasperated by the Soviet system. Though we were friends and practically relatives, on this occasion he received us </span><span face=""verdana" , sans-serif">in his famous room </span><span face=""verdana" , sans-serif">as our legal counsel, in a formal manner – black coat, white shirt and black tie. "An undertaker," Vicki quipped under her breath when we walked in. We knew the place was thoroughly bugged but, according to Chalidze's strategy, openness and transparency was our strength and worked in our favor. Besides, we had nothing to hide. We laid out and then discussed our situation, periodically rolling our eyes at the ceiling where, we assumed, the listening bugs were located. Chalidze’s sage prescription was simple: Vicki was to throw herself at the mercy of the Soviet State, that is to say, she was to cable a petition for extending her Soviet visa to Nikolay Podgorny, the titular head of Brezhnev’s USSR. She was to do so repeatedly. Preferably, once a day. We followed the counsel’s advice. </span></div>
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<span face=""verdana" , sans-serif">To send the cables we used the Main Telegraph Office on Gorky Street. I still remember the face of the postal clerk in the window. She was trying to stay impassive, as she read and counted the words scribbled on the cable form, wondering whether to laugh or scream at the hutzpah of the American girl who was directly petitioning the head of the all-mighty USSR. But rules were rules, and the cables were accepted and sent. What happened next is still shrouded in mystery. Vicki never received a response. Alas, Chalidze’s prescription did not work as well as we hoped. Still, we got more time to spend together: she overstayed her visa for a couple of weeks, ostensibly waiting for a merciful response from Nikolay Podgorny. The advice may have helped also in another way – by elevating our case to the "Kremlin level" so that a few months later I was granted permission, unprecedented at the time, to leave the workers’ paradise for permanent residence with my American wife in the United States. </span><br />
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II. Fortune Cookie</span></h4>
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<span face=""verdana" , sans-serif">Less than a year later, a law professor from Georgetown University Law School, Samuel Dash, visited Chalidze in Moscow. He was impressed. Before saying goodbye, Sam Dash pulled out a piece of his Law School stationary and hand-wrote an invitation to Chalidze to present a series of lectures at Georgetown on the human rights in the USSR. Those were tough times for Soviet dissidents. Emigration had not yet become a real option. What defined the horizon for people like Valery was jail or Siberian exile. Chalidze knew the calculus, and he was ready to face the music (if one is ever ready for an ordeal). As I write this, I recall Vera telling me that they decided to formalize their relationship, in part, for her to have the right, as a spouse, to visit Chalidze in prison. But instead of a prison sentence, Valery received a call from the authorities to pick up his passport for the visit to the US. He must have been stunned. He later told me that while getting his papers, he caught a glimpse of Sam Dash’s invitation sitting on the official’s desk: the Russian word – fake (липа) – was scrawled over it in a thick red pencil. </span></div>
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<span face=""verdana" , sans-serif">On Thanksgiving Day 1972, I was at JFK with my friend Joseph Brodsky (like me, а recent arrival in the US, a "refuJew," as he joked over our status) to greet Valery and Vera. In the evening, like seasoned New Yorkers (neither of us was a US citizen then), we broke bread, so to speak, over their first truly American meal: Mushu Pork and Kung Pao chicken at a Chinese restaurant in the Village. There was a lot of excitement over this most American of all the emigre holy communions. We had all known each other back in Russia, and we were delirious to have been able to reconnect in NY. Fate saved best for last. As Valery cracked his first ever fortune cookie, a thin strip of paper fell on the brown oilcloth. It had just four words: “Change for the better.” <o:p></o:p></span><br />
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<span face="verdana, sans-serif">With an almost childish smile, Chalidze kept repeating these four words. It seemed he was mentally toying with the idea that he had just received a validation from Lady Fortune herself. Over the years, there were many occasions to recall this omen: when he was taken to visit the Justices of the US Supreme Court, when he started his publishing venture, when he received one of the early MacArthur genius awards (1985), or when he met Lisa, who would soon become his wife, while on a speaking tour in the American West. </span></div>
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III. Press Conference</span></h4>
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<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Fast-forward to December 1972. I was in Washington, staying with Jerry and Leona Schecter, my old friends from Moscow where Jerry used to head the Time Magazine bureau. Chalidze was giving his famous first press conference at Georgetown University on the state of human rights in the USSR. By then</span><span face=""verdana" , sans-serif"> </span><i style="font-family: verdana, sans-serif;">Time Magazine</i><span face=""verdana" , sans-serif">’s Diplomatic Correspondent, </span><span face=""verdana" , sans-serif">Jerry Schecter</span><span face=""verdana" , sans-serif"> was going to attend and he took me to the press conference with him. </span><br />
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<tr><td class="tr-caption" style="text-align: center;">Jerry and Leona Schecter, with Strobe Talbott (center). Wshington 2010.</td></tr>
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<span face="verdana, sans-serif">I still remember one of the topics Chalidze spoke about before the Q&A: the mistreatment of political prisoners in Soviet labor camps. Citing UN nutritional standards, he accused Soviet authorities of subjecting political prisoners to a starvation diet, in effect, torture by hunger. The relevant nutritional data had been circulating in dissident publications for some time, but to hear this well-documented evidence summed up by the word “torture” spoken from a high podium by a well-known Russian dissident, with all of the Washington press corps in attendance, was a whole other matter. The words were like an exploding bomb shell. To this day, I remember the numbers — 800 calories, 1200 calories – as Chalidze delivered them in a calm and thoughtful voice… In case you are wondering what these numbers actually meant, the UN sets the minimum energy requirement for an adult at 1800 kcal.</span></div>
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<span face=""verdana" , sans-serif">The press conference was over. Reporters were rushing out to file their stories. I held back to avoid the stampede. The room emptied quickly and suddenly I found myself in the company of a three grim-looking middle-aged portly men in long coats and fedoras. They were unmistakable. Nashi!(out guys), flashed in my mind, as I realized I was surrounded by a clutch of Soviet reporters. I shuddered. At the time, I was beginning the project of translating into English, with Strobe Talbott, the second batch of Nikita Khrushchev’s memoirs (<i>Khrushchev Remembers, </i>vol. 2), and I was anxious to avoid the attention of the Soviet security “organs” (my family was still back in the USSR and could face reprisals). I guess, in their mind, I, too, belonged to an unmistakable species. </span><br />
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<span face=""verdana" , sans-serif">Before I could slink out of the room unnoticed, one of the fedoras nodded in my direction. Instantly, I was cut off at the path by a tall athletic–looking fellow with a square jaw and a flattened nose. I had not noticed him in the room before. With a carnivorous grin, he he cut me off before I could reach the door, pulled out a camera — it looked tiny in his huge paws — and snapped two pictures of me. Operation completed, he winked at me with a grin, as if saying "it didn't hurt, did it?" and stepped aside. </span><br />
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<span face=""verdana" , sans-serif">I rushed out, my heart was thumping as if I had just escaped death. The next moment, I felt ashamed: just look at Valery’s fearless, dignified cool, and he was taking on the whole of the USSR! I came to value his temperament even more during the many hours we spent over the years discussing philosophy, law, our ex-wives, and, yes, of course, politics both in Russia and the US. </span><br />
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<span face=""verdana" , sans-serif">In the end, politics — our views had diverged — poisoned our conversations, although the friendship never broke up. Now, I regret that our political biases, now in retrospect so small, made our contact less and less frequent as the new century dawned.</span><br />
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<span face=""verdana" , sans-serif">A few days after the Georgetown press conference, Soviet officials had Chalidze's passport confiscated, informing him that he had been stripped of Soviet citizenship. He never went back, even after Mikhail Gorbachev restored it to him in one of his early perestroika gestures in 1987.<o:p></o:p></span></div>
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IV. The Federalist</span></h4>
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<span face=""verdana" , sans-serif">In 1990, a week before Thanksgiving, I was in Washington to give a paper at the annual meeting of American Association for the Advancement of Slavic Studies (I was already a tenured professor at Stanford then). All of a sudden there was a call from Valery. He had a new crazy scheme (he was a fountainhead of ideas): Will I consider undertaking a translation of <i>The Federalist Papers </i>into Russian? A selection. 55000 words. And the deadline, I asked? It was Christmas. No way, I responded! And agreed. Only later did I find out that the project, which may have been invented by Valery, was supported by Brent Scowcroft, National Security Adviser to Bush 41<sup>st</sup>. The idea was that apart from its distribution in the USSR, George H. Walker Bush would present a copy of the translation as a special gift to Mikhail Gorbachev, who was at the time busy with a radical revision of the Soviet Constitution. The summit was scheduled for the end of July 1991.</span></div>
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<span face=""verdana" , sans-serif">I was poor student of American history and because I had never taken it seriously (how could such a young country have history?), I nearly flunked my citizenship exam in 1974 (I though the Boston Tea Party was about "liberty" only to be set right that it was about money, i.e., taxation without representation). Needless to say, I had not the faintest idea what <i>The Federalist </i>was about. But I soon made up for my ignorance. Suffice it to say that working sixteen-hour days seven days a week, translating into Russian gem after gem of the Founding Fathers’ practical wisdom was a most effective intensive course in American constitutional history. I am forever grateful to Valery and our two other well-lettered collaborators, the late Leon Lipson of Yale Law School and Lisa Chalidze, both erudite lawyers, who held my hand, so to speak, as I was digging deeper and deeper into the thinking of those remarkable sages, Hamilton and Madison. It was no less of a struggle to be able to render their thought into my native modern Russian, the language in which political discourse had been poisoned by decades of Marxist Hegelian cant. Lisa's and Leon's help with concepts, constitutional law, and the historical context was invaluable.</span><br />
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<span face=""verdana" , sans-serif">It did not take long to realize why <i>The Federalist </i>had never been translated into Russian. The hardest was the elucidation of the concepts that had received short shrift in Russian political thought, dominated as it was, first, by the French and, later, German traditions (Rousseau, Hegel, Marx), with very little space left for the Anglo-Saxon political thought, such as that of John Locke. It is little exaggeration to say that American political discourse had no equivalent in Russian and had to be invented. It emerged in the course of the continuous back–and–forth I had with Chalidze, as we both poured over the translation, word by word, paragraph by paragraph, article by article, culminating in the rendering of the US Constitution into what I hoped was plain Russian (our volume of <i>The Federalist</i> ended with the full text of the U.S. Constitution).</span><br />
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<span face=""verdana" , sans-serif">That December 1990 and well into January 1991, our phone lines for voice and fax machines (the Internet had not yet been popularized) hummed non-stop between my home Berkeley, California, and his in Benson, Vermont. I don’t know if Valery ever became a US citizen, but I have no doubt that in a deep sense, both of us became American in the process of preparing this volume: there is no immersion more profound than the rendering of another’s complex thought into your native tongue. At the end, I felt confident enough to write an introduction for the Russian reader.<o:p></o:p></span></div>
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<span face=""verdana" , sans-serif">Our American Federalist in Russian was finished sometime in February or March 1991. A year later, when the Soviet Union was no more, and Mikhail Gorbachev was its president emeritus visiting U.S., I was at a reception for him at the house of George Schultz at Stanford. Nikolay Nikolaevich Vorontsov, who was also there (</span>he had served as USSR Minister of Natural Resources in Gorbachev's government), introduced me to his former boss. I tried to press my signed and leather-bound copy of the Russian <i>Federalist</i> into his hands. Gorbachev took the book, turned it over, looked inside it, then at me, and shot: “But I already have a copy.” Then, noticing my long face, he graciously took it, thanked me, passed it on to his aide, and reqarded me his radiant Gorbie smile. I was disarmed.</div><div class="MsoNormal" style="margin: 0in 0in 0.0001pt;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEholhjMWScTbjpRKrD-5RmQ5ro9Eg63LQfcCThYJnAVxN0mk9UYHCbGJiytSTtzUC5U0Ncr6h7qlYZnSSZtSmBByTGaJ5rJlZPkPGDzLhLuQzGJ7J0pzcyOej8NsNzBA5f2HXw2XavMm-73/s1600/amerikanskie+federalisty+coverAB.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1296" data-original-width="1600" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEholhjMWScTbjpRKrD-5RmQ5ro9Eg63LQfcCThYJnAVxN0mk9UYHCbGJiytSTtzUC5U0Ncr6h7qlYZnSSZtSmBByTGaJ5rJlZPkPGDzLhLuQzGJ7J0pzcyOej8NsNzBA5f2HXw2XavMm-73/s320/amerikanskie+federalisty+coverAB.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Russian edition of <i>The Federalist <br />Papers: Selected Articles</i></td></tr>
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<span face=""verdana" , sans-serif">I still do not know if Gorbie or his associates had found the volume helpful as they were revamping the USSR Constitution in the summer 1991. Regardless, their efforts soon became irrelevant. In AUguest 1991, the USSR, de facto, ceased to exist. Still, there was a great demand for the Russian <i>Federalist </i>in Moscow of the new post-Soviet Russia. Every time I visited there (and I often did in the 1990s), I took a batch of copies. The press run of ten thousand was soon depleted. I gave away my own last copy to Sergey Nikolaevich Yushenkov, a liberal Duma Deputy, who was murdered under mysterious circumstances in 2003. I know the Russian<i> Federalist</i> was used by the legal scholars who shaped the Russian Constitution of 1993, among them, my friend </span><span face=""verdana" , sans-serif">Viktor Leonidovich Sheinis.</span><span face=""verdana" , sans-serif"> </span><br />
<span face=""verdana" , sans-serif"><br /></span>
<span face=""verdana" , sans-serif">Oh what a waste of effort, the reader might say, given the authoritarian regime that now rules Russia! Yes, you have a point. The stratospheric rise in oil prices in the early 2000s turned out to be a greater driver of change in Russia than the ideas of <i>The Federalist</i>. But ideas —</span>a renewable resource, unlike oil —take a long time to sink in and take effect. But they do, with time, as they have over the last three centuries of Russian history. I am confident that my Russian countrymen will have opportunities to benefit from <i>The Federalist </i>in the not so distant future, as they have benefited from the commitment to the rule of law – the common denominator for the opposition in Russia today — that Valery Chalidze, in one of his “crazy schemes,” planted in Soviet soil in the 1960s. Or in 1970 when he founded, along with Andrei Sakharov and others, the Soviet Union’s Committee for the Defense of Human Rights. He made a difference, as Gorbachev recognized while he was launching perestroika, and his legacy will continue to influence Russian legal and political thought and practice for many years to come. R.I.P.</div>
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<span face=""verdana" , sans-serif">I will miss Chalidze.<o:p></o:p></span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">27 May 2018, Berkeley</span><br />
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-20088980173475260182018-04-27T14:35:00.000-07:002019-01-07T22:19:06.272-08:00Easter or Passover: My Exchange with Gary Saul Morson<div dir="ltr" style="text-align: left;" trbidi="on">
<h4 style="text-align: left;">
THE NEW YORK REVIEW OF BOOKS</h4>
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The Right Supper</div>
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<div class="author">
Gregory Freidin and Boris Dralyuk,
reply by
Gary Saul Morson </div>
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<time>
<a href="http://www.nybooks.com/issues/2018/04/19/">April 19, 2018 Issue</a>
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<h6>
In response to:</h6>
<em><a href="http://www.nybooks.com/articles/2018/02/08/isaac-babel-horror-the-horror/">The Horror, the Horror</a></em> from the February 8, 2018 issue
<br />
<i><br /></i>
<i>To the Editors</i>:<br />
<br />
An old-time reader of <i>The New York Review</i> and a
Russianist, I am heartened by your continued interest in Russian
history, politics, and culture, as in the review of the most recent
translations of Isaac Babel [Gary Saul Morson, “The Horror, the Horror,”
<i>NYR</i>, February 8].<iframe class="teads-resize" mtmid="m70" mtmparent="m22" style="border-style: none !important; border-width: medium !important; display: block !important; height: 0px !important; margin: 0px !important; min-height: 0px !important; padding: 0px !important; width: 100% !important;"></iframe><br />
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The reviewer’s general thesis is spot on. Babel’s prose (for that
matter, any modernist prose) loses its éclat when translators substitute
their interpretive elaborations for the master’s condensed staccato
phrasing. But one begins to question the reviewer’s judgment when he
refers to Babel’s protagonist-narrator in <i>Red Cavalry</i> as Vasily
(he is Kiril) Lyutov and then proceeds to quote from a new translation
of “Crossing the Zbruch,” ignoring a real howler: “shards of the hidden
dishware Jews use once a year—at Easter.” Babel’s Russian: “Черепки
сокровенной посуды, употребляемой у евреев раз в году—на Пасху [<i>cherepki sokrovennoi posudy, upotrebliaemoi u evreev raz v godu—na Paskhu</i>].” Babel’s narrator, the crypto-Jew Lyutov, does many awkward things in <i>Red Cavalry</i> but he would never confuse Easter and Passover. Nor would any Russian, Jewish or otherwise.<br />
<br />
The howler goes back to Walter Morison’s translation: “fragments of
the occult crockery Jews use once a year at Eastertime.” Sanctified by
Lionel Trilling’s introduction and usable, if full of errors, it served
for decades as the standard rendering of Babel into English. I do wonder
what an earnest reader has been making out of this “occult crockery” or
“hidden dishware” that “Jews use at Easter.” An allusion to blood
libel?<br />
<br />
Yes, in Russian, the word <i>Paskha</i> may refer to either the
Christian Easter or the Jewish Passover. But the context in the story—a
Jewish hovel in a shtetl that had just suffered a pogrom at the hands of
the retreating Polish army—points only to Passover. It is at Passover
that traditional Jews bring out their best tableware (<i>sokrovennaia posuda</i>—literally,
set-aside dishes) for the Seder meal (my grandmother did). The
award-winning translator Peter Constantine could not help inventing the
Seder plate, but he got the Jewish holiday right: “fragments of a holy
Seder plate that the Jews use once a year for Passover.”<br />
<br />
Translating Babel is a herculean task despite or, perhaps, because
his deceptively simple stories “pierce the heart” with such chilling
immediacy. Translation mistakes are unavoidable. But why err
unnecessarily when the answer to the riddle, at least in this case, lies
in plain view?<br />
<br />
And one last thing. In the review, the photo of Isaac Babel with a
child in his arms is of Babel holding his son—not grandson—Mikhail,
taken in January 1927.<br />
<br />
Gregory Freidin<br />
Emeritus Professor of Slavic Languages and Literature<br />
Stanford University<br />
Stanford, California<br />
<br />
<br />
<i>To the Editors: </i><br />
As Isaac Babel’s Benya Krik says to a grieving mother after his gang
has accidentally bumped off her son, “Everyone makes mistakes, even
God.” Translators certainly make their share, as do reviewers. I want to
point out a couple of mistakes made by Gary Saul Morson in his survey
of several recent Babel translations, including my own. In the first
place, the word Babel uses to describe the ruins of Novograd-Volynsk is <i>skryuchennykh</i>, not <i>skruchennykh</i>. The two are similar in sound and meaning, and can easily be confused. I translate the word that occurs, <i>skryuchennykh</i>,
as “gnarled,” which is one of the meanings it carries when associated
with old fingers or claws, and sometimes trees. In the very next story,
“The Italian Sun,” Babel describes another scene of ruin: “the hooks of
wicked old women’s fingers sticking from the earth.” The gnarled ruins
and the hooked old fingers might resonate for a careful, imaginative
anglophone reader. (Another minor mistake: the English nursery rhyme to
which Morson refers was translated by Kornei Chukovsky, not Samuil
Marshak.) But the important point is that individual words do not occur
in a vacuum or in a decontextualized pattern of repetitions. Morson
takes issue with my contextual translation of the word <i>istlevshikh</i> and quotes the relevant explanation from my introduction, but not in full. I write:<br />
<blockquote>
Other translators have rendered the word used to describe
the state of the letters—“istlevshikh”—more or less literally, as
“mouldering” or “that had rotted,” but this is a shade too ghoulish, and
isn’t true to the lyrical tone. If one takes a moment to imagine what
Babel’s narrator imagines—the romance of this decadent “way of life”—one
can conjure the fragile letters before one’s eyes, feel their texture;
they have been “worn thin” by friction and sweat. Here, Babel has waxed
romantic. Throughout the cycle, Babel uses the same adjective to
describe things ranging from “decayed wadding” and “rotten hay” to an
old rebbe’s “withered fingers.” Context is everything. There’s plenty of
brutality in these stories; it derives its effect from the beguiling
lyricism that surrounds it. </blockquote>
Boris Dralyuk<br />
Executive Editor<br />
<i>Los Angeles Review of Books</i><br />
Los Angeles, California<br />
<h6>
Gary Saul Morson<i> replies</i>: </h6>
I thank Gregory Freidin and Boris Dralyuk for their comments. I did
make two careless mistakes. First, a typo: the word is indeed (in one
common transcription from the Cyrillic) <i>skryuchennykh</i>, not <i>skruchennykh</i>.
Although my subsequent discussion, which suggested “crooked,” makes
clear which word I meant—that is, the word that also appears in the
nursery rhyme—I am glad to be corrected. Both Marshak and Chukovsky
translated the nursery rhyme. Second, as I check Babel’s text, I see
that the name is Kirill Vasilievich (Kirill, son of Vasily), not Vasily.<br />
Freidin, who is in my opinion a fine critic, thinks it is a “howler” to translate <i>Paskha</i> as “Easter” rather than “Passover.” But as he acknowledges, the word <i>Paskha</i>
does mean Easter as well as Passover, so it is hard to see how either
choice could be a howler. Vinokur, as well as Morison, chooses
“Eastertime”: “I find turned-out wardrobes…human excrement, and shards
of the dishware Jews keep hidden and use once a year, at Eastertime.”<br />
The reason I prefer “Easter” is that the narrator makes sure not to
tell the Jews that he too is Jewish—he is, as Freidin acknowledges, a
“crypto-Jew”—and they treat him accordingly. The story depends on the
fact that the Jew acts and speaks as if he is not a Jew, and this is
what Babel wants the (“earnest”) reader to understand. Lyutov (the name
is chosen because it does not sound Jewish) does not “confuse Easter and
Passover”; he pretends to be a non-Jew encountering the strange customs
of Jews. He describes Jewishness from outside the culture,
anthropologically, as if speaking to readers who are also outsiders, as
the very need to explain that Jews use special dishes at that time of
year suggests. Indeed, perhaps the best rendition would be: “at their
Easter.” Babel’s narrator tries to hide his Jewishness even from
himself, to overcome it, to act and speak like the non-Jews he envies.<br />
The real problem here goes to the heart of why translation is so
difficult. The original can remain ambiguous, meaning either Passover or
Easter, but in English one must make a choice. My central point about
Dralyuk is that he (like many other good translators) interprets the
original when he does not need to. Indeed, he makes a principle of doing
so. Depending on what one is translating, that can be the best way to
proceed. But to catch Babel’s prose—prose that can refer to “invisible
voices”—one often has to refrain from interpreting. You don’t want to
take away the feeling of oddity and surprise. We have good translations
of Babel, including Morison’s, Dralyuk’s, and especially Vinokur’s, but
we still await one that really captures his prose in all its glorious
strangeness.</section></div>
Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com1tag:blogger.com,1999:blog-523286473767676859.post-52112772851882470772018-02-26T22:25:00.003-08:002019-09-16T11:36:49.547-07:00Russia: A Very Brief History, Updated<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="margin-left: auto; margin-right: auto;"><a href="http://thenoiseoftime.blogspot.com/2018/02/russian-history-very-brief-course.html"><img border="0" data-original-height="1048" data-original-width="1168" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb1TU3auBBNGLoLo_XlV7ZoeQBz5VoQrJtx_6vy0_EZCVSkrRF-3owMFqjefKkRzvBXmGK5GSWUvj8SE9Sze_2TqIQ7mdD410XuloaGz5BJrVucseASCt20qz2hIFB5QW7f17qWdfqNhwo/s400/ignatovich_gf2bw.jpg" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;">View from Millionnaia Street onto the Palace Square before the Hermitage, with St. Isaac's in the distance; in the foreground, a detail of the caryatid in the entryway to the Maly Hermitage. St. Petersburg. 2006. Photo by the author.</td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: x-large;"><i>S</i></span>ituated on the great Eurasian plane, Russia has been vulnerable to invasions from both East and West (Mongols, 1247-1480; Poles, 1605-1610; French, 1812; Germans, 1941). By the same token, once a centralized autocratic state was established under the grand princes of Muscovy, beginning with Ivan III (1462-1505), Russia could easily expand laterally and hold contiguous territories. Either way, holding the perimeter required a military force, consequently, taxes, and a powerful state to collect them. Even today, after the dissolution of the USSR in 1991 and the secession of Ukraine, Belorus, the Baltic republics and those of Central Asia, Russia spans the entire northern part of the Eurasian continent, from the Pacific to the Baltic Sea, and south to the Black Sea, including the latest claim to the Crimean Peninsula.<br />
<br />
Adoption of Orthodox Christianity from Byzantium (988) brought Russia early into the fold of Christian Europe, but it also set it apart from the Roman Catholic West. Therein lies the beginning of Russia’s ambivalence toward the West and the recurrent belief in Russia’s special destiny as the bearer of true faith, whether Orthodox Christianity (“Moscow the Third Rome”), or the Slavic commonwealth imagined by the nineteenth-century Slavophiles, or revolutionary socialism preached by radical Westernizers, or world Communism inaugurated by the Bolshevik revolution of 1917, or, of late, the conservative nativist nationalism of Putin’s Russia.<br />
<br />
Isolated and fractured under the Mongol dominion and later threatened by the increasingly aggressive West, Russia was barely touched by the major European movements, the Renaissance, Reformation and Counter-Reformation, until the Enlightenment. Its own Russian Orthodox Church was never free from the tutelage of the state and to this day remains unreformed. Westernization came with Russia’s emergence on the world stage under Peter the Great (1682-1725). A modernizing autocrat, Peter established a lasting pattern for meeting the challenge of the modernized West – maintaining an uneasy and shifting balance between selective adoption of modern Western institutions, knowledge, dress and manners while protecting the centralized state and its power to impose corvée, heavy taxes, and to repress dissent.<br />
<br />
Where the modernizing reforms were successful, achievements have been spectacular: in literature (Pushkin, Gogol, Tolstoy, Dostoevsky, Chekhov), music (Chaikovsky, Stravinsky, Shostakovich, Prokofiev), art (Repin, Kandinsky, Malevich), theater and ballet (Stanislavsky, Meyerhold, the Ballets Russes), film (Eisenstein, Vertov, Pudovkin), science (Mendeleev, Pavlov, Sakharov, Kapitsa), hi-tech weaponry and space technology (the Bomb, the Sputnik). Russia was first recognized as a military superpower when it defeated Napoleon in 1812 and under the Soviets when it vanquished Nazi Germany in 1945. It still enjoys a quasi-superpower status, largely thanks to its nuclear stockpiles and Europe's largest military. But the price of modernization has exacted a heavy toll: Peter’s reforms strengthen serfdom, abolished only in 1861, private ownership of land and property rights, abolished under communism and restored after 1991, are still subject to the whim of the state authorities; civil society is thwarted by the officialdom and state control of the electronic media; corruption is ubiquitous and practically unchecked.<br />
<br />
Deep antagonism between modernizing trends, especially the rule of law and the concentration of unchecked power at the top — be it under a tsar, a communist dictatorship (1917-1991), or Vladimir Putin’s vertical “sovereign democracy” — has produced an unstable and skittish polity. Periods of repression (extreme under Stalin) are punctuated by decade-long episodes of exuberant liberation (viz. Gorbachev and Yeltsin), but consolidating reforms are, in turn, undermined by renewed centralization and turn toward authoritarianism at the top.<br />
<br />
Emancipated from communism in 1991, Russia has been struggling to institute democracy and a market economy in the face of countervailing trends, among them, Muslim irredentism in the Caucasus, endemic corruption and state control of the economy, rise of nativism and nationalism, and, on the part of the power elite, a backsliding into a populist authoritarianism stoking resentment against the West. Significant progress has been achieved nevertheless, in part, because the profits from the rich deposits of oil and natural gas have been shared broadly, albeit unevenly. A new generation of Russian citizens, modern and free from the instinctive Soviet fear of state authority, is now entering their twenties and is bound to affect the country's future by expecting more democracy and more freedom. But the overall picture remains mixed, especially since Russia’s annexation of the Crimea in 2014 and subsequent fomenting of civil war in eastern Ukraine. Russia’s aggression toward Ukraine led to the imposition of sanctions by the US and EU, as well as relative international isolation. Russia's aggressive meddling in the US Presidential Elections in 2016 has led to further estrangement between the two nuclear superpowers. The benign international climate Russia enjoyed for over two decades since the end of the cold war and collapse of communism has been replaced with a renewed antagonism with the West.<br />
<br />
Copyright © <a href="http://thenoiseoftime.blogspot.com/2010/12/russia-very-brief-history.html">2010</a>, 2018 by Gregory Freidin<br />
<br />
PS. This is the most recent update for the essay on Russian history in 300 words that I was commissioned to write for an on-line reference in 2000. I've updated it twice now, trying to keep it short enough - 700 words - to fit into a newspaper column. For the <a href="https://thenoiseoftime.blogspot.com/2010/12/russia-very-brief-history.html">2010 version</a>, click <i><a href="https://thenoiseoftime.blogspot.com/2010/12/russia-very-brief-history.html">here</a>.</i><br />
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-9930543349111417742017-12-20T11:16:00.002-08:002017-12-20T15:43:43.475-08:00Арсений Рогинский (1946-2017), по памяти<div dir="ltr" style="text-align: left;" trbidi="on">
<span data-offset-key="37hu4-0-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">Знаком я был с <a href="https://ru.wikipedia.org/wiki/%D0%A0%D0%BE%D0%B3%D0%B8%D0%BD%D1%81%D0%BA%D0%B8%D0%B9,_%D0%90%D1%80%D1%81%D0%B5%D0%BD%D0%B8%D0%B9_%D0%91%D0%BE%D1%80%D0%B8%D1%81%D0%BE%D0%B2%D0%B8%D1%87" target="_blank">Сеней Рогинским</a> </span><span data-offset-key="37hu4-2-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;"> с юношеских лет (познакомил <a href="https://ru.wikipedia.org/wiki/%D0%A1%D1%83%D0%BF%D0%B5%D1%80%D1%84%D0%B8%D0%BD,_%D0%93%D0%B0%D0%B1%D1%80%D0%B8%D1%8D%D0%BB%D1%8C_%D0%93%D0%B0%D0%B2%D1%80%D0%B8%D0%BB%D0%BE%D0%B2%D0%B8%D1%87" target="_blank">Гарик Суперфин</a>). Мы </span><span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;"> - ровесники, и в 1960-е годы было много забавных историй, похождений - жили не тужили... В 1971 г. я уехал в Америку. Кое-какие вести о его судьбе до меня доходили, как и то, что его арестовали фактически за его исследовательскую работу о репрессиях в СССР</span><span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">. </span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">Освободили Сеню в 1985 г. </span><span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">Он отсидел четыре года, </span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">полный срок, </span><span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">от звонка до звонка. </span><br />
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<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">Мой первый день в Москве после семнадцати лет в Америке. Начало сентября 1988 года. Лечу по Тверской . Напротив памятника Пушкину (Пушкин лукаво клонит голову) кучка молодежи, а рядом - еще одна кучка молодежи - в форме ОМОН. Я остановил такси и выскочил на тротуар. Билось сердце по старой провозащитной традиции от вида молодежи и самодельных плакатов. Они собирали подписи и деньги в поддержку Мемориала, который тогда еще не имел определенного статуса. Стычки с ОМОНом не произошло, я что-то</span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;"> подписал и дал денег. В возбуждении от непривычки видеть такое в Москве - в 1971 нас бы всех давно замели -</span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;"> поговорил с демонстрантами, поделился моим нехитрым опытом, услыхал от них имя Рогинского, других старых друзей, и защемило сердце. Я уезжал в глубокий застой, а тут всё бурлило - о, как помчалась кляча история!</span><br />
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<span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;"><span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">Увиделись мы с Сеней вскоре после этого </span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;"> </span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">на квартире историка </span><a href="http://old.memo.ru/d/3180.html" style="font-size: 14px; white-space: pre-wrap;">Никиты Охотина</a><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;"> и лингвиста Анютой Поливановой, старой моей подруги. Я им описал мое приключение на Пушкинской. Они знали этих ребят по именам, и мы хорошо посмеялись. Сеня с Никитой тогда во всю разворачивали Мемориал. С тех пор виделись почти каждый раз, когда оба были в Москве, а я </span></span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">тогда </span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">бывал часто.</span><br />
<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;"><br /></span>
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<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">Сейчас мне все время вспоминается вечер в 1992 году. Мы с Сеней и Никитой на квартире Никиты Охотина на Плющихе. Сеня с Никитой тогда готовили материалы для <a href="https://ru.wikipedia.org/wiki/%D0%94%D0%B5%D0%BB%D0%BE_%D0%9A%D0%9F%D0%A1%D0%A1" target="_blank">судебного процесса над КПСС</a>. </span><span data-offset-key="37hu4-4-0" style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">Мы что-то попивали, чем-то закусывали на кухне. Дело, вроде, обычное, но тут д</span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">ух захватывало от сознания неповторимости момента. Казалось, шел суд истории, и мы в первом ряду. </span><br />
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<span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">Я рассказывал о том, как провел несколько дней в Кремле, журналистом, на последнем съезде КПСС, а через год, в августе после переворота - там же, среди союзного начальства, когда они обсуждали, что делать с коммунистами и партийной собственностью... Ни до того. ни после я уже не видал такого скопления членов КПСС. Но у Сени с Никитой дела были поинтересней! </span><br />
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<span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">Сеня был прирожденный рассказчик. </span><span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">Окутанный облаком табачного дыма -- голосом из неопалимой купины -- он </span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">вещал </span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">взахлеб, на какие хитрые ходы ему приходилось пускаться, чтобы получить доступ к документам. Показывал копии бумаг, которые тогда еще казались немыслимыми.</span><br />
<span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;"><br /></span>
<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">У меня осталась где-то парочка шедевров, один из них о воронах-шпионах в Псковской (?) области, другой - с просьбой добрать еще тыщёнок по "первой категории"сверх разнарядки, т.е., расстрелять, и с резолюцией от усатого - "согласен". До сих пор холодеет кровь.</span><br />
<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;"><br /></span>
<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">Суд над КПСС, как известно, не состоялся, начиналась эпоха разочарования (и выживания), но в отличие от "разочаровавшихся", Сеня не остановился, не ушел "в подполье", а все свои силы бросил на <a href="https://ru.wikipedia.org/wiki/%D0%9C%D0%B5%D0%BC%D0%BE%D1%80%D0%B8%D0%B0%D0%BB_(%D0%BE%D1%80%D0%B3%D0%B0%D0%BD%D0%B8%D0%B7%D0%B0%D1%86%D0%B8%D1%8F)" target="_blank">Мемориал</a>, его детище, к которому, хочется верить, не зарастет народная тропа (опять Пушкин)... </span><br />
<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;"><br /></span>
<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">Благодаря Сене Рогинскому, гражданам России живется лучше, их </span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;"> историческое сознание, </span><span style="color: #1d2129; font-size: 14px; white-space: pre-wrap;">просветленное Мемориалом, теперь на их собственной совести, а совесть эта, если не чище, то, по крайней мере, здоровее, отзывчивей. </span><br />
<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;"><br /></span>
<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">Я горжусь, что мне выпало знать Сеню. Я был и остаюсь современником Арсения Рогинского. </span><br />
<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;"><br /></span>
<span data-offset-key="37hu4-4-0" style="color: #1d2129; font-family: , , "blinkmacsystemfont" , ".sfnstext-regular" , sans-serif; font-size: 14px; white-space: pre-wrap;">Беркли. 20 дек., 2017</span><br />
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-63277139750128789962017-08-18T16:57:00.021-07:002022-01-31T12:06:13.484-08:00Babel, Isaac Emmanuilovich (1894-1940)<div dir="ltr" style="text-align: left;" trbidi="on">
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<i>Note: </i>Below is my biographical essay on Isaac Babel for the on-line <a href="https://www.britannica.com/biography/Isaac-Babel" target="_blank">Encyclopedia Britannica</a>, substantially revised and expanded for this blog (TNT), including the photos. Most of the hyperlinks are those of <a href="https://www.britannica.com/">Britannica on–line</a>. See also my article on <i>Red Cavalry </i>in <i>Enzyklopädie jüdischer Geschichte und Kultur: </i>"<a href="http://dx.doi.org/10.1163/2468-2845_ejgk_COM_0734">Reitarmee</a>" (2016).</div>
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<tr><td class="tr-caption" style="text-align: center;">Isaac Babel @1924</td></tr>
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<strong style="color: #1b1b1b; font-family: georgia; font-size: 18px; max-width: 100%;">Isaac Babel</strong><strong style="color: #1b1b1b; font-family: georgia; font-size: 18px; max-width: 100%;">, </strong><span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">Isaac also spelled Isaak, original name in full Isaak Emmanuilovich Babel (born June 30 [July 12, New Style], 1894, Odessa, Ukraine, Russian Empire—died January 27, 1940, Moscow, Russia, U.S.S.R.), Russian Jewish short-story writer known for his cycles of stories: Konarmiya (1926, rev. ed. 1931, enlarged 1933; Red Cavalry), set in the Russo-Polish War (1919–20); Odesskiye rasskazy (1931; Tales of Odessa), set in the Jewish underworld of Odessa; and Istoriya moey golubyatni (1926; “Story of My Dovecote”), named after the opening story of autobiographical fiction about a middle-class Jewish boy growing up in Nikolayev and Odessa under the old regime. Babel’s innovative prose is distinguished by aphoristic precision, combined with the metaphoric extravagance of Modernist poetry. It had a considerable impact on the genres of short story and autobiographical fiction both in Russia and abroad, especially in the United States. Translated into many languages, his works have for decades exemplified both the achievement of Russia’s literature of the revolutionary Soviet period and the dilemmas faced by a modern intellectual, a Russian, a European, and a Jew, caught in the swell of a violent social upheaval.</span></div>
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Odessa, where Babel was born to a struggling middle-class Jewish family, was a chief inspiration, even though his early childhood passed in the nearby city of Nikolayev (1894–1905). Babel was the third of five children (two died in infancy, and one, Hanna Ghitel, died at age seven, when Babel was four; his only surviving sister, Maria, was born in 1897). In Nikolayev, Babel’s father came to enjoy business success, and in 1904 Babel began his formal education at Nikolayev’s Count Witte Commercial Academy. </div>
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<tr><td class="tr-caption" style="text-align: center;">Isaac Babel and his father</td></tr>
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In December 1905 Babel moved to Odessa and transferred to the<span class="Apple-converted-space"> </span>Nicholas I<span class="Apple-converted-space"> </span>Commercial Academy, from which he graduated in 1911. <span class="Apple-converted-space"> </span>The rest of the family moved back to Odessa in 1906 and eventually settled in the city centre, in well-to-do Richelieu Street (Rishelievskaya). </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWS9_Ujbcb2ipC0xQYTL6_me1_aPvZjL71v1g7_KPCPN6Oq1N8KqSGxe4hs4z14WseC3OtvoN6nUMucpx_M7mxOMZCO10N7ZHSJOZeJt958u66aFCrXnbPOejjNSOhH9QbQUilPchPysQL/s1600/cafe+robin.png" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1008" data-original-width="1344" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWS9_Ujbcb2ipC0xQYTL6_me1_aPvZjL71v1g7_KPCPN6Oq1N8KqSGxe4hs4z14WseC3OtvoN6nUMucpx_M7mxOMZCO10N7ZHSJOZeJt958u66aFCrXnbPOejjNSOhH9QbQUilPchPysQL/s320/cafe+robin.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cafe Rabin. Odessa.</td></tr>
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Known for their secularism<span class="Apple-converted-space"> </span>and cultural vibrancy, the Jews of this most<span class="Apple-converted-space"> </span>cosmopolitan<span class="Apple-converted-space"> </span>city in the<span class="Apple-converted-space"> </span><a href="https://www.britannica.com/topic/pale-restricted-area" style="color: #416ed2; max-width: 100%; text-decoration-line: none;">Pale of Settlement</a><span class="Apple-converted-space"> </span>made up a third of the population and were well represented among the poor, the middle class, and the very rich. Although Babel’s parents were observant Jews (albeit not strictly) and subject to the anti-Jewish restrictions of the old regime, their values were largely shaped by the opportunities offered by Russia’s modernization. The family language was<span class="Apple-converted-space"> </span>Russian<span class="Apple-converted-space"> </span>(Babel was taught to read Russian by his mother), with enough Yiddish for Babel to be comfortable translating a favorite author,<span class="Apple-converted-space"> </span>Sholem Aleichem, in his later years. Babel’s father, a moderately successful businessman, did his best to give his two children a full-fledged modern Russian education, replete with foreign languages and, typical for Odessa, classical music (Babel studied violin with the famous Pyotr Stolyarsky). </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc40r5MDIRU3F2CjGW9nQFyFSoIwKSeO4qhF_mPAVz5wzQmB77QZ1Ei_dZFUJjYNaTHknO6i36rcnI-U6uVVyRsqVohdXKH294Ob6k_ucJbmRIIGcP1eiyZFlk6DE8PjWsRq9ijUdBCzBk/s1600/Babel+father+Mera+1911%25E2%2580%259312.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="498" data-original-width="339" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc40r5MDIRU3F2CjGW9nQFyFSoIwKSeO4qhF_mPAVz5wzQmB77QZ1Ei_dZFUJjYNaTHknO6i36rcnI-U6uVVyRsqVohdXKH294Ob6k_ucJbmRIIGcP1eiyZFlk6DE8PjWsRq9ijUdBCzBk/s320/Babel+father+Mera+1911%25E2%2580%259312.jpg" width="217" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Isaac Babel with father and sister Mary (1911-12)</td></tr>
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A rabbi’s son, the elder Babel also took care to have his children instructed in<span class="Apple-converted-space"> </span>Judaism<span class="Apple-converted-space"> </span>and<span class="Apple-converted-space"> </span>Hebrew. Babel’s knowledge of the Talmud and the Jewish religious tradition was sufficient to allow him in 1920 to discuss the finer points of traditional Judaism with Hasidic scholars in<span class="Apple-converted-space"> </span>Galicia. His upbringing, however, was for the most part<span class="Apple-converted-space"> </span>secular<span class="Apple-converted-space"> </span>and rooted in the Russian Enlightenment<span class="Apple-converted-space"> </span>culture<span class="Apple-converted-space"> </span>of the country’s educated society. His first attempts at prose fiction (none has survived) were in<span class="Apple-converted-space"> </span>French, a circumstance he attributed to his<span class="Apple-converted-space"> </span>charismatic<span class="Apple-converted-space"> </span>teacher, a French expatriate and member of Odessa’s substantial French<span class="Apple-converted-space"> </span>community.</div>
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<tr><td class="tr-caption" style="text-align: center;">Babel (third from the left) and school mates 1910-1911</td></tr>
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In the fall of 1911, Babel went on to study<span class="Apple-converted-space"> </span>economics<span class="Apple-converted-space"> </span>and business at the Kiev Institute of Finance and Business Studies, receiving the degree of<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Kandidat</em><span class="Apple-converted-space"> </span>of economic sciences in 1916 (in 1915, the Institute was temporarily evacuated to Saratov). While finishing his studies at the Kiev Institute, he enrolled in the faculty of<span class="Apple-converted-space"> </span>law<span class="Apple-converted-space"> </span>at the liberal Psycho-Neurological Institute in Petrograd (now<span class="Apple-converted-space"> </span>St. Petersburg) and, once there, proceeded to launch his career as a reporter and short-story writer. Although his first known story, “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Old Shloyme,</q>” appeared in a small Kiev weekly called<span class="Apple-converted-space"> </span><i style="max-width: 100%;">Ogni</i><span class="Apple-converted-space"> </span>(“Lights”) in 1913 (the year of the infamous blood-libel Beilis trial), Babel never mentioned it and preferred to place his literary debut at the end of 1916 when he met<span class="Apple-converted-space"> </span>Maxim Gorky, who welcomed him into literary authorship by publishing a selection of Babel’s stories in the November 1916 issue of his journal<span class="Apple-converted-space"> </span><i style="max-width: 100%;">Letopis</i><span class="Apple-converted-space"> </span>(“Chronicle”), alongside his own autobiography. </div>
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This was a major coup for a fledgling author and assured his wider recognition. As Babel recalled in his later recollections of this encounter, he then represented a "mixture – pink-cheeked, plump, unfermented – of a Tolstoyan and a Social–Democrat, who did not wear a overcoat but was forearmed with a pair of spectacles, their earpieces reinforced with waxed thread" ("Commencement," 1937). Babel's early rejection of violence ("Tolstoyan") and his leftist sympathies were to last him a lifetime. His friendship and congeniality with Gorky, the most famous Russian writer at the time, continued, along with Gorky’s patronage, until the esteemed author’s death in 1936.</div>
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Consonant with Babel’s background, convictions, and<span class="Apple-converted-space"> </span>milieu, his early stories shied away from the raging Great War, exploring instead the gritty middle-class world of a modern Russian city whose inhabitants often operated at, or over, the margins of propriety and law—such as a small-time Jewish merchant moving in with a prostitute to avoid deportation (“<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Elya Isaakovich and Margarita Prokofyevna</q>”), a desperate gymnasium girl seduced by a boarder and trying to induce an<span class="Apple-converted-space"> </span>abortion<span class="Apple-converted-space"> </span>(“<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Mama, Rimma, and Alla</q>”), or a young writer watching through a peephole the goings-on in a house of ill repute (“<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Through a Peephole</q>”). In the manner of Gorky’s fiction and, even more so,<span class="Apple-converted-space"> </span>Guy de Maupassant, Babel took a keen interest in Russian Jews as urbanites living by their wits, small-time operators, bohemians, and members of the “world’s oldest profession,” whose business he ironically<span class="Apple-converted-space"> </span>juxtaposed<span class="Apple-converted-space"> </span>with that of a modern litterateur (“<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">My First Fee</q>”). Unlike his predecessors, such as Sholom Aleichem or<span class="Apple-converted-space"> </span>Anton Chekhov, he tended to see in his Jewish subjects not so much the victims of rapid change but resourceful characters making use of capitalism and urbanization to their own advantage. </div>
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That<span class="Apple-converted-space"> </span>sanguine<span class="Apple-converted-space"> </span>outlook found expression in his youthful but important<span class="Apple-converted-space"> </span>manifesto, “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">My Notes: Odessa,</q>” a paean to his native city, in which he saw a model for Russia’s own modernization in matters of economics, popular culture, and, especially, belles lettres. In conclusion, he predicted the<span class="Apple-converted-space"> </span>imminent<span class="Apple-converted-space"> </span>arrival—from Odessa—of a new “literary Messiah,” a “Russian Maupassant,” who would deliver classical<span class="Apple-converted-space"> </span>Russian literature from its moody northern predicament and replace it with the cosmopolitan zest of the empire’s sun-drenched multiethnic southwest. Babel’s subsequent career may be seen as an attempt to fulfill this promise, couched, albeit ironically, in the language of a religious prophecy (a practice common in Russian modernism).</div>
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<tr><td class="tr-caption" style="text-align: center;">Workers demonstration. Petrograd, July 1917.</td></tr>
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Little is known about Babel’s whereabouts in the summer and fall of 1917. Babel claimed that he spent those months volunteering at the Romanian front (not far from his native Odessa). He may have later journeyed back to Petrograd, as recounted in his story “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Doroga</q>” (“<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">The Road</q>”). All we know for certain is that he resurfaced in Petrograd in March 1918, when he joined the staff of Gorky’s anti-Bolshevik newspaper <i style="max-width: 100%;">Novaya Zhizn</i> (“New Life”), to which he contributed a series of sketches about everyday life in the revolutionary city, sketches that were both skeptical of the Bolshevik coup d'état and took a strong position against violence. At the same time, by his own account in his 1924 autobiography and the quasi-autobiographical "The Road," he moonlighted as a translator for the Petrograd Cheka (secret police, forerunner of the KGB and FSB). After the Bolsheviks shut down <i style="max-width: 100%;">Novaya Zhizn</i> in July 1918, Babel continued to publish and do occasional work for the new Soviet Commissariat of Enlightenment. He was also drafted into service with a food procurement detachment traveling to the German colonies of the Saratov region to exchange manufactured good for victuals sorely needed in the depleted city. In the spring and summer of 1919, he was back in Odessa, where in August he married Yevgeniya Gronfayn (1897–1957), daughter of his father’s rich business associate. She was an aspiring artist, well-educated and erudite, their romance going back to his student days in Kiev. </div>
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<tr><td class="tr-caption" style="text-align: center;">Evgeniia Babel (nee Gronfain), @1924</td></tr>
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Babel, who was anxious to burnish his revolutionary credentials his 1924 Autobiography, claimed to have "fought against Yudenich" during the siege of Petrograd (September-November 1919) while Odessa was occupied by Denikin's White Army. Traveling to Petrograd from the Whites-occupied Odessa was nearly impossible, and Babel, in fact, may not have strayed too far. In February 1920, after the Reds pushed Denikin out of Odessa, Babel went to work as editor for the Odessa Gubernia State Publishing.</div>
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In the spring of 1920, unexpectedly, given his pacifist convictions, Babel joined Semyon Budenny’s First Cavalry Army as a reporter for YugROSTA (the southern branch of the Russian Telegraph Agency) and was soon thereafter assigned to the 6th Division of the army for the duration of the <a href="https://www.britannica.com/event/Russo-Polish-War-1919-1920" style="color: #416ed2; max-width: 100%;">S</a>oviet-Polish war. </div>
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<tr><td class="tr-caption" style="text-align: center;">Commanders of the 1st Cavalry Army in the summer 1920. <br />
Voroshilov, Budenny, and Shchadenko</td></tr>
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While there he also performed staff duties at the division headquarters, contributed to the army broadsheet<span class="Apple-converted-space"> </span><i style="max-width: 100%;">Red Cavalryman </i>under a Russian-sounding pen name, Kiril Lyutov (Ferocious), and on occasion accompanied his detachment into action.<br />
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<tr><td class="tr-caption" style="text-align: center;">Konstantin Timoshenko, Commander of<br />
6th <span style="color: #1b1b1b; font-size: 12.8px;">Division and character in <i>Red Cavalry</i>. <br />After complaints, Babel </span><span style="color: #1b1b1b; font-size: 12.8px;">changed <br />his name to Savitsky</span></td></tr>
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Much of the fighting done by Budenny’s Cavalry Army took place in the ethnically diverse borderlands between eastern <a href="https://www.britannica.com/place/Poland" style="color: #416ed2; max-width: 100%;">Poland</a> and western <a href="https://www.britannica.com/place/Ukraine" style="color: #416ed2; max-width: 100%;">Ukraine</a>, a largely Polish-Ukrainian region long settled by traditional, largely Hasidic, Jewish communities. Babel had displayed a special interest in Hasidic folklore (e.g., in his story “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Shabos Nakhamu,</q>” 1918, from his projected “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Hershele</q>” cycle) and was eager to explore the life of these insular communities, many of them little touched by modernization. Decimated in the crossfire of <a href="https://www.britannica.com/event/World-War-I" style="color: #416ed2; max-width: 100%;">World War I</a>, they were now further victimized by the warring armies in the Soviet-Polish conflict. Babel’s experience during this campaign, recorded in his <em style="max-width: 100%;">1920 Diary</em>, formed the basis for the stories of <em style="max-width: 100%;">Red Cavalry</em> (1926). </div>
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<tr><td class="tr-caption" style="text-align: center;">Popular print Seder. Volynia. Late 19th century.</td></tr>
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Some of them, including the opening “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Crossing the Zbruch,</q>” are set amid devastated Jewish life, and, while they do not dominate the book as a whole, they provide a counterpoint to the key motif of violence that runs throughout the entire narrative. Babel’s direct exposure to violence, marked by the visceral brutality of a low-tech war, the intensity of the battlefield comradeship, and bonding with people far outside his ken, made a dent in his pacifism and transformed him as a writer. An author who had eschewed violence before, he now placed it at the centre of his fiction. </div>
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<tr><td class="tr-caption" style="text-align: center;"><i>Red Cavalry </i>(1926). First edition.</td></tr>
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The first stories of the <em style="max-width: 100%;">Red Cavalry</em> cycle began to appear in Odessa’s press as early as 1923. Babel began to work on this war material in 1921–23, proceeding on parallel tracks: one was devoted to chronicling the Russo-Polish War and the other to his <em style="max-width: 100%;">Tales of Odessa</em> cycle, a set of Rabelaisian stories about the colourful Jewish gangster Benya Krik—a mock Jewish messiah—and a subtle allegory of Babel’s own incipient career as a Russian Jewish writer irreverently “muscling in” on the domain of Russian literature (“<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">How It Was Done in Odessa</q>”). The first story of the cycle, “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">The King,</q>” appeared in the Odessa paper Moryak (“Mariner”) on June 23, 1921. </div>
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<tr><td class="tr-caption" style="text-align: center;">Babel. 1922</td></tr>
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Literary fame came to Babel after his story began to appear in the Moscow journals, first in 1923, in fellow-travellers' <i>Krasnaia nov, </i>edited by Aleksandr Voronsky, then in Vladimir Mayakovsky's <i>LEF </i>(in the last 1923 issue which went into circulation early in 1924). The <i>LEF </i>publication was a big coup for Mayakovsky and his avant-garde colleagues. They were then promoting a new literary trend, the "literature of fact," and saw in the <i>Red Cavalry </i>stories, with their authentic air of a reporter's diary, a brilliant realization of their ideas. Even Babel's fantastic and humorous <i>Odessa Stories </i>were credited with representing the exploits of a real Odessa gangster Mishka Yaponchik. Babel, too, was pleased. For him, the <i>LEF </i>publication was a "debut" – as an author of books rather than a short-story writer. The most representative of his oeuvre, as he then conceived of it, it included two of his <i>Tales of Odessa</i> and six stories from the <i>Red Cavalry </i>cycle. Their subtitles indicated that they were elements ("chapters") of a larger form, not a random selection of short stories.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT5us1FudlgB7AMu1B5Zw-vhPqLNf2vGGP2_N3EZ0loCH6VvfQTDzKedpkGwKrRJV0PygiACS7VJZNn_XyIkPsgOkF266HmbdTCMLXy9XD8NQnuFR5i_uCY9WXQqAKXvE3QY2qBF3_qbtM/s1600/LEF4_1923.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="947" data-original-width="1152" height="327" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT5us1FudlgB7AMu1B5Zw-vhPqLNf2vGGP2_N3EZ0loCH6VvfQTDzKedpkGwKrRJV0PygiACS7VJZNn_XyIkPsgOkF266HmbdTCMLXy9XD8NQnuFR5i_uCY9WXQqAKXvE3QY2qBF3_qbtM/s400/LEF4_1923.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Cover and Table of Content of <i>LEF </i>#4, 1923 (printed in<br />
January <span style="color: #1b1b1b; font-size: 12.8px;">1924). </span><span style="color: #1b1b1b; font-size: 12.8px;">Babel's selection is followed by </span><i style="color: #1b1b1b; font-size: 12.8px;">Gas Masks, </i><br />
<span style="color: #1b1b1b; font-size: 12.8px;"><span style="font-size: 12.8px;">Sergei Tretyakov's </span>play </span><span style="color: #1b1b1b; font-size: 12.8px;">set in a factory</span></td></tr>
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The<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Tales of Odessa</em><span class="Apple-converted-space"> </span>are narrated by a bookish young man “with spectacles on his nose and autumn in his heart,” an<span class="Apple-converted-space"> </span>ironic<span class="Apple-converted-space"> </span>alter ego of the author. This narrator is fascinated by the brash energy and unabashed sexuality of Benya Krik, a cosmopolitan Jew who resorts to violence, not just for self-enrichment, but for the sake of redistributing wealth; who can take another's life in the cause of<span class="Apple-converted-space"> </span>justice; and, equally important, who can “spend the night with a Russian woman and a Russian woman would be satisfied.” It is in these stories that Babel found his unique narrative persona and voice – in a comic, or tragicomic, mode. Pitched to a different key, they inform<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Red Cavalry</em><span class="Apple-converted-space"> </span>and indeed his<span class="Apple-converted-space"> </span>oeuvre<span class="Apple-converted-space"> </span>in its entirety, including “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Story of My Dovecote</q>” and other works. Thus, if the<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Tales of Odessa</em><span class="Apple-converted-space"> </span>represents a “mock epic,” then<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Red Cavalry</em><span class="Apple-converted-space"> </span>is its true epic counterpart, its fragmented, staccato, character notwithstanding. Variations on Babel’s narrative persona and its distinct voice can often be recognized in the works of the post-World War II American writers immersed in Jewish American life, such as<span class="Apple-converted-space"> </span><a href="https://www.britannica.com/biography/Philip-Roth" style="color: #416ed2; max-width: 100%; text-decoration-line: none;">Philip Roth</a><span class="Apple-converted-space"> </span>and<span class="Apple-converted-space"> </span><a href="https://www.britannica.com/biography/Grace-Paley" style="color: #416ed2; max-width: 100%; text-decoration-line: none;">Grace Paley</a>, who explore, in a similar narrative voice, the themes of sex and violence in the course of Jewish assimilation into American post-WWII modernity.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJojoP5LVByr5Qh4WROI_fi7JTA_QUGsydaP0YDOvCR34vl73Xpfwx03vsniSrQjUjXVorzrKSn4DJMZJxYIEhU9fL641nepVnwrot72L7ZvjsNK6-o-x4EWsPBGp8kw5-0KGQwmbJQCFY/s1600/Odessa+Stories+1931+TP.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="800" data-original-width="508" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJojoP5LVByr5Qh4WROI_fi7JTA_QUGsydaP0YDOvCR34vl73Xpfwx03vsniSrQjUjXVorzrKSn4DJMZJxYIEhU9fL641nepVnwrot72L7ZvjsNK6-o-x4EWsPBGp8kw5-0KGQwmbJQCFY/s400/Odessa+Stories+1931+TP.jpg" width="253" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Tales of Odessa, </i>cover of<br />
the first edition (1931)</td></tr>
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The short stories and<span class="Apple-converted-space"> </span>vignettes<span class="Apple-converted-space"> </span>of<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Red Cavalry</em><span class="Apple-converted-space"> </span>form a unit, similar to a novel, thanks to the character of the narrator Kiril Lyutov. Ostensibly autobiographical, Lyutov evolves as a character in a novel between the opening story of<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Red Cavalry</em>, “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Crossing the Zbruch,</q>” and its closure, “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Rebbe’s Son.</q>” He shares many qualities with the chronicler of the<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Tales of Odessa</em>, just as the Odessa gangsters may be easily transposed onto Budenny’s horsemen of<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Red Cavalry</em>. Babel used his narrator as a device to probe the uneasy<span class="Apple-converted-space"> </span>confluence<span class="Apple-converted-space"> </span>of bookish<span class="Apple-converted-space"> </span>intellectuals, a violent socialist revolution, redemptive<span class="Apple-converted-space"> </span><a data-term="nationalism" href="https://www.merriam-webster.com/dictionary/nationalism" style="color: #416ed2; max-width: 100%; text-decoration-line: none;">nationalism</a><span class="Apple-converted-space"> </span>(the resurgence of Poland, Ukraine), and the messianic beliefs of the region’s Hasidic communities.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNxetn1ybECkf7MiA2IY42T4elzo0yZbBx-y9UcGFCcR4uZ5jxxMuZYZECK61U3PGXUmhk5dmg9JQW34X5yBuPabFcpXK3p-Q4J3iOLrZhVA2ZXtCcl4zrdX5S-UMtG8eZ3NnzOyk4_3Hg/s1600/polish+war+poster+1920.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="853" data-original-width="622" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNxetn1ybECkf7MiA2IY42T4elzo0yZbBx-y9UcGFCcR4uZ5jxxMuZYZECK61U3PGXUmhk5dmg9JQW34X5yBuPabFcpXK3p-Q4J3iOLrZhVA2ZXtCcl4zrdX5S-UMtG8eZ3NnzOyk4_3Hg/s320/polish+war+poster+1920.jpg" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Polish 1920 War poster. Soviets are<br />
represented as a <span style="color: #1b1b1b;">red-shirted </span><span style="color: #1b1b1b;">Cossack being lanced by a Polish soldier. </span><br />
<span style="color: #1b1b1b;">"He who believes in God, defend the Holy </span><span style="color: #1b1b1b;">Virgin </span><span style="color: #1b1b1b;">of Ostrobramsk</span><span style="color: #1b1b1b;">, </span><span style="color: #1b1b1b;">march <br />under </span><span style="color: #1b1b1b;">the Eagle Banner."</span></td></tr>
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While sympathetic to the cause of world revolution, <em style="max-width: 100%;">Red Cavalry</em>’s Lyutov finds it hard to reconcile its lofty ends with the immense brutality of its means: Budenny’s motley Cossack army possesses as much instinct for raw social justice as for marauding, pogroms, and rape. This paradox remains unresolved, except ironically through the aesthetization of violence. Lyutov professes his admiration for the strong will, directness, and vitality of the Cossacks—these cousins to Nietzsche’s <em style="max-width: 100%;">blonde Bestie</em>, who are doing the bidding of the Bolshevik regime, even as they oppress and victimize other sufferers, who they had been meant to liberate. The same contradictions rend to pieces the visions that possess the minds of other players in the unfolding drama of war.</div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJRJjuY8Prp0YtDGE1fRjrmnssSk3cRib33lqEEePh_HZnJR8qBqMrX6O__hXddlnEGmZjT6rjuaz0GTLp_RpReGH7G6el5QFSyvteHmuoklRf991WMVH9TiLkfTPpby0GebLdud2CpFI/s1600/soviet_propaganda_poster_1920.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="676" data-original-width="900" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJRJjuY8Prp0YtDGE1fRjrmnssSk3cRib33lqEEePh_HZnJR8qBqMrX6O__hXddlnEGmZjT6rjuaz0GTLp_RpReGH7G6el5QFSyvteHmuoklRf991WMVH9TiLkfTPpby0GebLdud2CpFI/s320/soviet_propaganda_poster_1920.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Soviet poster. 1920. Poland (left) is represented<br />
as a 17th-century Polish land owner. <span style="color: #1b1b1b;">"Hurry up and <br />whip </span><span style="color: #1b1b1b;">the Polish master good </span><span style="color: #1b1b1b;">and don't forget </span><br />
<span style="color: #1b1b1b;">the Baron [Wrangel] either!"</span></td></tr>
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<span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">In this way,</span> albeit <span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">only implicitly, the setting of Babel’s</span> <em style="max-width: 100%;">Red Cavalry</em> <span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">becomes a latter-day Jerusalem—a focal point of clashing chiliastic and apocalyptic </span>collective <span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">dreams. Babel mentions this “Jerusalem motif” explicitly in his war diary, in the July 24 entry, which was made on the eve of</span> Tisha be-Av<span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">, when Jews</span> commemorate <span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">the destruction of the First and Second Temple and recite the</span> Lamentations of Jeremiah<span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">. “Everything is the same,” Babel concluded in his description of his surroundings, “as in the days of the destruction of the Temple.” This motif is never spelled out in</span> <em style="max-width: 100%;">Red Cavalry</em><span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">, but it is threaded through its whole structure, complete with the figure of Ilya (Elijah)—a defeated</span> precursor <span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">manqué—whose last breath animates Babel’s alter ego Lyutov in the concluding story, “</span><q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Rebbe’s Son.</q><span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">” </span><br />
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<span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">Thus Babel, as the author of</span> <em style="max-width: 100%;">Red Cavalry</em><span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">, made good on his earlier promise of becoming the messiah, if only a literary one, who redeems his fallen world in his fiction. </span></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;"><br /></span></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">In this regard, Babel was not very different from other Russian authors of his generations who made a Christ-figure central to their writings, among them, Osip Mandelstam in his poetic ouevre, Ilya Ehrenburg in his parodic <i>Julio Jurenito,</i> Mikhail Bulgakov in </span><i><span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">Master and Margarita</span></i><span style="color: #1b1b1b; font-family: "georgia"; font-size: medium;">, or Boris Pasternak in <i>Doctor Zhivago</i>.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAWxULqegX6Usr_mu7RDkaZSREEhvyBOmkVBc2iQBbI5vIXY5AEI_yI1XXSnXITa4lpdFM5pNGDB-T5ezSDlJfaxkvYiGV5jhCRjg9981m5m_7aC3AhPCmOYWfRFNmqQ9cXILG5AQiclxw/s1600/Babel+columns+K+Rotov.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="583" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAWxULqegX6Usr_mu7RDkaZSREEhvyBOmkVBc2iQBbI5vIXY5AEI_yI1XXSnXITa4lpdFM5pNGDB-T5ezSDlJfaxkvYiGV5jhCRjg9981m5m_7aC3AhPCmOYWfRFNmqQ9cXILG5AQiclxw/s320/Babel+columns+K+Rotov.jpg" width="310" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Babel. Cartoon by K. Rotov (1934-35)</td></tr>
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For many leftist intellectuals in Russia and in the West,<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Red Cavalry</em><span class="Apple-converted-space"> </span>embodied the<span class="Apple-converted-space"> </span>moral<span class="Apple-converted-space"> </span>ambiguity<span class="Apple-converted-space"> </span>of the Revolution: its<span class="Apple-converted-space"> </span><a data-term="abhorrent" href="https://www.merriam-webster.com/dictionary/abhorrent" style="color: #416ed2; max-width: 100%; text-decoration-line: none;">abhorrent</a><span class="Apple-converted-space"> </span>brutality, on the one hand and, on the other, the irresistible desire to see ideas of truth and justice unleashed, as they animate people and become a force akin to life itself. </div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><br /></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">Babel’s writings enjoyed an enthusiastic critical response in Soviet Russia, even though he himself was classified as a “<a href="https://www.britannica.com/art/fellow-traveler" style="color: #416ed2; max-width: 100%; text-decoration-line: none;">fellow traveler</a>,” an author who tagged along with the Bolsheviks but only so far. Controversies and condemnation, notably Budenny’s attacks on him in 1924 and 1928, were countered by authoritative figures, Gorky among them, and while they stung Babel to the quick, they also served, as he realized, to burnish his fame.</div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP3hXza0TFZjWAO87TBXa_oSXViEI3mTD0qQSei7MWLt2rDVmeSN1Y3PJ4Coi-GoGTK70KhyphenhyphenmBcuBJhFFmlI4au3eyONsKDcOtloJVGDrtiU9qqS4yYYoD7A8XS4o_mRpSQQuch_u1oZD5/s1600/Babel+cover+dovecote+1925.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1200" data-original-width="915" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP3hXza0TFZjWAO87TBXa_oSXViEI3mTD0qQSei7MWLt2rDVmeSN1Y3PJ4Coi-GoGTK70KhyphenhyphenmBcuBJhFFmlI4au3eyONsKDcOtloJVGDrtiU9qqS4yYYoD7A8XS4o_mRpSQQuch_u1oZD5/s320/Babel+cover+dovecote+1925.jpg" width="244" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Story of My Dovecote </i>(1925)</td></tr>
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In 1925 Babel began publishing a series of semi-autobiographical stories in which his familiar narrator was implicitly summoned to “recall” his early years. Presented as part of a book about his boyhood and dedicated to Gorky, the seminal “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Story of My Dovecote</q>” and “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">First Love</q>” (1925) suggest that Babel conceived of his oeuvre as a set of consecutive autobiographical cycles, not unlike Gorky’s autobiographical trilogy, and he continued to add to it, as he did to his two other major cycles, throughout the 1930s. </div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><br /></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">In those childhood stories, Babel successfully established a new genre of a quasi-autobiographical novella about a middle-class Jewish boy who is tested in and shaped by a complex of opposing cultural forces: opportunities opening up for Jews in the modernizing Gentile world and its anti-Jewish prejudice; the parental pressure to succeed and its opposite, the recoil against secularization and assimilation; and, finally, the confusion of sexual codes articulating the clash between the more traditional Jewish family and the modern cosmopolitan world outside.</div>
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The Bolsheviks’ sharp turn toward<span class="Apple-converted-space"> </span>socialist construction<span class="Apple-converted-space"> </span>and conformity beginning in 1929 threatened to<span class="Apple-converted-space"> </span>marginalize<span class="Apple-converted-space"> </span>Babel. A total mobilization was declared, and Soviet writers all had to pull their weight in the national effort to construct "socialism in one country" on the basis of forced collectivized agriculture and break-kneck-speed industrialization. Of the several stories he wrote about the<span class="Apple-converted-space"> </span>collectivization<span class="Apple-converted-space"> </span>of agriculture (1929–30), two have survived, and only one was published in his lifetime (“<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Gapa Guzhva,</q>” 1931). Raw and violent, powerful in the manner of<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Red Cavalry</em>, and equally ambiguous or ironic, they stood out from contemporary Soviet prose and did not bode well for Babel’s future in the emerging Stalinist canon. After reading "Gapa Guzhva" Stalin, who sought in Soviet literature an unambiguous endorsement of his policies, questioned Babel's loyalty to the Soviet cause, referring to him as “our slippery Babel.” He preferred <i>Virgin Land Upturned </i>by Alexander Sholokhov, the author who developed under the influence of Isaac Babel. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim4K0GdEmd287-0oiNJOdrFave4FRu_LPORqXzxZP3sh9sDkyEvcDrhdU2jkYmoASDcL3_fGEiQSnoNwXE-8cJ7L8qw2lGkobWwaaXsZt94gCDI4wqzoaJpmCVSOComgSaxi3ZpNFmVVkB/s1600/Lakoba_Stalin_evdok_beria1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1229" data-original-width="1600" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim4K0GdEmd287-0oiNJOdrFave4FRu_LPORqXzxZP3sh9sDkyEvcDrhdU2jkYmoASDcL3_fGEiQSnoNwXE-8cJ7L8qw2lGkobWwaaXsZt94gCDI4wqzoaJpmCVSOComgSaxi3ZpNFmVVkB/s320/Lakoba_Stalin_evdok_beria1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Stalin in the Caucasus (man with a hatchet is L. Beria). 1932</td></tr>
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Babel's only published “industrialization” story, the highly condensed miniature novella “<q style="color: rgba(0, 0, 0, 0.65); max-width: 100%;">Petrol,</q>” appeared in 1934. Intense, laconic and brilliant, it manages to give voice to the human drama – its costs and its hopes – involved in the country's transformation but it is far from the First Five-Year Plan epics that were the order of the day. From the early 1930s on, Babel’s published literary output steadily diminished: a few short stories and one play, <i>Maria</i>. There are indications, however, that Babel continued to write "for the drawer."</div>
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Like some of the other writers of his generation, Babel began writing for the screen in the 1920s, using this opportunity as both a secondary creative outlet and a major source of livelihood to supplement his meagre literary income. A friend and frequent collaborator of<span class="Apple-converted-space"> </span>Sergey Eisenstein, Babel enjoyed the reputation of a brilliant screenwriter, an innovative master of silent-film inter-titles (e.g., the still extant <i>Jewish Luck, </i>1925), and, later, film<span class="Apple-converted-space"> </span>dialogue. He also encountered adversities in dealing with the Soviet film establishment. </div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><br /></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">Babel and Eisenstein planned to work together on a film version of the<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Tales of Odessa</em>, but the collaboration was derailed by scandals at the Moscow Film Studios, and Babel, always short of money, had to turn to the Ukrainian Film Studios to sell his script. The resulting film,<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Benya Krik</em><span class="Apple-converted-space"> </span>(1927), was, in Babel’s opinion, a failure. It was also banned soon after its release, although it was restored to circulation a year later. </div>
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<tr><td class="tr-caption" style="text-align: center;">Isaac Babel and Sergei Eisensteing. 1936</td></tr>
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In 1935, after returning from the Peace Congress in Paris, Babel collaborated with the French film maker Jean Lods, then working for the Odessa film studio, on a documentary about his native city ("Odessa"). The film reflects the spirit of the Popular Front, with its strong anti-war sentiment. It reworks and ironically reverses the famous Odessa Steps scene from Eisenstein's "Battleship Potemkin" (1925). Participants ion Babel's crowd scene maake love, not war. </div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><br /></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">Babel’s 1936–37 collaboration with Eisenstein on the film<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Bezhin Meadow</em><span class="Apple-converted-space"> </span>(about a young communist boy,<span class="Apple-converted-space"> </span>Pavlik Morozov, murdered by his retrograde peasant father) was officially vilified for its “formalism,” an aesthetic deemed too subversive for the mass Soviet viewer. The film was banned in postproduction, its stock recycled. Yet, many of the films of the late 1920s and ’30s were based on Babel’s scripts, most notably<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Lyotchiki</em><span class="Apple-converted-space"> </span>(1935), also known as<span class="Apple-converted-space"> </span><i style="max-width: 100%;">Men with Wings</i>; he was also the author of the dialogues for the blockbuster comedy<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Tsirk</em><span class="Apple-converted-space"> </span>(<i>The Circus,</i>1936). </div>
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<tr><td class="tr-caption" style="text-align: center;">Screenshot from the 1935 Lyotchiki (Men with <br />
Wings) <span>for which Babel revised the script <br />and wrote the dialogue.</span></td></tr>
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Preferring to associate his name "I. Babel" with his belles lettres only (he used pen names in his early journalism), he insisted on not being listed in film credits; we are made aware of his roles only thanks to the memoirs of the filmmakers and Babel’s own private correspondence. Babel was the principal author of the script for the screen version (1938–40) of Maxim Gorky’s trilogy, directed by<span class="Apple-converted-space"> </span>Mark Donskoy, and he was deeply involved in the film’s production until his arrest in May 1939. The arrest turned him into a non-person, and his name, regardless of his wishes or role in the film, would not appear in the credits.</div>
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From his youth Babel benefited from the rich theatre life of Odessa (viz. his story "Di Grasso," 1937). He loved theatre and enjoyed writing for the stage. In his lifetime, his sole successful attempt on the theatre stage was his 1927 play <i>Zakat </i>(<i style="max-width: 100%;">Sunset</i>).<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: times;">Babel's Play <i>Sunset </i>at MKhAT II. Moscow, 1928. Left to<br />
right: <span style="color: #1b1b1b;"> Benya (I.
Bersenev), Lyovka Krik (A. Zhilinsky), </span><br />
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Mendel Krik (A. Cheban), Nikifor
(B.M. Afonin),<br />
Nekhama (V. Solovyeva), Boyarsky (A. Geirot), <br />
Arye-Leyb (A.
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Featuring the jolly gangster Benya Krik from <em style="max-width: 100%;">Tales of Odessa</em>, the play ends with a somber, if not grim, vision of Odessa’s carnivalesque underworld, as it is being transformed into a routinized capitalist enterprise, replete with bookkeeping and other bourgeois capitalist proprieties.<br />
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The play's focus on the transition from the exuberant vitality to brutal economic reality may have resonated with the Russian Revolution’s turn toward routinization and the disenchantment that was felt by those who pined for its earlier creative frisson. A similar sentiment informs a contemporary popular novel, <em style="max-width: 100%;">Envy</em> (1927) by Yury Olesha, Babel’s friend and fellow Odessan, as well as the late plays by another friend, Vladimir Mayakovsky. Although the 1928 Moscow production of the play received mixed reviews, its 1927–28 run on the provincial stage—in Kiev, Minsk (in Yiddish), and Odessa, where it played simultaneously in two theaters, in Russian and Ukrainian—was an unqualified success.</div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">
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His second play, </span><i style="font-size: 18px; max-width: 100%;">Maria</i><span style="font-size: 18px;"> (Maria, 1935), was published in a theater journal and went through rehearsals in Moscow and Leningrad. Dark and brooding, with many autobiographical resonances, the play examines the vicissitudes of an upper-class intelligentsia family, the Mukovnins, as they try to adjust to the harsh realities of the revolutionary Petrograd.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Program for the U.S. Premiere<br />
of Babel's play <i>Maria. </i>Stanford <span style="color: #1b1b1b;">University. 2004</span></td></tr>
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The action revolves around the family’s hope for the return of Maria Mukovnin, the clan’s favorite, who, like Babel in his day, joined Budenny’s Cavalry Army at the Polish Front. Despite the play's title and contrary to everyone's expectations, Maria never returns and</span><span style="font-size: 18px;"> never appears on stage (</span><span style="font-size: 18px;">in an anticipation of Samuel Beckett’s </span><span href="https://semantic.britannica.com/accepted_headword/core/634189/Waiting-for-Godot" property="about" style="font-size: 18px; max-width: 100%;"><i style="max-width: 100%;">Waiting for Godot?</i><span style="max-width: 100%;">)</span></span><span style="font-size: 18px;">. Full of ambiguities, questioning the alleged proletarian, rather than peasant, character of the Soviet state, </span><i style="font-size: 18px;">Maria</i><span style="font-size: 18px;"> – for Babel, the name signified the unattainable Aphrodite Urania of the Revolution – was deemed ideologically suspect and did not reach the stage in the author's lifetime. It has since enjoyed successful productions in London, in western and eastern Europe, and, since perestroika, in Russia. </span><a href="https://youtu.be/xzIOhjaEFcQ" style="font-size: 18px;" target="_blank"><i>Maria</i> premiered in the U.S. in 2004</a><span style="font-size: 18px;"> at Stanford University's Pigott Theater under the direction of Carl Weber.</span></div><div style="color: #1b1b1b; font-family: Georgia; max-width: 100%; text-size-adjust: auto;">
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<tr><td class="tr-caption" style="text-align: center;">Tom Freeland, left, as General Mukovnin, <br />
Audrey Hannah as Lyudmila, and Zack as Dymshits.<br />
Stanford Pigott Theater. 2004</td></tr>
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<span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;">A prominent member of the Soviet cultural elite and an international celebrity, Babel lived abroad for prolonged periods of time in 1927–28, 1932–33, and for two months in 1935, when, along with Boris Pasternak</span><span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;">, he traveled to Paris to speak at the International Congress for the Defense of Culture (after André Malraux and </span><span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;">André Gide</span><span class="Apple-converted-space" style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;"> </span><span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;">threatened to scuttle the event if Babel and Pasternak were not allowed to travel there). </span><br />
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<tr><td class="tr-caption" style="text-align: center;">Babel (second from left) at the 1935 Paris Congress</td></tr>
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<span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;">Babel’s mother and sister had emigrated to Belgium</span> <span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;">early in 1925, followed shortly thereafter by Babel’s wife, who settled in Paris</span> <span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;">and bore their daughter, Natalie in 1929, months after Babel's departure. Abroad Babel maintained a wide circle of friends and acquaintances among the émigrés as well as Soviet expatriates, most notably Ilya Ehrenburg. </span><span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;">He even planned a cycle of "Tales of Paris." Two were published in his lifetime: </span><span style="color: #a00015; font-family: "georgia"; font-size: 18px;"> the brilliant "Dante Street" and "The Trial." Both may be seen as anticipating </span><span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;"> his eventual fate in Soviet repressive system.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Malraux, Koltsov. Gorky, and Babel. Tesseli, 1936</td></tr>
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He was on friendly terms with Andre Malraux, a famous author and leader of the French antifascist left, who took a keen interest in the<span class="Apple-converted-space"> </span>Soviet Union<span class="Apple-converted-space"> </span>in the heady days of the<span class="Apple-converted-space"> </span>Popular Front. Babel hosted Malraux in Moscow during the First Congress of Soviet Writers in 1934, a defining moment for Soviet culture in the 1930s as well as for the country’s international standing as a<span class="Apple-converted-space"> </span>bulwark<span class="Apple-converted-space"> </span>against fascism and Nazism. </div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><br /></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">In his speech at the 1934 Congress, Babel referred to himself as a practitioner of “the genre of literary silence” but also as one whose creative “gestation was more akin to that of an elephant than a rabbit.” Notably, with daring precision, he identified another cause for his diminished output: the fear of angering the all-powerful authorities with a wrong kind of writing. “The Party and the state have given us everything,” he averred with<span class="Apple-converted-space"> </span>irony, “taking away from us but one right—the right to write badly.” This was a tongue-in-cheek indictment of Soviet censorship as an intimidating force. </div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><br /></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">In a similar manner, he acknowledged great strides in socialist construction and bid his fellow Soviet writers to seek inspiration in the brevity of Stalin's oratory style. At the same time he offered a critique of Stalin's growing cult of personality, as he warned in jest that "soon, comrades, we'll be issuing declarations of love through a bullhorn, like referees on a playing field." We can only wonder how clearly contemporaries heard these caveats. </div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><br /></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">Ultimately, Babel’s attempts at bringing forth a work about the country's transformation that would be comparable to<span class="Apple-converted-space"> </span><em style="max-width: 100%;">Red Cavalry </em><span style="max-width: 100%;">proved unrealistic, frustrating the regime's exp</span><span class="Apple-converted-space">ectations of a new masterpiece. The pressure on Babel mounted throughout the 1930s, and he shared with his close friends his desire to withdraw from belles lettres (Ervin Sinko). He was aware, as he would told his interrogators in 1939, that his </span>failure to deliver was seen as a refusal to celebrate Soviet achievement under<span class="Apple-converted-space"> </span>Stalin.</div>
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<tr><td class="tr-caption" style="text-align: center;">Babel caricatured as speaker at the Congress <br />
of Soviet <span>Writers (1934). </span><span>The epigram </span><span>(top <br />right) asks</span><span> why, once voluble, </span><span>the author </span><span>of <i>Red Cavalry</i> has </span><span>fallen silent.</span></td></tr>
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<span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px;">The Great Terror swept away many of Babel’s friends in the military, security, the party, and the cultural elite, finally reaching Babel himself on May 15, 1939. By then Babel had started another family in Russia, with Antonina Pirozhkova (1909–2010), a civil engineer, who gave birth to Babel’s second daughter, Lydia, in 1937.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPwcs47Etc5fw4y-9PsRrBiU9FkRY2ggcBXhZnDNKtVMwIezYzrtjekXHtd8LXxUDEgrA4HNLH-k8EZVKE_kA0kTPtV1YAbwjYJS8bcRXbihsHe9nKCcTd0XrtM2IzYm5NAoeLQb8xJNb5/s1600/babel_pirozh37x.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1252" data-original-width="759" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPwcs47Etc5fw4y-9PsRrBiU9FkRY2ggcBXhZnDNKtVMwIezYzrtjekXHtd8LXxUDEgrA4HNLH-k8EZVKE_kA0kTPtV1YAbwjYJS8bcRXbihsHe9nKCcTd0XrtM2IzYm5NAoeLQb8xJNb5/s320/babel_pirozh37x.jpg" width="193" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Babel and Antonina Pirozhkova. 1938</td></tr>
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A friend, mentor, and former lover of Evgeniia Yezhov, the wife of Stalin’s head of political police Nikolay Yezhov, Babel may have enjoyed some immunity at the height of the Great Terror. But with the fall of Yezhov in 1938, the suicide of Yezhov's wife, and Yezhov’s arrest in 1939, this fortuitous connection became a liability. </div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><br /></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">Babel's reputation as an antifascist celebrity spokesman for the U.S.S.R. in France may still have afforded him some protection. But Stalin’s turn toward an alliance with Nazi Germany in the spring 1939 made Babel’s credentials among the French antifascists irrelevant to his fate in the Soviet Union. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUoeclnRISP-N4gHr4g4Rzurj8BC64MYj0aC2cTcptq42u5RcHDkTL8sJoCUmxiXBGwFha7Oeo3Tcb5HGzEKWUz04Qf4VMlJvFbXXbedY5rJdWK4VeDBTEGE2Gm7YvVZ5j_rG162jJbibe/s1600/moltov-ribbentrop+caricature+1939.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="383" data-original-width="600" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUoeclnRISP-N4gHr4g4Rzurj8BC64MYj0aC2cTcptq42u5RcHDkTL8sJoCUmxiXBGwFha7Oeo3Tcb5HGzEKWUz04Qf4VMlJvFbXXbedY5rJdWK4VeDBTEGE2Gm7YvVZ5j_rG162jJbibe/s320/moltov-ribbentrop+caricature+1939.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Hitler-Stalin Alliance of August 1939. David Low</td></tr>
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He was arrested in his country house in the writers’ village, Peredelkino, where he was then preparing for publication a collection of stories, some of them apparently new. He was accused of espionage for Austria (he once shared a house with an Austrian engineer) and France (for his meetings with Malraux) as well as a terrorist<span class="Apple-converted-space"> </span>conspiracy<span class="Apple-converted-space"> </span>(his association with Yezhov’s wife) and various anti-Soviet activities. After several days of nonstop interrogation and torture, Babel signed a “confession.” He then renounced it, then renounced it again, and again, the last time during his final trial hearing. To no avail. He was pronounced guilty and sentenced to death on January 26, 1940. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLkAtikHEl06lzrJtHJEcuQM-BhgtzZZryyH3qHignE7MrxJ6rQYC9lYyn3XvTPuWGEm56EQCdUOYeqJmK5bcdgOoqcidczMaLvGPah0UB4ANIpG-sRHMDvCPZb_mFrvVSzUT2aOy3msk7/s1600/babel_mugshot39.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="855" data-original-width="1305" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLkAtikHEl06lzrJtHJEcuQM-BhgtzZZryyH3qHignE7MrxJ6rQYC9lYyn3XvTPuWGEm56EQCdUOYeqJmK5bcdgOoqcidczMaLvGPah0UB4ANIpG-sRHMDvCPZb_mFrvVSzUT2aOy3msk7/s320/babel_mugshot39.jpg" width="320" /></a></div>
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He was executed a few hours later, at 1:30<span class="Apple-converted-space"> </span><span style="max-width: 100%;">am on the 27 January.</span> The execution was kept secret, with the regime spreading rumors during the war that Babel was alive in one of the GULAG camps. Apparently the regime thought this lie helpful when raising war funds in the American Jewish community.</div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;"><br /></div><div style="color: #1b1b1b; font-family: Georgia; font-size: 18px; max-width: 100%; text-size-adjust: auto;">After Stalin's death, Babel was among the first victims of the Great Terror to be cleared of all charges (1954), although the exact date and circumstances of his death did not become known untill the 1980s and 1990s. Unfortunately, his entire personal archive—all of his unpublished works, drafts, notebooks, correspondence—which had been confiscated during his arrest, disappeared without a trace.<br />
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Babel’s literary rehabilitation began in 1957, when a collection of his stories and plays, with a foreword by Ehrenburg, appeared in the Soviet Union. Two years earlier a notable American edition, with an introduction by<span class="Apple-converted-space"> </span><a href="https://www.britannica.com/biography/Lionel-Trilling" style="color: #416ed2; max-width: 100%; text-decoration-line: none;">Lionel Trilling</a>, had become the foundation of the Babel revival in the United States that continues to this day. In 2010 Babel became the first Russian writer of the 20th century to be published in W.W. Norton’s Critical Editions series, the most comprehensive edition to date of Babel’s writings, correspondence, and reception materials in English translation. </div>
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<tr><td style="text-align: center;"><a href="http://a.co/d/eQpAmzT"><img border="0" data-original-height="1600" data-original-width="968" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFHpyGG5iyAJnuXhwcuD9VEeEjk4sQmoY7GOdSpALmXkY6QLn9Xf2AjYzpurtBOxmzMv9NtzmbLPoRv8adi-w5g5bJa4XvS6kv1_9MqJKaOyXlKpFpZKrthqthsnAVMcHsXL0IY0j5iKBw/s320/babel+norton+cover_Page_1.jpg" style="margin-left: auto; margin-right: auto;" width="193" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://a.co/d/eQpAmzT">Norton Critical Edition of Babel's Selected Writings</a></td></tr>
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In Russian, the most authoritative<span class="Apple-converted-space"> </span>edition of Babel’s stories is: <em style="max-width: 100%;">Rasskazy</em>, edited and annotated by Elena Pogorelskaya, published by St. Petersburg's Vita Nova in 2014.<br />
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<span style="color: #1b1b1b; font-family: "georgia"; font-size: 18px; font-style: italic; max-width: 100%;"><a href="https://www.britannica.com/contributor/Gregory-Freidin/4452" style="color: #416ed2; max-width: 100%; text-decoration-line: none;">Gregory Freidin</a></span><br />
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Copyright ⓒ 2017-2022 Gregory (Grisha) Freidin<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigQYey8aLM0WinCPWvLdylZPp8rdGO3vVlAHEopToXy5apEBiwIFeURvWKfV7pCxvVNLXt3VrjAp2A18mUGNkq4Tgn3ULMyMZvcE8nRNcZcj_RqQGy0Y4hro5YklgznV_Hj_fkp2QRi3g8/s1600/blog-babelmonument2-091311-1425656949+%25281%2529.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="208" data-original-width="420" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigQYey8aLM0WinCPWvLdylZPp8rdGO3vVlAHEopToXy5apEBiwIFeURvWKfV7pCxvVNLXt3VrjAp2A18mUGNkq4Tgn3ULMyMZvcE8nRNcZcj_RqQGy0Y4hro5YklgznV_Hj_fkp2QRi3g8/s320/blog-babelmonument2-091311-1425656949+%25281%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Monument to Isaac Babel in Odessa</td></tr>
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com3tag:blogger.com,1999:blog-523286473767676859.post-19042308798811083952017-08-03T10:54:00.000-07:002017-08-03T11:52:48.555-07:00DON AND VLAD. A Play after the Frog and the Scorpion Fable, in Three Scenes, and 425 Words<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkIU6d7xxQzfTNZn6XqVV_-WrTBBtuMHA_TCKVX2N-q7Q7aFZi9klpr9rBs-jrbgWILOawM2UhCRmaEI3Vb7kzTrZVkQY4gDTmReRnx37mvI6a10J0gNqZkpjpI9Jpk30zGC_OH7LNxWTZ/s1600/trump-putin.600x400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="600" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkIU6d7xxQzfTNZn6XqVV_-WrTBBtuMHA_TCKVX2N-q7Q7aFZi9klpr9rBs-jrbgWILOawM2UhCRmaEI3Vb7kzTrZVkQY4gDTmReRnx37mvI6a10J0gNqZkpjpI9Jpk30zGC_OH7LNxWTZ/s320/trump-putin.600x400.jpg" width="320" /></a></div>
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<u>Characters</u></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Donald</span></b><span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">, a pouty
American gent in his mid-sixties with an orange head of hair.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Vladimir</span></b><span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">, a slightly
younger Russian guy, balding, small and trim. <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Setting: The Kremlin and the White House, separated by the River of
Time. <o:p></o:p></span></div>
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<u><span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Scene 1.<o:p></o:p></span></u></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Setting: The Kremlin. 2013. An expansive view from the window. The White
House is rising across the River of Time. Vladimir and Donald sitting, legs
splayed, in easy chairs. Both are still flushed from dropping in, announced, on
the girls dressing room at the Ms. Universe Pageant. Both are gazing toward the
White House.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">VLADIMIR<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Contemplating a run for the White House, Donald?<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">DONALD<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Yes, Vladimir, thinking about it.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">VLADIMIR<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Could I hitch a ride, too? Incognito, of course. Always wanted to see
what it's really like inside...<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">DONALD<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Sure, Vladimir, but just do it so nobody can see you. Ok?<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">VLADIMIR<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">No problem, Donald. I wasn't a KGB colonel for nothing. <o:p></o:p></span></div>
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<u><span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Scene 2.<o:p></o:p></span></u></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Setting: 2016. A raft on the River of Time.
Trump, aft, his tie loosened, is steering erratically. Putin, in a wet suit but
bare-torso, is lying on his stomach. His face, in a Joker mask, is
hanging over the bow. He is paddling along with his hands, like a surfer on a
surf board.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">DONALD<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">To the right, Vlad, paddle to the right!
Vlad! Vlad! are you listening?<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">VLADIMIR<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Hush Donald, of course I am listening, but (stops paddling and raises
his right hand) I may not be the only one who is listening, he-he-he… <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">DONALD<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">We’re almost there, Vlad! I can already see the American carnage. A good
place to make land!<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">(The shore
within reach, the two jump into the water, ditch the raft, and wade through the
swamp towards the bank.)<o:p></o:p></span></div>
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<u><span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Scene 3.<o:p></o:p></span></u></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Setting: The stage is split between Putin's Kremlin digs and Trump's
Oval Office. Between the two offices runs the River of Time. The year is
2017. Russia has just announced the expulsion of 755 American diplomats.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">DONALD<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">(on a
speaker phone)<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">What, Vlad, what? You mean 55, not 755?<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">VLADIMIR<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">No, Don, no. I know you can listen, Don. It’s seven hundred and
seventy-five. Seven. Five. Five.<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">DONALD<o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">Vlad, 755 of our diplomats?! I didn’t
know we had so many. <o:p></o:p></span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">I’ve told you, Don, Rex isn’t doing his job. <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">But you're killing us, Vlad! Why can't you do something! <o:p></o:p></span></div>
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<span style="mso-ansi-language: EN-US; mso-bidi-font-family: "Courier New";">It's in my nature, Don...<o:p></o:p></span></div>
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-39617421104832145032017-04-04T17:37:00.002-07:002023-03-02T11:25:58.582-08:00Gennady Shpalikov's A LONG AND HAPPY LIFE and the Mel Novikoff Award for TOM LUDDY<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Tom Luddy</td></tr>
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My friend and long-time mentor in film arts Tom Luddy is receiving the coveted <a href="http://www.sffilm.org/festival/lineup/mel-novikoff-award-tom-luddy-a-long-happy-life#.WOQkcRjMxE5" target="_blank">Mel Novikoff Award st the SF Film Festival on April 9 at the Castro Theater in San Francisco</a>. Luddy, a co-director of the Telluride Film Festival, has been associated with American Zoetrope since 1979. Join SFFILM Festival for <a href="http://www.sffilm.org/festival/lineup/mel-novikoff-award-tom-luddy-a-long-happy-life#.WOQrDRjMxE4" target="_blank">this program</a> (4 PM) featuring a conversation with Tom followed by Tom's choice of two films: a rarely screened Godard short and Gennady Shpalikov's landmark <i>A Long and Happy Life</i> (1966).<br />
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<span style="font-size: large;"><b>Gennady Shpalikov's <i>A Long Happy Life</i></b> (1966)</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Kiril Lavrov and Inna Gulaya in <i>A Long and Happy Life</i></td></tr>
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See the trailer <a href="https://vimeo.com/207678512" target="_blank">here</a><br />
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In the history of Russian, perhaps, even European auteur cinema, “A Long Happy Life” (1966) is unique. Now a classic, this autumnal drama of love and disenchantment (with strong autobiographical overtones) marks the debut of Gennady Shpalikov’s career as director. It also marks its end. Acclaimed abroad but barely appreciated in Russia, he was never allowed to direct another film, even though he continued to write for the screen until his suicide in 1974 at the age of thirty-seven.<br />
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<tr><td class="tr-caption" style="text-align: center;">Inna Gulaya and Gennady Spalikov</td></tr>
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The film begins on a fall Saturday, at dusk at a construction site outside Novosibirsk. A group of young men and women – the beautiful Lena (Inna Gulaya, Shpalikov's wife) among them – are boarding a factory bus at dusk for a long ride to the big city to catch the Moscow Art Theatre production of Anton Chekhov’s <i>The Cherry Orchard</i>. Half-way there and after night fall, they pick up a hitch-hiker Victor (Kirill Lavrov), who takes the seat next to Lena. A geologist with a roving eye, Victor, who is in his early thirties, is making his way home in European Russia; Lena, in her early twenties, is beautiful, naïve, and dreamy.<br />
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<tr><td class="tr-caption" style="text-align: center;">Inna Gulaya in <i>A Long and Happy Life</i></td></tr>
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They “click.” Before long, they exchange confidences about their childhoods. Lena remembers her heart break from a crush on a fireman; her flashback is the film’s first homage to Jean Vigo’s “L’Atalante.”<br />
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<tr><td class="tr-caption" style="text-align: center;"><i>A Long and Happy Life</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Jean Vigo, <i>L'Atalante </i>(1934)</td></tr>
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What began as a bus ride flirtation ascends to dizzying heights in the theater. Emotions swell against the dialogue of the two last acts of Chekhov’s play and intensify in the intermission, set up as a social mixer, replete with drinks and dancing in the foyer. Unable to resist, the two soon retreat into the dark recesses of the theater house and begin to kiss.<br />
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But it is not their embraces but their dialogue after they leave the theater that marks the emotional high point of their relationship: poetic chatter of a young couple in love, interspersed with mutual declarations of undying love and everlasting loyalty. </div>
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The mood changes in the bleak light of the following morning. Lena, a modest suitcase in hand and an eight-year-old daughter in tow, rouses the hung-over Victor from his bed in a riverside floating guest house. She is ready to begin a “long and happy life” together.<br />
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What follows is a painful denouement terminating in a drawn-out coda (another tribute to Vigo’s Le Chaland qui passé, a.k.a., L'Atalante): a barge floating down the great Siberian river Ob. The film's soundtrack (composer Vyacheslav Ovchinnkov) ends on a pure accordion melody, reminiscent of L’Atalante’s closing tune.<br />
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<tr><td class="tr-caption" style="text-align: center;">Elena Chernaya, <i>A Long and Happy Life</i></td></tr>
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Like all gifted artists, Shpalikov was in a dialogue with his great predecessors and contemporaries. An admirer of Jean Vigo’s L’Atalante he turns Vigo's cinematic fairy tale about simple bargemen who live happily ever after into its opposite—a Chekhovian drama about the solipsism and narcissism of modern characters, amplified in the infinite echo chamber of the vast Eurasian plain.<br />
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A poet, Shpalikov, not unlike like Cocteau or Pasolini, was a master of subtle moods and resonances that fill the soul in moments of erotic intoxication or despair. A consummate master of monochromatic chiaroscuro, cinematographer Dmitry Meskhiev brought this poetry to life, encouraging the director to develop his own script, originally an ordinary melodrama, into a powerful existential cinema.<br />
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By grafting Chekhov’s pessimism onto sunny and irreverent Vigo and setting his action in the haunting dusk and darkness of Siberia, Shpalikov seems to have also produced a Russian take on the archetypal road film, Fellini’s <i>La Strada</i>, with his wife Inna Gulaya assuming the role of <a href="https://s-media-cache-ak0.pinimg.com/originals/06/5f/b7/065fb7a4305457f2c58a7f3d8ae6bf89.jpg" target="_blank">Gelsomina</a>—in her husband's art, as in life (she is rumored to have died of an overdose in 1990).<br />
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<tr><td class="tr-caption" style="text-align: center;">Lena's childhood flashback. <i>A Long and Happy Life.</i></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Gelsomina (Giulietta Masina) in <i>La Strada</i></td></tr>
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For many in Russia, <i>A Long and Happy Life</i> marked the closure of the 'Thaw" cinema that flourished in the Soviet Union during the years of reform following Stalin's death.</div>
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Plays with <i>Une bonne à tout faire</i> (Jean-Luc Godard, 8 min, 1981/2006), a rare short filmed at Coppola’s American Zoetrope and revolving around a tableau vivant of a Georges de La Tour painting.<br />
Not to be missed!<br />
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— Grisha Freidin<br />
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For tickets, click <a href="http://www.sffilm.org/festival/lineup/mel-novikoff-award-tom-luddy-a-long-happy-life#.WOQkcRjMxE5" target="_blank">here</a>.</div>
Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-57663496217416324792017-04-01T17:54:00.004-07:002017-08-03T07:48:15.683-07:00My Yevgeny Yevtushenko (1932-2017)*<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Yevtushenko in V. Khutsiev's film "I am Twenty" (1962-64)</td></tr>
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I saw him for the first time at the Kafe Molodezhnoe (Youth café), the only establishment of its kind in the true, Parisian, sense of the word in Moscow circa 1962. If you made it through the door early enough, you could spend the whole evening there listening to jazz while nursing a cup of coffee and/or a bottle of wine… This was my first and only visit there. Yevtushenko appeared late, and there was a palpable stir in the cafe as he briskly walked across the room and settled in at a table already crowned by a circle of beautiful people. After some minutes, he got up and stepped onto the slightly elevated stage. A wave of admiring murmur lapped at his feet. He began reciting his poetry.<br />
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I did not really know his work and could not make out a single familiar poem but the recital lasted for awhile. Sixteen or seventeen at the time, I had already been "turned" by the forbidden poetry of Marina Tsvetaeva and Osip Mandelstam, and what I was hearing did not impress me. Yet, I, too, was dazzled by the glow and the vibe that emanated from this man, still young looking, tall and handsome, and dressed to a T with chic informality. Every item of clothing on him came from "over the hill" (из-за бугра) and was the envy of every kid, bitten, like me, by the 1960s bug of Western individualism, youth culture, and craving dignity in appearance. Around that time, someone offered me a ticket to go and see him recite at what was then the newly-minted Luzhniki Stadium. I passed. And why would I go? I preferred the secret private cult of opaque modernist poetry -- the "stolen air," in Mandelstam's phrase -- to the mass craze for the uncomplicated verse of the official Soviet Fronde, the poets who accepted compromise in exchange for permission to publish, make money, and, coveted most of all, travel abroad.<br />
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Many years later, already in the U.S., I remember Joseph Brodsky referring to Yevtushenko in disparagement as "poetry's prostitute" while apologizing to the actual practitioners of the world's oldest trade for using their metier as a qualifier for this sullied name. Someone then asked me if I agreed with Joseph. I shrugged. What I knew of Yevtushenko's poetry did not impress me but it belonged to its time and had an impact. As much as it was hard for me to dismiss Yevtushenko, it was hard for me to suppress my distaste for his verse and his public style.<br />
<br />
Still, there were two fragments of his poetry that stuck in my memory like a fly in a piece of amber and are probably part of my generation’s urban lore: <br />
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1. "He wore slim pants and read Hemingway" (Он брюки узкие носил, читал Хемингуэя) – the phrase pretty much defined me as a type in my teen years, despite the fact that I didn't quite vibrate to Hemingway (that came later).<br />
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2. "And what comes next? And what comes next? / You whispered <to me after sex>" (А что потом, а что потом / Ты говорила шепотом). In the Russian original, "sex" is implied but it needs to be there in English to render the post-coital vibe of the verse: the young woman, a virgin, is asking the young man with whom she had just had sex what will happen next to their relationship (in Russian, past tense singular has a gendered ending). These lines, too, were emblematic of the generation, one before the pill, that was destined to making out under the Damocles' sword of unwanted pregnancy.<br />
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Perhaps my last direct encounter with Yevtushenko's verse occurred in 1963 at the Moscow Conservatory — at the premiere of Shostakovich's Thirteenth, "Babii Yar" Symphony, set to Yevtushenko's 1961 poem that had apparently enraged Khrushchev. In my young and heavily Jewish bohemian milieu, the poem, a sharp condemnation of Soviet anti-Semitism, was too straight-forward, almost agit-prop, to rank as <i>serious</i> poetry.<br />
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<tr><td class="tr-caption" style="text-align: center;">With D. Shostakovich at the premiere of the 13th Symphony</td></tr>
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But there I was standing in the foyer of the Grand Hall of the Moscow Conservatory, trembling with excitement: I was about to hear the world premiere of the “Babi Yar” Symphony of my beloved, saintly Shostakovich. Doubt crept into my mind: perhaps, I did not understand something about Yevtushenko? The poem was good enough for Shostakovich who, we all knew then, had withstood enormous pressure from the Kremlin to bring about this first performance. Could Shostakovich have redeemed Yevtushenko? To my snobbish mind, however, the music completely overshadowed Yevtushenko's verse. I was soon confirmed in my prejudice. In an odious move, Yevtushenko backed down and produced an anodyne version of "Babi Yar" to please Khrushchev's cultural watchdogs. No, I was not surprised...<br />
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<tr><td class="tr-caption" style="text-align: center;">With Minister of Culture E. Furtseva and Ernst Neizvestny, 1960s</td></tr>
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Unless challenged, tastes and opinions acquired early in life stick to your mind like barnacles to the hull of the ship, and I have never had the occasion to reconsider my attitude toward Yevtushenko. To me, his poetry is a form of art that is compromised by its government permit, and it is too late for me now to change my mind. And yet, I must acknowledge, his was a lifelong service to the Russian poetic tradition in which the poet, in Yevtushenko’s own, somewhat tinny, phrase, is “more than just a poet.” And sometimes, I should add, a poet can be less than one, too.<br />
<br />
If Brodsky was right, and we should see Yevtushenko as a poet who had his Muse ply the world’s oldest profession throughout his career, we must remember him as a <i>holy</i> prostitute - sacred to the cult of poetry that swept the Soviet Union in the decades after Stalin's death. This cult was as diverse, ambiguous, and full of contradictions as was Russia itself during Yevtushenko’s long lifetime. <br />
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The archetypal Soviet "cult" poet, Vladimir Mayakovsky, whose art encompassed many political compromises, committed suicide at Eastertide, 14 April 1930, at the age of 36. Yevtushenko died on April Fool's day at the ripe old age of 83. RIP.<br />
<br />
1 April 2017<br />
Berkeley, CA<br />
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* First appeared in <a href="http://www.truthdig.com/arts_culture/item/my_yevgeny_yevtushenko_1932-2017_20170402" target="_blank">Truthdig.com on 2 April 2017</a>.<br />
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com2tag:blogger.com,1999:blog-523286473767676859.post-37332092260336093672017-01-07T17:39:00.002-08:002017-01-07T17:43:00.961-08:00Remembering Carl Weber 1925-2016<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Carl Weber. Photo: Chris Randle.</span></td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: 12pt;">Today came the sad news about Carl Weber! He died on
Christmas Day in Los Altos at the age of 91. Cynthia Haven put up a notice on </span><a href="http://bookhaven.stanford.edu/tag/carl-weber/" style="font-family: Verdana, sans-serif; font-size: 12pt;" target="_blank">her Stanford blog</a><span style="font-family: "verdana" , sans-serif; font-size: 12pt;"> with a reprint of her 2010 piece on Carl. What a big loss it is for all of
his friends, students, and colleagues. A giant passed away, and with him, so
much mastery, so much rich and unique history is gone forever. I came to know him in 2003. It never occurred to me he was eighty one: he had more verve and and a firmer grasp on art and life than many of my much younger colleagues. I would like to offer here a few words about our
one-time friendship and collaboration that touched my own work and life.</span></div>
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<span style="font-family: "verdana" , sans-serif;">We became close during the big <a href="http://www.stanford.edu/group/isaac_babel/">Babel events</a> that I organized
and participated in in 2003-04 (a conference, and exhibition, and play production). Carl, who had started his theater career under
the tutelage of Berthold Brecht in the Berliner Ensemble (he headed it after
Brecht’s death in 1956), had his eye on Babel’s play <u>Maria</u> (1933) since
the 1960s, when Babel's posthumous career took of in Russia and the West. The play is full of young people, and this, as he explained, made it perfect for a university casting. Until then, I had not put much stock in <i>Maria</i>;
I preferring the earlier <i>Sunset</i> (1926), based on Babel’s famous <i>Odessa
Tales</i>. <i>Maria</i> seemed to me then like an outlier in Babel’s <i style="mso-bidi-font-style: normal;">oeuvre. </i>It is set, not in his beloved
mythical Odessa, but in the dark and cold Petrograd of 1919; its characters
resemble more those in <i style="mso-bidi-font-style: normal;">Uncle Vanya</i>
than Babel’s own colorful Jewish gangsters or Red Cossacks. But Carl
convinced me that casting <u>Sunset</u> at Stanford would be a real problem,
and I, a babe in the woods, agreed to undertake with him the production of <i>Maria</i>
(1933). Another condition: he wanted me to be there with him all the way and
serve as the dramaturge (I had to look up the word).<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">The U.S. premiere of Isaac Babel play <i>Maria </i>at Stanford (2004)<br />
Tom Freeland, left, as General Mukovnin, Audrey Hannah as <span style="font-family: "arial"; font-size: 12px;">Lyudmila and </span><br />
<span style="font-family: "arial"; font-size: 12px;">Zack, who only goes by one name, as Dymshits.</span><span style="font-family: "arial"; font-size: 12px;"> </span><span style="font-family: "arial"; font-size: 12px;">Photo courtesy MANDANA KHOSHNEVISAN</span></td></tr>
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<o:p><span style="font-family: "verdana" , sans-serif;"> </span></o:p><span style="font-family: "verdana" , sans-serif; font-size: 12pt;">I was not a theater man and I had no idea what I was getting
myself into. I do not mean the resources I had to marshal to have the play
staged, including a big chunk of cash that Dean Keith Baker helped me raise for
a revolving stage, “an absolute must” to do justice to the cinematic structure
of Babel’s play in eight scenes. Carl did not want some modest affair. His idea
was to mount a full-scale production, with an original set designed from scratch,
real costumes, with music, visual projections, fancy curtain, in short, all the
trimmings, as if we were on Broadway. But getting hold of the resources and taking
care of the technicalities – these were a small part of my job compared to the
kind of treatment that Carl, as director, subjected the play to, and me along
with it.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Beginning early fall, we met two or three times a week for
lunch or coffee to read the play together. Carl did not know Russian, <span style="mso-spacerun: yes;"> </span>and as we read into the play, he queried
literally every word (I realized then that the award-winning translation had a
lot of howlers and had to redo whole sections of it). Carl intuition was fierce:
I was often surprised to see myself circle back and discover a hidden pearl
exactly where Carl suspected it to be but where I, the Babel scholar, had seen nothing.
In effect, Carl forced me to take apart the whole play, disassemble it into its
smallest particles, elaborate all the hidden subtexts, resonances, and
implications, produce extensive cultural “dossiers” on all the characters,
contextualize the action and background events, and finally, put it all back
together as a play by author and man Isaac Babel. It was in the course of this
dramatic directorial treatment that I came to see the play, not as an outlier,
but as a brilliant work, central to the Babel’s oeuvre, and a work of great
civic courage. The “ugly duckling” concealed an authorial cri de coeur, the
play itself, a powerful autobiographical subtext. A precursor of Beckett’s <i style="mso-bidi-font-style: normal;">Waiting for Godot </i>(the eponymous Maria Mukovnin never appears on stage), the play was a deeply personal testament meant for Babel's future audience. My collabortion with Carl was a lark but it enriched and deepened
my understanding of Isaac Babel, and with it, the conundrum of Russian-Jewish
authorship in the twentieth century.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 12pt;">The play was a success and ran to full house at the Pigott
Theater for four performances. In attendance was Babel’s older daughter
Nathalie Babel, his second wife Antonina Nikolaevna Pirozhkova and her, and Babel’s,
younger daughter Lydia. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Antonina Pirozhkova (right) with daughter Lydia Malaeva (Babel)</td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: 12pt;">After the final curtain, we asked Pirozhkova, who sat
riveted throught the performance, if she liked the play. She replied, holding
back tears: “I know this is how Babel would have liked to see it done.” Precious
words from one who spent her lifetime safeguarding Babel’s legacy, for many years at the risk
to her own life. </span><span style="font-family: "verdana" , sans-serif; font-size: 12pt;">Fortunately, I was able to video-record the dress rehearsal
of the play. I later turned into a DVD, and can now be seen in full on </span><a href="https://youtu.be/xzIOhjaEFcQ" style="font-family: Verdana, sans-serif; font-size: 12pt;">YouTube</a><span style="font-family: "verdana" , sans-serif; font-size: 12pt;"> (it plays well on my Mac using
Google Chrome).</span></div>
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<span style="font-family: "verdana" , sans-serif;">Afterwards Carl and I kept seeing each other, we fantasized
about some other future production. But none of this came to pass. He and his
wife came to have dinner at our house in Berkeley. Alas, soon after, his wife
took ill and died. Widowed, Carl spent long periods of time in France where he
had a house in the country. Our dates in Paris never worked. We still met for
lunch or coffee occasionally when he was on campus but contact attenuated. My
own circumstances made socializing at Stanford increasingly difficult, driving
to Berkeley was a problem for him. Eventually, we lost touch. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Fortunately, Carl left a record of our <i>Maria </i> adventure. He
contributed an essay on staging <i>Maria </i>at
Stanford for the a volume of essays on Babel that I edited, based on the Stanford
conference and the Exhibition we mounted at the Hoover concurrently with the
play (<i><a href="http://www.sup.org/books/extra/?id=15932&i=Table_of_Contents_pages">The
Enigma of Isaac Babel, <span style="font-style: normal;">Stanford UP, 2009</span></a></i>).
It was called “Staging Babel’s <i>Maria </i>–
for Young American Audiences, Seventy Years After.” Like his contribution, my
own long essay, “Two Babel’s – Two Aphrodites: Autobiography in<i> Maria </i>and Babel’s Petersburg Myth,” is
the fruit of this blessed collaboration. If it ever get republished, I will dedicate it to Carl. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Berkeley, January 7, 2017 </span><o:p></o:p></div>
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com2tag:blogger.com,1999:blog-523286473767676859.post-54393164322424429212016-12-11T18:30:00.001-08:002016-12-11T18:30:36.241-08:00СТОИТ ЛИ БОЯТЬСЯ ДОНАЛЬДА ТРАМПА? <div dir="ltr" style="text-align: left;" trbidi="on">
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<b><a href="http://newtimes.ru/stati/temyi/stoit-li-boyatsya-donalda-trampa.html" target="_blank">The New Times/Новое время | 05.12.2016 | Григорий Фрейдин | №40 (428) от 05.12.16</a></b><br />
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Целый ряд аналитиков по обеим сторонам океана
предрекают «сумерки в Америке» после избрания в президенты человека, который
раньше не занимал выборных должностей, не имеет опыта руководства в
некоммерческом секторе и страдает серьезной формой популизма. Однако не стоит
сбрасывать со счетов и иммунную систему американской демократии, институты
которой отстраивались на протяжении двух веков<o:p></o:p></span></div>
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<a href="http://www.svoboda.org/a/28123823.html" style="font-family: 'Times New Roman'; font-size: 16pt;">«Сумерки
в Америке»</a><span style="font-family: Times New Roman;"><span style="font-size: 16pt;">* — так назвал свою заметку, посвященную избранию Трампа
президентом Соединенных Штатов, известный поэт и литературный критик Алексей
Цветков, уже давно живущий в США. Неужели это — закат? Нет, не тянет. Уж
слишком это пораженческий сценарий для молодой и оптимистичной Америки. Как
пойдет дело дальше, мы не знаем, но ретироваться в отчаянии резона все-таки
нет, тем более закутавшись в дырявое одеяло столетнего немецкого мифа о Закате
Запада (Oswald Spengler,</span><span style="font-size: 16pt;"> </span></span><i style="font-family: 'Times New Roman'; font-size: 16pt;">Der Untergang des Abendlandes</i><span style="font-family: Times New Roman;"><span style="font-size: 16pt;">).</span></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">ОПАСНЫЕ АНАЛОГИИ<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Естественно, особенно среди американцев европейских
корней, напрашиваются аналогии с Россией, Италией, Германией 1920-х и 1930-х
годов*. Несмотря на их заманчивость, аналогии эти все же бьют мимо цели.
Феномен Трампа из другой оперы или, лучше сказать, из другого романа. Я имею в
виду неподражаемый <a href="https://www.livelib.ru/book/1000307859-zagovor-protiv-ameriki-filip-rot" target="_blank">«Заговор против Америки»</a> Филипа Рота (Лимбус Пресс,
2008), где разыгрывается схожий сюжет на фоне Америки конца 1930-х: на выборах
1940 года побеждает не Франклин Делано Рузвельт, как и было на самом деле, а
любимец толпы, летчик Чарльз Линдберг, известный своими нацистскими симпатиями.
При нем Америка поворачивает вправо, начинаются погромы, политические убийства
и т.д., но пронацистским правым все же не удается захватить власть — им
противостоят конституционные институты и большие города, особенно Нью-Йорк. Не
буду выдавать конца романа, но у Рота все вскоре встает на свои места.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">НЕТ ТАКОЙ ПАРТИИ<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">В отличие от Ленина-Сталина, Муссолини и Гитлера у
Трампа нет дисциплинированной массовой «партии нового типа», нет
общенационального движения, несмотря на все его многочисленные митинги с
разогревом толпы и все «зиг хайли» американских нео-<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">нацистов**. Такая массовая «партия нового типа»
маловероятна в очень уж разношерстной Америке. Да и американские институты —
политические, юридические и добровольные общественные объединения (партии,
церкви, НКО) — проверенная временем сложная и мощная машина, которая работает
по принципу взаимного дублирования и большой избыточности. Ничего подобного ей
не было ни в царской России, ни в Веймарской республике, ни в королевской
Италии. Американские институты — это даже не старомодный будильник с множеством
шестеренок, это вечно подвижное нагромождение разных агрегатов, каждый из
которых приводит в движение свой двигатель и питается своим собственным током,
будь то федеральные, штатные, местные налоги или неиссякаемый поток частных
благотворительных пожертвований.<o:p></o:p></span></div>
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<h4 style="text-align: left;">
<div style="text-align: right;">
<b><span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">В ОТЛИЧИЕ ОТ ЛЕНИНА-СТАЛИНА, МУССОЛИНИ И ГИТЛЕРА У ТРАМПА
НЕТ ДИСЦИПЛИНИРОВАННОЙ МАССОВОЙ «ПАРТИИ НОВОГО ТИПА», НЕСМОТРЯ НА ВСЕ «ЗИГ
ХАЙЛИ» АМЕРИКАНСКИХ НЕОНАЦИСТОВ</span></b></div>
<b><div style="text-align: right;">
<b><span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">ХРАМ И ЛЕС ИНСТИТУТОВ</span></b></div>
</b></h4>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Как в знаменитых стихах Бодлера «Соответствия»,
общественный мир Америки — это «храм», заключающий в себе целый «лес» институтов
власти всех уровней и всех ее «ветвей»: от федеральной власти с ее
«перечисленными полномочиями», до штатов, городов и общин. Везде — свое
регулярно избираемое начальство, чья функция — исполнять законы; свои
законодатели, суды. Каждая из этих ветвей ревниво следит за своими
прерогативами и огрызается на всякое посягательство, от кого бы оно ни
исходило. Тем же занимаются политические партии, церкви, разные добровольные
общественные ассоциации, НКО и, главное, поставленная во главу конституции как
основа американской государственности Первая Поправка (вернее, «уточнение») —
беспрекословный запрет на ограничение свободы слова, прессы, религии, собраний
и т.д.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Освященная временем, эта гигантская конституционная
машина вот уже более двухсот лет прядет саму паутину американской общественной
и политической жизни, и она способна если не парализовать, то сильно
притормозить любое нововведение. Тем более плохо она поддается посягательствам
сторонников авторитаризма (фашизма или коммунизма) — даже при куда более
сложных экономических и международных обстоятельствах, нежели теперь. В ней
увязли и сошли на нет Маккарти и маккартизм в самый разгар Холодной войны, в
ней запутался хитрейший, но превысивший свои полномочия Никсон, она заставила
Буша-младшего отказаться от плана подчинить политическому диктату федеральную
прокуратуру, она парализовала — увы, лишь отчасти — традиционную расовую
сегрегацию и многие проявления расизма и шовинизма. В конце концов, благодаря
ей пали коммунизм и колосс СССР, оказавшийся неспособным в период мирного
сосуществования противостоять системе институтов, обеспечивших создание
невиданного в истории благополучия, личной свободы, а с ними и процветания
искусств, убийственной поп-культуры — от джаза до хип-хопа и Голливуда.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">НЕКОТОРЫМ ВЕЗЕТ<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Серьезные нововведения случаются лишь при редком
стечении обстоятельств, как, например, при президенте Линдоне Джонсоне, когда
ему удалось, вслед за убийством молодого Джона Кеннеди и охватившим страну
горем, пробить через Конгресс ряд радикальных реформ по защите гражданских
прав; или ближе к нашему времени, когда Америка избрала в президенты первого
чернокожего политика, которому удалось, поставив на кон весь свой политический
капитал, осуществить давнюю мечту американских президентов — поголовное медицинское
страхование. Но это — исключения. Как правило, по контрасту со своим размером и
сложностью эта машина позволяет продвигаться вперед лишь малыми шажками.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Сумеет ли эта машина опутать и парализовать Трампа?
Полагаю, что да, если американцы не поленятся, а СМИ и общественные организации
не дадут им заснуть. Хотя, конечно, зарекаться нельзя… Но, повторяю, ни в
Веймарской республике, ни в королевской Италии, ни тем более в царской России —
ни таких институтов, ни тем более такого их переплетения не было.<o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">УЧИТЬСЯ У ПУТИНА<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Но вот, казалось бы, опыт современной России дает
основания для более подходящей аналогии, а взаимные симпатии Трампа и Путина —
аргумент в ее пользу. Однако, в отличие от современной России, где Конституция
оказалась, увы, слишком податливой (например, закон 2013 года «Об оскорблении
религиозных чувств верующих», который напрямую противоречит ст. 28 Конституции
РФ), где институты партий мало развиты, политическая конкуренция практически
отсутствует, пресса, особенно ТВ, пиарит власть и рынками верховодит Кремль, —
в отличие от России Америка имеет живую, мощную конституцию, которая выросла из
необходимости религиозной толерантности, по-настоящему независимую судебную
систему, устоявшиеся партии, незыблемое право собственности и, главное,
непобедимые механизмы разделения властей, которые не терпят скопления силы в
каком-либо одном центре, даже в Вашингтоне. Что и доказали выборы самого
необычного и непопулярного кандидата, который, однако, искусно сыграл на
желании избирателей перетрясти весь вашингтонский истеблишмент.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Ближайшие месяцы покажут, с каким скрипом тронется
телега власти президента Трампа, и удастся ли ему, не завязнув, свернуть с
пути, проторенного его предшественниками. Так что, не стоит проигравшим на
выборах уж слишком отчаиваться, как, впрочем, и победителям зарываться и
обольщаться победой. Для сумерек Америки — Обамы ли, Трампа ли — время не
созрело.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">МАЯТНИК КАЧАЕТСЯ, А ЧАСЫ — ИДУТ<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Да, налицо кризис демократии и гуманизма, кризис их
ценностей. Последний раз кризис такого масштаба охватил Европу после Первой
мировой войны и был реакцией на нее, на миллионы смертей — бессмысленных, как
это стало ясно победителям и побежденным. Сегодня на Западе нет за спиной такой
катастрофы (даже распад СССР несоизмерим с катастрофой Первой мировой войны).
Нынешние Трамп и brexit — это реакция на ускорение социального прогресса, а не,
как когда-то, на крах его в окопах Великой войны; это реакция на ускорение
социальных процессов, вызванных глобализацией. А глобализация, как всякий широкомасштабный,
нарушающий статус-кво процесс (индустриализация, научно-техническая революция,
электрификация, новые коммуникации и т.п.), неизменно создает как победителей,
так и проигравших (найти способы компенсировать ущерб последних — естественная
задача для политики). Но это также и реакция на распространение гуманизма и
просвещения на народы, которые до недавнего времени жили как бы на обочине
Истории. У них тоже есть свои победители и проигравшие, но ставки в более
традиционных обществах намного выше, чем в развитом мире, а, соответственно, и
реакция на модернизацию куда более болезненна. Иными словами, источники кризиса
демократии сегодня — будь-то экономика и коммуникации, массовая миграция с
«юга» на «север» или вызвавший ее глубокий кризис на Ближнем Востоке — в корне
отличаются от тех, что сто лет назад заложили под мир бомбу замедленного
действия, хотя прецеденты и аналогии не могут не настораживать.<o:p></o:p></span></div>
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<b><span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">ГЛОБАЛИЗАЦИЯ, КАК ВСЯКИЙ ШИРОКОМАСШТАБНЫЙ, НАРУШАЮЩИЙ
СТАТУС-КВО ПРОЦЕСС, НЕИЗМЕННО СОЗДАЕТ КАК ПОБЕДИТЕЛЕЙ, ТАК И ПРОИГРАВШИХ. НАЙТИ
СПОСОБЫ КОМПЕНСИРОВАТЬ УЩЕРБ ПОСЛЕДНИХ — ЕСТЕСТВЕННАЯ ЗАДАЧА ДЛЯ ПОЛИТИКИ<o:p></o:p></span></b></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Конец Холодной войны, падение коммунизма, приход
демократии в СССР и Восточную Европу успокоили Запад, особенно США, собравшие
после краха Советского Союза значительные дивиденды, материальные и моральные.
Показалось даже, что нового в истории больше не будет: мол, победила
глобализация в ее западной либеральной ипостаси. А оказалось — наоборот:
история вовсе и не кончалась, да и с объявлением смерти модернизма, то бишь
необратимости модернизации, сильно поспешили.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Все смешалось в доме Облонских, и конфликт старого и
нового, составляющий сущность этой знаменитой фразы, охватил весь мир, а не
только, как в романе Толстого, старорежимную Россию, где высокие технологии и
самые передовые идеи (железные дороги и коммунизм в «Анне Карениной») уживались
с верой в кикимору, дурной глаз и полоумных провидцев.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">Сто лет назад Александр Блок, как и многие его
современники, поспешил с «крушением гуманизма». Ему казалось, что качнувшийся
маятник остановил часы. К нашему времени больше подходит его строчка: «Покой
нам только снится». Борьба идей, борьба за просвещение и гуманизм, как и
история, продолжаются.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">* См., например, статью Маши Гессен в NYRB,
«Руководство к выживанию при авторитарном режиме»,
http://www.nybooks.com/daily/2016/11/10/trump-election-autocracy-rules-for-survival/</span></div>
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<span style="font-family: "Times New Roman"; font-size: 16.0pt; mso-fareast-font-family: "MS 明朝"; mso-fareast-language: JA; mso-fareast-theme-font: minor-fareast;">** http://www.theatlantic.com/politics/archive/2016/11/richard-spencer-speech-npi/508379/<o:p></o:p></span></div>
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-83822834032651795022016-09-26T12:20:00.003-07:002016-09-26T13:54:31.190-07:00EYES WIDE OPEN: Marlen Khutsiev's film IT HAPPENED IN MAY (1970)<div dir="ltr" style="text-align: left;" trbidi="on">
<i>Printed version appeared in the Telluride Film Festival publication </i><a href="http://www.stanford.edu/~gfreidin/Publications/khutsiev_May_Telluride_2016.pdf" target="_blank">Film Watch (2016)</a><br />
<br />
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<tr><td class="tr-caption" style="text-align: center;">Todorovsky and Arkhilovski in <i>It Happened in May</i></td></tr>
</tbody></table>
Old films are like a message in a bottle, mysterious and enchanting, even more so if written in an hidden code to elude the censor. Sophisticated and committed to self-expression, Soviet film makers from Eisenstein to Muratova have made such coding part of their cinematic aesthetic, and as Soviet experience fades into distant past, lovers of vintage cinema would do well to keep this in mind. Marlen Khutsiev belongs to the Olympian roster of Soviet directors auteurs whose films transcend ideological regimentation. Few have more successfully incorporated this constraint, making it part of their cinematic expression.<br />
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<tr><td class="tr-caption" style="text-align: center;">Marlen Khutsiev</td></tr>
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Marlen Khutsiev(his given name is a contraction of MARxLENin) was born in 1925 in Tbilisi, Georgia, to a father who was a committed Bolshevik revolutionary and shot, like many, in the Stalinist purges in 1937. This year Khutsiev plans to release his thirteenth film featuring a dialogue between – appropriately for a nonagenarian director – two Russian sages, Anton Chekhov and Leo Tolstoy. Khutsiev is, perhaps, best known for his 1961 I am Twenty (a.k.a. Zastava Ilyicha) and July Rain (1966) – films that share the cinematic “vibe” with Michelangelo Antonioni’s L’Avventura (1960) and Blowup (1966). Like Antonioni’s, Khutsiev’s films became iconic for the 1960s generation.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDHpTljdUKSULnLTPS1M_zakCACI9YoQqfxSmassTlvQtnqrSKcEhYbP3ZOOunCymTfkmI87XsxVadHpgZtHZ02sZjgJhihEgKZGPdK2WYVMyyl5gaudOFaa-SynkMZF_sFcAy8z1kJenr/s1600/khutsiev+poster1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDHpTljdUKSULnLTPS1M_zakCACI9YoQqfxSmassTlvQtnqrSKcEhYbP3ZOOunCymTfkmI87XsxVadHpgZtHZ02sZjgJhihEgKZGPdK2WYVMyyl5gaudOFaa-SynkMZF_sFcAy8z1kJenr/s200/khutsiev+poster1.jpg" width="125" /></a><i>It Happened in May</i> (Был месяц май, 1970), too, is intensely contemporary. Released to mark the twenty-fifth anniversary of the end of WWII, it falls thematically within the range of government-sponsored topics: victory over the Nazi evil, war-time heroic sacrifices, and staying vigilant in the face of the uneasy coexistence with the former foe. In the USSR, by 1969, the victory in WWII has largely replaced the revolution of 1917 as the principal source of legitimacy for the Party and the state. Accordingly, movie houses, TV screens, theaters, bookstores, and media were saturated with war themes.<br />
<br />
There was also a pernicious side to this enforced obsession: the Brezhnev regime used the theme as a cover for rehabilitating the war-time supremo Joseph Stalin and his party’s Gulag record. Like many among the intelligentsia, Khutsiev was appalled. Although not a dissident, he joined other prominent artists and scientists in 1966 who petitioned against creeping Stalinism. No wonder, then, that he approached the war theme from an unusual angle and introduced his own, subtly discordant, note into the official chorus of commemorative hosannas.<br />
<br />
A war movie, It Happened in May is set paradoxically on a bucolic German pig farm, untouched by war, a few days after the Nazi surrender. But before the story begins, as if to get the requisite bravura out of the way, Khutsiev opens with a five-minute montage of war footage, replete with a deafening battle-field soundtrack overlaid with Tchaikovsky’s Manfred and culminating in the hoisting of the Red flag over the Reichstag. Then, all of a sudden, come the deafening silence and the indolent air of the opening scene: the protagonist, a young Lieutenant (Alexander Arzhilovsky) wakes up on a peaceful sunny morning in a clean and puffy farmer’s bed. There were more surprises to come.<br />
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<tr><td class="tr-caption" style="text-align: center;">G. Baklanov</td></tr>
</tbody></table>
Made for television, which explains its generous use of close-ups and a spare setting, the film is based on a short story by a war veteran writer, Georgy Baklanov (Fridman), entitled “The Wages of Horror” (Почём фунт лиха,"1962). Baklanov (1923-2009) was a well-known chronicler of WWII much admired for his authenticity and honesty. In his story, an old veteran recalls how, as a young officer, he was stunned when coming face to face with the Nazi camps and ovens, concealed by the civilized surface of German life. On the face of it, the film, like the story, was meant as a message in a bottle from the WWII generation to be discovered by their carefree descendants a quarter of a century later. But while Baklanov’s narrative is straightforward, the film infuses the central moment of discovery with extraordinary resonance and depth.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9YiKLX-IvzKIx9dczeQglw3sFtWAFd1xt1c5w1g7njXu5_gCvmlYUyZK_z9gqJqoHcpT6VTFnzz055F3tjYbberaTTGH5F57AjKvPXX3Ti6Y5mYpK1oUH5RU22wHy-igvJ-Rux_dPCLVp/s1600/farm2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9YiKLX-IvzKIx9dczeQglw3sFtWAFd1xt1c5w1g7njXu5_gCvmlYUyZK_z9gqJqoHcpT6VTFnzz055F3tjYbberaTTGH5F57AjKvPXX3Ti6Y5mYpK1oUH5RU22wHy-igvJ-Rux_dPCLVp/s320/farm2.jpg" width="320" /></a>A small detachment of Red Army scouts, led by a twenty-one-year-old lieutenant, is quartered on an idyllic German farmstead that appears untouched by the war. The soldiers are making friends with the farm’s German owners who are as eager as the Russians to put the war behind them. The camera focuses on the simple pleasures of peace: sleeping late, a hearty meal, sharing a carafe of cider, the soldiers making simple conversation in broken German, their clumsy courtship of the farmer’s pretty wife. The farm raises pigs, and the soldiers are eager to help the young-looking farmer’s wife in her chores around the well-tended pigsty. But come evening, the farmer, mindful of the soldiers’ gallantry, takes his wife and their teenage son to spend the night with relatives in a nearby village. The overall scene’s setting is serene but the inquisitive camera eye, awkward silences, strained exchanges, and the scene’s flat, shadowless light lend the opening episode the air of the uncanny – a Gothic fairytale castle, its ghosts too shy for the light of day.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDqAv8EBmrTclgIfFoCxu0Nk4OfLuPsdUYjwu2fM1eMM4yNv2-ZCLlBgVbclqig4ggFFYqoAmIKnJ-LdY2WkBw_lVQClK5buNZQcDX70pkV-YaqdCu7RZXkcDQ51YKW6UcxaODJzEsIzDb/s1600/sitting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDqAv8EBmrTclgIfFoCxu0Nk4OfLuPsdUYjwu2fM1eMM4yNv2-ZCLlBgVbclqig4ggFFYqoAmIKnJ-LdY2WkBw_lVQClK5buNZQcDX70pkV-YaqdCu7RZXkcDQ51YKW6UcxaODJzEsIzDb/s320/sitting.jpg" width="320" /></a></div>
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Early in the evening the young Lieutenant is summoned by his superior to a nearby estate where a group of junior officers are celebrating the end of the long war. The Lieutenant mounts a trophy motor bike and speeds to the party along a beautiful wooded alley. Within sight of his destination, an opulent German country house, he fumbles and crashes. For a moment he looks dead. This is how Khutsiev prepares him for a nocturnal encounter with the ghosts – readies him for the descent into hell.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNE3L08GKGJkMSJfPX8PwKfgtpqBeKlCntKNjOPghOthIzpUcpNkzM6wIvWGfVvefUZFjD1fKU5vaZurhPs6lw1QCzTNOnVQ4ynrvQTyRhhVpQnE-xjc-kMmLu7MKTdGzVDFdZ-k5sWXiB/s1600/singing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNE3L08GKGJkMSJfPX8PwKfgtpqBeKlCntKNjOPghOthIzpUcpNkzM6wIvWGfVvefUZFjD1fKU5vaZurhPs6lw1QCzTNOnVQ4ynrvQTyRhhVpQnE-xjc-kMmLu7MKTdGzVDFdZ-k5sWXiB/s320/singing.jpg" width="320" /></a></div>
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The accident leaves the Lieutenant dazed but uninjured and he soon joins the partying officers, raising melancholy toasts in honor of fallen comrades and singing melancholy Russian songs. They have seen too much grief and lost too many comrades to enjoy their victory celebration. As the party comes to an end, the host, a Sr. Lieutenant (played by the film maker Peter Todorovsky wearing his own war-time uniform), invites officers to go for a ride in a captured German <br />
convertible. Unexpectedly, they are stopped at a mysterious gate, not quite realizing they have arrived at the gates of hell, a Nazi concentration camp. Inside, still clueless, they enter the dark buildings. Illuminated by their flash lights, various objects come into view: mysterious empty cans (the gas Zyklon-B), mounds of abandoned footwear, spoons, and finally, heavy oven doors that the visitors take for the camp’s heating system.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRyS5dHeltFfQNfytDNoE95yRGFGqM9MxzDl6wbGXTZYnL_lcjKbDjzVTAfJYNNzy2_wGVclNdOPW8O4nqClHEZdha6uYE8k6PMbqoIVCwL5-yg-qlBhMM2TuNF1qK1-Qvh8SyD0KM62UU/s1600/camp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRyS5dHeltFfQNfytDNoE95yRGFGqM9MxzDl6wbGXTZYnL_lcjKbDjzVTAfJYNNzy2_wGVclNdOPW8O4nqClHEZdha6uYE8k6PMbqoIVCwL5-yg-qlBhMM2TuNF1qK1-Qvh8SyD0KM62UU/s320/camp.jpg" width="320" /></a></div>
Only later, when the Lieutenant encounters the camp’s former inmates, who wander onto the pig farm in the night, does he learn the truth about the death camp: the gas ovens, the burning of the victims, the use of human ashes to fertilize the nearby fields. When he finds out that their hosts had been complicit in having one of their Polish forced laborers gassed, the officers go searching for them in the nearby village. In vain. The family has disappeared. The farmstead is also empty, except for the pigs. The final shot is of the Lieutenant. <br />
He is standing alone, dazed and bewildered by the revelation, while around him the farm’s well-tended pigs are crowding the yard, a fairytale visual substitute for the disappeared family.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI-ld1p51WqNrg5wtff9ENzynXweGeMC1L3xc0wso4caWdz2xNio9hz_VJSXp-gPbq5IvSjHkzYORo-xw48fuVCFzwX39gyWo8xa_yUJ0RaAg1JQnUHi4bofQY01t4GgW2AHNe2KEZ11jl/s1600/stunned.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI-ld1p51WqNrg5wtff9ENzynXweGeMC1L3xc0wso4caWdz2xNio9hz_VJSXp-gPbq5IvSjHkzYORo-xw48fuVCFzwX39gyWo8xa_yUJ0RaAg1JQnUHi4bofQY01t4GgW2AHNe2KEZ11jl/s200/stunned.jpg" width="200" /></a></div>
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The film’s final segment, like the introductory part, consists of a montage of documentary footage, but this time, the clips show street life of modern European cities – Berlin, London, Paris, Moscow – replete with well-dressed men, women and children hurrying on their way along avenues pulsating with traffic. Wearied by the horror, the eye feasts on these quotidian scenes. Without warning, the human traffic begins to flow onto the grounds of a concentration camp museum.<br />
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Now the moving images get interspersed with some of the most famous stills of the Holocaust. The knowing viewer is perplexed. The stills show what look like exclusively Jewish victims whereas those in the film are a Polish couple forced to work on the pig farm. <br />
The camera lingers, moves on, and then returns to one of the iconic holocaust images – a seven-year-old Jewish boy from the Warsaw ghetto, his arms raised in a gesture of surrender. The present-day footage resumes, and the camera picks out a charming boy of the same age and follows his gaze before fading into the credits.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0yG1c8n0nI6MHr8sj5h2Wc4uVPwOZLOKwwLA-kUXymM9gA6LX5EOtzrRhRsMVGGox3SwK6nUPUGaBvX0I137i3W08P_I3X1WrmTSCUjdrICF2VsBZm8h1daY-COf_agpYCW8zm1tJ9lKk/s1600/jewish+boy+closup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0yG1c8n0nI6MHr8sj5h2Wc4uVPwOZLOKwwLA-kUXymM9gA6LX5EOtzrRhRsMVGGox3SwK6nUPUGaBvX0I137i3W08P_I3X1WrmTSCUjdrICF2VsBZm8h1daY-COf_agpYCW8zm1tJ9lKk/s320/jewish+boy+closup.jpg" width="320" /></a></div>
This final juxtaposition – a Jewish boy victim and his happy and free counterpart of 1970 – invites the Soviet viewer, keenly aware of subliminal messaging, to recapitulate the film narrative mentally, thereby deciphering its other layer of meaning. Apparently the film functioned also as a silent protest against official Soviet anti-Semitism. Soviet propaganda habitually suppressed the story of the Jewish holocaust and denied the Jews’ singular status as victims of the Nazi extermination policies.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM0fog47P3wZDXR-cuvxMtourBXjr41AGkDXpXm3I7hZDpuFVi3s2dnhZpjhHKNKf8LDZFs3x5bOP5TJEUbRM6bCI04D-2tU9CdlFTp2US4pBopLJ4CYPNuHclNnRryjzyYCPj4Pe1LmX_/s1600/little+boy.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM0fog47P3wZDXR-cuvxMtourBXjr41AGkDXpXm3I7hZDpuFVi3s2dnhZpjhHKNKf8LDZFs3x5bOP5TJEUbRM6bCI04D-2tU9CdlFTp2US4pBopLJ4CYPNuHclNnRryjzyYCPj4Pe1LmX_/s320/little+boy.png" width="320" /></a></div>
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Baklanov must have been ecstatic for the way Khutsiev “unpacked” the hidden, perhaps even unconscious, layers of his short story. In a rare tribute of one author to another, he renamed his "Wages of Horror" after the film. In all subsequent publications the story appeared as “It Happened In May.”<br />
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August 2016<br />
Berkeley, California<br />
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-24487286104752753362016-09-22T14:25:00.041-07:002022-06-12T16:26:20.554-07:00КАК ЭТО ДЕЛАЛОСЬ В РАССКАЗЕ БАБЕЛЯ<div dir="ltr" style="text-align: left;" trbidi="on">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3I8d6hyafFuoL83FXmRpn7RPpcaQ5eYA8PXpCjF2sGj69C5CphnJfh_bplGFHKXshspUzowgmJG0WHdhk8U9WPCijT3ldwgYPprQpXOVN2RDwwxLX7GhyCj7YXgXS7qLMgjZe8cTpLglz/s1600/babel_1924.jpg" style="margin-left: auto; margin-right: auto;"><img alt="" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3I8d6hyafFuoL83FXmRpn7RPpcaQ5eYA8PXpCjF2sGj69C5CphnJfh_bplGFHKXshspUzowgmJG0WHdhk8U9WPCijT3ldwgYPprQpXOVN2RDwwxLX7GhyCj7YXgXS7qLMgjZe8cTpLglz/s320/babel_1924.jpg" title="" width="221" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Бабель в 1924 г.</td></tr>
</tbody></table>
<h3 style="text-align: left;">
<span face=""verdana" , sans-serif">Рассказ Бабеля и с чем его едят </span></h3>
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<span face=""verdana" , sans-serif">По своей насыщенности, сквозной гармонизации элементов, вспышке сознания (éclat, epiphany, прорыв в вечность) и при минимальном объеме, рассказ Бабеля близок лирической поэзии современников. По своей тематике — насилие и эрос, как вместе, так и в отдельности, но всегда в резонансе с ломкой социального, если не мирового, уклада — путь Бабеля лежит в плоскости западной литературной традиции — той традиции, которая берет начало от Гомера и Священного Писания. </span><br />
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<span face=""verdana" , sans-serif"><b>Бабель -- модернист</b></span><br />
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<span face=""verdana" , sans-serif">Афористично сформулировал это положение современник Бабеля Осип Мандельштам. Размышляя о смысле недавно разразившейся мировой войны, он как бы сопоставляет ее с Троянской и восклицает: «Когда бы не Елена, / Что Троя вам одна, ахейские мужи?» («Бессонница. Гомер. Тугие паруса», 1915). Иными словами, мировой конфликт, его вселенский масштаб, большой космос, сопоставляются с малым: с одной стороны великая война, с другой — узел любви и ревности, желания и насилия, взятого в одной судьбе. И наоборот. Гомер неразрывно связал эти два космоса, всеобщий и личный микрокосм, и сделал их соотнесенность основой западной литературной традиции. Перефразируя друга Бабеля, Владимира Маяковского, мы говорим «любовь и ревность», а подразумеваем «войну» или «революцию», или говорим «война», «революция», а подразумеваем «насилие и любовь».</span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Нечто аналогичное происходит со Священным Писанием и его ролью в западной литературной традиции: о чем бы ни шла речь в частности — о праотцах или племенах израильских, об Иисусе ли Навине или Иисусе Назаретянине, — библейское повествование, как заметил проницательный <a href="https://en.wikipedia.org/wiki/Mimesis:_The_Representation_of_Reality_in_Western_Literature" target="_blank">Эрих Ауэрбах</a>, толкуется предсказательно-<i>фигурально </i>(figura):<i> </i>каждое отдельное событие<i> </i>— это микрокосм, дающее представление о том как устроен весь космос. Так ветхозаветное древо познания добра и зла воспринимается <i>фигурально, </i>а именно предсказывает крест распятия в Новом Завете. Поэтому на иконах у подножия распятия изображают череп Адама, чей первородный грех искупает Иисус Христос. </span><br />
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<span face=""verdana" , sans-serif">Однако, то, что верно для всей традиции, будет верно для всех, кто ей принадлежит. Особенность же Бабеля и других модернистов начала прошлого века (Мандельштама и Хлебникова, Ахматовой и Джойса) состоит как в ясном осмыслении литературной традиции, так и в сознании <i>исчерпанности </i>её канона. Какнон обветшал и требовал обновления. Обновляли они его через осознанное </span>по-новому <i>возвращение</i> к первоосновам. Мандельштам и Джойс обращались к заново понимаемой Элладе, Хлебников -- к мифическим праславянам, Ахматова -- к Ветхому и Новому завету -- но приближенным к низменной повседневности (см. стихотворение "<a href="http://www.akhmatova.org/verses/verses/373.htm" target="_blank">Лотова жена</a>", где крушение царского режима осмысляется через легенду Содома и Гоморры). Аналогичный ход характерен и для религиозного фундаментализма с его жаждой возврата к раннему христианству именно в повседневности, и для психоанализа с его отсылкой к античности через физический "низ" (Эдипов комплекс и т.п.), и для тоталитарных политических идеологий, таких, как коммунизм, фашизм, нацизм с их заявкой на "возвращение" к по-новому осмысленным или просто выдуманным истокам. </div><div dir="ltr" style="text-align: left;" trbidi="on">
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<span face=""verdana" , sans-serif">В этой перспективе модернизм, особенно русский, делает заявку на ренессанс, возрождение античности в современности, а буквально — на игру в невольное, подсознательное угадывание в <i>современном</i> искусстве его </span><span face=""verdana" , sans-serif"><i>древней</i> </span><span face=""verdana" , sans-serif">канвы (так мы <i>узнаем</i> в Стивене Дедалусе Джойса Улисса-Одиссея, и так Мандельштам <i>узнает</i> в Крыму Древнюю Элладу - см. его "<a href="http://wikilivres.ca/wiki/%D0%97%D0%BE%D0%BB%D0%BE%D1%82%D0%B8%D1%81%D1%82%D0%BE%D0%B3%D0%BE_%D0%BC%D1%91%D0%B4%D0%B0_%D1%81%D1%82%D1%80%D1%83%D1%8F_%D0%B8%D0%B7_%D0%B1%D1%83%D1%82%D1%8B%D0%BB%D0%BA%D0%B8_%D1%82%D0%B5%D0%BA%D0%BB%D0%B0_(%D0%9C%D0%B0%D0%BD%D0%B4%D0%B5%D0%BB%D1%8C%D1%88%D1%82%D0%B0%D0%BC)" target="_blank">Золотистого мёда струя</a>"). Мандельштам лаконично сформулировал этот момент в стихотворении "Tristia": "И сладок нам лишь <i>узнаванья</i> миг".</span><br />
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<span face=""verdana" , sans-serif">Колоссальная насыщенность миниатюрного рассказа Бабеля позволяет читателю принять участие в модернистской игре на узнавание и разглядеть в </span><span face=""verdana" , sans-serif">перипетиях злобы дня с их </span><span face=""verdana" , sans-serif">острым бытовизмом канву священного текста, а в оглушительном шуме и гаме современности — вариацию темы, которую разыгрывает весь мировой оркестр. Пользуясь термином Ауэрбаха, рассказ Бабеля — <i>фигурален</i>. Он отсылает нас к архетипам культуры и позволяет разглядеть их очертания в казалось бы банальном и низменном быте. Ниже я постараюсь показать это на примере рассказа "Король" (1921), первого из цикла <i>Одесских рассказов.</i></span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif"><b>Жанр маленький и жанр большой</b></span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Несколько слов о жанровой "неразборчивости," вернее, о жанровой синтетичности Бабеля. Как русские лирические поэты-современники, такие, как Блок («Трилогия вочеловечения»), Мандельштам («Камень», «Вторая книга», «Воронежские тетради»), Ахматова («Вечер», «Четки», «Anno Domini»), Бабель писал циклами, главным образом от первого лица как бы <i>единого рассказчика с (авто-) биографией</i>, который непосредственно связан с описываемыми событиями. </span><br />
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<span face=""verdana" , sans-serif">Так «Одесские рассказы», «Конармия», «История моей Голубятни» (рассказы о детстве) и др. -- все связаны, казалось бы, с одним рассказчиком, у которого "на сердце осень, а на носу очки" ("Как это делалось в Одессе").</span><span face=""verdana" , sans-serif"> Благодаря такой циклизации Бабель, мастер яркой и гибкой малой формы, выстраивает свои рассказы в эпический цикл. Это особенно очевидно в рассказах о детстве и в "Конармии". Серия его новелл разворачивается в единое эпическое пространство, а в нём раздается речь и вычерчивается фигура автобиографического рассказчика, обладателя неповторимого бабелевского голоса. </span><br />
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">В этом смысле Бабель -- создатель этой новой гибридной прозаической формы (что-то подобное возникает и у Зощенко). Его цикл рассказов подобен </span><span face=""verdana" , sans-serif">современному роману с его одержимым рефлексией героем</span><span face=""verdana" , sans-serif">. И в этом искусстве сочетать яркий лиризм малой формы с эпичностью большой темы и интимностью автобиографии Бабель остается непревзойденным. Любопытно, что последователей у него оказалось много именно в Америке с ее широко распространенной темой культурной идентичности: такие, как писательница Грейс Пейли (<a href="https://en.wikipedia.org/wiki/Grace_Paley" target="_blank">Grace Paley</a>) с ее циклами рассказов и Филип Рот (<a href="https://en.wikipedia.org/wiki/Philip_Roth" target="_blank">Philip Roth</a>) с его циклами якобы автобиографических рассказов и романов о Цукермане, и, полагаю, Джон Апдайк (<a href="https://en.wikipedia.org/wiki/John_Updike" target="_blank">John Updike</a>) с его романными циклами о Гарри "Рэббите" Ангстроме...</span><br />
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<h3 style="text-align: left;">
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<span face=""verdana" , sans-serif">Любители ярлыков часто задают вопрос: русский или еврейский писатель Бабель? Он в полной мере <a href="https://dlcl.stanford.edu/sites/default/files/files_upload/Babel%20i%20Mandelstam.pdf" target="_blank">и тот и другой</a>, как, например, Николай Гоголь (украинский и русский), Джеймс Джойс (ирландский и английский), Филип Рот (еврейский и американский), Джеймс Болдуин (негритянский и американский), или Видиадхар Найпол (тринидадо-индийский и английский), Владимир Набоков (русский и американский). Но нам важно уточнение, а не ярлык.</span><br />
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<span face=""verdana" , sans-serif">Тематика, авторский голос — в основном, но не исключительно — связывают Бабеля с жизнью недавно модернизированного еврейства <a href="http://www.nlobooks.ru/node/1144" target="_blank">Одессы</a>, портового города на западной окраине Российской империи, который сыграл гигантскую роль в создании русской советской культуры (Олеша, Багрицкий, Катаев, Ильф и Петров, Рихтер, Ойстрах, и др.). Одесское еврейство было многочисленно, значительная часть его отличалась зажиточностью, образованностью и широтой кругозора. Быть евреем в Одессе не означало быть безнадежно ущемленным, как бывало в черте оседлости и за её пределами. Портовый город был наполнен иностранцами, и одесситы из образованной среды города, в том числе и евреи, чувствовали себя не меньше европейцами (иногда и больше), чем подданными Российской империи (об этом хорошо сказано у Юрия Олеши). Не удивительно, что первоучителями литературы для Бабеля стали французы (как, кстати, и у Горького, который в юности зачитывался "Королевой Марго"). От этого одесского космополитизма, особой толерантности <i><a href="https://magazines.gorky.media/nz/2011/4/forma-soderzhaniya-odessa-mama-isaaka-babelya.html" target="_blank">Одессы-мамы</a>, </i>и идёт та удивительная раскованность, с которой Бабель обращается с еврейской темой, </span><span face=""verdana" , sans-serif">такой болезненной </span><span face=""verdana" , sans-serif">у многих других авторов-евреев. Полагаю, что эта свобода от типичной русско-еврейской ущемлённости и поразила Горького в молодом, явившемуся к нему с улицы Бабеле.</span><br />
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<span face=""verdana" , sans-serif"><b>Король</b></span><br />
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<span face=""verdana" , sans-serif">Самый ранний из «Одесских рассказов», «Король», уже дает представление о том, как Бабель, «много битый, но не убитый» в польскую кампанию 1920 года </span>(<a href="http://www.ruthenia.ru/sovlit/j/2981.html" target="_blank">Шкловский</a>)<span face=""verdana" , sans-serif">, строил свою новеллу, наслаивая, как в </span><span face=""verdana" , sans-serif">палимпсесте, </span><span face=""verdana" , sans-serif">«нечестивую» современность на освященные традицией архетипы. Взгляните еще раз на <a href="http://lib.ru/PROZA/BABEL/odessa.txt" target="_blank">этот хорошо известный миниатюрный рассказ</a> -- это зерно, из которого вырос весь, или почти весь, последующий Бабель.</span></div><div dir="ltr" style="text-align: left;" trbidi="on">
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<span face=""verdana" , sans-serif">Впервые напечатанный в июне 1921 года в изголодавшейся и обнищавшей Одессе, </span><span face=""verdana" , sans-serif">«Король»</span><span face=""verdana" , sans-serif"> начинается с описания раблезианской дворовой кухни, где готовятся яства для свадьбы сестры Бени Крика. Несметные груды еды, ручьи поварского пота и само гомерическое пиршество отсылают к карнавальному роману Рабле и задают рассказу общий пародийный и <i>утопический</i> тон (утопическое изобилие), особенно по контрасту с голодным городом.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSwh8qpistv4D2Aerk5-Kz3G_HzW0QtHW7HR1NHVIiyAouKp9-P1fiuQTslpvDCmp3OVkD-hh0Jl9imuVIjDY55KcWA3xIXJOq0vLdPm4vhsQsFa2sY2Z31TPubzmVP2FAGSilZw6RjLJz/s1600/bk_3women1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSwh8qpistv4D2Aerk5-Kz3G_HzW0QtHW7HR1NHVIiyAouKp9-P1fiuQTslpvDCmp3OVkD-hh0Jl9imuVIjDY55KcWA3xIXJOq0vLdPm4vhsQsFa2sY2Z31TPubzmVP2FAGSilZw6RjLJz/s320/bk_3women1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Фильм "Карьера Бени Крика" (1926)</span></td></tr>
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<span face=""verdana" , sans-serif">"Король" - это прозвище одесского гангстера, выставленное в заглавие, и оно подсказывает еще один сюжет, на этот раз взятый из еврейского Священного Писания, и еврейской религиозной традиции. Это -- пришествие Мессии, то бишь царя (Король), помазанника Божия, который приходит с "сильной рукой" (десница с браунингом), и который призван установить мир и справедливость среди людей. Что </span>Король Бабеля <span face=""verdana" , sans-serif">и осуществляет, пусть и в ироничном ключе. </span><span face=""\22 verdana\22 " , sans-serif">С его появлением, власть переходит из рук </span>государя императора, гонителя евреев, в руки еврейского короля бандитов, иначе, пародийного Мессии. Бабель подчеркивает этот переворот устами нового полицейского пристава: "Там, где есть Государь Император, там нет короля." А получается именно наоборот!</div><div dir="ltr" style="text-align: left;" trbidi="on">
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<span face=""verdana" , sans-serif">Беня устраивает пожар в участке, полицмейстер вынужден отменить облаву, и собравшийся на свадьбе мир одесской Молдаванки — а <i>фигурально</i> и мир вообще — может насладиться древней еврейской утопией Субботы — и </span><span face=""\22 verdana\22 " , sans-serif">как и положено в Шабат, </span><span face=""verdana" , sans-serif">покойно «пить и закусывать» и не "волноваться этих глупостей». </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgisDCF2idkcrcYjRQ6tqIq1p2zPkUi7Lr7Qof5y51Dn9gx2rfd5DxzBb9G2oKTRQ9K3NeDSnMETlpPyqOgMO8G2vui-MoOwpfscA6s48LkABgjpgRZHZLA9G8zsNwAej4u_ew7OzzSdmJG/s1600/bk_wedding1.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgisDCF2idkcrcYjRQ6tqIq1p2zPkUi7Lr7Qof5y51Dn9gx2rfd5DxzBb9G2oKTRQ9K3NeDSnMETlpPyqOgMO8G2vui-MoOwpfscA6s48LkABgjpgRZHZLA9G8zsNwAej4u_ew7OzzSdmJG/s320/bk_wedding1.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Фильм "Карьера Бени Крика" (1926)</span></td></tr>
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<span face=""verdana" , sans-serif">Еще два ключевых сюжета всплывают во вставной новелле, повествующей о том, как Беня Крик женился на дочери респектабельного молочного магната Эйхбаума. </span>Фамилия Эйхбаум, созвучная Борису Эйхенбауму, автору знаменитой статьи <a href="http://philologos.narod.ru/classics/eihshinel.htm" target="_blank">"Как сделана 'Шинель' Гоголя"</a> (1918), намекает на присутствие литературного мотива. Бабель как бы подсказывает читателю, что еврей-поставщик молочных продуктов с незамужней дочерью — это литературная пародия знакомого персонажа из рассказов Шолем-Алейхема, а именно Тевье-молочника с его пятью незамужними дочерьми. Так возникает тема литературного заимствования: "налёта" молодого автора на широко известного писателя и состязания с ним. </div><div dir="ltr" style="text-align: left;" trbidi="on">
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Таким образом, Бабель предлагает читателю сопоставить новое искусство со старым, свое авторство — с творчеством "еврейского классика" Шолом-Алейхема, выстраивая аналогию между литературной преемственностью, с одной стороны, и коллизией Бени Крика и его будущего тестя Эйхбаума, с другой. Среди разных благ, которые Беня Крик предлагает старику Эйхбауму за руку его дочери, есть самое главное, соединяющее уважение с старому классику, </span>у которого он многому научился, и желание побить его на его же поприще. Так Беня Крик обещает <i>похоронить</i> своего тестя с честью на первом еврейском кладбище «у самых ворот» и поставить ему «памятник из розового мрамора». Exegi monumentum. Я памятник себе (тебе?) воздвиг нерукотворный... Так Бабель с иронической улыбкой отсылает читателя к своему еврейскому учителю в рамке классического архетипа посмертной славы поэта, священного для русского читателя. Или говоря современным языком, даёт Горация, Шолом-Алейхема и Пушкина в одном стакане.</div><div dir="ltr" style="text-align: left;" trbidi="on">
<span face=""verdana" , sans-serif"><br /></span><span face=""verdana" , sans-serif">Бабель как бы выстраивает легенду своей авторской генеалогии. В ее рамке </span><span face=""verdana" , sans-serif">Шолом-Алейхем занимает место отца еврейской литературы на идиш (как Пушкин - русской), а он, Бабель — </span>лихой<span face=""verdana" , sans-serif"> зять Эйхбаума-Шолем-Алейхема — создает <i>русскую</i> еврейскую литературу. </span><span face=""verdana" , sans-serif">Тевье, г</span><span face=""verdana" , sans-serif">ерой рассказов Шолом-Алейхема, беззащитен, он — <i>молочный</i> ("мильхер" на идиш, т.е., слабак, не способный на насилие), а герой Бабеля — новый тип еврея — размахивающий браунингом бандит "большого города". Если современные еврейские персонажи Шолом-Алейхема стоят </span>еще одной ногой в патриархальном мире и соблюдают кашрут, то евреи Бабеля принадлежат новому поколению: они модернизированы и стоят обеими ногами на тротуаре "большого города". Им наплевать на табу иудаизма, и они не просто режут телок на ферме Эйхбаума, а делаю это так, что заколотые телята, вопреки Закону, «скользят в крови матери». </div><div dir="ltr" style="text-align: left;" trbidi="on">
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<span face=""verdana" , sans-serif">В «Короле» Бабель оставляет мир Шолом-Алейхема позади, хотя и не отрицает преемственности и признает, пусть в форме литературной пародии, что многим </span>ему <span face=""verdana" , sans-serif">обязан. Он ведь готов поставить своему литературному "тестю" </span><span face=""verdana" , sans-serif">«памятник из розового мрамора», но только при условии, что стоять он будет у кладбищенских ворот</span><span face=""verdana" , sans-serif">. Читатели "</span>Конармейского Дневника" Бабеля заметят, как перекликается этот кладбищенский образ с повторяющимся восклицанием Бабеля: "До свиданья, мертвецы!" (3.6.1920, Житомир). </div><div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm2cNYMRvDjMbV0-KMPpb-x6ke4GScxTPUyAerUBmH51AxuA7onlE4OKauriXazorl8Y7u4B3OHvMyRyZflPNdccyhna5_pDh9UxptzmB0gf0j8YaoBSSbMZ5PD2OEz4_GKO2ag2kRYDZI/s1600/bk_mouth.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm2cNYMRvDjMbV0-KMPpb-x6ke4GScxTPUyAerUBmH51AxuA7onlE4OKauriXazorl8Y7u4B3OHvMyRyZflPNdccyhna5_pDh9UxptzmB0gf0j8YaoBSSbMZ5PD2OEz4_GKO2ag2kRYDZI/s320/bk_mouth.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Фильм "Карьера Бени Крика" (1926)</td></tr>
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<span face=""verdana" , sans-serif"><br /></span></div><div dir="ltr" style="text-align: left;" trbidi="on"><span face=""verdana" , sans-serif">Революция разорвала связь времён, хотя н не уничтожила литературной преемственности. В «Короле» Бабель вплетает еврейскую ленту в западно-европейский (включая русский) литературный канон. И здесь же он впервые набрасывает карту будущей <i>русской еврейской</i> литературы собственного извода. Не пройдет и четырех лет, как он заселит еë пространство еврейскими бандитами из Одессы, их «кузенами» — казаками из Первой конной армии Буденного, галицийскими хасидами, а потом прибавит к ним еще и кучу родственников и соседей мальчика «Бабеля» (так зовет его мать в ранних публикациях рассказа «Первая любовь») — того самого мальчика, который пережил погром в Николаеве, и чья юность прошла в Одессе — портовом городе, из которого ему открывался ХХ век… </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxkF7VADuMGpQs0PrbNTqqlY9d6ryypgDG61eQL15o0hN5LHwMOdMshu1bcCXAnMDvnDv6aTVkzTwGl7IrfnA_r-47FYL3rM9bW2zw2CMFyRu8wotLzJ3B9Jc2ib6t-5Tqz38j9F2wQoa4/s1600/babel_age13.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxkF7VADuMGpQs0PrbNTqqlY9d6ryypgDG61eQL15o0hN5LHwMOdMshu1bcCXAnMDvnDv6aTVkzTwGl7IrfnA_r-47FYL3rM9bW2zw2CMFyRu8wotLzJ3B9Jc2ib6t-5Tqz38j9F2wQoa4/s320/babel_age13.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Исаак Бабель в 1907 г.</td></tr>
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<span face=""verdana" , sans-serif">Беркли-Стэнфорд, Калифорния. 2016 г.</span><br />
<span face=""verdana" , sans-serif">© 2016-2022 Gregory Freidin</span><br />
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<i>Это короткое эссе я написал по просьбе журнала <a href="http://www.lechaim.ru/8523" target="_blank">Лехаим</a> (#286, 2 мая 2016 г.) по поводу новой литературной Премии Бабеля за лучший русскоязычный рассказ. Вопрос мне был поставлен так: "Что такое бабелевский рассказ </i><i>как явление, насколько он еврейский, насколько - русский?" Просили 500 слов, но взяли и 800. Я ответил, как мог, сжато и, надеюсь, смачно (все-таки Бабель!). И вот что получилось. Специалистам кое-что будет знакомо по моим старым работам, но есть и новое. В отличие от журнальной публикации здесь больше места и дышится свободней, можно досказать мысли, есть фотки и, главное </i><i>— концовка — важная для Бабеля "</i><i>вовремя поставленная точка." Правлено, июнь 2022 г.</i><br />
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-41146236505007540052016-01-15T16:30:00.001-08:002016-02-19T14:59:59.600-08:00Иосиф, ты слышишь? Вспоминая Бродского и Барышникова середины 70х<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">ИБ на Ноб Хилл в С-Ф. 1988. Фото автора.<br />
© 1987 by G. Freidin<br />
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Читал Акачелу в <a href="http://www.nybooks.com/articles/2016/01/14/a-ghost-story/" target="_blank">NYRB</a> про Бродского/Барышникова. A Ghost Story. Всколыхнулось многое. Не удержался -- и вот сам уповаю на духов.<br />
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Помню хорошо середину 70-х, когда я с Мишей познакомился, вернее, был ему представлен. Твердое рукопожатие и серьезный, сосредоточенный вид, чем он отличался от остальной балетной кампании. А стихи Иосифа, посвященные Мише (<a href="http://josephbrodsky.narod.ru/baryshnikov.html" target="_blank">"Классический балет есть замок красоты"</a>), полюбил тогда же в 1976 г...<br />
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Сейчас перечитал - и меня обожгло ароматом тех дней.<br />
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Иосиф, ты слышишь?<br />
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Такая пряная травяная настойка, что сам Верлен бы позавидовал! У него только мята и тмин а у тебя там целый музей нашей жизни! Вот продернутый через акмеистическое колечко французский -- балетный -- семнадцатый и русский восемнадцатый век. Ты их подаешь хитро -- через чопорное "Я не увижу знаменитой Федры" Мандельштама (он нет, а ты - увидел!). Но не не в лоб, а околицей -- через ритм смежного стишка: "Природа -- тот же Рим". Так ведь?<br />
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И тут же, не переводя дыхания, вызываешь дух Хлебникова, чтоб тот дал футуристическую подножку Мандельштаму своим "Кузнечиком" и "Бобэоби".<br />
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В имперский мягкий плюш мы втискиваем зад, </div>
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и, <i>крылышкуя</i> скорописью ляжек, </div>
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красавица, с которою не ляжешь, </div>
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одним прыжком выпархивает в сад.</div>
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А главное -- закончил ты свой "стишок" серенадой нашему удачному-- удавшемуся -- изгнанию. И правда: каждый из нас приземлился и встал на свое место в Америке.<br />
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Помню, когда мы с тобой встречались раз в пол-года или в год и выбалтывались друг другу, водопад - водопаду. Было ощущение переполненной чаши, жизни взахлеб. Богемные кафушки в North Beach, китайские завтраки рядом в Чайна Таун, коктейли после причащения у тихо-океанского прибоя в Клифф Хаус, вечера у нас. Или у тебя – China Town или в Little Italy. Чувствовалось все и воспринималось ярко, как в детстве.<br />
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В середине 70-х приезжал к нам на гастроли Американский балетный театр с Мишей Барышниковым (он уже ушел от Баланчина). У него тогда еще был или только что кончился несчастный роман с Гелзи Кёркланд, и они в Сан-Франциско танцевали Жизель с таким исступлением, что казалось, разыгрывали личную драму. Я - романтик, и у меня дух захватывало. Хотелось самому прыгнуть и сцену перелететь, "крылышкуя скорописью ляжек."<br />
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И вот кружатся вилисы на кладбище, закручивают повесу Ганса до полусмерти, ну а Гелзи, то бишь, Жизель его, то бишь Мишу, все-таки прощает и спасает... Взрыв оваций. Занавес. Восторг. А потом за кулисами у Миши в уборной -- благодарность, обожание, как у курсистки, и у меня чуть было не обморок от вида его окровавленных ступней, когда он снимал балетки и бинты. Вот это счастье, вот это искусство!<br />
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Ты это запечатлел -- и наш тогдашний культ Мандельштама, акмеистов и футуристов и вообще 1920-х годов, а вместе с этим ощущение такой податливой (нам казалось?) американской почвы, куда мы пересадили наши корни.<br />
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Вот твои последние два четверостишия. У меня от них еще больше, чем тогда мороз по коже и благодарность тебе за эту нашу временную вечность. Вижу улыбку.<br />
Читаю про себя, но слышу твой хрипловатый, картавый голос:<br />
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Как славно ввечеру, вдали Всея Руси,<br />
Барышникова зреть. Талант его не стерся!<br />
Усилие ноги и судорога торса<br />
с вращением вкруг собственной оси<br />
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рождают тот полет, которого душа,<br />
как в девках, заждалась, готовая озлиться!<br />
А что насчет того, где выйдет приземлиться, --<br />
земля везде тверда; рекомендую США.<br />
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Привет тебе из Беркли! Надеюсь, Миша со спектаклем заглянет и к нам...<br />
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15.1.2016<br />
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0tag:blogger.com,1999:blog-523286473767676859.post-63617973929590507042015-10-19T10:22:00.000-07:002015-10-19T13:12:20.805-07:00GRISHAFEST<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;">Как у Зощенко, моя
«жизнь начинается в понедельник» — после пиров, когда голова еще идет кругом.</span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;">В пятницу был прием в
Стэнфордском гуманитарном центре с леткой руки бесподобной Габриеэллы Сафран.
Говорили аспиранты, бывшие и нынешние, и коллеги. Много смешного и трогательного. А в субботу мои
бывшие аспиранты (теперь-то они все от первой до последнего — профессура)
устроили в мою честь однодневную конференцию. </span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;">Вот это было чудо! Какие они все
разные, как ярко они высвечивают прошлое и настоящее, и как они свободны! С каждым хотелось говорить заполночь!</span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;">Потом
был обед, выступали друзья и коллеги, с которыми я прошел все большие вехи -- от первых моих классов в Стэнфорде до Москвы 1980-х и 90-х, до Бабелевского фестиваля, до последних семинаров по Анне Карениной, Бабелю и Мандельштаму. Пришел даже один из самых моих первых студентов (теперь в Стэнфорде заведует институтом)!</span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;">Друзья мои, я был тронут до глубины души
— до самой до глубины! Спасибо! </span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;">Конечно, многих не доставало. Многие уже <i style="mso-bidi-font-style: normal;">там</i>, другие — далече. Хотелось бы всех поименно назвать...</span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;">Последним говорил
О.Э. Мандельштам, хотя губами шевелил я. Вот дословно:<o:p></o:p></span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;">Я к величаньям
еще не привык.<o:p></o:p></span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;"> Только стихов
виноградное мясо<o:p></o:p></span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;"> Мне освежило —
случайно — язык.<o:p></o:p></span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;">***</span></span></div>
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<span lang="RU" style="mso-ansi-language: RU;"><span style="font-family: Verdana, sans-serif;">Пунктуация — моя.
<i style="mso-bidi-font-style: normal;">ГФ. </i>Прилагаю программу</span><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">Фотографы. Стр. 1 -- слева: Anne Nesbet (2014); стр. 1 -- справа (2015) и стр. 2 (1973): Victoria Е. Bonnell; последнее (2014): Andrei Ustinov </span></div>
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Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com1tag:blogger.com,1999:blog-523286473767676859.post-69752599877424601952015-10-06T09:57:00.000-07:002015-10-06T15:10:55.896-07:00WINTER ON FIRE - Documentary about the Maidan Revolution of 2013-14<div dir="ltr" style="text-align: left;" trbidi="on">
I was at the San Francisco showing of a fantastic new documentary about the Maidan revolution, <a href="https://www.blogger.com/:%20http://www.imdb.com/title/tt4908644/" target="_blank">"Winter on Fire" (dir. Evgeny Afineevsky)</a>, that was organized by Tom Luddy at the Dolby Labs building on Potrero.<br />
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<a href="https://pmcvariety.files.wordpress.com/2015/08/netflix-winter-on-fire.png?w=670&h=377&crop=1" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://pmcvariety.files.wordpress.com/2015/08/netflix-winter-on-fire.png?w=670&h=377&crop=1" width="400" /></a></div>
This morning, I still feel overwhelmed by this film documenting the 94 days of protests provoked by President Yanukovioch reneging on his promise to proceed with European integration of Ukraine.<br />
I have been in a revolution before, and I still <a href="http://thenoiseoftime.blogspot.com/2011/08/to-barricades.html" target="_blank">vividly remember the three days I spent outside the White House in Moscow in August 1991</a> (and then some both there and the Kremlin). It felt like being plugged into some high energy field, being both bigger and smaller than usual, but most of all being connected to the other defenders of the White House, their energy flowing through me and mine, through them. I remember feeling totally incredulous as I realized I was standing in a line blocking a column of APC's coming right at us from the direction of Kalininsky Propekt...<br />
Afineevsky managed to catch the spirit of this revolutionary moment -- the moment when a new consciousness is born, whether it is a new religion, a new society, or a new country. Those three days in August 1991 filled me with enough spirit of commitment to last for two decades, and there is some left even today. This is what Beethoven must have meant when he used Schiller's Ode to Joy: Sein umgeschlungen, Millionen... When I heard it afterwards, I felt for the first time that I knew what the chorus was singing about.<br />
Of course, life is more complicated, and I am sure the Maidan revolution itself was more complicated, but the Big Spirit prevailed, and that is the focus of the film.<br />
After the revolution, comes political drudgery of nation-building, the process that Max Weber called routinization of charisma: the hard work of transforming this transcendent spirit into functioning, orderly institutions of society and state. I hope Ukraine succeeds where Russia seems to have faltered. <br />
"Winter on Fire" makes the Maidan revolution, perhaps, the first to be "crowd-documented" on video: from HD Canon cameras to iPads, iPhones, and just plain cell phones, some of them turned on and left running by the victims of riot police cracking their sculls open. It's all there in the film, edited into one big tsunami wave of revolutionary spirit washing over the Square.<br />
I especially recommend the film to those people -- foremost among them, President Vladimir Putin - who think that the Maidan revolution was the result of the CIA or State Department or some other Western behind-the-scenes manipulation. I hope the film will change their mind. Needless to say, "Winter on Fire" is not the whole story. Because of the film's exclusive focus on the grass roots, it may not do justice to the contretemps among the leaders of the Maidan or some groups like the Right Sector, but the film shows beyond reasonable doubt that this was an authentic social movement of Ukrainian people -- at first, the Kiev student, then the cross-section of society -- that coalesced over three months and, paying the highest price in the dead and the wounded, overthrew the corrupt regime that had betrayed them.<br />
There is still a lot of work to be done in Ukraine...<br />
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Please note: "Winter on Fire" is scheduled to premiere on Netflix on October 9. <a href="https://www.youtube.com/watch?v=RibAQHeDia8" target="_blank">Here's a link to the trailer on Youtube.</a></div>
Grisha Freidinhttp://www.blogger.com/profile/00341505825528895675noreply@blogger.com0