Modern Kostroma writers. Department of Culture of the Kostroma Region. mosquito and ant

GALICIANS - POETS

AKIM YAKOV LAZAREVICH

(b. 1923)

WRITER, CLASSIC OF CHILDREN'S LITERATURE,

MEMBER OF THE UNION OF WRITERS OF THE RUSSIAN FEDERATION

Yakov Lazarevich Akim was born on December 15, 1923 in the city of Galich into a large and friendly Akim family. As Yakov Lazarevich recalls,

“My childhood spent in this town helped me later write many poems. And also parents: in the evenings, music often sounded in the house. My father, a mechanic, played the violin decently, my mother, a librarian, loved to sing, accompanying herself and my brother and me on the guitar or on the mandalin. In Galich, Yakov Lazarevich went to school (now it is secondary school No. 4). At school, he had to edit a wall newspaper, in which he placed his very first poem.

Then my father was transferred to work in the regional center, from there to the People's Commissariat of Agriculture in Moscow. The family moved there in 1933. In Moscow, Yakov Lazarevich continues his studies at school.

The Great Patriotic War began. In July, the forty-first year, the father of Yakov Lazarevich died while defending Moscow from an air raid. By right of elder, Ya.L. Akim takes his mother and younger brother to Ulyanovsk, to be evacuated, and from there he goes to the front. He went through the whole war, fought on the Voronezh, Don, Stalingrad fronts. There was no time to write poetry then.

Only after the war, when Yakov Lazarevich began to study at a chemical university and attend the institute’s literary association, as he himself says, “an unusual desire to write appeared. It was like letters to people dear to me, in particular, to my little daughter and son - my first poems for children. And Samuil Yakovlevich Marshak blessed him on this difficult path with the words: “write, my dear, so that they cannot fail to print you.”

Poems by Yakov Lazarevich began to be published willingly in children's magazines, in Pionerskaya Pravda, starting in 1950. Then books began to be published in Detgiz, Malysh and other publishing houses. In 1956, a selection of "adult" poems appeared in the collection "Literary Moscow", as well as in the "Day of Poetry".

Yakov Lazarevich is an excellent translator. Thanks to his translations, our reader got acquainted with the works of poets from many CIS countries. He brought many talented writers to the creative path, for which he was awarded Certificates of Honor from all the Union Republics of the former USSR.

Despite his age, Yakov Lazarevich continues to work successfully. In 1998, his collection "Winter Rain" was published, in 2002 - the collection "From silence, a cautious word." He is a member of the editorial board of the Murzilka magazine.

Yakov Lazarevich, a member of the Writers' Union, was awarded the Order of the Badge of Honor. For the book of selected translations for children "I hurry to a friend" he was awarded the Andersen Honorary International Diploma. The publishing house "Children's Literature" in 1991 released the Golden Volume of Ya.L. Akim "The Girl and the Lion" in the "Golden Library of Children's Literature" series.

Yakov Lazarevich Akim does not forget his native Galich. He dedicated a number of his poems to him: “Motherland” (1970), “City of Galich” (1956), “It is strange to me that I am still alive ...” (1958), “Rain on the Square” (1965), “Street”, “ On a skiff."

According to his works in the 50s of the last century, a play was staged in secondary school No. 1 and Akim came to his premiere. The last visit of Yakov Lazarevich to Galich took place in January 2000.

By the Decree of the Kostroma Regional Duma No. 1321 dated May 29, 2003, the Galich Children's Library was named after Ya.L. Akim.

At present Ya.L. Akim lives in Moscow.

Ya. Akim - Autobiography, in the collection "Winter Rain", Moscow organization of the Union of Writers of the Russian Federation, "Poetry", M, 1998

V. Klevich - “I didn’t squander the inheritance of my dear homeland in empty words”, Galichskiye Izvestia, No. 23 (10358), 24.02.2000

"Named after Y.L. Akim", "Galich News", No. 67-68, 12. 06.2003

M.P. Shkotov - “4th school named after. F.N. Krasovsky of the city of Galich - 200 years, vol. 2, pp. 69-70, Galich, 1991

Materials of the Museum of Secondary School No. 4.

B. Nikolsky - "School Opera", "Lenin's Way" No. 51 (6685) dated 04/27/1976

BALAKIN YURI IVANOVICH

(1932 – 2006)

POET

Yuri Ivanovich Balakin was born on December 22, 1932 in the city of Galich, Kostroma Region, in a family of employees: his father is a trade worker, his mother is a teacher.

In 1950, Yuri Ivanovich graduated from railway school No. 16 (now secondary school No. 4). After graduating from school, he entered the Leningrad Order of Lenin and the Red Banner of Labor Mining Institute. Received the specialty of a mining engineer-mine builder. He worked in the mines of the Urals, Donbass, Kuzbass.

He returned to Galich several times, and in 1968 he returned, so as not to leave his small Motherland anymore.

Throughout his conscious life he was fascinated by literature, especially poetry. I read a lot. Together with his wife Galina Mikhailovna, he collected a large (more than 3,000 books) library. Tastes changed - poets and writers too.

Yuri Ivanovich began to compose his first poems in his youth. These were epigrams for friends, jokes, madrigals. Further, things did not go, and there was no confidence in their literary strength.

But as time went on, the accumulated life material required some kind of self-expression. He began to write poetry seriously. But it wasn't that easy. There were many mistakes and failures in the publication of the first collections.

For twelve years of work in the field of poetry, Yu.I. Balakin from helpless, sometimes half-childish poems, reached publications in regional newspapers and magazines, "almanacs", "anthologies", in the journal "Provincial House", in the capital's magazine "Our Contemporary".

The Galich printing house published a number of collections of the poet, among them: "Mosaic" (1992), "... Sorrows eternal companion" (1998), "Selected" (1998), "... And every day a reward" (2000), "Time, time, time "(2001)," Poems "(2002).

Yuri Ivanovich often spoke to readers of Galich libraries, to schoolchildren, and was engaged in social work.

Yu. Balakin - "Autobiography", materials of the museum of secondary school No. 4.

"Galich region", Galich, 1995, p.154.

V. Lapshin - "Poetry is love", "Galic news", No. 42 (10230), 04/15/1999

BALASHOVA ELENA LVOVNA

(b. 1949)

Elena Lvovna Balashova was born in 1949 in the village of Galuzino, Muravishchensky village, Galich district.

A small village, lost in the deaf lakeside forests of the Galich land, has been saturated with poetry since Pushkin's times. It is unlikely that there is such a corner anywhere else that has given so many talented poets: Elena Balashova, Svetlana Vinogradova, Vera Klevich, a talented director and actor, creator of the famous BAM Theater in Zvyozdny, Anatoly Baikov.

A serious illness deprived Elena of many joys in her childhood. Being alone for a long time, she learned to observe, feel, think and find a verbal equivalent to all this - poetry. Her poetry is piercingly pure does not leave any reader indifferent.

Lena began writing her poems at school. Here is how she herself remembers this time. “Russian language and literature was taught by Valentin Semyonovich Panin. Almost all the girls in the class were in love with him. He was very attentive to any manifestation of the creative abilities of students. I remember that I always wrote school essays with love, I always wanted to say something more than the school curriculum required, and say it in my own words. Valentin Semyonovich understood me, and I was in awe of him. And at the graduation party, I read my first poem, which was dedicated to him. One of my classmates copied it and sent it to Severnaya Pravda with my address. I did not know about this and was surprised by the letter from the editorial office. Igor Alexandrovich Dedkov answered me. As I now understand, this man, despite being very busy, managed to find time to answer me, the girl. Not just answer, but parse the verses and give good advice. This was my first poetic baptism."

Then there were poetry collections: "Vicious Circle", "High Light". Elena Lvovna published her poems in the newspapers Leninsky Put, Galichskiye Izvestiya, Severnaya Pravda, Molodoy Leninets. In 1977, she took part in a meeting of writers of the Non-Black Earth Region, after which Lena's poems entered the Russian expanse. Her poems were published in the collections of the Upper Volga publishing house, in the Neva magazine, in the newspapers Literary Russia, Rural Life. Moscow artists write music and perform on her poems.

For books of poems E. Balashova in 1998 was awarded the prize of the head of the administration of the region "Recognition".

In 2002, by order of the Ministry of Culture of the Russian Federation, Elena Lvovna was awarded the badge "For Achievements in Culture".

Now Elena Lvovna Balashova lives in Chukhloma, but she is a frequent visitor to Galich. He often performs in front of the Galicians at his creative evenings.

T. Golyatina - “I always wanted to say something more ...”, Severnaya Pravda, November 15, 1997, p.6

VORONOV VITALIY IVANOVYCH

(1928 – 1972)

POET, THEATER

Vitaly Ivanovich Voronov was born in the village of Khlyabovo, Galich District, Kostroma Region. Soon the parents move to live in Galich.

Vitaly Ivanovich studied at the 16th railway school (now secondary school No. 4), which he graduated in 1947.

After leaving school, he entered the Leningrad Mining Institute, Order of Lenin and the Red Banner of Labor, which he successfully graduated in 1952 with a degree in mining engineer-economist. He worked in the mines, but due to health reasons he had to return to Galich. Here his talent as a poet and theater-goer was revealed.

Vitaly Ivanovich's abilities for versification and drawing manifested themselves in his school years. He published his poems in the local newspaper.

IN AND. Voronov wrote the poem "Galician", dedicated to the Galician scout Antonina Kasatkina. The poem was published in the newspaper "Lenin's Way".

In Galich, Vitaly Ivanovich immediately joins the staff of the People's Theater, which reopened in 1959 with the play "Young-Green". The theater director Nina Vasilievna Myasnikova described the artistic steps of Vitaly Ivanovich as follows: “Well, what can I say to you! You are an artist. There is a father-financier in the play. Ah, if you knew the role well, it would be even better to “represent”.

The further life of Vitaly Ivanovich was connected with the theater. He was the head of the production and literary part of the theater, was an actor.

Yu. Balakin - "A word about V.I. Voronov." Materials of the Museum of Secondary School No. 4.

VERA KLEVICH

(b. 1954)

MEMBER OF THE UNION OF JOURNALISTS OF RUSSIA,
JOURNALIST, POET

Vera Lvovna Klevich was born on May 31, 1954 in the village of Galuzino, Muravishchensky s / s. Since childhood, she loved literature, was fond of the theater, arranging concerts for the villagers together with her peers.

She graduated from the ten-year period at the Nikolo-Berezovskaya secondary school. Then there was the Kostroma School of Culture - a library department. After graduating from college, she worked as the head of the reading room in the Krasnoye on the Volga regional library, then went to work at the editorial office of the Krasnoye Privolzhye newspaper, linking her life with journalism. In 1985, Vera Lvovna was accepted into the Union of Journalists of Russia.

Working in the editorial office of the "Red Volga Region", she graduated in absentia from the Karavaev Agricultural Institute, animal engineering department.

Since June 1992, Vera Lvovna has been living in Galich and working as her own correspondent for the Severnaya Pravda newspaper in the Galichsky, Chukhlomsky and Soligalichsky districts. Her essays, articles, reports are always interesting to readers.

Vera Klevich, like her sister Elena Balashova, loves poetry and composes poetry. Her poems are often published in periodicals. Her book of poems "Confession" was published, poems were published in the anthology "Galician Territory" (1995) and in the collection of poems "Everything begins with love."

Materials of the regional library. M. Gorky.

LAPSHIN VIKTOR MIKHAILOVICH

(b. 1944)

POET, TRANSLATOR, JOURNALIST

MEMBER OF THE UNION OF WRITERS OF THE USSR

Viktor Mikhailovich Lapshin was born in 1944 in Galich.

In 1961, Viktor Mikhailovich graduated from high school No. 4 and entered the Kostroma Pedagogical Institute. From the third year he is taken to serve in the army. After demobilization, he transferred to the Vologda Pedagogical Institute, but for family reasons he left his studies. For several months he worked as a correspondent in the circulation of the Sukhona Shipping Company.

In 1968, Viktor Mikhailovich Lapshin returned to Galich and went to work at the editorial office of the regional newspaper Leninsky Put (now Galichskiye Izvestia) as a literary employee of the agricultural department. Then the head of the department of letters, headed the department of industry.

In 1986, after he became a member of the Union of Writers of the USSR, Viktor Mikhailovich is engaged only in creative work. For six years he has been writing poetry, translating poems by Caucasian poets for the Moscow publishing houses Sovremennik and Khudozhestvennaya Literatura, collaborated with the Saratov magazine Volga as a reviewer (both poetry and prose).

From 1992 to 2003 he returned to work at the editorial office of the Galichskiye Izvestia newspaper as a correspondent for the department of economics and agriculture.

Viktor Mikhailovich Lapshin is the author of collections of poems: “On native winds” (Yaroslavl, 1979), “Late spring” (“Young Guard”, 1985), “Will” (“Contemporary”, 1986), “ Desire "(Yaroslavl, 1988)," The world is imperishable "(" Soviet writer "1989), "Duma-dal" ("Contemporary", 1989), "Ring" (Kostroma, 1994), "Sleep Star" (Galich, 2001).

Poems and poems of Viktor Mikhailovich were published in the capital's magazines "Our Contemporary", "Young Guard", "October", "Spark", "Lepta", "Moscow", "Literary Study", "Rus" (Yaroslavl), "Provincial House ”(Kostroma), “Russian Province” (Veliky Novgorod), in the capital almanacs “Sources” (1977), “Inspiration” (1981), “Poetry Day” (1983, 1985, 2002) , "Poetry" (1982, 1988, 1990), "Clean Ponds", "Word" (1989), in collective Moscow collections. Poetic selections were published in the weeklies of Moscow and other cities - Literary Gazette, Literary Russia, Russian Cathedral, Star of the Fields, in the collective collections of Yaroslavl and Kostroma.

Translations by V.M. Lapshin were published: the collective collection “I Love the Caucasus” (“Contemporary”, 1988), Mamed Ismail “My Shrines” (“Fiction”, 1989), Sali Archakov “Strict Time” (Grozny, 1989) , Girikhan Galiev “Morning Trees” (“Contemporary”), Taif Adzhba “Instead of Dots” (“Contemporary”, 1990), Arben Kardash “Cry, My Willow” (1995) and “Smoke of the Fatherland” (Makhachkala, 1997). V.M. Lapshin continues to collaborate with Moscow writers and continues to work on translations.

Three poems by V.M. Lapshin were included in the anthology of the best poems XX century.

According to the materials of the newspapers "Galichskiye Izvestia" for 1980-2003.

A. Mosolov - "Characteristics of Viktor Mikhailovich Lapshin, a member of the Union of Writers of the USSR", 2003

OBODOVSKII PLATON GRIGORIEVICH

(1805 – 1864)

RUSSIAN POET, DRAMATIST, TRANSLATOR

Platon Grigoryevich Obodovsky is one of the Russian poets who came out of the Galicians. Pupil of the St. Petersburg Higher School, translator of the Ministry of Foreign Affairs, class inspector at St. Catherine.

He published a number of poems in magazines and separately (“The Royal Flower Garden, 1840, “The Orphan of Chios” - a poem in verse, 1828, etc.).

It was a popular poet C I C century. Famous composers wrote music to his poems: A. Alyabyev, M.I. Glinka, A. Varlamov. So A. Alyabyev wrote a romance for the poem "Coffin", for the text "Palermo" - M.I. Glinka. Composers A. Varlamov and V. Sokolov composed a romance based on the text of Platon Grigorievich's poem "Song of the Greek".

Such poems as “Russian Song” (“Don’t cry, don’t grieve) and “Song” (“Don’t cry, don’t cry, beauty”) were very popular at one time.

Platon Grigorievich translated and originally wrote a number of dramatic works: “Father and Daughter”, “The First and Last Love of Charles CII ”, “Brothers Merchants”, “Boyar Word”.

Died P.G. Obodovsky in 1864 in St. Petersburg.

“Our newspaper wrote. 1966, Galichskiye Izvestia No. 37(10372) dated March 28, 2000

"Encyclopedia" Brockhaus and Efron, electronic books, Discovery 1M trademark, IDDC Group LLC, Moscow, 2003

POTEKHIN SERGEY ALEKSANDROVICH

(b. 1951)

POET, MEMBER OF THE UNION OF WRITERS OF RUSSIA

The village of Kostoma is famous not only for its picturesque distances, it is known for the fact that poet Sergei Alexandrovich Potekhin, a member of the Writers' Union of Russia, was born here, lives and pleases with his talent. His name is shrouded in some kind of romantic halo and has long been known far beyond the borders of our region. An extraordinary man with a completely unsettled life, living alone in the wilderness in harmony with himself and in complete harmony with the nature around him, he was talked about on central television and on All-Union radio, the central press wrote about him.

Sergey Alexandrovich Potekhin was born on June 14, 1951 in the village of Kostoma, Galich region. He graduated from school in Kostom, then studied at the Galich Pedagogical School. While there was a collective farm in Kostom, he worked in it.

Poems by S.A. Fun is diverse. His best works are written in the traditions of Russian classical verse, they are characterized by harmony and elegance, the depth of philosophical sound, the freshness of the poetic image. Quite different - ironic poems and mischievous ditty.

Now a bright and unusual stucco clay toy, which is kept in almost every home, has become a kind of visiting card of Sergey Potekhin..

Album "Writers of Galich", regional library. A.M. Gorky.

L. Kalikina - "A holiday that is always with you", "Galic news" No. 72 (10552) dated 06/26/2001

A. Kuznetsov, I. Chernetsky - "Galich", magazine "Science and Life", No. 2, P. 15, Moscow, 2004

VINOGRADOVA (RYCHKOVA) SVETLANA VLADIMIROVNA

(b. 1953)

POET, JOURNALIST, MEMBER OF THE UNION OF WRITERS OF RUSSIA

Svetlana Vladimirovna Vinogradova (Rychkova) was born in 1953 in Galich. Poetry began to write early, often published in the district and regional newspapers. Svetlana signed her poems with her maiden name - Vinogradova. And until now, all poetry collections of Svetlana Vladimirovna are published under this surname.

Svetlana Vladimirovna graduated from the Kostroma Pedagogical Institute. Nekrasov (Faculty of History and Philology) and the Faculty of Economics of the Kostroma Agricultural Institute.

She worked as a secretary of the Komsomol State Committee, an instructor of the Galich State Committee of the CPSU, and an editor of the newspaper Galichskie Izvestiya. She is a frequent visitor to the libraries of the city, performs at creative evenings.

For her achievements in literary work, she was awarded the Prize. stop.

The first book by Svetlana Vladimirovna "The Road Home" was published in 1996 by the publishing house "Literary Kostroma". She is a laureate of the Regional Administration Prize for a cycle of poems. Svetlana Vladimirovna is represented in the Anthology of Kostroma Poetry. Participant of several regional creative seminars and Y I All-Union Conference of Young Writers. She is a member of the Writers' Union of Russia, a member of the board of the regional writers' organization.

The second collection of poems by Svetlana Vladimirovna "Clouds over the Lake" was published in 2000 by the publishing house of the regional writers' organization, the last - "The Returning Summer" in 2003 by the same publishing house.

Svetlana Vladimirovna's poem "My Russia is Galich" became a song loved by Galicians

At the end of 2006, a book by S. Vinogradova (Rychkova) "There is a city of Galich ..." was published. This historical book about Galich covers the period from the founding of the city to 2004. The book found a positive response from the Galicians.

Almanac "Galician" - "Briefly about the authors", Galich, 1994

S.Mikhailov - "Happiness to you, Poetess", "Galich News" No. 22 (107801) dated 25.02.2003

Album "Writers of Galich", regional library. A.M. Gorky.

“The Best People of Russia”, Encyclopedia, Spets-Address Publishing House LLC, 5th edition, S. 386, M. 2003

SOLOVYOV - NELUDIM ALEXEY NIKOLAEVICH

(1888-1931)

POET

Galician Aleksey Nikolaevich Solovyov was a talented self-taught poet. He is one of the first proletarian poets who, together with V. Mayakovsky, D. Bedny, A. Blok, S. Yesenin, accepted the revolution of 1917 and tried to create a poetic image of the new Russia. Many of his poems are ideological, imbued with patriotism, faith in the bright future of their homeland and native land.

His work attracted the attention of a number of Soviet writers (A. Tarasenkov, B. Mikhailovsky). His best poems were included in the collections of proletarian poetry "Proletarian Poets of the First Years of the Soviet Era" and "Poetry in the Bolshevik Editions of 1901-1917", published by the "Soviet Writer" in the large series "Poet's Libraries", as well as in the book "Poets "Pravda". Poems of 1912-1922”, which contains selected works of poets - employees of Pravda, who appeared on the pages of the newspaper during the first decade of its coexistence.

Aleksey Nikolaevich Solovyov was born in 1888 in the village of Shoksha, Galich district, Kostroma province. His father worked at a local tannery as a laborer. Unable to go to school, Alexei learned to read and write from his semi-literate sister. I read a lot, especially loved the poems of N.A. Nekrasov and I.S. Nikitin. Twelve years old, having got to St. Petersburg with Galich otkhodniks, A.N. Solovyov was sent to painting. Later, as the poet himself wrote, “traveled along and across all the northern provinces, looked at the Volga, muttered, croaked, loaded firewood, worked in factories, and did not forget about his painting profession.”

During the years of the first Russian revolution, Solovyov returned to St. Petersburg, actively participated in revolutionary events, was arrested and imprisoned in the "Crosses".

From 1910 to 1918 Alexey Nikolaevich worked as a painter in St. Petersburg.

When, during the period of a new revolutionary upsurge, the Bolshevik newspaper Pravda began to appear, A.N. Solovyov became its zealous reader, and then a distributor. He began writing and publishing in 1914. His first poem "Malyar" was signed with the pseudonym "Unsociable". This poem was followed by "Carpenters", "Comrades" and other poems. Published in Pravda until its closure by the tsarist government. Solovyov was also published in other newspapers: Varshavskoye Morning, Army Bulletin.

During I World War A.N. Solovyov fought at the front for more than three years. In battles he was shell-shocked. He vividly described the events of this time in his poems "1914", "Funeral", "Bloody Harvest". His poems were published in front-line newspapers.

Returning from the front, Solovyov-Neludim continues to take part in the struggle for the power of the Soviets and continues to publish his poems in the Social Democrat newspaper.

After the October Revolution Nelyudim returns to Galich. In 1918-1920, he actively participated in strengthening Soviet power in the city and region, for more than three and a half years he edited the Galich district newspaper Izvestia of the Executive Committee ..., then the newspaper Plow and Hammer. His poems, stories, feuilletons were published in the newspaper. Alexey Nikolaevich often read his poems at rallies, meetings and county congresses of the Soviets. Here he became friends with the artist I.I. Kalikin, photographer M.M. Smodor, serving M.Ya. Dmitriev In Galich, his collections of poems "Flights" (1920) and "Colored Carpet" (1922) were published.

An important place in his work is occupied by the events of the civil war, new revolutionary holidays, civic and everyday motives.

However, the central theme of Solovyov-Neludim's poetry is the old and the new: the life of the working people under tsarism and their life after October, rejoiced at the sprouts of the new, the bright. The subsequent development of life in Russia greatly disappointed Alexei Nikolaevich. The bright ideals for which he fought were trampled on. In his poem M.Ya. Dmitriev writes:

“Hunger strikes are even a pity,

I even feel sorry for the horse

Often you see trash now,

Honor is not enough now ....

You don't know these days

That which was torn to the light,

Almost from the Soviets

The sign remains."

Researchers of Solovyov-Nelyudim's creativity will refer to this period of creativity as an "ideological breakdown", although this was a sober assessment of the time.

A.N. Solovyov passionately loved his native land and sang it in his poems. In 1927, Alexey Nikolaevich moved to Leningrad, continuing to follow the economic and cultural life of Galich and Kostroma.

V. Kondratiev - "Anthology of Kostroma poetry", "Northern truth", No. 259 (19832), 12.11. 1986

A. Anokhin - "Galich find", "Kostroma region", No. 13, 03.10. 1991

A. Solovyov - "Poems 1914-1926", compiled by V. Kastorsky, Kostroma Book Publishing House, 1957

I. Osina - "Singer of the native land", "Galich news", No. 124 (10312), 02.11.1999

SOTNIKOV VIKTOR VASILIEVICH

(1922 - 2004)

HONORED BUILDER OF THE RSFSR,

HONORARY CITIZEN OF MURMANSK,
POET

Viktor Vasilyevich Sotnikov was born in Galich on January 30, 1922. His father, Vasily Aleksandrovich Sotnikov, is a descendant of Old Believer Cossacks sent by Catherine II for the development of the wealth of Lake Galich, he was an employee, a specialist tanner. Mother, Lyubov Alexandrovna (nee Lapshina) came from the old merchant family of the Lapshins, who was related to the Parfeniev merchants Postnikovs, who, in turn, were direct descendants of the small landed nobleman Arkady Gennadievich Salkov. Salkov's daughter, Natalya Arkadyevna (married Golikova) is the mother of Arkady Petrovich Gaidar, a Soviet writer.

Viktor Vasilyevich studied at secondary school No. 1. Then there was the war. For feats of arms he was awarded five orders and 15 medals, was wounded twice, received a disability. After the end of World War II, he entered the Leningrad Institute of Railway Engineers (LIIZhT). Here is what Viktor Vasilyevich himself writes about this. “By specialty I am a railway engineer for the construction of bridges and tunnels. After graduating from the institute in 1948, I found myself in the midst of events related to the post-war restoration of the country's national economy. The restless profession of a builder threw me around towns and villages, from one construction site to another, across vast distances from West to East and from South to North.

I was lucky enough to restore a large railway bridge across the Dnieper in Cherkassy in Ukraine, build a plant in the Urals, build railways in Mongolia and the Krasnoyarsk Territory, build the port of Vanino in the Far East and a military shipyard in the Sovetskaya Gavan area. For merits in the field of construction, the Presidium of the Supreme Soviet of the RSFSR awarded Viktor Vasilyevich Sotnikov the honorary title of Honored Builder of the RSFSR.

Since 1958 V.V. Sotnikov works in Murmansk. Here is how he characterizes this period of his life: “For me, this period was the most interesting and fruitful. There were interesting, memorable meetings with prominent people, political and statesmen: A.N. Kosygin, A.N. Shelepin, V.N. Novikov, L.I. Brezhnev, N.S. Khrushchev, Yu.V. Andropov, President of Finland U. Kokkonen, Prime Minister of Canada P.E. Prudeau... I was authorized to give the first secretary of the US Embassy in the USSR, William Harben, a capsule from the Apollo spacecraft, I was a participant in three international conferences of the country, etc. etc.".

For services to the fatherland, Viktor Vasilyevich was awarded many orders and medals. He was awarded the title "Honorary Citizen of Murmansk".

On the day of his 80th birthday, Viktor Vasilievich was awarded the distinction “For Merit to the Murmansk Region”.

And Viktor Vasilievich had another hobby - he loved poetry and wrote poetry himself. At one time he was friends with the poets E. Dolmatovsky and L. Oshanin, who gave him their books. Poems by V.V. Sotnikov were published in Murmansk in the newspaper "Polyarnaya Pravda", repeatedly - in the Galich newspaper "Galichskiye Izvestia" under the pseudonym "Sotnikov - Galichsky".

Having retired, Viktor Vasilyevich moved to the city of Gatchina, near St. Petersburg. On May 17, 2004, his life was tragically cut short. Viktor Vasilyevich Sotnikov was buried in the city of Galich at the city cemetery.

V. Lapshin - “We were at war with you”, “Galichskiye Izvestia” No. 112 of 10/11/1994

V. Sotnikov - "Far and Near", "Galich News" No. 7 (10637) dated January 19, 2002

"Memory of a friend", "Gatchinskaya Pravda" dated 06/03/2004

"Viktor Vasilyevich Sotnikov" - "Polarnaya Pravda" dated 05/20/2004

TSVETKOVA NINA AKIMOVNA

(1916 – 2002)

POET
MEMBER OF THE UNION OF WRITERS OF RUSSIA

Nina Akimovna Tsvetkova was born in 1916 in the village of Kurochkino, Galich region.

She started writing poetry early. She is a member of the Writers' Union of Russia, led the literary association of the All-Russian Exhibition Center (formerly VDNKh in Moscow).

Nina Akimovna kept in touch with her native Galich all the time, where she spent her childhood and youth. She corresponded with the local history museum, sent her books. Several of her works were donated by the local history museum to the regional library named after M. Gorky.

Materials of the Galich Museum of Local Lore.

Kostroma Mounted Police

Today we know so much about the deformation of the literary life of the 1930s under the pressure of bureaucratic absolutism that it would be more correct to speak of its unfortunate existence under the conditions of the totalitarian ideologization of art. One of the tasks of modern literary local history is to recreate a picture of the literary process of this most terrible era in the life of the country, its regions and regions.

What happened during these years in Kostroma?

The same as everywhere else. The city and region were engulfed in terror.

The year 1930 began with another campaign under the slogan: "We will meet with hostility the Christmas charlatan attack of the priests!" (“Sev. Pravda”, 1930, January 4). The day before, the newspaper announced: “Today and tomorrow, the factory committees must intensify the work of collecting icons for burning ... The burning of icons will take place on January 5 at 10 a.m. on the square near the City Council ... ". It was reported that during the year 14 churches were closed in Kostroma, 114 bells weighing more than 114 tons were handed over to the state. In January and February, which saw the first peak of complete collectivization, the newspaper came out with threatening headlines: "Stop the predatory extermination of livestock!", "Crush, destroy the kulak!" etc.

The command staff of the Kostroma UNKVD

All major political processes in Moscow resonated in the provinces. At the end of 1930, during the process of the Industrial Party, rallies of workers and peasants were provoked in Kostroma and the regions under the slogans: “Shoot counter-revolutionaries and wreckers!”, “We demand the use of capital measures against traitors to the cause of socialism!” All this was later practiced throughout the entire bloody decade, especially after the assassination of Kirov in 1934, during the trials of the "left" and "right" opposition in the party, Marshal Tukhachevsky. The practice of shifting failures, miscalculations and tragedies onto the accused or already executed and sentenced to imprisonment has become customary. For example, June 27, 1937 " northern truth”published a speech by N. Kamneva, a friend of our fellow countrywoman Nata Babushkina, who tragically died during demonstration parachute jumps. Kamneva blamed Eideman, who had recently been shot along with Tukhachevsky, for this. Following Stalin's instructions to "seek out the class enemy," the guardsmen from the NKVD "found" the perpetrators of the failures in the work of Kostroma enterprises - " Sparks of October», « metal worker», flax factory them. Lenin, Gorkomhoza, a number of collective farms ... It’s scary now (and even then!) To read an editorial “ northern truth” dated July 11, 1937: “The bastards who made their way to the regional leadership in the recent past, exposed as enemies of the people ..., dirty the agriculture ... In Kostroma, the Trotskyist-Bukharin’s last ones were operating for a long time ... Undoubtedly, they left agents behind him ... A gang of Nazi infiltrators was operating at the Worker Metalworker factory ... ". Apparently, rude abuse seemed to the organizers of the massacres an effective way to "educate the class consciousness" of the people. In the autumn of 1937, another “non-rekhta case” was fabricated, in which ten district leaders appeared before the court - from the secretary of the RK of the All-Union Communist Party of Bolsheviks V.S. Shibanov to the heads of “raizo”, “rono”, “raifo”. All of them were accused of "organizing a Trotskyist-Bukharin counter-revolutionary group" and were convicted by the Special Collegium of the Yaroslavl Regional Court under Article 58 of the Criminal Code of the RSFSR. The year 1937 became, as we can see, the most nightmarish for the Kostroma residents: this is how the 20th anniversary of the Cheka-OGPU-NKVD was "marked".

Among the victims of terror were writers from Kostroma. Arrested in Saratov Vladimir Arsenievich Nikiforovsky. Arrested in 1936 Alexander Pavlovich Aleshin, who led the Ivanovo regional organization of the Writers' Union. True, a few months later he was released for health reasons, but what happened turned him away from writing. In a letter to the author of this article, the poet N.A. Orlov, who knew A.P. Aleshin well, who was also arrested in Kostroma in 1944, recalls: on a cart... I met him many times on the streets of Ivanovo. Tried to find out the reasons for the arrest. But he, waving his hand, avoided this conversation ... ". (Except for Aleshin, when Kaganovich arrived in Ivanovo - we recall that from 1929 to 1936 the Kostroma region was one of the "districts" Ivanovo industrial region- Almost all members of the editorial board of the newspaper Rabochy Krai were arrested). Despite the desecration of his personality, A.P. Aleshin, as a Russian patriot and participant in the First World War, in 1941-42. Twice he asked to go to the front, but was refused. He was allowed to go only to defense work near Moscow, where he died in 1943. Thus, the fate of one of the most famous Kostroma writers of the 1920s and 30s reflected the fate of the literary generation to which he belonged.

Learning more and more about the situation in the 1930s, one can hardly find an answer to the question: how could millions of our people, thousands of writers, live and work in such conditions? After all, even Bulgakov, Platonov, Akhmatova, Pasternak, Mandelstam and others, who retained "inner freedom" from the "social order", could not avoid the temptation to somehow "agree" with the regime. What was left for the “ordinary” of the literary army to do? In our opinion, the writer Yuri Nagibin answered these questions very accurately in the article “Stories of the 30s”: “... People who did not find those fiery Seeds are not averse to talking about conscience, against which the “thorns singing” sinned. .. But then no one asked this question. Most were at peace with their consciences. And this is not to be understood if we judge the people of that time from our beautiful far away. Only those who lived through apocalyptic times can judge them. And they know that conscience has nothing to do with it. The fact is that all events have a certain system of coordinates, it is practically and spiritually impossible to escape from them... Our vigor was fed: faith - in spite of everything, poor information... caring, who removes moral obligations from his obedient children ... ”(“ Book of Review ”, 1992, August 14). The whole point was in this "self-protective force of life", although it did not remove responsibility from the people who made the choice.

The history of the Kostroma writers' organization clearly shows how the living river of literature was gradually driven into the concrete channels of ideology, which was established as the dominant one and not subject to criticism. Two stages are clearly distinguished here; The “border” between them was the decree “ On the restructuring of literary and artistic organizations» (1932) and creation Union of Soviet Writers (1934).

At the first stage of the ideologization of literature, the striking force of this process was Russian Association of Proletarian Writers(RAPP), which also had a branch in Kostroma. In the previous article*, we spoke in detail about the activities of the Kostroma APP in 1925-32, i.e. in the “turning point” years, unfortunately, in the direction of the worse. Rapp's slogans of "Bolshevization of creativity," "combating tendencies alien to the working class," "calling shock workers to literature," and so on. were the first "dams" with which they tried to block the already (and to some extent, due to the introduction of these slogans into "creative" practice) the "shallowed" river of Kostroma literature: for various reasons, V. Nikiforovsky, A. Vysotsky left Kostroma , V. Lebedev, G. Yasin, A. Aleshin. True, as the head of the organization that united the writers of Ivanovo-Voznesensk, Kostroma, Yaroslavl and Vladimir, he often came to Kostroma, was aware of the affairs of the local organization, and continued to publish new works in the Kostroma press.

By a resolution of 1932, the RAPP was “liquidated”, but before that it had “broken firewood” a lot. What was the cost of only "calling shock workers to literature"! At the end of 1930, “Sev. pravda” summed up the results of this campaign: “The call of strikers to literature brought 120 people in Kostroma. The figure could have been doubled", but "the cultural workers of the factory committees helped the Rappovites very little in recruiting shock workers", and individual members of the RAPP showed "examples of complete irresponsibility ... The poet Matveenko refused to work on conscription because he was leaving Kostroma and that he "generally tired of writing. This spineless intellectual got into the RAPP by mistake and, of course, should be excluded from the Rapp ranks ... ”(K. We will fix the call. -“ SP ”, 1930, December 31). Like the proletarians

during the period of "war communism", the Rappovites were unable to create "proletarian art" at the turn of the 1920s and 30s. On the contrary, they contributed to the lowering of the “level” of writing: many random people fell into the number of those “called” into literature. Lit-consultations and calls to “learn from the classics” organized by the editorial offices did not help. One of the manifestations of administration on the part of the Rappovites of Kostroma was, in particular, the creation of “triples of working reviewers”, who were charged with viewing all performances at the City Drama Theater and their assessment “from class positions” in the local press. Especially often "brigades of working reviewers" spoke in "Sev. truth" during the theatrical season of 1931-32. What criteria the “working reviewers” ​​were guided by can be seen, for example, from their response to the production of V. Kirshon’s play “Bread”: “Extremely valuable, we need a play ... The play teaches how to work, to implement the directives of the party and government” ("SP", 1931, 6 Oct.). Naturally, such a practice, as an artificially organized campaign, was doomed to be short-lived. She humiliated professional theater workers.

To the credit of those who worked with novice writers from the proletarian or peasant environment, it should be said: they did not encourage mediocre authors, violating the guidelines of Rapp's ideologists, which forbade seriously criticizing the works of young "worker authors". Often A.P. Aleshin himself took on this risky work. Noting the truly talented local poets, he wrote about the rest: “... A lot of crackling and few feelings ... What annoyance all the verses about “growling tractors” smell, where, in essence, you can’t see or hear a tractor ... General rhyme about collectivization ... ”(A. A.N. On poetry. -“ SP ”, 1930, December 31).

The greatest sin of the Rappian leadership was the organization of "studies", which, either immediately or after several years, especially in the late 1930s, ended in a dramatic or tragic way for their victims. Kostroma writers were forced to take part in the all-Union persecution of Boris Pilnyak (Unsigned: “The fist in literature. - An irreconcilable rebuff to Pilnyak and Pilnyakovshchina. - Down with internal emigrants!” - “SP”, 1929, October 15), in the defeat of the literary group “Pass "and the defamation of its curator A.K. Voronsky: reporting on the regional congress of proletarian writers held in Ivanovo, the author of the article "For the Bolshevization of Creativity", signed with the cryptonym D., emphasized "the need for a decisive blow against the" passers "(SP, 1930, May 17). The next action of the Rappovites was "exposing the" Teikovism ", but in reality - a mockery of the already dead Yesenin. Using the information about the dramatic events in the literary youth circle in the Teikovsky district of the IPO, the Ivanovo Rappovites inflated it into a serious political campaign; the quarrel between the young men and the verses found among them became the reason for “organizational conclusions”. The regional bureau of the APP IPO in June 1930, under pressure from the party authorities, adopts a resolution "On the Teikovsky circle", accusing its leader and participants of the "cult of decadent writers (Yesenin)", creating an "unhealthy environment." June 24 "Working Land" publishes this resolution, accompanying it with articles by K.D. "Literary homelessness and Yeseninism" and V. Zalessky "Fire on" Teikovshchina "in literary circles." “The Ivanovo organization of writers does not lead the guys at all,” the first article said. Yesenin led them. Yesenin's "Confession of a Hooligan" was the gospel of the circles. "Letter to Mother" - favorite song. “Teikovshchina” is being sought out primarily in educational institutions, for example, at the Anfimov Cultural and Technical College near Chukhloma (Zlotnikov I. “To uproot the Teikovshchina!” - “Rab. Krai”, 1930, Oct. 4). The resolution on the fight against "Teikovism" and "Eseninism microbes" is adopted by a meeting of Kostroma proletarian writers.

In 1930, the IPO writers' organization published its own regional art almanac "Attack", the editor-in-chief of which was the frantic Rappovite V. Zalessky, who tried to turn this publication into a source of slander against "fellow travelers". Already in the first issue of "Attack" in the article "Creative Ways of Soviet Literature" he called B. Pilnyak an "enemy" who had defected "to the trenches of bourgeois literature"; N. Klyuev described “hut and field” as the fruit of “obscurantism”, in S. Klychkov’s novels and poems he found “bestial hatred for the city, dislike for science and inviolability from the “God-given” orders on earth”; "Doomed to perish" and "Peacock" S. Sergeev-Tsensky considered "libelous to the revolution and socialism" ("Attack", 1930, No. 1, p. 154). Sometimes Zalessky acted according to the principle: “Beat your own people so that strangers are afraid!” Boasting of his Rappov straightforwardness, he allowed himself to tactlessly lecture the head of the writers' organization: “... In the person of Aleshin, we have a mature or almost mature artist. But the trouble of the author lies in the fact that his work often lacks a Bolshevik charge, that the author’s attitude towards the heroes is not always Bolshevik-like irreconcilable” (“Attack”, 1930, No. 2, p. 150). But Zalessky was especially merciless in relation to the Ivanovo writers, connected to varying degrees with the "Pass" - "Voronsky's literary comrade-in-arms" M.Z. Manuilsky, former editor-in-chief of the newspaper Rabochy Krai, and also to Dm. Semenovsky, E. Vikhrev, N. Kolokolov, L. Nitoburg. He formulated his accusations against them as follows: they, the “passengers”, are “against the class struggle, against cruelty, against Plekhanov, for “humanism”, “pure” truth, “pure” art, for the eternal truths of love and philanthropy, for all reactionary-mystical-idealistic nonsense ”(V. Zalessky. Under the banner of idealism. -“ Attack ”, 1930, No. 2, p. 162).

In 1932, after the liquidation of the RAPP and the dissolution of literary groups, the second stage of ideologization and organization of the literary business began - under the leadership of the state. Activation of literary life in Kostroma between 1932 and 1934 was associated with the preparations for the First All-Union Congress of Soviet Writers. On September 23, 1932, Severnaya Pravda publishes a statement by the Provisional Organizing Bureau entitled "In the Gorky Days, we will create a union of Soviet writers in Kostroma." It said: “The Kostroma APT ... has ceased to exist. Many former members of the RAPP for various reasons (study, work) left Kostroma, but the main asset of the former RAPP remained in place ... This asset works in the local press, as well as in various sectors of the cultural front ... Organization of the Union of Writers showed that that part of social literary critics... who took part in the work of the former RAPP..., part of the comrades with significant creative skills (Vyach. Lebedev and others) willingly joins this cause. Numerous students of universities and technical schools can be drawn into the work of the union. We announce a second call for shock workers to literature, dedicated to the anniversary of Gorky ... "The Union" was not created, but literary work revived: a literary group was organized at the editorial office of Severnaya Pravda, the number of literary circles and their members increased, they began to be held more often meetings; 23/1X-1932 in the theater. Ostrovsky, Kostroma writers held a big literary evening with the invitation of Yaroslavl comrades. In the autumn of 1933, the people of Kostroma celebrated the 50th anniversary of Alexander Blagov, who came to Kostroma along with other Ivanovo poets, with a literary evening.

To prepare the congress of writers in our region, the Organizing Committee of the SSP IPO was created, which received the right to publish the monthly literary and artistic magazine "Link" in Ivanovo (1933-1935). A.P. Aleshin became its editor-in-chief. This magazine did a lot of good: it introduced readers to the works of the already authoritative Ivanovo, Yaroslavl, Vladimir and Kostroma writers, as well as the Litkrugists who were beginning to "try the pen"; conceived as a "laboratory of the artistic word" ("Link", 1933, No. 1), it also became a school for the literary study of young authors; he contributed to the communication of writers with each other, was an informer about the literary life of the country and the region. Of course, the editors had to be guided by the directives of the central and local bodies of the party and state authorities, to publish "custom" works, in particular, the author's failures were A. Blagov's "nominal" poem "Vera Myalova" and many essays by various writers, published under the heading " Notable people of our region” is a play, or rather, according to the definition of the author A. Aleshin himself, a “dramatic story” about the team of Yarsrednevolgstroy “Volga Glubokaya”: all of them were a response to the call to “get involved in the production and creative campaign named after the XVII Party Congress”, “create Magnitostroy of Socialist Literature”, were written hastily. This gave rise to more serious accusations against the editors of the magazine. On March 22, 1935, N. Sibiryakov, deputy editor of Rabochey Krai, in the article “Rusted Weapons” accused “Link” of “profaning a good idea - to show the noble people of our region”, that it “zealously hushed up the facts of Trotskyist-Zinoviev activities on the literary front, does not expose the counter-revolutionary "writers" who have seized the leadership of many literary circles, diplomatically keeps silent about the facts of anti-Soviet work in Yaroslavl ... ". In the autumn of 1935, the 8th issue of the “Link” was criticized (I. Martynov. Gray literature. - “Rab. Land”, 1935, October 15). On the 11th issue, the magazine ceased to exist.

In 1936, the IPO was divided into the Ivanovo and Yaroslavl regions, and the Kostroma writers organizationally united with the Yaroslavl ones. The main periodical for Kostroma authors remained Severnaya Pravda; sometimes their poems, stories and essays, as well as information about the state of affairs in the writers' organization of Kostroma, were published by the Yaroslavl newspaper "Severny Rabochiy" - until 1944, when the Kostroma region was restored as an independent one. As local literary magazines ceased to be published, almanacs replaced them. In 1938, 1940 and 1944 three "Yaroslavl almanacs" were published, where the works of Kostroma residents were also published.

Such was the organizational and journal-newspaper "base" of the Kostroma writers in the 1930s. Some of them (A. Aleshin, N. Orlov, V. Lebedev, M. Komissarova, G. Yasin) were published in the central press or published books in Moscow and other cities.

In the 1930s, direct contacts between Kostroma writers and readers and writers known throughout the country became more rare. In February 1934, as reported in the posters, the “Moscow artist-author” N.P. Smirnov-Sokolsky spoke, in June Moscow writers Panov, Meshcheryakov, Shvedov met with Kostroma residents. But the most frequent guest of Kostroma in 1934-36. became A.S. Novnkov-Priboy, who came to meet with the surviving participants in the Tsushima battle, sailors from the battleship Admiral Ushakov, the cruisers Aurora and Dimitri Donskoy. These meetings helped the author of Tsushima write new chapters that were published in Severnaya Pravda. Sometimes his friend writer A. Peregudov came to Kostroma with N.-Priboy, who read his new stories.

And yet, more often, communication between Kostroma writers and readers took place with neighbors - Ivanovo and Yaroslavl, as we said above. In this regard, sometimes there is a problem of classifying certain writers as “ours” or “not ours” on a territorial basis, but it is hardly worth raising it seriously. For example, the natives of the Kostroma land A.N. Blagov and M.D. Artamonov became "Ivanovites": this is how life decreed. She was cool with Nikolai Alexandrovich Orlov, who was born in 1903 and studied at the Kostroma real school (now the 29th school is located there), began to write poetry, which received Gorky's approval, while in Sevastopol in the service of naval aviation; switched to literary work in the editorial offices of the youth newspapers of Ivanov and Voronezh after an airplane accident, then returned to his native Kostroma, becoming the head of the literary group at Severnaya Pravda until his arrest, after which many years of imprisonment followed in Yaroslavl, Rybinsko-Kirovskaya and, finally, Vorkuta prisons, who after his release chose the city of Kamyshin for residence (they were not allowed to return to Kostroma: Stalin was still alive), where he currently lives. Try to answer the question: whose is it? And the last example. Many people know the name of the good poet Alexei Lebedev, a poet and submariner who did not return from a campaign in 1941. Suzdal, where he was born in 1912, and Kostroma, where he spent his childhood and adolescence, disappearing all day on the Volga and Kostroma (without which, perhaps, he would not have become a sailor), and Ivanovo have the right to consider him theirs. , where his family moved in 1928 and where he finished ten years, studied at the evening construction technical school and published his first poems in the Zveno magazine (1933), and Kronstadt, where he became after graduating from the Higher Naval School named after . Frunze served as a submarine navigator and published collections of poems Kronstadt (1939) and Lyrics of the Sea (1940). And it is no coincidence that in Suzdal, Ivanovo and Kronstadt there are streets that bear his name.

All the poets named and not named here are “ours”, “general”.

The 1930s are characterized not only by the exodus of the best writers from Kostroma; people who left a good memory of themselves, who contributed to the cultural life of the city, came here for a while. One of them was Aleksey Vladimirovich Chicherin, who played approximately the same role as the Bondi family in the 1920s and D.E. Tamarchenko after the war. Chicherin was brought to Kostroma by the characteristic for many intellectuals of the 1930s. fate: in 1933 he was arrested when he worked in the Moscow 4th experimental school of aesthetic education, where his colleague was S.M. at the teacher's institute, the Department of Russian Language and Literature, speaking in print with articles and reviews of the performances of the Ostrovsky Theater, lecturing and preparing a Ph.D. thesis for defense (See more: P. Bukharkin. About A.V. Chicherin and his works. - "Russian Literature", 1990, No. 4). In 1940 A.M. Chasovnikov arrived in Kostroma.

How did Kostroma writers live and work during these years, who remained in the city or started their journey? What did they write about and how?

It should be noted right away that we can only talk about the external and, so to speak, visible side of their life, reflected in their works and local newspaper chronicles.

As before, in Kostroma in the 1930s. The centers that united writers were the editorial office of Severnaya Pravda, a circle at the Central Library, a circle of Red Army soldiers at the House of the Red Army, literary groups at the Komintern club, and at large enterprises. Their work revived on the eve of the 1st Congress of Writers, which was preceded by the Regional Conference in Ivanovo. On March 17, 1934, more than 30 writers and members of the Litkrug gathered for a meeting at the editorial office of Severnaya Pravda. In April 1934, the newspaper stated: “The literary groups already have a strong enough asset for our city, among which a number of comrades with an already fully formed creative person can be noted: Milova G., Pankov, M. Berezin, E. Knizhny, Krylov, D. Piskarev, S. Shushlin and others.” (24 Apr.). There was some exaggeration in this statement, and on the other hand, the names of A.F. Rumyantsev, N. Sokolov, F. Shipov were missing. At the end of the decade, young writers of Vas often published their poems and other things in the newspaper. Pasutkhov, V. Khryashchev, A. Flyagin, A. Chistyakov, A. Rykalin, N. Karpenko, N. Kolcha, E. Osetrov. N.A. Orlov, who returned to Kostroma, worked a lot with the youth and actively published. In the very last months before the war, A. Chasovnikov also became an energetic participant in the "literary pages" of the newspaper.

These writers are the main representatives of the writing forces of Kostroma in the thirties.

Let us recall once again that these years were more than unfavorable for the development and normal life of literature in conditions when, according to the exact expression of P. Ya. Chaadaev, the time of “submissive enthusiasm of the crowd” again came in the country. Literature could not help but become infected with this kind of “enthusiasm”, “expressing” it in countless poems on the theme “life becomes more fun” and about who introduced these words into everyday life. The cult of Stalin in the newspaper poems of the 1930s is now perceived as a “myth”, but then it was a reality, and this must not be forgotten, so as not to condemn the writers of those years “from our beautiful far away” (Yu. Nagibin). The reality was both socialist labor enthusiasm and Soviet patriotism, fueled with the help of propaganda by the commissioning of industrial giants, record flights of pilots, etc. It should be noted that the literary-artistic and socio-political illustrated magazine Flame (1936-37; in 1933-35 was published under the name "Working Land"), which was published by the newspaper Rabochy Krai, worked very skillfully in this direction in our region. . He was, as it were, "Ivanovo's Ogonyok", at the same time adhering to the line of the Gorky magazine Our Achievements (Moscow, 1929-36).

Kostroma writers were involved in the implementation of Gorky's plan to create collective works "The History of Factories and Plants" and "The History of the Civil War". At the beginning of 1932, A.P. Aleshin urged the Kostroma residents to do this: “Let's write the history of the factory. Lenin” (SP, January 10) and “For the History of the Civil War” (SP, February 8). “History will be historically correct and meaningfully deep ...“ History ”only when thousands of workers participate in compiling it,” he wrote. The Department of Culture and Propaganda under the Civil Code of the RCP(b) arranged an extended meeting on this occasion at the editorial office of Severnaya Pravda. To create the second “History”, a commission was created, which was charged with the responsibility of leading “assistance groups” created at all enterprises in order to select the best memories at the evenings of meetings of war veterans. Unfortunately, we do not have exact information on how far the work on these collective books has progressed. It is possible that the case was limited at best by sending the collected materials to Moscow, to the Archives of the Central Museum of the Red Army.

The very fact of fixing historical material in documentary form, most often in the essay genre, is indicative. In the article "Essay - Literature!" A. Aleshin, addressing young essay writers at the editorial offices of Rabochey Krai, Leninets and Smychka, pointed out the great possibilities of this “fast and lively” genre, keeping pace with reality “escaping” from other forms; at the same time, he warned them against the temptation of “lightness and precocity” in their work (“Rab. Krai”, 1930, January 16). As if setting an example for his young colleagues, Aleshin publishes after the article a series of essays “On the Shungen collectivization region”, written in the tradition of G. Uspensky, later - “portrait” essays about Ivanovo textile workers and collective farm life.

The “School of the Essay” was also created in the “Severnaya Pravda” literary group: “In order to create the May Day issue of the newspaper, displaying in artistic forms all the bright sides in the work of Kostroma factories and plants, as well as collective farms ... creative teams of local poets were organized and writers. To the factory. Lenin go to work vols. Piskarev, Sokolov, Shipov. On ... "Working metal worker" go TT. Balashov and Vakhrameev. Comrades are going to build the Zvorykin flax mill. Shushlin, Krotkov, Gorev ... To the collective farm "Banner of Labor" of the Oblomikhinsky s / s - vols. Rubinsky, Milova and Slezin ”(SP, 1934, April 6). Writers' business trips, which became a practice in the second half of the 1920s, became the norm in the 1930s. Unfortunately, the essays written “on the instructions of the editors” were rarely original: the “faces” of their authors more often became indistinguishable in the stream of “general words”. Decorating the style, for example, with quotes from popular songs of the 1930s, did not help either”: “If new wars pour into our free land”, Stakhanovka weavers will refill their looms with the basis on which the fabrics necessary for the defense of our homeland are produced .. It is to him, as to millions of others, that the song applies: “And no one in the world knows how to laugh and love better than us ...” (N. Kapralov. Pommaster Boris Gerasimov. - “SP”, 1937, July 18). The essays-reports from the Gorokhovets military camps of Lev Kazakevich, interesting in their conception and content, are also spoiled by the stereotyped plot and style: “Today I look back. I look at the path traveled, and it seems to me that the days of winter battles, camps, tactical transitions, filled with the stormy power of the Red Army team, are swimming in front of me like living shadows, burning my heart with a hot wave of familiar memories ... ”(L. Kazakevich. Days giving birth victory. - "SP", 1931, October 29). In another essay devoted to the theme of the re-education of a village boy in the "red barracks", the author's goal is resolved not so much by means of a plot, but by an authoritative style borrowed from the official language: "... And Startsev, like many others, like him, is characteristic this amazing refining of human raw materials, this wonderful process of unstoppable growth that makes a person be born a second time. And a person is really born a second time ”(Lev Kazakevich. A step into the future. -“ SP ”1931, August 1). In the poetry of the 1930s, the desire to turn a person into a “cog” was more frank and obvious: “I want to forget my name and rank. Change to a number, to letters, to a nickname ... ”(V. Lugovskoy. Morning of the Republics). But, as we see, even prose was enthusiastic about the “remelting of human raw materials” (not all of it: Platonov, Bulgakov, Makarenko, Gorky and others protested against this). ). Our author did not seem to notice the problem: how could a “remelting” person, and even a “raw material”, “grow uncontrollably”? But in the official literature, the uncombinable was "combined."

In addition to essays, Severnaya Pravda also published short stories. And in them, unfortunately, living life was driven into the Procrustean bed of an ideological stamp. In F. Slizin's story "Annoyance" ("SP" 1934, April 24), a turner, in order to fulfill the plan for boring crankshafts ahead of schedule, works with a seriously injured hand. Is it good or bad? Now, when a different principle is proclaimed than then: “Not a person for the state, but a state for a person,” we say: it’s bad if this happens in life, and it’s bad if the author invented this. Then, as we see, a different point of view existed and was affirmed: there was an exploitation of human enthusiasm. In B. Piskarev’s story “Dear Man” (“SP”, 1934, August 15), the problem of a love triangle is also resolved in the spirit of that time: the heroine prefers a loader engineer, who before her eyes saves a woman who has fallen from a steamer (he does this during date with your beloved). Learning that the hero hid his profession from her, she kisses him in front of all the honest people, saying: "All work in our country is held in high esteem."

Against the background of such "newspaper" prose, the stories of A.P. Alyoshin stood out favorably. It is no coincidence that in 1932 the Moscow Association of Writers published a collection of his stories, Apartment Number Last. Most of them were written in the 1920s, some in the early thirties. Anyone who has read or will only read this short book (it was republished in Yaroslavl in 1969) cannot deny that they were written by a master of the word. And yet we will try to prove this with one example - the story "The Horse Age". Firstly, he “drops out” of the “holiday choir” of that time, because he tells about the unhappy life of a working-class family: its “head”, Yegor Kashanin, a manufactory driver, who looks like Gorky’s Mikhail Vlasov, is a drunkard and brawler. Secondly, Aleshin makes his reader think about questions traditional for Russian literature: why does a Russian person suffer and torment, first of all, close people? who is to blame for this? What needs to be done to make life different? “Two lives have been dragging on in the Kashanins' basement for a long time. One is in caring for a piece of bread, in the struggle for health, which is threatened by the breath of the basement and the explosions of Yegor’s wild soul, ”we read and think: after all, ten years have passed since the end of the civil war, and Kashanin has not become“ living easier and more fun ". Just a little better. Therefore, lives next to the heroes and hope: "for a better tomorrow", i.e. there is also a "different - softened" life. What made Yegor a "wild man"? "Wednesday stuck?" Yes: monotonous work turned Yegor into a person indifferent to everything except vodka, into a “wooden doll”. But Yegor himself is to blame for the fact that he ruined both the nurse-horse and himself: he had neither the strength nor the desire to live differently. There is no single answer to the question “who is to blame?” And on the other - “what to do?” - the changing reality itself naturally, without any agitation, helps the author to answer: the “horse era” has ended, cars have changed horses, and driving one of them is Yegor’s son Andrey, who knows the answer to this question, who, like Gorky Pavel Vlasov, chose, if not the same, but a different path in life. Yes, and "the life of the mother entirely passed on the side of Andrei." In this story, the vector of the writer's view is directed "along the vertical", to the study of a causal relationship between psychology and the actions of the characters. This wonderful story was not only included in the collection, but also received several publications: in the Ivanovo almanac "Attack" (1930, book 2), in the magazine "October" (1930, No. 8); an excerpt from it called “Mother” was published by “Sev. truth” (1930, March 8).

Kostroma poetry of the 1930s more significant than prose, so we will devote more space and attention to it. The fact is that it turns out to be worthy of attention, if we brush aside a lot of rhymed rubbish: we exclude from the analysis what Aleshin so aptly called then “poems”; then he could not publicly attribute to her the poems about Stalin, which were published by Severnaya Pravda; for example:

And leads to victories firmly and calmly

Stalin - the leader of the peoples - my homeland.

If war breaks out over the country again,

We with the word: Stalin! we will win the battle.

The “hyperinflation” of the word in verses about the “Soviet fatherland”, “rich motherland”, “happy life”, “rebuff to the enemy”, i.e. rapidly developed. poems that served the ideology, worked for the “agitprop”, about which Mayakovsky openly said in the beginning of 1930: “And the agitprop is stuck in my teeth ...”. The quality of a verse to some extent does not depend on the topic, it depends on the skill of the poet (no one can deny the power of Mayakovsky’s political verses), but in this “sphere of circulation” words both devalue and decay, like paper money, very quickly .

We will talk about the good, in our opinion, poems of Kostroma poets, who absorbed the dynamism of the time, which, according to G.K. modesty and simplicity of communication of people.

Of course, in Kostroma in the 1930s. there was no such a strong group of writers as in Ivanovo, which was then one of the literary centers of the country (this is perfectly proved by the collection Dm. But communication with them by Kostroma, Yaroslavl and Vladimir writers within the "framework" of a single organization had a fruitful effect on everyone.

And everyone lived with the same worries and problems. One of them, common to the whole country, was the need to rehabilitate the lyrics. It was also discussed on the pages of the Zveno magazine. It was primarily about love lyrics. The point of view of the editors and the majority of writers was expressed in the article by V. Poltoratsky “A heart-to-heart conversation”, where he summed up the “result” of the discussion: “... Let the nightingale sing and the moon shine for me, a young poet, let it just returning from the meeting, it smells of lilacs, let the girls from the shock brigade of Claudia Bykova pin lily of the valley flowers to their blouses. Let it be in verse, for it is in our life!” ("Link", 1934, No. 3). This is how the previously deliberately and artificially separated "work" and "love" were united, which, as early as 1919, the proletarians declared "handed over to the archive" along with other "manifestations of bourgeois psychology." In 1923, the poem of the Kostroma poet Anatoly Dyakonov “Not ...” became famous, the lyrical hero of which defiantly refused to love a woman, “... dressed in sable and drunk with petty-bourgeois poison”; he also did not fall in love with the "shock worker". Into what? - To a new home:

Her sables are meadows under clover,

And her eyes are rebelliously young.

In it, the fire is tenacious, born of the north

Under the emblem of the hammer and sickle.

("Red Monday", 1923, No. 1)

These tendencies proved tenacious in the thirties; the poets, in Gorky's apt expression, continued to be "ashamed of the lyrics." For example, the hero of V. Krylov's poem "The Road" says goodbye to his beloved, as he has a job waiting for him:

The road winds like a snake in the distance,

Crawling into the blue horizon.

Do not touch me with wet eyelashes

And don't ask for a meeting.

Here is another poem in which the priority of public duty over "private" life is undeniable: the military duty of a young man who became a Red Army soldier is elevated to an absolute. Why is there a “rapid heartbeat” in his “excited chest”? Here's the answer:

Not because there are dawns in the sky

They captivated my eyes with beauty,

What's in the chamomile expanses

I go in the morning sometimes.

Not because on a date

I go to my beloved for the first time,

To enjoy my radiance

Her big ones! and kind eyes.

It came true, about what in the rich land

I had sweet dreams

I became a fighter of the great rati

Fearless warriors of the country!

And if the distance blows war,

Then the power of steel and lead,

I swear I can prove

What I don't just have

The name of the red fighter.

In this poem, "he" with his "duty" - and "she" with her love are separated by a huge space - as in Isakovsky's "Katyusha".

The theme of happiness is one of the eternal in poetry. In the 1930s, she also found eternal sources of human happiness: youth, work, love, friendship, patriotism, life with a clear conscience, etc., but she also found new ones: seemingly “radiant” prospects for the expected “wonderful life” nationwide collective efforts, labor impulse. This topic was dangerous for the “writers” of newspaper propaganda, like: “The Bolshevik collective farms have adjusted their life, Fulfilling the five-year plan, They are getting stronger in the social system” (Gorev S. Kolkhozny Kray. - “SP”, 1934, April 6), or: “ ... And now, under the leadership of the Steel Party, we manage production ourselves, Having facilitated our labor ... And a whistle in a thick octave Sends greetings to winter. This is how the excavator First in Kostroma was born ”(“ SP ”, 1934, March 12). Experienced poets, however, found, as they should, fresh images to convey a feeling of happiness:

And I want a smile

Warming those passing by

familiar gate

Open into the yard of your beloved

And sing in the green thicket

embraced by blossoms,

About our complete happiness,

About the homeland of the rich

The stamp at the end of the second stanza is a tribute to the times.

Good poems about love, happiness, "simple" joys of life in the late 30s - early 40s. wrote N.A. Orlov, who returned to Kostroma:

I love when over the Volga

A thunderstorm will break out.

I like to watch for a long time

Into your blue eyes

Give me your hand, let's sit closer

Volga wind, hit in the face!

I want to hear now

The sound of distant bells.

Let's play hide and seek with our hearts

Sinking on the shore

From a lyric notebook

I can read poetry.

However, it is not quiet

The dew fell early

Volga light water.

Throw your hands around your neck

And press cheek to cheek!

What a weird thing

Made up life!

Anyway, kiss quickly

Smile softly for me

To live more beautifully, more freely

In our happy country.

The poem was slightly spoiled by a stylistic stamp, which turned out to be a “conclusion” at its end and therefore noticeable, but it fascinates with the natural, with a slightly ironic overtones, development of the lyrical “plot” with the help of precisely chosen and used words.

The face of the lyrical heroine of poems by the talented Galina Milova "Letter to a Red Army Soldier", "Days Are Burning", "Modern Ballad", "Blue Bird", "Birth", "Poem", "Mother", the tragic "Silence" is natural and beautiful. G.P. Milova was to some extent a “captive” of her time, which is why her heroine’s face was sometimes imprinted with an “ideological grimace”. For example, in the poem "At the Cradle", built in the form of a conversation with a baby son, whom the mother wants to see in the future as a "Stalin's falcon", ready, if necessary, to sacrifice himself:

It's good to fly, with a flexible hand

The plane through the storms of the story,

If Stalin with a soft smile

Wish you a good journey...

Maybe in battles, furrowing his brows,

The mausoleum will have to be protected.

For the country neither youth nor blood,

Don't regret love or life...

Probably, this poem, written for the October anniversary, more than others like it (but there are very few of them), is permeated with submissive sacrifice that repels today's reader. Here the poetess forced herself to speak in an unnatural, not her own voice. And here is her own, motherly voice:

It was like this: in a fit of fierce

The heart is torn away.

At that moment, Nyuta was born,

Little daughter.

Lust for life in the first cry

In the first wave of hands.

We are born at the intersection

Joy and pain.

Met the world openly, sensitively

new tenant

Every minute will be

Bright to the end.

All my love, all my strength

The country gave

So that for the little ones, for the dear ones

Life was full.

In the silence of milky white

Sweet rest.

The daughter chimed softly

Calling mother.

Good poem! The penultimate stanza does not spoil it: after all, here we are talking about the state's concern for the new generation, about the natural “sacrifice”, in contrast to the one from the previous poem. And how successful is the comparison of the cry of a baby with the inviting neigh of a foal just born by a “horse mother”! This is a “shocking” figurative detail of a work written by a master poet.

Landscape lyrics were also interesting. Like love, she bore the stamp of time, i.e. pictures of nature became a "mirror" of the state of mind of the Soviet people of the 30s. Like love lyrics, she had to get out of the crisis associated with the dominance of "agitation". The poet I. Selvinsky called back in 1928: "It is necessary to return the themes of love, death, landscape to the lyrics." But it was difficult to immediately get rid of the excessive admixture of "ideology", which displaced the philosophical principle, the psychological authenticity of experience, from the lyrics of nature. It only “peeped” from the sheet through the thick ideological stamp placed on it:

Autumn used to be sad.

But the Soviet region rejoices.

All collective farms now meet

New Stalinist harvest.

Everything is in abundance - both bread and sweets

A scattering of stars shines on us from the sky,

Our happiness rises

An unprecedented growth!

Sometimes the pictures of native nature, restored by the memory of the author, seemed to be charred from a violent feeling of “class hatred”, and the reader was dealing with a text that was dubious in ethical and aesthetic terms:

Well, I often slept under a birch

And I walked through the forest without a cross,

And whip for mother's tears

He whipped all the kulak sheep.

Childhood, childhood!

You remember vividly

Like a summer dawn at dawn.

Through the green bushes and through the ravines

And with the bleating of sheep on the mountain.

And here is an example of a different, successful, in our opinion, conjugation of the life of a person of the "era of revolution" and the life of nature in A. Chistyakov's miniature "Birch":

At the crossroads of two roads

A mighty birch grows

The breeze caresses her

And embrace the summer thunderstorms.

In the shadow of her I loved myself

Listen to the soft whisper of the leaves

And watch the clouds

They run over it in the clear sky.

And our youth is gone

Through the winds, fights and thunderstorms.

And just as firmly rooted in life,

Like roots in the ground near a birch.

The conjugation of the natural and the historical can also give an excellent result, for example, in the song "Cranes", where Gamzatov instilled in the "white cranes" the souls of soldiers who did not return from the war. This is done reasonably and tactfully. And in the 30s, poets wrote about cranes, and in different ways. For example, in a poem by the Kostroma poet A. Flyagin, the “landscape with cranes” is completely devoid of temporary signs, there is only a spatial image: Russia, the Volga and a temporary “home” beyond the warm, but alien seas:

These days are filled with rain

And today the dawn is blue.

Cranes, cranes over the fields,

Above the autumn yellow earth.

Their path is wide, the road is straight.

Cranes! Will separate you for a long time

With a favorite edge of winter.

Over the seas you, for the warm rush,

And more than once in that foreign side

You will dream of your native lakes

And birch ringing at dawn.

Chu! They trumpet along with the clouds,

Over the wide Volga River.

People follow them with their eyes

And they wave their hand dismissively.

The wings are strong. Storms won't break them

Though the paths have gone far.

Goodbye, until the first azure,

Until the stormy spring, cranes!

When Flyagin died at the front (1944), the obituary about him noted the “lyrical, bright” nature of the perception of life in his poetry (Yaroslavsky almanac, issue 3, 1944), which is confirmed not only by this simple, “transparent” work , but also poems dedicated to the theme of the approaching war. Like the now famous poets who predicted their death and called themselves “big-headed boys of the revolution” (Pavel Kogan), A. Flyagin and other Kostroma romantic poets, who spoke on behalf of their generation, were preparing for the calmly courageous fulfillment of their “destiny”. This theme is one of the most popular in the Kostroma poetry of the 30s: each annual autumn draft into the army spilled a stream of poems about the duty of a Red Army soldier and a pre-conscript, about a probable war on the "literary pages" of the regional newspaper. Events in the East and the war with Finland were reflected in the local press. The verses were different, many sinned with false pathos, bragging and complacency. Flyagin's poems, especially the first ones, did not bypass all this: “... Huge tanks will crawl like a formidable wall. They will fly through the smoke of a cart to a victorious battle. The stars on the Kremlin shine high for the pilots. We will crush the enemy cruelly on his land ”(“ SP ”, 1939, February 23). But gradually the poet abandoned variations on the theme “we will scatter all enemies into smoke.” The voice of the author and his “lyrical hero” in “Farewell” sounds more natural:

I will be the commander

In defense of the country young,

I will serve, I will return, and marvelously

Let's live, dear, with you.

The fields were foggy,

The wind kissed the curls of the birches,

At the gate "farewell" Tanya

The young harmonist began to play.

It is important that the hero of his poems, having become a soldier, did not turn into a poster "image", but remained a person susceptible to beauty in life, and therefore a poet, as evidenced by the poem "Letter from the South", where he dreams of returning to the "green-roofed "Kostroma, confessing in a letter to a friend in inescapable love for her, but swears "not to give the heart a moment of sadness as a prey" and to stand up at "a harsh hour to meet a storm and lead"; the poem “Spring Day” is also remarkable: despite the fact that Flyagin could not resist the temptation to use in it the image of the “green banner” from E. Bagritsky’s “Spring”, he showed his ability to put next to a stranger no less bright, his own: “But the voice of a poet My heart is in captivity, It taught me to sing. And I reached out To paper, To pen, And to blue as the sky. Ink" ("SP", 1941, March 16).

“Defense poems” were also often published by young Kostroma poets who began to publish on the eve of the war: A. Rykalin, who called himself a representative of the “generation of joyful people” (“Marching Red Army”, “Song of Kotovsky”, “Song of Chapaev”, “Song of Timoshenko"; some of them were included in the repertoire of the Red Army Song and Dance Ensemble of the Moscow Military District, which, by the way, performed in Kostroma in March 1941); N. Karpenko (“A Simple Story”, etc.). Their predecessors, who turned to this topic as early as the mid-1930s, were M. Berezin and V. Krylov, who formed as poets in a literary group at the Kostroma House of the Red Army. Together with and next to the Kostroma authors, A. Kiselev from Ivanovo (his poems were often published in Severnaya Pravda) and Yaroslavl Vs. Nemtsevich worked on poems with a “defense” theme. In 1933, their joint book of poems "In the Line of Fire" was published, which received good reviews.

The constant attention to this topic in our regional literature testified to many things. It is curious that the Ivanovo critic A. Orlov in the article "At the border strip", speaking about the poems of A. Kiselev and referring to the words of Stalin "The matter is clearly heading for war", noted that "the defense theme has not yet been disclosed with the desired completeness" (“Link”, 1935, No. 2, p. 65). In our opinion, in the second half of the 1930s - early 1940s, this "shortcoming" was eliminated.

This concludes our essay on the Kostroma poetry of the pre-war decade. Since we began the story about the literary life of Kostroma of this period with the events of January 1930, it is reasonable to end it with a reminder of how Kostroma and its writers lived in the last days before the war. On June 1, the last “peaceful” literary pages of Severnaya Pravda came out with poems by N. Sokolov, N. Orlov, V. Pastukhov, V. Pilyuga, E. Osetrov and A. Chasovnikov’s story “The Blue Kerchief”. A few days before the war, Severnaya Pravda published reports from schools under the heading “On the Threshold of a New Life, New Darings”: as throughout the country, tenth graders celebrated their graduation. On June 22, the newspaper, published on the night of the Nazi attack on our country, reminded that at 8 pm a literary Lermontov evening would take place at the Teachers' Institute, at which A.V. Chicherin would give a lecture and a literary concert by the Leningrad artist would be given ...

It probably didn't happen tonight. On June 23, Severnaya Pravda printed Molotov's speech and the Decree on the introduction of martial law and mobilization. Many Kostroma poets, journalists, members of literary groups and literary circles were also mobilized. The writers who remained in the city (began to work for a still distant victory. But this is the topic of the next review.

Photos 30-35 years from the collection of Sizov Vadim Dmitrievich. Provided by Boris Korobov.

* Kozlov B.M. Literary life of Kostroma. (First post-October decade). // Literary Kostroma. - 1991. - No. 3-5; Kostroma land. Local history almanac of the Kostroma regional branch of the All-Russian Fund of Culture. - Kostroma, 1992. - Issue 2.

Contact Information

Address: 156005 Kostroma, pl. Constitution, 1.

Phone: 31-21-09; 45-75-34; 89159234627

The Kostroma Regional Writers' Organization (a regional branch of the All-Russian Public Organization "Union of Writers of Russia") has in its

ranks of 37 professional writers.

Alexey Skulyakov, Chairman of the Regional Writers' Organization

Mikhailovich.

The history of the writers' organization originates in the 20s

years of the twentieth century, when Kostroma literature was gaining authority as a

V. Rozanov, I. Kasatkin, P. Nizovoy, V. Lebedev, N. Ivanov, the Aleshin brothers, V. Rozov, M. Komisarova, E. Osetrov and others.

The turbulent events of those years intensified interest in literary creativity.

yours. New literary groups appeared, an association of proletarian writers was active, new newspapers and magazines were published. In February 1925, the board of the Kostroma branch of the VAPP was elected. The first literary conference in 1931 was attended by almost 200 people. A. P. Aleshin, who in 1929 was called to lead the Ivanovo-Voznesensk Association, delivered a report on the tasks of proletarian literature.

However, in the first third of the thirties, literary life in Kostroma, due to a change in administrative division, began to fade.

In August 1944, the restoration of the Kostroma region gave rise to a new literary movement. The poets and writers E. Osetrov, A. Nikitin, V. Volkov, A. Chasovnikov, V. Khokhlov, Vyach. Smirnov,

E. Starshinov, Yu. Gribov. In 1946, a regional book publishing house was opened, the first issue of the almanac "Kostroma" with a circulation of 15,000 copies went out of print. And the regional newspaper Severnaya Pravda

constantly printed literary pages. The best works were awarded prizes. Kostroma writers began to publish in the central journals. In 1951, the first regional meeting of the literary activists took place, a literary association was formed, it included writers living in the regions.

By decision of the Secretariat of the Board of the Union of Writers of the RSFSR, on July 3, 1961, the Kostroma Regional Writers' Organization was established, headed

Vladimir Grigorievich Kornilov forked it. The organization quickly gained creative strength, prestige in society and publishing opportunities.

Kostroma books were printed in regional and all-Union publishing houses,

Regional meetings of writers, creative seven-

bunks. By the beginning of the seventies, the works of Yu. Kuranov, L. Vorobyov, V. Shaposhnikov, K. Abaturov, V. Bocharnikov, O. Gusakovskaya, A. Rumyantsev, B. Bochkarev, E. Starshinov, G. Milova, V. Starostin, A. Chasovnikova. They were followed by new authors: A. Belyaev, V. Fatyanov, T. Inozemtseva, B. Gusev, V. Travkin, M. Bazankov, O. Kalikin, N. Snegova and others.

From March 1988 to December 2014, the writers' organization was headed by Mikhail Fedorovich Bazankov. At this time, significant changes took place in the social structure, which also affected literary life along with the publishing process.

But despite all the difficulties, not only regional, but also zonal creative seminars were held. The lack of former publishing opportunities had to be partially compensated for by the release of the monthly

"Literary Kostroma", to publish an appendix to it in small editions

collections of prose and poetry. For ten years it was possible to publish about sixty editions. Then, until the beginning of the second decade of this century, literary collections "Kostroma" and, very few, books by Kostroma authors began to be published. Writers began to attract sponsors to publishing activities. During this period, they confidently worked in literature

V. Lapshin, S. Potekhin, L. Popov, V. Shaposhnikov, O. Gusakovskaya, B. Bochkarev, V. Pashin, V. Smirnov, K. Abaturov. Admitted to the Writers' Union of Russia A. Akishin, A. Khlyabinov, A. Rumyantsev, E. Razumov, R. Semenov, A. Zyablikov, S. Mikhailov T. Dmitrieva, Yu. Semenov, O. Khomyakov, K. Razgulyaev, Z. Chalunina, A. Alferova, E. Balashova, D Tishenkov, V. Sekovanov. Literary life noticeably revived with the admission of E. Stepanenko, N. Musinova, A. Skulyakov, V. Proskuryakov, V. Veselov, A. Lobanov, N. Mukhina (Vinogradova), P. Melnikov, O. Zapolskikh, P. Rumyantseva, E. Zaitseva. Most of them actively participated

on creative trips to writers, to literary associations, to the libraries of municipalities of the Kostroma region, where

joint concerts with the involvement of artists and composers Kostroma-

philharmonic society. The writers' organization under the leadership of the administration of the region and the department of culture has repeatedly held meetings

with writers from other regions of the country (in particular, not so long ago there were meetings with Murmansk and Moscow writers), together with the regional scientific library, she took part in meetings with foreign colleagues, organized creative evenings, book presentations. She was present at regional forums, festivals, various readings, events dedicated to literary figures, the Days of the region and the city of Kostroma. Literary associations operate under the writers' organization in almost every municipality, and there are two of them in Kostroma. Members of the writers' organization often participate in regional, interregional, foreign competitions and often become their laureates. The writing organization has its own electronic library of modern Kostroma literature, which is constantly being improved.