Many years separate us from the Great Patriotic War (1941-1945). But time does not reduce interest in this topic, drawing the attention of today's generation to the distant front-line years, to the origins of heroism and courage. Soviet soldier- hero, liberator, humanist. Yes, the writer's word on the war and about the war is hard to overestimate; A well-aimed, striking, uplifting word, a poem, a song, a ditty, a bright heroic image of a fighter or commander - they inspired the soldiers to exploits, led to victory. These words are still full of patriotic sound today, they poetize the service to the Motherland, affirm the beauty and grandeur of our moral values. That is why we again and again return to the works that made up the golden fund of literature about the Great Patriotic War.
Just as there was nothing equal to this war in the history of mankind, so in the history of world art there was no such number of different kinds of works as about this tragic time. The theme of the war sounded especially strongly in Soviet literature. From the very first days of the grandiose battle, our writers stood in line with all the fighting people. More than a thousand writers took part in the fighting on the fronts of the Great Patriotic War, defending their native land “with a pen and machine gun”. Of the more than 1000 writers who went to the front, more than 400 did not return from the war, 21 became Heroes of the Soviet Union.
Famous masters of our literature (M. Sholokhov, L. Leonov, A. Tolstoy, A. Fadeev, Vs. Ivanov, I. Ehrenburg, B. Gorbatov, D. Poor, V. Vishnevsky, V. Vasilevsky, K. Simonov, A Surkov, B. Lavrenyov, L. Sobolev and many others) became correspondents for front-line and central newspapers.
“There is no greater honor for the Soviet writer,” A. Fadeev wrote in those years, “and there is no higher task for Soviet art than the daily and tireless service of the artistic word to its people in the terrible hours of battle.”
When the cannons thundered, the muses were not silent. Throughout the war - both in the difficult time of failures and retreats, and in the days of victories - our literature strove to reveal the moral qualities as fully as possible. Soviet man. While instilling love for the motherland, Soviet literature also instilled hatred for the enemy. Love and hate, life and death - these contrasting concepts were inseparable at that time. And it was precisely this contrast, this contradiction that carried the highest justice and the highest humanism. The strength of the literature of the war years, the secret of its remarkable creative success, lies in its inseparable connection with the people heroically fighting against the German invaders. Russian literature, which has long been famous for its closeness to the people, has perhaps never been so closely connected with life and has never been so purposeful as in 1941-1945. In essence, it has become the literature of one theme - the theme of war, the theme of the Motherland.
The writers breathed one breath with the struggling people and felt like “trench poets”, and all literature as a whole, in the apt expression of A. Tvardovsky, was “the voice of the heroic soul of the people” (History of Russian Soviet Literature / Edited by P. Vykhodtsev.-M ., 1970.-p.390).
Soviet wartime literature was multi-problem and multi-genre. Poems, essays, journalistic articles, stories, plays, poems, novels were created by writers during the war years. Moreover, if in 1941 small - "operational" genres prevailed, then over time, works of larger literary genres begin to play a significant role (Kuzmichev I. Genres of Russian literature of the war years. - Gorky, 1962).
The role of prose works is significant in the literature of the war years. Based on the heroic traditions of Russian and Soviet literature, the prose of the Great Patriotic War reached great creative heights. The golden fund of Soviet literature includes such works created during the war years as "The Russian Character" by A. Tolstoy, "The Science of Hatred" and "They Fought for the Motherland" by M. Sholokhov, "The Capture of Velikoshumsk" by L. Leonov, "The Young Guard" A. Fadeeva, "Unconquered" by B. Gorbatov, "Rainbow" by V. Vasilevskaya and others, which became an example for writers of post-war generations.
The traditions of the literature of the Great Patriotic War are the foundation of the creative search for modern Soviet prose. Without these traditions, which have become classic, based on a clear understanding of the decisive role of the masses in the war, their heroism and selfless devotion to the Motherland, those remarkable successes that have been achieved by Soviet “military” prose today would not have been possible.
Own further development prose about the Great Patriotic War received in the first post-war years. Wrote "Bonfire" K. Fedin. M. Sholokhov continued to work on the novel "They Fought for the Motherland". In the first post-war decade, a number of works appeared, which are taken as a pronounced desire for a comprehensive depiction of the events of the war to be called "panoramic" novels (the term itself appeared later, when the general typological features of these novels were defined). It " White birch» M. Bubyonnov, “Banners” by O. Gonchar, “Battle of Berlin” Sun. Ivanov, “Spring on the Oder” by E. Kazakevich, “The Storm” by I. Ehrenburg, “The Storm” by O. Latsis, “The Rubanyuk Family” by E. Popovkin, “Unforgettable Days” by Lynkov, “For the Power of the Soviets” by V. Kataev, etc.
Despite the fact that many of the "panoramic" novels had significant shortcomings, such as some "varnishing" of the events depicted, weak psychologism, illustrativeness, straightforward opposition of positive and negative characters, a certain "romanticization" of the war, these works played a role in development of military prose.
A great contribution to the development of Soviet military prose was made by the writers of the so-called "second wave", front-line writers who entered the big literature in the late 1950s and early 1960s. So, Yuri Bondarev burned Manstein's tanks near Stalingrad. Artillerymen were also E. Nosov, G. Baklanov; poet Alexander Yashin fought in marines near Leningrad; the poet Sergei Orlov and the writer A. Ananiev - tankers, burned in the tank. Writer Nikolai Gribachev was a platoon commander, and then a sapper battalion commander. Oles Gonchar fought in a mortar crew; infantrymen were V. Bykov, I. Akulov, V. Kondratiev; mortar - M. Alekseev; cadet, and then partisan - K. Vorobyov; signalmen - V. Astafiev and Yu. Goncharov; self-propelled gunner - V. Kurochkin; paratrooper and scout - V. Bogomolov; partisans - D. Gusarov and A. Adamovich ...
What is characteristic of the work of these artists, who came to literature in overcoats smelling of gunpowder with sergeant's and lieutenant's shoulder straps? First of all - the continuation of the classical traditions of Russian Soviet literature. Traditions of M. Sholokhov, A. Tolstoy, A. Fadeev, L. Leonov. For it is impossible to create something new without relying on the best that was achieved by the predecessors. Exploring the classical traditions of Soviet literature, front-line writers not only learned them mechanically, but also creatively developed them. And this is natural, because the basis of the literary process is always a complex mutual influence of tradition and innovation.
The front-line experience of different writers is not the same. Prose writers of the older generation entered 1941, as a rule, already established artists of the word and went to war to write about the war. Naturally, they could see the events of those years more broadly and comprehend them more deeply than the writers of the middle generation, who fought directly on the front line and hardly thought at that time that they would ever take up a pen. The circle of vision of the latter was rather narrow and was often limited to the limits of a platoon, company, or battalion. This “narrow strip through the entire war”, in the words of the front-line writer A. Ananyev, also passes through many, especially early, works of prose writers of the middle generation, such as, for example, “Battalions ask for fire” (1957) and “Last volleys” ( 1959) Y. Bondareva, "Crane Cry" (1960), "Third Rocket" (1961) and all subsequent works by V. Bykov, "South of the main blow" (1957) and "Span of the earth" (1959), "The dead are not shameful imut” (1961) by G. Baklanov, “Scream” (1961) and “Killed near Moscow” (1963) by K. Vorobyov, “The Shepherd and the Shepherdess” (1971) by V. Astafyeva and others.
But, yielding to the writers of the older generation in literary experience and "broad" knowledge of the war, the writers of the middle generation had their clear advantage. They spent all four years of the war at the forefront and were not just eyewitnesses of battles and battles, but also their direct participants, who personally experienced all the hardships of trench life. “These were people who bore all the hardships of the war on their shoulders - from its beginning to the end. They were people of the trenches, soldiers and officers; they themselves went on the attack, fired at tanks to a frenzied and furious excitement, silently buried their friends, took skyscrapers that seemed impregnable, felt with their own hands the metallic trembling of a red-hot machine gun, inhaled the garlic smell of German tol and heard how sharply and splashing splinters pierce into the parapet from exploding mines ”(Bondarev Yu. A look into the biography: Collected work. - M., 1970. - T. 3. - S. 389-390.). Yielding in literary experience, they had certain advantages, since they knew war from the trenches (Literature of a great feat. - M., 1975. - Issue 2. - P. 253-254).
This advantage - direct knowledge of the war, the front line, the trench, allowed the writers of the middle generation to give an extremely vivid picture of the war, highlighting the smallest details of front-line life, accurately and strongly showing the most intense minutes - the minutes of the battle - everything that they saw with their own eyes and that themselves experienced four years of war. “It is deep personal upheavals that can explain the appearance in the first books of front-line writers of the naked truth of the war. These books have become a revelation that our literature about the war has not yet known ”(Leonov B. Epos of Heroism.-M., 1975.-S.139.).
But it was not the battles themselves that interested these artists. And they wrote the war not for the sake of the war itself. A characteristic trend in the literary development of the 1950s-60s, which was clearly manifested in their work, is to increase attention to the fate of a person in its relationship with history, to inner world personality in its indissolubility with the people. To show a person, his inner, spiritual world, which is most fully revealed at a decisive moment - this is the main thing for which these prose writers took up the pen, who, despite the originality of their individual style, have one thing in common - sensitivity to the truth.
Another interesting distinguishing feature characteristic of the work of front-line writers. In their works of the 1950s and 1960s, compared with the books of the previous decade, the tragic accent in the depiction of the war intensified. These books “carried a charge of cruel drama, often they could be defined as“ optimistic tragedies ”, their main characters were soldiers and officers of one platoon, company, battalion, regiment, regardless of whether dissatisfied critics liked it or did not like it, demanding large-scale broad pictures, global sound. These books were far from any calm illustration, they lacked even the slightest didactics, emotion, rational alignment, the substitution of internal truth for external. They had a harsh and heroic soldier's truth (Yu. Bondarev. The development trend of the military-historical novel. - Sobr. soch.-M., 1974.-T. 3.-S.436.).
The war in the image of front-line prose writers is not only, and not even so much, spectacular heroic deeds, outstanding deeds, but tedious everyday work, hard work, bloody, but vital, and from this, how everyone will perform it in their place, Ultimately, victory depended. And it was in this everyday military work that the writers of the "second wave" saw the heroism of the Soviet man. The personal military experience of the writers of the "second wave" determined to a large extent both the very image of the war in their first works (the locality of the events described, extremely compressed in space and time, a very small number of heroes, etc.), and the genre forms that are most appropriate the content of these books. Small genres (story, short story) allowed these writers to most strongly and accurately convey everything that they personally saw and experienced, which filled their feelings and memory to the brim.
It was in the mid-1950s and early 1960s that the story and short story took the leading place in the literature about the Great Patriotic War, significantly replacing the novel, which occupied a dominant position in the first post-war decade. Such a tangible overwhelming quantitative superiority of works written in the form of small genres has led some critics to assert with hasty vehemence that the novel can no longer regain its former leading position in literature, that it is a genre of the past and that today it does not correspond to the pace of time, the rhythm of life, etc. .d.
But time and life themselves have shown the groundlessness and excessive categoricalness of such statements. If in the late 1950s - early 60s the quantitative superiority of the story over the novel was overwhelming, then from the mid-60s the novel gradually regains its lost ground. Moreover, the novel undergoes certain changes. It relies more than before on facts, on documents, on real historical events, boldly introduces real people into the narrative, trying to paint a picture of the war, on the one hand, as widely and fully as possible, and on the other hand, historically with the utmost accuracy. Documents and fiction go hand in hand here, being the two main components.
It was on the combination of document and fiction that such works, which became serious phenomena of our literature, were built, such as “The Living and the Dead” by K. Simonov, “Origins” by G. Konovalov, “Baptism” by I. Akulov, “Blockade”, “Victory” A .Chakovsky, "War" by I. Stadnyuk, "Only one life" by S. Barzunov, "Captain" by A. Kron, "Commander" by V. Karpov, "July 41" by G. Baklanov, "Requiem for the caravan PQ-17 » V. Pikul and others. Their appearance was caused by increased public opinion requirements objectively, in full, to present the degree of preparedness of our country for war, the reasons and nature of the summer retreat to Moscow, the role of Stalin in leading the preparation and course of hostilities in 1941-1945, and some other socio-historical "knots" that have attracted close interest, starting since the mid-1960s and especially during the perestroika period.
The war caught them seventeen
Almost 70 years separate us from the beginning of the Great Patriotic War (1941-1945). But time does not reduce interest in this topic, drawing the attention of today's generation to the distant front-line years, to the origins of the feat and courage of the Soviet soldier - hero, liberator, humanist. Yes, the word of the writer in the war and about the war is difficult to overestimate. A well-aimed, striking, uplifting word, a poem, a song, a ditty, a bright heroic image of a fighter or commander - they inspired the soldiers to exploits, led to victory. These words are still full of patriotic sound today, they poetize the service to the Motherland, affirm the beauty and grandeur of our moral values. That is why we again and again return to the works that made up the golden fund of literature about the Great Patriotic War.
A great contribution to the development of Soviet military prose was made by front-line writers who entered the big literature in the late 1950s and early 1960s. So, Yuri Bondarev burned Manstein's tanks near Stalingrad. Artillerymen were also E. Nosov, G. Baklanov; the poet Alexander Yashin fought in the marines near Leningrad; the poet Sergey Orlov and the writer A. Ananiev - tankers, burned in the tank. Writer Nikolai Gribachev was a platoon commander, and then a sapper battalion commander. Oles Gonchar fought in a mortar crew; infantrymen were V. Bykov, I. Akulov, V. Kondratiev; mortar - M. Alekseev; cadet, and then partisan - K. Vorobyov; signalmen - V. Astafiev and Yu. Goncharov; self-propelled gunner - V. Kurochkin; paratrooper and scout - V. Bogomolov; partisans - D. Gusarov and A. Adamovich ...
1924 was the year of birth of front-line soldiers known throughout the country - prose writers, poets. They are Victor Astafiev, Yuri Bondarev, Boris Vasiliev, Vasil Bykov, Bulat Okudzhava and Yulia Drunina. "Generation of the 24th" - these are those who were barely seventeen by the beginning of the Great Patriotic War.
"Goodbye boys..."
O tragic fate high school students who went to war are well said in the article of the poet, prose writer and translator N. Korzhavin, dedicated to Bulat Okudzhava: “The war enriched the experience of this generation, revealed to him the value of life and the meaning of life values, brought him closer to the people ... But there was something in the youth of those shameful and terrible years that attracts our hearts to it today. Some kind of natural need for personal communion with everything high and great ... All those who died in the war at the age of seventeen or eighteen are now naturally called boys. And not the dead - too, but the girls who shared the mortal danger with them - girls, as Bulat Okudzhava does in the song "Goodbye, boys!".
Oh, war, what have you done, vile:
our yards became quiet,
our boys raised their heads -
they have matured,
barely loomed on the threshold
and left, after the soldier - the soldier ...
Goodbye boys!
Boys
try to go back.
No, don't hide, be tall
do not spare bullets or grenades and do not spare yourself,
and still try to go back.
Oh, war, what have you done, vile one:
instead of weddings - separation and smoke,
our girls dresses are white
gave away to their sisters.
Boots - well, where can you get away from them?
Yes, green wings of shoulder straps ...
You spit on the gossips, girls.
We'll settle accounts with them later.
Let them talk that you have nothing to believe in,
that you are going to war at random ...
Goodbye girls!
try to go back.
Let us remember the front-line writers born in 1924, they would have turned 90 this year or would have turned 90 years old.Victor Astafiev
Born May 1, 1924 in the village of Ovsyanka near Krasnoyarsk. Having lost his parents early, he was brought up first in the family of his grandparents, and then in an orphanage.
The teacher of the boarding school, the Siberian poet Ignaty Dmitrievich Rozhdestvensky notices in Viktor a penchant for literature and develops it. The essay entitled “Alive!”, Printed in the school magazine, will later unfold into the story “Vasyutkino Lake”. After graduating from a boarding school, a teenager earns his own bread. “My childhood was left in the far Arctic,” V.P. Astafiev wrote years later, “A stranger to himself and to everyone, a teenager or youth entered the adult working life of a wartime.”
Gathering money for a ticket. Victor leaves for Krasnoyarsk, enters the FZO school of factory training). “I did not choose the group and profession in the FZO - they chose me themselves,” the writer later tells. After graduating, he works as a train compiler at the Bazaikha station near Krasnoyarsk. From there, in the fall of 1942, he went to the front: he was a driver, an artillery reconnaissance officer, and a signalman. Several times he was seriously wounded. He was awarded the Order of the Red Star, medals "For Courage", "For the Liberation of Warsaw", "For the Victory over Germany". In 1945 he was demobilized.
He wrote about himself: “Well, man, the village, the orphanage sits in me ... I was not a member of the pioneers, nor the Komsomol, nor the party ... I was a driver and in artillery intelligence, and when my eye was blackened, I involuntarily became signalman ... We divided the day in two, lived and worked in constant tension, receiving swearing, kicks and scoldings for this ... So the rumor “sits down” - this is the result of the most intense work in front-line field communications ... from the front we rode crippled , abandoned by everyone to the mercy of fate, without a specialty, without education ... the winners - a goal like a falcon ... who cared about us ?! ".
He worked as a loader, a locksmith, a foundry worker, an auxiliary worker, a teacher, a station attendant, and a storekeeper. At the same time he studied at night school.
The first stories of the author were published in the magazine "Change". Already the early stories of Astafiev, "Starodub", "Starfall" and "Pass", attracted the attention of critics. Since 1951, he worked in the editorial office of the Chusovskoy Rabochiy newspaper, where he first published his story "Civil Man". Wrote reports, articles, stories. His first book, Until Next Spring, was published in 1953.
In 1958, Astafiev was admitted to the Writers' Union of the USSR. In 1961, V. Astafiev graduated from the Higher Literary Courses at the SSP of the USSR. Laureate of the Lenin Prize (for the story "Tsar-fish").
Two of the most important themes of Soviet literature of the 1960s and 1970s - military and rural - were equally embodied in Astafiev's work. In his work, including works written long before Gorbachev's perestroika and glasnost, the Patriotic War appears as a great tragedy. The story "The Shepherd and the Shepherdess" (1971), the genre of which was designated by the author as "modern pastoral", tells about the hopeless love of two young people brought together for a brief moment and forever separated by war. In Forgive Me (1980), a play set in a military infirmary, Astafiev also writes about love and death. Even more harshly than in the works of the 1970s, and absolutely without pathos, the face of war is shown in the story “So I want to live” (1995) and in the novel “Cursed and Killed” (1995). "
....It is difficult to write about the war ... Happy is he who does not know it, and I would like to wish all kind people never to know it, and not to know, not to carry red-hot coals in their hearts that burn health and sleep ... It is difficult to write about war , although in me “my war” goes on and on on its own, without stopping, without leaving me and my memory alone". (V. Astafiev)
Astafiev's style of narration conveys the view of the war of a simple soldier or junior officer. In his works, he created a literary image of a simple working war - on which the whole army rests, which is bypassed by awards, but punishments are given in abundance. This one is half autobiographical, half collective image comfrey front-line soldier, living one life with his comrades and accustomed to calmly look into the eyes of death, Astafyev largely wrote off from himself and from his front-line friends, opposing him to the rear campers, who, in large quantities lived throughout the war in a relatively safe front-line zone and for which the writer until the end of his days felt the deepest contempt.
In the 70s, the writer again turns to the theme of his childhood - the collection "The Last Bow" is born. The story of childhood - already in two books - was published in 1978 by the Sovremennik publishing house.
From 1978 to 1982, V.P. Astafiev worked on the story "The Sighted Staff", published only in 1988. In 1991, the writer was awarded the State Prize of the USSR for this story.
In 1980, Astafiev moved to live in his homeland - in Krasnoyarsk. A new, extremely fruitful period of his work began. In Krasnoyarsk and in Ovsyanka - the village of his childhood - he wrote the novel "The Sad Detective" and many stories. The protagonist of the novel, policeman Soshnin, tries to fight criminals, realizing the futility of his efforts. The hero - and with him the author - is horrified by the massive decline in morality, leading people to a series of cruel and unmotivated crimes. - In 1996 he writes - also "military" - the story "Oberton", in 1997 he completes the story "Merry Soldier", begun in 1987 - the war does not leave the writer, his memory disturbs. The cheerful soldier is he, the wounded young soldier Astafiev, returning from the front and trying on a peaceful civilian life. He died in 2001 in Krasnoyarsk. Buried in Ovsyanka.
Astafiev's books have been translated into many languages. On November 29, 2002, a memorial house-museum of Astafyev was opened in the village of Ovsyanka and a monument to the great writer was erected. In 2006, another monument to Viktor Petrovich was erected in Krasnoyarsk. In 2004, on the Krasnoyarsk-Abakan highway, not far from the village of Sliznevo, a brilliant forged "Tsar-fish" was installed, a monument to the story of the same name by Viktor Astafyev. Today it is the only monument in Russia literary work with an element of fiction.
Bulat Okudzhava
Bulat Okudzhava was born on May 9, 1924 in Moscow and grew up in the Arbat courtyard, which taught the laws of brotherhood and loyalty to the word, friend, people...
The Black Thirties did not bypass the family. Okudzhava wrote: “My father, five uncles, aunt and mother were repressed. She spent nine years in prison, but I, “the son of the enemies of the people,” survived. I went to war as a volunteer, after the ninth grade, in 1942. He was a patriotic and romantic boy. It turned out that war is hard bloody work. At first he was a mortar. Fought near Mozdok. In December 1942 he was wounded. Then he served as a radio operator in heavy artillery. Being a regimental leader, in 1943 at the front he composed the first song “We couldn’t sleep in cold cars”.
The perception of the war by a young person not yet ready for trials was reflected in B. Okudzhava’s story “Be Healthy, Schoolboy”: “At seventeen, my father created the Komsomol underground, but I didn’t create anything ... I didn’t even finish the tenth grade .. Will I be able to get on the tank? No, I can't... But I'm a soldier... What happened: everyone was lifted up, carried away, confused... Schoolchildren crawl through the trenches, die of wounds, return home without arms, without legs... Girl foreman... What happened ?.. Before the war, I watched a movie. So all the fighters were like fighters: adults, experienced, they knew what was happening. But I don’t know, Sasha doesn’t know, and this girl doesn’t know.”
After demobilization as an external student, he passed the exams for high school. In 1950 he graduated from the philological faculty of Tbilisi University. Having received a diploma, he got a job as a school teacher in a Kaluga village. The first book "Lyrika" was published in Kaluga in 1956. After the rehabilitation of his parents, he returns to Moscow. The poet began writing his songs in the 1950s.
In 1957, the whole capital, and after it the whole country, sang to Okudzhava: "Midnight Trolleybus", "Sentimental Waltz", "King", "Song about Soldier's Boots", "Not Tramps, Not Drunkards", "Vanka Morozov" , "Merry drummer" and many others. A lot of amateur tape recordings of Okudzhava's songs performed by him went around the country.
In the 1960s, collections of poems were published: "The Cheerful Drummer", "March the Generous". In 1961, the story "Be healthy, schoolboy!" Was written. Okudzhava turns to historical prose: in 1969 the story "Poor Avrosimov" was published. Okudzhava's novels The Voyage of Amateurs (1976-78) and Appointment with Bonaparte (1979-83) put their author among the best Russian prose writers.
Okudzhava was the author of scripts for the famous films "Fidelity", "Zhenya, Zhenechka and Katyusha", as well as songs for the popular film "Belarusian Station" and others. The last poetry collection "Tea drinking on the Arbat" was published in 1996.
June 13, 1997 Okudzhava died in a Paris clinic. He was buried in Moscow at the Vagankovsky cemetery.
Boris Vasiliev
Boris Vasiliev was born on May 21, 1924 in Smolensk. Father - Vasiliev Lev Alexandrovich, a regular officer of the tsarist, later - Red and Soviet army, "miraculously survived three army purges, which hit the former officers of the tsarist army most of all ...". Mother - Alekseeva Elena Nikolaevna (b. 1892), from a well-known old noble family, associated with the names of Pushkin and Tolstoy, with the social movement of the 19th century; her father and uncle were the organizers of the populist circle "Chaikovites". Here is what Vasiliev himself wrote about his father: “A finger on his left hand was cut off, his lungs were poisoned with gases, and his shoulder was shot through ... Avoiding edification, as if by the way, my father managed to sow admiration for heroes in my soul ready for sowing.
I grew up among stories and memories, at the age of seven I dismantled a revolver and knew all types of small arms as a modern boy knows the brands of cars ... My father admired a sunset or a melody, silence or a book, a human act or human genius sincerely and without sin ... With what calm wisdom the father did not notice the servile desire to “get”, “get”, “buy”, “sell”, and to summarize, “to like people ...”. From childhood I was accustomed to deeply despise two ulcers of human society: the idealization of idleness and the strained, sweaty, lackey thirst for acquisition ...
Boris Vasiliev's early fascination with history and love for literature "were intertwined in his mind from childhood." While studying at a Voronezh school, he played in amateur performances, published a handwritten magazine with his friend.
In 1943, after graduating from the ninth grade, he volunteered for the front as part of a Komsomol fighter battalion and was sent near Smolensk. He was surrounded, left it in October 1941, then there was a camp for displaced persons, from where, at his personal request, he was sent first to the cavalry regimental school, and then to the machine-gun regimental school, which he graduated from. He served in the 8th Guards Airborne Regiment of the 3rd Guards Airborne Division. During a combat reset on March 16, 1943, he fell on a mine stretch and was taken to the hospital with a severe concussion. After graduating from the Faculty of Engineering in 1946, he worked as a tester for wheeled and tracked vehicles in the Urals. He retired from the army in 1954 with the rank of engineer-captain. In the report, he named the desire to engage in literature as the reason for his decision.
The first work that came out from under his pen was the play "Tankers" (1954). The fate of Vasiliev's first prose work Ivanov's boat (1967) was not easy: A. T. Tvardovsky accepted the story for publication in Novy Mir. But after his death, she spent almost 3 years in the editorial portfolio and saw the light only in 1970. Fame and popularity brought the writer the story "The dawns here are quiet ...", published in 1969 (magazine "Youth, No. 8"). In 1971, the story was staged by director Yuri Lyubimov on the stage of the Taganka Theater, and then in 1972 it was filmed by director Stanislav Rostotsky.
It was from her, which received a huge reader response, that the writer's fate of Boris Vasiliev began to steadily gain height. The theme of the Great Patriotic War was devoted to such works of the writer as the story "He was not on the lists" (1974), the story "Veteran" (1976), the stories "Tomorrow there was a war" (1984), "The Magnificent Six" (1980) and others. The novel "Don't shoot the white swans" - ("Youth", 1973, No. 6-7), which has something in common in moral direction with many of Vasilyevsky's works, occupies a special place in the writer's work. In a duel with cynical and cruel poachers, the one beaten to death by them perishes. main character, perceived in the village as "God's poor-bearer", Yegor Polushkin, who stood up for the nature entrusted to his protection. Believing in his rightness and human justice, he becomes a victim of evil, causing an angry reaction in the reader towards the killers. Shooting at the swans and kicking their protector, they first of all kill everything human in themselves. Goodness is vulnerable, like any moral principle, and requires protection from us not alone, but by the whole world.
Boris Vasiliev wrote numerous scripts for films. In total, about 20 films were shot according to his scripts. Among them are such popular paintings as "Officers" (1971), "And the dawns here are quiet ..." (1972), "Ata bats, soldiers were coming ..." (1976), "Tomorrow there was a war" (1987). About my generation
B. Vasiliev wrote: “We became soldiers ... I say “we” not because I want to snatch a crumb of your military glory, my friends and strangers of the same age. You saved me when I rushed around in the Smolensk and Yartsevo encirclements in the summer of 1941, fought for me when I wandered through regimental schools, marching companies and formations, gave me the opportunity to study at the armored academy when Smolensk was not yet liberated ... War ... in me, a part of my being, a charred piece of biography. And yet - a special debt for the fact that they left me safe and sound "("My horses are flying...").
Vasil Bykov
Vasil Bykov was born on June 19, 1924 in the village of Bychki, Vitebsk Region, into a peasant family. The writer's childhood was bleak: "A hungry life, when you have to go to school, but there is nothing to eat and wear ...".
After graduating from the seven-year period, Vasil entered the sculpture department of the Vitebsk Art College, which he soon had to leave: in 1940, scholarships were canceled.
The war found Bykov in Ukraine. As part of the army, he retreated to Voronezh. Then, after the Saratov Infantry School, with the rank of junior lieutenant, he returned to the front and fought until the Victory - in Ukraine, Romania, Hungary, Austria. Was wounded twice. He was finally demobilized in 1955; lived in the city of Grodno (Belarus).
In 1949, Bykov's first stories were published in Grodnenskaya Pravda. The writer himself leads his literary biography from the stories “Death of a Man” and “Obznik”, written in 1951 in the Kuriles. The main theme of his prose was the Great Patriotic War - the era of "colossal efforts of the people."
Already in early stories ("Crane Cry", (1960); "Third Rocket", (1962); "Alpine Ballad", (1964); "The Dead Doesn't Hurt", (1966); "Kruglyansky Bridge", (1969) and others, for the most part that saw the light on the pages of the magazine " New world” and received the “blessing” of A. T. Tvardovsky, the literary landmarks chosen by the young prose writer are clearly visible.
V. Bykov wrote about himself and his heroes (Sotnikov, Quarry, etc.): “... To explore not the war itself (this is the task of historians), but the possibility of the human spirit manifesting itself in war ... It seems to me that when we talk today about the importance of the human factor in our life as a decisive force in creation, in updating reality , then we mean both ideological conviction and spirituality, which is based on conscientiousness, on inner decency. Living with conscience is not easy. But a man can be a man, and the human race can survive only on the condition that the human conscience remains at its best... Yes, of course, it is difficult to demand high humanity from a person in inhuman circumstances, but there is a limit beyond which humanity risks turning into its opposite.” According to Ch. Aitmatov, fate saved Bykov “for him to live and write on behalf of a whole generation.”
Julia Drunina
Yulia Vladimirovna Drunina was born in Moscow, in the family of a school principal who taught history and literature. Mother was a music teacher and librarian, her name was Matilda Borisovna. The family lived in a communal apartment in the center of Moscow.
Julia began writing poetry at the age of 11, studied at a literary studio. For the first time, her school poems were published in the Teacher's Newspaper in the 30s. In 1931, Yulia entered school. He visits the literary studio at the Central House of Artistic Education of Children, located in the building of the Theater for Young Spectators. In the late 1930s, he participated in a competition for the best poem. As a result, the poem "We are together for school desk sat ... "was published in the "Teacher's newspaper" and broadcast on the radio.
This is how it started creative way still a young girl, not even suspecting what awaits her. Her generation still dreams of exploits, regrets its immature age, complaining that the main thing is passing by. " Rescue of the Chelyuskinites, anxiety about Marina Raskova wandering in the taiga, conquering the Pole, Spain - that's what we lived in childhood. And they were upset that they were born too late ... An amazing generation! It is quite natural that in the tragic forty-first it became a generation of volunteers ... ". Indeed, an amazing generation, a generation of romantics, who did not hesitate to defend the Motherland.
When the war began, she found her document on the completion of nursing courses and went to the front in the active parts of the Belorussian Front. Julia was seriously wounded in 1943, became disabled and was discharged. Then she returned to Moscow and tried to enter the Literary Institute there, but she was not accepted. Then she returned to the front again and fought in the Pskov region and the Baltic states. In 1944, she was shell-shocked and declared unfit for service. She was awarded the rank of foreman of the medical service and was awarded the medal "For Courage" and the Order of the Red Star.
In 1948, her first collection of poems, In a Soldier's Overcoat, was published. The first book was well received by critics, it entered a number of collections of military poems and occupied its own niche. In 1952, with the support of A. Tvardovsky, Yulia Vladimirovna was admitted to the Writers' Union. She will forever be enrolled in the ranks of front-line poets, and throughout her work, critics will attribute her to the military generation, thus explaining her main tendencies in lyrics.
In the period from 1963 to 1966, Drunina published four collections: "Alarm" (1963), "You are near" (1964), "My friend" (1965), "Country of Youth" (1966). At this time, Drunina is also engaged in social work. Outwardly, everything was going well in her life - labor orders were added to the front-line awards. She was awarded prestigious awards, elected secretary of the board of various writers' unions, chairman of the Council on Military fiction, member of the editorial board of central newspapers and magazines.
In the meantime, there were rumors that all this literary and social work, and more often - vanity, all these titles, awards and posts did not like her at all. Her work is poetry. In 1975, a collection of poems "Trench Star" was published.
I'm not from childhood -
From the war.
And that's probably why
More than you
I appreciate the happiness of silence,
And every new day
What I have lived.
I do not come from childhood - From the war.
Once, breaking through the partisan path,
I understood forever
What should we
be kind
To any timid path.
I'm not from childhood -
From the war.
And maybe that's why -
more insecure
The hearts of the veterans are burned,
And you have rough hands.
I'm not from childhood -
From the war.
I'm sorry -
It's not my fault...
The light of a trench star illuminates the life of Yulia Drunina, it penetrates into her poems, her books. The trench star is a symbol of high morality and selfless service to the motherland.
The originality of Drunina's poems is in an understanding and kind view of the world and, most importantly, of the war, in which a woman brings not only her courage and patience, but also the initial protest, due to the incompatibility of the life-giving female essence with destruction and murder.
November 21, 1991 Yulia Drunina died. Yulia Drunina left the life of suffering, broken, but not betraying her front-line youth, her first front-line love, friendship. And she left us wonderful poems as a legacy.
No, this is not merit, but luck
Become a girl soldier in the war.
If my life were different,
How ashamed I would be on Victory Day!
We girls were not greeted with delight:
We were driven home by a hoarse military commissar.
So it was in forty-one.
And other regalia later...
I look back, into the smoky distances:
No, not merit in that ominous year,
And schoolgirls considered the highest honor
The opportunity to die for your people.
Yuri Bondarev
Yuri Vasilyevich Bondarev was born on March 15, 1924 in the city of Orsk into a peasant family. Father, Vasily Vasilyevich, participated in the struggle for the formation of Soviet power in the Urals, worked as an investigator, received a law degree.
Yuri Bondarev early addicted to books. He was taught to read by his mother, who read aloud to him. The first years of the life of the future writer were spent in the Orenburg region, in the South Urals, in Central Asia. Since the end of 1931, the Bondarev family has been living in Moscow.
In 1941, together with thousands of his peers, he participated in the construction of defensive fortifications near Smolensk. Then he studied at an infantry school in the city of Aktyubinsk, and then ended up near Stalingrad and became the commander of a mortar crew. In the battles he was shell-shocked, received frostbite and a slight wound in the back. Then he participated in the crossing of the Dnieper and the liberation of Kyiv, reached Poland and Czechoslovakia.
At the end of the war, he was demobilized from the army and returned to Moscow. He enrolled in a driver's course, but was already seriously thinking about higher education and decided to go to college. At first he entered the preparatory department of the Aviation Technology Institute, but soon realized that he was attracted to something completely different, and entered the Literary Institute. M. Gorky. At the Literary Institute, he was lucky: he got into a creative seminar led by Konstantin Paustovsky, one of the largest Russian writers.
Paustovsky, according to Bondarev, did extremely much for him: "he instilled a love for the great mystery of art and words, inspired that the main thing in literature is to say one's own." Bondarev graduated from the institute in 1951.
The first stories were published in 1949. The first collection of short stories, On the Big River, was published in 1953. In 1956, Bondarev's first story, "The Youth of Commanders," was published, telling about the everyday life of cadets of an artillery school at the end of the war and in peacetime. "Battalions ask for fire" (1957) and "Last volleys" (1959) are two stories that brought wide fame to the writer. This was a new and significant step for the young writer along the chosen path of depicting military reality, which was fundamental for him. The main thing that brought together and at the same time distinguished these works from one another was the study of the moral strength of a person in war. Critics immediately praised both the story as a whole and the image of the protagonist. Bondarev's novel "Silence" (1962-1964) is one of the first references to the theme of Stalin's repressions in Soviet literature. The novel was a great success Hot Snow"(1970) the action of the work is limited to one day and one event - the battles on the outskirts of Stalingrad.
Bondarev never embellishes, does not glorify the war, he shows it exactly as it really was. The main characters of Yuri Bondarev's story are "little great people". Major Bulbanyuk, Captain Ermakov, Senior Lieutenant Orlov, Lieutenant Kondratiev, Sergeant Kravchuk, Private Sklyar never utter big words, never take heroic poses and do not seek to get on the tablets of History. They are just doing their job - protecting the Motherland. The heroes of Bondarev go through a whole series of tests, including the main test - the test in combat. And it is in battle, on the verge of life and death, that the true essence of each person is revealed. In the following novels - "Coast" (1975), "Choice" (1980), "Game" (1985), "Temptation" (1991), "Non-resistance" (1994-1995) - Bondarev turned to the fate of the Russian intelligentsia of the second half of the 20th century (his heroes are a writer, artist, film director, scientist). A significant place in Bondarev's creative biography is occupied by work in the cinema - he created screenplays based on many of his own works "Battalions Ask for Fire", "Hot Snow", "Silence", "Shore", the script for the film epic "Liberation" (1970-1972).
« I would like says the writer, so that my readers learn in my books not only about our reality, about modern world but also about themselves. This is the main thing when a person recognizes in the book something dear to him, what he went through, or what he wants to go through.
I have letters from readers. Young people report that after my books they became military officers, they chose this life path for themselves. It is very expensive when a book affects psychology, which means that its characters have entered our lives. War is oh-oh-oh, it's not like rolling a wheel on asphalt! But someone still wanted to imitate my heroes. This is very dear to me and has nothing to do with a bad feeling of complacency. This is different. You didn’t work for nothing, you lived, you understand?! You did not fight for nothing, fought in completely inhuman conditions, not without reason went through this fire, remained alive ... I paid the war a light tribute - three wounds. But others paid with their lives! Let's remember this. Is always".
Such books should be read, especially for boys aged 14-16 ... It contains the truth about the war, about life and death, and not slogans and fairy tales. Playing in computer games they completely lose touch with reality, do not appreciate what they have at all. The only question is how to get them to start reading it. Just to start, because these are unique writers, they reveal even such terrible topics in an accessible and exciting way - the reader seems to dive into the plot, become an involuntary spectator, an accomplice ...
Boys, read these books...
Hate never made people happy. War is not just words on the pages, not just beautiful slogans. War is pain, hunger, soul-rending fear and… death. Books about war are inoculations against evil, sobering us, keeping us from reckless actions. Let us learn from the mistakes of the past by reading wise and truthful writings to avoid repeating the terrible history so that we and future generations can build a beautiful society. Where there are no enemies and any disputes can be settled by conversation. Where you don’t bury your relatives, howling from anguish. Where all life is priceless...
Not only the present, but also the distant future depends on each of us. You just need to fill your heart with kindness and see in those around you not potential enemies, but people just like us - with families dear to our hearts, with a dream of happiness. Remembering the great sacrifices and deeds of our ancestors, we must carefully preserve their generous gift - life without war. So let the sky above our heads always be peaceful!
XX - early XXI centuries deeply and comprehensively, in all its manifestations: the army and the rear, partisan movement and underground, the tragic beginning of the war, individual battles, heroism and betrayal, the greatness and drama of the Victory. The authors of military prose, as a rule, front-line soldiers, in their works rely on real events, on their own front-line experience. In books about the war written by front-line soldiers, the main line is soldier friendship, front-line camaraderie, the severity of camp life, desertion and heroism. Dramatic human destinies unfold in war, sometimes life or death depends on a person’s act. Front-line writers are a whole generation of courageous, conscientious, experienced, gifted individuals who have endured military and post-war hardships. Front-line writers are those authors who in their works express the point of view that the outcome of the war is decided by the hero, who recognizes himself as a particle of the warring people, who carries his cross and common burden.
The most reliable works about the war were created by front-line writers:, G. Baklanov, B. Vasiliev,.
One of the first books about the war was Viktor Platonovich Nekrasov's (1911-1987) story "In the trenches of Stalingrad", which Vyacheslav Kondratyev, another front-line writer, spoke with great respect. He called it his desk book, where there was the whole war with its inhumanity and cruelty, there was "our war that we went through." This book was published immediately after the war in the journal Znamya (1946, Nos. 8–9) under the title Stalingrad, and only later was it given the title In the Trenches of Stalingrad.
And in 1947, the story "Star" was written by Emmanuil Genrikhovich Kazakevich (1913-1962), a front-line writer, truthful and poetic. But at that time it was deprived of a true ending, and only now it has been filmed and restored in its original ending, namely, the death of all six scouts under the command of Lieutenant Travkin.
Let us also recall other outstanding works about the war of the Soviet period. This is the "lieutenant's prose" of such writers as G. Baklanova, K. Vorobyov.
Yuri Vasilyevich Bondarev (1924), former artillery officer who fought in 1942-1944 near Stalingrad, on the Dnieper, in the Carpathians, author best books about the war - “Battalions Ask for Fire” (1957), “Silence” (1962), “Hot Snow” (1969). One of the reliable works written by Bondarev about the war is the novel "Hot Snow" about Battle of Stalingrad, about the defenders of Stalingrad, for whom he personified the defense of the Motherland. Stalingrad as a symbol of soldier's courage and stamina runs through all the works of the front-line writer. His military writings are laced with romantic scenes. The heroes of his stories and novels - the boys, along with the heroism they commit, still have time to think about the beauty of nature. For example, lieutenant Davlatyan cries bitterly like a boy, considering himself a failure not because he was wounded and hurt, but because he dreamed of getting to the front line, he wanted to knock out a tank. About the difficult life after the war of former participants in the war new novel"Non-resistance" as the former boys have become. They do not give up under the weight of post-war and especially modern life. “We have learned to hate falsehood, cowardice, lies, the elusive look of a scoundrel talking to you with a pleasant smile, indifference, from which one step to betrayal,” says Yuri Vasilyevich Bondarev many years later about his generation in the book “Moments”.
Let us recall Konstantin Dmitrievich Vorobyov (1919-1975), the author of harsh and tragic works, who was the first to tell about the bitter truth of the one who was captured and went through the earthly hell. The stories of Konstantin Dmitrievich Vorobyov “This is us, Lord”, “Killed near Moscow” were written from his own experience. Fighting in a company of Kremlin cadets near Moscow, he was taken prisoner, passed through camps in Lithuania. Escaped from captivity, organized a partisan group that joined the Lithuanian partisan detachment, and after the war he lived in Vilnius. The story "This is Us, Lord", written in 1943, was published only ten years after his death, in 1986. This story about the torments of a young lieutenant in captivity is autobiographical and is now highly valued in terms of the resistance of the spirit as a phenomenon. Torture, executions, hard labor in captivity, escapes... The author documents a nightmarish reality, exposes evil. The story "Killed near Moscow", written by him in 1961, remains one of the most reliable works about initial period war in 1941 near Moscow, where a company of young cadets ends up, almost without weapons. Fighters die, the world collapses under bombs, the wounded are captured. But their life is given to the Motherland, which they faithfully served.
Among the most notable front-line writers of the second half of the 20th century, one can name the writer Vyacheslav Leonidovich Kondratiev (1920-1993). His simple and beautiful story "Sashka", published back in 1979 in the magazine "Friendship of Peoples" and dedicated to "To All Who Fought near Rzhev - Living and Dead" - shocked readers. The story "Sashka" put forward Vyacheslav Kondratiev among the leading writers of the front-line generation, for each of them the war was different. In it, a front-line writer talks about the life of an ordinary person in a war, several days of front-line life. The battles themselves were not the main part of a person's life in the war, but the main thing was life, incredibly difficult, with huge physical activity, hard life. For example, morning mine shelling, getting shag, sipping liquid porridge, warming up by the fire - and the hero of the story Sashka understood - you have to live, you have to knock out tanks, shoot down planes. Having captured the German in a short battle, he does not experience much triumph, he seems to be unheroic at all, an ordinary fighter. The story about Sashka became a story about all the front-line soldiers, tormented by the war, but who retained their human face even in an impossible situation. And then the novels and stories follow, united by a cross-cutting theme and heroes: “The Road to Borodukhino”, “Life-Being”, “Vacation for Wounds”, “Meetings on Sretenka”, “A Significant Date”. The works of Kondratiev are not just true prose about the war, they are true testimonies of time, duty, honor and fidelity, these are the painful thoughts of the heroes after. His works are characterized by the accuracy of dating events, their geographic and topographic reference. The author was where and when his characters were. His prose is eyewitness accounts, it can be regarded as an important, albeit peculiar historical source, at the same time it is written according to all the canons of a work of art. The collapse of the era that occurred in the 90s, which haunts the participants in the war and they experience moral suffering, had a catastrophic effect on front-line writers, led them to the tragic feelings of a devalued feat. Is it not because of moral suffering that the front-line writers tragically died in 1993, Vyacheslav Kondratyev, and in 1991, Yulia Drunina.
Here is another front-line writer, Vladimir Osipovich Bogomolov (1926-2003), who wrote in 1973 the action-packed work “The Moment of Truth” (“In August forty-fourth”) about military counterintelligence - SMERSH, whose heroes neutralize the enemy in the rear of our troops. In 1993, he published the bright story "In the Krieger" (krieger - a wagon for transporting the seriously wounded), which is a continuation of the story "The Moment of Truth" and "Zosya". In this wagon-krieger, the surviving heroes gathered. Undertreated, they were distributed by a terrible commission for further service in remote areas of the Far North, Kamchatka, Far East. They, who gave their lives for their Motherland, were crippled, were not spared, they were sent to the most remote places. The last novel about the Great Patriotic War by Vladimir Osipovich Bogomolov “My life, or did you dream about me ...” (Our contemporary. - 2005. - No. 11,12; 2006. - No. 1, 10, 11, 12; 2008. - No. 10) remained unfinished and was published after the death of the writer. He wrote this novel not only as a participant in the war, but also based on archival documents. The events in the novel begin in February 1944 with the crossing of the Oder and last until the early 1990s. The story is told on behalf of a 19-year-old lieutenant. The novel is documented by the orders of Stalin and Zhukov, political reports, excerpts from the front press, which give an impartial picture of the hostilities. The novel, without any embellishment, conveys the mood in the army that has entered enemy territory. The underside of the war is depicted, which has not been written about before.
Vladimir Osipovich Bogomolov wrote about his main, as he considered, book: “It will not be a memoir, not memoirs, but, in the language of literary critics, “an autobiography of a fictitious person.” And not entirely fictional: by the will of fate, I almost always found myself not only in the same places with the main character, but also in the same positions: I spent a whole decade in the shoes of most heroes, the root prototypes of the main characters were closely familiar to me during the war and after her officers. This novel is not only about the history of a person of my generation, it is a requiem for Russia, for its nature and morality, a requiem for the difficult, deformed destinies of several generations - tens of millions of my compatriots.
Front-line writer Boris Lvovich Vasiliev (born in 1924), laureate of the State Prize of the USSR, the Prize of the President of Russia, the Independent Prize named after "April". He is the author of the books loved by all “The dawns here are quiet”, “Tomorrow there was a war”, “I was not on the lists”, “Aty-bats were soldiers”, which were filmed in Soviet time. In an interview with Rossiyskaya Gazeta dated January 1, 2001, the front-line writer noted the demand for military prose. Unfortunately, his works were not republished for ten years, and only in 2004, on the eve of the writer's 80th birthday, were they republished by the Veche publishing house. A whole generation of young people was brought up on the military stories of Boris Lvovich Vasiliev. Everyone remembered the bright images of girls who combined love of truth and steadfastness (Zhenya from the story “The Dawns Here Are Quiet...”, Spark from the story “Tomorrow there was a war”, etc.) and sacrificial devotion to a high cause and loved ones (the heroine of the story “In was not listed, etc.)
Yevgeny Ivanovich Nosov (1925-2002), who was awarded the Sakharov Literary Prize together with Konstantin Vorobyov (posthumously) for his work in general (devotion to the theme), is distinguished by his belonging to the village theme. But he also created unforgettable images of peasants who are preparing to go to war (the story "Usvyatsky helmet-bearers") as if to the end of the world, say goodbye to a measured peasant life and prepare for an uncompromising battle with the enemy. The first work about the war was the story "Red Wine of Victory", written by him in 1969, in which the hero met Victory Day on a government bed in the hospital and received, along with all the suffering wounded, a glass of red wine in honor of this long-awaited holiday. Reading the story, adults who survived the war will cry. “An authentic comfrey, an ordinary fighter, he does not like to talk about the war ... The wounds of a fighter will tell more and more strongly about the war. Holy words should not be frittered away in vain. As well, you can not lie about the war. And it is a shame to write badly about the sufferings of the people. A master and worker of prose, he knows that the memory of dead friends can be offended by an awkward word, clumsy thoughts ... ”- this is how his friend writer-front-line soldier Viktor Astafyev wrote about Nosov. In the story "Khutor Beloglin" Alexey, the hero of the story, lost everything in the war - he had no family, no home, no health, but, nevertheless, he remained kind and generous. Yevgeny Nosov wrote a number of works at the turn of the century, about which Alexander Isaevich Solzhenitsyn said, handing him the prize of his own name: “And, denouncing in 40 years all the same military theme, with bitter bitterness, Nosov stirs up what hurts even today ... With this unrequited grief, Nosov closes a half-century wound great war and everything that is not told about her even today. Works: "Apple Savior", "Commemorative Medal", "Fanfares and Bells" - from this series.
Among the front-line writers, Andrei Platonovich Platonov (1899-1951) was undeservedly deprived in Soviet times, whom literary criticism made such only because his works were different, too reliable. For example, the critic V. Ermilov in the article "The slanderous story of A. Platonov" (about the story "Return") accused the author of "the most vile slander on the Soviet family" and the story was declared alien and even hostile. In fact, Andrei Platonov went through the entire war as an officer, from 1942 to 1946. He was a war correspondent for Krasnaya Zvezda on the fronts from Voronezh, Kursk to Berlin and the Elbe, and his man among the soldiers in the trenches, he was called the "trench captain." One of the first Andrey Platonov wrote the dramatic story of the return of a war veteran home in the story "Return", which was published in the "New World" already in 1946. The hero of the story, Alexei Ivanov, is in no hurry to go home, he has found a second family among his fellow soldiers, he has lost the habit of being at home, of his family. The heroes of Platonov's works “... were now going to live for the first time, in illness and the happiness of victory. Now they were going to live for the first time exactly, vaguely remembering themselves as they were three or four years ago, because they turned into completely different people ... ". And in the family, near his wife and children, another man appeared, who was orphaned by the war. It is difficult for a front-line soldier to return to another life, to children.
(b. 1921) - participant in the Great Patriotic War, colonel, historian, author of a series of books: "In the ranks", "Fiery miles", "Fighting continues", "Colonel Gorin", "Chronicle of the pre-war years", " In the snow-covered fields of the Moscow region. What caused the tragedy of June 22: the criminal carelessness of the command or the treachery of the enemy? How to overcome the confusion and confusion of the first hours of the war? The resilience and courage of the Soviet soldier in the early days of the Great Patriotic War is described in the historical novel "Summer of Hopes and Crashes" (Roman-gazeta. - 2008. - Nos. 9-10). There are also images of military leaders: commander-in-chief Stalin, marshals - Zhukov, Timoshenko, Konev and many others. Another historical novel “Stalingrad. Battles and Fates ”(Roman-newspaper. - 2009. - Nos. 15-16.) The battle on the Volga is called the battle of the century. The final parts of the novel are devoted to the harsh winter of the years, when more than two million soldiers came together in a deadly battle.
https://pandia.ru/text/78/575/images/image003_37.jpg" width="155" height="233 src=">
(real name - Fridman) was born on September 11, 1923 in Voronezh. He volunteered to fight. From the front he was sent to the artillery school. After completing his studies, he ended up on the South-Western Front, then on the 3rd Ukrainian. Participated in the Iasi-Kishinev operation, in the battles in Hungary, in the capture of Budapest, Vienna. He ended the war in Austria with the rank of lieutenant. In the years studied at the Literary Institute. The book "Forever - nineteen" (1979) was awarded the State Prize. In 1986-96 was the editor-in-chief of the Znamya magazine. Died 2009
https://pandia.ru/text/78/575/images/image005_22.jpg" width="130" height="199 src=">
https://pandia.ru/text/78/575/images/image015_4.jpg" width="150" height="194">
(real name - Kirill) was born on November 28, 1915 in Petrograd. He studied at MIFLI, then at the Literary Institute. M. Gorky. In 1939 he was sent as a war correspondent to Khalkhin Gol in Mongolia. From the first days of the Great Patriotic War, Konstantin Simonov was in the army: he was his own correspondent for the newspapers Krasnaya Zvezda, Pravda, Komsomolskaya Pravda, etc. In 1942 he was awarded the rank of senior battalion commissar, in 1943 - the rank of lieutenant colonel, and after the war - colonel. As a war correspondent, he visited all fronts, was in Romania, Bulgaria, Yugoslavia, Poland, Germany, witnessed the last battles for Berlin. After the war, he worked as an editor of the journal Novy Mir and Literaturnaya Gazeta. Died August 28, 1979 in Moscow.
https://pandia.ru/text/78/575/images/image027_1.jpg" width="170" height="228">
Front-line writers, contrary to the tendencies that developed in the Soviet era to gloss over the truth about the war, portrayed the harsh and tragic military and post-war reality. Their works are true evidence of the time when Russia fought and won.
The war caught them seventeen
Almost 70 years separate us from the beginning of the Great Patriotic War (1941-1945). But time does not reduce interest in this topic, drawing the attention of today's generation to the distant front-line years, to the origins of the feat and courage of the Soviet soldier - hero, liberator, humanist. Yes, the word of the writer in the war and about the war is difficult to overestimate. A well-aimed, striking, uplifting word, a poem, a song, a ditty, a bright heroic image of a fighter or commander - they inspired the soldiers to exploits, led to victory. These words are still full of patriotic sound today, they poetize the service to the Motherland, affirm the beauty and grandeur of our moral values. That is why we again and again return to the works that made up the golden fund of literature about the Great Patriotic War.
A great contribution to the development of Soviet military prose was made by front-line writers who entered the big literature in the late 1950s and early 1960s. So, Yuri Bondarev burned Manstein's tanks near Stalingrad. Artillerymen were also E. Nosov, G. Baklanov; the poet Alexander Yashin fought in the marines near Leningrad; the poet Sergey Orlov and the writer A. Ananiev - tankers, burned in the tank. Writer Nikolai Gribachev was a platoon commander, and then a sapper battalion commander. Oles Gonchar fought in a mortar crew; infantrymen were V. Bykov, I. Akulov, V. Kondratiev; mortar - M. Alekseev; cadet, and then partisan - K. Vorobyov; signalmen - V. Astafiev and Yu. Goncharov; self-propelled gunner - V. Kurochkin; paratrooper and scout - V. Bogomolov; partisans - D. Gusarov and A. Adamovich ...
1924 was the year of birth of front-line soldiers known throughout the country - prose writers, poets. They are Victor Astafiev, Yuri Bondarev, Boris Vasiliev, Vasil Bykov, Bulat Okudzhava and Yulia Drunina. "Generation of the 24th" - these are those who were barely seventeen by the beginning of the Great Patriotic War.