Konstantin Georgievich Paustovsky(May 19 (31), Moscow - July 14, Moscow) - Russian Soviet writer, classic of Russian literature. Member of the Writers' Union of the USSR. The books of K. Paustovsky have been repeatedly translated into many languages of the world. In the second half of the 20th century, his novels and stories were included in Russian schools in the Russian literature program for the middle classes as one of the plot and stylistic examples of landscape and lyrical prose.
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✪ Lermontov 1943
✪ Film Kara Bugaz
✪ Wick "Talents and Admirers" (1974) watch online
✪ Telegram, 1971, watch online, Soviet cinema, Russian film, USSR
✪ A day without lies
To help understand the origins and formation of the work of K. G. Paustovsky can his autobiographical "Tale of Life" in two volumes, only 6 books. The writer's childhood there is dedicated to the first book "Distant Years".
My whole life from early childhood to 1921 is described in three books - "Distant Years", "Restless Youth" and "The Beginning of an Unknown Age". All these books form part of my autobiographical Tale of Life...
Konstantin Paustovsky was born into the family of railway statistician Georgy Maksimovich Paustovsky, who had Ukrainian-Polish-Turkish roots and lived in Granatny Pereulok in Moscow. He was baptized in the church of St. George on Vspolya. An entry in the metric church book contains information about his parents: “... the father is a retired non-commissioned officer of the II category from volunteers, from the townspeople of the Kyiv province, Vasilkovsky district, Georgy Maksimovich Paustovsky and his legal wife Maria Grigorievna, both Orthodox people”.
The genealogy of the writer on his father's side is associated with the name of the hetman P.K. Sahaydachny, although he did not attach much importance to this: “Father laughed at his “hetman origin” and liked to say that our grandfathers and great-grandfathers plowed the land and were the most ordinary patient grain growers ...” The writer's grandfather was a Cossack, had the experience of a chumak, who transported goods from the Crimea deep into Ukrainian territory with his comrades, and introduced young Kostya to Ukrainian folklore, Chumat, Cossack songs and stories, of which the most memorable was the romantic and tragic story of a former rural blacksmith that touched him, and then the blind lyre player Ostap, who lost his sight from the blow of a cruel nobleman, a rival who stood in the way of his love for a beautiful noble lady, who then died, unable to bear the separation from Ostap and his torment.
Before becoming a chumak, the writer's paternal grandfather served in the army under Nicholas I, fell into Turkish captivity during one of the Russian-Turkish wars and brought from there a stern Turkish wife Fatma, who was baptized in Russia with the name Honorata, so the writer's father's Ukrainian-Cossack blood is mixed with Turkish. The father is portrayed in the story "Distant Years" as a not very practical person of a freedom-loving revolutionary-romantic warehouse and an atheist, which irritated his mother-in-law, another grandmother of the future writer.
The writer's maternal grandmother, Vikentia Ivanovna, who lived in Cherkassy, was a Polish, zealous Catholic who, with his father's disapproval, took her preschool grandson to worship Catholic shrines in the then Russian part of Poland, and the impressions of their visit and the people they met there also sunk deep into the soul of the writer. Grandmother always wore mourning after the defeat of the Polish uprising in 1863, as she sympathized with the idea of Poland's freedom: “We were sure that during the uprising, my grandmother’s fiancé was killed - some proud Polish rebel, not at all like a gloomy grandmother’s husband, and my grandfather was a former notary in the city of Cherkassy”. After the defeat of the Poles from the government forces of the Russian Empire, active supporters of the Polish liberation felt hostility towards the oppressors, and on the Catholic pilgrimage, the grandmother forbade the boy to speak Russian, while he spoke Polish only to a minimal extent. The boy was also frightened by the religious frenzy of other Catholic pilgrims, and he alone did not perform the required rites, which his grandmother explained by the bad influence of his father, an atheist. The Polish grandmother is portrayed as strict, but kind and considerate. Her husband, the second grandfather of the writer, was a taciturn man who lived alone in his room on the mezzanine, and communication with him was not noted by the grandchildren by the author of the story as a factor that significantly influenced him, unlike communication with two other members of that family - young, beautiful , cheerful, impulsive and musically gifted aunt Nadya, who died early, and her older brother, adventurer uncle Yuzey - Joseph Grigorievich. This uncle received a military education and, having the character of a tireless traveler, an unsuccessful businessman, a fidget and an adventurer, disappeared for a long time from his parental home and unexpectedly returned to it from the farthest corners of the Russian Empire and the rest of the world, for example, from the construction of the Chinese Eastern Railway or by participating in South Africa in the Anglo-Boer war on the side of the small Boers, who staunchly resisted the British conquerors, as the liberal-minded Russian public believed at that time, sympathizing with these descendants of the Dutch settlers. On his last visit to Kyiv, which came at the time of the armed uprising that took place there during the First Russian Revolution of 1905-07. , he unexpectedly got involved in events, having adjusted the previously unsuccessful shooting of the insurgent artillerymen on government buildings, and after the defeat of the uprising, he was forced to emigrate to the countries of the Far East for the rest of his life. All these people and events influenced the personality and work of the writer.
The writer's parental family had four children. Konstantin Paustovsky had two older brothers (Boris and Vadim) and a sister, Galina.
After the breakup of the family (autumn 1908), he lived for several months with his uncle, Nikolai Grigoryevich Vysochansky, in Bryansk and studied at the Bryansk gymnasium.
In the autumn of 1909 he returned to Kyiv and, having recovered at the Alexander Gymnasium (with the assistance of its teachers), began an independent life, earning money by tutoring. After some time, the future writer settled with his grandmother, Vikentia Ivanovna Vysochanskaya, who moved to Kyiv from Cherkasy. Here, in a small wing on Lukyanovka, the high school student Paustovsky wrote his first stories, which were published in Kyiv magazines. After graduating from high school in 1912, he entered the Imperial University of St. Volodymyr in Kyiv at the Faculty of History and Philology, where he studied for two years.
In total, for more than twenty years, Konstantin Paustovsky, “a Muscovite by birth and a Kyivian by heart,” has lived in Ukraine. It was here that he took place as a journalist and writer, which he repeatedly admitted in his autobiographical prose. In the preface to the Ukrainian edition of the "Gold of Troyand" (Russian "Golden Rose") In 1957 he wrote:
In the books of almost every writer, the image of his native land, with its endless sky and the silence of the fields, with its thoughtful forests and the language of the people, shines through, as if through a light sunny haze. I've been lucky in general. I grew up in Ukraine. I am grateful to her lyricism for many aspects of my prose. I carried the image of Ukraine in my heart for many years.
After the death of both of his brothers on the same day on different fronts, Paustovsky returned to Moscow to his mother and sister, but after a while he left there. During this period, he worked at the Bryansk Metallurgical Plant in Yekaterinoslav, at the Novorossiysk Metallurgical Plant in Yuzovka, at the boiler plant in Taganrog, from the autumn of 1916 in a fishing artel on the Azov Sea. After the beginning of the February Revolution, he left for Moscow, where he worked as a reporter for newspapers. In Moscow, he witnessed the events of 1917-1919 associated with the October Revolution.
In 1932, Konstantin Paustovsky visited Petrozavodsk, working on the history of the Onega Plant (the topic was suggested by A. M. Gorky). The trip resulted in the story "The Fate of Charles Lonsevil" and "Lake Front" and a large essay "Onega Plant". Impressions from a trip to the north of the country also formed the basis of the essays "Country beyond Onega" and "Murmansk".
Having made a trip to the north-west of the country, visiting Novgorod, Staraya Russa, Pskov, Mikhailovskoye, Paustovsky wrote the essay "Mikhailovskie Groves", published in the journal Krasnaya Nov (No. 7, 1938).
By the Decree of the Presidium of the Supreme Soviet of the USSR "On the Rewarding of Soviet Writers" dated January 31, 1939, K. G. Paustovsky was awarded the Order of the Red Banner of Labor ("For outstanding successes and achievements in the development of Soviet fiction").
In mid-August, Konstantin Paustovsky returned to Moscow and was left to work in the TASS apparatus. Soon, at the request of the Committee for Arts, he was released from service to work on a new play for the Moscow Art Theater and evacuated with his family to Alma-Ata, where he worked on the play "Until the Heart Stops", the novel "Smoke of the Fatherland", wrote a number of stories. The production of the play was prepared by the Moscow Chamber Theater under the direction of A. Ya. Tairov, evacuated to Barnaul. In the process of working with the theater team, Paustovsky spent some time (winter 1942 and early spring 1943) in Barnaul and Belokurikha. He called this period of his life "Barnaul months". The premiere of the performance based on the play "Until the Heart Stops", dedicated to the fight against fascism, took place in Barnaul on April 4, 1943.
In the 1950s, Paustovsky lived in Moscow and in Tarusa on the Oka. He became one of the compilers of the most important collective collections of the democratic direction of the thaw times Literary Moscow (1956) and Tarusa Pages (1961). For more than ten years he led a prose seminar in, was the head of the department of literary skill. Among the students at Paustovsky's seminar were: Inna Goff, Vladimir Tendryakov, Grigory Baklanov, Yuri Bondarev, Yuri Trifonov, Boris Balter, Ivan Panteleev. In her book "Transformations" Inna Goff wrote about K. G. Paustovsky:
I often think about him. Yes, he had the rare talent of a teacher. It is no coincidence that there are many teachers among his passionate admirers. He knew how to create a special, mysteriously beautiful atmosphere of creativity - it is this lofty word that I want to use here.
In the mid-1950s, world recognition came to Paustovsky. Having the opportunity to travel around Europe, he visited Bulgaria, Czechoslovakia, Poland, Turkey, Greece, Sweden, Italy and other countries. Starting in 1956 on a cruise around Europe, he visited Istanbul, Athens, Naples, Rome, Paris, Rotterdam, Stockholm. At the invitation of Bulgarian writers K. Paustovsky visited Bulgaria in 1959 . In 1965 he lived for some time on about. Capri. In the same 1965, he was one of the likely candidates for the Nobel Prize in Literature, which was eventually awarded to Mikhail Sholokhov. In the book "The Lexicon of Russian Literature of the 20th Century", written by the famous German Slavist Wolfgang Kazak, it is said on this occasion: “The planned presentation of the Nobel Prize to K. Paustovsky in 1965 did not take place, as the Soviet authorities began to threaten Sweden with economic sanctions. And thus, instead of him, a major Soviet literary functionary M. Sholokhov was awarded. .
K. G. Paustovsky was among the favorite writers of Marlene Dietrich. In her book "Reflections" (chapter "Paustovsky"), she described their meeting, which took place in 1964 during her speech at the Central House of Writers:
In memory of this meeting, Marlene Dietrich presented Konstantin Georgievich with several photographs. One of them captured Konstantin Paustovsky and an actress kneeling before her beloved writer on the stage of the Central House of Writers.
In 1966, Konstantin Paustovsky signed a letter of twenty five figures of culture and science to the General Secretary of the Central Committee of the CPSU L. I. Brezhnev against the rehabilitation of I. Stalin. His literary secretary during this period (1965-1968) was the journalist Valery Druzhbinsky.
For a long time, Konstantin Paustovsky suffered from asthma, suffered several heart attacks. He died on July 14, 1968 in Moscow. According to his will, he was buried at the local cemetery of Tarusa, the title of "Honorary Citizen" of which he was awarded on May 30, 1967.
In 1965, he signed a letter requesting that A.I.Solzhenitsyn be given an apartment in Moscow, and in 1967 he supported Solzhenitsyn, who wrote a letter to the 4th Congress of Soviet Writers demanding that censorship of literary works be abolished.
Already shortly before his death, the seriously ill Paustovsky sent a letter to A. N. Kosygin with a request not to dismiss the chief director of the Taganka Theater Yu. P. Lyubimov. The letter was followed by a telephone conversation with Kosygin, in which Konstantin Georgievich said:
Paustovsky met his future wife when he went as an orderly to the front (World War I), where Ekaterina Zagorskaya was a nurse.
Name Hatice (Russian: "Catherine") E. Zagorskaya was given by Tatars from the Crimean village, where she spent the summer of 1914.
Paustovsky and Zagorskaya got married in the summer of 1916, in Ekaterina's native Podlesnaya Sloboda in the Ryazan province (now the Lukhovitsky district of the Moscow region). It was in this church that her father served as a priest. In August 1925, a son was born to the Paustovskys in Ryazan. Vadim(08/02/1925 - 04/10/2000). Until the end of his life, Vadim Paustovsky collected letters from his parents, documents, and gave a lot to the Paustovsky Museum Center in Moscow.
In 1936, Ekaterina Zagorskaya and Konstantin Paustovsky broke up. Catherine confessed to her relatives that she gave her husband a divorce herself. She could not bear that he "got in touch with a Polish woman" (meaning Paustovsky's second wife). Konstantin Georgievich, however, continued to take care of his son Vadim even after the divorce.
Valeria Valishevskaya (Waleria Waliszewska)- sister of the famous Polish artist Zygmunt (Sigismund) Valiszewski in the 1920s (Zygmunt Waliszewski). Valeria becomes the inspiration for many works - for example, "Meshcherskaya Side", "Throw to the South" (here Valishevskaya was the prototype of Mary).
Tatyana was an actress of the theater. Meyerhold. They met when Tatyana Evteeva was the wife of the fashionable playwright Alexei Arbuzov (Arbuzov's play "Tanya" is dedicated to her). She married K. G. Paustovsky in 1950. Paustovsky wrote about her:
Alexey Konstantinovich(1950-1976), son from his third wife Tatyana, was born in the village of Solotcha, Ryazan Region. Died at the age of 26 from a drug overdose. The drama of the situation is that he did not commit suicide or poison himself alone - there was a girl with him. But her doctors resuscitated, but they did not save him.
My writing life began with a desire to know everything, see everything and travel. And, obviously, this is where it will end.
The poetry of wanderings, merging with unvarnished reality, formed the best alloy for creating books.
The first works, “On the Water” and “Four” (in the notes to the first volume of the six-volume collected works of K. Paustovsky, published in 1958, the story is called “Three”), were written by Paustovsky while still studying in the last class of the Kyiv gymnasium. The story "On the Water" was published in the Kiev almanac "Lights", No. 32 and was signed with the pseudonym "K. Balagin" (the only story published by Paustovsky under a pseudonym). The story "Four" was published in the youth magazine "Knight" (No. 10-12, October-December, 1913).
In 1916, while working at the Nev-Vilde boiler plant in Taganrog, K. Paustovsky began writing his first novel, The Romantics, which lasted seven years and was completed in 1923 in Odessa.
It seems to me that one of the characteristic features of my prose is its romantic mood ...
… Romantic mood does not contradict the interest in the “rough” life and love for it. In all areas of reality, with rare exceptions, the seeds of romance are laid.
They can be overlooked and trampled, or, conversely, give them the opportunity to grow, decorate and ennoble the inner world of a person with their flowering.
In 1928, the first collection of Paustovsky's stories "Oncoming Ships" was published ("My first" real book was a collection of stories "Oncoming Ships"), although separate essays and stories were published before that. In a short time (winter 1928), the novel Shining Clouds was written, in which the detective-adventurous intrigue, conveyed in magnificent figurative language, was combined with autobiographical episodes related to Paustovsky's trips to the Black Sea and the Caucasus in 1925-1927. The novel was published by the Kharkov publishing house "Proletary" in 1929.
Fame brought the story "Kara-Bugaz". Written on the basis of true facts and published in 1932 by the Moscow publishing house Young Guard, the story immediately put Paustovsky (according to critics) into the forefront of Soviet writers of that time. The story was repeatedly published in different languages of the peoples of the USSR and abroad. Filmed in 1935 by director Alexander Razumny, the film "Kara-Bugaz" was not allowed to be released for political reasons.
In 1935, in Moscow, the publishing house Khudozhestvennaya Literatura published the novel Romantiki for the first time, which was included in the collection of the same name.
Regardless of the length of the work, Paustovsky's narrative structure is additive, "in selection", when episode follows episode; the form of narration in the first person prevails, on behalf of the narrator-observer. More complex structures with the subordination of several lines of action are alien to Paustovsky's prose.
In 1958, the State Publishing House of Fiction Literature published a six-volume collected works of the writer with a circulation of 225,000 copies.
The first monument to K. G. Paustovsky was opened on April 1, 2010, also in Odessa, on the territory of the Sculpture Garden of the Odessa Literary Museum. Kyiv sculptor Oleg Chernoivanov immortalized the great writer in the form of a mysterious sphinx.
On August 24, 2012, a monument to Konstantin Paustovsky was inaugurated on the banks of the Oka in Tarusa, created by the sculptor Vadim Tserkovnikov based on photographs of Konstantin Georgievich, in which the writer is depicted with his dog Terrible.
The minor planet, discovered by N. S. Chernykh on September 8, 1978 at the Crimean Astrophysical Observatory and registered under the number 5269, is named after K. G. Paustovsky - (5269) Paustovskij = 1978 SL6 .
May 31, 2017 marks the 125th anniversary of the birth of the classic of Russian literature Konstantin Paustovsky. The order to create an organizing committee for the preparation and holding of events in honor of the significant date under the chairmanship of Mikhail Seslavinsky was approved by the Federal Agency for Press and Mass Communications on November 11, 2016.
As part of the organizing committee for the preparation and holding of events in honor of the 125th anniversary of the birth of K.G. Paustovsky, as agreed, included the director of the State Literary Museum Dmitry Bak, the director Vsevolod Bagno, the director of the Russian State Archive of Literature and Art Tatyana Goryaeva, the director of the Moscow Literary Museum Center K.G. Paustovsky Anzhelika Dormidontova, curator of the House-Museum of K.G. Paustovsky in Tarusa Galina Arbuzova, head of the K.G. Paustovsky in the Old Crimea Irina Kotyuk and others.
On Paustovsky's birthday in 2017, the main celebrations were held at the writer's House-Museum in Tarusa. In total, about 100 festive events took place throughout Russia in the anniversary year. Among them is "Night in the Archive" in the Russian State Archive of Literature and Art (RGALI), where the guests were presented with the author's original manuscripts. An international conference dedicated to the literary heritage of Konstantin Paustovsky was held in Moscow.
The exhibition "Unknown Paustovsky" worked in the House-Museum of the writer in Tarusa. In the national park "Meshchersky" the route "Paustovsky's Path" was opened (It is also planned to create a museum based on his work "Cordon 273" there). The All-Russian Youth Literary and Musical Festival "Tarus Thunderstorms" brought together venerable and aspiring poets from many regions of Russia in Tarusa. For the anniversary of the writer, postal workers issued an envelope with an original stamp.
Instruction
Before talking about the work of Konstantin Georgievich, it is necessary to mention the most important milestones in his life. The father of the future writer is a non-commissioned officer of the II Category from the Kyiv province, and his mother is from a family of craftsmen who lived in Moscow. When Paustovsky was only 6 years old, he returned to Ukraine, where the writer later entered the First Kyiv Classical Gymnasium. After the outbreak of the First World War, Konstantin Paustovsky moved back to Moscow and became a student at Moscow University, but quickly interrupted his studies, being forced to work. During the hostilities, he was a field orderly, and then witnessed the beginning of the February Revolution. World recognition came to Paustovsky in the middle of the first half of the 20th century, when he was also a participant in major trials against Soviet writers, standing up for them.
Konstantin Georgievich wrote his first test stories while still a student. These are “On the Water” and “Troy”, the first one was published in the almanac “Lights” under the pseudonym K. Balagin, and the second one was published in 1912 in the Kiev magazine for the youth audience “Knight”.
Paustovsky began his first real novel called "Romantics" in 1916, working at the Nev-Vilde boiler plant in Taganrog, but it lasted for 7 years, during which Konstantin Georgievich did not write a single major work. The first collection of Paustovsky's stories appeared in print in 1928 with the title "Oncoming Ships".
The first and real fame for the writer was brought by Kara-Bugaz, based on real events and published by the Young Guard. This work almost instantly placed Konstantin Georgievich among the first Soviet prose writers of that time. Unfortunately, filmed in 1935, based on the film by Alexander the Reasonable, was never allowed to be released by the censors.
The heyday of Paustovsky's work by literary critics studying him dates back to the 30s of the last century, when The Fate of Charles Launseville, Colchis, The Black Sea, The Constellation of the Hounds of Dogs, The Northern Tale and the famous Taras Shevchenko were written.
Later, Konstantin Georgievich significantly expanded the scope of his interests and began to study the writer as an instrument of world creativity, and wrote the 1955 story The Golden Rose. Paustovsky also paid attention to the transfer of his own life experience to subsequent generations, setting out his biography in The Tale of Life, Distant Years, Restless Youth and the Book of Wanderings. The first complete collection of the writer's works of 6 volumes was published in 1958.
Russian Soviet writer, classic of Russian literature; member of the Writers' Union of the USSR
Konstantin Paustovsky
- Russian Soviet writer; modern readers are more aware of such a facet of his work as stories and stories about nature for a children's audience.
Paustovsky was born on May 31 (May 19, O.S.) in Moscow, his father was a descendant of a Cossack family, worked as a railway statistician. Their family was quite creative, they played the piano here, often sang, and loved theatrical performances. As Paustovsky himself said, his father was an incorrigible dreamer, so his places of work, and, accordingly, his residence changed all the time.
In 1898, the Paustovsky family settled in Kyiv. The writer called himself "a resident of Kyivian," many years of his biography were associated with this city, it was in Kyiv that he took place as a writer. The place of study of Konstantin was the 1st Kyiv classical gymnasium. As a student of the last class, he wrote his first story, which was published. Even then, the decision came to him to be a writer, but he could not imagine himself in this profession without accumulating life experience, "going into life." He had to do this also because his father left his family when Konstantin was in the sixth grade, the teenager was forced to take care of supporting his relatives.
In 1911, Paustovsky was a student at the Faculty of History and Philology at Kyiv University, where he studied until 1913. Then he transferred to Moscow, to the university, but already to the Faculty of Law, although he did not complete his studies: his studies were interrupted by the First World War. He, as the youngest son in the family, was not drafted into the army, but he worked as a carriage driver on a tram, on an ambulance train. On the same day, while on different fronts, two of his brothers died, and because of this, Paustovsky came to his mother in Moscow, but stayed there only for a while. At that time, he had a variety of jobs: Novorossiysk and Bryansk metallurgical plants, a boiler plant in Taganrog, a fishing artel on Azov, etc. During his leisure hours, Paustovsky worked on his first story, Romantics, during 1916-1923. (it will be published in Moscow only in 1935).
When the February Revolution began, Paustovsky returned to Moscow, collaborated with newspapers as a reporter. Here he met the October Revolution. In the post-revolutionary years, he made a large number of trips around the country. During the civil war, the writer ended up in Ukraine, where he was called to serve in the Petliura, and then in the Red Army. Then, for two years, Paustovsky lived in Odessa, working in the editorial office of the Moryak newspaper. From there, carried away by a thirst for distant wanderings, he went to the Caucasus, lived in Batumi, Sukhumi, Yerevan, Baku.
The return to Moscow took place in 1923. Here he worked as the editor of ROSTA, and in 1928 his first collection of stories was published, although some stories and essays had been published separately before. In the same year, he wrote his first novel, Shining Clouds. In the 30s. Paustovsky is a journalist for several publications at once, in particular, the Pravda newspaper, Our Achievement magazines, etc. These years are also filled with numerous travels around the country, which provided material for many works of art.
In 1932, his story "Kara-Bugaz" was published, which became a turning point. She makes the writer famous, in addition, from that moment Paustovsky decides to become a professional writer and leaves his job. As before, the writer travels a lot, during his life he traveled almost the entire USSR. Meshchera became his favorite corner, to which he dedicated many inspirational lines.
When the Great Patriotic War began, Konstantin Georgievich also happened to visit many places. On the Southern Front, he worked as a war correspondent, without leaving literature. In the 50s. Paustovsky's place of residence was Moscow and Tarus on the Oka. The post-war years of his career were marked by an appeal to the topic of writing. During 1945-1963. Paustovsky worked on the autobiographical Tale of Life, and these 6 books were the main work of his entire life.
In the mid 50s. Konstantin Georgievich becomes a world-famous writer, the recognition of his talent goes beyond the borders of his native country. The writer gets the opportunity to travel all over the continent, and he enjoys using it, having traveled to Poland, Turkey, Bulgaria, Czechoslovakia, Sweden, Greece, etc. In 1965, he lived on the island of Capri for quite a long time. In the same year, he was nominated for the Nobel Prize in Literature, but in the end it was awarded to M. Sholokhov. Paustovsky - holder of the orders "Lenin" and the Red Banner of Labor, was awarded a large number of medals.
Konstantin Georgievich Paustovsky(May 19 (31), 1892, Moscow - July 14, 1968, Moscow) - Russian Soviet writer, classic of Russian literature. Member of the Writers' Union of the USSR. The books of K. Paustovsky were repeatedly translated into many languages of the world. In the second half of the 20th century, his novels and stories were included in Russian schools in the Russian literature program for the middle classes as one of the plot and stylistic examples of landscape and lyrical prose.
To help understand the origins and formation of the work of K. G. Paustovsky can his autobiographical "Tale of Life" in two volumes, only 6 books. The writer's childhood is dedicated to the first book "Distant Years".
My whole life from early childhood to 1921 is described in three books - "Distant Years", "Restless Youth" and "The Beginning of an Unknown Age". All these books form part of my autobiographical Tale of Life...
Konstantin Paustovsky was born into the family of railway statistician Georgy Maksimovich Paustovsky, who had Ukrainian-Polish-Turkish roots and lived in Granatny Lane in Moscow. He was baptized in the Church of St. George on Vspolya. An entry in the metric church book contains information about his parents: “... the father is a retired non-commissioned officer of the II category from volunteers, from the townspeople of the Kyiv province, Vasilkovsky district, Georgy Maksimovich Paustovsky and his legal wife Maria Grigorievna, both Orthodox people”.
The genealogy of the writer on his father's side is connected with the name of Hetman P.K. Sahaydachny, although he did not attach much importance to this: “Father laughed at his “hetman origin” and liked to say that our grandfathers and great-grandfathers plowed the land and were the most ordinary patient grain growers ...” The writer's grandfather was a Cossack, had the experience of a chumak, who transported goods from the Crimea to the depths of Ukrainian territory with his comrades, and introduced young Kostya to Ukrainian folklore, Chumat, Cossack songs and stories, of which the most memorable was the romantic and tragic story of a former rural blacksmith that touched him, and then the blind lyre player Ostap, who lost his sight from the blow of a cruel nobleman, a rival who stood in the way of his love for a beautiful noble lady, who then died, unable to bear the separation from Ostap and his torment.
Before becoming a chumak, the writer's paternal grandfather served in the army under Nicholas I, was captured by the Turkish during one of the Russian-Turkish wars and brought from there a stern Turkish wife Fatma, who was baptized in Russia with the name Honorata, so the writer's father's Ukrainian-Cossack blood is mixed with Turkish. The father is portrayed in the story "Distant Years" as a not very practical person of a freedom-loving revolutionary-romantic warehouse and an atheist, which irritated his mother-in-law, another grandmother of the future writer.
Gymnasium student K. G. Paustovsky (far left) with friends.
The writer's maternal grandmother, Vikentia Ivanovna, who lived in Cherkassy, was a Polish, zealous Catholic who, with his father's disapproval, took her preschool grandson to worship Catholic shrines in the then Russian part of Poland, and the impressions of their visit and the people they met there also deeply sunk into the soul writer. Grandmother always wore mourning after the defeat of the Polish uprising of 1863, as she sympathized with the idea of freedom for Poland: “We were sure that during the uprising, my grandmother’s fiancé was killed - some proud Polish rebel, not at all like a gloomy grandmother’s husband, and my grandfather was a former notary in the city of Cherkassy”. After the defeat of the Poles from the government forces of the Russian Empire, active supporters of the Polish liberation felt hostility towards the oppressors, and on the Catholic pilgrimage, the grandmother forbade the boy to speak Russian, while he spoke Polish only to a minimal extent. The boy was also frightened by the religious frenzy of other Catholic pilgrims, and he alone did not perform the required rites, which his grandmother explained by the bad influence of his father, an atheist. The Polish grandmother is portrayed as strict, but kind and considerate. Her husband, the second grandfather of the writer, was a taciturn man who lived alone in his room on the mezzanine, and communication with him was not noted by the grandchildren by the author of the story as a factor that significantly influenced him, unlike communication with two other members of that family - young, beautiful , cheerful, impulsive and musically gifted aunt Nadya, who died early, and her older brother, adventurer uncle Yuzey - Joseph Grigorievich. This uncle received a military education and, having the character of a tireless traveler, an unsuccessful businessman, a fidget and an adventurer, disappeared for a long time from his parental home and unexpectedly returned to it from the farthest corners of the Russian Empire and the rest of the world, for example, from the construction of the Chinese Eastern Railway or by participating in South Africa in the Anglo-Boer War on the side of the small Boers, who staunchly resisted the British conquerors, as the liberal-minded Russian public believed at that time, sympathizing with these descendants of Dutch settlers. On his last visit to Kyiv, which came at the time of the armed uprising that took place there during the First Russian Revolution of 1905-07, he unexpectedly got involved in events, setting up unsuccessful shooting of the rebel artillerymen on government buildings, and after the defeat of the uprising, he was forced to emigrate for the rest of his life to the countries of the Far East. All these people and events influenced the personality and work of the writer.
The writer's parental family had four children. Konstantin Paustovsky had two older brothers (Boris and Vadim) and a sister, Galina.
Gymnasium student K. G. Paustovsky.
In 1898, the family returned from Moscow to Kyiv, where in 1904 Konstantin Paustovsky entered the First Kyiv Classical Gymnasium. My favorite subject while studying at the gymnasium was geography.
After the breakup of the family (autumn 1908), he lived for several months with his uncle, Nikolai Grigoryevich Vysochansky, in Bryansk and studied at the Bryansk gymnasium.
In the autumn of 1909, he returned to Kyiv and, having recovered at the Alexander Gymnasium (with the assistance of its teachers), began an independent life, earning money by tutoring. After some time, the future writer settled with his grandmother, Vikentia Ivanovna Vysochanskaya, who moved to Kyiv from Cherkassy. Here, in a small wing on Lukyanovka, the high school student Paustovsky wrote his first stories, which were published in Kyiv magazines. After graduating from high school in 1912, he entered the Imperial University of St. Vladimir in Kyiv at the Faculty of History and Philology, where he studied for two years.
In total, for more than twenty years, Konstantin Paustovsky, “a Muscovite by birth and a Kyivian by heart,” has lived in Ukraine. It was here that he took place as a journalist and writer, which he repeatedly admitted in his autobiographical prose. In the preface to the Ukrainian edition of the "Gold of Troyand" (Russian "Golden Rose") In 1957 he wrote:
In the books of almost every writer, the image of his native land, with its endless sky and the silence of the fields, with its thoughtful forests and the language of the people, shines through, as if through a light sunny haze. I've been lucky in general. I grew up in Ukraine. I am grateful to her lyricism for many aspects of my prose. I carried the image of Ukraine in my heart for many years.
With the outbreak of the First World War, K. Paustovsky moved to Moscow to his mother, sister and brother and transferred to Moscow University, but was soon forced to interrupt his studies and get a job. He worked as a conductor and leader on a Moscow tram, then served as an orderly on the rear and field hospital trains. In the autumn of 1915, with a field medical detachment, he retreated with the Russian army from Lublin in Poland to Nesvizh in Belarus.
After the death of both of his brothers on the same day on different fronts, Paustovsky returned to Moscow to his mother and sister, but after a while he left there. During this period, he worked at the Bryansk Metallurgical Plant in Yekaterinoslav, at the Novorossiysk Metallurgical Plant in Yuzovka, at the boiler plant in Taganrog, from the autumn of 1916 in a fishing artel on the Sea of Azov. After the beginning of the February Revolution, he left for Moscow, where he worked as a reporter for newspapers. In Moscow, he witnessed the events of 1917-1919 associated with the October Revolution.
During the civil war, K. Paustovsky returns to Ukraine, where his mother and sister again moved. In Kyiv, in December 1918, he was drafted into the Ukrainian army of Hetman Skoropadsky, and soon after another change of power, he was drafted into the Red Army - into a guard regiment recruited from former Makhnovists. A few days later, one of the guard soldiers shot the regimental commander and the regiment was disbanded.
Subsequently, Konstantin Georgievich traveled a lot in southern Russia, lived for two years in Odessa, working in the newspapers Stanok and Moryak. During this period, Paustovsky made friends with I. Ilf, I. Babel (whom he later left detailed memories of), Bagritsky, L. Slavin. From Odessa, Paustovsky went to the Crimea, then to the Caucasus. He lived in Sukhumi, Batumi, Tbilisi, Yerevan, Baku, visited northern Persia.
In 1923 Paustovsky returned to Moscow. For several years he worked as an editor for ROSTA.
In the 1930s, Paustovsky actively worked as a journalist for the newspaper Pravda, the magazines 30 Days, Our Achievements and others, and traveled a lot around the country. The impressions from these trips were embodied in works of art and essays. In 1930, essays were first published in the 30 Days magazine: "Talk about Fish" (No. 6), "Chasing Plants" (No. 7), "Blue Fire Zone" (No. 12).
K. G. Paustovsky
on the narrow-gauge railway Ryazan - Tuma in Solotch, 1930
From 1930 until the early 1950s, Paustovsky spends a lot of time in the village of Solotcha near Ryazan in the Meshchera forests. Bugaz. Essays on the Berezniki construction were published as a small book “The Giant on the Kama”. The story “Kara-Bugaz” was completed in Livny in the summer of 1931, and became a key one for K. Paustovsky - after the release of the story, he left the service and switched to creative work, becoming a professional writer .
In 1932, Konstantin Paustovsky visited Petrozavodsk, working on the history of the Onega Plant (the topic was suggested by A. M. Gorky). The trip resulted in the story "The Fate of Charles Lonsevil" and "Lake Front" and a large essay "Onega Plant". Impressions from a trip to the north of the country also formed the basis of the essays "Country beyond Onega" and "Murmansk".
Based on the materials of the trip along the Volga and the Caspian Sea, the essay "Underwater Winds" was written, which was first published in the magazine "Krasnaya Nov" No. 4 for 1932. In 1937, the Pravda newspaper published an essay "New Tropics", written on the basis of the impressions of several trips to Mingrelia.
Having made a trip to the north-west of the country, visiting Novgorod, Staraya Russa, Pskov, Mikhailovskoye, Paustovsky wrote the essay "Mikhailovskie Groves", published in the journal Krasnaya Nov (No. 7, 1938).
By the Decree of the Presidium of the Supreme Soviet of the USSR “On the Rewarding of Soviet Writers” dated January 31, 1939, K. G. Paustovsky was awarded the Order of the Red Banner of Labor (“For outstanding successes and achievements in the development of Soviet fiction”).
With the outbreak of World War II, Paustovsky, who became a war correspondent, served on the Southern Front. In a letter to Ruvim Fraerman dated October 9, 1941, he wrote: “I spent a month and a half on the Southern Front, almost all the time, except for four days, on the line of fire ...”
In mid-August, Konstantin Paustovsky returned to Moscow and was left to work in the TASS apparatus. Soon, at the request of the Committee for Arts, he was released from service to work on a new play for the Moscow Art Theater and evacuated with his family to Alma-Ata, where he worked on the play Until the Heart Stops, the novel The Smoke of the Fatherland, and wrote a number of stories. The production of the play was prepared by the Moscow Chamber Theater under the direction of A. Ya. Tairov, evacuated to Barnaul. In the process of working with the theater team, Paustovsky spent some time (winter 1942 and early spring 1943) in Barnaul and Belokurikha. He called this period of his life "Barnaul months". The premiere of the performance based on the play "Until the Heart Stops", dedicated to the fight against fascism, took place in Barnaul on April 4, 1943.
In the 1950s, Paustovsky lived in Moscow and in Tarusa on the Oka. He became one of the compilers of the most important collective collections of democratic trends during the thaw, Literary Moscow (1956) and Tarusa Pages (1961). For more than ten years he led a prose seminar at the Literary Institute. Gorky, was the head of the department of literary skill. Among the students at Paustovsky's seminar were: Inna Goff, Vladimir Tendryakov, Grigory Baklanov, Yuri Bondarev, Yuri Trifonov, Boris Balter, Ivan Panteleev. In her book "Transformations" Inna Goff wrote about K. G. Paustovsky:
I often think about him. Yes, he had the rare talent of a teacher. It is no coincidence that there are many teachers among his passionate admirers. He knew how to create a special, mysteriously beautiful atmosphere of creativity - it is this lofty word that I want to use here.
In the mid-1950s, world recognition came to Paustovsky. Having got the opportunity to travel around Europe, he visited Bulgaria, Czechoslovakia, Poland, Turkey, Greece, Sweden, Italy and other countries. Having gone on a cruise around Europe in 1956, he visited Istanbul, Athens, Naples, Rome, Paris, Rotterdam, Stockholm. At the invitation of Bulgarian writers, K. Paustovsky visited Bulgaria in 1959. In 1965 he lived for some time on about. Capri. In the same 1965, he was one of the likely candidates for the Nobel Prize in Literature, which was eventually awarded to Mikhail Sholokhov. In the book "The Lexicon of Russian Literature of the 20th Century", written by the famous German Slavist Wolfgang Kazak, it is said on this occasion: “The planned presentation of the Nobel Prize to K. Paustovsky in 1965 did not take place, as the Soviet authorities began to threaten Sweden with economic sanctions. And thus, instead of him, a major Soviet literary functionary M. Sholokhov was awarded..
For the second time, Paustovsky was a candidate for the Nobel Prize in 1967, he was nominated by a member of the Swedish Academy, writer and later Nobel Prize winner (1974) Eivind Junson. However, the Nobel Committee rejected Paustovsky's candidacy with wording that became known only in 2017: "The Committee would like to emphasize its interest in this proposal for a Russian writer, but for natural reasons it should be put aside for the time being." The probable reason for the refusal was the analysis of Paustovsky's work, performed by literary critic Eric Mesterton. His resume read: “In modern Russian literature, Paustovsky undoubtedly occupies an outstanding place. But he is not a great writer, as far as I understand ... Paustovsky is a writer with great merits, but also with great shortcomings. I do not find that his merits can outweigh his shortcomings enough to justify awarding him the Nobel Prize." As a result, the Guatemalan writer and diplomat Miguel Angel Asturias received the 1967 award.
K. G. Paustovsky was among the favorite writers of Marlene Dietrich. In her book “Reflections” (chapter “Paustovsky”), she described their meeting, which took place in 1964 during her speech at the Central House of Writers:
In memory of this meeting, Marlene Dietrich presented Konstantin Georgievich with several photographs. One of them captured Konstantin Paustovsky and an actress kneeling before her beloved writer on the stage of the Central House of Writers.
The grave of K. G. Paustovsky.
In 1966, Konstantin Paustovsky signed a letter from twenty-five cultural and scientific figures to the General Secretary of the Central Committee of the CPSU, L. I. Brezhnev, against the rehabilitation of I. Stalin. For a long time, Konstantin Paustovsky suffered from asthma, suffered several heart attacks. He died on July 14, 1968 in Moscow. According to his will, he was buried at the local cemetery of Tarusa - above the steep bank of the Taruska River. The title of "Honorary Citizen" Tarusa Paustovsky was awarded May 30, 1967.
Journalist Valery Druzhbinsky, who worked as a literary secretary for K. Paustovsky in 1965-1968, wrote in his memoirs about the writer (“Paustovsky as I remember him”): “Surprisingly, Paustovsky managed to live through the time of insane praise of Stalin and not write a word about the leader of all times and peoples. He managed not to join the party, not to sign a single letter or appeal stigmatizing anyone. He struggled to stay and so he remained himself.”
During the trial of the writers AD Sinyavsky and Yu.
In 1965, he signed a letter requesting that A. I. Solzhenitsyn be given an apartment in Moscow, and in 1967 he supported Solzhenitsyn, who wrote a letter to the IV Congress of Soviet Writers demanding that censorship of literary works be abolished.
Already shortly before his death, the seriously ill Paustovsky sent a letter to A. N. Kosygin with a request not to fire the chief director of the Taganka Theater Yu. P. Lyubimov. The letter was followed by a telephone conversation with Kosygin, in which Konstantin Georgievich said:
“The dying Paustovsky is talking to you. I beg you not to destroy the cultural values of our country. If you remove Lyubimov, the theater will fall apart, a great cause will perish.
The dismissal order was not signed.
... I love her more than my mother, more than myself ... Hatice is an impulse, an edge of the divine, joy, longing, illness, unprecedented achievements and torment.
K. G. Paustovsky and V. V. Navashina-Paustovskaya on a narrow gauge railway in Solotch. In the car window: the writer's son Vadim and adopted son Sergei Navashin. Late 1930s.
Tenderness, my only person, I swear by my life that such love (without boasting) has not yet been in the world. There was not and will not be, all the rest of love is nonsense and nonsense. Let your heart beat calmly and happily, my heart! We will all be happy, everyone! I know and believe...
My writing life began with a desire to know everything, see everything and travel. And, obviously, this is where it will end.
The poetry of wanderings, merging with unvarnished reality, formed the best alloy for creating books.
The first works, “On the Water” and “Four” (in the notes to the first volume of the six-volume collected works of K. Paustovsky, published in 1958, the story is called “Three”), were written by Paustovsky while still studying in the last class of the Kyiv gymnasium. The story "On the Water" was published in the Kiev almanac "Lights", No. 32 and was signed with the pseudonym "K. Balagin" (the only story published by Paustovsky under a pseudonym). The story "Four" was published in the youth magazine "Knight" (No. 10-12, October-December, 1913).
In 1916, while working at the Nev-Vilde boiler plant in Taganrog, K. Paustovsky began writing his first novel, The Romantics, which lasted seven years and was completed in 1923 in Odessa.
It seems to me that one of the characteristic features of my prose is its romantic mood ...
… Romantic mood does not contradict the interest in the “rough” life and love for it. In all areas of reality, with rare exceptions, the seeds of romance are laid.
They can be overlooked and trampled, or, conversely, give them the opportunity to grow, decorate and ennoble the inner world of a person with their flowering.
In 1928, Paustovsky's first collection of short stories "Oncoming Ships" was published ("My first" real book was a collection of short stories "Oncoming Ships"), although separate essays and stories were published before that. In a short time (winter 1928), the novel Shining Clouds was written, in which the detective-adventurous intrigue, conveyed in magnificent figurative language, was combined with autobiographical episodes related to Paustovsky's trips to the Black Sea and the Caucasus in 1925-1927. The novel was published by the Kharkov publishing house "Proletary" in 1929.
Fame brought the story "Kara-Bugaz". Written on the basis of true facts and published in 1932 by the Moscow publishing house Young Guard, the story immediately put Paustovsky (according to critics) into the forefront of Soviet writers of that time. The story was repeatedly published in different languages of the peoples of the USSR and abroad. Filmed in 1935 by director Alexander Razumny, the film "Kara-Bugaz" was not allowed to be released for political reasons.
In 1935, in Moscow, the publishing house Khudozhestvennaya Literatura published the novel Romantiki for the first time, which was included in the collection of the same name.
In the 1930s, stories of various themes were created:
A special place in the work of Paustovsky is occupied by the Meshchersky region. Paustovsky wrote about his beloved Meshchera:
I found the greatest, simplest and most unsophisticated happiness in the forested Meshchera region. The happiness of being close to your land, concentration and inner freedom, favorite thoughts and hard work. To Central Russia - and only to her - I owe most of the things I wrote.
The story "Golden Rose" (1955) is devoted to the essence of writing.
In 1945-1963, Paustovsky wrote his main work - the autobiographical Tale of Life. Various parts of the book were published in magazine versions as they were written.
"A Tale of Life" consists of six books: "Distant Years" (1946), "Restless Youth" (1954), "The Beginning of an Unknown Age" (1956), "A Time of Great Expectations" (1958), "Throw to the South" ( 1959-1960), The Book of Wanderings (1963). It was first published in full by Goslitizdat in 1962 in two volumes in six books.
The German Slavist and literary critic V. Kazak wrote:
Regardless of the length of the work, Paustovsky's narrative structure is additive, "in selection", when episode follows episode; the form of narration in the first person prevails, on behalf of the narrator-observer. More complex structures with the subordination of several lines of action are alien to Paustovsky's prose.
In 1958, the State Publishing House of Fiction Literature published a six-volume collected works of the writer with a circulation of 225,000 copies.
The first perpetuation of the memory of K. G. Paustovsky in the USSR was the assignment of his name to the Odessa Public Library No. 2 - one of the oldest libraries in the city. The name of the writer was given to the library by the decision of the Council of Ministers of the Ukrainian SSR No. 134 of February 20, 1969.
The first monument to K. G. Paustovsky was opened on April 1, 2010, also in Odessa, on the territory of the Sculpture Garden of the Odessa Literary Museum. Kyiv sculptor Oleg Chernoivanov immortalized the great writer in the form of a mysterious sphinx.
On August 24, 2012, a monument to Konstantin Paustovsky was inaugurated on the banks of the Oka in Tarusa, created by the sculptor Vadim Tserkovnikov based on photographs of Konstantin Georgievich, in which the writer is depicted with his dog Terrible.
The minor planet, discovered by N. S. Chernykh on September 8, 1978 at the Crimean Astrophysical Observatory and registered under the number 5269, is named after K. G. Paustovsky - (5269) Paustovskij = 1978 SL6.
Named after the writer: Paustovsky Street in Moscow, streets in Petrozavodsk, Odessa, Kyiv, Dnieper, Tarusa, Taganrog, Rostov-on-Don, Library No. 5 in Sevastopol, Motor ship project 1430 in the Crimea.
On the occasion of the 125th anniversary of the birth of the writer, an organizing committee was created to prepare and hold events in honor of the significant date, chaired by Mikhail Seslavinsky, which included the director of the State Literary Museum Dmitry Bak, the director of the Institute of Russian Literature Vsevolod Bagno, the director of the Russian State Literature Archive Tatyana Goryaeva, director of the Moscow Literary Museum-Center of K. G. Paustovsky Anzhelika Dormidontova, curator of the House-Museum of K. G. Paustovsky in Tarusa Galina Arbuzova, head of the House-Museum of K. G. Paustovsky in Stary Krym Irina Kotyuk and others.
On Paustovsky's birthday in 2017, the main celebrations were held at the writer's House-Museum in Tarusa. In total, about 100 festive events took place in the anniversary year. Among them is "Night in the Archive" in the Russian State Archive of Literature and Art (RGALI), where the guests were presented with the author's original manuscripts. Moscow hosted an international conference dedicated to the literary heritage of Konstantin Paustovsky.
The exhibition "Unknown Paustovsky" worked in the House-Museum of the writer in Tarusa. The Paustovsky Path route was opened in the Meshchersky National Park (there is also a plan to create a museum based on his work Cordon 273). The All-Russian Youth Literary and Musical Festival "Tarus Thunderstorms" brought together venerable and aspiring poets from many regions of Russia in Tarusa. For the anniversary of the writer, Russian Post issued an envelope with an original stamp. Unique items, including manuscripts, postcards, letters, autographs, were shown on November 1 at the exhibition "Russia through Paustovsky's eyes", which opened on the Arbat. Also on November 1, the exhibition “Paustovsky and Cinema” was opened at the Belyaevo Gallery. On December 14, the exhibition “Konstantin Paustovsky. No bills." Among the acquired documents, a postcard sent by the writer Ivan Bunin to Paustovsky on September 15, 1947 is of particular value. It contains a review of Paustovsky's story "Korchma on Braginka".
Popular Biographies › Konstantin Paustovsky
The writer's grandfather Maxim Grigorievich Paustovsky was a soldier, and Honorata's grandmother, before the adoption of Christianity, bore the name Fatma, and was a Turkish woman. According to the memoirs of Konstantin Paustovsky, his grandfather was a meek blue-eyed old man who loved to sing old thoughts and Cossack songs with a cracked tenor, and told many incredible, and sometimes touching stories "from the very life that happened."
The writer's father, Georgy Paustovsky, was a railway statistician, behind whom the fame of a frivolous person was established among his relatives, with a reputation as a dreamer who, according to Konstantin's grandmother, "had no right to marry and have children." He came from the Zaporizhzhya Cossacks, who moved after the defeat of the Sich on the banks of the Ros River near the White Church. Georgy Paustovsky did not get along for a long time in one place, after serving in Moscow he lived and worked in Pskov, in Vilna and later settled in Kyiv, on the South-Western Railway. The writer's mother, Maria Paustovskaya, was the daughter of an employee at a sugar factory, and had an imperious character. She took the upbringing of children very seriously, and was convinced that only with strict and harsh treatment of children could “something worthwhile” be grown out of them.
Konstantin Paustovsky had two brothers and a sister. Later, he told about them: “In the autumn of 1915, I moved from the train to the field medical detachment and went with him a long retreat from Lublin in Poland to the town of Nesvizh in Belarus. In the detachment, from a greasy piece of newspaper that came across to me, I learned that on the same day two of my brothers were killed on different fronts. I was left completely alone with my mother, except for my half-blind and sick sister. The writer's sister Galina died in Kyiv in 1936.
In Kyiv, Konstantin Paustovsky studied at the 1st Kyiv classical gymnasium. When he was in the sixth grade, his father left the family, and Konstantin was forced to independently earn his living and study by tutoring. In his autobiographical essay “A Few Fragmentary Thoughts” in 1967, Paustovsky wrote: “The desire for the extraordinary has haunted me since childhood. My state could be defined in two words: admiration for the imaginary world and longing for the impossibility of seeing it. These two feelings prevailed in my youthful poems and in my first immature prose.
A huge influence on Paustovsky, especially in his youth, was the work of Alexander Green. Paustovsky later told about his youth: “I studied in Kyiv, in a classical gymnasium. Our graduation was lucky: we had good teachers of the so-called "humanities" - Russian literature, history and psychology. We knew and loved literature and, of course, spent more time reading books than preparing lessons. The best time - sometimes unbridled dreams, hobbies and sleepless nights - was the Kyiv spring, the dazzling and tender spring of Ukraine. She was drowning in dewy lilacs, in the slightly sticky first greenery of Kievan gardens, in the scent of poplars and the pink candles of old chestnuts. In such springs, it was impossible not to fall in love with high school girls with heavy braids and write poetry. And I wrote them without restraint, two or three poems a day. In our family, which at that time was considered progressive and liberal, they talked a lot about the people, but they meant by it mainly the peasants. The workers, the proletariat, were rarely talked about. At that time, with the word "proletariat" I imagined huge and smoky factories - Putilovsky, Obukhovsky and Izhora - as if the entire Russian working class was assembled only in St. Petersburg and precisely at these factories.
The first short story by Konstantin Paustovsky "On the Water", written in the last year of study at the gymnasium, was published in the Kiev almanac "Lights" in 1912. After graduating from the gymnasium, Paustovsky studied at Kiev University, then transferred to Moscow University, in the summer he still worked as a tutor. The First World War forced him to interrupt his studies, and Paustovsky became a leader on a Moscow tram and also worked on an ambulance train. In 1915, with a field sanitary detachment, he retreated along with the Russian army across Poland and Belarus. He said: “In the autumn of 1915, I moved from the train to the field medical detachment and went with him a long retreat from Lublin in Poland to the town of Nesvizh in Belarus.”
After the death of two older brothers at the front, Paustovsky returned to his mother in Moscow, but soon began his wandering life again. During the year he worked at metallurgical plants in Yekaterinoslav and Yuzovka and at a boiler plant in Taganrog. In 1916 he became a fisherman in an artel on the Sea of Azov. While living in Taganrog, Paustovsky began writing his first novel, The Romantics, which was published in 1935. This novel, the content and mood of which corresponded to its title, was marked by the author's search for a lyric-prose form. Paustovsky sought to create a coherent storyline about what he had seen and felt in his youth. One of the heroes of the novel, old Oskar, resisted all his life that they tried to turn him from an artist into an earner. The main motive of "The Romantics" was the fate of the artist, who sought to overcome loneliness.
Paustovsky met the February and October revolutions of 1917 in Moscow. After the victory of Soviet power, he began working as a journalist and "lived the busy life of newspaper editors." But soon the writer left for Kyiv, where his mother moved, and survived several upheavals there during the Civil War. Soon Paustovsky ended up in Odessa, where he found himself among young writers like him. After living in Odessa for two years, Paustovsky left for Sukhum, then moved to Batum, then to Tiflis. Wanderings in the Caucasus led Paustovsky to Armenia and northern Persia. The writer wrote about that time and his wanderings: “In Odessa, for the first time, I found myself among young writers. Among the employees of the "Sailor" were Kataev, Ilf, Bagritsky, Shengeli, Lev Slavin, Babel, Andrey Sobol, Semyon Kirsanov, and even the elderly writer Yushkevich. In Odessa, I lived near the sea, and wrote a lot, but have not yet published, believing that I have not yet achieved the ability to master any material and genre. Soon the “muse of distant wanderings” took possession of me again. I left Odessa, lived in Sukhum, Batumi, Tbilisi, was in Erivan, Baku and Julfa, until finally I returned to Moscow.”
Konstantin Paustovsky. 1930s.
Returning to Moscow in 1923, Paustovsky began working as an editor for ROSTA. At this time, not only his essays were published, but also stories. In 1928, the first collection of Paustovsky's stories "Oncoming Ships" was published. In the same year, the novel Shining Clouds was written. In this work, detective-adventurous intrigue was combined with autobiographical episodes related to Paustovsky's trips around the Black Sea and the Caucasus. In the year of writing the novel, the writer worked in the newspaper of water workers "On Watch", with which Alexey Novikov-Priboy, Paustovsky's classmate at the 1st Kyiv gymnasium, Mikhail Bulgakov and Valentin Kataev, collaborated at that time. In the 1930s, Paustovsky actively worked as a journalist for the Pravda newspaper and the magazines 30 Days, Our Achievements and other publications, visited Solikamsk, Astrakhan, Kalmykia and many other places - in fact, he traveled all over the country. Many of the impressions of these "hot pursuit" trips, described by him in newspaper essays, were later embodied in works of art. Thus, the hero of the essay of the 1930s "Underwater winds" became the prototype of the protagonist of the story "Kara-Bugaz", written in 1932. The history of the creation of "Kara-Bugaz" is described in detail in the book of essays and stories by Paustovsky "Golden Rose" in 1955 - one of the most famous works of Russian literature dedicated to understanding the nature of creativity. In "Kara-Bugaz" Paustovsky's story about the development of Glauber's salt deposits in the Caspian Bay is as poetic as about the wanderings of a romantic youth in his first works. The story "Colchis" in 1934 is dedicated to the transformation of historical reality, the creation of man-made subtropics. The prototype of one of the heroes of Colchis was the great Georgian primitive artist Niko Pirosmani. After the publication of Kara-Bugaz, Paustovsky left the service and became a professional writer. He still traveled a lot, lived on the Kola Peninsula and Ukraine, visited the Volga, Kama, Don, Dnieper and other great rivers, Central Asia, Crimea, Altai, Pskov, Novgorod, Belarus and other places.
Having gone as an orderly to the First World War, the future writer met with sister of mercy Ekaterina Zagorskaya, about whom he said: “I love her more than my mother, more than myself ... Hatice is an impulse, an edge of the divine, joy, longing, illness, unprecedented achievements and torment ... ". Why Hatice? Ekaterina Stepanovna spent the summer of 1914 in a village on the Crimean coast, and the local Tatars called her Hatidzhe, which in Russian meant "Catherine". In the summer of 1916, Konstantin Paustovsky and Ekaterina Zagorskaya got married in Ekaterina's native Podlesnaya Sloboda in Ryazan near Lukhovitsy, and in August 1925, the son Vadim was born to the Paustovskys in Ryazan. Later, throughout his life, he carefully kept the archive of his parents, painstakingly collected materials related to the Paustovsky family tree - documents, photographs and memoirs. He loved to travel to the places where his father visited and which were described in his works. Vadim Konstantinovich was an interesting, selfless storyteller. No less interesting and informative were his publications about Konstantin Paustovsky - articles, essays, comments and afterwords to the works of his father, from whom he inherited a literary gift. Vadim Konstantinovich devoted a lot of time as a consultant to the literary museum-center of Konstantin Paustovsky, was a member of the public council of the magazine "The World of Paustovsky", one of the organizers and an indispensable participant in conferences, meetings, museum evenings dedicated to the work of his father.
In 1936, Ekaterina Zagorskaya and Konstantin Paustovsky broke up, after which Ekaterina confessed to her relatives that she gave her husband a divorce herself, because she could not bear that he “got in touch with a Polish woman,” meaning Paustovsky’s second wife. Konstantin Georgievich continued to take care of his son Vadim even after the divorce. Vadim Paustovsky wrote about the breakup of his parents in the comments to the first volume of his father's works: “The Tale of Life and other books of my father reflect many events from the life of my parents in the early years, but, of course, not all. The twenties were very important for my father. How little he published, wrote so much. We can safely say that then the foundation of his professionalism was laid. His first books went almost unnoticed, then the literary success of the early 1930s immediately followed. And so, in 1936, after twenty years of marriage, my parents separated. Was the marriage of Ekaterina Zagorskaya with Konstantin Paustovsky successful? Yes and no. In youth, there was great love, which served as a support in difficulties and instilled cheerful confidence in one's abilities. Father was always rather inclined towards reflection, towards a contemplative perception of life. Mom, on the contrary, was a person of great energy and perseverance, until her illness broke her. In her independent character, independence and defenselessness, benevolence and capriciousness, calmness and nervousness converged in an incomprehensible way. I was told that Eduard Bagritsky greatly appreciated the quality in her, which he called "spiritual dedication", and at the same time he liked to repeat: "Ekaterina Stepanovna is a fantastic woman." Perhaps, the words of V.I. Nemirovich Danchenko that “a Russian intelligent woman could not be carried away by anything in a man so selflessly as by talent” can be attributed to it. Therefore, the marriage was strong as long as everything was subordinated to the main goal - the literary work of the father. When this finally became a reality, the stress of difficult years affected, both were tired, especially since my mother was also a person with her own creative plans and aspirations. In addition, frankly speaking, my father was not such a good family man, despite his outward complaisance. Much had accumulated, and much had to be suppressed by both. In a word, if spouses who value each other nevertheless part, there are always good reasons for this. These reasons aggravated with the onset of serious nervous exhaustion in my mother, which developed gradually and began to manifest itself precisely in the mid-30s. My father's traces of difficult years also remained until the end of his life in the form of severe asthma attacks. In Distant Years, the first book of The Tale of Life, a lot is said about the breakup of the parents of the father himself. Obviously, there are families marked with such a seal from generation to generation.
K. G. Paustovsky and V. V. Navashina-Paustovskaya on a narrow gauge railway in Solotch. In the car window: the writer's son Vadim and adopted son Sergei Navashin. Late 1930s.
Konstantin Paustovsky met Valeria Valishevskaya-Navashina in the first half of the 1920s. He was married, she was married, but they both left their families, and Valeria Vladimirovna married Konstantin Paustovsky, becoming the inspiration for many of his works - for example, when creating the works “Meshcherskaya Side” and “Throw to the South”, Valishevskaya was the prototype of Mary. Valeria Valishevskaya was the sister of the famous Polish artist Sigismund Valishevsky in the 1920s, whose works were in the collection of Valeria Vladimirovna. In 1963, she donated over 110 paintings and drawings by Sigismund Waliszewski to the National Gallery in Warsaw, keeping her favorite ones.
K.G. Paustovsky and V.V. Navashina-Paustovskaya. Late 1930s.
A special place in the work of Konstantin Paustovsky was occupied by the Meshchera region, where he lived for a long time alone or with fellow writers - Arkady Gaidar and Reuben Fraerman. About his beloved Meshchera, Paustovsky wrote: “I found the greatest, simplest and most unsophisticated happiness in the forested Meshchera region. The happiness of being close to your land, concentration and inner freedom, favorite thoughts and hard work. To Central Russia - and only to her - I owe most of the things I wrote. I will mention only the main ones: “Meshcherskaya Side”, “Isaac Levitan”, “The Tale of the Forests”, a cycle of stories “Summer Days”, “Old Boat”, “Night in October”, “Telegram”, “Rainy Dawn”, “Cordon 273”, “In the depths of Russia”, “Alone with autumn”, “Ilyinsky pool”. The Central Russian hinterland became for Paustovsky a place of a kind of "emigration", a creative - and possibly physical - salvation during the period of Stalin's repressions.
During the Great Patriotic War, Paustovsky worked as a war correspondent and wrote stories, among them was "Snow", written in 1943, and "Rainy Dawn", written in 1945, which critics called the most delicate lyrical watercolors.
In the 1950s, Paustovsky lived in Moscow and in Tarusa on the Oka. He became one of the compilers of the most important collective collections of the democratic trend Literary Moscow in 1956 and Tarusa Pages in 1961. During the years of the thaw, Paustovsky actively advocated the literary and political rehabilitation of writers Isaac Babel, Yuri Olesha, Mikhail Bulgakov, Alexander Grin and Nikolai Zabolotsky, who were persecuted under Stalin.
In 1939, Konstantin Paustovsky met the actress of the Meyerhold Theater Tatyana Evteeva - Arbuzova, who became his third wife in 1950.
Paustovsky with his son Alyosha and adopted daughter Galina Arbuzova.
Before meeting Paustovsky, Tatyana Evteeva was the wife of the playwright Alexei Arbuzov. “Tenderness, my only person, I swear by my life that such love (without boasting) has not yet been in the world. It was not and will not be, all the rest of love is nonsense and nonsense. Let your heart beat calmly and happily, my heart! We will all be happy, everyone! I know and believe ... ”- wrote Konstantin Paustovsky to Tatyana Evteeva. Tatyana Alekseevna had a daughter from her first marriage, Galina Arbuzova, and she gave birth to a son, Alexei, to Paustovsky in 1950. Alexei grew up and took shape in the creative atmosphere of the writer's house in the field of intellectual searches of young writers and artists, but he did not look like a "home" child spoiled by parental attention. With a company of artists, he wandered around the outskirts of Tarusa, sometimes disappearing from home for two or three days. He painted amazing and not understandable paintings, and died at the age of 26 from a drug overdose.
K.G. Paustovsky. Tarusa. April 1955
From 1945 to 1963, Paustovsky wrote his main work - the autobiographical Tale of Life, consisting of six books: Distant Years, Restless Youth, Beginning of an Unknown Age, Time of Great Expectations, Throw to the South" and "The Book of Wanderings". In the mid-1950s, world recognition came to Paustovsky, and the writer began to travel frequently around Europe. He visited Bulgaria, Czechoslovakia, Poland, Turkey, Greece, Sweden, Italy and other countries. In 1965, Paustovsky lived on the island of Capri. The impressions of these trips formed the basis of the stories and travel essays of the 1950s and 1960s "Italian Encounters", "Fleeting Paris", "Channel Lights" and other works. In the same 1965, officials from the Soviet Union managed to change the decision of the Nobel Committee to award the prize to Konstantin Paustovsky and achieve its presentation to Mikhail Sholokhov.
Most modern readers know Konstantin Paustovsky as a singer of Russian nature, from whose pen came wonderful descriptions of the south and central strip of Russia, the Black Sea region and the Oka region. However, few people now know the bright and exciting novels and stories of Paustovsky, the action of which takes place in the first quarter of the 20th century against the backdrop of terrible events of wars and revolutions, social upheavals and hopes for a brighter future. All his life, Paustovsky dreamed of writing a big book dedicated to wonderful people, not only famous, but also unknown and forgotten. He managed to publish only a few sketches of short but picturesque biographies of writers with whom he was either well acquainted personally - Gorky, Olesha, Prishvin, Green, Bagritsky, or those whose work especially fascinated him - Chekhov, Blok, Maupassant, Bunin and Hugo. All of them were united by the “art of seeing the world”, so valued by Paustovsky, who lived at a difficult time for the master of belles-lettres. His literary maturity came in the 1930s and 1950s, in which Tynyanov found salvation in literary criticism, Bakhtin in cultural studies, Paustovsky in the study of the nature of language and creativity, in the beauties of the forests of the Ryazan region, in the quiet provincial comfort of Tarusa.
KG Paustovsky with a dog. Tarusa. 1961
Konstantin Georgievich Paustovsky died in 1968 in Moscow and, according to his will, was buried in the city cemetery of Tarusa. The place where his grave is located - a high hill surrounded by trees with a gap to the Taruska River - was chosen by the writer himself.
About Konstantin Paustovsky and Ekaterina Zagorskaya, a television program from the cycle “More than Love” was prepared.
In 1982, a documentary film “Konstantin Paustovsky. Memories and meetings.
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The text was prepared by Tatyana Khalina
Used materials:
K.G. Paustovsky "Briefly about myself" 1966
K.G. Paustovsky "Letters from Tarusa"
K.G. Paustovsky "Sense of history"
Site materials www.paustovskiy.niv.ru
Site materials www.litra.ru
Paustovsky, Konstantin Georgievich
Soviet writer. The son of a railway engineer. He studied at Kiev, then at Moscow universities. He was a worker at metallurgical plants in Yuzovka, Yekaterinoslav, Taganrog, a tram conductor in Moscow; during the imperialist war he was a nurse, a sailor, a reporter and a newspaper editor. Participated in the civil war (in the battles against Petliura). P. published his first work in 1912, and became a professional writer in 1927.
P. began his literary activity with a series of short stories depicting the life of sailors and the life of seaside southern cities. These early works of P. retain a number of features of the petty-bourgeois intellectual perception of reality. The writer is keenly interested here in the problem of the discrepancy between dreams and reality. He pays special attention to the image of a "small" person; like this, for example. the image of an engraver in the short story "Labels for Colonial Goods" ("Oncoming Ships", 1928), who lived in a dream "of the ocean, of silver springs, of the yellow sheen of foreign and deserted shores" and whom the cruel reality of tsarist Russia inevitably returned to the realm of poverty and arbitrariness. Later, this engraver "missed the revolution." In the early stories of P., a passive-contemplative approach to reality is revealed, the writer admires in these short stories the sea, the strength and wit of the sailors, he does not go further than the image of a spontaneous, individualistic rebellion against capitalist exploitation ("The Dutch Queen", "Conversation during a downpour" , "Judicial conspiracy"). For the most part, Paustovsky's realistic short stories are imbued with lyricism, they are sometimes characterized by excessive sophistication. In their composition, these are usually first-person stories, notes, letters, diaries, etc.
If P.'s early short stories express a contemplative approach to the dreamer-intellectual, who is actually excluded from social practice, then in his subsequent works P. proceeds to depict intellectuals who are included in the practice of social struggle. The horizon of the writer is expanding, his works are sharpened. In the novel "Shining Clouds" there are intellectuals like Captain Kravchenko; writer Berg, journalist Baturin, in the fight against the enemies of the Soviet Union, they cease to be people "torn off from their age", and find, albeit belatedly, a place for themselves in a new life. The plot of the novel is the search for drawings of an invention that was valuable to the Soviet Union, stolen by the enemy Pirrison. Fighting the enemy, intellectual heroes come back to life, rebuild. They feel themselves included in the practice of revolutionary reality. The final chapter of the novel shows these people reborn. Writer Berg, summing up the results of a successful operation, says: "If it were not for these searches, you would be moldy in your skepticism." "He began to live very widely and young." Baturin felt like a fighter. He will call "to the fruitful land, to noisy holidays, to the joyful pupils of people, to the wisdom of every, the most insignificant thing." True, Baturin does not yet have a proletarian understanding of the tasks of the revolution. The meaning of the novel is the affirmation of the need to include an intellectual in revolutionary work as the only way to overcome the narrow horizons of a petty person. Despite the fact that adventurous motives are unnecessarily emphasized in this novel, despite the fact that the writer could not give a realistic interpretation of the episodes of the class struggle, Paustovsky deserves a psychologically convincing interpretation of the changes that the greater and better part of the intelligentsia undergoes in the conditions of the victorious struggle of the proletariat.
With much greater ideological and artistic maturity, P. Kara-Bugaz was written, which was originally intended for youth and nominated P. to the forefront of Soviet literature. In Kara-Bugaz, P.'s characteristic ability to combine romantic pathos with a realistic depiction of the phenomena of reality comes out with all his might. Kara-Bugaz is a bay of the Caspian Sea, containing hundreds of millions of tons of mirabilite (Glauber's salt), millions of tons of bromine, barite, sulfur, limestone, and phosphorites. These colossal riches, which the old autocratic Russia was powerless to master, are beginning to be widely exploited by the proletarian state. A powerful combine is being built in Kara-Bugaz, nomadic Turkmens are involved in the construction, the terrible waterless desert turns into a flowering garden. P. creates a number of exciting artistically expressive episodes; such is eg. the scene of the first socialist competition of Turkmens in digging a tunnel. "Kara-Bugaz" in abundance includes historical. documents (reports of Captain Zherebtsov), excerpts from speeches, digital references, scientific explanations, etc.; At the same time, P. is far from a factual approach to reality. "Kara-Bugaz" organically combined elements of an artistic essay, travel literature, a dramatic short story about the civil war, and a psychological sketch. Concise and at the same time convex portraits-characteristics are interspersed in the narrative in passing. Passing on the peculiar color of the landscape of Turkmenistan and the peculiarities of the cultural and everyday features of its population, Paustovsky is free from cheap aesthetic exoticism. In Beckmet's wonderful fairy tale about Lenin, Paustovsky gives an example of the artistic recreation of the creativity of the masses. A distinctive feature of the book is that it is, as it were, turned to the future, inspired by romantic purposefulness.
In the story "The Fate of Charles Lonsevil" P. moves from the image of the practice of social. building to such a display of the past, which not only does not lead away from the present, but even more clearly sets off its significance. The action of the story unfolds in the era of Nicholas I. It is no coincidence that P. chooses as his hero the revolutionary-republican Charles Lonsevil, who was captured in Russia after the retreat of the Napoleonic army: it was such a person who was able to especially keenly feel the barracks reality of Nicholas Russia. The situation of such a person in Russia is tragic, and only death saves Lonsevil from life imprisonment in the Shlisselburg fortress. Slavic Russian reality is contrasted with forbidden memories of formidable uprisings of serf workers. The story "The Fate of Charles Launceville" is characterized by a laconic, strictly drawn plot, absorbing historical facts, persons, events, sharply drawn lines of the class struggle, vivid characteristics, excited and courageous language.
The author of a large number of essays and short stories, Paustovsky earned a high appreciation of his work, given by the most prominent figures and writers of our era - N. K. Krupskaya, M. Gorky, R. Rolland and others. into German, French and English.
Bibliography: I. Minetosa, Marine Sketches, ed. "Library" Ogonyok "", M., 1927; Nautical Sketches, Stories, ed. Central Committee of the Union of Water Workers, M., 1927; Oncoming Ships, Novels and Stories, ed. "Young Guard", [M.], 1928; Glittering Clouds, ed. "Proletary", Kharkov, ; Notes of Vasily Sedykh, Guise, M. - L., 1930; Valuable cargo, ed. "Young Guard", M., 1931; Kara-Ada, ed. the same, M., 1932; Kara-Bugaz, ed. the same, M., 1932; The best catcher brigade of the USSR, [Essay], ed. 2nd, Kogiz, M., 1932; The fate of Charles Lonseville, ed. "Young Guard", Moscow, 1932. P. published over a hundred stories and essays in the periodical press: "Pravda", "Komsomolskaya Pravda", "Evening Moscow", "Red Nov", "Siberian Lights", "30 Days", "Change", almanac "Year Sixteenth", "La littérature internationale" (Moscow), "Regards" (Paris), etc.
II. Zh. E., "Young Guard", 1927, VI (review of "Minetosis"); Roshkov P., "Book and Revolution", 1929, X (review of "Shining Clouds"); Krupskaya N. K., gas. "Komsomolskaya Pravda", 1932, No. 5; Pavlenko P., Excellent book, "Literary newspaper", 1932, No. 56, December 11; His, "Red New", 1932, XII; Yudin S., A book that calls for victory, "The Book for Youth", 1932, VIII - IX; Tretyakov S., gas. Pravda, 1933, No. 6, January 6; Kolesnikova G., On the verge between essay and story, "October", 1933, VI; Duchinskaya S., What the guys say about "Kara-Bugaz", "The Book - Youth", 1933, VIII - IX; Trifonova T., "Cutter", 1933, II; Friedman B., "Young Guard", 1933, II; Yagling B., "Our achievements", 1933, I; Toom L., A book that infects with creativity, "Siberian Lights", 1933, III - IV; Slavin L., A book for everyone (Notes of a writer), "Evening Moscow", 1933, February 13; and others (reviews about "Kara-Bugaz"); Ledovskaya M., "Children's Literature", 1932, XIII (review of "Kara-Ada"); Kravtsov, "Children's Literature", 1932, II - III (review of "Valuable Cargo"); Friedman B., New book by K. Paustovsky, "Young Guard", 1933, VIII; Reznik O., A Tale of Many Facets and Problems, "Children's and Youth Literature", 1933, VI; Shklovsky V., Historical novel from general ideas, Literaturnaya Gazeta, 1933, No. 53, November 17; Paustovsky K., I return the reproach, Answer to Shklovsky's article, ibid., 1933, No. 53, November 17; Shklovsky V., Moliere's wigs, ibid., 1933, No. 55, November 29 (review of "The Fate of Charles Lonsevil").
N. Plisko.
(Lit. Enz.)
paust about Vovsky, Konstantin Georgievich
Genus. May 19 (31), 1892, in Moscow, d. July 14, 1968, ibid. Writer, memoirist. The literary debut took place in 1912 ("On the Water", a story). Works: "Sea Sketches" (1925), "Shining Clouds" (novel, 1929), "Kara-Bugaz" (story, 1932), "Colchis" (story, 1934), "Orest Kiprensky" (story, 1937), "Isaac Levitan" (story, 1937), "Meshcherskaya Side" (story, 1939), "The Tale of Life" (1945-63), "Golden Rose" (1956), stories, short stories, essays.
Big biographical encyclopedia. 2009 .
Konstantin Georgievich Paustovsky Date of birth: May 19 (31), 1892 Place of birth: Moscow, Russian Empire Date of death: July 14, 1968 Place of death: Moscow, USSR Occupation ... Wikipedia
Paustovsky, Konstantin Georgievich- Konstantin Georgievich Paustovsky. PAUSTOVSKY Konstantin Georgievich (1892-1968), Russian writer. Master of lyrical prose. The stories "Kara Bugaz" (1932), "Colchis" (1934), addressed to the ethical problems of the transformation of the environment, the story ... ... Illustrated Encyclopedic Dictionary
Russian Soviet writer. The first story "On the Water" was published in 1912. He studied at Kiev University (1911-13). After the October Revolution of 1917, he collaborated ... ... Great Soviet Encyclopedia
- (1892 1968), Russian. owls. writer. In an autobiographical stories ("Distant Years", 1946; "Restless Youth", 1955) there is evidence of L.'s passion for poetry. The hero of the play P. "Lieutenant Lermontov" (1940) is a poet of mature talent, aware that he was "born ... ... Lermontov Encyclopedia
- (1892 1968) Russian writer. Master of lyrical prose. The stories Kara Bugaz (1932), Colchis (1934), addressed to the ethical problems of environmental transformation, the story Meshcherskaya Side (1939) and stories (collection Summer Days, 1937), depicting ... ... Big Encyclopedic Dictionary
- (1892 1968), Russian writer. Master of lyrical prose. In the stories "Kara Bugaz" (1932), "Colchis" (1934) the ethical problems of the transformation of the environment; the story "Meshchorskaya Side" (1939) and stories (collection "Summer Days", 1937) draw ... ... encyclopedic Dictionary
- (1892, Moscow 1968, in the same place; buried in the city of Tarusa, Kaluga Region), writer. From the family of a railroad employee. Paustovsky's childhood passed in Vilna, Pskov, Kyiv. He studied at Kiev University, in 1913 he transferred to law ... ... Moscow (encyclopedia)
