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New literary map. New literary map of Russia. Zurbagan man

On November 3, a meeting was held with a musician, poet and singer-songwriter from Tatarstan Olga Kuzmicheva-Drobyshevskaya, who recently visited the Yesenin days in Montenegro, where she performed with her solo program, thanks to our cooperation with the Renaissance Center.

Within the framework of the program “Literary Map of Russia”, on October 27, 2015, a creative meeting with the contemporary poet and prose writer Boris Konstantinovich Ryabukhin was held in the daytime department of the Butyrsky branch of the Alekseevsky State Budgetary Institution TTSSO.

The Writers' Club of the Literary Institute congratulates
Sania Shavalieva, laureate of the P.P. Ershov Prize
in the nomination "For the best work of art for children and youth"
(book "Sumy boy")

The capital of the fairy tale of Russia

(about the Ishim festival of children's literature)

On June 11, in the city of Ishim, Tyumen Region, the ceremony of awarding the XI All-Russian Literary Prize named after P.P. Ershov for books for children and youth took place.

The laureate in the nomination "For the best work of art for children and youth" (the choice of the descendants of PP Ershov) was Sania Shavalieva for the book "Sumovenok". In the "Link of Times" nomination, the prize was awarded to the Moscow writers Natalia and Vasily Volkov for the book "Professions of Old Russia". Irina Danilova from Moscow was recognized as a laureate of the prize for the series of books "Tales and Stories of the Land of Rains ..." in the nomination "The Choice of a Patron" (S.P. Kozubenko). Also, diploma winners were invited to the award ceremony in Ishim: Sergey Borovsky (Kazan district, Tyumen region) - for the manuscript "Kind Russian fairy tales", Nadezhda Georgitsa (Tyumen) - for the book "Living mirror of nature", participants of the All-Russian festival of children's radio programs "Chick" (State Television and Radio Broadcasting Company "Region-Tyumen").

The guests of honor of the holiday were the industrialist, patron of the Ershov Prize Sergei Kozu -benko, the creator and editor-in-chief of the almanac "Biysk Vestnik" Viktor Bulanichev, the outstanding nuclear physicist Leonid Ognev, Gennady Ivanov, the first secretary of the board of the Writers' Union of Russia, the heirs of Ershova Oksana Mikhailova, Valentina Nesterova and many others. And the main souvenir of the holiday turned out to be a real live

The Little Humpbacked Horse.
Firsthand
Sania Shavalieva:
The ideological inspirer and coordinator of the award is the director of the Ershov Literary Museum - Nadezhda Proskuryakova, endowed with a Siberian character, spiritual generosity and love for her native land. Thanks to her painstaking work, new names fit into the history of the city, unknown facts are revealed. She tracked down the descendants of P.P. Ershova is Oksana Mikhailova, Valentina Nesterova, living in Moscow.

Ishim is gradually becoming the capital of the fairy tale of Russia. Stepping on the Ishim land, you immediately find yourself in a charming witchcraft, because the road from the station lies on the "back of the miracle-yudo fish-whale", the village "against the sky - on the ground", all this Ershov describes in his fairy tale "The Little Humpbacked Horse". The whole city lives in the memory of the famous countryman: streets, monuments, interiors of magical murals, low buildings. Even leaving the city, you continue to feel the presence of something extraordinary and hypnotic - the recreation center "Forest Fairy Tales". And here is the forest with trails equipped with signs: "Fairy Forest", "Brides Tree", "Lonely Maple".

The kindness of the Ishim people is truly great if they have enough warmth and wisdom to make the harsh Siberian region - overflowing with evil mosquitoes - the center of the tale.

And not only P.P. The region is famous for Ershov. That only is the name of Nikolai Nikitin, the designer of the Ostankino tower, Valery Medvedev, the author of "Barankin, be a man!", Sergei Pavlovich Kozubenko, patron of the award.

Today the prize is gaining such a scale that the events can no longer fit in one day. Since this year, it has grown into a children's literature festival. After the award ceremony, the laureates and diploma winners met with young readers of Priishimye. And then the guests of the holiday were introduced to the city, to the fairy tale museum in the Ershov center. The next day, a trip to the village of Ershovo, the homeland of the author of "The Little Humpbacked Horse", took place. Here, the illumination of the cross took place at the construction site of the temple in the name of St. Peter the Stylite. A temple already stood at this place, it was built by Ershov at the request and support of fellow villagers on the site of the house where he was born. The final place of the festival was the city of Tobolsk. The same evil mosquitoes, but a completely different, amazing city. Judging by the names with which he is famous, it seems that this is a kind of Siberian suburbs: Ermak, the exiled patrimony of the Romanovs, Dmitry Mendeleev, Alexander Alyabyev. All the time when they talk about the history of the region, they recall the recently departed contemporaries - these are Shukshin, Astafiev and many other famous and honorary fellow countrymen of Ershov.

The history of the region does not end there: a clear example of the continuation of literary life is the P.P. Ershova, who finds and announces new names.

PHOTO FROM ARCHIVE.

Performance on Christmas Eve at the Central Social Service Center of the Butyrsky district within the framework of the "Literary Map of Russia" project by young poets, scholars of the Ministry of Culture for 2015 - Natalia Shakhnazarova and Sasha Irbe, with a presentation of the capital of Russia - Moscow. The performance was an overwhelming success, the program was hosted by the author of the project, Galina Dubinina.

On May 8, 2016, a meeting of representatives of the Moscow Tuvan diaspora "We Remember!"

The meeting was opened by the head of the Local History and Genealogical Society Evgeny Pazhitnov. The guests talked about their relatives and friends, about their fellow villagers, participants in the Great Patriotic War, Tuvinians-volunteers.

5th year student of the Moscow State University of Medicine and Dentistry A. I. Evdokimova Bayyr Dombaanai told about his close relative, Hero of the Soviet Union Khomushku Churgui-ool Namgaevich. Relatives on their own erected a monument to the Hero in his native village.

MGHU student NUST MISIS (formerly MGGU) Achyty Ondar shared with his research that not all Tuvans volunteers received well-deserved awards, orders and medals in time for their heroism in battles against the Nazis. Some warriors were presented for the award posthumously, others were presented with awards at a later time.

Postgraduate student of the Literary Institute named after A.M. Gorky Zoya Dongak told about volunteers from Mongun-Taiginsky kozhuun. Including about Tuvans, military pilots, about whom she wrote in her book.

MSU post-graduate student Omak Shyyrap spoke about his research on mobilizing Tuvan volunteers in the Great Patriotic War, said that the most prepared, physically and mentally strong, most worthy sons of Tuva were selected, including 10 girls. The Tuvan squadron, before being sent to the front, was formed in the city of Kovrovoe (Vladimir region) on the basis of a cavalry regiment. Our fellow countrymen proved their military training before the command and were sent to the front.

The good news is that young people are not only interested in history, but also conduct their own research, raise archival documents, and tell about the exploits of Tuvinians-volunteers.

The invited guest of the meeting, Honored Artist of the Republic of Tyva, artistic director of the Tyva ensemble Aydash Barynmaa, made a musical congratulation in honor of the Victory Day. He sang Tuvan folk songs. Aidash Barynmaa with his unique throaty singing reminded us of our native Tuva, raised the spirit of Tuvinians-Muscovites, for which we express our gratitude.

An evening was held in the Moscow Center of Kalmykia on March 18 within the framework of the "Literary Map of Russia" project. The evening was hosted by Valentina Boovan Kuukan. Zoya Dongak and Galina Dubinina from the Alumni Writers Club.

On the initiative of Kalmyk poetess Valentina Boovan Kuukan, on March 18, an evening of poetry and music, an evening of real unity, warmth and friendship of the Russian, Kalmyk, Buryat, Tuvinian peoples, took place to revive the native, beautiful word. The evening was attended by the masters of words, wonderful writers: Margarita Al, editor-in-chief of the all-Russian magazine "LiFFt", Chairman of the Literary Institute's Writers' Club Galina Dubinina, famous Tuvan writer Zoya Dongak and many others.

Literary map of Russia. Naberezhnye Chelny.

MAN OF ZURBAGAN

– Well, why did you come? - Valera asked him.

– Yes, I thought I would meet my fellow countrymen.

– But where are you from?

Ruslan turned his back on the noble assembly. On his quilted jacket was the inscription "Zurbagan".

– This is where such a city is, - someone accidentally betrayed their literary ignorance.

Ruslan looked contemptuously in his direction and sighed in disappointment:

This name, which did not boom, did not flash in print or on television screens in the distant 70s - 80s, was not heard by the vigorous builders of socialism-communism, enthusiastically reading about construction sites, factories, kilometers ... But this name, which still lives in the hearts of relatives and friends, and it is impossible to forget him, just as it is impossible to forget Ruslan himself.

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event Ribbon

  • All-Russian creative competition "My Moscow"
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the category Poetry for children
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the category Small prose for children
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the category Small prose
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the Drama category
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the nomination Literary translation
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the category Small prose about Prague
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the nomination Poem about Prague
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the category Humorous poem
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the category Love poem
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the POETRY nomination, free topic
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the PUBLICISM nomination
  • Festival "SLAVIC TRADITIONS". SHORT and LONG lists in the AVANT-GUARD POETRY nomination
  • A poet from Nalchik performed at the All-Russian Poetry Festival in Cheboksary
  • Yuruslan BOLATOV. DAGESTAN DICTIONARY OF RAIN
  • Writers of the Immortal Regiment. Publication in ML # 10
  • Literary Internet Magazine "MILK" is twenty years old

Text and photos: information and analytical journal "University Book"

On the opening day of the X St. Petersburg Book Salon - 2015, within the framework of the conference "Russian Book Industry in 2014–2015: Results and Development Prospects", the main results of the first stage of the "Literary Map of Russia" project were presented.

Recall that the study was announced by the Federal Agency for Press and Mass Communications more than a year ago, and its task was to be a large-scale analysis of the current state of the book industry and the main distribution channels for book products, monitoring the provision of the Russian population with book objects, analysis of reader preferences and compilation of an integral index. the development of the regional reading infrastructure. RKS, RBA, Book Industry magazine in partnership with the Russian strategic consultant Strategy Partners Group became the participants and executors of the project.

Of course, as it usually happens, in the process of researching and compiling a rating of regions in the professional environment, doubts have repeatedly arose both about the correctness of the assessment criteria, and about the boundaries of the index (the research is limited only to the distribution, promotion and delivery of books), and about the elements of the infrastructure for reading books. Nevertheless, it should be noted that this project was the first to attempt to systematically analyze the state of the industry and the statistics of Russian bookstores.

The results of the study and the prospects for its development were presented by Oleg Novikov, RKS Vice President, Eksmo - AST General Director.

The final index was formed from indicators characterizing the state of four key elements of the reading infrastructure: promotion of books and informing the public about them, libraries, traditional distribution, online distribution and delivery. In total, the index includes 31 indicators (Fig. 1). At the same time, neither the number of publishing houses in the regions, nor periodicals and related infrastructure, nor libraries of educational institutions are taken into account.

According to the developers, the activity of publishing houses, bookstores and exhibition and fair events plays the main role in promoting and informing potential readers about novelties in book publishing. Events of publishing houses, bookstores, specialized exhibitions and fairs received more weight in the ranking due to direct contact with the target consumer, stimulating impulse purchase and reading of books. The importance of social advertising and literary media was recognized as equal and less significant, since their impact on reader behavior is weaker, and the effect is usually delayed.

The level of the state of the libraries was assessed by their availability (primarily territorial) and the quality of the collections (volume and frequency of their updating). The possibility of users' access to external resources, which reflects the new role of libraries as information and educational centers, was assessed separately.

Traditional distribution was assessed by the main sales channels of paper books, the weights of which reflect the actual distribution of sales volumes. So, according to experts, the turnover of printed books in bookstores is about 35 billion
rubles, in department stores - about 6 billion rubles, in kiosks - 3 billion rubles. In copies, the volume of book sales in bookstores is 213 million, in department stores - 48 million, in kiosks - 18 million. Accordingly, the weight of specialized book retail in the final rating was 80%, universal retail - 15%, kiosks - 5%. The number of bookstores in the regions of Russia is illustrated in Fig. 2.

As the analysis of Fig. 3, residents of the North Caucasian Federal District are least provided with bookshops, in which one store is for 175 thousand people, the Southern Federal District (one store for 82 150 residents), the Ural Federal District (one store for 81 thousand people) and, no matter how paradoxically, the Central Federal District (one store for 93 thousand inhabitants, excluding Moscow).

Estimates of online distribution included the proportion of the Internet-covered population that uses electronic devices for reading, the characteristics of postal delivery in different regions. At the same time, Internet coverage received the greatest weight as a necessary condition for the distribution of both paper and e-books sold by online stores.

Analysis of all the information collected during the implementation of the project made it possible to identify five categories of Russian regions in terms of the level of infrastructure for reading (Fig. 4, 5). According to the results of calculating the index, it is the least developed in the regions of the Siberian and North Caucasian federal districts, in the Crimea, the Jewish Autonomous Region and the Primorsky Territory. Almost the entire Asian part of the country is painted on the map in alarming pink and red tones. The situation is relatively good
cases in the capitals and a number of regions of the Central, North-West, Volga Federal District, Krasnodar Territory.

However, even the leading regions lag significantly behind in terms of the level of development of individual elements of the infrastructure for reading from foreign countries that pay attention to reading and specialized infrastructure (Fig. 6). Thus, the number of bookstores per 1 million people in France, Canada and Sweden is almost twice as much as in St. Petersburg, and five to six times more than in Moscow. In terms of the number of libraries, the cultural and official capital of Russia has surpassed all the countries represented in the rating. As for the library stocks, despite the comparable volumes, the book stocks of Russian libraries are lagging behind in relevance.

So, the industry community got a rough idea of ​​the infrastructure landscape for reading. In the future, the developers plan to clarify information on infrastructure facilities, re-monitor the state of bookstores in Russia and include new indicators in the evaluation criteria, analyze the activity of regions in promoting books and reading, study reader behavior in the context of regions in relation to reading activity, preferences
sales channels and book formats. Among the priorities is also the creation of a website for the Literary Map of Russia project with plotting all infrastructure facilities on the map of the country, the ability to sample data and compiling an online rating for each region. Within the framework of the conference, the branch report of Rospechat “The Book Market of Russia. State, Trends and Development Prospects ”, the“ Literary Map of Moscow ”project.

Within the framework of the II Krasnoyarsk Book Culture Fair, IAA "Informburo" together with the Mikhail Prokhorov Foundation organized an Internet conference dedicated to the first year of the litkarta.ru project.

According to the ideologists of the site, the task of the project is to restore the integrity of the Russian literary space. The future-oriented project pays special attention to the younger generation of authors who occupy a full-fledged place on the site alongside their older colleagues.

The place and time of our conference were not chosen by chance. The basis of the site New literary map of Russia - regional sections dedicated to how Russian cities, and those countries of the world where Russian literary life is represented.

That is why during the conference, along with the issues of work and prospects for the development of the site litkarta.ru, general problems of regional Russian literary life will be discussed.

The conversation was attended by:

  • chief editor of the project Dmitry Kuzmin,
  • writer Stanislav Lvovsky (Moscow),
  • writer Linor Goralik (Moscow),
  • poet Anton Ochirov (Moscow),
  • Chief Expert of the Astafiev Foundation Anton Nechaev (Krasnoyarsk),
  • Moderator of the Virtual Studio within the framework of the project Andrey Cherkasov (Chelyabinsk).

Questions and answers

Good day! We are starting an online conference organized jointly with the Mikhail Prokhorov Foundation as part of the II Krasnoyarsk Book Culture Fair. The topic of the conference is a new literary map of Russia. Chief editor of the project Dmitry Kuzmin: Thank you for participating in this as a listener, which means that our work is interesting. Although the project actually turned a year and a half, we believe that we are in such an infant state when our work is just beginning. The ambitions of this project are quite large, and it is quite difficult to implement everything in such a short time with such small forces. What's the point? The fact that we are making an attempt to combine an informational task with a recommendatory one. And you and I are well aware that these are to some extent mutually exclusive tasks. On the one hand, it seemed to us, when we started this project, that our society and, in particular, the writer's workshop live in conditions of an acute shortage of information - about where what is happening, where who works, what is generally going on. This is especially, of course, connected with authors and institutions outside the capital, which rarely and with difficulty fall into the focus of national attention. On the other hand, we understood that it would also be wrong to simply make such a commemoration of all-all-all who have ever appeared in literature. Because, to be honest, the level of requirements in different places is different, and sometimes mutually exclusive.

We were faced with a problem - how can we, on the one hand, tell about what is, if possible, without distorting the picture, and on the other hand, how to do so so as not to disorient the consumer of this resource with an excess of information, possibly unused, and if and used, then, perhaps, not for the good. After all, the clogging of the information space is always only harmful. How much we manage to cope with this two-pronged task is a debatable question, and, perhaps, it will somehow be discussed here today. Although I think that everything will become fully clear only when we manage to solve a subsidiary task - work in the regions. Today, from Moscow or St. Petersburg, we do not always see and understand very well where, what is happening, what interesting notable authors and phenomena there are in all corners of the country and the world where Russian literature lives and develops. On the other hand, it is also understandable that the local view of things is often inclined to overestimate the scale of some local phenomena due to the fact that people are simply unfamiliar with what is happening in other places. And what seems important and significant here may not seem so, given some idea of ​​the general picture. We are trying to solve this problem by involving regional experts, sometimes on a more or less formal basis, that is, in such a way that the name of the person involved is in the corresponding regional section, and he is purposefully engaged in this, sometimes through more informal consultations. It turns out that not all regions do this, and in some cases we still have to figure out how to organize interaction with the professional community of a particular region. Tell us more about the project Dmitry Kuzmin: Already today one can judge the scale of the task, the scale of its implementation and the scale of the situation itself. About the scale of Russian literature in its current state. The fact that Russian literature today requires such a resource, on which you can work for a year, and not see the end and edge. In addition to the regional sections and in addition to the sections dedicated to nationwide projects, there are several special sections within this site. I will say two words about one thing, and to tell about the other, I will hand over the floor to my colleague.

We considered it necessary to separate into a separate production a section called "Media Library" in order to present the voices of the writers in their living sound. To allow a person not only to read the author, but also to listen to him, and this often gives a completely new understanding of how his author's voice works.
In addition, we decided to start a Virtual Literary Studio within the framework of this project. Like a number of other offshoots of the site, this section, of course, is for growth. In general, the project includes many options that are currently involved to an insignificant extent, but we hope that in the future they will work to their fullest. This studio is quite a serious thing, and I would like to be told about it by the person who is responsible for it. Andrey, Andrey Cherkasov is the floor for you: I am the moderator of the virtual creative studio of the New Literary Map of Russia website. Indeed, for the time being we can only talk about the studio, because a recruitment of authors goes into it. Active processes have not yet begun. One of the problems is the lack of integration of young authors themselves, who are just entering literature.

The second point is an insufficient entry into a conditionally mature professional community, which often even young authors do not see. And the third point is the field of reasonable discussion of the cultural and literary context. It is assumed that at some point the studio for young authors will be able to solve this problem. I will outline a few points about the structure of the studio, so that it becomes clear how it all happens. This can be illustrated on the screen.
The studio has several sections. They perform different functions. For example, purely external. Section "Persons", where the cards of participants are placed, made according to the same scheme as the cards of the main card index. Is that not so full yet.
Section "Process", which contains some representative selections of studio participants. On the this moment these are one or two collections.
Both external and internal functions are performed by a rather important section "Landmark", which introduces the most significant, in the opinion of studio experts, contemporary Russian prose writers, poets, etc. Each personage in the "Landmark" section is a biography, some expert comments on why this particular author is important as a landmark, and some, again, fragments of prose or a selection of poems that give an idea about the author.
Two main internal functions are performed by the “Forum” section, which is intended as a potential space for discussion and integration. Now, due to the insignificant representation of regions in our studio, it turns out that although formally the participants in the studio are indicated as representatives of various regions, many of them have recently been living in Moscow. And therefore they have the opportunity to communicate with each other live. Therefore, in the expansion of the regional component, the "Forum" can already quite take on a life of its own. I, at least, very much count on it.
The peculiarity of the "forum" is that not only students, but also authors, represented in the main card index of the literary map, can and are supposed to be participants in it. Some constructive discussion is expected regarding specific works of both the students themselves and the authors of current literature, general issues precisely between different generations.
There is a certain "editorial" section - this is "Sample", which is now displayed on the screen. This is the studio's free mail, through which people send their works and may well, if a decision is made to get a response from one or more experts. That is, through this "test" to get into the main section of the studio, if there is an expert will for that. This is roughly what concerns the structure. So far, it is as if such a skeleton is not completely filled. Andrey, just one of the questions along the way: How many people are in the studio now?

Andrey Cherkasov: I don’t remember the exact number, it seems it’s 25 people.

Don't you think that there are not enough of them?

Andrey Cherkasov: The studio's project is even younger than the New Literary Map. But admission to the studio is carried out by an expert decision, and each expert has the right to admit a person to the studio. So far, the scope of expert decisions is as follows.

Dmitry Kuzmin: there is a problem here, some kind of correct balance between exacting whining i.e. the desire that communication on the forum of people could take place more or less on an equal footing, the desire for the texts of the studio members to be collected by the leading headings so that people would not be ashamed to show them. And at the same time, so as not to raise the bar too high, and so that it does not work out that the authors who get into the studio, those who, it seems, do not need to be taught anything, this balance, it is groped empirically and, apparently, will to grope in some other way. And the more talented and diverse young authors contact us with their texts, the more successfully we will be able to find this balance. There were several questions about the sites Poems.ru, Proza.ru, what do you think about them?

Dmitry Kuzmin: To some extent, this studio project could be an alternative to sites like Poems.ru, where there is a problem in obtaining an expert opinion, a problem in obtaining an expert opinion. This is true, because anyone can leave reviews on the Poems.ru website, and who of them should be considered an expert - in general, everyone decides for themselves. Which is probably still not entirely correct. In theory, any studio works as a mechanism for professional initiation, i.e. this is a kind of gathering point from which you can move somewhere further within the very professional space. Reviews on the site Poems.ru can be wonderful and wonderful, but they do not fulfill this function, this is a purely horizontal situation, there is no vertical in it, there is no hierarchy.

The question was “how do you feel about these sites, based on the publication on these sites, how can you assess the general political publishing level in Russia” - from Sergey.

Dmitry Kuzmin: The question, I think, is not worth it. The general level of Russia is not based on these sites, on the basis of different sites. All the same, this site is built as a network representation of the literature that is not at all obliged to be on the Internet by itself, which exists completely on paper, although it was not necessary for it. This is not a site for primary publication; it is guided by an already established picture of literature. And about the network letter - you can ask Linor Goralik questions.

Linor Goralik - an expert in network literature ?.

Linor Goralik: I am by no means an expert on this matter. I can only speak from my own position as a participant, as an author who nevertheless publishes both there and there. I realized long ago that I stopped completely distinguishing between online and offline publications on the basis of priority. At least, in my opinion, the stage when both the authority of the publication, and the rating, and the importance of the publication for me, as for the author, are no longer connected with the media carrier. This is one side.

On the other hand, for me, again as a private person, for the reader, of course, the Internet is a sufficient source of joy in terms of poetry, because some of the authors whom I highly value have become known to me thanks to their online publications. First of all, I can probably name Fyodor Svarovsky, whom, it seems to me, in the first place, you can love exactly for online ... should be distinguished in many respects. Olga Kashova, quite a long question, I will shorten it a little - we are talking about blogs. The fact that our literature is moving towards such a blogging hypostasis - and she asks whether this is a temporary phenomenon or not, and asks to name those names that are worth reading.

Linor Goralik: No, the expression "literature is moving towards the blog hypostasis", in my private opinion, is fundamentally wrong. This is the opinion of a person who reads mainly blogs. Literature moves in many different directions. Another thing is that, yes, blogs have become a kind of assistance in a certain genre of literature, invented not today, not yesterday, not a hundred or five hundred years ago. Yes, now the authors writing the blog, perhaps, have a more convenient format for expressing themselves - but again, if it were not for this format, literature, which in some ways is close to the expression of a diary kind, would have acted differently. So the matter is global, there are certainly many interesting local points here, but I would not make a global choice. Perhaps my colleagues will say something more clever.

Dmitry Kuznetsov: In this place, on good terms, it would be necessary to give the floor to another planned participant of our conference, who, unfortunately, could not attend it - this is being sung by Sergey Kruglov from Minusinsk, whom we have been waiting for. But his official business did not let him go to the fair in Krasnoyarsk. He serves as a priest in Minusinsk in the cathedral, and it turned out that there was no one to replace him at the service these days. Because Sergey Kruglov is a wonderful example of how one can live, on the one hand, very far from the capital, and even from the central region of his region, but, nevertheless, he is constantly in the center of attention of the professional community. But among other things, Sergei Kruglov throughout last year keeps a blog, thanks to which, in both his guises, both as a poet and as a priest, he takes an active part in the intellectual and spiritual life on a national scale. And this greatly affected his reputation. Linor was asked to name names, diaries ...

Linor Goralik: Certainly, Sergei Kruglov should be read. But I think, The best way navigating blogs is not asking who you should read, but seeing who is being read by people you are interested in, since these lists are open. And you can decide for yourself whether you want to read any of them, thus relying on some sort of expert opinion.

I can't help but ask a rather personal question - they ask how your creative process is going, do you need silence and solitude, or vice versa?

Linor Goralik: It is very boring for me, completely devoid of a sacred component. I am a person who thinks about texts, thinks, thinks, then sits down and writes something. I don’t need any rituals for this, and in general I don’t need anything.

Dmitry Kuzmin: But at the same time, Linor always has a small computer with her, and if someone drops a random phrase ... she writes it down. Linor Goralik: Yes, since there are always people around me who say wonderful things, I just write them down after them. And then I misinterpret. Unfortunately, we have to let Linor Goralik go to the presentation of our own book. If you still have time, make an announcement. Linor Goralik: at the exhibition center "Siberia" I present my book of short prose, which was published by the publishing house "New Literary Review", called "In short". It will be at four o'clock. Thanks a lot!

And we return to the topic of your project, let's have some questions. They ask, what is the traffic to your site, where and how do you talk about it?

Dmitry Kuzmin: I am ashamed to admit that I do not know the attendance of our site. I understand that this can be learned in an easy way. But, here's how many different Internet projects I have been doing, and this is already 10 years, this is not the first site that I have made, I never put counters, because I see this as some kind of immodest quantitative measurement. There are some things that should be assessed not quantitatively, but qualitatively. Even if this project helps one person to find their way in this space and find useful information, then it’s good.

Who needs five more people? Some indicators are indirect, they can be given, because, say, I enter in Google, in Yandex search for the last name and first name of some writer, and our site, if not on the first page, then on the second page of the issue, I am mine get it. This, roughly speaking, suggests that the network rating of this project is quite high within the network, i.e. it is used, referenced, and therefore these results appear in the search more or less at the top. This project is non-commercial, as I understand it, right? What sources of funding does it have? Or is it all on optimism?

Dmitry Kuznetsov: No, there is some kind of funding. The project was originally conceived, of course, for a network implementation, the fact that only in a network implementation it is not so all possible and difficult, yes .. Here we are not bound by volume restrictions. When they ask what analogues of this project are, I say that on the one hand, of course, we were guided by some foreign samples, let's say the American website poets.org, however, it is supported by a small American literary organization, therefore it is simpler than ours ...

But, in principle, there is such a precedent, such precedents of large databases on the current state of literature on the Internet, they exist. On the other hand, if we talk about analogues, then there is a collection published by the Znamya magazine on contemporary writers, but this is a rather thick book. But, we understand that even a very thick book has rather significant limitations in volume. Therefore, involuntarily, these are short, small biographical references, well, some minimal reviews from critics in a few phrases, and even then not everywhere. We can afford, firstly, to provide links, secondly, to provide audio or video, thirdly, to keep a dossier, i.e. to give critical publications about a given author so that in the limit from the author's page it is possible to form a completely exhaustive idea of ​​what this author is and go further on the network, find out where else what is there about him, and so on. In the questions, it was also said, what gives the author a presence on your site?

Dmitry Kuzmin: I think that the most correct answer looks like this: literature is not made for writers, literary life does not flow for writers. On the good, this project should give something not so much to the writer as to the reader and the specialist who is investigating this situation.

The next question: “I really like the idea that every city has a section“ This city in poetry and prose ”, and it's a pity that even in Moscow and St. Petersburg this section is empty. Who can comment?

Dmitry Kuzmin: This is also a question for me, about the internal situation on the site. Friends, this is what I said at the very beginning - that the project is largely for growth. Among many other functions that were invented and laid down there, there is one - unobtrusively collecting such a geographic anthology across the regions of Russia and the world. Here are the writers who live there, here are the writers who write there, here are the publishing houses that publish there, and here are the texts in which this region is described, and let's see how one relates to the other. For now, purely symbolic, in several regions literally a few texts have been uploaded, just to see how it will work. But we have not yet started this work on a large scale, and I very much hope that it will still be done.

On what basis were about 10 people selected from all over the Krasnoyarsk Territory?

Dmitry Kuznetsov: This is what I have already said. Correlation of the information message with the recommendatory one. But I think it would be right if the Krasnoyarsk Territory's writers and how this situation is seen from here are told by Anton Nechaev, a Krasnoyarsk participant in our conversation, chief expert of the Astafiev Foundation, a wonderful poet, with whom we informally consult.

Anton Nechaev: There seem to be 8 of them. In my opinion, in Dmitry's opinion, these people fit the Litcard project. In a sense, all the recommendations I have proposed (and some, like Ouspensky, for example, do not need any recommendations at all) are people who, in some way, claim to change consciousness. In particular, the consciousness of the Krasnoyarsk public, if this public read them in sufficient numbers, they would greatly change this consciousness, which sometimes seriously lags behind what is desired. These are modern authors, advanced authors. Therefore they are there. They are known at the Russian level, and at the international level as well. How does the author get into your project? How is the application processed?

Anton Nechaev: there, as far as I know from the structure of the site, everyone can be present.

Dmitry Kuznetsov: Basically there is a form to apply. There were precedents when some people wrote to us, looking at which we realized that we had missed something. But the basic idea is to reiterate: this is not a project catering to writers. It is a project serving readers and literature. First of all, we are waiting for experts and their recommendations - "please note, we have such and such interesting authors, let's tell the city and the world about them." Question to Anton. Your provocations on the Internet in the creation of the theme "I and Astafiev" on one of the popular sites of Krasnoyarsk, some materials on the site of the Astafiev Foundation. What are they needed for? And what is the use of them?

Anton Nechaev: This question is already starting to bother me a little. I'm bored to answer the same way, you know? It’s probably necessary to come up with something new every time. What are they needed for? You know, probably everything is in literature at all, you can even get geniuses, and the authors are cool, there is not enough attention. In my opinion, there is a terrible lack of attention! Moreover, to the ordinary public. So, Dima said that we are not working for each other, and I don’t want all this to be inside us, there must be some way out. Perhaps yes, there is a certain provocative component in this, in all these topics, although in fact all this Kindergarten, mostly childish innocent games. But it attracts attention. But as journalists, you probably know that just a positive, it does not work, there should be a devil in the message, in the subject, then it clings and people go.

The question is, to what extent does the Victor Petrovich Astafiev Foundation fit into the general literary space of Russia?

Anton Nechaev: Well, well, it fits, does not fit. By the way, the fund is represented on the map, as is the magazine "Day and Night" in Krasnoyarsk. Well, we really don't have a goal to fit in somewhere, or check out from somewhere. We just work, we support writers. So, in general, this is a view of literature from Krasnoyarsk, perhaps a little different, most likely not the same as in Moscow or Irkutsk, or in New York.

Dmitry Kuzmin: The fund already has an all-Russian status ..

Anton Nechaev: The fund's program is like a personal appeal of the authors. Authors from various regions, and it is very important and valuable that the nationwide Russian literature itself gets a chance for decentralization, so that nationwide projects can be located directly here, there, in different places. In fact, there are not so many such projects, if you count them on your fingers.

Dmitry Kuzmin: There are too few of them.

Anton Nechaev: Yes, that means the Astafiev Foundation in Krasnoyarsk, a couple of projects in Yekaterinburg, a magazine in Saratov, the Kaliningrad site "Polutona", i.e. I can now list some, not so many. And very often these projects encounter difficulties when they say, “why do you notice some stray authors, when you have to support yours, so to speak, from this particular city”. While, in fact, and this is the most important thing, the scale of this work goes far beyond the place where it is done. Now I propose to gradually move away from the reasoning about the project, and move on to the users' questions that came to us. “It's no secret that many, if not all, creative people take alcohol and drugs, often uncontrollably. In this aspect, artists are somehow different from ordinary alcoholics and drug addicts, of course, in addition to what they create. Who would like to comment? "

Dmitry Kuzmin: You know, I am afraid that if we now start answering questions of this kind, it will take us very far, very, very far. I would like to ask two participants in our Internet conference, who have not yet spoken, to say a few words of this general nature. Going beyond talking about a specific site, but still remaining within the scope of Russian literary regional studies, literature and the Internet, and what we generally do next, within the framework of this project and other projects, in order to make the space of modern Russian literature more coherent and more open at the same time. I would like to ask you to say a few words from Anton Ochirov, a poet and artist who, with several projects, participates in the Krasnoyarsk Book Culture Fair, who has just released the first book of poetry as part of the Debut publishing program.

Anton Ochirov: I would like to say a few general words about the "New Literary Map of Russia" project. As a reader, I mainly use it as a catalog - it is a catalog of authors who write in Russian in various regions of Russia and the world. Unfortunately, many regions of Russia are represented on this map by white spots. I do not know what is going on there, and I am very interested in it. I would like this catalog and archive of what is happening in the regions of Russia to be constantly updated. We live in the post-Soviet space, and the former structures, within which there were force fields of tension - remember what we had before, was the Writers' Union and there was unofficial literature, which since the 50s remained unknown to the general public. Now we are faced with a situation where, as such a wonderful poet Mikhail Aizenberg often says, for example, modern poetry since the 50s of the last century is a blank slate for most Russian-speaking readers. We know, for example, Yevtushenko, Voznesensky, and several other authors - but a huge array of uncensored, unofficial literature is simply unknown. And here there is another moment that in addition to the catalog, the archive of the authors, I, as a reader, are most interested in the literary map as some kind of lines of force of tension of the process. There is a literary process going on, the authors write, and they are worried about some artistic or personal processes and problems, and all this is called "modern literature" - and it seems to me that it is very important to be guided in this, what problematic the authors are interested in, what questions they have excite. After all, from this we can understand the space that surrounds us - after all, these are modern authors living here and now, in the same place where we are all, and with the help of understanding the processes that take place in the Russian-speaking literary space, we can simply understand many things about the world in which we live. These are global issues - who we are, where we are from, where we are going. And by and large I'm interested, in general, in the future of what is happening to all of us here. The opportunity to know more ...

Anton Ochirov: I am not satisfied with the current situation when regions are divided, relatively speaking, into cultural capitals and provinces. This is an absolutely vicious model of thinking that creates a very strong information gap between Moscow, St. Petersburg and the regions. And I would like the processes that take place in literature to be common processes for the space in which we are. Otherwise, it will lead to isolationism, when people live in their own city, and what is outside of it - they do not know.

Question from a visitor: A book of poetry cannot be sold in Russia. Is it possible to speak of a complete decline of interest in the poetic word in Russia if it is not of interest to at least 10,000 Russians? And if it is of interest to more than 10 thousand, then why the circulation of such projects is not more than 1-2 thousand? Is it funded by sponsors or your own?

Anton Ochirov: about the interest in poetry, we can say that on the same site Poetry.ru, there are about 200,000 registered users, or even more.

So does it make sense to publish poetry books?

Anton Ochirov: it is hard to say. This is a big question really. Who reads poetry in society, who is in demand, why, what people are looking for in it. These requests can be very different. In general, yes, it is.

Stanislav Lvovsky: answering the second part of the circulation question. You see, this is pretty much a matter of the missing normal book distribution system. It is possible to sell 10 thousand copies of books in our country. If there was an opportunity for buyers to bring these books. Under the conditions of how the Russian post office functions, when people endlessly lose packages. And in the conditions of the high cost of private postal services, in the conditions when the book distribution network in the regions is practically monopolized, and we do not know what will happen with this monopoly now. We just don't see the real picture. How many people buy poetry books? They just don't end up in stores.
Anton Ochirov: this does not only apply to the field of poetry books.
Stanislav Lvovsky: We associate this with the fact that stores need to cover the most massive needs. When this process is completed, work will already begin there with some minor needs of the urban class who want to listen to music and read poetry. So far we haven’t come to that in most places. Therefore, the picture is distorted. This is not to say that people are not interested. We do not know whether they are interested or not. We do not have an indicator through which we could look at this. The market could be such an indicator. But this is not a market situation. You can go to one site, to another site and there you get lost in the endless amount of scribbling. The question is: How to distinguish a literary man from a graphomaniac, or such types smoothly flowing into each other?

Stanislav Lvovsky: I just don't know what a graphomaniac is, to be honest. I know that there are people who write good poetry, and there are people who write bad poetry. How do I differentiate between them? I, probably, could somehow explain it, there is my purely individual way of distinguishing. Is there a universal way to distinguish between these characters, i.e. To be honest, I don’t know of a good writer and graphomaniac. There are, of course, some generic ways, for sure. More or less the concept can be presented. But I don't have such a purely individual way. It seems to me that these are such overlapping phenomena. And they intersect exactly on the part where some systems of formal criteria do not work, people do not have systems of formal criteria, this is such a fragile thing, a fragile part of space.

Will you comment too?

Dmitry Kuznetsov: In our project, we are proceeding from the fact that there is a mechanism for peer review. We understand that all issues are resolved either by voting, or by expert judgment, or for money. When this is decided for money, then we know how the publication of collections at the expense of the authors takes place, if the authors have money, this does not mean anything.

When the matter is decided by voting, the main poet turns out to be, relatively speaking, Ilya Reznikov, who writes lyrics for Alla Pugacheva, we also understand how this mechanism works. Thus, we quickly come to understand that there is nothing left for us except expert judgment. The next question is, "who are the experts, and who appointed these experts, and who says that these people are experts, and these people are not." This question is much more complicated, but in essence it boils down to the fact that there is a certain circular shell of an expert who, in one way or another, in one form or another, recognizes each other's rights of this expert. They can explicitly recognize them. And they, the same experts, can make an act of recognition in an implicit way. When experts say the opposite and engage in controversy - “we do not recognize that the journal of such and such is right there,” “we do not recognize the expertise of such and such,” and “they are all not saying correctly,” this is also an act of mutual recognition, because they consider it an important place for them to challenge the position. While the position that they do not deem necessary, neither support nor challenge, it does not seem to exist in the expert space, it simply does not exist. Accordingly, the project New Literary Map of Russia relies in a known way on this expert community ranging from the Novy Mir magazine to the Debut Prize, from the Novoye Literaturnoe Obozreniye publishing house to the publishing house, for example, the Kustinsky Foundation. This range is wide enough, but not endless, i.e. outside of it there is a fairly large, voluminous part of the written production. Is it true they say that literature is divided "into camps" and "clans" and the authors do not really like each other? a question about the expert community.

Stanislav Lvovsky: as soon as they did not kill each other at all!

Dmitry Kuzmin: for example, Dmitry Bykov and I have not been greeting for many years, due to different, rich circumstances of our literary policy with him within the framework of publishing houses. But this did not stop me from placing it on the front page of our site. Because he is a great and famous writer. And the fact that they did not greet, well, what now. These things are not directly related. Enmity is personal, there is a fundamental ideological, and there is a fact of recognition of the existence of a colleague as a significant value. They are not the same thing. Question from the audience: I am listening and I think that everyone in the audience clearly understands the necessity and importance of this site. Nevertheless, I would like to get some clarifications on the previous question. That's good Anton Ochirov said that he uses the site as a directory.

Anton Ochirov: Well, like an archive, yes. As reference material.

But you yourself clearly admit that the archive in this case is not complete.

Anton Ochirov: More than incomplete.

More than incomplete. Sometimes interesting guys are left behind. This is due to various circumstances - financial, health, remoteness - not all villages, after all, are equipped with the Internet. And in this regard, the question is - have you tried in your activity to rely on already existing structures, for example, on the Writers' Union?

Dmitry Kuzmin: We did not try to rely on the Writers 'Union, because we do not consider the Writers' Union as a creative organization. We regard them as purely nomenklatura formations that have existed by inertia since Soviet times. Even in Soviet times, they were not creative organizations, because the overwhelming majority of significant writers worked outside this official structure.

Stanislav Lvovsky: They were essentially trade unions, guilds. Dmitry Kuzmin: Yes, guilds are more likely ideological workers, a certain pattern, so to speak. And although today there is no longer that ideology, nor those conditions that gave rise to these structures, but since within themselves these structures have a significant degree of continuity, and their current composition is determined by the recommendations of those people who were in them yesterday and the day before yesterday, then by in the aggregate, we regard these structures as not directly related to literature. Of course, a significant part of the authors, one way or another represented on the site, probably were in some of these structures at one time or another. Frankly, we were not interested in this at all. This is exactly the same as if we were interested in what political parties they belong to. Then an additional question - is there a certain number of literary journals. There are magazine editorial boards. Most of all now magazines that do what they do - put their products on the Internet, have their own sites. You did this coverage at least for magazines, which, in principle, could help you, because there are people there who are already working?

Dmitry Kuzmin: It's closer, it's closer. Because a magazine is a thing that you can touch. You can open it, on paper or on the Internet, understand what the level is, look at the composition of the main names - who edits, who is often published. In general, this is the kind of thing to deal with. And we work with magazines in one form or another. Sometimes more directly, as, for example, in Saratov, we directly interact with the Volga magazine to fill the Saratov section and nearby regions. In some cases, this happens more indirectly, when we look at the sites of magazines and make up some kind of general picture of the presence or absence of expert recognition from a certain author. But taking these estimates ready-made is still a risky thing. We understand well, even from magazines that are published in different regions of Russia - in some cases we see a centrifugal tendency, in some centripetal. In some cases, we see a desire to find authors of a worthy level here and elsewhere, and to present some kind of new look at Russian literature, but in other cases, a desire to serve the local writing team. Who reads thick magazines nowadays?

Stanislav Lvovsky: Due to the crisis in the distribution of printed materials, magazines are read today in Internet versions, and then they lose the context factor, because people come to specific authors, and skip the rest.

Dmitry Kuzmin: The number of visits to the main page of the magazine hall is vanishingly small compared to the number of visits from search engines. This means that people do not come to read the magazine, but come based on the results of searching for a specific text. A situation arises when the recommendation factor of the journal weakens. What does a classic magazine look like? One issue contains famous authors and unknown authors, and it is assumed that because of famous authors, the reader buys or signs it, and at the same time reads unknown authors. The moment this mechanism stops working, we again find ourselves in a situation where we need recommendation mechanisms. And the story with the litkarta website is an attempt to ask again the question of how we can equip a system that will simultaneously have both informational and recommendatory potential. Anton, do you want to add?

Anton Ochirov: I would just say a little on this topic, I am now interested in the next question, this site indicates not only Russia, but also the whole world is also indicated, and it makes sense to talk not so much about Russian literature, but about Russian-language literature ... Because the Russian Federation includes a sufficient number of national republics, and that's enough interest Ask national literature. The situation is such that many people writing in these republics are bilingual, i.e. speak two in three languages. And the question of national literature is very interesting. For example, the famous Russian-speaking poet Sergei Zavyalov, who now lives in Finland, defines himself as a Mordvin. Now at the moment we know the Russian-language literature of the Baltic countries (Estonia, Latvia, Lithuania), processes are also taking place there, very interesting. We know Russian-language literature, for example, Israel, a lot of Russian-speaking authors live in America. All of them were scattered around the world. And this new literary map of Russia for me wanted it to become a map of the space of literature written in Russian or national literature as part of a common space.

Dmitry Kuzmin: Actually, the authors who write in Russian outside of Russia are represented on the site and quite decently, but the second part of what Anton is talking about is a big problem with which we do not understand how to work. Russian authors who write not in Russian are authors who write in Russia, but in the languages ​​of the peoples of Russia, it is difficult to say what to do with them. The problem is that we are not able to conduct an independent examination of this literature, because within each national literature the number of institutions working with this literature is very small. There are no cross-sectional evaluations. And from outside no one can appreciate it. We have a number of unsuccessful precedents in this sense, say, the two-volume anthology "Contemporary Poetry of the Peoples of Russia" compiled by Leonid Vishnyakov, which is Russian-speaking, but you can argue with it, but it is professional, sane, and there is some approach, you can agree or not but this is skilled work. But there are also translations that cause great bewilderment, but, reading it carefully, you understand that he has no other material that was sent to him, that is. Sergei Zavyalov wrote that, unfortunately, this literature for the most part has not yet developed these mechanisms within itself, allowing them to enter into an equal dialogue with the world cultural space. There are some one-time exceptions and some specific names with which there is no problem, but in general this is a problem of tomorrow. The time of our conference is coming to an end. A few last questions: can a poet earn his living with his work? Who can answer?

Dmitry Kuzmin: here is the newspaper "Krasnoyarskaya Yarmarka", where Sergei Markovich Gadlevsky, one of the modern Russian poets, honestly answers in his interview, he came here, will speak today. And so he answers: no! they don’t earn money with poetry, my friends don’t earn money.

Dmitry Kuzmin: But this does not mean that a person whose professional business is literature cannot earn a living with a word. These will be some related specialties - teaching, journalism, some other. This is not always found, and therefore many refuse and earn in some other areas.

How do you feel about street poetry, rap?

Dmitry Kuzmin: I cannot say that I am familiar with many representatives, but in general, this is all excellent, some kind of living history, let it be.

Stanislav Lvovsky: This complex issue... This is some kind of active environment, something is happening in it.
Dmitry Kuzmin: You see what a thing - this situation is, after all, to some extent exported from the West. Slam, the so-called - fighting poets, rap. But we must understand that in the West this phenomenon arose in response to a phenomenon that we did not have. It arose in response to the phenomenon of academic poetry, to the situation in which poetry chooses the university as its main place of residence. And there this complex, innovative literature is studied, taught, students study it theoretically, practically, and all this takes on such a truly academic character. And as a protest against this, this desire arose to pull poetry onto the stage, to make a show out of it.
Stanislav Lvovsky: You know, it was some simplification, because the question was about something else, about this subculture of rap readers, in which there is an attempt to transfer it to domestic soil. How successful this attempt will be is, in my opinion, still too early to judge. Because so far we have either such completely popular samples, with which it is not very clear what to do, or a completely commercialized product. This middle, which would combine some kind of cultural interest, and would be some kind of living in the sense of the social, we do not yet have it. Let's give it another ten years to see how it all develops.
Anton Ochirov: There are some examples.
Stanislav Lvovsky: Yes, of course, I can name some names, but I do not want to do this, because it is too early to talk about it. Slams are another story altogether.

Dmitry Kuzmin: I would like you not to invent a third way to sovereign democracy. So that we get to the universities first, as it should be - because the union of innovative literature and higher education is the most organic.
Stanislav Lvovsky: They ask you about rap poetry, not about the union of innovative literature with higher education.
Dmitry Kuzmin: From my point of view, that should follow after that. What is better for a budding author - to get an award and get published in a couple of magazines, or go to a publisher and publish a book?

Anton Ochirov: One of the first laureates of the Debut Prize, I will not give her last name, she once wrote the couplet “Debut Prize, Abortion, Court”. This I mean that for a novice author who is interested in poetry, it is more important for him to get acquainted with the situation, to receive information, to read. This is more important. Prize moments structure the process, they bring many authors to the field of the expert community, and so on. But a novice author needs to study literature.

Dmitry Kuzmin A: Early recognition is often not helpful, but lack of recognition is not helpful either.
Andrey Cherkasov: And our Virtual Studio is to some extent an attempt to solve this problem. Thank you very much for participating in the conference! I hope we will still have the opportunity to continue this communication. Conference participants: Thank you.