Platonov is the writer of the work. The artistic world of stories by Andrei Platonovich Platonov

• Fiction: online collection of works

• Russian Literary Network: Platonov Andrey Platonovich

• Fiction: online collection of works

• Fiction: online collection of works

Mikheev M.Yu. Into the world of Platonov - through his language. Assumptions, facts, interpretations, guesses
Platonov created in his works, in essence, something like a religion of new times, trying to resist both traditional forms of religious cult and the fusion of heterogeneous mythologies that formed within the framework of socialist realism.

Lyuty V. About the language of Andrei Platonov

Tarasov A.B. “The Third Kingdom” as an attempt to model the world of “new” righteousness: A. Platonov and M. Tsvetaeva

Surikov V. Free thing by Andrei Platonov
About the works "Chevengur", "Pit".
“It’s a little disgusting, but then it will be good... Who doesn’t know this simplest deception, the elementary exchange of mental suffering for mental comfort, that happens every second in the myriads of human thoughts and actions? Who knows how unbearably difficult it is to resist it in everyday, insignificant things and not to be seduced by the availability of peace? Is it through this exchange that in every act, in every thought, the unsteady, elusive line between good and evil passes? Is this where the danger of mass “temptation” lurks—when some superidea, teasing universal happiness, combines these elementary movements into a mad leap?
Andrei Platonov found himself in a different role - in the role of a doubting participant in the events, who did not want, did not allow himself to step aside and desperately rushed into the very thick of events, into the hottest and most dangerous place.
“You can’t come here, here is an abyss, here is unprecedented bloody suffering, here is brutality, you can only get out of here on four paws.” All this had to be not said, but shouted out - to go against the enraged idea, breaking free from the leash of common sense.
What was required was no longer dissent, but code of action.”

Ordynskaya I.N. “Chevengur” by Andrei Platonov is a symbol of love for his people
This is a very thankless task - to write the truth about one’s time; as a rule, no one is forgiven for such attempts, especially talented writers, whose works themselves seem to begin to live. After all, destroying a book is often more difficult than real person. And the images fiction they often remain immortal altogether.

About the novel “Chevengur”
A whole series terrible victims brought by the commune for the sake of increasing the “stuff of existence”, “stuff of life” repeatedly mentioned in the novel, which is the key concept of the novel.

Joseph Brodsky. Afterword to “The Pit” by A. Platonov
“In our time, it is not customary to consider a writer outside the social context, and Platonov would be the most suitable object for such an analysis if what he does with language did not go far beyond the framework of that utopia (building socialism in Russia), a witness and chronicler which he appears in “The pit”.

About the works “Epiphanian Gateways”, “Ethereal Route”, “City of Grads”

Barsht K.A. Truth in round and liquid form. Henri Bergson in “The Pit” by Andrei Platonov // Questions of Philosophy. – 2007. – No. 4. – P. 144–157.
The idea that in A. Platonov’s “Pit” the percussion is described socialist construction, not so certain. The construction theme only covers, in the form of packaging material, what is hidden inside - a philosophical mystery filled with tension.

Olga Meyerson. The non-estrangement of Andrei Platonov, the danger and the power of inertia of perception
Review of a collection of two special issues of the journal “Essays in Poetics”, which published materials from a conference on the study of Plato’s creative heritage, held in 2001 in Oxford.

Loginov V. “Happy Moscow” by A. Platonov from the point of view of an inexperienced computer user

Henryk Chlystowski. Afterword to the translation of “Happy Moscow” by Andrei Platonov
“What kind of world is created in Platonov’s works? This world (especially in “Happy Moscow”) is completely devoid of history, memory and religion, a world that wants to build everything anew, but deprived of the main foundation is forced to constantly run into the future, into delirious unrealistic fantasies, and place its hopes there. This future is beautiful, wonderful and problem-free, but you need to somehow get to it, break through the inertia of matter and human vices.”

Bulygin A., Gushchin A. “Extraneous space”. Anthroponymy of the “Pit” (fragment)

Pin L.A. Andrey Platonovich Platonov. "Revolution is like a locomotive"

Gracheva E. “Inspiration”: The Unmade Film of Andrei Platonov
This was very important for Platonov. He had just begun to recover from the brutal pogrom that the Rappovites staged for his “poor peasant chronicle” “For Future Use” (“Krasnaya Nov”, 1931, No. 9). Stalin himself decorated the margins of the chronicle with the notes “Bastard!” and “Scoundrel!”, the frightened Fadeev declared that Platonov is “a kulak agent of the latest formation,” and off we go...

Years of life: from 08/28/1899 to 01/05/1951

Andrei Platnov is a Russian writer and playwright, one of the most original Russian writers in style and language of the first half of the 20th century.

Andrei Platonovich Klimentov was born on August 28 (16), 1899 (his birthday is officially celebrated on September 1) in a large family of a mechanic at railway workshops in the settlement of Yamskaya on the outskirts of the city of Voronezh. He took the surname Platonov for himself already in the 20s, forming it on behalf of his father, Platon Firsovich Klimentov. Andrey was the eldest of eleven children. He studied first at a parochial school, and then at a city school. He started working at the age of 14. “We had a family... of 10 people, and I am the eldest son - the only worker, except for my father. My father... could not feed such a horde,” he later wrote in his memoirs. The young man worked as a delivery boy, a foundry worker at a pipe factory, an electrical engineer, and an assistant driver. The motif of the locomotive will run through all of his work.

After the revolution, in 1918, Andrei went back to school. Enters the Voronezh Railway Polytechnic in the electrical engineering department. Inspired by new socialist ideas and trends, he participated in discussions of the Communist Union of Journalists, published articles, stories, poems in Voronezh newspapers and magazines (“Voronezh Commune”, “Red Village”, “ Iron way", etc.). But the Civil War confused all plans and in 1919 he went to the front as an ordinary rifleman in a railway detachment, and also as a “journalist for the Soviet press and writer.”

After the end of the Civil War, Andrei Platonov entered the Polytechnic Institute. His first book. In 1920, the First All-Russian Congress of Proletarian Writers took place in Moscow, where Platonov represented the Voronezh Writers' Organization. A survey was conducted at the congress. Platonov’s answers give an idea of ​​him as honest (not inventing a “revolutionary past” for himself, like others) and quite confident in his abilities young writer: “Did you participate in revolutionary movement, where and when? - "No"; “Have you been subjected to repression before October Revolution?.." - "No"; “What obstacles have hindered or are hindering your literary development?” - “Low education, lack of free time”; “Which writers have influenced you the most?” - “None”; "What literary trends do you sympathize or belong?” - “No, I have my own.” At the same time, Andrei Platonov short time was even a candidate member of the RCP(b), but for criticizing the “official revolutionaries” in the feuilleton “The Human Soul is an Indecent Animal” in 1921, he was expelled as a “shaky and unstable element.” In the same year, his first book (brochure) was published - a collection of essays "Electrification", which asserted the idea that "electrification is the same revolution in technology, with the same meaning as October 1917." The following year, in Krasnodar, a collection of poems “Blue Depth” was published, a collection composed of his youthful pre-revolutionary and post-revolutionary poems. After the first published books literary work for a while Platonov takes second place and he gives himself completely practical work by specialty. A proletarian writer, in his opinion, was obliged to have a profession and to create “in his free weekend hours.” In 1921–1922, he was the chairman of the Extraordinary Commission for Combating Drought in the Voronezh Province, and from 1923 to 1926, he worked in the Voronezh Provincial Land Administration as a provincial land reclamation specialist, in charge of work on the electrification of agriculture. At that time, he was seriously passionate about the task of transforming the entire agricultural system, and these were not some violent or demonstrative labor feats, but the consistent materialization of the views of Platonov himself, which he outlined in the “Russian Kolymaga”: “The fight against hunger, the fight for The life of the revolution comes down to fighting drought. There is a way to defeat it. And this is the only means: hydrofication, that is, the construction of artificial irrigation systems for fields with cultivated plants. The revolution turns into a fight against nature.” Platonov of these years is a maximalist dreamer, a fighter against

elemental forces in nature and life, calling for the speedy transformation of Russia “into the country of thought and metal.” Later, as a technically educated and gifted person (having dozens of patents for his inventions), he will see the environmental danger of such a strategy. Despite his constant employment, in rare free moments Platonov continues to study literature. He publishes journalistic articles, stories and poems in Voronezh newspapers and magazines and even in the Moscow magazine “Kuznitsa”. Writes stories on topics village life("IN starry desert", 1921, "Chuldik and Epishka", 1920), as well as science fiction stories and novellas ("Descendants of the Sun", 1922, "Markun", 1922, "Moon Bomb", 1926), in which faith in technological progress is combined with the utopian idealism of the artisan-inventor.

In 1926, Andrei Platonov was elected to the Central Committee of the Union of Agriculture and Forestry at the All-Russian Congress of Land Reclamation Workers and moved with his family to Moscow. By that time he was married to Masha Kashintseva. He met her in 1920 at the Voronezh branch of literary writers, where she served. “Eternal Mary”, she became the writer’s muse, the “Epiphanian Locks” and many poems that Platonov composed throughout his life are dedicated to her.

Work in the Central Committee of the Union of Agriculture did not go well. “This is partly to blame for the passion for thinking and writing,” Platonov admitted in a letter. For about three months he worked in Tambov as head of the land reclamation department. During this time, a series of stories on Russian historical themes was written, fantastic story“The Ethereal Tract” (1927), the story “Epifansky Locks” (about Peter’s transformations in Russia) and the first edition of “The City of Gradov” (a satirical interpretation of the new state philosophy).

Since 1927, Platonov and his family finally settled in Moscow: the writer in him defeated the engineer. The next two years, perhaps, can be called the most prosperous in his life as a writer, which was greatly facilitated by Grigory Zakharovich Litvin-Molotov. A member of the Voronezh provincial committee and the editorial board of the Voronezh Izvestia (he attracted the young Platonov to work in local newspapers), Litvin-Molotov then headed the Burevestnik publishing house in Krasnodar (where Platonov’s collection of poems was published), and from the mid-1920s he became the chief editor of the publishing house

“Young Guard” in Moscow (where the first two collections of Platonov’s stories and stories were published). At this time, Andrei Platonov created a new edition of “The City of Gradov”, a cycle of stories: “The Hidden Man” (an attempt to understand

Civil War and new social relations through the eyes of the “natural fool” Foma Pukhov), “Yamskaya Sloboda”, “Builders of the Country” (from which the novel “Chevengur” will grow). Collaborates in the magazines “Krasnaya Nov”, “New World”, “October”, “Young Guard”, publishes collections: “Epiphanian Locks” (1927), “Meadow Masters” (1928), “Origin of the Master” (1929). Also Moscow literary life inspired Platonov’s satirical pen to create several parodies: “The Literature Factory” (written for the magazine “October”, but published there only in 1991),

“Moscow Society of Literature Consumers. MOPL", "Antisexus" (dialogue with LEF, Mayakovsky, Shklovsky, etc.).

At that time, everything in the writer’s life was going well: he was noticed by critics, and Maxim Gorky approved of him. Moreover, it was Platonov the satirist who liked Gorky: “In your psyche,” as I perceive it, “there is an affinity with Gogol. Therefore, try yourself at comedy, not drama. Leave drama for personal pleasure.” But Platonov did not listen to the recommendations, writing only a few satirical works. A critical turning point came in the writer’s fate in 1929, when critics of RAPP crushed his stories “Che-Che-O”, “State Resident”, “Doubting Makar”. “Doubting Makar” was also read by Stalin himself (who, unlike subsequent leaders, read everything even more or less noticeable) - he did not approve of the ideological ambiguity and anarchic nature of the story. Publishers

immediately, for ideological reasons, they begin to reject all of his works. The set of the novel “Chevengur”, which had already been completed to layout, was scattered (the novel will be released after death of the writer, in 1972 in Paris).

However, a wave of criticism and even the threat of reprisals did not force Andrei Platonov to put down his pen. He also did not become a dissident, as supporters of perestroika tried to make him out to be after his death. In a letter to Maxim Gorky in those hard times he writes: “I am writing this letter to you not to complain - I have nothing to complain about... I want to tell you that I am not a class enemy, and no matter how much I suffer as a result of my mistakes, I will not become a class enemy I can, but it is impossible to bring me to this state, because the working class is my homeland, and my future is connected with the proletariat... to be rejected by my class and still be internally with it is much more painful than to recognize oneself as an alien... and go to side."

And it was during this period that Platonov’s new poetics crystallized, the revolutionary aspiration for the future and the declarative and illustrative presentation of the utopian idea was replaced by the search for the deep meanings of life - the “stuff of existence.” The author’s unique style is emerging based on poetic techniques and the word-formation mechanism of language, which reveals the hidden, primary meaning of a word. Platonov’s expressive tongue-tiedness (for which he is so valued by some, but cannot be accepted by other readers) has no precedents in Russian literature, partly relying on the traditions of symbolism, as well as processing the experience of the avant-garde and the newspaper vocabulary of his time.

In the fall of 1929, Andrei Platonov, on instructions from the People's Commissariat of Agriculture, travels a lot to state farms and collective farms in Central Russia. Thanks to materials from these trips, he begins to work on the story “The Pit,” which will become one of his main masterpieces, but will never be published during the author’s lifetime (first published in the USSR in 1987)).

In the mid-1930s, Platonov was a writer who wrote mainly on the table. The situation is aggravated by everyday troubles: the family wanders for a long time in temporary apartments, until in 1931 they settle in the wing of a mansion on Tverskoy Boulevard (now the Herzen Literary Institute). But no matter what, the abundance of ideas overwhelms the writer. At this time, he wrote the novel “Happy Moscow”, the play “The Voice of the Father”, the folk tragedy “14 Red Huts” (about the famine in the Russian province during the time of “dekulakization”), articles on literature (about Pushkin, Akhmatova, Hemingway, Chapek , Greene, Paustovsky). Business trips from the People's Commissariat of Agriculture to collective and state farms in the Volga region and the North Caucasus provided the writer with material for the story “The Juvenile Sea” (1932).

After “Chevengur” and “The Pit,” the writer gradually begins to move away from large-scale social canvases into the world of ordinary universal human motives - emotional experiences and love dramas. But at the same time, the psychological modeling of the characters is enhanced; the ironic attitude towards love gives way to the depth of psychological reading. The collection of lyrical stories “The Potudan River” was the first to be published after a long period of oblivion. The book was published in 1937, but immediately after its release it was subjected to derogatory criticism. Paradoxically, it was at this time that the first and only monographic study of his work was written during the writer’s lifetime. It was a large accusatory article by A. Gurvich “Andrei Platonov” in the magazine “Krasnaya Nov” (1937, No. 10). Tracing the creative evolution of the writer, Gurvich determined that the basis artistic system Platonov is “religious soul order”. Essentially true, but against the background of the “godless five-year plan” this was actually a political denunciation.

The situation is aggravated by another event - in 1938, Platonov’s fifteen-year-old son Tosha (Platon) was arrested and convicted under Article 58/10 (for anti-Soviet agitation) on a fabricated case. He was released only in the fall of 1940 thanks to the efforts of Mikhail Sholokhov (at that time a deputy of the Supreme Soviet of the USSR), who was friends with the Platonovs.

However, the joy was short-lived - the son returned terminally ill with tuberculosis and died in January 1943. Andrei Platonov, in his vain attempts to get rid of his son, became infected with tuberculosis.

In 1936-1941, Platonov appeared in print mainly as a literary critic. He publishes in magazines under various pseudonyms." Literary critic", "Literary Review", etc.. Works on the novel "Journey from Moscow to St. Petersburg" (its manuscript was lost at the beginning of the war), writes children's plays "Granny's Hut", "Good Titus", "Step-Daughter".

With the beginning of the Great Patriotic War, the writer and his family were evacuated to Ufa, where a collection of his war stories “Under the Skies of the Motherland” was published. In 1942, he volunteered to go to the front as a private, but soon became a front-line correspondent for Red Star. During the war, four more books by Platonov were published: “Spiritualized People” (1942), “Stories about the Motherland”, “Armor” (both 1943), “Towards the Sunset” (1945). At the end of 1946, one of the best stories Platonov - “Return”, in which the author, using the example of “Ivanov’s family” (this is the original title), reflects on the fact that war cripples people not only physically, but also morally. Critics immediately branded the story as slander against the “hero soldier” and, in fact, thereby putting an end to the writer’s lifetime publications.

In the last years of his life, the seriously ill writer was forced to earn his living by transcribing Russian and Bashkir folk tales. He's working on satirical play on the theme of American reality (with allusions to the USSR) "Noah's Ark", but never manages to finish it. How could he be supported by the writers Sholokhov and Fadeev (the latter, who once “on duty” criticized “Doubting Makar”). With the help of Sholokhov, it was possible to publish books of fairy tales “Finist - Clear Falcon”, “Bashkir Folk Tales” (both 1947), “The Magic Ring” (1949). At that time, Platonov lived in a wing of the A. M. Gorky Literary Institute. One of the writers, seeing how he swept the yard under his windows, started a legend that he had to work as a janitor.

Tuberculosis, which he contracted from his son, makes itself felt more and more often, and on January 5, 1951, Andrei Platonov passed away. He was buried on Vagankovskoe cemetery next to my son.

One of the most significant writers of the 20th century passed away unrecognized. He never saw his main works - the novel “Chevengur”, the stories “The Pit”, “The Juvenile Sea”, “Dzhan” - published. Only in the Khrushchev sixties did the first Plato books timidly begin to appear. His main works were published only in the late 80s, and the master’s bright originality aroused a wave of interest in him around the world. Ernest Hemingway, in his Nobel speech, named Platonov among his teachers., plays " High voltage" and "14 red huts"
1933 - 1936 - (the novel is not finished)
1934 - stories and “Jan”, story “Takyr”
1936 - stories “The Third Son” and “Immortality”, novel “The Macedonian Officer” (unfinished)
1937 - stories “The Potudan River (story)”, “In a Beautiful and Furious World”, “Fro”, novel “Journey from Moscow to St. Petersburg” (manuscript lost)
1938 - story “The July Thunderstorm”
1939 - story “The Motherland of Electricity”
1942 - “Under the skies of the motherland” (collection of stories), published in Ufa
1942 - “Spiritualized People” (collection of stories)
1943 - “Stories about the Motherland” (collection of stories)
1943 - “Armor” (collection of stories)
1945 - collection of stories “Towards the Sunset”, story “Nikita”
1946 - story “Ivanov’s Family” (“Return”)
1947 - books “Finist - Clear Falcon”, “Bashkir Folk Tales”
1948 - play “Lyceum Student”
1950 - (collection of Russian folk tales)
1951 - (unfinished mystery play)

Film adaptations of works, theatrical performances

Fro (1964),
film by Rezo Esadze based on story of the same name.
Lonely voice of a man (1978)
film by Alexander Sokurov based on the works of Andrei Platonov “The Potudan River”, “The Hidden Man”, “The Origin of the Master”.
Three brothers / Tre fratelli (1981)
French-Italian film directed by Francesco Rosi based on the story “The Third Son”, the action of the story is moved to Italy.
Maria's Lovers(1984)
film by Andrei Konchalovsky based on “The Potudan River”, the location has been moved to the USA.
The beginning of an unknown century (1987)
Film almanac, which includes the short film “The Motherland of Electricity” by Larisa Efimovna Shepitko, based on the story of the same name
Cow (1990)
cartoon by Alexander Petrov based on the story of the same name.
I have to live again (2001)
film by Vasily Panin based on the stories “In a Beautiful and Furious World”, “At the Dawn of Foggy Youth” and “The Hidden Man”
Random glance (2005)
a very strange film in the art-house style from Vladimir Mirzoev. It is alleged that the script is based on the story “The Pit” by Andrei Platonov
Father (2007)
film by Ivan Solovov based on the story “Return”.

Municipal educational institution

secondary school No. 56

Abstract

The artistic world of stories by Andrei Platonovich Platonov

Completed by: Elena Mitkina,

student of 8th grade "B"

Checked by: O. V. Revnivtseva

Industrial 2010

Introduction

The main part of “The artistic world of A. Platonov’s stories”

Conclusion

References

Introduction

The proposed work is dedicated to the artistic world of Andrei Platonov’s stories. It is worth noting that it is only an attempt to analyze some of the artistic features of several of the writer’s stories that most interested the author, namely: “Return”, “In a Beautiful and Furious World”, “Fro”, “Yushka”, “Cow”. This topic was not raised by chance. In addition to the fact that Platonov’s stories themselves, their form and content are very unusual and interesting for analysis, there are several other reasons for choosing a topic for research.

Firstly, this topic seems to be quite complex and controversial. Researchers of the writer’s creativity evaluate his works differently; they are not easy to study.

Secondly, the study of the artistic world of A. Platonov is still a pressing problem in Russian literary criticism, because most of his works have become available to the reader only in the last 20 years. There is also no doubt about the relevance of the problems raised by the writer in his stories - these are the so-called “eternal” problems.

The purpose of the work is to analyze the artistic world of the above stories by A. Platonov.

Identify the main problems of the writer’s stories;

Describe the most striking artistic features of these works.

In preparing the work I used various literature: both school textbooks and individual articles dedicated to the work of A. Platonov, published in various periodicals.

The main part of “The artistic world of A. Platonov’s stories”

Books should be written - each one as if it were the only one, leaving no hope in the reader that the author will write a new, future book better! (A. Platonov)

Andrei Platonov sought to materialize spiritual concepts in stories, the saving value of which was never questioned; form for works of art he used to preach a few, basic, indisputable truths that have since ancient times accompanied man on his difficult historical path - truths constantly refreshed by history and human destinies.

Platonov's prose touched upon the most intimate feelings and thoughts of a person, those to which a person inevitably reaches on his own in dire circumstances and which serve him at the same time as consolation in fate, and as hope, and as the right to act exactly this way and not otherwise.

Surprisingly, although laconic, he describes nature. Of the natural elements, Andrei Platonovich loved a torrential thunderstorm, lightning daggers flashing in the darkness, accompanied by powerful peals of thunder. Classic designs He presented rebellious landscape painting in the story “In a Beautiful and Furious World.” After a cleansing rainstorm, furiously washing away the barren ashes of dust from trees, grass, roads and church domes, the world appeared renewed, solemn and majestic, as if the best of the light lost from creation was returning to it anew. In terms of figurative plasticity and emotional intensity in Platonov’s prose, it is difficult to find other pictures of nature that would surpass his own descriptions of a thunderstorm. Blades of lightning stinging the darkness with thunderstorm faults flowing into the darkness is a state that corresponds to the writer’s internal structure, his understanding of the historical process, cleansing itself of filth in the furious moments of reality, in which evil is destroyed and the accumulation of good in the world increases.

One of the most important problems for a writer is family, home, children in the family. When Platonov returned to his native land in 1943, the city greeted him with ruins, smoke and ashes from home fires. standing on native ashes, Andrei Platonovich thought about the people and the Motherland, which begin with mother and child, the most precious creatures, with the hearth, the “sacred place of man,” with love and loyalty in the family - without them there is neither a person nor a soldier. “The people and the state, for the sake of their salvation, for the sake of military power, must constantly take care of the family, as the initial hearth national culture, the primary source of military power, is about the family and everything that materially holds it together: about the family’s home, about its native material place. This is not trifle, but very tender - material objects can be sacred, and then they nourish and excite the human spirit. I remember my grandfather’s Armenian, which remained in our family for eighty years; my grandfather was a Nikolaev soldier who died in the war, and I touched and even smelled his old army coat, enjoying my vivid imagination of my heroic grandfather. It's possible that this family heirloom was one of the reasons I became a soldier. A great spirit can be aroused by small, imperceptible reasons.” (“Reflections of an Officer”) The same thoughts are developed in many other stories by A. Platonov: they can be caught in works as different at first glance as “Return”, “Cow”, “Yushka” and many others. The same idea about the value of the family hearth, about its priority over all personal ambitions, about the “sacredness” of childhood and the great responsibility of the father for the fate of his children is heard at the end of the story “Return”, when the main character, Ivanov, sees people running after the train, on which he leaves, his son and daughter: “Ivanov closed his eyes, not wanting to see and feel the pain of the fallen, exhausted children, and he himself felt how hot it became in his chest, as if the heart, imprisoned and languishing in him, was beating for a long time and in vain all his life and only now it broke free, filling his entire being with warmth and shuddering. He suddenly learned everything he knew before, much more accurately and effectively. Before, he felt another life through the barrier of pride and self-interest, but now he suddenly touched it with his bare heart.”

A person leaves a family to join a work team - the school of loyalty and love is enriched here - through a true work culture - with feelings of duty and honor. “In our country, the level of human upbringing was a strong place, and this is one of the reasons for the courage and perseverance of our wars. Finally, society - family, political, industrial and other ties based on friendship, sympathies, interests, views; and behind society stretches the ocean of the people, “common fatherhood,” the concept of which is sacred to us, because our service begins from here. The soldier serves only the whole people, but not part of it - neither himself nor his family, and the soldier dies for the incorruptibility of his entire people.”

“In them, in these links, in their good action,” Platonov believed, “the secret of the immortality of the people is hidden, that is, the power of its invincibility, its resistance against death, against evil and decay.”

“A working person seeks and necessarily finds a way out not only of his fate, but also the fate of peoples, of the state... A working person always has “secret” reserves and means of the spirit to save life from extermination” (A. Platonov) Like no other writer, perhaps , Platonov reveals the theme of the labor of a working person - it is present, perhaps, in all the stories we studied.

His creative style is based on many features, of which it is important to note such as the symbolism of images, descriptions, and entire plot scenes; the predominance of dialogues and monologues-reflections of the characters over the action (since the true action of Platonov’s works is in the search for meaning human existence); roughness, “irregularity” of the tongue, special, characteristic of folk speech simplification - it seems that the word is born again through painful labor common man. As an example, you can cite quotes from any story, for example, “In a Beautiful and Furious World”: “the work of a thunderstorm”, “bored of me like a fool”, “sat down on a chair tired”, “the feeling of the car was bliss” and many , many others. Or from the story “Cow”: “so that everyone... would benefit from me and do well,” “give strength into milk and work,” etc. Platonov's prose is filled with neologisms, bureaucracies, and various “official” phrases. Back in the 20s and 30s, many talked about the strange pathos of the writer’s writing - about the heroes, unexpected, ragged endings, about the impossibility of retelling the work based on the logic of the events reflected in it, without relying on the logic of the heroes. These features still amaze readers today.

Of course, the powerful artistic gift of the writer evokes admiration - the density of the narrative, the universality of generalization at the level of one phrase of the text, the colossal freedom in the linguistic element of the Russian language, capable of expressing even the painful muteness of the world and man.

Perhaps none of the writers of the 20th century brought together the tragic and humorous traditions of national culture into such an indissoluble unity as Platonov’s. Humor sparkles in the dialogues of his characters vernacular. This humor digests the global ideological systems of the 20th century, turning them into spent slag. Platonov’s hero can “play the fool,” while asking first of all new look under familiar objects and phenomena.

Humor is in the language itself, in the combination of its completely different lexical and syntactic layers: high and low, everyday and journalistic or clerical style. Platonov's heroes are afraid to speak, because as soon as they break the silence that is more natural for them, they immediately fall into the element of a clownish tale, grotesque, inversion and absurdity, confusion of causes and consequences. The superposition of the comedy of the plot on the comedy of the language produces a double effect. We are not only funny and sorry, but more often we are scared and hurt by this logic, which expresses the absurdity that is happening, the fantastic nature of life itself.

Plato's narrative is practically devoid of metaphors inherent in the “traditional” style of comparisons. Platonov, rather, uses the technique of “demetaphorization” and metonymic constructions. Each of the units of the text is built according to the laws of the whole, as if super-meaning. This integrity is achieved in different ways. For example, by combining semantically incompatible units, conveying the syncretism of the hero’s perception, when the concrete and abstract merge in his consciousness. Platonov’s favorite syntactic construction is a complex sentence with excessive use of conjunctions “because”, “so that”, “since”, “in order”, which fix the reasons, goals, conditions of the image of the world that is created in the hero’s mind. (“When she was sitting, the watchman cried for her and went to the authorities to ask to be released, and she lived before her arrest with one lover who told her ... about his fraud, and then got scared and wanted to destroy her so that there would be no witness for him .” (“Fro”)

More than once attempts have been made to define the style and language of Plato's works. He was called a realist, socialist realist, surrealist, postmodernist, utopian and anti-utopian... And indeed, in the world recreated in Platonov’s work, one can find the features of the most different styles, poeticist, ideological systems. The structure of each narrative unit and the text as a whole is subordinated to a double task: firstly, to give concrete manifestations of the existing world (the real narrative plan), and secondly, to express what should be (the ideal plan). And the artist creates before us a new cosmos of a “beautiful and furious world” that does not need other people’s intervention, multifaceted, semi-precious. Therefore, language, Platonov’s word, is the same semi-precious, living element, as if it does not know the filters of “cultivation”, “normativity”. No wonder his prose is so difficult and slow to read. We stop before Platonov’s phrase: it seems wrong, we feel in it the viscosity, the originality of each word, living its own life, peering into the world around and forcing us, the readers, to “skip the phrase”, and to look through and unravel it, it is unusually controlled and words and parts of sentences are combined. Sometimes we want to straighten a phrase or forget it: the compression of meaning is such that metaphors appear in our minds as physiological or psychological reactions - pain, pity, compassion for the whole world, for all life in its little things and details.

Let us dwell on the most striking, in our opinion, problems raised in the stories we have studied.

One of the most striking manifestations of love for one's neighbor in Platonov's literature is expressed in the depiction of the adoption of other people's children. The heroes of his stories are lonely, and their own lives are long-suffering.

Efim Dmitrievich, nicknamed Yushka (from the story of the same name), is also lonely, and we don’t know if he ever had a family. His adopted daughter is an orphan. “I was an orphan, and Efim Dmitrievich placed me, little, with a family in Moscow, then sent me to a boarding school... Every year he came to visit me and brought money for the whole year so that I could live and study.”

Yushka saved this money, denying himself literally everything. “he worked in a forge... as an assistant to the chief blacksmith... lived in the apartment of the owner of the forge... The owner fed him bread, porridge and cabbage soup for his work, and Yushka had his own tea, sugar and clothes; he had to buy them with his salary - seven rubles and sixty kopecks a month. But Yushka didn’t drink tea or buy sugar, he drank water and wore clothes for many years the same one without changing...”

At this price, Yushka got the money, which he gave in full so that his adopted daughter, whom he saw only once a year, “lived and studied”, covering a long distance on foot. Yushka adopted the girl because he could not imagine life other than love and mutual assistance. Therefore, when children mocked him, he was happy. “He knew why children laughed at him and tormented him. He believed that children love him, that they need him, only they don’t know how to love a person and don’t know what to do for love, and therefore they lose him.”

When adults, taking out their grief and resentment on him, beat him, he lay for a long time in the dust on the road, and when he woke up, he said: “The people... love me!” When the blacksmith’s daughter, having seen enough of his misadventures, said: “It would be better if you died, Yushka... Why do you live?”, “Yushka looked at her with surprise. He didn’t understand why he should die when he was born to live.”

All living things must live. A person is born in order to live and help others live. This is Yushka’s philosophy of life, which he expressed through his existence. That's why Yushka adopted an orphan and gave all his money to her upbringing and education so that she could live. That’s why Yushka loved nature so much.

“Having gone far away, where it was completely deserted, Yushka did not hide his love for living beings. He bent down to the ground and kissed the flowers, trying not to breathe on them so that they would not be spoiled by his breath, he stroked the bark of the trees and picked up butterflies and beetles from the path that had fallen dead, and peered at their faces for a long time, feeling himself without them orphaned. But living birds sang in the sky, dragonflies, beetles and hard-working grasshoppers made cheerful sounds in the grass, and therefore Yushka’s soul was light, the sweet air of flowers, smelling of moisture and sunshine, entered his chest.”

Native land, native forest, native lake, native people... For Yushka, everything living was native and necessary. Necessary for the life of a little girl - an orphan, a little grasshopper, a little flower, because they all together are life, and they all cannot live without each other. Therefore, she herself, being a part of that life, was needed for others.

“I was assigned to live by my parents, I was born by law, the whole world needs me, just like you, without me too, which means it’s impossible... we are all equal.”

Yushka’s adoption of someone else’s child is participation in all living things, mutual self-affirmation with small creatures: “The whole world needs me too.”

If you pay attention to Yushka’s adopted daughter in the story, you can see how the influence of adoption is reflected in her fate.

Direction of all later life the girl doctor was identified thanks to her adoptive father. “She knew what Yushka was sick with, and now she herself has completed her studies as a doctor and came here to treat the one who loved her more than anything in the world and whom she herself loved with all the warmth and light of her heart...

A lot of time has passed since then.

The girl doctor remained forever in our city. She began working in a hospital for consumptives, she went to houses where there were tuberculosis patients, and did not charge anyone for her work.”

It is interesting to dwell on some of the features and problems of the story “In a Beautiful and Furious World.”

Its main character, driver Maltsev, is a talented craftsman. The author tells us a story about how a young driver failed to even come close to the perfect art of driving a machine that Maltsev possessed. IN in this case the contrast emphasizes not only the virtuoso skill of driving the car. Maltsev is truly in love with the car and therefore does not believe that someone can also love and feel it as he does. “He led the cast with the courageous confidence of a great master, with the concentration of an inspired artist who has absorbed the entire outer world into his inner experience and therefore dominates it.” Maltsev seems to merge with the living organism that he imagines the locomotive to be. He's like a professional musician who doesn't need to see the sheet music to play. Maltsev feels the car with his whole body, feels its breath. But not just the car. The hero feels and sees not only the locomotive, but also the forest, air, birds and much more. Maltsev senses that very world, which includes himself, nature, and the machine. It is on this occasion that the writer’s phrase about the “beautiful and furious world” in which the master virtuoso reigns sounds. But Maltsev, having lost his sight, does not leave the locomotive.

But why doesn’t the investigator understand Maltsev? Is this person really blind?

The figure of the investigator and his fatal mistake were introduced by the writer into the plot in order to show how consciousness ordinary person, called upon to decide the destinies of people, is unable to perceive the special feelings and sensations that the hero experiences. So, is Maltsev blind? In the conversation between the driver and the hero-narrator, our attention is immediately drawn to the phrase: “I didn’t know that I was blind... When I drive a car, I always see the light...” This seems strange, since we know about Maltsev’s powers of observation, about his special and sharp vision. But it turns out that the hero is immersed in his own world, where only he, the car and nature exist, where there are no traffic lights, no assistant, no fireman. Is it possible to explain this to the investigator? We see that the old driver lives in his own world, almost inaccessible to others, into which he does not even allow his assistant.

Here another face of the world arises, which is rarely depicted by writers in general, and especially by the romantic poets of the 19th century. Nature has always seemed beautiful, unattainably ideal, especially when writers compared it with the human world. What is the relationship between these worlds according to Platonov? Is it only the natural world in the story that is beautiful and ideal? Of course not. Nature appears as a beautiful element, which in spirit and content is hostile to man. Especially to those who have the gift of resisting it. Plato's hero struggles with the natural elements and the elements of his own misery. He tries to subjugate nature, to regulate it, just as he controls a steam locomotive. But it is precisely the beauty of this struggle, the feeling of being equal to the natural elements that fills the life and consciousness of the character in Andrei Platonov’s story with content. “I was afraid to leave him alone, like my own son, without protection against the action of the sudden and hostile forces of our beautiful and furious world.”

Platonov calls the world “beautiful” and “furious.” What is behind these definitions in the story? Beautiful – bringing the beauty of nature, the joy of creativity. Furious - trying to prevent a person from having power over himself, taking up arms against the most talented.

Many of Platonov's favorite thoughts are reflected in the story "Fro".

Its charm lies not only in the “fascination with the sense of life” of the story’s heroes, but in the extremely fully developed “self-expression” of its three main characters. All the previous, familiar Platonic characters are collected together in the story, combined in a natural, organic setting. Each of them is a fanatic of his “idea”, leading his worship of it to the point of complete dissolution of character, to one-sidedness. And at the same time, these one-sidedly developed people, far from comprehensively gifted, are extremely close to each other, forming a wonderful community.

Old driver Nefed Stepanovich with his touching hope of being called to the depot. He goes to the hill in the evenings to look at cars, “live with sympathy and imagination,” and then imitate fatigue, discuss fictitious accidents and even... ask his daughter Frosya for Vaseline to lubricate his supposedly overworked hands. This game of work, the continuation of an active life, allows Platonov to look into the entire previous life of the hero, as well as into his iron chest, where bread, onions, and a lump of sugar always lay. This life is serious, for real - both work and tired hands.

Fyodor, Frosya’s husband, seems to be repeating the path of the technically obsessed heroes of the story “In a Beautiful and Furious World.” He rushed off to Far East set up and put into operation some mysterious electrical machines, thereby limiting both himself and Frosya’s ability to reveal all the strength of his nature in love and care for him.

The real center of the entire group, all the paintings are “Assol from Morshansk” - Fyodor’s wife Frosya, with her impatient expectation of happiness in the present, love for her neighbor.

Platonov was not afraid to introduce some motifs from Chekhov’s story “Darling” into Frosya’s character and behavior. Frosya strives to live by imitation of her husband, a fanatic of technical ideas, begins to fill her head with “microfarads”, “relay harnesses”, “contactors”, she sincerely and naively believes that if there is a “third” between her and her husband, say a current resonance diagram, then Complete harmony of interests and feelings will reign in the family.

Love is the meaning of life for Fro. Given the apparent “narrowness” of her aspirations, petty-bourgeois limitations and naivety - this is what the heroine is afraid of! – suddenly her rare spiritual wealth is revealed. Funny, sad, living almost by the instinct of love, the continuation of the human race, Fro gives rise to an unexpected question: isn’t love itself life, beating against all obstacles, but still finding the opportunity for endless development?

plot creative writer Platonov

Conclusion

In conclusion, I would like to formulate the conclusions we have reached. They lie in the fact that, firstly, Platonov’s stories are devoted to many “eternal” themes in literature - such as family, children, love, work, conscience, good and evil, nature, relationships between people; secondly, the language and style of the writer’s works in general and stories in particular are original and have the features that were discussed in the main part of the work.

To summarize, we can say that the tasks set at the beginning of the work (to identify the main problems of the writer’s stories; to describe the most striking artistic features of these works) have been completed. Thus, the goal of the study has been achieved - an attempt has been made to analyze some of the features of the artistic world of A. Platonov’s stories.

References

1) Vasiliev V. “I was advancing..” Military prose by Andrei Platonov || Literature, 1997, No. 10.

2) Zolotareva I.V., Krysova T.A. Lesson developments in literature. 8th grade – Moscow, 2004.

3) Kutuzov A.G. In the world of literature. 8th grade – Moscow, 2006.

4) Russian literature of the 20th century. 11th grade. Under the general editorship of V.V. Agenosov - Moscow, 1997.

5) Russian literature of the 20th century. 11th grade. Edited by V. P. Zhuravlev - Moscow, 2006.

6) Turyanskaya B.I., Kholodkova L.A. Literature in 8th grade - Moscow, 1999.

7) Turyanskaya B.I. Materials for literature lessons in 8th grade - Moscow, 1995.

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Platonov Andrey Platonovich - pseudonym, real name - Klimentov Andrey Platonovich; Voronezh, Russian Empire; 08/16/1899 – 01/05/1951

Andrei Platonov is a popular Soviet writer and military journalist. It came out from under his hand large number poetic and prose works mainly on social topics. Based on Andrei Platonov’s books, many performances were staged and several feature films were made. The last film to be released in 2017 was called “Yushka”.

Biography of Andrey Platonov

Klimentov was born in August 1899 in the city of Voronezh. His father held the position of a machinist and at the same time worked as a mechanic on the railway. For the responsible performance of all his duties, he was even awarded the title of Hero of Labor. The future writer's mother was a housewife. In total there were eleven children in the family. That is why Andrei knew from childhood how to care for the younger ones and often helped his mother.

We can read about Andrei Platonov that at the age of seven he entered a local school at the church. However, just three years later, in 1909, he transferred to a city school, where he studied for four years. After this, he gets several jobs to help his father feed his family. Platonov holds the position of day laborer, works in an insurance office and is listed as an assistant driver on one of the trains. In 1915, the future writer got a job at a pipe factory, where he worked as a foundry worker for several months.

Andrey Platonov short biography says that in 1918 he entered the Voronezh Technical School. Education young man interrupt the ongoing hostilities. Since the end of 1918, Andrei has been on the revolutionary committee and works part-time as an editor of one of the newspapers. In addition, he takes part in the civil war as one of the correspondents. This is exactly how Platonov’s writing career began.

Already in 1919, the first works of Andrei Platonov were published. All of them are published in local newspapers and magazines. The young man tries himself as a poet, prose writer and publicist. In 1921, the aspiring writer graduated from the local party school. That same summer, his first book, Electrification, was published. In addition, several of the author’s poetry were published in a specially prepared collective collection.

In 1922, the writer’s son Plato was born. If we download the biography of Andrei Platonov, we will find out that the same year was marked by the release of a full-fledged book of Platonov’s poetry entitled “Blue Depth”. The work finds many positive responses among professional critics and Andrei Platonovich’s colleagues. Despite his writing activities, he continues to work in his specialty, holding the position of chairman of the hydropower commission. In 1924, Andrei Platonov was mainly engaged in social activities. It offers a large number of hydrofication projects native land, which would help protect local crops from upcoming droughts.

In December 1926, the writer moved to Tambov, where new stories were created (“City of Grads”, “Epiphanian Locks”). At the end of the 20s of the twentieth century, the most popular work– Andrei Platonov’s story “The Pit”. Unfortunately, this work, like the novel “Chevengur”, was not published during the writer’s lifetime.

In the early thirties of the last century, Platonov faced depression. This condition pushes him to write a story called “For Future Use.” Andrei Platonov’s work, although it had an interesting and original plot, received disapproving reviews from critics and Stalin. As a result of this, Platonov does not publish a single work for several years until the charges against him for betraying the Motherland are completely cleared. In 1934, he went to Turkmenistan, where he wrote several stories and even managed to publish them. However, the works are again subject to severe criticism, which is why for two years not a single periodical has agreed to publish the work of Andrei Platonov.

In 1938, Andrei Platonov’s biography takes an unexpected turn. His fifteen-year-old son is arrested for two years. A young man returns home with a serious and incurable disease - tuberculosis. Andrei does his best to care for his son, as a result of which he becomes infected with his own illness, which will torment him for the rest of his life. Having lived a few more years at the age of twenty, Plato dies from an exacerbation of tuberculosis.

During World War II, Andrei Platonov served as a war correspondent for one of the periodicals. The writer’s stories on military topics have also been published there for several months. For a long time he served on the front line and took part in several battles. Despite all the efforts made and the combat operations completed, the writer receives only one medal, unlike many other correspondents.

In the winter of 1946, the health of the writer Andrei Platonov deteriorated significantly, which is why he was urgently demobilized. In the same year, he published the story “Return”, which within a few months was seriously criticized and accused of libel. The writer realizes that he can no longer make a living by writing. For this reason, in the late 40s, Platonov decided to edit folk tales, which were published in children's periodicals. In January 1951, the writer suffered from a worsening attack of tuberculosis, as a result of which he died suddenly.

Books by Andrei Platonov on the Top books website

War story to read in elementary school. The story of the Great Patriotic War for younger schoolchildren.

Andrey Platonov. Little soldier

Not far from the front line, inside the surviving station, Red Army soldiers who had fallen asleep on the floor were snoring sweetly; the happiness of relaxation was etched on their tired faces.

On the second track, the boiler of the hot duty locomotive quietly hissed, as if a monotonous, soothing voice was singing from a long-abandoned house. But in one corner of the station room, where a kerosene lamp was burning, people occasionally whispered soothing words to each other, and then they too fell into silence.

There stood two majors, similar to each other not in external features, but in the general kindness of their wrinkled, tanned faces; each of them held the boy's hand in his own, and the child looked pleadingly at the commanders. The child did not let go of the hand of one major, then pressed his face to it, and carefully tried to free himself from the hand of the other. The child looked about ten years old, and he was dressed like a seasoned fighter - in a gray overcoat, worn and pressed against his body, in a cap and boots, apparently sewn to fit a child’s foot. His small face, thin, weather-beaten, but not emaciated, adapted and already accustomed to life, was now turned to one major; the child's bright eyes clearly revealed his sadness, as if they were the living surface of his heart; he was sad that he was being separated from his father or an older friend, who must have been a major to him.

The second major drew the child by the hand and caressed him, comforting him, but the boy, without removing his hand, remained indifferent to him. The first major was also saddened, and he whispered to the child that he would soon take him to him and they would meet again for an inseparable life, but now they were parting for a short time. The boy believed him, but the truth itself could not console his heart, which was attached to only one person and wanted to be with him constantly and close, and not far away. The child already knew what great distances and times of war were - it was difficult for people from there to return to each other, so he did not want separation, and his heart could not be alone, it was afraid that, left alone, it would die. And in his last request and hope, the boy looked at the major, who must leave him with a stranger.

“Well, Seryozha, goodbye for now,” said the major whom the child loved. “Don’t really try to fight, when you grow up, you will.” Don’t interfere with the German and take care of yourself so that I can find you alive and intact. Well, what are you doing, what are you doing - hold on, soldier!

Seryozha began to cry. The major picked him up in his arms and kissed his face several times. Then the major went with the child to the exit, and the second major also followed them, instructing me to guard the things left behind.

The child returned in the arms of another major; he looked aloofly and timidly at the commander, although this major persuaded him with gentle words and attracted him to himself as best he could.

The major, who replaced the one who had left, admonished the silent child for a long time, but he, faithful to one feeling and one person, remained alienated.

Anti-aircraft guns began firing not far from the station. The boy listened to their booming, dead sounds, and excited interest appeared in his gaze.

- Their scout is coming! - he said quietly, as if to himself. - It goes high, and anti-aircraft guns won’t take it, we need to send a fighter there.

“They’ll send it,” said the major. - They're watching us there.

The train we needed was expected only the next day, and all three of us went to the hostel for the night. There the major fed the child from his heavily loaded sack. “How tired I am of this bag during the war,” said the major, “and how grateful I am to it!” The boy fell asleep after eating, and Major Bakhichev told me about his fate.

Sergei Labkov was the son of a colonel and a military doctor. His father and mother served in the same regiment, so they took their only son to live with them and grow up in the army. Seryozha was now in his tenth year; he took the war and his father’s cause to heart and had already begun to understand for real, why war is needed. And then one day he heard his father talking in the dugout with one officer and caring that the Germans would definitely blow up his regiment’s ammunition when retreating. The regiment had previously left German envelopment, well, with haste, of course, and left its warehouse with ammunition with the Germans, and now the regiment had to go forward and return the lost land and its goods on it, and the ammunition, too, which was needed. “They probably already laid the wire to our warehouse - they know that we will have to retreat,” the colonel, Seryozha’s father, said then. Sergei listened and realized what his father was worried about. The boy knew the location of the regiment before the retreat, and so he, small, thin, cunning, crawled at night to our warehouse, cut the explosive closing wire and remained there for another whole day, guarding so that the Germans did not repair the damage, and if they did, then again cut the wire. Then the colonel drove the Germans out of there, and the entire warehouse came into his possession.

Soon this little boy made his way further behind enemy lines; there he found out by the signs where the command post of a regiment or battalion was, walked around three batteries at a distance, remembered everything exactly - his memory was not spoiled by anything - and when he returned home, he showed his father on the map how it was and where everything was. The father thought, gave his son to an orderly for constant observation of him and opened fire on these points. Everything turned out correctly, the son gave him the correct serifs. He is small, this Seryozhka, the enemy took him for a gopher in the grass: let him move, they say. And Seryozhka probably didn’t move the grass, he walked without a sigh.

The boy also deceived the orderly, or, so to speak, seduced him: once he took him somewhere, and together they killed a German - it is not known which of them - and Sergei found the position.

So he lived in the regiment with his father and mother and with the soldiers. The mother, seeing such a son, could no longer tolerate his uncomfortable position and decided to send him to the rear. But Sergei could no longer leave the army; his character was drawn into the war. And he told that major, his father’s deputy, Savelyev, who had just left, that he would not go to the rear, but would rather hide in captivity to the Germans, learn from them everything he needed, and again return to his father’s unit when his mother left him. miss you. And he would probably do so, because he has a military character.

And then grief happened, and there was no time to send the boy to the rear. His father, a colonel, was seriously wounded, although the battle, they say, was weak, and he died two days later in a field hospital. The mother also fell ill, became exhausted - she had previously been maimed by two shrapnel wounds, one in the cavity - and a month after her husband she also died; maybe she still missed her husband... Sergei remained an orphan.

Major Savelyev took command of the regiment, he took the boy to him and became his father and mother instead of his relatives - the whole person. The boy also answered him with all his heart.

- But I’m not from their unit, I’m from another. But I know Volodya Savelyev from a long time ago. And so we met here at the front headquarters. Volodya was sent to advanced training courses, but I was there on another matter, and now I’m going back to my unit. Volodya Savelyev told me to take care of the boy until he arrives back... And when will Volodya return and where will he be sent! Well, it will be visible there...

Major Bakhichev dozed off and fell asleep. Seryozha Labkov snored in his sleep, like an adult, an elderly man, and his face, having now moved away from sorrow and memories, became calm and innocently happy, revealing the image of the saint of childhood, from where the war took him. I also fell asleep, taking advantage of the unnecessary time so that it would not be wasted.

We woke up at dusk, at the very end of a long June day. Now there were two of us in three beds - Major Bakhichev and I, but Seryozha Labkov was not there. The major was worried, but then decided that the boy had gone somewhere for a short time. Later, we went with him to the station and visited the military commandant, but no one noticed the little soldier in the rear crowd of the war.

The next morning, Seryozha Labkov also did not return to us, and God knows where he went, tormented by the feeling of his childish heart for the man who left him - perhaps after him, perhaps back to his father’s regiment, where the graves of his father and mother were.