Writer, publicist, TV presenter Tatyana Nikitichna Tolstaya was born on May 3, 1951 in Leningrad (now St. Petersburg) into a literary family. She is a granddaughter on one side - the writer Alexei Tolstoy and the poetess Natalia Krandievskaya, on the other - the famous literary translator Mikhail Lozinsky.
After leaving school, Tatyana Tolstaya entered the Leningrad University in the department of classical philology (Latin and Greek), from which she graduated in 1974.
She got married and, following her husband, a Muscovite, moved to Moscow, where she got a job as a proofreader in the "Main Edition of Eastern Literature" at the publishing house "Nauka".
Tatyana Nikitichna lived for a long time in the USA, where she taught Russian literature and artistic writing at Skidmore College (Saratoga Springs) and Princeton, collaborated with the New York review of books, The New-Yorker, TLS and other magazines, lectured at other universities. Returned in the late 1990s. to her homeland, she took up literary, journalistic and teaching activities.
In 2002, Tolstaya took part in the TV show "Basic Instinct". From the same year, she became the permanent host (together with Dunya Smirnova) of the television talk show "School of Scandal" on the NTV channel. In co-authorship with Smirnova, she wrote the book "Kitchen" School of slander ".
Tatyana Nikitichna was a permanent member of the jury of the show "Minute of Glory" (seasons 1-3) on Channel One.
Tatyana Tolstaya -
Tatyana Tolstaya was born on May 3, 1951 in Leningrad, in the family of physics professor Nikita Alekseevich Tolstoy with rich literary traditions. Tatyana grew up in a large family, where she had seven brothers and sisters. The maternal grandfather of the future writer is Lozinsky Mikhail Leonidovich, literary translator, poet. On the paternal side, she is the granddaughter of the writer Alexei Tolstoy and the poetess Natalia Krandievskaya.
After leaving school, Tolstaya entered the Leningrad University, the department of classical philology (with the study of Latin and Greek), which she graduated in 1974. In the same year, she marries and, following her husband, moves to Moscow, where she gets a job as a proofreader in the Main Editorial Office of Eastern Literature at the Nauka publishing house. Having worked at the publishing house until 1983, Tatyana Tolstaya published her first literary works in the same year and made her debut as a literary critic with the article “Glue and scissors…” (“Questions of Literature”, 1983, No. 9). According to her own confessions, she was forced to start writing by the fact that she underwent eye surgery. “Now, after laser correction, the bandage is removed after a couple of days, and then I had to lie with the bandage for a whole month. And since it was impossible to read, the plots of the first stories began to be born in my head, ”said Tolstaya.
In 1983, she wrote her first story entitled "They sat on the golden porch ...", published in the Aurora magazine in the same year. The story was acclaimed by both the public and critics, and was recognized as one of the best literary debuts of the 1980s. The artistic work was "a kaleidoscope of childhood impressions from simple events and ordinary people, who appear to children as various mysterious and fairy-tale characters." Subsequently, Tolstaya published about twenty more stories in the periodical press. Her works are published in Novy Mir and other major magazines. “Date with a Bird” (1983), “Sonya” (1984), “Clean Sheet” (1984), “Love - Don’t Love” (1984), “Okkervil River” (1985), “Mammoth Hunting” ( 1985), "Peters" (1986), "Sleep well, son" (1986), "Fire and dust" (1986), "The most beloved" (1986), "Poet and muse" (1986), "Seraphim" ( 1986), “The Moon Came Out of the Fog” (1987), “Night” (1987), “Heavenly Flame” (1987), “Sleepwalker in the Fog” (1988). In 1987, the first collection of short stories of the writer was published, entitled similarly to her first story - “They were sitting on the golden porch ...”. The collection includes both previously known and unpublished works: “Darling Shura” (1985), “Fakir” (1986), “Circle” (1987). After the publication of the collection, Tatyana Tolstaya was accepted as a member of the Writers' Union of the USSR.
Soviet criticism took Tolstoy's literary works with caution. She was reproached for the "density" of the letter, for the fact that "you can't read a lot in one sitting." Other critics took the writer's prose with enthusiasm, but noted that all her works were written according to one, built-up template. In intellectual circles, Tolstaya gains a reputation as an original, independent author. At that time, the main characters of the writer's works were "urban madmen" (old-fashioned old women, "brilliant" poets, demented childhood invalids ...), "living and dying in a cruel and stupid bourgeois environment." Since 1989 he has been a permanent member of the Russian PEN Center.
In 1990, the writer leaves for the United States, where she teaches. Tolstaya taught Russian literature and fine arts at Skidmore College in Saratoga Springs and Princeton, collaborated with the New York review of books, The New Yorker, TLS and other magazines, and lectured at other universities. Subsequently, throughout the 1990s, the writer spent several months a year in America. According to her, living abroad initially had a strong influence on her in terms of language. She complained about how the emigrant Russian language is changing under the influence of the environment. In her short essay of the time, “Hope and Support,” Tolstaya cited examples of typical conversation in a Russian shop on Brighton Beach: “Where words such as ‘Swiss-loufet cottage cheese’, ‘Slice’, ‘half a pound of cheese’ and ‘ salted salmon "". After four months in America, Tatyana Nikitichna noted that "her brain turns into minced meat or salad, where languages are mixed and some kind of omissions appear that are absent both in English and in Russian."
In 1991 he began his journalistic activity. He maintains his own column "Own Bell Tower" in the weekly newspaper "Moscow News", collaborates with the magazine "Capital", where he is a member of the editorial board. Essays, essays and articles by Tolstoy also appear in the Russian Telegraph magazine. In parallel with her journalistic activities, she continues to publish books. In the 1990s, such works were published as “Love - do not love” (1997), “Sisters” (co-authored with sister Natalia Tolstaya) (1998), “Okkervil River” (1999). There are translations of her stories into English, German, French, Swedish and other languages of the world. In 1998, she became a member of the editorial board of the American magazine Counterpoint. In 1999, Tatyana Tolstaya returned to Russia, where she continued to engage in literary, journalistic and teaching activities.
In 2000, the writer publishes her first novel, Kitty. The book caused a lot of responses and became very popular. Based on the novel, performances were staged by many theaters, and in 2001, a literary series project was carried out on the air of the state radio station Radio Russia, under the direction of Olga Khmeleva. In the same year, three more books were published: "Day", "Night" and "Two". Noting the commercial success of the writer, Andrey Ashkerov wrote in the Russian Life magazine that the total circulation of books was about 200 thousand copies and the works of Tatyana Nikitichna became available to the general public. Tolstaya receives the prize of the XIV Moscow International Book Fair in the nomination "Prose". In 2002, Tatyana Tolstaya headed the editorial board of the Konservator newspaper.
In 2002, the writer also appeared on television for the first time, in the television program Basic Instinct. In the same year, she became the co-host (together with Avdotya Smirnova) of the TV show "School of Scandal", aired on the Kultura TV channel. The program receives recognition from television critics, and in 2003 Tatyana Tolstaya and Avdotya Smirnova received the TEFI award in the Best Talk Show category.
In 2010, in collaboration with her niece Olga Prokhorova, she published her first children's book. Titled as "The same ABC of Pinocchio", the book is interconnected with the work of the writer's grandfather - the book "The Golden Key, or the Adventures of Pinocchio". Tolstaya said: “The idea for the book was born 30 years ago. Not without the help of my older sister... She was always sorry that Pinocchio sold his ABC so quickly, and that nothing was known about its contents. What bright pictures were there? What is she all about? Years passed, I switched to stories, during this time my niece grew up, gave birth to two children. And finally, there was time for a book. The half-forgotten project was picked up by my niece, Olga Prokhorova.” In the ranking of the best books of the XXIII Moscow International Book Fair, the book took second place in the Children's Literature section.
In 2011, she was included in the "One Hundred Most Influential Women of Russia" rating, compiled by the Ekho Moskvy radio station, RIA Novosti, Interfax news agencies and Ogonyok magazine. Tolstaya is attributed to the "new wave" in literature, is called one of the brightest names of "artistic prose", rooted in the "play prose" of Bulgakov, Olesha, which brought with it parody, buffoonery, celebration, eccentricity of the author's "I".
He says about himself: “I am interested in people“ from the outskirts ”, that is, to whom we are usually deaf, whom we perceive as ridiculous, unable to hear their speeches, unable to discern their pain. They leave life, understanding little, often missing something important, and leaving, they are perplexed like children: the holiday is over, but where are the gifts? And life was a gift, and they themselves were a gift, but no one explained this to them.
Tatyana Tolstaya lived and worked in Princeton (USA), taught Russian literature at universities.
Now he lives in Moscow.
listen)) is a Russian writer, publicist and TV presenter.
The most famous novel of the writer is "Kys", which received the Triumph Prize. The works of Tatyana Tolstaya, including the collections of short stories "Love - do not love", "Okkervil River", "Day", "Night", "Raisins", "Circle", "White Walls", have been translated into many languages of the world.
Widespread popularity came to the writer in 2002, when she became the co-host of the television program School of Scandal. In 2011, she was included in the rating "One Hundred Most Influential Women in Russia", compiled by the Ekho Moskvy radio station, RIA Novosti, Interfax news agencies and Ogonyok magazine.
Biography
1951-1983: Childhood, adolescence and proofreading
Tatyana Tolstaya was born on May 3, 1951 in Leningrad, in the family of physics professor Nikita Alekseevich Tolstoy. Tatyana grew up in a large family, where she had seven brothers and sisters. The maternal grandfather of the future writer is Lozinsky Mikhail Leonidovich, literary translator, poet. Paternally, she is the granddaughter of the writer Alexei Tolstoy and the poetess Natalia Krandievskaya.
After leaving school, Tolstaya entered the Leningrad University, the department of classical philology (with the study of Latin and Greek), which she graduated in 1974. In the same year, she gets married and, following her husband, moves to Moscow, where she gets a job as a proofreader in the "Main Edition of Eastern Literature" at the publishing house "Nauka". Having worked at the publishing house until 1983, Tatyana Tolstaya published her first literary works in the same year and made her debut as a literary critic with the article "Glue and scissors ..." ("Questions of Literature", 1983, No. 9). By her own admission, she was forced to start writing by the fact that she underwent eye surgery. “Now, after laser correction, the bandage is removed after a couple of days, and then I had to lie with the bandage for a whole month. And since it was impossible to read, the plots of the first stories began to be born in my head, ”said Tolstaya.
1983-1989: Literary success
In 1983, she wrote the first story entitled "They sat on the golden porch ...", published in the Aurora magazine in the same year. The story was acclaimed by both the public and critics, and was recognized as one of the best literary debuts of the 1980s. The artistic work was "a kaleidoscope of children's impressions from simple events and ordinary people, who appear to children as various mysterious and fairy-tale characters" . Subsequently, Tolstaya published about twenty more stories in the periodical press. Her works are published in Novy Mir and other major magazines. “Date with a Bird” (1983), “Sonya” (1984), “Clean Sheet” (1984), “Love - Don’t Love” (1984), “Okkervil River” (1985), “Mammoth Hunting” ( 1985), "Peters" (1986), "Sleep well, son" (1986), "Fire and dust" (1986), "The most beloved" (1986), "Poet and muse" (1986), "Seraphim" ( 1986), "The month came out of the fog" (1987), "Night" (1987), "Flame of heaven" (1987), "Sleepwalker in the fog" (1988) . In 1987, the first collection of short stories of the writer was published, entitled similarly to her first story - “They were sitting on the golden porch ...”. The collection includes both previously known and unpublished works: “Darling Shura” (1985), “Fakir” (1986), “Circle” (1987). After the publication of the collection, Tatyana Tolstaya was accepted as a member of the Writers' Union of the USSR.
Soviet criticism took Tolstoy's literary works with caution. She was reproached for the "density" of the letter, for the fact that "you can't read a lot in one sitting." Other critics took the writer's prose with enthusiasm, but noted that all her works were written according to one, built, template. In intellectual circles, Tolstaya gains a reputation as an original, independent author. At that time, the main characters of the writer's works were "urban madmen" (old-fashioned old women, "brilliant" poets, weak-minded disabled children of childhood ...), "living and dying in a cruel and stupid bourgeois environment" . Since 1989 he has been a permanent member of the Russian PEN Center.
1990-1999: Moving to the USA and journalism
In 1990, the writer leaves for the USA, where she teaches. Tolstaya taught Russian literature and artistic writing at Skidmore College, located in Saratoga Springs and Princeton, collaborated with. Subsequently, throughout the 1990s, the writer spent several months of the year in America. According to her, living abroad initially had a strong influence on her in terms of language. She complained about how the emigrant Russian language is changing under the influence of the environment. In her short essay of the time, “Hope and Support,” Tolstaya gave examples of a typical conversation in a Russian store on Brighton Beach: “Where such words as ‘Swiss-loaf curd’, ‘Slice’, ‘half a pound of cheese’ and ‘ salted salmon "". After four months in America, Tatyana Nikitichna noted that "her brain turns into minced meat or salad, where languages \u200b\u200bare mixed and some kind of omissions appear that are absent in both English and Russian languages" .
In 1991 he began his journalistic activity. He maintains his own column "Own Bell Tower" in the weekly newspaper "Moscow News", collaborates with the magazine "Capital", where he is a member of the editorial board. Essays, essays and articles by Tolstoy also appear in the Russian Telegraph magazine. In parallel with her journalistic activities, she continues to publish books. In the 1990s, such works were published as “Love - do not love” (1997), “Sisters” (co-authored with sister Natalia Tolstaya) (1998), “Okkervil River” (1999). There are translations of her stories into English, German, French, Swedish and other languages of the world. In 1998, she became a member of the editorial board of the American magazine Counterpoint. In 1999, Tatyana Tolstaya returned to Russia, where she continued to engage in literary, journalistic and teaching activities.
2000-2012: The novel "Kys" and the TV show "School of Scandal"
In 2000, the writer publishes her first novel, Kitty. The book caused a lot of responses and became very popular. Based on the novel, performances were staged by many theaters, and in 2001, a literary series project was carried out on the air of the state radio station "Radio Russia", under the direction of Olga Khmeleva. In the same year, three more books were published: "Day", "Night" and "Two". Noting the commercial success of the writer, Andrei Ashkerov wrote in the Russian Life magazine that the total circulation of books was about 200 thousand copies and the works of Tatyana Nikitichna became available to the general public. Tolstaya receives the prize of the XIV Moscow International Book Fair in the nomination "Prose". In 2002, Tatyana Tolstaya headed the editorial board of the Konservator newspaper.
In 2002, the writer also appears on television for the first time, in the television program Basic Instinct. In the same year, she became co-host (together with Avdotya Smirnova) of the TV show "School of Scandal", aired on the Kultura TV channel. The program receives recognition from television critics, and in 2003 Tatyana Tolstaya and Avdotya Smirnova received the TEFI award in the Best Talk Show category.
In 2010, in collaboration with her niece Olga Prokhorova, she published her first children's book. Titled as "The same ABC of Pinocchio", the book is interconnected with the work of the writer's grandfather - the book "The Golden Key, or the Adventures of Pinocchio". Tolstaya said: “The idea for the book was born 30 years ago. Not without the help of my older sister... She was always sorry that Pinocchio sold his ABC so quickly, and that nothing was known about its contents. What bright pictures were there? What is she all about? Years passed, I switched to stories, during this time my niece grew up, gave birth to two children. And finally, there was time for a book. The half-forgotten project was picked up by my niece, Olga Prokhorova. In the ranking of the best books of the XXIII Moscow International Book Fair, the book took second place in the section "Children's Literature".
Creativity Tatyana Tolstaya
In an interview with Ukrayinska Pravda, Tatyana Tolstaya told in detail why she started writing stories. According to her confessions, in 1982 she had problems with her eyesight and she decided to have an operation on her eyes, which at that time were performed using incisions with a razor. After surgery on her second eye, she could not be in daylight for a long time.
This went on for a long time. I hung double curtains, went outside only after dark. She could not do anything around the house, she could not take care of the children. I couldn't read either. Three months later, it all goes away and you begin to see so unexpectedly clearly ... That is, all impressionism leaves, and complete realism begins. And on the eve of this, I felt that I could sit down and write a good story - from beginning to end. That's how I started writing.
Tatiana Tolstaya
The writer said that Russian classics are among her favorite literature. In 2008, her personal reader rating was Lev Nikolaevich Tolstoy, Anton Pavlovich Chekhov and Nikolai Vasilyevich Gogol. The formation of Tolstoy as a writer and person was strongly influenced by Korney Ivanovich Chukovsky, his articles, memoirs, memoirs, books about language and translations. The writer especially singled out such works by Chukovsky as “High Art” and “Alive as Life”, and said: “Whoever has not read it, I highly recommend it, because it is more interesting than detective stories, and it is written amazingly. In general, he was one of the most brilliant Russian critics.
Tolstoy is referred to the "new wave" in literature. In particular, Vitaly Vulff wrote in his book Silver Ball (2003): “New wave writers are in vogue: B. Akunin, Tatyana Tolstaya, Viktor Pelevin. Talented people who write without condescension, without pity ... ". She is called [ Who?] one of the brightest names of "artistic prose", rooted in the "play prose" of Bulgakov, Olesha, which brought with it parody, buffoonery, celebration, eccentricity of the author's "I". Anna Brazhkina on the site of the online encyclopedia " Around the World" noted that in the early prose of the writer, critics noted, on the one hand, the influence of Shklovsky and Tynyanov, and on the other, Remizov. Andrei Nemzer commented on her early stories: "Tolstoy's 'aestheticism' was more important than her 'moralism'".
Tatyana Tolstaya is also often categorized as a "women's" prose genre, along with female writers such as Victoria Tokareva, Lyudmila Petrushevskaya, and Valeria Narbikova. Iya Guramovna Zumbulidze in her study “Women's Prose in the Context of Modern Literature” wrote that “Tatiana Tolstoy's work is on a par with the exponents of the trend in modern Russian literature, which consists in the synthesis of certain features of realism, modernism and postmodernism ".
The writer's work is the object of a large number of scientific studies. In different years, the works of Elena Nevzglyadova (1986), Pyotr Weil and Alexander Genis (1990), Prokhorova T.G. were devoted to her works. (1998), Belova E. (1999), Lipovetsky M. (2001), Pesotskaya S. (2001). In 2001, the monograph "The Explosive World of Tatyana Tolstaya" by E. Goshilo was published, in which a study was made of Tatyana Tolstaya's work in a cultural and historical context.
Story period
The early period of Tolstoy's work is characterized by the predominance of such topics as universal questions of being, "eternal" themes of good and evil, life and death, choosing a path, relationships with the outside world and one's destiny. Slavina V. A. noted that in the work of the writer there is a longing for the lost humanistic values in art. The researchers noted that almost all Tolstoy's characters are dreamers who are "stuck" between reality and their fictional world. The stories are dominated by a paradoxical point of view on the world, with the help of satire the absurdity of some phenomena of life is demonstrated. A. N. Neminushchiy in his work “The Motif of Death in the Artistic World of T. Tolstoy’s Stories” noted the artistic methods of embodying the idea of death in the stories of the writer, which are close to the aesthetics of modern and postmodern.
The textbook "Modern Russian Literature" noted Tolstoy's special authorial position, which is expressed in a special literary-fairy-tale metaphorical style, the poetics of neomythologism, and in the choice of storytelling characters. Neo-mythologism in her works was also manifested in the fact that Tolstaya used folklore images. In the story "A Date with a Bird" she used a well-known Russian folklore image - the Sirin bird. Alexander Genis in Novaya Gazeta noted that Tolstaya is the best in modern literature to cope with the use of metaphor. The author wrote that in her metaphors there is the influence of Olesha, but they are more organically built into the plot.
In some other stories, the technique of opposition, contrasts is used. The stories "Darling Shura" and "The Circle" are built on the opposition of light and darkness (like life and death), which is later reflected in the later story "Night". The meaning of the antinomy "light - darkness" in the stories of Tatyana Tolstaya occupies a central place and includes: evil, compassionate and indifferent."
Twenty-four stories of the writer were published: “They Sat on the Golden Porch” (1983), “Date with a Bird” (1983), “Sonya” (1984), “Clean Sheet” (1984), “Okkervil River” (1985), "Sweet Shura" (1985), "Hunting for a mammoth" (1985), "Peters" (1986), "Sleep well, son" (1986), "Fire and dust" (1986), "The most beloved" (1986) , "Poet and Muse" (1986), "Fakir" (1986), "Seraphim" (1986), "The moon came out of the fog" (1987), "Love - do not love" (1984), "Night" (1987) , "Circle" (1987), "Heavenly Flame" (1987), "Sleepwalker in the Fog" (1988), "Limpopo" (1990), "Story" (1991), "Yorik" (2000), "Window" ( 2007). Thirteen of them made up the collection of short stories “They sat on the golden porch ...” (“Fakir”, “Circle”, “Peters”, “Darling Shura”, “Okkervil River”, etc.), published in 1987. In 1988 - "Sleepwalker in the Fog".
Family
A television
- On August 12, 1999, she participated in the TV show Basic Instinct.
- Since October 2002, together with Avdotya Smirnova, he has been hosting the TV show School of Scandal.
- Together with Alexander Maslyakov, she has been a permanent jury member of the Minute of Glory TV project on Channel One since 2007 (seasons 1-3).
- Tatyana Tolstaya was parodied twice in the Big Difference TV show by the troupe artist Galina Konshina as a jury member in the Minute of Glory show on Channel One and once as a co-host of the School of Scandal program
Bibliography
The bibliography of Tatyana Tolstaya is represented by the following collections and novels:
- They sat on the golden porch / Stories. - M .: Young guard, 1987. - 198 p.
- Do you love - do not love / Stories. – M.: Onyx; OLMA-press, 1997. - 381 p.
- Sisters / S. N. Tolstoy. – Essays, essays, articles, stories. – M.: Ed. house "Horseshoe", 1998. - 392 p.
- River Okkervil / Stories. - M .: Horseshoe; Eksmo, 2005. - 462 p.
- Two / With N. Tolstoy. – M.: Podkova, 2001. – 476 p.
- Kys / Roman. – M.: Podkova, 2001. – 318 p.
- Izyum / M.: Horseshoe; Eksmo, 2002. - 381 p.
- Circle / Stories. - M .: Horseshoe; Eksmo, 2003. - 345 p.
- White walls / Stories. – M.: Eksmo, 2004. – 586 p.
- Women's Day / M.: Eksmo; Olimp, 2006. - 380 p.
- Day. Personal / M .: Eksmo, 2007. - 461 p.
- Night / Stories. – M.: Eksmo, 2007. – 413 p.
- Don't kitty (2007)
- River (2007)
- Kitty. Zverotour. Stories (2009)
In translation
- On the Golden Porch, and other stories Alfred A. Knopf, New York, 1989, then Penguin, 1990, ISBN 0-14-012275-3.
- The Slynx ISBN 1-59017-196-9
- White Walls New York Review of Books Classics, 2007, ISBN 1-59017-197-7
Awards
Notes
- 100 influential Russian women // spark. - 2012. - № 3 (5212).
- Rastorgueva T.M.. Tatyana Tolstaya told the librarians of Kungur about her work and about herself. iskra-kungur.ru (March 10, 2011). Archived
- One hundred most influential women in Russia. RIA News . Archived from the original on February 1, 2012. Retrieved January 26, 2012.
- Tatyana Tolstaya. vashdosug.ru. archived
- Tatyana Nikitichna Tolstaya. Biographical note. RIA Novosti (May 3, 2011). Archived from the original on May 31, 2012. Retrieved February 10, 2012.
- Anna Brazhkina. Tolstaya, Tatyana Nikitichna. Around the World. Archived from the original on May 31, 2012. Retrieved February 10, 2012.
- Tatyana Nikitichna Tolstaya. Magazine room. archived
- Tolstaya T. (biography 2). litra.ru Archived from the original on June 24, 2012. Retrieved February 10, 2012.
- Julia Yuzefovich. British language vinaigrette ("England", UK). rus.ruvr.ru (December 13, 2011). Archived from the original on May 31, 2012. Retrieved February 10, 2012.
- Svetlana Sadkova."Kys" on the air // Work. - 2001. - № 10.
- Andrey Ashkerov. Tatyana Tolstaya as a mirror of the Russian intelligentsia. Chronos (January 15, 2002). archived
- Output of the first issue of the newspaper Conservator. Echo of Moscow (August 29, 2002). Archived from the original on May 31, 2012. Retrieved February 11, 2012.
- "School of Scandal" is recognized as the best talk show. RIA Novosti (August 26, 2003). Archived from the original on May 31, 2012. Retrieved February 11, 2012.
- Natalia Vertlib. Tatyana Tolstaya wrote "ABC for Pinocchio". nnmama.ru (October 25, 2010). archived
- Natalya Kirillova. Consumers of Letters. Profile (September 6, 2010). Archived from the original on 31 May 2012. Retrieved 13 February 2012.
- Lisa Khworth. Tatyana Tolstaya: "I wanted to feel like a complete idiot." Ukrainian Pravda (September 18, 2008). Archived from the original on 31 May 2012. Retrieved 12 February 2012.
- Elena Gladskikh. An excellent student at the "School of Scandal". telekritika.ua (October 17, 2008). Archived from the original on 31 May 2012. Retrieved 12 February 2012.
- Ludmila Zueva. Tatyana TOLSTAYA: I am not a media character! // Exchange Plus. - 2010. - № 38.
- Lev Sirin. Vitaly Wolf's last interview. online812.ru (March 14, 2011). Archived from the original on 31 May 2012. Retrieved 13 February 2012.
- Vastevsky A. The nights are cold // Friendship of peoples. - 1988. - No. 7. - S. 256-258.
- Zumbulidze I. G."Women's prose" in the context of modern literature [Text] / I. G. Zumbulidze // Modern Philology: Materials of the Intern. in absentia scientific conf. (Ufa, April 2011). / Under the total. ed. G. D. Akhmetova. - Ufa: Summer, 2011. - S. 21-23.
- Slavina V. A. Modern literature in search of an ideal // Lecturer. - 2005. - No. 2. - p.38-41.
- Neminshchiy A.N. The motive of death in the artistic world of Tatyana Tolstaya's stories // Actual problems of literature. Commentary on the 20th century: Proceedings of the international conference. - (Svetlogorsk, September 25-28, 2000). - Kaliningrad, - 2001. - S. 120-125.
- Popova I.M., Gubanova T.V., Lyubeznaya E.V.
1951-1983: Childhood, adolescence and proofreading
Tatyana Tolstaya was born on May 3, 1951 in Leningrad, in the family of physics professor Nikita Alekseevich Tolstoy. She grew up in the house of the Leningrad City Council on the Karpovka River Embankment in a large family, where she had six brothers and sisters. The maternal grandfather of the future writer is Lozinsky Mikhail Leonidovich, literary translator, poet. On the paternal side, she is the granddaughter of the writer Alexei Nikolaevich Tolstoy and the poetess Natalia Krandievskaya.
After leaving school, Tolstaya entered the Leningrad University, the department of classical philology (with the study of Latin and Greek), which she graduated in 1974.
In the same year, she marries the classical philologist A. V. Lebedev and, following her husband, moves to Moscow, where he gets a job as a proofreader for the Main Edition of Oriental Literature of the Nauka publishing house. Having worked at the publishing house until 1983, Tatyana Tolstaya published her first literary works in the same year and made her debut as a literary critic with the article "Glue and scissors ..." ("Questions of Literature", 1983, No. 9). By her own admission, she was forced to start writing by the fact that she underwent eye surgery. “Now, after laser correction, the bandage is removed after a couple of days, and then I had to lie with the bandage for a whole month. And since it was impossible to read, the plots of the first stories began to be born in my head, ”said Tolstaya.
1983-1989: Literary success
In 1983, she wrote the first story entitled "They sat on the golden porch ...", published in the Aurora magazine in the same year. The story was acclaimed by both the public and critics, and was recognized as one of the best literary debuts of the 1980s. The artistic work was "a kaleidoscope of children's impressions from simple events and ordinary people, who appear to children as various mysterious and fairy-tale characters" . Subsequently, Tolstaya published about twenty more stories in the periodical press. Her works are published in Novy Mir and other major magazines. “Date with a Bird” (1983), “Sonya” (1984), “Clean Sheet” (1984), “Love - Don’t Love” (1984), “Okkervil River” (1985), “Mammoth Hunting” ( 1985), "Peters" (1986), "Sleep well, son" (1986), "Fire and dust" (1986), "The most beloved" (1986), "Poet and muse" (1986), "Seraphim" ( 1986), "The month came out of the fog" (1987), "Night" (1987), "Flame of heaven" (1987), "Sleepwalker in the fog" (1988) . In 1987, the first collection of short stories of the writer was published, entitled similarly to her first story - “They were sitting on the golden porch ...”. The collection includes both previously known and unpublished works: “Darling Shura” (1985), “Fakir” (1986), “Circle” (1987). After the publication of the collection, Tatyana Tolstaya was accepted as a member of the Writers' Union of the USSR.
Soviet criticism took the literary works of Tolstoy warily. She was reproached for the "density" of the letter, for the fact that "you can't read a lot in one sitting." Other critics took the writer's prose with enthusiasm, but noted that all her works were written according to one, built, template. In intellectual circles, Tolstaya gains a reputation as an original, independent author. At that time, the main characters of the writer's works were "urban madmen" (old-fashioned old women, "brilliant" poets, weak-minded disabled children of childhood ...), "living and dying in a cruel and stupid bourgeois environment" . Since 1989 he has been a permanent member of the Russian PEN Center.
1990-1999: Moving to the USA and journalism
In 1990, the writer leaves for the USA, where she teaches. Tolstaya taught Russian literature and fine arts at Skidmore College, located in Saratoga Springs and Princeton, collaborated with New York Review of Books (English)Russian , The New Yorker, TLS and other journals, lectured at other universities. Subsequently, throughout the 1990s, the writer spent several months of the year in America. According to her, living abroad initially had a strong influence on her in terms of language. She complained about how the emigrant Russian language is changing under the influence of the environment. In her short essay of that time, “Hope and Support,” Tolstaya gave examples of a typical conversation in a Russian store on Brighton Beach: “There, words such as “Swiss-loufet cottage cheese”, “Slice”, “half a pound of cheese” and “lightly salted” are constantly wedged into the conversation. salmon". After four months in America, Tatyana Nikitichna noted that "her brain turns into minced meat or salad, where languages \u200b\u200bare mixed and some kind of omissions appear that are absent in both English and Russian" .
In 1991 he began his journalistic activity. He maintains his own column "Own Bell Tower" in the weekly newspaper "Moscow News", collaborates with the magazine "Capital", where he is a member of the editorial board. Essays, essays and articles by Tolstoy also appear in the Russian Telegraph magazine. In parallel with her journalistic activities, she continues to publish books. In co-authorship with her sister Natalia, she published the book "Sisters" in 1998. There are translations of her stories into English, German, French, Swedish and other languages of the world. In 1998, she became a member of the editorial board of the American magazine Counterpoint. In 1999, Tatyana Tolstaya returned to Russia, where she continued to engage in literary, journalistic and teaching activities.
2000-2012: The novel "Kys" and the TV show "School of Scandal"
In 2000, the writer publishes her first novel, Kitty. The book caused a lot of responses and became very popular. Based on the novel, performances were staged by many theaters, and in 2001, a literary series project was carried out on the air of the state radio station Radio Russia, under the direction of Olga Khmeleva. In the same year, three more books were published: "Day", "Night" and "Two". Noting the commercial success of the writer, Andrei Ashkerov wrote in the Russian Life magazine that the total circulation of books was about 200 thousand copies and the works of Tatyana Nikitichna became available to the general public. Tolstaya receives the prize of the XIV Moscow International Book Fair in the nomination "Prose". In 2002, Tatyana Tolstaya headed the editorial board of the Konservator newspaper.
In 2002, the writer also appears on television for the first time, in the television program Basic Instinct. In the same year, she became co-host (together with Avdotya Smirnova) of the TV show "School of Scandal", aired on the Kultura TV channel. The program receives recognition from television critics and in 2003 Tatyana Tolstaya and Avdotya Smirnova received the TEFI award in the Best Talk Show category.
In 2010, in collaboration with her niece Olga Prokhorova, she published her first children's book. Titled as "The same ABC of Pinocchio", the book is interconnected with the work of the writer's grandfather - the book "The Golden Key, or the Adventures of Pinocchio". Tolstaya said: “The idea for the book was born 30 years ago. Not without the help of my older sister... She was always sorry that Pinocchio sold his ABC so quickly, and that nothing was known about its contents. What bright pictures were there? What is she all about? Years passed, I switched to stories, during this time my niece grew up, gave birth to two children. And finally, there was time for a book. The half-forgotten project was picked up by my niece, Olga Prokhorova. In the ranking of the best books of the XXIII Moscow International Book Fair, the book took second place in the section "Children's Literature".
Creativity Tatyana Tolstaya
Tatyana Tolstaya often talks about how she started writing stories. In 1982, she had problems with her eyesight and decided to undergo eye surgery, which at that time was performed using razor incisions. After surgery on her second eye, she could not be in daylight for a long time.
This went on for a long time. I hung double curtains, went outside only after dark. She could not do anything around the house, she could not take care of the children. I couldn't read either. After three months, it all goes away and you start to see so unexpectedly clearly ... That is, all impressionism leaves, and full realism begins. And on the eve of this, I felt that I could sit down and write a good story - from beginning to end. That's how I started writing.
Tatiana Tolstaya
The writer said that Russian classics are among her favorite literature. In 2008, her personal reader rating was Lev Nikolaevich Tolstoy, Anton Pavlovich Chekhov and Nikolai Vasilyevich Gogol. The formation of Tolstoy as a writer and a person was strongly influenced by Korney Ivanovich Chukovsky, his articles, memoirs, memoirs, books about language and translations. The writer especially singled out such works by Chukovsky as “High Art” and “Alive as Life”, and said: “Whoever has not read it, I highly recommend it, because it is more interesting than detective stories, and it is written amazingly. In general, he was one of the most brilliant Russian critics.
Tolstoy is referred to the "new wave" in literature. In particular, Vitaly Vulff wrote in his book Silver Ball (2003): “New wave writers are in vogue: B. Akunin, Tatyana Tolstaya, Viktor Pelevin. Talented people who write without condescension, without pity ... ". They call her [Who?] one of the brightest names of "artistic prose", rooted in the "game prose" of Bulgakov, Olesha, which brought with it parody, buffoonery, celebration, eccentricity of the author's "I". Andrey Nemzer said this about her early stories: "Tolstoy's 'aestheticism' was more important than her 'moralism'."
Tatyana Tolstaya is also often categorized as a "women's" prose genre, along with female writers such as Victoria Tokareva, Lyudmila Petrushevskaya, and Valeria Narbikova. Iya Guramovna Zumbulidze, in her study “Women's Prose in the Context of Modern Literature,” wrote that “Tatiana Tolstaya's work is on a par with the spokesmen for that trend in modern Russian literature, which consists in the synthesis of certain features of realism, modernism and postmodernism".
The writer's work is the object of a large number of scientific studies. Over the years, the works of Elena Nevzglyadova (1986), Peter Weil and Alexander Genis (1990), Prokhorova T. G. (1998), Belova E. (1999), Lipovetsky M. (2001), Pesotskaya S. ( 2001). In 2001, the monograph "The Explosive World of Tatyana Tolstaya" by E. Goshilo was published, in which a study was made of Tatyana Tolstaya's work in a cultural and historical context.
Tatyana Tolstaya actively maintains personal accounts on Facebook and LiveJournal, where she publishes texts in part or in full, which are later included in her books. With her blog on Facebook, there have repeatedly been scandals (Arkady Babchenko, Bozena Rynska) and emotional editorial of the Internet community about the possibility or impossibility of presenting invoices for previously provided assistance [specify ] .
Story period
The early period of Tolstoy's work is characterized by the predominance of such topics as universal questions of being, "eternal" themes of good and evil, life and death, choosing a path, relationships with the outside world and one's destiny. Slavina V. A. noted that in the work of the writer there is a longing for the lost humanistic values in art. The researchers noted that almost all Tolstoy's characters are dreamers who are "stuck" between reality and their fictional world. The stories are dominated by a paradoxical point of view on the world, with the help of satire the absurdity of some phenomena of life is demonstrated. A. N. Neminushchiy in his work “The Motif of Death in the Artistic World of T. Tolstoy’s Stories” noted the artistic methods of embodying the idea of death in the stories of the writer, which are close to the aesthetics of modern and postmodern.
The textbook "Modern Russian Literature" noted Tolstoy's special authorial position, which is expressed in a special literary-fairy-tale metaphorical style, the poetics of neomythologism, and in the choice of storytelling characters. Neo-mythologism in her works was also manifested in the fact that Tolstaya used folklore images. In the story "A Date with a Bird" she used a well-known Russian folklore image - the Sirin bird. Alexander Genis in Novaya Gazeta noted that Tolstaya is the best in modern literature to cope with the use of metaphor. The author wrote that in her metaphors there is the influence of Olesha, but they are more organically built into the plot.
In some other stories, the technique of opposition, contrasts is used. The stories "Darling Shura" and "The Circle" are built on the opposition of light and darkness (like life and death), which is later reflected in the later story "Night". The meaning of the antinomy "light - darkness" in the stories of Tatiana Tolstaya occupies a central place and includes: evil, compassionate and indifferent."
Twenty-four stories of the writer were published: “They Sat on the Golden Porch” (1983), “Date with a Bird” (1983), “Sonya” (1984), “Clean Sheet” (1984), “Okkervil River” (1985), "Sweet Shura" (1985), "Hunting for a mammoth" (1985), "Peters" (1986), "Sleep well, son" (1986), "Fire and dust" (1986), "The most beloved" (1986) , "Poet and Muse" (1986), "Fakir" (1986), "Seraphim" (1986), "The moon came out of the fog" (1987), "Love - do not love" (1984), "Night" (1987) , "Circle" (1987), "Heavenly Flame" (1987), "Sleepwalker in the Fog" (1988), "Limpopo" (1990), "Story" (1991), "Yorik" (2000), "Window" ( 2007). Thirteen of them made up the collection of short stories “They sat on the golden porch ...” (“Fakir”, “Circle”, “Peters”, “Darling Shura”, “Okkervil River”, etc.), published in 1987. In 1988 - "Sleepwalker in the Fog".
Family
- Maternal great-grandfather - Boris Mikhailovich Shapirov, military doctor, Red Cross activist, personal physician of Nicholas II, active Privy Councilor.
- Maternal grandfather - Mikhail Leonidovich Lozinsky, literary translator, poet.
- Paternal grandfather - Alexei Nikolaevich Tolstoy, writer.
- Paternal grandmother - Natalya Vasilyevna Krandievskaya-Tolstaya, poetess.
- Father - Nikita Alekseevich Tolstoy, physicist, public and political figure.
- Mother - Natalya Mikhailovna Lozinskaya (Tolstaya).
- Sister - Natalia Nikitichna Tolstaya, writer, teacher of the Swedish language at the Department of Scandinavian Philology, Faculty of Philology and Arts, St. Petersburg State University.
- Brother - Ivan Nikitich Tolstoy, philologist, historian of emigration, specializes in the Cold War period. Columnist for Radio Liberty.
- Brother - Mikhail Nikitich Tolstoy, physicist, political and public figure.
- The eldest son is Artemy Lebedev, designer, artistic director of Artemy Lebedev's studio, blogging on LiveJournal.
- The youngest son, Alexey Andreevich Lebedev, is a photographer, computer software architect, lives in the USA. Married.
A television
- On August 12, 1999, she participated in the TV show Basic Instinct.
- From October 2002 to 2014, together with Avdotya Smirnova, she hosted the TV show School of Scandal.
- Together with Alexander Maslyakov, she has been a permanent jury member of the Minute of Glory TV project on Channel One since 2007 (seasons 1-3).
Bibliography
The bibliography of Tatyana Tolstaya is represented by the following collections and novels:
- “They sat on the golden porch ...”: Stories. - M.: Young Guard, 1987. - 198 p.
- Love - do not love: Stories. - M.: Onyx; OLMA-press, 1997. - 381 p.
- Sisters: Essays, essays, articles, stories. - M.: Ed. house "Horseshoe", 1998. - 392 p. (Co-authored with N. Tolstaya)
- River Okkervil: Stories. - M.: Horseshoe; Eksmo, 2005. - 462 p.
- Two. - M.: Podkova, 2001. - 476 p. (Co-authored with N. Tolstaya)
- Kiss: A novel. - M.: Podkova, 2001. - 318 p.
- Raisin. - M.: Horseshoe; Eksmo, 2002. - 381 p.
- Circle: Stories. - M.: Horseshoe; Eksmo, 2003. - 345 p.
- Don't Kiss: Stories, Articles, Essays and Interviews by Tatyana Tolstaya. - M.: Eksmo, 2004. - 608 p.
- White Walls: Stories. - M.: Eksmo, 2004. - 586 p.
- Kitchen "School of slander". - M.: Kitchen, 2004. - 360 p. (Co-authored with A. Smirnova)
- Women's Day. - M.: Eksmo; Olimp, 2006. - 380 p.
- Day. Personal. - M.: Eksmo, 2007. - 461 p.
- Night: Stories. - M.: Eksmo, 2007. - 413 p.
- River: Stories and short stories. - M.: Eksmo, 2007. - 384 p.
- Kitty. Zverotour. Stories. - M.: Eksmo, 2009. - 640 p.
- The same ABC Pinocchio. - M.: Pink Giraffe, 2011. - 72 p. (Co-authored with O. Prokhorova)
- Light worlds: Novels, short stories, essays. - M.: Edited by Elena Shubina, 2014. - 480 p.
- Girl in bloom. - M .: AST; Edited by Elena Shubina, 2015. - 352 p. - 12,000 copies. - ISBN 978-5-17-086711-0.
- Felt Age. - M.: AST; Edited by Elena Shubina, 2015. - 352 p. - 14,000 copies.
In translation
- On the Golden Porch, and other stories Alfred A. Knopf, New York, 1989, then Penguin, 1990, ISBN 0-14-012275-3.
- The Slynx ISBN 1-59017-196-9
- White Walls New York Review of Books Classics, 2007, ISBN 1-59017-197-7
Awards
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Notes
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- Slavina V. A. Modern literature in search of an ideal // Lecturer. - 2005. - No. 2. - pp. 38-41.
- Neminushchiy A.N. The motive of death in the artistic world of Tatyana Tolstaya's stories // Actual problems of literature. Commentary on the 20th century: Proceedings of the international conference. - (Svetlogorsk, September 25-28, 2000). - Kaliningrad, - 2001. - S. 120-125.
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Links
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An excerpt characterizing Tolstaya, Tatyana Nikitichna
He grabbed his hand with his bony little hand, shook it, looked straight into his son's face with his quick eyes, which seemed to see right through the man, and again laughed his cold laugh.The son sighed, confessing with this sigh that his father understood him. The old man, continuing to fold and print letters, with his usual speed, grabbed and threw sealing wax, seal and paper.
- What to do? Beautiful! I'll do everything. You be calm,” he said curtly while typing.
Andrey was silent: it was both pleasant and unpleasant for him that his father understood him. The old man got up and handed the letter to his son.
“Listen,” he said, “do not worry about your wife: what can be done will be done.” Now listen: give the letter to Mikhail Ilarionovich. I am writing that he will use you in good places and not keep you as an adjutant for a long time: a bad position! Tell him that I remember him and love him. Yes, write how he will accept you. If it's good, serve. Nikolai Andreich Bolkonsky's son, out of mercy, will not serve anyone. Well, now come here.
He spoke in such a rapid way that he did not finish half of the words, but the son was used to understanding him. He led his son to the bureau, threw back the lid, pulled out a drawer, and took out a notebook covered in his large, long, concise handwriting.
“I must die before you.” Know that here are my notes, to transfer them to the sovereign after my death. Now here - here is a pawn ticket and a letter: this is a prize to the one who writes the history of the Suvorov wars. Submit to the academy. Here are my remarks, after me read for yourself, you will find something useful.
Andrei did not tell his father that he would probably live for a long time. He knew he didn't need to say it.
“I will do everything, father,” he said.
- Well, now goodbye! He let his son kiss his hand and hugged him. “Remember one thing, Prince Andrei: if they kill you, it will hurt the old man ...” He suddenly fell silent and suddenly continued in a loud voice: “and if I find out that you did not behave like the son of Nikolai Bolkonsky, I will be ... ashamed! he screeched.
“You could not tell me that, father,” said the son, smiling.
The old man was silent.
“I also wanted to ask you,” continued Prince Andrei, “if they kill me and if I have a son, do not let him go away from you, as I told you yesterday, so that he grows up with you ... please.
- Don't give it to your wife? the old man said and laughed.
They stood silently facing each other. The old man's quick eyes were fixed directly on his son's eyes. Something quivered in the lower part of the old prince's face.
- Goodbye ... go! he suddenly said. - Get up! he shouted in an angry and loud voice, opening the office door.
– What is, what? - asked the princess and princess, seeing Prince Andrei and for a moment the figure of an old man in a white coat, without a wig and in old man's glasses, leaning out screaming in an angry voice.
Prince Andrei sighed and did not answer.
“Well,” he said, turning to his wife.
And this “well” sounded like a cold mockery, as if he was saying: “now you do your tricks.”
Andre, deja! [Andrey, already!] - said the little princess, turning pale and looking at her husband with fear.
He hugged her. She screamed and fell unconscious on his shoulder.
He gently drew back the shoulder on which she was lying, looked into her face, and carefully seated her in a chair.
- Adieu, Marieie, [Farewell, Masha,] - he said quietly to his sister, kissed her hand in hand and quickly left the room.
The princess was lying in an armchair, m lle Bourienne was rubbing her temples. Princess Mary, supporting her daughter-in-law, with tearful beautiful eyes, was still looking at the door through which Prince Andrei went out, and baptized him. From the study were heard, like shots, the often repeated angry sounds of the old man blowing his nose. As soon as Prince Andrei left, the door of the office quickly opened and a stern figure of an old man in a white coat looked out.
- Left? Well, good! he said, looking angrily at the insensible little princess, shook his head reproachfully and slammed the door.
In October 1805, Russian troops occupied the villages and cities of the Archduchy of Austria, and more new regiments came from Russia and, weighing down the inhabitants with billeting, were located near the Braunau fortress. In Braunau was the main apartment of the commander-in-chief Kutuzov.
On October 11, 1805, one of the infantry regiments that had just arrived at Braunau, waiting for the review of the commander-in-chief, stood half a mile from the city. Despite the non-Russian terrain and situation (orchards, stone fences, tiled roofs, mountains visible in the distance), the non-Russian people, who looked at the soldiers with curiosity, the regiment had exactly the same appearance as any Russian regiment preparing for a show somewhere in the middle of Russia.
In the evening, on the last march, an order was received that the commander-in-chief would watch the regiment on the march. Although the words of the order seemed unclear to the regimental commander, and the question arose of how to understand the words of the order: in marching uniform or not? in the council of battalion commanders, it was decided to present the regiment in full dress on the grounds that it is always better to exchange bows than not to bow. And the soldiers, after a thirty-verst march, did not close their eyes, they repaired and cleaned themselves all night; adjutants and company officers counted, expelled; and by morning the regiment, instead of the sprawling disorderly crowd that it had been the day before on the last march, represented a slender mass of 2,000 people, each of whom knew his place, his business, and of whom each button and strap was in its place and shone with cleanliness. . Not only the outside was in good order, but if the commander-in-chief had been pleased to look under the uniforms, then on each he would have seen an equally clean shirt and in each knapsack he would have found a legal number of things, “an awl and a soap,” as the soldiers say. There was only one circumstance about which no one could be calm. It was shoes. More than half of the people had their boots broken. But this shortcoming did not come from the fault of the regimental commander, since, despite repeated demands, the goods from the Austrian department were not released to him, and the regiment traveled a thousand miles.
The regimental commander was an elderly, sanguine general with graying eyebrows and sideburns, thick and broad more from chest to back than from one shoulder to the other. He was wearing a new, brand-new, creased uniform and thick golden epaulettes, which seemed to raise his stout shoulders rather than downwards. The regimental commander looked like a man happily doing one of the most solemn deeds of life. He paced in front of the front and, as he walked, trembled at every step, slightly arching his back. It was evident that the regimental commander was admiring his regiment, happy with them, that all his mental strength was occupied only by the regiment; but, in spite of this, his trembling gait seemed to say that, in addition to military interests, the interests of social life and the female gender also occupy a considerable place in his soul.
“Well, father Mikhailo Mitrich,” he turned to one battalion commander (the battalion commander leaned forward smiling; it was clear that they were happy), “I got nuts this night. However, it seems, nothing, the regiment is not bad ... Eh?
The battalion commander understood the humorous irony and laughed.
- And in the Tsaritsyn Meadow they would not have driven out of the field.
- What? the commander said.
At this time, on the road from the city, along which the machinations were placed, two horsemen appeared. They were the adjutant and a Cossack riding behind.
The adjutant was sent from the main headquarters to confirm to the regimental commander what was not clear in yesterday's order, namely, that the commander-in-chief wanted to see the regiment in exactly the position in which he walked - in overcoats, in covers and without any preparations.
A member of the Hofkriegsrat from Vienna arrived at Kutuzov the day before, with proposals and demands to join the army of Archduke Ferdinand and Mack as soon as possible, and Kutuzov, not considering this connection advantageous, among other evidence in favor of his opinion, intended to show the Austrian general that sad situation in which troops came from Russia. For this purpose, he wanted to go out to meet the regiment, so that the worse the position of the regiment, the more pleasant it would be for the commander in chief. Although the adjutant did not know these details, however, he conveyed to the regimental commander the indispensable demand of the commander-in-chief that people be in overcoats and covers, and that otherwise the commander-in-chief would be dissatisfied. After hearing these words, the regimental commander lowered his head, silently shrugged his shoulders and spread his arms with a sanguine gesture.
- Done business! he said. - So I told you, Mikhailo Mitrich, that on a campaign, so in overcoats, - he turned with a reproach to the battalion commander. – Oh, my God! he added, and stepped forward resolutely. - Gentlemen, company commanders! he called out in a voice familiar to command. - Feldwebels! ... Will they come soon? he turned to the visiting adjutant with an expression of respectful courtesy, apparently referring to the person he was talking about.
- In an hour, I think.
- Shall we change clothes?
"I don't know, General...
The regimental commander himself went up to the ranks and ordered them to change into their greatcoats again. The company commanders fled to their companies, the sergeants began to fuss (the overcoats were not entirely in order) and at the same instant swayed, stretched out and the previously regular, silent quadrangles hummed with a voice. Soldiers ran and ran up from all sides, tossed them back with their shoulders, dragged knapsacks over their heads, took off their overcoats and, raising their hands high, pulled them into their sleeves.
Half an hour later everything returned to its former order, only the quadrangles turned gray from black. The regimental commander, again with a trembling gait, stepped forward of the regiment and looked at it from afar.
- What else is that? What's this! he shouted, stopping. - Commander of the 3rd company! ..
- Commander of the 3rd company to the general! the commander to the general, the 3rd company to the commander! ... - voices were heard from the ranks, and the adjutant ran to look for the hesitant officer.
When the sounds of zealous voices, distorting, shouting already “the general in the 3rd company”, reached their destination, the required officer appeared from behind the company and, although the man was already elderly and not in the habit of running, awkwardly clinging to his socks, trotted towards the general. The captain's face expressed the anxiety of a schoolboy who is told to say a lesson he has not learned. There were spots on the red (obviously from intemperance) nose, and the mouth did not find position. The regimental commander examined the captain from head to toe as he approached breathlessly, holding his step as he approached.
- You will soon dress people in sundresses! What's this? - shouted the regimental commander, pushing his lower jaw and pointing in the ranks of the 3rd company at a soldier in an overcoat of the color of factory cloth, which differed from other overcoats. - Where were you yourself? The commander-in-chief is expected, and you move away from your place? Eh?... I’ll teach you how to dress people in Cossacks for a review!... Eh?...
The company commander, without taking his eyes off his commander, pressed his two fingers more and more to his visor, as if in this pressing alone he now saw his salvation.
- Well, why are you silent? Who do you have there in the Hungarian dressed up? - strictly joked the regimental commander.
- Your Excellency…
- Well, "your excellency"? Your Excellency! Your Excellency! And what your Excellency - no one knows.
- Your Excellency, this is Dolokhov, demoted ... - the captain said quietly.
- That he was a field marshal, or something, demoted or a soldier? And a soldier should be dressed like everyone else, in uniform.
“Your Excellency, you yourself allowed him to march.
- Allowed? Allowed? That's how you always are, young people,” said the regimental commander, cooling down somewhat. - Allowed? You say something, and you and ... - The regimental commander paused. - You say something, and you and ... - What? he said, getting irritated again. - Please dress people decently ...
And the regimental commander, looking back at the adjutant, with his shuddering gait, went to the regiment. It was evident that he himself liked his irritation, and that, having walked up and down the regiment, he wanted to find another pretext for his anger. Having cut off one officer for an uncleaned badge, another for an irregular row, he approached the 3rd company.
- How are you standing? Where is the leg? Where is the leg? - shouted the regimental commander with an expression of suffering in his voice, another five people did not reach Dolokhov, dressed in a bluish overcoat.
Dolokhov slowly straightened his bent leg and straight, with his bright and insolent look, looked into the general's face.
Why the blue overcoat? Down with… Feldwebel! Change his clothes ... rubbish ... - He did not have time to finish.
“General, I am obliged to carry out orders, but I am not obliged to endure ...” Dolokhov said hastily.
- Do not talk in the front! ... Do not talk, do not talk! ...
“I am not obliged to endure insults,” Dolokhov finished loudly, sonorously.
The eyes of the general and the soldier met. The General fell silent, angrily pulling down his tight scarf.
“If you please, change your clothes, please,” he said, walking away.
- It's coming! shouted the machinist at that time.
The regimental commander blushed, ran up to the horse, with trembling hands took hold of the stirrup, flung the body over, recovered himself, drew his sword, and with a happy, resolute face, with his mouth open to one side, prepared to shout. The regiment started like a recovering bird and froze.
- Smir r r na! shouted the regimental commander in a soul-shattering voice, joyful for himself, strict in relation to the regiment and friendly in relation to the approaching chief.
Along a wide, tree-lined, high, highwayless road, with a slight rattle of springs, a tall blue Viennese carriage rode in a train at a fast trot. A retinue and a convoy of Croats galloped behind the carriage. Near Kutuzov sat an Austrian general in a strange, among black Russians, white uniform. The carriage stopped at the regiment. Kutuzov and the Austrian general were quietly talking about something, and Kutuzov smiled slightly, while, stepping heavily, he lowered his foot from the footboard, as if there weren’t those 2,000 people who were looking at him and the regimental commander without breathing .
There was a shout of the command, again the regiment, ringing, trembled, making guard. In the dead silence, the weak voice of the commander-in-chief was heard. The regiment bellowed: “We wish you good health, your lordship!” And again everything froze. At first, Kutuzov stood in one place while the regiment moved; then Kutuzov, next to the white general, on foot, accompanied by his retinue, began to walk through the ranks.
By the way the regimental commander saluted the commander-in-chief, glaring at him, stretching out and getting up, how, leaning forward, walked behind the generals along the ranks, barely keeping a trembling movement, how he jumped at every word and movement of the commander-in-chief, it was clear that he was fulfilling his duties subordinate with even greater pleasure than the duties of a boss. The regiment, thanks to the severity and diligence of the regimental commander, was in excellent condition compared to others who came at the same time to Braunau. There were only 217 retarded and sick people. Everything was fine, except for the shoes.
Kutuzov walked through the ranks, occasionally stopping and saying a few kind words to the officers, whom he knew from the Turkish war, and sometimes to the soldiers. Glancing at the shoes, he shook his head sadly several times and pointed at them to the Austrian general with such an expression that he seemed not to reproach anyone for this, but he could not help but see how bad it was. The regimental commander ran ahead each time, afraid to miss the word of the commander-in-chief regarding the regiment. Behind Kutuzov, at such a distance that any weakly spoken word could be heard, walked a man of 20 retinues. The gentlemen of the retinues talked among themselves and sometimes laughed. Closest behind the commander-in-chief was a handsome adjutant. It was Prince Bolkonsky. Beside him walked his comrade Nesvitsky, a tall staff officer, extremely stout, with a kind and smiling handsome face and moist eyes; Nesvitsky could hardly restrain himself from laughing, aroused by the blackish hussar officer walking beside him. The hussar officer, without smiling, without changing the expression of his fixed eyes, looked with a serious face at the back of the regimental commander and mimicked his every movement. Every time the regimental commander shuddered and leaned forward, in exactly the same way, exactly in exactly the same way, the hussar officer shuddered and leaned forward. Nesvitsky laughed and pushed the others to look at the funny man.
Kutuzov walked slowly and listlessly past a thousand eyes that rolled out of their sockets, following the boss. Having leveled with the 3rd company, he suddenly stopped. The retinue, not foreseeing this stop, involuntarily advanced on him.
- Ah, Timokhin! - said the commander-in-chief, recognizing the captain with a red nose, who suffered for a blue overcoat.
It seemed that it was impossible to stretch more than Timokhin stretched, while the regimental commander reprimanded him. But at that moment the commander-in-chief addressed him, the captain drew himself up so that it seemed that if the commander-in-chief had looked at him for a little more time, the captain would not have been able to stand it; and therefore Kutuzov, apparently understanding his position and wishing, on the contrary, all the best for the captain, hastily turned away. A barely perceptible smile ran across Kutuzov's plump, wounded face.
“Another Izmaylovsky comrade,” he said. "Brave officer!" Are you happy with it? Kutuzov asked the regimental commander.
And the regimental commander, as if reflected in a mirror, invisibly to himself, in the hussar officer, shuddered, went forward and answered:
“Very pleased, Your Excellency.
“We are all not without weaknesses,” said Kutuzov, smiling and moving away from him. “He had an attachment to Bacchus.
The regimental commander was afraid that he was not to blame for this, and did not answer. The officer at that moment noticed the captain's face with a red nose and a tucked-up stomach, and mimicked his face and posture so similarly that Nesvitsky could not help laughing.
Kutuzov turned around. It was evident that the officer could control his face as he wanted: at the moment Kutuzov turned around, the officer managed to make a grimace, and after that take on the most serious, respectful and innocent expression.
The third company was the last, and Kutuzov thought, apparently remembering something. Prince Andrei stepped out of the retinue and quietly said in French:
- You ordered to be reminded of the demoted Dolokhov in this regiment.
- Where is Dolokhov? Kutuzov asked.
Dolokhov, already dressed in a soldier's gray overcoat, did not wait to be called. The slender figure of a blond soldier with clear blue eyes stepped out from the front. He approached the commander-in-chief and made a guard.
– Claim? - Frowning slightly, asked Kutuzov.
“This is Dolokhov,” said Prince Andrei.
– A! Kutuzov said. – I hope this lesson will correct you, serve well. The Emperor is merciful. And I won't forget you if you deserve it.
Clear blue eyes looked at the commander-in-chief as boldly as they did at the regimental commander, as if by their expression they were tearing away the veil of conventionality that separated the commander-in-chief so far from the soldier.
“I ask you one thing, Your Excellency,” he said in his resonant, firm, unhurried voice. “I ask you to give me a chance to make amends for my guilt and prove my devotion to the emperor and Russia.
Kutuzov turned away. The same smile of his eyes flashed across his face as at the time when he turned away from Captain Timokhin. He turned away and grimaced, as if he wanted to express by this that everything that Dolokhov told him, and everything that he could tell him, he had known for a long, long time that all this had already bored him and that all this was not at all what he needed. . He turned and walked towards the carriage.
The regiment sorted out in companies and headed for the assigned apartments not far from Braunau, where they hoped to put on shoes, dress and rest after difficult transitions.
- You do not pretend to me, Prokhor Ignatich? - said the regimental commander, circling the 3rd company moving towards the place and driving up to Captain Timokhin, who was walking in front of it. The face of the regimental commander, after a happily departed review, expressed irrepressible joy. - The royal service ... you can’t ... another time you’ll cut off at the front ... I’ll be the first to apologize, you know me ... Thank you very much! And he held out his hand to the commander.
“Excuse me, General, do I dare!” - the captain answered, turning red with his nose, smiling and revealing with a smile the lack of two front teeth, knocked out by a butt near Ishmael.
- Yes, tell Mr. Dolokhov that I will not forget him, so that he is calm. Yes, please tell me, I kept wanting to ask, what is he, how is he behaving? And everything...
“He is very serviceable in his service, Your Excellency ... but the carakhter ...” said Timokhin.
- And what, what is the character? asked the regimental commander.
“He finds, Your Excellency, for days,” said the captain, “he is smart, and learned, and kind. And that's a beast. In Poland, he killed a Jew, if you please know ...
- Well, yes, well, yes, - said the regimental commander, - you still have to feel sorry for the young man in misfortune. After all, great connections ... So you ...
“I’m listening, Your Excellency,” Timokhin said, with a smile making it feel that he understood the wishes of the boss.
- Yes Yes.
The regimental commander found Dolokhov in the ranks and reined in his horse.
“Before the first case, epaulettes,” he told him.
Dolokhov looked around, said nothing and did not change the expression of his mockingly smiling mouth.
“Well, that’s good,” continued the regimental commander. “People get a glass of vodka from me,” he added, so that the soldiers could hear. – Thank you all! God bless! - And he, having overtaken a company, drove up to another.
“Well, he really is a good man; You can serve with him,” Timokhin subaltern said to the officer walking beside him.
- One word, red! ... (the regimental commander was nicknamed the red king) - the subaltern officer said, laughing.
The happy mood of the authorities after the review passed to the soldiers. Rota was having fun. Soldiers' voices were talking from all sides.
- How did they say, Kutuzov crooked, about one eye?
- But no! Totally crooked.
- Not ... brother, more big-eyed than you. Boots and collars - looked around everything ...
- How does he, my brother, look at my feet ... well! Think…
- And the other is an Austrian, he was with him, as if smeared with chalk. Like flour, white. I'm tea, how they clean ammunition!
- What, Fedeshow! ... he said, perhaps, when the guards begin, did you stand closer? They said everything, Bunaparte himself is standing in Brunov.
- Bunaparte stands! you lie, fool! What does not know! Now the Prussian is in revolt. The Austrian, therefore, pacifies him. As soon as he reconciles, then war will open with Bounaparte. And then, he says, in Brunov, Bunaparte is standing! It's obvious that he's an idiot. You listen more.
“Look, damn tenants! The fifth company, look, is already turning into the village, they will cook porridge, and we will not reach the place yet.
- Give me a cracker, damn it.
“Did you give tobacco yesterday?” That's it, brother. Well, on, God is with you.
- If only they made a halt, otherwise you won’t eat another five miles of proprem.
- It was nice how the Germans gave us strollers. You go, know: it's important!
- And here, brother, the people went completely frantic. There everything seemed to be a Pole, everything was of the Russian crown; and now, brother, a solid German has gone.
- Songwriters ahead! - I heard the cry of the captain.
And twenty people ran out in front of the company from different ranks. The drummer sings turned around to face the songbooks, and, waving his hand, began a drawn-out soldier's song, beginning: "Isn't it dawn, the sun was breaking up ..." and ending with the words: "That, brothers, will be glory to us with Kamensky father ..." in Turkey and was now sung in Austria, only with the change that in place of "Kamensky father" the words were inserted: "Kutuzov's father."
Tearing off these last words like a soldier and waving his arms as if he were throwing something on the ground, the drummer, a dry and handsome soldier of about forty, sternly looked around at the songwriter soldiers and closed his eyes. Then, making sure that all eyes were fixed on him, he seemed to carefully lift with both hands some invisible, precious thing above his head, held it like that for several seconds, and suddenly threw it desperately:
Oh, you, my canopy, my canopy!
“Canopy my new…”, twenty voices picked up, and the spoonman, despite the heaviness of the ammunition, briskly jumped forward and walked backwards in front of the company, moving his shoulders and threatening someone with spoons. The soldiers, swinging their arms to the beat of the song, walked with a spacious step, involuntarily hitting the leg. Behind the company came the sounds of wheels, the crunch of springs and the clatter of horses.
Kutuzov with his retinue was returning to the city. The Commander-in-Chief signaled that the people should continue to walk freely, and pleasure was expressed on his face and on all the faces of his retinue at the sound of the song, at the sight of the dancing soldier and the merrily and briskly marching soldiers of the company. In the second row, from the right flank, from which the carriage overtook the companies, a blue-eyed soldier, Dolokhov, involuntarily caught the eye, who walked especially briskly and gracefully to the beat of the song and looked at the faces of the passers-by with such an expression as if he pitied everyone who did not go at this time with a company. A hussar cornet from Kutuzov's retinue, mimicking the regimental commander, lagged behind the carriage and drove up to Dolokhov.
One of the hundred most influential women in Russia, a writer who has become a highlight in modern Russian literature. Being the heiress of a famous family, she worthily continues the work of her famous ancestors, who became famous in the literary field.
In her works, she touches on the most exciting topics and makes the reader her interlocutor, treating him with the utmost respect. A writer, a true master of words, a literary critic, a journalist, a wonderful wife and mother, whom family life not only interferes with, but also helps to develop further and confidently stay in the top of the best, - Tatyana Nikitichna Tolstaya. The biography of this woman will be discussed in this article.
The future philologist, Taurus by zodiac sign, Tanya was born on May 3, 1951 in the northern capital. Her parents were respected people: her father was a doctor of physical sciences, her mother was a poetess. In addition to Tatyana, six brothers and sisters grew up in the family. Both of Tatyana's grandfathers were writers, and among her great-grandfathers were a doctor and a privy councilor. The famous Leo Tolstoy is her seventh cousin.
As a child, the girl loved to read. She spent whole days with books and literature textbooks. And after graduating from school, I decided without a doubt to choose the philological faculty of St. Petersburg State University. Studying was given to Tanya quite easily, despite the fact that she chose the department of classical philology, where the bias was in Latin and Greek. But the girl successfully coped with everything.
It happened under very unusual circumstances. In 1983, she underwent a major eye operation, after which the young woman had to lie with a bandage for a month. It was then that ideas and images of future stories began to be born in Tolstoy's head. She represented them quite vividly. When she was allowed to read and pick up a pencil, Tatyana Nikitichna transferred all her thoughts to paper and realized that this was something worthwhile.
To the pinnacle of success
Soon success awaited her other stories:
- "Sonya".
- "Love - do not love."
- "Clean Slate" and others.
The works of Tatyana Nikitichna have been repeatedly awarded prizes and awards. The circle of its readers expanded every year, and the name of a new person in literature began to be discussed more often.
In the late 80s, Tatyana Tolstaya decides to go abroad, where she was invited to lecture on Russian literature. While working in college in the United States, the writer began to discover more and more opportunities in herself, to get to know people deeper and gain more practical experience.
Until the end of the 20th century, Tatyana worked at foreign universities, where at that time interest in the study of language and literature increased. It was then that Tolstaya began to hear and analyze the "hybridity" of Russian words, to evaluate the possibility of their translation into a foreign language.
In the early 2000s, Tatyana Nikitichna returned to Moscow and began working as a journalist and teacher at the university. From that time on, her books began to be published with success. A total of 14 books have been published so far. Among them:
- "Day. Personal "(2007).
- "Sisters" (1998).
- "Kys" (2001).
- "Light Worlds" (2014).
- "Felt Age" (2015) and others.
In her work, the writer has always chosen universal themes of evil and good, death and life, and relations between generations. Over time, the characters of her works became more diverse and deep. So, she can meet crazy grandmothers, and feeble-minded people with disabilities, and people who find themselves in difficult, inhuman conditions.
telesuccess
In addition, the famous writer is often invited as an expert on the jury of various TV shows. For example, with her participation, the talent show "Minute of Glory" was released on one of the central channels.
In addition to works of art and critical articles, Tatyana Nikitichna published a book about cooking, in which she shared the secrets of her "personal cuisine", her own photographs and quotes.
Family happiness
Today Tatyana Nikitichna is still going her own way in literature. True, modern technologies are not alien to her: the writer has mastered blogging. Today, on the Web, you can read her texts, subscribe to her pages and periodically receive news and materials from the writer's personal blogs.
In addition, Tolstaya pays great attention to creative meetings with her readers. She believes that live communication brings more useful emotions and helps people to join the literature and comprehend it more deeply. Author: Anastasia Kaikova
