Banner. 2023. Issue 7
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This is how it has developed for us in 'Znameni': to combine in the book of the next issue masters with beginners, known and even famous with unknown, new authors, but already noticed by the editorial board on the literary horizon. The issue opens with poems by Vladimir Gandelsman ('babblings') - seemingly timeless, but so vulnerable and fragile that through the transparent wing of a moth and butterfly, dust and doom emerge. A selection of new poems by Gennady Rusakov is named after the precise autobiographical line - 'Was he an interpreter, then a writing poet…'. Vladimir Sedov maintains loyalty to poetry - 'Apprentice of wall writing'. Having earned fame, primarily as a poet, Evgeny Bunimovich publishes in 'Znameni' also pages of his prose, in this case, he writes about the recently departed Alexander Eremenko in the memoir narrative 'Erema. Ten flashbacks and one funeral'. Pavel Selukov is presented for the first time in 'Znameni' not with prose, but with poems - 'Father, he knows the secrets of the clouds'. Poet Vladimir Aristov is present here in the role of a prose writer (in another he is a researcher of poetry), stories 'Genealogical tree'. Natalia Ivanova switched from the literary-critical genre to docudrama already in No. 3, - in the June issue is published 'Punin, or The Fountain House. Monologues, poems, decrees, and verdicts' In the series 'Voices from the shadows' the author compares the life-creation strategies of the characters from an even darker past. Prose writer and memoirist Irina Muravyeva wrote a story attracting with sharp details and linguistic spices, actually a family saga from the late Soviet and early post-Soviet, - 'Sinner'. Besides the listed, from prose in the issue are published stories by the author of the older generation, first time publishing in 'Znameni' Yuri Gura 'The gray hen of the pheasant' and debutant Anastasia Antropova 'On the road'.
As for the young and new, in the conference hall of the magazine under the title 'Going into literature' the motivation for professional choice is explained by Alya Karelin, Ekaterina Pryamkova, Alexander Pyatkov, Olesya Tikhonova, Maxim Simbirev, Margarita Shilkina. The unifying pathos - despite the declared end of literature-centrism, and even in spite of it.
In the 'Archive' section, Tatyana Poletaeva publishes poems from the 90s by Viktor Chubarov.
A special place in the magazine is occupied by non-fiction - the beginning of the documentary book by Arkady Sosnov, in essence - the direct speech of academician Bekhtereva 'Natalia Petrovna's Dreams Come True' (the end in the next issue). In his, exclusive 'Russian genre' appears Sergey Borovikov - 'Comma-19'. Oleg Lekmanov in the 'Close Reading' section explores 'The world through the eyes of a child in the stories of Russian writers of the second half of the 20th century'. Mikhail Rantovich reconsiders 'ups and jumps' in the poetic situation today - through a review of criticism dedicated to it.
In 'Observer' about new books write Stanislav Sekretov ('Konstantin Kupriyanov, 'Museum 'California''), Irina Kadochnikova (Andrey Sen-Senkov, 'Stone Embryo'), Yaroslav Sokolov (Mikhail Shevelev, 'Pre-war book'), Arman Komarov (Grigory Knyazev, 'Living letters'), Shevket Keshfidinov (Vladislav Otroshenko, 'Drama of a snowy night'), Vera Kalmykova (Vadim Mesyats, 'Winehouse'), Ilya Kochergin (Mikhail Baru, 'The tablecloth of the English queen'), Anna Sukhobok (Andrey Malyshov, 'The book of Andrey'), Nikolay Podosokorsky (Sergey Averintsev. 'The word of God and the word of man. Roman speeches'). Anna Nuzhdina reviews 'Museum exhibitions in non-museum space'. Olga Balla in 'Speedwriting' writes about the poetry collections of Danil Fayzov, Kanat Omar, and Anna Arno under the sign of human existence in catastrophic circumstances. However, under this sign today write other authors, and read them and, we hope, appreciate the fruits of their efforts our readers.
As for the young and new, in the conference hall of the magazine under the title 'Going into literature' the motivation for professional choice is explained by Alya Karelin, Ekaterina Pryamkova, Alexander Pyatkov, Olesya Tikhonova, Maxim Simbirev, Margarita Shilkina. The unifying pathos - despite the declared end of literature-centrism, and even in spite of it.
In the 'Archive' section, Tatyana Poletaeva publishes poems from the 90s by Viktor Chubarov.
A special place in the magazine is occupied by non-fiction - the beginning of the documentary book by Arkady Sosnov, in essence - the direct speech of academician Bekhtereva 'Natalia Petrovna's Dreams Come True' (the end in the next issue). In his, exclusive 'Russian genre' appears Sergey Borovikov - 'Comma-19'. Oleg Lekmanov in the 'Close Reading' section explores 'The world through the eyes of a child in the stories of Russian writers of the second half of the 20th century'. Mikhail Rantovich reconsiders 'ups and jumps' in the poetic situation today - through a review of criticism dedicated to it.
In 'Observer' about new books write Stanislav Sekretov ('Konstantin Kupriyanov, 'Museum 'California''), Irina Kadochnikova (Andrey Sen-Senkov, 'Stone Embryo'), Yaroslav Sokolov (Mikhail Shevelev, 'Pre-war book'), Arman Komarov (Grigory Knyazev, 'Living letters'), Shevket Keshfidinov (Vladislav Otroshenko, 'Drama of a snowy night'), Vera Kalmykova (Vadim Mesyats, 'Winehouse'), Ilya Kochergin (Mikhail Baru, 'The tablecloth of the English queen'), Anna Sukhobok (Andrey Malyshov, 'The book of Andrey'), Nikolay Podosokorsky (Sergey Averintsev. 'The word of God and the word of man. Roman speeches'). Anna Nuzhdina reviews 'Museum exhibitions in non-museum space'. Olga Balla in 'Speedwriting' writes about the poetry collections of Danil Fayzov, Kanat Omar, and Anna Arno under the sign of human existence in catastrophic circumstances. However, under this sign today write other authors, and read them and, we hope, appreciate the fruits of their efforts our readers.
Cover:
Cover:soft
Category:
- Category:Fiction
- Category:Poetry & Literature
Dimensions:
Dimensions:26x16.5x1 cm
ISBN:
ISBN:965836
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