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Saturday, June 15, 2019

ROCKER

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The look of a dragonfly and the feeling of the epoch // Nezavisimaya Gazeta

Gorky, Alexei Varlamov, Sergei Gandlevsky, Evgeny Vodolazkin, Bakhyt Kenzheev, Roman Senchin, Yasnaya Polyana, TV, Glass Bead Game

Finally, it’s just kind and bright Human. Photo from the archive of Igor Volgin

Many students of the Literary Institute remember the legendary 24th auditorium. It existed even before the reconstruction, now it, alas, no longer exists. In the middle of it was an old (oak?) long oval table. It was here that Igor Volgin’s creative seminar took place for a long time. At 19In 1996, when Yuri Levitansky passed away, Volgin “picked up” and sheltered his students. Later, he also sheltered a couple of students from the disbanded group of Yury Kuznetsov’s seminar who asked to see him. The master, as a rule, presided at the head of the table, “persons close to the emperor” sat nearby, among which, in the late 1990s, for example, were Anna Arkatova, Maria Vatutina, Olga Nechaeva, Ilya Plokhikh; other seminarians and “free listeners” (the seminar was open to everyone) settled down on chairs and armchairs along the walls. And it was immediately clear that a living spring of literary life was beating here: guests often came to the seminar (say, Vitaly Pukhanov, Dmitry Bykov), almost every time they arranged “readings in a circle”, and even strangers could read by chance. And the master always gave a brilliantly accurate, clear, sometimes ironic (but never offensive!) judgment.

On March 6, Igor Volgin turns 80 years old. Igor Leonidovich is creatively surprisingly versatile: a writer, a Dostoevist, a historian, a poet, a TV presenter (who hasn’t seen his Glass Bead Game program on the Russia Culture channel at least once?), a teacher at Moscow State University and the Literary Institute, a long-term (more precisely, many decades) leader legendary literary studio “Luch”. Today, the hero of the day is congratulated by his students and colleagues in writing. Some of them studied with Volgin at the Faculty of Journalism of Moscow State University, some, together with Igor Leonidovich, participate in the International Writers’ Meetings in Yasnaya Polyana, some are the pupils of Luch, some were brought together with Volgin by the Glass Bead Game, and someone is just a good friend.

A nna Arkatova, poet, translator

Literature as a craft came into my life relatively late, by the age of 40. Writing poetry from childhood does not mean you understand what you are doing, it does not even mean you get high from it. Only when my experience of writing allowed me to look at myself from the outside, did the bifurcation point become visible. The moment that turned me from the natural feeling of the word – to cooperation with it, and maybe even to fatal dependence on it.

And it was Igor Volgin who became the main figure of this metamorphosis. I remember that after a couple of classes at his seminar at the Literary Institute, I was struck by the proportion established in the seminar’s regulations. When discussing the next selection, the master’s word occupied approximately 1/20 of all statements. And this one-twentieth had the weight of an hourly weight in the rather shaky mechanism of our immature criticism. Even less space was occupied by the experimental text itself. That is, Volgin did not dissect the lines of the author dying of excitement, did not analyze the technique, did not find fault with rhyming, did not convict of epigonism. But where the professional “look-hearing” stumbled, Igor Leonidovich put off poetry, took off his glasses (he didn’t even take them off – but, as it were, got rid of his glasses, moving his head left and right) and said: “Here is a line. Do you remember how Bagritsky wrote about this? (Zabolotsky-Tyutchev-Akhmatova-Pasternak-Slutsky). And the sound of such tuning forks, layered with unforgettable near-literary anecdotes, incidents, and our own witty observations, meant for us much more than a biased analysis. Igor Leonidovich somehow managed not to kill to death, not to cause shame for what he had written, but opened a cell where this written could be put aside without regret, go to read what was written before you, around you, high, high above you. And then return to the same words without fear and reproach, not with the ambitions of a puppeteer, but with the courage of an equal.

In fact, the poems of Volgin himself, to which the older he becomes, the more and more generously he trusts his experiences, these are fruits filled with juice of impeccable form and . .. taste, to continue the metaphor. They are the result of many years of stylistic restraint, fidelity to choice, a sense of responsibility for one’s talent as a writer and teacher. I’m lucky, I’ll tell you what.

Aleksey Varlamov, writer, philologist, historian of Russian literature, rector of the Literary Institute. A.M. Gorky

First of all, Igor Leonidovich is a unique human specimen. How one can remain young for so long, maintain clarity of mind, reaction, memory, liveliness of feelings – all this is subject to the most serious, most promising scientific research. The impression is that this person lives in another time. Volgin has long been overtaken by his gray-haired, bald students, graduates, pupils, and he is still not subject to the laws of nature. And if you choose from all the Volga incarnations, then most often I come across him on the recording of the “Game of Glasses” program, and again I am struck by his ability to be truly in the subject of any topic. Whether it is Shakespeare, Kafka, Bulgakov, even the Apocalypse, he always knows how to notice the most important, seemingly obvious, but noticeable to him alone. This is some special gift of inner vision, the look of a dragonfly, a sense of the era, the ability to understand another and always smart, accurate, lively speech.

Evgeny Vodolazkin, writer, literary critic, Doctor of Philology

The peculiarity of the heroes of our (and not our) time is that their names are based on hydronyms. In other words, the names of rivers. They are also distinguished by the fact that they, in fact, are not heroes. They don’t do anything socially significant, they get bored, they shoot themselves (Onegin, Pechorin), and if they do (Lenin), then it’s something that would be better, honestly, bored. Superfluous, in a word, people.

A happy exception in this series seems to me Igor Volgin, busy with real work. An early passion for Dostoevsky allowed him to prefer the evolutionary path to the revolutionary one. A wonderful poet himself, he brought up a galaxy of first-class poets – what could be more important for social progress? Prose is not alien to him: more than one generation has grown up on his historical and literary works. Unlike his predecessors, fictional and real, in print and television, he teaches us to love the classics. Finally, this is just a kind and bright person. Like the literary studio he created, Volgin could be called a ray capable of shining in any kingdom. A true hero of our time. Igor, dear, happy anniversary!

Sergey Gandlevsky, poet, prose writer, translator

I have known Igor Volgin for half a century, I am cordially attached to him and respect him for his talent and moral stability. The beginning of his literary career was rather seductive: he started off briskly and could easily become an important Soviet master, but he did not. When I asked a long time ago with youthful impudence what prevented his career, Volgin replied: “I was scared . ..” Good fright!

So his in-depth study of the great moralist Dostoevsky, stretching over decades, does not seem accidental.

Igor Volgin showed taste and moral sanity in the revolutionary 1990s; he can be considered a conservative in the traditional sense of the word, without the admixture of Soviet nostalgia.

Igor Leonidovich is the permanent head of the Luch university poetry studio. It is impossible to teach poetry the way one teaches arithmetic or figure skating, but it is possible to create an atmosphere that facilitates self-study for people with abilities – and Volgin created such an atmosphere. Then, many years ago, his leadership was not felt, there was an illusion that everything was happening at ease. And I have reason to think that both the current Luch studios and university graduates commemorate Professor Volgin with a kind word.

And finally, at a quite respectable age, Igor Volgin, like Afanasy Fet in his time, was overwhelmed by a wave of poetic inspiration – he writes beautiful poems.

Long life and health to you, dear Igor Leonidovich, and talent, good spirits and hard work to you!

Elena Isaeva, poet, playwright

Volgin justifies his surname all his life. As its tributaries feed the Volga, so the versatile talents of Igor Leonidovich gradually made his personality bigger and bigger. The Creek of Poetry, the tributary of Literary Studies, the rivers of Teaching and Oratory, eventually turned into a delta of a major cultural figure in Russia. Maybe it’s too frontal metaphor, but I sincerely admire how all this harmoniously combines in one person, complementing and multiplying this unique phenomenon – Igor Volgin.

Inna Kabysh, poet, teacher

I recognize a dear one by his gait, our people say. I recognize the poet by the stanza, I add. Igor Volgin is recognizable by one – anyone! – stanza. For example:

Honey, knock this madhouse out.

Blow for a snack.

Or read before bed

“Lady with a dog. ”

Or:

And God moo like a cow

and manuscripts are on fire.

In the beginning was not the Word,

a clip and a video.

In each stanza, the whole poet is his everything: irony, conjugation of slang and high “calm”, and also time, translated into a word. I. Volgin is recognizable, which means, according to Baratynsky’s definition, he has “a non-general facial expression” – is this not a sign of a real poet.

Bakhyt Kenzheev, poet, prose writer (New York)

Igor Leonidovich is a personality, as you know, epoch-making, and decisively precious for modern Russian culture. When we met (and this was already more than half a century ago), he led the Luch literary studio at Moscow State University. One of the youngest members of the then Writers’ Union, he was not much older than his students, but he seemed to us a demigod (I’m still with him on “you”!). No wonder: he professionally knew all Russian poetry, had excellent taste and, most importantly, a brilliant teaching talent. He was not rude to anyone, even to young graphomaniacs, but did not forgive in verse either polymath, or clichés, or, God forbid, falsehood. I think that in a few years in the studio we received a very, very good education (not at all polluted by the Bolshevik ideology, by the way). It is not surprising that a good dozen outstanding poets have come out of it. But this was not enough for Igor Leonidovich. The studio still exists, but besides that, he also teaches at the Literary Institute, shines as an intellectual TV star on the Kultura channel, inspires and organizes international scientific conferences, and, like a cherry on a cake, gradually turned into almost the best in the world of a specialist in Dostoevsky. And most importantly, we, his students, are shocked by how his poetic muse has grown stronger and spoken out loud over the past 10-15 years. Add to this charm, good disposition, spiritual generosity, eternal youth – and you get a reliable portrait of the birthday man, which would be incomplete without mentioning his real muse – the wonderful Katya Volgina. Igor Leonidovich, we love you!

Pavel Kryuchkov, critic, sound archivist, head of the poetry department of the Novy Mir magazine

With his signature love of life and curiosity for the word, Igor Leonidovich captivated immediately and forever.

I remember how I signed up for a special course on Dostoevsky (the evening department of the Faculty of Journalism of Moscow State University) and asked for something “exciting and compact” for my term paper. Gorbachev’s perestroika was going on in the yard, every day brought a new publication, book, exhibition or film. We, students, pumped ourselves up with information in all kinds and genres, and I also worked at the factory. Time was of the essence.

Volgin called “Notes from the Underground”. Soon I told him that, having swallowed the story, I decided to start reading it again, so much this thing carried me away and confused me. We should have figured it out. “That’s great,” said the pleased teacher. “Go to the Library of Foreign Literature and look through the works of Czech emigrants on Dostoevsky, especially Bem, they are now available.” This advice was similar to the speech of a conspirator.

I wrote my term paper, marveling at my perseverance and passion. The sweet shadow of Alfred Ludwigovich Boehm, gleaming pince-nez, looked approvingly at me from somewhere in the depths of the reading room. So I learned that in Russian literature there were not only excellent Parisian emigrants, but also Prague ones. And Volgin revealed this to me.

In my home library, the collection “Lenin Mountains. Poems of poets of Moscow State University “(1977). I assure you that even now, after forty-five years, the compiler remembers by heart many of the early lines of his old students and guests of the Luch studio – for example, Bakhyt Kenzheev or Yuri Kublanovsky …

And also, taking this opportunity, I would like to warmly thank our teacher for the memories of Eduard Grigoryevich Babaev and the poem in memory of Yuri Fedorovich Karyakin. For me, these seemingly not mainstream works of our hero of the day are a precious lesson in nobility, sincerity and kindness.

Marina Kudimova, poet, writer, critic, translator

The well-known test for direct associations, where the poet is always Pushkin, the fruit is certainly an apple, and part of the face is a steady nose, in fact, is a provocation of standard thinking. Igor Volgin, who turns 80, today is perhaps the most important subverter of standards.

Poet? What more! Classic, modern, ironic. Using the entire arsenal of the Russian language up to the computer surzhik. A virtuoso of rhyme, as if he had not heard about the “crisis” and “exhaustion” of this universal poetic instrument. But Volgin did not write poetry for more than 20 years – and managed to revive phenomenally as a poet, like a Phoenix.

A master of research prose at the intersection of fiction and documentary? Yes. But Dostoevsky, with whom the name of Volgin is inextricably linked, like a fruit with an apple, the hero of the day took up seriously already in graduate school, suddenly realizing that not only the work of the great writer, but also his biography is an unplowed field.

A prominent media personality? Yes! Volgin’s author’s program “The Bead Game” lasted the first 10 years, and since it was conceived, it has remained a blatantly lonely intellectual show on our television. And to everything else and a teacher of two leading universities, an honorary professor. Academician of the Russian Academy of Natural Sciences. More than half a century the head of the Luch studio, which he himself founded, the favorite mentor of dozens of various poets, etc.

A fruit doesn’t have to be an apple. Pushkin is “our everything”, but he has followers. The Nose is a story by Gogol. There is no age.

Happy birthday, Igor Leonidovich! Many years!

Roman Senchin, prose writer, critic

I read the book “The Last Year of Dostoevsky” as a schoolboy. It made a great impression on me, the name of the author – Igor Volgin – I remember well. I read his other books, publications in magazines and every time I was saturated with life. There is such a word – “vitality”. Igor Leonidovich is exactly vital. Such people are not often found among talented writers – usually they are somewhat crippled, or something. And Igor Volgin generously shares his energy … When we met, I don’t remember exactly. Maybe at the Literary Institute, maybe at the Central House of Writers or at some creative evening. But they began to communicate closely at writers’ meetings in Yasnaya Polyana. I will not exaggerate that we talk excitedly for hours, but what we have also charges me for a long time. I wish Igor Leonidovich health, former cheerfulness and responsiveness.

Alexander Snegirev, prose writer

Our friendship with Igor Leonidovich is the same age as the Glass Bead Game. For ten years I have been both a spectator and a participant. Because of The Glass Bead Game, I read a lot of books – in preparation for filming, re-read, and often read for the first time. Igor Leonidovich manages not only to gather interesting guests, but he also has an excellent team – Tatyana Sorokina, Katya Volgina, chief editor Nikolai Marchenko, these are those whom I know personally, and also the director, cameramen, sound engineers, lights (illuminators.