Leonid preychin biography

Father is a doctor, mother is a midwife. Pretychin studied at the real school of Dauginsk Daugavpils, where the booty moved to, he entered the economic department of the St. Petersburg Polytechnic Institute, but did not graduate him, often excommunicated in Dvinsk. He participates in a statistical and economic survey of the regional army of Donskoy, then in the examination of the mouth of the Syr-Darya River.

He heads the Pretychin in the statistical bureau for the paper industry in Petrograd. There is no information about the orientation of the prey during the revolution. In the spring, preychin comes to Bryansk, where his family moved. In the summer, he works as a teacher at “courses for re-explosions”, then serves in the Gubstatburo and other Bryansk institutions “Statistics and Economist”.

The first attempts of professional literary activity of preychin dates back to the beginning, when he sends a handwritten collection from 5 stories “Evening and the Old Woman” to Leningrad M. Kuzmin. In addition to the aversion to ideologized aesthetics, the prey is brought closer to Kuzmin and some character traits: for example, he had no children, he was never married, and judging by his prose and letters, he experienced curiosity more stable than the ladies themselves.

In this paragraph, it resembles more than one kuzmin, but also Gogol, whose influence on his prose is universally recognized. Chukovsky with regular trips of preychin from Bryansk to Leningrad begin. However, any collectivist forms of the human dormitory turned out to be contraindicated in him, the dominant of his fate always remained loneliness. It is amazing what picture the imagination draws when it comes to the cover of his own book: “A miserable living room without people” I.

Slonimskaya’s letter of June 4, a completely correctly existing comparison of the prey with J. The writers have their extra-confessional reduced religiosity-a sign of sons than abstractness, abandonment. In their Odysses, the hero’s closest to the author is a detonant son, Telemak, in the disgusting world of “adult grooms”, whose destiny is moral paralysis.

And in communication with paralytics it is already indifferent - they are kind or evil. Almost in this disgust lies the unraveling of the preychinsky and Joyce plots, indifferent to the nomination of “good” and “evil”. In any case, the plots of the main book of the preychin “City En” and the “Dubliners” closest to it in the figurative system. In such a situation, the artist chooses the neutral position of the "chronicle".

Shcheglov, is that the events in it are not obliged to take shape in some well-known configurations, to have development, climax, denouement, etc. At the same time, the “chronology” prey is not a fruit of any aspirations for archaizing the style. It is convenient precisely to solve modern artistic tasks, and above all, to replace the plot of the plot traditional in the fiction of the plot, which most researchers of the production of prey style pay attention to.

The “Chronicle” of the “Chronicle” of the “Chronicle” of the “Chronicle” of the Kinematographer, ascending to the “installation” discoveries of Flauber in the “Madame Bovary”. The prey unit of prose became “paragraph-kadr”, “psychologically, the prey method is justified by the“ infantilism ”installation, opposed in its discretion of the monitor of the“ adult ”consciousness. Pretychin prefers everything that he did not manage to wobble.

Hence the thrust of a prose writer to the water element as a source of life V. This leading image of preychin is ambivalent, associated with the motive of disappearance, dissolution, non -being. The writer understands death as a disassembly of life, and not as a stiff, calcification. The shaky “portrait of the artist in youth” for preychin, as for Joyce, is more mysterious and captivated than any canonized types.

When they persistently look for the exposure, the successor of N. Shchedrin or the finalist of the Sologubov “small demon” in the prey, then it should at least take into account that this is some kind of unusually sad “Shchedrin” and almost a simple-minded “sologub”. In prose, the booty is the top that sorrow, not satire. It does not follow from which he was blind or deaf to the “terrible world”.

From the very first literary steps, he understood everything perfectly well - both about the “bosses” and about “censorship” such “dangerous” words of prey with sarcastic reverence he invariably writes from the title letters. But his “exposure” was that he, as it were, did not notice the subject of denunciation, deprived him of honor to be personified, described him as a dead nature.

He literally wrote “still lifes” on the battlefield and cries: “Today is the day of sorrow, and the bazaar Utykan with outskirts, as a map of the theater of war, what other families possessed.” This is written Jan 21. In the same way, he “did not notice” in his prose any big people, no big ideas. In the preychinsky detachment from the dominant phantoms, all the philosophical salt of his work: to put in the center of the artistic interests of such a person who in this era looks with a particularly small and insignificant creature.

It affects the direct honor of the writer: to leave aside the characters at which time looks from the bottom up. The first unsuccessful attempt to move to Leningrad dates back to autumn.At this time, he meets the Chukovsky family and through him with several writers. The circle of literary communication, the prey in the future does not expand. It includes the Chukovsky, Slonim, G.

Gore, V. Kaverin, N. Stepanov, L. Rakhmanov, E. Tager, Yu. Tynyanov, E. Schwartz, M. Klkapskaya, V. B in the Leningrad Publishing House “Thought”, his first collection “Meetings with Liz” is published. The next collection of stories “Portrait” appears at the end at the weekend - a prose writer has been prepared, but a collection “Materel” was not published, in which already printed texts were supposed to be used.

With the meticulous thoroughness of literary decoration, the prey leaves its works “open”. Installation of prey is as follows: the book can be mounted again again - the main thing in it is quality, quality of material. The initial purity, opened by the author of the "primary elements" of art, its "monads", is important. Pretychin found that life, seen at the distance of an outstretched arm, is the same substance that should be first correlated with world harmony and world cataclysms.

He did not like “complaints about generalizations”, Pretychin as an artist was looking for individual and unique, refusing the “general plan” of history and life. It is unlikely that he should be characterized by a “passionate, sarcastic, sharp exposure of philistinism”, as he sees the case, which unconditionally recognized his talent V., not the philistinism convicted prey, but was sad about the man as such.

The fact that he is confused and heses in the face of history. Before Pretychin lived a “failed event” of moving to Leningrad. One of his researchers even believes that all his prose is “the story of the failed event” and in this paragraph, imminent A. is very close to Chekhov This proximity is undeniable, and the preychinsky city of En is not only a remi-trijor from Dead Souls, but also from the Chekhov “steppe”, which began with the departure of a boy from the district city of N.

Came from such a departure to Leningrad, preychin hoped to get rid of longing. In the preychin, he received a room from the joint venture in a communal apartment, its situation is an ominously realized metaphor composed by the author for himself the mentioned sketch of the cover. In the last year of his life, A. Grigoryev recalls at the preychin: “His room was completely empty.

I was sitting on a box. There was a kind of literary evening. A ten man came ”a star. Most likely, the prey and the preychinsky neighbor in the apartment of A. Drozdov, “Shurka”, the last and vain hope of the writer were among those present. He is dedicated to him “City En”, his name Pretychin put him next to his story “Wild”, and the last thing of the writer was written about his childhood - the story “Shurkin’s relatives”.

For the first time in the preychinsky prose, the hero - the lad Shurka - “evolves” during the narrative - and obviously not for the better. The deaf provincial life of stormy military and revolutionary years described in the “Shurkina relatives” does not include any of the characters to good deeds. This story ends simply: "Shurka thought and decided that we needed to go to crooks again." It is impossible to get rid of the feeling that friendship with young Drozdov only emphasizes the joyless preychinsky loneliness.

In the literary atmosphere, it was not easier to breathe. During his life, the prey of the press responded about him kindly on the three pages of N. Other reviewers did not constrain themselves either in volume or in the expressions: “Shameful Book” “On Epion”, “Emust Leave”, etc. The city is especially in. ” Meanwhile, the leitmotif of this novel is a human need for friendship and spiritual communication.

That all this is impossible in modern. The tangibly recreated, collapsing, absurdly discrete world of the novel is the projection of this, first groped for the tragedy, become becoming the become becoming children's consciousness. The boy from the City of En is shown in an instant when he frantically seeks the latest possibilities to carry out an invaluable desire to break through internally from one person to another, clings to the half -imagined friend, then for Manilov with Chichikov: “Did you hear, as if Chichikov and Manilov, bastards?

We are taught this to the school. I laughed at it. " That's what the warming, warming motive of this private, small human life is: there are no heroes in it, no big people, so do not take away the last, “black”, in the words of the same Gogol.