Consider Shalamov's collection, on which he worked from 1954 to 1962. Let's describe its brief content. " Kolyma stories"- a collection, the plot of which is a description of the camp and prison life of the prisoners of the Gulag, their tragic fates, similar to one another, in which chance rules. The author constantly focuses on hunger and satiety, painful dying and recovery, exhaustion, moral humiliation and degradation. You will learn more about the issues raised by Shalamov by reading the summary. "Kolyma stories" is a collection that is a reflection of what the author experienced and saw over the 17 years he spent in prison (1929-1931) and Kolyma (from 1937 to 1951). The photo of the author is presented below.

Gravestone

The author recalls his comrades from the camps. We will not list their names, as we are compiling a summary. "Kolyma stories" is a collection in which artistry and documentary are intertwined. However, all the murderers are given real names in the stories.

Continuing the story, the author describes how the prisoners died, what torments they experienced, talks about their hopes and behavior in "Auschwitz without ovens", as Shalamov called the Kolyma camps. Few managed to survive, but few survived and did not break morally.

"The Life of Engineer Kipreev"

Let us dwell on the following curious story, which we could not help but describe, making up a summary. "Kolyma Tales" is a collection in which the author, who has not sold or betrayed anyone, says that he has worked out a formula for protecting his own existence. It consists in the fact that a person can survive if he is ready to die at any moment, he can commit suicide. But later he realizes that he only built a comfortable shelter for himself, since it is not known what you will become at a decisive moment, whether you will have enough not only mental strength, but also physical.

Kipreev, an engineer-physicist arrested in 1938, not only was able to withstand the interrogation with a beating, but even attacked the investigator, as a result of which he was put in a punishment cell. But all the same, they are trying to get him to give false testimony, threatening to arrest his wife. Nevertheless, Kipreev continues to prove to everyone that he is not a slave, like all prisoners, but a man. Thanks to his talent (he fixed the broken one and found a way to restore burnt out light bulbs), this hero manages to avoid the most difficult work, but not always. It is only by a miracle that he survives, but the moral shock does not let him go.

"For the show"

Shalamov, who wrote the Kolyma Tales, a summary of which interests us, testifies that the camp corruption affected everyone to one degree or another. It was carried out in various forms. Let us describe in a few words one more work from the collection "Kolyma stories" - "On the show". Summary his story is as follows.

Two thieves play cards. One loses and asks to play on credit. Exasperated at some point, he orders an unexpectedly imprisoned intellectual, who happened to be among the spectators, to hand over his sweater. He refuses. One of the thieves "finishes" him, and the thieves get the sweater anyway.

"At night"

We turn to the description of another work from the collection "Kolyma stories" - "At night". A brief summary of it, in our opinion, will also be interesting to the reader.

Two prisoners sneak to the grave. The body of their comrade was buried here in the morning. They take off the dead man's linen in order to exchange it tomorrow for tobacco or bread, or sell it. Disgust for the clothes of the deceased is replaced by the thought that perhaps tomorrow they will be able to smoke or eat a little more.

There are a lot of works in the collection "Kolyma stories". "Carpenters", the summary of which we have omitted, follows the story "Night". We invite you to familiarize yourself with it. The product is small in size. The format of one article, unfortunately, does not allow describing all the stories. Also, a very small work from the collection "Kolyma stories" - "Berries". A summary of the main and most interesting, in our opinion, stories is presented in this article.

"Single freeze"

Defined by the author as slave camp labor - another form of corruption. The prisoner, exhausted by him, cannot work out the norm, labor turns into torture and leads to slow death. Dugaev, the convict, is getting weaker and weaker because of the 16-hour working day. He pours, kaylit, carries. In the evening, the caretaker measures what he has done. The figure of 25%, named by the caretaker, seems very large to Dugaev. His hands, head, aching calves are unbearable. The prisoner does not even feel hunger anymore. Later, he is called to the investigator. He asks: "Name, surname, term, article." The soldiers take the prisoner every other day to a remote place surrounded by a fence with barbed wire. At night, the sound of tractors can be heard from here. Dugaev guesses why he was brought here, and understands that life is over. He regrets only that he suffered in vain for an extra day.

"Rain"

You can talk for a very long time about such a collection as Kolyma Tales. A summary of the chapters of the works is for informational purposes only. We bring to your attention the following story - "Rain".

"Sherri Brandy"

The poet-prisoner, who was considered the first poet of the 20th century in our country, dies. He lies on the bunk, in the depths of their bottom row. The poet dies for a long time. Sometimes a thought comes to him, for example, that someone stole bread from him, which the poet put under his head. He is ready to seek, fight, swear... However, he no longer has the strength to do so. When a daily ration is put into his hand, he presses the bread to his mouth with all his strength, sucks it, tries to gnaw and tear with loose scurvy teeth. When a poet dies, he is not written off for another 2 days. During the distribution, the neighbors manage to get bread for him as if it were alive. They arrange for him to raise his hand like a puppet.

"Shock therapy"

Merzlyakov, one of the heroes of the collection "Kolmysk Stories", a summary of which we are considering, a convict of large build, understands that he is failing at general work. He falls, cannot get up and refuses to take the log. First, he is beaten by his own, then by the escorts. He is brought to the camp with lower back pain and a broken rib. After recovering, Merzlyakov does not stop complaining and pretends that he cannot straighten up. He does this in order to delay the discharge. He is sent to the surgical department of the central hospital, and then to the nervous one for research. Merzlyakov has a chance to be written off due to illness. He tries his best not to be exposed. But Pyotr Ivanovich, a doctor, himself a former convict, exposes him. Everything human in him replaces the professional. He spends the bulk of his time precisely exposing those who feign. Pyotr Ivanovich is looking forward to the effect that the case with Merzlyakov will produce. The doctor first makes him anesthetized, during which he manages to unbend Merzlyakov's body. A week later, the patient is prescribed shock therapy, after which he asks to be discharged himself.

"Typhoid Quarantine"

Andreev enters quarantine, having contracted typhus. The position of the patient compared to the work in the mines gives him a chance to survive, which he hardly hoped for. Then Andreev decides to stay here as long as possible, and then, perhaps, he will no longer be sent to the gold mines, where death, beatings, hunger. Andreev does not respond to the roll call before sending the recovered to work. He manages to hide in this way for quite a long time. The transit line is gradually emptying, and finally Andreev's turn comes. But now it seems to him that he has won the battle for life, and if now there will be dispatches, then only for local, close business trips. But when a truck with a group of prisoners who were unexpectedly given winter uniforms crosses the line separating long-distance and short-range business trips, Andreev realizes that fate has laughed at him.

In the photo below - on the house in Vologda, where Shalamov lived.

"Aortic Aneurysm"

In Shalamov's stories, illness and hospital are an indispensable attribute of the plot. Ekaterina Glovatskaya, a prisoner, is taken to the hospital. This beauty immediately attracted Zaitsev, the doctor on duty. He knows that she is in a relationship with the convict Podshivalov, his acquaintance, who leads the local circle amateur performances, the doctor nevertheless decides to try his luck. As usual, he begins with a medical examination of the patient, with auscultation of the heart. However, male interest is replaced by medical concern. In Glovatsky, he discovers This is a disease in which every careless movement can provoke death. The authorities, who made it a rule to separate lovers, once sent the girl to a penal female mine. The head of the hospital, after the doctor's report about her illness, is sure that these are the machinations of Podshivalov, who wants to detain his mistress. The girl is discharged, but she dies during loading, which Zaitsev warned about.

"Major Pugachev's last fight"

The author testifies that after the Great Patriotic War prisoners began to arrive in the camps, who fought and went through captivity. These people are of a different temper: able to take risks, courageous. They only believe in weapons. Camp slavery did not corrupt them, they were not yet exhausted to the point of losing their will and strength. Their "guilt" was that these prisoners were captured or surrounded. It was clear to one of them, Major Pugachev, that they had been brought here to die. Then he gathers strong and determined, to match himself, prisoners who are ready to die or become free. Escape is prepared all winter. Pugachev realized that after surviving the winter, only those who managed to bypass the common work could escape. One by one, the participants in the conspiracy are moving into service. One of them becomes a cook, the other becomes a cult trader, the third repairs weapons for the guards.

One spring day, at 5 am, they knocked on the watch. The attendant admits the prisoner-cook, who, as usual, came for the keys to the pantry. The cook strangles him, and another prisoner changes into his uniform. The same thing happens with other attendants who returned a little later. Then everything happens according to Pugachev's plan. The conspirators burst into the security room and take possession of the weapon, shooting the guard on duty. They stock up on provisions and put on military uniforms, holding suddenly awakened fighters at gunpoint. Leaving the territory of the camp, they stop the truck on the highway, drop the driver off and drive until the gas runs out. Then they go to the taiga. Pugachev, waking up at night after many months of captivity, recalls how in 1944 he escaped from a German camp, crossed the front line, survived interrogation in a special department, after which he was accused of espionage and sentenced to 25 years in prison. He also recalls how emissaries of General Vlasov came to the German camp, who recruited Russians, convincing them that the captured soldiers for the Soviet regime were traitors to the Motherland. Then Pugachev did not believe them, but soon he himself was convinced of this. He looks lovingly at his comrades sleeping beside him. A little later, a hopeless battle ensues with the soldiers who surrounded the fugitives. Almost all of the prisoners die, except for one, who is cured after a severe wound in order to be shot. Only Pugachev manages to escape. He is hiding in a bear den, but he knows that they will find him too. He does not regret what he did. His last shot is to himself.

So, we examined the main stories from the collection, authored by Varlam Shalamov ("Kolyma stories"). The summary introduces the reader to the main events. You can read more about them on the pages of the work. The collection was first published in 1966 by Varlam Shalamov. "Kolyma Tales", a summary of which you now know, appeared on the pages of the New York edition of "New Journal".

In New York in 1966, only 4 stories were published. The following year, 1967, 26 stories by this author, mostly from the collection we are interested in, were translated into German in the city of Cologne. During his lifetime, Shalamov never published the collection "Kolyma Tales" in the USSR. The summary of all chapters, unfortunately, is not included in the format of one article, since there are a lot of stories in the collection. Therefore, we recommend that you familiarize yourself with the rest.

"Condensed milk"

In addition to those described above, we will tell about one more work from the collection "Kolyma Stories" - Its summary is as follows.

Shestakov, an acquaintance of the narrator, did not work at the mine in the face, since he was a geological engineer, and he was taken to the office. He met with the narrator and said that he wanted to take the workers and go to the Black Keys, to the sea. And although the latter understood that this was not feasible (the path to the sea is very long), he nevertheless agreed. The narrator reasoned that Shestakov probably wants to hand over all those who will participate in this. But the promised condensed milk (to overcome the path, it was necessary to eat) bribed him. Going to Shestakov's, he ate two cans of this delicacy. And then suddenly he said that he had changed his mind. A week later, other workers fled. Two of them were killed, three were tried a month later. And Shestakov was transferred to another mine.

We recommend reading other works in the original. Shalamov wrote Kolyma Tales very talentedly. The summary ("Berries", "Rain" and "Children's Pictures" we also recommend reading in the original) conveys only the plot. The author's style, artistic merits can only be appreciated by getting acquainted with the work itself.

Not included in the collection "Kolyma stories" "Sentence". We did not describe the summary of this story for this reason. However, this work is one of the most mysterious in Shalamov's work. Fans of his talent will be interested to get acquainted with him.

The article is posted on a hard-to-reach Internet resource in the pdf extension, I duplicate it here.

Documentary artistry of the stories "The Parcel" by V.T. Shalamov and "Sanochki" G.S. Zhzhenova

The article is related to the theme of the Kolyma hard labor camps and is devoted to the analysis of the documentary and artistic world of the stories "The Parcel" by V.T. Shalamov and "Sanochki" G.S. Zhzhenova.

The exposition of Shalamov's story "The Parcel" directly introduces the main event of the story - the receipt by one of the prisoners of the parcel: "The parcels were given out on duty. Brigadiers certify the identity of the recipient. Plywood broke and cracked in its own way, like plywood. The local trees did not break like that, they did not shout with such a voice. It is no coincidence that the sound of parcel plywood is compared with the sound of breaking Kolyma trees, as if symbolizing two different polar modes of human life - life in the wild and life in prison. “Diversity of polarities” is clearly felt in another equally important circumstance: a convict who comes to receive a parcel notices behind the barrier people “with clean hands in overly neat military uniforms” . The contrast from the very beginning puts an insurmountable barrier between the disenfranchised prisoners and those who stand above them - the arbiters of their destinies. The attitude of the "masters" to the "slaves" is also noted in the plot of the plot, and bullying of the prisoner will vary until the end of the story, forming a kind of event constant, emphasizing the absolute lack of rights of the ordinary inhabitant of the Stalinist forced labor camp.

The article deals with the GULAG theme. The author made an attempt to analyze the documentary and fi ction worlds of the two stories.

LITERATURE

1. Zhzhenov G.S. Sanochki // From "Capercaillie" to "Firebird": a story and stories. - M.: Sovremennik, 1989.
2. Cress Vernon. Zecameron of the 20th century: a novel. - M.: Artist. lit., 1992.
3. Shalamov V.T. Collected works. In 4 vols. T. 1 // comp., prepared. text and notes. I. Sirotinskaya. - M.: Artist. lit., 1998.
4. Shalamov V.T. Collected works. In 4 vols. T. 2 // comp., prepared. text and notes. I. Sirotinskaya. - M.: Artist. lit., 1998.
5. Schiller F.P. Letters from the dead house / comp., trans. with him., note., afterword. V.F. Diesendorf. - M.: Society. acad. Sciences grew up. Germans, 2002.

NOTES

1. Note that dreams about food, about bread, do not give the hungry prisoner in the camp peace: “I slept and still saw my constant Kolyma dream - loaves of bread floating through the air, filling all the houses, all the streets, the whole earth.”
2. Philologist F.P. Schiller wrote to his family in 1940 from a camp in Nakhodka Bay: “If you haven’t sent boots and a top shirt yet, then don’t send it, otherwise I’m afraid that you will send something completely inappropriate.”
3. Shalamov recalls this incident both in “Essays on the Underworld” and in the story “Tombstone”: “Burki cost seven hundred, but it was a bargain.<…>And I bought a whole kilo of butter in the store.<…>I also bought some bread…”
4. Due to the constant hunger of prisoners and exhausting hard work, the diagnosis of "alimentary dystrophy" in the camps was a common occurrence. This became fertile ground for making adventures on an unprecedented scale: “all products that were past their shelf life were written off to the camp.”
5. Something similar to this feeling is experienced by the hero-narrator of the story “Conspiracy of Lawyers”: “I have not yet been pushed out in this brigade. There were people here even weaker than me, and this brought some kind of reassurance, some kind of unexpected joy. Kolyma resident Vernon Kress writes about human psychology in such conditions: “We were pushed by our comrades, because the sight of a person who has come down always acts irritatingly on a healthier person, he guesses his own future in him and, moreover, is drawn to find an even more defenseless one, to recoup on him.<...>» .
6. Not only the blatari loved theatricality, other representatives of the camp population also had an interest in it.

Cheslav Gorbachevsky, South Ural State University

The work of Varlam Shalamov belongs to the Russian literature of the 20th century, and Shalamov himself is recognized as one of the most outstanding and talented writers of this century.

His works are imbued with realism and unbending courage, and the Kolyma Tales, his main artistic legacy, are the brightest example all the motives of Shalamov's creativity.

Each story included in the collection of short stories is reliable, since the writer himself had to endure the Stalinist Gulag and all the torments of the camps that followed it.

Man and the totalitarian state

As mentioned earlier, "Kolyma Tales" is dedicated to the life that an incredible number of people had to endure who went through the ruthless Stalinist camps.

Thus, Shalamov raises the main moral question of that era, reveals key issue of that time is a confrontation between the personality of a person and a totalitarian state that does not spare human destinies.

Shalamov does this through the depiction of the life of people exiled to camps, because this is already the final moment of such a confrontation.

Shalamov does not shy away from harsh reality and shows the whole reality of that so-called "life process" that devours human personalities.

Changes in the values ​​of human life

In addition to the fact that the writer shows how severe, inhuman and unfair punishment this is, Shalamov focuses on who a person is forced to turn into after the camps.

This topic is especially clearly highlighted in the story “Dry rations”, Shalamov shows how much the will and oppression of the state suppresses the personal principle in a person, how much his soul will be dissolved in this malicious state machine.

Through physical abuse: constant hunger and cold, people were turned into animals, no longer aware of anything around, wanting only food and warmth, denying all human feelings and experiences.

The values ​​of life become elementary things that transform the human soul, turn a person into an animal. All that people begin to desire is to survive, all that controls them is a dull and limited thirst for life, a thirst just to be.

Artistic techniques in "Kolyma stories"

These almost documentary stories are imbued with a subtle, powerful philosophy and spirit of courage and courage. Many critics emphasize the special composition of the entire book, which consists of 33 stories, but does not lose its integrity.

Moreover, the stories are not arranged in chronological order, but this composition does not lose its semantic purpose. On the contrary, Shalamov's stories are arranged in a special order, which allows you to see the life of people in the camps fully, to feel it as a single organism.

Artistic techniques used by the writer are striking in their thoughtfulness. Shalamov uses laconism in describing the nightmare that people experience in such inhuman conditions.

This creates an even more powerful and tangible effect of what is described - after all, he speaks dryly and realistically about the horror and pain that he himself managed to experience.

But "Kolyma stories" consist of different stories. For example, the story "Tombstone" is saturated with unbearable bitterness and hopelessness, and the story "Sherry Brandy" shows how much a person is above circumstances and that for any life is filled with meaning and truth.

LESSONS 1 - 2. V. SHALAMOV. "KOLYMA STORIES" OBJECTIVES: Analyzing the works of V. T. Shalamov, to answer the question: "What could a person oppose to this hellish colossus, grinding it with its teeth of evil?" Equipment: book exhibition: V. Shalamov. "Kolyma stories"; A. Solzhenitsyn. "The Gulag Archipelago"; O. Volkov. "Immersion in darkness"; recording of I. Talkov's song "Russia". DURING THE CLASSES. 1. Opening remarks Turning the pages of the works of V. Shalamov, A. Solzhenitsyn, O. Volkov, A. Zhigulin, we will feel the need to talk about the difficult, totalitarian time in our country. In many families, in the countryside and in the city, among the intelligentsia, workers and peasants, there were people who long years sent to hard labor for their political beliefs, where many of them died from unbearable living conditions. Shalamov, Volkov, Zhigulin, Solzhenitsyn are writers who have drunk this cup to the full. “How do you get to this mysterious Archipelago? Airplanes fly there every hour, ships sail, trains thunder - but not a single inscription on them indicates the destination. Both ticket clerks and agents of Sovtourist and Intourist will be amazed if you ask for a ticket there. Neither the entire archipelago as a whole, nor one of its countless islets, they knew or heard. ... The Universe has as many centers as there are living beings in it. Each of us is the center of the universe, and the universe collapses when they hiss at you: "You are under arrest." If you are already under arrest, is there anything else that has survived this earthquake? What is an arrest? Arrest is an instantaneous, striking transfer, transfer, transfer from one state to another. Along the long crooked street of our life, we happily rushed or unhappily wandered past some kind of fences - rotten, wooden, adobe duvals, brick, concrete, iron fences . We didn't think about what was behind them. We did not try to look beyond them with our eyes or mind - and that is where the Gulag country begins. Very close, two meters from us” (A. Solzhenitsyn, “The Gulag Archipelago”). The experience of Shalamov as a political prisoner is one of the most difficult: the work is inhumanly difficult - in a gold mine, and the term is extremely hard - seventeen years. Even among prisoners, Shalamov's fate is unusual. People who suffered from the Gulag admitted that Shalamov got much more. “Would I have withstood what Shalamov withstood? I'm not sure, I don't know. Because the depth of humiliation, deprivation that he had to endure in Kolyma ... of course, I did not have to. I have never been beaten, but Shalamov's eardrums were broken, ”wrote Oleg Vasilyevich Volkov. This terrible experience did not leave the writer all his life. “Closing his nose with a perfumed handkerchief, investigator Fedorov talked to me: “You see, you are accused of praising Hitler’s weapons. - What does it mean? - Well, the fact that you spoke approvingly of the German offensive. “I know next to nothing about it. I haven't seen newspapers for many years. Six years. - Well, that's not the point. You said that the Stakhanovite movement in the camp is a falsehood, a lie. - I said that this is ugliness, in my opinion, this is a distortion of the concept of "Stakhanovite". - Then you said that Bunin is a great Russian writer. – He is really a great Russian writer. For what I said, can I give time? 1 - It is possible. He is an emigrant, a vicious emigrant... You see how we treat you. Not a single rude word, no one beats you. No pressure ... "(V. T. Shalamov. "My process"). - What were they accused of, what was the hero of the story arrested for? What is an arrest? Here is how A. I. Solzhenitsyn answers this question: “... arrest: this is a blinding flash and blow, from which the present is immediately relegated to the past, and the impossible becomes a full-fledged present. This is a sharp night call, or a rude knock on the door. This is a brave entry into the unwashed boots of operatives... This is breaking open, ripping open, throwing off walls, throwing on the floor from cabinets, tables, shaking out, tearing, scattering - and stuffing mountains on the floor, and crunching under boots! And nothing is sacred during a search! During the arrest of the locomotive driver Inokhin, in his room on the table there was a coffin with a child who had just died. Lawyers threw the child on the floor, they searched in the coffin... And they shake the sick out of bed, and unbandage the bandages... In 1937, the institute of Dr. Kazakov was smashed. Vessels with lysates invented by him were broken by the "commission", although healed and healed cripples jumped around and begged to keep the miraculous medicine. But according to the official version, lysates were considered poisons. So why weren't they kept at least as material evidence?! Arrests come in many different forms... You are arrested in the theatre, on the way to and from the store, at the train station, in a train car, in a taxi. Sometimes arrests even seem like a game - there is so much fiction, full energy in them ”(A.I. Solzhenitsyn.“ The Gulag Archipelago ”). - For what it was possible to get into the Archipelago? Listen to the voices of the terrible past ... (Students read fragments of documents: - Railway rank Gudkov: "I had records with Trotsky's speeches, and my wife reported." - Machinist, representative of the society of jokers: "Friends gathered on Saturdays with families and told jokes. .. "Five years. Kolyma. Death ... - Misha Vygon - a student of the Institute of Communications: "I wrote to Comrade Stalin about everything that I saw and heard in prison. "For three years, Misha survived, insanely denying, renouncing his close comrades, survived executions. He himself became a shift supervisor at the same Partizan section, where all his comrades died, were destroyed. - Kostya and Nika. Fifteen-year-old Moscow schoolchildren who played football in a cell with a home-made rag ball "terrorists" who killed Khadzhyan. Many years later, it turned out that Khadzhyan had been shot dead in his office by Beria, and the children who were accused of killing him, Kostya and Nika, died in Kolyma in 1938. They died, although no one really forced them to work ... Died and from the cold... A student reads a poem by V. Shalamov. Where is life? And I'm afraid to step forward, Even though the rustle of a leaf Step into a hole, into a black forest, She would let it slip, Where memory takes by the hand But behind her back is emptiness, And there is no heaven. But behind is silence. What do you feel in this poem? What marks the human and artistic memory of Shalamov? “Despite the terrible years spent in the mines, he retained an excellent memory. Shalamov draws the truth, seeks to restore to the smallest detail all the details of his stay in prison, does not soften the colors. – Shalamov depicts torture as inhuman conditions of existence, slavish overwork, the terror of criminals, hunger, cold, complete insecurity before arbitrariness. The scrupulous memory of the writer captures the evil of the camps. Under the pen of the artist appears the truth about the experience. Students read an excerpt from Shalamov's letter to Pasternak. “The camp, for a long time, since 1929, has been called not a concentration camp, but a correctional labor camp (ITL), which, of course, does not change anything, is an extra link in the chain of lies. The first camp was opened in 1924 in Kholmogory, in the homeland of M.V. Lomonosov. It contained mainly participants in the Kronstadt rebellion (even numbers, because the odd ones were shot immediately after the suppression of the rebellion). In the period from 1924 to 1929 there was one camp - Solovetsky, i.e. SLON, with branches on the islands in Kem, Ukhta-Pechora and the Urals. Then they got a taste, and from 1929 the business began to grow rapidly. The "reforging" of the White Sea Canal began; Potma, then Dmitlag (Moscow - Volga), where in Dmitlag alone there were over 800,000 people. Then there were no more camps: Sevlag, Sevvostlag, Bamlag, Irkutlag. It was densely populated. ... White, slightly bluish haze of a sixty-degree winter night, an orchestra of silver pipes playing carcasses in front of a dead line of prisoners. The yellow light of huge gasoline torches drowning in the white haze; They read the lists of those who were shot for not fulfilling the norm ... ... The fugitive, who was caught in the taiga and shot by operatives ... chopped off his fingers of both hands - after all, they need to be printed, - by morning he recovered and made his way to our hut. Then he was finally shot dead. ... Those who could not go to work were tied to drag sledges and the sleigh dragged him for two-three kilometers ... "The student reads an excerpt from B. Pasternak's poem "Soul": My soul, sadness With a sobbing lyre About everyone in my circle , Mourning them, You became a tomb You are selfish in our time Tortured alive. Embalming their bodies for conscience and fear, You stand as a grave urn, Dedicating a verse to them, Resting their ashes... - “All these are random pictures,” wrote Shalamov. - The main thing is not in them, but in the corruption of the mind and heart, when it becomes clearer day by day to the vast majority that, it turns out, it is possible to live without meat, without sugar, without clothes, without shoes, and most importantly without honor, duty, conscience, love! Everything is exposed, and this last exposure is terrible... After all, there has never been a single major construction site without prisoners - people whose life is an uninterrupted chain of humiliations. Time has successfully made a man forget that he is a man!” - That's about this and much more - "Kolyma stories" by Shalamov, which we'll talk about. 2. Analysis of stories. I recommended in advance to read for the lesson and briefly summarize the content of Shalamov's stories “At Night”, “On the Performance”, “The Snake Charmer”, “ Last Stand Major Pugachev”, “Best Praise”, “Shock Therapy”, “Apostle Paul”. - Is it easy to save, not to lose yourself in the conditions described in the story "Night"? - Many of Shalamov's stories show how hunger, cold, constant beatings turn a person into a miserable creature. The desires of such people are dulled, limited to food, sympathy for someone else's grief is also dulled. Friendship is not formed in hunger and cold. - What feelings, for example, can the hero of the story "Single metering" have? A single measurement is a measurement of personal output. Former student Dugaev is given an impossible norm. He worked in such a way that "arms, shoulders, head hurt unbearably." But he still did not fulfill the norm (only 25%) and was shot. He is so exhausted and depressed that he has no feelings. He only “regretted that this last day of today had been tormented in vain.” – There were moments when the inflamed human brain continued to desperately resist gradual dying, dullness. Shalamov speaks about this in the story "Sentence". Shalamov's morality is the same for everyone, universal. It is for all time, and morality is only that which is for the benefit of man. There is no need to talk about any moral norms in the Gulag. What morality, if every minute you can be beaten for nothing, killed even without any reason. "NIGHT" 1954 - Briefly retell the plot of the story. (Two prisoners take off clothes from the dead to survive). - By what artistic means does the author draw his characters? (portrait - p. 11; there is a manner in the camp - p. 11). - How can you characterize the act of Bagretsov and Glebov in terms of morality? (as immoral) - What is the reason for the act? (a constant state of hunger, fear of not surviving, hence the act) - How can one morally evaluate this act? (disgrace, blasphemy) - Why did they choose this particular dead man? (p.12) (it was a newcomer) - Is it easy for the heroes to decide on such a thing? What was simple and clear for them? (p.11 - 12) (dig up clothes, sell, survive). The author shows that these people are still alive. - What unites Bagretsov and Glebov? (hope, desire to survive at any cost) - But these are no longer people, but mechanisms. (p. 12 √√) - Why is the story called "Night"? (p.13) (the ghostly world of the night gives hope to survive, it is opposed to the real world of the day, which takes away this hope) Conclusion: a small hope to live one more day warmed and united people even in an immoral act. The moral principle (Glebov was a doctor) is completely suppressed before the cold, hunger, death. "AT THE PRESENTATION" (debt game) 1956 - Retell the plot of the story. (Sevochka and Naumov play cards. Naumov lost everything and began to play for a long time, but he has nothing of his own, and the debt must be submitted within an hour. The sweater of a person who does not give it voluntarily is given on credit, and he is killed). - Through what artistic means does the author introduce us to the life and life of prisoners? List. (description of the barrack, portrait characteristics, the behavior of the characters, their speech) - From t.zr. composition, what element is the barrack description? (p.5) (exposition) - What are the cards made of? What does it say? (p.5) (from the volume of V. Hugo, about lack of spirituality) - Read the portrait characteristics of the characters. Find key words in character descriptions. Sevochka (p. 6), Naumov (p. 7) - The game has begun. Through whose eyes are we watching it? (narrator) - What does Naumov lose to Sevochka? (costume, p.7) - By what moment, from the point of view. compositions, are we coming? (starting) 4 - What does the loser Naumov decide on? (for a presentation, p. 9.) - Where will he take a thing on credit? (p.9) - Who do we see now: a saint or a murderer looking for a victim? - Is the tension increasing? (yes) - What is the name of this compositional technique? (culmination) - Where is the highest point of tension: when Naumov is looking for a victim or Garkunov's words: "I won't take it off, only with skin"? Why didn't Garkunov take off his sweater? (p.10) (besides what the narrator says, this is also a fortress that connects Garkunov with another life, if he loses his sweater, he will die) - Which episode of the story serves as a denouement? (Murder of Garkunov, p. 10√√) This is the denouement, both physical and psychological. - Do you think the murderers will be punished? Why? Who is Garkunov? (No, Garkunov is an engineer, an enemy of the people, convicted under Art. 58, and the killers are criminals who were encouraged by the heads of the camps, that is, there is mutual responsibility) "SNAKE CHARMER" 1954 Purpose: through artistic means see forms of bullying people. - Name the forms of bullying that occur in the story. (pushed in the back, pushed out into the light, raised at night, sent to sleep in a latrine (latrine), deprived of a name). Who is the clash between in the story? (This is a typical clash between criminals and political ones, according to Article 58) - Who is Fedechka? What is his status in the barracks? (p. 81√) (a fingernail, doing nothing - a form of life for criminals) - What was Fedechka daydreaming about? (p. 81 √√) - How does the speech characterize the hero? (he feels like a master, free in the life and death of these people) - Why does Platonov lose morality? (p.82√√) Having said: “... I can squeeze,” Platonov did not rise above the thieves, but descended to their level, thereby dooming himself to death, because. during the day he will work, and at night he will tell novels. - Has Platonov's position changed? Conclusion: in the camps there was an established system of bullying of those who were convicted under Article 58. Some of the scum crushed the best people, "helping" the state machine to grind the best that was. The student reads Shalamov's poem. If you manage, you will comfort That the ice of forest swamps And calm your sobs. Will never melt. Alas! Stronger hopes Under the black glass My memories. Swamps of ice Their raven protects Hidden warmth And he himself, I suppose, does not know The unspoken word. “Alas! Stronger than hopes / My memories ... ”How do you understand these lines? How do you understand this poem? “The hopes of the prisoners may not be fulfilled. Most likely they won't come true. But the imprinted memory will remain. “Memories are powerful. They have experience... - Here is what Shalamov said in the story "The Train": "I was frightened by the terrible power of man - the desire and ability to forget. I saw that I was ready to forget, cross out, 20 years from my 5th life. And what years! And when I realized this, I defeated myself! I knew I wouldn't let my memory forget everything I saw!" Conclusion. V. Shalamov himself said that he conveyed in his work “... the truth about the struggle of man against the state machine. The truth of this struggle, the struggle for oneself, within oneself, outside oneself. Today we have touched this truth. And I hope we will keep it in our hearts... At home: pp. 313 - 315, a report on the life and work of V.M. Shukshin. Stories "Crank", "Cut", "Wolves", etc. 6

Introduction

Brief curriculum vitae

History of creation " Kolyma stories»

1 The main themes and motives of Shalamov's work

2 The context of life during the creation of the Kolyma Tales

Analysis of several stories from the cycle "Kolyma stories"

1 General analysis"Kolyma stories"

2 Analysis of several stories from the collection "Kolyma stories"

Conclusion

Bibliographic list

Introduction

"Kolyma stories" - an attempt to put and solve some important moral questions time, questions that simply cannot be resolved on other material. The question of the meeting of man and the world, the struggle of man with the state machine, the truth of this struggle, the struggle for oneself, within oneself - and outside oneself. Is it possible to actively influence one's destiny, which is being ground by the teeth of the state machine, the teeth of evil. Illusory and heaviness of hope. Opportunity to rely on forces other than hope...

V. Shalamov

Shalamov is a master of naturalistic descriptions. At the end of the 1980s, in connection with the ideas of "perestroika" and "new thinking" put forward, a flood of previously forbidden literature fell upon the general reader. Works began to be published on the so-called "camp theme", which until that time had been represented only by A.I. Solzhenitsyn's story "One Day in the Life of Ivan Denisovich". Literary and artistic periodicals gave their pages to the works of N. Mandelstam, E. Ginzburg, L. Razgon, A. Zhigulin, V. Shalamov; the novels of O. Volkov, Yu. Dombrovsky saw the light.

Creativity V.T. Shalamov had a fate determined by the peculiarities of the transitional time: superficial reading, hasty conclusions and enrollment in the "camp theme", which now, as many believe, has only historical value. For many, not only ordinary readers, but also literary critics, Shalamov remained the creator of the Kolyma Tales.

Shalamov is a writer of a special kind and with special creativity, representing not only artistic, but also historical significance for Russian literature. Shalamov is the mouthpiece of the era, who found the strength to tell about the horrors of the Gulag experienced without concealment, embellishment, but with perfect documentary authenticity. Shalamov's view is a view from within.

The purpose of our work is an attempt to explore the influence of the context of the writer's life. In this case, V. Shalamov, on his work.

V.Shalamov's creativity gives an opportunity for social moralization. V. Esipov writes: “[Shalamov] initially focused on the truth as the norm of literature and the norm of being (highlighted by the author - I.N.). Behind this lies Shalamov's enormous faith in the ineradicability of absolute human values who will sooner or later return to his country.” The artist was not afraid to tell the unpleasant, to show the terrible in a person - not so that we would be frightened, shudder, but so that we would know. V. Shalamov, having shown the "dehumanization" of the world, turned out to be a prophet: cruelty is growing everywhere. The writer never aestheticized inhumanity. He wanted the reader to see and appreciate what it is in real life. And if the works of V. Shalamov really teach someone hatred of arbitrariness, cruelty (although he did not try to teach anyone), then this "vaccination" is both necessary and relevant. Not only in the Stalinist camps - in the very essence of human existence, a deadly abscess became noticeable. Everything is allowed - a terrible reality of the history of mankind, which must be resisted.

1. Brief biographical note

June 1907year in the city of Vologda in the family of the priest Tikhon Nikolaevich Shalamov and his wife Nadezhda Alexandrovna, the son Varlaam (Varlam) was born.

1914- enters the gymnasium named after Alexander the Blessed in Vologda.

1923- graduates from the unified labor school of the second stage No. 6, located in the former gymnasium.

1924- leaves Vologda and goes to work as a tanner at a tannery in the city of Kuntsevo, Moscow Region.

1926- enters in the direction from the factory to the 1st year of the Moscow Textile Institute and at the same time on a free set - to the faculty of Soviet law of the Moscow state university. Choose MSU.

1927 (November 7)- participates in the demonstration of the opposition to the 10th anniversary of October, held under the slogan "Down with Stalin!" and "Let's carry out Lenin's will!"

1928- visiting a literary circle at the magazine "New LEF".

February 19, 1929- Arrested during a raid in an underground printing house when printing leaflets called "Lenin's Testament". Gets for it like " socially dangerous element» 3 years in camps.

April 13, 1929- after being held in Butyrskaya prison, he arrives with a convoy to the Vishera camp (Northern Urals). Works on the construction of the Berezniki chemical plant under the leadership of E.P. Berzin, the future head of the Kolyma Dalstroy. In the camp he meets with Galina Ignatievna Gudz, the future first wife.

October 1931- released from the forced labor camp, reinstated. He earns money to leave the Berezniki chemical plant.

1932- returns to Moscow and begins to work in the trade union magazines "For Shock Work" and "For Mastering Technique". Meets G.I. Gudz.

1933- comes to Vologda to visit his parents.

March 3, 1933father T.N. Shalamov dies. Comes to Vologda for the funeral.

December 26, 1934- N.A. Shalamov's mother dies. Comes to Vologda for the funeral.

1934 - 1937- Works in the magazine "For Industrial Personnel".

1936- publishes the first short story "The Three Deaths of Dr. Austino" in the magazine "October" No. 1.

January 13, 1937- Arrested for counter-revolutionary Trotskyist activities and again placed in Butyrka prison. By a special meeting, he was sentenced to 5 years in labor camps with use in hard work.

August 14, 1937- with a large batch of prisoners on the ship arrives in the bay of Nagaevo (Magadan).

August 1937 - December 1938- works in the gold-mining faces of the Partizan mine.

December 1938- Arrested in the camp "case of lawyers". He is in the remand prison in Magadan ("Vaskov's House").

December 1938 - April 1939- is in typhoid quarantine in the Magadan transit prison.

April 1939 - August 1940- works in the exploration party at the Black River mine - as a digger, boilerman, assistant topographer.

August 1940 - December 1942- works in the coal faces of the Kadykchan and Arkagala camps.

December 22, 1942 – May 1943- Works in general works at the Dzhelgala penal mine.

May 1943- Arrested on the denunciation of fellow campers "for anti-Soviet statements" and for praising the great Russian writer I.A. Bunin.

June 22, 1943- at the court in the village. Yagodnoy was sentenced to 10 years in the camps for anti-Soviet agitation.

Autumn 1943- in a state of “walker” he ends up in the Belichya camp hospital near the village. Berry.

December 1943 - Summer 1944- Works in a mine at the Spokoyny mine.

Summer 1944- is arrested on a denunciation with the same incrimination, but does not receive a term, because departs under the same article.

Summer 1945 - autumn 1945- Seriously ill patients are in the Belichya hospital. With the help of sympathetic doctors, he comes out of his dying state. He remains temporarily in the hospital as a cult trader and auxiliary worker.

Autumn 1945- works with lumberjacks in the taiga in the Diamond Key zone. Unable to withstand the load, he decides to escape.

Autumn 1945 - Spring 1946- As a punishment for the escape, he is again sent to general work at the Dzhelgala penal mine.

Spring 1946- in general work at the Susuman mine. With suspicion of dysentery, he again ends up in the Belichya hospital. After recovering with the help of a doctor, A.M.Pantyukhova is sent to study at the paramedic courses at the camp hospital at the 23rd kilometer from Magadan.

December 1946- after completing the course, he is sent to work as a paramedic in the surgical department at the Left Bank Central Hospital for Prisoners (Debin village, 400 km from Magadan).

Spring 1949 - Summer 1950- works as a paramedic in the village of lumberjacks "Duskanya's Key". He begins to write poems, which were later included in the cycle "Kolyma Notebooks".

1950 - 1951- Works as a paramedic in the emergency room of the hospital "Left Bank".

October 13, 1951- end of term. In the next two years, in the direction of the Dalstroy trust, he worked as a paramedic in the villages of Baragon, Kyubyuma, Liryukovan (Oymyakonsky district, Yakutia). The goal is to earn money for leaving Kolyma. He continues to write poetry and sends what he has written through a doctor friend, E.A. Mamuchashvili, to Moscow, to B.L. Pasternak. Receives a response. The correspondence between the two poets begins.

November 13, 1953- meets with B.L. Pasternak, who helps to establish contacts with literary circles.

November 29, 1953- gets a job as a foreman in the Ozeretsko-Neklyuevsky construction department of the Tsentrtorfstroy trust of the Kalinin region (the so-called "101st kilometer").

June 23, 1954 – Summer 1956- works as a supply agent at the Reshetnikovsky peat enterprise of the Kalinin region. Lives in the village of Turkmen, 15 km from Reshetnikov.

1954- begins work on the first collection "Kolyma stories". Dissolves marriage with G. I. Gudz.

July 18, 1956- receives rehabilitation due to the absence of corpus delicti and is dismissed from the Reshetnikovsky enterprise.

1956- moves to Moscow. Marries O.S. Neklyudova.

1957- works as a freelance correspondent for the Moscow magazine, publishes the first poems from the Kolyma Notebooks in the Znamya magazine, No. 5.

1957 - 1958- suffers a serious illness, attacks of Meniere's disease, is treated at the Botkin hospital.

1961- publishes the first book of poems "Flint". He continues to work on Kolyma Tales and Essays on the Underworld.

1962 - 1964- Works as a freelance internal reviewer of the Novy Mir magazine.

1964- publishes a book of poems "Rustle of leaves".

1964 - 1965- completes the collections of stories of the Kolyma cycle "The Left Bank" and "The Artist of the Shovel".

1966- divorces O.S. Neklyudova. Meets I.P. Sirotinskaya, at that time an employee of the Central state archive literature and art.

1966 - 1967- creates a collection of short stories "The Resurrection of the Larch".

1967- publishes a book of poems "The Road and Fate".

1968 - 1971- working on autobiographical story"The Fourth Vologda".

1970 - 1971- working on "Vishera anti-novel".

1972- learns about the publication in the West, in the publishing house "Posev", of his "Kolyma stories". Writes a letter to Literaturnaya Gazeta protesting against unauthorized illegal publications that violate the will and right of the author. Many literary colleagues perceive this letter as a rejection of the Kolyma Tales and break off relations with Shalamov.

1972- publishes a book of poems "Moscow Clouds". Admitted to the Writers' Union of the USSR.

1973 - 1974- Works on the cycle "Glove, or KR-2" (the final cycle of "Kolyma Tales").

1977- publishes a book of poems "Boiling Point". In connection with the 70th anniversary, he was presented to the Order of the Badge of Honor, but did not receive an award.

1978- in London, in the publishing house "Overseas Publications" (Overseas Publications), the book "Kolyma Tales" is published in Russian. The publication was also carried out outside the will of the author. Shalamov's health is rapidly deteriorating. Begins to lose hearing and vision, attacks of Meniere's disease with loss of coordination of movements become more frequent.

1979- with the help of friends and the Union of Writers, he goes to a boarding house for the elderly and disabled.

1980- received news of the award of the French PEN Club award to him, but never received the award.

1980 - 1981- suffers a stroke. In moments of recovery, he reads poetry to A.A. Morozov, a lover of poetry who visited him. The latter publishes them in Paris, in the Bulletin of the Russian Christian Movement.

January 14, 1982- according to the conclusion of the medical board, he is transferred to a boarding house for psychochronics.

January 17, 1982- dies of croupous pneumonia. He was buried at the Kuntsevo cemetery in Moscow.

1 The main themes and motives of V. Shalamov's creativity

century turned out to be one of the most terrible centuries in the history of mankind. Age-old ideas about the inviolability of eternal truths - goodness, morality, humanity - are shaken or completely destroyed. The 20th century, having exposed the bad sides of human essence, showed the helplessness of a person in the face of the evil embodied in the System, in state structures. The moral layer turned out to be fragile human soul cracked under the pressure of totalitarianism.

The martyrology of the poets of the 20th century is longer, their torments are more terrible. Gumilyov, Pilnyak, Babel, Kornilov, Vasiliev were shot. Death from cancer overtook Tvardovsky, Grossman, Trifonov. The camp killed Mandelstam. The departure of Mayakovsky, Yesenin, Tsvetaeva, Fadeev is tragic.

But even against this background, the fate of Varlam Tikhonovich Shalamov is exceptional. His camp experience is unique and, fortunately, not repeated by any other artist.

During his lifetime, Varlam Shalamov was an uncomfortable person, and after his death - despite the fact that his works are included in the school curriculum - he remains an extremely uncomfortable writer, since his views on history, on the evolution of the mind, on the moral progress of civilization run counter to the generally accepted theories of the beautiful-hearted humanitarians.

Shalamov did not like epithets. The dispassionate speech of an eyewitness is his method. The works of V. Shalamov, of course, have the value of historical evidence. He himself went through those circles of hell, which he spoke about, his prose is the embodiment in the word of the bleeding memory of the artist. No wonder F. Suchkov called his stories "testimonies" of the author. And Shalamov himself considered "Kolyma Tales" a document. He does not explain anything, does not go into analysis, does not reveal the background, does not give a panorama. At first glance, his texts are a chain of private episodes. Here someone rotted alive, another was slaughtered because of a warm jersey. It turns out that the saying "work like a horse" is wrong: horses are much less hardy than people. Here is the scene of the distribution and eating of herring, which, with its head, skin, tail and bones, dissolves in the toothless mouths of the prisoners. Here one is eating condensed milk, and ten are standing around and watching - not waiting to be treated, but simply watching, unable to take their eyes off. The stories are short, others two or three pages long, almost miniatures. There are no plots in the conventional sense. It is impossible to single out any one or several stories - "the best", "the most characteristic". Shalamov can be read from anywhere, from a half-phrase - instant immersion is guaranteed. Cold, hunger, scurvy, tuberculosis, cholera, physical and nervous exhaustion, degradation and disintegration of personality, indifference and cruelty, death on every page, apocalypse in every paragraph.

Shalamov's campers are not industrious and do not know how to live. They are dying. They are half people, half beasts. They are broken and flattened. They live in a parallel universe where elementary physical laws are turned upside down. They are preoccupied - literally - with a fence-to-dinner existence.

Shalamov considers not a person, but the ashes left during its combustion. Shalamov is not interested human dignity and his ashes.

Shalamov's camp is a kingdom of absurdity, where everything is the opposite. Black is white. Life is death. Illness is a blessing, because the sick person will be sent to the hospital, where they are well fed, where you can delay your death for at least a few days.

In the story "Silence", the authorities, as an experiment, fed a brigade of goners to their fill, so that they would work better. The goners immediately quit their jobs and settled down to digest and assimilate an unprecedented double ration, and the weakest one committed suicide. Food gave him strength, and he spent this strength on the most important and important thing: suicide.

In the story "Bread" the hero is incredibly lucky: he is sent to work at a bakery. The brigadier leads him to the boiler room, brings him a loaf of bread, but the stoker, despising the brigadier, throws the old loaf into the furnace behind his back and brings the guest fresh, still warm. What's a hero? He was not horrified by the extravagance of the stoker. He is not amazed at the nobility of the gesture: throw away the stale bread, bring fresh bread to the hungry. He does not feel anything, he is too weak, he only indifferently fixes what is happening.

The names and characters of Shalamov's characters are not remembered. There are no metaphors, no aphorisms, no lyrics, no mind games, no witty dialogues. Many put this as a reproach to the author of Kolyma Tales. They say that Shalamov is weak as an artist of the word, as a "writer", they accuse him of reporting and stigmatize him as a memoirist. In fact, Shalamov's texts, for all their seeming imperfection, are sophisticated and unique. The characters are the same precisely because everyone in the camp is the same. There are no personalities, no bright people. No one jokes, no one sprinkles proverbs. The narrator is dry, and at times even tongue-tied - exactly to the same extent as camp inmates are tongue-tied. The narrator is short - just as the life of a camper is short. Shalamov's phrase breaks, bends, stumbles - just like a prisoner breaks, bends and stumbles. But here is the story "Sherry Brandy", dedicated to the death of Mandelstam - here Shalamov is already working in almost blank verse: rhythmic, melodic and ruthless.

Shalamov is a consistent and original artist. It is enough to study his essay “On Prose”, where, for example, he states that the text should be created only according to the principle “right away” - any later editing is unacceptable, because it is already done in a different state of mind and feeling.

"Feeling" is Shalamov's defining category. His essays and notebooks are full of discussions about feeling, real and imaginary. The ability and desire to convey true feelings lead Shalamov out of the ranks of "life writers", "ethnographers", "reporters", and prove his originality.

It was Shalamov who stated in detail and reasonedly: one should not overestimate a person. Man is great, but he is also insignificant. The person is noble - but in the same degree vile and low. A person is able to improve morally, but this is a slow process, centuries long, and attempts to accelerate it are doomed to failure.

His works are an absolutely separate island in the archipelago of "camp prose". The unique writer's vision, the constant feeling of the end of life, behind which - only madness, special artistic techniques, the denial of classical realistic traditions - all this prose has absorbed.

Varlam Shalamov is a realist. But the reality surrounding him is surreal. The authors of Western thrillers are also able to create scary pictures - but they constantly balance on the verge of black humor and self-parody, falling into this latter especially often. V. Shalamov is not in the least trying to "tickle the nerves." In a world full of evil and violence, art, even terrible and cruel, acts as a carrier of goodness and hope due to its spiritual purity.

The deepest, perhaps far from appreciated, meaning of V. Shalamov's work is that with the whole artistic fabric of his works he defends the intrinsic value of life: the goal of life is not in the "construction" of anything, it is in life itself.

2 The context of life during the creation of the Kolyma Tales»

"Kolyma Tales" by Varlam Shalamov is a struggle against oblivion. Their goal is to create a memorable trail where any memory of the camp is torn out, destroyed. In addition, they consider the difficulty of communicating and describing the camp experience. The body of the author, with which he can, as a witness, document the truth of his own words, is not suitable for this: it is a completely different body, not the one that the camp suffered. Like Primo Levi, Shalamov appeals to the ambivalent metaphor of the prosthesis. Remembrance is, on the one hand, a "prosthesis" of experience; on the other hand, the crippled body could not speak without this prosthesis.

Varlam Tikhonovich Shalamov, writer and poet, was born in the city of Vologda in 1907. Barely entering a conscious age, Varlam left for Moscow and in 1926 entered Moscow University.

It was then that the course was taken for industrialization. General literacy, gigantic construction projects, Mayakovsky, shooting clubs, "our answer to Chamberlain", Osoaviakhim1, Alexei Tolstoy's novel "Aelita" - young Shalamov was among enthusiastic, almost exalted peers who considered building a new world a task of two or three next years.

If you are twenty-two years old, the goal can only be a world revolution. Otherwise it is impossible.

Educated youth did not want a revolution according to Stalin - a dull, bureaucratic, buttoned-up revolution, where it was proposed to slide the bolts, bristle and be at enmity with the whole world. The youth wanted Trotsky's revolution: continuous, worldwide, for everyone, around the clock.

But then, in 1929, Trotsky was expelled from the RSFSR, the opposition was crushed, the young son of the priest Varlam Shalamov was accused of distributing Lenin's Testament.

Three years of imprisonment did not cool his ardor. Five years pass quietly: Shalamov is back in Moscow, working in small industry magazines. Writes poetry, tries himself in prose.

Shalamov began to publish in 1934, but over the period from 1934 to 1937. there was no critical response to his publication. By an evil irony of fate, in the magazine "Around the World" No. 12 for 1936, immediately after the publication of Shalamov's story "Return", D. Dar's story "Magadan" followed, in which, in a romantic style, it was told about Kolyma, about people whose fate is connected with the development of this wild edge. “Everything can be here and everything will be here, because the owners of this region are the Bolsheviks, for whom nothing is impossible,” D. Dar (3) concluded his story pathetically. For Shalamov, this region became not only a place of imprisonment, but also a place where he was formed as a poet and writer.

In the USSR, the slave labor of prisoners was an important component of the economy. Prisoners worked in places where ordinary people did not want to work. A brilliant tyrant, Stalin divided his subjects into two parts: those who were free, every day were waiting for arrest and were easily controlled; those who were already in the camp were reduced to the state of an animal and were even easier to manage. In the northeast of the Eurasian continent there was a colossal empire, where, on a territory several times larger than Europe, there was almost nothing but camps, and the leaders of this empire had power and power a hundred times greater than the Roman Caesars. The empire of Stalin's camps had no precedent in world history.

He returned from the Kolyma meat grinder at the age of forty-seven, in 1954. The total length of service of the prisoner is seventeen years.

And again, as thirty years ago, events in Moscow, eyes burn again, again everyone is full of forebodings of great changes. Stalin is dead and taken out of the Mausoleum. The cult of personality is condemned. Several million convicts were released from the camps. The war is over, tyranny has been defeated - then everything will be fine. Samizdat is blooming in luxuriant color (of course, now it’s possible, now they don’t plant). Shalamov is an active participant in samizdat. True, while official magazines do not take it. Even lyrics. Not to mention stories. But everyone knows the stories. The stories are too scary - after reading any, it is impossible not to remember.

He tries to publish his texts at the same time, in the late 1950s. But he will be disappointed. The legendary publication in Novy Mir of Solzhenitsyn's story "One Day in the Life of Ivan Denisovich" opened and closed the camp theme in official Soviet literature. Khrushchev threw a bone at the liberal intellectuals, "progressive humanity" - the second did not follow. We need camp prose - here is camp prose for you, first-hand literary evidence, please. And Shalamov is not needed. One Solzhenitsyn is enough.

It is not known which is worse: seventeen years in the camps - or for two decades to create non-standard, cutting-edge prose without any hope of publishing it.

Kolyma took all his health from him. He suffered from Meniere's disease, could lose consciousness at any moment, on the streets they took him for a drunk. His stories were "samizdat bestsellers", they were read - the writer himself lived in a tiny room, almost starving. Meanwhile, Khrushchev was replaced by Brezhnev; tragic camp stories about rotten, frozen, mad with hunger people prevented the building of developed socialism, and the Soviet system pretended that Varlam Shalamov did not exist.

year. Shalamov publishes an open letter in Literaturnaya Gazeta: he sharply, even rudely condemns the publication of his stories by the emigrant publishing house Posev. Militant dissidents immediately turn away from the old man. They thought he would be with them. They thought that Shalamov was a kind of Solzhenitsyn Light. They didn't understand anything. More precisely, Shalamov already understood everything, but they failed. The millions who rotted alive in Kolyma have never been of interest to the West. The West had to bring down the "Evil Empire". The West urgently needed professional anti-communists. Solzhenitsyn, who passionately dreamed of “shepherding the peoples,” came up perfectly, but he was not enough - two or three more in a set ... However, Shalamov was too scrupulous, he did not want someone’s hands, no one knows how clean, to wave the Kolyma stories" as a banner. Shalamov believed that documentary evidence of human imperfection should not be waved.

According to Shalamov, the Stalinist camp was evidence of the bankruptcy not of the "Soviet" idea, or the "communist" idea, but of the entire humanistic civilization of the 20th century. What does communism or anti-communism have to do with it? It is the same.

Varlam Shalamov died in 1982. He died, as a Russian writer should die: in poverty, in a hospital for the mentally ill old people. And even more nightmarish: on the way from the nursing home to the insane asylum. The canon of the terrible ending was observed to the smallest detail. A man went through hell during his lifetime - and hell followed him: in 2000 tombstone the writer was defiled, the bronze monument was stolen. Who did it? Of course, the grandchildren and great-grandchildren of the prolific Platons Karataevs and Ivan-Denisychs. Passed on non-ferrous metal. It seems that Shalamov himself would not have condemned the kidnappers: what can you not do in order to survive? Kolyma stories teach that life conquers death and bad life better than a good death. Death is static and impenetrable, while life is mobile and diverse. And the question of what is stronger - life or death, Shalamov, like any genius, decides in favor of life.

The official recognition of Varlam Shalamov began in the second half of the 1980s, when his prose began to be published in the Soviet Union, first in magazines and then in separate collections.

There is also a Kafkaesque afterword to the fate of the Russian Dante: according to the first, 1929, conviction, Shalamov was rehabilitated only in 2002, when documents were found that were allegedly previously considered lost. Less than a hundred years later, the world-famous writer was finally forgiven by his own state.

The further the stupid Russian capitalism rumbles and rings like a saucepan, in which there is no place for respect for the individual, no hard work, no order, no patience, the more relevant the literature of Varlam Shalamov becomes.

Of course, modern Russia is not Kolyma, not a camp, not a zone, and its citizens do not die of starvation and beatings. But it is in modern Russia the collapse of the ideas of "moral progress" is clearly visible. Our reality is marking time under the loud cries of "Forward, Russia!". Despised by prisoner Shalamov, "progressive humanity" has already broken its brains, but over the past half century it has not been able to invent anything better than the "consumer society" - which, having existed for a few years, consumed itself and burst. It was not possible to instantly instill in Russian society a bourgeois-capitalist type of relationship based on the instinct of personal well-being. The economic breakthrough has failed. The idea of ​​freedom is bankrupt. The Internet - the territory of freedom - has simultaneously become a global cesspool. The sociological competition "Name of Russia" showed that many millions of citizens still tremble before the figure of Comrade Stalin. Still, after all, he was in order! Well-being is still associated with discipline imposed from the outside, forcibly, and not arising from within the personality as its natural need. The Orthodox churching of the broad masses expected by many did not happen. Exchanging oil for televisions, Russia is rushing at full speed, not sorting out the road, without God, without a goal, without an idea, driven by demagogic nonsense about progress for the sake of progress.

2. Analysis of several stories from the cycle "Kolyma stories"

1 General analysis of the "Kolyma Tales"

It is difficult to imagine what emotional tension these stories cost Shalamov. I would like to stop at compositional features"Kolyma stories". The plots of the stories at first glance are unrelated, however, they are compositionally integral. “Kolyma Stories” consists of 6 books, the first of which is called “Kolyma Stories”, then the books “Left Bank”, “Artist of the Shovel”, “Essays on the Underworld”, “Resurrection of the Larch”, “Glove, or KR -2".

In the manuscript of V. Shalamov "Kolyma Tales" there are 33 stories - both very small (1 - 3 pages), and more. It is immediately felt that they were written by a qualified, experienced writer. Most are read with interest, have a sharp plot (but the plotless short stories are thoughtfully and interestingly constructed), are written in a clear and figurative language (and even though they mainly tell about the “thieves' world”, the manuscript does not feel a passion for argotism). So, if we talk about editing in the sense of stylistic correction, “shaking up” the composition of stories, etc., then the manuscript, in essence, does not need such revision.

Shalamov is a master of naturalistic descriptions. Reading his stories, we plunge into the world of prisons, transit points, camps. The story is told in the third person. The collection is like an eerie mosaic, each story is a photographic piece Everyday life prisoners, very often - "criminals", thieves, swindlers and murderers who are in places of detention. All the heroes of Shalamov are different people: military and civilian, engineers and workers. They got used to the camp life, absorbed its laws. Sometimes, looking at them, we do not know who they are: whether they are intelligent creatures or animals in which only one instinct lives - to survive at all costs. It seems comical to us a scene from the story Duck when a person tries to catch a bird, and she turns out to be smarter than him. But gradually we understand the tragedy of this situation, when hunting led to nothing but forever frostbitten fingers and lost hopes of the possibility of being struck out of sinister list . But in people ideas about mercy, compassion, conscientiousness still live. It's just that all these feelings are hidden under the armor of a camp experience that allows you to survive. Therefore, it is considered shameful to deceive someone or eat food in front of hungry companions, as the hero of the story does. Condensed milk . But the strongest thing in the prisoners is the thirst for freedom. Even if for a moment, but they wanted to enjoy it, feel it, and then it’s not scary to die, but by no means captured - there is death. Because main character story Major Pugachev's last fight prefers to kill himself rather than surrender.

“We have learned humility, we have forgotten how to be surprised. We did not have pride, selfishness, pride, and jealousy and passion seemed to us Martian concepts, and, moreover, trifles, ”wrote Shalamov.

Author in the most detailed way(by the way, there are a number of cases when the same - literally, verbatim - descriptions of certain scenes are found in several stories) describes everything - how prisoners sleep, wake up, eat, walk, dress, work, “have fun”; how brutally the guards, doctors, camp authorities treat them. Each story speaks of continuously sucking hunger, constant cold, illness, unbearable hard labor, from which they fall down, about incessant insults and humiliations, about the fear that never leaves the soul of being offended, beaten, crippled, stabbed to death by “criminals ", which the camp authorities are also afraid of. Several times V. Shalamov compares the life of these camps with “Notes from dead house Dostoevsky and each time comes to the conclusion that Dostoevsky's House of the Dead is heaven on earth compared to what the characters of the Kolyma Tales experience. The only ones who thrive in the camps are thieves. They rob and kill with impunity, terrorize doctors, pretend, do not work, give bribes right and left - and live well. There is no control over them. Constant torment, suffering, exhausting work, driving into the grave - this is the lot honest people who are driven here on charges of counter-revolutionary activities, but in fact they are people who are innocent of anything.

And now we have before us the “frames” of this terrible story: murders during a card game (“For a performance”), digging up corpses from graves for robbery (“At Night”), insanity (“Rain”), religious fanaticism (“Apostle Paul” ), death ("Aunt Polya"), murder ("First Death"), suicide ("Seraphim"), the unlimited dominion of thieves ("The Snake Charmer"), barbaric methods of revealing simulation ("Shock Therapy"), the murder of doctors (" Red Cross”), killings of prisoners by convoy (“Berries”), killing dogs (“Bitch Tamara”), eating human corpses (“Golden Taiga”) and so on and everything in the same spirit.

Moreover, all descriptions are very visible, very detailed, often with numerous naturalistic details.

The main emotional motives run through all the descriptions - a feeling of hunger that turns every person into a beast, fear and humiliation, slow dying, boundless arbitrariness and lawlessness. All this is photographed, strung together, horrors are heaped up without any attempts to somehow comprehend everything, to understand the causes and consequences of what is described.

If we talk about the skill of Shalamov - the artist, about his manner of presentation, then it should be noted that the language of his prose is simple, extremely accurate. The tone of the story is calm, without strain. Harshly, concisely, without any attempt psychological analysis, even somewhere documented, the writer talks about what is happening. Shalamov achieves a stunning impact on the reader by contrasting the calmness of the author's unhurried, calm narrative with explosive, terrifying content.

Surprisingly, nowhere does the writer fall into a pathetic anguish, nowhere does he curse fate or power. He leaves this privilege to the reader, who willy-nilly will shudder when reading each new story. After all, he will know that all this is not the author's fiction, but the cruel truth, albeit clothed in an artistic form.

main image, uniting all the stories - the image of the camp as an absolute evil. Shalamova considers the GULAG as an exact copy of the model of the totalitarian Stalinist society: “... The camp is not the opposition of hell to paradise. and the cast of our life... The camp... is world-like. The camp is hell is a constant association that comes to mind while reading the Kolyma Tales. This association arises not even because you are constantly faced with the inhuman torments of prisoners, but also because the camp seems to be the kingdom of the dead. So, the story "Tombstone" begins with the words: "Everyone died ..." On each page you meet with death, which here can be named among the main characters. All heroes, if we consider them in connection with the prospect of death in the camp, can be divided into three groups: the first - heroes who have already died, and the writer remembers them; the second, those who are almost certain to die; and the third group - those who may be lucky, but this is not certain. This statement becomes most obvious if we recall that the writer in most cases talks about those whom he met and whom he survived in the camp: a man who was shot for not fulfilling the plan by his plot, his classmate, whom they met 10 years later in the Butyrskaya cell prison, a French communist whom the brigadier killed with one blow of his fist...

Varlam Shalamov lived through his whole life anew, writing a rather difficult work. Where did he get his strength from? Perhaps everything was so that one of those who remained alive would convey in a word the horrors of the Russian people in their own land. I have changed the idea of ​​life as a good thing, about happiness. Kolyma taught me something completely different. The principle of my age, my personal existence, my whole life, the conclusion from my personal experience, the rule learned by this experience, can be expressed in a few words. First, you need to return slaps in the face, and only in the second place - alms. Remember evil before good. Remember all the good - a hundred years, and all the bad - two hundred. This is what distinguishes me from all Russian humanists of the nineteenth and twentieth centuries. ”(V. Shalamov)

2 Analysis of the story "On the show"

Each story by V. Shalamov is unique, because he addresses an unusual and frightening topic - the life of prisoners, or, to be more precise, not life, but existence, where every second for a person is a struggle. People have no past, no future, there is only "now" and nothing else.

According to Elena Mikhailik: “Shalamov's images, as a rule, are polysemantic and multifunctional. So, for example, the first phrase of the story “On the introduction” sets the tone, lays a false trail - and at the same time gives the story volume, introduces the concept of historical time into its frame of reference. The erased memory of the characters greatly enhances the impression made on the reader.

Igor Sukhikh in his work “Life after Kolyma” notes that “... Shalamov’s personal, internal theme is not a prison, not a camp in general, but Kolyma with its experience of grandiose, unprecedented extermination of man and suppression of the human. “Kolyma Tales” is an image of new psychological patterns in human behavior, people in new conditions.”

Interest in this work is not accidental, because it literally lies on the surface of all the secrets and horrors camp life, and the process of a card game stands out especially brightly, as something diabolical and fatal.

The story “At the show” begins with the phrase: “We played cards at Naumov’s konogon” (5, p. 182). As noted by Elena Mikhailik, this phrase “sets the tone, lays a false trail - and at the same time gives the story volume, introduces it into the reference system of the concept of historical time, because the “minor night incident” in the barracks of the konogonov appears to the reader as a reflection, a projection of Pushkin's tragedy. Shalamov uses the classic plot as a probe - by the degree and nature of the damage, the reader can judge the properties of the camp universe. The writer, as it were, takes us back several centuries to show all the backwardness and underdevelopment of camp life, because Kolyma is completely unsuitable for life, the entire “GULAG world” is closed, limited. Such a concept as freedom is not at all applicable here, a person is even afraid to think, all his thoughts are focused on surviving. Even dreams do not allow his soul to rest - they are empty.

It is safe and warm in the hut by the horse-drawn horse. And it was this “warm place” that was chosen by the thieves for card fights.

A duel is a confrontation, most often the spirit of the parties, often with sad consequences.

Night is the time of the devil, when all evil spirits come out of the ground. It is believed among the people that it is easier for people to sin at night, supposedly the Lord God will not notice. “... And every night the thieves gathered there” (5, p. 182).

At first glance, there is nothing strange in this phrase, since the night is the only free time for prisoners, but if we draw an analogy with the classics of Russian literature, it can be noted that at that time card games were banned and they were played mainly at night. Thus, we again note the perniciousness of camp life.

It is dark in the barracks, the only light comes from the pole. The light from it is dim, dim with a tint of red, so that the hut of the konogon looks more like hell than living space.

And just in this place the players gathered for a duel. “There was a dirty down pillow on the blankets, and on both sides of it, with their legs folded in the Buryat style, the partners were sitting ...” (5, p. 182).

The Soviet government, having come to control, destroyed the noble society and everything connected with it. During this period, card games were strictly prohibited, and it was impossible to buy cards, however, "Rus' is full of talents" and there were craftsmen who made cards on their own.

“There was a brand new deck of cards on the pillow...” (5, p. 182). As in the classic game of chance, a new game starts with a new deck of cards. But these cards are extraordinary, they are made from a volume of Victor Hugo. Let us suggest that, perhaps, from the text of the same novel, where we are talking also about the convicts "Les Misérables", so we can draw a parallel with the world of times french revolution. We do this in order to see the detrimental effect of the disunity and underdevelopment of society during the repression. Cards are played on a pillow, which is absolutely impossible to do, since the energy of the cards is negative and affects the subconscious of a person.

These deviations from the rules of the classic game become a wake-up call for the reader, indicating that the characters of the story are forced to play in order to survive in this camp chaos.

“The suits did not differ in color - and the difference is not necessary for the player” (5, p. 183). We see the complete depersonalization of space, this is due to the fact that in the world of camp life there are no colors, everything is the same: gray and black.

Everything in life has a reverse side, an opposite, and cards too. Suits "black" (clubs and spades) are opposite to "red" (hearts and diamonds), just as evil is opposite to good, and life is death.

The ability to make cards yourself was considered the norm of decency among the "convict knights", and playing cards was almost mandatory among the prison elite. “A brand new deck of cards lay on the pillow” (5, p. 183) washed away, the meaning of this phrase completely corresponds to the phrase “There was a brand new deck of cards on the pillow”. Perhaps the author wants to show by this repetition that the fate of the players is already a foregone conclusion and it is impossible to break this vicious circle. “... One of the players patted her with a dirty hand with thin, white non-working fingers” (5, p. 183). This is the hand of Sevochka, the local baron. This hero is two-faced - the opposition of white and black. “The nail of the little finger was of supernatural length…” (5, p. 183) Since ancient times, there has been an opinion among the people that certain signs of the beast are always preserved in the appearance of the devil - horns, hooves, claws. We could consider this semantic connection to be accidental, however, there is a lot of evidence and correlations between Sevochka and the devil in the text: “Sevochka's nail drew intricate patterns in the air. The cards either disappeared from his palm or appeared again” (5, p. 185).

Based on the foregoing, we allow ourselves to make an assumption that Naumov, without realizing it, signed a sentence for himself - he sat down to play cards with the "devil", and if he comes out of this fight alive, then he definitely will not become a winner.

But Naumov is not as pure as it seems: on his chest is a quote from Yesenin's poem "How few roads have been traveled, how many mistakes have been made." Yesenin is a kind of political hooligan, which is why he is recognized by convicts as a poet. Naumov does not believe in God, however, there is a cross on his chest. The cross on the body of an unbeliever testifies to the venality of the soul. In thieves' semantics, the cross is a sign of high society.

Sevochka starts the game. “Sevochka shuffled cards ...” (5, p. 185). The story is told directly from the point of view of the narrator. He and his friend Garkunov are daily witnesses of the games. In the meantime, Naumov managed to lose everything, except for worthless and useless government items. “According to the rules, the fight cannot be over while the partner can respond with something else” (5, p. 185).

“Naumov stakes some kind of cigar with a repressed profile of Gogol” (5, p. 185), this direct appeal to the Ukrainian period of Gogol’s work naturally connects “On the Presentation” with the “Evenings on a Farm near Dikanka” saturated with peculiar devilry. Thus, references to folklore and public literary works firmly introduce the thug gambler into the informal associative array. Naumov is ruined. The only hope is the risk - to go to the show. An introduction is like a bet "for hire", an opportunity to recoup without having anything. Sevochka was a little naughty and, in the end, in the role of a sort of benefactor, agreed to give him a chance.

"He won back the blanket, the pillow, the pants - and again he lost everything." “Heavy black eyes looked around. My hair is tangled” (5, p. 186) - Naumov seems to be going crazy. He is painfully aware of the horror of the situation. The phrase dropped by Sevochka: "I'll wait," refers not only to the proposal to weld the chifirka, but also directly to Naumov's loss. The presentation was given only for an hour, and card debt is a matter of honor. A thought suddenly appeared in his head: “If there are no left of your own things to pay off, you need to take them from the weaker one!” Two more heroes appear on the arena of the card fight - this is the narrator and his friend Garkunov. Having discovered that one can profit from something only at Garkunov's, Naumov calls him to him. This textile engineer is a man not broken by camp life. (The hero is unusual already in that he has a profession not typical for the camp) The textile engineer creates, connects, ... and in the camp there is only one devastation and nothing more.) He, like chain mail, is protected by a sweater knitted by his wife from the surrounding abomination. This thing is his memory of past life, he does not lose hope to return.

In response to Garkunov's negative answer regarding the sweater, several people rushed at him and knocked him down, but in vain. Garkunov was not going to give up so easily. In the camp there is no place for bright feelings, such as friendship, devotion, or just justice. Naumov's servant, like a faithful knight's squire, attacked the engineer with a knife...

“... Garkunov sobbed and began to roll over on his side.

Couldn't they have done without it! Sevochka shouted.

This character seems to blame everyone for what happened, but in fact he is just upset because the goods are slightly damaged.

“Sashka pulled the sweater off the dead man” (5, p. 187) The blood on the red sweater is not visible - Garkunov's life is worth nothing, and, in the end, one more drop in the sea of ​​blood means absolutely nothing.

“Now it was necessary to look for another partner for sawing firewood” ...

In the camp human life- NOTHING, and the man himself is a bug, although even that one has more rights to life than people in the camp.

There is no person - another will take his place, and this whole diabolical machine will work in the same rhythm, no matter what.

Conclusion

Shalamov Kolyma stories

Shalamov's prose is not just memoirs, memoirs of a man who went through the circles of the Kolyma hell. This is literature of a special kind, "new prose," as the writer himself called it.

The works and life of Varlam Shalamov vividly reflect the fate of the intelligentsia in times of great repression. We must not reject literary works, like "Kolyma Tales" - they should serve as an indicator for the present (especially considering the degradation that occurs in the minds of people and which is so clearly traced through the quality of today's culture).

Shalamov's decision to describe the "life" of concentration camp prisoners, which vividly reflects the Stalinist dictatorship, is a heroic act. "Remember, the most important thing: the camp is a negative school from the first to the last day for anyone. A person - neither the head, nor the prisoner does not need to see him. But if you saw him, you must tell the truth, no matter how terrible it may be. [ ...] For my part, I decided a long time ago that I would devote the rest of my life to this very truth, "wrote Shalamov.

He believed that his works could not fit into the traditional boundaries of Russian literature with its preaching, teaching and humane faith in the high destiny of man. "Art is deprived of the right to preach," wrote Varlam Shalamov. "Art does not ennoble, does not improve people. Art is a way of living, but not a way of knowing life. New prose is the event itself, the battle, and not its description."

The works of Varlam Shalamov opened an unknown life to the reader, introduced him to new, unknown people - people with an inverted consciousness. It was impossible to use the traditional methods of artistic creation to describe this.

There are no analogues to Varlam Shalamov and his Kolyma Tales in world culture. Let's hope they don't. If there is no new Kolyma. But there is already a lot of evidence that the new Kolyma has been designed and is being created. Right in our minds. The disintegration of the personality now does not take place in permafrost, under the barking of escort dogs, now slaves do not need to be taken to the tundra and fed with gruel, now slaves - new, ultra-modern, perfectly obedient - are easier and cheaper to grow from the cradle with the help of media technologies, manipulation of mass consciousness. Shalamov is gone, his memory is kept by a small group of brave idealists. The self-satisfied and squeamish "progressive humanity" has won. But as long as there are books by Varlam Shalamov, it will not be able to triumph.

Literature

1. Shalamov V. Kolyma stories. M., 1991. 357 p.

2.Andrey Rubanov "Varlam Shalamov as a mirror of Russian capitalism"

Shalamovsky collection: Vol. 3. Comp. V. V. Esipov]. - Vologda: Griffin, 2002. - S.35-38.

Artistic prose texts, articles and correspondence by V. Shalamov

Http://magazines.russ.ru/zvezda/2001/6/suhuh.html Igor Sukhikh "To live after Kolyma" (1954 - 1973. "Kolyma stories" by V. Shalamov)

.Elena Mikhailik "In the context of literature and history"

Shalamov V.<Автобиографические заметки>Introduction and publication I. Sirotinskaya // Literary newspaper. 1987.8 July C.6.

Jacque Rossi. Guide to the Gulag: In two parts. M., 1991. 4.1. 317. p. 4.2. 284 p.

Shalamov V. Requiem: Shalamov V. Sobr. cit.: In 4 vols. Vol. 3. Poems. M., 1998. S. 136.

Esipov V.V. Shalamov. - M.: Young guard, 2012. - 346 p.: ill. - (The life of remarkable people: a series of biogr.; Issue 1374).

Nekrasova, Irina Vladimirovna Varlam Shalamov-prose writer: Problematics and poetics: dis. ... cand. philol. Sciences: 10.01.01. Samara, 1995.

Anoshina, Anna Valerievna Art world Varlam Shalamov: dis. ... cand. philol. Sciences: 10.01.01. Severodvinsk, 2006. Supervisor - Professor E.Ya. Fesenko. Thesis defense date: December 8, 2006

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