Petrushevskaya Lyudmila Stefanovna. Biography Author Petrushevskaya

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Name: Lyudmila Petrushevskaya

Zodiac sign: Twins

Age: 80 years

Place of Birth: Moscow, Russia

Activity: writer, playwright, screenwriter, singer

Family status: widow

Lyudmila Petrushevskaya cannot be called an ordinary writer, her works penetrate deeply into the souls of children and adults... This is a person with an unusual destiny; all her life she lived in spite of herself, without giving up or giving in to another twist of fate.

For a long time, Lyudmila Stefanovna wrote her works “on the table”, since they did not pass Soviet censorship, and at the peak of her career, when her plays were already staged in famous theaters throughout the post-Soviet space, she discovered her talent as an animator and musician.

Lyudmila Stefanovna Petrushevskaya was born on May 26, 1938 in Moscow into a young student family. Stefan Petrushevsky became a doctor of philosophy, and his wife was an editor. During the war, Lyudmila spent some time in an orphanage in Ufa, and was later raised by her grandfather.

Nikolai Feofanovich Yakovlev, a Caucasian linguist and an active participant in the fight against illiteracy, for a long time was of the opinion that his little granddaughter Lyudmila should not be taught to read. An ardent supporter of Marrism was very upset by the defeat of this theory by Joseph Vissarionovich Stalin, and, according to unofficial data, in connection with this, the scientist began to develop mental illness.

Lyudmila Stefanovna knows the history of her family very well. The writer says that Yakovlev came from the Andreevich-Andreevsky family, and his ancestors were Decembrists, one of whom died in exile in a psychiatric hospital.

At the beginning of the twentieth century, a tradition of home theater productions appeared in the Petrushevsky family. In her childhood, Lyudmila herself never thought about a literary career; the girl dreamed of the stage and wanted to perform in the opera. As a child, Petrushevskaya actually studied in an opera studio, but she was not destined to become an opera diva.

In 1941, Lyudmila and her grandparents were urgently evacuated from the Russian capital to Kuibyshev; the family was able to take with them only 4 books, among which were poems by Mayakovsky and a history textbook of the All-Union Communist Party (Bolsheviks).

The girl, not yet able to read under the strict prohibition of her grandfather, looked at the newspapers with curiosity, with the help of which she learned the letters, and later secretly read, learned by heart and even quoted books. Lyudmila's grandmother Valentina often told her granddaughter that in her youth Vladimir Mayakovsky himself showed signs of attention to her and wanted to marry her, but she chose to choose the linguist Yakovlev.

When the war ended, Lyudmila came to Moscow and entered the Moscow State University named after M.V. Lomonosov to study journalism. Upon graduation, she got a job as a correspondent at one of the publishing houses in Moscow, and then got a job at All-Union Radio, where she hosted the “Latest News” program.

At the age of 34, Petrushevskaya became an editor at the Central Television of the USSR State Television and Radio, writing reviews of serious economic and political programs such as “Steps of the Five-Year Plan.” But soon they began to write complaints against Petrushevskaya, a year later she quit and no longer attempted to get a job.

While still a student at the journalism department of Moscow State University, Petrushevskaya wrote comic poems and scripts for student creative evenings, but she did not think about a career as a writer even then. Only in 1972, the short lyrical story “Across the Fields” was published for the first time in the St. Petersburg literary, artistic and socio-political magazine “Aurora”. The next publication by Lyudmila Petrushevskaya dates only from the second half of the eighties.

Despite this, Petrushevskaya’s work was appreciated by small theaters. In 1979, Roman Grigorievich Viktyuk on the stage of the Moskvorechye cultural center presented the play “Music Lessons,” which was written back in 1973. After the premiere, director Anatoly Vasilyevich Efros praised the work, but said that this play would never pass Soviet censorship, so radical and truthful were the thoughts expressed by Petrushevskaya, where she foresaw the agony of the Soviet Union. And Efros was, as usual, right. The play was banned and the theater troupe was even dispersed.

Later, in Lviv, a theater founded by students of the Lviv Polytechnic Institute staged the play “Cinzano”. Petrushevskaya’s works appeared on the professional stage only in the eighties: first, the capital’s Yuri Lyubimov Taganka Drama Theater staged the play “Love,” and a little later, “Colombina’s Apartment” was shown at Sovremennik.

Petrushevskaya herself continued to write stories, plays and poems, but they were still not published, as they reflected aspects of the life of the people of the USSR that were undesirable for the government of the country.

Lyudmila Stefanovna's prose works turned out to be a logical continuation of drama. All of Petrushevskaya’s work combines into a single biography of life from a woman’s point of view. On the pages you can see how a young girl becomes a mature woman, and later turns into a sophisticated lady.

In 1987, Lyudmila Petrushevskaya’s collection “Immortal Love” was published, for which 4 years later the writer received the Pushkin Prize in Germany.

In the nineties, the writer began to write fairy tales for various age groups. Cartoons were subsequently made based on many of them. Lyudmila Petrushevskaya continued to write in the 2000s. Now her works were published normally, and admirers enjoyed the work of their favorite writer.

In 2007, the collection “Moscow Choir” appeared in St. Petersburg, which included such plays as “Raw Leg, or Meeting of Friends,” “Beefem” and others. A year later, the premiere of a series of cartoons for children took place, the main character of which was Petya the pig.

An interesting fact in the biography of Lyudmila Petrushevskaya was a dispute about whether her profile became the prototype for the famous hedgehog from the cartoon “Hedgehog in the Fog.” And in fact, if you look closely at the writer’s photo, common features are revealed. And Lyudmila Stefanovna herself spoke about this in her works, although the animator Yuri Borisovich Norshtein calls a different version of the creation of his hero.

Refined, constantly busy with art, Lyudmila connected her life with Boris Pavlov, who ran the Gallery on Solyanka.

In 2009, the writer’s husband died, but she was left with 3 children: Kirill, Fedor and Natalya. The writer’s sons became journalists, and her daughter chose music.

In parallel with her literary work, Lyudmila Stefanovna founded the Manual Labor Studio, where she herself works as a cartoonist. From the “pen” of the writer came “Conversations of K. Ivanov”, “Ulysses: we went and arrived” and other works.

In addition, Lyudmila Stefanovna paints paintings and sells them, and sends the proceeds to orphanages. An exhibition-auction of the writer’s graphic works took place in May last year. The most generous buyers received autographed works by Petrushevskaya.

Bibliography

1989 – “Three Girls in Blue”
1995 – “The Secret of the House”
2001 – “Time Night Waterloo Bridge”
2001 – “Suitcase of Nonsense”
2002 – “...Like a flower at dawn”
2002 – “Where I Was”
2002 – “Incident in Sokolniki”
2002 – “The Adventures of Pig Peter Black Coat”
2003 – “Innocent Eyes”
2003 – “Unripe gooseberries”
2005 – “City of Light: Magic Stories”
2006 – “The Little Girl from Metropol”
2006 – “Battered Pussy”
2006 – “Columbine’s Apartment”
2008 – “Black Butterfly”
2012 – “In the first person. Conversations about the past and present"

Magazine award winner:

"New World" (1995)
"October" (1993, 1996, 2000)
"Banner" (1996)
"Star" (1999)

A fairy tale with a difficult ending.

Discography

Filmography

Scenarios

05.02.2019

Petrushevskaya Lyudmila Stefanovna

Russian Prose Writer

Playwright

Artist

News & Events

02/04/2019 Maria Stepanova became a laureate of the NOS-2018 award

Lyudmila Petrushevskaya was born on May 26, 1938 in Moscow. The girl grew up in a family of students at the Institute of Philosophy, Literature and History. Granddaughter of linguist, professor of oriental studies Nikolai Yakovlev. Mom, Valentina Nikolaevna Yakovleva, later worked as an editor. I practically didn’t remember my father, Stefan Antonovich.

After school, from which the girl graduated with a silver medal, Lyudmila entered the Faculty of Journalism of Lomonosov Moscow State University.

After receiving her diploma, Petrushevskaya worked as a correspondent for the Latest News of the All-Union Radio in Moscow. Then she got a job at the Krugozor record magazine, after which she moved to television in the reviewing department. Subsequently, Lyudmila Stefanovna ended up in the department of long-term planning, the only futuristic institution in the USSR, where it was necessary to predict Soviet television for the year two thousand from 1972. After working for one year, the woman quit and since that time has not worked anywhere else.

Petrushevskaya began writing early. She published notes in the newspapers Moskovsky Komsomolets, Moskovskaya Pravda, Krokodil magazine, and the Nedelya newspaper. The first published works were the stories “The Story of Clarissa” and “The Storyteller,” which appeared in the Aurora magazine and caused sharp criticism in the Literary Gazette. In 1974, the story “Nets and Traps” was published there, then “Across the Fields”.

The play “Music Lessons” was staged by Roman Viktyuk in 1979 at the Moscow State University Student Theater. However, after six performances it was banned, then the theater moved to the Moskvorechye Palace of Culture, and Lessons was banned again in the spring of 1980. The play was published in 1983 in the brochure “To help amateur artists.”

Lyudmila Stefanovna is a generally recognized literary classic, the author of many prose works, plays and books for children, including the famous “linguistic fairy tales” “Battered Pusski”, written in a non-existent language. Petrushevskaya's stories and plays have been translated into many languages ​​of the world, her dramatic works are staged in Russia and abroad. Member of the Bavarian Academy of Arts

In 1996, her first collected works were published by the AST publishing house. She also wrote scripts for the animated films “Lyamzi-Tyri-Bondi, the evil wizard”, “All the dull ones”, “Stolen Sun”, “Tale of Tales”, “The Cat Who Could Sing”, “Hare’s Tail”, “Alone From You” tears”, “Peter the Pig” and the first part of the film “The Overcoat” co-authored with Yuri Norshtein.

Not limiting himself to literature, he plays in his own theater, draws cartoons, makes cardboard dolls and raps. Member of the Snob project, a unique discussion, information and public space for people living in different countries, since December 2008.

In total, more than ten children's books by Petrushevskaya have been published. Performances are staged: “He is in Argentina” at the Chekhov Moscow Art Theater, plays “Love”, “Cinzano” and “Smirnova’s Birthday” in Moscow and in various cities of Russia, graphic exhibitions are held at the Pushkin State Museum of Fine Arts, at the Literary Museum, in the Akhmatova Museum in St. Petersburg, in private galleries in Moscow and Yekaterinburg.

Lyudmila Petrushevskaya performs concert programs called “Lyudmila Petrushevskaya’s Cabaret” in Moscow, throughout Russia, abroad: in London, Paris, New York, Budapest, Pula, Rio de Janeiro, where she performs hits of the twentieth century in her translation , as well as songs of his own composition.

Petrushevskaya also created a “Manual Labor Studio”, in which she independently draws cartoons using a mouse. The films “Conversations of K. Ivanov” were made together with Anastasia Golovan, “Pince-nez”, “Horror”, “Ulysses: Here we go”, “Where are you” and “Mumu”.

At the same time, Lyudmila Stefanovna founded a small theater, “Cabaret of One Author,” where she performs with her orchestra the best songs of the 20th century in her own translations: “Lili Marlene,” “Fallen Leaves,” “Chattanooga.”

In 2008, the Northern Palmyra Foundation, together with the international association “Living Classics,” organized the International Petrushevsky Festival, dedicated to the 70th anniversary of her birth and the 20th anniversary of the publication of Lyudmila Petrushevskaya’s first book.

In her free time, Lyudmila Stefanovna enjoys reading books by the philosopher Merab Mamardashvili and the writer Marcel Proust.

In November 2015, Petrushevskaya became a guest of the III Far Eastern Theater Forum. The play “Smirnova’s Birthday” based on her play was staged on the stage of the Chekhov Center. She directly took part in the children’s concert “Peter the Pig Invites.” To the accompaniment of the Jazz Time group, she sang children's songs and read fairy tales.

On February 4, 2019, the final debate and award ceremony for the winners of the Nose literary prize took place in Moscow for the tenth time. The “Critical Community Prize” was won by Lyudmila Petrushevskaya for her work “We were stolen. History of Crimes".

Awards and Prizes of Lyudmila Petrushevskaya

Laureate of the Pushkin Prize of the Tepfer Foundation (1991)

Magazine award winner:

"New World" (1995)
"October" (1993, 1996, 2000)
"Banner" (1996)
"Star" (1999)

Winner of the Triumph Prize (2002)
Laureate of the Russian State Prize (2002)
Bunin Prize Laureate (2008)
Literary Prize named after N.V. Gogol in the “Overcoat” nomination for the best prose work: “The Little Girl from Metropol”, (2008)
Lyudmila Petrushevskaya received the World Fantasy Award (WFA) for the best collection of short stories published in 2009. Petrushevskaya’s collection “There Once Lived a Woman Who Tried To Kill Her Neighbor’s Baby” shared the prize with a book of selected short stories by the American writer Gene Wolfe).

A fairy tale with a difficult ending.

Collections of stories and stories

Immortal love. - M.: Moscow worker, 1988, shooting gallery. 30,000, cover.
Last Man's Ball. - M.: Lokid, 1996. 26,000 copies.
2008 - Border tales about kittens. - St. Petersburg: Amphora. - 296 s.
2008 - Black butterfly. - St. Petersburg: Amphora. - 304 s.
2009 - Two Kingdoms. - St. Petersburg: Amphora. - 400 s.
2009 - Stories from my own life. - St. Petersburg: Amphora. - 568 p.

Discography

2010 - solo album “Don’t get used to the rain” (in the form of a supplement to the magazine “Snob”)
2012 - solo album “Dreams of Love” (in the form of a supplement to the magazine “Snob”)

Filmography

Scenarios

1974 “Vasily’s Treatment” Merry Carousel No. 6
1976 “Lamzi-tyri-bondi, the evil wizard”, dir. M. Novogrudskaya.
1976 “There are only tears from you” dir. Vladimir Samsonov
1978 “Stolen Sun”, dir. Nathan Lerner
1979 “Tale of Tales”, dir. Yuri Norshtein.
1981 “The Overcoat”, dir. Yuri Norshtein.
1984 “Bunny Tail”, dir. V. Kurchevsky.
1987 “All the Dumb” dir. Nathan Lerner
1988 “The Cat Who Could Sing”, dir. Nathan Lerner.

Biography, life story of Lyudmila Stefanovna Petrushevskaya

Petrushevskaya Lyudmila Stefanovna is a Russian writer.

Childhood and youth

Lyudmila Petrushevskaya was born in Moscow on May 26, 1938. Her father was a scientist, Ph.D., and her mother was an editor. When Luda was still very young, the war began. The girl spent some time in an orphanage in Ufa, and then she was taken into care by her grandfather Nikolai Feofanovich Yakovlev, a linguist and Caucasian expert, and her grandmother Valentina. It is important to note that Nikolai Yakovlev was against teaching his granddaughter to read early. But Luda had a passion for literature in her blood - she learned to distinguish letters secretly from her grandfather, while still quite a baby.

In 1941, Lyuda and her grandparents were evacuated from Moscow to Kuibyshev. Petrushevkaya spent several years of her life there. After the end of the war, she returned to Moscow, graduated from school, and then became a student at Moscow State University, Faculty of Journalism.

Job

After successfully defending her thesis, Lyudmila Petrushevskaya worked for some time as a correspondent for various Moscow newspapers and collaborated with various publishing houses. In 1972, Lyudmila became an editor at the Central Television Studio.

Writing

Lyudmila began writing poetry and prose in her youth. During her student days, she wrote scripts for skit parties and creative evenings, and received real pleasure from this, but she never even dreamed of being a serious writer. Everything happened somehow by itself - naturally, smoothly, effortlessly.

In 1972, Petrushevskaya’s story “Across the Fields” appeared on the pages of Aurora magazine. This was Lyudmila’s writing debut, after which she disappeared for ten years. Only in the second half of the 1980s did her works begin to be published again. Very soon her plays were noticed by theater directors. At first, productions based on her texts appeared on the stages of small and amateur theaters, and over time, famous temples of art began to gladly stage performances based on Petrushevskaya. Thus, her play “The Music Lesson” was staged at the Theater-Studio of the House of Culture “Moskvorechye”, “Cinzano” was staged at the Gaudeamus Theater in Lvov, “Love” was staged at the Taganka Theater, “Colombina’s Apartment” was staged at Sovremennik, Moscow Art Theater - "Moscow Choir". Lyudmila Petrushevskaya was a fairly in-demand and popular author, and this despite the fact that for a long time she had to write “on the table”, since many editors could not publish her creations, which boldly talked about the shadow aspects of life.

CONTINUED BELOW

Separately, it is worth noting the books by Lyudmila Petrushevskaya about the adventures of Peter the Piglet, created by her in 2002: “Peter the Pig and the Machine”, “Peter the Pig and the Store”, “Peter the Pig is Coming to Visit”. In 2008, a cartoon was made based on this story. And in 2010, Peter the Pig became an Internet meme after a video appeared online for the song “Peter the Pig Eat...”, created by users Lein (text and music) and Artem Chizhikov (video). However, it is not only Internet fame that makes Peter the Pig a special character for Petrushevskaya. The fact is that in 1943, the American writer Betty Howe published her book entitled “Peter Pig and His Air Travel.” The stories of Petrushevskaya and Howe are very similar in many details, including the main idea and the name of the main character.

Other activities

In parallel with the creation of literary works, Lyudmila Petrushevskaya created a “Manual Labor Studio”, in which she herself became a cartoonist. Also, as part of the “Cabaret of One Author” project, the writer performed popular songs of the bygone century, read her poems and even recorded solo albums (“Don’t get used to the rain”, 2010; “Dreams of Love”, 2012).

Lyudmila Stefanovna, among other things, is also an artist. She often organized exhibitions and auctions where she sold her paintings and donated the profits to orphanages.

Family

Lyudmila Petrushevskaya's husband was Boris Pavlov, director of the Solyanka Gallery. Husband and wife spent many happy years together. They gave birth to three children - sons Kirill and Fedor and daughter Natalya. Kirill is a journalist, ex-deputy editor-in-chief of the Kommerant publishing house, ex-deputy editor-in-chief of the Moscow News newspaper, deputy editor-in-chief of the Vedomosti newspaper. Fedor is a journalist and performance artist, theater director. Natalya is a musician, creator of the funk band Clean Tone (Moscow).

In 2009, Lyudmila Stefanovna buried her beloved husband.

Awards and prizes

In 1991, Lyudmila Petrushevskaya received the Pushkin Prize from the Tepfer Foundation. In 1993, the writer was awarded the October magazine prize. She also received the same recognition from the same magazine in 1996 and 2000. In 1995, Petrushevskaya became a laureate of the New World magazine award, in 1996 - a laureate of the Znamya magazine award, and in 1999 - a Zvezda magazine award winner. In 2002, Lyudmila Stefanovna received the Triumph Prize and the State Prize of the Russian Federation. In 2008, Petrushevskaya became a laureate of the Bunin Prize. In the same year she was awarded the Literary Prize named after

- (b. 1938) Russian writer. In plays (Love, production 1975; Cinzano, Smirnova’s Birthday, both productions 1977; Music Lessons, production 1979), novels and short stories (Your Circle, 1988; Songs of the Eastern Slavs, 1990; Time is Night, ... ... Big Encyclopedic Dictionary

Petrushevskaya, Lyudmila Stefanovna- PETRUSHEVSKAYA Lyudmila Stefanovna (born 1938), Russian writer. In plays (“Love”, staged in 1975; “Cinzano”, “Smirnova’s Birthday”, both productions in 1977; “Music Lessons”, staged in 1979), stories and short stories (“Own Circle”, 1988;… … Illustrated Encyclopedic Dictionary

- (b. 1938), Russian writer. In plays (“Love”, staged 1975; “Cinzano”, “Smirnova’s Birthday”, both productions 1977; “Music Lessons”, staged 1979), novellas and short stories (“Own Circle”, 1988; “Songs of the Eastern Slavs”, 1990; “Time... ... encyclopedic Dictionary

PETRUSHEVSKAYA Lyudmila Stefanovna- (b. 1938), Russian Soviet writer. The plays “Love” (post. 1975), “Cinzano”, “Smirnova’s Birthday” (both post. 1977), “Suitcase of Nonsense” (1978), “Music Lessons” (post. 1979). Stories. Film scripts. Translations.■ Plays, M., 1983 (in... ... Literary encyclopedic dictionary

Prose writer, playwright; born 1938; graduated from the Faculty of Journalism of Moscow State University; author of the plays “Love”, “Cinzano”, “Smirnova’s Birthday”, “Music Lessons”, “A Glass of Water”, “Three Girls in... ... Large biographical encyclopedia

Lyudmila Petrushevskaya February 1, 2009 on the 25th anniversary of the rock group “Zvuki Mu” Birth name: Lyudmila Stefanovna Petrushevskaya Date of birth: May 26, 1938 Place of birth: Moscow, USSR Citizenship: Russia ... Wikipedia

Lyudmila Stefanovna Petrushevskaya- The anniversary of Lyudmila Petrushevskaya, who turns 70 on Monday, will be celebrated with a special “Petrushevsky Festival”, which will last almost a month and will present the writer in an unusual role for her. Prose writer, playwright... ... Encyclopedia of Newsmakers

In the literary club "Green Lamp"
meeting took place:

"GENIUS OF ARTISTISM"

LYUDMILA PETRUSHEVSKAYA

Presenter:

Natalya Dmitrievna Bogatyreva,
Candidate of Philological Sciences, Associate Professor at Vyat GSU

Petrushevskaya Lyudmila Stefanovna - screenwriter, playwright, novelist and musician. She was born on May 26, 1938 in Moscow into a family of IFLI (Institute of Philosophy, Literature, History) students. Granddaughter of the linguist, professor of oriental studies N. F. Yakovlev. My mother worked as an editor, my father is a Ph.D.
She survived a difficult, half-starved childhood during the war, lived with relatives, and also in an orphanage near Ufa. After the war, she returned to Moscow and graduated from the Faculty of Journalism of Moscow State University. She worked as a correspondent for Moscow newspapers, an editor for various publishing houses, and on television.
She began to compose poetry early and write scripts for student evenings, without seriously thinking about writing. The first published work was the story “Across the Fields,” which appeared in 1972 in Aurora magazine. After this, Petrushevskaya’s prose was not published for more than ten years.
The play “Music Lessons” was staged by Roman Viktyuk in 1979 at the Moskvorechye House of Culture studio theater and was almost immediately banned (published only in 1983).
The first collection of short stories was published in 1987. Lyudmila Petrushevskaya is the author of many prose works and plays, books for children. She also wrote scripts for the animated films “Lyamzi-Tyri-Bondi, the Evil Wizard” (1976), “All the Dumb” (1976), “The Stolen Sun” (1978), “Tale of Tales” (1979, jointly with Yu. Norshtein ), “The Cat Who Could Sing” (1988), etc.
Petrushevskaya's stories and plays have been translated into many languages ​​of the world, her dramatic works are staged in Russia and abroad.
Winner of the International Prize "Alexandr Puschkin" (1991, Hamburg), State Prize of the Russian Federation in the field of literature and art (2002), Prize "Triumph" (2002), Stanislavsky Theater Prize, World Fantasy Award for a collection of short stories - horror stories “Once upon a time there was a woman who tried to kill her neighbor’s child,” etc.
Academician of the Bavarian Academy of Arts.
In 1991, from February to August, she was under investigation for insulting President M.S. Gorbachev. The reason was a letter to Lithuania after the entry of Soviet tanks into Vilnius, reprinted in the local newspaper “Northern Bee”. The case was closed due to the resignation of the president.
In recent years, he has been performing concert programs called “Lyudmila Petrushevskaya’s Cabaret,” in which he performs popular songs of the 20th century, as well as songs of his own composition.

DMITRY BYKOV ABOUT LYUDMILA PETRUSHEVSKAYA:

(Before the start of the evening, songs performed by Lyudmila Petrushevskaya are played)

Galina Konstantinovna Makarova, head of the Green Lamp club: Good evening! We have already met Lyudmila Stefanovna Petrushevskaya, listened to her songs, and now we are lighting our green lamp. (Applause)

Galina Makarova

At the beginning I want to wish everyone a Happy New Year, we have decided to settle here in the Literary Living Room in the new year, and I think we will like it here. It's quite cozy here. In the new year, I wish you many good books, good films, new experiences and meetings in our club and in our library. On April 2, we will celebrate the 40th anniversary of the Green Lamp club, and I think you will want to congratulate the club, you will want to write some of your impressions, memories, reviews about the club: what the club is in your life. We will be glad and, perhaps, we will place your publications in the collection dedicated to the 40th anniversary of the “Green Lamp” in the VKontakte group - on the page “Literary Club “Green Lamp”. And all this will also be available in the subscription department. Therefore, write, we will be happy to use all this.

And we have one more thing: today one of our club members is celebrating his birthday. This is a most devoted friend of both the club and our library, a person who is passionate about everything that happens in the library, in life, in art, in cinema, in literature. She is in the library every day, she attends all the events that take place in the library. This is... guess who? This is Emilia Anatolyevna Khonyakina . (Applause)

Galina Makarova and Emilia Khonyakina

Emilia Anatolyevna, thank you very much for your interest, for your love for everything, we are very grateful to you and are glad to always see you here. From the Green Lamp club we are giving you a new book about Herzen’s library, and from the film club, which you have also been visiting for a very long time, since the days of Stalker, this very good film. (Applause).

A couple more announcements: “Literature in Disguise: Mysteries of Literary Hoaxes” is the topic of the next Green Lamp club lesson. See the information on the library website, VKontakte, books, as always, are on subscription, and we are waiting for you on February 5th. The books have already been selected, choose a topic, choose an author and you can add or talk about some kind of literary hoax and take part in the next meeting. This will be interesting both for you and for us.

And one more announcement for those who come to our films. On January 19, the premiere of the film “Vyatka Dinosaurs” will take place by the film crew of the Vyatka film and video studio, directed by Anton Pogrebnoy. In addition to the film, there will be a meeting with the film crew, with the directors of the paleontological museum - previous and current, so the conversation promises to be interesting.

And finally, for connoisseurs of high art and intellectual auteur cinema – Alexander Sokurov’s film “Stone”. We timed the screening of this film to coincide with Chekhov’s anniversary, but, of course, the film does not carry any informational load. This is purely a work of art that gives some kind of mood, gives rise to numerous associations, it will bring great pleasure to fans of auteur cinema, so come on January 26th.

Well, today at the end of our conversation, those who want can linger a little, there will be a continuation of the concert that we watched before the meeting, there will be completely unique numbers, and you can listen to the concert to the end.

Today our topic is: “The genius of artistry” Lyudmila Petrushevskaya.” Natalya Dmitrievna Bogatyreva will tell us about the work of Lyudmila Petrushevskaya. You all know that she is an active participant in the Green Lamp and has participated in many of our meetings. This is an extremely knowledgeable person who knows how to analyze, appreciate and love not only literature, but cinema too. But that will be a little later. And first I will say literally two words about the life of Lyudmila Stefanovna Petrushevskaya.

Petrushevskaya is an amazingly gifted and amazingly free, brave person. She is a screenwriter. She is a playwright. She is an artist. She is the author and performer of songs and fairy tales. It is very difficult to list everything. Now she is mastering step and doing yoga, etc. etc.

Lyudmila Petrushevskaya was born on May 26, 1938 (that is, she is already 76 years old) in Moscow in a family of students of the famous IFLI (Institute of Philosophy of Literature and History). She had to endure very difficult trials, as did many of her peers. These trials began even before her birth; in 1937-38, three members of her family were executed, two more, according to her, were in a psychiatric hospital. Petrushevskaya recalls: “We were members of a family of enemies of the people. The neighbors didn’t let me into the kitchen; there was nothing to eat.” She survived a difficult war childhood, truly hungry. She wandered, begged, sang in the streets, and lived with relatives. Then an orphanage near Ufa saved her from hunger.

Lyudmila Petrushevskaya

After the war, she returned to Moscow, sang in a children's choir, studied vocals, and wanted to become an opera singer. Her grandfather is the outstanding linguist Nikolai Feofanovich Yakovlev. He created a writing system for several peoples of the Caucasus based on the Cyrillic alphabet. In the early 50s, he became a victim of repression, he was thrown out of work, he went crazy, and lived another 20 years. My mother worked as an editor, my father was a Ph.D. They lived in a 12-meter room and slept with their mother under the table. The father left the family.

She graduated from the Faculty of Journalism of Moscow State University, and early began to compose poetry, write scripts for student evenings, and for the Krokodil magazine. At first I didn’t think seriously about writing. She sang, played in student performances, and had the nickname “chansonette.” She worked on radio, as a correspondent in Moscow newspapers, magazines, as an editor in various publishing houses, on television, and studied in the theater studio of Alexei Arbuzov. She wrote plays, stories, and cartoon scripts. For example, the script for the cartoon “Tale of Tales,” together with Norshtein, is her work.

According to Petrushevskaya, she felt constant fear for the lives of her relatives: her children, her mother, her husband. My husband was sick and paralyzed after falling from a cliff on an expedition. At the age of 37, she buried him, there was no work, they didn’t print, they didn’t stage. Eternal need, lack of money, mother and son in her arms. I thought it was better to leave.
The first collection of stories was published at the age of 50 (!) in 1987. Today, Petrushevskaya’s stories have been translated into many languages ​​of the world, her dramatic works are staged in Russia and abroad. She continues to draw, write, perform songs, fairy tales, and sing.

Well, a few words about her family. At the moment, Lyudmila Stefanovna is a widow, her late husband Boris Pavlov, who passed away in 2009, was the director of the Gallery on Solyanka. Petrushevskaya has three children - Kirill Evgenievich Kharatyan, born in 1964, journalist. He worked at the Kommersant publishing house and at the Moscow News newspaper. Now he is deputy editor-in-chief and columnist for the Vedomosti newspaper. Fyodor Borisovich Pavlov-Andrievich – journalist, TV presenter, producer. Now the director of the Solyanka Gallery, as a director he stages Petrushevskaya’s plays. And Natalya Borisovna Pavlova is a musician, founder of the Moscow funk group “Clean Tone”.

Lyudmila Stefanovna is the winner of many awards, including the international Alexandr Puschkin Prize, which she was awarded in 1991 in Hamburg, the State Prize of Russia, the Triumph Prize, the Stanislavsky Prize, the World Fantasy Prize for the collection of horror stories “Once Upon a Time” the woman who tried to kill her neighbor's child." Academician of the Bavarian Film Academy. Here's a short biographical note. They just asked me to talk in general terms about Petrushevskaya’s life. Well, now we will listen to Natalya Dmitrievna. Then you will be able to express your impressions, your attitude, talk about your favorite works, how you feel about the author. Please.

Natalya Dmitrievna Bogatyreva, Candidate of Philological Sciences, Associate Professor at Vyat GSU : Hello again. The initial concept of my speech is purely literary. The topic of our today’s meeting is “The Genius of Artistry” Lyudmila Petrushevskaya,” but you will notice that the topic of artistry itself is practically not touched upon by me, because this means that we need to talk about the various talents of a person. A person who can be called “a human orchestra,” literally gushing with talents in various fields of art. I will only touch on literature, and it is interesting that Petrushevskaya’s reputation in literature, despite the many awards that were listed here, is extremely ambiguous. The assessments are so polar, so incompatible... From complimentary to absolutely not accepting her as a writer, as an author of different genres. This phenomenon is, of course, very interesting and mysterious.

Many dissertations have already been written about Petrushevskaya’s work, the most serious ones, including doctoral ones - not purely on her work, but when she is included in some number of other names. And there are already dozens of candidate dissertations on Petrushevskaya’s work alone.

Initially, I thought of simply talking about those genres that she uses innovatively, within which she feels so free and so relaxed and talented. But I re-read her favorite “Volume Nine” (that’s what it’s called, it’s journalism), and found an absolutely brilliant article there. I had read it before, but I re-read it and thought that my message would pale unspeakably in comparison with her text, where she talks about how she moved from stories to drama, from drama to fairy tales, from fairy tales to journalism, to screenplays. In general, she does this in an inimitably perfect and stylistically flawless and brilliant manner. Therefore, while dwelling, of course, on genres, I will also touch upon purely literary matters. I apologize in advance if they seem very special; perhaps not everyone in this audience is interested in philological delights. But this attempt is not my own, God forbid, I am not a Petrushevskaya researcher, I am just a reader, an interested reader, as they say. I hope that this epithet can be applied - a qualified reader. But this is a person who is deeply interesting to me, so I just tried to understand the opinions of experts that have already been expressed. We will therefore touch upon such things as the nature of Petrushevskaya’s language and style. The originality of her gloomy hyperrealism and, as they sometimes even say, post-realism, dirty realism, sometimes even mean her work, and the relationship between realism and postmodernism in her work. This is also a special philological topic, but postmodernism is a modern phenomenon and, naturally, we are interested in both touching on it and understanding it. Well, such things, of course, as extraordinary education, breadth of vision, extraordinary breadth of horizon, encyclopedic knowledge, and what is called the literary nature of Petrushevskaya’s work will also sound somehow in our reflection.

Natalia Bogatyreva

Galina Konstantinovna has already named those biographical facts that are important in this case, and I, probably, speaking about Petrushevskaya, will refer to the following assessment: Petrushevskaya’s work is implicated in dark collisions that are “not of a philosophical-existential, but of a reduced-everyday nature.” That is, if we consider the relationship between being and everyday life, then Petrushevskaya plunges into such spheres of everyday life that can cause a chill down the spine and give the impression of the absolute absurdity of our existence. Strange as it may seem, everyday life seems to concern everyone - it is everyday life, there is little in common with the absurd, but according to Petrushevskaya, it turns out that the most terrible, post-apocalyptic pictures are rooted precisely in everyday human life. It is clear that we find many of the origins of this view of urban life, of the life of the intelligentsia, in her childhood and in the deprivations of her family.

Petrushevskaya's prose was not published when it was written and completed. Almost the only exception was the appearance of two stories in the pages of Aurora magazine in 1972. Here a different date was given, but it was when Petrushevskaya was already recognized and released in the late 80s, and then it was triumphantly produced in huge quantities. But the first two stories were published in 1972. Plays in general have a very complex history; they were staged mainly in independent home theaters. She admitted: “I led the lifestyle of a completely banned writer. There was nothing to live on. The Soviet government did not publish me and did not allow my plays to be staged.” This hurt her, it seemed strange to her that even in these ideologically very tough times, Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich” could appear in Novy Mir, if Solzhenitsyn’s “Matryonin’s Dvor” was published, if villagers were allowed to paint pictures of a gloomy life collective farm villages, then why were her pictures of city life rejected. It seemed deeply unfair to her. I think everyone will be interested in the fact that Petrushevskaya, in her youth, perhaps, was very offended by Tvardovsky, because she offered her stories to Novy Mir, he read them and imposed the following resolution: “Do not print, but the author is from “Don’t lose sight,” that is, he paid tribute to her talent. Well, the reason not to publish it is too gloomy. In one dissertation I read that if such a liberal writer, publicist, critic, philosopher, writer as Tvardovsky did not respond and seemed to reject Petrushevskaya’s experiments, then what can we say about official criticism, about Soviet officialdom. I think that this is not a very competent dissertation, because calling Tvardovsky a liberal critic is a big stretch. Now we understand that he is a deep spiritualist, a person who was far from liberal assessments. But the genius of modern liberalism, Dmitry Bykov, really believes that in modern literature, of all Russian writers, the only person who deserves the Nobel Prize is Lyudmila Petrushevskaya. And on this basis, some teachers and members of our literature department at Vyat GSU are skeptical about both Bykov and Petrushevskaya (laughs).

This is the picture that is emerging, and it is very curious, because Petrushevskaya herself would probably not agree with the assessment that she savors gloomy physiology and naturalistically admires the absurdity of everyday life, because after all, there is a powerful spiritual tension and metaphysical overtones in her work . It seems to me that this assessment is deeply fair: Petrushevskaya’s hero or a person in Petrushevskaya’s artistic world appears as a tragic creature whose mind and spirit are enclosed in a bodily shell. The body requires warmth and food, and this is not given to everyone easily and immediately like manna from heaven. Here many extremely acute collisions arise, but immersion in the boney, dark element of everyday life does not mean that the human soul is forgotten and completely rejected, crossed out. Petrushevskaya really manages to create in her works a story of the suffering of the human soul, tossing about in the darkness of material and bodily existence.

Anatoly Vasilevsky

When we begin to think about what constitutes the very essence of the language and style of such hyperrealistic or postmodernist or absurdist tests by Petrushevskaya, then, probably, such conclusions will be fair. “Building a narrative on the contrast between the burning material of life and the icy calmness of the narrator,” Petrushevskaya seems to interweave in her texts and force three stylistic traditions, three layers of style, to interact. And this is its uniqueness, uniqueness and originality. When critics evaluate only one of these layers, it turns out to be skewed and unfair. I will now outline these layers and your right to agree with it or disagree. When we talk about intertext, many more names will be named, but, nevertheless, these stylistic layers are connected, on the one hand, with the tradition of Varlam Shalamov and his “Kolyma Tales”, on the other hand, with the clearly expressed Zoshchenko tradition. And finally, without a name, without linking it to a specific literary name, we will name the stylistic stream - the tradition of amazing lyricism and the penetration of the poetic element into prose, into drama, and into any genre in general by Petrushevskaya. These three components form the uniqueness known to Petrushevskaya. That is, she is, in fact, the only one in new Russian literature who truly agrees with Shalamov that everyday life and the life of a modern provincial or capital city is life similar to the hell of Kolyma. And she is seen in Petrushevskaya’s texts literally through the eyes of Pluto, who rose from hell. Accordingly, no horrors and nightmares can surprise such a subject of perception: from his point of view, such a life cannot but be tragic.

On the other hand, Petrushevskaya has a parodic, ironic, fairy-tale word that goes back, without a doubt, to Zoshchenko. Here, as a rule, we can hear the language of a street queue, a communal apartment, such a narrator looks at everything through the prism of his kitchen experience, sees books exclusively as objects of purchase and sale, and everything he hears is roughly reduced to the rough, low, material-physical. All this would probably be familiar to us, because separately we can find this current in other contemporary authors. But when it is also permeated with lyrical intonation, correlated with the tragic theme of death, when we understand that in Petrushevskaya’s texts the lyrical stream is an expression of the deepest sympathy for her heroes, then this philosophical side of her narrative and metaphysical part of its philosophy.

I think that no one can say this better than Petrushevskaya herself, so I will allow myself to quote her. A very short text from this very “Volume Nine”. By the way, when I spoke about this volume at the department, one of the teachers asked: “What, has she already written 9 volumes?” Generally speaking, the collected works of Petrushevskaya include 5 volumes, and this is simply the name of a volume of journalism. There can be any associations here: with Aivazovsky’s “The Ninth Wave” or with something else. It’s just called “Volume Nine”, and there’s a tiny article in there - “Who needs an ordinary person.”

Here comes a man, you can see from his face that he’s drinking, because it’s always visible. He leaves the house, and his wife and son are at home, and in the evening, when he returns, they won’t need him, the wife will cry again, the son will be afraid of the scream, the usual story, he’s tired.
Here is a young woman running with bags to the bus, she is in a hurry to the hospital, there is a thermos and packages in her bags. She still had a child at home; she left him alone so as not to drag her to the hospital with her. Who needs this woman, with her preoccupation, hands red from washing, with such rare moments of peace, with beautiful eyes that no one will ever look into again.(But she’s alive! Look at how Petrushevskaya writes about her, you just can’t help but get goosebumps at that moment. - N.B.)
Or an old woman who tells her stories so loudly because she is used to not being listened to, and is in a hurry to speak out while there is a living person nearby, because she lives alone...
We walk past them, don’t pay attention to them, and they don’t pay attention to us. But every person is a huge world. Each person is the final link in a long chain of generations and the founder of a new chain of people. He was a beloved child, a gentle child, eyes like stars, a toothless smile, his grandmother, mother and father bent over him, bathed him and loved him... And released him into the world. And now a new small hand clings to his hand.
The viewer will say: why should I watch this in the theater, and even for money - I see crowds of them on the street. And at home, thank you.
Does he see them? Does he look at them?
Does he regret or love? Or at least understands them? And will anyone understand him?
To understand means to forgive.
To understand is to regret. Think about the life of another person, bow before his courage, shed a tear over someone else’s fate as over your own, breathe a sigh of relief when salvation comes.
In the theater sometimes there is such a rare opportunity - to understand another person.
And understand yourself.
Who are you, viewer?
How are you doing?

Here, literally, is a tiny journalistic text. Written as an insert in the program for the play “Three Girls in Blue” at the Moscow Lenkom Theater. But, nevertheless, I understand it this way: this is Petrushevskaya’s credo, this is the quintessence of her writer’s position. If we don’t see or feel this in her prose texts, then this, in fact, is not always her fault, but maybe it’s her style, her choice, and here everything is just as unpredictable as usual in life: either she will find how tuning fork, consonance in our soul, or not. But the value judgments into which critics in relation to Petrushevskaya have been divided for a very long time are as follows: some said that this is rubbish and therefore it is impossible to deal seriously with this and evaluate this writing; on the other hand, there is the opinion that this needs to be comprehended, explored and approached by the author as a serious, talented person with his own intonation, with his own voice.

Well, how do you evaluate Petrushevskaya’s style? Like a special women's tale, which includes some kind of choking, impatient, sometimes very ironic, sometimes sarcastic, sometimes full of self-irony intonation. This is a very complex interweaving of someone else's word and someone else's intonations. And it is not always easy to discern her intonation here, which is so pathetically indicated in the program for our evening.
“Time is Night” is considered one of Petrushevskaya’s most famous works. This is a long story, translated and published in a number of foreign countries earlier than here. This is something for which Petrushevskaya was awarded more than once. And this is the largest genre formation along with the novel “Number One, or In the Gardens of Other Possibilities.” These are two major works, of which “Time is Night” is more familiar to me, because I have not read the novel “Number One”. I confess to you that purely emotionally, when you read - especially the ending - you understand that it is so scary that... Well, like after a scary movie, after which you just can’t wake up. This is very scary, it sometimes makes me, for example, feel on the verge of nausea, and I experience the same feeling when I read a lot of Petrushevskaya in one gulp - one, two, three... Still, it’s probably impossible.

Natalia Bogatyreva

But please note: the heroine of the novel, on whose behalf the story is told, is a little autobiographical. I say a little, because, of course, the author is a much deeper, interesting, gifted, talented person, and there is always irony on the verge of sarcasm towards the narrator. She is a poet, although she always adds with a grin - a graphomaniac. A poet who cannot live on what he is trying to publish or offer somewhere, and therefore, literally, gets stuck in these everyday disorders. But in fact, this is an attempt, it seems, by a man of culture, a man of high intellectual note, or something, to perceive such a way of life, unprepared for high perception.

Well, Petrushevskaya’s fairy tales, of course, from a genre point of view, seem to me, on the one hand, interesting, because they are very different. There are also dark, very cruel fairy tales, but like any fairy tale, they are still light, with a bright ending and a good happy ending. Therefore, read how she herself talks about her fairy tales, how they were composed - this is also quite interesting.

Nadezhda Frolova

Well, I’ll probably finish by mentioning that the volume of journalism is really extremely interesting, precisely because it contains absolutely stunning pictures of Petrushevskaya’s interaction with the most famous theaters, playwrights, and her contemporaries. Memories of how she participated as an aspiring playwright in Arbuzov’s circle, whom she considers her real teacher. Her memories of her friendship with Oleg Efremov and the story of his departure - we probably won’t find more accurate evidence anywhere in other sources. This is a story about the work on “The Tale of Tales” by Yuri Norshtein. These are, finally, some details that make us smile, because they are perceived now in a completely different way. We all remember what a talented actor Karachentsev was, and we know what tragedy happened to him. And so you read how Lyudasik, the wife of Kolyasik Karachentsev, called, ran up and said something, and you understand that once, one and a half to two decades ago, it was a special theatrical atmosphere, a special story, and it is also for us interesting as the history of our art, our way of life.
I guess I won’t say anything more, ask questions if you want, otherwise I’m talking too much.
(Applause)

G. Makarova: Thank you, thank you very much! We would listen and listen! Please, questions, your statements.

Evgeny Yushkov, pensioner: Natalya Dmitrievna, I heard in your speech that Petrushevskaya is worthy of the Nobel Prize. Do you know if she was offered, at a time when she was completely banned, to publish abroad? I’ll give you a local example: the well-known local poetess Lyudmila Suvorova had no intention of transmitting her poems abroad, but she received a warning at the Lunacharsky mansion. But if this had not happened at the time, then there could well have been a Nobel. (Laughter in the audience)

E. Yushkov

N. Bogatyreva: I'll try to answer. You see, talking about Petrushevskaya’s Nobel Prize, it seems to me, is also a well-known exaggeration. This is from the area when we say: “What a talented person!” or “What soldier doesn’t dream of becoming a general!” If a person has shown himself in such a variety of ways in literature, and someone thinks that he is worthy, he will be pleased to hear this. But what have I read and what do I know for sure about whether she was persecuted, whether she tried to publish abroad at a time when she was not published anywhere... You understand, that’s why she was very surprised at her youth and, perhaps, even and was offended by the same “New World” that she never even had any inclination to touch upon any political motive or take the position of a political dissident. This is not in her texts. Absolutely! And she wondered why there was such an unconditional strict ban. Tvardovsky, partly in the resolutions that he imposed, explained, motivated, explained that he was able to feel how talented the person was, therefore, I think, there was no such fact in her biography. This is strange for researchers too: why the absence of such a component - the confrontation between the artist’s personality and the authorities - is such a reaction to it.

E. Yushkov: That is, you can defend your next dissertation on this topic.

N. Bogatyreva(laughs): It is possible, I think, that the flow of dissertations will not dry up in relation to Petrushevskaya. She is compared to Chekhov on a serious level, in the same dissertations. Chekhovian traditions, etc. In the passage that I read, Tolstoy’s thought is heard.

E. Yushkov: If it’s not a secret, what is the topic of your dissertation?

N. Bogatyreva: No, it’s not a secret at all, I’m not going to hide it. It just has nothing to do with Petrushevskaya. This is the Silver Age, the prose of the Silver Age and the work of Leonid Andreev as a Russian existentialist - this is the sphere of my scientific interests. The candidate's dissertation was entitled "Forms of expression of author's consciousness in the prose of Leonid Andreev."

E. Yushkov: And Daniil Andreev...

N. Bogatyreva: Daniil could not be touched upon then; when I wrote my dissertation, he had not yet been published and was completely unknown. But, by the way, “The Rose of the World” circulated in manuscript, but was not published, so it was impossible to either refer to or mention him. Since you asked such a personal question, and everyone probably felt from my story that what I liked most was Petrushevskaya’s volume of journalism. This happens to me: I read journalism and it is through journalism that I try to understand how sincere a person is and how much he reveals himself in these texts. This does not always happen, not with all publicists. For example, Roman Senchin, we discussed him at one time. “The Yoltyshevs” also has a gloomy picture, there is hyperrealism with macabre and so on, but when I started reading his articles (I could not, of course, help but react to the fact that Andreev is also his favorite writer), despite the gloominess it seems to be his , this did not happen there, and this immediately determined my personal attitude towards him. And Petrushevskaya in the volume of journalism is very close to me and very interesting. And her work... You see, when they write about her as a postmodernist, I think: if I agree with this, then I will cross her out for myself. Sorry, but this is my attitude towards postmodernism. I believe that this is a dead-end branch of contemporary art. Absolutely. When dissertators write that postmodernism will pass, that we can already talk about postrealism now, that we need to treat it soberly and take the best that it undoubtedly has, well... this is very sensible, I think. But I am absolutely sure that this is a dead-end branch. But when they write that Petrushevskaya is not a postmodernist, because she has a spiritual component that is absolutely closed to postmodernism, I absolutely agree with this. It moves in the mainstream of postmodernism, and uses its techniques, and adds a lot to it in the sphere of the absurd, but it cannot be exhausted by postmodernism. And what to call her method—hyperrealism, postrealism, or something else—that’s a matter for theorists. They will definitely do this. (Laughs)

Vladimir Gubochkin, engineer: Natalya Dmitrievna, it’s difficult for me to argue with you, because you are, after all, a philologist, a candidate of sciences, and I am an engineer, but, nevertheless, I would like to defend postmodernism. Postmodernism is neither good nor bad, postmodernism is because this is the time, because we have all fallen behind the plinth and we live in this in search of meaning, in this leapfrog. We endlessly move the same cards from place to place in search of something new to get out of this solitaire game. This is postmodernism.

E. Yushkov and Vladimir Gubochkin

N. Bogatyreva: I absolutely agree. (Laughs)

V. Gubochkin: Do you agree? This means the first success. (Laughter in the audience). Second: in postmodernism there is a very strong playful element, because everything there is done lightly, as a joke, as if...

N. Bogatyreva: That’s right, but when it’s total, but when it’s, so to speak, universal banter, it’s terrible.

V. Gubochkin: All people are built differently: some people like oranges, others like cucumbers. For example, it’s not Petrushevskaya that makes me feel nauseous, but Sorokin and Mamleev, but Petrushevskaya doesn’t make me feel that way, because this auntie...

E. Yushkov: Why Sorokin? Sorokina...

G. Makarova:... everyone loves it! (Laughter in the audience)

Elena Viktorovna Shutyleva: Let's talk about Petrushevskaya, and not about Sorokin.

V. Gubochkin: I repeat again: some people like oranges, some like cucumbers, some like Sorokin, and some like Petrushevskaya. I would like to emphasize one advantage of Petrushevskaya: she does everything a little frivolously, she scares us - not seriously, she calls out our fears - not seriously. Her mystical things are written in deliberately everyday kitchen language; she works precisely to reduce them, to immerse us in a series of everyday life. And everyday life is a thing in which, roughly speaking, we all get caught up, you can’t scare us with it. I really like this technique of deliberateness, immersion in everyday life in her work. Here is postmodernism, post-realism - you interpret them this way, but other critics say that post-realism is a crossing of postmodernism and new realism.

Vladimir Gubochkin and Andrey Zhigalin

N. Bogatyreva: Yes, that’s true, but I just didn’t delve into such theoretical studies.

V. Gubochkin: Let's go further. Nowadays the word “workers” is not used on TV screens, the word “people” is not used, the word “people” is not used. From TV screens we see either bandits intertwined with operas and do not understand which of them is an opera and which is a bandit. By the way, the play at the Theater on Spasskaya “Yakuza Dogs” is just about this. There is a clan of dogs on the scene, where good dogs are introduced, and we do not understand how to distinguish between them, because they are all equally disgusting. Petrushevskaya strives to return to us the concept of the common man. Her “Karamzin. Village Diary" is a most magnificent thing! There, too, there is their own poor Liza, who, however, drowned not in a pond, but in a barrel of water (she was catching a fish there). Her name is Rufa, this heroine. She caught a fish, but was small in stature and accidentally drowned. Everything there is written ironically. But this is a giant patchwork quilt: if you want a mosaic, if you want a panel, from the fragments of which the appearance is formed, I will not be afraid of this word, of our people, who are not afraid of anything. Men fight in the war, and women raise children in the village. There is no need to plunge us too much into darkness, because the human soul strives to experience catharsis, be cleansed of filth and live again. And Petrushevskaya’s goal is not to intimidate us, not to plunge us into these gloom and fantasies, but to raise us all above them. I didn’t hear this at all in your speech.

G. Makarova: Thank you.

N. Bogatyreva: It’s a pity that you didn’t hear this, but that’s exactly what I formulated.

V. Gubochkin: I'm not done yet! (Laughter in the audience). Her novel “Number One” is a magnificent, deep philosophical work, built like a computer game. There, as in a computer shooting game, the hero is given several lives and is reborn from one character to another. There are marks placed where he is reborn through metapsychosis, there is a painful process of passing through this ice... Read this novel! In my understanding, this is a novel of the last fifty years, a serious, deep philosophical novel. Thus, in my understanding, Petrushevskaya is a different person. This is a person who thinks deeply, but disguises himself under various masks, hiding under these masks, maybe from some kind of reality, maybe this way it’s easier for her to get to our insides. I ask you to help me with one thing - I can’t catch her true face anywhere. Where is she herself? She is not an artistic genius, she is a genius of transformation, she is Proteus. In one case she is Pelevin, in another case she works almost like Marshak with her magnificent “Wild Animal Tales”. Pushkin says: “When dark thoughts come to you, uncork a bottle of champagne and re-read The Marriage of Figaro.” And when I feel bad, I also uncork champagne and read “Wild Animal Tales.” (Laughs). I recommend reading about the bedbug and so on. Therefore, this is not such a gloomy personality, this is a personality who seeks to plunge us into the abyss, so that our souls experience catharsis, so that we are reborn from the darkness of this life to something, so that we find support in life. I didn't hear any of this in your report.

G. Makarova: It’s a shame they didn’t hear. In this case, we are like-minded people, not opponents.

V. Gubochkin: That's all I wanted to say.

N. Bogatyreva: Let us share our thoughts on the playful nature of postmodernism. It is clear that your favorite novel is Number One and Wild Animal Tales. Who else has a favorite, tell me.

V. Gubochkin: “Paradoski. Lines of different lengths.” I could list a lot more. But what is your opinion, where does she reveal herself, where is she real, where does she not hide behind a mask, but herself?

N. Bogatyreva: She really plays with masks. Where is she herself? Only in the Ninth Volume, I am absolutely convinced of this. By the way, she herself said that she considers her style and her language, tailored from various finds, from the folk language, to be a kind of discovery. And she was very upset when her stories were in the editors, they were not published, but, nevertheless, she could, for example, in some publication of stories by young authors, come across a piece that was syntactically absolutely reminiscent of her prose. She said: “I even recognized entire paragraphs and realized that these manuscripts were being passed around.” Many people think it’s easy to write about everyday life. Who won't succeed? So there was a temptation to steal, and it was very painful and offensive to her. She says she later took the manuscripts back and regretted trusting the editors. And as for who to learn from... Well, in the same “Volume Nine” she gives examples: you, she says, just want to invent something ironic, a very bright and seemingly clumsy folk expression, but it it is already among the people, it exists. For example, “does not affect the effect” - she heard this, it is clear that illiteracy is being parodied, but it seems that this is a fairly vivid expression that is often heard.

Natalya Bogatyreva and Galina Makarova

V. Gubochkin: But she is not parodying, the fact of the matter is that she is trying to speak the language that the people speak.

G. Makarova: She calls herself a collector of language, and she does not invent language, she does not invent anything. She collects a language, but she does not collect the language that everyone speaks every day, but she collects the language that she hears once and is surprised by this language. She even says somewhere that the best language comes from intelligent alcoholics.

N. Bogatyreva: The most colorful!

G. Makarova: Yes. She walks the streets so that no one recognizes her, without any hats, without any bells and whistles, no one recognizes her, and she listens. All her works are absolutely true stories that she heard. And I can also read her words: “I write from pain about what is tormenting me, when I want to scream - help! He is kind who calls for mercy, cannot endure a painful situation and must talk about someone else’s grief as if it were his own. But the one who considers these stories to be nonsense and an obstacle to his well-being is not kind. Different people perceived the same story of mine in different ways: some were angry and forbade it, others cried and reprinted it, distributed it among friends in the years when no one published me.”

Boris Semyonovich Kiryakov, writer, local historian: Excuse me, please, Galina Konstantinovna, but here we are talking about the fact that some people read by connecting only the brain, but she calls for the heart to be connected.

Boris Kiryakov

G. Makarova: Yes, of course, of course. And then, you know, everyone reads differently and sees things differently: some are only interested in the story, only the plot, what happened to the characters. But for some reason, plots interest me only secondarily. I admire the language: tasty, witty, unexpected, absolutely unique. It’s exactly how she places these words, how she chooses them, how she chooses them. And even the most tragic story turns into delight.

V. Gubochkin: I absolutely agree, because with her art prevails over the plot. Sound writing, word writing... One can only feel sorry for those people who see only black stuff.

Andrey Zhigalin, poet: Her plot is also wonderful...

G. Makarova: Of course, definitely...

E. Yushkov: When do you think Lyudmila Petrushevskaya will be included in the school curriculum, at least as an elective?

N. Bogatyreva: It has already arrived, it is read in the 5th grade - the play “Three Windows”, in my opinion. It is already in the program.

G. Makarova: By the way, pay attention to those who already have access to the Internet, there are a huge number of videos of Petrushevskaya: songs, plays, her “Moscow Choir”, “Three Girls in Blue”...

N. Bogatyreva: Absolutely wonderful, amazing acting: Inna Churikova, Tatyana Peltzer, who has already left.

V. Gubochkin: You were right when you said that in the theater she appears as herself. It seems to me that here we see her true face.

N. Bogatyreva: She writes about how happy she was at the opportunity to write for the theater, when it should not be the narrators, that is, not those who need to be hidden behind - other people's speeches, other people's words, but only dialogues. That is, you need to imagine conversations, monologues, dialogues.

V. Gubochkin: Then you can avoid the author's text.

A. Zhigalin: Her plays are very difficult to read. I remember the first book I read - “Three Girls in Blue”, there is a feeling that there is a stream of chopped up, completely incomprehensible remarks that are not connected with each other. This is one of her books that I couldn't read. And then I watched the play “Music Lessons” at the Theater on Spasskaya with Alexander Korolevsky in the title role. It was staged by Nadezhda Zhdanova, by the way, a graduate of Pyotr Fomenko’s workshop. And how it was! I couldn’t finish reading the play, but I saw the performance and it turned out that what a wonderful play it was!

Andrey Zhigalin and Lyubov Sadakova

G. Makarova: I believe that it depends not so much on the acting work, but that in the theater the main thing is the director, the director’s reading. Of course, Nadya Zhdanova is Fomenko’s student. And she, of course, breathed life into it, which is sometimes difficult for us to see in the text of the play. This is the skill of both the actors and the director.

A. Zhigalin: My favorite story from Petrushevskaya is “Hygiene”. This is just a brilliant story! Very scary, you could make a great movie. The main thing is the ending is good. I advise everyone to read it.

N. Bogatyreva: If we talk about genres, she also experiments in such a genre as the cycle. That is, the creation of a chain of works that necessarily fall into a single author’s space. This is “Songs of the Eastern Slavs,” but she herself, by the way, admitted that she was not very happy with this cycle, because she considered it imitative. She has a cycle of stories “Requiems”, a cycle “The Secret of the House”, and fairy tales are also all organized as cycles. This is another interesting experimental genre formation.

A. Zhigalin: Here we have young people making amateur films themselves and looking for good plots and stories. Here Petrushevskaya can be safely taken, her fairy tales, especially “The Black Coat,” and filmed. If anyone is doing this, I highly recommend it.

G. Makarova: Leonty Gennadievich, you made us feel really sad in the gallery. What does Petrushevskaya mean to you?

Leonty Gennadievich Podlevskikh, Candidate of Historical Sciences, Associate Professor at Vyat GSU: You talked about where her creativity comes from. This is not chernukha at all. If we remember the time when she began to write, it was the time of the dominance of existentialism: the first wave was the 20-40s, the second was the 50-70s. Existentialism is theirs, it’s prohibited here, but the sweeter the fruit. Everyone who at least somehow knew how to read, whose hand reached out to a book, were all “sick” of Sartre. Sartre was a master of thoughts. Remember existentialist cafes - they have a black ceiling, black walls, black floor, everything is black. Here is the environment for creativity. Petrushevskaya simply could not help but be different, and could not become someone else as a creator.

A. Zhigalin: She gets folk existentialism then...

L. Podlevskikh: Well, so be it. Folk existentialism is interesting (laughs).

Somebody: A new term in literary criticism. (Laughter in the audience).

L. Podlevskikh: Yes, you can already write a dissertation. This is not chernukha, this is everyday life, from where everything grows. I remember very well when I first started writing something and started asking my mother: “Well, how do you write?” She said: “Take the simplest thing.” He opens the kitchen table drawer and takes out a knife. When they started their family, she and dad bought a knife and used it for 20 or 30 years, sharpened it, and it became sharp. “Describe the life of a knife, an ordinary knife with which we cut bread and other food products.” Here you go, almost the same thing with Petrushevskaya. This is everyday life, there is no bullshit here. This is an ordinary life, an ordinary person. The pan in which you cook buckwheat can also be described sublimely.

Leonty Podlevskikh

G. Makarova: The main thing is to describe honestly.

L. Podlevskikh: No, there is no honesty in the world. We all lie.

N. Bogatyreva: Let's then philosophize on the topic: are we lying or accepting the terms of the game? These are different things.

L. Podlevskikh: I don’t know about Petrushevskaya’s honesty, I’m talking about the origins of her work. Another important thing is the human model. The English formula “selfmademan” can be applied to Petrushevskaya - this is a person who created himself, this is a person whom he would like to be like. What a sparkling fountain she is, despite her current age. And what a creative laboratory. And the fact that it was not published in the Soviet Union... And rightly so. It’s strange that she didn’t understand that they couldn’t print her. What does it mean: “I don’t touch political topics”? Everyday life is also politics. And Tvardovsky, an inveterate conservative, published Solzhenitsyn - two stories - only on a direct order from above. The order came from such a top, from Khrushchev, whom he, as a party soldier, simply had no right to disobey. That's all. Tvardovsky and no one else simply could not publish it. They had no right. And they had no opportunities. Naturally, everyday life is also politics.
And in the Soviet Union - you will remember: “Our life is beautiful, and our future is even more beautiful, and what comes after this - there will be communism!” Therefore, Petrushevskaya had no place here.

G. Makarova: This is exactly what I meant when I talked about honesty.

A. Zhigalin: Regarding the knife, that would be interesting... Petrushevskaya would probably come up with the details of the story, perhaps they killed someone with it, or something else. And here, by the way, it is possible that one of the sources of Petrushevskaya’s creativity is Andersen, who also took ordinary objects, immersed himself in everyday life, but took it all away from everyday life into existence. This is probably also the source of it.

V. Gubochkin: So we felt in our conversations exactly what constitutes the basis of Petrushevskaya’s creativity: she relies on everyday things, on everyday things, on grounded things, on low things, and derives from here some other denominator that protects us and enlightens us.

N. Bogatyreva: There is, of course, metaphysics and the philosophy of high spirituality in all this.

Irina Nikolaevna Krokhova: But she has too much of this dark and light...

V. Gubochkin: And such is the man!

G. Makarova (sad): Yes...That's what he sees.

V. Gubochkin: Don't be scared! Don't take everything to heart.

I. Krokhova: That's right!

G. Makarova: Maya Alekseevna, how long have you re-read Petrushevskaya?

Maya Alekseevna Selezneva: I haven't read it.

G. Makarova: At all?!

M. Selezneva: I was scared of her performances and that’s it, I decided it wasn’t for me.

Maya Selezneva

M. Selezneva: Yes. It was hard, I realized that this was not for me.

A. Zhigalin: Very hard to read! Only a director can bring it all to life...

M. Selezneva: No, I'm taking the easier path.

V. Gubochkin: And I read easily... This is a touching, heartbreaking story - “Three Girls in Blue.” A nightmare.

Elena Viktorovna Shutyleva(laughs): Touching, light, but a nightmare. You understand, right?

G. Makarova: Exactly, exactly.

V. Gubochkin: This brings forth, excuse me, tears. And to say that this is bad, that it is difficult to read...

G. Makarova: Elena Viktorovna, how are you?

E. Shutyleva: I, perhaps, also do not belong to Petrushevskaya’s many fans, I can’t stand her, frankly speaking, I just can’t stand her. It is so alien to me that when I read it, I feel bad. Maybe because, after all, people have different emotional states, there are people... Maybe I’m not so deep, it seems to me, maybe even so. Remember, like in the circus: “We ask those who are nervous to leave.” I'm probably in this category. Because that inner essence, and what it makes me see, makes me shudder, I cannot read it.

Elena Shutyleva

A. Zhigalin: Do you have a desire to isolate yourself as quickly as possible, to exclude?

E. Shutyleva: No, why isolate yourself? Every person has their own bottom. There are people with such strong nervous stability... Well, it’s like sea rolling: a person may not be able to stand it at all

N. Bogatyreva(laughs): The vestibular apparatus may not work.

E. Shutyleva: That's right, I'm not an astronaut.

V. Gubochkin: Sadur wrote a play on this topic - “Pannochka”. There, evil exists only when you allow it into yourself. You are probably afraid to let him in.

E. Shutyleva: But why? Each person understands his capabilities, has his own limit of defense: someone will miss, overwork and leave, but I can’t do that. I read a few things from her, but after that I just couldn’t... Apparently, I’m not meant to tolerate her. But I absolutely love her language. In general, I have a very touching attitude towards language, towards the Russian language. Turgenev is my favorite writer, his language is absolutely amazing, beautiful... And this against his background... Well, I can’t.

Elena Shutyleva

A. Zhigalin: That is, those who read Turgenev do not read Petrushevskaya?

V. Gubochkin: But I can’t imagine Turgenev in the kitchen now.

E. Shutyleva: Talent is natural...

N. Bogatyreva: She is also compared to Platonov, because Platonov is also tongue-tied...

E. Shutyleva: Yes of course!

N. Bogatyreva: ...and to the same extent her heroes are tongue-tied.

E. Shutyleva: But it is still lighter, I would say so.

G. Makarova: Galina Vladimirovna, how are you? Are you moving Petrushevskaya?

Galina Vladimirovna Solovyova, doctor, associate professor of KSMA: I tolerate Petrushevskaya, but also in doses, that is, then I go away for a long, long time.

G. Makarova: Like any art in doses, yes.

G. Solovyova: I would like to draw attention to a question that has arisen several times today: why was it not published in Soviet times, when it began, when it came to Tvardovsky, and so on. I think it's so obvious, and I think our audience understands everything. Indeed, in those years, both our upbringing and education formed the image of a happy life, and we knew nothing, we not only had no opportunity to go somewhere, but also information to read about something somewhere, and so on. . That’s why her vision and her specificity—honest, bold—were absolutely impossible back then. It is impossible for someone to immerse themselves in this, think about it, maybe not read it to the end, but at least think about it.

Galina Solovyova

This is very powerful literature, first of all. We try to read in order to understand other people - this is the most important thing. Is it true? To be tolerant, to be able to forgive, you need to cultivate this in yourself. In this regard, Petrushevskaya is truly a very strong writer, and even if we initially have a negative attitude towards her after some of her works, we need to read it. To comprehend, to rethink, and not just to love and know. This is my impression and attitude.

N. Bogatyreva: I absolutely agree with you.

G. Makarova: Very good thanks.

N. Bogatyreva: But you know, here’s another thought that arises... It raises things about a person that depend very little on the political system. Therefore, I absolutely agree with you (addresses L. Podlevskikh)- This is existentialism in its purest form.

L. Podlevskikh: This is just real art, in its purest form.

N. Bogatyreva: Moreover, it so mercilessly touches on the essence of what prevents people from meeting even the same tolerance, the ideal of empathy, forgiveness, kindness, and so on. Personality gets in the way. The personal “I” gets in the way. “I”, opposed to the whole world! And it’s so ingrained in her everyday life that it becomes scary when you read it, because you find out: a person really is like that. And it costs him enormous spiritual effort to overcome this. And that's why she's scary, yes!

Natalia Bogatyreva

V. Gubochkin: Fabulous! Totally agree with you!

N. Bogatyreva: You know, but I have this feeling... When you started talking after me, I had a feeling of absolute agreement with you (laughs). And it was very strange to me when you said that it didn’t sound right to me...

G. Makarova (laughs)): Well, it happens, it happens.

A. Zhigalin: By the way, the surname “Petrushevskaya” already has a name - “Petrushka”. And he was an outcast, he was cheerful...

N. Bogatyreva: By the way, she has recently adopted this look and immersed herself in it, she is talented at it. Why not? For God's sake! “The Old Lady Slowly Crossed the Road” is simply a masterpiece! I enjoy listening to this!

A. Zhigalin: Maybe we can listen? Let's see?

G. Makarova: We will definitely look, I promised. But first we’ll finish, and we’ll listen to the songs a little later.

N. Bogatyreva: It seems to me that it’s already possible...

G. Makarova: Yes, I know it’s time... Wait a little, Tanya!

N. Bogatyreva (laughs): Tanya is ready...

G. Makarova: Set it to 49 minutes (about Petrushevskaya’s concert), please, and wait a little, just a little. Well, if there are no more people willing to speak, then I will say.
I am very glad that we took on such a difficult, immense topic, such a Universe called Petrushevskaya, and I think we did it. Of course, it is impossible to embrace the immensity, but, thanks, first of all, to Natalya Dmitrievna, we succeeded. She knows how to say very briefly and very deeply about the main thing, about the main thing. But for Petrushevskaya, like a real artist, the main thing is her artistic features, features of language, style. And in general, everything you said today is so interesting! And I am generally grateful, like perhaps many of you, to the club for the fact that we take on topics that make you immerse yourself in the topic or the author - and fall in love. I had read Petrushevskaya before, of course, but I wasn’t in love with her. When I began to prepare... You understand, this is such a pleasure! Now we’ll listen to the songs - this is something! He is such a free person that you really want to imitate him.

Natalia Bogatyreva, Galina Makarova and Anatoly Vasilevsky

Well, I also want to end by saying that Natalya Dmitrievna is hugely grateful! Not only for this evening, but also for those evenings when she took part in our meetings, and in our film club screenings, where she, too, always has an amazingly deep ability to perceive the most complex works of art. Therefore, my gratitude is immeasurable. And on behalf of the Green Lamp club, and on your behalf, I also want to give Natalya Dmitrievna our green lamp. Thus, she enters our narrow circle of “Green Lamp” activists, leading “Green Lamp”, and I hope that we will have the happiness of listening to Natalya Dmitrievna more than once.
(Hands over a miniature green lamp)

N. Bogatyreva: How lovely!
(Applause)

N. Bogatyreva: Thank you! Amazing!

Natalia Bogatyreva

G. Makarova: I invite you all to the next meeting - “Hoaxes in Literature.” For books, go to the subscription; there’s a lot of stuff there that you don’t even know about.
And now, please, the 49th minute, and let’s look at the second part. This is a concert from 2010, here Petrushevskaya is 72 years old.
(The viewing of the video was accompanied by applause)

• Petrushevskaya, L. S. Collected works: in 5 volumes - M.: TKO AST; Kharkov: Folio, 1996. - 254 p.
• Petrushevskaya, L. S. Time is night: a story. - M.: Vagrius, 2001. - 175 p.
• Petrushevskaya, L. S. City of Light: magical stories. - St. Petersburg. : Amphora, 2005. - 319 p.
• Petrushevskaya, L. S. Changed time: stories and plays. - St. Petersburg. : Amphora, 2005. - 335 p.
• Petrushevskaya, L. S. Two kingdoms: [stories, fairy tales].— St. Petersburg. : Amphora, 2007. - 461 p.
• Petrushevskaya, L. S. Children's holiday: [(stories from the lives of children and their parents): collection]. - M. : AST: Astrel, 2011. - 346 p.
• Petrushevskaya, L. S. Wild Animal Tales; Sea Trash Stories; Pussy Damned. - St. Petersburg. : Amphora, 2008. - 401 p.
• Petrushevskaya, L. S. House of girls: stories and tales. - M.: Vagrius, 1999. - 448 p.
• Petrushevskaya, L. S. Life is a theater. : [stories, novel].— St. Petersburg: Amphora, 2007. — 398 p.
• Petrushevskaya, L. S. Once upon a time there was a woman who wanted to kill her neighbor's child. - M.: AST: Astrel, 2011. - 216 p.
• Petrushevskaya, L. S. Mysterious tales. Poems 2. Border tales about kittens. Poems. - St. Petersburg. : Amphora, 2008. - 291 p.
• Petrushevskaya, L. S. Stories from My Own Life: [autobiographical novel]. - St. Petersburg: Amphora, 2009. - 540 p.
• Petrushevskaya, L. S....Like a flower at dawn: stories. - M.: Vagrius, 2002. - 255 p.
• Petrushevskaya, L. S. Columbine's apartment: [plays]. SPb. : Amphora, 2006. — 415 p.
• Petrushevskaya, L. S. Sweets with liqueur: (stories from life).— M.: AST:Astrel, 2011. — 313 p.
• Petrushevskaya, L. S. Kitten of the Lord God: Christmas stories. - M.: Astrel, 2011. - 412 p.
• Petrushevskaya, L. S. The little girl from "Metropol": stories, stories, essays. - St. Petersburg. : Amphora, 2006. - 464 p.
• Petrushevskaya, L. S. Moscow Choir: [plays]. - St. Petersburg. : Amphora, 2007. - 430 p.
• Petrushevskaya, L. S. Real fairy tales. - M.: Vagrius, 1999. - 446 p. - (Woman's handwriting).
• Petrushevskaya, L. S. Don’t get into a car with two people in it: stories and conversations: [collection]. - M.: AST; SPb. : Astrel-SPb, 2011. - 443 p.
• Petrushevskaya, L. S. Number One, or In the Gardens of Other Possibilities: a novel. - M.: Eksmo, 2004. - 336 p.
• Petrushevskaya, L. S. Paradoski: lines of different lengths . - St. Petersburg. : Amphora, 2008. - 687 p.
• Petrushevskaya, L. S. Adventures of the letter "A". - M.: Astrel, 2013. - 47 p.
• Petrushevskaya, L. S. The Adventures of Kuzi, or the City of Light: [story: for Art. school age]. - M.: Planet of Childhood, 2011. - 189 p.
• Petrushevskaya, L. S. Travels in different directions: [stories, essays, feuilletons].— St. Petersburg. : Amphora, 2009. - 351 p.
• Petrushevskaya, L. S. Stories about love. - M.: AST: Astrel, 2011. -317 p.
• Petrushevskaya, L. S. Romance with delays: warum so spat? - M.:Astrel: CORPVS, 2010. - 478 p.
• Petrushevskaya, L. S. Black Butterfly: [stories, dialogues, plays, fairy tales]. - St. Petersburg. : Amphora, 2008. - 299 p.

• Bavin, S. Ordinary stories: (L. Petrushevskaya): Bibliography. feature article. - M.: RSL, 1995. - 36 p.
• Bogdanova, P. Women's play: “Three Girls in Blue” by L. Petrushevskaya // Modern dramaturgy. - 2013. - No. 2. - P. 213 - 217.

  Lyudmila Petrushevskaya and her group “Kerosin”