By Π§ΡΠΊΠΎΠ²ΡΠΊΠ°Ρ ΠΠΈΠ΄ΠΈΡ ΠΠΎΡΠ½Π΅Π΅Π²Π½Π°
ΠΠΈΠ΄ΠΈΡ Π§ΡΠΊΠΎΠ²ΡΠΊΠ°Ρ
Β«ΠΠ°ΠΏΠΈΡΠΊΠΈ ΠΎΠ± ΠΠ½Π½Π΅ ΠΡ ΠΌΠ°ΡΠΎΠ²ΠΎΠΉΒ» ΠΠΈΠ΄ΠΈΠΈ Π§ΡΠΊΠΎΠ²ΡΠΊΠΎΠΉ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΡΡ ΡΠΎΠ±ΠΎΠΉ ΡΠ΅Π½Π½ΡΠΉ Π΄ΠΎΠΊΡΠΌΠ΅Π½ΡΠ°Π»ΡΠ½ΠΎ-ΠΌΠ΅ΠΌΡΠ°ΡΠ½ΡΠΉ ΡΡΡΠ΄ ΠΎ ΠΆΠΈΠ·Π½ΠΈ ΠΈ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Π΅ Π²Π΅Π»ΠΈΠΊΠΎΠ³ΠΎ ΡΡΡΡΠΊΠΎΠ³ΠΎ ΠΏΠΎΡΡΠ° ΠΠ½Π½Ρ ΠΡ ΠΌΠ°ΡΠΎΠ²ΠΎΠΉ. ΠΡΠΈ Π·Π°ΠΏΠΈΡΠΈ, Π½Π°ΡΠ°ΡΡΠ΅ Π² 1938 Π³ΠΎΠ΄Ρ ΠΏΠΎΡΠ»Π΅ Π·Π½Π°ΠΊΠΎΠΌΡΡΠ²Π° Ρ Π»Π΅Π½ΠΈΠ½Π³ΡΠ°Π΄ΡΠΊΠΎΠΉ ΡΡΡΡΠΌΡ, ΠΎΡ Π²Π°ΡΡΠ²Π°ΡΡ Π½Π΅ΡΠΊΠΎΠ»ΡΠΊΠΎ Π΄Π΅ΡΡΡΠΈΠ»Π΅ΡΠΈΠΉ ΠΈ ΡΠΎΡΡΠ°Π²Π»ΡΡΡ ΡΡΠΈ ΠΊΠ½ΠΈΠ³ΠΈ. ΠΠ½Π΅Π²Π½ΠΈΠΊΠΎΠ²ΡΠ΅ Π·Π°ΠΏΠΈΡΠΈ, ΡΠ΄Π΅Π»Π°Π½Π½ΡΠ΅ ΠΏΠΎ Π³ΠΎΡΡΡΠΈΠΌ ΡΠ»Π΅Π΄Π°ΠΌ ΡΠΎΠ±ΡΡΠΈΠΉ, ΡΠ°ΡΠΊΡΡΠ²Π°ΡΡ Π»ΠΈΡΠ½ΠΎΡΡΡ ΠΡ ΠΌΠ°ΡΠΎΠ²ΠΎΠΉ, ΠΊΡΡΠ³ Π΅Π΅ Π΄ΡΡΠ·Π΅ΠΉ ΠΈ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ½ΡΠ΅ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΡ.
ΠΠ΅ΡΠ²ΡΠΉ ΡΠΎΠΌ ΠΎΠΏΠΈΡΡΠ²Π°Π΅Ρ ΡΡΠ°Π³ΠΈΡΠ΅ΡΠΊΠΈΠ΅ Π³ΠΎΠ΄Ρ ΡΠ΅ΠΏΡΠ΅ΡΡΠΈΠΉ, ΠΊΠΎΠ³Π΄Π° ΠΌΡΠΆ ΠΠΈΠ΄ΠΈΠΈ Π§ΡΠΊΠΎΠ²ΡΠΊΠΎΠΉ Π±ΡΠ» ΡΠ°ΡΡΡΡΠ΅Π»ΡΠ½, Π° ΡΡΠ½ ΠΠ½Π½Ρ ΠΡ ΠΌΠ°ΡΠΎΠ²ΠΎΠΉ ΠΎΠΆΠΈΠ΄Π°Π» ΠΏΡΠΈΠ³ΠΎΠ²ΠΎΡΠ°. Π ΡΡΠΎΡ ΠΏΠ΅ΡΠΈΠΎΠ΄ ΠΡ ΠΌΠ°ΡΠΎΠ²Π° ΡΠΎΠ·Π΄Π°Π΅Ρ Β«Π Π΅ΠΊΠ²ΠΈΠ΅ΠΌΒ», Π·Π°ΠΏΠΎΠΌΠΈΠ½Π°Ρ ΡΡΠΈΡ ΠΈ Π΄Π»Ρ Π§ΡΠΊΠΎΠ²ΡΠΊΠΎΠΉ ΠΏΠ΅ΡΠ΅Π΄ ΠΈΡ ΡΠ½ΠΈΡΡΠΎΠΆΠ΅Π½ΠΈΠ΅ΠΌ. ΠΡΠΎΡΠΎΠΉ ΡΠΎΠΌ ΠΎΡ Π²Π°ΡΡΠ²Π°Π΅Ρ ΠΏΠΎΡΠ»Π΅Π²ΠΎΠ΅Π½Π½ΡΠ΅ Π³ΠΎΠ΄Ρ, ΡΡΡΠ΄Π½ΠΎΡΡΠΈ ΠΆΠΈΠ·Π½ΠΈ ΠΡ ΠΌΠ°ΡΠΎΠ²ΠΎΠΉ ΠΏΠΎΡΠ»Π΅ ΠΏΠΎΡΡΠ°Π½ΠΎΠ²Π»Π΅Π½ΠΈΡ 1946 Π³ΠΎΠ΄Π°, Π΅Π΅ ΠΏΠΎΠΏΡΡΠΊΠΈ ΠΎΡΠ²ΠΎΠ±ΠΎΠ΄ΠΈΡΡ ΡΡΠ½Π° ΠΈ ΡΠ°Π·ΠΌΡΡΠ»Π΅Π½ΠΈΡ ΠΎ Π»ΠΈΡΠ΅ΡΠ°ΡΡΡΠ΅ ΠΈ ΠΈΡΡΠΎΡΠΈΠΈ. Π’ΡΠ΅ΡΠΈΠΉ ΡΠΎΠΌ, Π΄ΠΎΡ ΠΎΠ΄ΡΡΠΈΠΉ Π΄ΠΎ Π΄Π½Ρ ΡΠΌΠ΅ΡΡΠΈ ΠΡ ΠΌΠ°ΡΠΎΠ²ΠΎΠΉ 5 ΠΌΠ°ΡΡΠ° 1966 Π³ΠΎΠ΄Π°, ΠΎΡΠ²Π΅ΡΠ°Π΅Ρ ΠΊΠΎΠ½Π΅Ρ Β«ΠΎΡΡΠ΅ΠΏΠ΅Π»ΠΈΒ», Π½Π΅ΡΠ΄Π°ΡΠ½ΡΠ΅ ΠΏΠΎΠΏΡΡΠΊΠΈ ΠΏΡΠ±Π»ΠΈΠΊΠ°ΡΠΈΠΈ Β«Π Π΅ΠΊΠ²ΠΈΠ΅ΠΌΠ°Β» ΠΈ Β«ΠΠΎΡΠΌΡ Π±Π΅Π· Π³Π΅ΡΠΎΡΒ», Π° ΡΠ°ΠΊΠΆΠ΅ Π°ΡΠ΅ΡΡ ΠΠΎΡΠΈΡΠ° ΠΡΠΎΠ΄ΡΠΊΠΎΠ³ΠΎ.
Lidia Chukovskaya
Lidia Chukovskaya's "Notes on Anna Akhmatova" is a significant documentary memoir about the renowned Russian poet Anna Akhmatova. Beginning in 1938 after their meeting at a Leningrad prison queue, Chukovskaya maintained decades of diary entries that form these three volumes. These are not recollections but immediate, personal records of events, vividly portraying Akhmatova's personality, her circle of friends, and her literary interests.
The first volume covers the harrowing years of the Yezhovshchina purges, during which Chukovskaya's husband was executed and Akhmatova's son awaited sentencing. Akhmatova composed her "Requiem" during this time, entrusting verses to Chukovskaya to memorize before they were instantly burned. The second volume details the post-war period, Akhmatova's challenging life after the 1946 decree, her efforts to free her son, and her sharp observations on literature, time, and Russian history. The third volume spans from January 1963 to Akhmatova's death on March 5, 1966, chronicling the end of the Khrushchev Thaw, failed attempts to publish "Requiem" and "Poem Without a Hero," and Akhmatova's advocacy for the exiled poet Joseph Brodsky.