Olga Trifonova Biography

We would like to talk to you about your husband and his famous story “House on the Embankment”. Tell us, what response she had a response from the reader after publication? The story “House on the Embankment” was published in the year, in my opinion, in the first issue of the journal Friendship of Peoples. It was like an explosion of a bomb: the copies of the magazine very quickly disappeared from the libraries, and the entire reading people began to transfer them to each other for reading.

In those days, the love of literature in our country was very large. It was not only a literary fact, it was also the fact of public life, very significant. For a long time they did not publish this story with a separate book. Yuri Valentinovich went to the publishers, persuaded to include the story in the books. But no! He was not allowed. And when, finally, she published in the collection of Sovetskaya Russia, then on her first copy there was a dedication: “Yuri Valentinovich Trifonov in gratitude for the efforts that he made to break through this book.

I had a foreboding that the book would be printed. In general, it was a really huge event. You probably know that near the Airport metro station there are writing cooperative houses; Since the book was secretly handed over to each other, there was such an anecdote there: one writer calls another, nevertheless, they spoke encrypted on the phone, they were afraid that they were listening, yes, probably, they listened to someone with the question: “Did you eat the pie?

But the main thing, of course, is that the authorities sensed the key subtext of the story - the study of the nature of fear. Fear cripples a person in childhood and cripples him for a lifetime, an example of this is Glebov. For the authorities, the identification of the nature of conformism was unacceptable. And since for the authorities, conformism is one of the main and necessary civil qualities, it is natural that the work on this topic was poorly found.

Just like that of Levka Shulepnikov - two boys from this house. This design made it possible to create and see the volume, as in the theater, when the light falls on the stage from different sides. Is this a pure? We were surprised by the lack of blots and corrections. Apparently, this was the nature of his talent, not without reason he loved poetry so much.

Perhaps you are familiar with the work of literary critic and poetess Tatyana Bek; She greatly appreciated Trifonov's prose. She has an article “Prose as an other in the poetry”. So Tatyana, in the novels and stories of Yuri Valentinovich, saw this "otherness of poetry." He himself knew well and loved poetry. The gift of writing a whole text is rather inherent in the poet, it is the poet in almost the entire text is first formed in the head, then it remains only to write it down.

Trifonov was exactly the case with prose. He wrote almost without blots. No, of course, there were corrections. But basically - this is the deletion of what, in his opinion, was superfluous. He ran his eyes with the text and removed, so to speak, excess moisture to make it more elastic-sometimes he rearranged the words, replaced it, and if he crossed out, then he would not have the opportunity to do something else with this word.

It was something psychological. Wasn't you a desire to write a book about this house, about its modern inhabitants? And what I guess about is not interesting to me. Basically, these are people of the bourgeois type, who were seduced by living in the house on the embankment, which was always familiar with the highest prestige. Although in fact there are enough houses of better quality in Moscow: both in terms of equipment and convenience of location.

And here is a very difficult place. Constant traffic jams, the lack of shops is an island from which there is nowhere to get away. Only bridges, as if connecting with real life. But, nevertheless, the highest prices are here, the Kremlin view is expensive. What was he man? How did he feel about his fame? He was really very famous. But on the other hand, he was an ironic person.

Often, people are ironic towards others, but careful in relation to themselves. And Yuri Valentinovich possessed amazing self -irony, he loved to talk about himself in his third person.

So important, imagines. He is so-so writer, but he builds himself out! .. Here he was inflated, so inflated! Wasn't you offended? Once I gave him my book to read him, and he did not say anything for a long time. When I began to insist on the answer, he only said: "You know life well." Over time, I realized that he did not say anything because he had nothing to say, but because he spared me.

Once I asked him why female prose is rather weak, what is its main minus, he said: "In the absence of metaphysics." Today I just thought about it and, in particular, about women-prose. He told the truth, the essence. Women can even write on philosophical topics, but this metaphysics could only be a success, Gertrude Stein, who approached the male view of life, was imbued with a similar texture of life.

This, of course, is not visible for actions, but for the very matter of life. The desire to break out of being into space is very characteristic of men. She thought and tried to recall our writers, but did not find a single one. Perhaps Bella Akhmadulina. Maybe sometimes Yunna Moritz.And, of course, Akhmatova and Tsvetaeva. It is easier in poetry, rhythm helps here.

For example, in the Akhmatov poem "Stans", you can find this line: "... how a cloth goes." In ordinary life, a woman would say: "How slowly time is." This is like a layer by a layer, there are a lot of meanings. The poet communicates with God, and God dictates such cosmic meanings to him. In prose writers, this happens much less often. But sometimes writers, I also have this, are trying to replace metaphysics, the one he had in mind, mysticism.

However, I tried. At least I can put a plus for me for striving to achieve a better result. Firstly, after his words that I know my life well, I had a hunt for writing, because it was ridiculous to write next to him. Absolutely not upset. Secondly, I loved his prose so much, so loved himself that I did not feel any grief. There was such a moment: in connection with the birth of a child, I did not finish my novel “Dog Day”.

Yuri Valentinovich said this: “You do not throw it. This is not good. We must finish. The abandoned thing cuts off the impulse to the next work. ” And I nevertheless finished the novel. He read and said: "Well, something already." In his mouth, it meant a lot. I was happy. He hid his shortness of breath, his poor health. Voznesensky called him very well: "Thinking boulder." He was generally a man of thought and, most likely, this is what left his mark on his personality.

But at the same time, Yuri Valentinovich was unusually mixed, it was not worth it to make him laugh. He was very witty and amazingly flexible in everyday life. He was a very kind, generous and generous person. Well, why are you running like that, sit. ” He did delicately and deftly so that this man dined with us. Yuri Valentinovich respectfully, carefully and warmly spoke to him.

Gradually, I realized who he was planting: the former comrades in the institute, who were less fortunate than him. He understood that the person who studied with him, with whom they experienced both hunger and cold, was very painful to see. It was impossible to relate to Yuri Valentinovich, so people had no anger.