Maksimov Vladimir Emelyanovich (Samsonov Lev Alekseevich) (1930-1995). Biography Into great literature

Born into a working-class family who was repressed in the 1930s. According to other sources, my father died at the front in 1941.

He changed his last name and first name, ran away from home, became a homeless child, was brought up in orphanages and colonies for juvenile delinquents, from where he constantly escaped to Siberia, Central Asia, Transcaucasia. He was convicted of criminal charges and spent several years in camps and exile. After his release in 1951, he lived in the Kuban, where he first began publishing in newspapers. He published a collection of mediocre poems, “Generation on the Clock” (Cherkessk, 1956).

Upon returning to Moscow (1956), he was engaged in a variety of literary work. First significant work- “We are settling the earth” (collection “Tarussky Pages”, 1961). Written earlier story“A Man Lives” was published in the magazine “October” in 1962, then “The Ballad of Savva” (1964) and other works were published. In 1963 he was admitted to the Union of Soviet Writers.

The novels “Quarantine” and “Seven Days of Creation,” which were not accepted by any publishing house, were widely circulated in Samizdat. For these novels, their author was expelled from the Writers' Union and placed in mental asylum. In 1974 Maksimov was forced to emigrate. Lived in Paris.

In 1974, Maksimov founded the quarterly literary, political and religious magazine “Continent”, the chief editor of which remained until 1992. In emigration, he wrote “The Ark for the Uninvited” (1976), “Farewell from Nowhere” (1974-1982), “Look into the abyss" (1986), "Wandering to Death" (1994), etc.

The most complete editions

Collection in 6 volumes, Frankfurt am Main: Posev, 1975-1979;

Collected works in eight volumes, M.: “TERRA” - “TERRA”, 1991-1993;

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Vladimir Maksimov - famous domestic writer. Also known as an editor and publicist.

Biography of the writer

Vladimir Maksimov was born in 1930. He was born in Moscow. His father was a simple worker. According to one version, he went missing during the Great Patriotic War, according to another, he fell under the Stalinist repressions of 1937 on charges of Trotskyism.

The writer's name at birth was Lev Alekseevich Samsonov. IN adolescence had a rebellious character. He grew up without a father, his mother could not cope with him. In his youth, Vladimir Maksimov ran away from home. He lived on the street as a homeless child, and because he changed his first and last name, his relatives could not find him. As a result, the future prose writer was brought up in orphanages. He ended up in a colony for juvenile delinquents, from where he regularly escaped. He was hiding throughout the country - in Central Asia, Siberia and Transcaucasia.

At the age of 16, he received 7 years in prison for a combination of crimes, but was soon released for health reasons. Once free, he worked on construction sites and on expeditions in the Far North and Siberia. In the end, he settled in the Kuban, settling in the Red Star agricultural artel as a collective farmer.

First literary experiments

Vladimir Maksimov began writing poetry in the 50s. In 1952, it was first published in the newspaper "Soviet Kuban". From 1954 he lived in the city of Cherkessk in the Stavropol region. Here he already took up journalistic work. Worked on radio and local print media.

His first collection of poetry was published in Cherkessk. It was called "Generation on the Clock." It included poems, poems and even translations of North Caucasian authors. The book was not a success.

To continue self-education, Vladimir Maksimov moved to Moscow. Here he took up literary work as a day laborer, wrote articles and essays for newspapers and magazines, and translated poems by poets of the Soviet republics.

"We are inhabiting the earth"

First significant work Maksimov Vladimir Emelyanovich published in 1961. His story “We are inhabiting the earth” was published in the almanac “Tarusa Pages”. Around the same time, another of his stories, “A Man Lives,” appeared in another literary magazine.

Maksimov's heroes had an unusual fate, while they lived unsettled and restless. They were similar to most Soviet citizens, but they were not at all like the characters in other works of that time. Much of these stories were autobiographical.

These works were highly appreciated, in particular by Paustovsky and Tvardovsky. In 1963, Vladimir Maksimov was admitted to the Union of Writers of the USSR. The biography of the prose writer was further associated exclusively with literary creativity.

Writer in Opposition

Moreover, Maksimov himself, like many of the heroes of his works, was opposed to what was happening around him and did not fit well into Soviet reality. This began to manifest itself especially clearly in the early 70s. In his articles and letters, he criticized the system and the existing government. These texts were distributed exclusively in samizdat. Also published in emigrant publications abroad.

During this period, two of Maksimov’s novels were published abroad: “Quarantine” and “7 Days of Creation.” They criticize Soviet society and have a clearly expressed Christian orientation. These publications led to the author's final break with the authorities. In 1973, Vladimir Maksimov was expelled from the Writers' Union. The author's photo no longer appeared in the official Soviet press.

Finding himself out of work in his homeland, the prose writer became increasingly popular in the West.

Emigration

In 1974, Maksimov and his wife were allowed to travel to France for one year. But he left the country forever, since shortly before that he received a summons demanding to come for a medical examination of his mental health. At that time, this could have resulted in forced confinement to a psychiatric clinic.

In Paris, Maximov came to life. I started writing a lot. Two novels created in exile especially stand out. These are "Ark for the Uninvited" and "Looking into the Abyss."

The first reveals the image of the Soviet generalissimo Stalin through the contrast between his everyday mediocrity and the natural disasters that his policies lead to. In the second, written in 1986, through romantic story the fate of the participant was shown Civil War Admiral Kolchak.

Magazine "Continent"

Most large-scale work Maksimov in France there was an issue of the magazine "Continent". He worked on this emigrant publication for about twenty years.

Thus, the release of "Continent" became a kind of continuation of the tradition of releasing periodical about problems in Russia abroad. The first sign was Herzen's "Bell".

Maksimov’s magazine clearly and fairly described domestic reality, talking about what could not be mentioned on the pages of the Soviet press. Moreover, in many ways it was a literary magazine. Therefore, it was often compared with Pushkin's "Contemporary" and " Domestic notes"Nekrasova. Both in these publications and in Continent, new items modern prose and poetry were socially significant texts that stimulated society to be active civic position, reflected the main problems Russian society that time.

Vladimir Maksimov is a writer who managed to create a more progressive publication than even " New world“Tvardovsky, who nevertheless published in the USSR under conditions of strict limitations in the choice of topics and their coverage. This was the only way to confirm the legitimacy of the definition of the intelligentsia as a concept meaning a part of society that is able to think freely and express its views on any issues.

At the same time, among the progressive-minded part of Soviet society there were many who were critical of the publication of the magazine Continent. Among them was a famous writer, laureate Nobel Prize on literature Alexander Solzhenitsyn. By the way, he comes from the “New World”. He criticized Maksimov’s brainchild for being too cautious and trying to become a compromise on many issues.

Return to Russia

After the collapse of the USSR, Vladimir Maksimov began to visit his homeland. The writer’s biography remained connected with foreign countries until the last years of his life. He himself began to periodically come to Russia in the 90s. However, even at this time I was very skeptical and critical of the existing government and what was happening in the country in order to find understanding among those in power. The only thing that has changed dramatically is access to his works. Nobody forbade printing and publishing them in their homeland anymore.

Many were surprised and outraged by his publication in Pravda. Hot heads even managed to accuse the writer of unscrupulousness. After all, he was always known for his anti-communist sentiments. And here he spoke in the opposite vein. Not everyone understood that the main thing for Maksimov was not the existing political system, but patriotism and concern for the true good of his homeland. His journalistic articles and essays, with which he began to regularly appear on the pages of media mass media in the 90s, were devoted exclusively to protecting the interests of the Russian people. And nothing else.

At this time, his most famous works, it even came out full meeting the author's works in eight volumes. And in 1992, the Mayakovsky Theater staged a play based on Maksimov’s play entitled “Who’s Afraid of Ray Bradbury?”

Death of a Prose Writer

Soviet citizenship, which Maksimov was deprived of after emigrating abroad, was promptly returned to him back in 1990. IN last years Throughout his life, he began to come to Russia more and more often and stay for longer periods. At this time he lived in Moscow for a long time. He strongly counted on democratic changes in society and on the fact that the face of Russia would radically change.

The harsh reality around him demonstrated to him and everyone else that these hopes were premature and in vain. In his public speaking and the articles increasingly featured the theme of disappointment, pessimism, and disbelief in the bright future of Russia.

He died in 1995 in Paris.

Encyclopedic information

Graduated from the hunting department of the Irkutsk Agricultural Institute, Literary Institute named after. A.M. Gorky. He is better known as a prose writer, the author of novels and short stories with an autobiographical basis. Travels and expeditions, the life of Siberian nature, youthful love - these are the main themes of the works.

Irkutsk Historical and local history dictionary. Irkutsk, 2011

Biography

Maksimov recalls:

« When I was fourteen years old, my grandmother Ksenia Fedorovna, from the famous Cossack family of the Lyubimovs, exiled to Siberia for participating in the Pugachev uprising, gave me a three-volume edition of Yesenin. I still have it».

The teenager was struck by the amazing musicality of Yesenin’s lines, and he began to write poetry, “ " Soon the family moved to, where future writer graduated from high school.

After graduating from school, he worked as a wagon inspector at the Angarsk thermal power plant - 10. Then he entered the hunting department of the Irkutsk Agricultural Institute, which he graduated in 1972. The Faculty of Game Science was transferred to Irkutsk from the Fur and Fur Academy in Moscow. He was the only one in the USSR who trained hunting specialists, who, as a rule, had practical training twice a year, which took place at the student’s request, virtually anywhere in the country.

Studying at the institute opened up the world to Vladimir Maksimov: during his internship, he visited the Khabarovsk Territory (Sikhote-Alinsky Nature Reserve), Chukotka, Commanders, Sakhalin, Kamchatka, sailed in the Pacific Ocean on a seal counting vessel with calls to Canada, Japan, traveled all over Irkutsk region.

After college, Vladimir Pavlovich completed his postgraduate studies at the Zoological Institute in Leningrad, worked at the White Sea Biological Station, at the Limnological Institute at.

Feeling a craving for creativity, he entered the Literary Institute named after. A. M. Gorky, studied at the seminar of the poet Vladimir Tsybin. In 1987, he graduated from the literary institute, worked in the newspapers “Soviet Youth”, “Russian East”, “Narodnaya Gazeta”, the magazine “Hunting and Nature”, etc.

In 1993, the editors of the newspaper “Vestnik” of the Angarsk Electrolysis Chemical Plant published a small collection of poems “An Unexpected Meeting”, and in 1994 the publishing house “Format” JSC (Angarsk) published a collection of stories “Three Days Until Autumn”.

In 1993, Vladimir Pavlovich took part in the Beijing - Paris bike ride. He has been interested in sports since his youth: swimming, playing football, and cycling.

Poems written during a trip to Europe were included in the collection “Paris Notebook”, which was published as a supplement to the Irkutsk newspaper “Guberniya” in 1996.

In 1998, Maksimov became a member of the Russian Writers' Union. And in 1997, in the fifth issue of the magazine “Youth”, the short story “The Unwritten Story” was published with a short foreword by V. Rasputin. In the same year, three books by V. Maksimov were published: “The Paddock”, “Behind the Curtain, on This Side”, “Frosty Kiss”. These small books, including several stories, were prepared by the publishing house of the magazine "Siberia" and printed on paper far from best quality(it was such a time!).

Vladimir Pavlovich included stories from these collections in his “first, real” book, as he considered it, “The Formula of Beauty.” There were new, previously unpublished stories, “Formula of Beauty” and “Pharm of the Soul.” In these stories the author recalls his youthful hobbies, talks about love and affection for native nature, reflects on what beauty is.

At the very end of 1999, or rather on December 30, Vladimir Maximov published new collection poems “My Sister Autumn...”, which includes poems written between 1965 and 1998. The poem “Angarsk” from this collection became a song about the city, the music for which was composed by Evgeny Yakushenko.

In 2004, the book “That Summer...” was published, composed of two prose cycles: “Baikal Tales” and “Days of Our Lives”.

« ", says V. Maksimov.

But the poems in this collection about childhood, youth, first love turned out to be interesting not only to relatives and friends, Vladimir Pavlovich was repeatedly convinced of this at meetings with readers in libraries and the region.

In 2008, well-known not only in Russia, but also in Russia, the publisher G. Sapronov prepared the book “Premonition of Miracles” by V. Maksimov. It consists of a novella and ten short stories, which, unlike others, were written in the 21st century.

Essays

Books

An unexpected meeting: Poems. – Angarsk: Editorial office gas. "Bulletin", 1993.
Three days until autumn. – Angarsk: Publishing House JSC “Format”, 1994.
Corral: Stories. – Irkutsk: Journal publishing house. "Siberia", 1997.
Behind the curtain, on this side: Stories. – Irkutsk: Journal publishing house. "Siberia", 1997.
Frosty Kiss: Stories. – Irkutsk: Publishing house LLP journal. "Siberia", 1997.
Formula of beauty: Novels and stories. – Irkutsk: Vost. - Sib. book publishing house, 1998.
My sister Autumn...: Poems. – Irkutsk: Vost. - Sib. book publishing house, 1999.
That summer... Narratives of the last century: Tales, stories. – Irkutsk: Irkutsk writer, 2004.
Don't Look Back: A Novel. – Irkutsk: Irkutsk writer, 2005.
Premonition of miracles: Tale, stories. - Irkutsk: Publisher Sapronov, 2008.

Publications in periodicals

Notes of a biased person // Siberia. – 1991. - No. 4. – P. 97–105. Journalistic article on an environmental topic.
Three meetings: A story // Siberia. – 1999. - No. 3. – P. 159–161.
But there was a case: Story // Siberia. – 2002. - No. 4. – P. 82 – 98.
We will never be young again: A Tale // Siberia. – 2003. No. 6. – P 91-141.
“Don’t look back...”: [excerpt from their novel] // Siberia. – 2005. - No. 6. – P. 91–148.

Interviews, conversations with the writer

"Yes I happy man": [journalist O. Bykov talked with the writer] // Vost. - Sib. Truth. – 2008. – June 26. – P. 4.
To the sound of carriage wheels: [conducted by O. Gulevsky] // Region. gas. – 2007. – April 2. – P. 4.
A sunbeam in memory: [N. Kuklina talked with the writer] // Coachman. – 2007. – July 6. – P. 15.
“Consonance of soul and world”: [interview with the writer was conducted by G. Kotikova] // Business World of Siberia =Busieness Word Siberia. – 2007. -No. 1-2. – P. 108 – 109.
“It is impossible to achieve the ideal, but it is necessary to strive for it”: [conversation with the writer was conducted by O. Lunyaka] // Irkutsk speaks and shows. – 1999. – January 29.

Literature

Lensky Ya. Debut in youth // Vost. - Sib. Truth. – 1997. – August 27.
Nikolaeva N.“My sister autumn...” appeared in winter // Coachman. – 200. - No. 4 (Jan. 28). – P. 3.
Yasnikova T. Autumn has a brother... // SM Number One. – 2000. – June 9.
Klochkovsky A. A book that charges with energy // culture: Vesti. Problems. Fates. – 2004. – Nov. – P. 15.
About the book “That Summer...”
Kornilov V. Taiga marked destinies (Reflections on Vladimir Maximov’s novel “Don’t Look Back”) // Your newspaper. – 2006. – June 29. – P. 2.
Lazarev A. Literary events Irkutsk // All about communication. – 2007. – April 3. – P. 8.
About the collection “In Memory of a Sunny Bunny.”

Vladimir Pavlovich Maksimov: consonance of soul and world

“Our constant mistake is that we do not take this passing hour of life seriously, that we live in the past or the future, that we are still waiting for some special hour when our life will unfold in all its significance, and we do not know what it will be.” flows away like water between fingers, like precious grain from a holey bag, not realizing that the most precious thing is the present day... Confucius was right: “The past no longer exists. There is no future yet. There is only the present."

This is how the parallel novel “Don’t Look Back” by the Irkutsk writer begins. There is only the present... In the present, on June 29, 2008, Vladimir Pavlovich turned 60 years old.

"In memory of a sunny bunny
IN early childhood will return.
Mom is there a little boy
He goes to visit his grandmother.
Painted house, stove...
The lamp burns peacefully.
Grandma Ksenia: “Daughter?!” -
He says to my mother.
And so cozy, calm
Sit quietly in the little room.
Drink milk, eat corn
And look at the icons."

This is how Vladimir Pavlovich saw his childhood in mature years. He recalls: “When I was fourteen years old, my grandmother Ksenia Fedorovna, from the famous Cossack family of the Lyubimovs, exiled to Siberia for participating in the Pugachev uprising, gave me a three-volume edition of Yesenin. I still have it." The teenager was struck by the amazing musicality of Yesenin’s lines, and he began to write poetry, “ wrote them great amount, probably no less than four hundred. True, I soon had enough sense to understand that this was not poetry. And I mercilessly burned everything" Soon the family moved to Angarsk, where the future writer graduated from high school.

After graduating from school, he worked as a carriage inspector at the Angarsk CHPP-10. Then he entered the hunting department of the Irkutsk Agricultural Institute, from which he graduated in 1972. The Faculty of Game Science was transferred to Irkutsk from the Fur and Fur Academy in Moscow. He was the only one in the USSR who trained hunting specialists, who, as a rule, had on-the-job training two times a year, which took place at the student’s request, virtually anywhere in the country.

Studying at the institute opened up the world to Vladimir Maksimov: during his internship, he visited the Khabarovsk region (Sikhote - Alinsky Nature Reserve, Chukotka, Commander Islands, Sakhalin, Kamchatka, sailed in the Pacific Ocean on a seal counting vessel with calls to Canada, Japan, traveled all over Irkutsk region). He was amazed by the beauty of nature and was overwhelmed by the impressions of what he saw, which were reflected in future books. After college, Vladimir Pavlovich completed graduate school at the Zoological Institute in Leningrad, worked at the White Sea Biological Station, and at the Limnological Institute on Lake Baikal. Feeling a craving for creativity, he entered the Literary Institute named after. A. M. Gorky, studied at the seminar of the poet Vladimir Tsybin. In 1987, he graduated from the literary institute, collaborated in the newspapers “Soviet Youth”, “Russian East”, “Narodnaya Gazeta”, the magazine “Hunting and Nature”, etc.

During the years of perestroika, he changed several jobs: from a food depot loader to a school teacher, a drilling foreman, and a swimming instructor. There was little time for creativity, but it was during these years that Vladimir Pavlovich began to write stories along with poetry. His first story was published in 1979 in the Angarsk newspaper “Banner of Communism” and was called “The First Rain.” In 1993, the editors of the newspaper “Vestnik” of the Angarsk Electrolysis Chemical Plant published a small collection of poems “An Unexpected Meeting”, and in 1994 the publishing house “Format” JSC (Angarsk) published a collection of stories “Three Days Until Autumn”.

Vladimir Pavlovich has been interested in sports since his youth: swimming, playing football, and cycling.

In 1993, he took part in the Beijing-Paris bike ride.

He recalled these days:

“As soon as my bicycle crossed the border of Poland, I felt an extraordinary surge of creative strength. In three months after that I wrote 28 poems. And in Paris I met famous writer- emigrant Vladimir Maximov... "

Maksimov Sr. spoke well of the stories of Maksimov Jr.

“Goodbye Paris, Without regrets,
But I'm sad to part with you.
Nothing waits, I know, at home.
But I still want to go home.”

“I want to go home,” because in prosperous Europe, nostalgia takes over and pulls me home, to Siberia, to Lake Baikal.

Nostalgia

This feeling of nostalgia-
This is mortal melancholy.
These chains. These weights.
It's blowing at my temple
This feeling of nostalgia
Overtaking here
In the center of nice little Europe,
As if all the air had been drunk.
This is a strange confusion
Suddenly nailing
So ridiculous, incomprehensible,
It looks like fear.
Looks like an eclipse
At the heart of the day.
But in moments like these
We understand ourselves.
This feeling of nostalgia...
Don't understand. Can't explain.
And it is not accepted about this
Here in Europe, talk.

Bavaria, September 1993

Poems written during a trip to Europe were included in the collection “Paris Notebook”, which was published as a supplement to the Irkutsk newspaper “Guberniya” in 1996. In 1998, Maksimov became a member of the Russian Writers' Union. And in 1997, the short story “The Unwritten Story” with a short preface was published in the fifth issue of the magazine “Youth”. In the same year, three books by V. Maksimov were published: “The Paddock”, “Behind the Curtain, on This Side”, “Frosty Kiss”. These small books, including several stories, were prepared by the publishing house of the Siberia magazine and printed on paper of far from the best quality (those were the times!).

Vladimir Pavlovich included stories from these collections in his “first, real” book, as he considered it, “The Formula of Beauty.” There were new, previously unpublished stories, “Formula of Beauty” and “Pharm of the Soul.” In these stories, the author recalls his youthful hobbies, talks about love and affection for his native nature, and reflects on what beauty is. In an interview with one of the Irkutsk newspapers, Vladimir Pavlovich said:

“Beauty is the harmony of diversity, precisely harmony, if there is no harmony in diversity, it is not beauty. This is only the physical part of the so-called beauty, and spiritual beauty is the pursuit of the ideal.”

The book contains these components...

It is impossible to achieve the ideal, but it is necessary to strive for it, in otherwise our life will become meaningless.”

At the very end of 1999, or rather on December 30, Vladimir Maksimov published a new collection of poems, “My Sister Autumn...”, which included poems written between 1965 and 1998. He said about the release of this book:

“I rarely write poetry. From time to time. And that’s why I don’t consider myself a professional poet... I’m very happy about the publication of this book, because it reflected in poetic form a large part of my life, and, consequently, the era.”

Like the previous book, “My Sister Autumn...” was designed by artist Irina Tsoi in autumn colors.

“Having said goodbye to this summer without regret,

I greeted autumn, joyfully and simply,
How best friend,
Whom I haven't met
I have many long gray boring days...
Opening it for him
Hugs, heart, soul
Delivery of wine,
I began to listen diligently
His story:
About travels and countries,
About different cities, about oceans.
About how the long path is looped,
That there is not even a minute to rest.
What's further and further south again?
For hundreds of countries. Beyond the distant seas...

The fresh wind told me all this.
Thank you, autumn, for being in the world!”

The book was well received by Irkutsk readers and fellow writers. But, perhaps, best of all about his poetic creativity the author himself said in a poem introducing the collection:

My quiet poetry -
Like a gentle rustle of the breeze,
Like a crazy leaf in late autumn
In the disturbing light of the lighthouse...

Like a sad sight of wet, dark
Without leaves, poplar branches.
And carried away by the wind and cold
To the south of the last cranes...

My low-key poetry -
All watercolor and light,
Like in the northern sea on an island
Smoke from someone else's fire...

My quiet poetry -
Lightning touch!
Let it remain in your memory,
Let it thunder in your soul.

The poem “Angarsk” from this collection became a song about the city, the music for which was composed by Evgeny Yakushenko.

In 2004, the book “That Summer...” was published, composed of two prose cycles: “Baikal Tales” and “Days of Our Lives”.

Maksimov defined the genre of the book as “ narration in stories, tales, short stories, connected by the unity of place” and explained that he “traveled so much around the earth, visited the seas and oceans and saw many beautiful places: Sakhalin and Ossetia, the Kuril Islands and the Carpathians, the volcanoes of Kamchatka and the fresh snowy, unnaturally clean peaks of Sikhote-Alin, neat Estonian landscapes with their fluffy white fogs over the swamps and the abandoned villages of the White Sea in their sunset and harsh beauty, and the Transbaikal sad yellow distant steppes; blown, blown, blown by the winds of the White, Black, Baltic, Caspian, Bering. Japanese, Okhotsk Seas and the Pacific Ocean" decided to choose from this whole mosaic of places a small village in which the action of "Baikal Tales" takes place.

« I want to dedicate this story, if I have the strength to write it to the end, to the proud transparent - white - blue Baikal rocks, visible on the other shore; its waters, not gentle, but attracting with their deep purity; its fresh winds, bringing cheerfulness and joy; large emerald-blue ice stars above him; eerily transparent ice polished by the wind and a small village where I always felt so good and calm as in no other place. And where, more than once at night, I listened to the smoothly measured breathing of the waves, covering myself with a sheepskin-smelling sheepskin coat in the hayloft and looking, unable to tear myself away, into the mesmerizing abyss of the black sky, visible only because of the stars and looking, as if in a mirror, at Baikal. And where just one night, right there in the hayloft, I overheard the plaintive, tired sighs of the autumn wind, perhaps flying in from somewhere from a high mountain plateau located near Mount Kinabalu on the island of Kalimantan and the Indian Ocean...

It was then, when the wind seemed to pass through me, that I tangibly felt that I was only a particle of an immeasurably vast world, a particle of this wind and, at the same time, I was the whole Cosmos... And ancient, pure, long-forgotten and Memories that had not yet happened, blurred like watercolors, came to life and merged with me. And then it seemed to me that I understood what the wind was crying about...

He grieved for everything and everyone: about the planet on which he was born, and about us, living on the planet - about everyone, from an ant to a person. And that he is alive only as long as the Earth is alive and inviolable. And about your eternity, which is such an unbearably heavy burden....»

Maksimov managed to convey to the reader the sincerity of feelings, the joy of communicating with nature, the book is distinguished by the originality of the language, the persistent desire to see the bright in life and tell it to the reader. The pages that talk about underwater research on Lake Baikal, in which the author was a participant, are read with great interest.

In 2005, the Irkutsk Writer publishing house published the book “Don’t Look Back,” the genre of which V. Maksimov defined as a parallel novel. Why parallel? There are two main characters in the novel: Igor Vetrov, who lives and acts in real time and unknown to Igor, Oleg Sanin, whose diary Vetrov found in the attic of a hunter’s house, where he lived for some time while in practice. At first glance, the heroes and their actions are similar, but only at first glance. Vladimir Kornilov, a poet from Bratsk, who studied at the same time as V. Maksimov at the Literary Institute, wrote a review “Taiga-marked destinies” (Reflections on Vladimir Maksimov’s novel “Don’t Look Back”). The review was published in the weekly “Your Newspaper” (city). Without exalting or begging for the merits of the novel, Kornilov gave, in our opinion, an objective assessment of the book. He noted that it was written in a clear, poetry-filled language that retained the expressive Russian dialect. Concluding his thoughts, Vladimir Kornilov writes:

« Closing the book, I still cannot part with its heroes, with these spiritually generous people devoted to romance. It’s as if all these years, in the same harness, I wandered with them through the wild taiga places, which with a special mark on their destinies left an indelible mark, froze and wandered together in the snow, shared the last cracker like brothers...»

Most readers who have become acquainted with this novel share the opinion of V. Kornilov, noting artistic expressiveness, masterful descriptions of nature, and moral quest and the experiences of the characters.

In March 2007, the Irkutsk Writer publishing house published poetry collection V. Maksimov “A sunny bunny in memory.”

« This book is very personal and dedicated to the memory of parents who recently passed away. And a person, no matter how old he is, after the loss of his parents feels orphaned on this earth. That's why many poems this collection very sad, imbued with thoughts about life and death, about the phenomenon of time. And I thought that this book would be, so to speak, for a small circle of readers: family and friends", says V. Maksimov.

On the eve of the anniversary, the publisher G. Sapronov, known not only in Irkutsk, but also in Russia, prepared a book by V. Maksimov, “Premonition of Miracles.” It consists of a novella and ten short stories, which, unlike others, were written in the 21st century. Like all books published by G. Sapronov's publishing house, the book is printed with high quality. The stories included in the collection tell about our contemporaries who had to live in an era of change, and on whom these changes affected them in different ways. In the preface to the book, V. Maksimov writes:

«... I'm interested ordinary person, which is the unit of scale of the universe. His spiritual mood, his worries, experiences, his love... And since our life, of any person, is in itself a unique miracle, often not perceived by us as such, I wish you all all sorts of miracles, hoping that the book will not will seem boring to you and that after reading it you will not be left with a premonition of a miracle for at least some time».

Life poses many problems and questions to V. Maksimov’s heroes, they strive to make it better, fairer and more beautiful to the best of their understanding. This doesn't always work out. But when reading this book, like the earlier ones, a feeling of light sadness does not leave you, probably this is how it should be, because according to the definition of another of our fellow countrymen, L. Borodin, there is no miracle without sadness.

Vladimir Pavlovich is a laureate of several regional journalistic awards; in 2001 he was awarded a diploma from the Ministry of Railways and the secretariat of the Union of Writers of Russia “For literary coverage of the problems of the Trans-Siberian Railway.” He is a frequent guest in the libraries of our city and region; these meetings are memorable for our readers because they give them a meeting with amazing person, those in love with Siberia, its nature and, of course, Siberians, they bring to those present not only light sadness, but charge them with the good energy inherent in the writer.

P.S.

In 2008, Sapronov's publishing house published A new book V. Maksimova "Premonition of Miracles." This book is light prose, telling about real events and destinies. With the heroes of the book you will visit the Kuril Islands and Commanders; in the Pacific Ocean and the Sea of Japan; on the banks of the Dniester and Kamchatka; in ancient and very young cities.

Literature

Beauty formula. Tale. Stories. Irkutsk, 1998.
Do not look back. A parallel novel. Irkutsk, 2005.
Premonition of miracles. Tale, stories. Irkutsk, 2008.
Where does all this disappear to?.. Tale, stories. Irkutsk, 2010.

Maksimov Vladimir Emelyanovich (1930 - 1996), prose writer. Born on December 9 in Leningrad into the family of a peasant who was imprisoned in 1933 as a “Trotskyist.”

Maksimov was a street child, then was brought up in children's colonies, from which he ran away six times.

He graduated from the FZO (factory training) school and received the profession of a bricklayer. Worked on construction sites; I was looking for diamonds in Taimyr.

From 1952 he worked in Kuban, where he began to write. The first collection of poems and poems, “Generation on the Clock,” was published in 1956.

Maksimov announced himself as a writer with the story “A Man Lives,” published by K. Paustovsky in the collection “Tarussa Pages” in 1964. The collection was condemned by critics, the editor was removed for “political myopia.” In the 1970s he wrote the novels “We Are Making the Earth Inhabitant” and “Seven Days of Creation.” These novels caused such a storm of condemnation that Maksimov was forced to emigrate (1973). In Paris he organized the magazine "Continent", published in 11 languages. The magazine was conceived as a publication that united the forces of resistance to the totalitarian system and ideology, and it fulfilled this role. IN

different time

A. Solzhenitsyn, A. Sinyavsky, A. Sakharov, I. Brodsky and many other representatives of the creative intelligentsia collaborated in it.

Maksimov’s novels “The Ark for the Uninvited,” “Quarantine,” “The Saga of Savva,” and the journalistic “Saga of the Rhinoceroses” were published in the West. In the 1990s, Maksimov’s novels were republished in Russia, and in 1991 his collected works were published in eight volumes.

In 1992 at the theater. V. Mayakovsky staged Maksimov’s play “Who’s Afraid of Ray Bradbury?”

In 1990, the writer was returned to Soviet citizenship, which he was deprived of after emigrating abroad. In the last years of his life, he often came to Russia and lived for a long time in Moscow, hoping for quick democratic changes. Reality showed that hopes were premature. Maksimov’s speeches increasingly expressed pessimism and disbelief in the future of Russia. In 1996, V. Maksimov died. Materials used from the book: Russian writers and poets. Brief

Maksimov Vladimir Emelyanovich (11/27/1930-03/25/1995), writer. He was brought up in children's colonies. He graduated from the FZO school and received the profession of a bricklayer. Worked on construction sites: looking for diamonds in Taimyr; from 1952 he worked in Kuban, where he began to write. The first collection of poems and poems, “Generation on the Clock,” was published in 1956. In 1961, the story “We are making the earth habitable” was published in the collection “Tarusa Pages.” The story “A Man Lives” (1962; staged by the Moscow Drama Theater named after A. S. Pushkin, 1965), the stories “Dusya and the Five of Us,” “Temptation,” “Steps to the Horizon,” etc. are dedicated to people with unfulfilled destinies. Maksimov's books are characterized by tragic conflicts , sharp plot. The writer defends the idea of moral fortitude

person. In 1964 Maksimov published the play “Call Signs of Your Parallels.” The story “A Man Lives” has been translated into many languages. In 1971, Maksimov’s novel “Seven Days of Creation” was published abroad. The writer sought to tell in it about the roots and consequences of what happened in Russia in the twentieth century. tragic events. The originality of the novel is determined by Maximov’s Christian worldview that had developed by that time. The process of ideological self-determination, the desire to have one’s say in the public discussion that took place in open press

, and on the pages of samizdat, determined the sharply oppositional and at the same time patriotic mood that manifested itself in the novel.

Creating his Christian version of Russian history of the twentieth century, Maksimov revealed the destinies of people in the light of the Gospel teaching - as a path through temptations and the fall to faith. The pathos of the novel lies in the affirmation of the national, popular principle and Christianity as its basis, in the affirmation of the need to “return to oneself.”

In the novel “Quarantine,” the writer uses a broader time frame, tracing the catastrophic changes in national religious consciousness that led to revolutionary upheavals. With historical excursions, Maksimov illustrates the struggle between temptation and faith in the fate of Russia. The novel expresses rejection of modern Soviet society, which, as Maximov saw it, was unacceptable for humans. Denying the present, Maksimov contrasts it with the national past. In the novel “Farewell from Nowhere” (1974), which later became the first part of a duology of the same name, the writer builds an autobiographical narrative, choosing the path to Christian conversion as the core of the plot. The hero's fate unfolds against the backdrop of the life of society, the depiction of which emphasizes dark, cruel,.

In exile, Maximov creates whole line novels: “The Ark for the Uninvited” (1978), “The Cup of Fury” - the 2nd part of the duology “Farewell from Nowhere” (1981), “Look into the Abyss” (1985), “Nomadism to Death” (1994).

In “The Ark for the Uninvited,” the people’s alienation from power evokes in them a rush to faith. The work conveys the idea of Russia's special role in the world. This idea is developed in the novel “Look into the Abyss,” where the central theme is the revolution and the national destiny of Russia. The interpretation of the events of the revolution as fatal not only in the history of the country, but also on a global scale entails raising the question of the mystery of the meaning of this tragedy for humanity.

Revolution in the novel is a formidable offensive destructive forces to the world;

the person here is a victim, his possibilities are now seen by the writer as less than before. Skepticism towards civilization in general is growing.

Maksimov sharply condemned the moral relativism, cowardice and conformism of the liberal intelligentsia. This position was most clearly manifested in the pamphlet “The Saga of the Rhinoceroses” (1979), which caused a storm of indignation in emigrant and dissident circles. The writer spoke with merciless frankness about the heroes of noisy public campaigns.

A serious polemic with A. Solzhenitsyn, sometimes intensifying and sometimes subsiding, accompanied the relationship between these writers. Its meaning and Maksimov’s position in this dispute are fully reflected in his open letter to Solzhenitsyn, published in December. 1994 in Pravda. Solzhenitsyn’s personality and activities became for Maksimov the most typical manifestation of “extreme, almost pathological egocentrism,” characteristic of many in the emigrant and dissident environment.

Maksimov’s journalism in recent years, sharply polemical in spirit and tone, is dedicated to protecting the interests of Russia and the Russian people.

A.D., M.W. Site materials used Great encyclopedia

Russian people - http://www.rusinst.ru

Maksimov Vladimir Emelyanovich (real name Lev Alekseevich Samsonov) - prose writer, publicist, playwright, poet, translator.

Born into a working-class family, a descendant of peasants. My father died in 1941 at the front. Maksimov, having graduated from the 4th grade of a Moscow school, left home and led a wandering life. Wandering around the country, at the age of 16 he was sentenced to a 7-year prison term, unsuccessfully tried to escape, and was soon released for health reasons. Then he worked on construction sites and on expeditions in Siberia and the Far North.

In 1954 he moved to the Stavropol region, to Cherkessk, where he collaborated in local newspapers and on radio. While still in Kuban, Maksimov began publishing his poems, and in 1956 in Cherkessk he published the collection “Generation on the Clock,” which included poems and poems, as well as translations of national poets of the North Caucasus. The book did not attract much attention.

In the same year, Maksimov returned to Moscow, where for several years he was engaged in various literary work, in particular translating poems by national poets of the USSR. His articles and essays in the late 1950s - early 1960s were published in metropolitan publications, incl. in the Literary Gazette. Maksimov’s first truly significant work, the story “We Are Making the Earth Inhabitant,” was published in 1961 in the almanac “Tarusa Pages,” edited by K. Paustovsky.

In 1962, another story appeared in the magazine “October” - “A Man Lives” (the first at the time of writing). Maksimov remained a regular contributor to this magazine almost until the end of the 1960s.

The writer's early prose is based on autobiographical material. The setting in it is remote taiga villages and the northern tundra, the heroes are marginalized, vagabonds or even criminals who are in conflict with society. Maksimov “finds his heroes on that path and at that moment when, at the cost of a severe mental crisis, they are abruptly breaking their fate. Then a personality of a different order is revealed in them, who does not want to put up with the inertia of the existing existence and finally decides to try a different path” (Borisova I. // In a literary mirror. P. 144).

The theme of rebellion against the injustices of the world, its disorder is a cross-cutting theme in Maksimov’s work. The writer came to literature as a representative of the most disenfranchised and humiliated social strata.

In the stories of the 1960s (“We are making the earth habitable”, “A man is alive”, “The Ballad of Savva”, “Stand beyond the line”, “The Road”) Maksimov was under a certain influence of Gorky, whose influence can be detected in the themes and issues of his works . Like Gorky, he is characterized by a special kind of autobiography: consideration of his life path as socially significant, revealing some important aspects of national destiny. The image of a marginal hero, a kind of “renegade” who “breaks out” from his environment, is also associated with Gorky’s legacy. But, unlike Gorky, Maksimov over the years increasingly gravitated toward a religious interpretation of the phenomena described, focusing in this on Dostoevsky. “It is possible to say without exaggeration,” Maksimov noted, “that Dostoevsky formulated the psychology and worldview, in particular, of my generation” (Continent. 1981. No. 28. P. 354).

In the 1960s, Maksimov’s stories were republished several times and, in the author’s dramatic adaptation, were successfully staged in theaters.

In 1963 Maksimov became a member of the USSR Joint Venture.

For several years, he worked closely with the magazine "October", of which V. Kochetov was the editor at that time, and in 1967-68 he was a member of its editorial board for several months. At this time, the magazine, like its editor, was considered “reactionary” and was in acute conflict with the flagship of the liberal movement, “New World.” The reason that prompted Maximov to such risky cooperation should be seen in his initial opposition, even sharper than that of the “sixties” liberals. For some time, the independent course of "October" seemed preferable to him than the "official oppositionists" - the "sixties" - who compromised themselves with conformity. Later Maksimov noted his alienation from contemporary literature: “In literary environment of my generation, from the very beginning I seemed like an outcast, a stepson” (The Saga of the Rhinoceroses. P. 125).

The opposition sentiments of the Maxims clearly manifested themselves in the late 1960s and early 1970s. His journalistic articles and open letters, containing sharp, irreconcilable criticism of the existing system, were distributed in samizdat and published in Russian-language emigrant publications. In the first half of the 1970s, two of Maksimov’s novels were distributed in samizdat - “Seven Days of Creation” (1971) and “Quarantine” (1973). The sharp rejection of the political and ideological foundations of Soviet society, social criticism, and the Christian orientation of these and other artistic and journalistic works of the writer contained in them led him to a final break with the authorities.

On June 26, 1973, Maksimov was expelled from the joint venture “for Political Views... and... creativity, incompatible with the Charter of the Union of Writers of the USSR and the title of Soviet writer" (quoted from: Pugach A. - P. 81). Finding himself outside the framework of professional literature, Maksimov was placed in difficult conditions. Meanwhile, the name of the writer became more and more famous in the West. The emigrant publishing house "Posev" published the novel "Seven Days of Creation" at the end of 1971, and "Quarantine" was published there in 1973. Both works were soon translated into major European languages. and attracted, like the personality of the author, a certain amount of public attention.

In the winter of 1974, Maksimov and his wife were allowed to leave for France for a period of 1 year.

30 Jan 1975 By decree of the Presidium of the Supreme Soviet of the USSR, he was deprived of Soviet citizenship. The writer has gained a fairly strong position in emigrant and Western social circles, primarily as the editor and publisher of the international magazine Continent.

The novel “Seven Days of Creation” is undoubtedly Maksimov’s most significant work. The writer sought to tell in it about the roots and consequences of what happened in Russia in the 20th century. tragic events. The originality of the novel is determined by Maximov’s Christian worldview that had developed by that time. The process of ideological self-determination, the desire to have one’s say in the public discussion, which took place both in the open press and on the pages of samizdat, determined the sharply oppositional and at the same time patriotic mood manifested in the novel. The severity of conflicts, tragic life contradictions, the search for the only true moral decision- all these features of the writer’s prose of the 1960s were developed in the novel.

Creating his Christian version of Russian history of the 20th century, Maksimov revealed the destinies of people in the light of the Gospel teaching - as a path through temptations and falls to faith. The pathos of the novel lies in the affirmation of the national, popular principle and Christianity as its basis, in the affirmation of the need to “return to oneself.”

In the novel “Farewell from Nowhere” (1974), which later became the first part of a duology of the same name, the writer builds an autobiographical narrative, choosing the path to Christian conversion as the core of the plot. The hero's fate unfolds against the backdrop of social life, the depiction of which emphasizes dark, cruel, tragic manifestations. In exile, Maksimov created a number of novels: “The Ark for the Uninvited” (1978), “The Cup of Fury” - the 2nd part of the dilogy “Farewell from Nowhere” (1981), “Look into the Abyss” (1985), “Nomadism to Death” (1994).

Revolution in the novel is a menacing attack of destructive forces on the world; the person here is a victim, his possibilities are now seen by the writer as less than before. Skepticism towards civilization in general is growing.

After “Seven Days of Creation,” Maksimov becomes known to the reader primarily as a novelist, although genre diversity does not leave his work. Plays written in the late 1980s - early 1990s are characterized by the same features as prose: opposition to political ideology, a sharp rejection of the historical experience of the post-revolutionary years, criticism of the Russian present from a Christian perspective, patriotic faith in the Russian original path , the idea that communism sought a natural course historical development Russia and that as soon as you get rid of it, the “restoration of the fabric of life” will begin. Reality has refuted this idea. “None of us who fought against communism imagined the consequences,” admitted Maksimov. “This is a challenge from history, to which no one had an answer, neither the West nor the East” (The End of a Beautiful Era // Russian News. 1993. July 15).

Reflections on the fate of the West and the East were reflected in the plays “Who's Afraid of Ray Bradbury?” (1988), “Berlin at the end of the night”, “There, far across the river...” (both 1991), “Where are they waiting for you, angel?” (1993). These thoughts are presented most extensively in last novel Maksimov “Nomadism until death”. The mood of skepticism, even despair, dominates here. Maksimov - in opposition to civilization; hostile to man.

Having joined the dissident movement in the late 1960s, Maksimov immediately occupied a special place in it. He was characterized by a critical attitude towards the liberal intelligentsia both during his life in Russia and in emigration. This created a reason for numerous attacks, which often found a place on the pages of the Syntax magazine, published by M. Rozanova and A. Sinyavsky. Maksimov sharply condemned the moral relativism, cowardice and conformism of the liberal intelligentsia. This position was most clearly manifested in the pamphlet “The Saga of the Rhinoceroses” (1979), which caused a storm of indignation in emigrant and dissident circles. The writer spoke with merciless frankness about the heroes of noisy public campaigns.

A serious controversy with A. Solzhenitsyn, sometimes intensifying and sometimes subsiding, accompanied the relationship between these writers. Its meaning and Maksimov’s position in this dispute are fully reflected in his open letter to A. Solzhenitsyn, published at the end of December. 1994 in Pravda. The personality and activities of A. Solzhenitsyn became for Maksimov the most typical manifestation of “extreme, almost pathological egocentrism,” characteristic of many in the emigrant and dissident environment.

Although Maksimov’s work has returned to Russian readers in recent years and he himself visited Russia several times in the 1990s, his sharply critical attitude and assessment of modern domestic life complicated his situation in his homeland.

Over the last year and a half of his life, Maksimov was a regular contributor to Pravda. The writer's opponents saw in this a manifestation of unprincipledness, the ideological capitulation of a man known for his anti-communist position. But Maksimov, without deviating from the main thing in his views and creativity, was truly patriotic. His journalism of recent years, sharply polemical in spirit and tone, is devoted to protecting the interests of Russia and the Russian people.

A.R.Dziov

Materials used from the book: Russian literature of the 20th century. Prose writers, poets, playwrights. Biobibliographical dictionary. Volume 2. Z - O. p. 505-508.

Read further:

Russian writers and poets(biographical reference book).

Essays:

SS: in 8 volumes. M., 1991-93;

The saga of the rhinoceroses. Frankfurt n/M., 1981;

Where are they waiting for you, angel? Meetings in two acts, six scenes // Continent. 1993. No. 75.

Literature:

Maltsev Yu.V. Free Russian literature. 1955-1975. Frankfurt, 1976;

In the literary mirror: About the work of Vladimir Maksimov. Paris; New York, 1986;

Pugach A. Visiting “Continent” // Yunost. 1989. No. 12;

Glad D. Conversations in Exile: Russian literary abroad. M., 1991-1992;

Bondarenko V. Prayer for all the lost: Christian prose by Vladimir Maximov // Day. 1992. No. 29/57;

Essays:

Collection cit.: In 8 vols. M., 1991-93.

Read further:

Abbreviations(including a brief explanation of abbreviations).

Maksimov
Vladimir Emelyanovich
(Samsonov Lev Alekseevich)
(1930-1995)

Writer, publicist, editor.

Born in Moscow in the family of a worker who was repressed in the 30s. He changed his last name and first name, ran away from home, became a homeless child, was brought up in orphanages and colonies for juvenile delinquents, from where he constantly escaped to Siberia, Central Asia, and Transcaucasia. He was convicted of criminal charges and spent several years in camps and exile. After his release in 1951, he lived in the Kuban, where he first began publishing in newspapers and published a collection of very mediocre poems.

The impressions of these years formed the basis of the first publications: “We are inhabiting the earth” (Collection “Tarussky Pages”, 1961), “A Man Lives” (1962), “The Ballad of Savva” (1964), etc. In 1963 it was adopted to the Union of Soviet Writers. The novels “Quarantine” and “Seven Days of Creation,” which were not accepted by any publishing house, were widely circulated in Samizdat. For these novels, their author was expelled from the Writers' Union and placed in a psychiatric hospital. In 1974, Maksimov was forced to emigrate. Lived in Paris.

In 1974, Maksimov founded the quarterly literary, political and religious magazine “Continent” (see vol. 3, p. 265), of which he remained editor-in-chief until 1992.

In exile they wrote “The Ark for the Uninvited” (1976), “Farewell from Nowhere” (1974-1982), “Look into the Abyss” (1986), “Wandering to Death” (1994), etc.

The most complete editions:

Collection in 6 volumes, Frankfurt am Main: Posev, 1975-1979;

Collected works in eight volumes, M.: “TERRA” - “TERRA”, 1991-1993;