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Died Vladimir Sharov, Russian Umberto Eco

At the age of 66, the writer Vladimir Sharov, our Russian Umberto Eco, who created his gigantic Russian history, died of cancer. Sharov was considered one of the best contemporary writers in the literary environment, accustomed to measuring the Hamburg score. But at the same time, he was almost unknown to the general reader.
Mournful records in facebook end with the words: "Volodya, forgive us." Forgive me for not reading it, I'm sorry that they did not give it due. The historian by training, the son of the great storyteller and journalist Alexander Sharov, inherited from his father an extraordinary fantasy and charm. Vladimir Aleksandrovich Sharov – a kindly attentive man with a childish smile in a liquid beard and sparks in his blue eyes – was a "writer for writers."
– I remember how I met Sharov at the ceremony of presenting the National Bank prize, – recalls the writer Elena Usacheva. – He sat on the couch alone, and was terribly sad. He received an award for the book "Return to Egypt", but no one read his book. We had a good talk, and he finally said with humility and absolutely no complaints: "Well, it's good that he told me, you will not read me anyway.
"Return to Egypt" is a novel in letters, the characters of which are descendants of Gogol, certain that the Revolution was due to the terrible understatement of Dead Souls. Especially – the third volume. (Yes, according to Sharov's version there were three volumes). And it is not surprising that our trusting reader, who began reading books as historical novels (well, for good reason, the author is a historian), somewhere in the middle of the eye gathered on the bridge of his nose, and his brains rose on his head. What is it? Where is the truth, and where is the fiction?
His works belonging to the "literature of ideas" certainly did not fit for fans to sit behind a book, wrapped in a warm blanket. This is not an easy reading, but "for complexity" the reader gets something different: stunning metaphors that turn the mind over. For example, a striking episode is in the book "Be like children." In one of the chapters it is told about children's counters of the "Ene ben slave" type, who preserved the language and sound of Hebrew prayers. According to the author's opinion, that's how our world was saved, that for many hundreds of years the children in their games, without understanding themselves, prayed for us.
Impressive was the idea that the Bolshevik shootings were caused by the idea of ​​an early resurrection: the organizers of the Soviet government so easily and confidently destroyed people, because they believed that they were being removed temporarily, until they had figured out how to return all the deceased back.
But he had the main idea alone. Reflecting on the structure of our state and the role of revolution in it, Sharov came to the conclusion that "the whole of Russian history can be described as a cycle of commentaries on scripture." Moscow is the new Jerusalem, Russia is the new Israel, and the Russians are the chosen people.
"Why are your books amorphous?" – Once asked Sharov's aunt from the "School of Sinology." In a crude form, they meant why he writes in a way that can not be written: works are populated by many and many people whose life histories cling and worry, but break in the most unexpected place. Why does he never let us know what ended the story of his heroes.
Sharov explained that this is life. By her whimsical law, you meet a person, he becomes close to you and dear, but then your roads diverge and you will never know his fate again. In this sense, the author's view was unique – a supernumerary glance from the stratosphere to the movement of generations.
It is clear that this approach infuriated. The third novel "Before and During", published in the "New World" 25 years ago caused a scandal, which was compared with the hype surrounding the NTV show of Martin Scorsese's film "The Last Temptation of Christ." The magazine's editorial board split in two and the department of criticism published an article "Sor out of huts," in which critics Irina Rodnyanskaya and Sergei Kostyrko swept Sharov as children of a ball bearing.
But he did not take offense. He himself said that he wrote "on the table," and does this not for the reader, but "to understand himself".
"Slipping" refers to Sharov's prose as an actor and writer Grigory the Servant. Literally two days ago he was a guest of our radio studio. The conversation turned to the favorite authors of Gregory and suddenly the young author remembered Vladimir Sharov:
– I was recommended by Eugene Vodolazkin. He asked, "Did you read Rehearsals?" Be sure to read it to you, as an actor, it will be interesting. The book struck me like a blow. A distant past. Tsar Alexei Mikhailovich feels heir of Byzantium and is going to build a "rhyme" for Jerusalem, to confirm the right to continuity. He starts a completely crazy project: he finds a Breton director and makes him put a huge mystery. In the village thousands of people are being shot and the director distributes roles to them. Some will be Jews, others – Romans, the third – high priests … So hundreds of years pass. The director has long since died, but people continue to play. And in that is the metaphor of our time … But, having unraveled it, and already convinced that we continue to play the roles prescribed at one time, we do not find confirmation of our thoughts. The metaphor again eludes. Like a dream.
He wrote a little. This summer, Sharov published the ninth book "The Kingdom of Agamemnon." He had time to see and rejoice in her, before he left.
However, to leave not for ever. Sharov continued the ideas of Russian cosmism. I read Fedorov and believed in the idea of ​​resurrection, according to which all of us, who once lived on Earth, will return to it. By the way, if you read Sharov, you can understand: the return will happen soon.


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