The thought was involved but a simple statement of it would be something like this: 10, that in the beginning when the world was young there were a great many thoughts but no such thing as a truth. Man made the truths himself and each truth was a composite of a great many vague thoughts. All about in the world were the truths and they were all beautiful. 11, the old man had listed hundreds of the truths in his book. I will not try to tell you of all of them. There was the truth of virginity and the truth of passion, the truth of wealth and of poverty, of thrift and of profligacy, of carelessness and abandon. Hundreds and hundreds were the truths and they were all beautiful. 12, and then the people came along.
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7, the own grotesques were not all horrible. Some were amusing, some almost beautiful, and one, a woman all drawn out of shape, hurt the old man by her grotesqueness. When she passed he made a noise like a small dog whimpering. Had you come into the room you might have supposed the old man had unpleasant dreams or perhaps indigestion. For an hour the procession of grotesques passed before the eyes of the old man, and then, although plan it was a painful thing to do, he crept out of bed and began to write. Some one of the grotesques had made a deep impression on his mind and he wanted to describe. 9, at his desk the writer worked for an hour. In the end he wrote a book which he called The book of the Grotesque. It was never published, but I saw it once and it made an indelible impression on my mind. The book had one central thought that is very strange and has always remained with. By remembering it I have been able to understand many people and things that I was never able to understand before.
Why quarrel with an old man concerning his thoughts? 5, in the bed the writer had a dream that was not a dream. As he grew somewhat sleepy but was still conscious, figures began to appear before his eyes. He imagined the young indescribable thing within himself resume was driving a long procession of figures before his eyes. 6, you see the interest in all this lies in the figures that went before the eyes of the writer. They were all grotesques. All of the men and women the writer had ever known had become grotesques.
No, it wasnt a youth, it was a woman, young, and wearing a coat of mail like a knight. It is absurd, you see, to try to tell what was inside the shortage old writer as he lay on his high bed and listened to the fluttering of his heart. The thing to get at is what the writer, or the young thing within the writer, was thinking about. 4, the old writer, like all of the people in the world, had got, during his long fife, a great many notions in his head. He had once been quite handsome and a number of women had been in love with him. And then, of course, he had known people, many people, known them in a peculiarly intimate way that was different from the way in which you and i know people. At least that is what the writer thought and the thought pleased him.
For years he had been beset with notions concerning his heart. He was a hard smoker and his heart fluttered. The idea had got into his mind that he would some time die unexpectedly and always when he got into bed he thought of that. It did not alarm him. The effect in fact was quite a special thing and not easily explained. It made him more alive, there in bed, than at any other time. Perfectly still he lay and his body was old and not of much use any more, but something inside him was altogether young. He was like a pregnant woman, only that the thing inside him was not a baby but a youth.
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The writer had cigars lying about and the carpenter smoked. 2, for a time the two men talked of the raising of the bed and then they talked of other things. The soldier got on life the subject of the war. The writer, in fact, led him to that subject. The carpenter had once been a prisoner in Andersonville prison and had lost a brother.
The brother had died of starvation, and whenever the carpenter got upon that subject he cried. He, like the old writer, had a white mustache, and when he cried he puckered up his lips and the mustache bobbed up and down. The weeping old man with the cigar in his mouth was ludicrous. The plan the writer had for the raising of his bed was forgotten and later the carpenter did it in his own way and the writer, who was past sixty, had to help himself with a chair when he went to bed at night. 3, in his bed the writer rolled over on his side and lay quite still.
For Limonov, poetry comes from the courage of the non-conformist and the criminal rather than in the vision of the madman. . Veledinskiis decision to substitute a simple and familiar cliché for a more complex and interesting reality is especially regrettable because the story of Eddie-babys adventures in bohemian Khar'kov in the Khrushchev years has the makings of an even more interesting film than Russian. Tony Anemone, college of William and Mary russian Russkoe (Russia, 2004) Color, 112 minutes Director: Aleksandr Veledinskii script: Aleksandr Veledinskii, based on the novels of Eduard Limonov cinematography: pavel Ignatov art Direction: Il'ia amurskii: Music: Aleksei zubarev cast: Andrei chadov, aleksei gorbunov, ol'ga Arntgol'ts, Vladimir. Select searchWorld Factbookroget's Int'l ThesaurusBartlett's"tionsRespectfully"dFowler's King's EnglishStrunk's StyleMencken's LanguageCambridge historyThe king James BibleOxford ShakespeareGray's AnatomyFarmer's cookbookpost's EtiquetteBrewer's Phrase fableBulfinch's MythologyFrazer's Golden boughAll VerseAnthologiesDickinson,. Hopkins, ats, wrence, sters, ndburg, ssoon,. Wordsworth, ats, l NonfictionHarvard ClassicsAmerican EssaysEinstein's RelativityGrant, osevelt,.
Wells's HistoryPresidential InauguralsAll FictionShelf of FictionGhost StoriesShort StoriesShaw, ein, evenson,. Fiction sherwood Anderson winesburg, Ohio, sherwood Anderson (18761941). The book of the Grotesque, t he writer, an old man with a white mustache, had some difficulty in getting into bed. The windows of the house in which he lived were high and he wanted to look at the trees when he awoke in the morning. A carpenter came to fix the bed so that it would be on a level with the window. Quite a fuss was made about the matter. The carpenter, who had been a soldier in the civil War, came into the writers room and sat down to talk of building a platform for the purpose of raising the bed.
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But by presenting the taxi scene exclusively from the perspective of the immature Eddie, the movie does not allow for the ironic separation between hero and narrator, which is a central element of Limonovs style. Compounding the problem, veledinskii uses non-diegetic music to reintroduce a rather crude irony into scenes like the new years eve dinner of Eddies parents, in which the soviet National Anthem plays as the parents sit forlornly at the dinner table and Eddie languishes in Saburka. Veledinskii has noted several times in interviews that his film was never intended as a complete version of Limonovs trilogy, but is based on themes ( po motivam ) red from Limonovs works, as he argues in an interview with Oleg Sul'kin. Nevertheless, it is impossible not to notice or to mention the radical differences between Limonovs and Veledinskiis treatment of the central theme of the portrait of the artist as a young man. While limonov establishes a clear geographical, chronological, and stylistic separation between the randy young hooligan Eddie (in Podrostok savenko ) and Eddie-baby as the stiliaga and bohemian hero (of Molodoi negodiai veledinskii conflates the two. . This is important because while limonovs hero is born into a brutal working class neighborhood on the outskirts of Khar'kov ( Podrostok savenko he becomes a poet as the result of experiences and acquaintances gained over a period of years living in the citys bohemian. In Veledinskiis drastically condensed version of Eddies life, saburka, not Khar'kovs surprisingly vital bohemian scene in the late 1950s and early 1960s, plays the critical role in his becoming a poet. . Veledinskiis version of the repression of the talented individual in the soviet asylum and of the true poet branded as a madman by a philistine and uncomprehending society is as familiar as any cliché. . But it is the directors cliché, not the authors.
First, despite some posturing, Andrei chadovs Eddie is simply too nice, too intelligentnyi, to be convincing as Limonovs nasty alter-ego. It is impossible, for example, to imagine Chadov groping girls in the school restroom or participating in a gang rape, as Limonovs hero does in Podrostok savenko. . even when Chadov turns violent, it is likely to be for a good cause, as when he defends a drunken woman who is being manhandled by the local militia. Further, in reducing the almost constant obscenities ( mat ) of Limonovs prose to a bare minimum, veledinskiis screenplay has achieved the dubious distinction of creating a pg-13 version of an X-rated writer. A more subtle problem arises from Veledinskiis decision to abandon the ironic double-voiced narrative of Limonovs prose. In the trilogy, the voice of an older and essay wiser Limonov constantly comments directly to the reader on the flaws and limitations of his adolescent self. . The best example of this can be seen by comparing Veledinskiis version of Eddies prayer in the church bell tower with the scene as written in Molodoi negodiai. As soon as the literary Eddie finishes his prayer, in which he mentions goethes faust and Maturins Melmoth the wanderer, the mature limonov asks the readers forgiveness for the comic and pretentious. Classical Romanticism of his young hero.
manexplains that Eddie is not truly suicidal, merely looking for attention from a world that has not shown him sufficient love, and orders. The movie ends with Eddie leaving not only saburka but also the illusions and lies of his prior life as a dutiful son and a sentimental lover: he re-enters the world sadder but wiser, knowing that he can rely on nothing but himself and his. Russian is the first full-length film directed by Aleksandr Veledinskii, previously known as the director of the prize-winning short The Two of Us ( ty da ia, da my s toboi, 2001) and a scriptwriter for tv serials such as Long Distance Truckers ( Dal'noboishchiki. raised in a working class neighborhood of Gor'kii in the 1960s, veledinskii would seem the right person to bring to the big screen Limonovs portrait of the artist as a young urban hooligan. . he certainly has recreated the look and feel of working class life in a provincial soviet city in the Khrushchev period: not only the cramped communal apartments, cheap cafes, and gray public spaces, but the nighttime haunts of the local criminals and hooligans, and, especially. And while the cinematography shows every sign of the films origins as a television serial, the director shows a steady hand in directing the excellent ensemble of actors he has put together, including both well-known veterans (Evdokima germanovna and mikhail Efremov as Eddies parents, Aleksei. Nevertheless, veledinskii is less successful at capturing the essence of Limonovs prose and the character of his autobiographical hero, eddie savenko. . There are several reasons for this. .
Eddie also learns a bitter truth about his own past: his poor eyesight was probably the result of his mothers unsuccessful attempt to end her pregnancy. . Subjected to sadistic medical treatment intended to crush his spirit and mind, Eddie is fortunate to find an writing intellectual and artistic mentor in one of his fellow patients. Between episodes of insanity in which he rips tiles from the bathroom walls, the quiet bookworm Sergei olimpeevich reveals the hidden secrets. Russian literature, especially the poetry of Khlebnikov, to the curious Eddie. During a brief escape from Saburka, eddie achieves his dream of sleeping with svetka, but, not surprisingly, it turns out to be a disappointment and anti-climax. . After they have sex, she tells him that he is too late: she is neither a virgin, nor in love with him. Rejected by the girl he loves, Eddie is betrayed a second time by his mother, who leads the police to his hideout. . But before he is captured and returned to saburka, eddie climbs to the top of a church tower to pray to god and the devil that his life always be interesting, as in books, that he be a hero loved by everyone. Back in Saburka, eddie manages to get word to his hooligan friends about his treatment and, in a parody of the storming of the winter Palace from Sergei eisensteins October (1928 they attack the hospital, demanding his release.
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KinoKultura, reviews, aleksandr Veledinskii, russian, russkoe (2004) reviewed by tony Anemone2005, khar'kov, 1959. . An outdoor poetry reading in the central city square. . a young man reads his poetry to an attentive audience, while his friend lifts wallets from the pockets of the assembled poetry lovers. Thus begins Aleksandr Veledinskiis adaptation of the autobiographical prose of Eduard Limonov, the enfant terrible of the russian emigration of the 1980s and, more recently, the founder and thesis leader of the national-Bolshevik party in post-soviet Russia. Based mostly on the second and third parts of Limonovs autobiographical trilogy about growing up on the mean streets of Khar'kov in the 1950s and 1960s (. U nas byla velikaia epokha, podrostok, savenko, and, molodoi negodiai veledinskiis, russian tells the story of the talented but poor young working class poet Eddie, his hooligan and criminal friends, and his love for the beautiful but mercenary svetka. . Driven to petty crime and a half-hearted suicide attempt by his desperate desire to bed svetka, eddie ends up in the local psychiatric hospital, the famous Saburka, where painters and writers like vrubel garshin, and Khlebnikov had been hospitalized in the past. At Saburka, eddie experiences the worst and the best of soviet life: brutalized by incompetent doctors and nurses, betrayed by his mother, but, in the end, saved by true friends and the promise of poetry.