Yuri Karyakin. “We have always defeated only external enemies” Yuri Karyakin biography

Yuri Fedorovich Karyakin(July 22, Perm - November 18, Moscow) - Soviet and Russian literary critic, writer, publicist, public figure. Author of many works on the work of F. M. Dostoevsky.

Biography

For an anti-Stalin speech at an evening in memory of Andrei Platonov, he was expelled from the CPSU in absentia by the Moscow City Party Committee in 1968.

He died after a serious long illness. He was buried on November 22 at Peredelkinskoye Cemetery.

Bibliography

• Karyakin Yu. F. and Plimak E. G. Mr. Cohn explores the "Russian spirit." - M.: Sotsekgiz, 1961.
• Karyakin Yu. F. and Plimak E. G. A forbidden thought finds freedom. - M.: Nauka, 1966. - 304 pp., 5,500 copies.
• Karyakin Yu. F. Rereading Dostoevsky. - M.: News, 1971. - 248 p.
• Karyakin Yu. F. Raskolnikov’s self-deception (F. M. Dostoevsky’s novel “Crime and Punishment”). - M.: Fiction, 1976. - 158 p.
• Karyakin Yu. F. Dostoevsky. Essays. - M.: Pravda, 1984. - 48 p., 94,000 copies.
• Karyakin Yu. F. Dostoevsky and the eve of the 21st century. - M.: Soviet writer, 1989. - 656 pp., 45,000 copies.
• Karyakin Yu. F. Change of beliefs (From blindness to insight). - M.: Raduga, 2007. - 416 p.
• Karyakin Yu. F. Pushkin. From the Lyceum to...The Second River. - M.: Raduga, 2009.
• Karyakin Yu. F. Dostoevsky and the Apocalypse. - M.: Folio, 2009. - 704 p.
• Karyakin Yu. F.. Mortal demon. Arrival and exile. - M.: Novaya Gazeta, 2011.
• Karyakin Yu. F. Don't be late!: Conversations. Interview. Journalism of different years / Comp. I.N. - Rina. - St. Petersburg: Ivan Limbach Publishing House, 2012. - 464 pp., 1000 copies, ISBN 978-5-89059-176-0
• Zorina I. N. Thirst for friendship. Karjakin about friends and friends about Karjakin. - M.: Raduga, 2010. - 416 p.

Awards

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In the fall, the Rostov family returned to Moscow. At the beginning of winter, Denisov also returned and stayed with the Rostovs. This first time of the winter of 1806, spent by Nikolai Rostov in Moscow, was one of the happiest and most cheerful for him and for his entire family. Nikolai brought many young people with him to his parents’ house. Vera was twenty years old, a beautiful girl; Sonya is a sixteen-year-old girl in all the beauty of a newly blossoming flower; Natasha is half a young lady, half a girl, sometimes childishly funny, sometimes girlishly charming.
In the Rostov house at that time there was some kind of special atmosphere of love, as happens in a house where there are very nice and very young girls. Every young man who came to the Rostovs’ house, looking at these young, receptive, smiling girlish faces for something (probably at their happiness), at this animated running around, listening to this inconsistent, but affectionate to everyone, ready for anything, hope-filled babble of a woman The youth, listening to these inconsistent sounds, now singing, now music, experienced the same feeling of readiness for love and expectation of happiness, which the youth of the Rostov house themselves experienced.
Among the young people introduced by Rostov, one of the first was Dolokhov, who was liked by everyone in the house, with the exception of Natasha. She almost quarreled with her brother over Dolokhov. She insisted that he was an evil person, that in the duel with Bezukhov Pierre was right, and Dolokhov was to blame, that he was unpleasant and unnatural.
“I don’t understand anything,” Natasha shouted with stubborn willfulness, “he’s angry and without feelings.” Well, I love your Denisov, he was a carouser and that’s all, but I still love him, so I understand. I don’t know how to tell you; He has everything planned, and I don’t like it. Denisova...
“Well, Denisov is a different matter,” answered Nikolai, making him feel that in comparison with Dolokhov, even Denisov was nothing, “you need to understand what kind of soul this Dolokhov has, you need to see him with his mother, this is such a heart!”

Biography

For an anti-Stalin speech at an evening in memory of Andrei Platonov, he was expelled from the CPSU in absentia by the Moscow City Party Committee in 1968.

He died after a serious long illness. He was buried on November 22 at Peredelkinskoye Cemetery.

Bibliography

• Karyakin Yu. F. and Plimak E. G. Mr. Cohn explores the "Russian spirit." - M.: Sotsekgiz, 1961.
• Karyakin Yu. F. and Plimak E. G. A forbidden thought finds freedom. - M.: Nauka, 1966. - 304 pp., 5,500 copies.
• Karyakin Yu. F. Rereading Dostoevsky. - M.: News, 1971. - 248 p.
• Karyakin Yu. F. Raskolnikov’s self-deception (F. M. Dostoevsky’s novel “Crime and Punishment”). - M.: Fiction, 1976. - 158 p.
• Karyakin Yu. F. Dostoevsky. Essays. - M.: Pravda, 1984. - 48 p., 94,000 copies.
• Karyakin Yu. F. Dostoevsky and the eve of the 21st century. - M.: Soviet writer, 1989. - 656 pp., 45,000 copies.
• Karyakin Yu. F. Change of beliefs (From blindness to insight). - M.: Raduga, 2007. - 416 p.
• Karyakin Yu. F. Pushkin. From the Lyceum to...The Second River. - M.: Raduga, 2009.
• Karyakin Yu. F. Dostoevsky and the Apocalypse. - M.: Folio, 2009. - 704 p.
• Karyakin Yu. F.. Mortal demon. Arrival and exile. - M.: Novaya Gazeta, 2011.
• Karyakin Yu. F. Don't be late!: Conversations. Interview. Journalism of different years / Comp. I.N. - Rina. - St. Petersburg: Ivan Limbach Publishing House, 2012. - 464 pp., 1000 copies, ISBN 978-5-89059-176-0
• Zorina I. N. Thirst for friendship. Karjakin about friends and friends about Karjakin. - M.: Raduga, 2010. - 416 p.

Awards

Write a review of the article "Karyakin, Yuri Fedorovich"

Notes

Links

An excerpt characterizing Karyakin, Yuri Fedorovich

Catchphrases

Bibliography

• Karyakin Yu. F. Rereading Dostoevsky. - M.: News, 1971. - 248 p.
• Karyakin Yu. F. Self-deception of Raskolnikov (Novel by F. M. Dostoevsky “Crime and Punishment”) - M.: Fiction, 1976. - 158 p.
• Karyakin Yu. F. Dostoevsky. Essays - M.: Pravda, 1984. - 48 p.
• Karyakin Yu. F. Dostoevsky and the eve of the 21st century. - M.: Soviet writer, 1989. - 656 p.
• Karyakin Yu. F. Change of beliefs (From blindness to insight). - M.: Raduga, 2007. - 416 p.

Sources

Links

• New book by Yuri Karyakin “Change of Beliefs” (Echo of Moscow broadcast)

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See what “Karyakin, Yuri Fedorovich” is in other dictionaries:

- (b. 1930), Russian literary critic, publicist. The focus is on the spiritual experience of Russian classics, the history of social thought in Russia, moral and philosophical problems, and the work of F. M. Dostoevsky. (see Fyodor Mikhailovich DOSTOEVSKY) Books:... ... encyclopedic Dictionary

- (b. 1930) Russian literary critic, publicist. The focus is on the spiritual experience of Russian classics, the history of social thought in Russia, moral and philosophical problems, and the work of F. M. Dostoevsky. Books: A forbidden thought finds freedom: 175... ... Big Encyclopedic Dictionary

Writer, literary critic, publicist; born June 22, 1930; graduated from the Faculty of Philosophy of Moscow State University; from 1956 he worked as a junior researcher at the Institute of History of the USSR Academy of Sciences; 1957 1960 head of department of the magazine "History of the USSR"; 1960 1965… … Large biographical encyclopedia

Yuri Fedorovich Karyakin (born July 22, 1930) literary critic, writer, publicist and public figure. Author of many works on the work of F. M. Dostoevsky. Author of the famous saying “Russia, you’ve gone crazy!” and “Stepping on our national rake... ... Wikipedia

Yuri Fedorovich Karyakin (born July 22, 1930) literary critic, writer, publicist and public figure. Author of many works on the work of F. M. Dostoevsky. Author of the famous saying “Russia, you’ve gone crazy!” and “Stepping on our national rake... ... Wikipedia

Yuri Fedorovich Karyakin (born July 22, 1930) literary critic, writer, publicist and public figure. Author of many works on the work of F. M. Dostoevsky. Author of the famous saying “Russia, you’ve gone crazy!” and “Stepping on our national rake... ... Wikipedia

The Council under the President of the Russian Federation for Culture and Art is an advisory body under the President of the Russian Federation, created to inform the head of state about the state of affairs in the field of culture and art, ensuring it... ... Wikipedia

This term has other meanings, see Presidential Council. The Presidential Council is a permanent advisory body to the President of the Russian Federation in 1993-2001. Formed by Decree of the President of the Russian Federation... Wikipedia

- (PKS) a permanent advisory body under the President of the Russian Federation in 1992-1993. Established by order of the President of the Russian Federation dated April 3, 1992 No. 157 rp. The same decree approved... ... Wikipedia

Books

• Peredelkinsky diary, Karyakin Yuri Fedorovich. The famous writer, publicist, philosopher, public figure Yuri Karyakin (1930-2011) for a number of years kept notes on what interested and worried him most. This is how it arose...

YURI KARYAKIN

Yuri Fedorovich Karyakin - literary critic, philosopher, author of world-famous books about F.M. Dostoevsky. In August 1980, at the request of Marina Vladi, he wrote a piercing article about Vladimir Vysotsky, which was distributed throughout the country in thousands of “samizdat” copies.

- Yuri Fedorovich, first, please tell us about the artistic council of the Taganka Theater.

This advice can be called legendary. Suffice it to say that we - here I also include Zhenya Yevtushenko and Andrei Voznesensky - well, we then, relatively young, dared to speak only last. The master of the council was Nikolai Robertovich Erdman - a man simply brilliant: both the accomplished and the unfulfilled Gogol. A man of amazing intelligence, wit and wisdom. Alexander Abramovich Anikst - well, there is no need to introduce him, a world-famous Shakespeare scholar. And composers: Dmitry Dmitrievich Shostakovich (the play “Galileo” is staged to his music), Alfred Schnittke, Edison Denisov... Ernst Neizvestny, Kapitsa - first the eldest, and then the young one - took part in the council...

This is such an “academy” - both for the council members, first of all, but also for the actors. Each meeting in itself was a brilliant performance - if only they had thought to record them then!

It was a closed council, in the sense that like-minded people gathered. After all, almost every Taganka performance was accepted the tenth time, and sometimes it was banned altogether. “Alive” by Boris Mozhaev - this story lasted probably 15 years, but it was a brilliant performance. “Take care of your faces”, “Boris Godunov”... It would seem that the play “The Dawns Here Are Quiet” would be much more patriotic, but the officials allowed this too with enormous difficulty. Therefore, we spent a lot of time trying to get through all sorts of authorities. We had to agree with some comments, supposedly correct something, but in reality new surprises awaited these recipients. In general, the Taganka artistic council was quite a militant body; I repeat, it was a council of like-minded people. But at the same time, we did not have enough time to discuss the artistic side itself - a lot of effort was spent on putting on performances. Despite the fact that this was such a unique artistic council, the efficiency was less than it could have been. Just now I remembered that Konstantin Simonov played a big role in the breakthrough of The Master and Margarita.

- Why did such a unique artistic council arise at the Taganka Theater?

I think because Taganka was a legal opportunity for such people to gather. And the main merit in this, of course, is Yuri Petrovich Lyubimov. He was friends with Andrei Dmitrievich Sakharov, who often attended our meetings. I first met him at Taganka.

- And even employees of the international department of the CPSU Central Committee were members of the artistic council...

The International Department of the Central Committee at that time was considered a nest of “revisionism.” Its composition was also unique. Most went through the school of the journal “Problems of Peace and Socialism.” We came to the editorial office as such monolithic “cobblestones of the proletariat,” and there we were “separated.” Because in Prague (where the editorial office of the magazine was located) we encountered other points of view both on the world and on socialism. We had to take these points of view into account, which somehow shaped us. There was an expression back then, coined, in my opinion, by Demichev, a member of the Politburo of the CPSU Central Committee: “Prague tail.” Arbatov, Zagladev, Delyusin, Shakhnazarov, Chernyaev - Gorbachev's future assistant - passed through this magazine... They did a lot to break through Taganka's performances.

Lev Petrovich Delyusin is a very interesting person, he was then in charge of the Institute of Oriental Culture and took in people who were being driven out from everywhere. One of Yuri Lyubimov’s closest friends, and he had a good relationship with Vysotsky. Volodya had great tact and intelligence, I don’t know whether it was innate or developed. He always knew how to keep a respectful distance. In those days, Vysotsky and I had an eight-year difference, and then it seemed very big. And when it came to Delyusina, Volodya literally warmed up. Perhaps there was simply no more reliable, more devoted person to Taganka.

- You once called Vysotsky your junior teacher. Why?

I'm generally a very happy person. Older friends - Solzhenitsyn, Sakharov, Lidiya Korneevna Chukovskaya - only recently she passed away... Lidiya Korneevna is a person, first of all, of brilliant morality and a passionate adherent of the classical Russian language. Borya Mozhaev, Yura Lyubimov...

And the younger ones - in first place, of course, is Volodya. In the full sense of the word, I consider myself his student. The same as Tolya Yakobson. A poet, translator, and first-class critic, he went abroad and committed suicide there. And I was in such a crosshairs: both rays from above and below (here I mean only age). And so, when your “batteries” ran low, you could always “recharge” from these people. It was difficult, even impossible, to do wrong here; there was a kind of competition going on - who was cleaner, smarter, braver.

- And your personal acquaintance with Vysotsky, when did it begin?

It was 1964. I came from Prague on vacation. And my friend and I wandered around the theaters. We went to see “Mary Stuart” at the Moscow Art Theater - it was an absolutely “mothball” performance. And suddenly Kamil Ikramov, also one of my friends, having learned which theaters we went to, exploded and said: “Have you been to Taganka?” But we haven’t even heard of Taganka. We went there and it really turned out to be a miracle. Although Taganka was still far from a complete turnaround and heyday. Only “Ten Days That Shook the World” and “The Good Man of Szechwan” were on. After the performance, Yuri Petrovich invited us to his place. And I remembered this scene: the performance had already ended, and Volodya was singing somewhere in the corridor. Just like that, for yourself - like a songbird. And then miracles began... Very often at Lyubimov’s, at Levina’s (she then worked as a theater manager), at someone’s birthdays Volodya delighted us with songs, as they say, “from a hot frying pan” - just written. And then the happiest time of communicating with him was working on “Crime and Punishment.” (The play “Crime and Punishment” was staged at the Taganka Theater - staged by Yu. F. Karyakin. - V.P.)

It was 1978. Volodya has already given up his “numbers” - he left somewhere, in my opinion, to America, and left semi-legally. He didn’t say anything to anyone and waved off to America. And there are already two months left before the premiere. Well, now I know - after your “The Truth of the Hour of Death” - what it cost him both physically and spiritually. I had no suspicion then... And, unfortunately or fortunately, I myself took part in the “honeymoon” at that time.

Volodya returned, came to me, and a funny story happened there. It was such a large nine-story building, surrounded by five-story buildings. We and someone else had cars; three or four cars were parked near the house. And the boys from the five-story buildings regularly punctured our tires. Remember, Volodya has such a “Song of a Car Envy”? Tires were regularly punctured. Suddenly Vysotsky arrives, already in a Mercedes, and I meet him. Vysotsky himself is driving a Mercedes! Well, the boys surrounded us... And then their chieftain gave the order: “Don’t pierce this one!” And they stopped puncturing my tires. I say to Volodya: “Do you know how much money you saved me?” And he: “Pay interest.”

And so we sat for hours, rehearsed and, first of all, it gave me a lot. First of all, I was shocked at how instantly he got into character. In my opinion, I am not an arrogant person, but still I treated him like a junior. And what shocked me was that by this time Volodya was already a mature master. It was based on a powerful craft - in the ancient, high sense of the word. Instantly he fell into the role, and something new was already opening up to me. During one of the rehearsals, we came out of the service entrance to smoke, and I innocently asked: “Volodya, I don’t understand how you got into the role of Svidrigailov?” If you remember, Svidrigailov sang a romance in a performance at the Taganka Theater... And it happened completely unexpectedly, surprisingly - during a rehearsal. And most of those present simply screamed: “What a disgrace!” I remember exactly that Lyubimov and I were immediately delighted.

So, I ask: “How did you get in?” And he told me this episode... At school, during recess, the boys were standing and playing “weakly”: to do this is weak, to do this is weak... And suddenly one boy said: “How about sticking a feather in your eye weakly?” Before anyone had time to come to their senses, he called over some first-grader and stuck the pen right into his eye. And Volodya says: “As if for me!” And so, in order to get into the role, I must first of all find pain.” It was like a chill on the skin. This somehow immediately revealed a lot to me about Vysotsky. It helped to understand why many thought that Volodya sat, fought, drove heavy trucks, was a climber...

Of the theatrical roles (this, of course, is my subjective opinion), Vysotsky’s most powerful are Hamlet and Svidrigailov. I saw the Svidrigailovs a lot and read how other actors played, but Volodya had a great role. When Volodya went on stage in a shabby robe, everything changed, the entire structure of the performance - everything began to revolve around him. There is such an episode: Raskolnikov, like a cockerel, attacks a powerful, great criminal who has already survived everything - just on the eve of his death. So, the cockerel Raskolnikov - played by Sasha Trofimov - attacks Svidrigailov and says the following phrase: “You accuse me, but you eavesdrop!” And then Volodya makes an absolutely fantastic pause and says in his powerful voice: “Oh, you can’t eavesdrop?! Is it possible to hit old ladies over the head with anything for your own pleasure?!” I, of course, am not able to convey all this, all this power... And then Sasha Trofimov, in an almost childish, crying voice, says: “Well, I can’t be with him... He kills me.” And Lyubimov and I almost out loud: “Yes, that’s how it should be!” That’s how it should be!”

I went to this performance, in my opinion, 50 times, I went, of course, to Volodya. And such a funny story happened there (Volodya knew about it). As a member of the theater’s artistic council, I had a “reservation” for tickets. And tickets to Taganka were currency back then, just real currency. One ticket for “The Master and Margarita” was sold for 50 rubles, which was a lot of money back then. For “Crime” - less - 20 rubles. I always had ten tickets for this performance. And some people knew this, they came and took it “for Karyakin.” Then my people, those for whom the tickets were intended, came, and all the tickets were already sold. And I began to do this: I wrote out tickets “for Raskolnikov - two,” etc. Volodya, when he learned about this story, laughed a lot. It was a happy time...

Now I will return to your book. And I’ll say right away: I respected Vysotsky even more. Paradoxically, his power was revealed to me even more, because with such sin, with such vice, he continued to play and create. After all, in the last few months a gigantic, simply unimaginable amount of work has been done. Yes, of course, tragedy - but also power! I understand the pain of my relatives, it is understandable and it is sacred. They experienced something that I don't think was open to them. I understand Vadim Tumanov, who is against (the publication of the book “The Truth of the Hour of Death.” - V.P.) ... But it was! Was! Without this - another Vysotsky! I’ll say it again: I respected him even more as a man. This respect has always been there, but after your book - to an even greater extent.

- You told me last time that you were preparing your diaries for publication...

Yes, I have already started to disassemble, I have already disassembled a lot. There is a lot about Volodya, and I wrote down not events, but some of his words and thoughts. There is a lot about Ernst Neizvestny. Now I have interrupted this work because I have to finish a book about Dostoevsky.

By the way, I can tell you one more story. I once flew to America, and a very beautiful elderly woman was sitting next to me. She looked at me so strangely - in recognition. It turned out that this was Solzhenitsyn’s mother-in-law. And we started talking, although in fact, during all these 14 hours in the air, it was mostly she who spoke - I questioned her and listened. And one of the questions was like this

“How did Alexander Isaevich treat Volodya?” And she told me that Solzhenitsyn’s sons, knowing his classical taste, developed such a plan. They themselves adored Vysotsky’s songs, and gradually, gradually they let Solzhenitsyn listen to them. And he fell in love with Volodya. Loved it very much.

When Volodya died, I was writing an article for the forties “Whose fault is it?” At that time I lived in Maleevka, in the House of Creativity of the Writers' Union. And nearby lived such a strict purist Lazar Lazarev, now the editor-in-chief of the journal “Questions of Literature.” A man of exceptional taste and hearing, he is also a skeptic. And so he laughed at me a little because I was so in love with Vysotsky. In the end, this made me angry, and we bet him on cognac... “Here I’m making a program for you, you listen to Volodya, and then you can honestly say: have you given up or strengthened yourself?” in your ignorance." We sat down, I played him more war songs, of course - “Banka”, “Wolf Hunt” and “Domes”. He listened and listened and withdrew more and more into himself. You know, he even shed tears. In general, I capitulated to this pressure.

- And the history of this famous article of yours?

I think at the wake Marina Vladi asked me to write, to write on the fortieth day from the date of death. All these days I slept for three or four hours. Day and night I listened to Volodya - and wrote. Igor Shevtsov helped me a lot: he brought me notes, photographs, texts. But then the article was not published; it went to samizdat. A year later, Lavlinsky published it in Literary Review. Moreover, Volodya punched himself. Lavlinsky was also skeptical of Vysotsky at first. And I, just like Lazarev, brought the recordings... He listened and said: “Okay, I’ll take over the censorship.” And the article came out.

- Why is Vysotsky heard on radio and television less and less now?

You know this will pass. I don’t want to be considered a purist myself, but ninety percent of all these hits are rubbish. Pure dregs, playing on the highest human instincts. Dumb and stupid. Volodya, Okudzhava, Galich, Vizbor, Yuliy Kim - this is communication with souls, this is spiritual food. Vysotsky's time is the time of our generation, we will die together with this love. But Vysotsky’s time will come - I’m sure of it.

- Vysotsky’s posthumous fate, do you think it turned out happily or unhappily?

About two dozen publications have already been published - in this sense, of course, happily. But, of course, the melancholy takes over that all this is after death. I remember how Natalya Krymova (a famous Soviet theater critic, widow of director Anatoly Efros) and I conducted a seminar on Vysotsky at Moscow State University. At that time it seemed such a “heresy” that it was carried out almost underground. And now, on Volodya’s 60th birthday, they want to hold an international scientific conference about the origins of creativity, about poetics, about Vysotsky, as a poetic phenomenon, standing on a par with Yesenin, with Tsvetaeva. He is from the circle of those who are forever. And that they broadcast it less and, accordingly, listen less... I repeat - Vysotsky’s time will come.

Close-up. Yuri Karyakin Actually, Dostoevsky introduced us. The magazine Literary Review published a long review by Yuri Fedorovich of a sophisticated book about Dostoevsky by a certain professor, doctor of sciences, from which Karyakin, who does not have an academic degree, did not

Gulyaev Yuri Gulyaev Yuri (pop and opera singer; died on April 24, 1986 at the age of 56). The artist’s widow Larisa Gulyaeva says: “Yura died while driving. He was driving out of the garage and felt sick. It seemed to him that an asthma attack had begun, and he pulled out

DEMICH Yuri DEMICH Yuri (theater and film actor: “The Kotsyubinsky Family” (1971; main role – Yuri Kotsyubinsky), “Not a day without adventure” (1972; Semyon Petrovich), film trilogy “The Thought of Kovpak” - “Alarm” (1975) , “Buran” (1976), “Carpathians, Carpathians...” (1977; Seva Moshkin), “Eleven Hopes” (1976;