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Esin Sergey Nikolaevich Russian writer biography. Esin Sergey Nikolaevich

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2011 (Kazan)

Biography

Sergei Nikolaevich Esin was born on December 18, 1935 in Moscow. Graduated in absentia from the Faculty of Philology of Moscow State University (1960). He worked as a librarian, photographer, journalist, forester, artist, and editor-in-chief of the Krugozor magazine. Since 1969 member of the CPSU. The first major publication was the story “We Only Live Twice” (1969), published under the pseudonym S. Zinin in the magazine “Volga”. Member of the USSR SP since 1979. In 1981 he graduated from the Academy in absentia social sciences under the Central Committee of the CPSU and in the same year resigned from the post of editor-in-chief of literary broadcasts of the All-Union Radio in order to devote himself entirely to literary work. Since 1987 he has been a teacher, and from 1992-2006 he was also the rector of the Literary Institute. Member of the board (since 1994), secretary (since 1999) of the Writers' Union of Russia. Vice-President of the Academy of Russian Literature.

Sergei Nikolaevich Yesin died on December 11, 2017. His heart stopped on the road, in Minsk, where the delegation of the Literary Institute represented the House of National Literatures.

Sergei Nikolaevich’s whole life was connected with the word, and it ended in the search for young creative forces, with hopes for the widespread development of our work, which is necessary for the world.

Achievements and incentives (prizes, awards, honorary titles)

Honored Artist of the Russian Federation Honorary Worker higher education RF Medal of the Central Committee of the Communist Party of the Russian Federation "90 years of the Great October Socialist Revolution" International Prize named after M. A. Sholokhov in the field of literature and art Order of Friendship (1996) Order "For Services to the Fatherland" IV degree (March 29, 2004) - for huge contribution in the development of national culture Certificate of Honor from the President Russian Federation(July 31, 2013) - for the achieved labor successes and many years of conscientious work

Bibliography

“We only live twice,” 1976 (collection) “By the light of a small spotlight,” 1979 (collection) “R-78” // “Youth,” 1979, No. 3 (story) “Memoirs of a forty-year-old,” 1984 (collection) “ Simulator" // " New world", 1985, No. 3 (a novel about an artist of average talent who achieved recognition by imitation, copying and portraits of high-ranking functionaries) "Your own master", 1985 (a novel about the life of a seasonal worker) "The Road to Smolny. July-October 1917", 1985, updated ed. under the title: Konstantin Petrovich, 1987 (novel about Lenin) “Gladiator”, 1987 (collection) “Timekeeper” // “Znamya”, 1989, No. 1-2 “Types”, 1990 (collection) “Wreath for a surveyor” // almanac "April", collection. 2, 1990 “Incident, or the Twin Effect.” One-party novel // "Moscow Bulletin", 1992, No. 2-5 (dystopia) "Standing at the Door" // "Our Contemporary", 1992, No. 4 "Eclipse of Mars" // "Youth", 1994, No. 10 "Retreat" from the novel,” or “In the season of pickling cucumbers,” 1994 “Stories,” 1995 “Governor,” 1996 (novel) “Culture and Power,” 1997 (collection of essays) “Lenin. Death of a Titan", 2002 (biography novel) "At the turn of the century. Rector’s Diary”, 2002 “Ah, abroad, abroad...”, 2006 (the book includes the novels “Hurghada” and “Marburg”) “A random pattern. Sergey Yesin - Mark Averbukh. Intercontinental Conversations", 2009 "Tverbul, or the Lair of Fiction" (novel), 2009 "Marquis" (novel), 2011

The writer has passed away Sergey Nikolaevich Esin, a week shy of his 82nd birthday. He died suddenly.

A terrible year, for sure. Death after death outstanding people culture. Just said goodbye to Leonid Bronev- and then Sergei Yesin died. Let me remind you, he died a little earlier great writer Vladimir Makanin.

Who's left? Yuri Vasilievich Bondarev, first of all. Limonov, Prokhanov. I’m talking about the older generation – the one that needs to be protected. Because they have something to say.

I met Sergei Nikolaevich later than, that was a long time ago. And I met strangely. He hosted one literary award. Sergei Nikolaevich sat in the front row. Afterwards I approached him to meet him. We talked, and he casually said something like this, characterizing me on stage: “Everything is fine, but the boots are just great.”

And this phrase stuck in my mind. Writers, you know, don’t pay attention to clothes so often. But Sergei Nikolaevich was one of those in whom style was always felt. Actually, a person is a style, as he said Voltaire.

So, Sergei Nikolaevich had a style - collected, sharp-eyed, ironic. With one phrase he could so accurately characterize a person or a situation. And see the point. The phrase about boots, by the way, is one of them. Such a killer irony.

And still alive. This is the word that suits Sergei Yesin very well. His way of speaking, dressing, carrying himself. And “living” is a very important word for Russian literature, language in principle. This is a sphere that does not tolerate death or indifference.

Actually, “alive as life” - this is how Gogol wrote about the Russian language. The liveliness of language, the liveliness of themes is what distinguishes good book. Yesin undoubtedly had all this. He himself – as a person – was very alive. Until the last days.

I know what I’m talking about, because we met Sergei Nikolaevich at the end of November in Yekaterinburg. He taught a master class for young writers, and so did I. It even became a little offensive. Because I myself would gladly go to his master class. And the opinions of those who shared their impressions about him later strengthened my desire.

Yes, “the institute of mentoring in literature” sounds old-fashioned. And somehow it even became a little vulgar, reminiscent of Sovpis in its worst examples. But Sergei Nikolaevich was just that, a mentor. He knew how to parse the text better than others, but the main thing is that Esin, with his ability to grasp the main, fundamental, guided a person, gave him an exact vector. I’m sure if there were a little more of them, we would have gained a lot. Yesin - with all his experiments, even avant-garde in places - knew how to preserve tradition.

From 1992 to 2006 he headed Gorky Literary Institute. They write different things about that period and about Yesin’s rectorship. Not always personable. But you can’t imagine how difficult it was to preserve the Literary Institute in those years - not to hand it over to be shot, to be cut up. The merit of Sergei Nikolaevich is that the island of words where he was born Herzen and lived Platonov, preserved, no doubt.

At the same time, Yesin, although the rector partly suppressed the writer in him, managed to write books. Although his iconic work was created on the eve of “perestroika”. We're talking, of course, about " Simulator", published in Novy Mir and predicting the future of both literature and art in general. The forerunner of modernism, the transfer of simulacra to Russian soil - and the diagnosis of that unreal, artificial that will later fill the shelves and screens. Yesin wrote about how it is more important to appear than to be, and how to benefit from it.

But more important, in my opinion, is what Sergei Nikolaevich recorded in his “ Diaries" This is a great work, and it is important, in fact, not only for its literary merits, but also, above all, for its snapshot of the era. I don’t know who else with such precision, as if a surgeon dissected everyday life, recorded day after day and, most importantly, transformed our reality. Day after day. Here are both the Yeltsin era and the Putin era. Over time, Esin’s “Diaries” will become something like “History of the Russian State” Karamzin. Sure.

At the same time, Yesin, of course, had students. And a lot. Moreover, they tried to keep something similar to the teacher's diaries. The same fixation, the same scrupulousness, the same approach, but the result was not the same. Not at all. Either too lightweight, or, conversely, overloaded, dull. Some lacked depth of sharpness, others lacked lightness of style, others lacked irony, and others lacked patience.

Yesin had it all. He knew how to not only pose the most important, as they say, social and moral questions in his diary entries, but also to turn it into literature, moving from the relevant to the universal, eternal. And Sergei Nikolaevich achieved this, first of all, thanks to his attention and ability to notice and analyze details.

Isaiah Berlin said that there are hedgehog writers and there are fox writers. So, Sergei Yesin was, if you like, a mole writer. He kept digging and drilling deep; he was interested in what is hidden, what is not noticed by either the camera or the eye - what only the soul can record, and then with properly developed empathy. In the depths, Yesin looked for the present. Something that cannot be imitated. Or rather, something that does not need imitation, because it is hidden in the depths.

Yes, it was a natural talent, but a developed, strengthened, faceted talent through daily exercises. Americans would say about Yesin - a self-made man. From a simple family, his father was repressed, but Sergei Nikolaevich achieved his goal. And therefore he knew what he advised, saying: “A person becomes what he wants to become.” Yesin succeeded.

God grant that his students succeed too. To do this, they, first of all, need patience, which Sergei Nikolaevich remembered every time he was asked what he wanted to wish to young writers. And there will be someone who will be able to discern the depth of the present and record it, thereby connecting the past and the future through the present. After all, words conquer everything.

Over time, we will study the past 20 years from the diaries of Sergei Yesin. These are the most important and very patient testimonies of a vain era, helping to examine in detail the present in a motley imitation of life.

Sergei Nikolaevich Esin, a wonderful writer, I feel very, like a relative.

I saw him a month ago, in Moscow, he asked how he could come to Donetsk, hold a seminar here or whatever, a meeting, a master class, but just to come.

We chuckled and kindly and condescendingly discussed one “patriotic” writer, of unprecedented degrees of patriotism, who could be taken into the company - but he would not go for anything.

Yesin would have come - even at 82 he was easy-going, talkative, and witty. Honestly, I could never believe his age. This time I looked at him again and was surprised: his clear gaze, his cheeks almost without wrinkles, the quick, youthful wrinkles on his forehead.

His books, especially “Your Own Master” and “Imitator,” although they are far from the only ones - I read almost all of Esin, and his amazing diaries - all this is great, important and will remain.

...when, alas, on this last meeting I was leaving, he stood with Vitaly Tretyakov talked. I thought: well, I won’t interfere, why? And he left and ran to the airport.

But you have to approach people, shake their hands, hug them, say kind things to them.
After all, he was born in 1935: you have to dance in circles around such people, who have lived so much and seen so much.

And, yes, he was a great patriot of Russia - and he became one not yesterday, like millions of yesterday’s democrats and confused people, but in 1991, calmly taking the side of the conservatives. He was also a “leftist”, a socialist and a believer: this is normal. He is the author of a controversial but serious book about Lenin, “The Death of a Titan.” Intonation - light pen, modern structure of speech - Yesin in some ways foresaw the recent work Danilkina about Lenin.

Yesin's father was repressed during the Stalin years - so he had great grounds to forever harbor resentment and anger. But Yesin managed to separate personal tragedy and the fate of the people.

Every new volume he sent me his diary by parcel. But sometimes I couldn’t believe that he would send it this time too, and I bought it for myself before the volume arrived in the mail. That’s why I have many of his books in two or even three copies.

Along with Valentin Grigorievich Rasputin And Limonov— Yesin was one of my main oldest teachers. And I only now realized, in an aesthetic sense, that he occupied somewhere in the middle between Rasputin and Limonov. On the one hand, he is an unconditional traditionalist in his views. On the other hand, he is an eccentric and, in a sense, an artist.

In general, he is a great Russian writer, without reservation. Not all of his books were hits, but he had several such hits that one can only envy. I wrote about this many times when Sergei Nikolaevich was alive. And now I repeat.

And somehow I still can’t believe that he’s gone.

Please live, fathers and grandfathers. Who are we without you?

Yesin did not live to see his birthday for a week. He's probably already invited guests.

ESIN, SERGEY NIKOLAEVICH(b. 1935), Russian writer. Born on December 18, 1935 in Moscow into an intelligent family. After graduating from the Faculty of Philology of Moscow State University (1960), he was an actor in the theater, worked on radio and TV; was the editor-in-chief of the Krugozor magazine. Since 1987, teacher, then professor of the department of literary excellence, since 1992 - rector of the Literary Institute. A.M. Gorky.
After the release of the collections We Only Live Twice (1976) and By the Light of a Little Spotlight (1979), the novel The Imitator attracted widespread attention. Notes of an Ambitious Man (1985), which opened a unique romantic triptych, united by a common theme, also including the novels Timekeeper (1987, another title for this “novel about love and friendship” - Gladiator) and Spy (1989, other title - Running in reverse side, or Eschatology). The focus of Esin, a writer-analyst, restrainedly respectable in style and merciless in socio-psychological denunciation, is the modern creative intelligentsia, with its ever-new complex of love of fame and envy, thirst for power and dependence, with its difficult to overcome temptation of well-paid lies and shameful compliance with the arrogance of modern “conquistadors,” as the author himself calls them, art dealers who appropriate for themselves the work, talent and time of others. The intensity of the internal monologue characteristic of Esin’s prose, which allows us to follow with the utmost care all stages of the struggle between the high and the low in the hero’s soul, the vicissitudes of the painful suppression of the voice of conscience, the rejection of vocation in the name of “calling”, the true creative breakthroughs for the sake of external success, which makes it possible to determine the reasons human discord in a person, a violation of harmony between the character’s self-esteem and the opinions of others about him, makes us see in Esin’s work a drama of ethical principles, akin to the drama of ideas of modern scientific fiction, in which the aspect and result of its consideration are more important than the situation itself. A skeptical and ironic assessment of the modern Russian intelligentsia, with its hypocrisy, ignorance, conformism and greed, forms a fundamentally new interpretation of this layer of Russian society, which claims to be an independent, selfless and disinterested mentor of the people.
At the same time, the problems of the intelligentsia are extrapolated by the writer to the whole society, thereby acquiring the character of “worldwide eschatology, i.e. teachings about the purpose of the Cosmos and history and their end” (the dictionary definition put by the author in the epigraph of Beg...). That is why Esin’s statement is true (which can rightfully be applied to his other works) that, for example, The Imitator is “a novel not about an artist,” but about a system.
The game of authenticity, the imitation of temporary workers, the vanity that kills talent, and the real deal, revealed in the example of a writing environment well known to the author (here suggests reminiscences of the novel The Master and Margarita by M.A. Bulgakov and even the play The Medium Fluffy Domestic Cat by G.I. Gorin and V.N. Voinovich), in the novel Digression from the novel, or In the season of pickling cucumbers. Pedagogical sketches and reflections on the art of becoming a writer (1984) develop into a touching and sadly sarcastic picture of the world, the gradual “everyday life”, the philistization of the Russian intelligentsia in the autobiographical story Memoirs of a Forty-Year-Old, the stories Industrial Conflict, Co-Author, the stories Escape, Main Couple, Relative, Visitor , Serious Purchase (all 1984), the novel My Own Boss (1985), the play Flexible Record (1984), etc., revealing the author’s desire to play with time and space, cinematically close-up and literary collage, mystical and fantastic motifs, elements of journalism and documentary.
The leitmotif for Esin, the problem of moral choice (with the author’s constant inclination towards justice as the foundation for the preservation of honor and dignity) is also projected onto his socio-historical works - as based on fact and the maximum approximation to the reality of addressing revolutionary events in Russia at the beginning of the century (the novel by Konstantin Petrovich, 1987, dedicated to V.I. Lenin), and historical-fiction dystopia (“one-party novel” Casus, or the Twin Effect, 1992). Esin’s journalism is also dedicated to the internal political processes of the 1990s (collection of articles Culture and Power, 1997).
Esin's story Technique of the Word (1990) shows the interaction of life material and the artist's multivariate imagination, the purpose and meaning of which are not always predictable even for the author himself.

Works on the website Lib.ru

Sergei Nikolaevich Yesin(born December 18, Moscow) - Russian writer.

short biography

In many of Esin’s works, the object of study is a Soviet citizen, whose interests are limited by material well-being and the desire to occupy a higher position... the transmission of thoughts and reflection of the characters prevail over the plot.

His wife is film critic V. Ivanova.

Awards

Essays

“We Only Live Twice”, 1976 (collection)
“By the light of a small spotlight”, 1979 (collection)
“R-78” // “Youth”, 1979, No. 3 (story)
“Memoirs of a forty-year-old,” 1984 (collection)
“Imitator” // “New World”, 1985, No. 3 (a novel about an artist of average talent who achieved recognition by imitation, copying and portraits of top-ranking functionaries)
“Your Own Boss”, 1985 (a novel about the life of a seasonal worker)
“The road to Smolny. July-October 1917", 1985, updated ed. under the title: Konstantin Petrovich, 1987 (novel about Lenin)
"Gladiator", 1987 (collection)
“Vremenitel” // “Znamya”, 1989, No. 1-2
“Types”, 1990 (collection)
“Wreath for a surveyor” // almanac “April”, collection. 2, 1990
"Incident, or the Twin Effect." One-party novel // “Moskovsky Vestnik”, 1992, No. 2-5 (dystopia)
“Standing at the door” // “Our Contemporary”, 1992, No. 4
“Eclipse of Mars” // “Youth”, 1994, No. 10
“Digression from the novel”, or “In the season of pickling cucumbers”, 1994
"Stories", 1995
"Governor", 1996 (novel)
“Culture and Power”, 1997 (collection of essays)
“Lenin. Death of a Titan", 2002 (biography novel)
“At the turn of the century. Rector's Diary", 2002
“Ah, abroad, abroad...”, 2006 (the book includes the novels “Hurghada” and “Marburg”)
“Random pattern. Sergey Yesin - Mark Averbukh. Intercontinental Conversations", 2009
“Tverbul, or the Den of Fiction” (novel), 2009
"Marquis" (novel), 2011

Notes

Sources

Kazak V. Lexicon of Russian literature of the 20th century = Lexikon der russischen Literatur ab 1917. - M.: RIK "Culture", 1996. - 492 p. - 5000 copies. - ISBN 5-8334-0019-8

Links

Esin, Sergey Nikolaevich in the library of Maxim Moshkov
Esin, Sergey Nikolaevich in the Byblus catalog
Sergey Yesin: “A person becomes what he wants to become” // interview with Yuri Kuvaldin, “Our Street”, 2004, No. 4

Categories:

Personalities in alphabetical order
Writers by alphabet
Born on December 18
Born in 1935
Born in Moscow
Knights of the Order "For Merit to the Fatherland" 4th degree
Knights of the Order of Friendship (Russia)
Writers of Russia of the 20th century
Russian writers of the 20th century
Rectors of the Literary Institute
Graduates of the Faculty of Philology of Moscow State University
Writers of Moscow
Persons:Moscow
Teachers of the A. M. Gorky Literary Institute
Bunin Prize laureates

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Books

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