about what I bought.
.
Anna Ignatova "I believe - I do not believe"
Astrid Lindgren "Britt Marie Pours Out Her Soul"
I didn’t read this story as a child, so I first read it from the reader and decided to buy it for Sima.
A little naive, but a sweet book about a 15-year-old girl. Britt decided to be friends by correspondence, and it is precisely these letters that make up the story.
The illustrations are normal, not "fountain", but more fun than just text.
Gene Webster "Uncle Long Legs" ISBN: 978-5-17-071993-8
And I learned about this book from the preface to "Britt Marie" (there are also letters from the heroine), I also read it in in electronic format. True, I did not finish reading it, because I decided to buy a paper one and read with Sima. Also a naive, pure, wonderful story for girls and girls. And then there are the author's illustrations (the heroine explains her letters with drawings). When I read in electronic form, I noticed that there were not enough drawings. Often there is a reference to them.
"Doctor Animals"
This Sim has already read in part. Me not. She told me she was interesting. Well, that's why I bought it.
About the nest did not buy yet.
John Yeoman "The Hermit and the Bear"
Sima really liked it, but I didn't. The humor reminded me very much of Winnie the Pooh (play on words, hints), but the translation is not as brilliant as that of Zakhoder. I didn't like it at all. I was bored.
ISBN: 978-5-9287-2647-8
I bought this one for Sima. I showed her before buying and she just caught fire.
Robert Stevenson "Treasure Island"
ISBN: 978-5-9287-2526-6
I thought we already have "Treasure Island" and we don't need this book. But Ksenia Moldavskaya praised her so much that I decided to take a closer look at her. I knew what to buy. Sima already liked her from the screen. So I replaced my edition with this inconvenient one big book. But the child likes it. Sim decided to read it again.
Albert Likhanov "Last cold"
Bought two editions of the book. Couldn't choose.
I liked it live with the illustrations of the Island. I will leave her. When I re-read it a year ago in electronic form, I immediately remembered that I read it as a child and then it hooked me very much. I just forgot the name.
Victor Hugo "Notre Dame Cathedral"
ISBN: 978-5-17-072957-9
I read this book when I was 10-12 years old and re-read it many times. I love Hugo.
I really want to re-read with Sima. I chose this edition. Something is wrong with Lacombe.
These have not been read yet.
Nick Gorkavy "Space Detectives"
Katherine Timmes "Invented by Girls"
There are conflicting reviews on the net, but I decided to buy it anyway.
Nikolai Gol "The Life of Remarkable Words..."
It seems to me that this is right on Simin's age. True, we have free books. You have to read and compare.
Pavel Bazhov "Malachite box"
ISBN: 978-5-9268-1942-4
I had a complete edition like this http://www.labirint.ru/books/75283/
That is why I bought this book. But I'm not happy. Very uncomfortable to read. Thick and big. And the illustrations don't really impress me. The beauties there are not to my taste.
Vsevolod Sysoev "Golden Rigma"
This is a "pig in a poke." I've never read it. So far, I have only appreciated the beauty of the illustrations. Impressive.
Harper Lee "To Kill a Mockingbird"
ISBN: 978-5-17-090282-8
I was in electronic form and just with illustrations by Lomaev. Bought in paper.
This is for Sima. She likes Sherlock Holmes. The illustrations really didn't impress
Arthur Doyle "Notes on Sherlock Holmes", "The Return of Sherlock Holmes"
Series: Large illustrated series
Kir Bulychev "Alice and the Crusaders"
ISBN: 978-5-9922-2102-2
And she compared the new edition of Alice with her own from the "Castle of Wonders" series.
Maria Galina
MARIA GALINA: HYPERFICTION
reviews
MARIA GALINA: HYPERFICTION
DRAGONS, STARSHIPS AND, OF COURSE, BEARS
The attempt to collect a targeted “fantastic” issue, undertaken by the magazine “Oktyabr” (2016, No. 6) is not that unique - a few years ago, the “Znamya” did about the same thing (although, there, mainstream people took up science fiction, so to speak ), A " New world”, again a few years ago, dragged this cart for a whole year. But what is yes, then yes - both in the "Banner" and in the "New World" there were other materials in parallel, let's say, non-fantastic. So the experience of "October" can be considered pure. Or almost clean. Why will be seen later.
The cover itself has already identified itself with the phrase "New Wave". I must say that science fiction writers in general love this term very much, and therefore every wave we have is new - only in the post-Soviet space a few rustled over our heads, starting with the “fourth” and illogically ending with “color”, but here again, a new one, no ? There is some trick here.
The fact is that to classify a very good, perhaps our best teenage writer, Eduard Verkin, to the “new wave” of modern fiction is on the part of the compilers, as they say, bold. As well as the inclusion of Vladimir Arenev, who has been working in the genre for a relatively long time, has received several genre awards and is already giving his master classes, to this very wave (Verkin, by the way, is also a winner of several awards - and it is in the field of children's literature). Except for Anna Ignatova’s moody and somewhat surreal mini-story about a talking bear, which is apparently already a trend, two stories by these authors make up the magazine’s prose corpus — it’s significant that both, as they say, are “for middle and senior school age.” The stories are worthy of both reading and detailed and careful analysis, but the tendency is indicated by the compilers of the issue. Fantasy is something for teenagers. And about teenagers.
However, the authors of the stories themselves - with their texts - refute this as best they can. Eduard Verkin's novel Starship with a Broken Wing, which is Krapivinian in mood and intonation, is riddled with, as they say now, Easter eggs - references to the golden fund of Soviet science fiction, which a teenager is hardly able to count. In addition, it has a distinctly nostalgic flavor. Golden haze of the past. Quiet sad flair. What will pass will be nice.
For two aliens, mysterious and so attractive for local bored teenagers, also teenagers, but teenagers-supermen, dexterous, beautiful, strong, knowledgeable, trained - what else is there? - the true "people of Noon", as at first it seems, this - a sleepy and, in general, bleak world of "deep stagnation", the long Olympic summer of the 80th seems almost like paradise; empty counters of provincial shops - a self-assembled tablecloth; teenage bike - a miracle ( blasters they have, but this is for a different, adult, cruel and terrible life).
It is not known whether the aliens really arrived in a starship. The superwoman girl Anna sings a song about a starship with a broken wing, about a starship who buys only one pack of cigarettes on every inhabited planet he encounters so that he has where and why to fly further (and she buys such a pack of cigarettes herself, no matter what, just cigarettes), but a song is just a song. Although, perhaps, there was a starship (at least there was something that left a scorched clearing). Or maybe it was a time machine. More like a time machine. Doesn't matter.
It is important that it is with their estranged gaze (in addition, passed through an additional prism, through the gaze of a teenage narrator) that we see the last peaceful days of the Empire, its golden, declining sunset (so meager, so sad, with all this scarcity, habitual poverty and hopelessness) summer - which finally led there, outside the story, to such a terrible, even more meager, even more hopeless future. A future where kids can't ride a bike because they don't know what it is, but they know how to kill - quickly and efficiently - and know what it is blaster. To the future, where even dried selpo biscuits seem like a delicacy. The future, where the golden-eyed beauty Anna has keloid scars and incomprehensible scars on her hands - as if someone had gnawed out pieces of meat.
Teenagers in general have surprisingly sharp eyesight, they see what, for various reasons, adults refuse to see (it’s not for nothing that the story contains an homage to the cult story, but it seems, alas, only in dedicated circles, Alexander Mirer’s story “The Main Noon”). They are already able to understand adult conflicts, sense the undercurrents and quiet currents of adult life, but are not yet ready to take them for granted. For them, when they grow up completely, everything will be different, not like those dull elders. Teenagers, of course, are not always such non-conformists, but to become like these? Excuse me.
Here is Marta from Vladimir Arenev's novel "Gunpowder from Dragon Bones" - an ordinary girl on the eve of her eighteenth birthday (according to her behavior and psychology, she and her classmates of the same age are perhaps fifteen years old, not in reproach to the author, but so, by the way), maybe a dull home life, and at the same time a stepmother who got confused with the huntsman (the “huntsman” here is a little different from ours), while his father left to work as a driver in a neighboring country. The stepmother, by the way, turns out to be not so bad, especially in full version novel (the novel is published in October in an abbreviated form), although she really got confused with the huntsman - but her father, who returned from neighboring countries, does not seem to mind. And in general, he returned somehow strange, and his stepmother's hands were in strange non-healing wounds after his return, and his neck too.
The usual Martha is ordinary, but, as it should be in fantasy, she has a gift - to “talk” dragon bones, which in the fictional world of Areneva are digging the way black archaeologists are digging in our country - illegally, because they make something like drug. However, judging by how events unfold in the novel, the bones of the dragon are pure, unalloyed evil - and, by the way, no accompanying buzz. But the "digging" line, which, in fact, drives the plot - with its conflicts, intrigues and secrets - is not as important as the background. Exactly like in the previous story, except that Verkin's background is real to the last line, but here it seems to be invented - a conditional quasi-German ... well, perhaps, a county. But schoolchildren here write patriotic compositions, singing the rich history of the country and the former imperial greatness; some strange circulars come to institutions, and until recently courageous and kind teachers begin to be shy and avert their eyes; teenagers who publish an amateur newspaper, suddenly, for no reason, begin to poke for "spreading unverified rumors"; it is strongly not recommended to go on vacation abroad, as it is unhealthy; and access to information on the Internet (yes, yes, there is an Internet here) by the last decree is limited to a couple recent years. In addition, it turns out that workaholics of peaceful (exclusively peaceful!) professions returning from a neighboring country behave somehow strangely, and strange shadows begin to roam the dark streets of a provincial town at night, and people die, well, yes, also strange.
Arenev is an author who consciously plays with cultural heritage, but vampires and the walking dead are not formidable exotic entities here, but dull everyday life, and this is perhaps the main feature of the novel. Well, yes, Martha's stepmother has to live with a dead man animated by sovereign will (we there we don’t fight, which means there can’t be any killed!), well, she wipes the wounds with alcohol, well, Martha’s father leaves bloodstains on the sheets and bedspreads, well, dragons once fell to the ground, and three golden hairs ... Martha is not very up to it, she is in love - as expected, with the handsome Mr. Wegner, the new life safety teacher, hates the sinister stepmother and the insolent huntsman, loves her father (even though some wonderful one has returned). She has her own problems - how to sell the unearthed dragon bones in order to save money and leave to study in the capital, away from dull boredom and household goods. She has friends, friends have their own problems ... And what about a friend’s favorite dog taken to milk out of season, after which she began to behave differently, she had to be euthanized, well, yes, well, it happens, although yes, it’s strange, of course, because before, after all taken only in season.
Roman Areneva entered short list children's literary award "Kniguru", Eduard Verkin - three times the winner of a good, but ceased to exist award "Cherished Dream". In a word, the trend "October" is indicated. At least in prose.
However, there is also criticism. And this is where something extremely funny happens. The critical selection presented by the compilers of the issue and its prose content, let's say, do not radically coincide. It is significant that Verkin is not mentioned at all in any of the articles - even in the article by Daria Zarubina, which seems to be dedicated to teenage fantasy (but the commercially successful Nick. Perumov is abundantly mentioned). As for Arenev, he is mentioned in an article by Vasily Vladimirsky, which is devoted precisely to the conflict between "stream" and "serial" science fiction and "non-format" science fiction - it is clear that it is precisely as a representative of the non-format.
This discrepancy can be explained, perhaps, by the fact that modern science fiction is for the most part an escapist and infantile genre, but an “adult” one. Which is really sad - I mean her infantilism - but what has grown has grown. Teenage fiction, teenage literature is just one of its components, although for some reason that I don’t understand, it was it that was presented in the corpus part (this very “Bear” does not count). Even Ai En's lengthy, methodical article, How We Saved Ivory, focuses on the experience of working with teenagers to create shared worlds. As a result, the rest of the material in the critical corpus turned out to be, let's say, hermetic - turned towards the fandom, the regular consumer of science fiction. Whereas both stories, metaphorically speaking, are turned outward - to an outside reader (moreover, a reader of "teenage" literature, okay). Personally, I can only hope that this very outside reader will be interested in Sergey Shikarev's thoughtful article "High Waves, Quiet Backwaters" - just about "fantastic waves", dwelling in detail on the "color wave" (from which article, in fact, it is clear that there is no other "new wave", the appearance of which is declared on the cover, exists). Or Vasily Vladimirsky's sharply journalistic report "Russian science fiction and the alchemy of renewal": about the evolution of science fiction in the post-Soviet space, about the confrontation between "mass", project, "formal" science fiction literature and "non-format". A message which, however, due, perhaps, to the requirements of the journal's volume, is limited to a list of names. Although it would be nice to give at least a couple of detailed typical examples (if the word “typical” can be applied to “unformatted”) of both, since the abundance of names that are meaningful to a reader from a fandom says little to an outside reader. And if Vasily Vladimirsky writes in his message about the dominance of projects as a danger that destroys the genre, then Dmitry Volodikhin in his article “Ice and Fire”, dedicated specifically to project collections, seriously analyzes the merits of the collections “Russian Arctic 2050” and “Bombs and Boomerangs” "and analyzes the successes and failures of Vera Kamshi, Nick Perumov and Vadim Panov - thereby putting the "mass" authors on the same level with those from whom Vladimirsky and Shikarev tried to separate them - with Karina Shainyan and Yulia Ostapenko, who also noted in these collections . And who, you ask, is right? I am on the side of Vladimirsky and in general I consider publishing projects evil (although in one she was noted with great pleasure, yes), especially since there are some bells indicating that the time of project collections - project literature in general - is coming to an end, but how can an outside reader know all these subtleties?
Actually, all these articles, which are good, as they say, in themselves, have one single, but essential drawback.
They are considering fantasy as an isolated platform in isolation from the rest literature— thereby giving her a place in the same ghetto, where science fiction writers never stop complaining about staying. And in the context literature in general reflections, say, on the merits and even on the shortcomings of the texts of individual cultural authors and individual literary projects, let's just say, they don't fit too much.
A pleasant exception against this background is Ekaterina Ivanova's article Obscurantists in Babylon, dedicated to "two radical and unusual experiences of speaking about Christianity directly and without bluntness with the help of fantastic assumptions" - Elena Khaetskaya's novel Obscurantist (1994) and Olga Chigirinskaya's novel The Heart sword" (2006), which, thanks to criticism, are built into the general philosophical and general literary context t, due to which both the context wins (the texts are really cool), and the texts themselves (as they receive an additional audience of October readers):
“Both texts are an experiment in the clash of the incompatible: high content is tested for strength by profane genres - space opera and fantasy on the theme of the Middle Ages. Will this test survive? high topic? Will it become a caricature of itself? And when in both cases it turns out that everything is in order, the genre and theme quite withstand each other, both writers take the next step already at the level of content: they trample the purity of holiness into the dirt, checking whether “literary holiness” will stand the test of literary outrageousness. The result of the second experiment is not indisputable for me. As a reader, I would be much calmer and easier to love these extraordinary lyrics if they did not have such rough scenes and such harsh words.
At some point, you suddenly stop understanding why it’s impossible to be just as cool, but within the framework of realism?
But apparently not."
Here the author would compare the mentioned texts, for example, with Zalotukha's "Candle" - as if absolutely realistic, and figure out why we need fantastic tools, and not be shielded, like a shield, by a quote from the cult critic Maria Remizova, but in general, didn’t you have a desire after such an analysis to take on these texts? If yes, then the author has fulfilled his task. Well, almost done.
That's good.
was born in Leningrad. Graduated from the Russian State Pedagogical University. A.I. Herzen, worked as a teacher of Russian language and literature.
Anna is constantly published in Cucumber, but unfortunately I have only a few scans. Maybe someone can supplement the post with other scans?
First, a few poems to make it clear what amazing Anya's poems are:
Summer version
Hello field, hello river!
Hello, grandfather's cottage!
Accept little man
Urban, pale!
hello dusty road
From village to farm!
I'll live a little
In a house without a computer!
I will crack pasties
Fresh, hot!
I will listen to soundtracks
Bird frogs!
Wait for Katyusha by the pine tree
Where the stream narrows
And watch the disk of the moon
Loading in the sky...
I will bask on the beach -
Golden sand!
Mom doesn't even know
Your son!
I'll be the color of chocolate
Better than Prince of Persia!
Just need to save
In the rustic version...
Gingerbread
(dialogue at the counter)
Vanilla and mint!
Snowflakes and Firebirds!
So fragrant!
With raisins and cinnamon!
With nuts, with candied fruits,
With a pattern of pistachios!
Horses with cubs
And a white lamb!
Look, the boat is small
And the captain is on it! ..
Get those gingerbread cookies!
Well, grandfather! Let's go to!
Anya started writing poetry a long time ago, but from time to time, without thinking that this hobby could develop into something serious. Here is what Anna writes about how this most "serious" thing began:
"I met on the site with a wonderful children's poet Galina Dyadina, and Galina told Mikhail Davidovich Yasnov about me! I consider the meeting with Mikhail Yasnov the starting point of my creative way. Before that, there were just approaches. Thanks to Mikhail Davidovich, my publications were published in the Odessa comic magazine "Fountain" and the children's magazine "Cucumber". And recently, in August, several of my poems were published by the Murzilka magazine, beloved since childhood.
Again, at the insistence of Galina Dyadina, I sent my works to the competition to the Sergei Filatov Foundation and got the opportunity to go to the children's writers' seminar in Staraya Russa (June 2009). As a result of this seminar, I was invited to Lipki for the 9th Literary Forum (October 2009). It is difficult to overestimate all these events.
A little about what else is an integral part of my life. This, of course, is my family: father, son and husband. We all love to travel. My son, in his incomplete thirteen years, has not been anywhere! At the age of four, he was already surfing the Swedish coast of the Baltic Sea in a kayak, completely trusting the waves and his mother. Cycling in Finland, the Carpathians, Crimea is a common theme of his writings. 2 How I spent my holidays. Alpine skiing, a kayak and other sports and tourist equipment clutter up one and a half loggias, and our grandfather won half of the loggia for mushroom and berry stocks. Our cat Tikhon is watching for all this fuss indulgently."
And more verses:
Over and Under
The pond becomes a skating rink
in January.
You can skate
kids.
I fell, wanted to get up
and suddenly
I saw red fish
a couple of things!
To be honest, I can hardly imagine:
How are the fish
without heat
under the ice?
But probably,
for red-faced guys
The fish also look in amazement ...
lily leaf
at the bottom of the tower
They wonder
About myself,
Breaking away from food sometimes:
"How are the people
over ice
without water?!"
Spring Metamorphosis
Imagine in a garbage dump
May morning
blossomed
violets!
in the middle
bottles,
rags,
rubber
Two flowers bloomed pale blue!
The blooming landfill has risen:
"Once it blooms on me,
Sorry,
violet,
So I'm no longer a dump
Sorry!
Get along without me
as you wish!"
And so that everything around
all clear,
Wrote
very big and clear
On the Tulumba cookie box:
GARBAGE DO NOT THROW OUT ANY MORE!
flower bed
.
In 2009, Anya Ignatova was awarded at the Lipkin Seminar with the publication of a separate book. At the end of 2010 she finally came out
Unusual humor, word play, impeccable technique, a variety of genres!
Birthday script for older preschoolers "Masha and the Bear".
The music from the beginning (1) plays.Masha runs in and looks for Misha everywhere.
Waltz "My affectionate and gentle beast" (2). W Mishka comes, gives the birthday girl balloons and dances with her for 3 minutes, greets the guests.
-Mishka, what are you dancing about? The bear whispers in his ear that today a girl named _____ has a birthday.
Fanfare (3).
1. The game "Birthday is a sweet holiday!"
Tell me guys, is birthday a sweet holiday?
Well, then I will ask you questions, and you will answer them for me, so, mindfulness competition.
Who loves cherries?
And who are the cherries?
And who lives in the birdhouse? Haha, missed!
Tell me guys, who lives in the birdhouse?
(Answer, bird, or starling)
Who among you loves cakes?
Are the pies fragrant? Is the ice cream fluffy? Who loves plums? And who are the pears? Who doesn't wash their ears? (Children habitually answer "I!").
2. "Masha goes for a walk" Backing track 4
Children are given leaflets with the names of animals. Masha is blindfolded, she must find them. The guys should make only the sound of their animal.
Forest sounds (5)
3. "Puzzles"
Riddles are easy, if desired, you can take it more difficult.
***Come to my woods!
I'm sprawling and tall.
I have among the branches
Lots of strong acorns. (Oak)
***
Under a spreading pine
The skyscraper stands in the forest.
From needles floors.
Don't disturb this house! (Anthill)
***
In the silence of cold nights
After an hour or two
We will hear among the bumps
Unexpected: "Wow!"
Birds of prey are flying
They catch mice and rabbits. (Owls, owls)
***
We always ring in the heat
Over the meadow and in the forest
And we bite everyone
Even the little guys. (Mosquitoes)
***
We stand on strong legs
On the forest path
On the edges and paths,
We ask for baskets. (Mushrooms)
***
I invite you to the summer heat
I am a forest people.
I murmur among the roots
And I drink water to animals. (spring, stream)
***
Eaten by his horned elk,
I had to call the doctor.
In a red hat, poisonous,
He is standing on the edge. (Amanita)
***
All in needles and cones,
I rustle with needles
And for girls and boys
IN New Year I come (Christmas tree)
4. Game "Forest swamp". Sunny Bunnies (6)
The children are divided into teams, they are given "bumps". Rearranging the bumps, they must get to the edge of the swamp.
5. "Jam". Song about jam (7)
MASHA: Guys, you know that I really love jam! You are divided into two teams, and from each team you need to name one berry, a fruit from which you can make jam.
Here we are making jam. Now let's go fishing.
6. "Fishing". Three wishes (8)
Children stand in a semicircle, and Masha holds a rope under their feet. Whoever is hit, he steps aside.
7. "Let's heal." About cleanliness (9)
MASHA: Oh Bear got hurt while fishing. He needs...
CHILDREN: Treat!
MASHA: Now again we divide into teams and choose one "sick". The task is to “bandage” his head, leg, arm.
8. "Holiday Postcard" Birthday (10)
MASHA: What good fellows you guys are, you know everything, you can do everything. And now let's draw postcards for our birthday.
We line them up and they tell what they want to wish the birthday girl.
9. "Round dance"
Masha and Misha take all the children by the hands, form a circle and sing “Karavai” to the birthday man (3 times).
10. Bear gives the birthday girl a cake to the song "Happy Birthday!" (eleven)
