Literary Institute(Lit) seems to be an institution where you can only learn to be a writer, and the listeners are exclusively romantically minded young ladies.

However, those who have actually experienced the Lita learning process have a different opinion, debunking some popular myths.

They don't teach anything at the Literary Institute. For those who don’t want to listen to anything, it is useless to debunk this myth. But they don’t teach the same thing at Moscow State University, Moscow State Medical University, Tomsk State University, Russian State University for the Humanities and other state institutions, non-state educational institutions and other educational institutions. Practice shows that it is impossible to teach them only to a fool. Eyewitnesses who studied in provincial colleges with teaching from random people, in universities in a million-dollar city, believe that you can learn a lot there, if only you have the desire. The Literary Institute named after A.M. Gorky is a university with centuries-old traditions, famous for the names of its teachers.

At the Literary Institute they teach to be writers. For many decades this myth has been repeated and repeated. In fact, the institute does not teach such a profession as “writer”; a creative person gets the opportunity to acquire a first-class cultural education. Please note, not philological, which implies almost complete ignorance of the natural sciences, but secular cultural. Such a broad-profile education allows a Slavist to freely navigate his subject, which is language - in all its meanings and manifestations. Actually, this is why the institute was conceived, so that new writers, who had recently sowed or worked at the machine, received an education. That is, the institute provides the opportunity for education to those who wish to do so.

Only graphomaniacs leave the Literary Institute. The Literary Institute gives a person the opportunity to gain knowledge and education. No one teaches graphomania by force; ultimately, everything depends on the person himself and on his perception of the world around him and the ability to reflect this in texts.

In general, everyone at the Literary Institute is a graphomaniac. In Russia, in general, it is common to have a special attitude towards the “word”. Special treatment is a marker that makes one stand out from the crowd; it is status, belonging. Those who are true carriers of the Russian language and culture write everything, at least once in their lives, but they write, because you cannot run away from inspiration. Often, even children compose poems according to complex rules, without knowing it. And not everyone who writes poetry studies at the Literary Institute. If not all graphomaniacs aspire to a literary institute, then it is logical to assume that not all who aspire to this university are graphomaniacs. People are distributed evenly; naturally, in a literary institute the concentration is slightly higher, but one cannot think in absolute categories.

There is no one at the Literary Institute to teach students. There is an opinion that teachers are losers who themselves have not achieved anything in life. However, this opinion belongs to those who themselves are very far from such a university. Most of the teachers at the institute have an academic degree. The teaching traditions are very strong; just remember Paustovsky, Svetlov and other writers.

There is not a single famous graduate of such an institute left in history; there is “zero” exit from it. It is enough to open Wikipedia to expose this myth. The list is so long that we will list only famous owners of surnames starting with “A” - Akhmadullina, Aitmatov, Astafiev... Is it worth continuing? If we add to the teachers and graduates of Lit the glorious history of higher literary courses, it turns out that practically all the major writers of Russia in the 20th were in one way or another connected with the Literary Institute.

If you study at the Literary Institute, you will certainly become a writer. Let's return to the second myth. But not everyone who starts skiing becomes skiers.

Students and graduates are narrow-minded snobs. Sometimes their diversity is even allowed, but snobbery stands out. However, this phenomenon is just a side effect of excellent education, a greenhouse environment and as an option for protection from eternal attacks.

Lithuanians are losers, and also aggressive. This statement borders on the fact that all writers and poets are drunkards. But why aren't all drunkards poets? On the issue of unluckiness, we can again refer to the list of famous graduates.

A literary institute gives nothing to a person who writes. Let’s come up and answer this myth seriously. A creative person cannot look like a figure whimsically drawn by someone. Mastery of words gives a person real movements and life, not animated ones. The one who knows how to Write takes from life in full and transforms it into the Word, doing this endlessly and greedily. An indifferent and lazy person will not receive anything from Lit due to his characteristics, but a talented person will show himself everywhere, especially in an institute that was created to help people who write. You can talk about what exactly Lit gives to its students, discuss how necessary it is, but this is a different question.

Teacher about the school:

Passing score and entrance exams

The passing score for budget-funded places at the Literary Institute is common for all applicants; it consists of five entrance tests. As a rule, at the correspondence faculty the passing score is lower than at the full-time faculty (in 2011 - 261 points versus 362). There are only 7 creative directions (seminars): prose, poetry, literary criticism, drama, children's literature, essays and journalism, literary translation, which is taught only at the full-time faculty. The most popular direction over the past two years has been prose; the least willing, as usual, comes to literary criticism. For admission, in addition to the Unified State Exam in Russian language and literature, applicants must pass a creative competition, write a creative sketch and pass a creative interview.

Specializations with the highest tuition costs over 4 years

Literary worker, translator of fiction

The Department of Literary Translation was formed from the “translators’ workshop”, created in 1955 and which became one of the first educational workshops in the world where translators of fiction were systematically trained. Now this department trains translators from four European languages ​​- English, French, Italian and German. Among the subjects studied are regional studies, the skill of literary translation, and the specifics of editing.

Literary creativity

Directions (prose, poetry, criticism and others) belong to the specialization “literary worker”. In addition to basic subjects for all areas, the basis of the learning process is a creative seminar, workshops on prose, poetry, journalism, etc., taught by teachers of the department of literary creativity.

Famous teachers

Famous Alumni

FAZIL ISKANDER

Prose writer and poet
What I graduated from: poetry department

YULIA LATYNINA

Journalist and writer
What I graduated from: Department of Literary Translation

ROMAN SENCHIN

Novelist, musician

MARIA STEPANOVA

Poet, editor-in-chief of OpenSpace.ru

ANATOLY GAVRILOV

Prose writer
What I graduated from: prose department

JUNNA MORITZ

Poetess
What I graduated from: poetry department

3 important news of recent years

At the beginning of April this year, a decree was signed according to which state support - almost 600 million rubles - will be allocated to creative universities, including, of course, the Literary Institute, over the next two years.

In 2010, the Literary Institute, together with the Italian Cultural Center in Moscow, established the Rainbow literary prize for young writers from Russia and Italy. The prize focuses on previously unpublished stories in Russian or Italian from authors under 35 years of age. The winner receives a prize of five thousand euros.

In 2010, the third volume of “Memoirs of the Literary Institute” was published. The three-volume book covers the life and history of the establishment of the institute since 1933. Among the authors of the memoirs, of course, are many famous graduates and teachers.

Bookstore

At the Literary Institute there is a famous bookstore, which is visited not only by students, but also by bibliophiles throughout the city, and where students of other humanities universities are often sent to buy books that cannot be found in ordinary stores and libraries.

Roman Loshmanov, editor of the Afisha-Eda magazine, graduate of the Literary Institute:“It was something like the current Phalanster, only much more compact. There were no literary books there, but in general there were all sorts of rarities. They were brought by various interesting personalities in bags. There were a lot of books that were not sold in large bookstores, and all the important new items appeared there even before Moscow and Biblio-Globus. And they were cheaper."

Dining room

The canteen of the Literary Institute, at first glance, is a place from a utopian world. They feed for free there. It is located in the premises of the Forte jazz club, and the owners do not take money from students in exchange for the right to rent. True, this is where the utopia ends, since only full-time students have such a right, and part-time students are usually kicked out of there.

Roman Loshmanov:“To eat, you had to get a coupon from the dean’s office during lunch. Such a tiny piece of paper that not everyone got: truants were deprived of it. Moreover, this was often their only means of subsistence: these were mostly drunkards who saw money only in the hands of those who treated them. Lunch usually looked like this: thin cabbage soup, barely a ladle, for the main course - the so-called chakhokhbili (a couple of tiny pieces of chicken scraps in something like tomato sauce) and pale tea from a huge saucepan.”

Main hangout spot

One of the places where you can often meet students of the Literary Institute (besides, of course, McDonald's and the fountain opposite it) is the Scarlet Sails supermarket on Bolshaya Bronnaya, where students go to eat and drink. On the site of this supermarket there used to be a cafe “Copacabana” - a symbolic place for the Literary Institute of past years.

Roman Loshmanov:“Everyone sat there before, after and instead of lectures. For lunch, many went there rather than to the dining room. We mostly drank coffee, smoked and chatted. And they ate pies, it was the most delicious there: with meat, cabbage, apples and so on. During the day, about ninety percent of the visitors there were literary institute students—students, sometimes teachers—and in the evening, writers from those who lived nearby also came there. Alexander Kabakov seemed to be there.”

Students about the Literary Institute

ILYA LUDANOV
prose department

“For me, the Literary Institute is an opportunity to immerse myself in a near-cultural environment, talk with knowledgeable people, choose from a wide range of readings what is necessary, without which it would be a shame to start writing myself. For some, this is an opportunity to hear diverse opinions and criticism. Still others are trying at the Literary Institute to understand what modern literature is all about. One thing is clear - those who want to get a good philological education have nothing to do there. A special place, with its own atmosphere, with an amazing range of personalities among teachers and students. Only people who think they can do something worthwhile in the field of written fiction should go to the Literary Institute.”

IRINA KOLESNIKOVA
department of literary criticism

“Our diplomas will have an ironic entry: “Literary worker.” The qualifications are quite dubious and vague. There is only one conclusion: you need to think carefully before deciding to submit documents here. Here I am receiving a second higher education, my decision was made consciously, I have never regretted it. You need to study with us diligently, write a lot, and read even more. Not because they can be expelled for poor performance, but because it will be a pity for wasted time. We are required not only to know the text, but also to understand it on an intuitive level. I really like that they expect the maximum creative output from us, it remains only a little - so that there is something to express.”

Department of Essays and Journalism

“They always ask me: “Do they really teach you how to write books?” I answer: no. They don’t teach from scratch. But they give you everything you need to grow - if you already know how to write. A writer needs constant criticism, and it can only be given by people who write themselves, who grow in the same environment, and understand what you are doing, what you are trying to achieve, what you have already overcome. The Literary Institute has it all. Masters and teachers, by the way, are extremely charismatic people. These people really know how to make you interested in their subject; after many lectures you leave with the thought: “That’s it, I’ll come home and read all the books they mentioned.” There are many teachers from Moscow State University, this also serves as a very serious sign of quality.”

Anonymous people are not worth reading at all. There are some comments - I can clearly see from them that people have learned.
Now I can see very clearly what the situation is with studying at LIT and who is studying how. I entered after forty years, I look from an adult position (This is not about age, but more about psychology. When there is less neuroticism and you are not offended like a child and do not imagine yourself to be God, but calmly react to comments, analyze your mistakes, correct them and bring the work to completion).
A lot of students behave like capricious children who, unfortunately, do not want to be seen or heard. As if someone owes them something. I’ve done this myself before, so all their estimates are very close.
One girl came to the lecture, sat and said: “When will they tell us where to go and what to do!?” They're still waiting. And it's not about age, but about attitude to life.
And at VGIK it’s the same story. I also went there and I don’t regret choosing LIT. Our teachers are highly qualified. I’m not saying that I’m great or not, but this is my decision, which means I need to find a way out. Because I need it. And so I decided that I needed to go to all the seminars, go for advice from a teacher in addition to the sessions, search and achieve. And don't look at others and compare yourself with others. Who make premature unfounded conclusions only because the teacher looked at them, what he said and how he said it, and did not do something on time for the student. What are the students doing? I only understand the consumer attitude, they don’t know any other way, but it’s not interesting to me. After all, we allow it, and not someone... torments us, does not give us, takes us out.
Find out for yourself, do it 21 times and maybe then you’ll get it, otherwise they didn’t understand the first time, try to understand. Then accusations begin that the institute is bad and doesn’t graduate anyone. It depends on me personally. Or even more correctly - leave, be honest with yourself.
And from journalistic experience I remember that there are always people who will write nasty things about any good news. Well, as one famous actor said in a private conversation: “They spit at us that they were gingerbread!” We will grow stronger. Of course, I’m still in my first year and Old Church Slavonic and linguistics are hard for me, but every day I learn, write and read something. And now, time has passed, I read better and understand the difference between monosemy and polysemy, at least. But I didn’t know this before either. And in addition to the session, I already met several times with a wonderful teacher of Old Church Slavonic, Yuri Mikhailovich Papyan, and I also still understand little. But many did not do this either. I don’t praise myself, but I can already see how another fable about Staroslav will be born. They will say, yes, this is terrible, it’s impossible to understand, everything is terrible. So who stopped you from going to LIT together with another stupid pseudo-friendly party, meeting and understanding. Responsibility! Not mom or dad or grandma, but I will do it!
And my daughter knows about this and asks for herself and solves her own issues. And some students, forgive me, don’t even know the name of the teacher or the name of the subject, but have the impudence to ask for a B.
Sorry, friends, for loading you up, perhaps. But I believe in you, if you don’t like it or it’s unclear, you will either ask or stop reading. I'm ready for any option. And the Literary Institute is not a pretentious, noisy place, it is calm, very lively and real. And if someone does not work as a worker after graduation, this is still a good school for every thinking person, which will be useful in life. That's for sure. This is my opinion, maybe I'm wrong. Thank you!))

Interview with writer Alexey Varlamov, who has been the rector of the world's only Literary Institute since October 2014

Text: Mikhail Vizel
Photo: litinstitut.ru

What do they teach at the Literary Institute? Is it possible to “teach writing”?

The Literary Institute differs from foreign writing workshops, which are aimed at a greater degree of “professionalization,” so to speak. There the question “is it possible to teach writing?” legitimate, people come there who are mainly taught writing skills and nothing else.

The Literary Institute was conceived differently - it arose on the initiative of Gorky in the 30s, when the country was struggling with illiteracy and there was a question of raising the cultural level. I think that to one degree or another this Gorky idea has not disappeared. The literary institute creates circumstances in which a person with talent can become a writer. Students at the Literary Institute receive a very broad humanitarian education. When I myself was an aspiring writer, I went to writing seminars at the Moscow writers' organization and read literary magazines. I remember that everywhere there was such an attitude: the more professions a writer changes, the better it is, and education and culture are all secondary. But over the years, I see very clearly that there are no writers without education. Platonov, Shukshin, Klyuev - they were all extremely educated, although sometimes they hid this education. For a writer, the education provided at the Literary Institute is correct, even necessary. In addition, the Literary Institute is remarkable because it creates a literary environment. It is especially important for a young writer to be among people who suffer from the same “high disease” as him. This environment charges, tests, and cuts off those who are unnecessary. At any university, students learn not only from teachers, but also from each other. At the Literary Institute, the degree of student participation in education is very high. At the Literary Institute they teach about air, walls, atmosphere...

What do you personally teach your students?

I have been teaching a prose seminar at the correspondence department since 2006. When I was invited here, I didn’t really understand what I could teach them. If I myself had studied at the Literary Institute at one time, it would probably have been easier for me. Our master at the writing seminars, which I have already mentioned, was Fyodor Koluntsev, a fairly famous writer in the 60s and 70s. Nikolai Evdokimov and Anatoly Pristavkin worked with us - I saw different masters, I saw how they work. From Koluntsev, for example, I learned delicacy - not to impose my opinion, but to accept a person as he is. By the way, our seminarians were very aggressive - there was such an interesting contrast between the aggression of the “youngsters” of writers and the master who is trying to soften it all and place the right accents. It was very nice to me, it was an example for me. It seems to me that before talking about what can be taught at the Literary Institute, it is much more important to build your relationship with students. In front of you are not just students whom you must teach the multiplication table, in front of you are your colleagues. It is not yet known which of you is more talented, everything can change - here age, literary merit and experience cannot play the role that they play in academic science, where the hierarchy is built unambiguously.

Another interesting thing about the “correspondence” is this. Previously, it was impossible to enter the Literary Institute after school - people with life experience came here, and for literature this is right. Today, there are many young people studying full-time who came straight after school. With correspondence students it’s a little different, I perceive them especially - sometimes people who are older than me study with me. During the session, we discuss their work with them, I set myself the task of showing the strengths and weaknesses of the author. It seems to me that showing strengths is even more important, because at the first stage a person can simply be extinguished, destroyed by criticism. One of the goals of creative workshops is to give the author the opportunity to try himself in a variety of genres. For example, I gave my students the task of writing a documentary story about a person they knew well. Some people succeeded, some didn't. As Chekhov said, a small dog should not be embarrassed by the presence of large dogs. Each dog barks in its own voice. To teach a student at the Literary Institute means to teach him to adequately evaluate himself, his voice, his size, his weight. When an author overestimates himself or, on the contrary, treats himself derogatorily, this is equally bad. It is important not to directly influence a person, but rather to lead him to see for himself what he does better and what he does worse.

And how? Any results? “New Gogols”, so to speak?

Now I have completed my second seminar. I was pleased with the work of my first seminar: the students wrote good diplomas, one of my students received the “Debut” award, another student was shortlisted for the “Rainbow” award. It seems to me that this time was not in vain for them - I felt that they were interested, that they willingly came to the seminars. If in the literary association where I went there was no great friendship - we were on our own, somehow looking at each other jealously - then at the Literary Institute I saw that no one was taking revenge on anyone, no one was taking revenge on anyone. Probably the main thing that the Literary Institute has is the literary institute fraternity.

In the 1930s, the Literary Institute was conceived by Gorky simultaneously with the Writers' Union as part of an equilibrium structure: nuggets became professional Soviet writers. Who is the Literary Institute preparing today?

The Literary Institute trains in two specialties: literary work and literary translation. The people who leave here almost all settle down well. Today, the need for those who know how to correctly, clearly and stylistically express their thoughts on paper is very high, but there are few places where such people are trained. Now we are slipping into a system of testing, pluses and minuses, filling out boxes correctly - another generation is growing. There are fewer and fewer people who can go beyond the boundaries of these graphs and coherently express their thoughts. In the broadest sense, the Literary Institute trains specialists who can express their thoughts in good Russian, orally and in writing. These thoughts can be expressed in different genres - fiction, documentary prose, journalism, journalism. One way or another, the main profession of a graduate of the Literary Institute is the word. Students are taught to make the word their livelihood. The person who understands this and cultivates it in himself will be more successful.

You said that students began to enroll more often after school. Can you tell us in more detail - who is coming to the Literary Institute now?

Now there are much more of those who come straight after school, especially in the full-time department. This, of course, creates certain problems - creative and psychological. But what can we do, these are the circumstances in which we live today. The gender composition has also changed: there are now many more girls. Boys do not go into the profession, realizing that it is not very profitable. But in literature in general the female presence is very noticeable.

It is clear that at the Literary Institute every year is the Year of Literature. Are there any special events planned this year? How do you personally understand what the Year of Literature is?

It’s gratifying to me that such an idea arose, because literature has recently become less and less talked about. caused a controversial reaction in the literary community: they said that the wrong authors were being read from the stage. I was a little sad to watch this. “What kind of people are writers,” I thought! Whatever happens, it’s a scandal.” It turns out that the passion for breakup, for scandals is stronger than even pragmatic interest. Just at the opening, wonderful words were heard from Brodsky’s Nobel lecture, where he said that the most terrible crime against literature is not censorship, not the burning of books, but the neglect of literature. It seems to me that in recent years we have lived in a situation of neglect of literature - Brodsky’s prophecy in a strange way came true.

The Year of Literature is a chance to change the situation, strategically this is the right idea. Another thing is how it will be supported. For me, such a real reinforcement, which is not formally connected with the Year of Literature, but chronologically coincides with it, was the fact that essays were returned to schools last year. This, of course, is not exactly an essay on literature; there is debate in the professional teaching community about what it should be, but it is still a step in the right direction. Outside of Russian literature, our education in the full sense of the word is impossible. By abandoning literature in the last 15–20 years, we did something that even the Bolsheviks did not do, tearing children away from Russian classics. The Year of Literature as an initiative coming from the very top is a positive signal. I hope that the essays will not be talked about, that it will remain so, and the Year of Literature will be a weighty argument in this sense.

But practically?

In a practical sense, we are planning a number of events at the institute that we will conduct both ourselves and with other specialized organizations, such as the Pushkin Museum, the House of Russian Abroad, and the Saltykov-Shchedrin Public Library in St. Petersburg. I want to gather all the editors of thick magazines at the Literary Institute so that they can discuss and hold a meeting of the leaders of Russian literary associations.

In general, the presence of literature in society is determined by two criteria: school and the media. Something has moved at school, but not yet in the media: for example, the opening of the Year of Literature was shown by the Culture channel, and not First or Russia. “Culture” is a wonderful channel, but if we compare its audience with the audience of “First”... For me this was an alarming signal - it turns out that culture and literature are in a kind of intellectual reservation. I am sure that the opening of the Year of Literature at the Moscow Art Theater in prime time on Channel One would go great. The fact that this did not happen is very sad for me personally. But let’s hope that they will show a closure that will not become a closure of literature in Russia...

It is not our editorial policy to publish anonymous people. Therefore, we thought for a long time what to do with the letter of a certain Ignat Litovtsev. The problems raised seem to be serious, the facts presented are terrible. But... And on the other hand: what now, keep everything quiet, pretend that the Literary Institute is blooming and smelling? In the end, the fact that the student was afraid to put his real name also says a lot. So, not everything is so good in the Danish kingdom. But so that no one can blame the editors in bias and bias, we are ready to publish the opinions of all interested individuals and groups. Our ultimate goal: to ensure that the Literary Institute finally turns into a reputable university. Nobody needs Sharashka's offices.

P five years ago I read ma-te-ri-al Dmit-riya By-ko-va“Os-ta-no-twist the kry-so-lo-va”, published in the journal “Ogo-nyok” (No. 38, 2005), oh no need -s-ti Li-te-ra-tur-no-go in-sti-tu-ta them. A.M. It's bitter. In By-kov’s article, the main emphasis was on the fact that - I quote - “you-pu-sk-nick Li-ting-sti-tu-ta least prepared for pro-fes-si-o-nal-ly-te-ra-tour-de-i-tel-no-s-ti”, “Li- tin-sti-there are too many people breeding here.”

At that time, I carefully studied all the ma-te-ri-a-ly on-le-mi-ki in print and on the Web. It would be important for me to be sure whether it is still worth going to the legendary university or whether its time has passed no-return-but? Then I accepted the hundred for-you, and now, after I went to Li-tin-sti-here and studied there for some reason... I'm waiting for the time I'm waiting for.

Go straight to the sus-stu-st-vu of the matter. There are a lot of students at the institute. More than necessary and possible. They take practically everyone without raz-bo-ra, in the last few years how many intro- ductive actions for-me-new from-kra-sche-but to the pre-de-la, and then there’s the Unified State Exam. And this despite the fact that several of the successful and talented pi-sa-te-leys I knew knew that it was possible to go through the creation What kind of competition they couldn't do. And who could? Here, for example, a recent essay and publication by you (under the hand of -vo-st-vom everyone for-go “to-s-mi-che-s-to-go” zhur-na-li-s-ta Yuri Apen-chen-ko) So-fya Lu-gan-skaya- the headache of all the more or less educated students here. All six years of education (Lu-gan-skaya, as a particularly pro-movement, in ma-gi-s-t-ra-tu-ru) student -you wrote for her, not only aka-de-mi-che-s-k-k-o-k-ro-work-bo-you, chicken-s-so-vye and re-fe-ra-you, but and articles, essays, stories... And the ma-gi-s-ter-sky dip-lom, sacred to the pe-da-gi-che-s-coy me -to-di-ke Ser-gay Yesi-na, with a large number of drugs, and for free. None of the pre-da-va-te-leys noticed or wanted to notice the miracle under the lo-ga, pe- re-cher-ki-va-yu-sche-go the very meaning of learning whether-te-ra-tur-no-mu ma-s-ter-st-vu.

Well, what the hell is going on, then not everything here is as blissful as the rec-to-ru would like it to be Bo-ri-su Ta-ra-so-woo. Do-s-ka pre-da-va-tel-skih and student-che-pub-li-ka-tions in the co-ri-do-re in-sti-tu-ta po- de-le-on between the former and present rivers. They seem to be roaring in vanity. This is quite amusing. However, others are not able to compete with them. Students not only cannot, but most often do not strive to publish. If it's true, many people haven't been joking about anything in all five years, but the diploma is var-ga-nyat from the introductory work , adding from the blood-vein, you-re-snapped from the no-z-d-ri hal-tu-ru. Everyone knows that they will be honored for their diploma work.

Let's get back to the place. Bol-shin-st-vo ma-s-te-rov - people are not just long-lived, but very advanced. It’s hard for them to teach students, but they’re already reluctant. But they hold theirs tightly and don’t leave until the very end. It seems that Death itself is sending them out. What about the river or the manager? ka-fe-d-roy lit-ma-s-ter-st-va of Ser-gay Yesin, then both of them are connected with ma-s-te-ra-mi personal from- but-she-ni-I-mi and these from-no-she-niya are higher than health sense and benefit for the university.

Ru-ko-vo-di-te-li se-mi-on-the-ditch is divided into several ka-te-go-ri. Firstly, these are due to the fact that they are either due to lack of ability and lack of ability do not give their students anything. Ev-ge-niy Rein, for example, he rarely knows his students in person or by name, almost never understands other people's texts, would-have-been discussed. But he could at least talk about his friendship with Brodsky, effective, blowing a pipe. There are some students there and this is up to a hundred exactly, they say, with the class. In-na Vish-nev-skaya- the same in-te-res-ny story-teller, but she has long ceased to appear in the background, but in her se-mi-on- ry on dr-ma-tur-gy leads something about-for-ik Esin. Ole-sya Ni-ko-la-e-va- it seems to be from-no-si-tel-but mo-lo-yes, and from-no-si-tel-but in-popular-na, and from-no-si-tel-but that -lant-li-va, but no way out of it. Yes, sometimes she can gather students at her place in Pe-re-del-ki-no, chat over tea with va-re- we eat, but this “training” and og-ra-ni-chi-va-et-sya. Igor Volgin it seems that the seven-na-ry pro-vo-dit, and the state comes from-ve-st-nyh, but the lion's share of attention is from-yes -he teaches at his Moscow State University studio “Luch”, who for some reason appear on Tuesdays in Li- tin-sti-here, they talk-about there and they don’t let you go and drink behind-the-legal student there.

Pre-po-da-va-te-li-de Vla-di-mi-ra Fir-so-va or Mi-ha-i-la Lo-ba-no-wa for a long time they don’t mean anything in the lit-process, but those like Vla-di-mir To-rop-tsev- never even knew. The entire creative educational process in Li-tin-sti-tu-te is based on s-red-nyach-kas like Ga-li-ny Se-dykh, In-ny Ros-tov-tse-voy, Ser-geya Aru-tyu-no-va. There are several dozen students studying at their schools, which exceeds any possible depreciation. The students of the same Apen-chen-ko are entirely thieves physical-cultural-tourists and swimmers who are taken to Li-ting-sti-here for studying in inter-university sports competitions. They, like Luganskaya, only have creativity in them, but, unlike her, at least for a fee. "But-in-the-world" Rus-lan Ki-re-ev And An-d-rey Va-si-lev-sky they are right, but they have their own ideas about the same taste .

But the most important case is, of course, a seminar Vla-di-mi-ra Gu-se-va. The only one for the entire institute is the se-mi-nar cri-ti-ki. Gu-sev himself has long since turned into an odious and self-defeating fi-gu-ru. We, students, laughingly read his pa-ra-but-and-distant pe-re-do-vi-tsy in the Mos-kov Ga-ze-ten-ke -sky li-te-ra-tor,” I’m re-registering for us, but you-kla-dy-va-yut in the in-sti-here ko-ri-do-re. There's actually a lot of cool stuff there. For example, so-called “No-in-sti”, in which there are a hundred-yang-but the same names Ma-ki-s-ma Za-mshe-va, Iva-na Go-lub-ni-che-va, Vla-di-mi-ra Bo-ya-ri-no-va, Vla-di-mi-ra Sil-ki-na and other civil servants from the Moscow Pi-sa-tel-skaya or-ga-ni-za-tion. It’s strange that the re-port-ta-zhi about the delivery of not-knowing me-da-leks, which are stamped for ka-zu MGO SP og-rom-nym ti-ra-zhom, vi-di-mo, for sub-ku-pa and mas-li-va-niya of various pre-fects, mi-li -tsei-skih officials and narrow-bo-boy military-schi-ny, lately began to appear in such a respect- e-mom from-da-nii, like “NG-ExLibris”. Vi-di-mo, and there someone was buying on the dacha living pseudo-do-pa-t-ri-o-tov.

My one-course-ni-ki is in shock at what is going on in the Gu-North Se-mi-on-re. The only thing is that the director himself does not have the slightest idea about the current lit-process , for a long time it doesn’t teach cr-ti-ka in any way, but only na-pi-va-et-sya and glue-mit “kids” and “li-be-ra-lov”, so now there’s a certain one who’s going with him Jean-na Go-len-ko. By the way, aren’t the “poems” dedicated to her, every now and then it appears in “Moscow Li-te-ra” -to-re” for under-pi-sue Vla-di-mi-ra Gu-se-va. His go-me-ri-che-s-ky “Diary of me-t-ri-che-s-ky” is the lowest in the world . “If a woman is ALIVE, my erection / Doesn’t prompt me to any correction; / But if you knew the fish, / And the armor would be able to oh-la-dit.” Or: “When I kiss Sis, / You say “My boy.” Or: “I kiss her heels / Well, her toes. / Ki-lo-val without looking back / Everything he could and couldn’t do. / Shoulders, behind-dick and pol-chiCh-ki / Si-si, but-zhech-ki mnya...” (or-fo-graph-fiya av-to-ra)?

The old-timers of Li-tin-sti-tu-ta remember how Go-len-ko de-la-la his kar-e-ru. Previously, she was simply listed as as-si-s-ten-tom. Now, you see, I want to become a co-worker with you. On the one hand, it’s good: why not? Fresh blood and flesh. Once upon a time, Go-len-ko’s methods turned out to be not fresh at all, but very rotten - con-served -tiv-no-av-to-ri-tar-ny-mi. Se-mi-na-ri-s-you recall in the at-mo-sphere of mutual up-to-no-shows, gossip, bra-ni and giving -le-nia. They have their own she-s-ter-ki-ya-ba-dys, they have their own lu-ze-rys, some of whom should be publicly humiliated. The most capable students and those who simply don’t want to fall in love with themselves and no one not from-ve-st-noy “ma-s-te-ri-tse”, long ago gone - who in other se-mi-na-ry (mainly pro-za- and-what), who actually took the documents from the institute. My most in-te-res-noe is that Zhan-na Go-len-ko formal-but-isn’t-any-ru-ko-vo-di-te -lem, but only the ra-di am-bi-tion misleads the remaining students. After every se-mi-na-ra, she asks why about se-mi-na-rah. If Go-len-ko is why you are not-to-a-hundred-precisely le-st-but and ve-le-re-chi-in, from-the-sconce -ku-et-sya and re-pi-sy-va-et-sya until complete without-personality and pre-clination. This is such a lazy little girl. According to rumors, he is already a manager. ca-fe-d-roy.

No, with all my do-sa-de, I don’t think that Li-ting-sti-here needs to be closed immediately. Absolutely not. There are some good people here (although, they say, the best ones left a few years ago, don’t you) state of the Ta-ra-Soviet at-mo-sphere). But this is from-no-sit-xia to aka-de-mi-che-s-koy cha-s-ti. But with creativity, everything is very bad. And, in my opinion, there is only one way out: to increase the number of tires in the se-mi-ditch, to increase the hours of se-mi-nars za-nya-tiy, actively attract students to practice, sternly discourage them when they enter . Not long ago, Li-tin-sti-here received government support. Nowadays an active “drinking” of your money is going on. The salary of full-time teachers is higher than their most daring dreams. Website Li-tin-sti-tu-ta pe-s-t-rit vi-di-mo-s-tyu na-uch-noy and creative-che-s-de-i-tel-no-s-ti . But in reality, nothing matters to me. It would be possible to give up on Li-te-ra-tour-in-sti-here and leave it to fate: money is at stake it's all over, the old ones will go away according to their own reasons, and everything will go on as usual, but will there be any real specialists coming out of the country for the “extra people”? Yes, over the past few years, from the bowels of Li-tin-sti-tu-ta, several foreign authors have appeared, whose names are more or less noticeable in the lit-process. But this is more of a benefit than a blah-da-rya. The Institute did not help them here, but rather would have prevented them from re-solving more and more. In addition, their number is so-ver-shen-but not-to-a-hundred-exactly for the formation of some kind of “but- howl of waves" in li-te-ra-tu-re, which in general is, in my opinion, the main goal of Li-tin-sti- tu-ta. On the de-le ab-so-lyut-but-dav-la-yu-shchee pain-shin-st-in you-pu-sk-ni-kov Li-ta - not-under-ready-to-len- new, “superfluous” people. “Excess” is for culture. And yes, yes, they are harmful.

Unfortunately, I can’t write under my name. I’m still studying in Li-tin-sti-tu-te, and my signature under this ma-te-ri-a-lom would not be for me slow number. I don’t count on great authorities. You ask, why am I not at this university? Years of study on the se-mi-on-re of almost windows-cha-tel-but from-the-li-me-from-li-te-ra-tu-ry, but from me a circle of friends has formed here, and a diploma about the highest education, whatever this education may be it wouldn't bother me. It's rude, but true.