Biography of the writer Postavkin

Father - Poselkin Ignat Petrovich. Mother - Dorofeeva Evdokia Artemovna. Wife - Postalkina Marina Yuryevna, journalist. Son - Ivan. Daughters: Daria and Maria. The grandfather of Anatoly, Peter Posnavkin, returning from St. Petersburg in the year, told the fellow villagers about strikes, the manifesto of Tsarskoye, for which he was taken into custody-they sent a whole company of soldiers, and in the village they had a long time as a revolutionary.

Ignat Petrovich Postkin, the father of the writer, inherited family features - stamina and firmness in achieving the goal, which he showed at the front, where he fought for 4 years. Numerous Smolensk relatives of the Proletivkins also showed their personal qualities when they went to the partisans in the year, died at the hands of punishers under bullets and gallows, but mercilessly beat the enemy before the arrival of the Soviet army.

Ignat Petrovich Poskrevkin worked as a carpenter, a red -ruled rod, a gazumper. From childhood, Anatoly had a memory that the pads were always at home - his father himself knocked out or made children new shoes. Before the war, the Postakins family with relatives lived in a wooden communal apartment - 8 people per 8 square meters. The parents had a bed, Anatoly had a sofa, a sister - a stroller, the rest of the adults slept on the floor - with his feet under the bed, and his head under the table, and the one who got up first, stepped over the rest.

Nevertheless, Anatoly Postalkin considers his childhood the happiest period of life-the war has not yet begun, my mother was alive, although at that time she was already mortally ill. Barto, K. Chukovsky, and then - L. his amazing “watch” became a favorite work of the boy. When the war began, the year old year. Father went to the front, and the mother soon died of tuberculosis.

The boy wandered throughout the war, and everything that got homeless children during the war completely fell to his lot. In the orphanages, children of repressed, military personnel, orphans lived, among them there were read boys who told novels with a continuation for many evenings for a crust of bread - so Anatoly met the works of V. And the picture “Baghdad thief”, which made a huge impression on the boy, he himself retell many times and always seemed to be transferred to a completely different, sparkling and distant world.

Since childhood, Anatoly Postalkina was on different parts of a huge country - the suburbs, Siberia, the North Caucasus, where, at the time of the deportation of the Chechens, they were sent for the settlement of territories that became empty, Moscow street children. Until now, Anatoly Ignatievich has a item that has remained since then - a Finnish made for a children's hand. Fortunately, she did not become his weapon, most likely, Chekhov, Tolstoy, Gorky beginning did not allow Anatoly to go a different path.

After that time, Proletovkin will say about that time: “In the middle of the war, the rear was a fantastic picture: the military and refugees, speculators and disabled people, women and adolescents who stood several shifts at the machine tools, we were homeless and crooks, we were children of war and in this variegated environment felt like fry in the water. We knew everything, understood everything and, in general, were not afraid of anything, especially when there were many of us.

” However, the courage of these “fry” had completely different roots and did not resemble the usual boyish recklessness-it was the courage of despair, which the willy-nilly was supposed to develop a child who fell into extreme circumstances and inail at the last limit. In their homeless years, the boys became writers of their own life - partly this was explained by the love of children for fantasies, partially - an attempt to defend themselves, because during the years of dispossession, various political processes and repression it became dangerous to tell the truth about itself.

Later, in the novel “Dove”, the author found surprisingly accurate words to express this relationship: “The war broke through us through the bomb strokes the multi -storey building.” The case of Knotavkin pushed the case of the children for almost a month in the wagons of the commodity, a piece of bread was brought to the writer's craft. In Chelyabinsk, where they were brought, there was a dining room at the station, which was besieged by refugees, and the guys could not break through this crowd of adults.

Then their teacher Nikolai Petrovich began to scream to people to let the children miss. And a miracle happened: they went through the crowd through the vacant space, like a corridor - the children did not see faces, they simply felt that they were protected, that no one would crush them. This topic formed the basis of the first story of Anatoly Postavkina - “Human Corridor”. Subsequently, this symbol of the “human corridor” accompanied the writer throughout his life, and he did not stop walking along him, feeling the support of people who were ready to bring him to the future.

Prekavkin began working at 12 years old.

The orphanages lay the way to life through a craft school, a plant, an evening school or a technical school, and Anatoly did not pass it.At the age of 14, when fate abandoned him to the Caucasus, near Sernovodsk, Posnovkin washed banks at a tin plant in the village of Asinovskaya, and since the age of 15 he got a job at an aviation plant, and this place for many years has become a refuge for him, almost a house.

From a year, the future writer studied at an aviation college at the evening department. All this time, the main hope that someday life will become lighter, better and more interesting, gave Anatoly the books. Posnovkin loved them, took out, where possible, sometimes trying to drown out a feeling of hunger, and then thought a lot about what he read, he remembered poems with whole pages.

After the war, Anatoly began to read poetry from an amateur scene, play in amateur performances, and this hobby remained for many years. Then he wanted to try the strength in the composition himself. Anatoly wrote a play - several prosaic fragments of a difficultly determined genre, and then poems went. At first he read them from the stage, later he decided to offer for printing, and several poems were really published.

When the young author first saw his lines, typed in typographic font, he felt inspired. Returning from the army in the year, he entered the Literary Institute of M. Gorky, starting to study in the poetic seminar of Leo Oshanin, who was the first to notice and approved his stories. Then they were published by V. Kataev in the magazine "Youth"? Subsequently, these stories about the crippled childhood were translated into many languages.

Over time, several short stories began to ask for paper about what the writer had to experience during the war. How the composition of the story is being built, Protekin at that time had very unclear performances, so he began to state scraps of memories in the mastered manner - it turned out something like poems in prose. It turned out very successfully, the basis of many fragments were not finished plots, but only a vivid impressions that crashed into memory of the detail, a small episode - such artlessness gave the texts a special spirit of authenticity.

These unexpected works appeared to the author almost in finished form - at lectures, seminars, in a long road home. So he wrote a cycle, called "Military Childhood". Readers and criticism immediately drew attention to this publication, the Cycling of Postakin opened a whole layer of life, in fact, previously unknown to literature, and determined not only one of the main topics of the author’s work, but also one of the genre addictions to which the writer follows today.

Stories written in the first person are excerpts from the diary, the hero’s monologues, sustained in the manner of confessional prose. Over the years of study, several more poems by Anatoly Postalkina appeared in the press, some of them were reprinted in collective collections and various kinds of calendars. During the summer practice, Strivkin first came to its construction during the summer practice, and the people who create an industrial center in a deaf taiga corner made a strong impression on the young writer - in the first Siberian essays, the author managed to show the various characters of the heroes and convey the amazing atmosphere of those places.

For many years, Anatoly Postalkin connected his life and creativity for many years - he worked in a team of concrete workers on the foundation pit of the future station, and later became a correspondent of the Literary Newspaper. In the year, he joined the Union of Writers. One after another, his books dedicated to the Siberians were published - “LEPIA CONTRACT”, “Notes of my contemporary”, “BONS in the taiga”.

Having returned to Moscow, Prem, for many years, did not lose touch with the Siberian builders and often flew into distant business trips to the Angara, to places related to him over the years of youth, with older friends went to difficult expeditions to the states of new power plants-Ust-Ilym, Boguchany. It would seem that the first serious literary success should encourage the young author to further develop a military topic - after all, short stories did not create a single picture, they were perceived as sketches, fragments for a future large canvas.

However, after the publication of “military childhood”, the writer for a long time did not turn to the sad experience of a past life. Posnovkin himself explained why this break was almost two decades: “I was not only afraid to write about those terrible warships, I was afraid to touch them even with memory: it was hurt, I didn’t even have the strength to re -read my previously written stories.” Still touched.

The next line along the way was the story “Soldier and Boy”, published in the journal “Banner” in the year. And although Prekkin wrote it back in the year, the manuscript lay for almost 7 years in the editorial office. The story “Soldier and Boy” was the result of the author’s spiritual “explosion” - he would not repeat the theme of the orphanages and tragic circumstances of the war, if not for the acute desire to free himself from the sore.

But the years separating the cycle of stories “War Childhood” from the story “Soldier and Boy” were not for Zelevkin the time of creative downtime. This period became very productive, the writer actively mastered a new life material for himself, worked a lot and successfully in documentary prose, wrote novels and stories. He continued to engage in documentary and subsequently, becoming a recognized master of this genre, constantly developing it in different directions.

The search for long-standing friends repeatedly brought him to the construction of KAMAZ, after these trips an essay on the “Master” was born, who first saw the light on the pages of the “Literary Newspaper” only in the middle of the X, and the Roman “Woe-Gorodok”, where the author studied the phenomenon of life, previously little raised by literature, which ensured the Roman success among readers.

In those years, when the first stories of Posnavkina saw the light, the confessional prose occupied almost the dominant place in the work of the young generation of writers - its appearance itself became a new word in literature. But the popular image of a rushing young man, who can hardly find a place in life, only once appeared on the pages of the writer's works - in the northern story, published in the second half of the 19ths.

However, the author’s attitude to this human type is not at all traditional: although the story is written in the first person, the “I” of the hero in this case not only does not merge, but even does not get closer to the personality of the writer. In other works of Prostekin, written in the first person, confessionality is understood in the most direct, original sense of the word.

This is a confession of not a lyrical hero, born of the author’s imagination, namely the writer himself, who lives under his present name in books, among relatives and friends, also called real names. Anatoly Ignatievich, hospitably opening the doors, enters the reader into his house, into his inner world. Thus, Siberian short stories were written, Seliger Seligerovich, “from all sorrows”, and later - “cultivate your field” by walking the author from a story to the story, readers will learn about his hungry childhood, difficult post -war youth, years in Bratsk, about various trials that fell on his share.

In full, this succeeded Proletivka in the story “White Hill” - a work of a completely different kind. The author appears to be a mature, who survived a person, the father of two children, when the family, who played an extremely important role in his life, breaks up and he stops bewildered, because he cannot imagine how to live on. It was at this moment that the writer’s father invites him to make a trip to his homeland - Smolensk, in the village of Bely Hill.

About this journey of the Postalkins to places where their family lived for many centuries, and tells the story. The life of several generations of the Proletovka family becomes the fact of literature, the author reveals it to readers as a cut from the history of the life of the people. It is in this that the radical difference between Anatoly Prevkkin and many essays outwardly similar to her, whose heroes, entangled in the difficulties of urban life, make a pilgrimage to the “land of the ancestors”, so that through ancient roots to absorb the juices of darling soil and, having survived the revival, return back.

In the story “White Hill” we are talking about a more complex connection of generations, which the author feels constantly. In the beginning of the x, Prekavkin wrote the story “The Golden Tuchka Spent the House” was created for herself, since the most perspicacious writer of those years would not believe that such work could see the light. In his work, the author tried to frankly say that he survived himself and what painfully burned his nerves - the world is not worthy of existence if he kills children.

After the first collective reading of the story in the circle of friends, strange things began: first, a comrade went to Zetavkin and asked the manuscript to read at home, another acquaintance asked for his son, the third for his colleague. By the time of publication in the magazine "Banner" the story was read at least a person. Once a completely stranger from Leningrad came home to Anatoly Ignatievich and said that at the request of his comrades, he should definitely read the story in order to tell about it at home.