By ΠΡΠΊΡΡΠ½ΠΎΠ² ΠΠΌΠΈΡΡΠΈΠΉ
ΠΠΌΠΈΡΡΠΈΠΉ ΠΡΠΊΡΡΠ½ΠΎΠ², 2024
ΠΠ»Π°Π²Π½ΡΠΉ Π³Π΅ΡΠΎΠΉ ΠΏΠ΅ΡΠ΅Π΅Π·ΠΆΠ°Π΅Ρ ΠΈΠ· ΠΠΎΡΠΊΠ²Ρ Π² Π§Π΅Π±ΠΎΠΊΡΠ°ΡΡ Π²ΠΎ Π²ΡΠ΅ΠΌΡ ΠΏΠ°Π½Π΄Π΅ΠΌΠΈΠΈ, Π³Π΄Π΅ Π½Π°ΡΠΈΠ½Π°Π΅Ρ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°ΡΡ ΡΠ°ΠΌΠΎΠ±ΡΡΠ½ΡΠΉ ΡΡΠ²Π°ΡΡΠΊΠΈΠΉ ΠΌΠΈΡ, ΡΠΊΡΡΡΡΠΉ ΠΎΡ Π²Π½Π΅ΡΠ½Π΅Π³ΠΎ Π²Π»ΠΈΡΠ½ΠΈΡ. ΠΠ³ΠΎ ΠΏΡΠΎΠ²ΠΎΠ΄Π½ΠΈΠΊΠΎΠΌ ΡΡΠ°Π½ΠΎΠ²ΠΈΡΡΡ ΡΠΎΠ±ΡΡΠ²Π΅Π½Π½ΡΠΉ ΡΡΠ½, ΠΊΠΎΡΠΎΡΡΠΉ ΠΎΠ΄ΠΈΠ½Π°ΠΊΠΎΠ²ΠΎ Ρ ΠΎΡΠΎΡΠΎ ΠΏΠΎΠ½ΠΈΠΌΠ°Π΅Ρ ΡΡΡΡΠΊΠΈΠΉ ΠΈ ΡΡΠ²Π°ΡΡΠΊΠΈΠΉ ΡΠ·ΡΠΊΠΈ. ΠΠΎΠΏΡΡΠΊΠΈ Π³Π΅ΡΠΎΡ ΠΎΡΠΌΡΡΠ»ΠΈΡΡ ΡΠ΅ΠΌΠ΅ΠΉΠ½ΡΠ΅ ΠΊΠΎΡΠ½ΠΈ ΡΠ΅ΡΠ΅Π· ΡΠ°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΡΡΡ ΠΈ ΠΌΠ΅Π½ΡΠ°Π»ΡΠ½ΠΎΡΡΡ ΠΎΠΊΠ°Π·ΡΠ²Π°ΡΡΡΡ Π±Π΅Π·ΡΡΠΏΠ΅ΡΠ½ΡΠΌΠΈ, Π½ΠΎ ΠΏΡΠΈΠ½ΠΎΡΡΡ Π΅ΠΌΡ Π½Π΅ΠΎΠΆΠΈΠ΄Π°Π½Π½ΠΎΠ΅ ΡΡΠ°ΡΡΡΠ΅. ΠΡΡΠΎΡΠΈΡ Π½Π°ΠΏΠΎΠ»Π½Π΅Π½Π° Π·Π°Π±Π°Π²Π½ΡΠΌΠΈ Π΄ΠΈΠ°Π»ΠΎΠ³Π°ΠΌΠΈ ΠΈ ΠΏΠ°ΡΠ°Π΄ΠΎΠΊΡΠ°Π»ΡΠ½ΡΠΌΠΈ Π²ΡΡΡΠ΅ΡΠ°ΠΌΠΈ, Π·Π°ΡΡΠ°Π³ΠΈΠ²Π°Ρ ΡΠ΅ΠΌΡ Π½Π΅ΠΏΠ΅ΡΠ΅ΠΆΠΈΡΠΎΠ³ΠΎ Π½Π°ΡΠΈΠΎΠ½Π°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΌΠΎΠ΄Π΅ΡΠ½Π°.
Dmitry Lukyanov, 2024
During the pandemic, the protagonist relocates from Moscow to Cheboksary to live with his wife's relatives. There, he discovers the enigmatic Chuvash world, shielded from globalization. His young son, fluent in both Russian and Chuvash, becomes his guide. The hero's attempts to understand family dynamics through rationality and mentality fail, leading to his happiness. The narrative unfolds with humorous dialogues and peculiar encounters, touching upon the complexities of unexperienced national modernism, reminiscent of Richard Brautigan's prose.