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By Π Π°ΠΌΠΎΠ² Π.
Π Π°ΠΌΠΎΠ² Π., 2024, ΠΠΎΡΠΎΠ΄ΡΠΊΠ°Ρ ΠΏΡΠΎΠ·Π°
ΠΡΠΎΡ ΡΠ°ΡΠΈΡΠΈΡΠ΅ΡΠΊΠΈΠΉ ΡΠΎΠΌΠ°Π½-Π°Π½ΡΠΈΡΡΠΎΠΏΠΈΡ Ρ ΡΠ»Π΅ΠΌΠ΅Π½ΡΠ°ΠΌΠΈ Π±ΡΡΠ»Π΅ΡΠΊΠ° ΠΏΠΎΠ³ΡΡΠΆΠ°Π΅Ρ ΡΠΈΡΠ°ΡΠ΅Π»Ρ Π² ΡΠΎΠ·Π½Π°Π½ΠΈΠ΅ Π³Π΅ΡΠΎΡ, ΠΎΠ΄Π΅ΡΠΆΠΈΠΌΠΎΠ³ΠΎ ΠΈΠ΄Π΅Π΅ΠΉ ΡΠΏΠ°ΡΡΠΈ ΠΡΡΠΌ ΡΠ΅ΡΠ΅Π· ΠΏΠΎΡ ΠΈΡΠ΅Π½ΠΈΠ΅ ΠΊΠ°ΡΡΠΈΠ½Ρ ΠΡΡ ΠΈΠΏΠ° ΠΡΠΈΠ½Π΄ΠΆΠΈ "ΠΠΉ-ΠΠ΅ΡΡΠΈ. ΠΡΡΠΌ" ΠΈΠ· Π’ΡΠ΅ΡΡΡΠΊΠΎΠ²ΡΠΊΠΎΠΉ Π³Π°Π»Π΅ΡΠ΅ΠΈ. ΠΡΠ°ΠΆΠ° ΡΠΎΠ²Π΅ΡΡΠ°Π΅ΡΡΡ, ΠΈ Π΅Π΅ ΠΏΠΎΡΠ»Π΅Π΄ΡΡΠ²ΠΈΡ Π½Π°ΡΠΈΠ½Π°ΡΡ Π²Π»ΠΈΡΡΡ Π½Π° ΡΠ΅Π°Π»ΡΠ½ΠΎΡΡΡ.
ΠΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠ΅ Π½Π°ΠΏΠΎΠ»Π½Π΅Π½ΠΎ ΡΠ»Π΅Π΄Π°ΠΌΠΈ ΡΠ°ΡΠΏΠ°Π΄Π°ΡΡΠ΅Π³ΠΎΡΡ ΡΠΎΠ·Π½Π°Π½ΠΈΡ, ΠΊΡΠΈΠΌΠΈΠ½Π°Π»ΡΠ½ΡΠΌΠΈ ΡΠ»ΠΈΠΊΠ°ΠΌΠΈ, Π±Π°ΡΠΎΡΠ½ΡΠΌΠΈ ΡΠ°Π½ΡΠ°ΠΌΠΈ ΠΈ ΠΎΡΡΡΠΎΡΠΌΠ½ΡΠΌΠΈ ΡΡΠΆΠ΅ΡΠ½ΡΠΌΠΈ ΠΏΠΎΠ²ΠΎΡΠΎΡΠ°ΠΌΠΈ. ΠΠ²ΡΠΎΡ ΡΠ°Π·ΠΌΡΡΠ»ΡΠ΅Ρ ΠΎ ΡΡΠ΄ΡΠ±Π΅ Π ΠΎΡΡΠΈΠΈ, ΠΏΠΎΠΈΡΠΊΠ΅ Π½ΠΎΠ²ΡΡ Ρ ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΡ ΡΠΎΡΠΌ ΠΈ ΠΌΠ΅ΡΡΠ΅ Π±ΡΠΌΠ°ΠΆΠ½ΠΎΠΉ ΠΊΠ½ΠΈΠ³ΠΈ Π² ΡΠΈΡΡΠΎΠ²ΠΎΠΌ ΠΌΠΈΡΠ΅.
Ramov A., 2024, Urban Prose
This satirical dystopian novel, infused with burlesque elements, plunges the reader into the mind of a protagonist convinced that stealing Arkhip Kuindzhi's painting "Ai-Petri. Crimea" from the Tretyakov Gallery is the only way to help his country retain the peninsula. The theft occurs, and its consequences begin to ripple through reality.
The book is filled not only with traces of the hero's disintegrating consciousness, criminal clues, baroque dances, and witty plot twists, but also with the author's reflections, echoing the philosophical novels of the Enlightenment, on contemporary concerns: the fate of Russia, the search for new artistic forms, and the place of the physical book in the digital age.