Аннотация: A Literary World. A literary and historical essay.
A Literary World. A literary and historical essay.
The 'literary world' and a subjective impressions of the literary world are volatile.
Accordingly, the stated opinion has a temporary, situational, subjective (debatable) character.
But we will express ourselves for the purpose of 'historical observation' on a process.
1. Four segments of the literary world.
A 'Modern Russial literature' can be represented as a phenomenon consisting of four segments.
1.1. The first segment is a fake literature, a pseudo literature. Practically there is no real book market, no substantial real circulations, no real opportunities for real writers to live by getting real royalties...
What remains? There are opportunities for the edition, for the publication - through a using of a certain (the mysterious) resources, sources, expences - of a certain books from certain authors, for production of a public fake: "We have a literature!".
In other words, you can point to someone or something, to a some thing - to show as an example, for an impression, to create a public illusion.
1.2. The second segment is a mass literary trash.
Somewhere a number, a digit sounded - about two million books are published annually in Russia. Sometimes you spend a some time and you read a something ... The general impression (with a degree of exaggeration and subjectivity) is this.
One third of these "two million" are written by the authors personally. In this first third there is, also, a something interesting. The rest is a nonsense, disguised as a mystery, or in an other way.
The second third is written by a literary factories.
Another third is manufactured by a computer programs.
No one reads most of these books (from literary garbage), does not publish, does not buy [such a books are offered to order. They will be made on demand]. But due to certain circumstances it is beneficial for the authors of these books to represent themselves under covering of images of creative individuals, of participants of the literary process, of representatives of the creative layer, of intellectuals.
1.3. The third segment is a historical surnames. They are skillfully grouped, appear at the right time for a video recording and for photographing, they pronounce the necessary words and create a general impression for the public: 'We are fine!' "We are doing well!."
The first, second and third segments act in a certain harmony, masking the fact of destruction and the lack of a national book market, masking the process of eliminating literature as an element of culture.
1.4. The fourth segment is an entertainment books. These books are really read, really published and really sold. They bring a real income. As a rule, they are sold in places of departure of passengers of air, rail and other modes of transport (or in similar profitable places).
2. The hierarchy of the Literary World.
2.1. A literary bosses.
It is a mistake to think that an outstanding thinkers or writers are at the head of the literary world.
The leadership of the literary world is as fake in nature as a modern Russial literature.
A process of ruling (for the modern 'Russial literature') means an access to power and money, and to produce fakes. To organize a various exhibitions, meetings and other events. To receive and to spend money for all this. To oust (unexpected) competitors if any appear...
Those personalities (a loyal members of a ruling literary circle) who have some literary abilities and have the potential to create a literary product with some social value and significance, are especially valuable to the circle of a literary bosses .
Such personalities are provided with a warm place in the hierarchy, with a financial supply, with a kind of "literary slaves." One way or another, on a literary field, as a result of the efforts of such individuals (and their environment), a something is grown. In a prefaces, in a forewords all members of the leadership group are glorifing.
The activities of the respective creative individuals (who has a non-zero creative abilities) makes a general reputation for all (generally, helpless in the creative sense) members of a literary leadership. - These individuals with their "potential" and their activities are "useful." At least their works can be advertised and glorified. In the readership, in the public, an interest in their works is either not significant or minimal.
2.2. A literary subordinates.
Under the bosses of the literary world is a layer of "literary subordinates." A "literary subordinates" include those people who, either because of their sincere desire to participate in cultural development, in the literary process, or because of their self-serving cynical calculation, are willing to spend personal money to acquire a personal badge (or a 'crust' ["official" identity document]) with the word "writer."
Russian literature has enormous authority, tradition, history, and world reputation.
A "Russial literature" is trying to present itself as a kind of successor to Russian literature. Accordingly, "literary subordinates," - those who are fascinated by Russian literature, who are under impression of a Russian literature - being under hypnosis, dance to other people 's music. Naturally, people of such a warehouse are unable to write a something significant.
One can ask a theoretical question: do literary bosses have their share of money from amount spent by literary subordinates to obtain the status of "writer" ("modern" 'Russial' "writer" - to be exact)?
2.3. An independent authors.
By independent authors it is possible to mean those who for a various reasons do not dance to other people 's music.
Independent authors can be divided into three groups.
The members of the first group do not write anything noticeable. They are of no interest to anyone. And to them simply do not pay any attention (which is a neutral kind of boycott).
The second and third groups are those who write something significant. Naturally, they are in no way needed by the literary leadership and those above it. They are all boycotted. The maximum that representatives of the second and third groups can count on is the placement of works on Internet platforms for free publications.
The second group differs from the third in that it rapidly loses energy, the ability for creative activity and rapidly precipitates (is rapidly falling on the bottom).
The third group includes those who write something noticeable and significant, and who act for a fairly long, a noticeable period of time.
As noted above, a boycott is applied to the third group as the main method. However, in some cases, the boycott is supplemented by other methods (approaches).
Direct and indirect pressure methods may be used.
Of the literary gimmicks and tricks, we can mention the method of creating quasi-doubles and the method of indirect review. We wrote about these methods (for example: 'Sketch on the theory of literary conspiracy', "The Concept of a Quasi-Double. Sociological essay", "The "Cultural" "aziatchina". The sketch").
The old-new method - a bringing counters to full or partial failure, malfunction on the platforms of free publications - with the aim of to make it harder for the author and readers to orient in the dynamics of popularity of literary works and a change of a level of readership interest.
Sometimes it happens. At first, the counters deteriorate partially, and, when necessary, completely.
There is an option of a game - a blocking the author 's access to own (author 's) content, and, also, - an other variants of a digital games.
A literary prankers with pseudo-reviews are sent to the author in order to, in case of a 'success', depict a human credulity in the form of a stupidity of a personality.
Tricks allow to continue boycott, to continue a production of illusion of the "invisibility" of the independent author, but at the same time to create an additional difficulties and obstacles for the independent author in his work.
A creative independence, a creative autonomy, - all it is not welcome.
3. A summation.
The modern literary world is a fake with a specific hierarchical structure and a specific layer of bosses.
The Great Literary Russial Fake is intended to mask the fact of destruction and the lack of a national book market, to mask the process of a liquidation of literature as an element of modern culture, to mask the processes of elimination of culture (in a whole) and gradual immersion in a cave state.
These are some (subjective, debatable) impressions of the current state of the modern literary world.
March 20, 2020 10:28
Translation from Russian into English: March 21, 2020 08:37.
Владимир Владимирович Залесский 'Литературный мир. Литературно-исторический очерк'.