Real poets who are not ashamed to be what they are.

Real poets who are not ashamed to be what they are.

God, return Regina Olsen to Kierkegaard until pregnant freedom has sinned. Lord, let each one decide for himself what Isaac is. The folklore of V. Slapchuk’s verlibrium adds a special Ukrainian spirit to the texts, in which there are myths and traditions, superstitions and subtle irony. Undoubtedly, and without undue pathos, this poet can be considered a true exponent of pro-Ukrainian values. This content is also transmitted in a modern perfect form. V. Slapchuk’s miniatures often acquire an aphoristic meaning, sharply seasoned with humor, irony, and in some places with atyra. His poetry demonstrates true organicity in the coexistence of man and nature, man and God, nature and God. This is a poetic and just world, and, most importantly, we can believe that all this is quite real, and not somewhere, but here, in us, on God’s chosen earth: So that the larks in the sky do not perish – everyone has a silver bell on neck hanging. And as the cows, returning from the pasture, roll the sun with their horns over the horizon – silence comes. The owner of larks prays to God. V. Slapchuk in modern Ukrainian poetry is a separate figure with his unique silhouette. Strong ties with national traditions and an unmistakable sense of the word formed a clear author’s handwriting. If you meet the following stanza: The prince went fishing, laughing at the world. Girls put virtue on the altar of spring. Birds – pilgrims are inspired to burn notes. A virgin spring is already pregnant in the summer – then you can be sure: in front of you – Vasyl Slapchuk. A poet, of whom we have few. A poet who came out of the people and is not ashamed of this fact. Here they are, poets, conditionally combined under the cover of the anthology "Eighties 2". What unites them? What phenomenon is mentioned in the title of this afterword? Collected together in this Anthology, the poets of the tens create a certain phenomenon. Together they create a new quality in the context of modern Ukrainian poetry. Having received a feeling of true pleasure in many pages of the Anthology, the author of these lines hopes that this is not the last meeting with these poets. There are six of them. Six outside the canon. And God forbid. Maybe someday there will be more. But six is ​​a lot. If it’s poets. Real poets who are not ashamed to be what they are. And "there is so little joy around" … So few holidays. And yet, every meeting with poetry is already a small holiday and a small joy. As pathetic and funny as it may sound. Accumulating the reader’s experience of poetry, he is increasingly inclined to share Slabchuk’s assertion that "poetry is what is consumed through a straw." So I confessed to one of the authors whose poetic experience impresses me the most today. I do not make any reservations, although, of course, someone will want to use my confession to accuse me of "territorial lobbying" of certain literary figures. V. Slabchuk’s new poetic book "Clockwise Injection" is perceived as a whole. The author rejects the role of a rally poet or a kind of Europeanized dandy, in love with his own ability to speak beautifully. V. Slabchuk meditates aloud, and hence the form and tone of the presentation – intrusive, self-ironic, mostly paradoxical statements that suddenly collapse, like the sounds of a shot in the silence of the forest: The week is over, but there is no one to ask: when will we become human? (collection "Van Gogh’s Shoes"). The paradoxical nature of the statement is also not the subject of the author’s poetic reflections. Slapchuk has not wanted to surprise anyone for a long time. He is an existentialist in its brightest manifestation: only the world of nature, the world of harmony, the world of man, who strangely resists and even destroys this world harmony, is his world, which he reveals to people: This world is lonely and dumb, it needs help. , why are you so sad Bogdan-Igor Antonych? Antonych grew, the grass grew, the grass is now mown. All unspoken words are an offering of autumn. (collection "Van Gogh’s Shoes"). This world cannot be imagined by Slabchuk without a Woman who gives it meaning and mystery; which creates and destroys men’s ideas about this world: I counted the raindrops, I counted the stars … And I know how many women under the sky. I’m wrong about you. (Coll. "Drawing in the Dark"). Mostly V. Slapchuk talks about things that everyone knows; the poet speaks of "banal things," but he is not afraid to appear "banal" again and again and returns to the seemingly long-known. In some ways, his lyricism reminds me of a blind Shevchenko kobzar – a jerk. And even faster than our wandering philosopher – Ritska Skovoroda: mechanism ". Hence, in V. Slabchuk’s poems there is a certain simplicity (not simplification!), Transparency of thought, dialogic construction: Counter: God bless you! Vitik: forever. Counter : how are you? Vitik: so that you live like that. And Vityk quarreled in this way with all the villagers. ("Five Stories of That") Of course, this unobtrusiveness of Slabchuk’s poems is his position today. And like any position , it can repel if a person is not internally ready to accept it. But the fact that the poet himself does not absolutize it, does not make it a "fetish" of his poetry and worldview in general, speaks in its favor. He suffered her, he has a right to it. And we have no moral right to drive the poet into the "Procrustean bed" of his own aesthetic ambitions and visions. Slapchuk’s "trilogy" is distinguished by the clarity and quality of poetic writing. But this is a person’s ability to make comparisons, especially w hen the author offers the reader a choice. In my opinion, the second book "Drawing in the Dark" looks a little paler than the first and third. Not worse, but paler. Perhaps the author unknowingly provoked such an assessment, preferring in this book a descriptive-elegic rather than a contrasting-metaformical element. Although in general it leaves the impression of a subtle, masterful inlay without inappropriate in this particular design of the Baroque forms. Bright and clean writing of V. Slapchuk’s poems. Despite a certain tragic framing of certain themes, his poetry is full of hope in Man. Slapchuk is very tactful in his words, he is very gentle in his words, which, however, does not prevent him from remaining courageous and firm in his convictions: He appeared, but no one asked: who are you? When he left them, no one asked: where is he? That’s why this song is not about him, but about those who remained. ("Song of Men" from the collection "Winged Man"). You can talk for a long time about the poetry of V. Slapchuk, but it is better to listen to it, read aloud and think about the poet, "whose silence does not fit in the word" … References:

Literary encyclopedia. In 4 volumes. – K., 1994; Ukrainian and foreign culture. – K., 2000.


Borys Dmytrovych Hrinchenko is an outstanding Ukrainian writer, scientist and linguist

Borys Dmytrovych Hrinchenko is an outstanding Ukrainian writer and scientist, critic, linguist, educator and public figure of the late 19th and early 20th centuries. He was revered by I. Franko, M. Kotsyubynsky, Lesya Ukrainka, P. Grabovsky and other prominent contemporaries.

BD Grinchenko was born on December 9, 1863 in the village of Vilkhovy Yar in the Kharkiv region, now Sumy region, in the family of a retired officer from an impoverished nobility. The family owned 19 acres of land, mostly forest, and a water mill. My father knew the Ukrainian language well, but he spoke it only with the peasants, and at home they spoke only Russian. But the boy from an early age loved to listen to the melodic, poetically gentle native language. He learned to read and write in the family and early enough – reread everything that was in his parents’ library and under the influence of what he read began to write poetry. In 1874 he entered the Kharkiv Real School. At this time, the socio-political position of B. Hrinchenko, a young man, his attraction to revolutionary populism is being formed. It is worth mentioning that Kharkiv was one of the largest centers of anti-tsarist activities of the populists. It was then, under the influence of "Kobzar", he began to collect and record heard songs, legends, fairy tales and others. folklore materials. "The first literary teachers" B. Grinchenko calls V. Scott, D. Byron, V. Hugo, O. Pushkin, M. Nekrasov, O. Koltsov. They contributed to the formation of the strong-willed character of the writer. On December 29, 1879, a 16-year-old boy was arrested for "reading and distributing" the forbidden book by S. Podolinsky "Steam Machine". As a result, he was banned from studying in higher education. After a year of exile on his father’s farm, B Hrinchenko returned to Kharkiv in search of work. In the indescribably difficult financial conditions earned by tutoring, he tried to somehow exist, and even work hard on himself, preparing for an externship at Kharkiv University to become a public teacher. In 1881 he successfully passed the exam. And he endured the hardships, all kinds of difficulties courageously, drowning them out with self-education, books and poetry. Not everyone was capable of this. Populist ideas captivated the soul of the young poet and teacher, and he enthusiastically plunged into the whirlpool of public affairs, continuing to stubbornly improve their knowledge of the history of his native land, language, culture. Having received the right to work at school, B. Hrinchenko sought to use his knowledge in the field of education on the models of folk pedagogy and world science of education. But reality has made its adjustments. The young teacher is sent to work in a backward village inhabited by Russian immigrants. This school in Vvedensky was remembered forever, but did not disappoint his belief in the importance of the teacher in society. In 1883, after a summer teacher’s course, he took a position in the village of Oleksiyivka, Zmiiv district. In Zmiiv, at a teacher’s course, Borys Hrinchenko met a young teacher, Maria Mykolayivna Hladylina. This meeting was the most important in his life. Sincere heartfelt conversations, common interests, correspondence brought them together so that they called each other only in a family way: "Sister Marusya" "Brother Boris". In early 1884 he married Maria Nikolaevna, who became his faithful friend and colleague in all matters, and later – a writer and translator. Maria Mykolayivna gave Borys Hrinchenko the support he lacked so much. It was difficult for the writer, alone at that time, to endure what he saw and experienced, and there were no like-minded people, sincere and faithful.