Deep knowledge believes that a true talent can reach those who are ahead, those who are ahead, who will never be left behind when they go in a line. An uneducated, untalented writer (not a writer), on the other hand, is unable to reach anyone and tries to knock him down, to put a rag around his neck, to obscure his taste, and to prevent him from walking. A true talent is not jealous of each other, he envies each other, inspires each other. It will not be a competition between them, but a power-competition that will move our society forward.
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Criticism should not be a broker between a bad work and a reader, a broker who sells his conscience to a sweetheart.
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There are writers like this: they make a name for themselves in the first half of their lives. He feeds his name. In the second half of his life, his name feeds him. This should not be the case in the literature. It is right to say that a great writer is a great writer and a young writer is a young writer.
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Why does the police whistle at someone who breaks the rules of the road, and no one whistles at people who break a whole language.
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When we fight against evil, on the one hand, we must not allow those who try to condemn our lives under the pretext of evil, on the other hand, we must criticize those who were previously suffocated and now play in the open air and "spoil the melon"; we have to give…
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In both the classics and folk literature, boys usually praised the girls they loved: your eyes were like that, you were like that, in many modern songs girls praise themselves: that's my fat, that's my fat they say.
"Poet, the initiative must come from a man, and the nightingale's man sings too!" there is no one to say.
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I was in my sixties: my life was not in vain, I left a mark on life when people needed me.
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If a writer’s code of ethics were to be drafted, I would honestly make courage the first item, because all other qualities of a writer depend on how honest and courageous he is.
To write a literary work, of course, requires talent, but talent alone is not enough to erase what is written, to leave only what the reader needs, and honesty is also needed.
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Many craftsmen lose their beloved craft in old age: the kid does not ride a horse, the trumpet player does not blow well, the player cannot lift his leg. The writer is like a dutar or a wine - it opens up as it gets older, its power increases.
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I’m glad I’m in my sixties with ease. There is only one place to be happy about this: I have forty years of experience in writing. This experience is very helpful to me in spending the rest of my life effectively.
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A person who is able to strike a thousand ketmons, to tear down a mountain, does not stretch out with one ketmon, does not fan himself, does not expect praise and good fortune. Hitting one ketmon and looking around in the hope of praise and good fortune shows that one is incapable of beating the second ketmon.
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When a writer insists on following his youth, his talent shrinks, he grows old early, then he insists on following his old age, and when he sees the gas of universal literature, he sighs and revolves,
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The author enters the literature in two ways: holding on to his first work. flourishes with his first work.
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It is only natural for a person to want to wash away his sin with someone else's sin, because he can never wash away his sin with sin.
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A writer who sticks out takes a long time, writes out of the womb, not out of the heart, the writer stays out for the rest of his life, never out of the light, never attracting anyone’s attention. A writer who is passionate about writing thrives from work to work (not out of his stomach, but out of contentment), and such writers immediately attract the attention of a literary lover. Eventually, it turns into an inextinguishable fire forever. I am a literature lover. so I rejoice when I see young people flourishing in literature, and I express my joy by expressing gratitude to that young man himself. It means blowing hot coals…
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Writers who have spent a lifetime in literature never go beyond their neighborhood, but consider themselves classics. So these can be called neighborhood classics.
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1. Criticism does not look at our literature from the heights of great literature. Local classics are emerging. It is interested in the fact that the works of the classics are not translated into Russian.
2. A strange "theory" is growing and drying up. Once there was a "theory" that there can be no work without a positive hero, now in comedy there is a "theory" that a positive hero is a must. No one has anything to do with such incidents.
3. Our critics are not trying to get out of the alliance, they say "this place is peaceful."
4. There is no definite statement in the field of aruz, can aruz be one of the main ways of our modern poetry? Aruz often serves formalism!
***
I saw a picture as a child. The lead role was played by Charlie Chaplin, apparently. The protagonist is naughty, naughty - useless. Eventually, a relative hires him to the transfer team.
"What am I doing here?" Asks the hero.
'Here is the hose,' they say to him, 'wherever you see grass or smoke, you scream and spray water.
The protagonist can do it, but in front of him there is no light, no cigarettes, no screaming and no water.
God forbid a critic who is equal in intellect!
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No one will ever lift a writer. A good writer is raised by good works, and a good writer is unaware that he has risen.
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The more dangerous the microbe, the larger the microscope that needs to show it. A person who is caught in the fire of satire does not look people in the face if he has a conscience, if he is not conscientious he runs after the writer with an ax, foaming at the mouth.
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There is no doubt that talent is needed to write a literary work, but it is not enough talent alone to erase what is written, to leave only what the reader needs.
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A children's writer, of course, has to be a talented, knowledgeable educator, but on top of that, it's a lot of money if he's not human.
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A work written without necessity, without inner pain, without passion, is dead. No idea, no important subject can inspire such a work.
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There will also be people in literature who fall out of a hole like a thief cat. They turn literature from a profession to a profession, that is, for a living. Such people existed in ancient times, and still exist today, and perhaps even later.
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Life is a magnet, and a writer can only attract a reader if he can infect that magnet.
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The critic, who has been making a living as a critic in literature, is like a cowardly guard, frightened by every ghost.
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Fat as a bite As
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The heart of a fat book doesn't beat well…
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It is necessary to drive a car that paves the raw material.
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The difference between writing and other professions is that the writer is self-operative: he can shorten what he writes.
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In front of a writer like this, the inspiration fairy wears a veil…
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From this book, it seems that you have learned to live according to the money given by the literature fund…
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Yes, I read it, but it’s an indigestible work. You can't eat an egg by sprinkling pepper on it, can you?
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A work is not a work if it is not included in the great literature. If the bar is brought in along the neck, it will be underfoot.
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The skill of the writer is that he can lock the whole spring into a cotton that only comes as a seed…
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Love dutor, if you do not take care, will endure.
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A critic who spends his time criticizing literature for no other reason is like a cowardly guard, frightened by every ghost.
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This man thinks that the work of writing consists only in writing.
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Literature is stronger than the atom, but its power should not be spent on chopping wood.
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Literature is no different from a worm that lands on an apple, a writer who has turned it into a profession.
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The better the speech, the shorter it will be.
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There are also critics who criticize a work by one author and then wait for a new work by the same author. He will be about to "say a good word and wash away the former."
