Soviet writer, translator, prose writer, publicist, screenwriter.

Born on August 28, 1925 in Moscow in the family of a professional revolutionary who participated in the armed uprising in Rostov (went through exile and hard labor), in the organization of the Red Guard in Petrograd in 1917, in the civil war, in 1918 he saved the gold reserves of the republic, worked in Military Collegium of the Supreme Court. For the future writer, his father was a true example of a revolutionary and a human being. For a twelve-year-old boy, the arrest of his father, of whose innocence he was confident both in 1937, when it happened, and later, was a tragedy. In 1938, the mother was also arrested. The “son of an enemy of the people” could not enter any university after high school, so he had to work at an aircraft factory as a mechanic, a shop manager, and an editor of a factory magazine.
Having received the necessary work experience, Trifonov entered the Gorky Literary Institute, from which he graduated in 1949. He gained fame after the publication of the novel “Students” (1950).
In the spring of 1952, he went on a business trip to the Karakum Desert, to the route of the Main Turkmen Canal. On long years writer's fate Yu.V. Trifonova turned out to be connected with Turkmenistan. In 1959, a cycle of stories and essays “Under the Sun” appeared, in which the features of Trifonov’s own style were first identified. In 1962 he wrote the novel Quenching Thirst.
The rehabilitation of his father (1955) made it possible in 1965 to write a documentary story, “Reflection of the Fire,” based on his father’s surviving archive.
In 1966-1969 he wrote a number of stories - “Vera and Zoyka”, “In the Mushroom Autumn”, etc.
In 1969, the first story from the urban cycle “Exchange” was published, followed (1970-1976) by “Preliminary Results”, “The Long Farewell”, “Another Life”, “House on the Embankment”.
In 1973, a novel about the Narodnaya Volya members, “Impatience,” was published, exploring in man the “ineradicable genetic code of history,” which links together the past, present and future.
IN last years The novel "The Old Man" and the cycle of short stories "The Overturned House" were written.

Writer

Laureate of the State Prize of the third degree (1951)

Knight of the Order of the Badge of Honor

Awarded the medal “For Valiant Labor in the Great Patriotic War” Patriotic War»

“In order to understand today, you need to understand yesterday and the day before yesterday.” Yu. Trifonov

Yuri Trifonov was born on August 28, 1925 in Moscow in the family of Bolshevik, party and military leader Valentin Andreevich Trifonov.

His father went through exile and hard labor, participated in the armed uprising in Rostov, in the organization of the Red Guard in Petrograd in 1917, in the civil war, in 1918 he saved the gold reserves of the republic, worked in the Military Collegium of the Supreme Court. For the future writer, his father was a true example of a revolutionary and a human being.

Trifonov's mother, Evgenia Abramovna Lurie, was a livestock specialist, then an economic engineer. Subsequently she became a children's writer - Evgenia Tayurina..

Father's brother, Evgeniy Andreevich - army commander and hero Civil War, also a writer, published under the pseudonym E. Brazhnev. Grandmother T. A. Slovatinskaya, a representative of the “old guard” of the Bolsheviks, lived with the Trifonov family. Both mother and grandmother had a great influence on the upbringing of the future writer.

In 1932, the Trifonov family moved to the Government House, which more than forty years later became known throughout the world as the “House on the Embankment”, thanks to the title of Trifonov’s story.

In 1937, the writer's father and uncle were arrested and were soon shot (uncle in 1937, father in 1938). For a twelve-year-old boy, the arrest of his father, of whose innocence he was sure, was a real tragedy. Yuri Trifonov’s mother was also repressed and served a prison sentence in Karlag. Yuri and his sister and grandmother, evicted from the apartment of a government building, wandered and lived in poverty.

With the outbreak of war, Trifonov was evacuated to Tashkent. In 1943 he returned to Moscow. The “son of an enemy of the people” could not enter any university, and got a job at a military factory. Having received the necessary work experience, in 1944, still working at the plant, he entered the Literary Institute.

Trifonov said about his admission to the Literary Institute:

“Two school notebooks with poems and translations seemed to me such a solid application that there could be no two opinions - I would be accepted to a poetry seminar. I will become a poet... As an appendage, completely optional, I added to my poetic creations a short story, about twelve pages long, under the title - unconsciously stolen - “The Death of a Hero”... A month passed, and I came to Tverskoy Boulevard for an answer. Secretary correspondence department said: “The poems are so-so, but the chairman liked the story admissions committee Fedina... you can be accepted into the prose department.” A strange thing happened: the next minute I forgot about poetry and never wrote again in my life!” At the insistence of Fedin, Trifonov was later transferred to the full-time department of the institute, from which he graduated in 1949.

In 1949, Trifonov married an opera singer, soloist Bolshoi Theater Nina Alekseevna Nelina. In 1951, Trifonov and Nelina had a daughter, Olga.

Graduate work Trifonov, the story “Students,” written by him between 1949 and 1950, brought him fame. It was published in the literary magazine “New World” and awarded the Stalin Prize in 1951. The writer himself subsequently treated his first story coldly. Despite the artificiality of the main conflict (an ideologically devout professor and a cosmopolitan professor), the story carried the beginnings of the main qualities of Trifonov’s prose - the authenticity of life, the comprehension of human psychology through the everyday.

In the spring of 1952, Trifonov went on a business trip to the Karakum Desert, on the route of the Main Turkmen Canal. For many years, Yuri Trifonov’s writing life was connected with Turkmenistan. In 1959, a cycle of stories and essays “Under the Sun” appeared, in which the features of Trifonov’s own style were first identified. In the late 1950s and early 1960s, Trifonov wrote the stories “Bakko”, “Glasses”, “The Loneliness of Klych Durda” and other stories.

In 1963, the novel “Quenching Thirst” was published, materials for which he collected during the construction of the Turkmen Canal. But the author himself was not satisfied with this novel. And in the following years, Trifonov was engaged in writing sports stories and reports. Trifonov loved sports and, being a passionate fan, wrote enthusiastically about it.

Konstantin Vanshenkin recalled:

“Yuri Trifonov lived in the mid-fifties on Verkhnyaya Maslovka, near the Dynamo stadium. I started going there. He played up (football jargon) for CDKA for personal reasons, also because of Bobrov. On the podium I met the hardcore Spartak players: A. Arbuzov, I. Shtok, and then aspiring football statistician K. Yesenin. They convinced him that Spartak was better. Rare case".

For 18 years, the writer was a member of the editorial board of the magazine “Physical Culture and Sports”, wrote several scripts for documentaries and feature films about sport. Trifonov became one of the Russian founders of the psychological story about sports and athletes.

The rehabilitation of Valentin Trifonov in 1955 made it possible for Yuri to write a documentary story, “Reflection of the Fire,” based on his father’s surviving archive. This story about the bloody events on the Don, published in 1965, became Trifonov’s main work in those years.

In 1966, Nina Nelina died suddenly, and in 1968, Alla Pastukhova, editor of the “Fiery Revolutionaries” series of Politizdat, became Trifonov’s second wife.

In 1969, the story “Exchange” appeared, later - in 1970, the story “Preliminary Results” was published, in 1971 - “The Long Farewell”, and in 1975 - “Another Life”. These stories told about love and family relationships. The focus of Trifonov’s artistic quests constantly arose the problem of the moral choice that a person is forced to make even in the simplest everyday situations. During the Brezhnev timelessness, the writer was able to show how a smart, talented person(the hero of the story “Another Life”, historian Sergei Troitsky), who does not want to compromise his own decency.

Writer Boris Pankin recalls Yuri Trifonov:

“It so happened that after my article “Not in a circle, in a spiral”, published in the magazine “Friendship of Peoples” in the late 70s, Yuri Valentinovich Trifonov brought me every new thing, large or small in volume, with an autograph, or even in a manuscript, as happened, for example, with the novel “Time and Place.” He was selling these new things so thickly that one day I couldn’t resist and asked with a feeling of healthy, white, according to Robert Rozhdestvensky, envy how he managed to produce such masterpieces one after another with such iron regularity.

He looked at me thoughtfully, chewed his full Negro lips - which he always did before maintaining a dialogue - touched his round horn-rimmed glasses, straightened the buttoned collar of his shirt without a tie and said, starting with the word “here”: “Here, you heard, Probably the saying goes: every dog ​​has its time to bark. And it passes quickly..."

In 1973, Trifonov published the novel “Impatience” about the Narodnaya Volya, published in Politizdat in the series “Fiery Revolutionaries”. There were few censored notes in Trifonov’s works. The writer was convinced that talent manifests itself in the ability to say everything the author wants to say and not be mutilated by censorship.

Trifonov actively opposed the decision of the Secretariat of the Writers' Union to remove its leading employees I. I. Vinogradov, A. Kondratovich, V. Ya. Lakshin from the editorial board of the New World, knowing full well that, first of all, this was a blow to the editor-in-chief of the magazine A. T. Tvardovsky, for whom Trifonov had the deepest respect.

In 1975, Trifonov married writer Olga Miroshnichenko.

In the 1970s, Trifonov’s work was highly praised by Western critics and publishers. Each A new book quickly translated and published.

In 1976, the magazine “Friendship of Peoples” published Trifonov’s story “The House on the Embankment,” one of the most notable poignant works of the 1970s. In the story Trifonov made a deep psychological analysis the nature of fear, the nature and degradation of people under the yoke of a totalitarian system. Justification by time and circumstances is typical for many Trifonov characters. The author saw the reasons for betrayal and moral decline in the fear into which the entire country was plunged after Stalin's terror. Addressing different periods Russian history, the writer showed the courage of man and his weakness, his greatness and baseness, not only at the breaking points, but also in everyday life.

Trifonov matched different different eras, arranged a “confrontation” with different generations - grandfathers and grandchildren, fathers and children, discovering historical roll calls, trying to see a person in the most dramatic moments of his life - at the moment of moral choice.

For three years, “The House on the Embankment” was not included in any of the book collections, and in the meantime Trifonov was working on the novel “The Old Man,” about the bloody events on the Don in 1918. “The Old Man” appeared in 1978 in the magazine “Friendship of Peoples”.

Writer Boris Pankin recalls:

“Yuri Lyubimov staged “The Master and Margarita” and “The House on the Embankment” almost simultaneously at Taganka. VAAP, which I was then in charge of, immediately ceded the rights to stage these works in Lyubimov’s interpretation to many foreign theatrical agencies. For everyone. A “memo” immediately fell on the desk of Suslov, the second person in the Communist Party, in which the VAAP was accused of promoting ideologically vicious works to the West.

There,” Mikhalandrev (this was his “underground” nickname) reasoned at a meeting of the Secretariat of the Central Committee, where I was also summoned, looking into the anonymous address, “naked women are flying around the stage. And also this play, what’s it called, “Government House”...

“A house on the embankment,” one of the assistants carefully suggested to him.

Yes, “Government House,” Suslov repeated. - They decided to stir up something old for something.

I tried to reduce the matter to jurisdiction. They say that the Geneva Convention does not provide for the refusal to foreign partners to assign rights to the works of Soviet authors.

They in the West will pay millions for this,” Suslov snapped, “but we don’t trade in ideology.”

A week later, a brigade from the Party Control Committee headed by a certain Petrova, who had previously achieved the expulsion of Len Karpinsky from the party, came to the VAAP.

I told Yuri Valentinovich about this when we were sitting with him over bowls of scalding piti soup in the Baku restaurant, which was on what was then Gorky Street. “The eye sees, but the tooth numbs,” Trifonov said, either comforting me or asking me, after chewing his lips according to his custom. And he turned out to be right, because Petrova was soon sent into retirement “for exceeding her authority.”

In March 1981, Yuri Trifonov was hospitalized. On March 26, he underwent surgery - a kidney was removed. On March 28, while waiting for the round, Trifonov shaved, ate and picked up the Literary Gazette for March 25, where an interview with him was published. At that moment, a blood clot broke loose, and Trifonov died instantly from pulmonary embolism.

Trifonov’s confessional novel “Time and Place,” in which the history of the country was conveyed through the fates of writers, was not published during Trifonov’s lifetime. It was published after the writer's death in 1982 with significant censorship removals. The cycle of stories “The Overturned House,” in which Trifonov spoke about his life with undisguised farewell tragedy, also saw the light of day after the author’s death, in 1982.

The writer himself defined the novel “Time and Place” as a “novel of self-awareness.” The hero of the novel, the writer Antipov, is tested for moral fortitude throughout his life, in which one can discern the thread of fate chosen by him in different eras, in various difficult life situations. The writer sought to bring together the times that he himself witnessed: the end of the 1930s, the war, the post-war period, the thaw, modernity.

Trifonov’s creativity and personality occupy a special place not only in Russian literature of the 20th century, but also in public life.

In 1980, at the suggestion of Heinrich Böll, Trifonov was nominated for competition Nobel Prize. The chances were very great, but the death of the writer in March 1981 crossed them out.

Trifonov’s novel “Disappearance” was published posthumously in 1987.

He was buried at the Kuntsevo cemetery.

Interview with Olga Trifonova: “I dreamed about them in reality...”

- Olga Romanovna, how did you meet Yuri Trifonov?

Oddly enough, the first meeting took place when I was still going to kindergarten, and Trifonov passed by every day on his way to work. I remember it because of the black tube case in which the wall newspaper lay. In those days, he was a simple worker, a pipe drawer at a military factory, and at the same time edited a wall newspaper. I couldn't know this. We met at the Central House of Writers restaurant. In those years there was a wonderful atmosphere, inexpensive and tasty. Yuri Valentinovich frequented this restaurant. He was quite famous, Firelight had already been released. Trifonov looked at me gloomily and angrily. Then he explained that he was irritated by my happy appearance.

The romance proceeded dramatically, we converged and diverged. It was difficult for me to leave my husband; it would be better if we lived poorly with him. The feeling of guilt was so heavy that it poisoned the first months of Yuri Valentinovich’s and my life. The visit to the registry office for the divorce procedure was also difficult for him. I saw this and said: “Okay, God bless him, don’t need it yet.” But I was pregnant, and soon we got married. He lived in an apartment on Peschanaya Street, which he loved very much. It seemed very wretched to me, but I understood that I would have to pick him out of it, like a Japanese samurai. One day a guest from America came to us and remarked: “Losers live in such an apartment.”

- Was it difficult to live with a famous writer?

It's surprisingly easy with him. A very tolerant person who does not claim other people’s living space. He had an amazing sense of humor, was amazingly funny, we sometimes laughed until we had Homeric fits. And then, he was trained to do housework like this: to wash the dishes and run to the store for kefir. True, I spoiled him quite quickly - it’s not good to send Trifonov himself to the laundry! The buzzword back then was “somewhere,” and one day I started snatching the plates that he was going to wash out of his hands, and he said, “Stop it, somewhere I like it.”

- In Trifonov’s diaries and workbooks, which came out with your comments, I read that in the sixties he had to get by with odd jobs and get into debt.

The debts were large. Then friends helped. Playwright Alexei Arbuzov often lent money. Life was not easy financially, and at times it was simply difficult. “I sometimes reached the ruble, don’t be afraid, it’s not scary,” he once told me, also at a difficult moment.

- Was he easy on money?

I remember a relative of his who was going to Spain came to see us. She said that she would go to work in the vineyards and buy jeans for her son and husband. Yuri followed me into the kitchen and asked: “Olya, do we have currency in the house? Give it to her." "All?" “That’s it,” he said firmly. When we were abroad, he always warned: “We must bring gifts to all relatives and friends, the fact that we are here with you is already a gift.”

- Yuri Trifonov was already famous when he wrote “The House on the Embankment.” And it seems to me that this story alone is enough for a writer’s fame. And yet, at that time it was not easy to get such a book through.

The story's publication history is very complicated. “The House on the Embankment” was published in the magazine “Friendship of Peoples” only thanks to the wisdom of the editor-in-chief Sergei Baruzdin. The story was not included in the book, which included both “Exchange” and “Preliminary Results”. Markov made sharp criticism at the writers' congress, who then went to Suslov for reinforcements. And Suslov uttered a mysterious phrase: “We all then walked on the edge of a knife,” and this meant permission.

- Were you familiar with Vladimir Vysotsky?

Yes, we met at the Taganka Theater. Trifonov loved Vysotsky and admired him. For him, he was always Vladimir Semenovich, the only person whom he, who could not stand “Brezhnev’s” kisses, could hug and kiss when he met. We saw that behind the appearance of a shirtless guy there was a very smart and educated man. Once we met in the same company New Year. One thousand nine hundred and eighty was the last year in Vysotsky’s life. Our dacha neighbors gathered stars. There was Tarkovsky, Vysotsky and Marina Vladi. People who loved each other dearly felt disconnected for some reason. Everything is like cotton wool. It seems to me that the reason was that the food was too luxurious - a large meal, unusual for those times. Food humiliated and separated. After all, many were simply poor then. Tarkovsky was bored and amused himself by taking Polaroid pictures of the dog from strange angles. We were sitting next to Vladimir Semenovich, I saw a guitar in the corner, I really wanted him to sing. I awkwardly flattered him: “It would be nice to call Vysotsky, he would sing.” And suddenly he said very seriously and quietly: “Ol, but no one here except you wants this.” It was true.

- Tell me, did Yuri Valentinovich have any enemies?

More likely, envious people. “Wow,” he wondered, “I live in the world, and someone hates me.” The worst human quality revered vindictiveness. There was such a case. His story “The Overturned House” was in the magazine “New World”. One of the chapters describes our house, drunken movers basking in the sun near the Diet store. And when Yuri Valentinovich came to Diet to order, he was asked to come to the director. “How could you? - There were tears in the director’s voice. “I’ll be fired from my job for this!” It turned out that one writer was not too lazy to come to the store and tell him that soon the whole country would read about the movers. After this story, Trifonov refused to go for orders, however, he was always embarrassed to stand in a special line and did not like privileges. Never asked for anything.

- Even when I was seriously ill...

He had kidney cancer, but that was not what he died from. Surgeon Lopatkin performed the operation brilliantly; death occurred as a result of a postoperative complication - embolism. This is a blood clot. At that time, the necessary medications and filters that caught blood clots were already available, but not in that hospital. There wasn't even analgin there. I begged to transfer him to another, wore expensive French perfume, money. They took the perfume and pushed the envelopes away.

- Wasn’t it possible to have the operation abroad?

Can. When Yuri Valentinovich was on a business trip to Sicily, he was examined by a doctor. He said that he didn’t like the tests and suggested going to the clinic. I found out all this later. When I was told the diagnosis in Moscow, I went to the secretariat of the Writers' Union to get Trifonov's international passport. “Where will you get the money for the operation?” - they asked me. I replied that we have friends abroad who are ready to help. In addition, Western publishing houses signed contracts with Trifonov for a future book without even asking for the title. “The doctors here are very good,” they told me and refused to issue me a passport.

They were buried according to the usual Literary Fund category at the Kuntsevo cemetery, which was then deserted. On the pillow they carried his only order - “Badge of Honor”.

Newspapers reported the date of Yuri Trifonov's funeral after the funeral. The authorities feared unrest. Central house writers, where the civil funeral service took place, was surrounded by a tight circle of police, but the crowds still came. In the evening, a student called Olga Romanovna and said in a trembling voice: “We, MSU students, want to say goodbye...” “Already buried.”

Interviewed by Elena SVETLOVA

Every year more and more new performers appear on TV screens and stages. Someone tries themselves in the genre of cinematography, but when faced with difficulties, they give it up. And someone is fighting for the title of being recognized by the audience, and he succeeds. One of such successful and diligent people is Kirill Trifonov. This is a young aspiring actor, stand-up comedian.

Kirill Trifonov: biography

Despite the fact that our hero carefully hid his date and year of birth, we still managed to find out that he was born on April 1, 1988. He was born in the city of Moscow. After graduating from school, he entered Lyceum No. 1560 “Leader”. Then he continued his studies at State Academy on water transport of the city of Moscow, at the Faculty of Economics and Management. He graduated from it in 2014.

In addition to his acting abilities, Kirill Trifonov sings very well and is an excellent screenwriter. And just a ringleader. Together with two friends and Shuliko Alexander, he came up with one of the popular channels on YouTube called “What the Show.” Here young guys offer small humorous performances. Each video has approximately five million views. This suggests that their topic is relevant and in demand. It must be said that Denis, Alexander and Kirill have been friends since 2008. Then they were members of one of the successful KVN teams.

In all his endeavors, Kirill Trifonov is supported by his beloved wife, Daria Sukhanova. And one-year-old son Vasya is eagerly waiting for his dad to return from tour.

Kirill Trifonov: filmography

In addition to his humorous and musical activities, Kirill is actively involved in acting. To date, he has managed to star in such TV series as:

• “CHOP”, which was released in 2015-2016.
• “Police Days” (2012).
• “Real boys” (since 2010).

He is also a screenwriter for the TV series “CHOP” and “Police Days.”

Many viewers highly appreciated Kirill's skill and are his fans.

Afterword

When asked why their group was called “Bread”, the friends answered: “Bread for English language bread. This word is similar to the Russian "delirium". And the songs are humorous and delusional. That's why "Bread".

In one of the interviews, Kirill Trifonov told how their rap career began. After all, in fact, they do not have music education. The only one among them close to music was Denis Kukoyaka. Actively interested in American rap, it was he who introduced his friends to musical culture.

In their works, the group sings about friendship and love, about animals and about people’s attitude towards each other. When choosing topics for their next works, they set a taboo for themselves - never touch on “dirty” topics.

When Kirill sings, listeners notice that he screams all the time. Trifonov explained this by saying that he has a vile voice and can only scream.

Born in Moscow in the family of a party worker. Trifonov's father began revolutionary activities during the revolution of 1905. After October revolution 1917 became one of the organizers of the Red Army. In 1937 he was repressed.

The history of the family is artistically embodied in many of Trifonov’s works, incl. in the documentary story Glow of the Fire (1965) and in the novel House on the Embankment (1976). In 1942, while evacuated to Tashkent, Trifonov graduated from high school. Upon returning to Moscow, he worked at an aircraft factory. In 1944 he entered the Literary Institute. A.M. Gorky, who graduated in 1949. As a student, in 1947 Trifonov published his first stories. The publication of the novel Students (1950) brought fame to the young prose writer: he was awarded the State Prize and, accordingly, the attention of critics. The theme of the novel was determined by its title: Trifonov wrote about what was well known to him - about the lives of his peers.

After his first success, Trifonov spent a long time searching for his theme in prose and developing his own vision of life. He wrote stories of different stylistic and thematic ranges, published the novel Quenching Thirst (1963), which dealt with the construction of an irrigation canal in the desert. The so-called stories became a fundamentally new stage in Trifonov’s work. "Moscow cycle", in which the life of the capital's intellectuals was comprehended, there was talk of preserving human dignity in the absorbing everyday life.

The first work of the “Moscow cycle” was the story “Exchange” (1969). Her main character, engineer Dmitriev, was tormented by the need to make a decisive moral choice: stay in a communal apartment or move in with her sick mother, with whom Dmitriev built a relationship in such a way that an exchange of living space would be clear evidence for her that her days were numbered. At the end of the story, Dmitriev chose to improve his living conditions, confirming the words of his sister that he had long ago exchanged all the best that was in his soul for everyday comforts. The main characters of the story “Another Life” (1973) are not divided into “good and bad” - the historian Sergei Troitsky and his wife Olga, whose mutual understanding is hampered by spiritual deafness. Understanding of her husband’s inner life, his failed hopes and disappointments (for example, in parapsychology, in which he tried to find a panacea for everyday misfortunes) comes to Olga only after his death - and comes as a gift, and not as a result of logical comprehension. The title of the story “Preliminary Results” (1970) denoted a special type of narrative. The hero of the story, translator Gennady Sergeevich, comes to an intermediate moral milestone, after which his life must radically change. Trifonov was going to make the preliminary results of his life final: the hero had to die. However, as he worked on the story, the writer changed his plans. Gennady Sergeevich survived, became quite prosperous in everyday life, but lost the ability for internal improvement. In essence, his life was reduced to maintaining physical existence. In the same way, the actress Lyalya, the heroine of the story “The Long Farewell” (1971), emerges from a severe mental crisis. Remembering the time when her life was difficult, but mentally intense, she experiences only “a strange instant pain, a compression of the heart, either joy or regret because all this happened to her once.”

Some critics reproached Trifonov for the “everydayism” of his “Moscow Tales”. However, for Trifonov, everyday life is not a threat to morality, but a sphere of its manifestation. In the preface to a separate edition of the “Moscow Tales,” critic A. Bocharov wrote: “Guiding his heroes through the test of everyday life, the test everyday life, it reveals the not always perceptible connection of the everyday, everyday with the high, ideal, reveals layer by layer all the complexity of human nature, all the complexity of influences environment" For Trifonov it has always been important historical theme. It manifested itself directly in the novel about the Narodnaya Volya terrorists “Impatience” (1973). In all the “Moscow stories” one can also feel the author’s view of everyday life from the angle of history. It is most clearly expressed in the novel “The Old Man” (1978), thematically adjacent to the “Moscow cycle”. Using the example of the family of the old revolutionary Letunov, who, in his declining years, reflected on his participation in the bloody decossackization and, at the same time, on the unsettled life of his children, Trifonov showed the close intertwining of the past and the future. Through the mouth of one of the heroes of the novel, he expressed the essence of his attitude to history and everyday life: “Life is such a system where everything is mysteriously and according to some higher plan is looped, nothing exists separately, in shreds, everything stretches and stretches, intertwining one with to others, without disappearing completely.” The novel repeats the thoughts expressed by the hero of the story Another Life by the historian Troitsky - that “man is a thread” stretching from the past to the future, and along this thread one can study moral life society.

The completion of the “Moscow cycle” was the novel “The House on the Embankment” (1976). Its publication became an event in literary and social life. Using the example of the fate of one of the residents of the famous Moscow house, in which the families of party workers lived (including Trifonov’s family during his childhood), the writer showed the mechanism of the formation of conformist social consciousness. The story of the successful critic Glebov, who once did not stand up for his teacher-professor, became in the novel the story of psychological self-justification for betrayal. Unlike the hero, the author refused to justify betrayal by the cruel historical circumstances of the 1930s and 1940s. All creative path Trifonov, from the early novel “Students” to the posthumously published novel “Time and Place” (1981), is devoted to the search for the embodiment of Time - in plots, characters, style.

Trifonov's path:

1942 – graduates from high school in evacuation in Tashkent.

1947 – begins to be published.

1947 - having received the necessary work experience (as the “son of an enemy of the people”, after high school he cannot enter any university, so after school he works at an aircraft factory as a mechanic, a shop manager, and an editor of a factory circulation), Trifonov enters the Literary Institute. M. Gorky, who graduated in 1949.

1950 – the novel “Students” is published (USSR State Prize, 1951), which brought Trifonov fame.

1952 – goes on a business trip to the Karakum Desert, on the route of the Main Turkmen Canal. For many years, Y. Trifonov’s writing life was connected with Turkmenistan.

1955 – rehabilitation of father.

1959 – the cycle of stories and essays “Under the Sun” appears.

1965 – documentary story “Glimmer of the Fire”, created on the basis of the surviving archive of his father.

In 1966 - 69 he wrote a number of stories - “Vera and Zoyka”, “In the Mushroom Autumn”, etc.

1969 - the first story from the urban cycle “Exchange” is published, followed by “Preliminary Results” (1970), “The Long Goodbye” (1971), “Another Life” (1975), “House on the Embankment” (1976).

1970 – collection “Games at Twilight”.

1973 – a novel about Narodnaya Volya members, “Impatience,” was published.

In recent years, the following have been written: the novel “The Old Man” about the fate of the Cossacks during the Civil War (1978), the novel “Disappearance” about the repressions of the 30s. (published in 1987), the novel “Time and Place” (1980), a series of travel essays about trips abroad and memoirs “The Overturned House” (1981).

1981 – Yuri Trifonov died in Moscow.

Main works:

Novels:

“Students” (1950; USSR State Prize, 1951)

“Quenching Thirst” (1963) historical novel “Impatience” (1973)

Documentary-memoir book “Glimmer of the Fire” (1965)

Stories:

"Exchange" (1969)

"Preliminary Results" (1970)

"The Long Goodbye" (1971)

"Another Life" (1975)

"House on the Embankment" (1976)

"Old Man" (1978)

"Time and Place" (1981).

Trifonov Yuri Valentinovich
Born: August 28, 1925
Died: March 28, 1981 (age 55)

Biography

Yuri Valentinovich Trifonov is a Russian Soviet writer, a master of “urban” prose. He was one of the main figures in the literary process of the 1960-1970s in the USSR.

Family

Yuri Trifonov's father is revolutionary, Chairman of the Military Collegium of the Supreme Court of the USSR Valentin Andreevich Trifonov; was shot on March 15, 1938. Mother - livestock specialist, then engineer-economist and children's writer Evgenia Abramovna Lurie (1904-1975; literary pseudonym - E. Tayurina).

In 1937-1938, Yuri Trifonov’s parents were repressed. Together with his sister Tinga (married Tatyana Valentinovna Trifonova), the future writer was raised by his grandmother, Tatyana Alexandrovna Lurie (nee Slovatinskaya, 1879-1957), in her youth a professional revolutionary, participant in the Civil War; During the Great Patriotic War, he lived in evacuation in Tashkent with his grandmother and sister. Grandfather - Menshevik underground worker Abram Lurie (1875-1924); his brother is Aron Luria, publicist, one of the organizers of the Social Democratic “Workers' Banner”; cousin - Soviet politician Aron Solts.

The writer's paternal uncle is Evgeny Trifonov (pseudonym - E. Brazhnov; 1885-1937); his son (cousin of Yuri Trifonov) is the defector writer Mikhail Demin (real name Georgy Evgenievich Trifonov; 1926-1984), author of several poetry collections and autobiographical prose.

Biography. Creation

While still at school, he became interested in literature, was the editor of class newspapers, and wrote poems and stories. In 1942-1945 he worked at an aircraft factory, first as a mechanic, then as a shop dispatcher. There he joined the Komsomol. In the spring and autumn of 1945, he edited the factory newspaper. In 1944-1949 he studied at the A. M. Gorky Literary Institute. Throughout his years of study, he attended seminars by K. A. Fedin, who noticed him, and published stories in the newspaper Moskovsky Komsomolets. Two stories were published in 1948 young writer- “Familiar Places” (in the magazine “Young Collective Farmer”) and “In the Steppe” (in the almanac “Young Guard”, No. 2). Yuri Trifonov's diploma work - the story "Students" (1950), written in the manner of traditional socialist realism, published in the leading literary magazine of the USSR "New World", awarded the Stalin Prize of the third degree and immediately brought the author wide fame - was dedicated to the young post-war generation. However, literally six months after the success of his debut, Trifonov was almost expelled from the institute (more precisely, almost expelled from the Komsomol, since he had already graduated from the institute by that time; as a result, he got off with only a reprimand - Yu. V. Trifonov, “Notes of a Neighbor” , 1972) for not indicating in the questionnaire the fact of his father’s arrest. Subsequently, the author himself spoke coldly about his first book, although he did not abandon it.

After the success of his debut book, Trifonov began to collect materials for its continuation, but the warm welcome that Alexander Tvardovsky initially gave him in his magazine gave way to coldness: Tvardovsky advised Trifonov to start writing stories. The second half of the 1950s - the beginning of the 1960s became a troubled time in creative biography writer. In 1959, a series of stories and essays “Under the Sun” was published, and in 1963, after a trip to Turkmenistan, Trifonov published the novel “Quenching Thirst”, revised four times at the request of the editors, which, despite the fact that it was nominated for the Lenin Prize, was a great success. was not an achievement for the writer. At the same time, Trifonov published numerous stories on sports topics; in 1966-1969 - the stories “Vera and Zoyka”, “In the Mushroom Autumn”, etc., the story “Reflection of the Fire” (1967). In “Glimmer of the Fire,” Trifonov first touched upon a topic that later became one of the main ones in his work: understanding the revolution and its consequences for the country and the people, although the main motive of the book was the acquittal of the rehabilitated father of the writer.

In 1969, the story “Exchange” was published, then “Preliminary Results”, “The Long Farewell”, “Another Life”, “House on the Embankment” (1970-1976). Unofficially, they were combined into the “Moscow Tales” cycle. The action of "The Exchange" and "Preliminary Results" takes place in the late 1960s, "The Long Goodbye" - in the early 1950s, in "Another Life" and "The House on the Embankment" it stretches from the 1930s to the 1970s years. The stories actually introduced the reader to a new Trifonov: wise, sad, vigilantly seeing genuine human dramas in everyday life and trifles, able to subtly convey the spirit and trends of the time.

But it was “The House on the Embankment” that brought the greatest fame to the writer - the story described the life and morals of the residents of a government building in the 1930s, many of whom moved into comfortable apartments (at that time almost all Muscovites lived in communal apartments without amenities, often even without toilets, used a wooden riser in the yard), straight from there they ended up in Stalin’s camps and were shot. The writer's family also lived in the same house. But there are discrepancies in the exact dates of residence. “In 1932, the family moved to the famous Government House, which more than forty years later became known throughout the world as the “House on the Embankment” (after the title of Trifonov’s story).” IN diary entries Yuri Trifonov repeatedly mentions his childhood friend Leva Fedotov, who also lived in this famous house.

In 2003, a memorial plaque was installed on the house: “The outstanding writer Yuri Valentinovich Trifonov lived in this house from 1931 to 1939 and wrote the novel “The House on the Embankment” about it.”

Trifonov's prose is often autobiographical. Its main topic is the fate of the intelligentsia during the years of Stalin's rule, understanding the consequences of these years for the morality of the nation. Trifonov's stories, without saying anything directly, in plain text, nevertheless reflected the world of a Soviet city dweller in the late 1960s - mid-1970s with rare accuracy and skill.

The writer’s books, published in small editions by the standards of the 1970s (30-50 thousand copies), were in great demand; readers queued up in libraries for magazines publishing his stories. Many of Trifonov's books were photocopied and distributed in samizdat. Almost every work of Trifonov was subject to strict censorship and was difficult to allow for publication.

On the other hand, Trifonov, considered the extreme left flank of Soviet literature, outwardly remained a quite successful officially recognized writer. In his work, he in no way encroached on the foundations of Soviet power. So it would be a mistake to classify Trifonov as a dissident.

Trifonov's writing style is leisurely, reflective, he often uses retrospectives and changes in perspective; The writer places the main emphasis on a person with his shortcomings and doubts, refusing any clearly expressed socio-political assessment.

V. Kazak “Lexicon of Russian literature of the 20th century”

In 1973, a novel about Narodnaya Volya “Impatience” was published, and in 1978, a novel “The Old Man” was published. They can be combined into a conventional trilogy, which began with “Glimmer of the Fire”. “The Old Man,” whose hero, an old participant in the Civil War, rethinks his youth and takes stock of his life, has become one of the most significant works of art Soviet literature about the first post-revolutionary years. As always with Trifonov, the story in “The Old Man” is connected with modernity by thousands of invisible threads, the narrative imperceptibly and freely “slides” into different time layers.

In 1981, Trifonov completed the complex, multifaceted novel “Time and Place,” the structure of which was worked out in detail by the writer back in 1974. This book, one of the most autobiographical of the prose writer, received lukewarm reviews from critics of those years: the author was accused of “insufficient artistry” and repeating the past. At the same time, “Time and Place” can rightfully be called Trifonov’s final novel, summing up his work, a farewell to his youth, a sober look in the face of his own illusions and hopes, tough, sometimes even cruel introspection. The novel takes place over four decades - the 1930s, 1940s, 1950s and 1970s.

In 1987, the novel “Disappearance” was published posthumously.
Yuri Trifonov died on March 28, 1981 from pulmonary embolism. He was buried in Moscow at the Kuntsevo cemetery.

By the time of his pen in the 1970s, the main works were also associated with the emergence of the “Trifonov school.” He patronized literary youth, in particular, Alexander Prokhanov emphasized his influence on himself.

Personal life

First wife of Yuri Trifonov (1949-1966) - Opera singer(coloratura soprano), soloist of the Bolshoi Theater Nina Nelina (real name - Ninel Alekseevna Nyurenberg; 1923-1966), daughter famous artist Amsheya Nyurenberg (1887-1979), niece of the artist David Devinov (real name - David Markovich Nyurenberg; 1896-1964). In 1951, Yuri Trifonov and Nina Nelina had a daughter, Olga - married to Olga Yuryevna Tangyan, a candidate of philological sciences, now living in Dusseldorf.

Second wife (since 1968) - editor of the “Fiery Revolutionaries” series of the Publishing House of Political Literature of the CPSU Central Committee, Alla Pastukhova.

Third wife (since 1975, actual marriage - writer Olga Miroshnichenko (born 1938; her first husband is translator from Estonian Gennady Muravin, second is writer Georgy Berezko). Their son is Valentin Yuryevich Trifonov (born 1979).

Bibliography

Collected works in four volumes. - M.: “ Fiction", 1985-1987.
Selected works in two volumes. - M.: “Fiction”, 1978.
Students. - M.: “SP”, 1951; Magadan, 1952; Kursk, 1952; "SP" and "MG", 1953; Omsk, 1954; M., 1956; M., 1960.
Under the sun. Stories. - M.: “Soviet Writer”, 1959.
At the end of the season. Stories. - M.: “Physical Education and Sports”, 1961.
Quenching thirst. - M.: “Fiction”, 1963; 1964; 1965; 1967; 1970; "Profizdat", 1979.
Bonfires and rain. Stories. - M.: “Soviet Russia”, 1964.
Torches on Flaminio. Stories and essays. - M., 1965.
The glow of the fire. Documentary essay. - M.: “Soviet Writer”, 1966.
Cap with a large visor. Stories. - M.: “Soviet Russia”, 1969.
Games at dusk. Stories and essays. - M.: “Physical Education and Sports”, 1970.
Stories and novellas. - M.: “Fiction”, 1971.
A long goodbye. Novels and stories. - M.: “Soviet Russia”, 1973.
Impatience. - M.: Politizdat, 1973; 3rd ed. - 1974; 4th ed. "Soviet Writer", 1988.
Long lessons. - M.: “Soviet Russia”, 1975.
Another life. - M.: “Soviet Writer”, 1976.
Exchange. Play. - M., 1977.
Stories. - M.: “Soviet Russia”, 1978.
Another life. Novels and stories. - M.: “Izvestia”, 1979.
Old man. - M.: “Soviet Writer”, 1979.
Old man. Another life. - M.: “Soviet Writer”, 1980.
Impatience. Old man. - M.: “Izvestia”, 1983.
Another life. The glow of the fire. - M.: “Soviet Writer”, 1983.
How our word will respond. Journalism. - M.: “Soviet Russia”, 1985.
Eternal themes. Novels, novellas and short stories. - M.: “Soviet Writer”, 1985.
Time and place. Novels and stories. - M.: “Izvestia”, 1988.
Disappearance. Old man. The glow of the fire. - M, : “Moscow Worker”, 1988.
The glow of the fire. Disappearance. - M.: “Soviet Writer”, 1988.
Endless games. Film story, stories, essays, articles. - M.: “Physical Education and Sports”, 1989.
The glow of the fire. Old man. - M.: “Izvestia”, 1989.
Disappearance. Time and place. Old man. Novels. - M.: “Sovremennik”, 1989.

Awards and prizes

Stalin Prize, third degree (1951) - for the story “Students” (1950)
Order of the Badge of Honor (1975)
Medal "For Valiant Labor in the Great Patriotic War of 1941-1945"

Film adaptations

1966 - Quenching Thirst (Turkmenfilm; dir. Bulat Mansurov) - novel of the same name

1977 - What the stands won’t know about (almanac of short film novels: “Alyosha’s acquaintance”, “Telegram”, “Victory is awarded...”; M. Gorky Film Studio; director Yakov Bazelyan) - based on the stories