Trifonov exchange analysis of problems. What does Pushkin’s story “The Station Agent” make you think about?

"Exchange"

The girl tries to disguise her husband’s predatory plans for taking over her mother-in-law’s living space as filial feelings; Lena convinces him that the exchange is necessary, first of all, for his mother herself. Lena has a strong trump card: she doesn’t need the room personally, but for her and Dmitriev’s daughter, who sleeps and does her homework behind a screen in the same room with her parents.

The symbol of everyday disorder in the story is the treacherous crack of the ottoman. Subtly manipulating her husband's feelings, the woman moves step by step towards her goal. Yu.V. Trifonov convincingly shows the reader that philistinism, personified in the image of the Lukyanov family, is not at all a harmless phenomenon. It knows how to insist on its own and defend itself. It is no coincidence that after Victor’s conversation with Lena about the portrait, there is an immediate reaction from the entire Lukyanov clan: they get ready and leave the Dmitrievs’ dacha, where they had previously planned to stay. Then Lena puts on a whole performance, starting to slowly take her husband into her hands. She forces Dmitriev to call his mother-in-law and ask her to come back.

The retrospective composition of the story is interesting. This technique helps Trifonov trace the stages moral degradation Dmitriev, the process of his “refinement”. As the plot of the work develops, the conflict deepens. It turns out that Ksenia Fedorovna and her son once studied foreign language. It was the cause that united them. When Lena appeared in Dmitriev’s life, classes stopped. The son and mother began to move away.

Another symbolic detail in the story is Lena’s hands, with which she hugs her husband: at first it was light and cool, but after fourteen years of married life it began to put “considerable weight” on him. Lena's spiritual uncleanliness is also manifested by a number of external repulsive details of her appearance (big belly, thick arms, skin with small pimples). Her plumpness symbolizes the excess that she is so passionate about possessing. The portly Lena is contrasted with the slender Tanya, Victor’s former lover. Unlike Lena, she is not able to fake it and, having fallen in love with Dmitriev, breaks up with her husband. Tanya is romantic and loves poetry, while Lena is dominated by everyday practicality. Victor himself is constantly accustomed to doing wrong

I tsk, as I would like. He lives with Lena, thinking that Tanya would be his best wife. Dmitriev understands that it is not good to borrow money from Tanya, but then agrees...

Yu.V. Trifonov emphasizes that Dmitriev’s worldview is typical of his contemporary era. It is no coincidence that Victor has the opportunity to look at his actions from the outside. For this purpose, the image of Nevyadomsky is introduced into the story. This is a kind of double of Dmitriev - a person into whom in a few years he will most likely turn if he continues to “become foolish”. Zherekhov, Victor’s colleague, tells him a story about Nevyadomsky, who managed to change his living space (move in with his mother-in-law) literally three days before the death of the old woman. During the story, he not only does not condemn Alexei Kirillovich Nevyadomsky, but even envies him: he got a good apartment and now grows tomatoes on the balcony. Tomatoes on the grave of Nevyadomsky's mother-in-law... This image haunts Dmitriev, revealing to him the ugliness of his act.

Dmitriev often thinks about the meaning of life. The thought of the mother's illness intensifies this thinking. Ksenia Fedorovna is used to helping everyone (with blood, advice, sympathy). Like Tanya, who has loved Dmitriev for many years, she does it selflessly. In the story, Dmitry's mother Ksenia Fedorovna is contrasted with her mother-in-law, Vera Lazarevna, whose worldview is permeated with distrust of all people, even those closest to her.

Having started a conversation about the history of one exchange, Yu.V. Trifonov gradually moves on to criticize philistinism in general. It is no coincidence that Dmitriev remembers his father and his brothers. The hero’s uncles were wealthy people by Soviet standards, and only Victor’s father helped his provincial relatives: “The mother believed that the wives, Maryanka and Raika, infected with petty-bourgeois philistinism, were to blame for the quarrels and all subsequent misfortunes of the brothers.” Among Dmitriev's colleagues Yu.V. Trifonov paints the image of Pasha Snitkin, who knows how to arrange everything in such a way that he always gets help. He manages to shift all the work onto someone else so often that he even acquired the nickname: “Bless the world Nitkin.” Looking at this image, Yu.V. Trifonov raises the problem of attitude towards someone else’s misfortune: Snitkin refuses to go on a business trip instead of Dmitriev, although his family problems (his daughter’s transfer to music school) are not as important as Dmitriev’s situation.

So, in the story there is a conversation about two breeds of people: “those who know how to live” and “secretly proud of their noble inability.” For some, the entire environment sparkles, while for others, poverty and disrepair flourish.

Dmitriev has been drawn to people of the first category all his life: he admired the way Lena makes the necessary acquaintances and knows how to rebuff her insolent neighbor Dusya. Victor lived with Lena, as if stupefied. Only once did his sister Laura try to open his eyes to the fact that the efficiency of his wife, whom he admired so much, looked like impudence and impudence in the eyes of his relatives. They were especially struck by the fact that Lena hung a portrait of her father from the middle room to the entrance. The new relatives of Victor’s grandfather seemed alien and alien in spirit. When Lena later cried at her grandfather’s funeral and talked about how much she loved him, it all seemed false.

As the plot develops, Lena’s character deepens and her grip on life strengthens: “She bit into her desires like a bulldog. Such a pretty bulldog woman with a short straw-colored haircut and always a pleasantly tanned, slightly dark face. She didn’t let go until the desires - right in her teeth - turned into flesh.” Lena's goal in life is to make a career. She got a job at IMKOIN, where “two friends who are ideally placed in this life” work. And Lena’s father helps her husband get a job, and also in the place where Dmitriev’s friend Leva was aiming.

Then it turns out that Victor once loved to draw, but, having failed in the exam, did not fight for his dream.
When Victor invites his mother to move in together, she first refuses and says that he has already made his exchange, and then unexpectedly agrees, obviously realizing that she is not being invited to live together, but simply to transfer the living space before his death.

Thus, the behavior of the heroes in everyday situations becomes a kind of criterion for testing their spiritual qualities. Lukyanov's petty-bourgeois beginning in the story collides with the ascetic views of the Russian intelligentsia, which dominated the Dmitriev family.

The main character of the story tries to act from a position of moral compromise. However, he fails to please his wife and mother at the same time, and then the hero chooses Lena. When Victor invites his mother to make an exchange, she replies that he has already made it. What is meant here is moral exchange, the exchange of values ​​that the hero makes upon entering a new family.

"Exchange"

The girl tries to disguise her husband’s predatory plans for taking over her mother-in-law’s living space as filial feelings; Lena convinces him that the exchange is necessary, first of all, for his mother herself. Lena has a strong trump card: she doesn’t need the room personally, but for her and Dmitriev’s daughter, who sleeps and does her homework behind a screen in the same room with her parents.

The symbol of everyday disorder in the story is the treacherous crack of the ottoman. Subtly manipulating her husband's feelings, the woman moves step by step towards her goal. Yu.V. Trifonov convincingly shows the reader that philistinism, personified in the image of the Lukyanov family, is not at all a harmless phenomenon. It knows how to insist on its own and defend itself. It is no coincidence that after Victor’s conversation with Lena about the portrait, there is an immediate reaction from the entire Lukyanov clan: they get ready and leave the Dmitrievs’ dacha, where they had previously planned to stay. Then Lena puts on a whole performance, starting to slowly take her husband into her hands. She forces Dmitriev to call his mother-in-law and ask her to come back.

The retrospective composition of the story is interesting. This technique helps Trifonov trace the stages of Dmitriev’s moral degradation, the process of his “deception.” As the plot of the work develops, the conflict deepens. It turns out that Ksenia Fedorovna once studied a foreign language with her son. It was the cause that united them. When Lena appeared in Dmitriev’s life, classes stopped. The son and mother began to move away.

Another symbolic detail in the story is Lena’s hands, with which she hugs her husband: at first it was light and cool, but after fourteen years of married life it began to put “considerable weight” on him. Lena's spiritual uncleanliness is also manifested by a number of external repulsive details of her appearance (big belly, thick arms, skin with small pimples). Her plumpness symbolizes the excess that she is so passionate about possessing. The portly Lena is contrasted with the slender Tanya, Victor’s former lover. Unlike Lena, she is not able to fake it and, having fallen in love with Dmitriev, breaks up with her husband. Tanya is romantic and loves poetry, while Lena is dominated by everyday practicality. Victor himself is constantly accustomed to doing wrong

I tsk, as I would like. He lives with Lena, thinking that Tanya would be his best wife. Dmitriev understands that it is not good to borrow money from Tanya, but then agrees...

Yu.V. Trifonov emphasizes that Dmitriev’s worldview is typical of his contemporary era. It is no coincidence that Victor has the opportunity to look at his actions from the outside. For this purpose, the image of Nevyadomsky is introduced into the story. This is a kind of double of Dmitriev - a person into whom in a few years he will most likely turn if he continues to “become foolish”. Zherekhov, Victor’s colleague, tells him a story about Nevyadomsky, who managed to change his living space (move in with his mother-in-law) literally three days before the death of the old woman. During the story, he not only does not condemn Alexei Kirillovich Nevyadomsky, but even envies him: he got a good apartment and now grows tomatoes on the balcony. Tomatoes on the grave of Nevyadomsky's mother-in-law... This image haunts Dmitriev, revealing to him the ugliness of his act.

Dmitriev often thinks about the meaning of life. The thought of the mother's illness intensifies this thinking. Ksenia Fedorovna is used to helping everyone (with blood, advice, sympathy). Like Tanya, who has loved Dmitriev for many years, she does it selflessly. In the story, Dmitry's mother Ksenia Fedorovna is contrasted with her mother-in-law, Vera Lazarevna, whose worldview is permeated with distrust of all people, even those closest to her.

Having started a conversation about the history of one exchange, Yu.V. Trifonov gradually moves on to criticize philistinism in general. It is no coincidence that Dmitriev remembers his father and his brothers. The hero’s uncles were wealthy people by Soviet standards, and only Victor’s father helped his provincial relatives: “The mother believed that the wives, Maryanka and Raika, infected with petty-bourgeois philistinism, were to blame for the quarrels and all subsequent misfortunes of the brothers.” Among Dmitriev's colleagues Yu.V. Trifonov paints the image of Pasha Snitkin, who knows how to arrange everything in such a way that he always gets help. He manages to shift all the work onto someone else so often that he even acquired the nickname: “Bless the world Nitkin.” Looking at this image, Yu.V. Trifonov raises the problem of attitude to someone else's misfortune: Snitkin refuses to go on a business trip instead of Dmitriev, although his family problems (transferring his daughter to a music school) are not as important as Dmitriev's situation.

So, in the story there is a conversation about two breeds of people: “those who know how to live” and “secretly proud of their noble inability.” For some, the entire environment sparkles, while for others, poverty and disrepair flourish.

Dmitriev has been drawn to people of the first category all his life: he admired the way Lena makes the necessary acquaintances and knows how to rebuff her insolent neighbor Dusya. Victor lived with Lena, as if stupefied. Only once did his sister Laura try to open his eyes to the fact that the efficiency of his wife, whom he admired so much, looked like impudence and impudence in the eyes of his relatives. They were especially struck by the fact that Lena hung a portrait of her father from the middle room to the entrance. The new relatives of Victor’s grandfather seemed alien and alien in spirit. When Lena later cried at her grandfather’s funeral and talked about how much she loved him, it all seemed false.

As the plot develops, Lena’s character deepens and her grip on life strengthens: “She bit into her desires like a bulldog. Such a pretty bulldog woman with a short straw-colored haircut and always a pleasantly tanned, slightly dark face. She didn’t let go until the desires - right in her teeth - turned into flesh.” Lena's goal in life is to make a career. She got a job at IMKOIN, where “two friends who are ideally placed in this life” work. And Lena’s father helps her husband get a job, and also in the place where Dmitriev’s friend Leva was aiming.

Then it turns out that Victor once loved to draw, but, having failed in the exam, did not fight for his dream.
When Victor invites his mother to move in together, she first refuses and says that he has already made his exchange, and then unexpectedly agrees, obviously realizing that she is not being invited to live together, but simply to transfer the living space before his death.

Thus, the behavior of the heroes in everyday situations becomes a kind of criterion for testing their spiritual qualities. Lukyanov's petty-bourgeois beginning in the story collides with the ascetic views of the Russian intelligentsia, which dominated the Dmitriev family.

The main character of the story tries to act from a position of moral compromise. However, he fails to please his wife and mother at the same time, and then the hero chooses Lena. When Victor invites his mother to make an exchange, she replies that he has already made it. What is meant here is a moral exchange, an exchange of values ​​that the hero makes upon entering a new family.

Yuri Valentinovich Trifonov 1925-1981 Exchange - Tale (1969)

The action takes place in Moscow. The mother of the main character, thirty-seven-year-old engineer Viktor Dmitriev, Ksenia Fedorovna, is seriously ill, she has cancer, but she herself believes that she has a peptic ulcer. After the operation she is sent home. The outcome is clear, but she alone believes that things are getting better. Immediately after her discharge from the hospital, Dmitriev’s wife Lena, a translator from English, decides to urgently move in with her mother-in-law so as not to lose a good room on Profsoyuznaya Street. An exchange is needed, she even has one option in mind.

There was a time when Dmitriev’s mother really wanted to live with him and her granddaughter Natasha, but since then their relationship with Lena became very tense and this was out of the question. Now Lena herself tells her husband about the need for an exchange. Dmitriev is indignant - at such a moment he suggests this to his mother, who can guess what’s going on. Nevertheless, he gradually gives in to his wife. Lena, Dmitriev concludes, is wise as a woman, and in vain he immediately attacked her. Now he is also aimed at exchange, although he claims that he personally does not need anything. While in service, due to his mother’s illness, he refuses to go on a business trip. He needs money, since he spent a lot on the doctor, Dmitriev is racking his brains about who to borrow from. But it seems that the day is turning out well for him: his employee Tanya, his former mistress, offers money with her characteristic sensitivity. After work, Dmitriev and Tanya take a taxi and go to her house to get money. Tanya is happy to have the opportunity to be alone with Dmitriev, to help him in some way. Dmitriev is sincerely sorry for her, maybe he would have stayed with her longer, but he needs to hurry to his mother’s dacha in Pavlinovo.

Dmitriev has warm childhood memories associated with this dacha, owned by the Red Partisan cooperative. The house was built by his father, a railway engineer, who all his life dreamed of leaving this job to start writing humorous stories. He was not a bad man, he was not lucky and died early. Dmitriev remembers him fragmentarily. He remembers better his grandfather, a lawyer, an old revolutionary, who returned to Moscow after a long absence and lived for some time in the country until he was given a room. He didn't understand anything about modern life. I also looked with curiosity at the Lukyanovs, the parents of Dmitriev’s wife, who were also visiting Pavlinov in the summer. Once on a walk, my grandfather, referring specifically to the Lukyanovs, said that there is no need to despise anyone. These words, clearly addressed to Dmitriev’s mother, who often showed intolerance, and to himself, were well remembered by his grandson. The Lukyanovs differed from the Dmitrievs in their adaptability to life, their ability to deftly arrange any business, be it renovating a dacha or enrolling their granddaughter in an elite English school. They are from the breed of “people who know how to live.” What seemed insurmountable to the Dmitrievs, was solved quickly and simply by the Lukyanovs, using only the paths they knew. This was an enviable quality, but such practicality evoked an arrogant smile from the Dmitrievs, especially his mother Ksenia Fedorovna, who was accustomed to selflessly helping others, a woman with strong moral principles, and his sister Laura. For them, the Lukyanovs are philistines who care only about their personal well-being and are devoid of high interests. In their family, the word “loukyanitsya” even appeared. They are characterized by a kind of mental flaw, which manifests itself in tactlessness towards others. So, for example, Lena moved the portrait of Dmitriev’s father from the middle room to the hallway - only because she needed a nail for the wall clock. Or she took all the best cups of Laura and Ksenia Fedorovna. Dmitriev loves Lena and always defended her from the attacks of her sister and mother, but he also fought with her because of them. He knows well the strength of Lena, “who bit into her desires like a bulldog.

Dmitriev feels that his relatives are condemning him, that they consider him to be “stupid”, and therefore cut off. This became especially noticeable after the story with a relative and former comrade Levka Bubrick. Bubrik returned to Moscow from Bashkiria, where he had been assigned after college, and remained unemployed for a long time. He had his eye on a place at the Institute of Oil and Gas Equipment and really wanted to get a job there. At the request of Lena, who felt sorry for Levka and his wife, her father Ivan Vasilyevich took care of this matter. However, instead of Bubrick, Dmitriev ended up in this place, because it was better than his previous work. Everything was done again under the wise leadership of Lena, but, of course, with the consent of Dmitriev himself. There was a scandal. However, Lena, defending her husband from his principled and highly moral relatives, took all the blame upon herself.

The conversation about the exchange that Dmitriev, who arrived at the dacha, begins with his sister Laura, causes amazement and sharp rejection in her, despite all the reasonable arguments of Dmitriev. Laura is sure that her mother cannot be happy with Lena, even if she tries very hard at first. They are too different people. Ksenia Fedorovna felt unwell just before her son’s arrival, then she gets better, and Dmitriev, without delay, begins the decisive conversation. Yes, says the mother, she used to want to live with him, but now she doesn’t. The exchange happened a long time ago, she says, referring to Dmitriev’s moral capitulation.

While spending the night at the dacha, Dmitriev sees his old watercolor drawing on the wall. Once upon a time he was fond of painting and never parted with an album. But, having failed the exam, out of grief he rushed to another, the first institute he came across. After graduation, he did not look for romance like others, did not go anywhere, and stayed in Moscow. Then Lena and her daughter were already there, and the wife said: where can he get away from them? He was late. His train has left. In the morning, Dmitriev leaves, leaving Laura money. Two days later, my mother calls and says that she agrees to move in together. When the exchange is finally settled, Ksenia Fedorovna feels even better. However, the disease soon worsens again. After the death of his mother, Dmitriev experiences a hypertensive crisis. He immediately gave up, turned gray and aged. And Dmitriev’s dacha in Pavlinov was later demolished, like the others, and the Burevestnik stadium and a hotel for athletes were built there.

34. A man in history in Trifonov’s story “The Old Man”

Yuri Valentinovich Trifonov 1925-1981 Old Man - Novel (1972)

The action takes place in a dacha village near Moscow in the unusually hot, suffocating summer of 1972. Pensioner Pavel Evgrafovich Letunov, an elderly man (72 years old), receives a letter from his old friend Asya Igumnova, with whom he had been in love for a long time since his school days. Together they fought on the Southern Front during civil war. She is as old as Letunov, she lives near Moscow and invites him to visit.

It turns out that Asya found him after reading Letunov’s note in a magazine about Sergei Kirillovich Migulin, a Cossack commander, a large Red military leader from civilian times. Migulin was unofficially her husband. Working as a typist at the headquarters, she accompanied him on military campaigns. She also had a son from him. In the letter, she expresses joy that Migulin, a bright and complex man, has been removed from the shameful stigma of a traitor, but she is surprised that it was Letunov who wrote the note - after all, he also believed in Migulin’s guilt. The letter awakens many memories in Letunov. Letunov’s memory resurrects with bright flashes individual episodes from the whirlwind of events of those years that remained the most important for him, and not only because it was his youth, but also because the fate of the world was being decided. He was intoxicated by the mighty time. The red-hot lava of history flowed, and he was inside it. Was there a choice or not? Could it have happened differently or not? “Nothing can be done. You can kill a million people, overthrow a tsar, organize a great revolution, blow up half the world with dynamite, but you cannot save one person.” Why did Letunov write about Migulin? Yes, because that time has not passed away for him. He was the first to start working on the rehabilitation of Migulin; he has been studying archives for a long time, because Migulin seems to him an outstanding historical figure. Letunov also feels a secret feeling of guilt towards Migulin - for the fact that during his trial, when asked whether he allowed Migulin to participate in the counter-revolutionary uprising, he sincerely answered that he did. That, obeying the general opinion, he had previously believed in his guilt.

Letunov, then nineteen years old, considered forty-seven-year-old Migulin an old man. The drama of the corps commander, a former military sergeant major and lieutenant colonel, was that many were not only envious of his growing fame and popularity, but most importantly, they did not trust him. Migulin enjoyed great respect from the Cossacks and hatred from the atamans; he successfully fought against the whites, but, as many believed, he was not a real revolutionary. In passionate appeals composed by himself and distributed among the Cossacks, he expressed his personal understanding of the social revolution, his views on justice. They were afraid of a rebellion, and maybe they did it on purpose in order to annoy and provoke Migulin into a counter-revolutionary speech, they sent him such commissars as Leonty Shigontsev, who were ready to flood the Don with blood and did not want to listen to any arguments. Migulin had already encountered Shigontsev when he was a member of the district revolutionary committee. This strange guy, who believed that humanity should abandon “feelings, emotions,” was hacked to death not far from the village where the corps headquarters stood. Suspicion could have fallen on Migulin, since he often spoke out against “false communist” commissars.

Mistrust haunted Migulin, and Letunov himself, as he explains to himself his behavior at that time, was part of this general mistrust. Meanwhile, Migulin was prevented from fighting, and in a situation where the Whites continually went on the offensive and the situation at the front was far from favorable. Migulin gets nervous, rushes about and finally can’t stand it: instead of going to Penza, where he is called with an unclear intention, with a handful of troops subordinate to him, Migulin begins to make his way to the front. Along the way he is arrested, put on trial and sentenced to death. In a fiery speech at the trial, he says that he will die with the words “Long live the social revolution!”

Migulin is given an amnesty, demoted, he becomes the head of the land department of the Don Executive Committee, and two months later he is again given a regiment. In February 1921, he was awarded the order and appointed chief inspector of the Red Army cavalry. On his way to Moscow, where he was called to receive this honorary position, he stops by his native village. The Don was uneasy at that time. The Cossacks are worried as a result of surplus appropriation, and uprisings are breaking out in some places. A spy is assigned to him, recording all his statements, and in the end he is arrested.

However, even many years later, the figure of Migulin is still not completely clear to Letunov. Even now he is not sure that the goal of the corps commander, when he arbitrarily went to the front, was not a rebellion. Pavel Evgrafovich wants to find out where he was moving in August of the nineteenth. He hopes that a living witness to the events, the person closest to Migulin, Asya Igumnova, will be able to tell him something new, shed light, and therefore, despite weakness and ailments, Letunov goes to her. He needs the truth, but instead the old woman says after a long silence: “I’ll answer you - I haven’t loved anyone so much in my long, tiresome life...” And Letunov himself, seemingly seeking the truth, forgets about his own mistakes and his own guilt. Justifying himself, he calls this “a clouding of the mind and a breakdown of the soul,” which is replaced by oblivion, which is salutary for the conscience.

Letunov thinks about Migulin, remembers the past, and meanwhile passions are boiling around him. In the cooperative holiday village where he lives, a house became vacant after the death of the owner, and Pavel Evgrafovich’s adult children ask him to talk to the chairman of the board, Prikhodko, because in their house there has not been enough space for a large family for a long time, while Letunov is an honored person who has lived here for a long time years. However, Pavel Evgrafovich avoids talking with Prikhodko, a former cadet, informer and generally vile person, who also remembers very well how Letunov at one time purged him from the party. Letunov lives in the past, in the memory of his recently buried beloved wife, whom he sorely misses. Children, immersed in everyday worries, do not understand him.

Yuri Trifonov is the son of a professional revolutionary. In 1937, my father was arrested. And my son graduated from university.
His first novel, “Students,” received the Stalin Prize. It was a traditional novel for its time about a cheerful, intense and interesting life. Then Trifonov breaks his path, leaves for the construction of the Kairakkum Canal, and the heroes of his novels become extraordinary people and at the same time completely ordinary: working, receiving wages quarreling with each other.
The story “Exchange” is the most striking of

“Moscow cycle”. Its content is quite simple. Victor Dmitriev, his wife Lena, and their daughter live separately from his mother. The mother-in-law considers Lenochka to be a bourgeois. Eternal conflict: mother is unhappy with her son’s choice. But the conflict of the work is different. The mother is seriously ill, and Lenochka demands that her husband beg his mother to move in together. We need to change so that the apartment does not disappear. But how to tell this to your mother? Victor comes to the conclusion that life is “disgusting.” His mental anguish is so strong that his heart cannot stand it, he himself ends up in the hospital. After his illness, “he somehow immediately gave up and turned grey. Not an old man yet, but already an elderly man with limp cheeks.”
Dmitriev's grandfather said that life has become worse because people have lost great ideals. People who live in momentary problems, betraying themselves and loved ones, lose much more than they gain in material values. It’s as if they are exchanging the treasures of their souls for coppers. And this process of mental decay is irreversible. The exchange took place. The Dmitrievs increased their living space. But another “exchange” occurs in their lives. They will never be able to forget the evil that they caused to Ksenia Fedorovna throughout all the years of their family life. AND last days she was not calm, she, of course, guessed the reasons for such a hasty exchange of apartments.
Is this why it’s so hard for Victor and he has grown old before his time? Trifonov perfectly conveys the mental anguish of the characters. They are right, a thousand times right, but why is it so unbearable to look into each other’s eyes? Victor and Lenochka are not to blame for the death of Ksenia Fedorovna. There are more subtle matters and plans here.

1. Trifonov’s favorite idea, formulated in the story “Another Life” as the thought of the historian Sergei Troitsky: “Man is a thread stretching through time, the thinnest nerve of history, which can be split off and isolated and - according to...
2. The psychology of fear - the underlying reason for the actions of the heroes - was studied in detail by Trifonov in “The House on the Embankment”. The atmosphere of total fear is the face of the time the author writes about. The acute envy of Glebov, an inhabitant of...
3. At the center of Yuri Trifonov’s story “Exchange” are the attempts of the protagonist, an ordinary Moscow intellectual Viktor Georgievich Dmitriev, to exchange an apartment and improve his living conditions. To do this, he needs to move in with a seriously ill patient...
4. In the mid-60s, in “Reflection of the Fire,” Trifonov argued that the revolutionary past of Russia is a clot of the highest moral values, and if it is brought to modern times, the life of descendants will become brighter. And in...
5. “Impatience” by Yuri Trifonov is a novel of high tragic intensity. “What is history? In ancient Greek, this word means investigation. I wanted to write an investigation about Zhelyabov, I wanted to find those roots, that...
6. Yuri Trifonov’s story “The House on the Embankment” is included in the collection “Moscow Stories”, on which the author worked in the 1970s. At this time, it was fashionable in Russia to write about large-scale, global...
7. The fate of Yu. Trifonov's prose can be called happy. It is translated and published by East and West, Latin America and Africa. Thanks to deep social specifics the person he depicted and the key moments of Russian history...
8. Features of the narrative structure of the story “The Long Farewell” (interruption of the author’s narration by the internal monologues of the characters, the complex organization of the chronotope) anticipate the further development of Trifonov’s prose. The main events of the story take place in the past, “eighteen years ago”,...
9. In the Russian language there is, perhaps, no more mysterious, multidimensional and incomprehensible word than byt! Life is everyday life, some kind of everyday life at home, family life. Relationships between husband and wife, parents and children, relatives...
10. The opposite pole is relatively village prose– this is urban prose. Just as not everyone who wrote about the countryside is a villager, so not everyone who wrote about the city was a representative of urban prose. TO...
11. But Trifonov wrote his novel in the early 70s of the twentieth century. These were the years of the surge of revolutionary extremism: the fascination with the “ideas of Mao” around the world, student unrest in France, the attempt of Che Guevara...