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Trilogy about Krosh

Three stories by A. Rybakov about Krosh are widely known in our country to both young and adult readers. The first of them, “The Adventures of Krosh,” was published in 1960, the second, “Krosh’s Vacation,” in 1966, and the third, “The Unknown Soldier,” in 1971. In their popularity, they can compete with the famous “Dirk”, with which A. Rybakov began his literary career and which is already well known to many successive generations of small schoolchildren, lovers of fun and dangerous adventures.

The stories about Krosh are intended for an older reader.

Repeatedly published, they are collected here all together under one cover as a single book, and this allows you to take a slightly different look at this little trilogy by A. Rybakov, which began very lightly and cheerfully, but ended seriously.

This combination of light and cheerful with serious and instructive is characteristic of the work of A. Rybakov as a whole, a writer as much for children as for adults. From the very beginning of A. Rybakov’s literary career, two independent streams of his work have been running in parallel - exciting adventures about children and for children and social novels about adults and for adults.

In "The Unknown Soldier" last book trilogy about Krosh, who became an adult, eighteen years old, the two intertwined streams of A. Rybakov’s creativity almost merged. Let's try to imagine in general terms how this happened.

Anatoly Naumovich Rybakov was born in 1911 in the Ukrainian city of Chernigov, but at an early age he moved with his parents to Moscow, and all of Rybakov’s childhood impressions and memories are connected with the life of the big city in the 20s. Here, in Moscow, he joined the pioneers when the first pioneer organizations were just being formed, here he studied at the then famous school-commune named after Lepeshinsky, here he became a Komsomol member, here he began his working life early at the Dorkhimzavod. In 1930, A.N. Rybakov entered the Moscow Institute of Transport Engineers and subsequently became an automobile engineer. The second half of the 30s was the time of Rybakov’s wanderings around the country; then the future writer saw many cities and changed many professions, truly getting to know people and life.

During the Great Patriotic War Rybakov is a front-line officer, head of the automobile service of the rifle corps.

The literary path of A.N. Rybakov began after the war, when the writer was already 37 years old. Then, in 1948, Dirk was published and immediately won the hearts of readers - the fascinating adventures of Misha Polyakov and his friends, who were looking for a mysterious weapon that had disappeared during the First World War. The story was written according to all the rules of the adventure genre: energetic action, romantic mystery and unexpected turns plot - these are the main springs that held together the various pictures and events of this book and kept its little reader in tense anticipation of the extraordinary. But there were already two more features in this funny story that were characteristic of Rybakov’s talent, determined by his biography and his attitude to the world.

Firstly, the color of the time, the colors of the era of his childhood, which was reflected in the bright reflections of the recent revolution, the tangible breath of the just hushed civil war, irreconcilable class clashes - they determine all the experiences, dreams and actions of Misha Polyakov and his comrades, who always simply establish and know exactly what is good and what is bad, whose side they are on and therefore exactly how they should act and act. There is no place for thoughts, doubts, or hesitations here.

Secondly, the main moral qualities of the hero Rybakov are clearly outlined here; the hero of "Dirk", with all his childish features, is already little man, determined, inquisitive, energetic, always acting in accordance with his beliefs and ideas about good and bad. This will remain forever, all of A. Rybakov’s favorite heroes, no matter how old they are, no matter what they do and no matter what they are called, strictly preserve the complex of male honor, where courageous courage and readiness to defend justice come first, and meanness is always is called meanness, no matter what clothes it dresses itself in.

“Dirk” was a great success among readers, but A. Rybakov did not follow the already beaten path following the first book, but tried his hand as a writer in a completely different genre. In 1950, he published a great novel, “Drivers,” which was awarded the USSR State Prize in 1951. It was a book about drivers and the work of drivers, about the joys and sorrows of the working man, about the problems of modern production. Neither the material, nor the plot, nor the style of the novel at all resembled A. Rybakov’s first story, and only the name of the hero of “Drivers”, the silent head of the motor depot - Mikhail Grigorievich Polyakov - betrayed the author’s inner intention to give a picture of the fate of the generation that began its journey in the light of the first pioneer bonfires and who took the main burden on his shoulders great war. But so far this was only a distant intention, and the connection between the hero of “Dirk” and the hero of “Drivers” was purely conditional, important mainly for the author, who, parting with the memories of his youth for a long time, made a sign that he did not want to leave them forever.

In 1955, A. Rybakov published another great book for big people, the novel “Ekaterina Voronina”.

It again talked about transport workers, but now about those who work in river ports, on ships, who are connected with water, with the Volga. In “Ekaterina Voronina” A. Rybakov demonstrated another facet of his writing talent - knowledge of female psychology and the ability to portray it. But, having finished this novel about an adult woman, a dispatcher of the Volga port, the writer immediately returned to the adventures of his little heroes, who were loved by little readers; he writes “The Bronze Bird” (1956) - a continuation of the adventures of Misha Polyakov and his friends in the summer pioneer camp. And again the book is a success, and again its author is looking for new themes and new literary paths, interspersing work on books about Krosha with work on “adult” works - film scripts, plays and a small novel, but very serious in content, “Summer in Sosnyaki” "(1964), where for the first time in his work he uses the technique of combining different time plans, when the action freely moves from the past to the present and back. He will use this technique in the story “The Unknown Soldier”.

But why, after all, can books about Krosh be safely called a “new” phenomenon for A. Rybakov in comparison with his first children's stories? After all, here, as in “Dirk”, as in “The Bronze Bird”, the main characters are schoolchildren, and here, too, the plot is centered on funny and amusing incidents, only this time they happened at a motor depot during the practical training of one eighth grade student, after all, here too the hero of the story is endowed with the traits of curiosity, courageous courage and honesty, which were already clearly visible in Misha Polyakov.

What was new, first of all, was that Krosh, Seryozha Krasheninnikov, lived and acted not long ago, but at the very time when the book was written about him, he was a contemporary of both his creator and his reader, and the bright signs of city life 60 's were already included in "The Adventures of Krosh" in order to pour out even more freely and abundantly on the pages of "Krosh's Vacations." The reader of Krosh's adventures - both young and adult (and Krosh quickly won the sympathy of both) - had every opportunity to compare the actions of the hero, the situation of his life, his language, judgments, jokes with what he himself had just seen, heard, thought and survived, and this independent work always gives the reader special additional pleasure. When getting acquainted with a historical narrative, without special preparation, we are deprived of this opportunity to confidently judge whether a writer has depicted this or that phenomenon “similarly” or “unlikely.” Reading a modern book about modern hero, we, voluntarily or involuntarily, but certainly make such a judgment, and if we consider ourselves to be thinking and conscious readers, then we are even obliged to make this judgment. At the same time, however, it is necessary to remember that art is not a simple and accurate “cast” of life, that every work of art always has, so to speak, an additional aesthetic “coefficient”, that is, its own special task and special expression author's attitude to what is depicted. Rybakov’s aesthetic quotient in Krosh’s adventures is humor, his cheerful and inoffensive smile, with which the writer watches his hero grow up, winning small victories and enduring small defeats. The humor with which the writer conveys Krosh's confession preserves for the reader the true scale of the events in the hero's life - significant for himself, but not so enormous for the rest of humanity, in other words, both truly serious and truly ordinary.

And here we move on to another new feature of Rybakov’s children’s stories of the 60s in comparison with his earlier stories. Although almost two decades have passed since Krosh first appeared in the world, it seems that today’s reader can easily recognize him as his contemporary. The charm and attractiveness of the character of this hero, created by A. Rybakov in the 60s, are inseparable from his modernity. Krosh’s very view of the world, of life, is modern, where he first of all wants to distinguish between the imaginary and the real from the false, pompous and exaggerated. Having retained the “adventurous” nature of the narration of his children’s books in the books about Krosh, that is, the unexpected development of events around the solution to some mystery, Rybakov, however, changed the meaning of both secrets and events, he chose from life more ordinary in appearance and more complex in inner meaning of the situation than those in which the heroes of “Dirk” and “The Bronze Bird” found themselves. In the stories about Krosha, these situations are more accessible to every boy or girl of our time and at the same time, by virtue of their prevalence alone, are more dangerous for them. inner world, for their future. Have the collisions of Rybakov’s stories lost their fictional interest for readers due to this democratization and proseization? That's the thing, no. Although the plot of “The Adventures of Krosh” is centered around the production successes of schoolchildren and the mystery of the disappearance not of a romantic cutlass, but of the simplest parts from the simplest truck, what Krosh experienced in practice acquires seriousness and significance, because behind ordinary everyday incidents there are such common and important human ideas such as honesty, justice, courage, responsibility. Krosh, like a true child of our time, does not like “lofty” words, but, in fact, he fights, he fights for the highest and most sustainable moral values, and this made books about Krosh characteristic works of Soviet prose of the 60s, when its high moral pathos was especially openly and pointedly expressed in it. Krosh is therefore against demagoguery and showing off, to which his deftly adaptable friend Igor is so inclined, because he sees in these common vices an insidious combination of noble appearance and false essence. At the same time, with all the positive, worthy of imitation qualities of Krosh, there is nothing didactic in him, that is, openly instructive, he always remains alive and natural, and the author looks at him with a cheerful smile, condescending, but also attentive to his sometimes excessive self-confidence, to his helplessness in other cases, his tendency to make hasty conclusions - in general, to many shortcomings characteristic of the hero’s age, perfectly conveyed in all three stories.

In the first story about Krosh, its hero has just entered that difficult period of life when a fifteen-year-old person already firmly knows that he has become an adult, but his elders rarely fully recognize this in him. This results in excessive wariness towards outside opinions about oneself, many misunderstandings, and an overly emphasized desire to defend one’s independence. In the story “Krosh’s Vacation,” Seryozha Krasheninnikov has become a year older, but now he actually must act independently, without the help of his elders, and sometimes despite them, to seek and find solid criteria for very complex psychological and historical phenomena. In “The Adventures of Krosh,” the boy was most concerned about the logic of both his own actions and those of other people. “He scolded me, and then called me well done... Where is the logic?” The first story about Krosha ends with this naive bewilderment of the hero. But the reader understands well that the director of the car depot is right in both scolding Krosh for lack of discipline and praising him for his honesty. The apparent contradiction in the words of the director is, as it were, the next question of the confusing problem that life offers to solve the hero of A. Rybakov.

In “Krosh’s Vacation,” the external world surrounding the hero expands and the internal problems he faces become more complex. Here Krosh goes not only beyond the doors of the school, but also beyond the gates of the motor depot into the vast spaces of Moscow: its streets, shops, courtyards, beaches, cafes, reading rooms, gyms, suburbs, motels, buses, trains - everything is available during the holidays and everything is interesting. when you first come into contact with a huge modern city. But the most interesting thing is the new people with whom Krosh has to meet, new comrades, new girls, and especially the art critic Veen - the embodiment of freedom, elegance, and success in the eyes of the boys.

But Veen is a logical consequence of that tendency to selfishly oppose one’s interests to the interests of all other people, which has already emerged in Krosh’s friends: quite definitely and, it seems, hopelessly in Igor and not yet very confidently in Kostya. Veen is a typical psychological complex that crowns the pursuit of a “beautiful life” at all costs, unprincipledness and a dangerous and false everyday rule that Kostya was ready to follow: they are deceiving me, which means I can deceive; the people around me act immorally, which means I have the right to do the same.

Once again the writer uses his favorite plot device: he energetically develops the action around the mystery of a collection of ancient Japanese miniature sculptures that disappeared in the late 40s. Krosh almost becomes a participant in the dark speculations of imaginary “art critics.” But in A. Rybakov’s story the emphasis is not on the detective plot of disappearance, searches and finds, but on the psychological and moral background of this story. Will Krosh resist or not resist the temptation of self-interest, the fear of responsibility, the inertia of indifference? It’s not easy at sixteen years old behind the dazzling shell of knights “ beautiful life“, behind their demonstration of their superiority over “ordinary” people, behind their almost intelligent correctness, recognize the falsehood and emptiness. And somewhere in the distance of past years, heinous crimes. You must have good mental health and self-esteem so as not to be tempted by these masks. Rybakov's hero possesses them and emerges victorious from this serious test.

In the third story about Krosh, in “The Unknown Soldier,” the hero’s world is even wider and not so much diverse as it is mobile, and everyday circumstances are even more responsible: now Krosh has graduated from school, did not get into university, and now he is looking for consolation in failures and a way out from a position far from home, far from Moscow, in the quiet provincial Koryukovo, where, unexpectedly for himself, he becomes a mechanic on the construction of a highway. Here A. Rybakov again found his engineering experience useful to describe the road construction situation, and Krosh found his summer practical experience useful. But not only the province, the village and Siberia enter the world of the matured Krosh, the past of the country, the voice of the past war powerfully enter into it, and they enter not as an abstract history lesson, but as a force that is directly related to today’s behavior and self-perception of a person. And again the world expands for the inquisitive and persistent hero Rybakov through the solution to a new mystery that awaits him in his humble everyday life as a road mechanic. However, what does “waiting” for the solution to the mystery mean? It is not she who is waiting for him, but he who is looking for her; another in his place would have passed by another soldier’s grave discovered by the builders, or would have been content with the most general expression of grateful memory. After all, Krosh almost reconciled with the decision of the head of the site to simply move the interfering grave, and was satisfied with the decision dictated by completely “logical” considerations: the need to complete the road leading to the new tourist center - ancient Poronsk - as soon as possible. And this is a worthy way to honor the past and historical traditions. But Seryozha Krasheninnikov (he now decisively does not want to be called Krosh) is looking for a way to combine two opposing debts: large, general and personal, his own, not so outwardly obligatory, but for him very important and vital. It turns out that in fact it is very difficult to accurately weigh which of them is larger and more important and where one ends and the other begins - there are no such scales and no such measure. But maybe you don’t need to weigh it, but rather try to do both? Seryozha tries to follow exactly this path and, having gone through external and internal obstacles, in the end he brings all possible consolation to the inconsolable mother of the deceased soldier, and he himself acquires a profession, a place in life and the love of his comrades. It turns out that fulfilling the heartfelt duty of kindness to human grief, moral responsibility to the historical past of one’s people, although sometimes comes into conflict with immediate urgent responsibilities and tasks, but in the end, by and large, helps to solve them on a more worthy level and a solid foundation .

But does Seryozha’s decision at the end of the story mean that the author to some extent justifies white lies as a rule, as an ethical law? First, persistently search and find it difficult to find the real name of a soldier buried by the road, and then pass off his grave as the grave of another - where is the logic? But that’s what Krosh could have asked from the first book of the fisherman’s trilogy. In adults, truth seekers and justice, such bewilderment will not arise, just as it did not arise among the heroes of “The Unknown Soldier”, who silently and gratefully accepted Seryozha’s decision to return his son to his mother, even if he was dead. There are laws of life that cannot be formulated logically, and it is probably not always necessary to even try to do so, so as not to trivialize them with seeming elementaryness. But these laws are written in the heart of humanity, and every more or less emotionally developed person knows them well about himself and in private (whether he always fulfills them is another matter): help to the weak, a sense of camaraderie, respect for the past, respect for old age, – and you never know how many of them there are, these laws of true humanity! They are true and strong when they are resolved not in general, but specifically, not in words, but in deeds, not abstractly, but in accordance with the real relationships that develop in a given situation. It is good that the hero of “The Unknown Soldier” restored the truth about the feat of the modest Krayushkin, it is good that the granddaughter of the deceased learned an unfamiliar feeling of grateful respect for her grandfather. But it’s wonderful that Seryozha Krasheninnikov, and Zoya Krayushkina, and all the people from Voronov’s construction site managed to console the inconsolable soldier’s mother a little, found in themselves noble restraint, without unnecessary words, without cold adherence to formal truth, fulfilling one of the main laws of humanity - to help those in need of help. All five dead soldiers laid down their heads on the ancient land of a quiet city, where they were not destined to reach, all five and millions more rest in our land, and the best monument to them is honesty, justice, the courage of their children and grandchildren who now live on this very earth. Such thoughts come when you close a book with three stories by A. Rybakov about Krosh.

Anatoly Rybakov

THE ADVENTURES OF KROSH

Trilogy about Krosh

Three stories by A. Rybakov about Krosh are widely known in our country to both young and adult readers. The first of them - "The Adventures of Krosh" - was published in 1960, the second - "Krosh's Vacation" - in 1966, the third - "The Unknown Soldier" - in 1971. In their popularity, they can compete with the famous “Dirk”, with which A. Rybakov began his literary career and which is already well known to many successive generations of small schoolchildren, lovers of fun and dangerous adventures.

The stories about Krosh are intended for an older reader.

In “The Unknown Soldier,” the last book of the trilogy about Krosh, who became an adult, eighteen years old, two intertwined streams of A. Rybakov’s creativity almost merged. Let's try to imagine in general terms how this happened.

During the Great Patriotic War, Rybakov was a front-line officer, head of the automobile service of the rifle corps.

The literary path of A.N. Rybakov began after the war, when the writer was already 37 years old. Then, in 1948, “Dagger” was published and immediately won the hearts of readers - the fascinating adventures of Misha Polyakov and his friends, who were looking for a mysterious weapon that had disappeared during the First World War. The story was written according to all the rules of the adventure genre: energetic action, romantic mystery and unexpected plot twists - these are the main springs that held together the various pictures and events of this book and kept its little reader in tense anticipation of the extraordinary. But there were already two more features in this funny story that were characteristic of Rybakov’s talent, determined by his biography and his attitude to the world.

Firstly, the color of the time, the colors of the era of his childhood, which was reflected in the bright reflections of the recent revolution, the tangible breath of the just subsided civil war, irreconcilable class clashes - they determine all the experiences, dreams and actions of Misha Polyakov and his comrades, who always simply establish and knowing exactly what is good and what is bad, whose side they are on and therefore exactly how they should act and act. There is no place for thoughts, doubts, or hesitations here.

Secondly, the main moral qualities of the hero Rybakov are clearly outlined here; the hero of "Dirk", for all his childish features, is already a small man, determined, inquisitive, energetic, always acting in accordance with his beliefs and ideas about good and bad. This will remain forever, all of A. Rybakov’s favorite heroes, no matter how old they are, no matter what they do and no matter what they are called, strictly preserve the complex of male honor, where courageous courage and readiness to defend justice come first, and meanness is always is called meanness, no matter what clothes it dresses itself in.

“Dirk” was a great success among readers, but A. Rybakov did not follow the already beaten path following the first book, but tried his hand as a writer in a completely different genre. In 1950, he published a great novel, “Drivers,” which was awarded the USSR State Prize in 1951. It was a book about drivers and the work of drivers, about the joys and sorrows of the working man, about the problems of modern production. Neither the material, nor the plot, nor the style of the novel at all resembled A. Rybakov’s first story, and only the name of the hero of “Drivers”, the silent head of the motor depot - Mikhail Grigorievich Polyakov - betrayed the author’s inner intention to give a picture of the fate of the generation that began its journey in the light of the first pioneer bonfires and took on his shoulders the main burden of the great war. But so far this was only a distant intention, and the connection between the hero of “Dirk” and the hero of “Drivers” was purely conditional, important mainly for the author, who, parting with the memories of his youth for a long time, made a sign that he did not want to leave them forever.

In 1955, A. Rybakov published another great book for big people, the novel “Ekaterina Voronina”.

The story is about how 9th grade schoolchildren had a summer internship at a motor depot that patronizes their school. Krosh did not have technical inclinations; he wanted to get a job in a car during practice so that he could drive it. But together with Shmakov, Peter ended up in the garage. At first they were not trusted with anything, they only observed. In the garage, the workers considered Krosh small, but after he showed them his license, albeit a child’s, it impressed everyone. Gradually the guys got involved in the work.

Igor worked in an office, walked around the workshops and filled out forms. He behaved as if he were the deputy chief engineer. He loved to hang around among the elders, to be the center of attention.

At a class meeting after a week of practice, Igor proposes to restore the decommissioned GAZ-51. All the guys support him. Krosh suggests, before taking on such a difficult task, to look at the condition of the car. Nobody listens to him. As always, Igor offers something, and if it doesn’t work out, everyone is to blame except him.

Krosh suggests drawing up a defective statement. At this time, in Lagutin’s desk he finds bearings that he was supposed to put on the car. The car came out of the garage with old parts. The boy cannot believe that Lagutin can do this to the state - sell the bearings and take the money for himself. Krosh realized for himself that Lagutin is a swindler.

Krosh, Shmakov, Vadim and Igor live in the same yard. Igor did not introduce the others to his adult friends. I was shy. Vadim, as a friend, was hurt by this.

The next day, Vadim announced to all his classmates to collect everything that could be useful for their car. Just at this time, new shock absorbers disappear. Krosh guessed who took them - Lagutin. Immediately, losses were discovered in other warehouses. All the missing items, except for the shock absorbers, ended up in a warehouse reserved for schoolchildren's cars. Igor began to blame Vadim for this, although he himself was to blame - it was he who told Vadim that the director allowed things to be collected in workshops. From this moment on, Vadim leaves Igor’s influence. The guys asked for forgiveness. Students were told to look for shock absorbers.

The guys were advised to restore a decommissioned car, which is located in Lipki, since it is in better condition. Krosh, Shmakov, Igor and Vadim followed him. There was an accident on the spot: the guys overturned the car. Krosh, Shmakov and Vadim stayed overnight in the car, as they were ashamed to return to the city without anything. And Igor returned home, supposedly to warn his relatives. When the children and the car ended up in Moscow, the parents made a fuss. The director reprimanded Zuev. Krosh wants to write a statement because the guys are to blame. Igor dissuades him, and Zuev doesn’t care.

Igor tells Krosh that there are rumors that Zuev took the shock absorbers. The boy decides to talk to Lagutin. The mechanic distorts the schoolboy’s words, and the entire carpool already knows that Krosh thinks that Zuev took the shock absorbers. They look at Krosh reproachfully. The boy suffers, because he wanted what was best.

Vadim finds shock absorbers and shows Krosh. They decide not to take them and thereby find the thief. In the evening at the dance, Mike dances with Lagutin. Krosh decides never to talk to her.

The next morning the shock absorbers were not in place. The boys studied the tracks: some from the Volga, others from the all-terrain vehicle. Krosh tells Shmakov about everything.

The students were given an advance. Krosh spent almost the entire day thoughtlessly. Shmakov still had them intact.

Krosh nevertheless writes a statement that Zuev was not guilty in Lipki. The director gets angry and asks not to interfere in his business.

The restoration of the car progressed slowly. Only Krosh and Shmakov did almost everything. But then all children were forbidden to do repairs in working hours. At the meeting they decided that they would do this after their shift, and the foremen would help them. Things went faster.

On Sunday, Krosh and Shmakov decided to go swimming in Khimki. Vadim imposed himself on them. In the yard I meet Igor, who is tinkering with his brother’s Muscovite and cannot fix it. Krosh and Shmakov help him. Igor, under fear of another car breakdown, takes the boys to Serebryany Bor, where it is much better. There he meets his friends and moves away from his classmates. In the end, everyone gets acquainted and swims together. Krosh pays attention to the traces of the car in which Igor’s friends arrived. They are the same ones at the crime scene.

Krosh talks to Maika again and tells her the story with the shock absorbers. The guys decide to talk to Igor honestly. Igor invites his friends to the Volga and it turns out that they did not take shock absorbers. But this could have been done by the person to whom they gave their car for repair. And it was Lagutin and a friend. After some time, the whole class knew the story with shock absorbers. Lagutin looked sideways at Krosh. Krosh and Shmakov talk with Lagutin. In the evening, dispatcher Zina comes to Krosh. The boy convinces her that if shock absorbers are found, then nothing will happen to Lagutin.

On the last day of practice, the car is finally ready, the ill-fated shock absorbers have been found, and the director of the car depot first scolds and then praises Krosh for his honesty.

The car depot is located near our school. On the next street. When the windows are open in the classroom, we hear the roar of engines. This is leaving on

work trucks and dump trucks. They transport materials to various construction sites in Moscow.

At night, cars stand in long rows in a vacant lot. They are guarded by a guard. Wrapped in a sheepskin coat, he sleeps in the cabin. In case of any

incidents can immediately wake him up. They can, for example, tell him that something was stolen at night.

During the day, car owners mill about at the gates of the car depot. They have ingratiating faces: they do not know how to repair their cars themselves and

they want the workers to do it.

The car depot patronizes our school. Therefore, in terms of polytechnics, our school is the best in the area. People from other schools come to watch ours

auto cabinet

We learn to drive on a GAZ-51 truck. The car depot also gave it to us.

The school caretaker, Ivan Semenovich, always tries to steal a truck for household needs. He gets angry when we go out to practice.

He shouts that he urgently needs to bring coal or something else.

Despite this, we left for our twenty hours. Some guys even have a driving license. These rights are called

"Young driver's license." They say: “...has the right to drive cars only on children’s highways.” This is what it says in

certificate

But with these certificates you can drive around the city. Of course, if you don’t run into trouble with the police. However, if you don’t run into the police,

You can drive without any license.

We do practical training at the car depot.

Parallel class “B” has construction practice. They are working on the construction of a pioneer camp in Lipki. That's where they live. Not

practice, but a dacha. And we have to steam in Moscow all June.

I don't need this practice at all. I have no technical inclinations. If there's one thing I'm interested in at the carpool, it's driving the car.

But trainees are not given a rudder. And I have absolutely nothing to do here.

When we came to practice, the director of the car depot said:

Anyone who works well may even receive a rank. I won't say - the fifth. Fourth.

We stood in the yard. The director was a massive man, with a dark face from a tan, dressed in a blue work jacket. I immediately realized that he

former driver. All old drivers have such forever tanned faces. After all, they spend their entire lives outdoors, in the wind and under

the sun. The director moved and spoke so calmly and slowly, as if he was holding himself back all the time. This also confirmed that he was a former driver.

You cannot drive a car with weak nerves - you will immediately get into an accident.

What's bad about getting a discharge? .. - asked the director and looked at us hopefully. I thought that we would be terribly happy to hear about the discharge.

But we were silent. We knew that at the last practice, only one girl received a discharge. For extraordinary discipline and obedience.

And whoever doesn’t want to work, let him say it directly, I will release him instantly.

Some wouldn't mind getting out of here. Me, for example, since I have no technical inclinations.