Dialogue on the topic of school. Dialogue on literary and artistic topics

Lesson 9. KEY WORDS IN THE TEXT

We develop the ability to highlight keywords in the text

49. Read expressively. What is the author talking about in these lines? Do you share his opinion?

He who seeks will always find,

Those who wait will always wait.

Who will go everywhere to the end,

He will achieve his goal!

V. Zemtsov

Explain the spelling of the highlighted word.

The words that are most important for expressing the theme and main idea of ​​the text are called key (supporting) (Ukr. key (support)). In speech, such words are highlighted by voice and intonation.

50.Without reading, look through the text and try to predict its content based on the highlighted (key) words.

Tanka is not surprised by anything. She always says: “That’s not surprising!” - even if it happens surprisingly.

Yesterday, in front of everyone, I jumped over such a puddle... No one could jump over, but I jumped over! Everyone was surprised, except Tanya:

Just think! So what? That's not surprising! I kept trying to surprise her. But he couldn't surprise me.

No matter how hard I tried. I learned to walk on my hands and whistle with one finger in my mouth. She saw it all. But I wasn't surprised. I tried my best. Whatever I did! He climbed trees, walked without a hat in winter... She still wasn’t surprised.

And one day I just went out into the yard with a book. I sat down on the bench. And he began to read. I didn't even see Tanka. And she says:

Marvelous! I wouldn't have thought that! He's reading!

According to V. Golyavkin

· Read the story, highlighting the key words in your voice. Were your assumptions justified?

· How do you imagine a storyteller?

· What made Tanya surprised? Why?

For why!

One of the meanings of the word key (from key) is opening the possibility of mastering or managing something. Just like a key that opens doors, a keyword helps to open and understand the content of the text, the main idea of ​​the author.

51. Retell the text from exercise. 50, based on keywords.

52. Think about what might surprise you. Make up a dialogue on the topic “What surprises me?”

53.Read the text. What does the title contain: the topic or the main idea of ​​the text?

TANNINS ACHIEVEMENTS

Every evening, dad took a notebook and pencil and sat down with Tanya and grandmother.

Well, what are your achievements? - he asked.

Dad explained to Tanya that achievements are all the good and useful things a person has done in a day. Dad carefully wrote down Tanya's achievements in a notebook.

One day he asked, holding his pencil ready as usual:

Well, what are your achievements?

Tanya was washing the dishes and broke a cup,” said the grandmother.

Hm... - said the father.

Dad! - Tanya begged. - The cup was bad, it fell on its own! There is no need to write about it in our achievements! Just write: Tanya washed the dishes!

Fine! - Dad laughed. - Let's punish this cup so that next time, when washing dishes, the other one will be more careful!

V. Oseeva

Highlight key words in the text so that you can use them to retell its content.

· Retell the text using keywords. Did you understand its content correctly?

· Look at the drawing. What episode of the text did the artist depict?

54. Test yourself! A. Name the main words of the lesson.

B. Using the sample, make up questions for the key words in the text (Ex. 53) and ask them to each other.

Sample. Dad asked. What did dad ask? (Who did dad ask?)

55. Select and write down key words that can be used to compose a text on the topic “My achievements.”

Shakti to be heard by Shiva" (Agamadvaita Nirvaya). Texts by others schools dialogue between Shiva and Shakti. For Shaivas, the main deity is Shiva, ... healing, strengthening and rejuvenating. Secondly, each asana changes the distribution of internal energy, setting it in motion along certain nadis, those thereby developing and purifying them, as well as certain chakras. Thirdly, each asana corresponds to a special state of consciousness, its own...

https://www.site/religion/13788

The so-called “researchers”, who usually understand tantra no more than a spoon understands the taste of stew). As a rule, the Shaiva and Shakta texts are composed in the form dialogue between Shiva and his wife Shakti. There are two types of such texts: agamas and nigams. The text "Agamadvaita nirvaya" says: "Agama... is so called because it comes from Shakti to be heard by Shiva" ("Agamadvaita nirvaya"). Texts of others schools are usually called agamas, although they are not composed in the form dialogue between Shiva and Shakti.

https://www.site/religion/12020

Which, of course, you are quite good at. I'll give examples along the way. dialogues Child (P) with Adult (B). Some replicas are entirely allegorical, others are taken literally from life... there must be an additional load in the form of musical or artistic schools, dance or vocal studio, drawing or modeling clubs, ... for seven to eight hours. The more eventful a child’s day is, those he becomes more organized. Don't be afraid of heavy overloads! Change...

https://www.site/psychology/16865

That your thoughts don’t affect anything, you actually gave away your power those who will tell you how to properly communicate with them. Creation dialogue on equal terms Why is this so, why is this so? This is just some kind of... balanced state. Secondly, you should not assume that you are superior to your interlocutor and better understand how to conduct dialogue on an equal footing because those By doing this you are, in general, breaking through your sphere, your harmony from within. Most conflicts and most energy connections and...

https://www.site/psychology/112370

To your liking in your views and judgments? - Truth is pointless, nameless, not delineated by a concept or idea, but, together with those, it is initially present in all the diversity and boundlessness of the worldview. Its presence is predetermined by the very existence of such a phenomenon as life through... and lack of will. Here are two quatrains that, as they say, one poet-thinker who discovered school wisdom, admonished his students: Sacrifice ambition for the sake of truth, it shines with all honors...

https://www.site/journal/141535

Things" (economic, political concepts) involves the "export of ideas", the export of alien and incomprehensible logic. Paul Tillich managed not only to outline the contours dialogue between Buddhism and Christianity, but also to show that neither those possible discussion is not speculative, only intellectual and not related to social, political or economic reality. That's why the Pope's conversation...

https://www.site/religion/11579

There is a special institute there that deals with ancient practices. Education in it is a complex, multi-level system with many schools, which includes, among other things, the Institute of the Master’s personal students. Some Masters live in the mountains on their own, choosing... benefits. We have become a culture that spends its weekends in supermarkets. We constantly pretend to be poor, although in reality we are concerned those in order to change the car in 2-3 years. I have been to several Islamic countries that are much poorer than us,...

Dialogue in English between friends can be on a variety of topics, let's look at different situations and learn new vocabulary to enrich your vocabulary.

Advice: “don’t throw away” the words you’ve learned, try to use them whenever possible and appropriate.

Dialogue about plans for the weekend

Katie: Hello, do you have any plans for this weekend?

Linda: Hi! I don’t know, my parents asked me to go to the zoo with Jake, my little brother, on Saturday, but his friend has a Birthday on Saturday, so I’m not sure yet.

K: Aha, I see. How about going to see a movie on Sunday, then?

L: I would love to! Maybe we should go out to eat before the movie?

K: That sounds like a good idea!

L: Do you mind if I bring along my older sister with us? She is just back from New York and I want to spend some time with her as well.

K: No, I don’t mind at all. I haven’t seen her for half a year. How is she?

L: Great! She finished her study successfully and found a job.

K: She is very motivated, once she makes up her mind she will reach her goals.

L: Right. That's my sis.

Katie: Hey, do you have any plans for this weekend?

Linda: Hello! I don't know, my parents asked me to take Jake, my little brother, to the zoo on Saturday, but his friend's birthday is on Saturday, so I'm not sure yet.

K: I see. How about going to the movies on Sunday?

L: With pleasure! Maybe we'll go to a restaurant before the movie?

K: Good idea!

L: Would you mind if I take my older sister with us? She just returned from New York and I also want to spend time with her.

K: No, I don’t mind at all. I haven't seen her for six months. How is she?

L: Great! She successfully completed her studies and found a job.

K: She is very purposeful, once she has made a decision, she will definitely achieve her goal.

L: Yes, this is my sister.

Communication with friends – communication with friends

Words from the dialogue

• Zoo - zoo.
• To be sure - to be sure.
• Would love to - with pleasure.
• To go out to eat - go to a restaurant.
• To make up mind - make a decision.
• To reach goal - to reach the goal.
• To mind - to object.
• To spend – spend (time).
• Successfully - successfully.
• Job - work.

Dialogue between friends – dialogue between friends

Dialogue about dating

Read another dialogue about how a girl wants to introduce her brother to her new friend.

Patrick: Hey, what's new?

Sarah: Hi there. I’m just back from the dance studio.

P: I didn’t know you started attending these classes.

S: Yeah, today was my first class.

P: And how was it?

S: I really like it. By the way, I met there a girl from my school, her name is Betty. She is very friendly.

P: I’m glad that you have found a new friend.

S: Oh, Patrick, she is so nice. You should meet her! You saw her – she was at Chris Birthday party last week.

P: I don’t quite remember her, there was a whole crowd there. What does she look like?

S: She has long straight dark hair, she is quite slender and pretty.

P: Do you think she will want to meet me?

S: I’m sure she will be happy to meet you. Moreover, and this is a huge secret, she asked me about you.

P: Ok, then. Maybe I can stop by to meet you both after dance classes tomorrow?

Patrick: Hey, what's new?

Sarah: Hello. I just got out of dance school.

P: I didn't know you started taking these classes.

S: Yes, today was my first lesson.

P: And how did it go?

S: Great. By the way, I met a girl from my school there, her name is Betty. She is very friendly.

P: I'm glad you found a new friend.

S: Patrick, she's so good. You should meet her! You saw her, she was at Chris's birthday last week.

P: I don’t remember it, there was a whole tola there. What does she look like?

S: She has long dark hair, she is quite slim and pretty.

P: Do you think she will want to meet me?

S: I'm sure she will be glad to meet you. Moreover, and this is a terrible secret, she asked me about you.

P: Maybe I can drop by tomorrow to meet you after dance lessons?

S: Good idea!

Vocabulary from dialogue

• To attend - to attend.
• Dance studio – dance school.
• Friendly - friendly.
• Glad – joyful.
• To remember - remember.
• Crowd - crowd.
• Slender is slender.
• Moreover - moreover.
• Huge – huge.
• To stop by - look in, come in.

Please note: English expressions may not always have a literal translation, for example, speaking in English huge secret, in Russian we can say terrible secret (secret), and not a huge secret.

Listen to the dialogue and try to write down expressions from it. We have already mentioned some words above.

Dialogue on literary and artistic topics

I learned the first letter from Konstantin Grigorievich Kiselev several years ago.

The letter from a complete stranger surprised me in that it did not contain a natural “sense of distance”; it seemed that we had been working with him as co-authors for many years, thinking, searching, building, and now, when everything was left behind, his mind returned again to our joint brainchild. Sometimes he rejoices, sometimes he regrets. He approves modestly, because it is not proper for a serious person to amuse himself with self-praise. He judges strictly, but not me, as it were, but himself, who was nearby and did not help.

I was shocked in his letter by the enormous understanding of what I wrote - an understanding that, it seemed, could only be born as a result of long communication, a long look at each other.

I looked at the return address - Tomashpol; I learned that this is an urban village.

The city has a sugar factory and several small factories. Once upon a time, Tomashpol stood on the large Byzantine road that ran along the Dniester and further to Kyiv. In this small, as they used to say in the old days, provincial town, Kiselev lives.

We started corresponding; he told me that he had already retired, was a dispatcher at a sugar factory's motor depot, and before that, in various small positions: secretary of the factory committee, secretary of the village council, assistant accountant; His library now numbers ten thousand volumes, collected in the post-war decades. Before the war, Kiselev’s library contained sixteen thousand books, but they all perished...

Seven hundred volumes in Kiselev's library - with autographs of writers. He began writing to his favorite authors a long time ago. I wrote the first letter to Gorky, the second to Fadeev, the third to Tvardovsky. He received answers, and they turned his soul, his life upside down. He made an unexpected discovery: the letters he dared to write were important not only for him, but also for them, the writers. He began to write more deeply and more responsibly. In order to better understand the work of writers, I decided to plunge into literary criticism and gradually became interested in it.

In his passion for this, he was wounded - with one reply letter. Kiselev liked the fundamental work of the famous literary critic, Doctor of Philology D. D. Oblomievsky “French classicism”. He wrote a long letter to the author, and after a while he received an answer, but not from Oblomievsky, but from Doctor of Philology E.M. Evnina. She reported that Oblomievsky had recently died and the publishing house gave her a letter to him. She wrote that she was “terribly humanly and femininely” sorry that Dmitry Dmitrievich did not have time to receive Kiselev’s letter from Tomashpol.

“We are not very spoiled by the responses of our readers, and each such letter, proving that our work was not in vain, is, of course, a great joy for the researcher. As for the content of your long letter, I was amazed how you, not being a philologist, not only deeply understood D.D.’s book, but, in addition, apparently, and independently of it, read a lot and learned a lot. You even complement Dmitry Dmitrievich in some ways. Where did you get such knowledge and literary interests? Maybe you once studied and worked in our field?

And it hurt Kiselev that he was late - late with the letter: the author died. He understood this last work of the writer as a testament - a testament addressed personally to him, Kiselyov.

He decided to do everything in his power to ensure that his letters were no longer late: he reduced rest, even sleep, to a minimum.

Kiselev wrote to the author of the book “Poetry of the Pleiades” Y. Vipper, and the author of the book “Italian Literature of the 18th Century” B. Reizov, and the author of the book “From Cantemir to the Present Day” D. Blagoy, and the author of the book “Leo Tolstoy as an Artist” M. Khrapchenko, and the author of the book “The Works of F. M. Dostoevsky” G. Pospelov, and received large letters from venerable literary scholars.

In these answers one could see the same surprise that was felt in Evnina’s letter: where did he, Kiselyov, get his extensive knowledge, mature thoughts about artists, literature, eras?

Kiselev, feeling surprised, was not offended. Really weird. The dispatcher of the sugar factory motor depot in small Tomashpol, and writes about Cantemir or forgotten Italian poets of the eighteenth century!..

All this became known to me because I asked Kiselev to introduce me to the writers’ responses to his letters. Reading these answers, I thought about how, in essence, all of us who write are alone, especially during working hours at a desk, how unsure of ourselves when what we write goes out into the big world to the reader, with what childish impatience We are waiting for a response from this big world.

Kiselev managed to become the person the writer needed as a sudden well-wisher, as an unexpected friend. This is what people with great, perhaps even worldwide, fame write to him: “Thank you for being you,” “It was worth being born to receive a letter like yours,” “I was sick, your letters helped me get better.”

He often writes to those who are not spoiled by fame; Sometimes his letters have an unexpected fate.

But time passed, and Kiselev still did not receive the second volume. He ventured and wrote again; A boy, Tumanina’s son, answered him, he wrote to him that his mother had died, he was left alone. And again it seemed that this was bequeathed to him: both the volume, the second, and the boy. It was as if they had opened a secret envelope with his last will, and there was his name, Kiselyov. He began to correspond with Tumanina’s son. When the second volume finally came out, Sasha sent it to Kiselyov, with the inscription: “From your son.”

Kiselev not only receives books from writers, but he also gives them to his favorite authors. V. Lebedeva, whose book “Boris Mikhailovich Kustodiev” he liked, he sent by March 8 a voluminous volume containing articles about B.P. Vipper. Lebedeva, thanking for the gift, wrote:

“You touched me extremely. The fact is that B.P. Vipper, to whose memory this volume, which was published in an insignificant edition, is dedicated, is my teacher. I received the gift I dreamed of."

You can call all this a purely random coincidence of things, or you can - almost mystically - the clairvoyance of love.

But it is more modest and, perhaps, more accurate to call it understanding - understanding of the deep spiritual basis of the writer’s life and work, an understanding that surprises everyone to whom Kiselev writes, just as it surprised me when I received the first LETTER from him.

Alisa Koonen wrote well to Kiselev:

“...Your thoughts are interesting, and what was personally dear to me is that you write about Tairov, in particular about Tairov’s theater, not as a spectator or observer (even a benevolent one), but as if you were an active participant our creative life, work, you write with such a living feeling, as if you are an empathizer of our troubles and our joys. That is why your letter aroused in me a very kind feeling towards you as a person who understands with all his being the art of theater itself, the strongest of all arts. I wish you with all my heart to collect many, many more valuable treasures for your library, and I also think: it would be nice if you wrote a book, shared your thoughts about the theater and in general about great people who give their lives to art...”

No, after that Kiselev did not write a book about the theater. He doesn't write, he reads. But he reads so creatively that he thereby participates in the development of culture.

Without a writer, there is no reader in that naive, childish sense that if the writer did not write, then there would be nothing to read. But even without a reader, a writer is impossible, just as fire is impossible in an atmosphere devoid of oxygen.

A.G. Koonen called Kiselev “an active participant in our creative life,” and he seemed to me to be a co-author. The point, apparently, is that while reading, he does not consume (after all, one can be a consumer of not only material, but also spiritual values) - he works.

What is he working for?

So we come to the most fundamental question: what is the essence of the Reader, what is the meaning of his spiritual work, his life?

Kiselev teaches people to read. That's right - he teaches. He is sure that this must be taught. Its library is open to everyone who wants to study. Today it is attended by readers of the second generation, that is, the sons and daughters of those whom Kiselev began teaching to read several decades ago.

“Yesterday I had,” he once wrote to me, “the daughter of our secretary of the district executive committee, Ivan Vladimirovich Kichurko, she is twenty-four years old, she works as a typist, she graduated from medical school, but she did not find herself in medicine. I wanted to give her books that would increase her spiritual and moral independence, teach her the art of making the right choice in life (and not in an obsessively edifying way, but in a subtle artistic way, revealing the riches of the human spirit). I gave her Madame de Staël’s “Corinne” (from the “Literary Monuments” series), Rilke’s “New Poems” and the book “Socrates” by Joseph Toman and Miroslava Tomanova to read.”

And to teach you to live is to teach you to believe in yourself, in something better in yourself, and then never sacrifice this best for the sake of fleeting success or fleeting vanity. To teach to live is to teach things that are ingenuous in appearance, but in essence are not easy: to distinguish the genuine from the inauthentic and to see the truth. Truth can be modest, and therefore it sometimes seems unimportant for the making of life and the organization of destiny. She sometimes waits for a long time in the shadows for the hour when she will be remembered, and then suddenly she will be illuminated from within, illuminating for the last time the best that is lost forever. Late pain remains, you can forget about it, but you can also bequeath it to young souls - for early wisdom. But what is more valuable is not the pain of losing the best in yourself to bequeath, but precisely this best in development and growth...

Many years ago, three boys who lived next door began going to his home library: Vova Buchatsky, Vitaly Fartushny and Igor Artemchuk. Confused, they looked around helplessly in the home book depository, not understanding where to start, what to take with them.

And Kiselev began to teach them to read. This is one of his favorite ideas - that a person should be taught to read from childhood, that is, taught to understand the characters, the relationships of the characters, the spiritual world of the author, the moral essence of the story... He teaches to read, as they sometimes teach to understand serious symphonic music.

As they read (first “Kolobok”, then Pushkin, Lermontov, Tolstoy, Ibsen, Hegel...), their own characters and inclinations were revealed more and more fully...

Kiselev helped Vitaly Fartushny enter a music school, Vladimir Buchatsky increasingly gave serious books telling about the history of science, advised Igor Artemchuk to study languages...

Buchatsky became a scientist (now he is the director of a branch of a large institute in Cherepovtsy). Fartushny graduated from the Leningrad Conservatory and teaches music to children in its Petrozavodsk branch. Artemchuk became a writer-translator.

Kiselev receives concert posters from Petrozavodsk with Fartushny’s name on them; from Kyiv - books translated from German into Ukrainian by Artemchuk. And he speaks about Buchatsky with pride:

“He was in India, and in Switzerland, and traveled half the world, but still, he’ll drop by a little in Tomashpol, first of all, to see me.”

For Kiselev, all three of them are still children. And in their letters to him they call him “spiritual father.”

Kiselev not only gives books to read, he gives them as a gift. He sometimes gives “royal” gifts to regular readers of his library. Dmitry Lechel, the head of a workshop at a food products factory, was presented with a 12-volume collected works of Feuchtwanger, one-volume works by Stefan Zweig and Jack London.

In the evenings, he and Dmitry Lehel have long, fascinating conversations: about Tolstoy, about Dostoevsky, sometimes they argue heatedly, for example, about which of the French classics today speaks more to the heart and mind: Balzac or Stendhal? Lehel is a zealous admirer of Stendhal, Kiselev - Balzac.

They try to convince each other, they talk about their favorite writers endlessly, not realizing that in these evening hours their conversations make provincial Tomashpol equal to the world centers of culture with unique book depositories and world-famous art galleries, because there are no capitals for the sparks of the human spirit and there is no periphery.

And in the debate about Balzac and Stendhal, Lehel won. Once upon a time, many years ago, Kiselev - he is much older - taught Lehel to read and love the classics; today the student prompted the teacher to re-read Stendhal, and, after re-reading, Kiselev agreed with Lehel’s arguments and even wrote a short work himself about the author of “Red and Black”.

Of course, not everyone in Tomashpol understands him - some see Kiselyov as an eccentric, “he won’t have lunch,” they say about him, “but he’ll buy a book.” In a small town, a person like Kiselyov is a noticeable, even exotic figure; and they treat it differently: some see only the good, the big; someone is funny, petty. Many people highly value his work as a “sower” and educator, but others think that he is simply stroking his vanity: he corresponds with famous writers in order to be proud of their answers and autographs, and to become a picturesque attraction in his own right.

The city sees him as if through two eyes: the first is serious, kind; the second is less kind and therefore ironic. And you can’t close this eye, the second one, by force, and you can’t easily prove to it that it sees something that doesn’t exist in reality. After all, unselfishness is often compatible with the pleasures of self-love, and the lofty sometimes coexists with the funny in one life, in one destiny, which is why the second eye can be satisfied if it wants. It sees what actually exists, and at the same time it sees without seeing, because it is indifferent to what constitutes not individual features and features, but the very meaning of human life. Kiselev’s pension is modest - forty-eight rubles, because all his life he received a small salary: seventy - eighty rubles. And he lives crampedly: one room and a tiny kitchen - and ten thousand volumes. But he thinks little about himself, he cares about the library - in the spring he takes books outside so that they don’t get damp and bask in the sun; in winter he constantly carries them from the stove to the stove.

For her sake, the library, he went to the housing department of the executive committee; there they listened to him and seemed to understand him, he left a statement and began to wait for the issue to be resolved and the move.

He now lived with the hope of getting a modern, small, moderately comfortable home and even made plans in his mind for placing a library in the bedroom-office and hall-corridor and setting up a home reading room - perhaps in the kitchen.

But this was not destined to come true, perhaps due to his own fault: he did not find the strength within himself for one legal decision. The executive committee asked him to write a will. He had to bequeath the library to the city, and this condition offended him.

It didn't even offend me, but saddened me.

And it didn’t sadden me because it reminded me not quite tactfully: they say, it’s time to think not about earthly things, as they said in the old days. When his heart ached more and more often at night, he thought about leaving more and more fearlessly, and more sublimely, and more strictly. He left something priceless in the world: these volumes... these people...

No, it wasn’t the reminder of the inevitability of leaving that offended him.

And he was not saddened by the terms of the will because something difficult had to be decided. She probably would have remained in the city... His wife during the war - she was informed that he had been killed - got married, and his daughter, on one of the crazy days, when all of Odessa rushed to the sea and into the sea to get away from the Nazis (they lived in Odessa), - the daughter got lost, disappeared.

When he returned and rose from the dead, there was no wife or daughter. He searched, wrote letters, but there was no answer to them...

What made him sad, what hurt him?

Maybe it was something that was made clear to him: it was not he himself who was dear, but his library. And although it was in her that his whole life was contained and that she was his only treasure, it was a shame to feel that it was not the library with him, but he with the library, as if it were its living shelving.

Or maybe it was not this that saddened him at all, but the spirit of the fair, alien to the spiritual relationships that he had dreamed of all his life: with people, with the city, and with the world. An unworthy and unfair thought even appeared: wasn’t his whole life in vain if, at the end of it, this condition was imposed on him?

In those days of resentment and sadness, he received a letter from a young doctor from the Vinnitsa hospital named after Pirogov, also a passionate book lover, who also wrote poetry. The Ukrainian language in which the letter was written has preserved in everyday speech a sublime poetry that does not seem archaic.

If we translate literally, without grounding anything, as they sometimes like to do today, one line from a letter from a Vinnitsa doctor and book lover, it will sound somewhat old-fashioned:

“Having recognized you, I began to see everything in the world with different eyes. You saturate people with an ever-living spirit, not allowing them to forget the truth: blessed is he who fed you with bread, but thrice blessed is he who gave you spiritual food.”

This letter restored Kiselyov’s faith in himself and in life, but still the pain did not completely subside.

What caused this pain, what hurt him?

Probably an attempt at violence against the “living spirit”, against the most intimate - over the last will. There are conditions that cannot be imposed on a person without the risk of hurting the truly human in him. There are initially sovereign issues that need to be resolved only in private. These apparently include the will - its essence and its secret.

And Kiselev abandoned the idea of ​​moving and stayed in his old place...

But at least his home is unprepossessing - it is open to everyone who wants to read, think, and communicate. And they love this house, damp and cramped...

Kiselev, denying himself everything, sometimes actually not having lunch, goes every day to the local bookstore, where he is revered as a book lover, returns home with a purchase, and at that moment there is no happier person.

If a book has revealed something new and interesting to him, he writes to the author, who a few days later opens the envelope, takes out sheets of paper covered in elegant old handwriting, feels that he was understood, loved, and is also happy...

A. A. Sidyakina (Perm) Perm literary and artistic underground of the 1980s: places

LITERARY AND THEATRICAL COMPOSITIONS (COLLAGES)