Krupin Vladimir Nikolayevich (born 1941), Russian novelist. Was born on September 7, 1941 in with. Kil’mez of the Kirov region, son of a forester. After graduating from a rural school, he worked as a locksmith, a loader, a worker of the regional newspaper. He served in the army, studied at the Moscow Regional Pedagogical Institute. N. Krupskaya (graduated from the Department of Literature and the Russian Language), which he told about in the stories “Forgive, Farewell…” (1986) and “Young Fighter Course” (1990) with lyrical warmth and lively humor. He worked on Central Television, in various literary and art publishing houses, and taught at school. He was secretary of the board of the Moscow branch of the RSFSR JV, the USSR SP; member of the editorial board of the magazine “New World”, the editor-in-chief of the journal “Moscow” (1989-1992). Since 1994 he teaches at the Moscow Theological Academy;
He began with the publication of poems, reports and essays, but the true writer’s face Krupin – the author of “village prose” – manifested in stories and stories, including in Sat. “Grains”, the novella “Varvara”, “Jamshchitskaya novella” (all 1974), with their unsophisticated stories, often embedded in the mouth of simple peasants, with a narrative of tragic events on Vyatka land during the fratricidal Civil War, with the dream of a “conciliar” equality. Widespread fame brought Krupin’s story “Living Water” (1980), realizing the familiar world literature of the late 19th – early 20th centuries. socio-psychological experiment on the basis of a life-like situation: the opening in one village of a curative source that releases the population from the harmful Russian habit of alcoholism, full of grotesque fantasies, humor, irony and sadness, mourning the moral degradation of the Russian peasant and hoping for a fabulous healing with “living water”. The story in the letters “The Fortieth Day” (1981, the name of the shortened sub-censorship version – “Thirteen Letters”, until 1987), the story “Lateral Wind” (1982), “The Tale of How… “(1985), etc., imbued with aching pain for the destroyed, outgoing village, compassionate love for the villagers. The constant favorite heroes of Krupin are remarkable – the eccentric peasants, the homegrown philosophers, the wise fools, clumsily, naively, cluelessly able to reveal the true essence of events, to tell the truth, courageously confronting the “leitmotiv” for Krupin, the evil that has permeated the modern social order, provoking and drunkenness, and social...
With the onset of “perestroika”, Krupin actively advocates “state-patriotic” positions – and as a tendentious novelist (novel-testament of the morals of the “sick”, the damaging, in Krupin’s opinion, creative intelligentsia and the atmosphere in the writer’s environment – “Salvation of the Dead”, 1988 , the story “Farewell, Russia, meet in paradise”, 1991, which showed the agony of a Russian village in the late 20th century, when the orders identified in the homeland of Krupin were identified with the morals of a psychiatric hospital – a thought that feeds the story “Once, So Soon, 1992, compiled in the form notes as a psychiatrist), and as a publicist (articles in the journals of the “spiritual opposition” Our Contemporary and Moscow – The Cross and the Gap, The Bitter Grief – about the shooting of the parliament in October 1993; “To what, christians, you brought Russia…”, an essay “The Procession”, etc.). The sympathetic, pacified tonality of most of Krupin’s works, the special taste for folk speech, folklore, the saturation of the narrative tissue with chastushki, sayings, proverbs, etc., the cult of humility and selflessness create a specific artistic world of the writer that repels “Western” values - pragmatism, cynicism, sexual liberties and “mass culture” (the story “Yankees, go-houm!”, 1995, etc.) leading to the praise of traditional family virtues (“The Light of Love”: Prose Book, 1990, compilation “We Build a House” : A book about a young family, 1981), religious passionotherapy (the story “Velikoretskaya font”, 1990) and repentance as a path to Orthodoxy, which, according to Krupin,