Sorokin Valentin Vasilievich [Ivashla village of the Bashkir ASSR, July 25, 1936] is a poet.
Sorokin comes from the famous Cossacks in the Urals, which gave the edge of many warriors, foresters and beekeepers. The great-grandfather of the poet Osip Pavlovich was, according to family legends, rich, brave, handsome and famous-elected by the head of the plant. Sorokin’s surname was originally pronounced with emphasis on the last syllable, the so-called warriors, commanding forty warriors. The ancestors of the poet fought on the Kulikovo field, but they lived in the Mosals principality. Later Mosali were moved by Ivan the Terrible to the South Urals. Here they founded many settlements, including the Ivashla village (now does not exist), where a future poet grew up in a large family (four sisters and four brothers, two of whom died in infancy). Sorokin’s mother was a peasant woman, she knew many poems, proverbs and sayings. Father – a forester, a participant in the Great Patriotic War, was wounded six times, returned home as an invalid. A great shock for Sorokin was the tragic death of his elder brother Anatoly (died in 1945 in a clay career). From that moment the future poet felt himself committed by an adult, a responsible person.
At the age of 14, to help the family, Sorokin leaves the parental home. At this time he is already the author of several prosaic and poetic publications in the district press (the first of them, according to Sorokin himself, is the story “The Poet”). Having finished the seven-year period, Sorokin enters the Chelyabinsk FZO No. 5, after which he has been working for ten years as an electric crane operator in the 1st marten of the Chelyabinsk Metallurgical Plant. In parallel, he finishes the evening school, studies in the mining and metallurgical technical school, visits the “Metallurg” litobedinenie, and prints a lot in the regional press. Supported fellow countrymen: the writer N. Voronov publishes it in the almanac “The Urals New” (1957), and the poetess L. Tatyanicheva edited the first book “The Dream” (Chelyabinsk, 1960), verses from which “We are simple guys, hard workers, Breathing the eternal flames of courage… “later Sorokin can be ranked among the successors of the” working theme “(Makarov A.), but in the following collections” I was given a heart by Russia “(1962) and” I do not know rest “(1962) another lyrical hero who poses more ambitious tasks than chanting the working class: “The age of the poet is a formidable yardstick, Everything that is in my soul I will not hide. Russia gave me a heart, I give it to Russia! “. The poet’s age is a terrible measure, Everything that is in the soul, I do not hide. Russia gave me a heart, I give it to Russia! “. The poet’s age is a terrible measure, Everything that is in the soul, I do not hide. Russia gave me a heart, I give it to Russia! “.
In 1962, on the recommendation of Leonid Sobolev, Boris Ruchiev and Vasily Fedorov, Sorokin joined the Union of Writers of the USSR. The following year, at the insistence of V. Fedorov, he came to Moscow to study at the Higher Literary Courses, where he was engaged in a poetry seminar directed by the critic Alexander Makarov. He is friends with I. Akulov, brothers E. and V. Safonov, N. Rubtsov, B. Primerov, S. Kuznetsova, V. Mashkovtsev, A. Zhigulin and others in the Literary Institute and the VLK. For his unpublished poem “Leo Trotsky” (” For you, and the rocket, and the book, And the taxi, and the rattling make-up, You are more terrible than the Mongol yoke, Poisonous Zion boa! ”) And a number of other works Sorokin undergoes many years of pressure from the KGB.
After the end of the VLK in 1965-67. Sorokin manages the department of poetry in the Saratov magazine Volga. In the book “Lyrics” (1966) he appears as a bright and original poet of a love theme: “I love you very much, So, everywhere – wherever you go, Not eyes, but icon eyes, Shine me endlessly on the road.”
In 1968-69 years. Sorokin leads the department of essay and journalism in the magazine “Young Guard”, which in those years was the main mouthpiece of the “Russian Renaissance.” Apparently, precisely at this time he finally formulated the basic artistic-aesthetic and philosophical principles of his creative path and civic behavior. In 1970-80, being the editor-in-chief of the Sovremennik publishing house, Sorokin gets the opportunity to translate these attitudes into practice, and he copes brilliantly with the task at hand. “Contemporary” becomes the leading publishing house of the Russian (soil-oriented, national-state) direction, and the poet himself creates several works that were included in the “golden fund” of Russian literature of the twentieth century. First of all, these are the poems “Evpatiy Kolovrat”, “Proletary”, ” Dmitry Donskoy “,” Seyitnazar “,” Red Volgarian “,” Two Owls “,” Golden “(first published in the books” Fire “(1973),” Recognition “(1974),” Sailing Mars “(1977),” Lyrics “(1979).) Describing the significance of the genre, Sorokin wrote that” a poet without a poem is a king without a crown, “and his creative method partially reveals the recognition he made in the critical book” Thanksgiving “:” A poem sometimes requires a whole layer of life. A poem is a quarry where you have to work long and skillfully, patiently and without excuse. “
An example of such work is the poem “Dmitry Donskoy”. This dramatic narrative (in five scenes) is densely populated by the actors: Dmitry Donskoy, Evdokia – the prince’s wife, Sergius of Radonezh, Carp – scout, his fiancée, Peresvet, Mamai, Oleg Ryazansky – the traitorous prince, Chert, Chelus, and also: women, muzhiks, princes, Russian and Tatar warriors. The spirit of triumph, triumph (generally characteristic of Sorokin’s work) dominates the poem, and yet it has a pronounced sense of trouble and anxiety. And – the phenomenon of Sergei Radonezhsky in the prologue of the work, which in the atheistic time of the 70’s was more than a bold plot plot. The poem turned out, on the one hand, very religious, on the other, very secular, precisely explaining the purpose and content of the layman’s life. What is this goal? The author gives the answer in the epilogue: “I will not take care of Russia,
In 1978, Sorokin was subjected to a number of attacks from the then “top” – the party apparatuses deprive him of an apartment, having poured into it the multi-billionaire Christina Onassis; Together with other leaders of Sovremennik he goes through the shameful and unfair procedure of the party court – the Party Control Committee; Mikhail Sholokhov, at the instigation of his entourage, sends telegrams to the Politburo demanding to remove the “hamovaty guy Sorokin” (which the classic never even saw). These external circumstances had a significant impact on the life-loving and temperamental poetry of Sorokin Victor Kochetkov, the...poet of the senior military generation, wrote in one of his works: “… the share of the generation to which Valentin Sorokin belongs belongs to the seemingly” quietest ” most bloodless years. But at the bottom of these years there was such bitterness, which in a special color colored more than one lyrical collection, not one prose book. Valentin Sorokin’s lyrics combined the drama of the past, the confusion of the present, and the hope of the future “(cited in the book by Sychevoy L., p. 118). In the most explicit form, the tragedy of” quiet time “was reflected in the collection” In the middle of the hill “(1983) where there is an image of a lonely and strong man who senses the impending catastrophe of the Russian people and state: “… But the cranes do not fly. I saw a dream: they touched the crosses, And the dust melted in the glow, And they never returned. ” and the hope of the future “(quoted in the book by Sychevoy L., p. 118). In the most explicit form, the tragedy of” quiet time “was reflected in the collection” In the middle of the hill “(1983), where the image of a lonely and strong man, sensing the impending catastrophe of the Russian people and state: “… But do not fly familiar cranes. I saw a dream: they touched the crosses, And the dust melted in the glow, And they never returned. ” and the hope of the future “(quoted in the book by Sychevoy L., p. 118). In the most explicit form, the tragedy of” quiet time “was reflected in the collection” In the middle of the hill “(1983), where the image of a lonely and strong man, sensing the impending catastrophe of the Russian people and state: “… But do not fly familiar cranes. I saw a dream: they touched the crosses, And the dust melted in the glow, And they never returned. “
Since 1983, Sorokin supervises the Higher Literary Courses. In 1986, for the book “I want to be a wind” (1982), where the love lyrics were mostly presented, the poet was awarded the State Prize of the RSFSR (he won the Lenin Komsomol Prize in 1974, although ” Komsomol “and” party “subjects to it never were peculiar). All eighties Sorokin is fighting for the fate of his great epic poem “The Immortal Marshal” (about Georgy Zhukov), completed in 1978. The censorship and party persecution of the long-suffering poem was such that in some years it wasted up to 1500 lines from it – the authorities blamed the author for “anti-Sovietism”, demanding to remove the images of Beria and Stalin, and Zhukov himself seemed “not enough communist” for the CPSU Central Committee.
The breakdown of the USSR, national wars on the outskirts of the once unified power poet is going through very hard. It was during these years that Sorokin’s essays on the death of Russian poets – Sergei Esenin, Boris Kornilov, Pavel Vasilyev, Nikolai Rubtsov, and others appeared in the periodicals, which later compiled the documentary-journalistic book The Cross of the Poet (1995). The bloody events of 1993 formed the basis of the poem “Baty in the Kremlin.” In this work, in addition to the bitterly accusing and angry intonations typical for the poet, there are a lot of folk vocabulary and satirical techniques: “Baty on ZIL” rushes And kobenitsya, Murlo: “I had no time to piss Helicopter on the wing! ..”
In 1996, in the book “Be with me” Sorokin returns to the love lyrics. The poet is characterized by the fusion of a beloved woman, Russia, mother in a single image of the lyrical heroine: “Your eyes, her eyes And the bell ringing, All this – eternal, mine, Protyazhnoe, like a groan!”. In addition, Sorokin’s love poetry is distinguished by deep intimacy and sensuality: “We are not longed to be warmed by the separation.” Lunar children, and under your small heart, the blood and light of my passions are beating. “
In parallel, the poet is working on a cycle of political fables (“Fables and tales of Yeltsin’s leprosy”, 1997) and essays on the newest “troubled time” (“Resentment and pain”, “Stay away from us! ..”, 2002). Sketches of V. Sorokin are distinguished by great passion, uncompromisingness, pronounced national feeling: “The Zionist gondon seal poisoned the good relations between us and the Muslims: what normal people will tolerate, endure the speedy gop-company Jud? ..” Documentary novel in novels “Bills and morons “(2003), where Sorokin mainly deals with his work in Sovremennik, gives a fine example of the poet’s prose – impulsive, ironic, accurate in assessments, with numerous lyrical digressions. The poetic book “The Voice of Love” (2003) includes poems,
After the collapse of the USSR as co-chairman of the Writers ‘Union of Russia, Sorokin contributes to the restoration of the literary process in the national republics, since 2002 he has been working as deputy chairman of the executive committee of the International Union of Writers’ Unions. In 2000, for the poem “Immortal Marshal” he was awarded the International Prize. M. A. Sholokhov. Sorokin was also awarded literary prizes named after A. Tvardovsky, V. Fedorov, V. Trediakovsky, and others.
In recent years, Christian motifs have become more and more clear in C. poems. The poet realizes his creativity as a messianic ministry: “I bow my head to God’s native land, I know that God pointed me with a finger. To become land, prayer, grass, Echoes to become empty in my land! ..” (Compare with Pushkin: “And my incorruptible voice Russian people “
Sorokin is the author of essays on many poets and writers, his contemporaries: B. Ruchyev, L. Tatyanicheva, V. Fedorov, P. Proskurin, Yu. Bondarev, E. Isaev, V. Semakin, I. Shevtsov, N. Voronov, I. Akulov, M. Lvov, D. Kovalev, V. Bokov, S. Kunyaev, A. Markov, A. Prokofiev, S. Bogdanov, V. Mashkovtsev, A. Filatov, S. Vikulov, S. Poddekov, V. Kochetkov, Yu. Prokushev, O. Shestinsky, etc. Sorokin’s verses have been translated into many European languages, into Arabic (the poet has a great poetic cycle “Ancient Song of the Jordan”), Japanese and Hindi.
Life and work of Sorokin is highly appreciated by his contemporaries. “The world in the light of love,” – is, in Bor’s opinion. Leonov, Sorokin’s poetry “He is one of those poets who do not adorn beauty, but as if move it towards people,” believes Mikhail Belyaev. “In Sorokin there lives a great poetic element, which, in my opinion, is akin or close to the poetic elements of Boris Kornilov and Pavel Vasiliev.” The same breadth, scope, daring, bright painterly strokes, folk language… Sorokin is a poet of a pronounced national feeling He is a loud and loud speaker of his love for the Motherland, let him be correctly understood by both his contemporaries and descendants, “said Mikhail Lvov. For obvious reasons, such assessments from liberal writers and critics Sorokin was not honored.