“Lines of Fate, or Milashevich’s Chest” Kharitonov in brief summary

“Lines of Fate, or Milashevich’s Chest” Kharitonov in brief summary

Anton Andreevich Lizavin, philologist, Ph. D. thesis wrote about his fellow countrymen – writers of the 1920s. In the course of these studies, he was carried away by the work of the unknown, but very original writer Simeon Milashevich.

One of the strangest stories of the latter was called “Revelation.” Its meaning is as follows: in the house of the narrator a former university classmate appears on his way. .. When the guest has a chest the size of a case from the sewing machine “Singer”. It is gradually revealed that all three – Milashevich married – are connected by a long history. Once a visiting student knocked a young girl to flee from her parents’ home to Moscow, and he disappeared, instructing the fugitive to cares of a friend. And now he again met with newly-married couple in the town of Stolbenets.

Here, as always, Milasevic does not have a plot, but a “prick of a mixed feeling” – dry twilight, light of a kerosene lamp, – a shaky air of narration. The apology of the wretched, inert and yet cute vegetation as opposed to the desire to change and improve life, even if something has been destroyed.

His eyes shine, he is ill, and the chest is waiting somewhere, and the owner himself is called to deliver it. It seems that the return of it was very protracted. It turns out that in the life of the author himself, Milashevich, there was an arrest, the cause of which was not the suitcase,

not the chest stuffed with illegal illegalities, and the arrest – deportation.

However, there is almost no information about Milashevich. His wife knows only the name. In the stories of her husband Alexandra Flegontovna’s presence is felt through the embroidered napkins, back pads, Maslenitsa pancakes and other pleasures of the provincial way of life. Apparently, at about that time, the “provincial philosophy” of Milashevich began to take shape, the main idea of ​​which is the realization of happiness and harmony, regardless of the external arrangement of life.

Where more clearly appears in his prose is a heavy athlete with a curly beard: the socialist landowner Ganshin. Milashevich lived in his estate for a long time: he was busy in the greenhouse, inventing candy wrappers and candy wrappers for the Ganshin caramel factory.

When the thesis was almost ready, Lizavina managed to find in the archive a box containing Milashevich’s papers, or rather, papers. For the records, the reverse side of the same wrappers was used. And now the scuffling with candy wrappers began to displace Lizavin’s other scientific studies, and it began to seem to him that the course of this work and the circumstances of his life were not accidentally related. At first incomprehensible and abrupt, the recordings were once composed under his hands in an unintentional connection, as if lines of fate were lined up in the force field of time.

It turned out in the chest and a letter from an unknown person, from whose contents it was read out what he wrote to a woman with whom they had been linked by a complicated love relationship twenty years ago. Then, with another woman, this person found himself in exile, where they had a boy, a son, sent for a time to Russia, to the parents of his wife.

In search of new materials Lizavin with Maxim Sivers, an unexpected Moscow guest, went to see his former classmate and saw his wife, the nervous, vulnerable beauty Zoya. Then he accidentally picked her up at the train station, who had left her husband in the unknown, put her behind a wall of an old woman-neighbor. Then everything happened to them without their participation, time was flowing with lunar juice, gratitude and ecstasy… Well, now mother will wait for her grandchildren, thought Lizavin. But nothing had time to tell Zoe: the old woman had died, and the beloved disappeared while he was busy with the funeral.

I came to Moscow, and there Sivers’ wife gave me to read Maxim’s diary. In the diary was about his father, about Zoya and about him, Lizavina, – what exactly he could save Zoya.

Incidentally, a new one was being revealed about Milashevich. Returning after his expulsion to Stolbenets, he saw his wife years later, who came from exile through Petrograd as an authorized new power. Was he going to see him? Because her parents lived her boy, son. But stayed with him, losing both his voice and his ability to move – economic feats were the husband’s imagination. The feeling grew that a heap of candy wrappers was an implicit, self-expanding book, the world that Milashevich was creating, so that by keeping the moments withdrawn from time, making the fleeting one imperishable. Just as he kept his favorite, such a vulnerable woman next to him.

With Zoya Lizavin met unexpectedly: he went to the hospital, and she was a nurse there. And again I did not have time to say the main thing, how she disappeared. A sense of error, inaccuracy, or guilt arose. Here he found, managed to hold. And he, Lizavin, had Lusya. There is no love, but there is pity, and the tenderness, and wisdom of the blind body, and the cleverness of the poor mind. And inside her already eyeless little fish stretches into the darkness with small searching lips.

The radio broadcast: Maxim Siver. He’s done. Now there is no one else to hope for, and maybe it’s not too late to find. Maybe only this sense of connection is called fate. You are free to accept it or not, but somebody is waiting for you anyway. Only you.

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“Lines of Fate, or Milashevich’s Chest” Kharitonov in brief summary