In the late 1990s, Trifonov was called the master of doom. In the last decade, interest in his work has faded. But this is the fate of true art, that it breaks through both censorship slingshots, and through unjust oblivion and indifference. In 1999, the first international conference dedicated to the work of Yu. Trifonov, the most talented Russian writer of the second half of the 20th century, was held. created a unique artistic world – a cast of the era in which he fell to live. The content of Trifonov’s works is largely autobiographical, at the heart of many plot twists and destinies of heroes is his own difficult fate. Yuri Trifonov was born in the family of a professional revolutionary Valentin Trifonov, who was shot in 1938. His father was always proud of his father.
Following the arrest of his father, the family experienced severe trials. Eight years spent in the Karaganda camp for family members of the enemies of the people his mother. The thirteen-year-old Yura with his sister and grandmother was evicted from the old apartment. The war forced them to evacuate to Tashkent.
Returning to Moscow, Yu Trifonov works at an aircraft factory. In 1944 he became a student at the Literary Institute. His first work – the story “Students” (1951) – brings him the Stalin Prize and a noisy success. “Now from the novel” Students “, which is stuffed with a whole shelf in my closet, I can not read a single line,” the writer admitted in 1973.
Time, life experience. changes in public consciousness made Trifonov reconsider not only the opposition of the modest, stubborn, hard-working Vadim Belov, who is on the side of his author’s sympathies, and the brilliant and talented Sergei Palavin, to whom everything is given easily, without effort. In mature works, the writer will otherwise evaluate the relations of the collective and individuality described in the story. They will radically rethink the main conflict – the persecution of the institute of cosmopolitan Professor Koselsky, the author of the book about Dostoevsky, the talented and exacting teacher, who, however, has a number of cliched features of a negative character. The decisive blow is inflicted on him by Vadim Belov, speaking on behalf of the students at the Academic Council.
Ironically, after the Stalin Prize was awarded, Trifonov himself experienced a similar meeting that condemned him for not indicating that
his father was an enemy of the people when filling out the questionnaires. This event is dedicated to one of the stories of recent years “A short stay in the torture chamber.” The story “Students” was followed by a long enough period of creative failures. Having conceived a novel about the construction of a canal in the Karakum, Trifonov travels to Turkmenistan. The result of long and multiple trips was the collection of short stories Under the Sun (1959) and the novel The Quenching of Thirst (1963). The death of Stalin, the 20th Congress, the subsequent changes in society left an imprint on the plot and characters of the second novel by Yu. Tryfonov, especially on the image of journalist Pyotr Koryshev, whose father was rehabilitated posthumously. The image of a person living “
In the mature prose of Trifonov, two layers can be distinguished: historical works and works devoted to modernity, the so-called urban stories. However, the conditional nature of this division becomes apparent when carefully read. History
Penetrates the novel about modernity, and the problems of historical prose are closely related to issues that are relevant in the 1970s. Work on works devoted to historical and modern problems was held in parallel. For the “urban” stories written one after another – “Exchange” (1969), “Preliminary Results” (1970), “Long Farewell” (1971) – followed by a story about Andrei Zhelyabov “Impatience” (1973). Then Trifonov is working on the story “Another Life” (1975), the hero of which is the professional historian Sergei Troitsky.
In such works as “The House on the Embankment” (1976) and “The Old Man” (1978), it is generally impossible to separate the past from the present without violence over the artistic fabric. In the works of recent years (the novel “Time and place”, 1980, a story in the stories “The Inverted House”, 1980), all the years and decades lived by the heroes and the author appear as a large-scale historical era. In 1987, after the death of the writer, the previously unreleased novel “Disappearance” was published, in which intersections with many works of Trifonov (“Reflection of the bonfire”, “The house on the embankment”, “The old man”, “Time and place”) are clear. According to the testimony of the writer’s widow O. Trifonova, the novel was written in 1968. The documentary novel “The Reflection of the Fire” (1965) was a turning point in Trifonov’s creative destiny.
This story is devoted to the revolutionary activities of the writer’s father. For the first time, Trifonov tries to answer the questions that torment him: who is to blame for the tragic fate of his father; what is the price of rapid transformations, decisive intervention in the course of history. Nude autobiography, extreme sincerity give the documentary work a special lyrical sound.
In his last work “The Inverted House” Trifonov discards all literary masks and speaks to the first-person reader about his own destiny. The cycle is devoted to foreign trips of the writer. Through the impressions of these trips, other places and times are seen. One such episode is the memory of the recall of the editor to Trifonov’s stories: “All sorts of eternal themes.” However, what once seemed to the young author a catastrophe (the stories were not accepted for publication), after many years realized as a sign of quality, as the prophesy of Yu. Trifonov’s long life in literature.