Biography Prokopev Zoya Egorovna
(15.11.1936)
Prokopieva Zoya Yegorovna (Belozerskoe village, Belozersky district, Kurgan region, November 15, 1936) is a prose writer.
Parents P. – Russian, mother – peasant, father – blacksmith. Childhood of the future writer was semi-orphan – since 1938 the family lived without a breadwinner. It was especially difficult during the war years – the realities of this time were partly included in the story “Zverenysh”, where in the fate of the main character – Lidka – the details of the author’s biography are guessed. “Neighbors increasingly came to Lida’s mother, shouted: – … This again, probably, your beast in the garden fumigates?” And then: “And Lidka only once, before the end of the war, when the library was closed for repairs, stole a stack of books… She grabbed all the books that lay on the window, and in those after, after reading twice” War and Peace ”
In 1949 P. moved to Chelyabinsk. About what she was then, you can learn from the story “Such a long night,” where autobiographical motives also sound clear: “She was sitting on a plywood suitcase, hunched her back to the warm, patched sideways side of the shed curve. slippers, rubbed with tooth powder, and a washed-out green dress with a bouquet of rag-colored flowers at the gate. ” The “Chelyabinsk Metallurgical Combine” soon became the “University” for Chechnya. At the age of 15 she was accepted as a messenger, and she worked 18 years at the Chelyabinsk Metallurgical Plant as a senior timekeeper, production foreman in the construction and repair of an open-hearth furnace, an artist-designer. Secondary education P. received in the “evening” – the school of working youth. And education is creative – in litho-unity “
The first works of P. were published in 1968 in the collection “The
In 1973 P. entered the Writers’ Union of Russia and received a referral to the Higher Literary Courses, which ends in 1975. In the preface to the collection of prose “White Wine” published in the capital, the poet V. Tsybin noted that “P. possesses an original handwriting and a way of seeing life.” The main virtues of her works are psychologism, skilful transfer of the spiritual state of the heroes, their experiences, their juicy, moderately full of Urals dialect, language, this is an accurate and plastic “detailing.”
After returning to his homeland after the VLK, P. headed the Bureau of Propaganda of Fiction of the Chelyabinsk Regional Writers’ Organization, whose activities extended to three regions of the Southern Urals: Chelyabinsk, Kurgan and Orenburg. Her collections of prose come out – in Chelyabinsk and Moscow, which, in general, develop a “biographical” and “working” topics. Books meet conflicting assessments – some critics point to the enthusiasm for “deck novels” (Shaposhnikov V.), others, on the contrary, note the “strict kindness” of the heroes of P. (Pavlov B.). But not the “critical instructions,” but the logic of developing the writer’s talent, are the causes of thematic changes in the work of P. In fact, work in small and medium-sized genres was only a “breakdown” in front of the main idea,
The first version of the novel was created in 1977, in the taiga, with a kerosene lamp, for two winter months. Subsequently, P. repeatedly reworked the novel, including at the request of censorship, but as a result, the manuscript roamed 8 years in the capital’s publishing houses (Sovremennik, Sovetskii pisatel) and magazines (Our Contemporary, Roman-Gazeta) and was published only in Chelyabinsk. Neither the first nor the second edition, which fell on the years of “perestroika” and “glasnost”, received great criticism from the capital. Only T. Nabatnikova made several articles, which immediately noted the originality of this work: “The novel” by its turn “stands apart not only among the books of P., but also in the current literature of this genre… The writer successfully overcame the usual canon – instead of the traditional pathetic heroism, we find heroism here tragic. Many victories in this novel want not so much to celebrate as to mourn “(Reflecting on the past.).
What are these victories? The novel is an epic painting that tells of dekulakization, industrialization, prewar repressions and rear life in a large industrial city during the years of the great military confrontation. In the center of the story, the smith, and later the engineer, the production organizer Neil Krayukhin and his “people” – peasants, women, children from the villages of Istoshnoye, Khitrovo, Glinushi – only 310 people. First they found themselves in the taiga, where they were taken out to cut down the forest – without housing, food, tools, and then the “narodets” were transferred to the construction of the tractor giant – in a naked, literally, place. T. Nabatnikova reproaches P. “an overabundance of drama, when the author forces the heroes to suffer much from love, or from longing for those who left” (ibid.). Indeed, if we compare “by turn” with ” Eternal Call “of A. Ivanov or” Stringers “G. Markov, we note in the novel not only the absence of any kind of” lacquering “, but also a completely different” point of vision “, to which the author becomes an” overabundant drama “in this In the whole the novel, if compared with the “Pit” by A. Platonov, on the contrary, can be called life-affirming and life-conquering. The power of life, combined with the power of love and the power of the people, the people (in the novel there is a historical parallel with the distant “Scythian” past), umn zhennaya on the power of faith (in the atheistic Soviet period P. created a wonderful image of the priest, Father Sidor) is able to truly work wonders. It is difficult to call a novel a realistic work – it bizarrely intertwined and the traditions of Bazhovsky tales (and Russian fairy tales in general), and elements of the “industrial novel”, and the motives inherent in the prose of “rustics”. But with such diversity and breadth, “By its turn”, however, leaves a feeling of wholeness. It is no accident that modern writers are increasingly turning to this work (see Sychev L. What Russians need Russia?). What Russians need Russia? 14). What Russians need Russia? 14).
In recent years P., by her own admission, “observes the process of the survival of the Russian people.” The collected material for the novel about Nikolai Vavilov has also remained unembodied so far – P.’s forces also go to survive – the collection of mushrooms, the cultivation of rare medicinal plants. Strangely enough, but in her destiny she partly repeated the fate of the heroes of her main novel: “Sometimes it will seem to him that he does not live, but as if floating all alone and alone in the river of time… And life between then, sweeping, then dull, will go its own way “(p. 509).
The materials of the article by Lydia Sycheva in the “Dictionary of Russian Writers of the 20th Century in 3 volumes”, “OLMA-PRESS” Publishing House, 2005 are used. In the case of a reprint, a link is required.
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