In modern Russian literature, the feature of which is the diversity of forms, the mixing and mixing of genres and styles, there is a resuscitation of many genres that in the Soviet years have lost their relevance. One of these is an adventure novel, leading the genealogy from the West European picaresque novel, which underwent rapid development in Russian literature of the 1920s (I. Ilf and E. Petrov, A. Tolstoy, V. Kataev, V. Kaverin). The revival of an adventurous novel is connected with social circumstances dictating enterprise, cheating, and lowering of the moral bar as necessary for the achievement of success of the hero’s feature of our time. Quite a large publisher ACT even produces a whole series of “Russian picaresque novel.” “New Erasmia, or Stupidity in Russia” by VA Ivanov-Tversky, “The Chorus for Shootout” V. Larchenkova, B. Kenzheyev’s novels were supplemented by the novels of J. Druzhnikov “Superwoman” and “The First Day of the Rest of Life”. In them the plot is a series of adventures, the hero (the heroine) is a brilliant rogue, actively striving to realize his goals, the scene of action.
An important feature of the contemporary literary space is the blurring of the boundaries between elitist and popular literature. In contrast to the literature of the late XX century, when for all the variegated picture and variety of genres and styles, it was possible to identify style trends and trends, the latest literature is the literature of author’s artistic models. In the works of contemporary writers there is a fusion of receptions and attitudes of realism with postmodern artistic techniques. Deep psychology can be combined with the author’s game with the reader, recognizable modern realities can exist in one space with fantasy and mysticism, history can be cognized through a detective story, and philosophical questions of being comprehended in melodramatic collisions.