Artistic diversity of the essay and journalism of the war years. Journalism and essays of the period of the Great Patriotic War

The anti-Soviet Nazi propaganda in the temporarily occupied territory demanded even more urgently the restructuring of all Soviet journalism, the strengthening of its cadres with the most qualified workers. In this regard, for the first time in the history of the domestic mass media, hundreds and hundreds of Soviet writers were sent to the editorial offices of newspapers, radio broadcasting, news agencies. Already on June 24, 1941, the first volunteer writers went to the front, including B. Gorbatov - to the Southern Front, A. Tvardovsky - to the South-Western Front, E. Dolmatovsky - to the newspaper of the 6th Army "Star of the Soviets", K Simonov - in the newspaper of the 3rd Army "Battle Banner".

In accordance with the resolutions of the Central Committee of the All-Union Communist Party of Bolsheviks “On the work of special correspondents at the front” (August 1941) and “On the work of war correspondents at the front” (September 1942), writers honestly performed their military duty, often risking their own lives. There were 943 writers in the staff of the Red Army and the Navy during the Great Patriotic War. Of these, 225 died at the front, 300 were awarded orders and medals of the USSR.

The work of writers as war correspondents, full of dangers, allowed them to be in the thick of hostilities, provided the richest material for vivid fiction and journalistic works. During the period of his activity in the newspaper of the Southern Front "For the Glory of the Motherland", Boris Gorbatov wrote his famous "Letters to a Comrade", in the editorial offices of military newspapers the songs "Treasured Stone" by A. Zharov, "Let's smoke" by Y. Frenkel, which became known to all Soviet people, were born, "Farewell, rocky mountains" N. Bukin.

Publicism during the war is very diverse. She knew no equal in world history and was born from a fusion of the talent of journalists, their personal conviction in the need to fight for the freedom of the Motherland and their connection with real life. The newspapers of that time published many letters from workers, army soldiers, home front workers, this created a feeling of unity among the people in the face of a common enemy. From the very first days of the war, outstanding publicists M. Sholokhov, A. Tolstoy, N. Tikhonov, K. Simonov, B. Gorbatov, L. Leonov, M. Shaginyan and others began to write about the war for newspapers. They created strong works that convinced people of the coming victory, gave rise to patriotic impulses in them, supported faith and confidence in the invincibility of our army. In the first years of the war, these works called people to defend the socialist Fatherland, to overcome obstacles and hardships, to fight the enemy. The works of these authors were published in many front-line newspapers.

The correspondence of war correspondents also played an important role. One of the most famous was K. Simonov. He walked thousands of kilometers along military roads, and described his impressions in numerous essays, stories, novels, poems. His sternly restrained manner of writing pleased readers, inspired confidence, inspired faith and hope. His essays were also heard on the radio, distributed through the channels of the Soviet Information Bureau. His famous poem "Wait for me" became a kind of spell for most people on the eve of the war.

Publicism also used satirical genres. Pamphlets, cartoons, feuilletons were widely used in newspapers and magazines. There were specialized satirical publications "Front Humor", "Draft" and others. The most important place in the journalism of the war years was occupied by photojournalism. Photojournalists captured, conveyed to contemporaries and preserved for posterity the heroism and everyday life of that time. Since 1941, a special magazine "Front-line photo illustration" and "Photo newspaper" have been published.

Articles and essays by A. Tolstoy, M. Sholokhov, I. Ehrenburg, poems by Simonov and Surkov, A. Werth writes in his book Russia in the War 1941–1945, “literally everyone read it.” Even in the hottest battles, the fighters did not part with their favorite volume of poems by K. Simonov "With you and without you", with "Vasily Terkin" by A. Tvardovsky, with M. Isakovsky's poems "In the forest near the front", "Spark", A. Surkov "In the dugout", many others that have become popular songs.

The peculiarity of the journalism of the Great Patriotic War is that the traditional newspaper genres - articles, correspondence, essays - the pen of the master of the word gave the quality of artistic prose. Many surprisingly subtle observations are remembered by M.A. Sholokhov "On the way to the front".

One of the main themes of military journalism is the liberation mission of the Red Army. Without us, wrote A.N. Tolstoy, the Germans cannot cope with Hitler, and you can help them in only one thing - to beat the Nazi army, without giving a day or an hour of respite. Soviet military journalism inspired all the peoples of Europe, over which the black night of fascism fell, to fight for liberation.

Central publications occupied an important place in the military press system. In total, during the Great Patriotic War, 5 central newspapers were published in the Red Army and Navy. They were designed for middle and senior officers. The leading Soviet military press continued to be Krasnaya Zvezda, whose editorial board was strengthened by new forces with the outbreak of hostilities. The largest Soviet writers P. Pavlenko, A. Surkov, V. Grossman, K. Simonov, A. Tolstoy, I. Ehrenburg and many others came to the newspaper and were constantly published. During the years of the Great Patriotic War, 1200 issues of the newspaper were published. And each of them is a heroic chronicle of the growing combat power and operational art of the Red Army.

In the Navy, the central organ was the newspaper Krasny Fleet. In September 1941, a newspaper for the personnel of the Air Force "Stalin's Falcon" was published, and in October 1942 "Red Falcon" - for the personnel of long-range aviation.

During the Great Patriotic War, 20 magazines were published in the army and navy. The Main Political Directorate of the Soviet Army published "Agitator and propagandist of the Red Army", "Notebook of an agitator", literary and art magazines "Krasnoarmeyets", "Front illustration". Magazines were published in each branch of the military: "Artillery Journal", "Journal of Armored Forces", "Military Engineering Journal", "Communications of the Red Army", etc.

The works of Yevgeny Stepanovich Kokovin about the Great Patriotic War, many of which were created during the war years, are united under one cover for the first time. It is no coincidence that this book appeared seventy years after the Victory: apparently, it is in our days that the need for such a collection is felt.

There are many books and films about the Great Patriotic War in the twenty-first century. But they are written and filmed by people who have not fought, from the generation of children and grandchildren of front-line soldiers. And the emphasis is often placed on the terrible or ugly sides of the war. Everyone is trying to revise today: the causes, the course, and the results of the Second World War. It is not surprising, therefore, that today's schoolchildren have the impression that the soldiers would not have fought if there were no detachments; all without exception would desert if they were not afraid of reprisals; the victory was ensured by penal battalions and the ruthlessness of the command.

Recently, I had a chance to watch several video interviews: high school students questioned front-line soldiers and people whose childhood fell on the years of the war. And among the questions were: “At the beginning of the war, our army was defeated, and they say that there were many deserters, no one wanted to fight. This is true?". “No,” the veterans answered them confidently, calmly and with dignity. - If, for some good reason, a young man was not taken to the front, it was considered a great shame. Everyone wanted to join the army. Our neighbor had an only son, her husband died at the front. And the son had the right to a delay, since he was alone with his mother. But his mother came with him to the draft board and asked to take her son into the army.”

But after all, the idea that no one wanted to fight for the Motherland, that everyone tried to avoid being sent to the front, did not arise in the minds of schoolchildren on their own: in recent decades, in films, books, the media, and even on the pages of textbooks, often served - under the guise of revelatory "truth" - the heroic and tragic history of the Great Patriotic War.

The tendency to expose everything and everything as a reaction to the falsity and lies of the official ideology of the Soviet era, which covered all aspects of life during the period of "perestroika" (1985-1991), unfortunately, persists today in its most simplified, primitive form - in the form of unsubstantiated slander .

However, for every person who appreciates the history of their country, it is important that this history is not distorted, that the facts about the war are not distorted, and not only about the course of great battles, but above all about how our soldiers fought, what they thought and felt. It was as if we began to forget about the heroism of the front-line soldiers, began to doubt the sincerity of the patriotic feeling of Soviet soldiers.

But there were people who went through this war and wrote about it - from the front line, talking about what they themselves saw and experienced. All who knew firsthand. Their word, their testimony is priceless. And nowadays, when forces hostile to Russia are trying to completely “rewrite” the entire history of the war, the need for the testimony of front-line soldiers, for their word, for their truth, is increasing many times over.

Of course, front-line soldiers, including front-line writers, are different people, everyone has their own experience and their own war, their own worldview and their own character. And for some, war is only horror, suffering and violence, while for others it is a sacred duty of man: the defense of the Motherland.

The novels and stories about the war by Yevgeny Kokovin are simple and unsophisticated. But it's good that they are unsophisticated. There is too much cunning and cunning now, opportunistic rewriting of the history of the war, unbridled slander.

Directness and simplicity are rare guests in the modern world, and therefore these qualities of Yevgeny Kokovin's prose are especially attractive today. It is these books that are perceived as a kind of antidote to attempts to reduce the behavior of a Soviet soldier at the front to the role of a powerless slave, carrying out the ridiculous orders of mediocre commanders, and the feelings of a soldier to fear and pain. Of course, pain and horror and suffering were in abundance. But there was also something that exceeded them, something that raised the attack and prompted to a feat: unconditional, huge, sincere love for the Fatherland and for everything that stands behind this concept: for the native home and the weightless birch leaf, the blue handkerchief and the inextinguishable a light on a girl's window.

The poet Sergei Narovchatov, who wrote in 1941, probably his best poem, did not invent, did not compose this feeling:

I passed, gritting my teeth, past

Burnt villages, executed cities,

According to sorrowful, Russian, native,

Bequeathed from grandfathers and fathers.

Remembered the flames over the villages,

And the wind that carried the hot ashes,

And girls with bible nails

Crucified on the district committee doors.

And the crows circled without fear,

And the kite tore prey before our eyes,

And he marked all the atrocities and all the executions

Spider wriggling sign.

In his sadness equal to the ancient songs,

I sat down, like a chronicle, leafing through

And in every woman I saw Yaroslavna,

I recognized Nepryadva in all the streams.

Faithful to his blood, faithful to his shrines,

I repeated the old words, mourning:

Russia, mother! Light my boundless,

What revenge should I avenge for you?

And not the orders of the command, not the party ideology dictated in the same 1941 such lines to Konstantin Simonov:

According to Russian customs, only conflagrations

On Russian soil scattered behind,

... When the Great Patriotic War began, Evgeny Stepanovich Kokovin was 28 years old. He was already known both as a writer and as a journalist who was actively published in newspapers and magazines. In 1939, his first book was published - a collection of short stories "The Return of the Ship". The manuscript of the book "Childhood in Solombala" was written and submitted to the Arkhangelsk regional publishing house. The director of the publishing house advised Kokovin to show his story in the capital, and on June 22, 1941, Evgeny Stepanovich arrived in Moscow.

They fought for their Motherland with weapons and words. The writers who became war correspondents for the time of the Great Patriotic War were in the midst of terrible events. Thanks to their talent, captured on the yellowed sheets of editorials, we can imagine how the Victory came about.

A series of publications about writers-war correspondents begins with a portrait of Konstantin Simonov.

Source: 24SMI

Publicism of the Great Patriotic War

The Great Patriotic War became that period in the history of literature and journalism, when all the established genres, styles, themes, heroes began to move, obeying the central theme, the same for all writers, as well as one task - to unite all forces in the name of achieving Victory. All ideas that have existed until now about the role of the artistic word, about the purity of the genre, about the place of the author's "I", were revised under the influence of urgent, topical tasks. Creativity, inspiration, talent have become the same means of struggle as ammunition, equipment and manpower.

A feature of the journalism of the period of the Second World War was a quick, concise and, at the same time, sharp reaction to the events.

Source: https://marfino.mos.ru/

War correspondents were rightfully considered the main figures of front-line newspapers. They described the life of people at the front and in the rear. Publicists revealed the heroism and courage of the front-line soldiers, the world of their spiritual experiences and feelings, high fighting spirit. The work of writers and journalists contributed to the education of readers in the spirit of love and devotion to the Motherland, and their works carried a huge charge of patriotism, faith in the victory of the Soviet people. Thanks to military journalists, we know what happened during the Great Patriotic War.

Among the writers who participated in the coverage of the events of the Great Patriotic War, we note Konstantin Simonov, Alexei Tolstoy, Boris Gorbatov. Word masters created works in various styles and genres (letters from the front, articles, poems, etc.), but with a common faith in the victory of the Soviet people and love for the Motherland.

Publicism of Konstantin Simonov

Russian public figure, journalist, war correspondent. Hero of Socialist Labor. Laureate of the Lenin and six Stalin Prizes. Member of the battles at Khalkhin Gol and the Great Patriotic War of 1941-1945, colonel of the Soviet Army. Deputy General Secretary of the Union of Writers of the USSR.

Konstantin Mikhailovich Simonov was born on November 28, 1915 in St. Petersburg, died on August 28, 1979 in Moscow.

Konstantin Simonov wrote about the Great Patriotic War not out of duty, but out of a deep inner need. From the first days of the war, he was in the army: he was his own correspondent for the newspapers Krasnoarmeyskaya Pravda, Krasnaya Zvezda, Pravda, Komsomolskaya Pravda, Battle Banner. Simonov was the son of his time, he felt his requests and responded to them.

The war became a time of rapid rise of small genres - publicistic articles, essays, stories. The novice prose writer Simonov studied journalistic skills with his comrades in arms. But in terms of the efficiency of obtaining material, he had no equal. Even before the war, correspondent Simonov was compared with a harvester for his fantastic "efficiency" and creative fertility: literary essays and front-line reports fell from under his pen like from a "horn of plenty". Inquisitive and restless, he always rushed into the thick of things.

1941. Soviet war correspondents Konstantin Simonov, Viktor Tyomin, Evgeny Krieger and Iosif Utkin during the days of the defense of Moscow
Source: humus.livejournal.com

Simonov's favorite genre is the essay. His articles (very few), in essence, also represent a series of essay sketches associated with journalistic or lyrical digressions.

In his essays there is always a narrative plot, from which they resemble a short story. In them you can find a psychological portrait of the Hero - an ordinary soldier or officer of the front line. The life circumstances that shaped the character of this person are necessarily reflected, the battle and, in fact, the feat are described in detail. When Konstantin Simonov's essays were based on the material of a conversation with participants in the battle, they actually turned into a dialogue between the author and the hero, which is sometimes interrupted by the author's narration.

In the journalistic article, there was a direct, heart-to-heart conversation between the writer and the reader about the most precious thing for a Soviet person in the days when the enemy threatened his existence.

“Writing about the war is difficult. To write about it as about some kind of folk, solemn and easy matter - it will be a lie.

Konstantin Simonov in the article "Soldier's Heart"

Simonov seeks to combine the unvarnished image of battle days and nights with a story about the courage of a warrior. He writes about defense and offensive, about reconnaissance and night combat, about the combat operations of infantrymen and pilots, sappers and nurses, artillerymen and tank destroyers. In his articles, he most often gives their exact names, knowing that people in the days of the war were waiting for news about their loved ones.

The essay "Single Combat", sent by Simonov in the summer of 1942 to the "Red Star" from the Don Steppe, ended with the words:

“And I want Shuklin’s father and mother to be proud of their son after reading this issue of the newspaper, so that the Komsomol members of Europ-Tura remember their comrade, whom they need to be like.”

Even more frankly, Simonov reveals his thoughts and feelings in travel essays. Such are "June-December", "Russian soul", "On the old Smolensk road". The essays use episodes from the recordings of Simonov in the summer of 1941. These are the bloody battles near Borisov, crowds of refugees, the woeful roads of the Smolensk region, Kutepov's regiment, standing to the death in front of enemy tanks.

The theme of courage is beautifully revealed in the works of Simonov. The heroes of most of his war stories do not perform legendary feats. Their calm courage is shown in overcoming the countless hardships of war. Infantrymen getting wet in the trenches (the story "Infantrymen"), sappers clearing roads from mines ("The Immortal Family"), artillerymen knocking out the Germans from the fortifications ("Book of Visitors"), a nurse carrying the wounded along a bumpy autumn road ("Baby ”), - these are the typical heroes of Simonov.

Mental strength and beauty, selflessness and courage of Simonov's journalistic heroes become the main measure of the human personality.

Bulletin of Moscow University. Series 9. Philology. 2015. №3

M.S. Rudenko

Image of the Great Patriotic War

in journalism 1941-1945.

Publicism of the period of the Great Patriotic War is not a monument to real historical persons and events, but to an era with its tragedy, heroism and insoluble contradictions. It was in the genre of the essay that literature managed to solve propaganda problems. The military essay sensitively reacts to the requirements of the historical moment and conveys all shades of the voice of power. The task of the researcher is to establish the relationship between historical truth and socialist realist discourse.

Keywords: Great Patriotic War, power, fiction, genre, ideology, image, essay, politics, propaganda, publicism, reality, social realism, theme, emotion, era.

Publicists writings of the times of the Great Patriotic War are a monument, but not the real historical events and people. They are a monument of the tragic, heroic and contradictory epoch. In reality, Soviet literature was able to solve the tasks of propaganda thanks to the genre of a feature story/ sketch. The war sketch reacts sensitively to events and suits the needs of the historical moment. It translates all the shades in the voice of the authorities. The task of the researcher is to make a distinction between the historical truth and socialist realistic discourse.

Key words: Authorities, emotion, epoch, genre, the Great Patriotic War, ideology, image, invention, politics, propaganda, publicistic writings, reality, sketch, socialist realism, theme.

The literature of the Great Patriotic War from today is presented as a monument not so much to specific people and events as to the era itself. Turning to it, we are faced with the need for a painful separation of the tragic reality and the principles by which the art reflecting it was created. The question of artistry, according to E. Dobrenko, should be replaced by the study of the principles of social realism as a discourse of power, its “forms of influencing the masses”1. In translating personal emotions into the sphere of public

1 Dobrenko E. Metaphor of power. Literature of the Stalin era in historical coverage. Munich, 1993. S. 214.

His consciousness and formed stereotypes of behavior, journalism plays a special role both as a genre and as pathos, characteristic of the vast majority of texts during the war. During 1941 and early 1942, a turn was made towards the convergence of prescribed and real emotions, while the gap between the truth of events and their description remains colossal. There were taboos on the depiction of the death of warriors, with the exception of the heroic one; should not have focused on betrayal, hunger, ruin, incredibly difficult living and working conditions in the rear. The consequence of these and other prohibitions is our incomplete knowledge of the war, including even the cost of Victory. The anti-reflective nature of the poetics of the order is manifested at all levels of military literature, it implies a focus on the fulfillment of assigned tasks to the detriment of informativeness and psychologism.

Although the socialist realist text did not assume the correspondence of a literary work to reality, the need to influence a person who makes decisions that directly relate to his personal fate, life and death forces him to use a new, “humanized” intonation, to “let in” some part of reality into literature. The ratio of fiction (or silence) and truth varies depending on the moment. 1941 is not rich in facts. At the beginning of 1942, after the battle of Moscow and the organization of communication with the occupied territories through underground workers and partisans, information about the atrocities of the Nazis was allowed into the texts in order to intensify hatred for the enemy. As victory approaches, the fight against “naturalism” begins, which continued in the infamous post-war resolutions of the Central Committee of the All-Union Communist Party of Bolsheviks on literature and art of 1946-1948. The substitution of the image of real disasters with the glorification of the heroic resilience of the Soviet people led, for example, to the fact that the tragic “siege” topic turned out to be one of the most closed. Until now, we are more likely to guess than know what the Leningraders actually experienced. Publicism tries to model even the reader's reaction to itself. The description of the exploits should, in addition to admiration, give rise to a sense of one's own inferiority, "guilt" before the heroes, idealized and devoid of human features. Characteristic in this sense is the reaction of the central character in the book of the future winner of two Stalin Prizes B. Gorbatov "Alexey Kulikov, fighter ..." (1942). A simple soldier who carries out daily military work does not feel like a hero, since he does not look like those who are written about in the newspapers. The example of "eagles and falcons" should give rise to contempt for death, as well as fueled by the relevant public

cations mortal hatred for the fascist beast. Life diminishes before heroic death, turning into the immortality of the monument. The materialistic analogue of "eternal memory" is also supported by a direct appeal to religious imagery, as happens, for example, in A. Nedogonov's poem "The Tale of the Russian Warrior Avdey, the son of a ktitor" (1942). The hero of the poem claims that God is Russia living in him, and it is this God that the Germans do not have. Without the turn to the roots, which was being prepared at the very end of the 1930s, the printed word would have been much less able to be perceived and heard, to serve, albeit a brief, but real unification of the interests of the authorities and the people. In place of the class enemy comes the national enemy; the word "German" ("fritz") becomes synonymous with the word "fascist". The decision of the Presidium of the Central Executive Committee on the termination of criminal cases "on the grounds of social origin"2 already in 1937 prepared the basis for another, previously unimaginable pair of synonyms: "Russian" - "Soviet". The history of Russia becomes, albeit in an adapted version, part of Soviet history. According to Z. Kedrina, a Soviet soldier is “a person brought up in the conditions of the Soviet system on the best traditions of Russian culture”3. Literature is sensitive to this moment of national unity: Akhmatova, Gorbatov, Simonov, Pasternak, Tolstoy, and Grossman were able to feel themselves “Russian Soviet” for a short time.

The main features of literature during the war, with its fuzzy genre boundaries (the theme becomes almost the main feature of the genre), ideological clarity, "black and white" color, the substitution of psychologism by dividing into "friends" and "enemies" manifest themselves, as is known, even in the prewar period. period. Literature has, in a sense, demonstrated readiness for war, flexibility, capacity for change to a greater extent than the political leadership of the country. "Defensive literature" of the 1930s, essays from the times of Khalkhin Gol and the Finnish campaign to a certain extent serve as a model for the journalism of the first months of the war, but the varnishing or, in terms of that era, "romantic" trend was forced to give way to a different style - albeit in an adapted form, but still taking into account the experience of "Sevastopol Tales" and "War and Peace".

2 PapernyV. Culture Two. M., 1996. S. 78.

3 Kedrina Z. Features of the Soviet patriot in fiction // Agitator. 1944. No. 17-18. S. 17.

How the beginning of the war required a change in intonation can be seen by comparing two texts - “If there is war tomorrow ...” by V. Lebedev-Kumach and the anthem “Holy War”, published under the same name4.

During this period, small, journalistic forms were especially in demand - a poem, a speech at a rally or in print. A. Fadeev, P. Pavlenko, Vs. Vishnevsky; at the All-Slavic rallies - A. Tolstoy; in Jewish anti-fascist - I. Ehrenburg. Central newspapers publish materials of a “rally” type: “Defend the Motherland” by L. Sobolev (“Pravda”, June 23, 1941), “What We Defend” by A. Tolstoy (“Pravda”, June 27, 1941), “Readiness to a feat" by V. Grossman ("Izvestia", July 2, 1941), "Contempt for Death" by I. Ehrenburg ("Pravda", July 20, 1941). On June 24, 1941, the satirical TASS Windows are organized on the model of the ROST Windows; a brigade of poets is led by S. Kirsanov, a brigade of artists - N. Denisovsky. In July 1941, a double (No. 7-8) issue of the Znamya magazine was published with essays on the first days of the war.

Publicism of this period is accurately defined by I. K. Kuzmichev as “political lyrics in prose and verse”5. The task of influencing emotions is solved, among others, by the reception of an appeal to the reader in the form of a literary “order” (I. Ehrenburg. “Stop!” - July 29, 1941; A. Tolstoy. “Moscow is threatened by the enemy”, “Blood of the people” - October 16 and 17, 1941; A. Dovzhenko. "In a terrible hour" - October 24, 1942) or appeals (L. Solovyov. "Letter to the Future" - March 15, 1942). A form of journalistic "letters" is also being developed (B. Gorbatov in 1941-1942 publishes "Letters to a Comrade"). The effect of a direct conversation with the audience is sought to be created by the authors of “fatherly letters”, “thanksgiving words”, “patriotic speeches” (“Good afternoon”, “Motherland” by A. Tolstoy, “Reflections near Kyiv” by L. Leonov, “Soul of Russia” and Ehrenburg, "Lessons of History" by Vs. Vishnevsky). Sarcasm, sharp contrasts, direct abuse (“So accept the title of a scoundrel, the German Nazi army!” - A. Tolstoy. “The face of the enemy”, August 31, 1941) were used in pamphlets, “portraits of the enemy” (an infernal creature that creates absolute evil). The enemy is infinitely cruel and at the same time

4 There is a version that the prototext of the anthem was written during the First World War by the provincial teacher A. A. Bode and offered by him to V. Lebedev-Kumach at the very beginning of the Great Patriotic War. See: Aki-movV. M. One hundred years of Russian literature. SPb., 1995. S. 181.

5 KuzmichevI. K. Genres of Russian literature of the war years (1941-1945). Gorky, 1962, p. 68.

ridiculous and pitiful, he cannot even be compared with an animal. These are the “fritzes” and their leaders in the pamphlets of I. Ehrenburg: “Fritz the fornicator”, “Fritz the philosopher”, “Refined Fritz” (collection “Mad Wolves”).

During the war, I. Ehrenburg wrote more than one and a half thousand military journalistic works. “During the Great Patriotic War, I. Ehrenburg accomplished a feat. They became a constant, daily military journalistic work ... Newspapers with the writer's articles were passed from hand to hand, political instructors read them before the battle ... Highly artistic, passionate and frank articles addressed to each fighter won high respect for I. Eren -burg, made his word essential to millions of soldiers. The writer himself understood the significance of this work of his: “During the war years, a newspaper is a personal letter on which the fate of everyone depends” 6. The pamphlet genre was addressed by L. Leonov (“The Cannibal Cooks”, “The Nuremberg Serpent”), N. Tikhonov (“Brown Locust”, “Fascist Murderers”), A. Tolstoy (“Who is Hitler”).

The image of the “internal enemy”, popular before the war, was reduced: “The question of the steadfastness of Soviet soldiers in that period acquired special significance ... Considering it politically inappropriate to show two traitors at once, I left one in the editorial”7. Pre-war "saboteurs" are disappearing from the pages of the press. If possible, everything “non-heroic” is ignored both at the front and in the rear. So, in publications about the besieged Leningrad, reality often “changes sign”. Instead of a bad deed, an ideal model of behavior in the same circumstances is given. It is enough to compare the cycle “Under the siege” by N. Krandievskaya-Tolstoy and the poetry of O. Bergholz, the cycles of essays “Leningrad stories”, “In those days”, “Leningrad accepts the battle” by N. Tikhonov and, following fresh tracks (summer 1942) created "The Great and Tragic" by D. Kargin, in order to understand what perjury is even for gifted and experienced people8^_

6 Rubashkin A. Comments // Ehrenburg I. Sobr. cit.: In 8 vols. T. 5. M., 1996. S. 689, 691.

7 These words of D. I. Ortenberg, who was the executive editor of Krasnaya Zvezda until the end of 1942, are quoted by N. Petrov and O. Eidelman in the article “New about Soviet heroes” (“New World”, 1997. No. 6. C 148).

8 A similar character - a "false witness", however, of pre-war times - was drawn by L. K. Chukovskaya in the story "Descent Under Water" (1949-1957). Obviously in need of understanding, support, compassion, he is harshly (and perhaps cruelly) condemned by the heroine - "righteous". See: Chukovskaya L. Works: In 2 vols. T. 1. M., 2000. S. 164.

The external enemy, the German, is not simply painted with black paint alone. He is often simply not there, but they recognize him "by the fruits" - destruction and suffering. It is "anti-personalized" in dead and death-bearing objects - bullets, shells, mines, bombs, killing machines. According to A. Platonov's story of the same name, he is precisely "an inanimate enemy." This tradition is still alive, and any attempts to show "other" Germans are shattered by the persistent popular opinion.

The literary journalism of the war times, with all its specific features, remains a striking phenomenon. But still, the main publicist of the era was not a writer, not a journalist, but a politician - I.V. Stalin. It was in his speeches that a new, “humanized” voice of power was heard for the first time, including due to his violation of the anti-religious language convention adopted by him (the church address “Brothers and Sisters”, which attracted the attention and, possibly, trust of that part of the population to whom this expression was known since childhood). Stalin's "orders" during the war are obviously a journalistic genre. After all, there was nothing in them from an order as a categorical command to perform (or not to perform) some specific action. On the contrary, they were designed for an emotional effect and did not contain any specifics, including a plan of action. Such were the speeches - from the first, in the summer-autumn of 1941, to the speech-toast delivered on May 24, 1945 at a government reception in the Kremlin to the health of the Russian people. The speech delivered on the radio on July 3, 1941 is a kind of canon not only of politics and ideology, but also of the poetics of the literature of the war years. It is here that the sincere intonation appears: “Brothers and sisters!.. I am addressing you, my friends!”9 (Note that the feeling of compatriots as relatives by blood, members of the same family permeated literature. “Grandchildren, brothers, sons!”10 - Akhmatova refers to "unpretentious boys" in the poem "It is important to say goodbye to the girls ..." (1943), which in 1946 deserved Zhdanov's scolding.)

I am sure Stalin's tone of soothing lies: "The best divisions of the enemy and the best parts of his aviation have already been defeated and have found their grave on the battlefields"11. Psychologism is replaced by rhetoric, and the analysis of events -

9 Stalin I. On the Great Patriotic War of the Soviet Union. 5th ed. M., 1949. S. 5.

11 Stalin I. Decree. op. S. 9.

ahistorical mythology. It turns out, for example, that Hitler's goal is "the restoration of the power of the landowners, the restoration of tsarism"12.

The more accurately the writer managed to copy, if not the style, then the type of thinking, the logic of Stalin's speeches, the greater success awaited him. Stalin's speeches already in 1941 contain the main set of themes and plots that were developed in military literature. There are truly amazing examples of such “developments”. One of the first military stories, "The Russian Story", written by P. Pavlenko in December 1941, was "inspired" by the speech of the leader at the Red Army parade on November 7, 1941. The first among the heroes of Russian history listed by Stalin is the saint - Prince Alexander Nevsky. And now his namesake, the brave commander of a partisan detachment, is fighting behind enemy lines. The culmination of the story, accordingly, is the reverent listening by the whole country to that very speech at the parade.

In a report dated November 6, 1941, Stalin "sets" a number of parameters. The incomparability of our (728 thousand) and German (four and a half million) losses in killed and wounded. (Who checked? It doesn't matter! The main thing is that the order of the numbers is stored in the subconscious.) The inviolability of the friendship of peoples. Confidence that failures are random and temporary. Explanation of the retreat by treachery and the surprise attack of the enemy. The theme of the rear and reserves (strength of the state). The image of the "war of engines" (the lack and imperfection of Soviet weapons, of course, "remains behind the scenes"). Heavy mockery: "Hitler's fools from Berlin"13 appearing twice on the same page of the text; "Hitler is no more like Napoleon than a kitten is like a lion" - laughter, noisy applause14.

But before that, Stalin draws a grotesque image of the enemy: "The German invaders, having lost their human appearance, have long since fallen to the level of wild beasts"15. To introduce a new political and historical doctrine, one has to masterfully manipulate concepts. The wording of the speech of July 3, 1941, "Patriotic War of Liberation"16 is balanced by a revolutionary compliment to Napoleon: "Napoleon fought against the forces of reaction, relying on progressive forces"17. This position-

12 Ibid. S. 13.

13 Ibid. S. 32.

14 Ibid. S. 31.

15 Ibid. S. 30.

16 Ibid. S. 13.

17 Ibid. S. 31.

This, in turn, is balanced by the words about “the great Russian nation, the nation of Pushkin and Tolstoy, Repin and Surikov, Suvorov and Kutuzov”18, the meaning of which is “removed” by the ritual “October” phrase: “In fact, the Hitler regime is a copy of that reactionary regime that existed in Russia under tsarism. Stalin mastered the technique of meaning interference, the “dialectics” of actualizing one member of the opposition, which, however, did not mean a radical rejection of the other, the opposite, but which could be useful in another situation. Atheistic discourse at the right moment “falls into the shadows”: expressions such as “crucified on a cross” appear in Stalin’s speeches. The name of the hymn "Holy War" literally repeats the church wording. After all, it is the Russian Orthodox Church that from the first days of the war declares it “sacred”, introduces special prayers into the text of the Liturgy. The phenomenon of Stalin the writer has been studied in detail in the works of modern scholars20.

The "small forms" of military literature combine journalistic (reportage, essay, etc.) and artistic (lyrical poem, story) forms. Genres can "flow" into each other as a result of reworking. So, B. Lavrenev reworks the essay "Tea Rose" into a story with the same name; work on the story "The Unconquered" by B. Gorbatov and (the story? novel?) by A. Fadeev "Young Guard" is preceded by cycles of their newspaper essays about the Donbass; "Stalingrad" essays are the basis of the future story by K. Simonov "Days and Nights" and the grandiose dulogy by V. Grossman. However, during the war years, most literature moved to the pages of newspapers. Pravda, Krasnaya Zvezda, Izvestia, Komsomolskaya Pravda, and others publish stories, short stories, and poems. The number of poems published in newspapers is growing several times over. What is printed in the central press, regardless of genre, is in the nature of a document, or even a directive coming “from the very top”: this happened, for example, with A. Korneichuk’s play “The Front”, published in Pravda in the summer of 1942 by order Stalin.

18 Ibid. S. 27.

20 GromovE. Stalin: power and art. M., 1998; GroysB. Stalin style // Groys B. Utopia and exchange. M., 1993; DobrenkoE. Metaphor of power. Literature of the Stalin era in historical coverage. Munich, 1993, pp. 93-150; see also: WeiskopfM. Writer Stalin: notes of a philologist; DobrenkoE. Between History and the Past: Writer Stalin and the Literary Origins of Soviet Historical Discourse // Social Realist Canon. SPb., 2000. S. 639-713.

But readers, who were looking for at least a grain of specifics on the pages of newspapers, were primarily attracted by essays. Their authors, overwhelmingly war correspondents, gave the widest possible coverage of events. Tradition prescribes the essay to rely on the fact: “In the essay ... circumstances are not “created” in the course of the interaction of characters, but are directly taken in living reality and, as it were, transferred to the pages of the essay with possible accuracy ... the main attention of the essayist is directed to reflecting direct behavior hero in these specific circumstances, due to the peculiarities of their time "21. Compared with the essays of the late 1930s (the military ones can be called the "Spanish" essays by Ehrenburg and Koltsov, the "Khalkhin-Gol" ones by Slavin, Lapin and Khatsrevin, which were published mainly in the "Heroic Red Army", as well as "Finnish" essays published as part of the collections "Fights in Finland" (1941) and "Front" (1941)) essays of the war years were just as strictly subordinated to the tasks of propaganda, but still more free and unfortunately, the amount of fiction (not very artistic) and omissions often turned the essay into a kind of story. was it forbidden to mention the surrender in the press, and after a belated message from the Information Bureau, to somehow comment on it? Only after a while, and then only I. Ehrenburg, was allowed to break the silence with the essays “Kyiv” and “Stand!” The same conspiracy of silence in the press surrounded the real state of affairs near Moscow in October 1941.

“Concentration on the thematic aspect of texts is extremely important in socialist realism... the theme completely prevails over other structures, subordinating even the genre through the plot canon”22. Essays - portrait, military-event, travel - were classified according to the place - Moscow, Leningrad, Stalingrad, Kursk-Oryol, etc.; on the topic - about the heroism of Soviet soldiers, about the atrocities of the Nazis, about work in the rear, about women, children, the elderly, sappers, sailors, pilots, gunners ...

Essays on the first days of the war are close to reporting (P. Lidov "Combat episodes", June 24, 1941; A. Karavaeva "Seeing off", June 28, 1941; B. Galin "In the ambulance train", August 22, 1941 and etc.). The propaganda of heroism as a sacrifice that allows you to perform a miracle gave rise to the genre

21 KuzmichevI. Genres of Russian literature of the war years (1941-1945). pp. 180-181.

22 Dobrenko E. Metaphor of power ... S. 175.

essay - portrait of the hero. He could be a well-known person, like the Hero of the Soviet Union, General Kreiser (an essay about him by V. Ilyenkov was published in Pravda on July 24, 1941) or an emphatically generalized figure of a Soviet man who gave everything, even his name, for the sake of a lofty patriotic goal (Essays P Lidova "Tanya" and "Who was Tanya?", published in Pravda on January 27 and February 18, 1942). Let us note the resemblance of the image of Zoya Kosmodemyanskaya (“Tanya”) with the Christian tradition. Her origin and, apparently, her upbringing, of course, remain "behind the scenes", although they are calculated by an experienced reader by a symbolic, priestly, surname. The features of martyrdom are combined with the monastic tradition of changing one's name at the beginning of one's spiritual path. The hero as a hagiographic character is not required to have a biography: his life consists of a feat. This is what N. Kononykhin tells about Alexander Matrosov in Krasnoarmeyskaya Pravda on February 23, 1943. A separate phenomenon was essays on folk heroism (“In the South” (February 1942) by M. Sholokhov), historical essays (“Lukomorye” by L. Martynov (November 16, 1942), “Ukraine on Fire” and other “Ukrainian” essays published by A. Dovzhenko in 1942, Pravda's "rear" essays ("Alenushka" by A. Kolosov (August 3, 1943), "Armenian Peasant Woman" by M. Shahinyan (August 13, 1944), "Bread » E. Ko-nonenko (October 16, 1944)).

The genre of the travel essay was updated after the turning point during the war. First of all, it was a return essay. "Return" - this is how they called their essays of 1943-1944. A. Fadeev, B. Gorbatov, A. Surkov, L. Pervomaisky, N. Gribachev. “We all experience an amazing feeling of “resurrection of time”. Our armies are moving west along the same routes they retreated east in the autumn of 1941. In such essays there are battles, and the horrors of the occupation, and the joy of meeting with the soldiers of the Red Army (L. Sobolev, cycle "Roads of Victory", 1944). After crossing the state border, the essays become actually travel essays - they tell about outlandish lands, their customs and people (V. Grossman's cycle "The Road to Berlin" (1945), "Russians in Berlin" (1945) by Vs. Ivanov, etc.). In the same genre, a cycle of essays by Boris Slutsky “Notes on the War” (1945) was written, which has already been published today. This is where the degree of "fictionalization" of the majority of printed materials, which quite skillfully pretended to be documentary, becomes clear. All these vagrant stories about leniency towards the vanquished, their women and im-

23 Grossman V. Ukraine // Grossman V. Years of war. M., 1946. S. 346.

society turn out to be, as in photography, a kind of ... negative? or positive? - in any case, something opposite to the truth.

During the war, military tactical essays underwent an evolution: as writers become militarized and depending on the requirements of the moment, they move away from an isolated image of a combat episode that does not give a coherent picture (and what kind of coherent one it was in 1941 could only be guessed, and conjectures were so terrible that it was impossible not only to write - to think about it). July 13, 1941 K. Simonov publishes a typical "dotted" essay "Fighting Flight Day". Against the background of the suicide, which on the very first day of the war was committed by the commander of the Air Force of the Western Front, Hero of the Soviet Union, Major General of Aviation I. I. Kopets, shocked by the actual loss of aviation, such essays did not look very good. And already on December 31, 1941, Simonov's essay of a generalizing nature "July-December" appears. Analytical publications also make their way to the reader, for example, “Thoughts about the Spring Offensive” (April 26, 1944) by V. Grossman.

The forcedly "fictionalized" essay interacts with a military story, which uses documentary material and is given, in order to create an impression of authenticity, the features of an essay. Such are the "heroic-romantic" stories of L. Sobolev, published in the collection "Sea Soul", which received the Stalin Prize for 1942, and the "Tolstoy", i.e., reproducing the method of "Sevastopol stories" with their objective depiction of the cruel truth of the war , K. Simonov's story "The Third Adjutant" (1942), and containing obvious (and incredible) fiction "realistic" stories by V. Kozhevnikov from the cycles "War Roads" and "Front Workers". In one of them, Measure of Hardness (1942), the fighter Gladyshev continues to shoot at the enemy, despite the fact that his legs are crushed by a beam, which after the battle could only be moved by a tractor. But the text is written in the style of an essay - strictly and concisely, without stylistic embellishments. The famous short story by V. Kozhevnikov "March-April" (1942) is close to the short story: the inner love line is revealed against the backdrop of extreme circumstances. The girl-radio operator, trying to save Captain Zhavoronkov, who looks like Simon's Captain Saburov ("Days and Nights"), causes fire on herself. And then, losing consciousness from pain in a frostbitten leg (unlike the fighter Gladyshev, who retained the ability to shoot with his legs crushed by a beam, it is permissible for a girl to feel pain), she takes out the wounded Zhavoronkov, her lover, to the partisans. The story "Military Happiness" (1944) from the cycle "Toilers-

war ki” resembles an essay about a savvy soldier only in form: the miracles of ingenuity shown by the scout Chekarkov, of course, are the fruit of not entirely artistic fiction. The underlined documentary quality of the brilliant Platonic story "Spiritual people" (published under the title "Animated people. The story of a small battle near Sevastopol" in the magazine "Znamya" (No. 11, 1942) is an artistic reflection of the myth generated by propaganda24. Works of art (stories) can also be called famous "Testament of 28 Fallen Heroes" (1941) and "About 28 Fallen Heroes" (1942) by A. Krivitsky. the mouth of the collective hero - political officer Klochkov (Diev): "Russia is great, but there is nowhere to retreat. Behind Moscow! "Attributed to Klochkov (Diev) and the slogan "Not a step back!". The existence of the mentioned phenomenon of "fusion" has long been noticed by researchers of literature times of the Great Patriotic War25.

But no matter how sketchy, journalistic military literature may seem to today's reader,26 it remains a unique document, a monument to that formidable, heroic and extremely controversial time, which the Russian people still briefly call the word "war". And he adds another, understandable to everyone, - “Victory”.

Bibliography

Akimov V. M. One hundred years of Russian literature. SPb., 1995. Gromov E. Stalin: power and art. M., 1998.

DobrenkoE. Metaphor of power. Literature of the Stalin era in the historical

lighting. Munich, 1993. History of Russian Soviet Literature. 2nd ed.: In 4 vols. Vol. 3: 1941-1953 /

Ed. A. G. Dementieva. M., 1966. Kuzmichev I.K. Genres of Russian literature of the war years (1941-1945). Gorky, 1962. Paperny V. Culture Two. M., 1996.

24 See: SokolovB. V. Secrets of the Second World War. M., 2000. S. 395-407.

25 See: Belaya G., BorevYu., PiskunovV. Literature of the period of the Great Patriotic War // History of Russian Soviet Literature. 2nd ed. : In 4 vols. T. 3: 1941-1953 / Ed. A. G. Dementieva. M., 1966. S. 40.

26 A view that differs from that proposed here is presented in the collection of IMLI: Chalmaev V.A. “From the river named fact...” (Publicism of the Great Patriotic War) // “There is a people's war...” Literature of the Great Patriotic War (1941-1945). M., 2005. S. 42-88.

Rubtsov Yu. V. General truth. 1941-1945. M., 2014. Sokolov B.V. Secrets of the Second World War. M., 2000. Socialist realist canon. SPb., 2000.

Stalin I. About the Great Patriotic War of the Soviet Union. 5th ed. M., 1949.

Information about the author: Rudenko Maria Sergeevna, Ph.D. philol. Sciences, art. Lecturer in the Department of History of Modern Russian Literature and Modern Literary Process Philol. Faculty of Moscow State University named after M. V. Lomonosov. Email: [email protected]

At the end of the 30s. totalitarianism completely prevailed in the Soviet country. Its formation, the establishment of Stalinism as the only true doctrine of communist creation was largely facilitated by journalism. With all its activities, it contributed to the implementation of an authoritarian ideology, the ideological preparation of the population for the upcoming war. In the prewar years, the influence of the press on the masses increased. During these years, the process of differentiation of the press, the expansion of its multinational structure, continued.

The efforts of Soviet journalism were aimed at strengthening the country's defense power. The outbreak of the Great Patriotic War required the restructuring of the press in a military way. On the second day of the war, an authoritative government information body, the Sovinformburo, began to function, and a front-line press system was created in a short time, which was multinational in nature.

The problems of Soviet journalism during the Great Patriotic War are extremely diverse. But several thematic areas remained central: coverage of the military situation in the country and the military operations of the Soviet Army; a comprehensive demonstration of the heroism and courage of the Soviet people at the front and behind enemy lines; the theme of the unity of the front and rear; description of the military operations of the Soviet Army in the territories of European countries liberated from fascist occupation and Germany.

Publicism of the period of the Great Patriotic War knew no equal in the entire history of the world. Writers, publicists, poets, journalists, playwrights stood up with the entire Soviet people to defend their Fatherland. Publicism of the wartime, diverse in form, individual in creative embodiment, is the focus of greatness, boundless courage and devotion of the Soviet man to his Motherland.

From the first days of the war, the genres of journalism, designed to describe the life of people at the front and in the rear, the world of their spiritual experiences and feelings, their attitude to various facts of the war, have taken a firm place on the pages of the periodical press, radio broadcasts. Publicism has become the main form of creativity of the largest masters of the artistic word.

Individual perception of the surrounding reality, direct impressions were combined in their work with real life, with the depth of events experienced by a person. Alexei Tolstoy, Nikolai Tikhonov, Ilya Ehrenburg, Mikhail Sholokhov, Konstantin Simonov, Boris Gorbatov, Leonid Sobolev, Vsevolod Vishnevsky, Leonid Leonov, Marietta Shaginyan, Alexei Surkov, Vladimir Velichko and other publicist writers created works that carry a huge charge of patriotism, faith in our victory. Their work contributed to the education of the masses in the spirit of love and devotion to their Motherland. The voice of Soviet publicism during the Great Patriotic War reached a special strength when the theme of the Motherland became the main theme of its works.

In the difficult conditions of the war, when the fate of the country was being decided, the readership could not remain indifferent to works that called for its defense, to overcome all obstacles and hardships in the fight against the enemy. This is how millions of readers perceived the articles "Motherland" by A. Tolstoy, "The Power of Russia" by N. Tikhonov, "Reflections at Kyiv" by L. Leonov, "Ukraine on Fire" by A. Dovzhenko, "Soul of Russia" by I. Ehrenburg, "Lessons of History" Sun. Vishnevsky and many others, in which the true nature of patriotism, the heroic traditions of the past of our country, were revealed with great emotional force. The theme of the Motherland, the patriotic duty to it, took the main place in A. Tolstoy's journalistic work from the first days of the war. On June 27, 1941, his first military article, "What We Defend", appeared in Pravda. In it, the author countered the aggressive aspirations of Nazi Germany with the firm confidence of the Soviet people in the rightness of their cause, for they defended their Fatherland from the enemy.

In a terrible hour for the country, the words of a publicist sounded like a calling alarm. October 18, 1941 "Pravda" published his article "Moscow is threatened by the enemy." Starting it with the words "Not a step further!", the writer-publicist turned to the most secret patriotic feelings of every Soviet person.

The theme of the Motherland reached an exceptional journalistic intensity in A. Tolstoy's article "Motherland", first published on November 7, 1941 in the newspaper "Red Star" and then reprinted by many publications. The prophetic words of the writer contained in this article: "We will succeed!" became the oath of the Soviet soldiers in the difficult days of the defense of Moscow. In the work of A. Tolstoy - both artistic and journalistic - two themes are closely intertwined - the Motherland and the inner wealth of the national character of the Russian person.

This unity was embodied with the greatest completeness in the "Stories of Ivan Sudarev", the first cycle of which appeared in the "Red Star" in April 1942, and the last - "Russian Character" - on the pages of the same newspaper on May 7, 1944. Over the years war A. Tolstoy wrote about 100 articles, texts for speeches at rallies and meetings. Many of them sounded on the radio, published in newspapers. On June 23, 1941, on the second day of the Great Patriotic War, the journalistic activity of Ilya Ehrenburg of the war period began.

His article "On the First Day", which appeared in the press, is permeated with lofty civic pathos, the desire to instill in the minds of people an unbending will to destroy the fascist invaders. Two days later, I. Ehrenburg, at the invitation of the editors of the Red Star, came to the newspaper and on the same day wrote the article "The Hitler Horde", which was published on June 26. His articles and pamphlets were also published in many central and front-line newspapers. The publicist saw his main task in instilling in the people hatred for those who encroached on his life, who wished to enslave and destroy him.

I. Ehrenburg's articles "On Hatred", "Justification of Hatred", "Kyiv", "Odessa", "Kharkov" and others etched complacency from the consciousness of Soviet people, exacerbated the feeling of hatred for the enemy. This was achieved through exceptional specificity.

Ehrenburg's journalism contained irrefutable facts about the atrocities of the invaders, testimonies, references to secret documents, orders from the German command, and personal records of killed and captured Germans. The journalism of I. Ehrenburg reached a special intensity during the crisis days of the battle for Moscow. October 12, 1941 "Red Star" published his article "Survive!". This passionate cry became the leading theme of the articles "Days of Trials", "We Will Stand", "Test". During the years of the Great Patriotic War, Ehrenburg wrote about 1.5 thousand pamphlets, articles, correspondence, 4 volumes of his pamphlets and articles were published under the title "War". The first volume, published in 1942, opened with a series of pamphlets "Mad Wolves", in which the images of the fascist leaders - Hitler, Goering, Goebbels, Himmler - were created with exceptional revealing power. A significant place in the work of Ehrenburg during the war was occupied by articles and correspondence for a foreign reader. They were transmitted through the Soviet Information Bureau to telegraph agencies and newspapers in America, England and other countries. Over 300 publications made this series. All of them were then included in the book "Chronicle of Courage". Konstantin Simonov...

The tireless correspondent of the "Red Star", who traveled thousands of kilometers along the roads of the war and saw everything that she brought with her. Impressions, settled in the mind, required an exit, journalistic and artistic realization. Simonov's correspondence and articles, his essays and poems, short stories and novels were published in the Red Star, in many other newspapers, distributed through the channels of the Soviet Information Bureau, and broadcast on the radio.

People liked the harsh, courageously restrained correspondence and essays of K. Simonov. "Parts of the cover", "On a festive night", "Jubilee", "Fighter Fighter", "Songs" and others shocked with the truth of life, the ability to look into the spiritual world of a person whose life could end in a moment. K. Simonov witnessed many decisive battles and wrote about what he personally saw. The specific address is already in the headlines of the materials: "In the Kerch quarries", "Siege of Ternopil", "Off the coast of Romania", "On the old Smolensk road", etc. appeared the first story in the creative biography of Simonov "The Third Adjutant". The plot was prompted by a meeting with one of the paratroopers - a former Donetsk miner, firmly convinced that "the brave are killed less often than the cowards." The story was published in Krasnaya Zvezda on January 15, 1942.

It is difficult to say whether consciously or accidentally, but a day earlier, K. Simonov's poem "Wait for me" appeared in Pravda, the life-affirming idea of ​​which received such a vivid continuation in the story "The Third Adjutant". Belief in life, in tomorrow, in fidelity to love, which made it possible to endure the hardships of war and separation, brought universal recognition to the poem. Hundreds of newspapers reprinted it. Among the publicists who were in the army, was the war correspondent of the "Red Star" Vasily Grossman.

In the essays "The Battle of Stalingrad", "Volga-Stalingrad", "Vlasov", etc., in numerous correspondences, he introduced the reader to the atmosphere of the fighting Stalingrad. The cycle of event essays about Stalingrad included "The Fire of Stalingrad" by E. Krieger, "Pavlov's House" by P. Shebunin, "Hero City" by B. Polevoy, "Stalingrad Ring" by Vas. Koroteeva and others. The main thing in the journalism of the period of the Great Patriotic War was that it expressed the fortitude and aspirations of the fighting people. M. Sholokhov's essays "The Science of Hatred", "Infamy", his articles "On the Way to the Front", "People of the Red Army" occupied a special place in the journalism of the war period. Their leitmotif was the author's conviction that the highly moral strength of the people, their love for the Fatherland, would have a decisive influence on the outcome of the war and lead to victory. This idea permeated the essays of L. Sobolev "Sea Soul", A. Fadeev "Immortality", A. Platonov "Son of the People", etc. The high skill of the writers who came to military journalism, their original creative "handwriting" gave it an extremely diverse form and sharply individual style character. Boris Gorbatov, for example, turned to the epistolary form of conversation with the reader. His "Letters to a Comrade" carry a huge charge of patriotism. They are not only personal, but also very lyrical.

Most of them were written when they had to retreat, and the front line approached Moscow. The first four letters under the general title "Motherland" were published in September 1941 in Pravda. Peru B. Gorbatov also owns the essays "Alexey Kulikov, fighter", "After death", "Power", "From the front notebook", included in the collection "Stories about the Soldier's Soul", published in 1943. At the end of the war, a large number of travel essays. Their authors L. Slavin, A. Malyshko, B. Polevoy, P. Pavlenko and others spoke about the victorious battles of the Soviet troops that liberated the peoples of Europe from fascism, wrote about the capture of Budapest, Vienna, the storming of Berlin ...

Party and statesmen of the country: M. Kalinin, A. Zhdanov, A. Shcherbakov, V. Karpinsky, D. Manuilsky, E. Yaroslavsky spoke with journalistic and problematic articles in the press and on the radio. On the pages of the Soviet press, B. Agapov, T. Tess, M. Shaginyan and others are truthfully depicted in the journalism of the unparalleled labor feat of millions of people on the home front.

E. Kononenko, I. Ryabov, A. Kolosov and others devoted their essays to the problems of providing the front and the population of the country with food. Radio journalism had a great emotional impact. In the memory of radio listeners during the Great Patriotic War, there were performances at the microphone by A. Gaidar, R. Karmen, L. Kassil, P. Manuilov and A. Fram, K. Paustovsky, E. Petrov, L. Sobolev. During the Great Patriotic War, photojournalism developed noticeably. The camera lens captured the unique events of history and the heroic deeds of those who fought for the Motherland. Names of photo publicists of Pravda, Izvestia, Krasnaya Zvezda, Komsomolskaya Pravda A. Ustinov, M. Kalashnikov, B. Kudoyarov, D. Baltermants, M. Bernstein, V. Temin, P. Troshkin, G. Homzer , A. Kapustyansky, S. Loskutov, Ya. Khalip, I. Shagin and many others stood on a par with the names of publicists of the pen and documentary filmmakers. Through the efforts of experienced masters of photography, literature and graphics, since August 1941, the literary and art magazine "Front Illustration" began to be published.

Almost simultaneously, another illustrated publication began to appear - "Photogazeta", with a frequency of six times a month. "Photogazeta" was published before the Victory Day. Satirical genres and humorous publications remained an invariably powerful force in the arsenal of wartime journalism. Satirical materials often appeared in the central press. So, in Pravda, a creative team worked on them, which included the artists Kukryniksy (M. Kupriyanov, P. Krylov, N. Sokolov) and the poet S. Marshak. On some fronts, satirical magazines "Front Humor", "Draft", etc. were created.