Hobbit style shed: Adult sized Hobbit Hole Garden Room Shed

Wooden Hobbit Hole She Shed Garden Room

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$6,260. 00

(2 reviews)

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Faehaven Adult Sized Multiuse Hobbit Hole

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Update 7/16/22: Please email [email protected] or call/text 855-462-2484 for a current turnaround time and shipping quote.

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1,300.00 LBS

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• Description
• Warranty Information
• 2 Reviews

This wooden Hobbit Hole Garden Room or Summer House will be a stunning addition to your outdoor space.  A versatile multi-use design that ships anywhere in the contiguous US, and installation and assembly can be completed in one weekend.

With floor dimensions of 12′ x 7′ and an interior ceiling height of 6.5′ in the center, you’ll never outgrow this Hobbit Hole!  In addition to the 4′ diameter round front door, this design also boasts a 3′ wide rectangular rear door to make the structure more accessible.  This allows you to easily use and transform your space as needed over time, whether for storage, work, play, or some well earned rest and relaxation.

Designed and handcrafted by our Maine family and built using home-quality materials and building techniques, you’re sure to reap the rewards of your investment for years to come. As your needs and interests change over the years, you’ll have a handy and handsome backyard building to serve you through all of life’s changes.

Floor dimensions on Faehaven are 12′ x 7′ (84 square feet).  Overall height: 7′. Maximum ceiling height: 6.5′.

Short List of Possible Uses for this “luxury garden shed”:

• fair weather guest room
• potting shed
• teen den
• pool house
• changing room 
• tea room
• studio 

Our high quality Faehaven Hobbit Hole kit comes standard with:

• straight edge cedar clapboard roofing, with a waterproof underlayment, edge flashing tape, a cedar ridge and stainless steel screws:
• hand cut “live edge” cedar clapboard roofing upgrade available; we also offer a discount for opting out of the finish roofing if you prefer to “DIY” a finish roof

• 4′ diameter round front door
• 3′ wide by 5. 5′ tall rectangular rear door (not a true rectangle:  top of door is angled to match pitch of roof)
• one 24″ diameter round window offset from the front door
• two 20″ diameter round windows on the back wall
• 1″ x 10″ “rougher head” shiplap pine siding
• v-match pine roof decking
• stain grade pine door and trim
• heavy duty forged iron front door hinges
• a screen window with a removable plexiglass insert for each window
• floor base sheathed in premium OSB Advantech subflooring
• floor base framed with pressure treated 2x4s
• assembly instructions
• screws and driver bits needed for assembly

 

Available roofing upgrade:

• hand cut “live edge” cedar clapboard roofing upgrade– decorative bottom edge detail cut into each clapboard

 

The Faehaven Hobbit Hole Kit will arrive with fully built front and back gable walls (in the form of two pre-built panels each), roof rafters, roof decking, and a fully built (in two panels) solid floor base sheathed in Advantech flooring.  We will provide assembly instructions and all the fasteners needed to assemble the components included in your order. You will just need a few basic tools.

All wood is untreated.  The paint/stain colors shown are for illustrative purposes.  You can treat the exterior walls and trims with any exterior wood treatment, and we recommend treatment within 3-4 months of receipt. 

Your order will be delivered by appointment by a third party common carrier.  We ALWAYS request lift gate delivery service, but please be aware that in some cases a lift gate is not available, in which case the customer will be responsible for unloading.  In these instances customers can usually partially uncrate the Hobbit Hole and unload from the delivery truck by hand.  We do our best to facilitate communication between you and the carrier to make delivery go as smoothly as possible.

Please read through our Shipping and Returns information before placing your order and PLEASE contact us, Melissa and Rocy Pillsbury (the OWNERS!) with any questions!  

Customer satisfaction is our HIGHEST priority!!

 Call us at 855-462-2484 or send an email to info@wooden-wonders. com  

We look forward to hearing from you!

If there are complaints based on our mistake we will do our best to rectify the problem. At our discretion, we may provide replacement parts and/or a partial refunds.

Shipping Damage:
The customer will inspect the shipment for damage before accepting delivery. In the event that damage has occurred, the customer will specifically document the damage on the delivery receipt and/or bill of lading before you sign for the delivery. Wooden Wonders will take responsibility for filing a claim with the freight company. Please understand that resolving the claim with the carrier may take up to 90 days. Your credit for the damaged item may be delayed while the claim is resolved with the freight company, and we may require your assistance as we pursue the claim for damage.

2 Reviews

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• 5

  Faehaven

  Posted by Tir na nOg Farm on 27th May 2022

  We purchased a Faehaven kit in 2019. Delivery was smooth and the kit went together beautifully. It was a great confidence-boosting project for our farmhands! (We added a shiplap floor on our own for extra durability, figuring our farmhands would enjoy using it for yoga or sleeping.) When the pandemic hit it was a “haven” indeed, providing a comfortable, safe sleeping space for all kinds of guests. It’s now in its third year of regular use and the only issue we’ve had is some very minor occasional chafing on the door frame when humidity is high–easily solved with a bit of sandpaper. Adult guests marvel at how roomy it feels. The screened windows with removable plexiglass are another great feature. We’re proud to support this wonderful family business, and we already dream of tucking one or two more of these into our woods so we can have a wee hobbit-house village! Thanks for putting so much thought and care into what you make.

• 5

  We love our hobbit hole!

  Posted by Eric F on 11th Mar 2019

  We are so happy with our hobbit hole. Easy to follow instructions to build and high quality materials. The owners were very helpful and responsive in answering our questions too. We use it as a clubhouse for our 3 kids and they love it! Would highly recommend this.

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Nature-Themed Hobbit Hole ‘Bux End’

Bux End has been named the winner of the Cuprinol Shed of the Year 2019 competition.

The much-loved national shed contest saw a record-breaking number of entries, and more than 16,000 votes later, shed building superstar Chris Hield wowed the judges in the competition’s new Nature’s Haven category and won the accolade of owning the nation’s favourite shed.

‘I’m delighted – and in shock! We are massive Lord of the Rings fans so when we decided to build our own shed we knew it had to be a hobbit hole,’ said 49-year-old Chris of Buxton. ‘It had to fit in with the wildlife and nature that we have cultivated in the rest of our garden so the grass roof was a big feature. Whenever we got any seeds for wildflowers we have just thrown them over the top of the shed and they have thrived.

‘We have seen so much wildlife since adding the shed – so much so it distracts me when I’m working in there! We have a blackbird nest in the eaves of the shed as well as robins who we have seen hatch from eggs to baby birds and there are the butterflies and bees that swarm the flowers. ‘

Cuprinol

Cuprinol

Cuprinol

As well as the coveted title Chris has been presented with £1,000, a wooden plaque, £100 worth of Cuprinol products, and a giant crown for the super shed.

The much-loved competition returned for its 13th year with over 3,000 entrants to seven categories.

‘Once again the Great British sheddie didn’t disappoint,’ said founder and head judge, Andrew Wilcox. ‘It was great to see how brilliantly creative this year’s entrants have been and to see Chris come out on top with his beautifully natural Bux End.

‘This year, Cuprinol discovered that more than a third of Brits allow nature to take over part of their garden, so we thought it was only right to reflect that with the addition of a Nature’s Haven category and the entrants really excited us. It seems only fitting that Bux End championed this year’s competition celebrating the nation’s natural approach to the great outdoors.’

The winners for the remaining categories are as follows:

Unexpected

Cuprinol

Cuprinol

Tom Duckworth impressed with his ‘The Lorry Life’, proving just how versatile a shed can be after he put on wheels and made it a home. The shed even has its own water system with a purpose built water tank fitted under a reclaimed red chesterfield sofa, a kitchen, and a tiled shower area.

Cabin/Summerhouse

Cuprinol

Cuprinol

Tom Prior pipped others to the post with his expertly crafted ‘Woody Willow’ – a stunning playhouse for his two children which was his ‘greatest creation yet’. This spectacular design grew so big it needed planning permission. Documenting the build on his Instagram, Tom built the shed in his spare time at evenings and weekends.

Workshop/Studio

Cuprinol

Cuprinol

This category broadened the scope of more modern living as people use their space for hobbies or running small businesses. Securing the most votes was Mary Price’s ‘Artistintheshed’ which is used as an artist’s studio. Since entering the competition Mary has seen her work soar in popularity.

Pub & Entertainment

Cuprinol

Cuprinol

Chris Smith’s ‘Reef Cavern’ was created after he and his wife were kept too busy to go on holiday for six years. Bringing the holiday vibe into his back garden, the unique beach bar has a roped entrance with palm leaves and a bead curtain leading into the shed. Once inside you’ll find a Hawaiian-themed bar with wooden pineapples and vibrant coloured cocktails.

Budget

Cuprinol

Cuprinol

Despite being built with less than £100, this year’s budget winner was Anne Hindle who proved you don’t need to invest loads of money to build your own ‘Vintage Tea Shed’. The Blackpool-based shed is full of chintzy items including cushions, tea cups, fringed lamps and inspirational signs in soft pastel colours.

Unique

Cuprinol

Cuprinol

Jon Spooner‘s crowd-pleasing ‘Space Shed’ demonstrates stand-out brilliance and innovation with this Tim Peake-backed educational creation. The writer and theatre maker used the bright blue shed as his place to write stories and built a fully mobile replica of the Space Shed using hydraulics that open up to reveal a mini stage with a fully programmable LED lighting rig, big screen and sound system.

SEE ALL OF THE 2019 FINALISTS BELOW

THE 2018 SHED OF THE YEAR WINNER

The 2018 winner was George Smallwood’s Bee Eco Shed, featuring a self-sufficient space in which ‘self-watering’ technology allows vegetables, herb gardens, bugs and bees to thrive.

‘I think they [the judges] really loved that the shed doubles up as a home for the bees,’ says George Smallwood. ‘It’s quite unusual to find working hives in urban spaces, so that was definitely a stand out for them. They also commented on the staircase and the pulley system with my hanging baskets which was designed to keep the door open as required.’

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Olivia Heath
Executive Digital Editor, House Beautiful UK
Olivia Heath is the Executive Digital Editor at House Beautiful UK where she’s busy uncovering tomorrow’s biggest home trends, all whilst delivering stylish room inspiration, small space solutions, easy garden ideas and house tours of the hottest properties on the market.

Creating a Hobbit Mansion in UE4

A 3D Environment Artist Johannes Burström showed us how to create the Lord of the Rings stylized mansion using ZBrush and UE4.

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Introduction

My name is Johannes Burström, I’m a Swedish student at Uppsala University. I am currently working on a student project called Urskog, here’s a shoutout to our Discord if you want to follow our development.

I got inspired by Jasmin’s work and decided to start on something similar. I browsed the concept section on Artstation and found the concept that I needed. Being someone who dreams about Lord of the Rings I got positive vibes from it and instantly started working on it. I basically just eyeballed the shapes in the concept as well as I could. I was fine with everything not being 100% perfectly accurate to the concept since I wanted to put my own spin on it, so I tried to capture only the essentials.

Workflow

By looking at the progression you may notice some large changes in the composition very early. I had discussions throughout the process with communities and my partner who’s also an Environment Artist about the weaker points in the scene. This led me to change the layout of the stairs, the pots, and the large table, which slowly made a weapon shop look like a cozy hobbit pottery/flower store.

I started by sculpting a trim sheet for all the wood parts instead of sculpting them individually as that would save me a lot of time.

I still wanted some variation on the wood parts so I decided to use both Vertex Painting and wood damage decals to hide possible repetition.

I usually create the shapes as a low-poly first.

And only then I sculpt the high-poly:

Then I go back to the low-poly’s UV-map and add any adjustments if necessary. I also make sure to create high-polys of the most visible parts to make sure everything comes together nicely. As most ZBrush users I tend to rely on the Orb-brush pack and Trimdynamic brushes when sculpting.

The vegetation is the part that I enjoy the most since there are so many neat tricks you can find in different tutorials. My process when it comes to achieving a certain result is usually to harvest the best parts from a bunch of different tutorials to create something that fits my scene. I found this video and decided to play around with that technique which I cover in my breakdown that can be accessed here.

By using Distance Fields, Runtime Virtual textures, and the Billboarding Leafs I managed to achieve this fluffy smooth foliage. The grass is similar to Lucen’s grass with some minor changes which I also cover in my breakdown video. The trees are made modular meaning that each part is independent which allowed me to create quick iterations on their shapes and scale.

Texturing

For texturing, I relied heavily on Substance Painter’s Generator functions and the baked information to create the handpainted feeling. I use features such as gradients, curvature, AO together with a bunch of different fill layers, this allows me to change things very easily down the road if I notice that colors mismatch or if there is some other problem.

The water in the pond uses Distance Fields to generate foam, this was a hustle to create as I had a hard time finding tutorials on how to create good-looking foam using that technique, or any technique really. I’ll add an image of the most “unique” part in the water shader here and hopefully, that will shed some light on how to do it for someone.

To explain the entire shader would take a long while but I intend to release a longer breakdown video of it at some point in the near future. I also added a smaller wave mesh that complements what the water shader was lacking. It’s a rather simple shader with a panning texture that has a gradient applied to it.  

The walls are made out of plaster and bricks. I built the bricks inside of Maya in a “tileable way” then I proceeded to sculpt them in ZBrush with Wrap Mode activated so that I don’t break the tiling. The Vertex painting is rather simple, it’s just a HeightLerp blending the Vertex painting with a texture. On the parts where I used Vertex painting, I added some extra geometry to reach a result I was happy with.

Rendering

When preparing for my renders I create a separate camera and link Foreground Foliage to it so that they move together with the camera.

Once I find a good screenshot position I lock the camera to that position so that I don’t accidentally move it during my polishing stage.

I decided to use Realtime Lighting only for this scene with the new sky atmosphere in UE4. In general, my setup is very similar to Jasmin’s which she explained in her article so if you are interested in reaching a similar result check her 80.lv article out. I added a light function to the Pointlight in the furnace to have some flickering. The more there is moving stuff, the more alive it feels in my opinion. 

Post-Processing

The only thing I did in my post-processing is applied a LUT. To do that I simply grabbed a screenshot of my scene, imported it to Photoshop, and played with curves to achieve the result I wanted. Unreal has great documentation regarding this so check this out if you are interested in LUTs.

The clouds are a simplified version of what you can access here. Since it is behind a paywall I won’t break it down in detail here, instead, support the original source, its a very detailed and beginner-friendly tutorial, but the general technique for anyone interested is to use FlowMaps and Parallaxing to fake depth.

I created the scene in about 9-12 days and the greatest challenge was to stay patient. I am someone who likes to work quickly and not linger too long with one asset but this was a good way to work on that weakness. Another thing I had to be patient with was the results. The scene felt pretty weak for at least 80-90% of the development but I kept telling myself to avoid rushing it and do iterations until I was pleased. A huge learning outcome was that patience truly is the key, at least for me. 

Something else that I mentioned in my Artstation post was the feedback. I encourage all of you who want to improve your work to be a part of communities and share your knowledge and don’t just stick to one community, there is no limit on the number of discord servers you can join. Ask for feedback, give feedback and hang out, it’s so valuable to get rid of the fear of sharing progress.

Thank you for reading, I hope this was of any help to someone. Also, a huge thanks for all the kind words from the community, it was a pleasant surprise and it truly makes me happy.

Johannes Burström, 3D Environment Artist

Interview conducted by Arti Sergeev

Keep reading

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• Cozy Clutter: Working on a Lived-In Hobbit Hole Interior

• Giant’s End Village: Making an Environment in the Ghibli Style

“Sarai year – 2012” – Livejournal mosaics – Livejournal

“Saray year – 2012”

Felbert

MARCH 15TH, 2012

I was more than remarkable to another one. freak contest, which is held in the UK. It is called “Barn of the Year”, and is an amazing competition in which the owners of the most unusual sheds compete throughout Foggy Albion. The British are very kind to their sheds. There is even a saying that in England a barn is not just a barn, but almost a sacred place where the owner can take his soul and relax. Thousands of entries have been submitted this year for the competition. I propose to look at the most interesting and unusual works.

1. One of the main contenders to win the competition is the multicolored “Scallopers Shelter”. There is an unusual design in the town of Kirkcudbright. The owner of the barn proudly calls his building a small exhibition hall. He says that he has visitors here from all over the world, from all over the world.

2. Stubbs Arms shed in Milton Keynes. The owner of the building, Michael Stubbs, poses in front of it.

3. The owner of this charming hobbit-like barn lives in New York. This is how he presented his barn: “I needed some space in the garden where I could put a lawn mower, so I asked my wife for permission to build something like a barn in the garden. I love Tolkien terribly and admire the hobbits he invented. Therefore, I came to the conclusion that building a barn is my only chance to build something in the style of hobbit architecture. The house is built of concrete, and the construction process took me four and a half years.

4. Colne Valley Postal History Museum located in Halstead, Essex. This barn is owned by Steve Knight. This is how he presented his project: “I turned my barn into a real postal museum! I have collected many interesting things there. For example, there are post boxes in which parcels are sent, special machines that put stamps on postage stamps. And also – cockades, a postal clerk’s uniform, telegram forms, stationery, water jugs, fire extinguishers, signs, pointers, scales, scissors, twine, which was tied up with parcels, knives for paper and cardboard, pencils, ink pens, inkwells – everything , which is somehow connected with the mail and with the development of the postal service. The shed has electricity, telephone and Internet, but otherwise it completely reproduces the atmosphere of the post office about half a century ago.”

5. Chris Crowley, owner of a barn called Clarkson Mk1, located in Ickenham, Middlesex, says: “Clarkson is my first barn, I designed it on a computer and built it from materials left over from the demolition of the house . It is fully insulated and has double glazing. I named the barn after Jeremy Clarkson. Jeremy Clarkson is an English TV presenter and automotive journalist. He once said: “Every invention that can change human history is born in an ordinary and unremarkable barn.” My shed looks like a classic caravan, so I named it after this great man, Jeremy Clarkson. It was in this barn that I created my most successful project, a remote controlled bird feeder. It is very pretty and much better protected from marauding squirrels that want to prey.

6. A barn called “Jabba the Hut” is located in Dorset. Its owners are Jilly and Dick. They say: “Jabba is a beach house that was built eighty years ago. We saved it from demolition, moved it to a new location and carried out a complete restoration using recyclable materials.”

7. A barn called “The Water Shed” located in Smugglers Cove. Its owner is Jeff Hill. This is how he introduced his barn: “He will spend the whole summer moored at Smugglers Cove. It will be possible to get into the barn using a canoe, a boat, or simply decide to sail there, at your own peril and risk. There will be all sorts of useful things here. We suggest you visit here, take a look at all the goodies you’ll find here – and if you find anything in our shed that will help you complete the project you’re working on, or at least help you through the creation process, You can take this item home absolutely free of charge. Also, if you have something, something that you feel might be useful to other people, feel free to bring it to our shed. We only ask you to remember that the barn is rather small in size and we strongly advise against bringing explosives here. But if you have a tin box with washers, nuts and other good stuff lying around at your house, we are looking forward to seeing you!”

8. Doctor Who is a cult British science fiction series that will celebrate its 60th anniversary next year. The protagonist travels the universe in a time machine called the TARDIS, which for a number of reasons resembles the shape of the police telephone booth that used to stand on the streets of London to make emergency phone calls. The owner of this adorable TARDIS-shaped barn says: “Believe it or not, my TARDIS actually has a telephone installed – and, by the way, it was absolutely free to call landlines in the area from it. But our people are unscrupulous, and began to call on mobile phones, and such calls can no longer be free. I had to temporarily stop using the TARDIS phone service, but once I figure out how to block the ability to make calls to the mobile, I will turn my shed into a telephone booth again.

9. A barn named Corrugated Chapel is located in Shropshire. The owner of this building is Alan Terrill. This is how he presented his project: “I need somewhere to store garden equipment, but at the same time I have a sense of humor and a love of originality, so I wanted to create not just a barn, but some unusual building that decorated would be a garden. There are several Victorian chapels in the area made of corrugated iron, so I decided to model my barn in the spirit of one of them. But since the exterior of such a chapel is very simple, I decided to improve it a bit.”

10. Derek Rose, owner of a barn called Rose Church in Oldbury, says: “I built this barn on my own, with no help from anyone. I did everything myself – the walls, and the doors, and the window frames, and the stained glass. I built this barn about eight years ago. This is where my studio and lounge are located. This barn is surprisingly comfortable on winter evenings, it is very cozy – because there is a fireplace and multi-colored lanterns that create a magical atmosphere. At first, when I made sketches for the future barn, I generally planned to make a real castle so that it also had a drawbridge , which could be driven on a motorcycle, but all my friends so persistently advised me to slow down … Now I regret that I did not insist on my own!

11. A barn named “Junior School” is located in Weybridge. its owner is Mark McGinniss, who says: “I built this barn from recyclable materials and designed it to fit in with the house where the chapel used to be. I originally planned for my three dogs to live here, but now I use it as a kind of shelter and a secluded place where I can relax and unwind.”

12. Shed in the form of an oriental summer house, owner Roy Bentley.

13. The owner of a barn called Beach Cove says: “At first we started building it just for fun, but in the end we ended up with some kind of theme amusement park! Instead of a barn, we got a beach snack bar, fortunately, it was built on the beach. It is spacious enough for the whole family to gather here. The grandchildren really like it here, they come here to have fun, build sand castles and even play treasure hunters and pirates. I myself will gladly have a glass of beer in my own bar when the children go home – who would refuse such a thing!”

14. A barn called “Duck End Thunderbolt” is located in Oxfordshire. Its owner is Peter Strange, who says: “Built back in 1883, this car was scrapped in 1928. Until 1960, it was used as a living space, and until 1997, garden tools were stored in it. For 11 years, we have carried out a complete restoration, recreating it literally from the ruins.”

15. Sue and Graham’s Barbecue Lodge is located in Chipstable, Taunton, Somerset. His owner, Sue, says: “It’s amazingly roomy and comfortable, we use it all year round, and it has a stove to cook on. This barn can accommodate up to thirty people, we know this for sure because we once held a party here. It was a lot of fun – dancing, laughter, drinking and a million entertainments.

16. David Ajeisa-Adekunle, owner of Tetra Shed in London, says: “This is an award-winning building with innovative modular systems. This is an amazing place to work, a real office in nature, and besides, a good sculptural decoration for your garden. This is a separate module that can accommodate two people, and in addition, it can be expanded. Install two of these modules – and they will accommodate four people. Install three of these modules and get a great guest room. This is a great solution for those who love a big company and are constantly forced to host guests and relatives in their home!”

More freaky sheds on the official website of the contest – http://readersheds.co.uk

Tags: england, architecture, contests, oddities, construction, photos

antidote of dialogue. Andrey Kanavshchikov. Day and Night, No. 6 – LitBook

They stand side by side – Joseph Brodsky and Yuri Kuznetsov. These are two actual pillars of Russian poetry of the second half of the twentieth century, two poles, two most quoted and revered figures of two different ranges of poetic predilections of Russian connoisseurs of the rhymed word.

As a rule, if a poet internally rejects Brodsky, then he highly appreciates Kuznetsov. And vice versa. This, perhaps, is an overly philistine and simplified position, but you can’t get away from it anywhere. This is an axiom that does not require proof.

Poetic preferences can be expressed brighter or softer, more frank or tangential, but the presence of a poetic counterweight over time not only does not disappear, but only becomes more characteristic.

More precisely and more concentratedly than others, Vladimir Bondarenko outlined the obvious parallel between Brodsky and Kuznetsov: “Yuri Kuznetsov, in my opinion, is the last great poet of the 20th century. <...> If Rubtsov went from the Russian song somewhere into world culture, upwards, then Yuri Kuznetsov, as it were, descended from this … world poetic Olympus into the Russian national tradition. <...> It is no coincidence… Yevgeny Rein, Joseph Brodsky’s best friend, also highly appreciates him. He also calls him the last tragic poet of Russia. They were born in the same year. And both came out rather from Derzhavin than from Pushkin. One represents a more liberal tradition of Russian poetry, the other a more traditional and conservative one, but on the whole they are close to each other in their own way.

Bondarenko perfectly outlined the vector of development and the degree of poetic expectations of poets from their own craft. That is, the second half of the twentieth century was marked by a descent from the heights of world culture to the Russian national voice. A certain demiurge, who has known a lot and seen a lot, carries his fire into the people, enlightening and elevating a certain mass that is obviously lower than it.

Here they are unambiguously similar, Kuznetsov and Brodsky. With its planetary and intentional philosophical generalizations, where there are neither Akakiyev Akakievich, nor stationmasters in principle. It is significant to compare the poet and the Russian man with a lying stone by Yuri Polikarpovich:

And you are a poet, whether you are gloomy or cheerful,
And you are lying, O Russian man!
In the stream of time, you just hung your hand.
You sleep all your life, well, sleep forever.

And here is the polar planetarity from Joseph Alexandrovich. With the same motif of folk static, when two hypostases are clearly separated – creative, constructive, and contemplative, passive. With the same notorious stones.

These verses are about how stones lie on the ground,
simple stones, half of which do not see the sun,
plain gray stones,
simple stones, stones without epitaphs.

In fact, this philosophical and semantic roll call between Kuznetsov and Brodsky, Brodsky and Kuznetsov can be carried on for a long time. Which is completely redundant, since Bondarenko perfectly defined the starting point – Derzhavin.

On the one hand, there is satiety with knowledge, perfection, mastery, and on the other hand, the secret expectation of the future Pushkin, who would respond with his “divine simplicity” to the knowledge of the demiurge-creator, revived the perfection of theory with his own daily practice.

I am a king – I am a slave – I am a worm – I am a god!
But being so wonderful,
Where did it happen? – unknown;
And I couldn’t be myself.

Both the Nobel laureate Brodsky and the poet-soiler Kuznetsov, better than many others, unmistakably felt precisely this expectation of the coming Pushkin, this discord, often tragic, between word and deed, between accumulated knowledge and everyday life, between the soul and body of the people. It is deeply symbolic that the largest of their representatives have come forward from various ideological and artistic fronts to the role of the pillars of the sunset of the twentieth century of poetry in order to come to the same field, where all the same notorious people-stones lie.

In essence, the apex manifestations of Russian poetry of this time were deeply tragic concepts that bring initial destruction and chaos, confusion and discord. With Brodsky, such intonation sounds extremely frank:

By convexity-smoothness of asphalt,
in the dusk, in the light of Petrograd
drive me away – lover, sufferer,
lover, pet of discord.

But it would be naive to believe that Yuri Kuznetsov’s poems are more optimistic and positive in this sense. Instead of individualistic preaching, he has all this framed only in clothes and mythologems that are more understandable to the soil-born. Take, for example, Yury Polikarpovich’s dedication to “Father” 1968 years old, all filled with pain and fear for the future:

– Father! – I shout. – You did not bring us happiness! .. –
My mother shuts my mouth in horror.

Effectively said, but in fact – very ambiguous. On the verge of infantilism and consumerism. The verses seem to assume that the father must provide for the existence of his son and his family, and the son must automatically consume the benefits provided to him automatically.

Something according to the Russian proverb: “Why did the guy fall off the horse? Because the mother planted crooked. As if a crooked landing on a horse relieves the guy himself of the need to stay in the saddle and present something of value in itself, not only in kinship with his father and not only as a link between generations.

I’m not saying that a generational gap is a good thing. I’m not saying it’s easy. But behind the ascertaining part, a positive program must necessarily begin, how exactly you plan to stay in the saddle yourself. When even the father betrayed, when the nation is not like that, when everything around is not so and not so. And this is where the real problems started.

The poet, we must give him his due, perfectly understood the need for a positive program. Stanislav Kunyaev recalled: “Yuri Kuznetsov, who lived in the highest spiritual spheres, tried to express not the ideological, but the religious meaning of the war, relatively speaking, between good and evil, this eternal Third World War, which reached the historical finish line in the 20th century. Regarding my small uprisings: the discussion “Classics and Us”, a letter to the Central Committee, etc. – he said this: “Stas, some of your goals are too mundane. You are at war with specific individuals: critics, writers, historians, and I am fighting with all the power of dark forces, I don’t want to distinguish their faces, surnames . .. You are just a lieutenant, you go on the attack, a bullet will hit you in the forehead, you will stumble , you will fall and you will not even realize that you have already died. That he called me a WW3 lieutenant flatters me. Kuznetsov has poems “In the silence of the General Staff”. He looked at everything from these positions, looked like the ideologist of the General Staff, which is at war with the forces of world evil. I have a very specific mindset, unlike Yuri Polikarpovich. I told him: “Yura, to each his own. I have my own trenches, there are enemies on the other side, I have my own front line… I’ve had enough of that.”

Witty version. Stanislav Yuryevich lovingly and carefully protects the name of Kuznetsov even from involuntary shadows that can be cast on the shrine. But I can’t forget that feeling of fear and apocalypse that occurs even when reading Kuznetsov’s “Family Supper” in 1977. Emphatically religious and emphatically scary. Poems begin with:

Gray-haired old woman, great mother,
Alone among the world in a heated hut
Sits by the table.

The hut is heated. That is, people live here, there is someone to live and someone to heat the stove. But the family meeting takes place under the sign of complete disunity and a complete, lifeless rupture of all possible ties.

Aliens look at empty glasses,
They sit down at the table and see through like fogs,
Between night and day.
<...>
All guests are empty and see through like fogs,
Food has not been touched, glasses have not been opened…
So who was there?

Yes, the field then “ripens again.” Yes, “the red sun lazily falls silent behind the dark hill.” And it seems that religious unity overcomes grief, and the guests still begin to drink at the “old table”. But even in their awakening and rebirth before the face of the Great Mother, the guests are involuntarily divided:

Soldier for Victory, Poet for Freedom,
Widow for a passerby, mother for the breed,
Baby for everything.
The Tramp Absently Drinks for the Road,
With a whistle and dust open to God,
And he measures his own.

Even a unifying toast does not bring guests closer to each other. Thoughts and impulses they are all in completely different spaces. Connected with difficulty and if by some means close, then only by the memory of some epic antiquity, of a time that is now lost.

Kuznetsov often singles out his “I drank from my father’s skull” as an outrageous program, but this is hardly correct, since a heavy, nerve-wracking feeling of loss and grief is dominant in almost all of his works. Harmony in all its forms and manifestations in Yuri Polikarpovich periodically escapes somewhere, blurs, turns into self-parody.

The teacher was burying a student…
And it was heard at a special celebration
Old man mumbling:
“He followed me as I followed this coffin.
He grabbed smoke from my fire,
The language of the gods caught from someone else’s hearing.
He only surpassed me in death,
The rest lacked spirit.

With subtle beings of their souls, both Kuznetsov and Brodsky foresaw the collapse of the USSR, European wars, the plunge of the Soviet Empire into the abyss of feudalism, and the technological collapse of the consumer society. Real events simply reinforced with breathing flesh what poets saw in their poems decades before burning Yugoslavia or blood in the corridors of the House of Soviets.

Even the epic warehouse of speech space of both authors, with their attraction to poems, to large forms, to indispensable generalizations, looks not accidental. When even small-sized verses least of all resemble a simple sketch or note, claiming to be an integral philosophical image.

Both Kuznetsov and Brodsky look in the historical perspective as a kind of harbingers of the Russian chaos of perestroika. The ingenious alkonosts of the collapse sang their sad songs, so that later, behind them, there would be nothing even remotely reminiscent of the realities of the USSR. In an extremely concentrated and uncomplicated form, they revealed what at the same time broke through for many, but has not yet been formalized so mercilessly and uncompromisingly.

And where others still saw personal motives, Kuznetsov and Brodsky managed to see planetary chaos. For comparison, we can cite the poems of Valery Khatyushin in 1976, written almost at the same time when Yuri Polikarpovich “drank from his father’s skull”, and Joseph Alexandrovich, this “one of the deaf, bald, gloomy ambassadors of a second-rate power”, compiled the book “The End of a Beautiful Era” .

My life is a poor stepmother.
Why are we torturing each other?
I grew up as a trusting boy,
I thought I live for the best.
I believed in kind people.
Stupid, what did you expect?
I was kind and smiling.
I became gloomy and angry.
How much unnecessary, false
I bought from life…
How much is in me,
How much is lost in me!. .

It was only later that Valery Vasilievich had no doubts about where the destructive draft was blowing from, and then many, too many had a glimmer of hope to believe that the discord they felt could be overcome by lieutenant methods and tactics. Poets searched for the causes of discord in themselves, compassionately suffered from bouts of guilt before the surrounding imperfection.

Even Yevgeny Yevtushenko was noted for the meaningful, from the current level of understanding, Orwellian 1984 poem “Distant Relative”, when the characters painfully recalled how the word “despair” would sound in English.

There was a conversation in global clouds
about fellinisms
and about coppolisms,
and aunt Marus entered
quiet as a ghost,
in their peasant polite socks.
With pigtails silver knot
sat down decorously,
without touching the glass,
and bags drawn hands
furtively rubbed under the table.

The self-proclaimed elite remembered, but could not do anything, but Aunt Marusya in polite socks, this English teacher, easily remembered. Why? Yes, because she simply could not know this word from her world. And remembering, it suddenly turned out that this sacredly familiar word is useless to her, but equips the “elite” alien to her with new knowledge, in order to subsequently explode with a conflict of languages ​​and worldview.

Late Soviet lyrics literally oozed these overripe juices of decay. There was no longer faith not just in ideals, but also no faith in society, in the family, in oneself. Late Soviet lyrics are destructive and self-destructive. And the better, the more worthy the authors, the more clearly and frankly this trend was seen. The stronger the nerves were torn in the lines of Yuri Kuznetsov, the more cynical Joseph Brodsky cursed.

The question involuntarily arises: if Russian poetry of the second half of the twentieth century marked and formalized the final stage of the end of the Cold War (it is also the Third World War), appealing to the experience of G. Derzhavin, then did Pushkin’s positive line not break at the same time? Was it at all, along with the obvious sprouts of decline? What and in whom did she assert herself?

The key figure here is the Perm-Yekaterinburg poet Alexei Reshetov (1937–2002). Unlike poem-oriented authors, he preferred miniature, sketch, sketch. His poems did not move tectonic layers, did not blow up the subconscious. The brilliant Yuri Kuznetsov, in principle, accurately identified his colleague when getting acquainted with his poems: “He has a short breath!”

Aleksey Leonidovich did not so much create in the high sense of the word as he simply communicated with the reader. That way, slyly squinting in the sun and slowly waiting for an answer that, perhaps, only he would hear.

Darling, stop, don’t swear, it’s all the same
Some of us will tire of constancy.
But I will throw you like a bird into space,
And you will throw me like a stone to the bottom.

And that’s it! Only four lines. And if the time comes for sadness, then Reshetov also has only sadness, there is only what it is:

How steadfastly the birches held on
On hard days, in January,
And now – spring tears
They run and run along the bark.
So our women in the chest
Anxieties and sorrows are hidden,
And if they cry, they cry,
When it’s all over.

Reshetov’s tragic intonations do not threaten with plague and biblical pestilence. His lyrical hero is humanly weak, and if he is strong in something, then again – humanly, without big promises and a big flight.

– It’s hard for you to write like Pushkin –
Citizen N.
told me
“Weak,” I answered my friend, “
But you are not Anna Kern either.

Reshetov’s poems, for all their unpretentiousness, leave hope. They have a specific human warmth. When you see in front of you not a demiurge, but a living being, maybe a little drunk, a little helpless, but close already in that it is understandable.

In addition, Reshetov did not overact with irony, and humor did not turn into some kind of Aesopian fig in his pocket. Even his humor is in moderation, as it should be in calm communication, without sparkling satirical allusions. This person will not make fun of you, will not poke you for the sake of a red word, you will not compete with him in intellectual duels, it’s just easy and comfortable with him.

There is a feeling that with any nuclear mushroom overhead, we will survive and the dialogue will not be interrupted. Even this notorious “short breath” – what is it, if not a premonition of a globalist redistribution of the world, when people often do not have enough time or energy to realize something deeper than four to eight lines of linear text?!

In the flickering clip age, Alexei Reshetov tried to speak with his contemporaries in one, dialogically justified, language. Not afraid to crumple the speech, cut it off in mid-sentence, realizing that if the reader can be hooked with four lines, then he will inevitably have a need for the following, and the most beautiful conversation may remain a monologue if you do not catch the reciprocal eye movement.

Familiar refrain
Heard from afar,
Unknown girl
Comes from a spring.
And the wind winds around,
Flowers are burning all around…
In one bucket – a cloud,
And the sun is in another…

For the usual Soviet party optimism, it was said too well and cleverly. To reveal the root causes and fundamental principles of being – too little and too everyday words. But, perhaps, it was in Reshetov and his line that Russian poetry managed to preserve Pushkin’s transparency and that irrepressible thirst for life that defines it. Happily combining attention to philosophical global issues with the so-called quiet lyrics, becoming a kind of symbiosis of Yuri Kuznetsov and Vladimir Sokolov.

The intonations of the prophet, the oracle, or at least the chosen one were not rejected or ridiculed, but changed quite significantly if it was no longer a question of assembling a stadium, but of at least shouting to a single interlocutor who was from opposite poet. And suddenly it turned out that it is a short breath that now helps to run next to the interlocutor in his being and be adequate to his spiritual searches.

Why run? Yes, simply because we don’t have another people and other people, and if we proudly lose what we have, neglect dialogue in principle: they say, it’s undignified and petty for us, creators, to communicate with all sorts of stupid pettiness, then very soon the monologues won’t will be needed. They will simply sound in other languages. In English, in the languages ​​of the national suburbs, but not in Russian. A language does not exist separately from its speakers. Time does not exist separately from space. The soul in the current life does not exist separately from the body.

Now the Reshetov banner has been picked up by his, or rather, Pushkin’s, tradition, led by Nikolai Alexandrovich Zinoviev from the Krasnodar Territory. This is the same focus on dialogue, the priority of a small form, a deliberately reduced figurative range. But at the same time, the confident development of Reshetov’s themes. What is important – with an excellent understanding of who exactly is in his general staff, when Zinoviev dedicates his poems “Wind of Changes” to the memory of Yuri Kuznetsov, and Kuznetsov sends his book to Zinoviev’s Korenovsk.

Valentin Rasputin spoke about Zinoviev’s gift in the following way in 2005 at the Radiance of Russia festival in Irkutsk: “Zinoviev’s talent is different from others in that he is laconic in verse and clear in expressing thoughts, he does not evoke a line, as is often the case in poetry, but cuts down with such a powerful and shocking, unexpected thought, an accurate and bright thought that it makes a strong, if not deafening impression. In the poems of Nikolai Zinoviev, Russia itself speaks.

At the map of the former Union
With a massive roar in the chest
I stand. I don’t cry, I don’t pray,
And I just don’t have the energy to leave.
I stroke mountains, I stroke rivers,
I touch the seas with my fingers,
Like closing my eyelids
Unfortunate Motherland of my. ..

There are no paradoxical and unexpected pictorial images here, no deep philology with indispensable hidden ironic quotations. It simply sounds the principle of dialogue with your reader, brought to the absolute. If many of the current writing poets seem to be completely indifferent to how and what they will read, when they unconsciously or consciously address their works only to literary critics, Nikolai Alexandrovich writes in the highest degree addressed, seeing his heroes, hearing their voices.

This is a “hungover brigade” of drunken builders erecting a “God’s temple”, this is a mother who “pretends to be alive” in order to “baby her grandchildren”, this is a classmate of “Katka-half a glass”, this is, finally, the author himself, who carefully, Dostoevsky builds a kind of diary with poems that begin as if with a conversation cut off before:

And I saw how they beat the homeless
For the sausage ring. They beat me for a long time.
They beat him really, slowly,
With a merciless smile –
Like a wolf.
He tried to bite their shoes,
I wanted to roll under the counter.
And no one dared to intercede,
I just decided to… write.

The author, even in small things, does not separate himself from his heroes; the mask or the role of the Olympian god is fundamentally alien to him. Even knowing more, even understanding more than the average citizen, he does not try to impose his truth or affirm it otherwise than through Christian love, than through inner individual purification. It is difficult to imagine Zinoviev in a master’s office, in an expensive car, he is emphatically popular. It is up to the last comma – its own, proven. A person who can make mistakes, but who at least will not lie to you.

For a country that in recent decades has been literally exhausted by various lies, privatizations, vouchers, pocket opposition, which the current government itself pays for, this effect of an honest dialogue seems truly life-giving. To the writhing, tongueless street, waiting for words to explain itself, the poet generously provides moral grounds for life, in order to believe in the future, so as not to drown in despair.

The illusion of education is just an illusion. Having a diploma of higher education does not in any way guarantee that a person has automatically acquired the ability to independently analyze the phenomena of life and give them names. A college degree does not change the theory of elites in the least, with only five to ten percent of people who are able to understand their surroundings without the prompting of opinion leaders.

Often, under the understanding of life, people disguise the glibness of the language, its sharpness, banal intellectual rudeness, as in Shukshin’s story “Cut off”, without becoming spiritually independent from this at all. Post-industrial society, formally stuffing people with knowledge, like any other society in principle, does not teach and cannot teach people how to use this knowledge intelligibly.

Even now, as in all ages, only poets and writers are called to such a teaching. It is their word that gives voice to the tongueless street. And as poets and writers teach the street to speak, with what words and images, so it will continue to communicate. The street will forget who taught it, it will begin to think that it has thought of everything itself (wow – she is very smart!), but in reality every word has a primary source.

In Literaturnaya Gazeta in 2007, an extremely important article by Ekaterina Fedorova “The Crisis of Writers of Middle Ages” saw the light of day, where the author methodically and scrupulously analyzes how the demo-globalist government in Russia systematically knocks out those writers from the intellectual circulation who, in their formative years, caught Soviet times, perestroika, reforms, and who can honestly evaluate all this. Without horror stories about the Gulag and at the same time without sweet syrup addressed to those who bloodthirstyly called for “crush the reptile. ”

Fedorova writes:

“I came to the conclusion that the middle generation of writers was specifically “knocked out”. Because they are participants and witnesses of not the most valiant actions of the authorities. And the truth is not needed in the coverage of this period. The older generation more easily endured everything that happened in the era of “changes”, because they were protected by titles, awards, pensions, dachas and apartments. <...>

The young did not taste the delights of the transitional period, because they were protected by their parents due to their age. Yes, and youth itself smooths out tragedies. They could see, they could remember, but rather as observers.

The middle generation of writers has been forced all these years to go to work every day and turn into those very actors of folk theaters who stand at the bench during the day and only in the evening can do what their soul lies to. <...>

Knocking out middle-aged writers from the craft, the authorities deliberately break the living connection of times.

But breaking a live connection is not just dangerous. He is deadly. Relatively speaking, if your children did not give birth to grandchildren, then your personal story ended there.

So here. A generation that is not connected with Russian literature by a pulsating connection will famously write how they ate the dog. But they did not perceive the traditions of Russian literature live, they did not inherit it. And they can then pass on anything to the next generation. But not the living traditions of Russian literature. You can become an imitator. But not a successor.

One of the signs of an amateur is his conviction that no one has done this before him. <...>

Writers have no time to live. They either work or write, but they do not have the opportunity to contemplate, comprehend, “relax”, breaking out of the sweatshop system.

I ask a friend: they say, where on vacation? Replies that he will write on vacation. That is, freeing himself from one job, he takes on another.

I don’t know of any other profession where creative people en masse quite professionally did their job for free. I can’t even imagine a professional singer going to perform for free. And I would earn money for this by taking additional private lessons (working as a teacher), on duty in the hospital (being a doctor), writing articles in publications that pay well. Can you imagine that a person with a voice works somewhere (as a barker, for example), sews a concert costume with the money he earns, rents a hall, invites the audience and sings for free? And then he also gives his disks? Do artists do this?

But writers of the middle generation are forced to go out to their readers in this way, being the most devoted people to their muse. Now almost half of the published books are self-published.

The state allegedly forced the older generation of creative people to create “on the topic.” Could a worker at a machine tool refuse to make a part for a rocket, being a pacifist? Is the teacher the wrong lesson or gag? Where is freedom? In what area of ​​activity for which you want to receive money, is it? The writer could write on the table. And the worker in his desk could not work on the machine. In your free time, please.”

Of course, the article by Ekaterina Fedorova did not go unnoticed. A few issues later, a twenty-year-old student Alexei Trudov, who did not understand anything from what he had read, simply played around with the idea of ​​excommunicating writers from readers. He reduced the issue to a certain discussion, to a certain exchange of opinions. That’s where it all went down.

Although it is enough to look at what circle of writers the leadership of Russia meets with, what age limits many literary awards have, in order to understand the completely non-random nature of the attempts to split the word and the street. When they support either the elderly so that they live in peace, or the young who are used to commerce, while tightly controlling the degree of influence on the masses of those who are able to synthesize the historical unity of the USSR and Orthodoxy, Soviet power and the imperial spirit of Russia.

Nikolai Zinoviev belongs precisely to this category of “knocked out”, who cannot be “knocked out” in any way. Poetry for him is not a hobby, not a pleasant leisure, not an occupation out of boredom, not a craft, not a business, it is Service, it is a dialogue, a kind of chronicle of how the Divine Word tries to reach its bearers, who will perceive and hear it.

This dialogue is not always easy. Often he is merciless and tears the soul no less than his absence. Here is an example of a remark:

That changed the era of the era.
What is the saddest thing about this?
We used to secretly believe in God,
Today we secretly do not believe in Him.

We don’t believe, we don’t believe, but “He” is capitalized. And this is also one of the inalienable signs of the present life. The paradox of the Russian spirit, which cannot be dismissed if we want to honestly look into each other’s eyes. As well as in the feature that the poet wittily and subtly comprehends, through a heap of dirt and lies about mythical Russian laziness. Zinoviev does not stray from the unpleasant conversation, he simply makes the right accents:

She won’t kneel
To no one and never.
Is it from heroism, from laziness –
Isn’t it all the same, gentlemen?

Often the poet is reproached for the excessive gloominess of his poems. In the heaviness of colors, in the apocalyptic. The only question is who reproaches: urban intellectuals with their apartments, cars, comfortable wives, bosses from literature, various creative servants.

In reality, Zinoviev has no intentional thrillers written for the sadistic purpose of tickling the nerves. On the contrary, his stinginess of presentation is seen, on the one hand, as an inability to remain silent in order to remain honest with his people, and on the other hand, as a deliberate reluctance to even an extra comma to arouse suspicion that you are admiring the surrounding destruction. The stinginess of a chronicler with burned nerves is the style of Nikolai Alexandrovich.

Husband died in Afghanistan,
The son is in Chechnya on the battlefield.
And stayed in this darkness
Eerie, twilight light,
Together with her in this world
Grandson sitting on a needle.

In each poem by Zinoviev you see living people. There are no dummies, no diagrams, there every generalization aches with a fresh wound, there behind every figure one can see facial expressions, clothes, gait. As a matter of fact, stylistically here we see the continuation of the Pushkin-Soviet tradition of showing a simple person – whether a stationmaster or a milkmaid. And it’s not the author’s fault that the realities of his characters’ lives have changed significantly.

One day after drinking
Wake up gray and gloomy,
Look out the window: Yankees
Chickens are caught for breakfast.
Alien guttural laughter
Silence drilling
And dragged for fun
To your wife’s barn.
Down and feathers take off,
Dawn bleeds,
And you have a hangover
There is no power to rise.

The understanding of the essence of creativity, which is formulated by Nikolai Zinoviev in the poems “In the pub”, is indicative. Both the demon and God drive him out of this pub, only the demon claims that “you don’t like these drunks”, and God drives him away with the words: “But just remember: these are your brothers.” The dilemma rises to deep religious generalizations. To humble wisdom and boundless love for your neighbors.

But how can I then be baptized
A hand that waved at people?

In Zinoviev’s poems, a well-defined political subtext is regularly read. He has his civic position, he never fawns and does not play around. He knows what he lost along with his country, and he knows who is to blame. But at the same time, the poet does not descend to the rumble of words, to newspaper propaganda, always remaining humane, accessible and open in order to hear the answer.

And a kind of criterion for the truth of Nikolai Zinoviev’s poetry is his love lyrics. Quivering, pure and again human, not bookish, not tortured, not deliberately treacle:

God give me glory and honor,
Give us riches – everything will not be enough!
Everything will be as if it does not count
Without her lips, burning alo.
May God suddenly make me poor,
Like ice water, douse.
But will give eyes and lips to that one,
One and only! That’s enough.

Zinoviev brought Reshetov’s ability to solve the poetic task of constructing a text on dialogue and paradox to the absolute. And the combination with Pushkin’s classical line turns the poet into the brightest representative of the Russian poetic tradition. He is now seen as the most consistent and integral expression of that layer of culture, which for a while went aside behind the epoch-making canvases of Yuri Kuznetsov and Joseph Brodsky, but without which the mission of the poet in modern Russia and the further development of Russian poetry as a whole are unthinkable.

To neglect the possibility of dialogue means to lose touch with the street, as Mayakovsky determined the naming of phenomena. Pretending that dialogue is not needed or important is condoning the destruction of the continuity of traditions and opening the way to Russian poetry for the destroyers, who were brilliantly exposed by Kuznetsov, but who did not reach out to the broad masses, to the mass reader, precisely because it is far from always from their general staff considered direct dialogue a boon.

Who are we fooling? At least the same outrageous lines “I drank from my father’s skull” were correctly understood only by Yuri Polikarpovich’s close circle, those who shared his beliefs, who understood his very difficult artistic and aesthetic searches. For many, the complex style of Kuznetsov’s constructions only frightened or disoriented.

Aleksey Reshetov or Nikolai Zinoviev can be read in the same way both in the university auditorium and in the pub. And often with an almost perfect level of understanding. When what is written is heard exactly like that, without discrepancies and discrepancies. I’m not saying that it’s good, that it’s a big compliment, but the essence remains the same.

Now the poems of Nikolai Zinoviev and the poets of his circle, his preferences are the last bridge between the Russian tradition of poetry and modernity, the last hope for maintaining continuity, for the fact that the gap diligently cultivated by demo-globalists will be overcome.

Otherwise, the banner of Russian poetry will one day banally fall at the feet of creative hobbits, those for whom creativity is just a way to take their free time. Those who have retired, those who have grown grandchildren, those who are sick, etc. Service will then be confidently replaced by self-expression. For everything that we can perfectly see on the Internet now.

When some author concocts some prettiness like “Autumn puts his hands on my shoulders”, and a couple of dozen amateurs hasten to praise this prettiness in the expressions “Amazing!”, “Super!”, “Wonderful!”, “Great!”. With a whole bunch of emoticons and pictures. When no one even notices that there is no such word in the Russian language – “lies”.

Moreover, with an abundance of deception words and cover words like: “I don’t need fame”, “I write for myself”, “We are all small poets here”, etc. But God forbid you take this game seriously and advise the “writer for yourself” and read your poems only to yourself, under your pillow, at night! All the dogs will immediately gather on you to the cries of some kind of “own world” or, more often, “own universe”, which everyone sees and appreciates, and only you, callous and stupid mediocrity, do not understand out of envy. The concept of dialogue, despite all its elementary nature, is not so easy and extremely rarely given.

Often Internet amateurs from those who are more literate like to hide behind the name of Eduard Asadov, in whom, if desired, technical flaws can be found, and in terms of images it is not rich. But, firstly, the front-line soldier Asadov lost his sight in 1944 and was simply deprived of the opportunity to hone his poems through his eyes. And secondly, Asadov’s notorious simplicity comes from the area of ​​Pushkin’s tradition of dialogue.

He is not so much a narcissistic soloist as he really cares about his heroes. Will everything work out the way he wants, will everyone be fine? And Asadov chose sharp topics, on the verge, so that they would wake up the mind, pull at the soul. At least this is his classic – “Night” – from book 1963 years “In the name of great love”, which came out in several editions:

As soon as the arms were unclenched,
The girl jumped up from the grass,
She embarrassedly straightened her dress
And stood under the shade of leaves.
A little early morning light.
The girl bit her lip,
Then she asked in a barely audible voice:
Are you my husband now or not?

Then the guy refused to marry, and several generations of Soviet people cried over this unassuming story.

It seems that Yuri Kuznetsov and Eduard Asadov are two poles, two sides of one big phenomenon. Super-philosophical complication and no less super-philosophical, meaningful simplification. And between them, Reshetov and Zinoviev are seen as the golden mean, a kind of balance of power, harmony, orderliness of tradition. Who drank from two sources and managed to generate many answers to painful questions of life in their work. Who managed to keep the demand for poetry not only among literary criticism, but first of all among readers. They have preserved such a generation as readers.

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The 10 Most Beautiful Hobbit-Inspired Houses from The Lord of the Rings

What are the world’s most beautiful fantasy houses inspired by the Hobbit houses from The Lord of the Rings? Where are they, designers and purchase price.

There are many people in the world who after watching films and reading books of the famous writer John Ronald Reuel Tolkien , passionate about creative events, decided to break with the past and invest time and money in the development and implementation of the present own Hobbit house .

10 houses inspired by the hobbit The Lord of the Rings

Here in this particular ranking , not merit, 10 among many most beautiful houses in spirits of fantasy saga about Tolkien , which are scattered all over the world, deserve to be seen at least once in your life, and perhaps even give them a thought. Who knows that the owners are not eager to sell them at the highest price!

Woodland green house located in Wales

The owner, Simon Dale, designed and built a sustainable house on a hill in the countryside, just like in the Lord of the Rings movie.

And if you think that the entire construction completed in just 4 months cost only 3500 euros, then we really look at the environmentally sustainable project par excellence.

Hobbit House Barbados

Hobbit House Ian Morrison 3500 square meters built on several levels is one of the most impressive.

Built on top of the Barbados hill, this is the ideal holiday destination for .

Hobbit Homes in New Zealand

Scenes from The Lord of the Rings trilogy were filmed on hilly terrain at Matamata , New Zealand .

From that moment on, a great passion for little people reigned and a beautiful tourist attraction was born – a real village with hobbit houses, where you can stay surrounded by nature.

Dune House

The Dune House Hotel was designed by architect William Morgan. It is located in Atlantic Beach, in the beautiful United States of America.

This is residence with an area of ​​more than 750 square meters, where guests can feel like a hobbit for a while.

Underground residence in Switzerland

This structure was designed by SeARCH and Christian Muller .

This is a residence which is being developed underground like a typical Hobbit home and has everything you need for a relaxing holiday.

Peter Archer’s Hobbit House

Architect Peter Archer designed the ideal Refuge in rural Chester County , about 50 km northwest of Philadelphia, USA.

Archer says: “We wanted a unique structure, a place to relax and be alone.”

This is how this beautiful endless house was born in collaboration with team of craftsmen.

Chris Whited Waterwheel House

Corrugated roof, asymmetrical walls and even a waterwheel – that’s how Chris Whited wanted his home at Bainbridge Island , Washington State.

Spread over 1,200 square meters, it is ideal for a family who wants to escape the chaos of the city and take refuge in the green and healthy air of the hills.

The presence of a real water wheel makes the project even more believable: the dream of seeing the real Hobbit one day is knocking at the door.

Hobbit House in Montana, USA

In Montana there is Hobbit Village , the real “ Shire “, inspired by and dedicated to the characters of Tolkien .

During the spring and summer months, all visitors can stay in the village cabins at a price of from $200 per night.

Bilbo Baggins House

Last but not least, Bilbo Baggins House, located in the Hobbit Village in Montana, USA.

Particularly attractive, this mansion is the perfect and attractive picture for those who want to take a break from their daily routine and immerse themselves in the fantasy world of .

Hobbit Hollow in New York

Super fan of the saga, Jim Castigan already had the advantage of being an operator in the construction world.