Biography of Marina Biryukova

Marina Biryukova: “When you hear the silence, you understand: there are no total deafness ...” Views: comments: 0 Saratov poet and journalist - about his new book, the poetic “trend” and “actual” art of Marina Biryukova for Saratov is all the more amazing that real poetry today is a rare phenomenon.

You are convinced that this is precisely poetry, and not a set of bargained lines, as soon as you open a thin yellow book with a solar cover and a very simple, fundamentally simple name - “blaspheming”, and read the first poem that immediately immerses you in a special contemplative mood. The book was published in the publishing house of the Saratov Metropolis with a tiny circulation - copies, which completely does not detract from its dignity.

The Saratovites know Marina as a journalist who has been working in the MK in Saratov newspaper for a long time, and today she works on the same professional field, but already in the information and publishing department of the Saratov Metropolitan, deputy chief editor of Orthodoxy and Modernity magazine. Do people read poetry? Can a good poet be a good producer at the same time? Does "actual art" make sense?

Marina Biryukova shared her vision of these problems with a “look”. Without fashionable words-Marina, the second time I re-read your book, and the second time there is a feeling that in your poems it somehow breathes very freely. And, probably, this is a property of not only your poems, but also real poetry. Why, with such opportunities that open to the reader, poetry today has ceased to be a trend and became exotic?

I would really like to do without these newfangled words. I am not excluded at all to be smart on these topics, I am afraid that poetry today acquires its genuine, organically inherent place in human society. The era, when the poets were listened to in stadiums, had long passed. The poet is no longer perceived as a herald of civic freedom, as a conscience of society, as "more than a poet." He is no more and no less, he is just a poet.

The time has come to open poetry in poetry. And here, of course, there are obstacles. There is a lack of skill, misunderstanding, inability to read poetry - even in people with humanitarian education, no matter how sad. Although ... Is everything so sad, actually? At first, it seems that people interested in poetry are terribly few. But then, when you meet people, when you speak with them about verses, not only your own, no, about poetry in general - you meet a response.

You hear the silence when you read the poem in the audience - amazing silence. And you understand that there is actually not total deafness, but there is a situation where poetry was on the periphery of public consciousness. It must be returned to people, they are actually hungry for it. I am convinced of this on many, many human examples. After all, the publication of the book is also a purely financial process.

Your book has a very small circulation. This is probably not from a good life? It was they who decided to find funds and publish a book of my poems - I myself did not dream about it and did not ask anyone. And the most many thanks I must say to Metropolitan of the Saratov and Volsky Longin, who immediately agreed to support this project completely uncharacteristic for the diocesan publishing house.

So this is by no means my merit - the appearance of a book. God gave me the opportunity to write poetry, this is good; But those people, by the way, are listed at the beginning of the book, before the preface, so that the reader remembers them in prayers to commit an absolutely disinterested good act, no less significant than the composition of the verses. Therefore, “Sell” is not my book, this is our book.

Nothing in common with ecstasy - the creative process of the poet is a secret sphere, which is probably inaccessible, nevertheless, it is interesting to know: how does it happen to you? Mental images, rhymes constantly arise in your imagination or a verse appears as a reaction to something out of the ordinary? The initial impulse, the first news of the future poem is most often a line that appeared in the mind.

The connection of this line with external events is a complex question. Of course, she is, she cannot but be. But this is not a reaction to the event, not an emotional response, no. Neither grief, nor shock, nor joy, nor indignation in themselves give birth to a poetic impulse. The connection here is complex, it is a spiritual connection. And behind the birth line, the work, the search, is very difficult, very long, requiring a very large amount of paper and several months, usually time.

And here the sobriety is important, a critical attitude to what you had, the absence of any forms of self -love and self -repayment. This has nothing to do with ecstasy, with passionate obsession, with all sorts of soaring and burning. The poet’s professionalism speaks, first of all, that he owns his process, and not the process of them. There is nothing postmodernist in it ...

- Slava to God, no ... - ... and there is even nothing modernist if the silver age is read for modernism. This is something very clear, simple, both in aesthetics, and in language, and in images.Is the Pushkin period close to you? There are words: do not look for a new one, look for eternal. I have never been looking for a new one. The so -called "actual art" is deeply alien to me.

The newspaper can be relevant, art is forever. The future of literature - I am convinced of this, and the examples of now living genuine poets confirm this - for the traditional form and for traditional, or rather eternal content. To recover from autism - in verses you often turn to your children's memories, and this becomes a kind of therapy for your lyrical heroine, and for the reader, by the way, too.

Why so? What is such in childhood that it affects us so beneficial? Childhood can be different. But the child has a feeling of novelty of the world that an adult does not have. The adult is tired of the world, and for the child the whole event is the first snow, and the first signs of spring, and a flower, and a dog, and a cow. In childhood, a person opens the world, but in principle he must do this all his life.

In childhood, a person cannot earn a living, he is kept by adults; And in the same way, in childhood, something is given to us something like that, over the acquisition of what - or over the return to what - we must work hard in adulthood. This is the freshness of the perception of the world, trusting in the world, responsiveness to God's presence in it. Sometimes we get tired of labor and then hold out a hand into the past, to where we gave it to vigor.

Such, indeed, therapy. Where did you get such a nature, from the city resident? You can’t replace the village childhood. To the same extent, in which civilization is brought up, the village is brought up by nature. It is direct contact with her. I am now coming to my native village, and with chagrin I see that there were no birds in it. And Skvortsov, respectively, is not there either.

There is no dovecot and pigeon hunting. And the fishing of the boys is no longer interested in, and they do not know how to make fishing rods, and they do not pull them to horses - everything replaced the computer. The village is depressive, it lives poorly, but for some reason there are enough for computers with shooters. Computer autism is a global threat. People, children, need to be returned to direct contact with the ground, water, trees, animals.

It is necessary not to take children abroad, but to the village, and to teach to plant potatoes, feed the cow, drive pigeons, collect mushrooms, chop the hole in the winter, and launch a snake. Otherwise, they will grow sick. In search of freedom - Marina, why did you leave secular journalism? Are you tired of writing about crime or work in the church at some point in life was more important for you?

I do not regret the years given to the legal so I would call it, and not criminal journalism, she helped me learn a lot about a person, to understand a lot. But at some point I just exhausted it, or reached my ceiling. It was necessary to change the occupation, so that the work would not turn into mechanical functioning. And secondly, I saw that a little more-and I have no opportunity to work honestly, freely and objectively.

People ceased to believe that a journalist could be guided by conscience, not money, not an order. The question "Who paid this to you? The interest of ordinary readers in the newspapers was rapidly falling. And I realized that I could not oppose this process. Just like the “Orthodox poet” - this is generally excluded for me, and it was very unpleasant when they tried to call me that.

Orthodox is a definition of a person’s religion, but not his profession. The journalist should be professional, and if, moreover, he made such a choice in life, he entered the Orthodox Church, it means that he can bring her rather tangible benefit. Including working in the media published by the church. This work, at least, will not force him to conflict with his own conscience, with personal beliefs.

Actually, this is freedom! Are you planning to release something similar? But not everything depends on me. Poetry is very deep, individual, psychological. You will not command all the processes that go inside you. This thin book is 15 years of labor.