Golden fruits of sarrot read. Sarrot N. Golden fruits

Creativity Nathalie Sarrot

(ugly. Natalia Illivna Chernyak)

Sarrot speaks Russian well, but never write to my Russian, only French. Let me explain to you that Russian words are needed not to come. She learned to speak French at the 2nd rock, and writing from the 3rd rock.

The main works of Natalia Sarraute (over 20 speeches in total, including a sprat for radio):

1) 1939 - collection "Tropizmi".

2) 1948 - the novel "Portrait of a stranger".

3) 1953 - the novel "Martero".

4) 1956 - the book is still "Era pіdozri".

5) 1959 - the novel "Planetary" (ІL, 1963 No. 1).

6) 1963 - the novel "Golden Fruit". This is the most famous novel by Natalia Sarrot, which won the international literary prize. The first publication of Sarrot in Russia is the novel “Golden Fruit”, which was instructed by Tvardovsky in the “New World”, 1969.

7) born in 1968 - the novel "Mіzh zhittyam i morty".

8) 1972 - the novel “Can you hear them?” (Publ. Ros. - M., 1983).

9) born in 1976 - the novel "... kazhat durnі" ("Speak ugly").

10) 1980 - a collection of short stories "The Gift of Promotion" ("The Gift of the Word", Russian - M., 1982).

11) 1983 - autobiographical book "Childhood".

12) 1989 - the novel "You don't love yourself."

13) 1995 - the novel "Here".

14) 1997 - the novel "Vidkryte" (ІL, 1999 No. 5).

The history of the "new novel" and the work of Natalia Sarrot:

40s. - Try to win over a reader who ended in amazement (“Portrait of the Unfamiliar”).

· 50 years. - the victory of the new poetics over the traditional one and ordering it to its own goals (“Martero”, “Planetarіy”).

60s. - The transformation of the "new novel" on the subject of literary fashion ("Golden fruits"), the crisis of the genre, the search for an exit through self-knowledge ("Mid life and death").

70s. - "The New Romance" becomes a banter of history ("Childhood"), a lesson in literary theory, a sociological treatise ("The Gift of Words", "You Don't Love Yourself").

A collection of short reports, a book of miniatures, psychological sketches "Tropism" (1939).

Tropism- tse biological term, which means the reaction of the growth (living organism) to the outside influx. So the word "tropism" is the same root as the word "trope". In Natalia Sarrot's tropisms - tse other mental reactions ("vibrations"), imagine what people blame on the pre-verbal level. Sarrott about tropisms: tse "thin ruhi, like ice is commemorative, super clear, fading", "cowy, light shades, gray of such and become the invisible basis of human stosunkiv and the essence of our life." Otzhe, Sarrot, I want to photograph imperceptibly: the thought of doti, as if it were not possible to take shape at the word, tobto. The idea is more to її vyslovlyuvannya, to bring to the "stream of information" - and the prose of Natalia Sarrot can be like a constant search for adequate ways to convey tropisms.

The novel by Natalia Sarraute is blamed for the substantiation and appointments in order to adequately convey tropism. For whom the “suggestive method” of the sheet is used, which does not convey the psychological state itself, but calls the reader’s association similarly. As earlier, the reader spoke of the novel, having inspired himself with the hero of the novel, now he is literally guilty of taking the place of the hero in the artistic space of the text, filling it with himself, emptying himself with his tropisms. Such a substantiation is possible for the fact that tropism is the essence of the "collective unfamiliar", that psychological, social and other characteristics of a specific special meaning cannot be. Tropism is not tropism - it is non-individual, anonymous (no name), folklore (archetypal) mova, similar to clichés, that bear tropism is baiduzhiy. Such a language cannot be embedded in one single character, and the character is replaced by a collective hero, as if it were a self-generated "internal promo". In this rank, the main place in the novels of Natalia Sarraute - tse overindividual p_dsv_dom_st, de kozhne concentrations image, which may be a story that has been roared in cilia. Zovnіshnі podії іn romаnі і іt іє less аn drive аnd cause tragedies thаt rіgruyutsya іn podsvіdomostі.

For example, in the rest of Sarrot's novel "Vidkrite" there are descriptions of the process of the people's movement, tobto. "Anatomy of a Root". The novel is composed of 15 fragments, the plot of which is the process of selection of words, and the characters are words. The novel has a special kind of “internal monologue”, if the real rozmova herself is not realized, and the reader is represented only by those who are familiar with the person’s witness before the next word: choose the word, doubt, sorry.

1) “Inner language” → “partition”: censorship (morality, etiquette, taboo, mentality) → 2) popularization of the word in the outer world, outer language as a clear scene, where words play their roles → 3) “inner language” as reflection over the spoken word.

Main conflicts:

1) inconsistency between the internal daily life of a person, under, speech, to the world that outside, outside (“from the side”) statements about them;

2) existential conflict between individual (“I”, “Vin”, “Vona”) and non-special (“Voni”, “Vono”, then existentialist Inshim).

In the works of Sarrot, there are stіykі codi description of the "collective unfamiliar". Most often, the sounds of the creature's light are heard: snakes, octopuses, worms, coma, spiders, tobto. traditional psychoanalytical symbols of pseudo-bazhan and eroticism. You can see the blue that they blame among people, call out the images of the outstretched ones, that they strangle the tentacles, the leeches, that they squinted, and so on. Psychology is reduced to physiology. As in the first books, the natural differences are most often mentioned, then in the books the social codes are overwhelmed, which also conveys the fear of conflict, fallow in another. The most stable and disintegration of social codes is police, repressive (handcuffs, arrest, round-up, litigation, recognition, trial, etc.).

As a “life-giving material” of tropism in Sarrot in popular literary genres (detective story, adventure novel, lyric novel, western and other). Most often, the role of archetypal situations is played by the plots of fairy tales, stories and characters. Cody of art, supplementing natural and social, from creation to creation occupy more space, tropism materialize, become not a method, but an object of the image. Sarrot's early works are full of literary allusions and reminiscences, they often reflect and analyze texts, sculptures and paintings serve as plot supports. In his novels, Sarraute goes to the end of the very process of creativity and the role of art in the life of society. Characters of її books are artistic texts and their authors, readers and critics.

In the creations of Sarrot, the light is only small in the process of yoga, to that people, speech and words are equal. The stinks are described in the same way, they put signs of one and the same, they acquire the same functions in a phrase, in a plot.

As in the first novels of Sarrot, in the center of the soul was a bula lyudin (“Portrait of the Invisible Man”, “Martero”), then later they replaced speeches (“Planetarian”), a book (“Golden Fruit”), a statuette (“Do you feel it?”), the words of a writer (“Mid life and death”), the phrases of famous people (“Speak bad”, “Gift of the word”, “You don’t love”). In Natalia Sarrott, material objects stand in front of us as social signs - equal to life, style, manner of behavior. At 60-80-year-olds. only voices are lost in the sight of people, like they are angry in a choir, they have no voice, voice, state power.

Sarrot has no love stories and conflicts. On the surface self-love is fighting, eroticism is blamed only in the subtext, created by suggestive stylistic features (for example, the tempo of the phrase, which is quickened, conveys sexual violence - the collection of "Tropism", micronovels No. 9, 15).

Sarrot's words come to life. The stench of the character, vplyvayut on his vlasnik. Speeches, like words, change their look stalely depending on who marvels at them, shy away alternately making them beautiful (the doors to the Planetariya). Spriynyattya speeches (ideal speeches, "adverbs" - create magic) can become the main theme of the book. People can grow with speeches, become their successors (Tropism, 6). And here the speeches are not easily accepted, like material signs, for as if it were an enemy, as if people want to vibrate with the help of these speeches.

So the very object of analysis, like speech, in the rest of Sarrot's creations, words melt. Banal speeches become the subject of a resolute look, and the result has a different sense.

The idea is remembered by the people.

Reading proponuetsya lances of microepisodes, and vin is guilty of choosing the rules for reading the text: chi stezhiti yoma for the composition, tobto. for the evolution of tropisms, to descend to the level of the character, tobto. recreate them with traces of their heroes, turning the “new novel” into a traditional one.

Here the dialogue is not between words, but between subtexts, so that it is not people who stand, but evidence. In the zone of tropisms itself, crooked dramas are played out, which will come in handy. The substitution of plot tension is more stylistic.

Repeating acting individuals play the same scenes themselves. Sound three osib - "I", "Vin" ("Inshy"), "Voni", like in the philosophical treatises of Sartre or Freud's psychoanalytic practices ("I", "Ponad-i" - social norms of behavior, "Vono") pіdsvіdomіst). “I” in Natalia Sarrot is a sensitive person, sweating suspicions, wearing tropisms. "I" only guard and cannot work, to that which is in the sphere of the possible. Having created one of the potential options, the number of which is theoretically not limited, “I” will ruin the reshta, I will become not a creator, but an instrument, “Inshim”. The act of self-realization will become an act of self-immolation.

The "second" of the whole is the "I": wine body, wine is not a spirit, wine is in the hands, and not thought. “I” and “Inshy” are afraid of one alone, warring, superb and taєmno zadryat someone else's freedom. In the world of Sarrot, a person always sees someone else's look at himself, looks at himself sideways, appreciates, as if looking out in other people's eyes (according to Sartre's terminology, "I" - "object-for-others"). The "second" substitutes the all-seeing eye of the Lord, for the "I" the object of worship and fear.

"Voni" - all human consciousness, the instillation of a healthy mind, "normative" behavior, the court, to which "I" and "Vin" appeal. "Stinks" operate with "sleeping missions", a cliché.

This “mystical novel” (this is how the genre of neo-romantic works is defined) can always be blamed for other novels written by Natalia Sarraute in 1932-1937, supplemented in 1939-41. and collected from the collection "Tropism" (1939, 2nd edition, 1957). in these short stories there are those great works of Sarrot:

a representation of a grown-up and childish spying of the world (novels 1.7),

literary cliches that life (novela 23),

gaming (7)

mishchanskogo (11) that

pseudo-scientific (12) promotion to science;

heroes become slaves of speeches (22) or rulers, to identify themselves with speeches (6),

with a child they hunt like an object;

all characters are faceless and faceless.

The selection of "Tropism" is tied with nasty themes, the roll call of the receptions and characters. There is no single plot. The principle of a framework contract is a novel.

Jean Paul Sartre about "Portrait of the Invisible" is a metaphysical detective story.

For Nathalie Sarraute, self-repetition is characteristic, which becomes one of the elements of poetics, but it also functions differently in other neo-novelists (they have the organization of a single artistic world). Sarrot to make rough drafts, as if developing further. For example, the plot of "Golden Fruits" (1963) was sung by the article "What to sing birds" (1956). “Golden Fruits” is a novel about the career of the book: from the first, vipadkovo's riddle of roses to the success of the soul. The "Golden Fruits" has no more main characters. From the chorus, voices are seen across the sky, so that we can then turn to the chorus. The book plays the role of "Inshoy".

1968 - the novel "Mіzh zhіttyam i mortyu" - zamіst's zamіst zheroє s staє avtor. The process of creating a book is described.

In the 1960s, rocky. Sarraute, in search of new forms of expression, turns up to the theatre. Vaughn nibi staged her prose, only walked straight at the gate. Bundles of tropisms rose up in the voices, in the characters, the underwater flow turned into a direct dialogue. In p'esah, the novel structure of diyovyh osibs (I - vin - stink) was preserved, while the deacons from them fall into a sprat of characters-twins.

In the novels "Speak bad things" (76), "You don't love yourself" (89), the collection of short stories "The Gift of Words" (80), the light is completely disintegrated, different in words. The main diyovoy special thought is. Vaughn podіlyaєtsya on impersonal twins (possible interpretations), generate context, situation, expanse, de vom vovlyaєєtsya, that people. It can sound in the name, on the cob and on the cob (for the creations of Sarraute, the Kiltsev is typical, more precisely, the spiral composition) or it is not called.

The word is an idol. The skin word has a memory of all the past and future living. Acts of them, like, for example, the word "love", are condensed by myths, like always ready to enter into battle with other words (znevaga, coldness), pretend to be on them (jealousy, hatred) and turn into a plot.

1983 - autobiography "Childhood", de Sarraute turns to turns in his creativity. In "Childhood" in Sarraute, for the first time, there is a subjective discourse.

The form is an internal dialogue (like J.-J. Rousseau's dialogue "Rousseau - Judge Jean-Jacques"). He will finish his twin, the ship's investigation. Nutrition, search for possible options for a good life, for what could be. Dialogue wins the same role, as they played tropism, and replace them, as they seem to the dogs.

Sarrot is the ideal image of a human being, and childishness is a paradisal paradise.

All the creations of Sarrot were inspired by such a rank that one can read them as if they were stories (on the level of characters), and as a description of the process of creativity (on the level of the author).

Zgidno with other dzherels - 1902 p.

Placed by Natalia Sarrot to Russia. She doesn’t know much about today’s Russia, as she thought about the whole world of the world - “I just don’t know what the posture of my house looks like” - I don’t understand that with the meter of French literature. Nabokov didn't bachila, Brodsky nasty know. Tsіkavo, if Zhovtnev's revolution happened, Natali Sarrott, which was 17 years old, was for the revolution, and її dad - against. She hated Stalin and thought that she would never die.

“The playful individuals of these little dramas are words, like independent living things. if they check the sound with other people's words, then a fence, a wall, will be erected. From the outer side, only those are left, who can give the visitors a good reception. Others go beyond the fence, de їх mіtsno flicker. Ale is the partition of the gap, and let us close everything in sight and clearly. Some people who are waking up call out to them, they can’t get in the way, they don’t stink and start knocking, clicking ... Open up! N. Sarrot. "Vidkrite" (ІL, 1999, No. 5).

Natali Sarrot
(ugly. Natalia Illivna Chernyak)
(18 chernya 1900, Ivanovo-Voznesensk - 19 zhovtnya 1999, Paris)

Natalie Sarrota is Russian for the trip. Vaughn was born to a chemical engineer, her mother was a writer (books for children). The fathers parted, if Natalka was called small. Since 1908, I have been living with my father in Paris. Vaughn graduated from school in Paris, acquired legal and philological education. In 1925, the rozі vyyshla zamіzh for Raymond Sarrott, with some times she started. The stinks lived together for 61 rivers. They have 3 donuts. Until 1935, Natalie Sarraute practiced as a lawyer, but, for її exile, she did not like the profession of a lawyer. Sarraute began to write her first collection of short essays "Tropism" (published in 1939) when she took up the practice of law. In an interview in the 90s. Sarrot said that from that hour over there you were writing, moreover, she herself was in a cafe, because she was in charge of the house at home. Sarraute said that you write it more correctly - I explain it with my “unfortunate character”: I don’t fit everything and I’ll have a lot of things to rework later. Irrespective of those who consider the "new novel" to be neo-avant-garde prose, Natalie Sarrot herself did not put herself in the position of creating avant-garde prose herself - it's just like that, it's "to run", it's better to "speak out".
Sarrot speaks Russian well, but never write to my Russian, only French. Let me explain to you that Russian words are needed not to come. She learned to speak French at the 2nd rock, and writing at the 3rd rock.
The main works of Natalia Sarraute (over 20 speeches in total, including a sprat for radio):
1939 - selection "Tropism".
1948 - the novel "Portrait of the unknown".
1953 - the novel "Martero".
1956 - the book is still "Era pіdozri".
1959 - the novel "Planetarіy" (ІL, 1963 No. 1).
1963 - the novel "Golden Fruit". This is the most famous novel by Natalia Sarrot, which won the international literary prize. Sarraute's first publication in Russia was the novel "Golden Fruits", a kind of injunction by Tvardovsky at the "New World" in 1969.
1968 - the novel "Mіzh zhittyam that death".
1972 - the novel “Can you hear them?” (Publ. Ros. - M., 1983).
1976 - the novel "... to speak foolish" ("To speak foolish").
1980 - a selection of short stories "The Gift of Promotion" ("The Gift of the Word", Russian - M., 1982).
1983 - autobiographical book "Childhood".
1989 - the novel "You don't love yourself."
1995 - novel "Here".
1997 - the novel "Vidkryte" (ІL, 1999 No. 5).
The history of the "new novel" and the work of Natalia Sarrot:
40th rock. - Try to win over a reader who ended in amazement (“Portrait of the Unfamiliar”).
50 rocky. - the victory of the new poetics over the traditional one and ordering it to its own goals (“Martero”, “Planetarіy”).
60 rocky. - The transformation of the "new novel" on the subject of literary fashion ("Golden fruits"), the crisis of the genre, the search for an exit through self-knowledge ("Mid life and death").
70th rock. - the “new novel” becomes a banter of history (“Childhood”), a lesson in literary theory, a sociological treatise (“Gift of the word”, “You don’t love”).
A collection of short reports, a book of miniatures, psychological sketches "Tropism" (1939).
Tropism is a biological term, which means the reaction of a growing plant (a living organism) to an outside influx. So the word "tropism" is the same root as the word "trope". Natalia Sarrot has tropism - tse other mental reactions ("vibrations"), form what people blame on the pre-verbal level. Sarrott about tropisms: tse “thin ruhi, like ice is commemorative, super clear, fading out”, “cowy, light shades, gray and become the invisible basis of human stoksiv and the essence of our life”. Otzhe, Sarrot, I want to photograph imperceptibly: the thought of doti, as if it were not possible to take shape at the word, tobto. The idea is more to її vyslovlyuvannya, to bring to the "stream of information" - and the prose of Natalia Sarrot can be like a constant search for adequate ways to convey tropisms.
The novel by Natalia Sarraute blames more on the substantiation of the meanings in order to adequately convey the tropism. For whom the “suggestive method” of the sheet is used, which does not convey the psychological state itself, but calls the reader’s association similarly. As earlier, the reader spoke of the novel, having inspired himself with the hero of the novel, now he is literally guilty of taking the place of the hero in the artistic space of the text, filling it with himself, emptying himself with his tropisms. Such a substantiation is possible for the fact that tropism is the essence of the “collective unfamiliar”, that psychological, social and other characteristics of a specific special meaning cannot be. Tropism is not tropism - it is non-individual, anonymous (no name), folklore (archetypal) mova, similar to clichés, that bear tropism is baiduzhiy. Such a language cannot be embedded in one single character, and the character is replaced by a collective hero, as if it were a self-generated "internal promo". In this way, the main place in the novels of Natalia Sarraute is super-individual intelligibility, de-skinned, it is a concentrated image, which can be a plot that can be developed in cilia. Zovnіshnі podії іn romаnі і іt іє less аn drive аnd cause tragedies thаt rіgruyutsya іn podsvіdomostі.
For example, in the rest of Sarrot's novel "Vidkrite" there are descriptions of the process of the people's movement, tobto. "Anatomy of a Root". The novel is composed of 15 fragments, the plot of which is the process of selection of words, and the characters are words. The novel has a special kind of “internal monologue”, if the real rozmova herself is not realized, and the reader is represented only by those who are familiar with the person’s witness before the next word: choose the word, doubt, sorry.
“Inner language” → “partition”: censorship (morality, etiquette, taboo, mentality) → 2) popularization of the word in the outer world, outer language as a clear scene, where words play their roles → 3) “inner language” as a reflection on what is said word.
Main conflicts:
inconsistency between the internal daily life of a person, under, speech, to the world that outside, outside (“from the side”) statements about them;
existential conflict between individual (“I”, “Vin”, “Vona”) and non-special (“Voni”, “Vono”, then existentialist Inshim).
In the works of Sarrot, there are stіykі codi description of the "collective unfamiliar". Most often, the sounds of the creature's light are heard: snakes, octopuses, worms, coma, spiders, tobto. traditional psychoanalytical symbols of pseudo-bazhan and eroticism. You can see the blue that they blame among people, call out the images of the outstretched ones, that they strangle the tentacles, the leeches, that they squinted, and so on. Psychology is reduced to physiology. As in the first books, the natural differences are most often mentioned, in the later books the social codes are overwhelmed, which also conveys the fear of conflict, fallow in another. The most strict and disintegrating of the social codes is the policeman, repressive (handcuffs, arrest, round-up, investigation, investigation, trial).
As a “life-giving material” of tropism in Sarrot in popular literary genres (detective story, adventure novel, lyric novel, western and other). Most often, the role of archetypal situations is played by the plots of fairy tales, stories and characters. Cody of art, supplementing natural and social, from creation to creation occupy more space, tropism materialize, become not a method, but an object of the image. Sarrot's early works are full of literary allusions and reminiscences, they often reflect and analyze texts, sculptures and paintings serve as plot supports. In his novels, Sarraute goes to the end of the very process of creativity and the role of art in the life of society. Characters of її books are artistic texts and their authors, readers and critics.
In the creations of Sarrot, the light is only small in the process of yoga, to that people, speech and words are equal. The stinks are described in the same way, they put signs of one and the same, they acquire the same functions in a phrase, in a plot.
As in the first novels of Sarrot, in the center of the soul was a bula lyudin (“Portrait of the Invisible Man”, “Martero”), then later they replaced speeches (“Planetarian”), a book (“Golden Fruit”), a statuette (“Do you feel it?”), the words of a writer (“Mid life and death”), the phrases of famous people (“Speak bad”, “Gift of the word”, “You don’t love”). In Natalia Sarrott, material objects stand in front of us as social signs - equal to life, style, manner of behavior. At 60-80-year-olds. only voices are lost in the sight of people, like they are angry in a choir, they have no voice, voice, state power.
Sarrot has no love stories and conflicts. On the surface, self-love is fighting, erotica is blamed only in subtext, created by suggestive stylistic features (for example, the tempo of the phrase, which is quickened, conveys sexual violence - the collection of "Tropism", micro novels No. 9, 15).
Sarrot's words come to life. The stench of the character, vplyvayut on his vlasnik. Speeches, like words, change their look stalely depending on who marvels at them, shy away alternately making them beautiful (the doors to the Planetariya). Spriynyattya speeches (ideal speeches, "adverbs" - make art) can become the main theme of the book. People can grow with speeches, become their successors (Tropism, 6). And here the speeches are not easily accepted, like material signs, for as if it were an enemy, as if people want to vibrate with the help of these speeches.
So the very object of analysis, like speech, in the rest of Sarrot's creations, words melt. Banal speeches become the subject of a resolute look, and the result has a different sense.
The idea is remembered by the people.
Reading proponuetsya lances of microepisodes, and vin is guilty of choosing the rules for reading the text: chi stezhiti yoma for the composition, tobto. for the evolution of tropisms, to descend to the level of the character, tobto. recreate them with traces of their heroes, turning the “new novel” into a traditional one.
Here the dialogue is not between words, but between subtexts, so that it is not people who stand, but evidence. In the zone of tropisms itself, crooked dramas are played out, which will come in handy. The substitution of plot tension is more stylistic.
Repeating acting individuals play the same scenes themselves. Chinnih osіb sound three - "I", "Vin" ("Inshy"), "Voni", like in the philosophical treatises of Sartre or Freud's psychoanalytic practices ("I", "Over-I" - social norms of behavior, "Vono") pіdsvіdomіst). “I” in Natalia Sarrot is a sensitive person, sweating suspicions, wearing tropisms. "I" only guard and cannot work, to that which is in the sphere of the possible. Having created one of the potential options, the number of which is theoretically not limited, “I” will ruin the reshta, I will become not a creator, but an instrument, “Inshim”. The act of self-realization will become an act of self-immolation.
The "second" of the whole is the "I": wine body, wine is not a spirit, wine is in the hands, and not thought. “I” and “Inshy” are afraid of one alone, warring, superb and taєmno zadryat someone else's freedom. In the world of Sarrot, a person always sees someone else's look at himself, looks at himself sideways, appreciates, as if looking out in other people's eyes (according to Sartre's terminology, "I" - "object-for-others"). The "second" substitutes the all-seeing eye of the Lord, for the "I" the object of worship and fear.
"Voni" - all human consciousness, the instillation of a healthy mind, "normative" behavior, the court, to which "I" and "Vin" appeal. "Stinks" operate with "sleeping missions", a cliché.
This “mystical novel” (this is how the genre of neo-romantic works is defined) can always be blamed for other novels written by Natalia Sarraute in 1932-1937, supplemented in 1939-41. and collected from the collection "Tropism" (1939, 2nd edition, 1957). in these short stories there are those great works of Sarrot:
a representation of a grown-up and childish spying of the world (novels 1.7),
literary cliches that life (novela 23),
gaming (7)
mishchanskogo (11) that
pseudo-scientific (12) promotion to science;
heroes become slaves of speeches (22) or rulers, to identify themselves with speeches (6),
with a child they hunt like an object;
all characters are faceless and faceless.
The selection of "Tropism" is tied with nasty themes, the roll call of the receptions and characters. There is no single plot. The principle of a framework contract is a novel.
Jean Paul Sartre about "Portrait of the Invisible" is a metaphysical detective story.
For Nathalie Sarraute, self-repetition is characteristic, which becomes one of the elements of poetics, but it also functions differently in other neo-novelists (they have the organization of a single artistic world). Sarrot to make rough drafts, as if developing further. For example, the plot of "Golden Fruits" (1963) was sung by the article "What to sing birds" (1956). “Golden Fruits” is a novel about the career of the book: from the first, vipadkovo's riddle of roses to the success of the soul. The "Golden Fruits" has no more main characters. From the chorus, voices are seen across the sky, so that we can then turn to the chorus. The book plays the role of "Inshoy".
1968 - the novel "Middle of life and death" - the deputy of the book becomes the hero of the author. The process of creating a book is described.
In the 1960s, rocky. Sarraute, in search of new forms of expression, turns up to the theatre. Vaughn nibi staged her prose, only walked straight at the gate. Bundles of tropisms rose up in the voices, in the characters, the underwater flow turned into a direct dialogue. The pisahs preserved the roman structure of diyovih osіb (i - vin - stink), despite the fact that the deacons from them fall into a splint of characters-twins.
In the novels "Speak bad things" (76), "You don't love yourself" (89), the collection of short stories "The Gift of Words" (80), the light is completely disintegrated, different in words. The main diyovoy special thought is. Vaughn podіlyaєtsya on impersonal twins (possible interpretations), generate context, situation, expanse, de vom vovlyaєєtsya, that people. It can sound in the name, on the cob and on the cob (for the creations of Sarraute, the Kiltsev is typical, more precisely, the spiral composition) or it is not called.
The word is an idol. The skin word has a memory of all the past and future living. Acts of them, like, for example, the word "love", are condensed by myths, like always ready to enter into battle with other words (znevaga, coldness), pretend to be on them (jealousy, hatred) and turn into a plot.
1983 - autobiography "Childhood", de Sarrot turns to turns in his creativity. In "Childhood" in Sarraute, for the first time, there is a subjective discourse.
The form is an internal dialogue (like in J.-J. Rousseau's dialogue "Rousseau - Judge Jean-Jacques"). He will finish his twin, the ship's investigation. Nutrition, search for possible options for a good life, for what could be. Dialogue wins the same role, as they played tropism, and replace them, as they seem to the dogs.
Sarrot is the ideal image of a human being, and childishness is a paradisal paradise.
All the creations of Sarrot were inspired by such a rank that one can read them as if they were stories (on the level of characters), and as a description of the process of creativity (on the level of the author).

fr. Nathalie Sarraute. Les Fruits d'or 1964

Read for 6 quilin

On one of the exhibitions at the Svitsky talk, it is usual to enter a language about a new, recently published novel. I don’t know anything about anything else, but I don’t know anything, but interest is thrown up to the new one. Critics vvozhayut their obligation to splurge on the "Golden Fruits" as the purest eye of high art - a rhyme, closed in itself, miraculously polished, the pinnacle of contemporary literature. I have written a laudatory article about Brule. No one can rebuke, inspire rebels to mourn. Having succumbed to the whil that swept over everyone, the novel is read by those who have no time to read on modern writers.

Who is authoritative, to whom the weakest “bіdnі neviglas”, who blunder at night, in the pit in the quagmire, fight for the blessings of their good judgement, it’s important to say that for all the inconsistencies of the novel, it’s in the new and the deeds of the shortcomings, for example. On the other hand, there is a lot of confusion, wine is not grabbing, inspiring other respects, ale and classics, if they were innovators, they were also confusing and unknowable. In the whole world, the book is modern and miraculously invigorates the spirit of the hour, but in the same time it allows you to do the right work of art.

Someone else, not succumbing to the rampant epidemic of suffocation, does not hoot his skepticism out loud, but puts on himself an unimportant, troch of irritating look. Yogo is of the same mind less all the time, and he dares to recognize that he can’t succumb to the book of virtues: on the її thought, there’s an important thing, it’s cold and it’s like a pidrobka.

Others know the value of "Golden Fruits" from the fact that the book is true, in it is amazing accuracy, it's real for life. The stench is trying to guess, like it is crushed, savoring the okremі fragments, like to the juicy shmatkіv like an exotic fruit;

Most of the exaltations are in ecstasy, mutely pierced by an electric strum, otherwise they will change, that the book is false, in life it doesn’t happen like that, thirds will climb to them with explanations. The women compare themselves with the heroine, examine the scenes of the novel, and they reconcile them with themselves.

If you try to analyze one scene of the novel in context, it looks like a distant view of reality, relieved of the senses. About the scene itself, it is less clear that the young man threw a shawl over the shoulders of the girl. Those who are in doubt, ask to reconcile those who have taken the book, to explain to them the details, and then “reconcile” them, as if they were heretics. The stench is attacking the self-made Jean Labori, who is especially diligently guarded. Terrible suspicion of weight over him. Starting wine, stammering, being truthful, calming others, let us know: wine is an empty vessel, ready to accept everything that stinks to remind you. Who is not fit - pretends to be blind, deaf. And if you know one, you don’t know how to piddavatisya: you know that “Golden Fruits” is the price of mortal pain, and if there is a burden in the book, then ask them to bring them with a book in their hands. Those who think so themselves, as if out of the blue, straighten their shoulders, and they grin wildly. Possibly, the stinks have long ago indulged the virtues of creation themselves, but they believed that through such rubbish it is impossible to call a book a masterpiece, and then they will laugh at the solution, over the insecure, who are satisfied with “rare porridge for the toothless”, cherish them like children. However, swidkolinny sleeps seem to be extinguished. All look up to two venerable critics. In one hurricane, a strained mind is vibrating, in the form of thoughts, in his eyes, the gnats are burning like a faggot, that they are blazing. The second one, similar to a waterskin, reminds us of the value that the wines can be divided less and less. The stench is to be put on the spot for the half-witted, for the serene bewilderment, and to explain the troubles to the creation in oppressive terms, which will further confuse the hearing. And those who dared to venture into the "sleepy expanses" are once again driven into the "incredible width of the krizhan tundra".

Only one of us touches the truth, remembering the zmovnitsky glance, which exchanges those two, the first lower triple lock closes in the others and hangs your judgment. Now we all slavishly worship him, we are self-reliant, “having touched the truth”, we all joke about our one-mindedness, and if you decide to know, then you are double-marveled at them, like at a rozum-like steel, like you can’t grow up on subtle things, laugh at them and marvel at what stink for a long time discussing "Golden fruits."

Nezabar critics - so, like Mono, who calls "Golden Fruits" "zero"; Mettetad far away and sharply speak out against Breuille. If Martha knows the comedy novel, I love yoga comedy. Before the "Golden Fruits", be like epithets, in the new, everything in the world, vvazhayut deaks, tse real, rightful light. Є tі, hto buv to "Golden Fruits" and tі, hto after. We are the generation of "Golden Fruits", that's what they call us, - others spit. Between reached. For all of you, speak a little more loudly, that they call the novel cheap, vulgar, empty space. Virnі prihiliki zavnyayut, scho scribe pripustivsya deyah nedolіkіv navmisne. It is recounted that the author, having vitiated the idea of introducing elements of vulgarity into the novel, is thought out, then he has thickened the farby, having grown the bi їx juice, turning the bi into a literary device, and prihovuvat nedolіki under the word "navmisne" is ridiculously untrue. Kokos tsey argument beats pantely.

Prote good-natured criticism of the natovp right of the truth to ask with a book in their hands to bring beauty. Vіn rob a weakling with a try, but even the first word, zryvayuschsya from the tongue, “falling off the leaves”, vіn can’t know the right butt to confirm their laudatory remarks and slander retuєtsya. The characters themselves marvel, as they trapleyatsya the whole hour, being present at the name changes of setting to the book, but then it’s already full of sound. All the causes of unreasonable rapt suffocation are similar to mass hallucinations. We know recently that no one bothered to talk about the achievements of the Golden Fruits, but it suddenly appears that less and less is said about them, then in a flash they forget that such a novel, if you have had it, true literature chi.

Perepovila

Natali Sarrot

childishness - translated by L. Zonina and M. Zonina (1986)

Vigadlivy svіti Natali Sarrot - Oleksandr Taganov

Books by Nathalie Sarraute call out to readers for an ambiguous reaction from these simple reasons, that they are far away from the canons of mass roman literature, not programmed for success with the public, do not condemn “easy” reading: words, phrases, often fragments of phrases that are read alone one. in dialogues and internal monologues, characterized by special dynamism and psychological stress, they make the single cunning vizerunok the text, for understanding and understanding of such a song of zusill. The elements of the artistic word of Sarroth are behind their powerful internal laws, susilla, stained on their minds, appear invariably and as a wine-growth, for the sake of the hermetic hermeticity of the texts of Sarroth, they are amazing, bewitch by their unwonderfulness

The age of the century, Natalia Sarrot (born Natalya Illivna Chernyak) spent her first child's lives in Russia - near the towns of Ivanovo-Voznesensk, where she was born, Kam'yanets-Podilsky, St. Petersburg, Moscow. In 1908, through family negligence, furnish the social plan with Natasha and her father and mother again to Paris, which will become another native place. (About the other sub-early stages of his life, the writing is published in the autobiographical novel "Childhood"). Here, at Paris, Sarroth's entry into great literature, like, really, it became unrecognizable. Sarraute's first book "Tropisms" (1), which appeared in 1939, did not win the respect of either the critics or the readers. Tim for an hour, as the author himself pointed out later, she “brought into the bud all those that writing “continued to develop in future robots” (2). Vtіm, disregard for literary criticism and readers to the first creation of Sarrot fully understood. In the folded, most disturbing socio-political moods of the atmosphere of the 1930s, the first plan saw the emergence of literature “engaged”, caught in the ups and downs of the historical process. The very same cim is rich in what explains the success of Andre Malraux's works, and the three others of Jean-Paul Sartre and Albert Camus. Sarrott, who was nіychi nibi in the face of the blatant directness of the suspіlnoї svіdomosti, turned to realities according to a different plan. Small artistic short stories, miniatures, which evoke genre and lyrical undertones, from which the book of Sarraute was formed, were turned to the dark depths of the human psyche, demonstrating global social shocks, it was hardly possible to see. Inspired by the natural sciences, the term "tropics", which denotes the reactions of a living organism to the most physical and chemical milieu, Sarrot tried to catch and recognize for help the images of "unclear ruhi", the basis of our gestures", our words, feelings", being "the secret of our foundation" (3).

All the further creativity of Sarrott was the last and purposeful trick of the paths, which allow penetrating into the depths of the human "I". These jokes, which appeared in the novels of the 1940s - 1950s - "Portrait of the Invisible" (1948), "Martero" (1953), "Planetarіy" (1959), as well as in the book "Era pіdozri" (1956) , - brought Sarrot popularity, they were embarrassed to talk about her as a proviser of the so-called "new novel" in France.

"New novel", which came to change the "engaged" literature, having seen the life of the people of the XX century, who experienced the most complicated, unfamiliar, often tragic turn of the socio-historical development, the accident of tired glances and the manifestation of spirituality due to the emergence of new knowledge among the living (Einstein's theory of visibility, Freud's theory, Proust's, Joyce's, Kafka's artistic opinion, etc.), as if they were afraid to radically look at the essential values.

The term “new novel”, coined by the literary criticism of the 1950s, having united writers, they often argue one kind of one and for the manner of the sheet, and for the themes of their works. Prote, for this kind of discussion, they did prove it: the work of Natalia Sarraute, Allon Robbe-Grille, Michel Butor, Claude Simon and other authors, who can insure themselves to any literary directive, was clearly marked by the use of art in them, I look at the "novoromanists", hopelessly outdated. Не принижуючи значення класичної, насамперед бальзаківської спадщини, трансформатори жанру водночас досить категорично говорили про неможливість у XX столітті слідувати зазначеній традиції, відкидаючи такі звичні жанрові атрибути роману, як «всезнаючий» оповідач, який розповідає читачеві історію, яка претендує на життєву достовірність. -character, that іnshi, which mіtsno approved for themselves the ways of creating artistic intelligence, which inspires real life in the form of tired rationalistic stereotypes.

“Today’s reader,” Sarrott wrote at the book “Era pіdozri”, “we don’t trust the thought that the written fantasy is propagating to you” (4). On the right, the French novelist respects, that “for the rest of the hour, I already knew a lot and you don’t go into the rest of the head. What is the fault itself recognized, zagalnovidomo, there is no sense in tsmu zupinyatisya. I got to know Joyce, Proust and Freud; with a hidden strum of an inner monologue, with a boundless variety of psychological life and majestic, perhaps explored areas of the unknown (5).

Sarrot's first novels portrayed the power of all "new novelists" with a new world, distrusting the traditional forms of artistic knowledge. Voni (novels) the author was inspired by the primary clichés. Considering the principle of the plot organization of the text, basing on the classical schemes and inspiring a system of characters, socially determined, setting moral and characterological assignments, leading to borderline differences, most of the time naming the characters “wine”, “won” by the borrowers, the folds of their banishes the basis of the mass mentality, under the great ball of such, prote, guessing the deep strum of the universal primary substance of “tropisms”. At the result, the model of the human “I” was marginally reliable, not on the back and inevitably “embossed” between two tight layers of elements, as if they were constantly poured into the new one: the deep matter of the subsidiarity - from one side, the other socially-button middle - from the other side.

The characters in the titles of Sarraute's books are like an anonymous "I", like a detective's dopefulness to stitch a long novel for a summer pan that yogo donkoy, who tries to solve the mystery of their mutual relations ("Portrait of the Invisible"), Martero, the hero of a one-time creation, that sharpened in naybanalni pobutovu situation, connected with the vicissitudes of buying a house, Alain Gim'є that yogo squad, entangled in a no less banal "apartment" adventure and trying to get apartments of their titons ("Planetary Romance"), - as a whole they could become participants in such in looking at traditional genre forms: a detective, psychological, socially-button novel. Prote Sarrot is moving along the well-trodden paths (it’s not unusual for Jean-Paul Sartre to move before the “Portrait of the Invisible Man”, calling this tvir an “anti-novel”). Podії, reminiscent of the right drama, which does not give up for its strained situation of Shakespearean and Balzacian works, burst forth for the French novelist first for everything on a different level - on the level of micropsychic processes.

In the 60s - 80s, the fates appeared not less in the presence and "noisy" works of Sarraute - the novels "Golden Fruits" (1963, Russian translation - 1969), "Mіzh zhittyam i smeryu" (1968), "Do you feel їх?" (1972, Russian translation - 1983), "Talk bad" (1976), as well as the autobiographical story "Childhood" (1983, Russian translation - 1986), I am swinging to break through the sorrium of the surface of the ball of a banal everyday life, the kriy luspinnya of the zvichny il stereotypin mislennny to the globin ball of life, to the annual verse, the brushes in the nyeverista miracles.

Natalie Sarraute (Natalie Sarraute) nar. 1900

Golden fruits (Les fruits d'or)

Novel (1963)

On one of the exhibitions at the Svitsky talk, it is usual to enter a language about a new, recently published novel. I don’t know anything about anything else, but I don’t know anything, but interest is thrown up to the new one. Critics vvozhayut their obligation to splurge on the "Golden Fruits" as the purest vision of high art - a rhyme, closed in itself, miraculously polished, the pinnacle of contemporary literature. I have written a laudatory article about Brule. No one can rebuke, inspire rebels to mourn. Having succumbed to the whil that swept over everyone, the novel is read by those who have no time to read on modern writers.

Someone authoritative, to whom the weakest "bіdnі nevіglasi" who blunder at night, in the pit in the quagmire, turn to the blessings to win their good judgement, it is important to know that, despite all the incomparable merits, the novel is in a new place, an example is not enough. On the other hand, there is a lot of confusion, wine is not grabbing, inspiring other respects, ale and classics, if they were innovators, they were also confusing and unknowable. In the whole world, the book is modern and miraculously invigorates the spirit of the hour, but in the same time it allows you to do the right work of art.

Most of the exaltations are in ecstasy, first pierced by an electric strum, otherwise they will change, that the book is false, in life it doesn’t happen like that, the third lick to them with explanations. The women compare themselves with the heroine, examine the scenes of the novel, and they reconcile them with themselves.

If you are sure that "Golden Fruits" - the price of nudga is mortal, and if there is a fortune in the book, then ask them to bring them with a book in their hands. Those who think so themselves, as if out of the blue, straighten their shoulders, and they grin wildly. Possibly, the stinks have long indulged the virtues of creation themselves, but they believed that through such rubbish it is impossible to call a book a masterpiece, and then they will be laughed at by others, from the untroubled, satisfied with "rare porridge for the toothless", behave with them, like with children.

wonder so

However, swidkolinny sleeps seem to be extinguished. All look up to two venerable critics. In one hurricane, a strained mind is vibrating, in the form of thoughts, in his eyes, the gnats are burning like a faggot, that they are blazing. The second one, similar to a waterskin, reminds us of the value that the wines can be divided less and less. The stench is to be put on the spot for the half-witted, for the serene bewilderment, and to explain the troubles to the creation in oppressive terms, which will further confuse the hearing. And those who dared to enter the "sleepy expanses" are again driven into the "incredible width of the krizhan tundra".

Only one of us touches the truth, remembering the zmovnitsky glance, which exchanges those two, the first lower triple lock closes in the others and hangs your judgment. Now everyone slavishly worships him, vin selfishness, "having touched the truth", everyone jokes with one mind, and if you decide to know, then you double wonder at them, like at a rozum-like steel, like you can’t understand thinness, laugh at them and marvel at what stink for a long time discussing "Golden fruits".

Nezabar critics - so, like Mono, who calls "Golden Fruit" "zero"; Mettetad is farther away and sharply speaks out against Breuille. If Martha knows the comedy novel, I love yoga comedy. Before the "Golden Fruits" come, be like epithets, in the new, everything in the world, vvazhayut deaks, tse real, rightful light. Є tі, hto buv before "Golden fruits", and tі, hto after. We are the generation of "Golden Fruits", so they call us - they spit on others. Between reached. For all of you, speak a little more loudly, that they call the novel cheap, vulgar, empty space. Virnі prihiliki zavnyayut, scho scribe pripustivsya deyah nedolіkіv navmisne. It is recounted that the author, having vitiated the idea of introducing elements of vulgarity into the novel, is thought out, then the wine was thickened by a farby, having grown the bi їх juice, turning the bi into a literary device, and adding some nedolіki under the word "navmisno" is ridiculously untrue. Kokos tsey argument beats pantely.

Prote good-natured criticism of the natovp right of the truth to ask with a book in their hands to bring beauty. Vіn rob a weakling with a try, but even the first word, zryvayuschsya z movi, "to fall off the leaves," vin can not use the same butt to confirm their laudatory remarks and retaliate with slander. The characters themselves marvel, as they trapleyatsya the whole hour, being present at the name changes of setting to the book, but then it’s already full of sound. All the causes of unreasonable rapt suffocation are similar to mass hallucinations. We know recently that no one bothered to talk about the achievements of the "Golden Fruits", but suddenly it appears that less and less is said about them, then in a flash they forget that such a novel, if you have had it, true literature chi.