Biography of Vladimir Kazakov

Vladimir Kazakov: Ghost writer Anatoly Ryasov, starting to talk about Kazakov, step on some strange ground, on the territory of the fog. His very presence in the literature is unclear, this is the presence of a ghost. It seems that more than ten books have been published, even in years translations of texts were published in Germany, and the audio entries of individual plays were even broadcast by German radio stations, and it is still obvious that we are talking about an “unread” author.

He created linguistic myths, but also hid his life so reliably in the myth that all traces were noticeable. It is difficult to believe that this became possible for a person born in the year. It remains only to count in the maximum laconic autobiographical essay by half a page.

And even if the writer’s lengthy interview or an extensive autobiography is suddenly discovered, the greatness of the myth he created is hardly shaken. I understood the amazing truth: each person must seem to be a ghost. The texts of Kazakov at once store both the impossible limit of the letter, indicated by the Oerius, and the elegant lightness, forcing them to read as if before there was no literature.

In the desire to prove the significance of Kazakov for the history of literature, calling it, for example, a representative of some direction, there is something as if unnatural, something violating the original Irreal of his texts. Probably, another tools are needed here, not related to the scattering of the fog and the “release” of phantoms. These texts are deliberately built so that they are not able to fastens.

And even if the author himself gives philological clues to Dostoevsky, twisted, Vvedensky, do not rush to trust them too much. Like numerous historical inserts, these allusions create only the appearance of strength. In a similar way, we look at events from our own past: as if we recall ourselves already dead, in order forgotten, really not existing. If here it is generally possible to find the main questions, then maybe they will be as follows: why can nothing be done with this ghost?

Where did it come from? They saw at night: on the street the ghost reads a newspaper in the light of a ghost-background. One of the key texts for its texts is the merger of the world and language, thinking through their relationships. In endless rearrangements of phrases, the nature of words, not limited by the function of transmission of messages, is opened here over and over again.

Even when the heroes are faced on these pages, and sometimes the heroes lose life, even when the narrative pretends to be a coherent story, the stories, plays and poems are not at all similar to messages that transmit some information to the reader. So, for example, the play still seems to be a many genre that is quite retold. But in the case of Kazakov, the matter is not at all how ridiculous the presentation of his dramatic texts will be.

He was busy writing plays that would never occur to anyone to retell. The traditional perception of the drama as a certain sketch of stage production will not work here. As if the task of Kazakov was not to fit new chapters into the history of the theater, but the rebirth of the most dramatic genre, the reduction of it as a resource of writing. Perhaps it is the plays that is the fastest way to recognize the style of Kazakov.

There is enough intersection of several replicas and remarks to be in a linguistic space that you cannot confuse with any other. I go and suddenly imagined such a picture: on the pavement - a pile of bodies and a pile of souls. Ah, to run into your own thought! The rain ended, otherwise it would not have begun. This is the spring law of roofs. Oh, cold!

Oh, my vigilant loneliness! .. He came and did not say hello so that one could leave without saying goodbye. Are you warming up? Ah, what a gentle dusk around you! .. What is it with you? Are you beautiful? In these texts, things, images, dreams, which can be expressed only in a dramatic form are revealed. But here, Cossacks immediately turn everything upside down, dramaturgy instantly turns into prose, or vice versa - prose and poetry become drama.

You can’t say for sure. The above fragment is a random, but quite indicative example of these metamorphoses. Like all quotes, he was taken from the first, if not at the time of creation, then by the year of the release of the book of Vladimir Kazakov with a very illustrative heading - “My meetings with Vladimir Kazakov”. As if the author from the very beginning seemed to himself a ghost.

This territory, on which not even every genre is shifted, and each kind of literature is also the place of existence of the heroes of Kazakov, who are found at the very limits of fogging meaning. Sometimes the ghosts collided and then imploringly casily and frantically disappeared into frosty smoke. And the inexisturing still continue to appeal to us from the most depths of the myth.

We still have to listen to their voices.