"Shelf" discusses the work of literary memory: how the authors of memoirs preserve the details of literary life and what it means to "lie like an eyewitness" in relation to texts about Akhmatova and Mandelstam, Mayakovsky and Yesenin . How do some memoirists create myths about great writers, while others debunk these myths?
The editors of the Polka project discuss one of the main ethical conflicts in Russian literature (and life in general) How writers of the 19th century learned to recognize the feelings of a woman and figured out which is stronger - duty or love, attraction or morality.
A house in Russian literature is not just a dwelling: it is a place where you feel good, where you want to return, but most often this place turns out to be an unattainable dream . What kind of house did Russian writers — and the heroes of their books — dream about? In what did they see the ideal of home comfort - and which houses seemed unbearable to them?
Great Russian literature is not only big names and textbooks, an important part of it stands in the back rows . The editors of "Shelf" decided to tell about their favorite writers of the second row - maybe you will love them too . Varvara Babitskaya, Lev Oborin, Polina Ryzhova and Yuri Saprykin are the editors of the shelf .
"Shelf" opens a new season of podcasts - and changes the rules a bit . Elizaveta Podkolzina and Lev Oborin are talking to philologist Maria Nesterenko, who has just published her book Roses Without Thorns . Who were the first Russian writers and poetesses, what did they write about and how did they find their way in literature?
Death is a point at the end of a writer's life, but not in his literary biography . "Polka" decided to talk about how the writer's death - premature or fearfully expected, peaceful death or tragic death - affects his perception .