The genre of interviews in the works of Rasul Gamzatov

Nabigulaeva Marzhanat Nabigulaevna PhD in Philology Scientific Associate; Tsadasa Institute of Language, Literature and Art; Dagestan Scientific Center of the Russian Academy of Sciences 367000, Russia, respublika Dagestan, g. Makhachkala, ul. M. Gadzhieva, №45 nabmar2012@yandex.ru Other publications by this author

The poet's interview is an important source for studying his life and work, which reflects issues and topics that are little touched upon in other areas of his work. Thanks to the open and frank manner of conversation with journalists, the interview helps to get as close to his image as possible and reveal his personality from little-known sides. In relation to the work of R. Gamzatov, it would be more correct to use the term "literary interview", since the conversation takes place with a writer, a well-known public figure who plays an important role in the literary life of society.

This type of activity of the poet has a significant number of texts published in the Dagestan, Russian and foreign press in different languages of the world. Few collections contain only some part of R. Gamzatov's interview ^{[1, 2, 3, 4, 5]}.

Literary interviews cover a wide range of issues and topics: from finding out opinions on an ordinary occasion (about creative plans, his tastes and preferences, wishes to readers) to acute social, political and literary ones. They highlight the problems of native languages, the development of literature, its continuity, the political and social realities of society, they tell about the poet's travels around the country and abroad (Cuba, Bulgaria, India, Turkey, Armenia, Germany), his observations and impressions about the social, socio-political situation in the country, especially about the perestroika transformations that have been updated since the second half of the 1980s. Since that time, the topic of collective security around the world, the prevention of the cold war, the rejection of the creation of military blocs and nuclear weapons has become increasingly common. The main idea of Gamzatov's conversation boils down to the motives of the unity of the country, brotherhood and friendship between peoples, the expansion of literary and human ties between them, the establishment and protection of peace.

In his interviews, R. Gamzatov demonstrates deep knowledge of the history, past and present, and personalities of not only Dagestan, Soviet, but also foreign literature. Being a world-famous poet and public figure, Gamzatov often represented our country in the world stands, getting acquainted with the culture and traditions of near and far countries, he was keenly interested in the development of their verbal culture. He was familiar with the works of foreign authors, highly appreciated their talent and creative heritage. In particular, he showed interest in Persian literature, demonstrating a good knowledge of the work of its classics: Saadi, Hafiz Shirazi, Omar Khayyam.

R. Gamzatov's interview is not just a question–and-answer form of conversation or an exchange of opinions in order to get some information from him, but a lively and interesting conversation in which the poet argues, advises, clarifies, analyzes, criticizes, praises, jokes, ironies. Often, in one interview, speech genres of different types are combined, such as memories, cases, comments, messages related to both events of the literary and social process, as well as creative and personal relationships with colleagues, relatives, friends (G. Tsadasa, A. Gapurov, S. Marshak, M. Isakovsky, A. Fadeev, A. Tvardovsky, Mark Bernes, Muslim Magomayev, Polad Bulbul Oglu, M. Kazhlaev, A. Tsurmilov, O. Feltsman, Jan Frenkel, etc.). Referring to their image and names is a form of expressing one's respectful attitude towards them, meeting and acquaintance with whom played an important role in his creative and personal development. Paying tribute to them, he expresses his boundless gratitude, keeps a good memory, speaks with reverence and pride about them: "... teachers and critics for me were Abutalib, Isakovsky, Marshak, Tvardovsky. No, they were not – they remained for the rest of my life and I will never forget the words said to me at the time of "innovation" by Gamzat Tsadasa, my father: "For a poet to find his style and find himself is what it means to be a poet." I always feel the presence of all these dear people, I try to judge myself and my poetry by their strictly friendly attitude. I always think of Tvardovsky, especially in recent years, as the sleepless conscience of poetry," R. Gamzatov admits in an interview ^{[8, p. 10]}.

Such messages perform a cognitive, informative function, so that the reader learns the details of the stories of R. Gamzatov's acquaintance and creative relationships with famous and popular singers, composers, poets and writers. R. Gamzatov remembers with warmth and love everyone who was for him a moral guideline, an example, a model in life and work. The imaginative characteristics of R. Gamzatov addressed to friends and colleagues give a special emotionality and tonality to conversations, making them more attractive and interesting for the reader.

Interviews telling about R. Gamzatov's trips to distant countries, where he met with heads of state, political and public figures, representatives of culture, literature and art, are of great interest. These were both short and long trips, which were both private and socio-political in nature. In some countries he went on missions on behalf of and on behalf of Soviet leaders, in others – on behalf of the editorial offices of periodicals, in others – on behalf of many committees for the protection of peace and writers' unions to award prizes and awards, in the fourth – took part in various events (exhibitions, anniversaries, meetings with readers, fellow countrymen, creative evenings, etc.).

These interviews present the situations of arrival and stay in a particular country (Italy, Germany, Bulgaria, Hungary, Poland, India, Turkey, Armenia, Azerbaijan, etc.), a description of the place, meetings, a detailed story about what he saw and heard, about what impressed him, caused positive or vice versa negative emotions and the indispensable line of such conversations is replicas and messages about the social, political and cultural situation. For example, in Italy, an unforgettable meeting for the poet was with the talented Italian sculptor Giacomo Mancu, in Hungary with the poet and writer Antal Gidash, in Poland with compatriots, fellow Dagestanis who served there, in particular, with his friend General Magomed Tankaev, in India with Prime Minister Indira Gandhi. Such meetings, in addition to establishing personal contacts, contributed to the strengthening and development of literary, cultural and political ties between the Soviet Union and other countries.

The most detailed and informative is the interview "Trip: Makhachkala – Havana", which is a kind of detailed report by R. Gamzatov about his stay in Cuba, held in May 1962, a couple of years after the victory of the Cuban revolution (1953-1959) led by Fidel Castro. This conversation differs from a traditional interview in which the interviewer and the interviewee are equal participants in the conversation, in which there is a question-and-answer dialogue, an exchange of views between the interlocutors takes place. In this case, we have an interview-monologue, which is R. Gamzatov's answers to the questions asked by the journalist at the beginning of the conversation. This is followed by a complete and detailed account of the poet's stay on the Island of Freedom. Here, the respondent, that is, R. Gamzatov, is the most active and main informant, while the correspondent remains detached and takes the position of a listener, directing the topic and subject of the conversation with only one or two phrases.

R. Gamzatov tells in detail about his trip to Cuba, which lasted more than a month. During this time, he traveled all over the island, visited cities and towns, met with workers, military, artists, writers and politicians. His monologue is based on two vivid impressions from the trip: the first is economic and social transformations (the rights and freedoms of citizens, the construction of schools, the creation of jobs) and the second is the figure of Cuba's leader Fidel Castro, whom he was lucky to meet, meet and even talk to personally. First, in the first days of his arrival at the May Day demonstration in Havana in the presence of many people, and for the second time in a narrower circle at the Presidential Palace, where he was invited to meet with him. R. Gamzatov does not give specific external or internal portrait characteristics of his counterpart, but from the content of the interview one can form the poet's opinion about his the interlocutor, as an intelligent, educated, patriotic, courageous, purposeful leader, a statesman with diplomatic qualities.

Of particular interest are interviews that directly address the issues of the development of the literary process: Dagestan, in particular Avar, as well as Soviet, Russian and world. The object and subject of his reflections were the development of Dagestan literature, its past, present and future, traditions and new trends, positive and negative phenomena, personalities, works worthy of attention. Speaking about the achievements of Dagestan literature, R. Gamzatov appeals to the names of talented masters of the word who glorified the republic with their works not only in the space of the Soviet Union, but also beyond its borders (A. Abu-Bakar "Dargin Girls", Fazu Aliyev "Fate", etc.). They have a positive emotional tone, expressing the poet's satisfaction with the attention and the interest shown by Soviet and foreign readers in Dagestan literature, which is translated into many languages of the world (German, English, Japanese, Bulgarian, Polish, etc.) and thereby becomes more widely known and popular.

Interviews of the 1960s and 1970s sound in a similar emotional tone, at a time when Dagestan literature was actively developing and reached its heyday, presenting itself with dignity and vividly on the all-Union and world literary arena. In many conversations of this period ("Poems, novels, novellas in the portfolio", "Before the Moscow exam", "I am looking for ways to people's hearts...", "In the name of deep meaning and skill") R. Gamzatov enthusiastically and proudly states the development of all genres of literature, romantic and realistic trends, noting them high ideological and artistic level: "Today, what pleases us in poetry, prose, drama, children's literature, criticism? We are pleased that she does not need any relief or guidance. Today, the best works of Dagestan literature enrich Soviet literature and serve its prosperity" ^{[3, p. 199]}. A great contribution to this was made, in his opinion, by a whole galaxy of talented Dagestani poets and writers: Yu. Happalaev, A. Ajamatov, A. Abu-Bakar, F. Aliyeva, R. Rashidov, S. Rabadanov, N. Yusupov, M. Mitarov, M. Sulimanov, A. Saidov, O.-G. Shakhtamanov, etc.

Since the second half of the 1980s, the rhetoric and subject matter of the Gamzatov interview has been noticeably changing. The emotional tone of the conversations becomes critical, and sometimes harsh and straightforward. This is largely due to the current socio-political and economic situation in the country and the world. In such interviews as "Before the open door to the third millennium", "New recognition", "Big is seen from afar", etc. The poet's attention is primarily focused on socio-economic and political transformations in the country (the announcement of perestroika, glasnost, democracy, freedom of speech). No less attention is focused on global processes in the world (environmental problems, limitation of nuclear weapons, preservation of peace, local wars, ethnic strife, bloody clashes).

The new socio-political realities had a negative impact on literary life. First of all, this applies to works of fiction, the level of which has begun to decrease each time. R. Gamzatov, without hiding his dissatisfaction, openly and truthfully speaks about existing problems in literature, in particular about the lag of its genres and aspects that once developed, such as drama, prose (novels, novellas, short stories), translation activity, literary criticism.

R. Gamzatov complains that there are no worthy works in Dagestan literature, empty-mouthed, unorthodox and meaningless stories, novels, poems with poorly thought-out plot, images of heroes, style, and poor language began to prevail in it. R. Gamzatov sees several reasons for this. The main ones are the irresponsible and superficial attitude of many Dagestani authors to their work, their haste, their desire in the race for popularity and fame to declare themselves not by the quality, but by the number of books published: "Many writers, without thinking about the purity and beauty of their language, write and write works" ^{[7, p. 7]}- the poet states, negatively assessing the state of modern Dagestan literature.

Approaching the assessment of the literary process with moral, aesthetic, highly artistic criteria, R. Gamzatov condemns and sharply criticizes them, reminding them of the main principles of the writer, which he must follow: "A real writer treats the work with a clear conscience. But this is not enough for many. Dagestan literature should be on a par with all Soviet literature. Good works, like an iron magnet, attract readers to themselves, they do not linger on library shelves, but how many books lie on store shelves under a layer of long-term dust. There are writers who seek to print works at the expense of their name and awards. The time has long come to put an end to this" ^{[10, p. 255]}. The peremptory and categorical tone of the writer speaks of the inadmissibility of such a situation, appeals to the responsibility and exactingness of colleagues and proceeds from the desire for Dagestan literature to flourish and take its rightful place in the system of Soviet, Russian fiction.

Despite the existence of many problems in the literature, R. Gamzatov also notes positive aspects in its process at a new stage. Namely, the development of documentary journalism, which tells mainly about the life and work of talented writers, cultural and artistic figures of Dagestan, who were subjected to repression, which it was not customary to talk and write about before. Despite the difficult socio-economic times, new talented authors continue to enter literature, among whom R. Gamzatov singles out G. Galbatsov, M. Gamzaev, M. Akhmedov, A. Kardasha, B. Magomedov, B. Kulunchakova, and places hope on them as continuers of national literary traditions in the future.

In the interview with R. Gamzatov, not only literary, but also social and socio-political topics are presented ("Before the open door to the third millennium", "Big things are seen from afar", "Time to live is time to hope", "Language is not the enemy of language", "We must understand ourselves", "I wish good health to good people", "And we have fallen into the past", "With age, a person gets smarter, humanity becomes reckless", etc.). It is an important component of many of his conversations, in which the main subjects of his reflections and experiences were the social and everyday realities of the people in difficult perestroika and post-perestroika times: corruption, embezzlement, unemployment, poverty, low standard of living and decline of spirituality, the emptying of mountain villages due to the outflow of mountaineers to cities in search of a better life. The poet's conversation about existing and demanding solutions to problems is accompanied by his negative characterization of the moral state of society, in which concepts such as justice, humanism, mercy have lost their significance, cruelty reigns, thirst for profit and the pursuit of material goods and values. The author blames the current economic and socio-political situation on the leaders of the state, whose inept anti-people policy and erroneous decisions led a powerful and strong country to destruction. But most of all, in these conditions, the poet is hurt by the devaluation of human life: "... under the market system, goods and products, bread and salt have become more expensive, and people are cheaper. It became possible to buy and sell things that were previously forbidden: conscience, feat, talent, beauty, women, children, poetry, music, sometimes native land. Moreover, every year the price of life becomes less, and the price of things becomes more" ^{[2, p. 3]}, the poet bitterly states in his soul the depreciation of a person in conditions of large and small socio–political cataclysms in the country. Anxiously watching all these processes, the poet is increasingly worried about the fate of the people and the country, for their future. Promoting unity and harmony, the poet puts forward the ideas of humanity and humanity in conversations, calls for tolerance, mercy, respect, and strengthening human ties.

The variety of topics touched upon by R. Gamzatov in his interviews is of great interest to the reader and researchers. So, for example, statements about the problems faced by writers, including himself during the literary process, about painful social and socio-economic issues, his memories of colleagues, friends, figurative remarks addressed to them, shed light on unknown aspects of the poet's life and work, his attitude to the famous figures of culture, literature and politics, allow us to trace some stages of the development of literature and the state, indicate the breadth of the writer's interests. They reveal the character traits, personality traits of R. Gamzatov and thus the reader expands and replenishes his knowledge about him.

The language and style of conversations of the poet's interviews vary depending on the era, the subject of the conversation, and his attitude towards them. The emotional tone of contentment or vice versa changes from enthusiastic and joyful for the successes and achievements of literature to sad and anxious, full of worries and thoughts for the fate of the people, their everyday and social life, for the present and future of the country.

The content of the interviews of the Soviet period is characterized by political and ideological rhetoric, conditioned by the tasks, directives, and decrees of the Communist Party, which it set before society. Conversations are characterized by motives of loyalty to the party and following its decisions and directions. And in the post-Soviet period, social issues related to the everyday and economic problems of most people's lives prevail in the conversation.

Literary interviews in the works of R. Gamzatov occupy an extensive and important place, cover a wide range of issues and have a variety of topics. They differ both in form, in the form of dialogues, monologues, questionnaires, and in content, bearing an informative, problematic and personal character. Most often there are mixed interviews in which, along with focusing on a particular problem, R. Gamzatov's personal character traits, his opinions, views, tastes and preferences are revealed in a conversation with journalists.