Poetics and Axiology of S. D. Dovlatov as a Publicist (Based on the Material of Portrait Essays of the Tallinn Period of Creativity)

Ermolaeva Elizaveta Alekseevna Postgraduate Student, Department of Philological Education and Journalism, Surgut State Pedagogical University 628400, Russia, Khanty-Mansi Autonomous Okrug, Surgut, ul. 50 Years of the Komsomol, 10/2, office 408 konshina_liza@mail.ru

Sergey Dovlatov is one of those writers of the second half of the twentieth century whose literary legacy still resonates in the hearts of readers around the world. Dovlatov's prose is loved for "living" and real heroes, in which readers sometimes recognize themselves, for subtle pseudo-documentary humor that resonates with a modern audience with its topicality. In a possible creative questionnaire of the writer Dovlatov, Igor Sukhoi described these features as follows: "Pseudo-documentalism, fiction that turns out to be truer than reality" ^{[19, p.714]}.

Scientific research of Dovlatov's fiction is replenished annually, while journalistic materials are a much less studied part of his creative heritage, and in this case, the view of literary critics is directed mainly at the later Dovlatov-a journalist, editor of the New American or a presenter of programs on Radio Liberty. According to the biographical information of Lev Lurie, it is known that Dovlatov worked as a journalist in Leningrad and since 1965 wrote for the newspaper "For the personnel of the shipyards". Thanks to cooperation with this publication, Dovlatov managed to join the Union of Journalists, where he was registered until 1976. In 1969 he published materials in the Kurgan newspapers "Soviet Trans-Urals" and "Young Leninist", from November 1972 to 1975 he wrote for "Soviet Estonia", "Sailor of Estonia", "Youth of Estonia", "Evening Tallinn" ^{[18, pp.204-206]}.

Along with this, literary critics are working on the restoration, attribution and analysis of pre-emigration period Dovlatov journalistic texts. The most complete study of the Tallinn texts is presented in the publications of G. A. Dobrozrakova, recreating the facts of Dovlatov's creative biography of this period. She attributes humorisms and feuilletons based on the characteristic stylistic markers of the author's prose texts. The researcher draws attention to the importance of Dovlatov's Tallinn journalistic activity not only because in Estonia he writes and collects materials for the future story "Compromise", but also because during this period he develops his signature stylistic techniques: grotesque, hyperbole, parody and caricature ^{[11, p.312; 12, p.50-51]}.

In the process of studying Dovlatov's texts published in 1972-1975 in Soviet Estonia, we came to the conclusion that these publications should be considered not only from the point of view of their thematic and stylistic originality, but also from the perspective of the author's axiology. An important factor inherent in most of the materials of this period is the author's focus not so much on the formation of new value categories, but on the actualization of existing ones, which presuppose the reader's return to the established "norm". Of course, this author's strategy is not limited to the materials of Tallinn newspapers, but also characterizes all his work.

This conclusion correlates with a number of statements by the writer himself. So, in the soldiers' letters to his father, the young Dovlatov writes: "I do not agree with the fact that anyone can be an engineer, for example, and a writer is certainly Leo Tolstoy. You can write not too much and not too ingeniously, but about important things and with sense" ^{[16, p. 59]}.

In later letters to Lyudmila Stern, the author notes: "For me, literature is an expression of decency, conscience, freedom and heartache" ^{[16, p. 142]}. Even more precisely, the writer's super-task is revealed in Dovlatov's interview with the American researcher of Russian literature John Glad: "I'm trying to evoke a sense of normality in the reader... One of the most serious feelings associated with our time has become a sense of impending absurdity, when insanity becomes more or less normal... This means that absurdity and madness become something completely natural, and the norm, that is, normal, natural, benevolent, calm, restrained, intelligent behavior, is becoming more and more an out-of–the-ordinary event. To make the reader feel that this is normal – maybe this is the task that I did not set myself beforehand, but this is my topic, a topic that I did not invent and I was not the only one who devoted some effort and time to it. If beautiful and generally accurate and correct words are needed, then this is an attempt to harmonize the world" ^{[10, p.93]}.

The axiological analysis of Sergey Dovlatov's literary texts has been tested by S. A. Zaitseva. Using a culturological approach, the researcher determines the value categories of Dovlatov, the artist, reflected in the story "Compromise". The author writes that "S. Dovlatov in his work “Compromise” removed one of the main oppositions used in fiction: the presence of a hero and an antihero in the text of the work. For the author, the rejection of this opposition is a value" ^[17]. This principle of the Dovlatov text was defined even during his journalistic activity in the editorial office of the newspaper "Soviet Estonia".

On the pages of Tallinn newspapers, Dovlatov's humorisms and feuilletons are published mainly, as well as materials presented in classical journalistic genres: interviews, reportage, review. Particular attention in the variety of texts should be paid to the headings "Man and profession" and "Your profession", within which Dovlatov's essays are often published. The content of these essays does not go beyond the ordinary materials of the party periodicals, but a detailed study of the texts allows us to identify some features inherent in all portrait essays of the author. In his materials, Dovlatov describes life in its ordinary course, his heroes are ordinary people who are far from great scientific discoveries, victories at the Olympics, and receiving All-Union prizes.

So, in the files of the newspaper "Soviet Estonia" for 1972-1975, there are his essays about the usher of the cinema "October" Ally Tigan ^[1], projectionist Tavi Anari ^[2], laboratory assistant at the pharmacy Greta Murel ^[14], notary Yule Kass ^[9], radio tuner Reina Nyukas ^[8] and many others. others, whose work a modern writer takes for granted. The author's focus of Dovlatov, a journalist, is aimed at a simple person who is passionate about his work. The people the author writes about are the heroes of everyday life, those who make life normal and habitual. Thus, Dovlatov transmits to the reader his basic axiological attitude – the self-sufficient and unconditional value of human life, which is not determined by the social status of a particular person.

Sergey Dovlatov destroys the image of a silent service sector employee who does his job reluctantly and formally. His characters are happy to talk not only about their family, but also about small victories, psychological subtleties of communication with clients, and note the importance of their work: "It is impossible to teach our craft at the university. Only here, at the factory, in practical work, you can learn to "voice" a good tool" ^[15]; or, "I work where people rest," says Tavi, I bring them joy. It's an honor."^[2] It is important for the author that the image of the hero of the portrait essay be voiced by his voice, because the hero's word is a sign of his self–consciousness, his personal consistency, his subjectivity. By giving the hero the opportunity to speak out, Dovlatov thereby emphasizes the idea of the importance of any person's point of view on the world, contrary to the system of hierarchical conventions and social prestige.

Dovlatov often makes fun of his reader for inattention and disdainful attitude towards the common man. For example, in the essay "Who is not noticed by the viewer", the author addresses the audience: "Don't you think that sometimes in the hustle and bustle we automatically accept services provided to us by real people, conscientious, sensitive, attentive?" ^[1]. In the same article, he notes: "Automata do not require attention and gratitude. We are even a little spoiled by their silent obedience."^[1]

Consider another example from the essay "Say: "Squirrel"": "There are people who seek to avoid contact with someone else's misfortune. "No, no, don't tell me about your illnesses, I can't stand it." Someone else's grief, you see, reminds these people of the frailty of life. And there are people of a different kind. Someone else's misfortune is perceived by them as painfully as their own. It is a valuable and noble talent to worry about others" ^[4]. It can be assumed that the presented fragments reflect the ethical attitude of the author, which should be paid attention to, the ability to consciously empathize with the condition of another person, in other words, empathy.

The author rarely turns to the technological side of the professions of his heroes. His main focus is on the creative potential of the characters. So, in the essay "Socks are designed" Dovlatov notes that the engineer-technologist of the Punane Coit factory Hilya Muyur not only has practical skills, but also has an impeccable aesthetic taste: "She often suggests to the artist this or that solution, this or that graphic element, stroke, shade" ^[3]. This laconic remark should set the reader up to the idea that the ability to perceive the beautiful is not the prerogative of the elect, a sense of beauty is a priori inherent in everyone. But the ability to develop this feeling in yourself, bring it into your profession and raise the craft to the level of art is already a property of a bright creative personality, which is almost any of his characters.

It is important to note that each of the heroes of the essays did not come to his profession by chance. So, for Tavi Anari from the essay "After the third bell", the work of a projectionist was a childhood dream: "Since Tava Anari can remember himself, he has loved movies. As a boy, I saved on candy to buy the cheapest ticket on Sunday. Then he got older friends – projectionists. Gradually, he learned how the projection apparatus works, he happened to replace mechanics for a short time. Tavi loved movies. But he did not become an actor, nor an art critic. He became a projectionist. And for many years he has been working here, thoughtfully, skillfully, efficiently" ^[2].

In the essay "Clean, light", dedicated to the radio equipment controller Reina Nyukas, the author writes: "Since childhood, Nyukas loved mechanisms, loved precision. His hands, which sent the disk beyond the 46-meter mark, became unusually sensitive when he bent over a thin device" ^[8].

Another example is Mikhail Fadeev, a senior equestrian coach and the hero of the essay "Thank my Horse": "I fell in love with horses as a boy, in the village, and in general I have dealt with horses all my life. He was with horses all through the war. Once, during a tank attack, I was crushed by a cart with fodder. If the horse hadn't pulled this damned cart away, we wouldn't be talking to you" ^[13].

The essay "Yule will be a notary" begins with a funny story about a schoolgirl Yule Kass, who stood up for her classmate and it was then that she realized that she wanted to be a lawyer: "And yet Yule is still sure that she was right, but she didn't know how to prove her case. It was then that her dream of becoming a lawyer was born. She wanted to study all the laws, skillfully and accurately use them in the name of justice" ^[9].

Some of the characters are not only joyful memories of their favorite hobbies and dreams of a future profession, but also dramatic situations that predetermined their destinies. So, "The Keys to the sound vault" is an essay where the reader learns about the fate of Johanna Maripuu. The woman works as a piano tuner, but once she learned to play the violin. "She was already mastering the second-year program of the conservatory when the accident happened: Johanna stumbled, fell and as a result – a fracture of the fingers on her left hand. I had to part with the violin. I don't dare to talk about what a talented musician experiences when this happens to him. Juhanna Maripuu found her vocation in a related field, became an adjuster while remaining a true musician in her soul" ^[15]. These quotes allow us to identify another axiological dominant of the author, expressed in the essays, the love of a person for his work, for his profession. This is indicated by the story of Dovlatov himself, who throughout his life aspired to become a real writer. 

Dovlatov's characters are devoted to their profession. The heroines of the essays "Flowers for Galina" ^[7] and "Precision of Sight" ^[6] devoted thirteen years of their lives to their favorite work. In the essay "Be healthy!" we are introduced to Grete Murel, a laboratory assistant at a pharmacy: "Grete Murel has a hard job. And she's a lot of years old. And the health is far from perfect. Unfortunately, sometimes we have to make medicines for ourselves. But no one has ever seen her depressed, sullen. Grete Murel is always in shape, always active, active, accurate... Neat, precise, thoughtful, Grete Murel does not make mistakes. Taking a ready-made medicine from her, the controller is sure that the work was done flawlessly" ^[14].

In some essays, the author raises the topic of continuity. Dovlatov also refers to the family values of his heroes. So, in the essay "Clean, light...", the already well–known Rain Nyukas says about his five-year-old son: "I want him to become a worker," says Rain confidently. – If, of course, there is enough talent" ^[8]. Ilona Kovaleva, the heroine of the essay "There are no Old books", told the journalist about her family, which shares her love for literature. "The Kovalev family loves the book, and everyone has their own preferences and interests. Ilona's mother prefers memoir literature and art books, her father prefers science fiction and classical prose, and her younger brother Igor is fond of historical novels. Ilona herself prefers poetry" ^[5].

In a number of publications, Dovlatov actualizes the point of view of the "third person" in order to once again draw the reader's attention to the significance of the activities of his heroes. In the essay "Keys to the sound Repository", the director of the Tallinn Piano Factory, Kalje Kaspre, speaks about the exclusivity of the piano tuner profession: "They (tuners) are not "produced", they are born... In my opinion, it is better to be a good piano tuner than a mediocre pianist" ^[15]. Or in the material "Flowers for Galina" the author refers to the opinion of a more experienced colleague of the heroine Evie Benstrom: "I am in charge of our internal professional library. So, Galina turns to me more often than others, she is interested in all new medical literature, magazines, books. She creatively applies everything new in her work" ^[7].

Quite often, journalistic material is perceived as a means of reflecting the reality around us: the political system, public mood, social phenomena and cultural traditions. The presented portrait essays trace the style of Dovlatov, a writer who fills newspaper materials with artistic images and thereby aestheticizes the text. In the essays, the author confronts the everyday with the beautiful, forming in his reader a true idea of the harmony of life that a person is able to create, for example: "The countless nodes of this most complex device must be adjusted with apothecary precision. Microscopic deviations from the set norms, and the sound will be distorted, lose purity, lose lightness... Here she touches the keys with sensitive fingers, it would seem, a beautiful pure chord, but Johanna fixes an elusive falsity, again and again plunges into the depths of a complex repository of sounds. With whom can she be compared to a surgeon or a jeweler?" ^[15].

Interestingly, in the essays of Sergei Dovlatov there are not only a hero, a journalist and an expert, but also an unsuspecting reader. "You are walking through Tallinn. You have a few minutes of free time. Change jingles in my pocket. Attention is attracted by the tempting inscription: "Shooting Gallery" ^[6]. The author introduces the hero-reader as the subject of the action of the essay. Using associations, Dovlatov creates a suggestive text that encourages the imagination of the audience to work. "Mikhail Ivanovich Fadeev brings a Motorcycle ball to the arena, instantly finds himself in the saddle. And then a miracle happens. An elderly, tired man in clumsy high boots with spurs and a battered flannelette jacket was standing in front of me just now. Now he is youthful and dapper. Straight back, strong hands, sharp attentive eyes" ^[13].

"You are not well in the morning, you have a fever, cough, headache… You go to the doctor, he writes out a prescription. ...Your recipe falls into the hands of an assistant. Standing at the counter, you won't see it. Only sometimes the door opens a crack, and then you can see a brightly lit room where countless tripods with test tubes are crowded, the hands of the scales are fluctuating and people in white boards are working intently" ^[14].

The reader in the essay, as well as the hero, experiences different feelings: he is afraid, dreams, thinks, gets angry, but at the same time does not notice the people who are an integral part of his life. "If you are sitting in a concert hall listening to a virtuoso pianist play, take a closer look, and you will see not only his elegant strong hands on the keys, but also the sensitive, skillful hands of the tuners" ^[15]. It is likely that the author is deliberately trying to bring his reader to the realization that an ordinary person with his inherent desire to make the world more beautiful is the main, key value of this world. It was important to Dovlatov that the reader personally experience it again and again, from essay to essay, from one fate to another, and so on – to the realization of a timeless, supranational, universal destiny.

The study of portrait essays published in Tallinn newspapers allows us to identify a number of axiological dominants that can be traced in the texts of Sergey Dovlatov, a publicist. In his publications, the author defines a number of universal values, which include the importance of human life, the possibility of presenting different points of view, empathy and complicity, as well as the harmonious existence of the ordinary and sublime.