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New literary map of Russia. New literary map of Russia Literary map of the city

On November 3, there was a meeting with musician, poet and singer-songwriter from Tatarstan Olga Kuzmicheva-Drobyshevskaya, who recently visited the Yesenin Days in Montenegro, where she performed her solo program, thanks to our cooperation with the Revival Center.

As part of the “Literary Map of Russia” program, on October 27, 2015, a creative meeting was held with the modern poet and prose writer Boris Konstantinovich Ryabukhin in the day care department of the Butyrsky branch of the State Budgetary Institution TCSO “Alekseevsky”.

The Club of Graduate Writers of the Literary Institute congratulates
Saniya Shavalieva, laureate of the P.P. Ershov Prize
in the nomination "For the best work of art for children and youth"
(book "The Bag")

The fairy tale capital of Russia

(about the Ishim Children's Literature Festival)

On June 11, in the city of Ishim, Tyumen region, the ceremony of awarding the XI All-Russian Literary Prize named after P.P. Ershov for books for children and youth took place.

The laureate in the nomination “For the best work of art for children and youth” (choice of the descendants of P.P. Ershov) was Sania Shavalieva for the book “The Bag”. In the “Link of Times” category, the prize was awarded to Moscow writers Natalia and Vasily Volkov for their book “Professions old Russia". Irina Danilova from Moscow was recognized as a prize winner for the series of books “Fairy Tales and Stories of the Rainy Country...” in the nomination “Choice of a Patron” (S.P. Kozubenko). Also invited to the award ceremony in Ishim were: Sergei Borovsky (Kazansky district, Tyumen region) - for the manuscript "Good Russian Fairy Tales", Nadezhda Georgitsa (Tyumen) - for the book "The Living Mirror of Nature", participants in the All-Russian festival of children's radio programs "Chick" (State Television and Radio Broadcasting Company "Region-Tyumen").

The honorary guests of the holiday were the industrialist, philanthropist of the Ershov Prize Sergei Kozubenko, the creator and editor-in-chief of the almanac "Biysky Vestnik" Viktor Bulanichev, the outstanding nuclear physicist Leonid Ognev, Gennady Ivanov, the first secretary of the board of the Writers' Union of Russia, Ershov's heirs Oksana Mikhailova, Valentina Nesterova and many others. And the main souvenir of the holiday turned out to be a real living

Little Humpbacked Horse.
First hand
Sania Shavalieva:
The ideological inspirer and coordinator of the award is the director of the Ershov Literary Museum - Nadezhda Proskuryakova, endowed with a Siberian character, spiritual generosity and love for native land. Thanks to her painstaking work, new names are written into the history of the city, unknown facts. She found the descendants of P.P. Ershova is Oksana Mikhailova, Valentina Nesterova, living in Moscow.

Ishim is gradually becoming the fairy tale capital of Russia. Stepping onto the Ishim land you immediately find yourself in a charming enchantment, because the road from the station lies along the “back of the miracle-yudo fish-whale”, the village “against the sky - on the earth”, Ershov describes all this in his fairy tale “The Little Humpbacked Horse”. The whole city lives in the memory of the famous countryman: streets, monuments, interiors of magical wall paintings, low buildings. Even when leaving the city, you continue to feel the presence of something unusual and hypnotic - the “Forest Tales” recreation center. And here is the forest with paths equipped with signs: “Fairytale Forest”, “Tree of Brides”, “Lonely Maple”.

The kindness of the Ishim people is truly great if they have enough warmth and wisdom to make the harsh Siberian region - overflowing with evil mosquitoes - the center of a fairy tale.

And not only P.P. Ershov is famous for the region. Just look at the names of Nikolai Nikitin, designer of the Ostankino Tower, Valery Medvedev, author of “Barankin, be a man!”, Sergei Pavlovich Kozubenko, philanthropist of the prize.

Today the award is gaining such proportions that the events no longer fit into one day. This year it has grown into a children's literature festival. After the award ceremony, the laureates and diploma recipients met with young readers of the Ishim region. And then the guests of the holiday were introduced to the city, to the fairy tale museum in the Ershov Center. The next day there was a trip to the village of Ershovo, the homeland of the author of The Little Humpbacked Horse. Here the lighting of the cross took place at the construction site of the temple in the name of St. Peter the Stylite. There was already a temple on this site; it was built by Ershov at the request and support of his fellow villagers on the site of the house where he was born. The final location of the festival was the city of Tobolsk. The same evil mosquitoes, but a completely different, amazing city. Judging by the names for which it is famous, one gets the feeling that this is some kind of Siberian Moscow region: Ermak, the exiled patrimony of the Romanovs, Dmitry Mendeleev, Alexander Alyabyev. All the time, when they talk about the history of the region, they remember recently departed contemporaries - these are Shukshin, Astafiev and many other famous and honorable fellow countrymen of Ershov.

The history of the region does not end there: a clear example continuation of literary life is the P.P. Prize. Ershova, who finds and voices new names.

PHOTO FROM ARCHIVE.

A performance on Christmas Eve at the Central Cultural Center of the Butyrsky district as part of the project “Literary Map of Russia” by young poets, scholarship recipients of the Ministry of Culture for 2015 - Natalia Shakhnazarova and Sasha Irbe, representing the capital of Russia - Moscow. The performance was a stunning success; the program was hosted by the author of the project, Galina Dubinina.

On May 8, 2016, in Moscow library No. 163, a meeting of representatives of the Moscow Tuvan diaspora “We Remember!” took place, about the participants of the Great Patriotic War, Tuvan volunteers.

The meeting was opened by the head of the Local History and Genealogical Society Evgeny Pajitnov. The guests talked about their relatives and friends, about fellow villagers, participants in the Great Patriotic War, and Tuvan volunteers.

5th year student at MGMSU named after. A. I. Evdokimova Bayyr Dombaanay spoke about his close relative, Hero Soviet Union Khomushka Churgui-ool Namgaevich. Relatives themselves erected a monument to the Hero in his native village.

Achyty Ondar, a student of MGI NUST MISIS (formerly MSGU), shared with his research that not all Tuvan volunteers received well-deserved awards, orders and medals on time for the heroism shown in battles with the Nazis. Some warriors were presented for the award posthumously, while others were awarded at a later time.

Postgraduate student at the Literary Institute named after A.M. Gorky Zoya Dongak spoke about volunteers who came from Mongun-Taiginsky kozhuun. Including about Tuvans, military pilots, whom she wrote about in her book.

Moscow State University graduate student Omak Shyrap spoke about his research on the mobilization of Tuvan volunteers in the Great Patriotic War, said that the most prepared, physically and morally strong, the most worthy sons of Tuva, including 10 girls, were selected. Before being sent to the front, the Tuvan squadron was formed in the city of Kovrovoe (Vladimir region) on the basis of a cavalry regiment. Our fellow countrymen proved their military training before the command and were sent to the front.

The good news is that young people are not just interested in history, but also conduct their own research, look up archival documents, and talk about the exploits of Tuvinian volunteers.

The invited guest of the meeting, Honored Artist of the Republic of Tyva, artistic director of the Tyva ensemble, Aidash Barynmaa, delivered a musical congratulation in honor of Victory Day. He performed Tuvan folk songs. Aidash Barynmaa, with his unique throat singing, reminded us of our native Tuva, raised the spirit of Tuvans-Muscovites, for which we express our gratitude to him.

On March 18, an evening was held at the Moscow Center of Kalmykia as part of the “Literary Map of Russia” project. The evening was hosted by Valentina Boovan Kuukan. Zoya Dongak and Galina Dubinina took part from the Alumni Writers Club.

To revive the native, beautiful word, on the initiative of the Kalmyk poetess Valentina Boovan Kuukan, on March 18, an evening of poetry and music was held, an evening of real unity, warmth and friendship of the Russian, Kalmyk, Buryat, Tuvan peoples. The evening was attended by masters of words, wonderful writers: Margarita Al, editor-in-chief of the all-Russian magazine “LiFFT”, Chairman of the Literary Institute Graduate Writers Club Galina Dubinina, famous Tuvan writer Zoya Dongak and many others.

Literary map of Russia. Naberezhnye-Chelny.

THE MAN FROM ZURBAGAN

– Well, why did you come? – Valera asked him.

– Well, I thought I’d meet my fellow countrymen.

– Where are you from?

Ruslan turned his back to the noble assembly. On his quilted jacket there was the inscription “Zurbagan”.

– “Where is this city,” someone accidentally revealed his literary ignorance.

Ruslan looked contemptuously in his direction and sighed in disappointment:

This name, which did not thunder, did not flash in the press or on TV screens in the distant 70s - 80s, was not heard by the cheerful builders of socialism-communism, who enthusiastically read about construction sites, factories, kilometers... But this name, which still lives in the hearts of loved ones and friends, and it is impossible to forget it, just as it is impossible to forget Ruslan himself.

Creation

Song based on the poem "Spells" by poetess Lyubov Shishkova-Chernyaeva
CRIMEA BRIDGE. For the fifth anniversary of the Crimean Spring: a song by Elena Lebedenko to the verses of Olga Ivanova
SOROKIN Valentin. Everything is from the fire, and everything will go into the fire! (Selection of poems) in the January issue of OLG
MISYUK BORIS. MUSCOALS IN THE FAR EASTERN TAIGA
FOMICHEV V.T. APPEARING FROM THE FLAMES OF GENOCIDE (Essay)
IN THE FOCUS OF TIME
POETIC Kino ALMANAC "THE ABC OF LIFE", issue 1 (2018)
Shestakova N.D. Memories of the artist and poet Boris Vasiliev-Palma
LYUDMILA KORNEEVA. Crimea as fate in the sonnets of Valery Mitrokhin
Fomichev Vladimir. The searing truth about the martyrs of war
Kochetkov Alexander Anatolievich. THE UNIVERSAL SOUL OF THE POET VASILY FYODOROV

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Event feed

All-Russian creative competition “My Moscow”
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the category Poetry for children
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the category Short prose for children
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the Short Prose category
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the Drama category
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the Literary Translation category
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the category Short prose about Prague
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the nomination Poem about Prague
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the category Humorous poem
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the nomination Poem about love
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the POETRY nomination, free subject
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the PUBLISHING nomination
Festival "SLAVIC TRADITIONS". SHORT and LONG sheets in the AVANTGARDE POETRY nomination
A poet from Nalchik performed at the All-Russian poetry festival in Cheboksary
Yuruslan BOLATOV. DAGESTAN DICTIONARY OF RAIN
Writers of the Immortal Regiment. Publication in ML No. 10
The literary online magazine "MILK" is twenty years old

As part of the II Krasnoyarsk Book Culture Fair, IAA "Informburo" together with the Mikhail Prokhorov Foundation organized an online conference dedicated to the first year of the litkarta.ru project.

According to the site’s ideologists, the project’s goal is to restore the integrity of the Russian literary space. The project, aimed at the future, pays special attention to authors of the younger generation, who occupy a full place on the site next to their older colleagues.

The place and time of our conference were not chosen by chance. The basis of the New Literary Map of Russia site is regional sections dedicated to both Russian cities and those countries of the world where Russian literary life is represented.

That is why during the conference, along with issues of work and prospects for the development of the litkarta.ru website, general problems of regional Russian literary life will be discussed.

The following people took part in the conversation:

chief editor of the project Dmitry Kuzmin,
writer Stanislav Lvovsky (Moscow),
writer Linor Goralik (Moscow),
poet Anton Ochirov (Moscow),
chief expert of the Astafiev Foundation Anton Nechaev (Krasnoyarsk),
moderator of the Virtual Studio within the project Andrey Cherkasov (Chelyabinsk).

Questions and answers

Good afternoon We are starting an online conference organized jointly with the Mikhail Prokhorov Foundation as part of the II Krasnoyarsk Book Culture Fair. The theme of the conference is the New Literary Map of Russia. Project editor-in-chief Dmitry Kuzmin: Thank you for participating in this as listeners - it means our work is interesting. Although the project is actually just over a year old, we believe that we are in such an infant state when our work is just beginning. The ambitions of this project are quite large, and it is quite difficult to implement everything in such a short time with such small forces. What's the point? The fact is that we are making an attempt to combine the information task with the recommendation task. And you and I understand perfectly well that these are, to some extent, mutually exclusive tasks. On the one hand, it seemed to us when we started this project that our society, and in particular the writing community, lives in conditions of an acute shortage of information - about where what is happening, where who works, what is going on in general. This is especially true, of course, with non-metropolitan authors and institutions, who rarely and with difficulty come into the focus of national attention. On the other hand, we understood that it would also be wrong to simply organize such a memorial for everyone, everyone, everyone who has ever appeared in literature in any way. Because, to be honest, the level of requirements in different places is different, and sometimes mutually exclusive.

We were faced with a problem - how can we, on the one hand, tell about what is there, without distorting the picture as much as possible, and on the other hand, how can we do it so as not to disorient the consumer of this resource with an excess of information, possibly unusable, and if and used, then perhaps not for good. After all, clogging the information space always only causes harm. How far we are able to cope with this dual task is a debatable question, and perhaps it will somehow be discussed here today. Although I think that everything will become fully clear only when we manage to solve an auxiliary problem - work in the regions. Today, from Moscow or St. Petersburg, it is not always very clear and clear to us where, what is happening, what interesting notable authors and phenomena there are in all corners of the country and the world where Russian literature lives and develops. On the other hand, it is also clear that the local view of things often tends to overestimate the scale of some local phenomena due to the fact that people are simply unfamiliar with what is happening in other places. And what seems important and significant here may not seem so, given some idea of the overall picture. We are trying to solve this problem by attracting regional experts, sometimes on a more or less formal basis, that is, so that the name of the person involved is in the appropriate regional section, and he deliberately deals with this, sometimes through more informal consultations. It turns out that this is not possible in all regions, and in some cases we still have to understand how to organize interaction with the professional community of a particular region. Tell us more about the project Dmitry Kuzmin: Already today we can judge the scale of the task, the scale of its implementation and the scale of the situation itself. About the scale of Russian literature in its current state. The fact that Russian literature today requires such a resource that you can work on it for a year, but there is no end in sight. In addition to regional sections and in addition to sections dedicated to national projects, there are several special sections within this site. I will say two words about one, and to talk about the other, I will give the floor to my colleague.

We considered it necessary to create a separate section called “Media Library” in order to present the voices of writers in their live sound. To allow a person not only to read the author, but also to listen to him, and this often gives a completely new understanding of how his author’s voice works.
In addition, we decided to create a Virtual Literary Studio as part of this project. Like a number of other branches of the site, this section, of course, is growing. In general, the project includes many options that are currently used to a small extent, but we hope that in the future they will work to their fullest. This studio is quite a serious thing, and I would like the person who is responsible for it to talk about it. Andrey, you have the floor Andrey Cherkasov: I am the moderator of the virtual creative studio of the “New Literary Map of Russia” website. Indeed, for now we can only talk about the studio potentially, because it is recruiting authors. Active processes have not yet begun. One of the problems is the lack of integration of the young authors themselves, who are just entering literature.

The second point is the lack of inclusion in a relatively mature professional community, which young authors often do not see. And the third point is the field of reasonable discussion of the cultural and literary context. It is assumed that at some point a studio for young authors will be able to solve this problem. I’ll outline a few points about the structure of the studio so that it becomes clear how this all happens. This can be illustrated on the screen.
The studio has several sections. They perform different functions. For example, purely external. The “Persons” section, where participant cards are placed, made according to the same scheme as the cards in the main card index. Maybe they're not that full yet.
The "Process" section, which contains some representative selections of studio participants. At the moment there are one or two selections.
Both external and internal functions are performed by a rather important section “Landmark”, which introduces the most significant, in the opinion of studio experts, modern Russian prose writers, poets, etc. Each person in the “Landmark” section is a biography, some expert remarks as to why this particular author is important as a landmark, and some, again, fragments of prose or a selection of poems that give insight into the author.
Two main internal functions are performed by the “Forum” section, which is intended as a potential space for discussion and integration. Now, due to the insignificant representation of regions in our studio, it turns out that although formally the studio participants are listed as representatives of various regions, many of them have not been living in Moscow for so long. And therefore they have the opportunity to communicate with each other live. Therefore, with the expansion of the regional component, the “Forum” can already take on a life of its own. At least I really hope so.
The peculiarity of the “forum” is that not only studio members, but also authors represented in the main card index of the literary map can and are expected to participate in it. Some constructive discussion is expected regarding specific works and the studio members themselves and the authors of current literature, general issues namely between different generations.
There is a certain “red studio” section - this is “Proba”, which is now displayed on the screen. This is a free studio mail through which people send their works and may well, if a decision is made, to receive a response from one or more experts. That is, through this “test” to get into the main section of the studio, if there is an expert will. That's about it as far as structure goes. For now, it’s like a skeleton that’s not quite complete. Andrey, one of the questions right away: How many people are in the studio now?

Andrey Cherkasov: I don’t remember the exact number, I think it was 25 people.

Don't you think there are not enough of them?

Andrey Cherkasov: The studio’s project is even younger than the New Literary Map. But admission to the studio is carried out by an expert decision, and each expert has the right to admit a person to the studio. So far the volume of expert decisions is as follows.

Dmitry Kuzmin: there is a problem here, some kind of correct balance between demanding whining i.e. the desire that communication on the forum of people could take place more or less on equal terms, the desire that the texts of the studio members would be collected by the leading columns so that people would not be ashamed to show it. And at the same time, so as not to raise the bar too high, and so that it doesn’t turn out that the authors who end up in the studio are the ones who don’t seem to need to be taught anything, this is the balance, it’s being felt through experience and, apparently, it will be still some way to grope. And the more capable and diverse young authors come to us with their texts, the more successfully we will be able to find this balance. There were several questions about the sites Stikhi.ru, Proza.ru, what do you think about them?

Dmitry Kuzmin: To some extent, this studio project could be an alternative to sites like Stikhi.ru, where there is a problem in obtaining expert assessment, a problem in obtaining expert feedback. This is true, because anyone can leave reviews on the website Stikhi.ru, and which of them is considered an expert - in general, everyone decides for themselves. Which is probably still not entirely correct. In theory, any studio works as a mechanism for professional initiation, i.e. this is some kind of gathering point from which you can further move somewhere within the professional space itself. Reviews on the website Stikhi.ru can be wonderful and wonderful, but they do not fulfill this function, this is a purely horizontal situation, there is no verticality in it, there is no hierarchy.

The question was “how do you feel about these sites, based on the publication on these sites, how can you assess the overall political publishing level of Russia” - from Sergei.

Dmitry Kuzmin: The question, I think, is not worth it. The general level of Russia is not based on these sites, but on different sites. Still, this site is built as a network representation of that literature that does not necessarily have to be on the Internet in itself, which exists entirely on paper, although it did not have to be. This is not a primary publication site; it focuses on the already established picture of literature. And regarding online literature, you can ask questions to Linor Goralik.

Linor Goralik - an expert on online literature?.

Linor Goralik: I am by no means an expert on this subject. I can only speak from my position as a participant, as an author who nevertheless publishes here and there. I realized a long time ago that I had ceased to completely distinguish between online and offline publications based on the principle of priority. At least in my opinion, the stage when the authority of the publication, the rating, and the importance of the publication for me, as an author, is no longer completely connected with the media carrier. This is one side.

On the other hand, for me, again as a private person, for a reader, the Internet is certainly a sufficient source of joy in terms of poetry, because some of the authors that I highest degree I appreciate you becoming known to me through your online publications. First of all, I can probably name Fyodor Swarovsky, who, it seems to me, can be loved primarily for his online presence... And in general, this list can be expanded, so I personally, both as an author and as a reader, cease to understand why these two existences of literature should be distinguished in many respects. Olga Kashova, quite a long question, I’ll shorten it a little - we’re talking about blogs. The fact that our literature is moving towards such a blogging hypostasis - and she asks whether this phenomenon is temporary or not, and asks to name those names that are worth reading.

Linor Goralik: No, the expression “literature is moving towards a blogging hypostasis”, in my private opinion, is completely wrong. This is the opinion of a person who, apparently, reads mainly blogs. Literature moves in many different directions. Another thing is that yes, blogs have become some kind of assistance in a certain genre of literature, invented not today, not yesterday, not a hundred or five hundred years ago. Yes, now blog authors may have more convenient format for utterance - but again, without this format, literature, which in some respects is close to a diary-type utterance, would act differently. So this is a global matter, there are, of course, a lot of interesting local points, but I wouldn’t make a global choice. Perhaps my colleagues will say something smarter.

Dmitry Kuznetsov: At this point, it would be good to give the floor to another planned participant in our conference, who, unfortunately, could not come to it - this is the singer Sergei Kruglov from Minusinsk, whom we were really looking forward to. But his official business did not allow him to go to the fair in Krasnoyarsk. He serves as a priest in the Minusinsk cathedral, and it turned out that there is no one to replace him in the service these days. Because Sergei Kruglov is a wonderful example of how you can live, on the one hand, very far from the capital, and even from the central district of your region, but, nevertheless, is constantly in the spotlight of the professional community. But among other things, Sergei Kruglov has been maintaining a blog for the last year, thanks to which, in both his guises, both as a poet and as a priest, he actively takes part in intellectual and spiritual life throughout the country. And this greatly affected his reputation. Linor was asked to name names, diaries...

Linor Goralik: Of course, Sergei Kruglov needs to be read. But it seems to me best way navigating blogs is not asking who should be read, but seeing who the people you are interested in read, since these lists are open. And decide for yourself whether you want to read any of them, thus relying on some kind of expert opinion.

I can’t help but ask a rather personal question - they ask how your creative process goes, do you need silence and solitude, or vice versa?

Linor Goralik: For me it is very boring, completely devoid of a sacred component. I am a person who thinks about texts, thinks and thinks, then sits down and writes something. I don’t need any rituals for this, and in general, in my opinion, I don’t need anything.

Dmitry Kuzmin: But at the same time, Linor always has a small computer with her, and if someone drops a random phrase... she writes it down. Linor Goralik: Yes, since there are always people around me who say wonderful things, I just write them down. And then I misinterpret. Unfortunately, we are forced to let Linor Goralik go to the presentation of her own book. If you still have time, make an announcement. Linor Goralik: at the Siberia exhibition center I am presenting my book of short prose, which was published by the publishing house “New Literary Review”, called “In Short”. It will be at four o'clock. Thanks a lot!

And we return to the topic of your project, let's get to the questions. They ask what is the traffic to your site, where and how do you talk about it?

Dmitry Kuzmin: I am ashamed to admit that I do not know the traffic to our site. I understand that this can be found out in a simple way. But, I’ve been working on various Internet projects for a long time, and this has been for about 10 years, this is not the first site I’ve made, I never install counters, because I see this as some kind of immodesty of quantitative measurement. There are some things that should be assessed not quantitatively, but qualitatively. If this project helps even one person to somehow navigate this space and find useful information, then that’s good.

Who needs five more people? Some indicators are indirect, they can be given because, say, I enter a search in Google, in Yandex for the last name and first name of some writer, and our site, if not on the first page, then on the second page of the results, I mine I receive. This, roughly speaking, suggests that the internal network rating of this project is quite high, i.e. it is used, it is referenced and therefore these results appear more or less at the top in searches. This project is non-profit, as I understand it, right? What are his sources of funding? Or is it all based on optimism?

Dmitry Kuznetsov: No, there is some kind of funding there. The project was originally conceived, naturally, for network implementation, but only in network implementation is this possible, not all that difficult, yes.. Here we are not bound by volume limitations. When they ask what analogues of this project there are, I say that on the one hand, of course, we were guided by some foreign examples, for example, the American site poets.org, however, it is supported by a small American literary organization, therefore it is simpler than ours .

But, in principle, there is such a precedent, such precedents for large databases on the current state of literature posted on the Internet, they exist. On the other hand, if we talk about analogues, there is a collection of contemporary writers published by the magazine “Znamya”, but it is a rather thick book. But we understand that even a very thick book has quite significant limitations in volume. Therefore, involuntarily, these are short, small biographical information, well, some minimal reviews from critics of a few phrases, and even then not everywhere. We can afford, firstly, to provide links, secondly, to provide audio or video, thirdly, to maintain a dossier, i.e. give critical publications about a given author so that, in the limit, from the author’s page you can get a completely comprehensive idea of what this author is and go further on the Internet, find out where else there is about him, and so on. The questions also asked what gives the author presence on your site?

Dmitry Kuzmin: I think that the most correct answer looks like this: literature is not made for writers, literary life does not flow for writers. On the good side, this project should give something not so much to the writer, but to the reader and specialist who examines this situation.

Next question: “I really like the idea that every city has a section “This city in poetry and prose,” and it’s a shame that even in Moscow and St. Petersburg this section is empty. Can anyone comment?

Dmitry Kuzmin: This is also a question for me, about the internal situation on the site. Friends, this is what I said at the very beginning - that the project is largely for growth. Among the many other functions that were invented and implemented there, there is one - to unobtrusively collect such a geographical anthology from the regions of Russia and the world. Here are the writers living there, here are the writers writing there, here are the publishing houses publishing there, and here are the texts in which this region is described, and let’s see how one relates to the other. So far, purely symbolically, in several regions literally several texts have been loaded, just to see how it will work. But we have not yet started this work on a large scale, and I really hope that it will still be done.

By what principle were about 10 people selected from all over the Krasnoyarsk Territory?

Dmitry Kuznetsov: This is what I already said. Correlation of informational message with recommendation message. But I think it would be right if the Krasnoyarsk participant in our conversation, Anton Nechaev, the chief expert of the Astafiev Foundation, a wonderful poet, with whom we informally consult, speaks about the writers of the Krasnoyarsk Territory and how this situation is seen from here.

Anton Nechaev: There seem to be 8 of them there. In my opinion, in Dmitry’s opinion, these people fit the Litkarta project. In a sense, all those proposed by me (and some, like Uspensky, do not need recommendations at all) are people who, in some way, claim to change consciousness. In particular, the consciousness of the Krasnoyarsk public, if this public read them in sufficient quantities, they would greatly change this consciousness, which sometimes seriously lags behind what is desired. These are modern authors, advanced authors. That's why they are there. They are known at the Russian level, and at the international level too. How does the author get into your project? How is the application processed?

Anton Nechaev: there, as far as I know from the structure of the site, every person can be present.

Dmitry Kuznetsov: Basically there is a form there to submit an application. There were precedents when some people wrote to us, looking at whom we realized that we had missed something. But I repeat the main idea: this is not a project serving writers. This is a project serving readers and literature. First of all, we are waiting for experts and their recommendations - “pay attention, please, we have such and such interesting authors, let’s tell the city and the world about them.” Question for Anton. Your provocations on the Internet in creating the topic “Me and Astafiev” on one of the popular sites in Krasnoyarsk, some materials on the website of the Astafiev Foundation. Why are they needed? And what is the use of them?

Anton Nechaev: This question is already starting to bother me a little. I'm bored of answering the same way, you know? We probably need to come up with something new every time. Why are they needed? You know, literature probably has everything, you can even find geniuses, and the authors are great, but there’s not enough attention. In my opinion, there is a terribly lack of attention! And to the ordinary public. So, Dima said that we are not working for each other, and I don’t want all this to be inside us, there must be some way out. Perhaps yes, there is a certain provocative component in this, in all these topics, although in fact all this kindergarten, mostly children's innocent games. But it attracts attention. But you, as journalists, probably know that just being positive doesn’t work, there has to be an imp in the message, in the topic, then it catches on and people follow.

The question is, to what extent does the Viktor Petrovich Astafiev Foundation fit into the general literary space of Russia?

Anton Nechaev: Well, so, it fits in, it doesn’t fit in. By the way, the foundation is represented on the map, as is the Day and Night magazine in Krasnoyarsk. Well, in fact, we don’t have a goal to fit in somewhere, or to leave somewhere. We just work, we support writers. In general, this is a look at literature from Krasnoyarsk, perhaps a little different, most likely not the same as in Moscow or Irkutsk, or New York.

Dmitry Kuzmin: The fund already has All-Russian status..

Anton Nechaev: The fund's program is like a personal appeal from the authors. Authors come from very different regions, and it is very important and valuable that national Russian literature itself gets a chance to decentralize, so that projects at the national level can be located directly here, there, in different places. There are actually not many such projects, if you count them on your fingers.

Dmitry Kuzmin: There are catastrophically few of them.

Anton Nechaev: Yes, that means the Astafiev Foundation in Krasnoyarsk, a couple of projects in Yekaterinburg, a magazine in Saratov, the Kaliningrad website “Polutona”, i.e. I can now list some, but not many. And very often these projects encounter difficulties when they say “why are you noticing some stray authors when you should support your own, so to speak, from this particular city.” While, in fact, and this is the most important thing, the scale of this work goes far beyond the boundaries of the place where it is being done. I now propose to gradually move away from discussions about the project and move on to the user questions that came to us. “It’s no secret that many, if not all, creative people take alcohol and drugs, often uncontrollably. In this aspect, artists differ in some way from ordinary alcoholics and drug addicts, of course, in addition to what they create. Who would like to comment?

Dmitry Kuzmin: You know, I'm afraid that if we start answering questions of this kind now, it will take us very far, very, very far. I would like to ask two participants of our Internet conference who have not yet spoken to say a few words of this general nature. Going beyond the conversation about a specific site, but still remaining within the framework of the problems of Russian literary regional studies, literature and the Internet, and what we should do next, within the framework of this project and other projects, in order to make the space of modern Russian literature more coherent and more open at the same time. I would like to ask to say a few words from Anton Ochirov, a poet and artist who is participating in the Krasnoyarsk Book Culture Fair with several projects, who has just released his first book of poetry as part of the Debut publishing program.

Anton Ochirov: I would like to say a few general words about the project “New Literary Map of Russia”. I, as a reader, mainly use it as a catalog - it is a catalog of authors who write in Russian in various regions of Russia and the world. Unfortunately, many regions of Russia are represented on this map as white spots. I don't know what's going on there, and it's very interesting to me. I would like this catalog and archive of what is happening in the regions of Russia to be constantly updated. We live in the post-Soviet space, and the previous structures, within which there were force fields of tension - let's remember what we had before, there was a Writers' Union and there was unofficial literature, which since the 50s has remained unknown to the general public. Now we are faced with a situation where, as such a wonderful poet Mikhail Aizenberg often says, that, for example, modern poetry since the 50s of the last century for most Russian-speaking readers is a blank slate. We know, for example, Yevtushenko, Voznesensky, and several other authors - but a huge array of uncensored, unofficial literature is simply unknown. And here there is another point that, in addition to the catalogue, the archive of authors, what is most interesting to me, as a reader, is the literary map as some kind of power lines of tension in the process. There is a certain literary process going on, the authors write, and they are concerned about some artistic or personal processes and problems, and all this is called “modern literature” - and it seems to me that it is very important to navigate this, what issues interests the authors, what questions they worry. After all, from this we can understand the space that surrounds us - after all, these are modern authors living here and now, in the same place where we all live, and by understanding the processes that take place in the Russian-language literary space, we can simply understand many things about the world in which we live. These are global questions - who we are, where we come from, where we are going. And by and large, I’m interested, in general, in the future of what’s happening to all of us here. Opportunity to know more...

Anton Ochirov: I am not satisfied with the current situation when regions are divided, relatively speaking, into cultural capitals and provinces. This is an absolutely vicious model of thinking, which creates a very strong information gap between Moscow, St. Petersburg and the regions. And I would like the processes that take place in literature to be general processes for the space in which we find ourselves. Otherwise, this will lead to isolationism, when people live in their city, but they do not know what is outside of it.

Question from a visitor: It is impossible to sell a poetry book in Russia. Is it possible to talk about a complete decline in interest in the poetic word in Russia if it is not interesting to at least 10 thousand Russians? And if more than 10 thousand people are interested in it, then why is the circulation of such projects no more than 1-2 thousand? Is it with sponsors' money or your own?

Anton Ochirov: Regarding interest in poetry, we can say that on the same website Stikhi.ru there are about 200,000 registered users, or even more.

So does it make sense to publish poetry books?

Anton Ochirov: It's hard to say. This is a big question actually. Who reads poetry in society, who is it in demand, why, what do people look for in it. These requests can vary greatly. Actually, yes, that's true.

Stanislav Lvovsky: answering the second part of the question about circulation. You see, this is largely a matter of the missing system of normal book distribution. It is possible to sell 10 thousand copies of books in our country. If only it were possible to bring these books to buyers. In the conditions of how Russian post functions, when people endlessly lose parcels. And in conditions of the high cost of private postal services, in conditions when the book distribution network in the regions is practically monopolized, and we do not know what will happen to this monopoly now. We just don't see the real picture. How many people buy poetry books? They just don't make it into stores.
Anton Ochirov: This applies not only to the sphere of poetry books.
Stanislav Lvovsky: We attribute this to the fact that stores need to cover the most widespread needs. When this process is completed, work will begin with some small needs of the urban class, who want to listen to music and read poetry. So far, most places have not reached this point. Therefore the picture is distorted. This is not to say that people are not interested. We don't know if they are interested or not. We do not have such an indicator through which we could look at this. The market could be such an indicator. But this is not a market situation. You can go to one site, another site and get lost in an endless amount of writing. The question is: How to distinguish a writer from a graphomaniac, or such types that smoothly flow into each other?

Stanislav Lvovsky: I just don’t know what a graphomaniac is, to be honest. I know that there are people who write good poetry, and there are people who write bad poetry. How do I differentiate them? I could probably explain this somehow; there is my purely individual way of distinguishing. Is there a universal way to distinguish between these characters, i.e. I don’t know a good writer and graphomaniac, to be honest. There are, of course, some universal ways, for sure. More or less the concept can be imagined. But I don’t have such a purely individual method. It seems to me that these are such intersecting phenomena. And they intersect exactly in the part where some systems of formal criteria do not work, people do not have systems of formal criteria, this is such an unsteady thing, an unsteady part of space.

Will you comment too?

Dmitry Kuznetsov: In our project, we proceed from the fact that there is a mechanism for expert assessment. We understand that all issues are resolved either by voting, or by expert assessment, or for money. When this is decided for money, then we know how collections are published at the expense of the authors; if the authors have money, it doesn’t mean anything.

When the matter is decided by voting, the main poet turns out to be, relatively speaking, Ilya Reznikov, who writes texts for Alla Pugacheva, we also understand how this mechanism works. Thus, we quickly come to the understanding that there is nothing left for us except expert assessment. The next question is “who are the experts, and who appointed these experts, and who says that these people are experts, and these people are not.” This question is much more complex, but in essence it boils down to the fact that there is a certain circular shell of an expert who, one way or another, in one form or another recognizes each other as the right of this expert. They can acknowledge them explicitly. And they, these same experts, can perform an act of recognition in an indirect manner. When experts say the opposite and enter into controversy - “we don’t recognize that such and such a journal is right”, “we don’t recognize the expertise of such and such”, and “they are all saying things wrong” - this is also an act of mutual recognition, because they consider it an important place for them to challenge their position. While the position that they do not consider necessary to either support or challenge, it seems to not exist in the expert space, it simply does not exist. Accordingly, the project New Literary Map of Russia is based, in a well-known way, on this expert community ranging from the magazine “ New world" to the Debut Prize, from the publishing house "New Literary Review" to the publishing house, for example, "Kustinsky Fund". This range is quite wide, but not endless, i.e. outside it is a fairly large, voluminous part of written production. Is it true that they say that literature is divided into “camps” and “clans” and that authors don’t really like each other? question about the expert community.

Stanislav Lvovsky: as soon as they didn’t kill each other completely!

Dmitry Kuzmin: for example, Dmitry Bykov and I have not said hello for many years, due to various, rich circumstances of our literary policy with him within the publishing houses. But that didn’t stop me from posting it on the front page of our website. Because he is a great and famous writer. And the fact that they didn’t say hello, so what now? These things are not directly related. The enmity is personal, there is a fundamental ideological one, and there is the fact of recognizing the existence of a colleague as a significant value. It's not the same thing. Question from the audience: I’m listening and I think that everyone present in the hall quite clearly understands the need and importance of this site. However, I would like to get some clarification on the previous question. Well, Anton Ochirov said that he uses the site as a catalogue.

Anton Ochirov: Well, like an archive, yes. As reference materials.

But you yourself clearly admit that the archive in this case is not complete.

Anton Ochirov: More than not full.

More than not full. Sometimes interesting guys are left behind. This happens due to various circumstances - financial, health, remoteness - not all villages, after all, are equipped with the Internet. And in connection with this, the question is - have you tried to rely in your activities on already existing structures, for example, the Writers' Union?

Dmitry Kuzmin: We did not try to rely on the Writers' Union, because we do not consider the Writers' Union as a creative organization. We consider them as purely nomenklatura formations that have existed by inertia since Soviet times. Even in Soviet times they were not creative organizations, because the vast majority of important writers worked outside this official structure.

Stanislav Lvovsky: They were essentially trade unions, guilds. Dmitry Kuzmin: Yes, guilds are more like ideological workers, of a certain, so to speak, design. And although today there is no longer either the ideology or the conditions that gave birth to these structures, but since within themselves these structures have a significant degree of continuity, and their current composition is determined by the recommendations of those people who were in them yesterday and the day before yesterday, then Collectively, we consider these structures as not directly related to the literature. Of course, a significant part of the authors presented in one way or another on the site were probably members of some such structures at one time or another. Frankly, we were not at all interested in this. This is exactly the same as if we were interested in which political parties they belong to. Then an additional question - there are a certain number of literary magazines. There are editorial boards of magazines. Most of all, there are now magazines that do what they do - post their products on the Internet and have their own websites. Did you do this coverage at least in magazines, which in principle could help you, because there are people who already work there?

Dmitry Kuzmin: It's closer, it's closer. Because a magazine is a thing that you can touch. You can reveal it, on paper or on the Internet, understand what the level is, look at the composition of the main names - who edits, who is often published. In general, this is a thing that can be dealt with. And we work with magazines in one form or another. Sometimes more directly, as, for example, in Saratov we directly interact with the Volga magazine to fill the Saratov section and surrounding regions. In some cases, this happens more indirectly, when we look at journal websites and get some kind of general picture of the presence or absence of expert recognition for a particular author. But taking these estimates in ready-made form is still a risky thing. We understand well, even from magazines that are published in different regions of Russia, that in some cases we see a centrifugal tendency, in others a centripetal one. In some cases we see a desire to find authors of decent caliber here and elsewhere, and to present some new perspective on Russian literature, but in other cases a desire to serve the local writing community. Who even reads thick magazines these days?

Stanislav Lvovsky: Due to the crisis in the distribution of printed materials, magazines today are read in online versions, and then they lose the context factor, because people come to specific authors and skip the rest.

Dmitry Kuzmin: The number of visits to the main page of the magazine room is vanishingly small compared to the number of visits from search engines. This means that people do not come to read the magazine, but come based on the results of a search for a specific text. A situation arises when the journal's recommendation factor weakens. What does a classic magazine look like? In one issue there are famous authors and unknown ones, and it is assumed that because of the famous authors the reader buys or subscribes to it, and at the same time reads the unknown authors. The moment this mechanism stops working, we again find ourselves in a situation where we need recommendation mechanisms. And the story with the litcard website is an attempt to re-ask the question of how we can build a system that will simultaneously have both information and recommendation potential. Anton, would you like to add?

Anton Ochirov: I would just say a little on this topic, I’m interested in the following question, on this site not only Russia is indicated, but also the whole world is indicated, and it makes sense to talk not so much about Russian literature, but about Russian-language literature . Because the Russian Federation includes a sufficient number of national republics, and this is a rather interesting question of national literature. The situation is such that many people writing in these republics are bilingual, i.e. speak two or three languages. And the question of national literature is very interesting. For example, the famous Russian-speaking poet Sergei Zavyalov, who now lives in Finland, defines himself as a Mordvin. Now at the moment we know the Russian-language literature of the Baltic countries (Estonia, Latvia, Lithuania), processes are also taking place there, it is very interesting. We know Russian-language literature, for example, from Israel; many Russian-language authors live in America. They were all scattered around the world. And I wanted this new literary map of Russia to become a map of the space of literature written in Russian or national literature as part of a common space.

Dmitry Kuzmin: Actually, authors who write in Russian outside of Russia are represented on the site quite decently, but the second part of what Anton is talking about is big problem, which we don’t understand how to work with. Russian authors who do not write in Russian are authors who write in Russia, but in the languages of the peoples of Russia, it is difficult to say what to do with them. The problem is that we are not able to conduct an independent examination of this literature, because within each national literature the number of institutions working with this literature is very small. There are no cross assessments. And no one can appreciate it from the outside. We have a number of unsuccessful precedents in this sense, for example, the two-volume anthology “Modern Poetry of the Peoples of Russia” compiled by Leonid Vishnyakov, which in part is Russian-language, but one can argue with it, but it is professional, sane, and there is some approach there, one can agree or not , but this is skilled work. But there are also translations there that cause great bewilderment, but when you read it, you understand that he has no other material, that’s what they sent him. Sergei Zavyalov wrote that, unfortunately, this literature for the most part has not yet developed within itself these mechanisms that allow them to enter into an equal dialogue with the world cultural space. There are some one-time exceptions and some specific names with which there is no problem, but in general this is a problem for tomorrow. Our conference time is coming to an end. A few last questions: can a poet earn a living from his work? Who can answer?

Dmitry Kuzmin: here is the Krasnoyarsk Fair newspaper, where Sergei Markovich Gadlevsky, one of the modern Russian poets, honestly answers in his interview, he came here and will perform today. And so he answers: no! They don’t make money from poetry, my friends don’t make money.

Dmitry Kuzmin: But this does not mean that a person whose professional business is literature cannot make a living by speaking. These will be some related specialties - teaching, journalism, something else. This is not always found, and therefore many refuse and earn money in some other areas.

What do you think about street poetry and rap?

Dmitry Kuzmin: I can’t say that I know many representatives, but in general it’s all great, some kind of living history, let it be.

Stanislav Lvovsky: This difficult question. This is some kind of active environment, something is happening in it.
Dmitry Kuzmin: You see what a thing - this situation is still, to some extent, exported from the West. Slam, the so-called battles of poets, rap. But we must understand that in the West this phenomenon arose in response to a phenomenon that we did not have. It arose in response to the phenomenon of academic poetry, to a situation in which poetry chooses the university as its main place of residence. And there this complex, innovative literature is studied, taught, students study it theoretically, practically, and all this takes on such a truly academic character. And as a protest against this, this desire arose to drag poetry onto the stage, to make a show out of it.
Stanislav Lvovsky: You know, this was a bit of a simplification, because the question was about something else, about this subculture of rap readers, in which there is an attempt to transfer it to domestic soil. How successful this attempt will be, in my opinion, is still too early to judge. Because for now we either have such very popular samples, with which it is not very clear what to do, or a completely commercialized product. This middle ground, which would combine some kind of cultural interest and would be somehow alive in the social sense, we don’t have it yet. Let's give this another ten years to see how it all develops.
Anton Ochirov: However, there are some examples.
Stanislav Lvovsky: Yes, of course, I can name some names, but I don’t want to do this, because it’s too early to talk about it. Slams are a completely different story.

Dmitry Kuzmin: I would like you not to invent a third way to sovereign democracy. So that we first get to universities, as expected - because the union of innovative literature and higher education is the most organic.
Stanislav Lvovsky: You are asked about rap poetry, and not about the union of innovative literature with higher education.
Dmitry Kuzmin: From my point of view, this should follow after this. What is better for a beginning author - to receive an award and be published in a couple of magazines, or to contact a publisher and publish a book?

Anton Ochirov: One of the first laureates of the Debut Prize, I will not mention her last name, once wrote the couplet “Debut Prize, abortion, trial.” What I mean is that for a novice author who is interested in poetry, it is more important for him to get acquainted with the situation, get information, and read. This is more important. Prize moments structure the process, they bring many authors into the field of the expert community, and so on. But an aspiring author needs to study literature.

Dmitry Kuzmin: Early recognition is often not helpful, but lack of recognition is also not helpful.
Andrey Cherkasov: And our Virtual Studio is, to some extent, an attempt to solve this problem. Thank you very much for participating in the conference! I hope we will have the opportunity to continue this communication. Conference participants: Thank you.

Text and photo: information and analytical magazine “University Book”

On the opening day of the X St. Petersburg Book Salon - 2015, within the framework of the conference “Russian Book Industry in 2014–2015: Results and Development Prospects,” the main results of the first stage of the “Literary Map of Russia” project were presented.

Let us recall that the study was announced by the Federal Agency for Press and Mass Communications more than a year ago, and its task was to be a large-scale analysis of the current state of the book industry and the main channels for distributing book products, monitoring the provision of the Russian population with book objects, analyzing reader preferences and compiling an integral index development of regional reading infrastructure. Participants and implementers of the project were RKS, RBA, and the Book Industry magazine in partnership with the Russian strategic consultant Strategy Partners Group.

Of course, as is usually the case, in the process of researching and ranking regions in the professional community, doubts have repeatedly arisen regarding the correctness of the evaluation criteria, the boundaries of the index (the study is limited only to the distribution, promotion and delivery of books), and the elements of the book reading infrastructure. However, it should be noted that this project was the first attempt to systematically analyze the state of the industry and the statistics of bookstores in Russia.

The results of the study and prospects for its development were presented by Oleg Novikov, vice-president of RKS, general director of Eksmo - AST.

The final index was formed from indicators characterizing the state of four key elements reading infrastructure: promotion of books and informing the public about them, libraries, traditional distribution, online distribution and delivery. In total, the index includes 31 indicators (Fig. 1). At the same time, neither the number of publishing houses in the regions, nor periodicals and related infrastructure, nor libraries of educational institutions are taken into account.

According to the developers, the activity of publishing houses, bookstores and exhibitions and fairs plays a major role in promoting and informing potential readers about new books published. Events of publishing houses, bookstores, specialized exhibitions and fairs received more weight in the rating due to direct contact with the target consumer, stimulating impulse purchases and book reading. The importance of social advertising and literary media is recognized as equal and less significant, since their impact on reading behavior is weaker, and the effect is usually delayed.

The level of condition of libraries was assessed by their accessibility (primarily territorial) and the quality of collections (volume and frequency of their updating). The possibility of user access to external resources was separately assessed, which reflects the new role of libraries as information and educational centers.

Traditional distribution was assessed by the main sales channels of paper books, the weights of which reflect the actual distribution of sales volumes. Thus, according to experts, the turnover of printed books in bookstores is approximately 35 billion.
rubles, in department stores - about 6 billion rubles, in kiosks - 3 billion rubles. In terms of copies, the sales volume of books in bookstores is 213 million, in department stores - 48 million, in kiosks - 18 million. Accordingly, the weight of specialized book retail in the final ranking was 80%, universal retail - 15%, kiosks - 5%. The number of bookstores in Russian regions is illustrated in Fig. 2.

As the analysis of Fig. 3, residents of the North Caucasus Federal District are least provided with bookstores, in which there is one store for 175 thousand people, the Southern Federal District (one store for 82,150 residents), the Ural Federal District (one store for 81 thousand people) and, no matter how paradoxically, the Central Federal District (one store for 93 thousand residents, excluding Moscow).

Online distribution estimates included the proportion of the Internet population using electronic devices for reading and postal delivery characteristics in various regions. At the same time, Internet coverage received the greatest weight as a necessary condition for the distribution of both paper and electronic books sold by online stores.

An analysis of all the information collected during the implementation of the project made it possible to identify five categories of Russian regions according to the level of reading infrastructure (Fig. 4, 5). According to the results of the index calculation, it is least developed in the regions of Siberia and the North Caucasus federal districts, in Crimea, Jewish Autonomous Okrug and Primorsky Territory. Almost the entire Asian part of the country is painted on the map in alarming pink and red tones. Things are relatively well
cases in the capitals and a number of regions of the Central, North-Western, Volga Federal District, Krasnodar Territory.

However, even the leading regions lag significantly behind foreign countries that pay attention to reading and specialized infrastructure in terms of the level of development of individual elements of infrastructure for reading (Fig. 6). Thus, the number of bookstores per 1 million people in France, Canada and Sweden is almost twice as much as in St. Petersburg, and five to six times more than in Moscow. In terms of the number of libraries, the cultural and official capitals of Russia are ahead of all countries represented in the ranking. As for library collections, despite comparable volumes, the book holdings of Russian libraries lag behind in relevance.

So, the industry community now has a rough idea of the landscape of reading infrastructure. In the future, the developers plan to clarify information on infrastructure facilities, re-monitor the state of bookstores in Russia and include new indicators in the evaluation criteria, analyze the activity of regions in promoting books and reading, study reading behavior by region in relation to reading activity, preferences
sales channels and book formats. Among the priorities is also the creation of a website for the “Literary Map of Russia” project with the mapping of all infrastructure facilities on the map of the country, the ability to sample data and compile an online rating for each region. The conference also included the presentation of an industry report by Rospechat “The Book Market of Russia. Status, trends and development prospects”, project “Literary Map of Moscow”.