JPRS ID: 9757 USSR REPORT POLITICAL AND SOCIOLOGICAL AFFAIRS

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• Sequence Number: 53
• Content Type: REPORTS

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JI'RS L/9757
! 28 May 1981 -
- USSR Re ort -
p
~ POLITICAL AND SOCIOLOGICAL AF(~AIRS
(FOUO ~ 5/81) _
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~BIS FOREICN BROADCAST INFORM~4TIC~N SERVICE
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JPRS L/9757
28 May 1981
, USSR REPORT
- POLITICAL AND SOCIOLOGICAL AFFAIRS
(FOUO 15/81)
CONTENTS
NATIONAL
International Unity of Soviet Nationalities Highlighted
(V. Sherstobitov; AGITATOR TADZHIKISTANA, Oct 80)
Return of Russian Cultural Valuables to Motherland From Abroad
(Nata~ya Borisovna Volkova Interview; GOLOS RODINY, Apr 81)..... 5
REGIONAL
Achievements, Problems of Teaching Russian in Moldavian Schools
(L. B. Itliomchik; RiiSSIY YAZYK V MOLDAVSKOY SHROLE, Jan-Feb 81) 11
Five Years of ~urkmen Prose Reviewed
(Dzhora Allakov; SOVET EDESIYATI, No 12, 1980) 16
- a - [III - USSR - 35 FOUC]
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- NATIONAL
INT~RNATIONAL UNITY OF SOVIET NATIONALITIES HIGHLIGHTED
Dushanbe AGITATOR TADZHIKISTANA in Russian No 20, Oct 80 pp 10-12
- /Article by Doctor of Historical Sciences V. Sherstobitov: "The Soviet People Are
a New Historical Community of People (Material for Discus~ion)"/
/Text/ In the USSR Constiitution it is written that in our country "on the basis of _
the convergence of all classes and social strata, the legal and actual equality of
all nations and nationalities, their fraternal cooperation a ne~a historical commu-
nity of people--the Soviet people--has formed." This is a phenomenon of world -
historical impurtance, which shows that only socialism ensures the truly enduring -
- unity of the pe~ple of labor regardless of their social and national affiliation.
Capitalism lacks such a prospect. What, indeed, can tihe interclass unity of the _
bourgeoisie and the proletariat be, when the former appropriates everything for it-
self, leaving the latter the "freedom" to vegetate in poverty and the lack of
rights? Bourgeois propaganda is not ashamed to speak af as some whole, for example,
, "the American peop~e" or "the English people." But this is a lie which was exposed
long ago. It was K. Marx and F. Engels who noted that such a''people" is only
"a surrogate of collectivity," in which personal freedom exists c~nly for the repre-
. sentatives of the ruling class. Since this "apparent collectivity" is the unifica-
tion of one class against another, "for the subordinate class it was not only com-
pletely illusory collectivity, but also new fetters." Within the bourgeois na- -
- tions which consist of workers and the bourgeoisie there never was and can be no -
class peace; the antagonistic classes are in a state of economic, political and
ideological struggle between each other. As a result of the unabating social con- =
frontation two nations as if function in each bou.rgeois nation. The intensity of
tne battles in the capitalist countries in our times is razing to the ground the
lofty phrases of imperialist ideologists and propagandists con.~erning a certain
"class harmony" in bourgeois socieCy.
Irreconcilable international contradictions are also an "innate'' property of capi-
~ talism. Colonialism, national discrimination, racism, apartheid--this is what
characterizes national relations under the condittons of the capitalist system. _
The recent bloody events in the city of Miami (Florida) clearly demonstrated how -
~ epheuieral the "unity" of the same American society is (as well as of any other so-
ciety wtiich is based on the exploitation of man by man). "Racism and poverty are
the forces of the volcanic social eruption in Miami," it was stated in the state- -
ment which was made by Gus Hall and Angela Davis, the candidates of the American
communists in the 1980 presidential election. The desperate situation of the
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inhabitants of the ghettos of Miami is attested if only by the following facts.
Eler.e 38 percent of the black population lives below the official poverty level.
The "level of unemployment among blacks is 17 percent, Panile among black young
people it is twice as high. Unemployment, destitution, national and racial inequal-
ity led to the mass demonstration of the blacks of Miami.
It-. is clear that under the conditions of social and national racial antagonism,
which is characteristic of imperialism, a sociopolitical, interethnic and interna-
- tional community of people, which is similar to the one which has formed in the
Soviet Union, cannot emerge. The founders of scientific communism saw the or:ly
possibility of. creating such a"genuine collectivity" o� all the members of soci-
ety in the gaining of political pow2r by the proletariat and the building of so-
_ cialism.
The histarical experience of mankind has demonstrated the correctness of this as-
sumption. The honor of becoming the homeland of the "genuine collectivity" of the
- workers of different nationalities, who were united ty relations of friendship and
cooper.ation, befel'1 our country, the first socialist state in the world. The Sovi-
et people are also the first free union of free workers in the world, the first
socialist collectivity of people. The people of the socialist era are a new social
class community which ur~ites by inseparable bonds the friendly socialist classes--
the working class and the peasantry, as well as the socialist intelligentsia. The
_ socialist social class community of workers is at the same tiine alao an interna-
- tional community, for it embo"dies the brotherhood~and indissoluble friendship of
all the nations and nationalities, which have been transformed on a socialist basis.
The formation of the new historical community in the USSR and its transformation
into a mighty factor of contemporary social life are a complicated, multifaceted
and lengthy process. It is inseparably connected with the building and development
of socialism and the most profound changes in the life of Soviet society, in the
ideology and moraZ character of the people and in national relations.
- In the process of the formai:ion of the Soviet people as a new historical community
the eradication of the private ownership of the tools and means of production,
_ which separates people, and the elimination of exploiting classes were of the great-
est importance. Socialism in the shortest possible time put an end to the multi-
- plicity of modes of production in the economy and created a unified socialist eco-
nomic system, which is based on the socialist ~wnership of the means of production.
Most proFound changes occurred in the social structure of the population. Whereas
in 1913 workers and employees accounted for 17 percent of the population, individ-
ual peasant farmers and handicraf.tsmen mt united in cooperatives--66.7 percent, the
bourgeoisie, landowners, merchants and kulaks--16.3 percent, in 1978 in the composi-
tion of the USSR population workers and employees made up 84.9 percent and the kol-
khoz peasantry an~l handicraftsmen united in cooperatives made up 15.1 percent.
The new historical community in the USSR embodies the triumph of free labor. Labor,
which is freed from the private-ownership law of the appropriation of its results by
the parasitic classes, reveals all its properties which are common to mankind, in-
cluding the properties to unite and rally the workers.
The socialist state, which initially acts as the state of the dictatorship of the
prol.etariat, and then (at the stage of the formation of the mature socialist soci-
ety) develops into a national state, nlayed and is playing an active role in the
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social class and international unification of the people. The socialist state sys-
tem ensures complete political freedom to the workers, extensive democracy and the
active participation of all members of society in the management of state affairs,
in economic and cultural construction.
An indispensable condition of the formation and development of the Soviet people as
a new tiistorical community waj the formation of its socialist spiritual character,
Marxist-Leninist world outlook and socialist idEOlogy. Under the conditions of so-
' cialism on the ideological basis of Marxism-Leninism a new, socialist culture was
created, new, socialist spiritual principles, which bound all the Soviet people by
the bonds of lasting unity, were confirmed.
The Soviet people are united and at the same time multinational. The consistent
implementation of the Leninist national policy ensured the elimination of actual
inequality of the peoples, the formation of new socialist nations and nationalities,
their unification in a single multinational state--the USSR, the forma.tion of the
truly international brotherhood of people. The flourishing of the nations is lead-
ing to their convergence, while their convergence, which is multiplying the common
material and spiritual wealth, is creating the basis for the further economic and
sociocultural progress of. the peoples. All that is progressive and positive from
the achievements of each nation is being accumulated in the Soviet international
community, and on this basis the international traits of the community as a whole
and its progressive traditions are being formed. In the international socialist
communxty, which combines the national and the international, the primacy of the
- national general over the national peculiar is ensured. The national state forms,
in whicr. the development of the nations is accomplished, make it possible to com-
_ bine correctly the national interests and the interests of all the people and stim-
ulate both the flourishing of nations and comprehensive contacts between them,
their converge:?ce.
The gradual democratization of the socialist system is a great force of the inter-
nat~.onal unity of the Soviet people. Soviet democracy expresses the genuine
- freedom and civic responsibility of the Soviet people in all areas of their activ-
ity. Soviet democratism is embodied in the creative labor of our people, in their
inexhaustible political and productian activity, in their complete support of the
Leninist domestic and foreign policy of the Communist Party. Unlike bourgeois
- democracy, which tramples national freedoms, socialist democracy guarantees the
peoples equal rights aiid opportunities, ensures the solution of national problems
with ~.1lowance niade for the fundamental interests of the workers of all nation~li-
ries. Their fraternal solidarity, friendship and steady convergence are ensured
hy tlie international nature of the socialist system and its genuine democratic
essence.
The multinational Soviet people are characterized by a high degree of ideological
sotidarity and moral and political unity. The steady increase of the culture and
- education of the Soviet people and their most extensive familiarization with spir-
, itual. wealth--all this exi~resses the process of the formation of the comprehensive-
ly developed individual, the further cultural ideological and spiritual consolida-
tion of the Soviet people. Although socialism also affirmed the common traits in
the mor.al, political and spiritual character of the Soviet people, it did not and
does not rule out the existence of national peculiarities, which will be preserved
as long as the nations themselves exist. "In speaking about the new historical
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community of people," L. I. Brezhnev notes, "we do not at all mean that in our coun-
try the national differences are already disappearing or, mareover, thp merging of
nations has occurred. All the nations and nationalities inhabiting the Soviet
Union are preserving their pe~~uliarities, traits of national character, language, ~
their best traditions. Ttiey have every opportunity to achieve the even greater
flourishing of their national culture." This is a worthy response to the bourgeois
falsifiers, who are attempting, contrary to the facts, to pass off the sociopolit-
~ ical and international community of the Soviet people as a certain "Soviet nation"
which ostensioly "absorbed" the former nations and nationalities and "deprived" -
~ them of "a specific national nature and uniqueness." In reality the new historical
community is not replacing and not abolishing the nations, but personifies the
international general, which was and is being developed in the process of the
flourishing of the national, the complete and free revelation of the creative po-
tential of all the fraternal peoples.
The patriotic and international education of the masses is playing an important
role in the further conso?idation of the Soviet people as a community. The impor-
tance of the cultivation among all the Soviet people of a sense of pride in the '
socialist fath.erland, of the indissoluable fraternal friendship of the peoples of ,
the USSR, respect for national dignity and riational culture and intolerance toward
any displays of nationalism is emphasized in the decree of the CPSU Central Commit-
tee "On the Further Improvement of Ideological and Political Educational Work."
The working class, which under the conditions of socialism fully reveals its human- -
istic and international qualities, is the leading social force of the formation and
development of the new historical community--the Soviet people. The Communist Party
f~?nc~ioned and is functioning as the organizer and leader of the process of the
creai:ion and consolidation of such a monolithic community of people as the Soviet
_ people. Al1 its activity is aimed at the assurance of the social class and inter-
national unity of the working people and their rallying for rhe struggle to realize
the ideals of communism.
COPYxIGHT: "Agitator Tadzhikistana", 1980
7807
CSO: 1800/389
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NATIONAL
RETURN OF RUSSIAN CULTURAL VALUABLES TO MOTHERLAND FRbM ABROAD
rioscow GOLOS RODINY iri Russian No 15 (2263) , Apr p 6
[Interview with Natalya Borisovna Volkova, director of the USSR Central State
Archi.ves of Literature and Art, and Vladimir Bronislavovich Sosinskiy, who lived
abroad for ma.ny years, by GOLOS RODINY special correspondent Galina Yevdokimova:
"To Keep Them Safe in Order To Return Them to the Millions"; inter~riew held in
- GOLOS RODYNY editorial offices, date not given]
[Text] By tradition we start our conversation by the samovar with
a letter. And we shall observe this tradition today. An article
entitled "The Story of a Meeting" was published in our newspaper.
Its author was the Muscovite ~ournalist Yuriy Fedinskiy, who
talked about the Turgenyev Library in Paris, its past and present
and its links with the motherland. Comments on this article be-
gan to arrive at the editorial office. They were most varied.
Let us look at just one of them: "....In the article you pub-~
lished the desire was expressed to gather together and return
to the motherland what rightly belongs to it. What does this
mean 'return'? The Turgenyev Libxary has never existed inside
the country ti.e. the Soviet country--GOLOS RODINY editor),
all its value lies precisely in the fact that it is in France,
just as the Gogol Library is in Rome. Inside the country (i.e.
' the Soviet country--GOLOS RODINY editor) its value is insignifi-
cant; there are other libraries there and the selection is richer
and better....
Sincerely,
- The Board of the Turgenyev Library, Paris."
And so, the question is posed: where do cultural treasures
bring the greater benefit, in the motherland or abroad in the
countries where our compatriots live?
Volkova: Before answering this question it is necessary to establish the difference
between a library and cultural treasures of a unique character. There may be many
copies of a book; however, manuscripts, letters from well-ka~own people, diaries,
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memoires, works of representational art and, finally, a~book with an author's -
dedication are all on e-of-a-kind, unique documents. These are the documentary monu-
ments of culture. They should be returned to the motherland since we are obligated _
to safeguard them. Safeguard them for history, for ~cience, for culture. _
,
Sosinskiy: Documents of Russian culture have always attracted the attention of
foreign scientists and the art connoisseurs and finally those who simply are able
to turn a profit even in a business such as the cultural property of a people. � -
Volkova: You, Vladimir Bronislavovich, have touched on a very importa:~t question:
that of culture and business. We must certainly deal with this. But meanwhile, I
return to the start of our conversation: books and libraries, in particular the
Turgenyev Library....Where is it needed more--in the motherland or in the countries
- in which our compatriots live? It seems as if we should agree with the writers of
- the letter from Paris: for the Russian person living abroad they are indeed so
essential.
- Correspondent: This is precisely what Viktor Aleksandrovich Yalchontov thought when,
. returning to the motherland, he left his friends in New York the library he had
gathered together throughout his entire life. And it is relevant that one ~f the
tasks of the "Motherland" Society is to supply Russian public libraries in Hel~inki,
- Brisbane, Brussels and other foreign cities. Our Societx is constantly sending
there the works of Russian and Soviet literature.
Vo~kova: In other words, we have never tried to impoverish or limit the spiritual
needs of the Russians living abroad. On the contrary, we have done everything
possible to nourish them.
Correspondent: Well... and now, what about cultural treasures of a unique character?
Volkova: In any state, attention is given to the safeguarding of its own cultural
property, the cultural treasures belonging to its own country and its own people.
In short, insuring the retention of documentary monuments of culture in a f itting
_ manner can be done only in the motherland. This is the main thing. And there is
_ more. Unique documents should not only be safeguarded, they should also be put to
work:
Correspondent: Precisely. Set to work: During the last decades our country has
done much to return to the motherland its cultural property. The sixties were par-
ticularly fruitful; at that time about 40,000 documents, manuscripts, photographs _
with authors' dedications, artists' canvases, sketches, drawin~s, diaries, theat- F
- rical rough copies and memorabilia were returned to the Soviet Union. Kseniya
Kuprina, Lev Lyubimov, Lev Nikulin, and V.B. Sosinskiy~who is here today~played an
enormous part in this noble matter.... Returni.ng to the USSR from abroad they
brought an enormous quantity of materials on the history of Russian culture.
It is also widely known that as the resu].t of a number of trips to France, I.S.
Zilbershteyn, the Soviet art critic, a fiery propagandist for the return of cultural
treasures to the motherland, made a most enormous contribution to this business
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when he returned from abroad and passed on to the USSR Central State Archives of
Literature and Art [TsGALI] and other repositories in the country about 20,000
= manuscripts, paintings and photographs representing a colossal value.
Volkova: And they have not all just sat in these repositories; they have been put
into circulat ion among the scientists. E~erything brought from abroad has been put
into gaod ord er and information about them has been published in the press, and
reviews about these acquisitions have been published in TsGALI guides. 3'he most
interesting documents have been included in special archive collections called
"Meetings with the Past." Recently, for example, information about Anna Pavlova
and extracts from the "Paris Diary" of a mar!ber of the French resistance, the
- ~ournalist and writer Nikolay Roshchin have been published. Much material has been
= included also in the collections and collected works of I. Bunin and A. Kuprin,
Corresponden t: The noble and laborious work to return cultural treasures to the
motherland is now being carried ~a intensively. We have many friends abroad who
are feeling the need--e~ctly that, the need!--to return to the motherland what be-
- longs to it. The patriot would like to leave behind a good impression.
Sosinskiy: A good memory. To do something good. Many of our compatriots abroad
experience these feelings when they decide to part with someth~ng they hold in-
finitely dear. But they do it on behalf of science, of culture, of history.
Correspondent: Right now we have in front of us a large envelope that we received
from Los Angeles. Nadezhda Ivanovna Khaletska.ya, widow of the Russian flier, has
sent us rare information relaLing to the period of the birth of Russian aviation.
Volkova: I have already familiarized myself with this material. The military his-
torical arch ive will accept Nadezhda Ivanovna's gift with gratitude; the photo-
graphic documents she has sent will help those engaged in studying the histary of
Russian aviat ion.
Correspondent: Natalya Borisovna, how often do you have occasion to meet our com-
patriots living abroad?
Volkova: Quit e often. Both during my own trips abroad and at my home in Moscow
when they come to the motherland. At almost every meeting, these people, our
friends, pass on various valuable material. True, they sometimes ask not to be
named. I und erstand this. All those Russians who emigrated are not all the same.
Some welcome the return of cultural treasures to the motherland; others think
otherwise. Y et othsrs again have different considerations. Just
think of the letter with which we began our conversation today.
Sosinskiy: Nevertheless, Russian people consider it their duty to do a little some-
thing for the motherland, if, of course, they can. For the emigre the cultural
memento is a way of keeping a link with the past. For us, it is a question of
bringing this past to millions.
Let us recall with a good word Anna Aleksandrovna Chf:resov-Benua, the daughter of
the notable painter and great savant of Russian art, A.N. Benua. She lives in
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Paris, in her father's home. When she was seriously i11,Anna Aleksandrovna
categorically refused any suggestion to sell her father's archives--his articles
and memoires.
Correspondent: On 31 August 1957 Alelcsandr Nikolayevich wrote to his Soviet
friends: "They adv ise me to sell my manuscripts and all the archives I have here to
one of the American museums that collects various historical documents; I would
feel Uetter if all this were to be brought together with the material aYready in
the repositories of my own motherland. Much in this mass of mat~ti.al is of real
interest for the history of art in Russia...."
_ Volkova: Anna Aleksandrovna helped to accomplish her father's dream: 160 of
A. Benua's works were sent to the motherland: sketches for the sets and costumes
for a theater production of F. Dostoyevskiy's "The Idiot" presented in Paris in
1925, materials collected by A. Benua for work on his memo ires, notes on art
questions, correspondence with artists and much besides.
_ Correspondent: The colossal value for us of the Benua archive sent by his daughter
can be judged from a book in the "Literary Monuments" series--A. Benua's "My
Memoires" which was recently pubZished and gave us a11 great pleasure.
Sosinskiy: And another name--Nikolay Rerikh. A Russian artist, a scientist, public
figure, a traveller, talented investigator of the culture of the peoples of the
East. He lived for many long years abroad and dreamed of ret~irning his woric to the
motherland. Today it is with pleasure that we can say that his dream has been ful-
filled: The artist's pictures--there are about a hundred:--which were in the
collection of Mrs. Campbell (Connecticut, the United States) were passed over to
the Soviet country and took their rightiful place among the exhibitions of the
_ Soviet museums.
Correspondent: Sometimes the use of returned documents takes on a most unexpected
character.
Volkova: Yes indeed: For example, we managed to obtain from abroad pictures by
Mstislav Dobuzhinskiy, the graphic artist and theatrical art ist who lived in
England and the United States, done for a presentation of "Revizor" produced by
Mikhail Chekov in Paris. The producer G. Tovstonogov of the Leningrad Academic
Drama Theater. found out about them from a piece in OGONYEK. He was captivated by
- them and used them in his own production of "Revizor." We were invited to the
premier and were enthralled not only by the production itself but also by the fact
that the work of Russian masters working dbroad--M. Dobuzh:tnskiy and M. Chekov--
sparkled again anew.
I can--and would 1 ike:--to talk all day about the remarkable people who have given
the motherland materials of true value.
Correspondent: Please do, Natalya Borisovna, we are listening.
Volkova: Well then. What about the Kodryanskiy couple. Veniamin Veniaminovich,
owner of a large pharmaceutical firm, and Natalya Vladimirovna, an authoress. At
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one time N. Kodryanskaya selfJ.essly and generously helped the Russian writer
A. Remizov who was living in France and in dreadful need. Natalya Vlaaimirovna
wrote a book about Remizov to which, as is known, K. Paustovskiy responded warmly.
This Russian Parisienne has done a great deai to safeguard Remizov's archive and
send it to TsGALI, It includes A. Remizov's entire life in Paris, diaries kept by
the writer, and the manuscript of "How To Learn To Write."
I would also like to get in a good word for Nora Yakovlevna Sakhar, our compatriot
- from France, daughter of the well-known jurist. She has sent us mo~t valuable
photographs of S. Bernar, K. Varlamov, V. Davydov, V. Strelskaya, D. Grigorovich,
- V. Makovskiy, I. Repin, F. Shalyapin....
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Sosinskiy: Let me also mention some names with gratitude. A. Yevreinova, who sent
to the motherland the .~rchive of her husband N. Yevreinov, the theatrical figure.
The granddaughter of the great Russian writer Lev Tolstoy, Tatyana Albertini-
Sukhotina, living now in Italy. She donated more than 2,000 manuscripts from th~
- archive of her mother Tatyana Sukhotina, the writer's favorite daughter, to the
, State Lev Tolstoy Museum. They included let'ters from very eminent figures of
Russian culture--I. Bunin, A. Kuprin, M. Tsvetayeva, I. Repin, B. Pasternak, F.
- Shalyapin. The d iary of Tolstoy's daughter, which she kept for half a century
from the age of 14, was of great interest to the researchers. Tatyana Atbertini
- donated a family Yteirloom to the museum--a portrait of the wrj.ter's father.
Correspondent: There are also more complex problems. .And nere we must consider
Sergey Lifar, the ballet master, who lives in Paris and in whose hands are concen-
- trated enorn:ous cu ltural treasures. I. mean primarily the material associated with
the name of the gr eat Pushkin.
Sosinskiy: I know S.M. Lifar. In 1937 on the occasion of the centennial of A.S.
Pushkin's death he organized an exhibition of documents and materials from the
collecticn of the Russian theatrical and artisCic f igure and organizer of the
Paris exhibitions and "Russian seasons," Sergey Dyagilev. It took place in the
largest hall in Paris, the Salle Pleyel. And what was on show? Dozens, hundreds
of the most interesting documents: The poet's letters to Natalya Goncharova
du?-ing the period when he was still betrothed, manuscr ipts. Pushkin's own seal-
ring and the pistol with which the poet was killed. Later, much of what we saw
at the exhibition was sold by Lifar at auction: unique documents we~e scattered
around the world.
Volkov: There was an auction in Monte Car1o in 1975 at which Sergey Lifar's unique
Russian library was sold off. I.S. Zilbershteyn participated. ~ Lifar gave him as
a gift �or the motherland about 20 very valuable books that were not in the stocks
of the Lenin Library. Russian Parisians also acquired several books also to send
to the motherland.
Sos inslciy: But LI.f ar still has much that is of value to us--letters from Pushkin
to Natalya Goncharova and her mother.
Volkova: It is bitter and shameful when unique documents associated with the namas
of Russian celebrit ies bec~me goods in the marketplace. They lie for years as
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_ unrealizable capital, not moving, not working, not being used for historq, science
or culture. ~
Correspondent: Natalya Borisovna, are there stili many cultural treasures abroad
- awaiting the hour of their return to the motherland?
Volkova: Quite a few. The descendants of Polina Viardothave concentrated much
material associated with the life and activities of I.S. Turgenyev. Tt is true
that we have obtained some of them, but only copies. Many documents of I. Bunin,
L. Andreyev and others have not been returnad to the motherland.
- SQSinskiy: The archive of the Russian writer Zinaida Volkonskaya also awaits the
hour of its return to the motherland. It contains most interesti~g correspondence
fr.om the Volkonskiys, letters written by ~3aratynskiy, Vyazemskiy, sketches by
Kirp~anskiy, Ivanov, Bryullov, Bruni, notes by Glinka....
Volkova: The monuments of ~Russian culture should belong to the motherland--that is
_ wt~at our true friends believ~e. And they bring priceless gifts to the motherland.
9642
CSO: 1800/399
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REGIONAL
ACHIEVEMEN'CS, PROBLEMS OF TEACHING RUSSIAN IN MOLDAVIAN SCHOOLS
Kishinev RUSSIY YAZYK V MOLDAVSKOY SHKOLE in Russian No 1, Jan-Feb 81 (signed
to press 19 Feb 81) pp 7-10
[Article by I,. B. Khomchik, inspector in the Moldavian SSR Ministry of Educa-
tion: "There Is a Great Deal of Work To Be Done"]
[Text] A great deal has b~en done in our republic to improve the teaching of
the Russian language in the national schools. Tfie resolutions of tfie all--Union
scientific-theoretical conference held in Tashkent in 1979 under the title
"The Russian Language - The Language of Friendship and Cooperation Among the
Peoples of the USSR," gave new impetus to this activitp by scientists, method-
ologists, teachers, and employees in public education. Specifically, what has
been done in this direction in Moldavia? What steps have been taken during this
time and what problems remain on the agenda?
First of all, we should note that the teaching of Ru~sian has been introduced in
ali preschool institutions. In connection with this programs and manuals have
- been worked out, recommendations for parents developed, and the know-how of the
. best preschool teachers &ummarized and disseminated~
ConsiderabJ_e attention has been devoted to the preparatory and elementary grades.
' New textbooks and manuals have been published for the students, and methodologi-
- cal recommendations have been developed for teachers. After a review of the
Russian language and literature program for grades two-nine, a great deal was
done to improve the quality of textbooks. Many of them are now well estab-
lished and accepted. Intensive work is continuing to set up new educational
complexes for all gr~des. Anthologies of extracurricular reading are being
published to help the teacher and students. Teachers will soon receive the
reference dictionary, "Russkoye Udareniye" [The Russian AccentJ, manuals on de-
veloping the individual speech of students in grades four and five, and other
aids. At the beginning of the present school year teachers received the docu-
ment "Norms for Evaluating the Knowledge and Ski11s of Students in Russian
Language and Literature in the Moldavian Schools." The position of inethodologi-
ca1 specialists has been introduced in the deparments of public education to im-
prove the teaching of Russian. The elementary classes are being divided into
subgroups; at the present time this is being introduced in grades four-eight of
the urban schools. A decision has been made to conduct republic olympiads each
year for students in the higher grades at Moldavian schools.
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Steps have been taken to provide schools with qualified teachers; 99.6 percent
of the Russian language teachers today have fu11 or incomplete higher education.
Work to raise the qualifications of teachers is improving. For example, a school
for advanced study by teachers has been opened at the TGP2 [possiblY Tiraspol'
State Pedagagical Institute imeni T. G. Shevchenko]; teachers who conduct ad-
vanced specialization courses have gone through training at the IUKU [expansion
unknown]; a seminar for methodological specialists of the dspartments of educa-
tion was conducted; two-year courses 1~iave been organized for teacfiers in the
- preparatory classes who will not have Y:o leave their jobs (three lecturers for
each rayon have been trained to conduct these courses); a sec~tion "Russian Speech"
has been included in the curriculum for preschool employees. There was broad ex-
change of know-how at the republic science-practice conference held last May on
_ the questions of teaching Russian language and literature in the Moldavian
schools.
Educational Celevision programs are broadcast regularly for students in the na-
tional schools and a series of radio broadcasts called "We Are Studying the
Russian Language" has been organized for teachers in the elementary grades.
~ A section called "The Language of Peace and Friendship" has been added to radio
broadcasts for school children. A televised olympiad in literature is being
conducted for students of Moldavian schools during this scfiool year.
The republic has also done a great deal to build up the material base for teach- ~
ing the subject. Most schools havP set up Russian language offices. Tlie
teachers have collected excellent illustrative and circulating material in them.
For.ty language laboratories have been set up.
All of this work has certainly helped imprave the study and teaching of Russian
- in the republic.
Tn March 1979 the state of Russian language teaching in Moldavian schools and
the level of student knowledge in a11 cities and rayons of the republic were
studied by a commisGion of the Moldavian SSR Ministry of Education. After this
these questions were discussed at the rollegium. The collegium of the Moldavian
- SSR Ministry of Education took note of the improved scientific-theoretical and
methodological level of teaching of the subject and the growth in its role in
shaping the communist worldview of the students. The best teachers in the re-
public are skillfully implementing the ideological-theoretical and practical
orientation of the new curricula, employ various methods of teaching and rein-
d forcing the new vocabulary and deve~oping coherent speech, organize independent
work by students with due regard for individual characteristics, inspire stu-
dents to think and learn, and use educational materials in an interesting manner
_ for educational purposes.
The students of these teachers master speech skills and habits quite well. They
read smoothly and perceptively and are able to retell what they have read and
answer questions. They carry on discussions on arbitrary topics, can give
- descriptions of literary heroes, and are developing the ability to analyze
literary works.
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The results of the check examinations made in the third, seventh, and eighth
grades in the republic illustrate that the level of student mastery of con-
r,ected oral Russian has risen. The th~rd graders, for example, received a var-
- iation of the assignment wY:ich was given to fourth graders in 1969 (answers to
questions from everyday life). In 1969 42.8 ~ercent of the fourtfi graders re-
ceived gradza of "4" ancl "5" for this work; this year 73.2 percent of the third
graders received these grades. A comparison of the results of tfie check exami-
nations in 1970 and 1979 shows a sig,iificant broadening of the active vocabulary
of present-day eighth graders (by roughly 30-40 percent). The connected state-
ments of the students were outstanding for their content and diversity of syn-
tactical structures.
= The system of teaching Russian language and literature gives an important place,
- of course, to work out of class. Many activities such as evening and morning
- meeti..ngs, assemblies, excursions, debates, Lenin lessons, c1uBs of Russian
language and literature enthusiasts, research work, meetings with veterans of
= war and heroes of labor, and meetings of international friendship clubs held in
~ the Russian language in Moldavian schools help the students master the Russian
language and create a good Russian language environment.
But the examinations revealed major gaps in ~the students' knowledge. The num-
ber of students who could not pass the test for literacy was 8.5 percent of
the third graders in the republic, 16.3 percent of the seventh graders, and
19.8 percent of the eighth graders. In certain schools the figure goes up to
50 and even 75 percent! In the schools of Strashenskiy Ra.yon, for exampl~,
22.5 percent of the seventh graders did not pass the assignment and 40 percent
received grades of "3."
The typical mistakes in the third and fifth grades are omission, substitutfon,
confusion of letters and words, and incorrect case endings (40-48 percent of
the students). More than half of ths eighth graders wrote very short composi-
ticns ("My Biography" and "The Russian Language"). They gave essentially one-
syllable answers tc the suggested questions. Tlie language of, their work was
_ very weak, with little connection between sentences and parts of speech. More
than 40 percent of the students made errors in word agreement and gavernment.
Many of them were unable to perform syntactic, morphological, and phonetic
anal~sis of word composition.
The cause of *_hese shortcomings is inadequate work on oral language and sound-
~ ~etter analysis and the inability of teachers to organize speech practice, en-
largeni~nt and reinforcement of the vocabulary, and development of connected
speecn by students in general.
The teachers in the elementary grades, while working more consistently to in-
still practical and speech habits and enlarge the vocabulary, at the same
time work without system or direction on elements of grammar and the develop-
ment of writing skills and habits. In many cases grammatical exercises are
_ done formalistically url.thout any connection ~o the vocabulary being studied or
any reliance on knowledge of the native language. The classes of certain
teachers in the fou;:th-eighth grades are not directed to shaping practical
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skills and habits and enlarging the vocabularv of the students. They use too much
grammar with only slight attention given to spoken exercises and creative (espe- -
cially written) work to compile connected texts that include the grammatical and
literary mater{al under study.
As a result, children in the elementary grades usually have the best mastery of the
compulsory minimum vocabulary and models of sentences and connectEd statements con-
forming to the requirements of the c~urriculum, whereas older students often have
not even mastared the vocabulary required by the curriculum, so thep do not becom~
- actively invo3.ved in free conv~ersation daring the c.tass. E.lementary teacfiers and
teachers of the fourth-eighth grades do not articulate their teaching methods or
use useful work know-how that is available in the different elem~nts. Classes in
reading literature devote little attention to the expressiveness of tfie work, the _
development of individual speech by the students, and the ability to break the
text down into complete meaningful parts, to outline what has been read, and to
identify the main, most important thing, the connection between the material un-
der s!:udy and surrounding activities.
The principal shortcoming in the teaching of literature, we believe, is the ab-
sence of careful, thoughtful work with the text. This diminishes the emotional
and esthetic impact of the literature and lessens its influence in shaping the
cultural makeup of the young people. Lit.tle is being done to develop the cre-
- ative imagination of older students and their abilitq to describe a literary
hero, express their own attitude toward his actions~, and evaluate tl~e artistic
- skill of the writer. Interdisciplinary ties urith history, social science, music, ~
painting, and other subjects are not identified during the analysis of works of
, literature.
A check of subscribers at certain libraries showed that the students read very
little in Russian. Many teachers do not direct the outside r~ading of their
students.
Work out of class is poorly organized at some schools. There are no days and
weeks devoted ro the Russian language and no special classes in the subject.
Study circles work only sporadically. The lack of a linguistic enviror?ment at
' such schools makes its mark on the level of mastery of Russian by the students.
Work using the Russian language offices is ineffective: 70 percent of the
classes we visited were conducted without graphic aids and 98 percent used no
technical equipment.
~ A major cause of these shortcomings is poor preparation by certain teachers for
classes. They do not take conscientious attitude toward tfieir duties and do
not work steadily and systematically to improve the class as the basic form of
the educational process.
Superf icial lesson plans and failure to think through the purposes and structure
- of the lesson and its methodology lead to ineffective use of the educational
process and school time. In Teleneshtskiy Rayon, for example, only 30 percent
of the classes we visited were conducted on a proper level, while in
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- Kriulyanskiy and Strashenski.y rayons 67 percent of the lessons were mediocre or
poor. In Novoanenskiy the figure was about 78 percent.
The infatuation with simplistic working methods on the part of most teachers
and ehe lack of ~lanning and a system for questioning students and evaluating
their knowledge when giving grades for a clase has a negative impact on the
effectiveness of the lesson.
All these things illustrate that by no means are all Russian language teachsrs
trying to develop thorough knowledge in every student and use the means of
Russian language and literature to insure uniformity in ideological-political,
moral, and labor indoctrination and form a communist worldview, social ac-
tivism. and readiness to work for the ~ood of our native land.
` The challenges whict� face teachers demand constant self-improvement, a rise in
their scientific-theoretical level, tfiorough mastery of the all-victorious
doctrine of Marxism-Leninism, broad use of the advances of pedagogical ~ci-
~ ence, psyc'nology, and specific methodologies, and practical Introduction of
progressive know-how in the work of every teacher. This will ultimately help
insure that the educational proce~s is organized so that all graduates of th~ _
national schools who receive a certificate of secondary education will be flu- _
ent the Russian languats.
COPYRIGHT: "Russkiy yazyk v moldavskoy shkole", 1981, No 1
- 11,176
- CSO: 1800/403
15
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REGIONAL
FIVE YEARS OF TURKMEN PROSE R~VIEf~IED
~ AshkhaUad SOVET ED~BIYATI in Turlanen No 12, 1980 pp 98-10$
[Article by Dzhora Allakov: "Five Years of Our Prose"]
[Text] The SovieC people are launching on a great political and work advance. �
The announcement of the forthcoming holding of the 26th CPSU Congress has filled
Soviet hearts with pride and gladness. Every Soviet citizen i~ now eagerly straining
to greet the congkeof the~resultsVOf thetYii.storicetasks whichewere�settbeforeaus -
time we take stoc
by the last party congress.
_ The 5 years which have passed since the 25th Congress of our beloved party were
years of historic victories in the development of the people's economy. During .
this period the workers of. our sunny republic achieved very great successes in
economic, scientific and cultural development. Everv year a richer harvest of our
"white gold" has been gathered and the V.I. Lenin Karakum Cana~ strides con�idently
towards the ancient Caspian. Our republic's gas and oil wor?cers have opened
inexhaustible treasures of underground wealth. From the Hsry hydroe~ectric statzon
the brilliance of elsseslinlthetadvanceme trofgsciencthanduknowledgeraresbeyondr
republic. Our succe
counting. -
The period between our party's two congresses has also been for Turkmen Soviet
literature one of impetuous development. The historic resolutions of the 25th
CPSU Congress, and thelreBTezhnevsat~thatycongress,shavecserved asdaSprogrammeviet
Praesidium Chairman L.
document for Turkmen writers.
The tasks before Soviet literature were clearly defined in Comrade Brezhnev's
report to the 25th CPSU Congress. He indicated the particular basic themes and
tasks of our literature in the following wo~ds: "We can today say that the approach
of the 24th CPSU Congress to questions of literature and art has been fully
justified. The further strengthening of the work of the creative intelligentsia _
- has been a feature of the past years. They are making an~increasingly solid
contribution to the general party and general national work of creating a coffinunist
society.
"The impetuous advance, of course, has been shown in new works of socialist _
realism which have been created in our country in rscent years. Increasingly
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frequently in these works resounds the basic theme of those fundamental aspects
_ of our. life whir.h are integral to the personal destiny of Soviet people.
' "For e:tample, take 'the theme of production': formerly, it was a theme that was
- rreated without any conviction. This theme has now acquired a genuinely arti~tiG
character. Along with heroes of literature or of_ the stage, we are also moved by
and feel pride over the suc~esses of steelworkers or textile factory directors,
engine~rs or party workers. A prize award for a construction brigade strikes an
echo by virtue of its social impor~; it becomes a sub~ect af inspirati4n.
"Another important theme of artistic creativity is the bravery of the Soviet
people during the great fatherland war. It has been the subject of deeply sincere
~ and moving works. Those who were in the war see in the heroes of novels, stories
and films about it their own contemporaries and comrades, dead or sLill living, and
- once again bow their heads in their great spirit, and feel they are once again
treading the snowy roads at the �ront. The qounger generation, by the magic of
art, feels itself involved in the courageous doings of its fathers, or of those
; young girls who in the quiet dawn by their devotion to the liberatian of the
fatherland gained immortality. Such is true art; re-enacting the past, it educates
the Soviet patriot, the internationali~t.
"One other theme should be mentioned, to which our literature and art have devoted
considerable exertions. This is the theme of the moral factor, of moral endeavours.
Here there have indeed been shortcomir_gs, but however tha.t may be,there have been
many successes. The service performed by our writers is that they try to promote
the best human qualities--firmness of principle, integrity, depth of feeling--
and that in doing so they base themselves on our own unshakabJ.e communist principles.
"The struggle for peace and for the liberation of peoples, and so important and
noble a theme as the international solidarity of workers in this struggle, also
~ serve as a source of inspiration for our writers anc'. poets." (L.I. Bre2hnev,
Report to the CPSU Central Committee and the Party's Tasks in Domestic and Foreign
Policy, Turkmenistan Publishing House 1976, pp 86-7)
L.I. Brezhnev's wonderful Lenin prize-winning works "Malaya Zemlya," "Rebirth,"
and "Virgin Soi1" provide unparallelled examples of the handling of these themes
that are so special to Soviet literature. A deep imprpssion is made by the accounts
given in these works of the unsurpassed bravery of Soviet people in the years of
_ the great fatherland war, and in the years of reconstruction that followed that
war; of the courageous work accomplished in the opening up of the virgin lands;
of the patri~tism and internationalist devotion duty of Soviet people; and of their
unflinching struggle for world peace.
Since the 25th CPSU Congress Turkmen writers also, mainly concentrating on the
themes used by Comrade Brezhnev, have taken their direction from the principles
- projected in his three works. In the period between the two conferences a number
of novels, short stories, poems and tales have been written dealing with the theme
of production, or celebrating the courage displayed by Soviet people in the years
of the great fatherland war and their supreme moral qualities, and giving faithful
accounts of the world-wide struggle for peace.
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ln tlie last 5 years Turkmen nrose has achieved very signifieant advances. Of
course, one cannot detach from the overall literary process a neat five-year
chronological sequence. In the present article, therefore, while the principal
sub~ect of our attention is the prose of the last 5 years, it is understandable
if at the outset we consider certain problems and themes which have claimed our
_ attention since quite an early period. For, over many years, very real experience
has been gathered about the treatment of a number of problems concerning our
prose, from whic.h certain standard conventions have resulted.
For example, Turkmen prose has for many years been oriented ~o the production
theme. Around the end of the 1950's Berdi K~rbabayev, the caravan-leader of Turkmen
= literature, wrote the novel "Nebit Dag" which was one of the outstanding phenomena
not only of Turlanen prose but indeed of all Soviefi literature.
Of course, bef ore "Nebit Dag" there were certainly other attempts in Turkmen prase
to treat the production theme. But in these works the production process was
written about drily and boringly, as a thing on its own. The production process
A~ could not t1YUS become a means for opening and displaying the heroes' spiritual
world. But in B. Kerbabayev's novel "Nebit Dag" the production process was depicted
- as firmly involved with the spiritual world of the novel's heroes. It was turned
into a decisive instrument for revealing the heroes' good qualities. The aesthetic
and emotional sides of the heroes' characters *aere reve~led through their work.
~ In the novel "Nebit Dag," in accord with the spirit of the age, the xelationship
of a characCer with his work team, the forniing of character in the team, and the
sturdy moral qualities of progressive workers are effectively depicted. This
novel has been one of the best examples of the treatment of the theme of working
people.
= In spite uf a certain quality of dryness, the writer's novel "Drop of Water, Piece
of Gold" which came otit at the end of the 1960's also marked certain positive
- tendencies in the treatment of the p.roduction thEme. In the person of heroes like
- Babaly and Novichenko the writer has created characters who work courageously
for the interests of the people and the state, and who fram the social aspect
occupy a genuinely active position. And there is another feature of this novel
which deserves special mention. In so many of our literary works the hero has
either possessed a downright negative or a downr3ght positive character. In the
novel " Drop of Water, Piece of Gold" the author has managed to get outside the
confines of this rigorous pattern. The character of Novichenko, one of the five
heroes of the work, emerges as very many-sided. Both the strong and the weak sides
of his character are carefully observed.
In the novels "A Song of Flowing Water," by B. KhudaS~nazarov, and "Inseparable,"
by T. Dzhageldev, we also find heroes with a similarly active attitude to struggle.
The outlook on life o~ Yalkan, in the first of thesz, and of Gurt, in f:he second,
is characterized by constancy, energy, moral rectitude and firmness of principles.
These positive trends in the treatmer~t of the production theme began to become
- deeply grounded in Turkmen prose of the last 5 years. Problems of production
began to be presented in close connection with the moral aspirations and ideals of
the heroes. The hero of socially active standpoint has come more to the fore in
the prose of recent years. One may mention, among others, the liunter Garatay in
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B. Khudayna2arov's "The Eyes of the Pathfinder," Maysa in N. Khodzhageldiev's
"The Turning Point," Didzha in A. Gurbanov's story of that title, Mergan in Kh.
~leleyev's "The Flame" and Ovadan in R. Allanazarov's "Syrnykh's Daughter."
One can definitely say that in recemt years there has been a widening in the
rhematic material oF works dealing with the production theme and the life of the
= working class. Whereas formerly they dealt principally with our republic's oil
~ workers, or with the builders of the Kara Kum Cana1, in recent years works have
also appeared which deal with our gas workexs, and the life of trainees iri the
� professional-technical training establishments. One may cite as exarurples
N. Dzhumayev's "School of Authority," Ch. Matalov's "My Star," D. Yagimorov's
"Freshwater Fish," and N. Khodzhageldiyev`s "Acquaintance." M. Gurbangylydzhov's
"The Gleam of Dawn" is aboat the life of the Shatlyk gas workers.
But one needs to say that there are radical faults in the treatment of the produc-
ti_on theme. Some of our writers still remain unable to get out of the way of
depicting the produr_tion process in a dull manner, concentrating on a superficial
_ subject that is only connected with the produe~ion process, and going only for the
topical interest in the theme.
_ Let us turn to some examples. The theme of G. S~yithedov's story "Myself Alone"
is very topical. The work brings up the question of completing the training of a
young oil worker cadre, but in the story the production proce~s is very super-
ficially and weakly described. The author, just like a real excursion guide, tells
the reader about the workings of a variety of oil extraction machinery and equip-
ment. But not one of these objects is integrally connected with the growing up
- of the hero and the completion of his personality. The confrontations in the story
have nothi.ng to do with fundamental problems, and the events whi~h take pi.ace are
fortuitous and not integral to the really basic problems.
In Ch. Matalov's stories "New .Land" and "Golden Autumn" also economic and produc-
tian questions have not been given their proper stature as moral problems. In
these stories production and economic questions are treated as matters that belong
only to themselves.
The subject of M. Gurbangylydzhov's "G1eam of Dawn" is topical. But the literary
art of the work leaves much to be desired. The chief hero is praised from the
very First page on. This eulogizing becomes a ritual. As a result, the hero's
real features are lost in the haze of tiresome glorification.
- In A. Na2arov's "Autumn Leaves" we get a rea_lly well-worn conflict situation.
In the conflict which is going to be created b~~tween the collective farm manager
and hi.s deputy manager there is no real essential foundation. Such con�rontations
are connected neither with economic questions nor with the logic of the heroes'
- characters. In his attempt to depict the character of a man ~ealously convetous
of the post of collective farni manager the author only produces artificial
contri.vance, and the resolution of the conf lict is described in the most uncon-
vincing way. The author even blows up into a real problem the matter of explaining
to the farm manager--a manager of today--the importance of harvesting cotton by
machine.
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- The moral quests and aspirations of the hero are nns of the themes which have
_ become familiar in our prose in recent years. This theme runs like a thread
througli such works--among many others--as B. S~ytekov's stories "The Butterfly"
and "P roud naughter," B. Khudayna~arov's "Neighbours," "The Lynx's Lair" and
- "Eyes of the Pathfinder," A. Gurbanov's "Didzha," Kh. Meleyev's "Gold Coins,"
'I'. Gurbanov's "The Skylark," G. Sharnyyev's "Khydyr Ymamovich's Yesterday is Today,"
A. My radov's "I Was a Go1d Ring," Kh. Deryayev's "Sacred Hearth," Kh. Khaldyyev's
_ "Winter Rose," A. Tagan's "L?.ttle House in Big World," and in the novels "How
Are Things?" by A. Atadzhanov, and "Sparks of Love" by Kh. Deryayev.
- In the best prose works of the recent period moral and Pthical problems have been _
treated in close relation with heroes' wr~rk and the social cont~nt of their
character. Where there is not :nuch work it is not possible for thcre to be much
morality. Hard work is a great measurer of morality. It is impossible to reveal
a hero's character fully and a11-sidedly without reference to his work and social
activ ity. In observing this to be the case, the noted Soviet writer A. Fadeyev _
writes: "In rendering an account in art of the whole sphere of work and activity
of the working man, or of any person engaged in work or any other occupation,
_ cursory treatment is not possible; it simply cannot be done by limiting oneself
to giving an account ~nly of the little deta~.ls of their domestic life and individual
preoccupations. But, having said that, great importance and great interest attaches
to the thoughts, ideas and sentiments which emerge in the soci~l and work activity
process of the Soviet man." (A. Fadeyev, Zapiski, Moscow, 1967, p. 676)
In B. Khudaynazarov's stories "Eyes of the Pathfinder" and "Lair of the Lynx"
the heroes' spiritual nobility is shown by their hard work, and their militant
socia 1 standpoint. The thing about the hunter Garatay in "Eyes of the Pathfinder" _
tY?at is emphasizeci for the reader is his fi.rmness of pri~ciple, uprightness and
resol ute hard-workingness. If the au*_hor had relied on showing the~e features of _
Garatay's character in isolation, only through words of commendation, his character
could not have made such a deep impression on the reader. Mere disquisitions
on his uprightness and firmness of principle would have been idle onES. Instead,
the a uthor reveals all the good qualities of Garatay the hunter through his work,
and h is attitude to struggle. It is precisely for this reason also that the
character of Garatay the hunter is what causes the complete change in the outlook
on lif e of the radio reporter Nepes, who is only used to writing laudatory items
for the radio. For it is Garatay the hunter's actions that make Nepes realize thzt
he ha s been writing lies and talking li~s and acting without moral scruple. And
it is in this passa~e that the whole nob3lity of character of Garatay the hunter
comes out. If Garatay had not proved who he was by his own uncompromising work
achievement, neither the reporter Nepes nor the readers would have believed mere
talk about his nobility and integrity.
In the story "Lynx's Lair" also the good sides o.f the heroPS' characters aze shown
in their attitudes to work, to social property, and to their own obligations.
And in the characcer of Sarybay Sparadv the author shows convincingly th3t if a
man is not high-princip].ed ancl work-loving he cannot be a good leader.
In B. Seytekov's story "The Butterfly" the character has been created of the hero
who s trives to live by his own hard work, despite some degree of passivity on his
part, and occasional lack of energy in his struggle against negaCi~ae types,
the s tory's chief hero Orazmyrat strives to attain his goal by h~nesty only. ;
Orazmyrat is faced with the choice of living by ~is own hard work, whatever
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difficulty he may come up against, or of enjoying a life of ease and prosperity
won by the thievery and dishonesty of Yarnepes. Orazmyrat without a moment's
- hesitation chooses the first course. Even when.it means he must part.from his
beloved daughter Ayl;olek, Orazmyrat remains faithful to the task he has set himself.
Zn the storie~ "Turning Point" by N. Khodzhageldiyev, "Otdzha" by A. Gurbanov and
"The Flame" by Kh. Meleyev, also, the f ine m~ral �haracter of the heroes is shown
to be closely connected with their active outlook on life and their unremitting
work. One notes the great importance of attaching to the social content of the
characters of Maysa in "Turning Point," Otdzha in "Otdzha," and Mergen in "The
Flame." In their lives the public interest comes first. Difficulties and setbacks
in their individual lives cannot come in the way of their exertions for the good
of society. But it is social activism that results in their attaining their own
- individual goals. They prove their own truth and genuineness by the hard work
they devote to the puUlic interest, and by their constant loyalty to the most
f undamental moral principles .
In t'ne stories of recent years heroes with an active outlook on life have come to
occupy a larger place. This it~elf conf irms that the literarq process aspires to
get c].oser to the reality of our life a~d to respond to the demands of the age.
tIowever, be this as it may, one has to say that there is still in many works a
sliortage oL heroes with an active outlaok on life while in the heroes of some works -
active militancy is completely inadequaCe, the active militancy of the heroes of
some other works avoids conflict, and avoids basic problems. The struggle activity
= of some heroes is of a very weak and p~imitive character. For example, in B.
Khudaynazarov's "Neighbours" moral ascendancy is connected with the use of phqsical
_ force against the negative hero~ Musa`s action in beating and ducking his wife
"to educate her" is approved of gloatingly by not only all the neighbours but also
the teacher, who represents the author's standpoint. In B. Seytekov's "Proud
naughter" also we come across the same sort of situation. In this ~oork also
positive heroes intimidate by making threats of using physical force.
As we have now made clear, a11 these things leave quite to one side the basic
conflict and the basic problems of the heroes' struggle situation as put forward
in tYie work. The positive heroes' struggle revolves around questions of no
consequence. We have already noted that the life outlook of the chief hero
Orazmyrat in B. Seytekov's story "Butterfly" is an active one. But we need to
observe that his struggle for moral purity was one which left aside the basic
question. For example, he kno~as the dishonesty and thieving of wh~tch Yarnepes is
guilty, he also knows that that is the crux of the matter. But instead of
confronting and combating the wickedness of Yarn~pes, we have nim giving wise
advice and sage counsels about an upright life to Abyl~k:. Whereas really, in
order to change Abylek's views, he ought to be exposing his father's dishonesty.
We also find this kind of situation in the story "Proud Daughter." Grandym is a
disllonest and rascally person. Relying on the~ wea~th he has acquired by his
dishonesty, he weaves a web to catch Gyzylgul. If at this point the positive
characters had exposed Grandym's crookedness, they would have made it quite plain -
what so-rt of person he was. He was indeed even guilty of punishable crimes. Had
- this been done, Gyzylgul also without a doubt would have seen quite clearly what
- he was. But the story's positive heroes, instead of exposing Grandym's ill d~ings,
contented themselves with giving some piffling advice to Gyzylgul.
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'1'his state of affairs I.s no accident. Ln the works of some of our writers the
negative heroes, in comparison with the positive ones, are more suhtle, morP sure
where they are going, more complex in the p~~rsonalities they are given. Authors
display precision in delineating the charac?.ers and personalities of negative
herves, and in the depiction of their actions and thoughts. But when it comes to
positi.ve heroes they are in general unable to cope. The character of individual
- heroc~s is not individualized to any heartfelt degr~e. They act in a very lifeless
manner, limiting themselve~ for the most part to actions of self-defence. Their
characters are still not elaborated in any such detail as the negative characters
are.
This situation hits the eye even more in prose works dealing with the life of the
intelligentsia. In recent years, work~ about the life of the intelligentsia have
begun to multiply. Such are the novels "Your Own Acquaintances" and "How Are Things"
by A. Atadzhanov, and the stories "Sacr~d Hearth." by Kh. D~ryayev, "Skylark" by
T. Gursanov, "I Was a Gold Ring" by A. Myradov, "Gold Coins" by Kh. Meleyev,
"Khydyr Ymamovich's Yesterday is Today" by G. Shamyyev, "Neighhours" by B.
Khudaynazarov and "Gleam of Dawn" by M. Gurbangylydzhov. This list could be much
- lengthened.
In most of th,e works mentioned a negativ~ type of intellectual has been created.
Tile negative character type for intel'lectuals has indeed become a real inverse
pattern in our prose in recent years, ancl has been take~i so far as to traduce the
living reality. The emphasis has deliberately been laid on depicting the character
of intellectuals in black colours. Here it is sufficient to say just one thing.
- The number of moral.ly rotten literary prefessor types created in our prose is a
very great deal more than the number of the literary professors who are going arou.~d
and working in real life. This shows that oux writers have concentrated very
heavily on the shady side of 1ife. Tn this context it is 3ppropriate to recall
the words of the famous Soviet writer K. redin: "Where there is no correlation of
a light side and a dark side, there can be no art. Everyone can prove this concept
for himself; people very easily forget that in a worlc of ar~ (as indeed in nature
itself) there can be no shade unless there is also a source of light."
On this there is one other thing that must definite~.y be said. In most of the works
dealing with the life of the intelligentsia, intellectuals are depicted quite in
detachment from their own ~ocation, occupation and work process. The name of
intellectuals may be assigned to th~n, but they are not represented as intellectuals.
There would be no difference if they were not called intellectuals, and were called
members of ~~ny other profession you like.
There are various reasons for this schematism, which has become fashionable.
Firstly, in the case of the writers of most of the works it is simply not the result
of their observation of their own lives. The feelings ~f revulsion which they
express in their writings prove that the objects of these feelings do not exisC
in their own lives. And we can say quite blun.tly that there is absolutely no
basis in reality for seriously attributing these revolting actions to intellectuals
and scholars. Secondly, this situation shows that our writers are inadequately
informed about each other's creative~work. Thirdly, one has to say that in this
there has been a mechanical imitation from the literatures Qf brotherly republics.
For example, in Russian, Ukrainian and Byelo-Russian literatures, as literary
criticism of these literatures has from time to time indicated, there have been
cases of a recurring schematic theme of depicting aged professors marrying young
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girls. I'he mechanical transference bp our writers to our prose of an abominable
plot of this sort--from an environment where the ~onditions for it do not exist--
is not a thing which confirms with life's reality.
The crux here lies in not writing sbout intellectuals and their works and occupa-
tions and real Iives, but in taking wh~t has been written about sordid aspects of
life i.n general and mechanically pinning these offensive attributes on to intellec-
tuals. ,
Of course, we do not deny that there have been cases of our writers achieving some
successes in creating the intellectual positive hero. But we may quote the words
of V.G. Belinskiy on a one-sided outlook on life not bringing good results: "One's
view of things is one-sided if that view, even if not lacking in either profoundity
or precision, nevertheless alwyas leads to false conclusions."
We can say that in recent years the problem of the formation and perfecting of a
character's personality, and of his recognition of his own role in 1ife, has
become one of the basic questions in our prose. Qne feels this in the works
already mentioned; and one feels it in A. Atadzhanov's novel "How Are Thi~gs?"
This novel deals with a person's recognizing his own true place in life.
It must be observed that in our prose the tre~tment of some problems has been
taken to a greater depth. For instance, Khydyr Deryayev's novel "The Sparks of
_ Live," not yet published in its entirety, gives us the opportunity to make some
observations on this point. Since the work is not yet all published as y�t, it is
difficult to form a definitive opinion of it. Nevertheless, it is already possible
_ to make both some positive and some ne~ative observations about tlie work. Some
episodes in the novel are too long drawn out, and the author goes to great trouble
to explain things that are already clear from the heroes' conduct so far. Never-
theless, we may note that in this novel there is a fresh appraach to the question
_ of bride price and l~ve. Previously, in most works written about bride price,
- the question of marriage was connacted with the young man's paying or not paying
the Uride price. If the young man was a bridegroom who didn't pay the bride price,
there was no question of the bride needing something else. But Kh. Deryayev is
able to emphasize that in this matter the fundamental thing is genuine 1ove.
The fi~hting and working courage displayed by the Soviet people in the years nf
the great fatherland war has been one of the most fundamental themes of our prose
- in recent y~ars. One notes that this theme has been a special concern of writers
of ours who themselves took part in the great fatherland war--S. Atayev, A.
Nazar~v, N. Dzhumayev, R. Alyyev, A. Durdyyev, N. Geldiyev and others.
Our prose has been directing itself consistently to the theme of the great father-
land war ever since the early days of the war itself. And we must state that in
this, if anywhere, both the fighting and the working courage of Soviet people, and
the fortitude shown by them both at the front and in the rear, have been depicted
as integrally linked. And this is still the situation.
E1t the same time, we see that there are certain departure in the treatment by
Turkmen prose of the theme of the great fatherland war. There is a big difference
- between the handling of the war theme during the war years themselves and its
- treatment Coday. Most of the works that were written during tha war p eriod were
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written in response to the demands of the day; basically they were works of a
mobilizational character. They were works in which Soviet peaple's f ighting courage
and selfless patriol-ism were exColled. At the same time a certain one-s idedness
was felt in the works of that per.i~d. In ma.ny works the enemy was represented as
far too weak, far too incompetent.
This situation, one may say, is not unfelt in our prose today, but our prose of
today is distinguished by a more basic and more comprehensive attitude to the theme
of the great fatherland war. The events of the great fatherland war ha.ve begun
to be described on a wider and more a71-embracing pa~tern. One can detect elements
of innovation in N. Dzhumayev`s novel "Aydogdy Takhyrov," H. Esenov's " In the World
War," S. Atayev's "Anger," H. Alyyev's "Son of the Hero City," and N.
Khodzhageldiyev's "Mother," and in the stories of A. Duroyyev, A. Nazarov, A.
Gurbanov and others. Whereas in the prose works of the earlier period the emphasis
was mainly on fierce episodes of battle, and on the question of bravery and courage,
- In the works mentioned each of these matters is treated profoundly philosophically,
and in the context of ethical problems.
For example, in N. Dzhumayev's novel "Aydogdy Takhyrov" the springs of the
unexampled heroism displayed by hero o~. the Soviet Union Aydogdy Takhyrov are =
profoundly investigated. As a result, the concrete character of Aydogdy Takhyrav
is raised to the level of a character who is an art type. As we read the novel _
we recognize that Aydopdy Takhyrov's heroi~m is no kind of fortuitous ma.tter. We
feel convinced that this quality of his springs from the qualities of p atriotism
and moral conduct that are characteristic of Soviet people, and that it is precisely
our own Sovit~ reality that nurtures and produces such heroes.
- S. Atayev's novel "Anger" is to be a work of many volumes. Its first volume
shows that the author intends to treat the war theme on a very b~oad p lan. His
aim is to show the contribution which tha Turkmen people made to the greaC victory
- won. in the great fatherland war. in the novel we meet ~epresentatives of Turkmen
- wo~rkers of various strata. Among them there are men with special military skills,
and there are also representatives of the intelligentsia, and ~here are represen-
tatives of Turkmen womanhood which emerged to freedam under the sage of the Great
October. They are people of diverse fortunes, and of diverse feelings. But there
is just one thing that impels them towards their goa1, and that is the passion to
liberate our Fatherland from the foe.
'1'he novel "Anger" is not only an account of wartime events. In this work the -
author also strives to get right inside the personal lives and fortunes of a
number of different leading characters.
Despite some shortcomings, R. Alyyev's novel "Son of the Hero City" also ma.kes a _
c~~ntribution to the treatment of the war theme. In this novel the author has,
in particular, achieved a great success in his glorification of the international
- sentiment of the Soviet peoples. Reading the novel, we clearly realize that the _
great victory which we won was possible thanks to the brotherly friendship of the
8oviet peoples.
As we have said, the theme of the great fatherland ~aar has been and is still
treated on the basis of depicting the fighting and working courage of Soviet
people. Some of the works written have been a~out the brave deeds p erformed
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. by Soviet people at the front and also about the intrepid toil which they performed
at the rear. N. Khodzhageldiyev's novel "Mother," which is being serialized in
ttie journal 'SOVETSKAYA LITERATURA', is about life behind the front. One special
feature of this novel we should mention. It is a work i ~Thi,,h the grim tragedy
of war is transmuted into the glorification of heroism. Aynur, having endured
all ttie tribulations of rhe civil war and of the years of collectivization, when
peril threatens his fatherland sends off all five of his sons to their sacred
- battle duty. And a11 of them give their lives in the struggle for the fatherland.
But Aynur manages to endure even this heavy blow. In the grimm~st of Che war
years he carries on as chairman of a collective farm, toiling unwearyingly. In
the novel work is depicted as a force which liberates man. And the force which
after this grim tragedy gives Aynur the will to remain in the ranks is hard work.
We have dealt with the successful aspects of most of the works written by Turkmen
authors on the war theme. It is sati~factory that in our literature this theme
is striking deeper roots, and getting a profounder treatment.
A matter of particular pride is that in recent years docvmentary and memoir~works
about the great fatherland war have been coming out. The war memoirs and documentary
works of N. Ashyrov, R. Berdiyev, P. Redzhebov, C. Myradov, A. Annanurov and
A. Akhjndov have become favourite works of Turkmen readers. They have enriched
our literature with docinnentation about the war.
_ But one has to say that there are still some fundamental shortcomings in the treat-
ment of the war theme. The fundamental shortcomings that must first be pointed
out are the inability of some works to elevate the reality of war to the real level
of art, and their inaUility to generalize war events from the aspect of art. In
these works miscellan~ous war events and battle episodes are depicted merely as
things standing by themselves. They are not related to the character of the
- heroes, or to more profound philosophical or moral problems. The effect which
- ttiese war events and battle episodes have had on the character of the hero is not
traced. The heroes of the work, and its readers in like measure, remain sideline
spectators of these events. This results in a general diffuseness of the whole
worlc, from the point of view of composition. The various battle episodes and the
live, presented in detachment, are not felt to affect the course of the work or
to contribute anything to it. For there is no fundamental problem which in
- itself gives everything a unity. Consequently some works, while their scope is
vast, are insignificant as regards artistic value.
For exa,iple, in the work "Under Fire" by the frontline veteran A. Orazmyradov
there are some scenes and episodes which attract the reader's attention. But the
work's paucity of emotionally affecting or memorable characters portrayed with
any art is depressing. We find similar shortcomings in some of the tales of
A. Nazarov and A. Duroyyev.
There is one thing more that must be pointed out. Some works dealing with the
war, in their concern to show the savagery and grimness of the time, relapse into
monotony. There i.s too much emphasis on tears and misery. In these works
the tragic is not firmly liked with the heroic. It is of course true that the
tragedy of the war period was terrible--years, misery and the lot. But the thing
that played the decisive role was the selfless heroism of the Soviet people.
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In the la~=t 5 years history and revolutionary history ha.s rema.ined one of the
principal themes af our prose. This theme has been treated in the novels "The Old
_ Leader" by Ch. Ashryvo, "Cry of the Desert" by A. Tagan, "The Province" by
N. Dzhumayev, "Orlorn" by T. Dzhumageldieyevn, "Mixages in the Desert" by R.
Esenov, and "The Last Battle" by B. Seytekov, and in various short stories and tales.
Some new trends have also appeared in the treatment of this theme.
We must point out a particular feature of N. Dzhumayev's novel "The Province."
The novel does not limit itself to depicting historical events only, but touches
on one concrete problem. Bukhara was aM independent republic from 1920 until
1925. It also included Kerki Provi.nce. At that time extremely complex events
were taking place in Sukhara and Kerki. N. Dzhuamyev i~vestigates the ~ctions,
and the blunders, of the leftist co~omnunists in this complex situation. The main
hero, Soyun, acts hastily in trying to introduce innovations when conditions for
them are not yet ripe. Soyun is the principal representative of the left communists. "
ConsequenCly the blunders of the left communists are represented in his person and
- character. Soyun starts a rising in Kerki when the situation and the conditions _
are not yet right for it. This precipitancy works out to the advantage not of
Soyun and his ilk but of their enemies the rightists. Apart from this, the
author has created many original characters in his novel. From the artistic point
of view, a profound analysis of the blunders of left communists possesses great
significance for today too.
Ye. Meimnediev's novel "Dawn" is an epic work which presents a wide overall view
of the Iife of the people in historic perspective. The novel has the character
of a panorama. As before, the author in this work pr.esents in artistic form a
very accurate historical analysis of Turkmen life in the mid-19th century, before
the unif ication of Turkmenistan and Russia. This work of analysis is prefixed
by way of a motto, with the words of the great Makhtumkuly:
"Between Jehun (the Amu Darya River) and Ocefan (the Caspian) across the desert
blows the Turl~en's wind."
Though the action of the work unfolds mainly around Seraks, Makhtumkuly's words
quoted above refer to the land of the Turkmens in its entirety. One can say that
they refer to the dest iny of the whole Turkmen people. And at thaC time the
Turkmen people's destiny seemed without a future, With enemies and hostilities
without and within, and with social and political backwardness, the land of the
Turlanens was in ruins. The people stood on the brink of the abyss. And so from
among the people there emerged c~rtain men who had the nation's real interest at
heart. They were peop le of different views, and different economic situation, but
one thing united them--for every one of them, the sound of a horse's hooves at ,
an untimely hour troub led and disquieted them. In the~movel the sound of hooves
has both its actual meaning, and also a figurative one. It is used as a symbol
- of a time of turbulenc e, and also has its place in the real unfolding of events.
In the novel, althougYi these events are narrated by the writer himself, it is
through the eyes of the young Devlet that they are seen. For him, grandfather
Atashir is a really stubborn old head of the family; father Serdar is the man on
horseback; mother Ann~bagt is a gracious and cultured mother; and, of the fellow
villagers, Abdyrakhman is both learned and sensible; and the great Mollanepes,
apart from his petry, comes to life as one personally taking part in the important
events of his own time. There is similar precision in the portraits of Zaman Aga,
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~
Gochmyrad, Gar.agoch Aga and others. Multifarious like life itself, the characters
of the people intimately involved in the events of this life are many and varied.
So Devlet sees all the many-sidedness of life at a historic time, and the charac-
ters ar.d actions of people very diverse from each other, and studies them, and
' draws conclusions from them. Of course, he is not engaged in any decisive action
of his own. Nor does the author mean him to. But, before Devlet's eyes, this
broad artistic panorama of Turkmen life is unrolled.
One must also say that there are some successful aspects of Ch. Ashyrov's novel
- "The Old Leader." The novel enables one to get an idea to some extent of the grim
life of the Turkmen people before the October Revolution. Reading the novel, we
see family-tribal differences among the Turkmens, marauding raid~ by neighbouring
- states, the tyranny of the domestic exploiting classes, and the grim and hopeless
life which all this creates �or the Turl~~ns. In this connection the misdeeds
of Dovletyar Bey, the bloody fight about pxoperty possession between the two boys
Khyoyrguly and Garyagdy, and the secret ~oings of Oraz are very typical. In the
character of Dovlet the author portrays a person only seeking his own interests,
and for the sake of these interests selling the interests of his nation and his
country for money.
Une must also without question approve the author's efforts in giving special
attention to d~epicting the yearning of Iranian and Turkmen workers to live in peace
and friendship.
But there are also radical shortcomings in the novel "The Old Leader." The reality
of liEe which we gather in the novel is gathered from the author`s disquisitions,
from his attitude to the events, and from the undertones of the work. But lo
and behold, when it comes to presenting this reality of life by means of live
characters, the author ducks it. The author gives insufficient attention to
- socio-psychological content, to individual original personality make-up. In
general, while events are plainly enough narraCed, the character of the protagonists
is half-baked. Some happenings in the novel are far too long drawn out. Some
matters intrinsic to their character are left out.
R. Esenov's "Mirages in the Desert" gives an account of the turbulent events which
took place in Turkmenistan in the later 1920's and the earlier 1930's, and of the
fierce class struggle of those years. It describes the stubborn and unqielding
struggle against the Basmachis. The events of the novel, and some of the prota-
gonists of it, and the places where the events took place, are also things previously
familiar to us. But R. Esenov does manage in many passages an original approach
of hi~ own to these events, and these heroes.
In T. Dzhumageloiyev's novel "Forlorn" one should point out one special feature.
_ While in Ya. Memmedov's novel "Dawn" one is given a panoramic picture of Turlanen
life, in the novel "Forlorn" events are made to revolve principally around the
life of a single hero. The writer relies on an individual style of treatment of
the theme of revolution and personality.
_ The thematic range of our prose is getting still wider. Some of our writers have
themes which they have made their own. G. Kulyyev creates from the international
theme novels of political significance. It is true that in some of his works
the action is long drawn out, so that to some extent there is a lack of all-roundness
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in his characters. However, his system of characters fits the demands of his idea.
His recent novel "The Emir's Ambassador" uses live personages to give an account
of the Afghan people's struggles for freedom and independence, and. their aspirations
for friendship with the Soviet people. This work has not only wider~ed the subject
matter of our literature, but also brought inCo it some origin~l characters.
The writer Allaberdi Khayydov is interested in the prob].em of the conservation
of nature. He has written a number of stories aMd tales an Chis sub3ect. His
novel "A Million Steps" constitutes a fundamental work on the theme. One can
rega�rd it as the most significant work on this matter not only in the author's
_ own output but in our prose as a whole.
The major genres of our prase such as the novel and the short story are further
broadening their scope. It must be stated that there have been certain advances
also in the genres of the tale and the sketch. It is true that for many years i.t
used to be said that the genre of the t~le, and its most lively form the sketch,
were lagging behind. Of course, when it comes to the sketch, the situation still
as before gives ground for concern. But in the genre of the tale one clearly
senses that in recent years there have been definite advances. One is pleased to
note that 0. Orazberdieva has been principally occupied with the genre of thE tale,
and has achieved real successes in this direetion. Other writers who have done
consistent work in this genre are A. Gurbanov, `r. Gurbanov, N. Khodzhageldiyev,
R. Annazarov, A. Tagan, A. Soyunov, Kh. Khaldyyef and B. Gu1ov.
The genre of the tale is being perfected from the artistic point of view. Some
observations may be made about the cxeative styles of some of our story-tellsrs.
As we have noted, the tale occupies a prin~ip~l place in the creative work of
0. Orazberdiyeva. Several collectivns of her tales have appeared. She always
likes to deal with a theme of modern times. While writing about the happenings
of ordinary daily life, her aim is to bring in important que~tions of the moment.
Without chasing after sensation in her acLio~~Z, she concentrate~ on broad depiction
of the personality and psychology of her heroes. In her tales there is not the
excitement of stirring events and variety of subjects. It is something else which
attracts the reader in these works. The spiritual world of her heroes is exhibited
by means of the details of everyday life. In general, 0. Orazberdiev excels by
extracting great significance from the events of ordinary life.
While Arap and Teshli Gurbanov show an intimate lyricism in their stories, G.
Gulov prefers the genre of satire. In A. Tagan's work the theme of war occupies
a big place.
In general, the artist.ry of this story genre of ours in recent years, one feels,
is evidently becoming perfected. Our writers are probing far deeper into the
psychology of their heroes.
In the genre of the sketch also we ha.ve consistent work from our writers K.
Berdiyev, B. Ovezov, R. Annazarov and V. Shatalov. They have produced a nwnber of
works about the lives of our brave cotton workers, oil work:ers, gas workers,
livestock farmers, cana.l builders, and our workers in science and art.
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- K. Berdiyev, who devotes all tiis creative work t~ the genre of the sketch, is doing
some very procluctive and successful work in this direction. He is an a~.thor who
well understands the requirements of the genre. His aim is to keep in step with
_ the time and the moment; he looks for wh3t is new, and seeks to probe deeply into
].3fe. But he never takes a narrow close up view of his theme; the ~eography of
liis sketcties is a~vide one. Some of them depict the fortitude shown by the heroes
of toil in the remotest vastnesses of our republic, in some of the most severe
conditions. The writer is himsel� often among his own heroes. One may say that,
in a number of corners of our republic, there is no spot where this writer's foot
has not trod. He is the welcome guest of brave construction workers, of tough
s}iepherds, and of those who produce our "white gold." The writer lives the daily _
_ lives of his own heroes. It is through thi~ process of unremitCing investigation
that his sketches have the distinction of nearness and faithfulness to the truth
of life. For they are not the fruit of a casual kommandirovka, or of just one
meeting with one of their heroes. They are sketches written after profound
investigation of the hero's real life.
R. Esencv's journalistic sketches attain a high ideological level and are also
disticiguished by their contribution to the discussion of the most important problems
oF the time. In his sketches his heroes' careers are traced in close connection -
with important political problems. When dealing with the intern~tional themes,
the writer always takes the concrete ex~mple of the records of individual people
to show che advantages of the socialist society, and extols the happy life which
the Turkmen people have attained as a result of the Great October Revolution.
He reiterates that the way of Lenin is the way for the oppressed workers of the _
East. It is to be noted that this is also the essential purpose of the works of
_ the author Seyitnyyaz Atayev. But Gre must say that we sMou].d like him to be mare
consistent in applying himself to the journalistic field.
In spite ~f definite advances in our work in the genre of the sketch, we must
recognize that some work in it lags behind the requirements of the time. Our
performance in the genre, both as regards thematic range and as regards geographical
scope, does not manage fully to embrace in itself our own impetuously developing
lifr, '1'vu .~~~ctom we come acru~5 literary sketclles uf ~?~i value cte..:.in~ with the
heroic work of our contemporaries, and their inspiring spiritual characteristics.
htost of the sketches published in our republican and oblast newspapers under the
rubric "sketch" have no value as art. They are incapable of any broad representa-
tion of the spiritual world of their heroes. The majority rely on arid wafflings
about the hero and his life, with statistical information about it. All this
explains our writers' not giving serious attention to developing the genre of the
sketch.
'['he CPSU Central Committee's resolution on "Tasks to be Undertaken Concerning the
Artistic Creativity of our Youth" was a shining testimony to our beloved party's
consistent Latherly concern for the future of our literature and for the preparation
and training of artistically able young people. This important resolution has
helped to widen greatly the attention given to the question of completing the
training of our literature's yoiznger generation. ~'he board of the Turkmenistan
Writers' Union has held a special plenary session devoted to work with young
people. It was resolved that more attention should be given to young people, and -
the tasks facing young people were laid down. Our republican newspapers and
journals have begun to give much more attention to young writers, and to give
much more space ~o their work.
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'1'he CPSU C;C's resolution has received wide support among the young writers of our
republic. Inspired by our party's fatherly concern, young people have begun to
Uuckle down to responding to thi.s concern by work, to perform honourably the tasks
laid before artistically creative young people by our beloved party. And the
successes achieved by our young prose writers in recent years are a particular
source of pride.
Most o� our young people of today who have applfed themselves to prose writing
are distinguished by the width of their own horizons and world outlooks, their
general high level of knowledge, and their firm artistic grounding. Most of
tliem are familiar with the experience of our national l.iterature, of the literature
of the Russian and other brotherly peoples, and of world literature. They are
quite at home with literature's own complexities, and with literary theory. They
aim a~ an artistic creativity which comes up to the level of today's demands. This
_ being the case, in their own successful works they get away from the dry recital of
events and from the repetition of everything already we11 known, and concentrate
on analysing the truth of life from the arti$tic point of view; on philosophical
cogitations; and on probing the spiritua.l worlds of their heroes, and their
psychology.
A number of talented young writers are finding their own themes, and their own
paths. Among them one may mention Kh. Khaloyyev, Agageldi Allanazarov, Sh.
Geldiyeva, and A. Garayev. At the last writers' congress their names were
mentioned among successful young writers. In recent years they have not only
been working productively but have also been perfecting their artistry. Evidence
of this is their acceptance as members by the USSR Writers' Union. Also, our
literary criticism has been giving steady attention to the work of these writers,
and has produced some interesting observations concerning their original features
and style.
The collection of stories "Trusty Generation" by our young prose writers that was
recently published by the "Turl~enistan" Publishing Hous2 does really show our
young prose writers have come to be a reliable generation. Published in this
collection are stories by 30 young prose writers who have not yet been admitted
to membership of the Writers' Union or published works of their own independently,
but tliose writings appear regularly in the periodical press.
UE course, the number isn't the whole story. In the collection is work by young
writers who have been writing for a long time, as well as work by some who have
only just begun to write. But this collection leaves no doubt about their
quality. It is especially gratifying that some young writers who have not had
much published before are here successfully represented.
Writers like Khydyr Amangeloiyev, Amannazar Ashryov, Adam Goshayev, Bakhargul
Kerimova, Heshim Soyunov, Orazmyrat Toyliyev. Yaghyr Khudaygulyyev and Craz
Yagmirov concentrate on deep probing of their heroes' phsychologies, on presenting
fundamental philosophical notions, and on an inti.mate emphasis on revealing the
character and personality of heroes by means of artistic details, by means of the
heroes' thoughts and ideas and aspirations, and by indinidual strokes of their own.
_ [dhat comes out in their stories is not happenings but the artistic analysis of
chara~ter.
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- Our yc~unfier writers' thematic scope is both wide and everysided. Some of them
have fields which they are specially taken up with. For example, Annageldi
Nurgcloiyev, Chary Geldimyradov, Annanazar Begnazarov, Arslan Meterov and others
are particularly concerned with satire and humour. One likes the way they try to
E'ind their. own style for everything. The ridicule of Annageldi Nurgeloiyev
sometimes verges on the grotesque. Chary Geldimyradov concentrates on laughing
- at things that go wrong. Annanazar Begnaaarov laughs at the doings of his heroes.
Along with the successful aspects of the work,of our young writer~, there are
also Faulty aspects whicli must Ue mentioned. It would be appropriate to make some
_ observat.ions about the following general shortcomings, which are typical of the
creative worlc of the majority of our young people.
We have noted, as a gratifying fact, how our young'people lay emphasis on under-
lying philosophical content. But one needs to say that from some characters the
philosophical significance does not emerge from this content, and that the authors
themselves get bogged down in arid philosophizing. Some of our young writers
take sc~me minuscule event and try to make it a thing of vast significance. What
they are trying to put across really quite escapes one.
_ Among our young writers there are still those who limit themselves to merely
narrating an event. One is quite put off by the way in which a well-trodden ground
is covered again and again. Quite fatal for artistic creativity are aridity,
depriving events of their interest, and neglecting any artistic analysis of a
character. So our young writers must be extremely careful about this.
Some of our young writers, not taking their direction from life, and not writing
about things which they themselves have seen or heard or observed, copy from some
work or other that has impressed them. Something whi,ch has happened in the life
- of another people Chey make to happen te Turkmen life. They do not pay enough
attention to national psychology, and national customs. This results in a falsi-
ficatio:i of life. The worst of it is Chat it is the outcome of this young writer's
not having his own definite outlook on life and ideological outlook. Let us warn
our young writers also against mediocrity of theme, and repeating each other.
In spita of having these general shortcomings, our young prose writers are proceeding
in tile right direction. They strive to find the new in what presents itself.
Most of them have had a sound theoretical grounding, and are people familiar with
- the best examples of world and Soviet literature. The qoung generation that is
growing up creates much confidence both as regards number and as regard quality.
It is the vital duty of us older writers and our literary criticism to remain
seriously attentive to their creative work, and to set them forth on the right road.
We have brieily surveyed Turkmen prose of the last 5 years. Not a few successes
have been actiieved. Turkmen prose writers achieved notable works in putting into
eFfect the r.esolutions of th.e 25th CPSU Congre~s. Now, at a time of getting
ready to meet- the 26th CPSU Congress and the 22nd TCP Congress with worthy
contributions, and of summing up at their own Seventh Congress the resulCs of their
work during the last 5 years, they cannot limit them~elves to speaking only about
_ the successes achieved. For every writer it is a civic duty to expose continuing
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shortcomings, and to bend all our energies to era~licating these shortcomings.
The party places before Soviet writers an extremely difficult, responsible and
honourable task. Ttiis sacred task consists in creating works appropriate to our
timc and appropriate to our contemporaries,worka which are perfect in ideological
content and artistically. It consists in being a worthy helper of our beloved
party in the work of fostering a.nd bringing to full stature the conscious Soviet
man.
COI'Y1tLGHT: Not Available
CSO: 1210/907 E~
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