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Simple things
Vera Inber

Vladimir Mayakovsky called Vera Inber a "porcelain cup".

Alexander Blok wrote that in some of Inber's poems he felt "the bitterness of wormwood, sometimes real."

Eduard Bagritsky saw in her lyrics "childish-enlightened mood".

These fragile definitions correspond to the touching, tenderness, subtlety that the young Vera Inber brought to Russian poetry. Her first books - Sad Wine (Paris, 1914), Bitter Delight (Petersburg, 1917), Perishable Words (Odessa, 1922) - can be called, using her own metaphor, "flowers on the gray asphalt of the city."

Vera Mikhailovna Inber was born in Odessa in 1890 and died in Moscow in 1972.

Those who wrote about her noted the striking dissimilarity of her poetic youth (in which the words “talent” and “love” dominated) and her entire later life (in which the word “fear” reigned). A close relative of Leon Trotsky, who was expelled from the USSR in 1928 and then killed, she was forced, fearing for her fate and the fate of her family, to turn into almost a literary official, devoutly zealous for the cause of Lenin-Stalin and offering incompetent praises to the party and the regime .

Poetry does not forgive this. At the beginning of 1935, she wrote in her diary: “In art, as in nature, the main thing is selection. The most selected survive" 53
Inber W. Turning over the pages of days ... (From diaries and notebooks) M., 1967. S. 26.

She was selected, she survived, became an order bearer and laureate of the Stalin Prize, her poems about the war were included in Soviet anthologies. But Inber remained in the history of literature not with this, but with early stories and poems (among which many people of the older generation will surely remember popular songs that have become almost urban folklore - about a girl from Nagasaki, about Willy Groom or about little Johnny, who " hot palms and teeth like almonds").

There was another poetic outlet, which can be called a small success of her literary destiny - poems for children. There are not many of them, although she turned to them in the tenths, and in the twenties, and in the forties, then they began to be published in separate collections, sometimes with the addition of "adult" poems about the war, and some (including widely known "Centipedes", “My girl”, “Late at night at the pillow ...”, “Setter Jack”, “About a boy with freckles”, “Lullaby”) are widely known.

True, back in the twenties, three thin brochures with poems about “ordinary” professions and “simple” things were published - since then, it seems, these poems have not been reprinted, except that E. Putilova included some of them in her anthology “Russian poets for children ". Meanwhile, these verses by Inber (and perhaps, above all, precisely these verses of hers) present us with an outstanding children's poet, with their own unique intonation, rhythm, vocabulary. I think that even a reader who does not go into details will determine in what era the poems were written - there are so many sometimes elusive, but clear signs and details of the time:

The teapot is diligent in work,
And he is not tall.
The teapot has a round belly
And no legs at all.
It's not too pretty
And the teapot has a strange look,
But it's fair enough
Since he always sits.
The teapot has a round lid.
And a very nice nose
But when he is short of breath,
He breathes like a steam locomotive.
He is often out of place
Wrapped up in steam.
He has one friend
Yes, and that samovar.
And as thin as hair
They sing together sometimes:
The samovar has the first voice,
And the teapot has a second one.
And about the teapot every night
There is a question in the kitchen.
And they scold him there because
He turns up his nose.
Judge him severely
Everything, even the pitcher.
And the kettle is silent: there are many of them
And he is completely alone.

Vera Inber wrote for children in the spirit of the Marshakov school: this school introduced into wide use a story or a story in verse - a plot story written more according to the laws of prose than lyrical verse, but with all the paraphernalia inherent in a poetic work. But in the memory of the reader - first of a child, and then of an adult - Inber remains a master of poetic aphorism:

The night is on soft paws
Breathe like a bear.
A boy is made to cry
Mom - to sing.

Poems are remembered for their warmth, liveliness, accuracy of sound, kindness. What else does a children's poet need?

“Our main joy was the sea. And although our sea is called “Black”, it turns black only in autumn and winter, on stormy, windy days. And in spring and summer, the Black Sea is blue, blue, green, and sometimes, at sunset, golden.

The best place for walking was in our city, Primorsky Boulevard, where beautiful southern plane trees grew.

At the beginning of the boulevard stood a bronze monument to Pushkin. The leaves of the plane trees rustled just above his head. Swallows, flying, touched Alexander Sergeevich with their light wings, and sometimes sat on his shoulder. From there, from above, the sea and the ships going to our port could be seen far away.

The ships came tired from long voyages, smoky, weather-beaten. The wide pipe breathed hoarsely. The paint on the sides has peeled off and faded. Shells and algae clung to the outside of the bottom of the ship.

Still would! After all, he had to deal with waves, storms, hurricanes.

In our port, the ships put themselves in order: they were cleaned, washed, repaired, covered with fresh paint.

Going back to sea, the ships looked great. And the swallows, sitting on Pushkin's shoulder, followed them with their eyes to the very horizon.

With this Odessa skyline in your eyes, it would be nice to read the poems of Vera Inber. Sometimes an amazing lyrical feeling arises in them, characteristic of high examples of Russian poetic classics:

Yellower leaves. The days are shorter
(It's already dark by six o'clock)
And so fresh raw nights
That you need to close the window.
Schoolchildren have long lessons
The rains are floating like an oblique wall,
Only sometimes in the sun
Still cozy like spring.
The hostesses zealously prepare for the future
Mushrooms and cucumbers,
And apples are fresh-ruddy,
How cute are your cheeks.

Let's pay attention to the last two lines: the banal "cheeks are rouge, like apples" is opposed by a shifter - "apples are rouge (and even fresh!), Like cheeks." And the image immediately acquires novelty and, indeed, freshness. I remember the expression of one of my young readers - he once said: "Dry leaves rustle like chips." But according to all the "rules of life" he had to say: "Chips rustle like dry leaves." But today secondary is primary for him.

In Vera's poems, Inber is still "primary". Perhaps it took almost a century to understand and appreciate this.

Retreat 4
In August 1968, two events took place that miraculously coincided and forever connected in my mind two distant concepts - poetics and politics.

It was in Yalta, during the summer holidays, from which a plump typescript pulled me out: Efim Grigorievich Etkind, who worked in the Yalta Writers' Creativity House, showed me his newly written book "A Conversation about Poems" and said: "Read and tell me what you think."

First impressions are remembered: it turned out that one can talk about the most complex problems of poetry not only in an exciting way, but in such a way that this conversation becomes fate. The word "fate" then hung in the air. There, in Yalta, on the twenty-first of August, we turned on the "speedo" and through the howl of the jammers, we distinguished the familiar intonation of Anatoly Maksimovich Goldberg: the BBC reported on Soviet tanks in Czechoslovakia. "Well," said Efim Grigorievich, "fate begins ..."

Efim Grigoryevich Etkind (1918-1999) did not write poetry - he studied and promoted them. His "Conversation about Poems", published in the first edition in 1970 by the publishing house "Children's Literature", determined the philological and literary fate of many teenagers of that time - including those who began to write for children.

An enviable and inspired fate fell to his own lot. He was admired for his talents and intelligence, charm and masculinity, and extraordinary capacity for work, which he retained until his last days. As far as I remember, not one of his numerous speeches, whether in front of a student, scientific or writer audience, was held without a full house: people went “to Etkind”, whose name alone over the years has become synonymous with high human feelings and qualities - nobility, honesty and civic courage.

An outstanding literary historian, poetic scholar, theorist and practitioner of literary translation, he has earned love and respect all over the world - this is evidenced by the huge bibliography of his scientific and literary works published in many European languages, and numerous honorary titles, which he was awarded in many countries; books and works prepared by him continue to be published after his death.

In 1908, Maximilian Voloshin, reviewing the newly published book of translations by Fyodor Sologub from Verlaine, recalled the words of Theophile Gauthier: “Everything dies with a person, but his voice dies most of all ... Nothing can give an idea about him to those who have forgotten him.” Voloshin refutes Gauthier: there is a field of art, he writes, which preserves “the most intimate, most precious shades of the voices of those people who no longer exist. This is a rhythmic speech - a verse " 54
Voloshin M. Paul Verlaine. Poems selected and translated by F. Sologub // Voloshin M. Faces of creativity. L., 1989. S. 438, 440.

Poems were the main work of Yefim Etkind's life. For more than half a century, he studied Russian, French, German poems (the latter, moreover, he translated a lot and fruitfully), studied them as a text of poetry and a text of culture, often working in the narrow space between serious science and popularization, where one’s own voice, one’s own intonation. Numerous students, friends, followers of Etkind remember exactly this - his unique voice, his amazing ability to read poetry and pause.

There were no such breaks in his life. Even at the turning point of fate, in 1974, when the fifty-six-year-old professor of the Herzen Institute, suddenly deprived of all titles and degrees, was forced to emigrate to the West, the ensuing long-term separation from his homeland and native culture turned into a phenomenal activity in terms of energy and conquests - scientific, organizational, journalistic. For a decade and a half, Etkind's name was banned in the Soviet Union, and his books were removed from libraries and mostly destroyed. Shortly before his sudden death, E. G. Etkind addressed an open letter to those who were guilty of this barbarity with a fair demand to pay for the reprinting of his destroyed books, many of which were unique textbooks for philologists for many years - and have remained so to this day.

Of course, there was no answer, but, fortunately, Efim Grigorievich was charged with great optimism, which allowed him to find his own ways for creativity in all difficult times, adequate to lofty and noble goals. For the main thing for which he lived was here, in his homeland: Russian culture and a circle of friends. He carried these two passions through his whole life - both when he studied at the Romano-Germanic department of Leningrad University, and when he volunteered for the war, and when he “broke through” the Soviet reality of the 40s and 60s, and when, after the actual expulsion, he ended up in Europe. Etkind managed to build his own, special bridge between European and Russian cultures. These are not only scientific articles, books, literary translations, speeches: Efim Grigorievich knew how to bring people together, to bring up a sense of necessity in each other. His name stands not only among those whom he translated and whose work he studied, but also among those whom he defended and affirmed in our literature.

Every lover of poetry sets himself questions in his youth, which he then answers almost all his life. How do I read? Is this an easy job for me - or a serious job? Am I doing this out of love or out of necessity? Do I always fully understand those lines over which my eyes sometimes run so hastily?

Reading poetry is a special art. In the Pushkin Lyceum, versification was specially taught. But for many of us, the lessons of poetry reading are extremely important.

“Reading and understanding poetry has always been difficult, but in different eras the difficulties are different. In the last century, the reader certainly had to know the Bible, and Greek mythology, and Homer - otherwise, would he have understood anything in such Pushkin's verses as “The waves of Phlegeton are splashing, the vaults of Tartarus are trembling, the horses of pale Pluto from the Hades of the god are racing ...” . The reader of modern poetry can do without mythology, but he must master the difficult language of poetic associations, the most sophisticated system of metaphorical thinking, understand the inner form of a word that develops into a plastic and musical image. Often the reader does not even realize how many obstacles he needs to overcome in order to get true poetic joy from a poem. 55
Etkind E. On the art of being a reader (Poetry). L., 1964. S. 50.

So half a century ago Yefim Etkind finished his book On the Art of Being a Reader. Many of the author's wonderful studies on Russian and foreign poetry grew out of this small pamphlet, including "A Conversation about Poems", which became a bibliographic rarity immediately after its release - nevertheless, it turned out to be in the center of attention of a whole generation, and not one. First of all, because the book was intended for young readers at a time when poetry played an enormous educational role and filled in the public life of that time many ethical gaps. Reading and pondering are the seductive elements of the poetry lover. E. Etkind leaves us alone with this element.

Poem Talk is a book about love. By the way, to poems, to native speech and to those selected poets who made the glory of Russian poetry. Sometimes this love is emphatically open, sometimes it is secret: love that reveals the subtext, which was especially rich in Russian poetry of the Soviet era. The reader of the Conversation on Poems must clearly realize the presence of such subtext in the book itself. In those years when it was written, its author could not say everything and not everything in a full voice; he counted on the fact that he focuses on the main thing - the ability to read the text; he believed that the reader - his co-thinker, co-sad, co-sufferer - in the future will be able to figure it out, independently analyze and understand everything that already relates to the subtext.

There are many amazing finds in the Conversation about Poems. One of them is the concept of a “ladder”: a ladder of contexts, a ladder of rhythms, etc. To arm himself with the “Etkind method”, the reader can also make up a semblance of such a ladder, placing on it the works of Yefim Grigorievich himself, let’s say, about such a beloved poet of his , what was Nikolai Zabolotsky. In the "Conversation about Poems" the beginning of this theme was laid; then it was developed by an analysis of the poem “Farewell to Friends” (1973), and continued in the West in a number of publications, primarily such fundamental ones as “In Search of a Man. The Path of Nikolay Zabolotsky from Neo-Futurism to “Poetry of the Soul” (1983) and Zabolotsky and Khlebnikov (1986).

In the archive of E. G. Etkind, the article “Nikolai Zabolotsky in 1937: “Night Garden””, which did not reach the printing press during his lifetime, was preserved, completing the ascent of this research ladder and, at the same time, referring to the pages about Zabolotsky in the “Conversation about poetry ". After reading these pages, we will be convinced that the author consistently and persistently tells us about the tragic in the poet’s work (“uniformly solemn mournful intonation”, “Zabolotsky’s world is tragic”, “how much painful tragedy is in the initial words”, etc.) , however, every time the background of the tragic is revealed, mainly at the formal level, whether it is an analysis of the rhythm or the metaphorical structure of the verse. The article about the "Night Garden" explores something that could not have been published at one time: the tragedy of Zabolotsky is shown as the poet's reaction to the realities of the then Soviet life.

Consider this poem, as it was published in 1937:

Oh, night garden, mysterious organ,
A forest of long pipes, a haven for cellos!
Oh, garden of the night, sad caravan
Night oaks and motionless firs!
He thrashed about and made noise all day.
There was an oak battle, and a poplar - a shock.
A hundred thousand leaves, like a hundred thousand bodies,
Intertwined in the autumn air.
Iron August in long boots
He stood far away with a large plate of game.
And the shots rang out in the meadows,
And the bodies of birds flickered in the air.
And the garden fell silent, and the moon suddenly came out.
Dozens of long shadows lay down below,

Oh, garden of the night, oh, poor garden of the night,
Oh, beings who have fallen asleep for a long time!
Oh, you who appeared above your head
Misty stars mysterious Volga!

“At Zabolotsky’s Garden,” writes E. G. Etkind, “the victim and witness of human atrocities ... The garden, the center of music and life (stanza I), watches what is happening with torment, with despair (II). What is happening is described in stanza III - hunting, during which living beings die. At night, the garden no longer just observes, but protests - votes “against crimes”. Let's take a closer look at the central stanza: is it about hunting, is it only about hunting?

"Iron August" - well, of course, this is about the month of August, when hunting is allowed. However ... However, Augustus is also the emperor of Rome, an autocratic and deified dictator. The epithet “iron” evokes in our memory the combination “iron Felix,” as Dzerzhinsky, the founder and chairman of the Cheka, was officially called in the party; however, “iron” is a synonym for the word “steel”. "Iron August" - Stalin; with this understanding of the word “August”, the poem is read differently, it becomes transparent, completely understandable. Stanza IV takes on a deep and distinct meaning, where the night garden, in other words, all nature, all life in the world protests against the Stalinist terror:

And the souls of the lindens raised their hands,
All voting against crime.

No wonder Zabolotsky had to redo these lines for the 1957 edition, 20 years later:

And the crowds of lindens raised their hands,
Hiding birds under clumps of plants.

It is better? Worse? This is not the point, but the fact that lines that are clearly connected with Soviet reality (lindens vote against crimes, raising their hands - like workers at all trade union or party meetings!) have given way to lines that are stylistically neutral - devoid of modern associations. And the last two verses, which testified that the action takes place in Soviet Russia (“…Volga”), gave way to neutral lines that transferred the action to the Universe:

Oh, flashing over your head
Star Shard Instant Flame!

The Volga line was more accurate and better; and not only because the rhyme was richer (“for a long time - the Volga”)... Stanza III, which stood in the center of the “Night Garden”, not only painted the image of the leader “in long boots”, but also gave a terrifying metaphorical picture of the “total terror” of 1937 of the year". These verses, Etkind concludes his analysis, "represent Zabolotsky's literary feat, the deed of a desperate brave man."

I hope this lengthy quotation will help the reader of the Conversation on Poems to feel that "research perspective" to which almost every page of the book appeals. And to revive that love for poetry, which grows out of careful, sensitive reading. This is what I want to learn: the work of detailed reading, including (and for us - above all) - poems for children.

Zabolotsky's poems turned out to be the last poems that I heard from the lips of E. G. Etkind: it so happened that the last evening we spent together, we read Zabolotsky. It was at the very end of September 1999. Then we broke up, Efim Grigoryevich flew to Germany, and in November he died. And now, re-reading "A Conversation about Poems", every time I remember the embankment in Yalta, the folder with typescript and the words that I want to pass "in a circle": "Read and say what you think."

Reading Feast
Valentin Berestov

Valentin Dmitrievich Berestov (1928–1998) is the favorite poet of more than one generation of children in our country. And those adults who fell in love with his poems in childhood or adolescence retain this love for life. I hope that for all of us, his readers today, every communication with his poems, with his new books is a real holiday of reading. Valentin Berestov was born on April 1, 1928 in Kaluga. Perhaps the birth on such a merry day determined his fate and his character: despite the many hardships and difficulties that befell his generation, he remained a surprisingly cheerful person all his life and did not lose heart under any circumstances.

I met him in the early 70s, when my first poems for children began to be published. And I immediately realized (I just felt it with my skin!), what an invaluable gift of friendly complicity Valentin Dmitrievich was endowed with. He surprisingly easily removed all possible barriers that could arise during communication. He brilliantly listened to poetry and tactfully and witty criticized them, if they deserved it, right there, along the way, improvising and "pulling out" the lines that did not turn out. And how he knew how to rejoice if he liked poetry! He began calling editorial offices and publishing houses, he wrote reviews, he took you into his life ... These qualities of his were especially pronounced when his protection was really needed, as, say, in the story of Oleg Grigoriev. Berestov's participation in the fate of Grigoriev is one of the brightest and high pages of the Soviet literary life of our recent past.

The poet Andrey Chernov, one of Berestov's students and younger friends, wrote in an afterword to the teacher's book of selected poems (2003): “Berestov is not an adult and not a child. He is a poet of a “general kind”, whose lyrics (in its usual sense) are difficult to separate from instant photographs, poetic memory, which become poetry either due to kindness and humor, or contrary to the natural mind and professional skill of the author. He offers his poems to the reader as a gift of his friendship.

With regard to Berestov, the "gift of friendship" is the main principle of the world order. He took it from his elders, from his family, from his teachers in literature and transferred it not only to relatives and to numerous friends and students: friendship (and friendly compassion) obeys everything that falls into the field of vision - and what does not obey becomes marginal and unworthy. I remember with what demanding, but precisely friendly complicity, Berestov treated the changes of the 90s, which is why such lines were born, for example:

Forgive our country its history.
She will be no more, gentlemen!
And we will forgive her the climate, and the territory,
And off-road. It's not a problem!
Let's not tell her paternally,
Whom to follow and where to move.
She decided to live humanly.
Forgive her for this, gentlemen!

These poems, written by Berestov in the ninety-fifth and then remembered by ear, better than many others, give an idea of the delicacy, insight and talent of the author. Later, these lines got a name - "Russian Idea", which gave the poetic aura depth and at the same time irony. From such shades of feelings and meanings, the image of the soul is fashioned.

Berestov began to write poetry early, and already in his adolescence they were recognized - and I dare say: they fell in love! - Samuil Marshak, Korney Chukovsky, Anna Akhmatova. V. Berestov unusually interesting not only talked about his literary teachers and wrote about them, but also “showed” them: his gift of reincarnation, his oral memoirs delivered moments of true poetic happiness to all the poet’s interlocutors.

Valentin Dmitrievich devoted a considerable part of his life to archeology. Maybe that's why in many of his poems, both for children and adults, history comes to life - distant and very recent. History for him is a single and living space, in which the not so old war years pass, and, say, the life of A. S. Pushkin, and the destinies of our contemporaries unfold. And all this in one bundle is linked to childhood. But it’s better to listen to Berestov himself:

“I also love classical poetry because it is close and understandable to children, sometimes even very young ones. Well, for example, Pushkin's "Song of the Prophetic Oleg", Lermontov's "Three Palm Trees" (I read them at the Lermontov competition, went through several rounds, I probably would have passed the all-Union one, but the war began), Schiller's "Cup" translated by Zhukovsky ( at my six years old it was my favorite poem), Blok’s “About Valor, About Feats, About Glory” - the delight of my adolescence ... It would seem that the classics wrote about everything before they entered school programs and became reading for children and adolescents. But it's not. They could not write about many things, did not have time or forgot. I even have a cycle of “adult” poems, which I have been writing all my life and secretly, for myself, I call:

“What the classics forgot to write.”

And here's more:

“Children's poetry, created by Chukovsky and Marshak, survived the era and the social system in which it was created. After all, our classics of children's poetry understood that for young children, poetry is the most necessary spiritual food, daily bread. Take away this food from the baby, and, as Chukovsky put it, he will make you feel pitiful, as if he were lame or hunchbacked.

All my poems for little ones are a game with children. And they are powerful thinkers, dreamers and lovers of paradoxes. They rediscover and master the world… And these verses also express my love for small children and my deep gratitude to them for those wonderful hours that I had the honor and happiness to spend in their company.”

Valentin Berestov should be read slowly and carefully. Luckily for us, he did indeed write quite a bit - adult lyrics, children's poems and fairy tales, fantasy stories, stories about archaeologists and popular science stories; he recounted the biblical traditions that were included in the famous book "The Tower of Babel"; he translated, first of all, his favorite poet, the Belgian Maurice Karem, and Berestov's translations made Karem a constant reading for our kids. Berestov left books of memoirs and literary studies, works about Pushkin. Berestov formulated - let me say: brilliantly formulated - Pushkin's "ladder of feelings" and derived this formula in the work of the same name, to which he gave two decades of his life: "The national originality of Russian folk lyrics is expressed in the fact that in a traditional non-ritual song some feelings , as if on a ladder, are reduced to others, opposite " 56
Berestov V. Staircase of feelings // Berestov V. Selected works. In 2 vols. T. 2. M., 1998. S. 582.

The song also occupied a considerable place in Berestov's original work - he himself came up with "folk", as he said, motives for his song texts and sang with such dedication and inspiration that it seemed - here, before your eyes, the birth of folklore is happening ...

Quite shortly before his sudden death in April 1998, Valentin Dmitrievich signed one of his last books to our common friend Andrei Chernov; with the permission of Andrey, I want to quote these two lines, since they contain the whole of Valentin Dmitrievich Berestov:

And yet it’s good for that poet Who is being transported on a children’s ticket!

Fragments about Berestov
I did not see Berestov sad -
I memorized Berestov by word of mouth,
with a song and a story about
how Chukovsky argued with Marshak.
What is given to a children's poet?
If you're lucky, remember this
commandment, more important than other sciences,
that in poetry the most precious thing is sound.
That's why he wasn't sad.
this sonorous voice of Uncle Valin:
tenor, turning into laughter,
He kept the sound - for them, for us, for everyone!

This is an echo

On the twentieth of November 1981, a conference on children's literature was held in the Leningrad branch of Detgiz. The poetry seminar was led by Valentin Dmitrievich Berestov and Alexander Alekseevich Krestinsky.

Here are a few of Berestov's aphorisms that I wrote down along the way:

To write poems about childhood, you need to live a large piece of life.

In modern adult poetry - sheer egocentrism. In youthful poetry - purity.

Objective egocentric: I remember a wonderful moment, I appeared before you. Subjective: I appeared before me.

At my age, one cannot live without a sense of humor.

The reader is an anonymous black hole.

Children's poems - a continuation of the words of children. Playing with children turns into poetry. There must be an accurate calculation of age. This is an echo.

Barto: Leave some finds.

Berestov: Then many lines will not rhyme. Barto: Let them stand like that.

Berestov: I wanted to say so-and-so. Tatyana Ivanovna: That's what I would say!

I can't, sinful man, write songs. As our expedition driver said: “Your voice can only shout: Busy!”

Marshak, when he felt that the poems were false, read them with a German accent.

Chukovsky had a basic requirement for a fairy tale: that each line should be able to draw a picture.

Zakhoder repeats: everything is a plot. What poems can you write about an ashtray? Cigarette butts lie in it and say: “Everything is decay! It's all dust!"

Marshak said: you have to keep several irons on fire all the time.

The Irish say: when God created time, he made enough of it.

Found myself

You have finally found yourself! Chukovsky said when 36-year-old Berestov brought him his childhood poems.

Life is a mystery

There was a wonderful boy Vova Torchinsky in Leningrad, the author of very curious and funny poems. Once Valentin Dmitrievich Berestov arrived from Moscow. Not only children's writers, but also writing children were invited to meet with him. Vova read our favorite poems:

Long live autumn! Long live the school! Long live the time and the form of the verb!

Berestov also liked the poems very much.

– Who are you going to be? he asked Vova.

“I don’t know,” he muttered.

- Correctly! Berestov rejoiced. “Life is a mystery.

From the threshold

In October 1982, I once again came to Moscow and got to Berestovy. Uncle Valya was taken aback from the threshold:

After the rain

Another visit to Moscow - in April 1983. In the evening - a visit to the Berestovs. Uncle Valya and I were walking from different places and both got caught in a terrible rain. Sat by the heater. Berestov is completely wet: “Let's have poetry! .. No, read it first!” I, also completely wet, began to read verses from the manuscript prepared for the Malysh publishing house. Tatyana Ivanovna came in with tea. Berestov, not paying attention to tea, began to read my manuscript and at the same time immediately gave out options for those passages that he did not like. So we moved away from the rain - warmth and poetry.

News

A few months later, in the autumn, Valentin Dmitrievich arrived in Leningrad for the fiftieth anniversary of Detgiz. We went with him for a walk around the city.

Me: “Valentin Dmitrievich, what news do you have?”

He: “Listen to what Andryusha Chernov wrote about Pushkin!”

Half an hour later, I find a loophole in his monologue and ask: "What's new with you?"

He: “And this is what Olesya Nikolaeva wrote ...” Etc.

There are not so many poems in the world that I cried over - and these are not necessarily good poems: Tsvetaeva’s favorite Sonechka Holliday had everything in order with literary taste, but she still cried not from Tsvetaeva’s poems, but from “I give you a dog, I ask you to love her." And yet, to make the reader weep and be touched is a serious merit, for these feelings are beneficial. It’s understandable why I couldn’t calm down for two hours after Yesenin’s “Song of the Dog” - I still consider it one of the greatest Russian poems - but I won’t undertake to explain why, at the age of ten, I roared over Inber’s poems: “ Late at night, by the pillow, when everyone is tired, little ears grow to listen to dreams.". What's wrong here? A complete idyll! At night, the pillow does not sleep, listens to dreams, and during the day it sleeps itself; banal fairy tale story. But either because such a plump and prosaic creature as a pillow was animated and endowed with magical abilities, or because of a special Inber tearful intonation, I completely lost self-control. And I must tell you that the years in this sense have changed little - Inber has a poem, on which I am now ... which is completely indecent for my years ... I'm talking about the lullaby "To the son who does not exist." Everything is brilliant there, except for the last stanza (in which the author falls into a completely plush sweetness): “ He looked into his native harbor - and sailed away again. The boy is made to swim, the mother is made to wait". No impossible.

Maybe if I hadn’t read all this as a child ... But since then her poems have become so engraved in my memory, home folklore and modern speech that every time I turn to Mozhaika from the Moscow Ring Road, I read - to myself or aloud: “ It was still cold in all its glory, the wires of the Mozhaisk Highway were still white...". This is from a children's poem about the war - "Home, Home" - which describes the story of a family that has flown away for evacuation and happily returned to its native birches.

And after that, they will tell me here - as they say in some of today's articles about Inber - that she never entered the great literature: cute, talented, but no one needs it now ... Firstly, the author who entered the folklore , already in literature, you can’t cross out: “The centipede has babies” - no worse than Chukovsky. What about The Girl from Nagasaki? Tell her who, that this song will remain from her mainly in the memory of the people, Inber might have switched to chanson and would have achieved a lot; like all poets who know how to write prose, she is strong in the ballad, remarkably holds the plot, and such poems of her as "Vaska Whistle in a binder" or "Setter Jack" would have fallen into the anthology of Soviet poetry with the most demanding selection. Vertinsky, very picky in his choice of texts, wrote the famous "Johnny" on her poems - "Little Johnny has hot palms and teeth like almonds" - and this thing also cannot complain about oblivion.

And secondly, something tells me one comforting thought: you never know who is not read and remembered now? Now I'm generally not very good with reading and memory. But wait, other times will come when subtle and complex emotions will be in demand, when it will not be a shame to sympathize and be touched, and even sentimentality will be quite appropriate, and interest in the Soviet will be deep and non-opportunistic, especially since much will be repeated; and then Inber will still be re-read, and her place in literature, who knows, will become more honorable. You just have to survive the so-called dark ages - in our case, I hope, just years.

Little is actually remembered about Inber. For example, that she was Trotsky's cousin and somehow survived. This is written even in Wikipedia, and it's not true. Trotsky's cousin was her mother, Fanny Solomonovna Shpentzer, a literature teacher. It is hard to imagine that Trotsky's cousin could have survived, published, and received the Stalin Prize: Stalin was, of course, unpredictable - but not so unpredictable. Trotsky probably played a certain role in Inber's life - it is precisely this kinship, then saving, albeit quite distant, that can explain her hasty return from exile. She and her husband left Odessa there, but returned less than six months later, while her husband, Nathan, stayed, then moved to Paris and disappeared. Probably, life in Soviet Russia seemed more promising to her, and she was not mistaken. The point, of course, is not that Trotsky helped - he could be regarded as a kind of guarantee, and then not for long: she made her way into the twenties thanks to her own talent and phenomenal instinct. She began to show this instinct early, back in the 1910s, when she came across her own literary style: let's say, in the first book - "Sad Wine" - there is still no trace of this manner, everything is rather trivial there, but already in "Bitter Delight", released in the revolutionary seventeenth, that sad irony appears, that mocking and at the same time sentimental tone, which was the then fashion with the light hand of Teffi; but as a poet, Inber was stronger than Teffi, although in prose, perhaps, she is inferior to her. Teffi, the most human person in Russian prose of the twentieth century, had her own style in prose, a magical gift for putting words in a true angle; Inber is a good prose writer, but her style lacks a personal stamp. But in poetry, where Teffi could not always get rid of pathos, Inber is stronger, and her plots are better built, and the story is dry, muscular, and speech characteristics are excellent. " Lyubusya-Lyubka has pink lips - you'd better not tell us in front of us! At Lyubusya-Lyubka's - better don't tell! - the scarf is very gaseous, poisonous gas". Taffy is not so weak - she wanted to, she could - but this urban speech was already unfamiliar to her: in the twenties she lived in Paris.

There were several excellent poetesses in the twenties, who then disappeared - this is a separate, very interesting topic, why in the twenties, more precisely, after the twenty-third, Akhmatova almost fell silent, Tsvetaeva almost did not write, but the voices of Shkapskaya, Inber, Adalis sounded all over Russia. Here's the thing, I think. The twenties were, of course, extremely attractive and, I would say, creative, for all the filthiness of the word; they greatly stimulated literature, but there was a taste of vulgarity in them, an admixture of bad taste, much more distinct than in the Russian Silver Age. Only people who, according to Yevgeny Petrov, could write at that time, for whom, according to Yevgeny Petrov, irony replaced their worldview, since it was the only possible reaction to the lack of values. Here Mayakovsky could not: his satire is not ontological, it does not question the foundations of being, the mission of the poet, the very concept of literature. And the revolution is sacred to him. There was an attempt to see in his revolutionary odes a parody, buffoonery - well, he could not seriously, in fact, glorify all this and not understand anything! More or less consistently, this topic is developed in the book of the self-taught lighthouse expert Bronisław Gorb, The Jester at the Throne of the Revolution, but the author is too stubbornly wishful thinking. If you wish, you can even see a parody in Hamlet (and it is there, see The Mousetrap), but “the ability to see the funny side in everything is the surest sign of a petty soul,” we read from Belinsky. The satire of the twenties in its best examples is not funny or funny unintentionally, as Anna Gerasimova aka Umka showed in her dissertation “Funny among the Oberiuts”; that which was sacred to Mayakovsky was subjected to ridicule. Hence the Oberiuts, Vaginov, and hence Inber, whose poetry, for all its sentimentality, was very harsh and thus proves that sentimentality is not from weakness, but from strength. The exception was Shkapskaya - she was the first to fall silent - but her ontology is undermined from the other side: men failed to dispose of the Absolute, and women got it. Shkapskaya is physiological to the point of obscenity, to the point of true genius shamelessness, which we will not find in Akhmatova either. When values collapse, either physiology saves (as in Shkapskaya, Sholokhov, Babel, Pilnyak, Vesely, Zamyatin partly), or ridicule.

Inber found the intonation with which in the twenties it was possible to talk about love, and about motherhood, and about old parents. She joined the main, in my opinion, literary group of the second half of the twenties (not counting the immediately defeated Oberiuts): the constructivists became her literary family.

Who are the constructivists, the direct heirs of the acmeists and their direct students? The term was coined by Selvinsky. Constructivism does not mean the pathos of naked creation, solid rationality, the poetics of labor, etc. This is just constructive, positive, sound thinking - the prevalence of the intellectual principle over the chaotic, consciousness over the subconscious. Constructivism is prose in verse, which often gives a curious junction; in today's Russian literature, the ball is ruled by people who believe that the more random, the more true, and do not really think not only about coherence, but even about elementary literacy. For them, everything that can be retold - by definition, they despise prose, ballads, love ellipses, “dropped links”, but if for Mandelstam these dropped links were just a way to speed up poetic speech, to make it denser, then in today's literary mainstream it is a way to obscure the meaning, to give out incomprehensibility for a meaningful statement. In general, the more incomprehensible, the better. The story in verse has its drawbacks, its risks - there really is a chance to slip into the devaluation of the poetic word, into the lyrical reportage; but in the best examples, the prose content and poetic devices strike a wonderful spark. This is what happens with Selvinsky in Ulyalayevshchina, with Lugovsky in Bolsheviks of the Desert and Spring, with Inber in the ballads of the twenties. She is not a constructivist in the "Selvinsky" and "Lugovsky" sense - but the excitement, the joy of novelty, mockery of personal and poeticization of collective effort - this, of course, makes her related to them; and it is not in vain that she, as a true constructivist, writes a lot at this time about construction sites, about trips, about great Soviet projects.

Today, all this is repeatedly ridiculed, but in Inber’s essays of that time, in her poems, in reports for Ogonyok and Searchlight (she worked a lot for magazines, she had to feed her teenage daughter, whom she, like Tsvetaeva, gave birth to her Alya in 1912) there is indeed the excitement of construction, the freshness of novelty and a sense of perspective. She turned out to be an excellent essay writer, precisely because all this, power stations, radio stations, desert flooding, etc., was really new to her. The experience was completely different - and therefore the estrangement that Shklovsky discovered, she succeeded without effort: all this was very strange for her, and she, like all women, loved novelty.

The paradox here seems to be: how could it be that Larisa Reisner, whose first man was Gumilyov, and whose first poetic passion was Akhmatova, became a woman commissar? But that's exactly what could happen: after all, the women of the Silver Age were inspired by something that did not exist yet. As in Gippius: "I need something that does not exist, never happens" ... Revolution - this is the novelty he desires; only many of the men were crushed or frightened by the demon summoned by the sorcerer's apprentices, and the women were more fearless. Stormcaller yells "Let the storm blow harder!" - and when he sees a storm, like Gorky, he says that it’s not that he called for such a storm, and even the fearless Blok says: they say, we didn’t call these days, but the coming centuries. But women, who always want the unprecedented, just really like it all - “And so close the miraculous comes to the collapsed dirty houses, unknown to anyone, but longed for by us from time immemorial.” They always want the ultimate, the huge, the impossible, and they get it. As the vile but clever Vasily Vasilyich Rozanov wrote, what can be done with Nastasya Filippovna than to satisfy her? - only to kill.

And that is why the twenties became the heyday of young women's poetry: a man does not know how to blaspheme so, to break with the past so decisively, he does not know how to meet the present and the future with curiosity, and not with horror. Curiosity is called a feminine trait for a reason.

And they - Inber, Adalis, Barkova, Radlova, later Bergholz - managed to find a new language where the elders were silent, where men were powerless. And two new types appeared: a woman commissar (after all, this was not only Reisner, there were many of them, and among the anarchists too) - and a woman essay writer, she is a reporter, a driver, even a pilot. Pretty, small, businesslike, fearless, cynical, witty.

This style was created by Inber.

She generally understood the style - it was not in vain that she lectured about Parisian fashion in her native Odessa, it was not in vain that she and her husband lived in Europe for four years, studying this very fashion; but a leather jacket and notebook suited her better than Parisian clothes. Women of this breed wrote essays with magnificent irony and genuine admiration: for them, some village was at that time more interesting than Paris. Novelty is the main thing! Inber's stories of this time - "About my daughter", "About my father", "Mura, Tosik and a responsible communist", the story "A Place in the Sun", her poems brought from trips - the best that she did in literature. She really liked Soviet life. Some write now that she adapted, feeling the dubiousness of the origin - but nothing like that, she was absolutely honest. And she calmly continued to write good poetry. True, in the poem "Travel Diary" a new statuary, solemnity appeared, she mastered the octave with her usual talent for versification, - and at the end a toast was proclaimed "As for the crown of everything, Joseph Vissarionovich, for you!" - but plasticity, joy, excitement remained with her. Of course, the tragedy of the thirties was not reflected in her poems in any way, but the treasury of the thirties did not fully enter into them either; she stopped only writing her sad and cheerful prose, she went, like Shkapskaya, into a sketch.

The true flowering of her talent, however, fell ... scary to write - during the blockade, because what kind of flowering is that? But nothing can be done, she, like Bergholz, wrote her best things since the stormy twenties in the terrible forties. Maybe because during the war people again became equal to themselves. And the state stopped putting pressure on them, relying on personal initiative - people were allowed to save the country. It was not before that, the authorities had other concerns, except for how to constantly press subjects. And most importantly - in an existential situation, at the limit of possibilities, her best features returned to Inber. mockery. Sobriety. Courage. Self-discipline.

In besieged Leningrad, Inber wrote Pulkovo Meridian, a long diary poem in iambic pentameter hexastich. She refused to leave Leningrad - not so much because her personal heroism was such, but because her husband, the famous doctor Ilya Strashun, the author of the fundamental historical study "Russian Doctor at War", was supposed to stay in Leningrad. He was the director of the First Medical Institute in besieged Leningrad and could not leave anywhere. Inber stayed with him all this time. Her blockade diary “Almost Three Years” is her best prose, concise, harsh, without a shadow of reflection (on the contrary, Lydia Ginzburg in “Notes of a Blockade Man” is saved by reflection - but Inber, of course, is not such a deep person: she does not think, and fixes).

"Pulkovo Meridian" is a good thing. It contains pathetic bureaucratic digressions, deliberate Stalinist insertions - but most of these under-octaves, made according to the constructivist principle (the clash of high poetic form and the roughest, most cruel prose), testify to the long-awaited acquisition of a new language.

I'm wearing gloves, felt boots, two fur coats
(One at the feet). On the head is a scarf;
I made a shield out of it,
She covered her chin, nose and lips.
I buried myself in a blanket, like in a snowdrift.
Warm, great. Only the forehead freezes.

I lie and think. About what? About bread.
About a crust sprinkled with flour.
The whole room is full of them. Even furniture
He pushed out. He is close and
Far away, like the promised land.
And the best one is the baked one.

And then another fucked up
The whole ice-hole with a kerosene bucket.
And that's all, teeth chattering from the cold,
The owner is remembered unkindly:
So that his house burns down, so that he becomes blind,
So that he loses cards for bread.

There is a sieve in the filter system -
Transparent steel muslin,
The smallest of all. That's how I am
I try to keep the grains of life,
So that in the fluid memory of the human
They settled like the sand of the sea.

It used to be, Muse during the day, in gray frost,
Counterweight to the black power of the enemy,
Ordovka, in a beret with a star,
Stood at the Kanavka near Swan
And with a wave of crimson mittens
The order was exemplary.

This is high class. And even if there is not that spontaneity, that flame that Berggolts has (any comparisons are blasphemous), but the intonation of pride, dignity, strength is certainly there; and there are stanzas no worse than those of Akhmatova.

Why did Inber get this thing? Because for her, who grew up in one of the most literary houses in Odessa, it was natural for literature to shield herself from everything, to see literature in it as a panacea; because self-discipline for her is organic, not violent; because she knows from the experience of the twenties that those who focus on food degrade and die, and those who have a business live in spite of everything. "Pulkovo Meridian" is a manifesto of the struggling spirit. This is poetry that really and everyday helped to survive without going crazy from hunger and horror, and its effect is just as beneficial and saving today, seventy years later.

Inber was among those who, in the words of Akhmatova, "did not survive the second round." She endured the thirties, survived the forties, but when her husband, who had heroically worked the entire blockade in Leningrad, was thrown out of the institute during the struggle against cosmopolitanism, something in her broke forever.

She began to write monstrously bad Soviet poetry. After the publication of Pasternak's "Poems from the Novel" in Znamya, she scolded these poems and publicly wondered why they should be published. She attacked the first publications of Leonid Martynov - they say, unreliable - and Leonid Martynov answered her with a poem, where he compared it with an old tree: “ But why would it be for the sake of hotter than kerosene, an old aspen flared up in a wet pad? I didn't give her a reason. It rustled in vain. After all, I did not sell my soul or body to anyone. The whirling of fiery foliage, the sinister whistling of the wind ... I look at such things without irritation". In general, she began to blow on the water, attacking even those who did not intend against the Soviet regime either in sleep or in spirit. She began to be counted among the most mediocre, the most ideological. The story "How I Was Little", with all its charm, is thinner and paler than the lovely early stories. Now she was devoted without enthusiasm, cautious without need. The thaw did not touch her. There was nothing in her from the former little Vera, the favorite of the constructivists, the best journalist of Ogonyok, an adamant and fearless blockade. Unlike Bergholz, who remained true to herself to the end, albeit at the cost of reckless alcoholic self-destruction, Inber did not resemble her former self in any way. The prose has stopped. Sometimes there was publicity. The last verses are worse even than the late Tikhonov. She survived her husband and daughter, her little grandson died during the blockade, so she died completely alone, at 82, although in an atmosphere of full state recognition. Her last notes, diaries, letters keep a trace of the deepest sorrow and a terrible, childish misunderstanding - why did it all happen, why?

The Soviet government, in general, went through a similar path, although it is much more to blame than Inber.

When you read the early Inber poems, the same “Pillow”, or “Lullaby”, or the lines about the grandson in “Meridian” - and compare this with poems from the last book of 1971, you will inevitably think about another murder, although no martyrology of the Soviet it is not included in the literature. She was, in general, selfish and cold at times, and coquettish beyond measure, but she was a real poet and a good person, she was one of those people who could write Babel’s “Oil”, that is, she was rightfully considered the voice of a young and promising country , in which there was a place for heroism, and sentiment, and love, and work. Perhaps all this lacked compassion, that true humanity that, for example, Platonov had. But Inber did not lay claim to the Platonic scale. She was small, though inflexible. And compassion was familiar to her, and she felt and felt sorry for people, judging by the diary and Meridian. Apparently, the verdict of Soviet Russia was signed in the late forties - after that, no thaw could fix anything: the late Stalin finished off what the war did not finish off.

Inber's poems are unlikely to infect anyone today with enthusiasm or seduce with the freshness of great plans. Today they can only make you cry.

Not so little. Sometimes you have to cry too.

and spelling mistakes. The conclusion is unequivocal: for a written message to be understandable, it must be free from errors. The same conclusion is drawn by first-graders who are looking for an answer to the question: “What does it mean to write correctly?” - placed in the title of the topic of the whole block of lessons.

First, it turns out that "the correct letter is a letter without typos." The theme of the corresponding lesson is formulated in the same way. On it, students will learn what typos and typos are. It seems that it is clear why these two concepts were next to each other: both typos and misspellings are errors caused by inattention. In addition, they manifest themselves in the same way: omissions, substitutions, permutations of letters.

The motivation for both terms is transparent, so children can deduce the meaning of each of them on their own. The reasoning begins with an excerpt from the childhood memories of V. Inber, who found an error in the book: “... In the line “Cockerel, cockerel, golden comb” was printed “comb””. Mistakes made when printing books, newspapers, magazines are given the name of a misprint, and information is also provided about special workers who look for and correct misprints - proofreaders. (This information is not meant to be memorized.)

First graders know from their own experience that mistakes are possible in notebooks, in handwritten text. The term is derived based on an analogy: print - typos; write - ... .

When the guys tried themselves in the role of proofreaders, eliminated the “breakdowns” in the words from the exercises, each of them is invited to make an important decision for themselves. The “through” hero Anton has already expressed his opinion: “But I like to write like that, because it’s funny. Isn’t it fun to write with typos?” First-graders will help the first-graders to make their personal decision with the notes made in advance on the board:

I want to make everyone laugh. Let me be well understood.

The proposal written off by him will tell about the choice of each student.

However, the correct letter is a letter not only without typos, but also without errors. What is an error? "Every rule violation is a mistake." The guys come to the understanding of the concept, work

melting with a "cunning" proposal invented by Anton: the ball growled. Having corrected all the mistakes, listed the rules of writing that Anton violated, the first-graders are already ready to answer the question: what does it mean to write correctly? The answers of the guys are compared with the answers of the authors of the textbook:

To write correctly is not to allow slips (omissions, substitutions, permutations of letters) and errors (violations of the rules of writing).

To write without typos, one must be careful. And to write without errors, you need to know the rules.

Although the textbook “To the Secrets of Our Language” does not provide for the mandatory memorization of information about proofreaders and does not teach children to strictly distinguish between slips and errors, the importance of this information and the corresponding skills cannot be underestimated. And that's why. When forming self-control, operations to detect slips and errors are divorced: after all, their appearance is provoked by various reasons. This is reflected in special handout points that guide students in various writing situations.

Recall that in the textbook "To the secrets of our language" there are several reminders that accompany schoolchildren from 1st to 4th grade.

This means, first of all, memo 4 “How to write without errors?”, Which is being transformed, supplemented as children master spelling, grammar, etc.

But one thing remains unchanged: the function performed by the memo is to be a guide to spelling.

There are two important points in this memo.

The first is related to the permission to leave a window in place of the spelling found; it is a signal of an unresolved (but conscious!)

chi and carried out in the course of the letter - self-control. (After all, before the window appeared, the student had to step by step track his own actions: evaluate each sound in the word; decide whether he can be trusted; determine which rule to act; finally, set the boundaries of his own knowledge about how to solve the problem and the possibilities to apply them .)

The second key point of the memo is the item “Check” (“Work as a proofreader”), which orients children towards the implementation of final self-control. What operations, according to the memo, does the action of checking what is written fall apart?

w Read syllable by syllable for misspellings. w Find all the spellings again.

w Where possible, explain the choice of letters and decide if there are any errors. w Yes - correct; If in doubt, put a “?” above the letter.

The part of the memo devoted to self-examination acquires this form by the end of the first quarter of the 2nd grade.

At earlier stages, the same actions are performed based on memos 2 and 3. (The first of them works until the reception of writing with windows is introduced, the second - at an intermediate stage, when students are required to write with the omission of all spellings, including and those in whose place they know the letter or can determine it using a rule or a dictionary.)

The paragraph directing the action of the final self-control prescribes the execution of verification operations:

w read syllable by syllable and listen to yourself - are all sounds correctly identified;

w mark dangerous places.

As you can see, each option primarily provides for finding slips. They are identified subject to the obligatory condition: to read what is written in an undertone, in a whisper (in the early stages of learning), then to yourself, but always in syllables. The syllable-by-syllable method of reading involves slowing down the reading process and fixing the child's attention on whether each sound is indicated by its own letter. Students are also allowed to help themselves by highlighting syllables with a pencil.

The next step in self-checking is to look for spelling errors. There is only one way to find them - once again analyze the words for the presence / absence of spelling in them. This is possible if the student firmly knows their identifying features.

Then follows the determination of the correctness or incorrectness of the selected letter. How to do it? Determine the type of spelling again, that is, find out what rule it is for, and then apply this rule - solve the spelling problem. And from these positions, evaluate the letter chosen when writing, or, if the letter has not yet been selected and a window has been left in its place, close it.

As you can see, the writer repeatedly goes through all the stages of solving the spelling problem: from setting it up to choosing a letter in accordance with the rule. At the same time, he, as it were, rises to a new turn of the spiral: he analyzes the result from the height of a spelling action performed twice (and possibly more). As a result, the student either finds a mistake, crosses out the wrong spelling and corrects it, or continues to be in doubt (not sure that he correctly determined which morpheme the spelling is in, does not know how to act, etc.) and expresses them , putting over the letter "?".

Practically the same actions are provided for when copying based on memo 1 (with the only difference that the child still needs to compare dangerous places in the notes on the board or in the book and on his own).

Let us pay attention to such an essential detail: no matter what memo schoolchildren work on, they must carry out self-examination, as they say, with a pencil in their hands. Why? The formation of any mental action must "begin with the use of various means of materialization." That is why the methods of fixing the results of the test are obligatory: syllable arcs (at the initial stages of learning); a dot under the letter (.) to indicate all spellings; a question mark over a letter (?) to highlight questionable letters (if already written).

Does the teacher have reason to expect that such a laborious procedure of self-control will be effective? Certainly. The learning effect is achieved due to the fact that speech-motor, auditory, and visual analyzers are simultaneously included in the work. Together they provide a flexible synthesis between

components of the spelling action, and therefore contribute to the successful development of the spelling skill as a whole.

In addition, if the check is carried out according to the described technology (with an indication of all spellings, repeated oral checks and question marks in case of doubts), the teacher will receive complete information about the degree of formation of all spelling skills among students.

Above, we talked about the fact that students need not only to be taught, but also to be taught to carry out self-examination. And then it will be possible to count on the fact that the habit of consciously controlling the correctness of writing will provide the ability not only to find and correct incorrect spellings, but also to prevent their occurrence. But what to do if the error nevertheless appeared, but was not noticed by the student during the check? This question is equally acute for both the student and the teacher, since everyone must respond to an error: the teacher - by correcting, and the child - by what we traditionally call work on mistakes. The actions of one and the other, although they pursue a common goal (to detect incorrect spelling), have different content.

The authors of the textbook “To the Secrets of Our Language” believe that correcting mistakes in children’s work should be educational: “... this is not a simple statement of the fact “knows / does not know, knows how / does not know”, but one of the elements of learning, which should help each student to improve his knowledge and skills” . How to achieve this? First of all, the teacher needs to think about ways to correct mistakes. The generally accepted way - to cross out the wrong spelling and correct it - does not contribute to educating children in a critical attitude towards what is written. Indeed, in fact, the teacher found a spelling for the student, determined its type, chose and wrote the correct letter in accordance with the prescriptions of the rule.

What editing methods to choose so that they work for the formation of all spelling skills proper, including the ability to consciously control the correctness of the letter? It is clear that with this approach, the method of correction should take on a different quality - become a way to show an error. We restrict ourselves to listing the techniques suggested by the authors of the textbook “To the Secrets of Our Language”:

w underline the letter, place in the word or the whole word where the violation was made;

w underline the word, highlight the misspelled morpheme in it;

w underline the word in which there is an error, and indicate the morpheme containing the incorrect spelling in the margins with a conventional sign;

w give the correct spelling of the word in the margin; w write the correct letter in the margin;

w put an error sign in the margins, and next to it - an indication of the morpheme or part of speech.

w mark only the line where the error should be looked for;

w indicate the page number on which the rule is formulated, the recommendation is given.

To choose a method of correction and hints, it is necessary to take into account a number of factors: the student's capabilities, the nature of the mistake made, the moment of learning, etc. With this approach, the teacher's help becomes targeted, since it takes into account the level of preparation of each child and provides him with the gradual formation of the necessary skills.

The foregoing determines the organization of the work on errors in the class itself. It is desirable that, having received a notebook, the student, relying on the notes made, corrected the mistakes (those that the teacher suggested to him, but did not correct).

To ensure that students have a clear idea of what needs to be done to work through each error, it is wise to offer a checklist to provide guidance to them. One possible option might be:

"one. Find the error (if it is not shown).

2. Determine in which part of the word the mistake was made; if this part is not highlighted, mark it.

3. Write the word with a box in place of the letter that is chosen incorrectly.

4. Decide which rule to apply.

5. Follow the steps and insert the letter.

6. Go back to the text where the mistake was and correct it.

In grades 3 and 4, point 3 of the memo will change: “If the error is in the ending, write out the word along with the one on which it depends; if

in another part of the word, write out this one word. In place of the wrong letter, leave a window.

As you can see, the prescriptions of the memo strictly correspond to the structure of the spelling action, due to which the memo acquires a universal character: it is suitable for working on errors for any rule. Therefore, there is no need, as is traditionally accepted, to include in it a list of operations prescribed by each rule, especially since this material is on the pages of the textbook.

How to organize the work in the lesson in order to maximize the learning potential of working on mistakes?

You will get a possible answer if you get acquainted with the technology of its implementation, developed by S.M. Blues, taking into account the specifics of the textbook "To the secrets of our language".

So let's sum it up.

1. In order for self-control to be effective and conscious, it is necessary to provide its motivation: if you want your record to be understandable, you need to write without errors and typos.

2. Younger students must be taught to control not only the result of the spelling action (the written word), but

è the course of its implementation. The results of self-control in the course of writing are reported by windows in the place of missed spellings.

3. The actions that make up the process of final spelling self-control (checking) include: a) identifying all the spellings of the recorded text; b) definition of varieties of orthograms; c) delimitation of spellings, in the correctness of which I am sure, from those that are in doubt; d) applying the rules to questionable spellings; e) if necessary, correction.

4. Schoolchildren need not only to be taught, but also to be taught to carry out these actions. To achieve this goal, special reminders serve. Following their instructions, schoolchildren gain experience every lesson in performing the necessary operations, as a result of which the ability to consciously control the correctness of what is written is formed.

5. To increase the learning effect of working on errors, you need to specifically choose the way they are shown, not limited to simple correction.

Taking into account these provisions, we hope, will help the successful formation of the ability to check what is written, without which there cannot be a full-fledged spelling skill.

III. Correction of specially made mistakes as a necessary spelling exercise, conditions for the success of its application

What is spelling, I think, no need to explain. What is

How do these words and the phenomena behind them (spelling and misspelling) relate to our theme of developing the ability to consciously control the correctness of writing? Let's try to figure it out.

It is well known that the skill of literate writing is not developed immediately. On the long way of its formation in children, mistakes are inevitable.

Scientists have long thought about the question: is it possible to make a mistake useful in teaching literate writing, and if so, how to achieve this?

The practice of teaching, the research of methodologists give a positive answer to the first part of the question: the possibility of using "negative material" (L.V. Shcherba's expression) and its positive impact on the development of spelling skills have been proven today.

However, in methodological science there are discrepancies regarding the conditions that must be observed so that the incorrect spelling presented to students for one purpose or another does not harm the emerging spelling skill.

The technique, which involves finding and correcting errors by the student, is quite widely presented on the pages of a number of modern manuals and textbooks of the Russian language, but is presented in various methodological variants. The specificity of each of them is due to the authors' ideas about the role of cacography in the formation of spelling literacy, their attitude to the use of erroneous entries as didactic material.

So, in the "Reference Guide" O.V. Uzorova, E.A. Non-fed quests of the "correct errors" type are actively used. Here is an example from the manual for the 3rd grade (task 227):

The earth blew cold. The sar tore leaves from foxes and oak forests and crushed them along the paths. The Birds began to gather in flocks. Sa took pas gyrfalcons and fell and bodies and over high mountains for blue marya to warm countries.

While we refrain from commenting on the methodological literacy of the presentation of “negative material”, we will limit ourselves to stating the facts: in this text there are 33 words, which account for 27 errors, mainly related to the spelling of unstressed vowels, the spelling of prefixes and prepositions, as well as the use of a dividing soft sign. And although they are evenly spaced (they are present in almost every word), the perception of the text is extremely difficult èç-çà due to the fact that the appearance of a number of words has been changed beyond recognition. In addition, some of the punctuation marks are missing in the text, which also complicates the task of the writer.

The recommendations of a number of methodologists (I.V. Borisenko, M.P. Tselikova, and others) can be characterized as cautious. For tasks for finding and correcting errors, it is proposed to use homophones, that is, words that coincide in sound, but differ in spelling and, of course, in meaning.

So that children can identify errors, it is recommended to include words in such sentences where their various lexical meanings will appear clearly: Mother tried on fighters. Purchased shoes need to be reconciled. Children, write to the cinema. Children, hurry this offer, etc. . If the words of each pair are removed from the context, they will appear before the children in an “unspoiled” form.

Thus, the imprinting in the memory of students of a distorted spelling appearance of words is excluded. The purpose of using this kind of tasks, according to methodologists, is to contribute to the development of spelling vigilance.

However, the role of cacographic (in other terminology - proofreading) exercises in teaching literate writing is much wider. “Firstly, it helps students develop a communicative motive that defines spelling as a tool of speech activity: you need to write in such a way that you are understood by those around you.

No. Secondly, it allows you to convince students of the need to study the rules: without following the rules, you cannot correctly formulate your thoughts in writing. Thirdly, it makes it possible, in joint activities with students, to develop the composition and sequence of operations of self-control actions aimed at preventing violations of spelling norms ... ".

No less, but rather, more important is the question of what conditions must be observed in order to fully realize the learning potential of tasks aimed at finding and correcting specially presented errors, and not violating the “do no harm” principle. Such conditions were identified and formulated by T.V. Koreshkova. Being limited to the scope of the article, we will name the most important:

1. Performing proofreading exercises should be an integral part of the overall system of work on the formation of conscious spelling actions among younger students. Their place is before acquaintance with the rules of writing to motivate their study, and mainly after a solid assimilation of these rules for teaching self-control.

2. Corrective exercises should be performed in the system: a) begin with the correction of graphic errors and extend to spelling ones; b) begin with collective work and be transferred to independent work only when students learn the general method of testing.

3. The formulation of the task for independent work should guide the correct actions of students: indicate the sequence of operations and their content.

4. It is necessary to ensure the mandatory correction of all errors presented, moreover, in a way that draws attention specifically to the editing (for example, with chalk or a paste of a different color).

5. The phasing in the presentation of erroneous material must be observed: first, spellings that violate one rule, and then several; words first, then sentences and texts.

6. Submissions must not exceed 8-12 single words or a text of 25-30 words, which should have no more than 4-6 errors, and they should not be concentrated at the end of the text.

7. The actual proofreading exercises should be supplemented by tasks for finding and eliminating errors in the sequence and content of operations performed when checking what is written, which is necessary for the formation of a conscious self-control action.

Of course, the question arises: is there any experience of observing these conditions when developing assignments that involve finding and correcting specially made mistakes? Yes, there is such an experience. As you may have guessed, these conditions are taken into account by the authors of the textbook "To the secrets of our language." It presents numerous examples of children's mistakes, since "teaching graphic and spelling self-control begins with correcting not one's own, but other people's mistakes - it is easier to find someone else's than one's own" .

It is not difficult to find tasks for detecting other people's errors in the textbook: a special sign indicates their presence on the page: “!” in the fields, which sharpens the attention of children, increases their vigilance. It means: "Attention: there are errors!".

To illustrate the observance of methodical gradualness when using "negative material", let's show one of the actual proofreading exercises of the textbook for the 1st grade:

As you can see, these records violated the norms of graphics, in particular, the rules for designating the softness of consonants. Separate words are proposed for correction, their number does not exceed the norm (8–12 words). Note: the task is formulated in such a way that the attention of first graders first focuses on correct spellings and only then is directed to finding errors. In addition, material fixation of the results of the check is provided: a + is placed over correctly written words, while errors are corrected

in a busy way. And so that undistorted images of each word are deposited in the spelling memory, students are invited to write them down correctly, acting according to the memo 2 “How to write down your thoughts and words?”, The last paragraph of which just provides for the verification of what is written.

Error is a multifunctional phenomenon. It is interesting to us as an indicator of the student's incorrect actions at one stage or another of solving a spelling problem.

Therefore, along with the ability to control the result (writing a word), it is necessary to form the ability to track the process of achieving it, in other words, to exercise operational control. And then you can count on the fact that the developed ability to consciously check what is written will provide an opportunity not only to find and correct already made mistakes, but also to prevent their occurrence.

As is probably clear from all that has been said, the lecture on the formation of spelling self-control among younger students is not accidentally presented as the last one - it, like the very ability to exercise self-control (during writing and after its completion), is of a generalizing nature. Paraphrasing one of the theses of the textbook "To the secrets of our language", we can say: a full-fledged meaningful spelling training is a full-fledged spelling self-control.

Questions for self-examination

1. Look through all the lectures worked out and reveal the meaning of the thesis full-fledged conscious learning of spelling.

2. Remember Seryozha Tsarapkin, who thought about how to write an adverb unbearable. Define: does he check the result or the process of achieving it?

3. Prove that the reception of writing with windows (see lecture 2) is a way to teach children to self-control, carried out as they write.

4. Explain the educational meaning of the methods of correcting and showing errors in students' notebooks mentioned in the lecture. Illustrate how a differentiated approach can be provided

to students.

5. What information about the causes of errors, as well as in general about the level of spelling training of schoolchildren, can a teacher get if, when writing the text, they marked all spellings with dots, and question marks - dubious ones?

6. Return to task 227 from O.V. Uzorova, E.A. Nefedova. Taking into account the conditions that ensure the positive impact of "negative material" on the development of spelling skills, evaluate the methodological literacy of the presentation of the material in this task.

1. Aleshkovsky Yuz. Black-brown fox. - M .: Children's literature, 1967.

C. 4.

2. Blues S.M. Work on bugs. Textbook M.S. Soloveichik, N.S. Kuzmenko "To the secrets of our language" // Elementary school. 2004. ¹ 8. S. 40–45.

3. Borisenko I.V. Teaching junior schoolchildren spelling on a communicative basis // Primary school. 1998. ¹ 3. S. 40–41.

4. Koreshkova T.V. Reception of cacography: possibilities and conditions of application // Elementary school. 2000. ¹ 6. S. 38–43.

5. Koreshkova T.V. The use of incorrect spellings in teaching self-examination // Elementary School. 2003. ¹ 6. S. 82–86.

6. Soloveichik M.S., Kuzmenko N.S. To the secrets of our language. 1 class: Russian language textbook for a four-year elementary school - 3rd ed., revised. - Smolensk: Association XXI century, 2005.

7. Soloveichik M.S., Kuzmenko N.S. To the secrets of our language: Guidelines for textbook-notebook in Russian for the 1st grade of a four-year elementary school: A teacher's guide - 3rd ed., revised. - Smolensk: Association XXI century, 2004.

8. Soloveichik M.S., Kuzmenko N.S. To the secrets of our language: Guidelines for the textbook and taskbooks in Russian for the 2nd grade of a four-year elementary school: A guide for a teacher - 3rd ed., revised. - Smolensk: Association XXI century, 2004.

9. Talyzina N.F. Formation of cognitive activity of younger students. – M.: Enlightenment, 1988.

10. Uzorova O.V., Nefedova E.A. Reference book on the Russian language: Grade 3(1–4). - M. ACT: Astrel, 2005.

11. Tselikova M.L. Kakograficheskie spelling at the lesson of the Russian language // Elementary school. 2003. ¹ 6. S. 86–88.

Final work

Dear students of advanced training courses!

Based on a well-developed lecture cycle, prepare and conduct a lesson in the formation or consolidation of one or more spelling skills:

a) detect spellings; b) determine which rule governs writing; c) apply this rule;

d) exercise spelling self-control.

The textbook, class and specific spelling theme (spelling of unstressed vowels, deafness-voiced paired consonants, unpronounceable consonants, separators, generic, case, personal endings, etc.) are chosen by you taking into account the working conditions.

The following requirements must be met in the abstract: w not only the topic of the lesson is accurately indicated, but also the tasks with the designation

formed spelling skills from among those listed above;

w used spelling exercises aimed at the formation of these skills;

the method of action that children master is clearly presented, including with the help of memos, algorithms (it is possible to use the materials given in the lectures).

The form of the lesson is free.

Please complete the final work and send it to the address: 121165, Moscow, st. Kyiv, 24. Pedagogical University "First of September".

The completed work must be accompanied by a certificate (Act of Implementation, the form of which will be sent to each student personally), certified by your educational institution.

All submissions must be typed or in legible handwriting.




Learning to solve spelling problems at the root of a word


in the endings of nouns .............................................................. ..........

Learning to solve spelling problems
in the personal endings of verbs .............................................. ...................

Formation of spelling self-control
as a complex spelling skill ..............................................
Final work ............................................... .........................................

- + II - - I holding. t holding. t Reflecting the movement of thought, the icons in the first case show: the verb is not on -it(- ), exception ( + ), 2nd conjugation ( II). The second entry is deciphered as follows: not on -it(- ), not an exception ( - ), 1st conjugation ( I). If the result of the first reasoning is the choice of the letter and, then the result of the second is letters e. At what stage did the “failure” occur, what incorrect conclusion did it lead to and, as a result, became the cause of the erroneous spelling? Finding answers to these and similar questions will teach the children to pay more attention to the correctness of their own actions. It is also necessary to convince fourth-graders that ignorance of letters in place of suffixes in the indefinite form of the verb can lead to an error. The task will help in this: “Read the boy’s reasoning and explain why the errors occurred: Obtained during the study of the section "Learning to write personal endings of verbs" knowledge must be included in the system acquired earlier. This will be done by adding a reminder of the characteristics of the verb. (Now the analysis involves indicating the conjugation of the verb and its role in the sentence.) In the course of training in determining the morphological characteristics of the verb, it is appropriate to discuss the question voiced by the foreign boy: “ Is it possible to determine the conjugation of past tense verbs? We do not learn from them the conjugation to write the ending» . Having received an affirmative answer to the first question and the necessary clarifications on the boy's second remark, the guys move on to task (450), which contains a "trap" that helps to reach a higher level of generalization. An approximate version of the organization of work: - Verbs are given: live, make noise, ring. Try to guess what conjugation the first verb is. (Perhaps the 2nd. After all, it ends in - it.) - And what conjugation make noise and ring? (Probably the 1st, because they don't end in -it.) - Let's check if you reasoned correctly. To do this, form the form of the 2nd person singular, 2nd and 3rd person plural. - What happened? (The first verb turned out to be of the 1st conjugation: live, live, live, and the rest - the 2nd: make noise, make noise, make noise; ringing, ringing, ringing.) - How was conjugation determined? (According to shock personal endings.) - Have your assumptions been confirmed? (No.) Why? (Because they took into account only the indefinite form.) - What will you remember in order not to make such mistakes in the future? (In the initial form, without first putting the verb in the personal form, its conjugation cannot be determined.) - In what case will the indefinite form help? (If the personal ending of the verb is unstressed.) The material of the training lessons will help to check the depth of knowledge and the degree of formation of the methods of action necessary for setting and solving spelling problems in the endings of different parts of speech. They also pursue another, no less important, goal: they “embed” the final link into the system of fourth-graders’ ideas about how to act, in order to correctly write the endings of nouns, adjectives, and now also verbs. 1. Why is the ability to write unstressed personal endings of verbs, as well as case endings of inflected parts of speech, complex? 2. What undesirable consequences can the use of the 3rd person plural form as a means of determining conjugation lead to? 3. What methodological solutions and specific methods of work recommended in the textbook "To the secrets of our language" do you consider useful to adopt? Literature

Arsiry A.T., Dmitrieva G.M. Materials on entertaining grammar of the Russian language. - part 1 - Uchpedgiz, M., 1963. - p. 142 Ivanova V.A., Potikha Z.A., Rozental D.E. Interestingly about the Russian language. - L .: Education, 1990. - p. 168 Russian language in primary school: Theory and practice of teaching. // Ed. M.S. Soloveichik. - M.: 1993 and later. P. 159 Russian language: A textbook for students of the 4th grade of educational institutions: At 2 hours - Part 1 / S.V. Ivanov and others - M .: Ventana-Graf, 2005 Russian language. Proc. for 4 cells. early school At 2 h. Part 1 / A.V. Polyakov. - M .: Education, 2003 Ryabtseva S.L. Dialogue behind the desk. - M.: Enlightenment, 1989 Soloveychik M.S., Kuzmenko N.S. To the secrets of our language: Methodological recommendations for the textbook and notebooks for problem books in the Russian language for the 3rd grade of a four-year elementary school. A guide for the teacher. -3rd ed., revised. - Smolensk: Association of the XXΙ century, 2005. Soloveichik M.S., Kuzmenko N.S. To the secrets of our language: Grade 3: Russian language textbook for a four-year elementary school. At 2 h. Part 1. - 3rd ed., revised. - Smolensk: Association of the XXΙ century, 2005. Soloveichik M.S., Kuzmenko N.S. To the secrets of our language: Grade 4: Russian language textbook for a four-year elementary school. In 2 hours, Part 2 - 3rd ed., revised. - Smolensk: Association of the XXΙ century, 2005. Soloveichik M.S., Kuzmenko N.S. To the secrets of our language: Grade 4: Task book 2 to the Russian language textbook for a four-year elementary school. - Smolensk: Association of the XXΙ century, 2005. Soloveychik M.S., Kuzmenko N.S., Kubasova O.V., Kurlygina O.E. Russian language in elementary grades. Collection of methodical problems. - M .: "Academy", 2000 and later. Fonin D.S. Attention: verb! - Beginning school. –– 1996, No. 3. – S. 25 – 28

LECTURE 8

Formation of spelling self-control

as a complex spelling skill

Plan

self-control

1. Conceptself-control . “... Prefixes, suffixes and case endings flashed in my head. I wrote the words on the sandy path with a match: “I got tanned. Beautiful. Unbearable". I was sure of the correct spelling of the first spirit of the words, but I thought about "unbearable". I erased this word and wrote it separately: “not in my power”, because I decided: “not” with the preposition “in” is not written together ... ". What do you think, at what stage of the spelling action is Seryozha Tsarapkin, the hero of Yuz Aleshkovsky's story "The Black-Brown Fox"? The title of the lecture suggests: at the stage of self-control. What is self-control anyway? This is the ability to look at your actions and their results as if from the outside. Spelling self-control is the ability to control the course of a spelling action, i.e. the correctness of following the algorithm for solving the writing problem, and evaluate the result - the selected letter - in terms of compliance or non-compliance with spelling standards. As the practice of teaching shows, schoolchildren very often simply do not see, do not know how to detect an error in the text they have written. The reason, first of all, is that the action of self-control is carried out by them formally (“Why check if the errors are “hidden” anyway ?!), and the recommendation “Reread, check yourself!” not filled with specific content for students. In order to make self-examination effective and prevent formalism in its conduct, it is necessary from the beginning of training to focus the attention of children on two key points: a) what check, i.e. a list of spellings to be controlled at this stage of training; b) as check, i.e. set of necessary operations. As you can see, the ability to check what is written is complex. It is no coincidence that in the hierarchy of proper spelling skills, it is in the last, fourth, place. The formation of the three previous ones - the ability to detect spelling, determine their type and act in accordance with the rule - is precisely the condition for the successful formation and development of the ability to control what is written. To illustrate this, let's look at an example. Suppose, in a dictation, a second grader wrote

Checking himself, at first he argues something like this: “The sound [w] is not“ dangerous ”, because it is followed by a vowel, the letter w written correctly; [y] shock, no doubt, so the letter at chosen correctly; [p] - deaf double and stands in front of another double - [k], you need to put a danger signal under the letter P; the sound [k '] is in front of the vowel, so it can be trusted, which means the letter to chose correctly; [and] unstressed, it is easy to make a mistake in it, therefore, under the letter and We need to set up a danger signal." We see: the reasoning and actions of the student were aimed at, based on the knowledge of identifying features, to identify all the spellings in the word. The next step of the student is to determine in which part of the word spellings are found: “The paired voiceless consonant [p] is at the root of the word-name of the subject coat(fur coat, fur coat), and unstressed [and] – at the end ( coat, coat)". Further, the rules are applied to dubious spellings: “How to find out the letter in the root of the name-subject? I will explain its meaning with the help of a single-root word: fur coats ka- it's small fur coats a. I hear the sound [b]. I can trust him, because he is followed by a vowel. So, it needs to be labeled b. I have written P, this is mistake. Cross it out and write a letter on top b. The second spelling is at the end. How to solve such problems, we still do not know, so I will put above the letter and, I will show that I doubt whether I chose it correctly. We gave an example of a detailed reasoning of a student, carrying out the process of checking what was written and fixing its results. It is clear that at the later stages of learning, these considerations collapse, and the operations that involve determining the type of orthograms and performing actions in accordance with the rule are combined. We all, of course, want the children to have nothing to correct in their notebooks. To do this, we are trying to work on the development of the spelling vigilance of young schoolchildren, we teach them to act in accordance with the prescriptions of the rules, in a word, we improve the actual spelling skills. But do we always realize that the last of them - the exercise of self-control - can, on an equal basis with the rest, participate in warning mistakes? What does that require? It is necessary to organize self-examination training in such a way that the efforts of students are directed not only to finding the wrong spelling, but also to discovering its cause - the wrong link in the reasoning, actions that led to the wrong choice of the letter. More briefly, this idea can be formulated as follows: it is necessary to form the ability to control not only your result, but also the process of achieving it (to exercise operational control). However, it is difficult for a small person to make his own mental actions the subject of analysis, so it is necessary to start by learning to look for errors in other people's reasoning that led to incorrect spelling. It is this methodological solution that was adopted and implemented on the material of very numerous exercises in the textbook "To the Secrets of Our Language". (We will talk about this in detail in the relevant part of the lecture.) The indicators of the formation of spelling self-control are: 1) the ability to identify an error, discover those actions that were not committed when writing the text. How to ensure the effective formation of these skills, "make" them work to improve spelling literacy in general? Obviously, there is more than one answer to this question. Let's show how it is solved in the textbook "To the secrets of our language", since in it the teaching of self-control is carried out in a logic different from the traditional one. 2. Teaching children to consciously control the correctness of writing at its different stages. The experience of communicating with teachers shows that many of them believe that the ability to check oneself develops by itself, automatically, as they master the signs of basic orthograms and gain experience in solving the corresponding spelling problems. Is it possible to accept such a point of view? Of course no. Teaching self-examination must be purposeful. And it is necessary to start with the introduction into the minds of young schoolchildren of the installation: any written work is considered completed only when it is checked, when errors are found, if any. It is her awareness that the first steps in teaching self-control should be subordinated to. Word mistake is understandable to everyone, including first-graders, and, it would seem, does not need special consideration. However, being the object of search and analysis during self-examination, the error, as it were, passes into another "weight category" - it acquires the status of a concept. It is well known that it is easier to understand a concept if its introduction is motivated. What motive may be due to the inclusion of the concept mistake in the field of view of younger students? Let's try to figure it out. To do this, read the phrase below and appreciate the speed and ease of "making sense." " Advance thisplhopagdy.» Did you manage to understand right away that you have a line from a song to the words of E. Ryazanov “Nature does not have bad weather…”? What hindered the perception of what was written, made it difficult to understand it? Lots of graphical and spelling errors. The conclusion is unequivocal: for a written message to be understandable, it must be free from errors. The same conclusion is drawn by first-graders who are looking for an answer to the question "What does it mean to write correctly?" First, it turns out that "the correct letter is a letter without typos." The theme of the corresponding lesson is formulated in the same way. On it, students will learn what typos and typos are. It seems that it is clear why these two concepts were next to each other: both typos and misspellings are errors caused by inattention. In addition, they manifest themselves in the same way: omissions, substitutions, permutations of letters. The motivation for both terms is transparent, so children can deduce the meaning of each of them on their own. The reasoning begins with an excerpt from the childhood memories of V. Inber, who found an error in the book: “... In the line “Cockerel, cockerel, golden comb” was printed “comb”. In reporting errors made during print anii books, newspapers, magazines, given the name - about print ki, as well as information about special workers who look for and correct typos - proofreaders. (This information is not intended to be memorized.) First graders know from their own experience that errors are possible in notebooks, in pis handwritten text. The term is derived based on an analogy: print at - aboutprint ki;pis ah - .... When the guys tried themselves as proofreaders, they eliminated the “breakdowns” in the words from the exercises, to each of them are invited to make an important decision for themselves. The “through” hero Anton has already expressed his opinion: “But I like to write like that, because it’s funny. Isn’t it fun to write with typos?” Accept your personal The solution for first graders will be helped by the notes made in advance on the board: I want to make everyone laugh. Let me be well understood. The choice of each student will be told by his “own” proposal written off by him. However, the correct letter is a letter not only without typos, but also without errors. What is an error? "Every rule violation is a mistake." The guys come to the understanding of the concept by working with a “cunning” sentence invented by Anton: nasharik snarled the ball[Ibid]. Having corrected all the mistakes, listed the rules of writing that Anton violated, the first graders are already ready to answer the question: what does it mean to write correctly? The answers of the guys are compared with the answers of the authors of the textbook:

A constant return to the idea that errors and omissions make it difficult to understand what is written will form a more responsible attitude of children to written speech. And this allows us to hope that the desire for competent writing will become conscious, and self-control will become purposeful and motivated. The student who wants to be understood will check his notes in such a way that they are free from both errors and slips of the pen. Although the textbook “To the Secrets of Our Language” does not provide for the obligatory memorization of information about proofreaders and does not provide for teaching children a strict distinction between slips and errors, the importance of this information and the corresponding skills cannot be underestimated. And that's why. When forming self-control, operations to detect slips and errors are divorced: after all, their appearance is provoked by various reasons. This is reflected in special handout points that guide students in various writing situations. Recall that in the textbook "To the secrets of our language" there are several reminders that accompany schoolchildren from the 1st to the 4th grade. It means, first of all, memo 4 « How to write without mistakes?”, which is transformed, supplemented as children master spelling, grammar, etc. But one thing remains unchanged: the function performed by the memo is to be a guide to spelling. There are two important points in this memo. The first is related to the permission to leave the “window” in place of the found spelling; it is a signal of an unresolved (but conscious!) task and a realized one - along the way letters - self-control. (After all, before the “window” appeared, the student needed to track his own actions step by step: evaluate each sound in the word; decide whether he can be “trusted”; determine which rule to act on; finally, set the boundaries of his own knowledge about how to solve the problem and opportunities to apply them.) The second key point of the memo is the point Check (work as a proofreader) that orients children to the implementation final self-control. What operations, according to the memo, does the action of checking what is written fall apart?

read the syllables - are there any typos;

find all the spellings again;

where possible, explain the choice of letters and decide if there are any mistakes;

is - correct; in doubt - put over the letter

The part of the memo devoted to self-examination acquires this form by the end of the first quarter of the 2nd grade. At earlier stages, the same actions are performed based on memo 2 and 3 . (The first of them “works” until the reception of writing “with windows” is introduced, the second - at an intermediate stage, when students are required to write with the omission of all orthograms, including those in the place of which they know the letter or can determine it with using a rule or a dictionary.) The point directing the action of the final self-control prescribes the execution of operations: Check:

read the syllables and listen to yourself - are all the sounds correctly indicated;

mark dangerous places.

As you can see, each option provides, first of all, finding slips. They are identified subject to the obligatory condition: to read what is written in an undertone, in a whisper (in the early stages of learning), then to yourself, but always in syllables. The syllable-by-syllable method of reading involves slowing down the reading process and fixing the child's attention on whether each sound is indicated by its own letter. Students are also allowed to help themselves by highlighting syllables with a pencil. The next step in self-checking is to look for spelling errors. There is only one way to find them - once again analyze the words for the presence / absence of spelling in them. This is possible if the student firmly knows their identifying features. Then follows the determination of the correctness or incorrectness of the selected letter. How to do it? Redefine the type of spelling, i.e. find out what rule it is for, and then apply this rule - solve the spelling problem. And from these positions, evaluate the letter chosen when writing, or, if the letter has not yet been selected and a “window” has been left in its place, “close” it. As you can see, the writer repeatedly goes through all the stages of solving the spelling problem: from setting it up to choosing a letter in accordance with the rule. At the same time, he, as it were, rises to a new turn of the spiral: he analyzes the result from the height of a twice (and possibly more) performed orthographic action. As a result, the student either finds a mistake, crosses out the wrong spelling and corrects it, or continues to be in doubt (not sure that he correctly determined which morpheme the spelling is in, does not know how to act, etc.) and expresses them by putting over letter ? . Almost the same actions are provided for when writing off based on memo 1(with the only difference that the child still needs to compare dangerous places in the notes on the board or in the book and at home). Let us pay attention to such an essential detail: no matter what memo schoolchildren work on, they must carry out self-examination, as they say, “with a pencil in their hands.” Why? The formation of any mental action must "begin with the use of various means of materialization." That is why the methods of fixing the results of the check are obligatory: syllabic arcs (at the initial stages of learning), a dot under the letter ( . ) to denote all orthograms; a question mark over the letter (?) to highlight questionable spellings (if already written). Is there any reason for the teacher to expect that such a laborious procedure of self-control will be effective? Certainly. The learning effect is achieved due to the fact that speech-motor, auditory, and visual analyzers are simultaneously included in the work. Together, they provide a flexible synthesis between the components of the spelling action, and therefore contribute to the successful development of the spelling skill as a whole. In addition, if the check is carried out according to the described technology (with an indication of all spellings, repeated oral checks and question marks in case of doubts), the teacher will receive complete information about the degree of formation of all spelling skills among students. Above, we talked about the fact that students need not only to be taught, but also accustom carry out a self-check. And then it will be possible to count on the fact that the habit of consciously controlling the correctness of writing will provide the ability not only to find and correct incorrect spellings, but also to prevent their occurrence. But what to do if the error nevertheless appeared, but was not noticed by the student during the check? This question is equally acute for both the student and the teacher, since everyone must respond to an error: the teacher - by correcting, and the child - by what we traditionally call work on mistakes. The actions of one and the other, although they pursue a common goal (to detect incorrect spelling), have different content. The authors of the textbook "To the Secrets of Our Language" believe that the correction of errors in children's work should be teaching: "... this is not a simple statement of the fact "knows / does not know, knows how / does not know how", but one of the elements learning which should help to each the student to improve his knowledge and skills. How to achieve this? First of all, the teacher needs to think about ways to correct mistakes. The generally accepted way - to cross out the wrong spelling and correct it - does not contribute to educating children in a critical attitude towards what is written. After all, in fact, the teacher found for a student spelling, determined its type, chose and wrote the correct letter in accordance with the prescriptions of the rule. What editing methods to choose so that they work for the formation of all spelling skills proper, including the ability to consciously control the correctness of the letter? It is clear that with this approach fixes should pass into a different quality - become a way showing errors. We restrict ourselves to listing the techniques suggested by the authors of the textbook "To the secrets of our language":

underline the letter, place in the word or the whole word where the violation was made; underline the word, highlight the misspelled morpheme in it; underline the word in which there is an error, and indicate the morpheme containing the incorrect spelling in the margins with a conventional sign; write the correct letter in the margins, write the correct letter in the margins, put an error sign in the margins, and next to it - an indication of the morpheme or part of speech. mark only the line where you need to look for an error;

indicate the page number on which the rule is formulated, the recommendation is given. To choose a method of correction and "hints", it is necessary to take into account a number of factors: the student's capabilities, the nature of the mistake made, the moment of learning, etc. With this approach, the teacher's help becomes targeted, since it takes into account the level of preparation of each child and provides him with the gradual formation of the necessary skills. The foregoing determines the organization of the work on errors in the class itself. It is desirable that, having received a notebook, the student, relying on the marks made, corrected the mistakes (those that the teacher suggested to him, and did not correct). To ensure that students have a clear idea of what needs to be done to work through each error, it is wise to offer a checklist to provide guidance to them. One possible option might be:

Find the error (if it is not shown). Determine in which part of the word the mistake was made; if this part is not highlighted, mark it. Write out the word with a "box" in place of the letter that is chosen incorrectly. Decide which rule to apply. Follow the steps and insert the letter. Go back to the text where the error was and correct it. In the 3rd and 4th grades, the third point of the memo will change: if the error is in the ending, write out the word along with the one on which it depends; if in another part of the word, write out that one word. In place of the wrong letter, leave a "window". As you can see, the prescriptions of the memo strictly correspond to the structure of the spelling action, due to which the memo acquires a universal character: it is suitable for working on errors for any rule. Therefore, there is no need, as is traditionally accepted, to include in it a list of operations prescribed by each rule, especially since this material is on the pages of the textbook. How to organize the work in the lesson in order to maximize the learning potential of working on mistakes? You will get a possible answer if you get acquainted with the technology of its implementation, developed taking into account the specifics of the textbook "To the secrets of our language" by S.M. Blues (see g. "Primary School" 2004 - No. 8). So let's sum it up. 1. In order for self-control to be effective and conscious, it is necessary to provide motivation for its implementation: if you want your entry to be understandable, you need to write without errors and typos. 2. Younger students need to be taught to control not only result spelling action (written word), but also move its implementation. The results of self-control in the course of writing are reported by "windows" in place of the missed spellings. 3. The actions that make up the process of final spelling self-control (checking) include: a) identifying all the spellings of the recorded text; b) definition of varieties of orthograms; c) delimitation of spellings, in the correctness of which I am sure, from those that are in doubt; c) applying the rules to questionable spellings; d) if necessary, correction. 4. Schoolchildren need not only to be taught, but also to be taught to carry out these actions. To achieve this goal, special reminders serve. Following their instructions, schoolchildren gain experience every lesson in performing the necessary operations, as a result of which the ability to consciously control the correctness of what is written is formed. 5. To increase the learning effect of working on errors, it is necessary to specifically choose the way they are shown, not limited to simple correction. Taking into account these provisions, we hope, will help the successful formation of the ability to check what is written, without which there cannot be a full-fledged spelling skill. 3. Correction of specially made mistakes as necessary spellingical exercise, the conditions for the success of its application. What ortho graph, I think, no need to explain. BUT kako graphics? These terms are opposite in meaning. If όρθος translated from Greek - right, then κάκος – bad, stupid. How do these words and the phenomena behind them (spelling and misspelling) relate to our theme of developing the ability to consciously control the correctness of writing? Let's try to figure it out. It is well known that the skill of literate writing is not developed immediately. On the long way of its formation in children, mistakes are inevitable. Scientists have long thought about the question: is it possible to make a mistake useful in teaching literate writing, and if so, how to achieve this? The practice of teaching, the research of methodologists give a positive answer to the first part of the question: the possibility of using "negative material" (L.V. Shcherba's expression) and its positive impact on the development of spelling skills have been proven today. However, in methodological science there are discrepancies regarding the conditions that must be observed so that the incorrect spelling presented to students for one purpose or another would not harm the emerging spelling skill. The technique, which involves finding and correcting mistakes by the student, is quite widely presented on the pages of a number of modern manuals and textbooks of the Russian language, but is presented in various methodological options. The specificity of each of them is due to the authors' ideas about the role of cacography in the formation of spelling literacy, their attitude to the use of erroneous entries as didactic material. So, in the "Reference Guide" O.V. Uzorova, E.A. Nefedova tasks such as "correct mistakes" are actively used. Here is an example from the manual for the 3rd grade (No. 227): The earth blew cold. The sar tore leaves from foxes and oak forests and crushed them along the paths. The Birds began to gather in flocks. They took pas gyrfalcons and flares for high mountains for blue marya to warm countries. While we refrain from commenting on the methodological literacy of the presentation of “negative material”, we will limit ourselves to stating the facts: in this text there are 33 words, which account for 27 errors, mainly related to the spelling of unstressed vowels, the spelling of prefixes and prepositions, as well as the use of a dividing soft sign. And although they are evenly spaced (they are present in almost every word), the perception of the text is extremely difficult due to the fact that the appearance of a number of words has been changed beyond recognition. In addition, some of the punctuation marks are missing in the text, which also complicates the task of the writer. The recommendations of a number of methodologists (I.V. Borisenko, M.P. Tselikova, and others), which are found on the pages of the periodical press, can be characterized as cautious. For tasks on finding and correcting errors, it is proposed to use homophones, i.e. words that sound the same, but differ in spelling and, of course, in meaning. So that children can identify errors, it is recommended to include words in such sentences, where their various lexical meanings will appear clearly: Mother tried on fighters. Purchased shoes need to be reconciled. Children, write to the cinema. Children hurry up this offer. etc. . If the words of each pair are removed from the context, they will appear before the children in an “unspoiled” form. Thus, the imprinting in the memory of students of a distorted spelling appearance of words is excluded. The purpose of using this kind of tasks, according to methodologists, is to contribute to the development of spelling vigilance. However role kakografichesky (in other terminology - proofreading) exercises in teaching literate writing is much wider. “Firstly, it helps students develop a communicative motive that defines spelling as a “tool” of speech activity: you need to write in such a way that others understand you. Secondly, it allows you to convince students of the need to study the rules: without following the rules, you cannot correctly formulate your thoughts in writing. Thirdly, it makes it possible, in joint activities with students, to develop the composition and sequence of operations of self-control actions aimed at preventing violations of spelling norms ... ". No less, but rather more important, is the question of which conditions must be observed in order to fully realize the learning potential of tasks aimed at finding and correcting specially presented errors, and not violating the “do no harm” principle. Such conditions were identified and formulated by T.V. Koreshkova. Being limited by the scope of the article, let's name the most important ones: 1. Performing corrective exercises should be an integral part of the overall system of work on the formation of conscious spelling actions among younger students. Their place is before acquaintance with the rules of writing to motivate their study and, mainly, after a solid assimilation for teaching self-control. 2. Corrective exercises should be performed in the system: a) begin with the correction of graphic errors and extend to spelling ones; b) begin with collective work and be transferred to independent work only when students learn the general method of testing. 3. The wording of the task for independent work should guide the correct actions of students: indicate the sequence of operations and their content. 4. It is necessary to ensure the mandatory correction of all errors presented, moreover, in a way that draws attention specifically to the editing (for example, with chalk or a paste of a different color). 5. Steps must be observed in the presentation of erroneous material: first, spellings that violate one rule, and then several; words first, then sentences and texts. 6. The submitted material should not exceed 8 - 12 separate words or a text of 25 - 30 words, which should not contain more than 4 - 6 errors; they should not be concentrated at the end of the text. 7. The actual proofreading exercises should be supplemented by tasks for finding and eliminating errors in the sequence and content of operations performed when checking what is written, which is necessary for the formation of a conscious self-control action. Of course, the question arises: is there any experience of observing these conditions when developing assignments that involve finding and correcting specially made mistakes? Yes, there is such an experience. As you may have guessed, these conditions are taken into account by the authors of the textbook "To the secrets of our language." It presents numerous examples of children's mistakes, since "teaching graphic and spelling self-control begins with correcting not one's own, but other people's mistakes - it is easier to find someone else's than one's own" The page says a special sign: ! in the fields, which sharpens the attention of children, increases their vigilance. It is decoded like this: Attention: there are errors!» . To illustrate the observance of methodical gradualness when using "negative material", let's show one of the actual proofreading exercises of the 1st grade textbook:

As you can see, these records violated the norms of graphics, in particular, the rules for indicating the softness of consonants. Separate words are proposed for correction, their number does not exceed the norm (8 - 12 words). Note: the task is formulated in such a way that the attention of first-graders first focuses on correct writing, and only then sent to search for errors. In addition, material fixation of the results of the check is provided: a +, errors are corrected in the way shown. And so that undistorted images of each word are deposited in spelling memory, students are invited to write them down right, acting on memo 2 “How to write down your thoughts and words?”, The last paragraph of which just provides for the verification of what has been written. Error is a multifunctional phenomenon. It is interesting to us as an indicator of the student's incorrect actions at one stage or another of solving a spelling problem. Therefore, along with the ability to control the result (writing a word), it is necessary to form the ability to track the process of achieving it, in other words, to exercise operational control. And then we can expect that the developed ability to consciously check what is written will provide an opportunity not only to find and correct already made mistakes, but also to prevent their occurrence. As is probably clear from all that has been said, the lecture on the formation of spelling self-control in primary school students is not accidentally the last one - it, like the very ability to exercise self-control (during the writing process and after it is completed), is of a generalizing nature. Paraphrasing one of the theses of the textbook "To the secrets of our language", we can say: a full-fledged meaningful spelling training is a full-fledged spelling self-control. Check how you learned the material. 1. Look through all the lectures worked out and reveal the meaning of the thesis: full-fledged conscious spelling training. 2. Remember Seryozha Tsarapkin, who thought about how to write an adverb unbearable. Determine whether he is checking the result or the process of achieving it? 3. Prove that the reception of writing with "windows" (see lecture 2) is a way to teach children to self-control, carried out as they write. 4. Explain the educational meaning of the methods of correcting and showing errors in students' notebooks mentioned in the lecture. Illustrate how a differentiated approach to students can be provided. 5. What information about the causes of errors, as well as in general about the level of spelling training of schoolchildren, can a teacher receive if, when writing the text, they marked: a) all spellings with dots; b) question marks - doubtful? 6. Return to task 227 from O.V. Uzorova, E.A. Nefyodova. Taking into account the conditions that ensure the positive impact of the "negative material" on the development of spelling skills, evaluate the methodological literacy of the presentation of the material in this task. Literature 1. Aleshkovsky Yuz. Black-brown fox. - M .: Children's literature, 1967 2. Blues S.M. Work on bugs. Textbook M.S. Soloveichik, N.S. Kuzmenko "To the secrets of our language". - Beginning school - 2004. - No. 8 - P. 40 - 45 3. Borisenko I.V. Teaching junior schoolchildren spelling on a communicative basis. - Beginning school - 1998. - No. 3. - P. 40 - 41 4. Koreshkova T.V. Reception of cacography: possibilities and conditions of application. - Beginning school - 2000. - No. 6. - P. 38 - 43 5. Koreshkova T.V. Use of incorrect spellings when teaching self-examination. - Beginning school - 2003. - No. 6. - P. 82– 86 6. Soloveichik M.S., Kuzmenko N.S. To the secrets of our language: Grade 1: Russian language textbook for a four-year elementary school. - 3rd ed., revised. - Smolensk: Association of the XXΙ century, 2005 7. Soloveichik M.S., Kuzmenko N.S. To the secrets of our language: Methodological recommendations for a textbook-notebook on the Russian language for the 1st grade of a four-year elementary school. A guide for the teacher. - 3rd ed., revised. - Smolensk: Association of the XXΙ century, 2004.8. Soloveichik M.S., Kuzmenko N.S. To the secrets of our language: Guidelines for the textbook and workbooks on the Russian language for the 2nd grade of a four-year elementary school. A guide for the teacher. - 3rd ed., revised. - Smolensk: Association of the XXΙ century, 2004.9. Talyzina N.F. Formation of cognitive activity of younger students. - M .: Education, 1988 10. Uzorova O.V., Nefedova E.A. Reference book on the Russian language: 3 cells. (fourteen). - M.: AST: Astrel, 2005 11. Tselikova M.L. Kakograficheskie spellings in the lesson of the Russian language. - Beginning school - 2003. - No. 6. - P. 86 - 88

1 Ramburs - in international trade - payment for the purchased goods through the bank

2 Collection of normative documents. Russian language. / Comp. E.D. Dneprov, A.G. Arkadiev. - M .: Bustard, 2004, p.12.

3 And in the following we mean nouns of the 1st, 2nd, 3rd declension, so the type of declension is not indicated

Finally, we passed all the exams and went to the design work. We contacted in advance the chairman of the collective farm - a millionaire (there used to be such a term), they are looking forward to us. We have built new buildings for the club, school and kindergarten, everything needs to be formalized.

Prepared sketches in advance. There are many, from fantasy to rural themes, to choose from. We worked on them for three months. We ourselves liked it. They met us well, determined to live in a club in a cozy room (future accounting). Ivan Petrovich went through our sketches for a long time, all three folders. He looked at them thoughtfully. And so for thirty minutes. Then he closed them and looked at us:

I did not expect such drawings, there are already a lot of offers, there are plenty to choose from, well done girls. I did not mistake you. Wait a minute, I'll bring the head of the club here. We deliberated for a long time and settled on a fantastic theme, it pleases the eye.

That's what they decided on. In the afternoon we started to work. This is our third trip to the collective farms. Everything is familiar, the work does not tire, but pleases. It's nice to see the fruits of our labor. We always travel together, we understand each other perfectly. We are sisters: me and Nina with Tamara. We paint the foyer of the club, already according to ready-made sketches, the head is free. I looked out the window, the church rises in the distance, and memories emerge. Thoughts go back to childhood.

I remembered that at the age of 12 we already tried to paint the faces of saints in an empty church. It was in Raubichi, my parents rented a dacha there for the whole summer, the places are very beautiful, similar to little Switzerland. On a high mountain there is a beautiful church, outwardly slightly damaged, with a steep roof. We often ran there, it was empty inside, there was sand under our feet. And we decided to paint the walls. They took a can of water, paints, brushes, and a start was made. The faces of the saints slowly appeared from under our hands. We wrote them from memory. My father collected books on art, we remembered them well, we often leafed through them, we knew all the artists of these masterpieces. And the work went wrong.

We were followed by local guys. And when we left, they wrote on our work and rubbed it with sand. The next day, we again came to the church to continue what we had begun, and with horror we saw the blurry faces of the saints. But still began to restore the images. And so several times, we draw, and after our departure, the boys smeared our works in their favorite way. We realized that it is useless to do so. We examined the church from all sides and decided to climb to the roof. There we were playing hide and seek, and I accidentally tripped and rolled down. But at the very edge, I manage to grab onto the ledge, the sisters pulled me out, the Lord saw that we, the children, wanted to restore the painting inside the church on our own and did not let me die. He saved me. We didn’t go there anymore, there was enough forest, berries, mushrooms, rivers.

In Raubichi we rested with my parents until I was fourteen, then we rented a dacha in Kryzhovka. Already at the institute, I often remembered the church in Raubichi, and I really wanted to know everything about it. There was no information. And I went with my friends to our former owner, Baba Wanda. She told me the history of this church. In 1650, an icon of the Mother of God the Nurse was found at this place. At first, a wooden church was built. And in 1866 the Church of St. Matthew was consecrated by the Orthodox Church of the Assumption of the Mother of God. We thanked Baba Wanda, and a few hours later we left for Minsk.

Memories inspired me, the work went faster, I managed to finish my part of the sketch before anyone else. Nina sent me to a new kindergarten. There I applied the contours of future fairy tales and exotic plants and flowers with charcoal.

We spent twelve days on the collective farm. The work was accepted by the chairman himself, Ivan Petrovich. Nina signed all the contracts and we were paid the agreed amount. In addition to this amount, we were also paid a bonus, and they took our word that we would come again next year. The chairman has a lot of projects in his head. We, of course, agreed. They began to gather. I started counting money. There were so many that I was confused. You could not buy a new car. I hid the entire amount in the biggest backpack. We were at home in the evening. Every year trips to collective farms brought us more and more dividends.

We did not ask our parents for money, we always earned it ourselves. Now you need to think about what to buy. We go to the largest department store. They took half of the money they earned with them. My feet made their way to the shoe department. Summer, there are almost no people in the department. We inspect the shelves and are very surprised at the number of quite good shoes.

Nina asked me to bring her beautiful high-heeled shoes from the window, and very elegant ones. Taking shoes out of the window, the seller casually said:

You might think that you will buy them!

If I want, I'll buy your entire display case!

And she took out a large bundle of money from her wallet, while asking the seller to invite the manager. She began to ask for forgiveness, called another seller, and the two of them served us perfectly. We bought winter and autumn boots, high, knee-length, with a small wide heel. Tamara looked at the labels and whispered to us that the shoes were from England. We bought shoes, sandals, lace-up high boots, elegant slippers. Don't forget to choose boots for mom, and nice shoes for dad. They packed the boxes perfectly for us, tied them with twine so that it would be convenient for us to carry, and then went to the section where fur coats were sold. Mom chose a fur coat that she had long dreamed of and went home. Mom wore this fur coat all her life, did not want to change it for another, and for some reason it was almost new every year.

Well started business and ended well.