ABOUT LEV GUNIN'S PROSE

Lev GUNIN is the most innovative fine prose writer in modern Russian Literature. 1917 October Revolution, Civil War and destruction of the previous culture have destroyed all the most comprehensive achievements in Russian Literature, disrupting the legacy of its superior level. Dostoyevsky and Chekhov, Brusov and Sologub, Tolstoi, Nabokov, Bunin, Andreev, and other Russian writers were on the same (and - sometimes even higher) level that Remarque, Kafka, Faulkner, Sartr, Camue or Kipling. First of all, the pre-revolution literary language was aesthetically perfect and developed. Literary characters, emotions, expressed in Russian literature, range of ideas, feelings and forms were unbelievably wide and sophisticated. In the 1920-s literary characters and books themselves speak within a very diminished linguistic scale. They exist in more primitive environment, using formulaic variations of the previous epoch. The most famous Soviet novels were loan translations of the Silver Age novels. "Master and Margarita" was a version of Brusov's "Flame Angel", and so on.

It is very sad that the connection between Russian literature and Western modern tradition was lost. New generations of Soviet (Russian) writers were influenced not by Keruac or Durenmatt, not by Hesse or Putrament, not by Camue or Mauriac, but by Duma or Hugo. It wasn't bad, but the connection between modern time - and Russian literature was lost. Partially it happened because they did not know the languages. Nabokov was the last who knew languages. Platonov or even Solzhenitzin - they could not understand even two languages well enough. However, they w e r e great writers, but without some wider scale.

Understanding German, English, and French as good as his 4 native languages (Polish, Russian, Yiddish and Belarusian), Lev could also read in Italian, Ukrainian, and Slovak, understanding and feeling almost all expressions and nuances. His prose became a bridge between Russian Silver Age tradition - and the literature of the second half of 20 century. Ilf and Petrov, Babel, Averchenko, Platonov, Nabokov have something to do with Lev GUNIN's prose, but in the same time he has deep connections with Polish, French, German, Italian, Spanish, Chekh, English (American), and other literatures.

He is a good expert of German, Polish, French, Italian, and English prose. However, the biggest influence on his prose came from the German literature. Some intonations, esthetical approach, stylistics, forms, and other elements of his prose have their roots in German literature.

As well as "Slovo O Polku Igorevom", and other ancient Russian manuscripts, or Lomonosov, Fonvisin, Radischev, and other oldest Russian writers, he perfectly new Strassburg, Eschen, Zachs, Grimmelshausen, and other ancient German writers, German classics, including Goffmann, Kafka, Rilkie, Thomas Mann, as well as rare in Russia authors as Trakl, Jurek Becker, Franz Fuman, Patrique Zuskind, Leonhard Frank, Hans Enzensberger, Peter Ruhmkorf, Ingeborg Bachmann, Ernst Jandl, Gunter Gerlich, Gunter Eichm, Gunter Grass, Peter Huchel, Heinrich Mann, Hugo von Hofmannsthall, Karl Kraus, Kurt Tucholsky, etc.

No wonder that he was the first who brought so many innovations into the Russian Story. He was the first who used a reportage from a courtroom ("An Axe"), a historical-philosophical essay and a diary of humiliating school in "Dream and Reality", a new idea about time and place, implemented into the structural formal development as an element of form and stylistic ("Do We Have to Appeal to the Past?"), a story without dialogues ("By Window"), an anti-utopia, combined with ethical issues and political prophecy (Trilogy ("Essence of Life", "You, Doctor" - and "Show"), etc. He brings into Russian prose principally new ideas, perspective, and estimations. His theory about social types ("Impressions", "Parisian Love", "Peterburg", etc.), his theory of multiplication, his historical and political theories are an integrated part of his prose. There is a good peace of esotericism and mysticism, but he does not give them a priority and a direct approach. Mystical side of Ginin's prose approaches you gradually, while you're reflecting and reading.

His novels are fresh and bright. They are "less" innovative then his stories. This is not a new synthetical style (as his stories). Probably the genre of novel is more conservative.

Lev GUNIN's stories were published in some paper and Internet literary magazines. On Internet they are available at "LIMB", "Lavka Yazykov", "Sakansait", "Zimbabwe", "Moshkov Library" - and other literary magazines.

Lev GUNIN's own huge literary library and site on Internet was systematically destroyed until he had to close his project. HIs site was destroyed by those, who did not like his anti-Zionist perseption.

Lev is also a literary theoretic. He's an author of essays about prose and stylistic, about poets, poems, poetry movements and styles. His second native language is Polish, and he's also an author of some Polish verses and stories as well. He also used to write poetry and prose in Yiddish and German. His English poetry (we present some selected verses) is not equal to his Russian poetry, but could give some perspective of his style and the way of how some of his methods work. Lev (Leon) is also a talented translator, who translates German, Polish, French, Italian, English, Lithuanian, and Yiddish poets into Russian and Polish languages. However, his most valuable and monumental translations (Shakespeare, Blake, Joyce, Eliot, Pound, Baudelair, Cocteau, Mickievicz, Staff, Milosz, etc.) - manuscripts - were lost. However, his former (especially Iwaszkiewicz's "MAPA POGODY") and last poetry translation works slowly restore his place among most talented translators. Lev is a member of international "LIMB" poetry club, and his poetry is well known among Russian vanguard circles. He was nominated for several literary contests, like "Teneta". In 1970s-1980-s he was the only Russian poet, in whose poetry links with Russian "silver age", with Western and Polish poetry, and also tendencies, which characterize the modern Russian poetry, have manifested before someone else's. His poetry of 1970s and 1980s is a source of innumerous discoveries and source of many future poetry styles. Starting from 1999 practically ANY Russian poet copied something from his manner, perception, ideas, semantic (and sonic) individual accents, and his style in general. His poetry criticism is widely recognized as an example of erudition, deep understanding, respect to the items of his studies, and professional approach. His verses were included in some poetry collections.

In the same time he's a target of ostracism and humiliation; he's (and his family) suffering from poverty, provocations, underestimation, and boycott. As a professional musician, as well as writer, he was excluded from academic and professional sphere. He's under systematic administrative attack from governmental institutions like Immigration, Tax agency, etc. All this makes his life unbearable.

His tragic situation is a combination of many factors. One of the most important of them are: his innovative esthetical doctrine, his original philosophy, ideological non-conformism, and political views. His works are semi-officially banned in countries like Israel or Belarus, in some of former Soviet Asian republics. There are influential and powerful academic / and political forces, which goal is to destroy all of his works physically.

Whatever the value of his works is - we decided to oppress this monstrous, unfair clique. We know that Lev GUNIN has thousands of lovers and supporters all over the world. His heroic behavior, his advocacy for freedom and truth are admired everywhere. This is why several collectors of his works, his followers, and admirers of his creative works have gathered to issue this CD. Supporting him we support our values, our civilized customs, our culture, and rights. Defending him we defend our essential traditions and freedoms. Agnieszka POLUTOWSKA