One day Ivan Denisovich direction. The history of the creation of "One day of Ivan Denisovich

The history of the creation of "One Day in the Life of Ivan Denisovich"

"One day of Ivan Denisovich" is connected with one of the facts of the biography of the author himself - the Ekibastuz special camp, where this story was created in the winter of 1950-51 at common work. The protagonist of Solzhenitsyn's story is Ivan Denisovich Shukhov, an ordinary prisoner of the Stalinist camp.

In this story, the author, on behalf of his hero, tells about only one day out of three thousand six hundred and fifty-three days of the term of Ivan Denisovich. But even this day is enough to understand what kind of situation prevailed in the camp, what orders and laws existed, to learn about the life of prisoners, to be horrified by this. The camp is a special world that exists separately, parallel to ours.

There are completely different laws, different from those familiar to us, everyone here survives in their own way. Life in the zone is shown not from the outside, but from the inside by a person who knows about it firsthand, but from his own personal experience. That is why the story is striking in its realism. "Glory to you, Lord, another day has passed!" - Ivan Denisovich finishes his story, - "A day has passed, not overshadowed by anything, almost happy."

On this day, Shukhov was really lucky: the brigade was not sent to Sotsgorodok to pull wire in the cold without heating, he passed the punishment cell, got off with only washing the floors in the supervisor's room, received an extra portion of porridge for lunch, the job went to a familiar one - laying a wall at a thermal power plant, put it cheerfully, passed safely he carried a hacksaw to the camp, worked part-time with Caesar in the evening, bought two glasses of self-garden from a Latvian, and most importantly, that he didn’t get sick, he got over it. Ivan Denisovich Shukhov was sentenced to ten years on a trumped-up case: he was accused of returning from captivity with a secret German assignment, and no one could come up with what it was exactly. Shukhov suffered the same fate as millions of other people who fought for their homeland, but at the end of the war, from the prisoners of the German camps, they turned out to be prisoners of Stalin's Gulag camps.

This is a real jackal, living off the scraps of others. Licking other people's plates, looking into a person's mouth in anticipation of something left for him is a common thing for him. He cannot cause disgust, even the prisoners refuse to work with him, calling him mom. In the zone, he did not even have a drop of male pride left, he openly cries when he is beaten for licking plates. Indeed, everyone chooses for himself the path of survival, but the most unworthy path is the path of the informer Panteleev, who lives off denunciations against other prisoners.

Under the pretext of illness, he remains in the zone and voluntarily plays the opera. Such people are hated in the camp, and the fact that three were stabbed to death did not surprise anyone. Death here is a common thing, and life turns into nothing. This scares me the most.

In contrast to them, Ivan Denisovich "was not a jackal even after eight years of common work - and the further, the stronger he asserted himself." He does not beg, he does not humiliate himself. Everyone tries to earn money only by their own labor: he sews slippers, brings felt boots to the foreman, takes a queue for parcels, for which he receives honestly earned money. Shukhov retained the concept of pride and honor, so he will never slide down to the level of Fetyukov, because he just earns extra money, and does not try to oblige, "grease up".

Like any peasant, Shukhov is a surprisingly economic person: he cannot just walk past a piece of a hacksaw, knowing that a knife can be made from it, and this is an opportunity to earn extra money. The former captain of the second rank Buinovsky also deserves respect, who "look at the camp work as at the naval service: if you say to do it, then do it."

He does not try to evade general work, he is used to doing everything in good conscience, and not for show. Shukhov says that "he has become haggard for the last month, but the team is pulling." Buynovsky cannot come to terms with the arbitrariness of the guard, therefore he starts a dispute with Volkovsky about an article of the criminal code, for which he received ten days in a punishment cell.

The brigadier Tyurin, who got into the camp only because his father was a kulak, is handsome. For the brigade, he is like a father, he always tries to defend the interests of the brigade: to get more bread, a profitable job. In the morning, Tyurin gives whoever needs it so that his people are not expelled for the construction of Sotsgorodok.

Ivan Denisovich's words that "a good foreman will give a second life" are completely suitable for characterizing Tyurin as a foreman. These people, in spite of everything, survive at the expense of their labor. They would never have been able to choose for themselves the path of survival of Fetyukov or Panteleev.

Alyoshka the Baptist evokes pity. He is very kind, but very weak-hearted - "only he who does not want does not command him." The conclusion for him is the will of God, he sees only the good in his conclusion, he himself says that "there is time to think about the soul." But Alyoshka cannot adapt to camp conditions and, in the opinion of Ivan Denisovich, will not last long here. The grip that Alyoshka the Baptist lacks is possessed by Gopchik, a sixteen-year-old boy who is cunning and never misses an opportunity to snatch a piece. He was convicted for carrying milk to the Bendera people in the forest. In the camp, a great future is predicted for him: "From Gopchik, the camp will be the right one ... less than a bread cutter, his fate is not predicted."

Cesar Markovich, a former director, who did not have time to shoot his first film when he got to the camp, is in a special position in the camp. He receives parcels from the will, so he can afford a lot of things that the rest of the prisoners cannot: he wears a new hat and other forbidden things, works in an office, avoids general work.

Although Caesar has been in this camp for quite a long time, his soul is still in Moscow: he discusses with other Muscovites the premieres in theaters, the cultural news of the capital. He avoids the rest of the prisoners, sticks only to Buinovsky, remembering the existence of others only when he needs their help.

Largely due to his detachment from the real world, in my opinion, and sendings from the will, he manages to survive in these conditions. Personally, this person does not cause any feelings in me. He has business acumen, knows to whom and how much to give.

"One Day in the Life of Ivan Denisovich" Solzhenitsyn

"One day of Ivan Denisovich" analysis of the work - theme, idea, genre, plot, composition, characters, problems and other issues are disclosed in this article.

The story "One Day in the Life of Ivan Denisovich" is a story about how a man from the people relates himself to a forcefully imposed reality and its ideas. It shows in a condensed form that camp life, which will be described in detail in other major works of Solzhenitsyn - in the novel The Gulag Archipelago and In the First Circle. The story itself was written while working on the novel In the First Circle, in 1959.

The work is a complete opposition to the regime. This is a cell of a large organism, a terrible and inexorable organism of a large state, so cruel to its inhabitants.

In the story there are special measures of space and time. Camp is a special time that is almost still. The days in the camp are rolling, but the deadline is not. A day is a measure. Days are like two drops of water similar to each other, all the same monotony, thoughtless mechanicalness. Solzhenitsyn is trying to fit the whole camp life in one day, and therefore he uses the smallest details in order to recreate the whole picture of life in the camp. In this regard, they often talk about a high degree of detail in the works of Solzhenitsyn, and especially in small prose - stories. Behind every fact lies a whole layer of camp reality. Each moment of the story is perceived as a frame of a cinematic film, taken separately and viewed in detail, under a magnifying glass. "At five o'clock in the morning, as always, the rise struck - with a hammer on the rail at the headquarters barracks." Ivan Denisovich overslept. I always got up on the rise, but today I didn’t get up. He felt sick. They take everyone out, line them up, everyone goes to the dining room. The number of Ivan Denisovich Shukhov is Sh-5h. Everyone strives to be the first to enter the dining room: they pour it thicker first. After eating, they are again built and searched.

The abundance of details, as it seems at first glance, should burden the narrative. After all, there is almost no visual action in the story. But this, nevertheless, does not happen. The reader is not burdened by the narrative, on the contrary, his attention is riveted to the text, he is intensely following the course of events, real and occurring in the soul of one of the characters. Solzhenitsyn does not need to resort to any special tricks to achieve such an effect. It's all about the material of the image itself. Heroes are not fictional characters, but real people. And these people are placed in such conditions where they have to solve problems on which their life and destiny most directly depend. To a modern person, these tasks seem insignificant, and therefore an even more terrible feeling remains from the story. As V. V. Agenosov writes, “every little thing for the hero is literally a matter of life and death, a matter of survival or dying. Therefore, Shukhov (and with him every reader) sincerely rejoices at every particle found, every extra crumb of bread.

There is another time in the story - metaphysical, which is also present in other works of the writer. In this time, there are other values. Here the center of the world is transferred to the conscience of the convict.

In this regard, the topic of metaphysical comprehension of a person in captivity is very important. Young Alyoshka teaches the already middle-aged Ivan Denisovich. By this time, all Baptists were imprisoned, but not all Orthodox. Solzhenitsyn introduces the theme of religious comprehension of man. He is even grateful to prison for turning him in the direction of spiritual life. But Solzhenitsyn noted more than once that at this thought, millions of voices arise in his mind, saying: “Because you say so, you survived.” These are the voices of those who laid down their lives in the Gulag, who did not live to see the moment of liberation, did not see the sky without an ugly prison net. The bitterness of loss runs through the story.

Separate words in the text of the story are also associated with the category of time. For example, these are the first and last lines. At the very end of the story, he says that Ivan Denisovich's day was a very successful day. But then he sadly notes that "there were three thousand six hundred and fifty three such days in his term from bell to bell."

The space in the story is also interesting. The reader does not know where the space of the camp begins and ends, it seems as if it flooded all of Russia. All those who ended up behind the wall of the Gulag, somewhere far away, in an unattainable distant city, in the countryside.

The very space of the camp turns out to be hostile to the prisoners. They are afraid of open areas, they strive to cross them as quickly as possible, to hide from the eyes of the guards. Animal instincts awaken in a person. Such a description completely contradicts the canons of Russian classics of the 19th century. The heroes of that literature feel comfortable and easy only in freedom, they love space, distance, associated with the breadth of their soul and character. The heroes of Solzhenitsyn flee from space. They feel much safer in cramped cells, in stuffy bar-kas, where they can at least afford to breathe more freely.

The main character of the story becomes a man from the people - Ivan Denisovich, a peasant, a front-line soldier. And this is done consciously. Solzhenitsyn believed that it is people from the people who ultimately make history, move the country forward, and bear the guarantee of true morality. Through the fate of one person - Ivan Denisovich - the author shows the fate of millions, innocently arrested and convicted. Shukhov lived in the countryside, which he fondly remembers here in the camp. At the front, he, like thousands of others, fought with full dedication, not sparing himself. After being wounded - back to the front. Then the German captivity, from where he miraculously managed to escape. And for this he now ended up in the camp. He was accused of espionage. And what kind of task the Germans had given him, neither Ivan Denisovich himself nor the investigator knew: “What kind of task, neither Shukhov himself could come up with, nor the investigator. So they left it just - the task. By the time of the story, Shukhov had been in the camps for about eight years. But this is one of the few who, in the exhausting conditions of the camp, did not lose his dignity. In many ways, his habits of a peasant, an honest worker, a peasant help him. He does not allow himself to humiliate himself in front of other people, lick plates, inform on others. His age-old habit of respecting bread is still visible today: he keeps bread in a clean rag, takes off his hat before eating. He knows the value of work, loves it, is not lazy. He is sure: "who knows two things with his hands, he will also pick up ten." In his hands the matter is argued, the frost is forgotten. He takes care of the tools, tremblingly follows the laying of the wall, even in this forced labor. The day of Ivan Denisovich is a day of hard work. Ivan Denisovich knew how to carpentry, could work as a mechanic. Even in forced labor, he showed diligence, laid a beautiful even wall. And those who did not know how to do anything carried sand in wheelbarrows.

The hero of Solzhenitsyn has largely become the subject of malicious accusations among critics. According to them, this integral national character should be almost perfect. Solzhenitsyn, on the other hand, portrays an ordinary person. So, Ivan Denisovich professes camp wisdom, laws: “Groan and rot. And if you resist, you will break." It was negatively received by critics. Particular bewilderment was caused by the actions of Ivan Denisovich, when, for example, he takes away a tray from an already weak convict, deceives the cook. It is important to note here that he does this not for personal benefit, but for his entire brigade.

There is another phrase in the text that caused a wave of discontent and extreme surprise from critics: “I didn’t know myself whether he wanted the will or not.” This idea was misinterpreted as Shukhov's loss of hardness, of his inner core. However, this phrase echoes the idea that prison awakens spiritual life. Ivan Denisovich already has life values. Prison or freedom will not change them, he will not refuse it. And there is no such captivity, such a prison that could enslave the soul, deprive it of freedom, self-expression, life.

The system of values ​​of Ivan Denisovich is especially visible when comparing him with other characters imbued with camp laws.

Thus, in the story, Solzhenitsyn recreates the main features of that era when the people were doomed to incredible torment and hardship. The history of this phenomenon does not actually begin in 1937, when the so-called violations of the norms of state and party life begin, but much earlier, from the very beginning of the existence of the totalitarian regime in Russia. Thus, the story presents a clot of the fate of millions of Soviet people who are forced to pay for their honest and devoted service through years of humiliation, torment, and camps.

Plan

1. Memoirs of Ivan Denisovich about how and why he ended up in a concentration camp. Memories of German captivity, of the war.
2. Memoirs of the protagonist about the village, about the peaceful pre-war period.
3. Description of the life of the camp.
4. A good day in the camp life of Ivan Denisovich.

Solzhenitsyn's story "One Day in the Life of Ivan Denisovich" was written in 1959. The author wrote it during a break between work on the novel "In the First Circle". In just 40 days, Solzhenitsyn created One Day in the Life of Ivan Denisovich. The analysis of this work is the topic of this article.

The subject of the work

The reader of the story gets acquainted with life in the camp zone of a Russian peasant. However, the theme of the work is not limited to camp life. In addition to the details of survival in the zone, "One day ..." contains details of life in the village, described through the prism of the hero's consciousness. In the story of Tyurin, the foreman, there is evidence of the consequences that collectivization led to in the country. In various disputes between camp intellectuals, various phenomena of Soviet art are discussed (theatrical premiere of the film "John the Terrible" by S. Eisenstein). In connection with the fate of Shukhov's comrades in the camp, many details of the history of the Soviet period are mentioned.

The theme of the fate of Russia is the main theme of the work of such a writer as Solzhenitsyn. "One Day in the Life of Ivan Denisovich", whose analysis interests us, is no exception. In it, local, private themes fit organically into this general problem. In this regard, the theme of the fate of art in a state with a totalitarian system is indicative. So, the artists from the camp paint free pictures for the authorities. The art of the Soviet era, according to Solzhenitsyn, became part of the general apparatus of oppression. The episode of Shukhov's reflections on the village handicraftsmen who produce painted "carpets" supports the motif of the degradation of art.

The plot of the story

Chronicle is the plot of the story, which was created by Solzhenitsyn ("One Day in the Life of Ivan Denisovich"). The analysis shows that although the plot is based on events lasting only one day, the protagonist's pre-camp biography can be presented through his memories. Ivan Shukhov was born in 1911. He spent his pre-war years in the village of Temgenevo. There are two daughters in his family (the only son died early). Shukhov has been at war since its first days. He was wounded, then taken prisoner, from where he managed to escape. In 1943, Shukhov was convicted on a fabricated case. He served 8 years at the time of the plot action. The action of the work takes place in Kazakhstan, in a hard labor camp. One of the January days of 1951 was described by Solzhenitsyn ("One Day in the Life of Ivan Denisovich").

Analysis of the character system of the work

Although the main part of the characters is depicted by the author with laconic means, Solzhenitsyn managed to achieve plastic expressiveness in their depiction. We observe the diversity of individualities, the richness of human types in the work "One Day in the Life of Ivan Denisovich". The heroes of the story are depicted succinctly, but at the same time remain in the reader's memory for a long time. For a writer, sometimes only one or two fragments, expressive sketches, are enough for this. Solzhenitsyn (the photo of the author is presented below) is sensitive to the national, professional and class specifics of the human characters he created.

Relations between the characters are subject to a strict camp hierarchy in the work "One Day in the Life of Ivan Denisovich". A summary of the entire prison life of the protagonist, presented in one day, allows us to conclude that there is an unbridgeable gulf between the camp administration and the prisoners. Noteworthy is the absence in this story of the names, and sometimes the surnames of many guards and overseers. The individuality of these characters is manifested only in the forms of violence, as well as in the degree of ferocity. On the contrary, despite the depersonalizing numbering system, many of the campers in the mind of the hero are present with names, and sometimes with patronymics. This suggests that they have retained their individuality. Although this evidence does not apply to the so-called informers, idiots and wicks described in the work "One Day in the Life of Ivan Denisovich". These heroes also do not have names. In general, Solzhenitsyn talks about how the system unsuccessfully tries to turn people into parts of a totalitarian machine. Particularly important in this regard, in addition to the main character, are the images of Tyurin (brigadier), Pavlo (his assistant), Buinovsky (cator rank), Baptist Alyoshka and Latvian Kilgas.

Main character

In the work "One day of Ivan Denisovich" the image of the protagonist is very remarkable. Solzhenitsyn made him an ordinary peasant, a Russian peasant. Although the circumstances of camp life are obviously "exceptional", the writer in his hero deliberately accentuates the outward inconspicuousness, "normality" of behavior. According to Solzhenitsyn, the fate of the country depends on the innate morality and natural stamina of the common man. In Shukhov, the main thing is an indestructible inner dignity. Ivan Denisovich, even serving his more educated fellow campers, does not change the age-old peasant habits and does not drop himself.

His working skill is very important in characterizing this hero: Shukhov managed to acquire his own handy trowel; in order to pour later than a spoon, he hides the pieces; he turned a folding knife and skillfully hid it. Further, the seemingly insignificant details of the existence of this hero, his demeanor, a kind of peasant etiquette, everyday habits - all this in the context of the story takes on the meaning of values ​​that allow the human in a person to survive in difficult conditions. Shukhov, for example, always wakes up 1.5 hours before a divorce. He belongs to himself in these morning minutes. This time of actual freedom is also important for the hero because he can earn extra money.

"Cinematic" compositional techniques

One day contains in this work a clot of a person's fate, a squeeze from his life. It is impossible not to notice a high degree of detail: each fact in the narrative is divided into small components, of which most of them are presented in close-up. The author uses "cinematic" ones. He scrupulously, unusually carefully watches how, before leaving the barracks, his hero dresses or eats up to the skeleton a small fish caught in the soup. A separate "frame" in the story is awarded even to such, at first glance, an insignificant gastronomic detail, like fish eyes floating in stew. You will be convinced of this by reading the work "One Day in the Life of Ivan Denisovich". The content of the chapters of this story, with careful reading, allows you to find many similar examples.

The concept of "term"

It is important that in the text the works approach each other, sometimes becoming almost synonymous, such concepts as "day" and "life". Such rapprochement is carried out by the author through the concept of "term", universal in the narrative. The term is the punishment meted out to the prisoner, and at the same time the internal routine of life in prison. In addition, what is most important, it is a synonym for the fate of a person and a reminder of the last, most important period of his life. Temporary designations thus acquire a deep moral and psychological coloring in the work.

Scene

The location is also very important. The camp space is hostile to the prisoners, especially the open areas of the zone are dangerous. The prisoners rush to run as soon as possible between the rooms. They are afraid of being caught in this place, they rush to hide under the protection of the barracks. In contrast to the heroes of Russian literature who love distance and breadth, Shukhov and other prisoners dream of the tightness of the shelter. For them, the barrack is home.

What was one day of Ivan Denisovich like?

The characterization of the one day Shukhov spent is directly given by the author in the work. Solzhenitsyn showed that this day in the life of the protagonist was successful. Speaking about him, the author notes that the hero was not put in a punishment cell, the brigade was not sent to the Sotsgorodok, he mowed down his porridge at lunch, the brigadier closed the percentage well. Shukhov laid the wall cheerfully, did not get caught with a hacksaw, worked part-time with Caesar in the evening and bought tobacco. The main character didn't get sick either. Has passed nothing clouded day, "almost happy." Such is the work of its main events. The author's final words sound just as epically calm. He says that there were such days in Shukhov's term 3653 - 3 extra days were added due to

Solzhenitsyn refrains from an open display of emotions and loud words: it is enough for the reader to have the corresponding feelings. And this is guaranteed by the harmonious structure of the story about the power of man and the power of life.

Conclusion

Thus, in the work "One Day in the Life of Ivan Denisovich" problems were posed that were very relevant for that time. Solzhenitsyn recreates the main features of the era when the people were doomed to incredible hardships and torments. The history of this phenomenon does not begin in 1937, marked by the first violations of the norms of party and state life, but much earlier, from the beginning of the totalitarian regime in Russia. The work, therefore, presents a bunch of fates of many Soviet people who were forced to pay for years of torment, humiliation, camps for devoted and honest service. The author of the story "One Day in the Life of Ivan Denisovich" raised these problems in order for the reader to think about the essence of the phenomena observed in society and draw some conclusions for himself. The writer does not moralize, does not call for something, he only describes reality. The product only benefits from this.

The story "One Day in the Life of Ivan Denisovich" Solzhenitsyn wrote in 1959. The work was first published in 1962 in the Novy Mir magazine. The story brought Solzhenitsyn world fame and, according to researchers, influenced not only literature, but also the history of the USSR. The original author's title of the work is the story "Sch-854" (the serial number of the main character Shukhov in the correctional camp).

Main characters

Shukhov Ivan Denisovich- a prisoner of a forced labor camp, a bricklayer, his wife and two daughters are waiting for him “outside”.

Caesar- a prisoner, "either he is a Greek, or a Jew, or a gypsy", before the camps "made pictures for movies".

Other heroes

Tyurin Andrei Prokofievich- Brigadier of the 104th prison brigade. He was "dismissed from the ranks" of the army and ended up in a camp for being the son of a "fist". Shukhov had known him since the camp in Ust-Izhma.

Kildigs Jan– a prisoner who was given 25 years; Latvian, a good carpenter.

Fetyukov- "jackal", a prisoner.

Alyoshka- Prisoner, Baptist.

Gopchik- a prisoner, cunning, but harmless boy.

"At five o'clock in the morning, as always, the rise struck - with a hammer on the rail at the headquarters barracks." Shukhov never slept through the rise, but today he was "shivering" and "breaking". Due to the fact that the man did not get up for a long time, he was taken to the commandant's office. Shukhov was threatened with a punishment cell, but he was punished only by mopping the floors.

For breakfast in the camp there was a gruel (liquid stew) made from fish and black cabbage and magar porridge. The prisoners slowly ate the fish, spit out the bones on the table, and then brushed them to the floor.

After breakfast Shukhov went to the medical unit. A young paramedic, who was in fact a former student of a literary institute, but ended up in the medical unit under the patronage of a doctor, gave the man a thermometer. Showed 37.2. The paramedic suggested that Shukhov "stay at his own peril" - wait for the doctor, but advised him to go to work anyway.

Shukhov went into the barracks for rations: bread and sugar. The man divided the bread into two parts. I hid one under a padded jacket, and the second in a mattress. The Baptist Alyoshka read the Gospel right there. The guy “throws his little book so deftly into a crack in the wall - they haven’t found it on a single search yet.”

The brigade went outside. Fetyukov tried to beg Caesar to “sip” a cigarette, but Caesar was more willing to share it with Shukhov. During the “search”, the prisoners were forced to unbutton their clothes: they checked if anyone had hidden a knife, food, letters. People froze: “the cold has come under the shirt, now you can’t kick it out.” The column of prisoners moved. “Due to the fact that he had breakfast without rations and that he ate everything cold, Shukhov felt unsatisfied today.”

“The new year, the fifty-first, has begun, and Shukhov had the right to two letters in it.” “Shukhov left the house on June 23, 1941. On Sunday, the people from Polomnia came from mass and said: war. Shukhov's family was waiting for him at home. His wife hoped that upon returning home, her husband would take up a profitable business, build a new house.

Shukhov and Kildigs were the first craftsmen in the brigade. They were sent to insulate the engine room and lay walls with cinder blocks at the thermal power plant.

One of the prisoners, Gopchik, reminded Ivan Denisovich of his late son. Gopchik was imprisoned "for carrying milk to the Bendera people in the forest."

Ivan Denisovich has almost served his term. In February 1942, “in the North-Western they surrounded their entire army, and they didn’t throw anything to eat from the planes, and there were no planes either. They got to the point that they hoofed horses that had died. ” Shukhov was captured, but soon escaped. However, “their own”, having learned about the captivity, decided that Shukhov and other soldiers were “fascist agents”. It was believed that he sat down "for treason": he surrendered to German captivity, and then returned "because he was carrying out the task of German intelligence. What a task - neither Shukhov himself could come up with, nor the investigator.

Lunch break. The hard workers were not given food, the “sixes” got a lot, the cook took the good food. Lunch was oatmeal. It was believed that this was the "best porridge" and Shukhov even managed to deceive the cook and take two servings for himself. On the way to the construction site, Ivan Denisovich picked up a piece of steel hacksaw.

The 104th brigade was "like a big family". Work began to boil again: cinder blocks were laid on the second floor of the CHPP. They worked until sunset. The brigadier, jokingly, noted the good work of Shukhov: “Well, how can they let you go free? Without you, the prison will cry!

The prisoners returned to the camp. The men were again "scrambled", checking if they had taken anything from the construction site. Suddenly, Shukhov felt in his pocket for a piece of a hacksaw, which he had already forgotten about. You could make a shoe knife out of it and exchange it for food. Shukhov hid the hacksaw in a mitten and miraculously passed the test.

Shukhov took Caesar a place in the queue to receive the package. Ivan Denisovich himself did not receive parcels: he asked his wife not to take away from the children. In gratitude, Caesar gave Shukhov his dinner. In the dining room they again gave the gruel. Drinking hot slurry, the man felt good: "Here it is, a short moment, for which the prisoner lives!"

Shukhov earned money "from private work" - he would sew slippers for someone, he would sew a quilted jacket for someone. With the proceeds, he could buy tobacco and other necessary things. When Ivan Denisovich returned to his barracks, Tsezar was already "tagging over the parcel" and gave Shukhov also his ration of bread.

Caesar asked Shukhov for a knife and "again he owed Shukhov." The check has begun. Ivan Denisovich, realizing that during the check, Caesar's parcel could be stolen, said that he pretended to be sick and left last, while Shukhov would try to be the first to run after the check and follow the food. In gratitude, Caesar gave him "two biscuits, two pieces of sugar and one round slice of sausage".

We talked with Alyosha about God. The guy talked about the need to pray and rejoice that you are in prison: “here you have time to think about your soul.” Shukhov stared silently at the ceiling. He himself did not know whether he wanted freedom or not.

“Shukhov fell asleep, completely satisfied” “They didn’t put him in the punishment cell, they didn’t send the brigade to the Sotsgorodok, at lunch he mowed down the porridge, the brigadier closed the percentage well, Shukhov laid the wall cheerfully, didn’t get caught with a hacksaw on a shmon, worked part-time at Caesar and bought tobacco. And I didn’t get sick, I got over it. ”

“The day passed, nothing marred, almost happy.

There were three thousand six hundred and fifty three such days in his term from bell to bell.

Due to leap years, three extra days were added ... "

Conclusion

In the story One Day in the Life of Ivan Denisovich, Alexander Solzhenitsyn depicted the life of people who ended up in the forced labor camps of the Gulag. The central theme of the work, according to Tvardovsky's definition, is the victory of the human spirit over camp violence. Despite the fact that the camp was actually created to destroy the identity of the prisoners, Shukhov, like many others, manages to constantly wage an internal struggle, to remain human even in such difficult circumstances.

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The work took less than a month and a half.

In 1950, on some long camp winter day, I was dragging a stretcher with a partner and thought: how to describe our whole camp life? In fact, it is enough to describe just one day in detail, in the smallest detail, moreover, the day of the simplest hard worker, and our whole life will be reflected here. And you don’t even need to escalate any horrors, you don’t need it to be some kind of special day, but an ordinary one, this is the very day that years are made up of. I conceived this way, and this idea remained in my mind, for nine years I did not touch it, and only in 1959, nine years later, I sat down and wrote. ... I wrote it for a short time at all, only forty days, less than a month and a half. It always turns out like this if you write from a dense life, the life of which you know too much, and not only do you not have to guess something, try to understand something, but only fight off excess material, just so that the excess does not climb , but to accommodate the most necessary.

In 1961, a "lite" version was created, without some of the harsher judgments about the regime.

In the editorial of "New World"

On December 11, Tvardovsky, by telegram, asked Solzhenitsyn to urgently come to the editorial office of Novy Mir.

On December 12, Solzhenitsyn arrived in Moscow, met with Tvardovsky, Berzer, Kondratovich, Zaks, Dementiev in the editorial office of Novy Mir (Kopelev was also present at the meeting). The story, which was originally called "Sch-854. One day of one convict ", it was proposed to name the story called" One day of Ivan Denisovich ". An agreement was concluded between the editorial office and the author.

First reviews. Editorial work

In December 1961, Tvardovsky gave the manuscript of "Ivan Denisovich" to be read by Chukovsky, Marshak, Fedin, Paustovsky, Ehrenburg. At Tvardovsky's request, they wrote their written reviews of the story. Tvardovsky planned to use them when promoting the manuscript for publication.

Chukovsky titled his review "A Literary Miracle":

Shukhov is a generalized character of the Russian common man: resilient, "malicious", hardy, jack of all trades, crafty - and kind. Brother of Vasily Terkin. Although he is referred to here in the third person, the whole story is written in HIS language, full of humor, colorful and well-aimed.

At the same time, "Ivan Denisovich" began to circulate in handwritten and typewritten copy lists.

Members of the editorial board of Novy Mir, in particular, Dementiev, as well as high-ranking figures of the CPSU, to whom the text was also presented for review (Chernoutsan, Head of the Fiction Sector of the Culture Department of the Central Committee of the CPSU), expressed a number of comments and claims to the author of the work. Basically, they were dictated not by aesthetic, but by political considerations. Amendments to the text were also proposed. As Lakshin points out, all proposals were carefully recorded by Solzhenitsyn:

Solzhenitsyn carefully wrote down all the comments and suggestions. He said that he divides them into three categories: those with which he can agree, even considers that they are beneficial; those that he will think about are difficult for him; and finally, the impossible - those with which he does not want to see the thing printed.

Solzhenitsyn later wrote ironically of these demands:

And, the funniest thing for me, a hater of Stalin, was at least once required to name Stalin as the culprit of disasters. (And indeed - he was never mentioned by anyone in the story! This is not accidental, of course, it happened to me: I saw the Soviet regime, and not Stalin alone.) I made this concession: I mentioned the “Moustached Old Man” once ...

"Ivan Denisovich", Tvardovsky and Khrushchev

In July 1962, Tvardovsky, feeling the censorship impassability of the story to print for political reasons, compiled a brief preface to the story and a letter addressed to the First Secretary of the CPSU Central Committee, Chairman of the Council of Ministers of the USSR N. S. Khrushchev with a brief assessment of the work. On August 6, Tvardovsky handed over the letter and manuscript of "Ivan Denisovich" to Khrushchev's assistant V. Lebedev:

<…>We are talking about the amazingly talented story by A. Solzhenitsyn "One Day in the Life of Ivan Denisovich." The name of this author has not yet been known to anyone, but tomorrow it may become one of the remarkable names of our literature.
This is not only my deep conviction. The unanimous high appraisal of this rare literary find by my co-editors of the journal Novy Mir, including K. Fedin, is joined by the voices of other prominent writers and critics who had the opportunity to get acquainted with it in the manuscript.
<…>Nikita Sergeevich, if you find an opportunity to pay attention to this manuscript, I will be happy, as if it were my own work.

On October 12, 1962, under pressure from Khrushchev, the Presidium of the Central Committee of the CPSU decided to publish the story, and on October 20, Khrushchev announced to Tvardovsky about this decision of the Presidium.

Between November 1 and 6, the first journal proofreading of the story appeared.

In a 1982 radio interview for the 20th anniversary of the release of One Day in the Life of Ivan Denisovich for the BBC, Solzhenitsyn recalled:

It is quite clear: if it were not for Tvardovsky as the editor-in-chief of the magazine, no, this story would not have been published. But I will add. And if it were not for Khrushchev at that moment, it would not have been printed either. More: if Khrushchev had not attacked Stalin one more time at that very moment, it would not have been published either. The publication of my story in the Soviet Union, in 1962, is like a phenomenon against physical laws.<…>now, from the reaction of the Western socialists, it is clear: if it had been published in the West, these very socialists would have said: everything is a lie, there was nothing of this, and there were no camps, and there were no exterminations, nothing happened. Only because everyone's tongues were taken away, that this was printed with the permission of the Central Committee in Moscow, that shocked.

"Ivan Denisovich" was released

The news of this publication spread all over the world. Solzhenitsyn immediately became a celebrity.

On December 30, 1962, Solzhenitsyn was accepted as a member of the Writers' Union of the USSR.

After a fairly short time - in January 1963 - the story was republished by Roman-gazeta (No. 1/277, January 1963; circulation 700 thousand copies) and - in the summer of 1963 - a separate book in the publishing house "Soviet Writer" (circulation 100 thousand copies).

Solzhenitsyn was flooded with letters from readers:

... when “Ivan Denisovich” was printed, letters to me exploded from all over Russia, and in the letters people wrote what they had experienced, what they had. Or they insisted to meet with me and tell, and I began to meet. Everyone asked me, the author of the first camp story, to write more, more, to describe this whole camp world. They did not know my plan and did not know how much I had already written, but they carried and carried the missing material to me.
... so I collected indescribable material that cannot be collected in the Soviet Union - only thanks to "Ivan Denisovich". So he became like a pedestal for the Gulag Archipelago

On December 28, 1963, the editors of the Novy Mir magazine and the Central State Archive of Literature and Art nominated One Day in the Life of Ivan Denisovich for the 1964 Lenin Prize in Literature. The nomination for such a high prize of a literary work of a “small form” was perceived by many “literary generals” as at least blasphemous, this has never happened in the USSR. The discussion of the story at the meetings of the Prize Committee took the form of bitter disputes. On April 14, 1964, the candidacy was voted down in the Committee.

During the years of stagnation

After the resignation of Khrushchev, the clouds over Solzhenitsyn began to thicken, the assessments of "Ivan Denisovich" began to acquire other shades. Noteworthy is the response of the first secretary of the Central Committee of the Communist Party of Uzbekistan Rashidov, expressed in the form of a note to the Central Committee of the CPSU on February 5, 1966, where Solzhenitsyn is directly called a slanderer and enemy of "our wonderful reality":

His story "One Day in the Life of Ivan Denisovich" under the guise of debunking the cult of personality gave food to bourgeois ideologists for anti-Soviet propaganda.

Solzhenitsyn finally edited the text in April 1968.

In 1971-1972, all editions of Ivan Denisovich, including the magazine edition, were secretly removed from public libraries and destroyed. The pages with the text of the story were simply torn out of the magazine, the author's name and the title of the story in the table of contents were covered over. Officially, the Main Directorate for the Protection of State Secrets in the Press under the Council of Ministers of the USSR, in agreement with the Central Committee of the CPSU, decided to withdraw Solzhenitsyn's works from public libraries and the bookselling network on January 28, 1974. On February 14, 1974, after the expulsion of the writer from the USSR, Glavlit’s order No. 10, specially dedicated to Solzhenitsyn, was issued, which listed the issues of the Novy Mir magazine with the writer’s works to be withdrawn from public libraries (No. 11, 1962; No. 1, 7, 1963 ; No. 1, 1966) and separate editions of One Day in the Life of Ivan Denisovich, including a translation into Estonian and a book for the blind. The order was accompanied by a note: "Foreign publications (including newspapers and magazines) with the works of the specified author are also subject to seizure." The ban was lifted by a note of the Ideological Department of the Central Committee of the CPSU dated December 31, 1988.

Again, “One Day in the Life of Ivan Denisovich” has been published in his homeland since 1990.

Brief analysis

For the first time in Soviet literature, readers were truthfully shown the Stalinist repressions with great artistic skill.

It tells about one day in the life of prisoner Ivan Denisovich Shukhov:

From the very beginning, I understood Ivan Denisovich that he should not be like me, and not any especially developed, he should be the most ordinary camp inmate. Tvardovsky later told me: if I had made a hero, for example, Caesar Markovich, well, there was some kind of intellectual, somehow arranged in an office, then a quarter of that price would not have been. No. He was supposed to be the most average soldier of this Gulag, the one on whom everything is pouring.

The story begins with the words:

At five o'clock in the morning, as always, the rise struck - with a hammer on the rail at the headquarters barracks.

and ends with the words:

The day passed, nothing marred, almost happy.
There were three thousand six hundred and fifty three such days in his term from bell to bell.
Due to leap years - three extra days were added ...

Criticism and reviews

There has been a lot of controversy surrounding the publication.

The first review, written by Konstantin Simonov, "On the past for the sake of the future", appeared in the newspaper "Izvestia" literally on the day of the publication of "Ivan Denisovich":

<…>Laconic and polished prose of great artistic generalizations<…>The story "One Day in the Life of Ivan Denisovich" was written by a mature, original master. A strong talent has come into our literature.

The rejection of the story by the "literary generals" was indicated in Nikolai Gribachev's allegorical poem "Meteorite", published in the Izvestia newspaper on November 30.

In November, under the fresh impression of One Day in the Life of Ivan Denisovich, Varlam Shalamov wrote in a letter to the author:

The story is like poetry - everything is perfect in it, everything is expedient. Each line, each scene, each characterization is so concise, intelligent, subtle and deep that I think that Novy Mir has never printed anything so solid, so strong from the very beginning of its existence. And so necessary - because without an honest solution of these very questions, neither literature nor social life can move forward - everything that comes with omissions, bypasses, deception - has brought, brings and will bring only harm.
There is one more huge advantage - this is the deeply and very subtly shown peasant psychology of Shukhov. I have not yet seen such a delicate highly artistic work, to be honest, for a long time.
In general, the details, the details of everyday life, the behavior of all the characters are very precise and very new, scorchingly new.<…>There are hundreds of such details in the story - others, not new, not accurate, not at all.
Your whole story is that long-awaited truth, without which our literature cannot move forward.

On December 8, in the article “In the name of the future” in the newspaper “Moskovskaya Pravda”, I. Chicherov wrote that Solzhenitsyn unsuccessfully chose the peasant Shukhov as the main character of the story, it would be necessary to strengthen the “line” of Buinovsky, “real communists, party leaders.” "The tragedy of such people for some reason was of little interest to the writer."

The émigré press and critics vividly responded to the historical literary event: on December 23, an article by Mikh. Koryakov "Ivan Denisovich", and on December 29 "One Day in the Life of Ivan Denisovich" was published for the first time abroad in Russian (in the newspaper "New Russian Word"; the newspaper printed the story in parts, until January 17, 1963). On January 3, 1963, G. Adamovich wrote an article about Solzhenitsyn under the heading "Literature and Life" in the newspaper "Russian Thought" (Paris).

In January 1963, I. Druta's articles "On the Courage and Dignity of Man" appeared (in the journal "Friendship of Peoples", No. 1):

A small story - and how spacious it has become in our literature!

in March - V. Bushina "Daily Bread of Truth" (in the Neva magazine, No. 3), N. Gubko "Man wins" (in the Zvezda magazine, No. 3):

The best traditional features of Russian prose of the 19th century combined with the search for new forms, which can be called polyphonic, synthetic

In 1964, S. Artamonov's book "The Writer and Life: Historical, Literary, Theoretical and Critical Articles" was published, which promptly included the article "On the story of Solzhenitsyn."

In January 1964, an article by V. Lakshin "Ivan Denisovich, his friends and enemies" was published in the Novy Mir magazine:

If Solzhenitsyn had been an artist of lesser scale and flair, he would probably have chosen the most miserable day of the most difficult period of Ivan Denisovich's camp life. But he went the other way, possible only for a writer confident in his strength, who is aware that the subject of his story is so important and harsh that it excludes vain sensationalism and the desire to terrify with a description of suffering, physical pain. Thus, by placing himself, as it were, in the most difficult and unfavorable conditions in front of the reader, who did not expect to get acquainted with the “happy” day of the life of a prisoner, the author thereby guaranteed the complete objectivity of his artistic testimony ...

On April 11, Pravda published a review of letters from readers about the story “One Day ...” under the title “High Demanding”; at the same time, a selection of letters from readers “Once again about A. Solzhenitsyn’s story” One day of Ivan Denisovich.

From December 1962 to October 1964, more than 60 reviews and articles were devoted to Solzhenitsyn's stories (including "One Day ...", "Matryonin Dvor", "The Incident at the Kochetovka Station", "For the Good of the Cause") in the periodical press.

The nature of the disputes around the story is indicated by Chukovsky. In his diary, published many years later (in 1994), Korney Ivanovich wrote on November 24, 1962:

... met Kataev. He is outraged by the story "One Day", which is published in the "New World". To my amazement, he said: the story is false: it does not show protest. - What protest? - The protest of the peasant sitting in the camp. - But this is the whole truth of the story: the executioners created such conditions that people have lost the slightest concept of justice and, under the threat of death, do not even dare to think that there is conscience, honor, humanity in the world. The man agrees to consider himself a spy so that the investigators do not beat him. This is the whole essence of a wonderful story - and Kataev says: how dare he not protest at least under the covers. And how much did Kataev himself protest during the Stalinist regime? He composed slave hymns, like all (we).

In the fall of 1964, an anonymous (written by V. L. Teush) analysis of the main ideas of the story began to circulate in "samizdat". This analysis was very accurately assessed by the "writers in civilian clothes":

In an anonymous document, the author seeks to prove that the story "One Day in the Life of Ivan Denisovich" is important, as it reveals not only the life of a particular forced labor camp, but is essentially a reflection of one day in the life of Soviet society. He draws a direct analogy of the relationship, on the one hand, between the leaders of the camp and the prisoners, and on the other, between the leaders of the country and the population; between the situation of prisoners and the life of Soviet people, the overwork of prisoners and the “slave” labor of Soviet workers, etc. All this is disguised as an image of the period of the personality cult, although in fact there is a clear criticism of the socialist system.

In response to the publication, the writer received a large number of letters from readers: .

When the former prisoners learned from the trumpet calls of all the newspapers at once that some kind of story about the camps had come out and the newspapermen were praising it, they decided unanimously: “again nonsense! conspired and then lie. That our newspapers, with their usual exorbitance, would suddenly pounce on praising the truth - after all, this, after all, could not be imagined! Others did not want to take my story into their hands. When they began to read, it was as if a common continuous groan escaped, a groan of joy - and a groan of pain. Letters flowed.

A significant amount of research and memoirs appeared in 2002, on the 40th anniversary of the first publication.

On stage and screen

Editions

Due to the large number of publications, the list of which significantly affects the length of the article, only the first or different editions are given here.

In Russian

• A. Solzhenitsyn. One day of Ivan Denisovich. - M.: Soviet writer, 1963. - The first edition of the story as a separate book. US Library of Congress: 65068255.
• A. Solzhenitsyn. One day of Ivan Denisovich. - London: Flegon press, . - The first pirated edition in Russian abroad.
• Solzhenitsyn A. Stories. - M .: Center "New World" - 1990. (Library of the journal "New World") ISBN 5-85060-003-5 (Reprint edition. Published according to the text of the Collected Works of A. Solzhenitsyn, Vermont-Paris, YMCA-PRESS, vol. 3. Restored original pre-censored texts, re-checked and corrected by the author). Circulation 300,000 copies. - The first edition of the book in the USSR after a long break caused by the expulsion of the writer in 1974.
• Solzhenitsyn A.I. Collected works in 30 volumes. T. 1. Stories and Tiny. - M.: Time, 2006. ISBN 5-94117-168-4. Circulation 3000 copies. - Text revised by the author. (With careful comments by Vladimir Radzishevsky).

In other languages

In English

Withstood at least four English translations.

• English One day in the life of Ivan Denisovich. With an introduction. by Marvin L. Kalb. Foreword by Alexander Tvardovsky. New York, Dutton, 1963. — Translated by Ralph Parker. US Library of Congress: 63012266
• English One day in the life of Ivan Denisovich / translated by Max Hayward and Ronald Hingley; introduction by Max Hayward and Leopold Labedz. New York: Praeger, 1963. - Translated by Max Hayward and Ronald Hingley. US Library of Congress: 6301276
• English One day in the life of Ivan Denisovich / Alexander Solzhenitsyn; translated by Gillon Aitken. New York: Farrar, Straus and Giroux, 1971. - Translated by Gillon Aitken. US Library of Congress: 90138556
• English Alexander Solzhenitsyn's One day in the life of Ivan Denisovich: a screenplay, by Ronald Harwood from the translation by Gillon Aitken. London, Sphere, 1971. ISBN 0-7221-8021-7 - Film script. Written by Ronald Harwood, translated by Gillon Aitken.
• English One day in the life of Ivan Denisovich / Aleksandr Solzhenitsyn; translated by H.T. Willetts. 1st ed. New York: Farrar, Straus, Giroux, 1991. ISBN 0-374-22643-1 — Translated by Harry Willets, authorized by Solzhenitsyn.

in Bulgarian

• Bulgarian Alexander Solzhenitsyn. Single den on Ivan Denisovich: Story: Tell me. - Sofia: Interprint, 1990.

in Hungarian

• hung. Alekszandr Szolzsenyicin. Ivan Gyenyiszovics egy napja. Ford. Wessely Laszlo. - 2. kiad. - Budapest: Europa, 1989. ISBN 963-07-4870-3.

Danish

• dates Solzjenitsyn, Aleksandr. En dag i Ivan Denisovitjs liv. Gyldendal, 2003. ISBN 87-02-01867-5.

In German

• German Ein Tag im Leben des Iwan Denissowitsch: Erzählung / Alexander Solschenizyn. - Berlin-Grunewald: Herbig, 1963. - Translated by Wilhelm Löser, Theodor Friedrich and others.
• German Ein Tag im Leben des Iwan Denissowitsch: Roman / Alexander Solschenizyn. - München - Zürich: Droemer/Knaur, 1963. - Translated by Max Hayward and Leopold Labedz, edited by Gerda Kurz and Sieglinde Summerer. Withstood at least twelve editions.
• German Ein Tag des Iwan Denissowitsch und andere Erzählungen / Alexander Solschenizyn. Mit e. Essay von Georg Lukács. - Frankfurt (Main): Büchergilde Gutenberg, 1970. ISBN 3-7632-1476-3. - Translated by Mary von Holbeck. Essay by György Lukács.
• German Ein Tag des Iwan Denissowitsch: Erzählung / Alexander Solschenizyn. - Husum (Nordsee): Hamburger-Lesehefte-Verlag, 1975 (?). ISBN 3-87291-139-2. - Translation by Kai Borowski and Gisela Reichert.
• German Ein Tag des Iwan Denissowitsch: Erzählung / Alexander Solschenizyn. Dt. von Christoph Meng. - München: Deutscher Taschenbuch-Verlag, 1979. ISBN 3-423-01524-1 - Translated by Christoph Meng. Withstood at least twelve editions.
• German Ein Tag im Leben des Iwan Denissowitsch / Alexander Solschenizyn. Gelesen von Hans Korte. Regie und Bearb.: Volker Gerth. - München: Herbig, 2002. ISBN 3-7844-4023-1. - Audiobook on 4 CDs.

in Polish

• Polish Aleksander Solzenicyn. Jeden dzień Iwana Denisowicza. Przekl. Witold Dąbrowski, Irena Lewandowska. - Warszawa: Iskry, 1989 . ISBN 83-207-1243-2.

in Romanian

• rum. Alexandr Soljenin. O zi din viaţa lui Ivan Denisovici. On rom. de Sergiu Adam si Tiberiu Ionescu. - Bucuresti: Quintus, 1991. ISBN 973-95177-4-9.

In Serbo-Croatian

• Serbohorv. Aleksandar Solzenjicin. Jedan dan Ivana Denisovica; prev. sa rus. Mira Lalic. - Beograd: Paideia, 2006. ISBN 86-7448-146-9.

In French

• fr. Une journee d'Ivan Denissovitch. Paris: Julliard, 1969. US Library of Congress: 71457284
• fr. Une journée d "Ivan Denissovitch / par Alexandre Soljenitsyne; trad. du russe par Lucia et Jean Cathala; préf. de Jean Cathala. - Paris: Julliard, 2003 . ISBN 2-264-03831-4. - Translated by Lucy and Jean Catala.

in Czech

• Czech Alexander Solzenicyn. Jeden den Ivana Děnisovice. Praha: Nakladatelství politické literatury, 1963.
• Czech Alexander Solzenicyn. Jeden den Ivana Děnisoviče a jine povídky. Zrus. orig. prel. Sergej Machonin and Anna Novakova. - Prague: Lid. nakl., 1991. ISBN 80-7022-107-0. - Translation by Sergei Makhonin and Anna Novakova.

in Swedish

• Swede. Solzjenitsyn, Aleksandr. En dag i Ivan Denisovitjs liv [översättning av Hans Björkegren]. 1963 .
• Swede. Solzjenitsyn, Aleksandr. En dag i Ivan Denisovitjs liv. Arena, 1963, översattning av Rolf Berner. Trådhäftad med omslag av Svenolov Ehrén - Translated by Rolf Berner.
• Swede. Solzjenitsyn, Aleksandr. En dag i Ivan Denisovitjs liv. Wahlström & Widstrand, 1970. Nyöversättning av Hans Björkegren. Limhäftad med omslag av Per Ahlin - Translated by Hans Björkegren.

The title of the story is a transcription of the English ditloid acronym DITLOID = One D ay I n T he L ife O f I van D enisovich.

see also

Notes

1. Solzhenitsyn reads One Day in the Life of Ivan Denisovich. BBC Russian Service. Archived from the original on November 5, 2012. Retrieved November 3, 2012.
2. Solzhenitsyn A.I. Collected works in thirty volumes / Ed.-compiler Natalia Solzhenitsyna. - M .: Time, 2006. - T. first. Stories and little things. - ISBN 5-94117-168-4
3. Lydia Chukovskaya. Notes about Anna Akhmatova: In 3 vols. - M., 1997. - T. 2. - S. 521. Breakdown by syllables and italics - Lydia Chukovskaya.
4. Solzhenitsyn A.I. Stories and Tiny. // Collected works in 30 volumes. - M .: Time, 2006. - T. 1. - S. 574. - ISBN 5-94117-168-4
5. Solzhenitsyn A.I. // Journalism: In 3 tons ISBN 5-7415-0478-7.
6. The manuscript of the story was burned. - Solzhenitsyn A.I. Collected works in 30 volumes. T. 1. Stories and crumbs / [Comm. - Vladimir Radzishevsky]. - M .: Time, 2006. - S. 574. - ISBN 5-94117-168-4
7. Alexander Tvardovsky. Workbooks of the 60s. 1961 Record dated 12.XII.61. // Banner. - 2000. - No. 6. - S. 171. Tvardovsky writes the author's name from the voice, by ear, distorting it.
8. Friends agreed to call the story "article" in correspondence for the purpose of secrecy
9. At the insistence of Tvardovsky and against the will of the author. Biography of Solzhenitsyn (S. P. Zalygin, with the participation of P. E. Spivakovsky)
10. They suggested that I call the story a story for weight ... I should not have yielded. We are blurring the boundaries between genres and there is a devaluation of forms. "Ivan Denisovich" - of course, a story, although a long, overworked one. ( Solzhenitsyn A.I. The calf butted with the oak // New world. - 1991. - No. 6. - S. 20.
11. ... the title Alexander Trifonovich Tvardovsky suggested this, the current title, his own. I had "Sch-854. One day for one convict. And he offered very well, so it fit well ... - Solzhenitsyn A.I. Radio interview given to Barry Holland on the 20th anniversary of the release of "One Day in the Day of Ivan Denisovich" for the BBC in the Cavendish on June 8, 1982 // Journalism: In 3 tons. - Yaroslavl: Upper Volga, 1997. - V. 3: Articles, letters, interviews, prefaces. - ISBN 5-7415-0478-7.
12. ... not allowing objections, said Tvardovsky that with the title "Shch-854" the story could never be printed. I did not know their passion for softening, diluting renaming, and also did not defend. Throwing assumptions across the table with the participation of Kopelev composed together: "One day of Ivan Denisovich." - Solzhenitsyn A.I. The calf butted with the oak // New world. - 1991. - No. 6. - S. 20.
13. <…>at their highest rate (one advance is my two-year salary)<…> - A. Solzhenitsyn. The calf butted with the oak. Essays on a Literary Life. - Paris: YMCA-PRESS, 1975.
14. L. Chukovskaya. Notes about Anna Akhmatova: In 3 volumes - M .: Time, 2007. - V. 2. - S. 768. - ISBN 978-5-9691-0209-5
15. Vladimir Lakshin."New World" in the time of Khrushchev: Diary and incidental. 1953-1964. - M ., 1991. - S. 66-67.
16. A. Solzhenitsyn. A Calf Butted an Oak: Essays on a Literary Life. - M ., 1996. - S. 41.
17. TsKhSD. F.5. Op.30. D.404. L.138.
18. Cit. By: // Continent. - 1993. - No. 75 (January-February-March). - S. 162.
19. A. Tvardovsky. Workbooks of the 60s // Banner. - 2000. - No. 7. - S. 129.
20. Not the Politburo, as some sources indicate, in particular, brief explanations of the work at the end of each edition. The Politburo did not yet exist at that time.
21. A. Tvardovsky. Workbooks of the 60s // Banner. - 2000. - No. 7. - S. 135.
22. Solzhenitsyn A. Radio interview on the 20th anniversary of the release of "One Day in the Life of Ivan Denisovich" for the BBC [Cavendish, June 8, 1982] / Solzhenitsyn A. I. Publicism: In 3 vols. Vol. 3: Articles, letters, interviews, prefaces. - Yaroslavl: Upper Volga, 1997. - S. 21–30. - ISBN 5-7415-0478-7
23. Solzhenitsyn A.I. One day of Ivan Denisovich // New world. - 1962. - No. 11. - S. 8-71.
24. Alexander Tvardovsky wrote a special article for this issue of the journal "Instead of a preface."
25. According to Vladimir Lakshin, mailing was started on November 17th.
26. Solzhenitsyn A.I. Collected works in 30 volumes / Comm. V. Radzishevsky. - M .: Time, 2006. - T. 1. Stories and crumbs. - S. 579. - ISBN 5-94117-168-4
27. Niva J. Solzhenitsyn / Per. from fr. Simon Markish in collaboration with the author. - M .: Hood. lit., 1992.
28. Gul R. B. Solzhenitsyn and Socialist Realism: "One Day in the Life of Ivan Denisovich" // Odvukon: Soviet and Emigrant Literature. - New York: Bridge, 1973. - S. 83.
29. On June 11, 1963, Vladimir Lakshin wrote in his diary: “Solzhenitsyn gave me a hastily issued “Soviet Writer” “One Day ...” The publication is really shameful: a gloomy, colorless cover, gray paper. Alexander Isaevich jokes: “They released“ in the Gulag edition “”"- V. Lakshin."New World" in the time of Khrushchev. - S. 133.
30. Television interview with Walter Cronkite for CBS June 17, 1974 in Zurich. - Solzhenitsyn A.I. From a CBS television interview (June 17, 1974) // Journalism: In 3 tons. - Yaroslavl: Upper Volga, 1996. - V. 2: Public statements, letters, interviews. - S. 98. - ISBN 5-7415-0462-0.
31. Solzhenitsyn A.I. Radio interview given to Barry Holland on the 20th anniversary of the release of "One Day in the Day of Ivan Denisovich" for the BBC in the Cavendish on June 8, 1982 // Journalism: In 3 tons. - Yaroslavl: Upper Volga, 1997. - V. 3: Articles, letters, interviews, prefaces. - S. 92-93. - ISBN 5-7415-0478-7.
32. Note of the First Secretary of the Central Committee of the Communist Party of Uzbekistan Sh. R. Rashidov on the punishment of A. Solzhenitsyn on February 5, 1966 - TsKhSD. F.5. Op.36. D. 155. L. 104. Cit. By: Documents from the archive of the Central Committee of the CPSU on the case of AI Solzhenitsyn. // Continent. - 1993. - No. 75 (January-February-March). - S. 165-166.
33. TsKhSD. F.5. Op.67. D.121. L.21-23. - Quote. By: Documents from the archive of the Central Committee of the CPSU on the case of AI Solzhenitsyn. // Continent. - 1993. - No. 75 (January-February-March). - S. 203.
34. Arlen Bloom. Forbidden books of Russian writers and literary critics. 1917-1991: An index of Soviet censorship with comments. - St. Petersburg. , 2003. - S. 168.
35. Solzhenitsyn A.I. Collected works in 30 volumes. T. 1. Stories and crumbs / [Comm. - Vladimir Radzishevsky]. - M .: Time, 2006. - S. 584. - ISBN 5-94117-168-4
36. Simonov K. About the past in the name of the future // Izvestia. 1962. November 18.
37. Baklanov G. So that it never happens again // Literary newspaper. 1962. November 22.
38. Ermilov V. In the name of truth, in the name of life // Pravda. 1962. November 23.
39. Varlam Shalamov. New book: Memoirs; Notebooks; Correspondence; Investigative cases. - M ., 2004. - S. 641-651.
40. Chicherov I. For the sake of the future // Moscow truth. - 1962. - 8 Dec. - p. 4.- Quote. Quoted from: G. Yu. Karpenko. Literary criticism of the 1960s about A. Solzhenitsyn's story "One Day in the Life of Ivan Denisovich"
41. Druta I. On the courage and dignity of man // Friendship of peoples. 1963. No. 1.
42. Kuznetsov F. A day equal to life // Banner. 1963. No. 1.]
43. Gubko N. Man wins. // Star. 1963. No. 3. S. 214.
44. Lakshin V. Ivan Denisovich, his friends and enemies // New World. 1964. No. 1. S. 225-226.
45. Marshak S. A true story // Truth. 1964. January 30.
46. Kuzmin V. V. Poetics of stories by A. I. Solzhenitsyn. Monograph. Tver: TVGU, 1998, 160 s, no ISBN.
47. Korney Chukovsky. Diary. 1930-1969. - M ., 1994. - S. 329.
48. Note of the Prosecutor's Office of the USSR and the KGB under the Council of Ministers of the USSR On measures in connection with the distribution of an anonymous document with an analysis of A. Solzhenitsyn's story "One Day in the Life of Ivan Denisovich" dated August 20, 1965 - TsKhSD. F.5. Op.47. D.485. L. 40-41. Cit. Quoted from: Continent, No. 75, January-February-March 1993, p. 165-166
49. Read "Ivan Denisovich" (Review of letters) - Alexander Solzhenitsyn. Collected works in six volumes. Volume five. Plays. Stories. Articles. - Frankfurt/Main: Possev-Verlag, V. Gorachek KG, 2nd edition, 1971.
50. Alexander Solzhenitsyn. Gulag archipelago. Volume 3 (parts 5, 6 and 7). YMCA-PRESS, Paris, 1973. - Part seven. Chapter 1.
51. "40 Years Like One Day of Ivan Denisovich" Interview with Natalia Solzhenitsyna. // Rossiyskaya Gazeta, 11/19/2002
52. Directed by Daniel Petrie, story prepared for stage production by Mark Rogers. Duration - 60 minutes.
53. And the day of Ivan Denisovich lasts longer than a century // Novaya Gazeta, November 17, 2003
54. Camp readings // Kommersant - Weekend, 06.10.2006
55. Heroin W. One trance "Ivan Denisovich". In the Praktika Theater, the text of Ivan Denisovich was read by actor Alexander Filippenko. View: Delovaya Gazeta (October 31, 2008). Archived from the original on February 21, 2012. Retrieved December 13, 2008.
56. Gaikovich M. It happened! World premiere of the opera One Day in the Life of Ivan Denisovich in Perm // Independent newspaper. - May 18, 2009. - S. 7. (Retrieved May 21, 2009)
57. Ralph Parker (1963); Ron Hingley and Max Hayward (1963); Gillon Aitken (1970); H. T. Willetts (1991, ) - authorized by Solzhenitsyn

Literature

• Fomenko L. Great Expectations: Notes on Fiction in 1962 // Literary Russia. - 1963, January 11.
• Sergovantsev N. The tragedy of loneliness and "continuous life" // October. - 1963. - No. 4.
• Tvardovsky A. The conviction of the artist // Literary newspaper. - 1963, August 10.
• Chalmaev V."Saints" and "demons" // October. - 1963. - No. 10.
• Pallon V.. "Hello, captain" // Izvestia. - 1964, January 15.
• Lakshin V. Ivan Denisovich, his friends and foes // New world: magazine. - 1964. - No. 1.
• Karyakin Yu. F. An episode from the modern struggle of ideas // Problems of peace and socialism. - 1964. - No. 9. The article was reprinted in Novy Mir (1964, No. 9).
• Geoffrey Hosking. Beyond socialist realism: Soviet fiction since Ivan Denisovich. - London etc.: Granada publ., 1980. - ISBN 0-236-40173-4 .
• Latynina A. The collapse of the ideocracy. From "One Day in the Life of Ivan Denisovich" to "The Gulag Archipelago" // Literary Review. - 1990. - No. 4.
• Murin D. N. One day, one hour, one life of a man in the stories of AI Solzhenitsyn // Literature at school. - 1990. - No. 5.
• From the history of the social and literary struggle of the 60s: Tvardovsky, Solzhenitsyn, "New World" according to the documents of the Union of Writers of the USSR. 1967-1970. Publication prepared by Y. Burtin and A. Vozdvizhenskaya // October. - 1990. - No. 8-10.
• Lifshitz M. About A. I. Solzhenitsyn's story "One Day in the Life of Ivan Denisovich"; On the manuscript of A. I. Solzhenitsyn "In the first circle" / Publ. L. Ya. Reinhardt. // Questions of Literature. - 1990. - No. 7.
• Scientific conference "A. Solzhenitsyn. On the occasion of the 30th anniversary of the publication of the story “One Day in the Life of Ivan Denisovich” // Russian Literature. - 1993. - No. 2.
• Molko A. The story of A. Solzhenitsyn "One Day in the Life of Ivan Denisovich" at the lesson of literature // Study of literature of the XIX-XX centuries according to new school programs. - Samara, 1994.
• Muromsky V.P.. From the history of literary controversy around the story of A. I. Solzhenitsyn "One Day in the Life of Ivan Denisovich". // Literature at school. - 1994. - No. 3.
• Yachmeneva T. Camp prose in Russian literature (A. I. Solzhenitsyn and V. Shalamov). // Literature. Supplement to the newspaper "First of September". 1996. No. 32.
• Karpenko G. Yu.