The main laureate of the “Shield and Sword of the Fatherland” award 2015 of the year answered questions from the editorial board of the newspaper “VPK”.
- Alexander Andreevich, a writer sees something that mere mortals do not see. The Soviet Union was a great country, but we were defeated. And the whole XX century for the country was full of trials - the destruction of the Russian Empire, the Civil War, the Great Patriotic War, repressions, broken destinies ... Tell me, please, what did we do wrong? Why did the Russian people have such shocks?
- It история, we do not understand its tasks and its meaning. The fate of Russia can only be assessed by religious consciousness. Social, ideological or political consciousness will not fully understand this. Only religious, which can be found confirmation in our monasteries, in the teachings and reflections of our righteous and elders. It tells us that the mission of Russia is to take on world darkness and transform it into light. Russia is a gigantic, conceived by the Lord factory for recycling of world waste, spiritual and moral. Therefore, this darkness is falling on our country - whether it be Stefan Batory, the Livonian Order, Napoleon, Hitler or the current Western armada. All this falls upon Russia, avenging that it lives with divine dreams - about eternal justice, about beauty. And we keep these blows, because this is what we have been created for. You listen to others - everything is simple: let's give up our mission, our large spaces, our history, the army, our defense industry complex, our historical objectives. Let's give Siberia, the Arctic (there is one ice in the same place!), The Caucasus, we will remain in a small territory in the Vologda village and live as never before!
But we, thank God, will not do this. We will continue to stand, leaning with one foot on the Pacific, and the other on the Arctic Ocean, so Russia is doomed to these battles.
- The abyss into which Russia fell in the 90s is still close. Is our political leadership aware of this? If so, why not give the command "stop"?
- Our political leadership is partly composed of those who pushed us into this abyss. Moreover, it still keeps us in this abyss. If you watch television, you see how much poison is poured into the soul, so that we will not see the light and will not revolt, so that we will forever lie in this stupor. But development will come anyway, it is inevitable. The 90 were years of disaster. Over the years, the military-industrial complex and the entire Soviet technosphere were exterminated, consciously or unconsciously. This technosphere has suffered terribly and could have been wiped off the face of the earth.
- What was the salvation of industrial Russia?
- There were those who kept the main shrines and valuables. They were engineers, designers, directors, heads of special departments who saved secrets, technologies, and did not let the teams collapse. They invented thousands of ways, but defended, retained the defense industry of the country. During the war, it was like this: the regiment was being smashed, the entire force was beaten out, and the wounded commander was draped into a bloody banner and carried him to his own. And then this banner becomes the banner of a new regiment, gathers around it new heroes. Therefore, the old people who are now 70 and who do not leave are the real heroes of our Fatherland. The second generation, those who are now 50, are strong people, techies who know their own worth. They are aware of the situation, they see all the dangers that hang over the country, all the challenges. They make the technique based on new technologies, from new means of warfare, from new tactical and technical data. And cope with the challenges of time. We had to buy machines, when not all the equipment could be bought - we simply did not sell much. And in a roundabout way, through third countries they equipped their enterprises with first-class equipment and created weapon, which is now winning in Syria, causing admiration of the world. These are those whom I call the development guard, because Russia is pretty lagging behind and needs a powerful leap, we need those to rely on. Of course, I mean, first of all, serious army men, intelligent and trained employees of special services, military technocrats, also intellectuals, writers, patriotic clergy.
And the third, the youngest generation of manufacturers. Nowadays, more often young people go where big money is: in trade, in the service sector. But those who came to the factories, they were captivated not by their salary, not by the opportunity to show off, they were struck by the beauty of this technique and the perception of accomplishments. These are the chosen people. At the Energomash plant, you need to see the faces of the young, first-time supermotors in the museum! Because they become fans of this technique. These are three generations, these are three categories of heroes, and it is extremely interesting to describe them, because there is a complex relationship between them, a very complex interaction. But they must be understood heroically. There is prose - someone drinks, divorced his wife, someone entered into an intrigue with the boss, someone turned out to be unclean, this is human, human. But there is a messianic in them and this is the main thing.
- But what about the generational conflict, when young people deny what the previous generation did?
“There are no generational conflicts here, because there is a gigantic gap between the old people and the youth, when people left the factories and the institutes did not train specialists of the required profile. And this gap is felt painfully both by the old production workers and their replacement. The youth literally sucks the knowledge, ethics out of old people ... There is no generation gap, there is their synthesis. Synthesis is a submarine, a plane or a volley fire system, something that all generations of techies are currently doing together.
- That is, this is a topic for the writer? "Romance boring machine"?
“The romance is connected with the fact that any complex production is a supercar that can make even more complex machines — an airplane, an early warning system, a satellite ... In the same way, the state is a supermachine. And the artist is interested in drawing these cars, it is sweet for him to delve into their depths, how these cars arise and how they burn in the complex layers of the historical Russian time ... The machine needs an artist to inspire it. An uninspired machine that the finger of the creator, musician, or writer has not touched can cause a lot of mischief, it can destroy humanity.
The sunset literature of the USSR wrote peasant life, sadness over the disappeared village, or sang a longing song of the intelligentsia that Stalin repressed, beat the Soviet state. Perhaps only Platonov, in his “Birth of the Master”, inspired the machine as a living tree, he treated the machine as if it were life - and in fact the development of the machine increasingly brings it closer to something alive, feeling, sobbing. Bunin has a wonderful story “The Lord from San Francisco,” where he described this car, the life of these ship furnaces, connecting rods, this breath. In our literature, this is not enough. And now this task is worth it, because it is a philosophical and artistic task, because it is very difficult to write a car. Russian literature has little experience in describing cars, it has a wonderful experience in describing the landscape and nature, a delightful experience in describing the human soul, psychological relationships, and describe the car, describe the portrait of the state as a whole ... Charge any writer to describe the battle of fourth or fifth generation fighters in the air - no one does not write, can not, this is a special element. These are special worlds, there is a special sparkle, special energies, beauty and horror of this fight. Therefore, to write about the technosphere is a great courage and great temptation. The writer who undertakes to describe the shop of the Severodvinsk plant, where the next “Yuri Dolgoruky” stands, must understand that the workshop is the same jungle filled with trees, birds, the breath of winds. It is important to feel it.
And I think that this huge machine, called the military-industrial complex, calls to itself - and the artists go to call. She tells the writers: “Come, I will show you a landscape that you cannot see on the street of the city.” Therefore, this “Shield and Sword of the Fatherland” award is the call and that pipe with which the defense industry complex informs us that we are here, go here. That is the meaning of this award and award, it means that an artist was found who was able to respond to this call. The defense industrial complex did not reject his writings.