PLATONOV, ANDREY PLATONOVICH(1899–1951), real surname Klimentov, Russian prose writer, playwright. Born on August 16 (28), 1899 in a working-class suburb of Voronezh. He was the eldest son in the family of a locksmith in railway workshops. The impressions of a difficult childhood full of adult worries were reflected in the story Semyon (1927), in which the image of the title character has autobiographical features. He studied at a parish school, in 1914 he was forced to leave his studies and go to work. Until 1917, he changed several professions: he was an auxiliary worker, a foundry worker, a locksmith, etc., which he wrote about in his early stories Another (1918) and Seryoga and me (1921). According to Platonov, "life immediately turned me from a child into an adult, depriving me of my youth."

In 1918, Platonov entered the Voronezh Railway Polytechnic, realizing the interest in machines and mechanisms that had manifested in it since childhood. For some time, interrupting his studies, he worked as an assistant driver. In 1921 he wrote a brochure Electrification and after graduating from technical school (1921) he called electrical engineering his main specialty. The need to learn Platonov explained in the story Potudan River (1937) as a desire to "quickly acquire higher knowledge" in order to overcome the meaninglessness of life. The heroes of many of his stories ( At the foggy dawn adolescence, Old mechanic and others) are railway workers, whose life he knew well from childhood and youth.

From the age of 12, Platonov wrote poetry. In 1918, he began working as a journalist for the Voronezh newspapers Izvestiya Uprinrayona, Krasnaya Derevnya, and others. In 1918, Platonov's poems began to be published in the Iron Way magazine ( Night, Yearning and others), his story came out Another, as well as essays, articles and reviews. Since that time, Platonov has become one of the most prominent writers of Voronezh, actively appears in periodicals, including under pseudonyms (Elp Baklazhanov, A. Firsov, etc.). In 1920, Platonov joined the RCP (b), but a year later he left the party of his own free will.

Book of poems by Platonov Blue depth (1922, Voronezh) received a positive assessment from V. Brusov. However, at this time, under the impression of the drought of 1921, which led to a massive famine among the peasants, Platonov decided to change his occupation. In his autobiography of 1924, he wrote: "As a technician, I could no longer engage in contemplative work — literature." In 1922-1926 Platonov worked in the Voronezh provincial land department, engaged in land reclamation and electrification of agriculture. He appeared in print with numerous articles on land reclamation and electrification, in which he saw the possibility of a "bloodless revolution", a radical change for the better of the people's life. The impressions of these years were embodied in the story Homeland electricity and other works of Platonov of the 1920s.

In 1922 Platonov married a rural teacher M.A. Kashintseva, to whom he dedicated the story Epifan locks (1927). The wife became the prototype of the title character of the story Sand teacher... After the death of the writer M.A. Platonov, she did a lot to preserve it literary heritage, publication of his works.

In 1926 Platonov was recalled to work in Moscow in the People's Commissariat for Land. Was sent to engineering and administrative work in Tambov. The image of this "philistine" city, its Soviet bureaucracy can be recognized in the satirical story City of Gradov (1926). Soon Platonov returned to Moscow and, leaving the service in the People's Commissariat for Land, became a professional writer.

The first serious publication in the capital was the story Epiphany locks. A story followed Secret man (1928). Described in Epiphany locks The transformations of Peter I in the work of Platonov echoed with the contemporary "head" communist projects of the global reconstruction of life. This topic is the main one in the essay. Che-Che-O (1928), written jointly with B. Pilnyak after a trip to Voronezh as correspondents of the Novy Mir magazine.

For some time Platonov was a member of the Pereval literary group. Membership in "Pass", as well as publication in 1929 of the story Doubtful Makar caused a wave of criticism against Platonov. In the same year, A.M. Gorky received a sharply negative assessment and Platonov's novel was banned from publication. Chevengur (1926–1929, published in 1972 in France, in 1988 in the USSR).

Chevengur became not only the largest work of Platonov in volume, but also an important milestone in his work. The writer brought to the point of absurdity the ideas of the communist reorganization of life, which possessed him in his youth, showing their tragic impracticability. The features of reality acquired a grotesque character in the novel, in accordance with this, the surreal style of the work was formed. His heroes feel their orphanhood in a godless world, their disconnection from the “soul of the world”, which is embodied for them in disembodied images (for the revolutionary Kopenkin, in the image of Rosa Luxemburg, unknown to him). Trying to comprehend the secrets of life and death, the heroes of the novel build socialism in the county town of Chevengur, choosing it as a place in which the blessing of life, the accuracy of truth and the sorrow of existence "happen by themselves as needed." In the utopian Chevengur, the Chekists kill the bourgeois and semi-bourgeois, and the proletarians feed on the "food remnants of the bourgeoisie," because the main profession of a person is his soul. According to one of the characters, "a Bolshevik must have an empty heart so that everything can fit there." In the finale of the novel, the main character, Alexander Dvanov, dies of his own free will in order to comprehend the secret of death, because he understands: the secret of life cannot be solved by the methods that are used to transform it.

The reconstruction of life is the central theme of the story Pit (1930, published in 1969 in Germany, in 1987 in the USSR), which takes place during the first five-year plan. The "general proletarian house", the foundation pit for which the heroes of the story are digging, is a symbol of the communist utopia, "earthly paradise". The pit becomes a grave for the girl Nastya, who symbolizes the future of Russia in the story. The construction of socialism evokes associations with the biblical story about the construction of the Tower of Babel. IN Pit also embodied the traditional for Platonov motive of wandering, during which a person - in this case the unemployed Voshchev - comprehends the truth, letting space through himself. In the afterword to the American edition Pit Brodsky noted the surrealism of Platonov, which was fully expressed in the image of the hammer bear participating in the construction. According to Brodsky, Platonov "himself subordinated himself to the language of the era, seeing in it such abysses, having glanced into which once, he could no longer slide on the literary surface."

Publication of the novel-chronicle For the future with a devastating afterword by A. Fadeev (1931), in which the collectivization of agriculture was shown as a tragedy, made the publication of most of Platonov's works impossible. An exception was the collection of prose Potudan River (1937). Stories Jan (1935), Juvenile sea (1934), plays written in the 1930s Barrel organ and 14 Red Huts were not published during the lifetime of the author. The publication of Platonov's works was allowed in the years Patriotic War, when the prose writer worked as a front-line correspondent for the Krasnaya Zvezda newspaper and wrote stories on a military theme ( Armor, Spiritual people, 1942; Of death no!, 1943; Aphrodite, 1944 and others; 4 books were published). After his story A family Ivanova (other name - Return) in 1946 was subjected to ideological criticism, the name of Platonov was deleted from Soviet literature. A novel written in the 1930s Happy Moscow was discovered only in the 1990s. The first book after a long break The Magic Ring and Other Tales was published in 1954, after the death of the author. All publications of Platonov's works were accompanied by censorship restrictions during the Soviet period.

Born Andrei Platonovich Klimentov was born into a family of ordinary workers living in the Voronezh province. The head of the family spent most of the time at the railway station, where he worked as a machinist. At this time, the mother was busy raising eleven children, the eldest of whom was Andrei.

From childhood, the future writer had to learn all the hardships of adulthood, which in the future was reflected in his stories. He was forced to help with the housework, taking on the lion's share of the trouble, since the stern father was in no hurry to deal with family problems and concerns. And after graduating from the parish school, the young man was forced to go in search of work. Within four years he went through most of the workshops in the area, where he was forced to take on any work.

The most important biography of Andrei Platonovich Platonov will be presented to your attention further.

Rebellious youth

Upon reaching adulthood, Andrei entered the railway technical school, dreaming of repeating the path of his parent in the future. But the beginning of the Civil War prevented him from getting an education. Emotional and devoted to his ideals, the young man immediately went to the front, bringing the victory of the Red Army closer. It was the new time that gave the impetus to start creative path writer. He took the pseudonym Platonov, who soon erased his real name from the memory of those around him.

In 1920, the creative person began to cooperate with many magazines and publishing houses in Voronezh. Looking for his own special path, Andrei tried to prove himself as a publicist, poet, critic and editor at the same time. And such over-employment did not prevent him from working on the book "Electrification" published in 1921.

New time

A short biography of Andrei Platonov contains information that in 1922 the author's poetry collection was published, which was not very warmly received by readers. Therefore, for the next three years, Platonov practically did not work in the literary field, retraining as an ameliorator. Several years of his life as a publicist were devoted to the problems of electrification of agriculture. And only after moving to Moscow, Andrei Platonovich returned to the work of his whole life. It was at this time that he published a collection of stories "Epiphanes Locks", which brought fame and love of readers. Inspired by the opportunity to work in a convenient format, and happy that he is close to the modern reader, the writer began to work even more intensively. As a result, several books by the author were published in one year, the most outstanding among which were "Meadow Masters" and "The Secret Man".

Painful criticism

The writer was always acutely worried about criticism of his works, considering them as open, sincere and honest as possible. Coming from a simple family, he tried to recreate the stories of ordinary Soviet citizens. In most of the author's works, one can find a description of the difficult childhood of large families, which he knew firsthand. After all, he formed his worldview precisely in a difficult and hungry time.

Therefore, when the story "The Origin of the Master" received negative reviews from critics and colleagues, the writer decided to step aside for a while. Over the next eight years, he collaborated only with magazines, hiding all sketches and developments in the table.

Major works

Andrey Platonovich created his main and significant works at the turn of the 30s. "Chevengur" and "Pit" were among the most talented works of the author. But they were published only after the death of the writer and the change of the regime in the country because of their ambiguity. In the same period, Platonov began to try himself in the role of a playwright, trying to create deep, serious and full of tragedy works.

Relations with the authorities

The biography for children of Platonov Andrei Platonovich does not contain this information, but pressure from the authorities and constant criticism were a constant phenomenon in the life of the writer. Almost all of his work was subjected to harsh analysis and pressure from the authorities. Repeated falling into disgrace intensified after the publication of the story "For the Future", which fell into the attention of Stalin. The angry dictator could not refrain from openly criticizing the author. Each time he read his books, the leader left notes in the margins addressed to Platonov.

For a literary genius, it simply could not pass. Stalin forbade publishing houses and magazines to work with this writer under the threat of imprisonment. Therefore, for several years, a publicist could only work at the table, being afraid to even just show the results of his work.

Only three years later, Andrei Platonovich received permission to travel to Central Asia with his colleagues. But as a result of the trip, the writer wrote the story "Takir", which became the reason for a new wave of criticism and abuse against the creator.

Personal history pages

The first and only wife of the writer was a simple girl Maria Kashentseva, whose love he sought long and hard. The young lady was in no hurry to marry a rude and slightly aggressive man, from whom she decided to flee. For several years, Masha lived in a small village, where her boyfriend came to her. And who knows how the history of the relationship of young people would have developed if not for Maria's pregnancy. Therefore, the most important issue was resolved with the help of a wedding. Soon after her, the couple had a beloved long-awaited son. He received the name Plato, after his paternal grandfather.

But Platonov could not enjoy family happiness after the birth of the heir because of the tragic events with his relatives. After poisoning with mushrooms, his brother and sister died. Realizing that it was unrealistic to save them, Andrei Platonovich felt deeply unhappy and helpless in the current situation.

War of beloved women

Wife Maria Alexandrovna was one of the most important women in the life of a writer. He admired her and considered her his muse. The only thing that insanely upset the man was the constant conflicts between his wife and mother, who never accepted her until the end of her days. The author's parent passed away early and unexpectedly, forever leaving a deep wound in the heart of her eldest son.

Children's theme

The summary of the biography of Andrei Platonovich Platonov does not contain all the interesting facts from his life. And researchers know that the parents' reckless love for their only son Plato spoiled him. At the age of fifteen, he contacted a bad company, thanks to which he went to commit a crime. As a result, the guy ended up behind bars, where he contracted tuberculosis. A little later, he went into consumption, which became the cause of death. young man at the age of twenty.

Grieving the loss of their only son, the Platonovs sought salvation in each other's company and work. Only in 1944 did they decide to give themselves a chance to once again experience parental happiness. Born Masha became a real joy for her parents. The mother protected the girl from all problems, and the father tried to do everything for her happiness, realizing that he himself had little time left.

War years

During World War II, Andrei Platonovich actively worked as a front-line correspondent for the Krasnaya Zvezda newspaper. At the same time, a brave man never sat in the rear, believing that he had to be on a par with his comrades-in-arms. Perhaps it was a certain familiarity and life in difficult conditions that caused the writer to become infected with consumption.

After the end of the war, Platonov Andrei Platonovich, biography, interesting Facts from the life of which you now know, was demobilized with the rank of captain due to illness. Now he could again return to the creation of his works, which he lived all his life. But the stories "Ivanov's Family" and "The Return" were fatal for Platonov. This time, the government was not ready to forgive him for such free-thinking and ambiguity. Critics found the interpretation of current events and attitude towards the heroes of our time inadmissible. Therefore, the writer was forever excommunicated from the press.

last years of life

Extremely rich and interesting biography Andrey Platonovich Platonov. It is known that after the widespread disgrace he was forced to look for other opportunities to feed his family. So he started working on editing and reworking. folk tales... In addition to earning income, the publicist got real pleasure from the lesson, because he could read the fairy tales of his little daughter. In 1950, the fairy tales "The Unknown Flower" and "The Magic Ring" were published. In the future, they became subjects for Soviet animators, who gave them new life.

Life after death

Most of the works of Andrei Platonovich Platonov, short biography which is presented to your attention in the article, became known to a wide range of readers after the death of the writer. One of the most scandalous novels "Chevengur" was first published in Paris in the 80s. A few years later, Andron Konchalovsky took up the adaptation of the works "Beloved Mary" and "Three Brothers". The films turned out to be interesting, emotional and deep.

In Russia, Ivan Okhlobystin breathed new life into the works of the writer, who shot the short film "The Wave Breaker". After that, many theaters began to practice performances based on the works of Platonov. The cartoonists skillfully played up his childhood stories, giving them a new life.

An unexpected interest in the work of the writer Andrei Platonovich Platonov, whose brief biography we are studying, became the reason for naming streets, libraries and schools after him. In his native Voronezh, a symbolic monument was erected to him by activists. But the real surprise was the decision to give the name of Andrei Platonov to a distant asteroid. The same unexplored, inexplicable and at the same time alive, he became a symbol of a unique author. All his life he worked with an open soul and feelings, carrying all the resentment, bitterness and sorrow throughout his life. Therefore, today there are plenty of reasons for contemporaries to try to understand the publicist through his life and sincere works about the life of real people.

In 1918, the poet Alexander Blok wrote an article " Intellectuals and revolution". In this article there were words that the intelligentsia must listen to the revolution and learn one very important thing - there are still unawakened, dormant forces among the people, which the revolution will awaken and which will say such words that our tired, stale literature has never said before. So, if this prophecy was once and was fully justified by someone, then, undoubtedly, by a person who was born in the last year last century serene Russian reign (in 1899) in Voronezh on September 28 in a new style.

A boy was born, who was named Andrey. His family name was Klimentov. Platonov is a pseudonym that he took for himself. There was a peasant tradition that he followed. He is like Andrei Platonov's son, so Andrei Platonov.

His father was a locomotive master. He worked in a railway depot. Mother was just a housewife, in modern terms. The family had a lot of children, the family lived rather poorly in the suburb of Voronezh, Yamskaya Sloboda. However, it was a family where education was highly valued. Andrei graduated first from the parish school, where education was free, then from the city four-year school. After that, he worked for a while in a railway office, then at a factory.

When the revolution took place, Andrey was 18 years old. This is a very important point. Perhaps no one took the Russian revolution as deeply as Andrei Platonov. In no one’s life did it have such a beneficial effect, didn’t wake a person up, didn’t stimulate him to life, creativity, as Platonov did.

After the revolution, he studied for some time at the university at the Faculty of History and Philology, but very quickly left there and entered an electrotechnical college or institute in Voronezh. For Platonov, this was a very important choice. He believed that this should be the path of a real writer - not through the humanities, not through history, philology, but through a technical school. This is exactly what the proletarian writer of the 20th century should be.

In Voronezh at that time the situation was very difficult. There was a civil war, the city passed from hand to hand. Platonov took part in the civil war, albeit not as a Red Army soldier (he was mobilized on the railway transport as an assistant driver). But he really saw the civil war. This is also a very important point.

Even then, he began to write. Poet, prose writer, playwright, publicist - almost all of these types of verbal creativity simultaneously spoke in him. First, of course, the poet. The young man began to write poetry. They, I must say, amaze with their incredible smoothness, experience, skill, imitation in both the bad and the good sense this word. It is all the more important to emphasize that Platonov's prose is completely different. She is original, she is not like anyone or anything, he writes in his own language. But the poet Platonov is the continuer of the traditions of classical Russian versification. Platonov the publicist is an ultra-revolutionary, a person who believes that a revolution is not just a political upheaval, not just a change in the economic formation. He does not think in such small categories. A revolution is a cosmic upheaval that will open up completely different horizons for people. Hence, flights into space, the movement of man throughout the universe, the conquest of the universe ... What dreams did not come to the mind of young Platonov and what he just didn’t write about in his journalism, early prose. It is no coincidence that he started out as a science fiction writer. Such indomitable rage, boundless boldness of writing cannot be found, perhaps, in any of his brothers.

Platonov, due to his character and the characteristics of his talent, could not adhere to any literary movement or direction. The well-known scandal that occurred in the RAPP (attacks by Averbakh, who was the head of the RAPP on Platonov) was that he was accused of humanism, excessive kindness to a person instead of showing the class struggle. Platonov's tactical mistake was that he wanted to sing the praises of the revolution alone, and the state did not forgive this.
And then a nationwide Russian catastrophe occurred, which greatly changed the biography of Platonov and his mentality. In 1921, there was a terrible famine in Russia. For Platonov, this was a big blow, because it seemed to him that after the victory of the revolution there could be no such catastrophes, that the revolution is a leap into a happy future. And suddenly it turned out that this breakthrough did not take place, that the main enemy of man was not even the White Guards, but nature, which caused a terrible drought, which resulted in famine. And then Platonov wrote in his publicistic articles that nature is a White Guard, nature is an enemy, that it must be destroyed and must be fought against.

And it was very Russian. In general, Platonov is a very Russian writer. In it, the understanding of the essence of Russian national thinking, which knows no limits and restraint, manifested itself in the most concentrated form. But Platonov's difference from other writers, contemporary to him, lies in the fact that it was not enough for him to stigmatize hunger with words or to call on the people, the Communist Party or the world community to fight hunger in his articles and works. Platonov went to fight this hunger with his hands.

After a brilliant start, he leaves literature, literary life and begins to work as a provincial meliorator, that is, a person who is engaged in hydrating the region, building dams and dams. He believes that a writer must first do something with his hands, earn the right to be a writer, and then write something.

Platonov's early prose is full of the most fantastic plots. Striving for the future, the desire to arrange the future in some other way, but not in the way the Communists wanted (Platonov had his own, some very personal communism) - his striking distinguishing feature. And at the same time, thinking about the future, which is reflected in the story " Etheric path", he thinks about the past too.

In the story " Epifan locks"Platonov turns to the Peter's era. The main character of this story is the English engineer Bertrand Perry, who, on the orders of Tsar Peter, must build a canal from the Oka to the Volga, he fails and everything ends with a terrible execution of the hero. It is clearly seen how a catastrophe destroys the natural course of things. For Platonov, the norm is a catastrophe, for him the world without a catastrophe is impossible.

In late 1926 - early 1927 Platonov worked for some time in the city of Tambov as a land reclamator. There he was confronted with the incredible degree of bureaucratization of Soviet life. About this bureaucratization, he wrote a story called "City of Gradov"I must say that this story was published. It was not met with such a hurricane of criticism, apparently for the reason that Platonov was his own, a worker. And so he was more forgiven at first, they turned a blind eye to it. This is an openly satirical story. Platonov with all the satirical direction, he was a satirist only for the reason that he loved the revolution too deeply. He felt too keenly that the negative, ugly phenomena of life distort the essence of the revolution, violate its lofty meaning. And he really wanted to cleanse the Russian revolution of bureaucracy. This explained him pathos.

Another very important work of this time is the story "Intimate Man"... Platonov also wrote this story in 1927. The work is about the fate of the Russian people in the revolution. It is just the satirical beginning, if present, it is somewhat weakened. But what is in "The Secret Man" is a hero who does not die. This is very important, because in most of the works of early Platonov, everything in one way or another ends with death, destruction, catastrophe. But in "The Secret Man" is shown a hero who goes through a civil war, through hunger, who could be killed a hundred times and who, nevertheless, remains alive. Here is a temporary victory over the tragic, catastrophic picture of the world. Platonov shows an example of a tenacious, immortal hero. One of the ideas of this story is that overcoming the civil war, the way out of it should be the resurrection of all the living and all the dead.

The story "The Secret Man" was published in 1927 in the magazine "Young Guard". Then she entered the author's collection of prose, which was called "The Secret Man". Earlier, a collection was released, which was called " Epifan locks"In this sense, the debut of the young Platonov was very successful. He entered with confidence.

Another thing is that for some reason the criticism did not pay much attention to him at first. However, the lack of attention to criticism was salutary for the writer, because very soon everything will change in a sharply negative direction. But so far Platonov continued to write.

What else is striking in this man - he was not just a professional writer who gets up in the morning, sits down at the table, writes as much as he needs and so on from day to day. Nothing like this. He wrote in his spare time in some snatches, for some hours. But not only the quality, but also the sheer quantity of what he wrote in the 1920s is striking.

So, in 1927-28, one of the greatest Russian novels of the 20th century was created " Chevengur"This is a very long, very wide, filled with breath, wind, space story about Russia in the era of revolution and civil war. In" Chevengur "folklore motives are very strong. One of these motives is the dream that somewhere there is a blissful country of Belovodye , the city of Kitezh, a kind of utopian place where a person lives well. After all, it was partly this dream of a good life on earth that was the motive of the revolution for the majority of Russian people, especially for the Russian peasants, the peasantry. "Chevengur" is a story about how socialism itself is emerging on Russian soil. Not because Karl Marx was somewhere and some advanced theory was instilled in us. Platonov understood this effect itself, how life itself, a revolution is emerging in Russia. This revolutionary virus that moves the Russian people. in his novel "Chevengur" there is no idealization of the revolution, but there is no curse of it either. This is an attempt to understand the revolution. Platonov is very dear to people who make a revolution, who believe in communism. But at the same time about I well understood that they are historically doomed. So, "Chevengur" is the name of the city in the steppe, the inhabitants of which built communism, or they thought they had built it. The city "is all in communism, like a fish in a lake," as something natural, which arose by itself, far from mechanical life. It all ends very sadly, because this communism is dying, Platonov is burying it. The combination of tenderness and cruelty, love and despair creates a striking effect of the book, which penetrates deeply into the essence of what is happening in Russian history.

Platonov continued to look closely at Russian life. Following "Chevengur" comes a very important phase in its fate, associated with the changes that took place in Soviet society. This is 1929 - the year of a great turning point, collectivization. Platonov devotes 2 very important artistic things to collectivization. This is a chronicle " For the future"and the story" Pit". "For the future"- these are essays that, to one degree or another, expressed the author's support for collectivization. There is a lot of grotesque, irony, satire in them. But satire was directed against the costs of collectivization. The idea itself was not questioned.

ABOUT " Pit"I. Brodsky said very well. He noted that this is a very gloomy work, that we close the book in a depressed state. I would like to cancel the order that exists in reality and declare a new time. pure truth, but the truth that did not correspond to Platonov's intentions. Even in The Foundation Pit, he did not question the general idea of \u200b\u200bthe correctness of what is being done in the country. But he could not overcome the metaphysical horror that he experienced when he saw real collectivization, the way it happens. He traveled a lot in Soviet Russia. He saw the cost of change. And emotionally, intuitively, unconsciously, he said no to what was happening. And on the level of reason, he said yes, this is necessary, because if there are no collective farms, the kulaks will strangle everything.

In the story "The Foundation Pit" attention is drawn to the contradiction between what the author wanted to say and what he said. Moreover, Platonov himself felt it well. It is no coincidence that the story was accompanied by an afterword, a postscript. Plot in this story there is a girl who dies. For the heroes, her death is the collapse of all hopes. The heroes themselves are ready to die. They are people of the old world and old times. But the girl must live, because for her sake everything that happens in the country is happening. A huge house is being built, a foundation pit is being pulled out, collectivization is taking place. All this cruelty, all this blood for this girl. And suddenly she dies. A kind of end of the world is coming for the heroes. They do not believe in anything, they have lost faith. The author ends with an afterword about whether the USSR will die, like this girl, or grow up. Platonov was driven by incredible anxiety. He understood that the country was going somewhere wrong, something was wrong. It was this anxiety that dictated the best pages of his prose.

The story "The Foundation Pit" was not published during the writer's lifetime. Indeed, it is difficult to imagine a more anti-Soviet work precisely for the reason that the author did not set any anti-Soviet goals. He just wanted the best, but it turned out what happened.

Another very important feature of this story is its striking language. Probably everyone who started reading this work stumbled over his language. He touches, it may be the main thing in his work. Platonov's phrase is arranged in a special way. He has many words taken from posters, Soviet radio broadcasts. For example, the story "The Foundation Pit" begins with the phrase: "On the day of the 30th anniversary of his personal life, Voshchev was informed that ..." And at the other end of this phrase there is usually a philosophical concept.

The chronicle "For the future" was published. She caused wild anger. Moreover, it is not the first time that Platonov has fallen under the hot hand of the Kremlin. The first time this happened was in 1929, when he wrote a story " Doubtful Makar". A story in which there was no crime. It just talked about the bureaucratization of Soviet life, inattention to a specific person, the triumph of dry theory over the green tree of life. This story was nothing more terrible than, for example," City of Gradov. "But if the latter quietly passed, then for "Doubting Makar" Platonov received a sharp kick from the authorities. For the chronicle "For Future" he was hit even harder. For Platonov this criticism was all the more terrible because he wanted to help the country, the party.

But his hands did not give up, he continued to write. The play was created " Barrel organ"is an extremely interesting work, the action of which takes place in the USSR, but one of the heroes of this play is a Danish capitalist who came to buy the Soviet soul. The work is an attempt at dialogue between The Soviet Union and Western Europe. But Platonov was actually expelled from Soviet literature after the "Future Proce" chronicle, but this excommunication was not absolute. They left him a small loophole.

In 1934, Platonov was included in a team of writers that was sent to Turkmenistan in order to write a collective book about what was happening in this republic. And Platonov brought from there (he was twice in Turkmenistan - in 1934 and 1935) 2 works. One is the story " Takir"and the other is a story" Jan". The works are very gentle, lyrical, deep in meaning, having nothing to do with the primitive social order that was widespread in soviet literature in the 20-30s.

Platonov wanted to write about the best people in Turkmenistan, about socialist construction, etc. As a result, "Takir" is a history of the feminine gender in Turkmenistan, a book about the status of women in this Central Asian republic. main character story - a prisoner, a Persian woman who was taken away from her homeland, captured. She lives in Turkmenistan, she is a slave, a slave. It is clear that her situation is dire. Platonov describes her feelings. She imagined that somewhere a tree was growing, on a branch of which a bird was sitting and humming its song. Camel caravans pass by her, horsemen gallop, the train hums. However, the bird sings intelligently and quietly, practically to itself. It is not known whether the power of whom will prevail - birds or humming trains and caravans.

When it was published, Platonov was kicked at the very top. But for him it was a symbol of faith. He really believed in the weak voice of man, in creativity, in tenderness, in human feelings. And this humanistic pathos was especially manifested in Platonov's prose in the second half of the 30s, when he no longer wrote large novels and stories, but wrote short stories.

One of the best is the story " Fro", in which there is quite a bit of politics and a lot of love." Fro "is the story of a young woman whose husband left for the Far East to engage in some important Soviet socialist affairs. But she does not understand these matters and just feels very longing like a woman, cannot live without him. It is very complex story, it has a complex psychological pattern and author's position... On the one hand, Platonov deeply sympathizes with the heroine, who deeply yearns for her husband and is waiting for him. On the other hand, Platonov was still convinced of the need for socialist transformations. Human suffering on earth hurt so much in him that he believed that one should get rid of this suffering, get rid of it. Therefore, it is impossible to isolate oneself in the world of love, human feelings.

For Platonov, the main thing is the theme of the people. What will happen to the people? And therefore, he nevertheless believed that the time in which he lives does not dispose to personal happiness, requires a struggle and effort from a person.

The atmosphere of horror, which oppressed over the 30s, the pre-storm atmosphere of war, Platonov with his incredible flair and intuition felt very acutely. When the war began, he was hardly surprised. He well understood how terrible the war would be for the Soviet people, that if there was a victory, it would be at the cost of incredible people's sacrifices.

During the war, he works as a correspondent and writer. He writes a lot of stories. And after the war Platonov wrote a story " Return"about how difficult it is for people to return to a peaceful life after the war. Its protagonist, Captain Ivanov, returning home from the front, stays with his military girlfriend for some time. And when he returns to his home, he learns that his wife, the mother of three children was not faithful to him. Offended Ivanov decides to leave his family, return to his girlfriend. But he could not do it when he saw his children running after the train through the window of the departing train. Before he felt life through the barrier of pride, now he touched War will write off everything - this false idea, according to Platonov, has broken more than one fate, destroyed more than one family. those in inhuman conditions forged victory in the rear.

In 1951, Andrei Platonovich died. His death then did not make a big impression, and only in the 60s and 70s Platonov's legacy began to return to our consciousness.
Lecture by Alexey Varlamov

The biographical outline of the "pre-writing" life of Andrei Platonovich Platonov (real name - Klimentov) is in many ways reminiscent of the summary of the fate of M. Gorky: gloomy childhood, early, at 13 years old, going out "into the people", a string of working professions, "universities" writing poetry. The son of a locksmith in railway workshops, Platonov entered literature as one of the “proletarian” writers and enthusiastically accepted the revolution, seeing in it the triumph of reason over the inert elements of nature. It was the pathos of overcoming the element of life not enlightened by reason that determined the semantic direction of his debut works - the publicistic book "Electrification" (1921) and the collection of poems "Blue Depth" (1922). Like other debutant writers from the working environment, Platonov believed at this time in the bright prospects of artisanal work to “repair the earth,” and he thinks of literature itself - in this he is close to V. Mayakovsky - in a number of working professions: this is business, technology, production.

However, already at an early stage of writing, Platonov's position was significantly different from that of his generation brothers. Platonov was focused not on crushing the old order, but on finding ways to create, and therefore stayed away from the "proletarian" creative workshop, and from other literary associations of the 1920s. Immersed in the study of the philosophical works of N. Fedorov, P. Florensky, N. Berdyaev, he comes to an understanding of the world, close to Fedorov's "Philosophy of the common cause." This is what Platonov wrote in an article with the characteristic title “Christ and we”: “People saw God in Christ, we know him as our friend ... He is long dead, but we are doing his work - and he is alive in us”. The moral ideal for Platonov, in fact, becomes the Christian ideal of the brotherhood of all people, and this brotherhood, according to the writer, should be strengthened not by the desire for universal material prosperity, but by the imperative of indiscriminate love, which allows everyone to overcome the feeling of orphanhood in this “beautiful and furious world ”.

That is why in the works of the writer, who at first piously believed in the ideals of the revolution, there is a desire to check and double-check the accuracy of the route given by the “locomotive of history”. The search for an answer to this question is conducted by Platonov in three directions: in works on historical themes, in science fiction prose, and in stories and stories about modernity. The common plot "formula" of these works, different in material, is an attempt to implement a daring project - research, production-technological or social. In accordance with this formula, the key figures in Plato's plots are scientists-inventors, builders or revolutionaries-transformers.

This is how this plot-compositional scheme was realized in the story “Epifan Locks” (1926), the first of Platonov's mature works (this story gave the title to the writer's collection of prose, published in 1927). The plot of the work is based on real historical facts: we are talking about an unsuccessful attempt to connect the Volga and Don basins with a canal at the beginning of the 17th century. Petrovskaya Russia is seen in the story through the eyes of an Englishman - the work manager of engineer Bertrand Perry. The engineer comes to Russia at the invitation of the tsar; he hopes to earn money to make it possible to marry his beloved Mary. At first he likes the Russian tsar, he likes the discreet Russian nature, he likes the Russian people. Not sparing himself, the engineer plunges headlong into work. But Perry's hopes for success are dashed when faced with reality: the bride in a letter notifies him of the wedding with another, work on the construction of locks is going too slowly, the water level in them is insufficient, the serfs are fleeing the construction site.

An attempt to carry out the "project" ends with the execution of Perry in the Kremlin Torture Tower. Bertrand Perry in Platonov's story looks like an executioner and a victim at the same time. An expert in his field, he serves the tsar and does not spare anyone in the service - he punishes negligent workers, orders the execution of fugitives. Being not evil by nature, he brings torment to the unfortunate people; being a smart specialist, against his will, he bears evil for the “uneducated”. So, construction, which is carried out according to the laws of "progress", according to a "piece of paper" and contrary to common sense and heartfelt feelings possessed by the people - such construction will not only not add happiness to its participants, but will only increase the string of deaths.

The death of the main characters or their tragic disbelief in the possibility of realizing the dream ends and most of Platonov's other works of that time - the science fiction story "Etheric Path" (1927), the story "Doubted Makar" (1929), the novel "Chevengur" (1929). In the latter, the plot is based on an attempt by a group of Bolsheviks to build communism in a small town. In the first part of the novel, his characters go in search of happiness, wandering around Russia, engulfed in the Civil War. In the second part, they come to the peculiar city of the Sun - Chevengur, where communism has already been realized. At the same time, the space of the city, in which the communist utopia has been realized, seems to be withdrawn from the space of the earth and the flow of history, any movement in it stops. The condition for a future happy life is the preliminary extermination of all those who are not worthy of communism — almost the entire population of the city. The ending of the novel is gloomy: there is a fight between the Chevengur "apostles" and a regular military unit sent by the state to search for the city that disappeared from the state power. The road along which the seekers of communism went ends in death. In the novel, this death bears the form of a kind of collective suicide: the Chevengurians die in battle with a feeling of joyful relief, liberation from the boredom of the built “earthly paradise”.

The writer will return to the problems posed in the novel until the end of his career. Gradually, the range of these problems will narrow, because they will be discussed in any form in the situation of the 30s and 40s. will get harder and harder. The uncompromising "revision" of communist ideas from the standpoint of "abstract humanism" (this is one of the softest accusations against the writer from contemporary criticism) did not please the authorities. Since the mid-30s. Platonov is published less and less. The publication in 1937 of the book of stories “The Potudan River” caused a new wave of “elaborate” criticism against the writer, which practically blocked his access to the reader. During the writer's lifetime, the stories “The Pit” and “The Juvenile Sea”, the unfinished novel “Happy Moscow”, were not published, and the set of the book “Reader's Reflections” was destroyed.

Only his work as a war correspondent for Krasnaya Zvezda allowed Platonov to return to the literary process of his day: during the war and immediately after it, his books of stories “Spiritual People” (1942), “Tales of the Motherland” (1943), “Bronya” ( 1943), “Towards the Sunset” (1945). In the same period were written such Platonic masterpieces as the stories "Aphrodite" and "Ivanov's Family" (later this story was called "Return"). However, the last of them again caused sharp critical attacks, accusations of "slander" against the Soviet family, so that in the last five years of Platonov's life, only a few of his books of children's fairy tales were published.

Finding himself at the end of his life in complete creative isolation, Platonov - with the “foolish language” and “religious mentality” inherent in his heroes - was in demand as one of the most modern and deepest writers-thinkers during perestroika, when it became clear that his legacy was one of the brightest pages of the Russian literary classics of the XX century.

1899 - 1951

Platonov Andrey Platonovich (real name Klimentov), \u200b\u200b(16 (28) .08.1899-5.01.1951), prose writer, poet, playwright, publicist.
Andrey Platonovich was born in one of the suburbs of Voronezh - Yamskaya Sloboda. For a long time, the date of his birth was considered August 20, 1899 according to the old style. However, Voronezh scientist and literary critic O. G. Lasunsky, who worked on the eve of the 100th anniversary of the writer's birth with archival documents, managed to establish that the real date of birth of the writer was August 16 (28).

His father, Platon Firsovich Klimentov (1870-1952), came from the bourgeoisie of the city of Zadonsk, participated in the revolutionary movement and the civil war, worked as a mechanic in the Voronezh railway workshops. Mother, Maria Vasilievna, nee Lobachikhina (1875-1929) was also born in Zadonsk, in the family of a watchmaker. She was a deeply religious, kind woman, was engaged in housekeeping, brought up children, of whom there were ten people in the family. Platonov embodied the features of parents with varying degrees of recognition in the heroes of his works, forever perpetuating the memory of those closest to him.
In 1906, the parents sent their first-born Andrei to a parish school. After finishing it, Andrei entered the four-year men's city school. The school provided complete primary education and practical skills in handicraft, industrial and office business, as well as gardening, horticulture and floriculture. Andrei Klimentov early became addicted to reading and at the school acquired a solid baggage of historical and literary knowledge, which subsequently influenced his worldview and life priorities. In June 1914, the school was completed, and fifteen-year-old Andrei, together with his father, went to the Bek-Marmarchevs estate (the village of Ustye Devitskaya volost of the Voronezh district - now it is the Khokholsky district) to repair a broken steam locomotive. Having repaired the car, Andrei remained with her as an assistant driver. There he first encountered a real mechanism - a steam power plant that created kinetic energy, which he studied in physics lessons at the school. The working unit made an indelible impression on the teenager and aroused a lifelong interest in technology and the desire to improve it. In the autumn of the same year, A. Klimentov got a job as an office worker in the provincial branch of the capital society "Russia", which was engaged in insurance of life, capital and income of enterprises and individuals. The clerk's duties included visiting clients, preparing and rewriting papers. From January 1915 to July 1916, he worked as a clerk for the Southeast Railways Society. By the end of the summer of 1916 A. Klimentov entered the workshop of the pipe plant, a subsidiary of the mechanical plant "Stoll and K0". After working there for a year as a foundry worker, he returned to the Southeast Railways Society, where he worked in railway workshops.
A. Platonov accepted the revolution and social changes in life in 1917 with enthusiasm, sincerely believing in her ideals.
Along with the interest in technology, in the soul of Andrei Klimentov, there was a craving for literature and history. In 1918 he entered the Faculty of History and Philology of Voronezh University. A. Klimentov studied there for only one course and on May 31, 1919, he took the documents from the university chancellery in order to submit them to the electrotechnical department of the railway polytechnic school that opened in Voronezh. In the summer of 1920, cadet-electrician A.P. Klimentov trained at the power plant in the workshops of the South-Eastern Soviet Railways.
Studying at the Polytechnic coincided with the period of the Civil War and economic devastation in the country. The cadets accompanied the military trains, helped in laying a narrow-gauge railway for the supply of firewood, and even defended the approaches to Voronezh from the White Cossacks. Under the Political Department of the South-Eastern Railway, the first working Communist regiment of the Southern Front's railway defense was formed from volunteers - workers and employees of the Voronezh railway junction. At his own request, cadet Klimentov entered this special railway detachment as an ordinary rifleman. This difficult period of his life had a great influence on the future writer. Impressions associated with the Civil War, working on a steam locomotive, as well as the stories of his father, who, on a snowplow, punched a steel track covered with snowdrifts from Voronezh to Liski, were directly reflected in the story "The Secret Man".
Having chosen a technical profession for himself, Andrei Klimentov did not forget about literature. He was always attracted by poetry. The first publications of Platonov's poems were published in railway periodicals under the pseudonym Platonov. As a student of the Faculty of History and Philology of the Voronezh State University, Platonov served as an assistant secretary in the editorial office of the Iron Way magazine. Then he prepared letters from readers for publication in the newspaper "Voronezhskaya Poorota", headed the literary department in the newspaper "Krasnaya Derevnya", published in the monthly "Path of Communism". And with the beginning of the foundation in Voronezh of the newspaper "Voronezh Commune" A. Platonov began to cooperate in it, publishing polemical and critical articles, essays, stories and, of course, his own poems. As an employee of the newspaper, he often attended performances at the Bolshoi Soviet Theater (now the Voronezh State Academic Drama Theater named after A. V. Koltsov), where a box was reserved for the "communists". After the performances, disputes and discussions of productions often arose. It should be noted that both actors and directors valued Platonov's opinion and often used his advice.
Newspaper publications made Platonov famous, he met people close to him in interests and views, who largely determined his future creative destiny... Among them are G. Malyuchenko, V. Keller, M. Bakhmetyev, G. Pletnev, A. Yavich, N. Stalsky, N. Zadonsky, B. Derptsky and, of course, G. Litvin-Molotov, who initiated the publication of the only author of the collection of poetry "Blue Depth" (Krasnodar, 1922). N. A. Zadonsky wrote about this period in the life of the writer in an essay.
In 1919 A. Platonov joined the Voronezh Communist Union of Journalists - Komsozhur. And in 1920 he was elected a deputy to the All-Russian Writers' Congress in Moscow. During these years, he almost never missed meetings in the club-cafe "Iron Pen", where writers, journalists, musicians from Voronezh arranged discussions on various topical topics. Platonov made many reports there, which were very successful. He raised acute and rather controversial issues, such as the fate of women under communism; the contradiction between the rational and the emotional in human nature and the world raging around. Settled in the "Iron Pen" and discussions on publications in urban periodicals.
Ideal social origin, deep conviction and civic consciousness, the desire to feel like a part of a close-knit party comradeship led A. Platonov to the decision to join the ranks of the RCP (b). In 1921 he was admitted to the provincial party school. Classes at school took the whole day, a lot of study time was devoted to rather boring political education cycles. Over time, such training disappointed the candidate for membership in the RCP (b). He was expelled from school, from the candidates for the RCP (b) too.
The famine of 1921, caused by a severe drought, made a change in Platonov's worldview. Impressions from the events of that hot summer after a while will be reflected in his works. In the meantime, Platonov decided to leave for a while "contemplative business" - literature and in practice to deal with "overcoming the sultry elements." Platonov took an active part in the work of the Provincial Commission for Aid to Famine - Gubkompomgol. From October 1921, Platonov became the head of the department "Our Land" in the daily "Nasha Gazeta" and kept a permanent column "To fight the drought", where he reviewed the letters that came from the districts of the Voronezh province. In his journalism of that period, the key words were "hydrofication" and "hydropower projects". At this time, his journalistic brochure "Electrification" was published (Voronezh, 1921).
Activity in the fight against drought led Platonov on February 5, 1922 to the post of chairman of the Gubkomgidro, which was later renamed the department of hydrofication of the provincial land administration (Gubza). A lot of materials have been preserved about its hydroelectric and reclamation projects. Along with hydrology and land reclamation, Platonov attached great importance to the electrification of agriculture. From September 1923 to May 1925 he was in charge of work on the electrification of agriculture in the Provincial Land Administration.
In 1922 Andrei married Maria Kashintseva, who came to Voronezh with her parents from Petrograd. On September 25 of the same year, their son Plato was born.
On February 22, 1924, A. Platonov was again accepted as a candidate of the RCP (b), but again they were in no hurry to be admitted to the party.
In August 1924, a campaign of large-scale measures to combat drought was launched in the Voronezh province. A. Platonov became a provincial land reclamation, organizer and leader of public land reclamation works. Both he himself and his assistants-hydraulic engineers with great enthusiasm took up a new and interesting business. The construction of wells and ponds began, drainage of swamps, irrigation of waterless areas. The work was carried out in the Bogucharsky, Rossoshsky, Ostrogozhsky, Valuisky districts of the Voronezh province. Thanks to his initiative and efficiency, the provincial meliorator A. Platonov gained great prestige from the People's Commissariat of Agriculture, which controls the course of social and reclamation work in the province. The period from late 1924 to early 1925 was the peak in Platonov's career as an engineer and manager. His journalism of that time was devoted only to the fight against drought: "Land reclamation war against drought" (February 1925), "How the only thing you can eliminate drought" (March 1925). But by the end of the spring of 1925, state funding for public reclamation work had fallen sharply, and with it hopes for the implementation of ambitious projects for hydrofication and land management collapsed. Platonov was very upset about the collapse of his plans, because he felt responsible for the future life of the peasants. He gave an honest assessment of this tragic result of reclamation work in his 1926 article "Will we defeat the drought?" The author saw the main obstacle to the implementation of the plan in the ill-conceived policy of the state on the peasant issue. This article has not been completed and published.
In February 1926, at the First All-Russian Melioration Conference in Moscow, Platonov made a report on the state of affairs in the Central Black Earth zone of the country. The participants in the meeting highly appreciated him as a specialist and elected him to the Central Committee of the Vserabotzemles trade union, where he took the position of deputy executive secretary of the Central Bureau of Land Surveyors.
In June 1926, A. Platonov, together with his wife and three-year-old son, moved to Moscow and settled in the Central House of Specialists in Bolshoy Zlatoustinsky Lane. In the new place, Platonov was going to carry out his plans for land reclamation, he also had literary ideas. But he served there for exactly four weeks. The trade union bureaucrats did not accept the provincial production worker. At the end of 1926, Platonov left for Tambov to head the melioration department of the Tambov Gubza. But even there the work did not work out. Local officials did not like the innovation and energy of the new head, his desire to act, to apply in practice the experience accumulated in the Voronezh province, to implement their hydropower and reclamation projects. Platonov left Tambov and always remembered him with bitterness and irritation. Later he reflected the experience of communication with the Tambov bureaucrats in his brilliant "City of Gradov". The family at this time remained in Moscow, and he returned to the capital.
Having left Tambov, A. Platonov was left without work, lost the opportunity to realize himself as an innovative engineer. But a great life experience, a deep understanding of the life of the people required activity. And since 1927, literature has become his main profession. He persistently began to look for his place in it, trying himself in different genres and themes. The found form and style brought success and critical acclaim. The reviewers noted the peculiar language of Platonov and the depth of his works - "Epiphanes Gateways" (1927), "The Secret Man" (1928), "The Origin of the Master" (1929) and others.
But in 1929, political changes in the country led to tight cultural controls. Harassment and arrests of writers began. The social situation was aggravated by famine in Ukraine and forced collectivization. Gradually, Platonov's attitude to revolutionary transformations changed until they were not accepted.
At the end of 1929, criticism reached Platonov, whose works were sharp, raised ideological topics, went against the party's policy, boldly criticizing its actions and pointing out mistakes. Platonov's views were based on a certain ideal - communism. The communist society should have been based, according to the writer, on the commonwealth of people. And Soviet society at the end of the 1920s did not correspond to this ideal. He saw the main enemy of this in bureaucracy, which divided people. And the most dangerous was Platonov's conviction of the invincibility of bureaucracy, of the hopelessness of the country's future. After the publication of the essay "Che-Che-O", the stories "Doubted Makar" and "For the future", sharp criticism followed, Platonov was accused of anarcho-individualism. Publishing houses for ideological reasons stopped printing his works.
At this time A. Platonov finished work on the novel "Chevengur" (1929), originally called "Builders of Spring". This is a socio-philosophical drama, which reflected the writer's youthful hopes for revolution, illusions and fantasies associated with the construction of a new life. The main theme of the novel is disappointment over the collapse of the NEP, the decline of democracy, the triumph of the command-bureaucratic system. The novel "Chevengur" was released only in 1972 in Paris. In Russian, it appeared in print only in 1989.
In 1930, another major work of Platonov was created - the dystopian story "The Foundation Pit". In search of truth, her hero finds himself on a symbolic construction site, where a building for a bright future is being erected. However, the foundation pit for the house eventually turns into the grave of the future. This story also saw the light of day many years after the death of the writer.
Mid 1930s was filled with hard work, the ideas overwhelmed the writer, he wrote the novel "Happy Moscow", the plays "Father's Voice", "Sharmanka", articles about Pushkin, Akhmatova, Hemingway, Chapek, Green, Paustovsky, the story "Juvenile Sea", stories " Potudan River "," Fro "," Aphrodite "," Clay House in the District Garden ".
At the end of March 1934, the writer, together with a group of colleagues, visited Turkmenistan. The purpose of this trip was to write a collective collection dedicated to the 10th anniversary of the formation of Soviet Turkmenistan. Turkmenistan amazed and inspired Platonov, after this trip there were many interesting works, including the story "Jan" and the story "Takir". After returning from Turkmenistan, on May 21, 1934, Platonov was admitted to the Union of Soviet Writers. But criticism and rejection of his works continued. And the arrest of his fifteen-year-old son in 1938 further burdened the position of the writer.
With the beginning of the Great Patriotic War, A. Platonov and his family were evacuated to Ufa. In July 1942 he went to the front as a war correspondent for the Krasnaya Zvezda newspaper. During the war, his story "Spiritual People" was published in a separate edition three times, three collections of prose were published: "Tales of the Motherland", "Armor" (1943), "Towards the Sunset" (1945). After the liberation of his native Voronezh, A. Platonov visited the city, the impressions of what he saw he embodied in the story-essay “Resident hometown».
At the end of 1946, one of the best stories A. Platonov - "Return", in which the author psychologically accurately described the changes that happened to people during the war. But critics called the story defamatory and thus practically put an end to the writer's publications during his lifetime.
In the late 1940s, deprived of the opportunity to earn a living by literary work, the writer began to process Russian and Bashkir fairy tales.
In the last years of his life, despite tuberculosis, Platonov worked a lot. The last piece was the play "Noah's Ark". The desperate writer, enduring years of ban on the publication of his works, tried in vain to make the play fit for print. Death prevented the completion of the work. This Platonic text, which remained unknown for many years, was published in Novy Mir in 1993.
A.P. Platonov died on January 5, 1951 in Moscow, was buried at the Armenian cemetery next to his son (01/04/1943)
In 1954, his book The Magic Ring and Other Tales was published. With the Khrushchev "thaw", his other books began to be published, although the main works of A. Platonov, with significant censorship restrictions, became known to the general reader only in the 1980s. And some of the works of Andrei Platonov were discovered only in the 1990s. (for example, the novel Happy Moscow, written in the 30s).
O. Yu. Aleinikov, L. A. Ivanova, E. G. Mushchenko, V. A. Svitelsky, V. P. Skobelev, T. A. Nikonova, and others made a significant contribution to Platonic studies.
Since 1989 they have been held at VSU, since 2000 the information and reference bulletin "Platonovsky Bulletin" has been published in Voronezh. In 2009, the book "Tales and Stories by Andrey Platonov" was published at the Center for Spiritual Revival of the Chernozem Region. Based on the stories of Andrei Platonov, the play "How Far It Is - Love, Spring and Youth ..." was staged (directed by People's Artist of Russia A. Ivanov). In the Voronezh Puppet Theater "Jester" based on the tale of A. Platonov, the play "The Magic Ring" is successfully staged. The Voronezh composer dedicated several chamber works to Platonov. The illustrations for the works of A.P. Platonov were created by the artist N. Konshina.
Since 1999 the exposition "Andrey Platonov" has been operating. In Voronezh, the name of Andrei Platonov is the Central City Library, one of the streets of Voronezh. An electric train that runs on local lines is named after Platonov. In 1999, it was opened, several memorial plaques were installed. In 2009, the editorial office of the Voronezh newspaper Kommuna, together with the Writers' Union of Russia and its Voronezh branch, established an annual.
In November 2010, the Voronezh Region was established by a government decree (No. 1016).
June 4-17, 2011 in Voronezh took place, which became a bright event in the cultural life of the Voronezh region. The festival started in the year of the 425th anniversary of Voronezh and should become an annual event.

... Platonov A. P. Selected works: in 2 volumes / A. P. Platonov; entry Art. E. Krasnoshchekova. - M.: Artist. lit., 1978.
... Platonov A.P. Collected works: in 3 volumes / A.P. P. Platonov; note. V.A. Chalmaeva. - M .: Sov. Russia, .

***
... In a beautiful and furious world: The railway in the life and work of A. P. Platonov [booklet / comp. O. G. Lasunsky; ed .: EG Novichikhin, VN Ryzhkov]. - Voronezh: IPF "Voronezh",. - 20 p.
... Lasunsky O. G. Literary walk around Voronezh / O. G. Lasunsky. - Ed. 3rd, rev. and add. - Voronezh: Center of spirits. revival of Chernozem. Territory, 2006 .-- 360 p.
... Lasunsky O. G. A resident of his native city: the Voronezh years of Andrei Platonov. 1899-1926 / O. G. Lasunsky. - Ed. 2nd. - Voronezh: Center of spirits. revival of Chernozem. edge, 2007 .-- 280 p.
... Voronezh Historical and Cultural Encyclopedia: Personalities / Ch. ed. O. G. Lasunsky. - 2nd ed., Add. and rev. - Voronezh: Center of spirits. revival of Chernozem. edge, 2009 .-- S. 412.
... Archive of A.P. Platonov. Book. 1. Sci. ed. / resp. ed. N.V. Kornienko. - M.: IMLI RAN, 2009 .-- 696 p.
... Varlamov A. N. Andrey Platonov / A. N. Varlamov. - Moscow: Young Guard, 2011 .-- 544, p., Fol. silt : ill., photo. - (A life wonderful people: ЖЗЛ: ser. biogr. ; no. 1494 (1294)). - Bibliography: p. 543-545.
Reviewer: A. Grishin. The Seven Seal Mystery // Neva. - 2011. - No. 8. - S. 194-198.
... Aleinikov O. Yu. Andrey Platonov and his novel "Chevengur": [monograph] / O. Yu. Aleinikov. - Voronezh: Nauka-Unipress, 2013 .-- 222 p., Fol. silt : ill.

***
... The life and work of A.P. Platonov in the works of Voronezh residents (1963-1999): bibliogr. decree. / VOUNB them. I. S. Nikitin. - Voronezh, 1999 .-- 39 p.
... Andrey Platonovich Platonov. Life and work: biobibliogr. decree. manuf. writer in rus. lang., publ. in 1918 - Jan. 2000 Lit. about life and work / RSL; comp.-ed. V.P. Zaraisky. - M.: "Pashkov House", 2001. - 340 p.
... A.P. Platonov in press (1922-2009): from the collections of O. G. Lasunsky and A. Ya. Prikhodko in the funds of the Voronezh Regional Universal scientific library them. I.S. Nikitina / comp. O.B. Kalinina; [ed. L. V. Symbolokova; entry Art. O. G. Lasunsky]. - Voronezh: VUNB them. I.S. Nikitina, 2011 .-- 144 p. : col. silt