Publishing house Elena Shubina and Ast are connected. Press portraits of lecturers. How to tell if a book is good

07.01.2020

Elena Shubina - about the results of the literary year, popular novels and the dreams of a publisher

Text: Anastasia Skorondaeva/RG
Photo: Vladimir Borzilov/RG

The editor and publisher Elena Shubina is known not only by the authors with whom she works and critics, but also by readers. Her name is a brand for those who understand literature. There are few writers who do not dream of being among her wards. But not everyone is lucky. She discovered new names at the famous Vagrius publishing house, and now continues to do so at AST. About the results of the award " Big Book", the difficulties of editing, the dreams of a publisher, a small upcoming anniversary and the fact that we still cannot forgive her, we talked with Elena Shubina.

About the actual. What do you think about the results? Big book"-2017? It is a rare case when among the laureates there are no authors of “Edited by Elena Shubina”...

Elena Shubina: Well, actually it happened differently. I sincerely congratulate the winners of 2017, but I feel bad for the prose writers. This choice even revealed some kind of demonstration, an alarmist view of modern Russian prose. And this is in the year when he appeared new novel- for me this is a long-awaited text, in which the reflection of our contemporary is presented with Trifonov’s strength, an amazing “and . Well, this author came to us like a hedgehog out of the fog! Thanks to the expert council of the “Big Book” for looking at it and for us reading it...

"Elena Shubina's editorial office" is a publishing house within a publishing house. How comfortable is it to not be aimed at the mass consumer while being in a commercial structure?

Elena Shubina: A large publishing holding is, in any case, a commercial structure if we understand it as a business. I came to AST with my projects, my authors, gradually expanding this “clearing”. Of course, relations with the holding’s managers have their own little trickles, a lot of disputes - this mainly concerns the determination of circulation - there are conflicts and even battles of local importance, but for me the most important thing is that there is no pressure in the choice of authors and texts. As for the mass consumer, the boundary between fiction (although today this word has a negative connotation, in fact it denotes literature that appeals to many) and high prose is not so clear. A reader of mass culture may well look into the clearing of high prose and... stay there (especially if there is fashion). Moreover, the “family novel,” which is now in great demand, is precisely balancing on this brink.

Speaking of “high prose”, one cannot help but recall that in 2008 you left the now legendary “VAGRIUS” for AST. Was it hard to leave?

Elena Shubina: Yeees. Now I can already say that it was stressful. The AST leadership tried to persuade me for a long time; they wanted their own circle of authors of “high literature” - that’s why they called me. I held out for a long time, but when, against the backdrop of a very difficult economic situation at Vagrius, my authors and Lyudmila Ulitskaya, I realized that I could lose the team that was left with me (for now!). On December 28, 2007, I called Yuri Deikalo, the then director of AST, and said - I made up my mind, I’m leaving in March. Zakhar Prilepin, Alexander Kabakov, Mikhail Shishkin, Vladimir Sharov, Olga Slavnikova, Pavel Basinsky, Igor Sakhnovsky, Alexander Genis, Leonid Yuzefovich, who was starting then, came with me Sergey Shargunov…

...and in 2018 you have been in AST for 10 years. In fact, this is the anniversary of the “Elena Shubina Editorial Office,” despite the fact that the name appeared later. What is your dream as a publisher and editor? Any potential new author you would like to find?

Elena Shubina: Here I would place emphasis on the word “new” in general.

By the way, it’s good luck to send a new novel to the publisher on December 31st. “Laurel” by Evgeny Vodolazkin and “The Secret Year” by Mikhail Gigolashvili I received on December 31st.

For many, an editor is a person who sits and tinkers with other people’s letters. Often, few people know his name, except perhaps the author. You have become not just an editor, publisher, but a public person. Are you comfortable in this role?

Elena Shubina: In fact, I don’t feel like a public person and I’m very surprised when people suddenly recognize me. It's nice when readers come up and say: “Is that you? We love your books so much...” Another thing is that the profession of a publisher and editor now is not just “letters” - we must tirelessly draw attention to published books, communicate with bookstore directors, librarians, and the media. It's quite difficult to stay completely in the shade here. Moreover, Tatiana Stoyanova, brand manager of RESH, she simply won’t allow me to do this - I try not to miss all the events she starts - “Page 17”, “Stories about me”, “Book talk”, “Novel of a Generation” and all the rest. Have you noticed that in general a lot of people go to “literary meetings” now... The series of lectures “Direct Speech” gathers halls at different venues, and this is not the only popular project.

Once upon a time, the profession of editor was revered and respected. What about now? Today thanks special services Anyone can publish their own book.

Elena Shubina: Nowadays there really are many opportunities to present your text to people. But, to be honest, I don’t yet know of cases where a “person from Facebook” or from any service did not dream of publishing a printed book. As a rule, writing ambitions are still connected with this.

Speaking of the anniversary of Elena Shubina’s Editorial Office. 18th of Febuary In 2018, the editors are planning to organize a big literary festival for their authors, readers and friends in honor of this event at the Stanislavsky Electrotheater. There will be a book sale with gifts, a marathon of meetings with authors in unusual formats, and informal communication.

And along with her there are 11 more people, without whom we could not imagine the “Year of Literature” and the entire literary year 2017:

Elena Danilovna Shubina shared with GOST her love for work, the secrets of her editorial team, and told why the cover of a book is as important as the content.

It is always interesting to talk with a person who knows his business and lives it. And if this is a person with the mysterious profession of a book publisher, the conversation becomes doubly interesting.

You said that you make a decision about publishing a book based on whether you would like to have this book in your library or not

In a sense, yes. If this concerns reprints, for example, then I use this very often, because in addition to the fact that we release new books, we also release the so-called “forgotten” classics of the 70s, which are simply not republished now. We have a series of “Cult Objects” - reissues of Okudzhava, Sinyavsky and so on. But, despite the presence of a personal element in choosing a book, there are many other important factors. For example, I understand that this book is not entirely mine, but I see that this is some new, fresh voice. Or let’s say it’s not my genre, but it’s written in an interesting way. I'm not sure that it will be in my home, but reader demand must also be taken into account. As a result, some of the books are stored in the office where I work, but most of them are still in my home library.

Elena Shubina · Photo: Harvard Business Review Russia

How do you know if a book is good?

I saw the time when they brought manuscripts typed on a typewriter - and this is at best, usually it was all written by hand. Now, as a rule, they are simply sent by mail, and we print or read from the screen - it all depends on the purpose. Just to get acquainted and understand whether I will publish it, I read it in a book reader. But this does not change the essence: no matter what form the manuscript is in, there is always a text in front of you, and you must understand whether you accept it.
Still, every profession has its secrets, let’s put it this way.

50 pages of the manuscript are enough to read to understand whether this book is worth publishing or not

For example, a diagnostician has, in addition to some general knowledge, professional instinct, just like a publisher has a sense. As a rule, it’s enough for me to read 30-50 pages to understand whether it’s worth taking or not. There is a language in which the author writes, and you see how well he speaks it; what is important is the ability to tell a story, that is, simply a plot. And if the work is written in a dull, completely inexpressive language, where the characters speak in the same hackneyed phrases with the same intonations, then this thing is already in doubt. It’s another matter when you generally like the text, but you understand that the editor needs to work with it, and this is already being done either by myself or by the editors who collaborate with me.

How much can an editor afford to interfere with a book?

At a certain stage, at the very beginning, you can give advice: either change the ending, or give more dynamics to the story, or add expressiveness to the hero’s language - the editor’s advice is very important. Another thing is that the author must trust the editor; edits must be motivated, because writers, like any creative people, are very sensitive. A certain amount of internal motivation and trust are very important. As a rule, they don’t take offense at me, because there is a law that I religiously observe: if the author categorically does not agree to make changes, then the last word is his. But this is a rare case; usually the editor’s motivation is convincing.

Works published by Elena Shubina's editorial team.

What books would you like to publish?

It seems that I have sufficiently filled in some important gap for myself. I would really like to start a good re-release of Bunin. The situation has developed that few publishing houses can find contact with legal heirs who do not live in Russia. The publication of Bunin's texts could have been more seriously commented on if it had been possible to involve an archive that is not located with us. I negotiated, went to Paris for this, but, unfortunately, common language We have not found any copyright holders. In fact, a whole circle of specialists should be involved in the reprinting, since there are plans to publish both an academic publication and a popular publication.

It happens that sometimes I see on bookstore shelves something that I would like to publish myself. Especially with modern prose - sometimes you didn’t see it, sometimes you didn’t understand it, and then the book is a success, and you regret it. Even instinct can sometimes deceive. The simplest case is with Boris Akunin, who, before achieving such wild success, at first could not find a publisher for a very long time. But in the end he found a niche that was not occupied by anyone.

You once said that a book is more than just text

A book shapes some important moments in a person’s life. A book is perhaps a more accessible form of art than, say, music. One of the greats said that people are divided into two types: those who read and did not read “The Captain’s Daughter” in childhood. But what is “ Captain's daughter"? This is a novel-apology of honor, “take care of honor from a young age.” At a certain age this beautiful text forms some moral concepts. Maybe I also meant the book as a material object. It must be well published, because a book is also a cover and layout. In Russia there was a wonderful dynasty of talented book artists, but now, alas, everything is not so good.

What role does the cover play?

Authors with whom Elena Shubina works: Zakhar Prilepin, Evgeny Vodolazkin, Lyudmila Ulitskaya, Dmitry Bykov, Leonid Yuzefovich, Igor Guberman, Alexey Ivanov, Maya Kucherskaya, Alexander Genis, Pavel Basinsky, Marina Stepnova, Roman Senchin, Sergey Nosov, Alisa Ganieva, Vsevolod Benigsen, Anna Matveeva and many others .

The cover of a book is very important, because it orients the reader towards a certain perception of the text. If a serious novel has some kind of horror on the cover, then such incorrect positioning can simply turn off the reader. I participate in choosing the cover, sign each binding, and if I don't agree with how the book is illustrated, I find a different artist or ask for a different sketch.

What books did you read as a child?

You know, I was lucky - I had a very good, so-called, " bookshelf“, so I started reading “adult” books very early. For example, I really loved Gogol’s “Evenings on a Farm near Dikanka,” and “ Dead Souls“I was simply fascinated. I loved Chekhov very much. Then wonderful books were written for juniors and seniors school age- from “The Adventures of Dunno” to the translated “Silver Skates”.

Do you have time to read outside of work?

I really like rereading Bunin, I love good detective stories, for example, Agatha Christie, but only in a good translation. Agatha Christie in a good translation is excellent English literature, and not just a detective story, but in a bad translation it is just reading matter. I’m currently re-reading “The Magic Mountain” by Thomas Mann. In general, outside of work, I have to read little. Sometimes I read on foreign languages, but to the point - for example, literary reviews.

Tell us about today's problems in publishing

The main problem is the so-called promotion of the book so that it does not remain invisible on store shelves. Therefore, we constantly have to work with stores, with distributors, and talk about these books. In general, the problems are the same all over the world: loss of interest in books, low circulation, closure of large publishing houses. But you have to fight and love what you do.

Almost all the main literary events of the year are published in one publishing house - “Elena Shubina's Editorial Office” or simply “RESH”. Person and brand Elena Shubina told us how to work with authors and which books will never be published in her imprint.

At some point, the books that are published by the editors which I lead have become associated with my name. now this official name publishing house - imprint within the AST holding. The Editorial Board of Elena Shubina publishes modern Russian prose, a series of reprints of the classics “Objects of Worship,” memoirs, biographies and essays. This is everything that I personally and my young employees like: four leading editors and a brand manager.

For me, the ideal book is a well-told story, in which the reader recognizes himself. Of course, language as the main instrument of literature and the ethical component are important in it. The criterion for a worthwhile work is if its characters or novel intrigue in one way or another comment on biblical stories, even if the author does not think about it. Literature, like any form of art, of course, has its own tasks, but still the difference between ancient tragedy and modern story is only a matter of form. It should be multi-colored, somewhat similar to a kaleidoscope - in order for the pattern to change, all the components are needed.

Being a good editor is, if not a talent, then certainly a gift. These are their own rules and techniques. You can, after studying thirty to forty pages of text, decide whether you will publish it, but what is more important is the subsequent work with the manuscript. Need to log in new world, to fall in love, to understand its laws, to feel on the same team with the author, but at the same time to be at the right distance from him. In general, this is a strong-willed profession. If you have a trusting relationship with the author, then it is easier to motivate him to change something.

I will never publish trash, vulgarity and boring pseudo-philosophical works (of which there are now a lot). Sometimes I compromise my taste, but usually this is due to the desire to give the author a chance to speak, even if I see the imperfection of the thing (especially if we're talking about about young people). I also take into account the other reader and his expectations and can easily say to myself: yes, it’s not my thing, but print the manuscript.

The people who made the strongest impression on me lately were the novels “The Secret Year” by Mikhail Gigolashvili, “Tobol” by Alexey Ivanov, the story by Friedrich Gorenstein “Street of Red Dawns” and the collection of essays by Dmitry Bykov “Alone. One Hundred Nights with the Reader."

New writers in Elena Shubina's editorial office arise on their own, like the author of the poignant “Zuleikha Opens Her Eyes” Guzel Yakhina, and thanks to long searches, collecting information and friendship with literary agents. For example, I paid attention to Evgeny Vodolazkin when his book “Soloviev and Larionov” was published in a small edition in the “New Literary Review”. Then I became his only publisher. Mikhail Shishkin published his first novel in the Znamya magazine, and I eagerly picked it up and really miss him when he doesn’t write for a long time. Sometimes “new” authors grow out of “old” ones. The magnificent Alexey Ivanov and Sergey Kuznetsov have the ability to transform and constantly break the genre.

I think that in the future, electronic and paper media will coexist. As a publisher, I can't help but accept the fact that the digital book business is a serious player in the market. As a reader, I think that the paper version contains more intrigue: the relationship with the author and the text is equal. You enter into a dialogue, mark something in the margins, inhale the smell - especially of old editions. Bykov, for example, believes that e-books more vulnerable than paper ones, since they depend on electricity “When the world ends and we go into caves, we will read there by candlelight,” and Milan Kundera, they say, deletes the rights to a digital version from the copyright agreement.

The editor and publisher Elena Shubina is known not only by the authors with whom she works and critics, but also by readers. Her name is a brand for those who understand literature. There are few writers who do not dream of being among her wards. But not everyone is lucky. She discovered new names at the famous Vagrius publishing house, and now continues to do so at AST. We talked with Elena Shubina about the results of the “Big Book” award, the difficulties of editing, the dreams of the publisher, the small upcoming anniversary and the fact that Dmitry Bykov still cannot forgive her.

Elena Shubina: It’s a good sign to send a new novel to the publisher on December 31st. Photo: "Book Industry"/Vladimir Borzilov

About the actual. What do you think about the results of the “Big Book” 2017? It is a rare case when among the laureates there are no authors of “Edited by Elena Shubina”...

Elena Shubina: Well, actually, it happened differently. I sincerely congratulate the winners of 2017, but I feel bad for the prose writers. This choice even revealed some kind of demonstration, an alarmist view of modern Russian prose. And this is in the year when Andrei Rubanov’s new novel “The Patriot” appeared - for me this is a long-awaited text in which the reflection of our contemporary is presented with Trifonov’s power, the amazing “The Secret Year” by Mikhail Gigolashvili and “The Petrovs in the Flu and Around It” by Alexei Salnikov . Well, this author came to us like a hedgehog out of the fog! Thanks to the expert council of the “Big Book” for looking at it and for us reading it...

"Elena Shubina's editorial office" is a publishing house within a publishing house. How comfortable is it to not be aimed at the mass consumer while being in a commercial structure?

Elena Shubina: A large publishing holding is, in any case, a commercial structure if we understand it as a business. I came to AST with my projects, my authors, gradually expanding this “clearing”. Of course, relations with the holding’s managers have their own little trickles, a lot of disputes - this mainly concerns the determination of circulation - there are conflicts and even battles of local significance, but for me the most important thing is that there is no pressure in the choice of authors and texts. As for the mass consumer, the boundary between fiction (although today this word has a negative connotation, in fact it denotes literature that appeals to many) and high prose is not so clear. A reader of mass culture may well look into the clearing of high prose and... stay there (especially if there is fashion). Moreover, the “family novel,” which is now in great demand, is precisely balancing on this brink.

Speaking about “high prose”, one cannot help but recall that in 2008 you left the now legendary “VAGRIUS” for “AST”. Was it hard to leave?

Elena Shubina: Yeees. Now I can already say that it was stressful. The AST leadership tried to persuade me for a long time; they wanted their own circle of authors of “high literature” - that’s why they called me. I held out for a long time, but when, against the backdrop of a very difficult economic situation at Vagrius, my authors Viktor Pelevin and Lyudmila Ulitskaya left for EXMO, I realized that I could lose the team that remained with me (for now!). On December 28, 2007, I called Yuri Deikalo, the then director of AST, and said - I made up my mind, I’m leaving in March. Zakhar Prilepin, Alexander Kabakov, Mikhail Shishkin, Vladimir Sharov, Olga Slavnikova, Pavel Basinsky, Igor Sakhnovsky, Alexander Genis, Leonid Yuzefovich, and Sergei Shargunov, who was then starting, came with me...

...and in 2018 you have been at AST for 10 years. In fact, this is the anniversary of the “Editing Office of Elena Shubina,” despite the fact that the name appeared later. What is your dream as a publisher and editor? Any potential new author you would like to find?

Elena Shubina: Here I would place emphasis on the word “new” in general.

By the way, it is a good omen to send a new novel to the publisher on December 31st. I received “Laurel” by Evgeny Vodolazkin and “The Secret Year” by Mikhail Gigolashvili on December 31st.

Elena Shubina: In fact, I don’t feel like a public person and I’m very surprised when people suddenly recognize me. It's nice when readers come up and say: "Is that you? We love your books so much...". Another thing is that the profession of a publisher and editor now is not just “letters” - we must tirelessly draw attention to published books, communicate with bookstore directors, librarians, and the media. It's quite difficult to stay completely in the shade here. Moreover, Tatyana Stoyanova, the brand manager of RESH, simply won’t allow me to do this - I try not to miss all the events she started - “Page 17”, “Stories about me”, “Book talk”, “Novel of a Generation” and everything else. Have you noticed that in general a lot of people go to “literary meetings” now... The series of lectures “Direct Speech” gathers halls at different venues, and this is not the only popular project.

Once upon a time, the profession of editor was revered and respected. What about now? Today, thanks to special services, anyone can publish their own book.

Elena Shubina: Nowadays there really are many opportunities to present your text to people. But, to be honest, I don’t yet know of cases where “a person from Facebook” or from any service did not dream of publishing a printed book. As a rule, writer’s ambitions are still connected with this.

A literary editor is a reader and adviser. This is a profession with its own secrets. A book without a good editor is immediately obvious. Even if it’s some luxurious tome with a lot of money stuffed into it.

Your team consists entirely of young people and all your students. How to raise a venerable editor from a young chick?

Elena Shubina: I really have a wonderful team of young editors. These are no longer even students, but my colleagues. Although the profession of a topic editor is good - and I have told them about this more than once - that it contains enormous potential for self-development, for intellectual work, for constant learning - yes. All my collaborators are already known among writers; they have developed their own relationships with them. Try, for example, to take away Alexey Ivanov’s new novel from editor Alexei Portnov - neither one nor the other will understand me. It is very important to me that they all love their profession, that they are in it for a reason. But this is not an easy job - publishers will understand me...

Elena Shubina - editor - what is she like: strict? tough? persistent? uncompromising?

Elena Shubina: As soon as the editor-publisher has accepted the manuscript and is ready to give it life, he should be on the same team with the author, be his assistant. Yes, I can be very persistent in my suggestions; you need to come to a conversation with the author in full confidence that you are right. You must be on the side of the text and have the gift of persuasion. If there is no trust, if you cannot motivate (sometimes quite harshly) your thoughts, there will be no understanding. I would compare working on the manuscript to rehearsals before the premiere. The stage is ready, the roles have been assigned, but there is no one in the hall yet.

Elena Shubina: Anything can happen. By nature, I don’t like unmotivated lengths; I’m for dynamic text. In the theater I can easily leave during intermission simply because I already understand “how it’s done” and lose interest. It’s the same in editing—disputes most often arise around abbreviations. Alexander Terekhov, the author of the very long novel “Stone Bridge,” once said that there was no struggle with the editor (that is, with me): a throw, a blow, and the author was defeated, that is, he agreed to everything. In fact, of course, this was not the case... Dmitry Bykov still cannot forgive that we did not publish Spelling (in Vagrius) in two volumes...

Do any funny stories happen to the editor?

Elena Shubina: The funniest story “from the life of an editor” and at the same time the fear of God is when you edit a manuscript and write remarks in the margins about what you read for yourself, and then, forgetting to erase it, send it to the author. Then you can only rely on the recipient’s sense of humor.

This year you published a collection of Lyceum award winners. Will you continue to collaborate with any of these guys?

Elena Shubina: I keep them all in sight. The contract is concluded and A new book It will be in the spring, at Zhenya Nekrasova’s. Christina Hepting, I am sure, will remain not only on the pages of the Lyceum.

I understand that you have been asked this question a million times: how to get to Elena Shubina? But what is needed for this? To be punchy? Extraordinary? Persistent?

Elena Shubina: Send your manuscript - and we will read and discuss.

Bestsellers "Edited by Elena Shubina":

"Abode" by Zakhar Prilepin

"The geographer drank his globe away" by Alexey Ivanov

"Zuleikha opens her eyes" by Guzel Yakhina

"Laurel" and "Aviator" by Evgeny Vodolazkin

Visiting Elena Shubina

Speaking of the anniversary of the “Editing Office of Elena Shubina”. On February 18, 2018, the editorial board plans to organize a big literary festival for its authors, readers and friends in honor of this event at the Stanislavsky Electrotheater. There will be a book sale with gifts, a marathon of meetings with authors in unusual formats, and informal communication.

By the way

Elena Shubina became the person of the “Year of Literature” 2017.

And along with her there are 11 more people, without whom we could not imagine the “Year of Literature” and the entire literary year 2017:

Maxim Averin, an actor who knows how and loves to read books;

Dmitry Bak, director State Museum history of Russian literature named after V.I. Dahl;

Maria Vedenyapina, director of the Russian State Children's Library;

Andrey Gelmiza, producer of the Red Square book festival;

Christina Hepting, winner of the Lyceum;

Evgeny Gintov, an Irkutsk resident who created the “book shelter”;

Oleg Divov, one of the most famous modern science fiction writers;

Marina Kameneva, director of the Moscow bookstore;

Tatyana Kosterina, best book artist;

Anastasia Orlova, children's poet.

Shubina Elena Danilovna

Shubina Elena Danilovna- head of the editorial office of "Modern Russian Prose" of the publishing house "AST" - editorial team of Elena Shubina, publisher, literary critic, member of the jury of the National literary prize"Big Book".

Born in Voronezh in 1952. Graduated from the Faculty of Philology of Moscow state university them. M. V. Lomonosov. She interned in the editorial office of criticism and literary criticism of the publishing house "Soviet Writer".

She worked in the magazine “Literary Review” (editor of the Belarusian department), the magazine “Friendship of Peoples” (head of the prose department), in the publishing house “Vagrius” (head of the department of modern literature).

Repeatedly recognized as the best editor in Moscow.

Compiler of many anthologies “The Best Modern Short Story”, published in translations in different languages, initiator of unique publishing projects.

Compiler and commentator of the two-volume book “Andrei Platonov. Memoirs of contemporaries. Materials for the biography" and "Andrei Platonov. Problems of creativity". M., 1994.

One of the commentators on the ten-volume Collected Works of A. Platonov (IMLI RAS). T. 1. M., 2004

Compiler of the two-volume book “Vagrius - Prose”. M., 2002; four-volume "Prose" new Russia" M., 2003 (“Book of the Year” at the Moscow International Book Fair in 2003).

Compiler of the collection “Modern Russian Prose. Favorites" (on French. Paris, “Fayard”, 2005)

Compiler of the collection “Modern Russian Short Story” Chinese. Beijing, " Folk literature", 2006.

Currently, he is the head of the editorial office of “Modern Russian Classics” of the AST publishing house.
In 2012, it was decided to separate the editorial office of the Russian modern prose into a separate brand.

The books “Edited by Elena Shubina” - current fiction and memoir prose - combine highly literary text and quality execution.

Authors of “Edited by Elena Shubina”- these are Zakhar Prilepin and Alexey Ivanov, Lyudmila Ulitskaya and Dmitry Bykov, Alexander Ilichevsky and Mikhail Shishkin, Alexander Arkhangelsky and Pavel Basinsky, Leonid Yuzefovich and Sergey Shargunov, Alexander Kabakov and Andrey Bitov, Olga Slavnikova and Alexander Terekhov, Andrey Rubanov and Olga Lucas, Elena Chizhova and Marina Stepnova, Roman Senchin and Sergei Nosov, Alisa Ganieva and Vsevolod Benigsen, Anna Matveeva and Alexander Genis, Dmitry Danilov and Evgeniy Vodolazkin, Pavel Krusanov and Natalya Gromova, Evgeniy Popov and Solomon Volkov, Evgeniy Chizhov and Vladimir Sharov, Sergei Belyakov , Igor Sakhnovsky, Yuri Arabov and Valery Popov, Yuri Miloslavsky and many others.