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«Прелюдия к Хваку», О`Санчес

Пахал он землю, и звали его Хвак.

Время в те века — когда-то потом, бесконечно позже названные Юрским периодом — потеряло покой, чародеи и шарлатаны дружно предсказывали гибельное грядущее. И что с того, что первые наживались на сокровенном, а вторые на обмане? Разницы в обещаниях не было и люди кручинились.

Многие горевали да боялись, но только не Хвак: был он молод, темен и забит, в свои неполных восемнадцать лет женат на солдатской вдове гораздо его старше, на все округу слыл дурачком и бестолочью, тюфяком и рогоносцем.

Так и в этот, не по-весеннему жаркий день, жена его Кыска, вместо того чтобы хлопотать по дому, соблюдать в порядке скудное их бытие, с утра, не ведая стыда и осторожности, принимала в гостях кузнеца Клеща, потому что была без ума от его медвежьих объятий и жестких любовных тычков. Все лучшее на столе: мех с вином, хлеб свежий, мяса вдоволь, да не ящерного — молочного, то есть от такого зверя, самка которого молоком чад своих выкармливает… Кузнец силен и огромен, жрать горазд и к бабам горяч — кормить его и кормить…

сообщение модератора

За цитату спасибо, а выражать свои мысли вежливо вам пора бы научиться, т.к. каждый следующий бан длиннее предыдущего.
Предупреждение за несоблюдение пунктов 2.2. и 2.3 регламента.
Dark Andrew

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Надо пойти сказать биологам, что все их "подвиды" и "подразновидности" — это полный бред.

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Вы бы не бросались своим мнением там, где оно может противоречить фактам. Так можно дойти, что не только литературоведческие и филологические науки придуманы фанами смеха ради, но и письменность возникла исключительно чтобы анекдоты записывать.

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Лихачев был самодеятельным фэном

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Даже как-то странно читать высказывания людей, которые не знают, что жанр "фантастика" делится

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Рамка потому и рамка, что раз пять меняла свое название

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Куда ее относить, к сказкам или к повестям?

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А они есть в лепестронном виде?

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HOLOCAUST AND AFTER
This is part of a giant cluster of themes which has always played a
central role in sf, both GENRE SF and MAINSTREAM. It is impossible to
dissect out the different aspects of this cluster so that they are
mutually exclusive; hence there is some overlap between this entry and
ADAM AND EVE (many sf tales deal with a second genesis after catastrophe),
ANTHROPOLOGY (the emphasis is often on tribal patterns forming in a
brutalized and diminished population), EVOLUTION and DEVOLUTION
(evolutionary change has since the 18th century been linked with natural
catastrophe), ENTROPY (holocaust is one of the more dramatic aspects of
everything running down), HISTORY IN SF (human-inspired disasters are
often seen as part of a Toynbeean or Spenglerian process of historical
cycles), the END OF THE WORLD (holocaust on a major scale), ECOLOGY
(interference with nature is often seen as the bringer of disaster),
MEDICINE (the agent of holocaust is often plague), MUTANTS (the use of
nuclear weapons is often seen as leading to massive mutation in plants,
animals and humans), NUCLEAR POWER (the most popular agent of holocaust in
fiction since WWII), OPTIMISM AND PESSIMISM and SURVIVALIST FICTION (which
is all too often written by men for men, featuring men shooting other men
after civilization's convenient collapse). The catastrophe variants are
summarized under DISASTER; particular aspects of catastrophe are discussed
in most of the above entries. Here we concentrate on the many stories
whose focus is not so much the disaster itself but the kind of world in
which the survivors live, and which they make for themselves.The aftermath
of holocaust may be the most popular theme in sf; this encyclopedia
mentions at least 400 examples at novel length. The genre is as old as sf
itself: a convenient starting point is Mary SHELLEY's second sf novel, The
Last Man (1826), in which plague crosses Europe from the Middle East,
leaving one survivor in Rome who is possibly the last man. Natural
catastrophe, too, strikes in Herrmann LANG's The Air Battle: A Vision of
the Future (1859), in which European civilization is destroyed by flood
and earthquake, but a benevolent North-African federation brings peace to
the world, Black leading White back to social order.The novel in which the
post-holocaust story takes on its distinctive modern form is Richard
JEFFERIES's After London (1885), in which the author's strategy is to set
the novel thousands of years after the catastrophe has taken place; in
this way an interesting, alienating perspective is gained. The hero takes
his own society (as in most later stories in this vein it is
quasimedieval) for granted; he endeavours to reconstruct the nature of the
fallen civilization that preceded it, and also the intervening years of
barbarism. Ever since Jefferies's time the post-holocaust story has tended
to follow this pattern; for every book whose hero lived through the
holocaust itself — John CHRISTOPHER's The Death of Grass (1956; vt No
Blade of Grass US), filmed as NO BLADE OF GRASS (1970), and Robert MERLE's
Malevil (1972 France; trans 1974), filmed as MALEVIL (1981), being
examples — there are several whose story begins long after the disaster is
over but while its effects are still making themselves felt. Though such
stories continue to fascinate, there has been surprisingly little
variation in the basic plot: disaster is, in the average scenario, seen as
being followed by savage barbarism and a bitter struggle for survival,
with rape and murder commonplace; such an era is often succeeded by a
rigidly hierarchical feudalism based very much on medieval models. When
the emphasis falls on struggle and brutality, as it very often does, we
have in effect an awful-warning story. But often the new world is seen as
more peaceful and ordered, more in harmony with Nature, than the bustle
and strife of civilization. Such stories are often quasi- UTOPIAs in
feeling and PASTORAL in their values. There is no denying the attraction
of such scenarios: they tempt us with a kind of life in which the
individual controls his or her own destiny and in which moral issues are
clear-cut.In mature versions of the post-holocaust story there is usually
an emotional resonance developed from a tension between loss and gain,
with the simplicities of the new order not wholly compensating for the
half-remembered glories and comforts of the past. This is the case with
George R. STEWART's EARTH ABIDES (1949), and may explain why, despite its
occasionally fulsome prose, that novel has attained classic status.The
first two decades of the 20th century saw no particular boom in the genre,
but at least two works are still well remembered: Jack LONDON's The
Scarlet Plague (1914) and S. Fowler WRIGHT's Deluge (1928) (sequelled by
Dawn [1929]); in both cases the catastrophe is natural. This was so of
most holocaust stories in those days of comparative innocence. Even after
WWI, mankind's capacity for self-destruction was seldom seen as efficient
enough to operate on a global scale. Other relevant stories of the period
are Garrett P. SERVISS's The Second Deluge (1912), George Allan ENGLAND's
Darkness and Dawn (1914), an unusually optimistic story of reconstruction,
J.J. CONNINGTON's Nordenholt's Million (1923) and P. Anderson GRAHAM's
cranky racist The Collapse of Homo Sapiens (1923).Connington's book made
much of the reconstruction of TECHNOLOGY; from this point on the
relationship of technology to the post-holocaust world, and the often
ambiguous feelings of the latter towards it, became prominent. Thomas
Calvert MCCLARY's Rebirth (1934 ASF; 1944) is a casually callous account
of a SCIENTIST so disgusted by what he self-righteously regards as the
decadence of modern civilization that he invents a ray which causes
everyone to forget all acquired knowledge, including how to talk: starting
from instinct, the smartest and toughest re-educate themselves in
technology in about 10 years; most die. Edwin BALMER's and Philip WYLIE's
When Worlds Collide (1933), with its reconstruction sequel After Worlds
Collide (1934), has a scientific elite escaping a doomed Earth in a giant
rocket and rebuilding on a new planet, at the same time fighting off
communists; it was filmed as WHEN WORLDS COLLIDE (1951). Stephen Vincent
BENET's "The Place of the Gods" (1937; vt "By the Waters of Babylon")
blends superstitious fear and plangent nostalgia in telling of a barbarian
boy's response to the technological wonders of a ruined city; its
sentimentality was to become a recurrent note in many such tales after
WWII: it ends, "We must build again." Many of the authors cited have not
been closely connected with GENRE SF. The post-holocaust theme,
particularly in the UK, has had a strong attraction for MAINSTREAM
writers, perhaps because it offers such a powerful metaphor for exploring
Man's relation with his social structures: it pits art against Nature. Two
strong UK examples from the 1930s are Alun LLEWELLYN's The Strange
Invaders (1934) and John COLLIER's Tom's A-Cold (1933; vt Full Circle
USA); both evoke the atmosphere of a fallen society with considerable
intensity of feeling. An interesting French novel published during WWII
was Ravage (1943; trans Damon KNIGHT as Ashes, Ashes 1967 US) by Rene
BARJAVEL, in which the disappearance of electricity turns France
rural.After the Hiroshima bombing a new period began in which,
unsurprisingly, the post-holocaust story came to seem less fantastic; it
also became more popular, and developed a distinctively apocalyptic
atmosphere, a heavy emphasis on a supposed antitechnological bias among
the survivors, and a concentration on the results of nuclear power in
general and radiation in particular. The mood was darker in that imagined
catastrophes were now primarily manmade. Man became pictured as a kind of
lemming bent on racial suicide — through nuclear, biological and chemical
warfare in stories of the 1940s and 1950s, and through POLLUTION,
OVERPOPULATION and destruction of Earth's ecosphere in many stories since
the 1960s.Among the darker scenarios set after nuclear war are: Judith
MERRIL's Shadow on the Hearth (1950); Wilson TUCKER's The Long Loud
Silence (1952); Ward MOORE's "Lot" (1953) with its sardonic sequel "Lot's
Daughter" (1954), the uncredited bases for PANIC IN YEAR ZERO (1962);
Mordecai ROSHWALD's Level 7 (1959); Pat FRANK's Alas, Babylon (1959), more
optimistic than the others about the possibility of re-ordering society;
Alfred COPPEL's Dark December (1960); and Fritz LEIBER's extremely savage
"Night of the Long Knives" (1960; vt "The Wolf Pair"), which can be found
in The Night of the Wolf (coll 1966). Novels which place a greater
emphasis on the kinds of society developed after the holocaust are: Algis
BUDRYS's False Night (1954; text reinstated and exp, vt Some Will not Die
1961; rev 1978), a very grim book; Margot BENNETT's The Long Way Back
(1954), in which civilized Africans send a colonizing expedition to
legendary Great Britain, where they find Whites still living in caves;
Dark Universe (1961) by Daniel F. GALOUYE, set in an underground POCKET
UNIVERSE; Edgar PANGBORN's DAVY (1964), The Judgment of Eve (1966) and The
Company of Glory (1975); Brian W. ALDISS's Non-Stop (1958; vt Starship
USA) and Greybeard (1964), the latter dealing with life after mass
sterility has struck humanity; Philip K. DICK's DO ANDROIDS DREAM OF
ELECTRIC SHEEP? (1968), where pollution has destroyed the animal kingdom,
and which, much changed, was the basis of the film BLADE RUNNER (1982);
and John BOWEN's After the Rain (1958), dealing with the psychology of the
survivors of a great flood.Paramount among such books is Walter M.
MILLER's A CANTICLE FOR LEIBOWITZ (fixup 1960), an ironic black comedy
about the ways in which a post-holocaust civilization's history
recapitulates the errors of its predecessor. The story is set largely in
an abbey, where fragments of half-understood technological knowledge have
been kept alive by the Church. The book is vivid, morose and ebulliently
inventive; it has been very influential.Miller's vision of technology as
being (though morally neutral) at once saviour and destroyer is echoed in
several books, including some already cited, in which an antitechnological
majority, usually medieval in social structure and rigidly conservative in
outlook, is unable to suppress the scientific curiosity of young
malcontents; two good examples are Leigh BRACKETT's The Long Tomorrow
(1955) and John WYNDHAM's Re-Birth (1955 US; rev vt The Chrysalids UK).
(The English disaster novel at this time was dominated by Wyndham and by
John CHRISTOPHER, both writing several post-holocaust novels.) At a more
popular, adventure-story level, several writers have picked up the idea
(found also in the Brackett and Wyndham novels) of a secret enclave of
scientifically advanced technocrats in an otherwise primitive world. Such
is the situation in Piers ANTHONY's trilogy collected as Battle Circle
(omni 1977), which began with Sos the Rope (1968). A film pitting
barbarians against an island of technology is ZARDOZ (1973), where the
sympathy, as often happens, is with the barbarian. In stories of this type
technology is generally feared, since it was through technology that
mankind almost destroyed itself; a furtive technology is pitted against
MAGIC in a FAR-FUTURE post-holocaust venue in Fred SABERHAGEN's trilogy
consisting of The Broken Lands (1968), The Black Mountains (1971) and
Changeling Earth (1973), but here, despite a tenuous rationale, the tone
of the story is more that of SWORD AND SORCERY than of sf proper. Indeed,
many sword-and-sorcery stories are set in a post-holocaust period when
mankind has taken the route of magic rather than science; the rather silly
idea is presumably that if we give up depending on technology we may be
able to work miracles instead. In one of the commonest variants the magic
is rationalized: the post-holocaust society develops PSI POWERS.With the
increased publicity given to the so-called counterculture in the late
1960s (reflected in sf by the NEW WAVE), post-holocaust stories of rather
a different kind became popular. Hell's-Angels-style motorcycle gangs roam
a ruined world in two colourful romances, Roger ZELAZNY's Damnation Alley
(1969), badly filmed with many changes as DAMNATION ALLEY (1977), and
Steve WILSON's The Lost Traveller (1976); the same idea is used more
subtly in a grimmer work, Brian W. Aldiss's Barefoot in the Head (fixup
1969), as motorcyclists roll through the debris of a Europe half-destroyed
by the use of psychedelic drugs as weapons. J.G. BALLARD's oeuvre is made
up largely of post-holocaust stories; he has evoked catastrophes of all
sorts, manmade and natural, sudden and protracted, and often his
protagonists act in psychic collaboration with the forces that threaten
humanity's security. Scarred motorways continue to link up the decaying
communities of M. John HARRISON's forceful first novel, The Committed Men
(1971), which has something of a Ballardian bleakness but a rather tougher
survival mentality in the protagonists. Other notable post-holocaust
stories of the late 1960s and the 1970s are HEROES AND VILLAINS (1969) by
Angela CARTER, "The Snows are Melted, the Snows are Gone" (1969) by James
TIPTREE Jr, "The Lost Continent" (1970) by Norman SPINRAD, The End of the
Dream (1972) by Philip Wylie, returning to a theme he first worked with 40
years earlier, Hiero's Journey (1973) by Sterling LANIER, Winter's
Children (1974 UK) by Michael CONEY, Earthwreck! (1974) by Thomas N.
SCORTIA, WALK TO THE END OF THE WORLD (1974) by Suzy McKee CHARNAS, WHERE
LATE THE SWEET BIRDS SANG (fixup 1976) by Kate WILHELM, THE STAND (cut
1978, text largely restored and rev 1990 UK) by Stephen KING, and
DREAMSNAKE (fixup 1978) by Vonda N. MCINTYRE.A fine story from this period
was "A Boy and his Dog" (1969) by Harlan ELLISON, interestingly filmed as
A BOY AND HIS DOG (1975). Indeed, the 1960s, and more prolifically the
1970s, saw many variations on the post-holocaust theme in the CINEMA aside
from those already mentioned, including ON THE BEACH (1959), The WORLD,
THE FLESH AND THE DEVIL (1959), The DAY OF THE TRIFFIDS (1963), L' ULTIMO
UOMO DELLA TERRA (1964; vt The Last Man on Earth); KONEC SRPNA V HOTELU
OZON (1966; vt The End of August at the Hotel Ozone), NIGHT OF THE LIVING
DEAD (1968), The BED-SITTING ROOM (1969), GAS-S-S-S (1970), GLEN AND RANDA
(1970), The OMEGA MAN (1971), NIPPON CHINBOTSU (1973; vt The Submersion of
Japan; vt Tidal Wave), The ULTIMATE WARRIOR (1975), JUBILEE (1978),
QUINTET (1979) and MAD MAX (1979); UK tv took up the idea with SURVIVORS
(1975-7). The success of Mad Max not only produced two sequels but began a
whole cycle of post-holocaust colourful-barbarian action thriller films
that continued right through the 1980s, including 1990: I GUERRIERI DEL
BRONX (1982; vt Bronx Warriors) and CITY LIMITS (1984). In fact the 1980s
was a period in which the post-holocaust venue became primarily used as a
conveniently barbaric backdrop for feats of romantic adventure and,
perhaps more worryingly, for the macho acts of rapine and savagery that
characterize SURVIVALIST FICTION, which became very popular at this time.
Although the post-holocaust genre remained popular in the 1980s film
industry, and produced a strange variety of films, it produced no great
ones, perhaps the most telling being George A. ROMERO's DAY OF THE DEAD
(1985). Others were FUKKATSO NO HI (1980; vt Virus), MEMOIRS OF A SURVIVOR
(1981), Le DERNIER COMBAT (1983; vt The Last Battle), RED DAWN (1984),
NIGHT OF THE COMET (1984), The QUIET EARTH (1985), SLIPSTREAM (1989) and
HARDWARE (1990).Earlier, post-holocaust venues had by the 1970s become
popular in CHILDREN'S SF, a particularly good book being Z for Zachariah
(1975) by Robert C. O'BRIEN. Too often, however, such books were designed
to teach moral lessons of the currently approved kind, often
simplistically; the typical holocaust of 1980s children's books features
ecological spoliation brought about by evil capitalists, one of the
livelier examples being Scatterlings (1991) by Isobelle CARMODY.While
post-holocaust scenarios in films (and in COMICS, where they became
extremely popular) were tending to trivialize the genre, it remained an
important and still very popular element in serious sf in book form.
Interesting and rather admirable are the 7 Pelbar books of Paul O.
WILLIAMS, beginning with The Breaking of Northwall (1981), in which
fragmented societies in a rural post-holocaust USA begin slowly to knit
themselves together. Another good series was Richard COWPER's Corlay
trilogy (1976-82), a contemplative PASTORAL work set in England centuries
after low-lying areas have been covered by the rising sea. William
BARNWELL's Blessing trilogy (1980-81) features a fantastic quest in a
world recovering after a holocaust deliberately brought about for
metaphysical reasons. Storm CONSTANTINE's Wraeththu trilogy (1987-9)
presents luridly but with some flair a hermaphroditic race arising in a
devastated world. Notable single novels from the 1980s and since include
Voices in Time (1980) by Hugh MACLENNAN, In the Drift (fixup 1984) by
Michael SWANWICK, The Postman (1985) by David BRIN, Wolf in Shadow (1987;
vt The Jerusalem Man 1988 US) by David GEMMELL, The Sea and Summer (1987;
vt Drowning Towers 1988 US) by George TURNER, The Wall around Eden (1989)
by Joan SLONCZEWSKI, WINTERLONG (1990) by Elizabeth HAND and BONE DANCE: A
FANTASY FOR TECHNOPHILES (1991) by Emma BULL. But the outstanding
post-holocaust novel of the decade was probably RIDDLEY WALKER (1980) by
Russell HOBAN, in which the nature of the future civilization is vividly
evoked through its devolved language ( LINGUISTICS).Life after the
holocaust is a theme that continues to grip the imagination. The idea of
destroying our crowded, bureaucratic world and then rebuilding afresh
offers an exciting psychic freedom. The rusting symbols of a technological
past protruding into a more primitive, natural, future landscape are among
the most potent of sf's icons. [PN]

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А к какому жанру ее отнести — дело десятое

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Побочным результатом первых успехов героической фэнтези стало ее воздействие на традиционную научную фантастику. Еще в межвоенный период магия шагнула с просторов древней Земли, с «заокраинного Востока» и из незапамятной «хайборийской эры» Конана в космические просторы. Эдгар Райс Берроуз рисует американской публике непривычный Марс – не центр высокоразвитой технологической цивилизации, а средневековый мир, обитель волшебства, напоминающую Землю описываемых Говардом времен. «Марсианские» романы Берроуза завоевали огромную популярность. Соединение фэнтези с научно-фантастическим антуражем нашло у читателя отклик, и у Берроуза нашлись продолжатели.

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Всей нашей ФиФ, в 99,9%, до Изящной Словесности действительно очень далеко

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В моем окружении немало людей, особенно с проф-филологическим образованием, которые практически всю ФиФ считают именно такой литературой

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Отлить в бронзе

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От авторов.
Авторы с удовольствием представляют читателю текст повести (или романа?) «Обитаемый остров», максимально приближенный к тому, что сошел у них с машинки в Доме творчества «Комарово» в солнечный апрельский день 1968 года.
Этот текст на протяжении последующих лет подвергался множественным нападкам цензоров и редакторов — Юрий Флейшман (которому авторы рады здесь выразить свою живейшую благодарность за помощь в восстановлении исходного текста) насчитал более семи сотен (!) отклонений Детлитовского (1971 года) издания от первоначального авторского варианта. Некоторые из этих отклонений приобрели теперь характер необратимых. Так, по требованию (точнее — по настоятельному совету) издательского начальства исконные русские имена Максим Ростиславский и Павел Григорьевич (он же Странник) превратились в лиц немецкой национальности, и ныне с этим уже ничего не поделаешь, ибо после «Обитаемого острова» появился целый цикл повестей, где эти люди действуют или упоминаются как Каммерер и Сикорски.
Некоторые изменения авторам пришлись по душе. Например, странновато звучащее в здешнем контексте редкое слово «воспитуемый» оказалось прекрасным эвфемизмом точного, но вполне обыденного слова «каторжник», а звучащие старомодно и веско «ротмистр» и «бригадир» нравятся теперь авторам больше, чем изначальные «лейтенант» и «капитан».
Однако подавляющее большинство позднейших изменений были авторами в данном издании решительно отвергнуты, и отныне они (авторы) склонны полагать предлагаемый здесь текст как бы каноническим.

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Поляница, поленица -- богатырь, богатырша, богатыри, удальцы.

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Во стольном граде во Киеве,
А у ласкового князя у Владимира,
Заводился у князя почестный пир
А на многи князя, на бояра
И на все поляницы удалые.
Все на пиру напивалися,
Все на пиру наедалися,
Все на пиру да пьяны-веселы.

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тут существует особая каста людей, которых трогать не рекомендуется, а то они возьмут и забанят

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я не вижу смысла собирать 12 бессвязных кусков под одной обложкой и называть это романом

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Пожалуйста, ссылочку на издание и страницу. А лучше -- прямую цитату.

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Фалалей не отвечает и заливается горькими слезами.
— Так я скажу за тебя, коли так. Ты сказал, треснув себя по своему набитому и неприличному брюху: «Натрескался пирога, как Мартын мыла!» Помилуйте, полковник, разве говорят такими фразами в образованном обществе, тем более в высшем? Сказал ты это иль нет? говори!
— Ска-зал!.. — подтверждает Фалалей, всхлипывая.
— Ну, так скажи мне теперь; разве Мартын ест мыло? Где именно ты видел такого Мартына, который ест мыло? Говори же, дай мне понятие об этом феноменальном Мартыне!
Молчание.
— Я тебя спрашиваю, — пристает Фома, — кто именно этот Мартын? Я хочу его видеть, хочу с ним познакомиться. Ну, кто же он? Регистратор, астроном, пошехонец, поэт, каптенармус, дворовый человек — кто-нибудь должен же быть. Отвечай!
— Дво-ро-вый че-ло-век, — отвечает наконец Фалалей, продолжая плакать.
— Чей? чьих господ?
Но Фалалей не умеет сказать, чьих господ. Разумеется, кончается тем, что Фома в сердцах убегает из комнаты и кричит, что его обидели...

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Пульхерия Александровна, значит, "критики", а Разумихин -- Достоевский?

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Переврал основную идею

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Содербергу, разумеется, он тоже завидовал

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Тарковский Лема оскорбил своим "Солярисом"

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В композиции "The House Оf The Rising Sun" группы "Animals" не три, а пять аккордов!!!

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не професиональный певец поет