What we love socialist realism, or Mango, a brushwood

Another, not afraid of this word, hypostasis of social realism is the depiction of the workers and peasants in the capitalist countries. How we pity them! Recently, I watched the replay of the old program of Valentin Zorin (there was such a political observer in huge glasses who was working on America) about New York. Oh, what a poetry it is! “On Wall Street go, dragging their feet, huge crowds of unemployed. They are anxious about anxiety for tomorrow, their faces are gloomy, their clothes are gray and bad, they go for a free soup, ”and so on. Of course, Wall Street is the typical home for the unemployed! But most of all I was glad when he showed some boy who, living in Manhattan, feeds on what he collects and sells brushwood. I hope that in Manhattan of the 70s firewood was snapped up like hot cakes and the boy survived ...

The people always looked at things soberly, and, with the exception of absolutely unreasoning ones, scoffed at Zorin. There were a lot of jokes, for example, a letter from Soviet workers to the American unemployed: “Dear American unemployed! They say you're undernourished there. So, what you don't eat, please send us«…

Zorin himself, however, did not at all strive to escape from the jungle of capital and would sit there until the end of the century, clinging to the trough and packed from head to toe in gray and bad imports, if not for the ugly robbery story - the robber took away $ 20 from him, and he said that 200, and it revealed. Two hundred bucks did not weld, instead I had to go home, to the bright world of social justice, and make reports on the horrors of capital already from here ...

Books were written about the sufferings of the proletariat, for example, N. Kalm's wonderful novel Children of Mustard Paradise. (1949−56) Roman. For an eight year school.
“At the teaching desk, the glasses and gold teeth of MacMahon gleamed coldly.
Leaning, the director was telling something to Homer - a math teacher,
nicknamed for the ugly appearance of "Gorilla". Of course, these were bad characters. They viciously gnashed their teeth with a gnashing of teeth and, in general, a textbook written by Bender for Uhudshansky was quite suitable for describing them.
And here is the picture:
F. Reshetnikov. For peace! 1950

As the classic said, “what do we see in this interesting picture?
Here is a description, not from the 50's training manual, but from the development of 2004, so that mourners can wipe away tears - holy ideals are alive, and not everyone is as cynical and biased as I am:

In the foreground there are children, there are five of them, and everything is well organized, all actions are thought out: two watch the street, one diligently displays white words in large letters. He wants these words to be seen and read by everyone, so the boy climbed onto his back to his comrade. The smallest one holds a can of paint with both hands and, looking up, carefully looks at the artist. Will the brave souls to finish the word "MIR"? - we are worried, looking at the picture of Reshetnikov. In the background we see a demonstration of workers who came out with panels, flags on the streets have not yet managed to recover from the devastation of the city. And the police, armed with batons, want to disperse the people, push back the workers. But people go ahead confidently, they are not afraid of the police, the demonstration is growing.

Well, who does not understand that the writing of the word "peace" in the capitalist countries was immediately thrown (and even now thrown) into the dungeons of even infants? And the fat uncles of Sami and the others there, the Chamberlain and Churchill, in impotent rage squeezed fat fingers, studded with rings? And even for a long time, they could not lovingly put shillings in straight columns (after all, it is known that this is a favorite occupation of the capitalist in a cylinder).

Apparently, the picture takes place in post-war France. Although not as the USSR, but France also suffered during the war years, and she fought not on the side of the fascists, but quite the opposite. There was both the Resistance and the partisans. After the war, the French condemned the collaborators. What is the matter - why are simply the words “peace” written on the wall - do young children face some terrible punishment? Did the bourgeois capitalist government of France really demand from its citizens, even to be young, to express the overt desire of a new war?

I doubt it. It was only in the pictures of socialist realism, but in the tales of Gianni Rodari (which would be quite good tales if they were not so crammed with primitive ideology in the spirit of early Marxism).
But it was necessary to convince the Soviet people that only here life is light and beautiful, and there, in the West, blacks constantly lynch and throw workers into the dungeons. And that the people of Manhattan only live and gathering brushwood for their decrepit huts ...

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