No significant work arises from nowhere from scratch. As a rule, it is prepared for a long time by the previous development of literature. I would like to dwell a little Alexander Korotko’s subject image.
His unique way of writing can be defined as portraying the phenomena of the person himself by highlighting not only his essential features and external environment, but also the description of the phenomena in its eternity, with secondary details which are inherent to A. Korotko strictly in objective reality. It is interesting to note that there is no such situation for the sake of which the person’s surrounding would be forgotten. Here a person can not be excluded at the moment of philosophical reflections or in the teeth of death. And this does not in any way deny his role in the art system of characteristic objects, which make the basis of typification – the main sign of realistic literature. But this is a specific typification, which is based on the effect or impression of the current flow of life.
And, of course, the author’s innovative plot principles could not have appeared without any preparation. He inherited a lot form previous literary tradition. Alexander Korotko’s work was undoubtedly influenced by some poetic features: for example, opened endings, strictly defined spatial and temporal situation, the character’s social identity, situational and literary thinking, and much more. But these techniques in the author’s work change their essence completely. His literary techniques, while remaining seemingly as sketches, turn out to be such powerful episodes, which fix important stages of the person’s inner life, his personality aspects as a whole.
Sometimes there is a feeling of incomplete composition, but this is not so. These are complete art formations, which have resolved their artistic task. If we deeply analyze the plot tendencies that exist today, which in some cases are semi-artistic, and in others more likely appear in a more anticipated than realized form, then Alexander Korotko created a new artistic language in his work. Disparate elements are anyone’s, common are formed into a system by the author, creating a new type of plot thinking. Events are depicted not only in the main and significant aspects, but include accompanying images of secondary details and episodes. This technique allows to draw different events in the individual multiplicity of their components and in integrity. Significant episodes are freely combined with insignificant ones. And the whole series of episodes, which went through a rigorous selection in the writer’s creative laboratory, look to the reader outwardly, as a chain of unselected events occurring in a row in their empirically natural form.
If the description of the plot, story line and the outside world can be borrowed, then the situation is different with the inner world of heroes. In psychological sketches from work to work, new features appear. The author expands his plot rights to an internal monologue, a dialogue appears in the monologue, and much more. But in general, Alexander Korotko created his own methods of psychological analysis, such as the absence of a continuous development of the heroes’ spiritual life, or non-exhaustion of explanation, or the absence (unlike Turgenev or Tolstoy) of a detailed psychological motivation for evolution, or fractures in the hero’s character. Representing a typical character, the author pays special attention to his individual, included in a changing and continuous cascade of events, reincarnation, thereby expanding the range of a person’s artistic image, introducing new features into the principles of his realistic embodiment.
If we begin to ascertain the type of development and structure of the idea in Alexander Korotko’s artistic system, then we can get to the explanation of the nature and content of his ideal. Representation of a person in the integrity of his internal and external, the impossibility to selectively portray only the most important, but portraing in a person of the entire individual combination of his objective and spiritual, the close interaction of the idea with the outside world, all this predetermined the ideal of a person in which the objective-physical and eternal occupies the place is completely special. In contrast to, for example, Dostoevsky, who in the ideal field was not occupied by specific ontological forms, but only by the categories of spirit, in Alexander Korotko’s ideal, objective-physical and spiritual are equivalent. A person appears with high spirituality, combining health, grace, good breeding.
Only one structural layer of the art system is touched, which deepened our understanding of Alexander Korotko’s work as a whole, of his philosophical views and public position. The study of the writer’s objective world structure, his plot, his characters makes it possible to more clearly understand the nature of the author’s philosophy, his system of values, and to reveal the new type of artistic and philosophical world comprehension that has been demonstrated to us, including everyday life phenomena in everyday life.
The author’s creativity depicts the world, in which all aspects of human life are equally taken into account. The consideration of two aspects of the terms in the author’s art system — typology and genetics — helps the educated reader to understand for himself the nature of the author’s artistic innovation and his place in the history of world literature.