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Файл:Иван Ефремов в контексте духовных конфликтов ХХ века. Монография
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SUMMARY
A renowned paleontologist, Ivan Antonovich Efremov (1908–1972)
is best known as a leading Soviet science fiction writer, author of the utopian novel «The Andromeda Nebula», the anti-utopian «The Bull’s Hour»,
as well as a number of historical novels.
We can find many contradictory influences in Ivan Efremov’s Weltanschauung from social utopianism and eugenics to mystical anarchism,
from Nietzscheanism to Theosophy, mystical oriental teachings, Hinduism
and Buddhism. However, it does not look eclectic: from the scattered ideas
and views of the past and present, he gathered a new Weltanschauung,
which he considered to be, perhaps, a Weltanschauung of the future.
The egalitarian-utopian ideal fancifully uniting with Nietzscheanism
gave rise to a peculiar version of «Left Nietzscheanism» that is the dream of
«anti-empire», a community of intelligent, physically and spiritually perfect
superhumans willing to help weaker individuals and communities to elevate
them selflessly to their level. A similar ideal was formed during the «thaw»
period as the antithesis of Stalinism, whose ideology and practice caused
I. Efremov horror and loathing.
The concept of inferno seems to be a combination of the ideas of
Buddhism and evolutionary biology, more precisely, a look at evolutionary
biology through the lens of Buddhist ethics. At the same time, it has an implicit but distinct political aspect: the closeness of state borders, obstacles to
the exchange of ideas, books and people are defined as evil, and man-made
and conscious evil exercised by the ruling group interested in isolation in
order to preserve their imperfect social structure.
But by the end of the 1960s it was found that Efremov’s worldview
did not fully coincide with any of the main ideologies of Soviet society (and
at the same time partially coincided with all of them): he was separated
from Stalinism and official ideology (as well as from Russian nationalism
imbued with the ideas of «statehood») a sharp condemnation of state violence and totalitarian statehood, suppression of sexuality, from liberalism
that is the lack of snobbery towards the people and a hostile attitude towards the «jubilant and idle chatting» intellectuals, hypocritically complaining oppression of the authorities and at the same time helping the authorities to suppress the people.
The cooling of relations I. Efremov with the Strugatsky brothers in
the mid-1960s (as well as their rapprochement in the early 1960s) is ex-
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plained, in our opinion, not by chance and not by temporary misunderstanding, but by the deep ideological differentiation of the Soviet intelligentsia in
the second half of the 1960s, perhaps not always realized by even the direct
participants of this process.
During the first and second «thaws», while the «progressive» movement was poorly differentiated and its main opponent was Stalinism, Efremov did not experience any significant friction with the «liberals».
I. Efremov and the Strugatsky brothers worked closely together, discussed
each other's works, and found complete mutual understanding. But by the
mid-1960s the «progressive» movement began to differentiate, liberalism
becomes an independent trend. Dreaming not about partial reforms, but
about a complete transformation of society, Efremov was in this respect
more radical than both the loyalists and the liberals. At the same time,
Efremov’s egalitarianism, painted in ascetic tones, resonated with the official ideology, the appeal to spirituality and romanticism with nationalism,
the denial of totalitarianism with liberalism. In particular, it was possible to
dislike Efremov from the liberals and bring them closer to their opponents
by disliking the cities, emphasizing the importance of spirituality, anticonsumerism, etc. Reflecting on the global problems of mankind, the mission of science in modern society and the possibility of a harmonious synthesis of Western technology and Eastern spirituality, Efremov expressed
ideas consistent with the ideas of the Club of Rome and the Frankfurt
School, A. Huxley and A. Solzhenitsyn.
I. Efremov’s views on art are also irreducible to the position of the
«liberals», the position of the Russian nationalists, or the official Soviet
ideology: he admired the Russian poetry of the Silver Age, especially
N. Gumilyov and M. Voloshin’s works, the oriental prose of H.R. Haggard
and Anglo-American science fiction, but hostile attitude to such representatives of the art of modernism as P. Picasso and F. Kafka.
Esotericism and occultism were an important aspect of the
I. Efremov’s Weltanschauung, combined with left-wing utopianism and
evolutionistic ideas. But, reading and spreading the work of occultists and
esoterics, banned in the USSR, I. Efremov approached them critically.
I. Efremov’s interest in occultism and esotericism was one of the ways to
reconnect with the cultural tradition of the Russian Silver Age, but at the
same time correlated with the spiritualistic tendencies in the Western culture of the 1950s – 1970s – the emergence of the New Age movement and
counterculture.
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This led to Efremov’s difficult relationship with the main socioliterary «parties» of the 1960s and his rapprochement, partly for pragmatic
reasons, with some of the leaders of the «Russian party» (whose ideas he
was far from fully accepting, like them, the Efremov’s ideas, although both
sides needed each other).
The rapprochement of I. Efremov in the late 1960s with the «Russian
Party», it was probably facilitated by its hostile attitude towards Jews. Unfortunately, he shared the prevailing still, apparently, in the 1920s xenophobic stereotype «businessman» and «slyboots», but in his works he considered it necessary to maintain a balance of positive and negative evaluations of the Jewish people, their religion and culture. These negative assessments, in turn, led to Efremov’s accusations of racism and «protonazism», which cannot be considered fair and justified.
Unfortunately, today, the Efremov’s works is understood for the most
part superficially and one-sidedly, as the author of sci-fi and historicaladventure novels for teenagers and young people. It is possible that «aesopes language» and the excessive ciphering of ideas, which he expounded
in his novels, played a cruel joke with Ivan Efremov. And if political militants of different colors are taken to interpret Efremov’s works, the emphasis is almost always on those ideas of the writer, which are consonant with
the corresponding ideology, while other ideas are simply ignored, and the
writer's works are pulled out of the time context when they were created.
Thus, Ivan Efremov was a recognizing, but largely misunderstanding writer
during his lifetime, remains a recognizing, but misunderstanding writer and
thinker in our day.
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СОДЕРЖАНИЕ
ВВЕДЕНИЕ ................................................................................................. 3
Глава 1. ЧЕРЕЗ ИНФЕРНО: ПЕРВЫЕ СОРОК ПЯТЬ ЛЕТ ................... 9
Глава 2. СОЦИАЛЬНАЯ УТОПИЯ В ЭПОХУ «ОТТЕПЕЛИ»:
КОНТЕКСТ И АЛЛЮЗИИ В «ТУМАННОСТИ АНДРОМЕДЫ» ....... 21
Глава 3. ЧАС БЫКА, ИЛИ ТЯЖКИЙ ПУТЬ ПОЗНАНИЯ .................. 40
Глава 4. «СЕРЫЕ АНГЕЛЫ»: ПОДПОЛЬЕ В СССР? .......................... 60
Глава 5. «ТЕМНАЯ СТОРОНА» ИВАНА ЕФРЕМОВА ...................... 79
Глава 6. ТРАГИЗМ ИВАНА ЕФРЕМОВА ............................................. 97
ЗАКЛЮЧЕНИЕ....................................................................................... 108
БИБЛИОГРАФИЧЕСКИЙ СПИСОК ................................................... 111
SUMMARY ............................................................................................. 123
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НАУЧНОЕ ИЗДАНИЕ
Сергей Алексеевич Сергеев
ИВАН ЕФРЕМОВ В КОНТЕКСТЕ
ДУХОВНЫХ КОНФЛИКТОВ ХХ ВЕКА
Ответственный за выпуск проф. В. М. Ловчев
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