Nikolai Nikolaevich Aseev

Aseev Nikolai Nikolaevich (1889 - 1963), poet. Born on June 28 (July 10 n.s.) in the city of Lgov Kursk region in the family of an insurance agent. He spent his childhood years in the house of his grandfather, Nikolai Pavlovich Pinsky, a hunter and fisherman, an amateur folk songs and fairy tales and a wonderful storyteller.

In 1909 he graduated from the Kursk real school, entered the Commercial Institute in Moscow and at the same time listened to lectures at the philological faculty of Moscow University. In 1911 he published his first poems.

The literary life of Moscow captured young poet, he attends Bryusov's "evenings", "dinners" Vyach. Ivanov, meets B. Pasternak, who conquered him with everything: appearance, poetry, and music.

Since 1913, when a selection of Aseev's poems appeared in the almanac "Lyrika", his active literary activity. After 4 years, he published five collections of original poems: Night Flute (1913), Zor (1914), Oksana (1916), Letorei (1915), Fourth Book of Poems (1916).

The first World War, and Aseev are called to military service. In Mariupol, he is being trained in a reserve regiment, which is soon sent closer to the Austrian front. He falls ill with pneumonia, complicated by an outbreak of tuberculosis. He is declared unfit for service and sent home to recover; a year later he is re-examined, and he is again sent to the regiment, where he stayed until February 1917, when he was elected to the Soviet soldiers' deputies.

The February Revolution began, the regiment refused to go to the front.

Aseev, together with his wife, "moved" to the Far East. This a long way through a frontline, hungry, rebellious country became his path to great poetry (essay "October in the Far"). In Vladivostok, he contributed to the newspaper Peasant and Worker, the organ of the Soviet of Workers' and Peasants' Deputies. The October Revolution, which he learned about in Vladivostok, he accepted unconditionally.

At the suggestion of Lunacharsky, Aseev was summoned to Moscow and in 1922 he arrived there. Renews acquaintance with Mayakovsky, who had on him big influence. Collections of his poems are published: The Steel Nightingale (1922), The Council of the Winds (1923). Since 1923 Aseev participated in literary group"Lef" (left front of the arts), headed by Mayakovsky. Until the end of his life, Mayakovsky supported him, helped to publish his books.

In the 1920s, the poems "Lyrical Retreat", "Sverdlovsk Storm", poems about Russian revolutionaries (" blue hussars"," Chernyshevsky "). In 1928, after a trip abroad, he wrote poems about the West ("Road", "Rome", "Forum-Capitol", etc.).

Before the war, Aseev published the poem "Mayakovsky Begins" ("... I wrote a poem about him in order to at least partially fulfill my duty to him. It became more difficult for me without him ...", Aseev wrote).

Many of his military poems and poems are pages of the poetic chronicle of the Patriotic War: Radio Reports (1942), Flight of Bullets, At the Last Hour (1944), Flame of Victory, etc. In 1961, the book Why and Who Needs Poetry "(1961) Aseev sums up his work and his life. In 1963 the poet dies.

Used materials of the book: Russian writers and poets. Brief biographical dictionary. Moscow, 2000.

ASEEV Nikolai Nikolaevich (9.7.1889, Lgov, Kursk province - 16.7.1963, Moscow), poet, laureate Stalin Prize(1941). The son of an insurance agent. He was brought up in the family of his grandfather - a hunter. Educated at the Moscow Commercial Institute (1912), as well as at philological faculties Moscow and Kharkiv Universities. He began to publish in 1913. In 1914 he published his first collection, Night Flute. At first committed to symbolism, A. became close to V. Khlebnikov, and then to V.V. Mayakovsky. During the Civil War - Far East. In 1922 he moved to Moscow. In 1922 he wrote "March of Budyonny" and thanks to this he received wide popularity. In 1923 he joined the LEF. Adapting to the situation, A. became one of the most orthodox Bolshevik poets, performing his poems " social order". In 1925 he published the poem "Twenty-six" about the Baku commissars. He held high positions in the system of the Union of Soviet Writers.

Used materials from the book: Zalessky K.A. Empire of Stalin. Biographical encyclopedic Dictionary. Moscow, Veche, 2000.

Aseev Nikolay Nikolaevich

My life

The town was quite tiny - only three thousand inhabitants, the vast majority of the townspeople and artisans. In another large village more people. Yes, and they lived in this town somehow in a village way: thatched houses, covered with logs, vegetable gardens at the factories; along the unpaved streets in the morning and in the evening, the dust from the wandering herds to a nearby meadow; measured gait of women with full buckets of icy water on the yokes. “Can I get drunk, auntie?” And the aunt stops, tilting the yoke.

The city lived on hemp. Dense thickets of black-green shaggy panicles on long brittle stems surrounded the city like the sea. In the pasture, with their simple equipment, rope winders were located; behind the gates of the richer houses, hemp riots were visible; hordes of thrashers, cheaply hired vagrants, all covered in dust and fire, straightened, combed, and ruffled the stump. Over the city there was a thick, greasy smell of hemp oil - this was the noise of a butter churn, turning a lattice wheel. It seemed that hemp oil was smeared on the heads cut into a circle, and the beards of the sedate fathers of the city - the venerable Old Believers, who had a copper eight-pointed cross on the gates of their houses. The city lived a devout, established life.

Small town, but old. His name was Lgov, either from Oleg or from Olga, he led his name: it’s true, there was first Olgov, or Olegov, but over time the name was shortened - it became easier to call Lgov .. This is how this ancient city stood, trying to live in the old fashioned way . It came out on the hemp fields with one edge, and on the very edge, directly resting on the hemp, stood a one-story house with four rooms, where the author of these lines was born.

I wrote, published, enjoyed the attention of readers; I will continue to write and publish, trying to justify this attention. But I would also like to emphasize that the impressions of childhood remain the most vivid and are deposited in the memory much more firmly than the impressions of other - subsequent ages. And therefore, neither the luxurious Crimean nor the majestic Caucasian beauties created in my memory such a lasting image as the hemp plant opposite our old house in Lgov; this is the sea of ​​cannabis, where we guys went in search of adventures, in most cases composed by our own imagination. Even Italian impressions - wonderful remnants of the Roman quarters of the old city, even the cathedrals and palaces of Florence and Venice did not obscure the memory of the sight of a native house with a wooden porch, which did not sit like that in childhood. The sharp turns of the meadow Seim, pubescent with the darkening green of distant oak forests, were not obscured in my memory. And I almost wistfully, like lost wonders, remember the cities of my childhood - Kursk and Lgov, Sudzha and Oboyan, Rylsk and Fatezh. They have now become completely different, unrecognizable, better built, decorated. But they are unfamiliar to me. The city of Kursk - "Kuresk", "Kurosk". After all, its ancient name does not come from the word chicken! And I began to think about this name early, trying to unravel its origin. No, not a chicken, which is “not a bird”, even according to the popular proverb, was its prototype. A song came into my ears: “Oh, early, early the chickens sang, oh did Lado, the chickens sang!” What's this? Do chickens sing? “Chickens laugh,” says another saying. Do chickens laugh? It could not be that this nonsense has become proverbial. So, not ordinary chickens, or, as they say in Kursk, "chickens", meant folk etymology. Some other "hens" were meant both in the song and in sayings. "Like chickens in cabbage soup." Why not chicken? Yes, because a wild forest bird was called a chicken, quite strong, and its cry was like laughter, and this chicken sang through the forests early, early and came across “in cabbage soup”, only being hunted. And so, among the forests, among the damp forests, a city was founded - "Kuresk", named so and not otherwise by the number of "hens" living in the forests. And the imagination has already developed a whole chain of ideas. Why are these bird names assigned not only to this city. After all, Orel is located to the north, and Voronezh to the south! Are they connected, these names, with something in common, at least in time? Were they not frontier outposts on the state borders of ancient times? A line of defense against the invading steppe hordes? And, finally, isn’t it said about them in the application to the princes of the “Lay of Igor’s Campaign”: “a single nest of six wings”? Three proud birds - six wings of Kur, Raven and Eagle covered Russia from raids; and not the princes themselves, but the names of the cities prompted the author of The Tale of Igor's Campaign to this image. And I began to think, peering into history. After all, these are the semantic secrets contained in the names of the cities of Kursk. The history of the cities of my childhood fascinated me in the annals. With them, I began my acquaintance with literature ...

My childhood was not very different from the lives of dozens of neighborhood kids, running barefoot through the puddles after a thunderstorm, collecting "tickets" from cheap sweets and cigarette covers and beer labels. These were tokens of various denominations. But real values there were ankles, boiled and sun-bleached pig leg bones, often dyed magenta and sold in pairs. But there were few hunters to buy them. The main thing - it was a game of ankles. There were other games as well. For example, a hike in hemp, which seemed to us an enchanted forest where monsters live. So lived the boy of a provincial town, not a barchuk and not a proletarian, the son of an insurance agent and the grandson of a dreamer-grandfather Nikolai Pavlovich Pinsky, a hunter and fisherman, who went to hunt for weeks in the surrounding forests and meadows. I later wrote poems about him. About him and Grandmother Varvara Stepanovna Pinskaya, a round-faced old woman who has not lost her charm, the blueness of her trusting eyes, her ever-active hands.

I don't remember my mother well. She fell ill when I was six years old, and I was not allowed to see her, because they were afraid of an infection. And when I saw her, she was always hot, with red spots on her cheeks, with feverishly shining eyes. I remember how they took her to the Crimea. They took me too. Grandmother was with the patient all the time, and I was left to my own devices.

This is where childhood ends. Then comes the apprenticeship. It wasn't colorful. Middle school has long been described good writers- starting with Pomyalovsky, ending with Veresaev. There was little difference. Unless our Frenchman was distinguished by a wig, and the German was thick. But the mathematician, who is also the director, was remembered for teaching geometry, singing theorems like arias. It turns out that this was an echo of those distant times, when textbooks were still written in verse and the alphabet was taught in a chorus in a singsong voice.

And yet my main tutor was my grandfather. It was he who told me wonderful cases from his hunting adventures, which were not inferior in the least to Munchausen's invention. I listened with my mouth open, understanding, of course, that this was not, but it could still be. It was a living Swift, a living Rabelais, a living Robin Hood, about whom I knew nothing at the time. But the language of the stories was so peculiar, the proverbs and jokes were so flowery, that it was not noticed that, perhaps, these were not foreign samples, but simply relatives of that Rudy Pank, who was also fond of his imaginary heroes.

My father played a smaller role in my height. As an insurance agent, he traveled around the counties all the time, rarely being at home. But one morning I remember well. There was some kind of holiday, almost our birthday. My father and I were going to matins. We got up early, early, sat on the porch to wait for the first blow of the bell for the service. And so, sitting on this wooden porch, looking through the hemp plant at the neighboring settlement, I suddenly realized how beautiful the world is, how great and unusual it is. The fact is that the newly risen sun suddenly turned into several suns - a phenomenon in nature known, but rare. And I, seeing something that was akin to the stories of my grandfather, but turned out to be true, somehow trembled all over with delight. The heart was beating fast, fast.

Look dad, look! How many suns have become!

Well, what of this? Didn't you ever see it? These are false suns.

No, not false, no, not false, real, I see them myself!

Okay, look, look!

So I did not believe my father, but I believed in my grandfather.

The teaching ended, or rather, broke off: having left for Moscow, I soon became acquainted with the youth of a literary persuasion; and since I wrote poetry as a student, then at the Commercial Institute I had no time for commerce, and at the university, where I entered as a volunteer, I had no time for free listening. We began to gather in one strange place. The writer Shebuev published the magazine "Spring", where it was possible to publish, but the fee was not supposed. There I met many beginners, of whom I remember Vladimir Lidin, of the deceased - N. Ognev, Yu. Anisimov. But I don’t remember exactly how fate brought me to the writer S.P. Bobrov, through him I met Valery Bryusov, Fyodor Sologub and other prominent writers of that time. Once or twice I was in the "Society of Free Aesthetics", where everything was curious and unlike the usual. However, all these impressions of the first acquaintance were soon obscured by something else. It was a meeting with Mayakovsky. This is not the place for reminiscences: I wrote about Mayakovsky separately. But since meeting him, my whole destiny has changed. He became one of the few people closest to me; Yes, and his thoughts about me more than once broke through both in verse and in prose. Our relationship has become not only an acquaintance, but also a commonwealth at work. Mayakovsky cared about how I live, what I write.

In 1915 I was taken to military service. In the city of Mariupol, I was trained in a reserve regiment. Then we were sent to Gaisin, closer to the Austrian front, to be formed into marching companies. Here I made friends with many soldiers, arranged readings, even tried to organize the staging of Leo Tolstoy's story about the three brothers, for which I was immediately put under arrest. From under arrest, I ended up in the hospital, as I fell ill with pneumonia, which was complicated by an outbreak of tuberculosis. I was declared unfit for soldiery and released to recover. The next year I was re-examined and again sent to the regiment. I stayed there until February 1917, when I was elected to the Soviet of Soldiers' Deputies from the 39th Infantry Regiment. The authorities, apparently, decided to get rid of me, and sent ensigns to the school. At this time began February Revolution. Our regiment refused to go to the front, and I went east on a business trip to Irkutsk. I did not go to Irkutsk. Taking his wife, he moved with her to Vladivostok, naively believing that he would go to Kamchatka in the winter.

I got to Vladivostok when the October Revolution. He immediately went to the Vladivostok Soviet of Workers' and Soldiers' Deputies, where he was appointed to head the labor exchange. What kind of management it was - it’s a shame to remember: he who doesn’t know local conditions, no newly born laws, I got confused and circled in the crowds of soldiers' wives, mothers, sisters, among miners, sailors, port loaders. But somehow I still managed, although I still don’t know what kind of activity it was. A trip to the coal mines saved me. There I uncovered an attempt by the owners of the mines to stop mining by creating an artificial explosion in the mine. I returned to Vladivostok already a self-confident person. He began working in a local newspaper, at first as a literary worker, and later, under the interventionists, even as an editor "for his term" - there was such a position. But in return, I got the right to print the poems of Mayakovsky, Kamensky, Neznamov. Soon the poet Sergei Tretyakov arrived in the Far East; we organized a small theater - a basement, where we gathered local youth, rehearsed "The Rape of the Sabine Women" by Leonid Andreev. But these activities soon came to a halt. Intervention began, the newspaper was subjected to repression, it was not safe to remain, even as a nominal editor. My wife and I moved out of the city to the 26th verst, lived without registering, and soon got the opportunity to leave the White Guard clutches for Chita, which was then the capital of the Far East Republic - the Far Eastern Republic.

From there, at the suggestion of A. V. Lunacharsky, I was summoned to Moscow as a young writer. Here my acquaintance with Mayakovsky, interrupted for three years, resumed. He knew that in the Far East I had read his "Mystery Buff" to the workers of the Vladivostok temporary workshops; new poetry in Vladivostok, and immediately accepted me as a native. Then work began in Lef, in the newspapers, in publishing houses, which again was headed by Mayakovsky, relentlessly, like a barge steamer, towing me everywhere with him. I traveled with him the cities of the Union - Tula, Kharkov, Kyiv; together with him published several campaign brochures.

The constant comradely care on the part of Vladimir Vladimirovich manifested itself until the end of his life. Many of my books have been published thanks to him. Later I wrote a poem about him in order to at least partly make up for my debt to him. Without him, it became more difficult for me. And, despite signs of attention from readers, I never recovered from this loss. It is irreversible and irreparable.

When people talk about the feeling of the motherland, it seems to me that this feeling begins with love for the place of one's birth, for growth in one's native land, and then with knowledge of its history, expanding into knowledge of the whole world. Not from birches and nightingales, which usually adorn all Russian landscapes, not from sleighs and bells, which are considered essential accessories of the Russian style. Motherland begins with love for the word, for one's own language, for its history, its sound. That is why, although my historical conjectures, perhaps, were worth little, they helped me to get acquainted with the annals, with the history of my land, my language. I started writing with short stories about the past, with pictures historical life ancient times, flavored with their own imagination. Much later, I saw that such a way of narration was in use a long time ago, when pagan traditions were used in our chronicles. I published my conjectures in children's magazines. But I wanted to go beyond reproducing what I had read. I tried to write poetry. At first they were in the same semi-historical, semi-apocryphal kind. And then it dawned on me to write something of my own, not related to what was found in the annals. But all the textbooks and teachings in this regard were reduced to a fake, to an imitation of what was already known. I longed for my experience, my history, unique and unrepeatable. In a word, I dreamed of writing something that no one had written yet. And so, throwing away all the examples and instructions, I began to write something that was literally "not like anything else." These were exclamations, reproaches, a plea for something. I did not show these verses to anyone.

Mind hacked

and crumpled by eternity of eyelids.

You will not answer, Beloved,

my old hope!

But I don't believe

shackled by tight thoughts, no, I do not disbelieve,

No, I don't believe it, no, I don't believe it!

I will knock on you, wild, disheveled, mad,

I will blaspheme you so that you respond - with songs!

What was it? Is it an appeal to an ancient idol of history? Is it the despair of youth, not finding measure and weight own feelings? In my opinion, as I now understand it, it was farewell to Perun of the pagan deification of history, the place of his birth, farewell to his childhood. But in this way I escaped from the repetitions of my own impulse, passed on to the wild reckless will. So I discarded the sizes and stanzas, guided only by the beat own heart when it beat faster, it means that the words were correct; when it was not felt, but yielded to logical reasoning, these were unnecessary exercises. Finally, it seemed to me that the mind and heart were in harmony, when one day in the spring I wrote:

Fiery dance of the horse,

splashing with a flat paw ...

Above the soul - height -

the head of the spring is bright-skinned.

Why “splashed”, why with a “flat” paw? And, finally, what is this "light-haired spring"? So they must have asked me then. And because the clatter of hooves on the cobblestone pavement, in fact, looked like the splash of an oar on the water, and the fact that the hoof lies flat is the wide hoof of a trotter, this emphasizes its splash on the stone. And "light-skinned", in my opinion, is completely understandable to everyone. After all, the clouds, as white as down hat, float in the spring so high; Here comes the bright spring! The feeling of spring over the Kremlin and the contrast from the cripples, beggars, freaks crowded near Iverskaya was so sharp that it was impossible not to write about it.

Then I began to find lines more intelligible to the reader, but these first lines remained dear to me, they opened my spring to me, my sense of life. After all, they, too, seemed to come into contact with history and at the same time were not a simple retelling of thoughts. They contained the "babbling of the heart", about which Herzen says that without it there is no poetry. Later, as already mentioned, I mastered the means of poetic influence on my own and on the reader's imagination. I wrote poems about Kursk and about my home, in which I managed to convey my childhood impressions. But I have never written about my spring like that, feeling it wholeheartedly. And then I realized what Lermontov meant when he spoke of the word created "from flame and light." After all, flame and light are, at first glance, homogeneous concepts; why did Lermontov put them side by side, as if distinguishing them from each other? It seems to me that the flame is an internal burning human feeling, and the light is the light of the mind, the light of the mind, to which the heart flame obeys - it obeys, but does not die out. If it fades, passing into the category of logical reasoning, then poetry ends. There will remain a story, an incident, a description of an event, but not poetry, not the soul of an event. That is why this word often “will not meet with an answer amidst the noise of people”. Flame - feeling; light is mind. Without feeling there is no verse; but even a verse dictated by one feeling is not yet intelligible to the reader. He - feeling - needs light; then the verse becomes a work.

You understand all this later, when you begin to look both at your own poems and at the poems of other poets from those steps that time has raised you to. And Herzen and Lermontov turn out to be your intimate acquaintances, with whom you can talk without bluntness, without fear that you will be suspected of formalism ... That's all I could say about my life, about my work, which, in fact, is life.

Sat-to " Soviet writers", M., 1959

The electronic version of the autobiography is reprinted from the site http://litbiograf.ru/

Memorial plaque on a house in Kamergersky Lane.

20th century writer

Aseev Nikolai Nikolaevich - poet.

His mother died when the boy was 6 years old, his father served as an insurance agent and was rarely at home. Charm has become an unusually effective education of the soul. native land; childhood cities - Kursk, Voronezh, Orel - prompted to study native history, understand home country and its literature, led to Pushkin and Gogol, to the Tale of Igor's Campaign, with which Aseev was fascinated all his life. From childhood and his pseudonyms "Malka-oriole" and "Bul-Bul" - he was very fond of birds. “Even Italian impressions - the wonderful remnants of the Roman quarters of the old city, even the cathedrals and palaces of Florence and Venice did not obscure the sight of a native house with a wooden porch ...” - we read in Aseev’s autobiographical essay “My Life” (Soviet writers. Autobiographies: in 2 vol. M., 1959. Vol. 1. P. 89).

In 1909 he graduated from the Kursk real school, then, at the insistence of his parents, he entered the Commercial Institute in Moscow, but in the capital he became interested not in commerce, but in poetry, went as a volunteer to the philological faculty of the university, where he saw V. Bryusov, A. Bely, F. Sologub, then there was an acquaintance and friendship with B. Pasternak.

In 1911 he published poems in the journal Vesna, then published in the journal Protalinka, in almanacs and collections, and worked in the editorial office of the journal Russian Archive.

From 1911, Aseev became one of the leaders of the Lyrica publishing house, from which the Centrifuge literary group (Aseev, B. Pasternak, and others) soon emerged. He published his first books of poetry in 1914 - "Night Flute" and "Zor".

In 1915, Aseev took part in the organization of the Liren publishing house, in collaboration with G. Petnikov, published the collection Letorei. At the same time, he met V. Mayakovsky and V. Khlebnikov.

In 1915 he was called up for military service. In the reserve regiment, he started staging L. Tolstoy's fairy tale about three brothers, for which he was put under arrest.

In 1917 he studied at the Irkutsk school of ensigns, then ended up in Vladivostok, at the same time he was elected to the Council of Soldiers' Deputies.

In 1921 in Vladivostok he published a book of poems "The Bomb", according to a contemporary, it was unexpected, like lightning, like an explosion. V. Mayakovsky, having later received the “Bomb” from the author, sent back his book with the inscription: “The bomb was blown up with pleasure. I shake my hand - for!

In the spring of 1921, Aseev unexpectedly received a letter without a signature - a message about the preparation of a White Guard coup and advice to leave Vladivostok as soon as possible, which Aseev fulfilled. The White Guards destroyed the printing house, the circulation of the "Bomb" was burned.

In 1922, Aseev returned to Moscow, was a member of the LEF literary group, headed by Mayakovsky, collaborated in the LEF and Novy LEF magazines, was friends with Mayakovsky, published 6 books of propaganda poems in collaboration with him. He performs not only with poems, but also with articles and reviews about novelties in poetry in the Novy Mir magazine.

In the early 1920s, with the freshness and novelty of the poetic text, a song to the words of Aseev "March of Budyonny" burst into the audience of many millions. In the 1920s, in Moscow and Petrograd-Leningrad, Aseev published 9 books of poems - “Steel Nightingale”, “Council of the Winds”, “Election”, “Hoarfrost”, “Time of the Best”, “Young Poems”, etc., essays “Undressed beauty "(1928), the book" Prose of the poet "(1930).

Gravitating to search and experiment, Aseev, even before the revolution, experienced various litas. influences - stylization of ancient Russian motifs, borrowings from Hoffmann, Gumilyov, Blok, Khlebnikov's verbal experiments. Abstract plots and images are also characteristic of the collection "Bomb"; The Steel Nightingale, in which the author declared a turn to a new reality, did not mark this turn. The search for a path to modernity was complicated by the fact that the transition to NEP was perceived by some contemporaries as a departure from the revolution, the ideals of transforming the world. In line with these sentiments, Aseev's poem "Lyrical Digression" (1924) is usually perceived. The poem is really disturbing, agitated, dramatic, but the author is far from even a hint of surrender. Explaining the meaning of this poem by Aseev, Mayakovsky in Jan. 1925 emphasized that in it we are talking first of all about life; The author complains that many his contemporaries are mired in the old philistine life, it is to the philistine bias, rooted in life, that the dramatic image of the “red-haired time” also belongs in the poem.

poem " Lyrical digression” and the poem “Blue Hussars” (1925) received recognition from contemporaries, became a classic of poetry of the 20th century. Poetic Suite "The Blue Hussars", dedicated to memory Decembrists, ballad-elastic verse consistently reveals the preparation of the uprising and its tragic ending. The attraction to the plot found an even more complete realization in the poem "Semyon Proskokov" (1928). This poem is about events civil war in Siberia, the author shows how the partisan movement was organized and strengthened. The lyrical and journalistic narrative is built on real historical material, in its center is the image of a miner who connected his fate with the revolution, became one of the fighters for Soviet power.

In 1929 a book about poetry, A Poet's Diary, was published. The heroic theme broke into lyrical stories, formal aesthetic searches receded into the background, a romantic glimpse of the future made its way through the primus smoke of communal kitchens beautiful world, crepe romantic pathos of life transformation. The poet brought the lyrics to a wide expanse public life, her path lay to a more in-depth and penetrating comprehension of the surrounding world.

In the second half of the 1920s, Aseev intensively searched for his hero in the scaffolding of new buildings, he calls: “Now you should learn poetry from the machine tool and combine” (At a literary post. 1930. No. 4. P. 31). Following the poem "The Sverdlovsk Storm" in the mid-1920s, Aseev wrote poems and cycles of poems "Electriad", "Kursk Territories", "Song of Oil", in which the ideas of involvement in folk life, labor collectivism are developed, the poet's inspiration was finally captured by the heroic courage of everyday creative work. By this time, Aseev’s visit largest construction projects countries in Magnitogorsk, Kuzbass, on the Dnieper; the poet refers to the "agitation poem", developing the theme of labor - "Dniprobud" (1931). The poet's appeal to the plant is significant: "All my hope is in your mighty strength, in your horns and trumpets" (Poems and poems. M., 1967, p. 305).

fruitful synthesis social content and lyrical intonations fully manifested itself in A.'s poem "Mayakovsky Begins", which was published in 1937-39, in 1940 it was published as a separate edition. Back in the early 1920s, Aseev thought about the need to “know the history of his country, not only feel its future, but also peer into the depths of centuries ...” (Rainbow. 1970. No. 1. P. 148). The poem "Mayakovsky Begins" was a broad historical canvas, the author conveys the fate of Mayakovsky in closest connection with the fate of the whole country. In the center of the poem is the appearance of Mayakovsky and his death. The appearance of Mayakovsky in the life of the country and the planet is drawn romantically and enthusiastically: “He walked along the boulevard, thin and broad-shouldered, arose from somewhere at once, from the outside, tall, like a banner, flung up in pure June unworn blueness.”

They said about Mayakovsky that he was a "round-the-clock writer", and the author of the poem conveys the selfless nature of his hero's activity, his truly round-the-clock devotion creative process. Excerpts from this poem circulated throughout the country even before its full publication, a wide audience was attracted by the passion of Aseev's polemics with Mayakovsky's opponents, the desire to defend his life and creative principles. Summing up the controversy around Mayakovsky, Aseev emphasized the importance of this poet for the future fate of literature and, more broadly, the fate of the country. The poem is also characterized by romantic elation of narration, civic pathos, breadth of historical outlook, realism of imagery. The press noted the importance new job Aseev “I consider this book one of the most significant phenomena of our days,” wrote A. Fadeev (Literaturnaya gazeta. 1940. Nov. 24).

In the 1930s, Aseev continued to search for genres, developing, in particular, an international political feuilleton (“The Hope of Mankind”, “Berlin May”). A significant event in the literary and social life was the translation into Russian of T. Shevchenko's poetry. Along with N.Tikhonov, A.Tvardovsky, N.Ushakov, B.Pasternak, M.Isakovsky, Aseev introduces the life of the fraternal republics, writes High Mountain Poems dedicated to the Caucasus.

During the Great Patriotic War Aseev's poems and poems are published in central and front-line newspapers.

In 1943 Aseev returned to his verse. "Kursk", wrote new final lines- about the Battle of Kursk.

In 1943, Aseev's book Vladimir Vladimirovich Mayakovsky was published in the series Great People of the Russian People. The theme of patriotism is developed in the books of poems The First Platoon (1941), The Flame of Victory (1946), and the poem Ural (1944).

In 1950 written additional chapters poem "Mayakovsky Begins" Of the post-war years, 1961 was the most fruitful - a book on literature “Why and who needs poetry” was published, which dealt with many, many poets (Mayakovsky and Yesenin, Khlebnikov and Sayanov, Tvardovsky and Tychina, Svetlov and Tuvim), and a book of poems " Lad", which received a universal appreciated. Lad is intense reflections about the present, about the problems of being; at the same time, philosophical verses are combined with journalism and landscape lyrics.

Contemporaries said about Aseev: “An indefatigable temperament lived in him, dry burning without fumes and soot burned his soul all the time” (Narovchatov S. We enter life. M., 1980. P. 31). He also read his poetic creations in a special way: “Throwing his head, he seemed to be peering into the heights - he flew all the way up, reading poetry. His bright eyes became even brighter ... ”(Memoirs of Nikolai Aseev. P. 50). His talent was versatile, he also wrote articles, essays, film scripts, reflections on literature, texts for musical works (libretto of M. Koval's opera "Emelyan Pugachev", 1955, in collaboration with V. Kamensky).

In Aseev's article "What is the structural soil in poetry" the idea of ​​the continuity of generations was placed in direct dependence on the preservation of the "structural soil" that was cultivated by the predecessors. Hence the constant interest in history, which manifested itself either in The Blue Hussars or in Poems about Gogol, which took a prominent place in the book Reflections (1955). Hence the constant interest in the literatures of other peoples. Aseev translated dramatic works J.Rainis, B.Yasensky, poems by many poets.

Characterized by a constant interest in the most various phenomena literary life. A contemporary recalls: “I remember with what admiration he once spoke of the novels of the Australian writer Katharina Susanna Pritchard. Another time - about the book of William Burchett, which opened for him wonderful world customs of the ancient peoples of Laos and Cambodia ”(Milkov V. - P. 195). And all this was not the passive interest of the contemplator, but the active interest of the participant: M. Alekseev's novel "Cherry Pool" appears - and Aseev writes a review of it; reads on television chapters from his new poem E. Isaev - and Aseev responds with an article about the poem "Court of Memory". In his last spring, already seriously ill, Aseev undertook active efforts to protect cultural monuments, organize the collection of signatures for a petition to the Central Committee of the CPSU (Memoirs of Nikolai Aseev. P. 297).

“What was completely unexpected in my meetings with Nikolai Nikolaevich was for me,” recalls D.S. Likhachev, “that he mainly spoke not about his poetry, not about his poems, he spoke about the poems of youth, loved to read them ...” (Memories of Nikolai Aseev. P.242). Aseev willingly lectured in Literary Institute, helped many young poets enter literature, among them N. Antsiferov, I. Baukov, A. Voznesensky, Y. Moritz, V. Sosnora, Y. Pankratov, I. Kharabarov. Aseev's work was widely covered in the press, so, for his 70th birthday, about 20 articles by L. Ozerov, S. Vasilyev, I. Grinberg, B. Slutsky, L. Oshanin, V. Kotova and others were published. The wife of the poet K.M. Aseeva recalls: “On the last day of his life, when I came to the High Mountains hospital, Nikolai Nikolaevich sat up in bed and began to read poetry. With poetry, he left life ... ”(Memoirs of Nikolai Aseev. P. 34). By his 80th birthday, L. Karpov’s book “Nikolai Aseev” was published, articles about him by M. Alekseev, A. Drobchik and others appeared on his 90th birthday. A memorial plaque was opened on the house where he lived, the street is named after him .

V.A. Shoshin

Used materials of the book: Russian literature of the XX century. Prose writers, poets, playwrights. Biobibliographic dictionary. Volume 1. p. 118-121.

Read further:

Special report of the secret political department of the GUGB NKVD of the USSR "On the course of the All-Union Congress of Soviet Writers". 08/31/1934 (See the fragment about Aseev).

Information of the People's Commissar of State Security of the USSR V.N. 10/31/1944 (See the fragment about Aseev).

Russian writers and poets (biographical guide).

Compositions:

Collected works: in 5 vols. M., 1963-64;

Poems and poems: in 2 vols. M., 1959;

Poems and poems. L., 1967. (B-ka poet. B. series);

Poems and poems. P., 1981 (B-ka poet. M. series);

Why and who needs poetry. M., 1961;

Word life. M., 1967;

About poets and poetry. Articles and memories. M., 1985;

Poems and poems. Stavropol, 1987;

Genealogy of poetry: articles, memoirs, letters. M., 1990;

Poems. Poems. Memories. Articles. M., 1990;

“If the night brings out all the anxieties...” [and other poems] // Anthem of Love. T.1. M., 1991. S.248-251;

Moscow notes // Vyacheslav Ivanov: Materials and research. M., 1996. S.151-167;

Through thunder [and other poems] // Russian Futurism: Theory. Practice. Criticism. Memories. M., 1999. S.210-215;

VV Khlebnikov // World of Velimir Khlebnikov. M., 2000. S.103-109;

Ancient [and other poems] // Poetry of Russian Futurism. M., 2001. S.463-475.

Literature:

Moldovan Dm. Nikolai Aseev. M.; L., 1965;

Serpov A. Nikolai Aseev: Essay on creativity. M., 1969;

Milkov V. Nikolai Aseev: Literary portrait. M., 1973;

Bondarenko V. “This one can, he has my grip ...” // literature at school. 1973. No. 3;

Memories of Nikolai Aseev. M., 1980;

Resin O. Lyric Aseeva. M., 1980;

Ivnev R. Two meetings with Nikolai Aseev // Moscow. 1981. No. 2;

Shaitanov I. In the Commonwealth of the Luminaries: Poetry of N. Aseev. M., 1985;

Kryukova A. Nikolai Aseev and Sergei Yesenin // In the world of Yesenin. M., 1986. S.523-538;

Meshkov Yu. Nikolai Aseev. Sverdlovsk, 1987;

Ozerov L. Time spoke in his verses: On the 100th anniversary of the birth of Nikolai Aseev // Literary newspaper. 1989. July 12;

Resin O. “I do not believe in either decay or old age ...” // Aseev N. Poems. Poems. Memories. Articles. M., 1990. S. 5-20;

Alimdarova E.V. Khlebnikov and N. Aseev // poetic world Velimir Khlebnikov. Astrakhan. 1992. Issue 2. pp.136-145.

Page:

Nikolai Nikolaevich Aseev - Russian Soviet poet, screenwriter, leader of Russian futurism.

N. N. Aseev was born on June 28 (July 10), 1889 in the city of Lgov (now the Kursk region) in the family of an insurance agent from the nobility. Until 1911, his surname was officially written as Asseev. Some reference books, based on the 1st volume of the Dictionary of Pseudonyms by I.F. Masanov, indicate that real name Aseev - “Shtalbaum”, although in the 4th volume of the dictionary, published during Aseev’s lifetime, a refutation appeared: “Indication that Aseev, N. is a pseudo. N. N. Shtalbaum, - does not correspond to reality. Aseev, N. N. - real name. The poet's mother, Elena Nikolaevna, nee Pinskaya, died young, when the boy was not yet 8 years old. The father soon remarried. He spent his childhood in the house of his grandfather, Nikolai Pavlovich Pinsky, an avid hunter and fisherman, a lover of folk songs and fairy tales, and a wonderful storyteller. Grandmother Varvara Stepanovna Pinskaya was a serf in her youth, bought out of captivity by her grandfather, who fell in love with her during one of his hunting wanderings. She remembered a lot from the life of the old village.

And the verses should be like this
be to take off, not steps,
to say: "Here is the element",
and not just: "Here are the rhymes."

Aseev Nikolay Nikolaevich

The boy was sent to the Kursk real school, which he graduated in 1909. Then he studied at the economic department at the Moscow Commercial Institute (1909-1912) and at the philological faculties of Moscow and Kharkov universities. Published in the children's magazine "Protalinka" (1914-1915). In 1915 he was drafted into the army and ended up on the Austrian front. In September 1917, he was elected to the regimental Council of Soldiers' Deputies and, together with a train of wounded Siberians, went to Irkutsk. During the Civil War, he ended up in the Far East. He was in charge of the labor exchange, then worked in a local newspaper, first publishing, later as a feuilletonist.

In 1922 he was summoned to Moscow by a telegram from A. V. Lunacharsky. Member of the "Creativity" group, together with S. M. Tretyakov, D. D. Burliuk, N. F. Chuzhak. In 1922 he came to Moscow. One of the leaders of the LEF (1923-1928) and REF (1929-1930) groups. He knew V. V. Mayakovsky and B. L. Pasternak well.

From 1931 until his death, Aseev lived in the "House of Writers' Cooperative" in Kamergersky Lane, as a memorial plaque installed on the building reminds of. During the war years, as not liable for military service, he was evacuated to Chistopol. The daughter of Marina Tsvetaeva, Ariadna Efron, who was imprisoned at that time, subsequently accused Aseev of mother’s suicide (failure to provide her with assistance in evacuation) and wrote to B. L. Pasternak in 1956: “For me, Aseev is not a poet, not a person, not enemy, not a traitor - he is a murderer, and this murder is worse than Dantesov. One of the letters is addressed to Aseev and his wife. suicide letters Tsvetaeva, who asked to take care of her son George: “Never leave him. I would be crazy happy if he lived with you. George himself wrote in his diary: “Aseev was completely shocked by the news of the death of Marina Tsvetaeva, immediately went with me to the district committee of the party, where he received permission to register me on his square ...”

Nikolai Nikolaevich Aseev (1889-1963) was born in the city of Lgov, Kursk province, in the family of an insurance agent. In 1909 he graduated from the Kursk real school. He received further education at the Commercial Institute in Moscow, at the same time he listened to lectures at the philological faculty at the university. Initial compilation Aseev's poems ("Night Flute") was published in 1914.

Aseev's early work was influenced by modernist schools (symbolism, futurism). The poet himself later noted the importance for him of the poetry of A. K. Tolstoy, the work of N. V. Gogol.

The best works early Aseev- these are poems written on the themes of Russian history, developing motives Slavic mythology. This brings him closer to V. Khlebnikov. The early Aseev also has "experimental" excesses, especially in the field of word creation and in worship of the "Lady Big Metaphor". critical role in creative biography the poet was played by his friendship with V. Mayakovsky.

During the civil war, Aseev was in the Far East. The first post-October collection of poems "Bomb" was published in Vladivostok (1921). In the 20-30s, Aseev actively and fruitfully worked in the genre of the poem (Twenty-Six, 1924; Lyrical Digression, 1924; Semyon Proskakov, 1927-1928; Mayakovsky Begins, 1939, 1950).

Aseev's fifty-year literary path was completed by the brilliant lyric collection Lad. Aseev is the author of many works on the theory of Russian verse, the problems of tradition and innovation.

Biography

Nikolai Aseev was born on June 28 (July 10), 1889 in Lgov, Kursk province. The son of an insurance agent (according to other sources, an agronomist). He graduated from the Kursk real school (1907), studied at the Moscow Commercial Institute (1908−1910), was a volunteer at Moscow University (Faculty of History and Philology). From 1908 he was regularly published in the journals Vesna, Zavety, Protalinka, the almanac Primrose, and other publications; for some time he worked as a secretary in the Russian Archive magazine.

He began as a symbolist, in Moscow he became close with V. Ya. Bryusov, Vyach.I. Ivanov, with the writer, critic, translator and artist S. P. Bobrov; in 1913 he joined the literary group "Lyrika" organized by him, becoming one of the founders of the publishing house of the same name, from which in 1914 a group of poets with a distinctly futuristic orientation "Centrifuge" (Aseev, Bobrov, B.L. Pasternak) emerged. In the same year, in Kharkov, Aseev was one of the organizers of the Liren literary group, which proclaimed the national-archaic tradition of Russian futurism of the Khlebnikov type, with its passion for primitivism and word creation. He became close friends with V. V. Khlebnikov, D. D. Burliuk, and especially with V. V. Mayakovsky (for some time the poets lived in the same apartment). After being called up (1915) for military service and working in the Far East, on the initiative of Aseev, the Balaganchik literary and artistic society was created in Vladivostok, which became the basis of the futuristic group Creativity that arose in 1920, which included, among others, Burliuk and S. M. Tretyakov. From 1922 he lived permanently in Moscow; in 1923 joined the LEF.

Symbolist sophistication and futuristic outrageousness (first book Night Flute, 1914), interest in Russian folk speech(Sb. Zor, 1914), which grew into a cult of sound painting (the book of Letorei, 1915, together with G. Petnikov; later assessed by Aseev himself as "non-objective innovation"), the decisive influence - in poetics and anti-bourgeois worldview - Mayakovsky, who highly appreciated Aseev ( “This one can, he has my grip” - in the poem Yubileinoye) and who co-authored with him many propaganda poems, appeared in Aseev’s collections Oy konindan okein (I love your eyes), 1915; Oksana, 1916; sharpness social issues, enthusiastic optimism of revolutionary romantic hopes and the tragedy of their mismatch with the expected - in the collections Bomba, 1921 (the edition issued in Vladivostok is almost completely destroyed), Steel Nightingale, 1922; Wind Council, 1923; Izmoroz, 1927, including famous poem Blue Hussars; Let's sing!, 1930; Flame of Victory, 1946; Diversity, 1950; Reflections, 1955; Lad, 1961, Lenin Prize, 1962; My very poems, 1962, - in the aggregate, created an impressively bright, stylistically diverse world of Aseev's lyrics, organically combining civic pathos and intimate intimacy, innovative audacity and loyalty to traditions, "industrialized" neologisms and vernacular - and, in the main vector of its development, going from complicated imagery to transparent clarity of verse (which was also reflected in the poems of Aseev Budyonny, 1923; Lyrical digression, Electriad, Twenty-six, dedicated to the executed Baku commissars, all 1924; Sverdlovsk Storm, 1925; Semyon Proskakov, 1928; Mayakovsky begins, 1936−1939 , separate edition 1970, State Prize USSR, 1941; additional chapters - 1950).

A passionately passionate conversation about the fate of the poet in the revolution was continued by Aseev in articles on literature (the books Diary of a Poet, Work on Verse, both 1929; Prose of the Poet, 1930; Why and Who Needs Poetry, 1961), in memoirs and travel notes (The Make-up Beauty, 1928 ). Aseev is also the author of poems for children, translations, articles on the history of Russian poetry, etc.

Nikolai Aseev was born in Lgov, Kursk province on June 28, 1889. He was the son of an insurance agent. In 1907 he became a graduate of the Kursk School, from 1908 to 1910 he studied at the Commercial Institute in Moscow and at Moscow University at the Faculty of History and Philology. From 1908 he began to publish his works regularly; worked as a secretary for some time.

Started my creative way as a symbolist, he became friends with V.Ya. Bryusov, V.I. Ivanov, S.P. Bobrov.

In 1913 he created the literary group "Lyrika", together with Bobrov and Pasternak, he was the organizer of the publishing house, from which in 1914 the group of writers "Centrifuga" was born, which professed futurism. In 1914, Aseev organized the Liren literary group in Kharkov. Was friends with V.V. Khlebnikov, D.D. Burlyukomi. For some period of time, Aseev lived with V.V. Mayakovsky in the same apartment.

In 1915 he was drafted into the army, during the war he ended up in the Far East. Founded in Vladivostok literary society"Balaganchik", which, in fact, became the foundation for the "Creativity" group, which Aseev organized with Tretyakov in 1920. Since 1922, Aseev has been living in Moscow; and in 1923 he joined the Left Front of the Arts.

Aseev's first book - "Night Flute" - 1914 - is a symbol of sophistication and outrageousness, in the collection "Zor" - 1914 - interest in Russian speech is clearly expressed, and in the book "Letorey" - 1915, he generally turns into the cult of sound writing. Creative friendship with Mayakovsky fully formed the talent of Nikolai Aseev. In his work, the revolutionary motive is enhanced. Together with Mayakovsky, many propaganda poems were written, which appeared in Aseev's collections “I Love Your Eyes” - 1915, “Oksana” - 1916; Collection "Bomb" - 1921, in which the sharpness is pronounced social problem, the entire circulation was burned by the invaders. The poems "Budyonny" - 1923 are imbued with revolutionary pathos; "Lyrical digression", "Twenty-six" - which Aseev dedicated to the executed Baku commissars - 1924. Aseev also wrote for children, was engaged in translations and articles.

Nikolai Nikolaevich Aseev(real name - Stahlbaum; 1889-1963) - Russian Soviet poet , screenwriter, activist of the Russianfuturism. Laureate of the Stalin Prize of the first degree (1941). He was a friend of V. V. Mayakovsky, B. L. Pasternak.

N. N. Aseev Born June 28 (July 10), 1889 in the city of Lgov (now the Kursk region) in the family of an insurance agent Nikolai Nikolaevich Shtalbaum. The poet's mother, Elena Nikolaevna, nee Pinskaya, died young, when the boy was not yet 8 years old. The father soon remarried. He spent his childhood in the house of his grandfather, Nikolai Pavlovich Pinsky, an avid hunter and fisherman, a lover of folk songs and fairy tales, and a wonderful storyteller. Grandmother Varvara Stepanovna Pinskaya was a serf in her youth, bought out of captivity by her grandfather, who fell in love with her during one of his hunting wanderings. She remembered a lot from the life of the old village.

The boy was sent to the Kursk real school, which he graduated in 1909. Then he studied at the economic department at the Moscow Commercial Institute (1909-1912) and at the philological faculties of Moscow and Kharkov universities. In 1915 he was drafted into the army and ended up on the Austrian front. In September 1917, he was elected to the regimental Council of Soldiers' Deputies and, together with a train of wounded Siberians, went to Irkutsk. During the Civil War, he ended up in the Far East. He was in charge of the labor exchange, then worked in a local newspaper, first publishing, later as a feuilletonist.

In 1920 he was summoned to Moscow by a telegram from A. V. Lunacharsky. Member of the group "Creativity" together withS. M. Tretyakov, D. D. Burliuk, N. F. Chuzhak. In 1922 he came to Moscow. From 1931 until his death, he lived in the "House of the Writers' Cooperative" in Kamergersky Lane, which is reminded by a memorial plaque installed on the building. During the war years, as not liable for military service, he was evacuated to Chistopol.

He actively helped the promotion of young poets during the Khrushchev "thaw". His letters to Viktor Sosnora, written shortly before his death, have been preserved. The letters are full of lively participation in creative career young poet.

N. N. Aseev died on July 16, 1963. Buried in Moscow Novodevichy cemetery(section No. 6).

In her letter to B. L. Pasternak in 1956, M. I. Tsvetaeva’s daughter A. S. Efron calls him the murderer of his mother (“For me Aseev- not a poet, not a man, not an enemy, not a traitor - he is a murderer, and this murder is worse than Dantesov. Having been turned down for requests for help—even for a dishwasher in the writers' cafeteria—and immediately after talking to Aseev, Marina Tsvetaeva committed suicide.

A street named after the poet Aseeva in Moscow. Kursk regional scientific Library and one of the streets of Kursk bear the name Aseeva. In the city of Lgov there is a literary and memorial museum of the poet, a street is named after him.

He began to print in 1909. Since 1914 Aseev together with S. P. Bobrov and B. L. Pasternak was one of the leading representatives of the circle "Lyrics", then the group " Centrifuge”, which professed futurism. The poet's first collection, The Night Flute (1914), bore traces of the influence of Symbolist poetry. Acquaintance with the works of V. V. Khlebnikov, passion for ancient Slavic folklore was reflected in the collections Zor (1914), Letorei (1915). Creative communication with V. V. Mayakovsky (since 1913) helped to form talent Aseeva. Revolutionary motifs are amplified in his poetry. The collection "Bomb" (1921) was burned by the invaders along with the destroyed printing house. "March of Budyonny" from the poem "Budyonny" (1922) became a popular song (music by A. A. Davidenko). From 1923 he participated in the literary group " LEF". The poem "Lyrical digression" (1924) caused heated discussions. Here Aseev laments the concessions in the ideological sphere and critically portrays the distortion of the revolutionary idea in the new political environment NEP.

The poems “Sverdlovsk Storm” (1924), “Semyon Proskakov” (1928), poems about revolutionaries (“Blue Hussars”, 1926, “Chernyshevsky”, 1929), “Poem about twenty-six Baku commissars” (1925) are imbued with revolutionary-romantic pathos. — typical example propaganda lyrics in the style of Mayakovsky). The poem "Mayakovsky begins" (1940).

Translated poems by Mao Zedong.

Wife - Ksenia Mikhailovna (nee Sinyakova) (1900-1985)

Awards and prizes

• Stalin Prize of the first degree (1941) - for the poem "Mayakovsky Begins"
• Order of Lenin (1939)
• Order of the Red Banner of Labor

Books by N. Aseev

• Nikolai Aseev. Night flute: Poems. / Foreword and region S. Bobrov.- M .: Lyrica, 1914. - 32 p.
• Nikolai Aseev. Zor. / Region M. Sinyakova.- M .: Liren, 1914. - 16 p.
• Nikolay Aseev, Grigory Petnikov. Letorei: Book. poems / Region M. Sinyakova.- M .: Liren, 1915. - 32 p.
• Nikolai Aseev. Oh konin dan okein! Fourth book. poems. - M .: Liren, 1916. - 14 p.
• Nikolai Aseev. Oksana. - M .: Centrifuge, 1916. - 88 p.
• Nikolai Aseev. Bomb. - Vladivostok: Vost. tribune, 1921. - 64 p.
• Nikolai Aseev. Siberian bass. - Chita, 1922
• Nikolai Aseev. Sofron at the front. - M., 1922
• Nikolai Aseev. Arzhan decree. - M .: Giz, 1922. - 20 p.
• Wind Council. - M., GIZ, 1923. - 56 p.
• Steel nightingale. - M., Vkhutemas, 1922. - 26 p.
• Nikolai Aseev. October songs., M., Mol. guard, 1925. - 32 p.
• Nikolai Aseev. Next row. M., 1925 - 32 p.
• Nikolai Aseev. Shot land (stories). M., Ogonyok, 1925. - 44 p.
• Nikolai Aseev. Why and who needs poetry. 1961. - 315 p.

Scenarios

• The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks, 1924.
• Battleship "Potemkin", 1925, together with Nina Agadzhanova.
• Fedkina Pravda, 1925, together with Alexander Pereguda.