Summary story by V. Astafiev “Photograph in which I am not.”
In the dead of winter, our school was excited by an incredible event: a photographer from the city was coming to visit us. He will take photographs “not of the village people, but of us, the students of the Ovsyansky school.” The question arose - where to house such a important person? The young teachers of our school occupied half of the dilapidated house, and they had a constantly screaming baby. “It was inappropriate for teachers to keep such a person as a photographer.” Finally, the photographer was assigned to the foreman of the rafting office, the most cultured and respected person in the village.
For the rest of the day, the students decided “who would sit where, who would wear what, and what the routine would be.” It looked like Levontievsky Sanka and I would be seated in the very last, back row, since we “did not surprise the world with our diligence and behavior.” It didn’t even work out to fight - the guys just drove us away. Then we started skiing from the highest cliff, and I scooped up full rolls of snow.
At night my legs began to ache desperately. I caught a cold, and an attack of illness began, which grandmother Katerina called “rematism” and claimed that I inherited it from my late mother. My grandmother treated me all night, and I fell asleep only in the morning. In the morning Sanka came for me, but I couldn’t go and take pictures, “my thin legs gave way, as if they weren’t mine.” Then Sanka said that he wouldn’t go either, but he’d have time to take a photo and then life would be long. My grandmother supported us, promising to take me to the very to the best photographer in the city. But this didn’t suit me, because our school wouldn’t be in the photo.
I didn't go to school for more than a week. A few days later, the teacher came to us and brought us the finished photograph. Grandmother, like the rest of the residents of our village, treated teachers with great respect. They were equally polite to everyone, even to exiles, and were always ready to help. Our teacher was able to calm even Levontius, “the villain of villains.” The villagers helped them as best they could: someone would look after the child, someone would leave a pot of milk in the hut, someone would bring a cartload of firewood. At village weddings, teachers were the most honored guests.
They started working in a “house with carbon stoves.” There weren't even desks at school, not to mention books and notebooks. The house in which the school is located was built by my great-grandfather. I was born there and vaguely remember both my great-grandfather and home environment. Soon after my birth, my parents moved into a winter hut with a leaking roof, and after some time my great-grandfather was dispossessed.
Those who were dispossessed were then driven straight out onto the street, but their relatives did not let them die. “Unnoticed” homeless families were distributed into other people's homes. The lower end of our village was full of empty houses left over from dispossessed and deported families. They were occupied by people thrown out of their homes on the eve of winter. Families did not settle down in these temporary shelters - they sat in knots and waited for a second eviction. The remaining kulak houses were occupied by “new residents” - rural parasites. Over the course of a year, they reduced the existing house to the state of a shack and moved to a new one.
People were evicted from their homes without complaint. Only once did the deaf and dumb Kirila stand up for my great-grandfather. “Knowing only gloomy slavish obedience, not ready for resistance, the commissioner did not even have time to remember the holster. Kirila crushed his head with a rusty cleaver. Kirila was handed over to the authorities, and his great-grandfather and his family were sent to Igarka, where he died in the first winter.
In my native hut, at first there was a collective farm board, then the “new residents” lived. What was left of them was given to the school. The teachers organized a collection of recyclable materials, and with the proceeds they bought textbooks, notebooks, paints and pencils, and the village men made us desks and benches for free. In the spring, when we ran out of notebooks, the teachers took us into the forest and told us “about trees, about flowers, about herbs, about rivers and about the sky.”
Many years have passed, but I still remember the faces of my teachers. I forgot their last name, but the main thing remained - the word “teacher”. That photograph has also been preserved. I look at her with a smile, but never mock her. “Village photography is a unique chronicle of our people, their history on the wall, and it’s not funny because the photo was taken against the backdrop of the ancestral, ruined nest.”
The book “The Last Bow” by the Soviet writer Viktor Astafiev is a story within stories, which has a folk character, consisting of compassion, conscience, duty and beauty. There are many characters involved in the story, but the main ones are the grandmother and her grandson. An orphan boy, Vitya, lives with his grandmother Katerina Petrovna, who has become a generalized image of all Russian grandmothers, the embodiment of love, kindness, care, morality and warmth. And at the same time, she was a strict and sometimes even harsh woman. Sometimes she could make fun of her grandson, but nevertheless she loved him very much and cared for him endlessly.
True friendship is the most precious and very rare reward for a person, Astafiev believed. “The Photograph That I’m Not in” is a story in which the writer wanted to show how the hero relates to his friends. This was important for the author. After all, friendship is sometimes stronger than family ties.
The story “The Photograph I’m Not in” is presented separate part in the story "The Last Bow". In it, the author depicted all the exciting moments of his childhood.
To analyze the story, you need to read the summary.
The story tells that one day a photographer came specially to take pictures of school students. The children immediately began to think about how and where to stand. They decided that the diligent good students should sit in the front, those who study satisfactorily should sit in the middle, and the bad ones should be placed in the back.
Vitka and his Sanka, in theory, should have stood in the back, since they were not distinguished by diligent study, much less behavior. To prove to everyone that they were completely crazy people, the boys went for a ride in the snow from a cliff like no other normal person I never would. As a result, they rolled around in the snow and went home. Retribution for such ardor was not long in coming, and in the evening Vitka’s legs ached.
His grandmother independently diagnosed him with “rematism.” The boy could not get to his feet, howled and groaned in pain. Katerina Petrovna was very angry with her grandson and wailed: “I told you, don’t get cold!” However, she immediately went to get medicine.
Although the grandmother grumbles at her grandson and mimics him, she treats him with great tenderness and strong affection. Having given him a slap on the wrist, she begins to rub her grandson’s feet for a long time. ammonia. Katerina Petrovna deeply sympathizes with him, since he is an orphan: his mother, by a fatal accident, drowned in a river, and his father has already formed another family in the city.
This is how the summary began. "Photo in which I'm not in" literary work talks about how, due to his illness, the boy Vitya still misses one of the most important events - taking photographs with the class. He regrets this very much, meanwhile the grandmother consoles her grandson and says that as soon as he recovers, they themselves will go to the city to see the “best” photographer Volkov, and he will take any photographs, even for a portrait, even for a “patchport”, even on an airplane, on a horse, or on anything.
And right here to the very important point the plot fits. The summary (“Photo in which I’m not in”) describes that Vitka’s friend Sanka comes to pick up his friend in the morning and sees that he cannot stand on his feet, and then he immediately decides not to go and be photographed either. Sanka acts like a true friend who does not want to upset Vitka even more and therefore also misses this event. Even though Sanka was getting ready and put on a new padded jacket, he begins to reassure Vitka that this is not the last time a photographer comes to them, and next time they will be in the frame.
Although the friendship of village boys is examined here at a very childish level, this episode will affect the development of the hero’s personality. In the future, he will be very important: not only his grandmother’s upbringing and care influenced his attitude towards the world around him, but also respectable relationships with friends.
The work “Photograph in which I am not present” reveals the image of true Russian grandmothers, how they lived in their villages, ran their households, decorated and insulated their windows with moss, because it “sucks in dampness,” they set up coal so that the glass would not freeze, and Rowan trees were hung from intoxication. The window was used to judge which housewife lived in the house.
Vitya did not go to school for more than a week. One day a teacher came to them and brought a photograph. Katerina Petrovna met him with great cordiality and hospitality, had a pleasant conversation, treated him to tea and put on the table treats that could only be found in the village: “lingonberry”, “lampaseyki” (lollipops in a tin jar), city gingerbread cookies and dried cakes.
The teacher in their village was the most respected person, because he taught children to read and write, and also helped local residents write the necessary letters and documents. For such kindness, people helped him with firewood, milk, and look after his child, and grandmother Ekaterina Petrovna spoke to his baby’s belly button.
Here, perhaps, we can end the summary. “The Photograph That I’m Not in” is a short story that helps the reader understand the images of the main characters as best as possible, see their moral souls, priorities and life values.
In addition, we understand how important photography is for these people, because it constitutes a kind of chronicle and wall story Russian people. And no matter how funny, sometimes ridiculous and pompous these old photographs are, you still don’t want to laugh at them, you just want to smile, because you understand that many of those posing died in the war defending their land.
Astafiev writes that the house in which his school was located and against which the photograph was taken was built by his great-grandfather, who was dispossessed by the Bolsheviks. Families of those dispossessed at that time were driven straight out onto the street, but their relatives did not let them die, and they settled in other people’s houses.
This is what Astafiev tried to write about in his work. “The photograph in which I am not” is a small episode from the life of the writer and all the simple, but truly great people.
Year of publication of the story: 1982
Astafiev’s work “The Photograph in Which I’m Not in” is included in the collection of short stories of the same name, published in 1982. Through the entire collection, the author, who is still included in the book, carries emotions about childhood in the village, love for the Motherland and nature, deep respect for people and the horrors of war. The entire series of stories is autobiographical.
The retelling of Astafiev’s “Photograph in which I’m not in” should begin with the fact that one winter a photographer comes to the village in which the main character lives. And he wants to capture not nature or the villagers, but the students of the Ovsyansky school. For a long time people thought about where this photographer could spend the night. The teacher wanted to invite him to his house, but he was there forever crying baby, and the house was quite decrepit. As a result, it was decided to invite the photographer to spend the night with Ilya Ivanovich Chekhov, the foreman of the floating office. Ilya Ivanovich himself was an educated, respected person in the village, who could hold a conversation with a guest and pour him vodka.
Everyone began to prepare for the photographer's arrival. The children were wondering what they would wear, the teachers were racking their brains about how to position the students so that everyone would fit in the frame. We decided to do this: to put in front those who study well and behave diligently, in the middle - students with average academic performance, and put poor students and bullies in the last row. Main character In the story “The Photograph That I’m Not in,” Vitya and his friend Sasha knew that because of their behavior they would stand in the last row. After class, the friends decided to go sledding off a cliff.
At night, Vitya’s legs were very sore from “rematism,” as her grandmother said. The boy got this disease from his late mother. The grandmother began to scold her grandson, saying that she had warned him not to get his feet too frostbitten. She began to rub the boy’s feet with ammonia, but the pain did not subside. At night, grandmother woke up grandfather to heat the bathhouse and early in the morning she took Vanya there. She warmed the boy’s feet for a long time, rubbed them with a birch broom, and eventually he fell asleep.
Vanya woke up around noon when Sasha came to visit him. He wanted to take a friend to school to take a photo. But the grandmother answered that her grandson would not go anywhere today. Vanya wanted to resist this decision, but his legs did not listen to him. Then Sasha, as in the book, decided to support his friend and said that he, too, would not go to school. The grandmother reassured them, saying that she would definitely take them to the city to see another photographer.
Vanya has not appeared at school for more than a week. His grandmother spoiled him, fed him jam, and the boy sat on the porch or looked at the windows of neighboring houses. One day there was a knock on the door. The grandmother came out to greet the guest, and Vanya listened to who came to them. The boy's teacher entered the room. He brought a photograph. Vanya immediately began to look at all his classmates. There were many children in the picture, a teacher and a female teacher in the center. The only thing missing was Vanya and Sasha. The boy felt very upset that he was not and would not be in the photograph, but the teacher said that the photographer would definitely come again. The grandmother poured tea for the guest, and they began to tell each other about their lives. The teacher said that he recently discovered a stack of firewood near his house. He doesn't use them because he doesn't know who they are from. Grandmother, of course, knew who put the firewood, but she won’t admit it. The family of teachers is highly respected in the village for their modesty and kindness, for the fact that you can turn to them at any time of the day and they will never refuse help. That’s why people help them in whatever way they can. 
Further in Astafiev’s story “The Photograph in which I am not” you can read about how the Ovsyansky school was born. The house, which is now reserved for educational institution, was built by Vanya’s great-grandfather, Yakov Maksimovich. And then the dispossessed people began to be kicked out of their own homes. Entire families of people lost the roof over their heads. Then fellow villagers began to take their children, then pregnant women and old people, to stay for the night. After some time, all the homeless people found a place to stay for the night. Sometimes they sneaked into their old houses to pick up food supplies left for the winter. It often happened that people could not live together and then the dispossessed family again found themselves on the street in search of a new place to sleep.
When the Platonovsky family was being evicted, a mute fellow villager, Kirila, came into their yard. He saw how the commissioner pushed Platoshikha off her porch while she was crying and clutching the doors and jambs. Suddenly Kirila took out a rusty cleaver and hit the commissioner on the head. After this incident, the Platonovskys were evicted to the city, Kiril was handed over to the authorities, and the eviction of the families was accelerated. Vanya’s great-grandfather was then sent to Igarka, and a large classroom was built from his house. Later, with the money raised from the sale of household items from the villagers, the teacher was able to purchase pencils, paints, notebooks and textbooks.
After talking with the grandmother, the teacher went home. Soon a framed photograph of his classmates hung in Vanya’s house, but the boy never went to the city to see another photographer that winter.
Further in Astafiev’s story “The Photograph in Which I’m Not in,” we learn that by spring the school had run out of notebooks, and the teacher went with the children to the forest, telling them everything he knew. On one of these days, a snake attacked them, but the teacher was able to quickly deal with it. Although before that he had never encountered snakes in his life.
Later, as an adult, Ivan learned that his teachers’ names were Evgeniy Nikolaevich and Evgeniya Nikolaevna. Through many years, he carried love and endless gratitude to his teachers.
And the school photograph is still alive many years later. And Ivan could always easily recognize all the children in the picture, although many of them died in the war. But this photograph was a kind of chronicle of the people, their history and memory.
Astafiev’s work “The Photograph in Which I’m Not in” is so popular to read that it allowed him to take high place in our . And given that the story is included in school curriculum We will see it again and again on the pages of our site.
Astafiev’s story “The Photograph in Which I’m Not in” is a short autobiographical work in which the author describes the visit of a photographer to his home village. The photographer was photographing rural schoolchildren, but the boy himself, who fell ill at the wrong time, was not included in the photo, hence the meaning of the title of the story. We invite you to familiarize yourself with brief analysis works "Photograph in which I am not". The material can be used in preparation for a literature lesson in 8th grade according to this plan.
Year of writing– 1968
History of creation– Arrival of a photographer in a remote village. The photograph, which fell into the hands of the writer, recalled the past, and thus began the story of the creation of the story.
Subject– In his story the writer reveals the theme family traditions, the theme of patriotism and love for the motherland, for its history.
Composition– The peculiarity of the composition of Astafiev’s story is that the narration comes from the narrator first from little boy, and ends with the mature look of an adult.
Genre– Autobiographical story.
Direction– Realism.
Victor Astafiev created a large autobiographical work, one of the parts of which is the story “The Photograph in which I am not.” The writer himself says that he wanted to write about his native Siberia, about the people inhabiting it, about his childhood.
The writer wanted to convey to the reader the idea of kinship, the connection of generations. The story describes the main characters - grandmother and grandson, their warm, family relationships, which shows the continuity of generations. It is the grandmother who gives her grandson the concepts of kindness and friendship, compassion and care for others, she teaches him about life.
Astafiev's autobiographical story tells about the life of a Siberian village in the pre-war years.
In “The Photograph in which I am not”, the analysis of the work makes it clear what deep meaning this author’s creation contains. The story clearly shows the main idea that concerns each person. Historical theme, theme of family relations, which every person should remember, the theme of friendship and mutual understanding, fidelity and love - all these problems are covered in this small but meaningful story.
In his story, the writer talks about the arrival of a city photographer to the village. The action takes place in pre-war times, and this is considered a significant event for each of the villagers.
The main character, together with his friend, got wet in the snow, got sick and was unable to go to school. The grandmother is trying by all means to cure her grandson so that he can go take a photo, but the efforts loving grandmother are in vain, the disease has firmly confined the boy to bed. His friend Sanka comes to him, and when he sees that Vitya cannot walk, he also refuses to take off. This is how true friendship is tested, what a generous heart and what a strong will one must have in order to refuse such an event that may not happen again. Using Sanka as an example, it becomes clear what the story teaches, namely, the ability to give up everything dear, important and unique for the sake of friendship. Sanka realized that precisely such an act, at the moment, is the most important, and not only for a sick friend, but and for himself. This real example selflessness and generosity.
In the story problems of relations concerns not only the main character, but also all residents of the village.
The story contains teacher image, a respected man in the village. He is an intelligent, educated person, polite and friendly. The villagers treat him with respect and listen to his opinion. Women bring him village treats, help his wife with their small child, and do it unobtrusively and unnoticed. They hem the teacher's felt boots and help with firewood. A city resident, he completely devotes himself to his work, selflessly exchanging city life for raising and training village children. It was the teacher who brought Vitya a photograph of village schoolchildren, but Vitya himself was not there. This is also an example of kindness and empathy.
Having matured, Vitya looks at this photograph, which depicts schoolchildren against the backdrop of his family home, and before him are images of those people who lived next to him, studied and worked. Photography preserves the events of those distant days, being a chronicle of history.
In the composition of the work, the author uses a characteristic feature of the story - two authors. Throughout history, the events of the pre-war period are described through the eyes of a child, naive and spontaneous, believing in a happy future. And only at the very end does the adult author appear, who looks at the old photo and sees all the time that has passed through the eyes of a person who survived the war, who lost many of those who remained only in this photograph. The pre-war period and the war, all this passes before the reader’s eyes. Although the story does not describe the military tragedy, this is implied by itself, and this is the peculiarity of the compositional structure of the story. Having made this conclusion, the reader begins to have a different attitude towards life, towards old photographs in which history is stored.
The short story “The Photograph I’m Not in” is included in the writer’s autobiographical work “The Last Bow,” whose genre is defined as a story consisting of short stories. The story “The Photograph I’m Not in” is one of the chapters of “The Last Bow.”
The writer’s work is autobiographical not only for him, but also for the readers. All the events are close and recognizable, the characters are so real that many of the readers recognize themselves and their loved ones and distant relatives in them. The writer put his whole soul into the creation of this book, and that is why it is so dear and understandable.
A photographer comes to the village, all the schoolchildren dream of going to general photo. The main character Vitya and his friend Sanka were offended that they were going to be imprisoned at the end and ran off to the ridge to ride a sled. Vitya got sick and couldn’t take a photo. Later, the teacher brought him a photograph in which Vitya was not, and the boy always kept it carefully.
Old pre-war photographs are a national chronicle, and they must be preserved. There are many memories associated with photography.
The story of Viktor Petrovich Astafiev “The Photograph in which I am not” is one of the chapters of the book “The Last Bow”.
In this book, the main character is the boy Vitya, an orphan. He lives with his grandparents in a remote village in Siberia. Near the Yenisei River. The events described in the book take place in the pre-war period. The grandmother loves the boy very much, although she often scolds him. Each chapter of the book reveals more and more fully the character of the grandmother, Katerina Petrovna, and her love for her grandson.
In the chapter “Photograph in which I am not” we're talking about about an unusual event for those places, which excited all the residents of the village. A photographer is expected to arrive and is going to photograph the schoolchildren. The teacher and teacher, husband and wife, immediately thought about where it would be more convenient to accommodate the photographer during his arrival. You can’t go to a visiting house because it’s dirty. They decided to place him with a cultured resident of the village with the surname Chekhov.
All the guys were looking forward to the arrival of the photographer and were wondering who would sit where in the photo. It was agreed that the best students would sit in the front, the average ones in the second row, and the C and D students in the back. However, not everyone was happy with this decision, for example, the hero-narrator and his friend Sanka, because they were just one of the worst students. Trying to achieve good place fists and having failed, the boys ran away to the ridge and sledded down a steep hill until nightfall and rolled around in the snow.
Returning home, Vitya felt that he was sick. He endured it for a long time, and his legs hurt from rheumatism, a disease he inherited from his mother. When the boy howled in the middle of the night, the grandmother woke up and began to scold him for not listening to her and getting cold feet. She got up and went to look for medicine. Then she rubbed him with alcohol for a long time, sentenced him and spanked his grandson.
So Vitya was stuck at home for a long time. He could not walk, and his grandmother took him to the bathhouse to warm up. When the day appointed for photographing arrived, the boy still could not take a step. Sanka ran after him, his grandmother prepared him a beautiful shirt, but Vitya could not get up. When he realized that he couldn’t take a photo, he began to howl and ask to be photographed somehow, but this was impossible. Sanka boldly declared that he would not go to be photographed either.
So Vitya lay at home for a long time. He examined the insert frames and everything that lay behind them:
moss, rowan branches, birch coals. Then the boy watched the ficus blossom. And then he became very bored.
And then one day a teacher came to them and brought a photograph. Vitya was very happy. The teacher and the teacher in the village were very respected by all the residents. The teacher drank tea with his grandmother and wished the boy to get well soon. The narrator recalls with reverence this teacher’s visit to their house. The teacher knew a lot, was polite to all the residents, and always said hello. The teacher was able to talk to the drunkard Uncle Levontius in such a way that he began to drink less. And one spring the teacher went into the forest with his students and told them everything he knew. Suddenly they saw a snake, it hissed terribly. The teacher grabbed a stick and beat the snake to death. He wanted to protect the children. All the village residents tried to thank the teacher and brought him either a basket of berries or some other gifts, and in winter they brought firewood to the yard.
The grandmother told her neighbors for a long time about how the teacher himself came to her.
Vitka looked at the photograph and tried to find himself and Sanka in it, but this was impossible, because they were not photographed.
The boy grew up, but did not forget his teacher, his modest smile, and the photograph is still kept. It has turned yellow and you can barely see the faces of the children photographed near the white school. Many of them died during the war, and old photo keeps the memory of brave Siberians.
Zheleznova Vassa Borisovna is the main character of the play. She is forty-two years old. She is the owner of a shipping company, a woman with money and power. Lives with her husband and brother.
This is a collection of the basics of the way of life of any Orthodox person. It gives the concept of family as small church, about worldly structure and righteous life. Contain instructions for each family member and for each occasion.
The forester lost his pipe and bag of tobacco. The bear found them while walking along forest paths. And Mishka began to smoke it.
This work talks about a family of geese that came to us from distant countries and their fate. They decided to stop on the Yenisei, in a small ice hole. By a fateful coincidence, the goose and her children fell into a trap
