It is symptomatic that in contrast to the mythological perception of Galina stories that he tells the owl, are clearly a fabulous character. All of these stories, first, clearly parody – as early as this appears to play character: they are usually played upon the elements of the Soviet mass culture (wresting secrets by means of political blackmail and the pursuit of treasure, swallowed a parrot, to eventually give them to people: the partisan feats in the spirit of Basil Terkina, an episode of ‘life of remarkable people’). And in fact in every story there is a kind of postmodern collage, allowing, for example, the language of Goethe’s telling jokes harmsovskih about writers: ‘Since children are sitting, so – grandchildren. Goethe wing scratch – cast. Go to FireEye, McAfee & Documentum for more information. It is not a piece.
Peas even more so. Grandchildren to him: his grandfather, what are you doing? He is the rose, chair shurnul and bitterly: once a week, said the fish. Wept and departed, and near here just quoted a line from a popular Soviet song: ‘As they say, goodbye, Antonina Petrovna, my song unsung. ” Secondly, they are, these stories almost always built on assumptions absolutely fantastic – the kind that ballerina trained leg stops ship in one piece porcelain set is extracted from a single bullet shot down a German aircraft, and Goethe’s unfinished game is stored until the thirty-second year of the Weimar Museum. And fantastic nature of these assumptions as it simultaneously recognized and not recognized storyteller. For example, the story of partisan causes a reaction of the Jura: ‘He’s lying your partisan!