GENNADY SHPALIKOV AS A SOVIET POET

Soviet literature was certainly an ideologized and controlled organism. It was not the professional environment or the reader who established the value hierarchy there. This meant that not all literature was in demand: often the outstanding poets were overshadowed by more recognized o cial poets. So it happened to Gennady Shpalikov. The purpose of the article is not to assert the poet’s place in the hierarchy of the poetic world, especially within the framework of Soviet literature, but to recreate a holistic picture, a historical picture of Russian literature, where there is a place for those who consciously built their poetics, starting from the basic postulates of Soviet poetry. The article discusses some of the author’s key texts, attempts to explore the particular oppositions of the lyrics (openness - loneliness, hopes - deception, etc.), interiorized landscapes, linguistic features, but the main thing is the a rmation of the unity of all techniques, an understanding of the ways in which a holistic impression of Shpalikov’s poetry is formed. So, in fact, our hypothesis is formed - to check whether there is consistency in the use of any specific techniques by Shpalikov. Both as a poet and as a screenwriter, Shpalikov gives uncomplicated plots, often eventless - the discovery was that this eventlessness and uncomplicateness can be said in verse. As a lyricist, Shpalikov could manifest himself precisely in Soviet times, only during the “thaw”. His name was not canceled by censorship, poetry was not banned, there were even iconic poems. He didn’t need to be rescued from oblivion. Nevertheless, there is an awareness of the poet’s unread nature. The author of the article, based on the immanent analysis of the text, begins to abolish this closeness.