Turborealism

Turboalism is the self-name of the direction that arose in Russian science fiction in the early 1990s. According to some critics and writers who are not involved in the movement, it was the result of an attempt to dissociate itself from fiction, considered to be a "low genre" as such ^{[1] [2]} .

Turborealism can be defined as philosophical - psychological intellectual fiction, freely dealing with realities. The works related to this direction are at the junction of science fiction and “ordinary” literature, fantastic assumptions are the starting point for a work made according to the canons of socio-psychological prose ^[3] . In a sense, turborealism is a further development of the concept of "realistic fiction" laid down by the Strugatsky ^[4] . The term "turborealism" was floated by Vladimir Pokrovsky ^[5] . “Turborealists” include authors such as Andrei Stolyarov , Andrei Lazarchuk , to some extent Victor Pelevin and Mikhail Weller . Eduard Gevorgyan and Andrei Salomatov are working in a manner close to turborealism .

Andrei Lazarchuk gives ^{[5] the} following definition of turborealism:

Turborealism implies the following: our world is basically a collective fiction, or at least a description, text, information package; directly in sensations, we get a small fraction of the information about him (and even that, knowing something about the mechanisms of perception, we can question), much more - in the form of messages that have passed through many hands.

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We can say this: turborealism is the literature of the virtual world in which we exist.

Since the term has not yet been established, the authors of the “ fourth wave ” periodically fall into the number of “turborealists” ^{[ clarify ]} ”, working in other aesthetic spaces - for example, Mikhail Uspensky , Evgeny Lukin , Vyacheslav Rybakov or Boris Stern .

Turborealism is characterized by its theorists on such distinguishing features as “overtext” , “epicatastrophism” and “metareligion” .

The essence of the principle of “supertext” is the idea of ​​literature as a whole as an information wave rolling from the past to the future. In order to say something truly new, the author must be ahead of this wave, write ahead of his own time. This is achieved by increased semantic and emotional richness of the texts of the works of turborealism, from which a plurality of interpretations naturally follows. The principle of "supertext", which was important for the "turbo-liberalists" at the stage of the formation of their movement, was not so much philosophical and aesthetic as political, it clearly showed why turbo-liberalism is at the forefront of modern literature.

The principle of "epicatastrophism", in contrast, has been very fruitful. He postulated that man ( society , the world) exists in the conditions of a permanent catastrophe - moral, social, cosmological . The application of this principle gives the works of "turborealism" some pessimism - and at the same time makes them relatively dynamic.

The principle of "metareligia" is based on the idea of ​​the equivalence for turbo-liberalism of such principles as personality , God and the world. It is the use of this principle that allows authors to freely handle realities, to push God (or the Devil ) and a person on an equal footing, to use magic not as an artistic device, but as an essential part of the described reality.