Volkov, Georgy Vasilievich

Georgy Volkov was born on December 5, 1928 in the village of Pyra of the Malokozinsky village village council of the Balakhninsky district in the house of his grandparents the Shulyndins. He spent his childhood in his father’s house in the village of Lukino . He graduated from the primary Lukin school, a seven-year school in the village of Maloe Kozino, and a ten-year school in Bolshekozinskaya secondary school. He began to publish in high school, which fell on the last years of the war. The first verses were devoted to the struggle of the Soviet people against Nazi occupation. Then he began to cooperate with the newspaper "Red Sormovich" (Gorky) and the editors of the Balakhna broadcasting.

At the age of 18, he was drafted into the Soviet Army and went into the construction troops. Participated in the construction of Moscow University . He took an active part in the organization of the literary society "Vysotnik". For young George Volkov, this was a period of active creativity, he published quite a lot - in the newspapers "University Builder", "Red Warrior", "Moskovsky Komsomolets" (all - Moscow), his publication of this time in the newspaper "Red Sormovich is also known ". During one of the occupations of the Vysotnik association, poems M. Aliger praised the poems by G. Volkova.

Despite the opportunity to stay in Moscow, George Volkov decided to return to his homeland. Here he was hired by the editorial office of the newspaper Rabochaya Balakhna, where he worked until 1973, with an interval of two years. That was when N. S. Khrushchev decided to close the district newspapers, and Rabochaya Balakhna was temporarily not published. Georgy Vasilyevich was instructed to organize the factory long-haul at the Pravdinsk plant of radio relay equipment (PZRA) - the “Banner of Labor”. With the resumption of the publication of “Working Balakhna,” Volkov returned to its editorial office. However, in 1973, due to a conflict with the district party leadership, he had to leave the newspaper. From that moment until his retirement, Georgiy Vasilyevich worked in the newspaper "Krasny Sormovich".

He spent the last years of his life in St. Petersburg, where he lived with his daughter.

The ancestors of Georgy Vasilievich are monastery ( Trinity-Sergius Lavra ), since 1764 - state economic peasants of the Bolshekozinsky (Pyr) volost of the Balakhninsky district. The male line of this branch of the Lukin Volkovs can be traced back to the 17th century. In his memoirs, George Vasilyevich writes with great love about his grandfather, Nikolai Fedorovich Volkov, born in 1855. He was literate, books were kept in his house, a library quite serious for a peasant family. Nikolai Fedorovich’s brother, Pavel, from 1908 to 1916, was a trustee of the Lukinsky school, was awarded a commemorative medal in honor of the 25th anniversary of the opening of church and parish schools. Obviously, this desire to literacy of George Vasilyevich's ancestors, interest in education, literature is one of the necessary reasons for his choice of life. The father of Nicholas and Paul, Fedor Pavlovich (1821–1895) was the son of Pavel Andreevich Volkov (born approx. 1763-65 from his first wife). Great-great-great-great-great-grandfather of the poet Andrei Fedorovich Volkov (circa 1725 - 07/06/1804) in his second marriage was married to the Balakhna bourgeois Matron Stepanovna Bakaldina (born 1764, marriage 1781-82), whose grandmother Mavra Ivanova, the widow of Kuzma Bakaldina , is mentioned by a witness in one of the cases of the Balakhna City Magistrate, disassembled and published by V. G. Korolenko . The daughter of Andrei Fedorovich Akulina (1764–1842) married the peasant of the village of Lukino Yakov Vasilyeva Kanatova. She is the mother of the Lukin shipbuilder Nikolai Yakovlevich Kanatov (1799-1882), whose house is listed in the Register of Monuments of History and Architecture of the Russian Federation. Fyodor Pavlovich’s brother, Aleksey, after several years of burlachence, also became a shipmaster — he owned his own bark and concluded contracts for the supply of flour from the marinas of the Middle and Lower Volga to Rybinsk. At one of the houses of the village of Lukino, a carved frieze board with his patronymic name remained for a long time.

The oldest documented representative of the family - Kondraty Ivanov, is mentioned in the census of the village of Lukino in 1678. This is the 8th generation of the ancestors of Georgy Vasilievich.

Mom Georgy Vasilyevich, Antonina Fedorovna Shulyndina - also from an old local family, in the census of 1721 in the village of Pyra the name Shulyndin was mentioned twice. At the end of the 18th century, Ivan Vasilyevich Shulyndin left the Shulindin family from the merchant class. The grandmothers of Georgy Vasilievich - Evdokia Vasilievna Volkova (Bebenina) are from Lyakhov, Alexander Shulyndin (Rysev) - from Lukino.

An important role in the life of Georgy Vasilyevich was played by the families of his grandfathers. The family of Nikolai Fedorovich Volkov stood out from the local peasant milieu by his well-read, interest in literature. The children of Fedor and Alexandra Stepanovna Shulyndinov were gifted musically. The poet’s mother, Antonina Fedorovna, sang and played the guitar well, and her brother, Ivan, by nature had good hearing, played the button accordion in a local club. Father, Vasily Nikolayevich Volkov, also played the accordion. Both families were friendly and large. Also, like most of the local residents, during the years of Soviet power, they retained at least some elements of the Orthodox faith. Icons were kept in the houses; according to the memoirs of Georgy Vasilievich, Nikolai Fedorovich Volkov prayed before bedtime, was able to read Church Slavonic, mother attended church, took her children to it.

The first published poems and publications during the construction of the Moscow University were traditional in content for the Soviet press of the time. The main topics were the construction of Moscow University, the victory in the Great Patriotic War, the accomplishment of Soviet power. For example, in the poem "University", there are such lines:

Oh you mountains, Lenin mountains,

Stalin's early morning dawn

Looking around the country with a wise look

You will see in the haze of blue

At the same time, early poems are distinguished by elaboration, musicality, sometimes unexpected precise comparisons, clarity of thought. In the future, completely different motives began to appear in his poetry, which, perhaps, were not always recognized by the author as contradicting the principles of social realism. At the same time, most of the "socialist-realist" texts were published by him more often under the pseudonym Sun. Lukin, and those who, apparently, were assessed by the author as established works of art - under his own name. However, it is not always possible to clearly draw the border here. In his best examples, Volkov’s poetry is distinguished by a lofty, deeply personal outlook on the world and society; through a personal emotional story - the experience of maternal love, love for a woman, connection with family, small homeland, native nature, a person becomes connected with the whole world, cosmos, God. The sources of this "real", original poetry are not completely understood, obviously, it is the fruit of the poet’s continuous self-education, his personal experience, the formation of his own worldview. Even in his school diary entries (1944-45), extracts appear not only from V. G. Korolenko , N. A. Ostrovsky , N. G. Chernyshevsky , V. G. Belinsky , but also from the correspondence of Goethe and Eckerman . names of Aeschylus , Homer , Lope de Vega , Shakespeare , church composer Palestrina, and other authors, often not traditional for the Soviet school curriculum.

One of the important topics in the work of G.V. Volkov in the process of becoming him as a poet was the search for an answer to the question - how does the socialist reality in which he lived connects with simple human feelings and, in general, the facts of human existence - family, love for loved ones , to the mother, to the small homeland, as the old coexists and combines with the new. The nature of this poetry, however, was not rebellious and anti-Soviet, rather, it was an attempt to preserve and comprehend the human that should be inherent in any person, to find, stake out his place in the space of socialist myth. So, in the poem “Father”, we see the image of a tireless socialist worker, almost a Stakhanovite:

... Buzzed marten. And the blood was buzzing.

And boil like metal.

And then the body came out.

And he - threw, threw, threw ...

But, nevertheless, it is the Father; the poet brings him home, "half a day to rest." And let him, having had a little snack, go to bed in exhaustion, he is important and necessary just as a father, and not as a drummer of socialist labor. The theme of the family, its importance in human life is also devoted to the poems "Parental Saturday", "Pevunya (mom)", "My grandmother A. S. Shulyndina."

The poems Three Hooters and Balakhna are about the connection between Balakhna’s pre-revolutionary past and the present. And if “Three beeps” is a song about a new time, into which fragments of the past are fused, then “Balakhna” is an attempt to justify the pre-socialist history of Balakhna, to write it into the present, to show its vivid episodes, uniqueness. The chairman of the Gorky branch of the Writers' Union, the communist poet M. V. Shesterikov, in his review of the poem “Balakhna”, noted this as the main drawback of the poem:

“... The main objection is your approach to the history of Balakhna, to its past. What have you seen in the past? Balakhna has a common destiny with many settlements of Russia. In Balakhna they mined salt, built ships, weaved lace and poured bells. All this is right! ... "

But “The main pages of the history of Balakhna are our Soviet era. You have said surprisingly little about this. ” (TsANO f. 1825 op. 1 d. 86 l. 1-2)

A whole series of poems - “Poplar”, “Horse”, “Road”, “Pea Field” continues the theme of preservation, germination of the old in the new, memory of it.

Developing these topics, George Volkov in one way or another shows the impossibility of avoiding the personal, from a person’s connection with the world through his mother, family, small homeland, through personal history, the history of his ancestors. The lines from the poem “Balakhna” - “Your turn is not important to me in your history” are characteristic — as an answer to the future review of M. V. Shesterikov, and to the challenge posed to every person by the era of building socialism.

The love lyrics of G.V. Volkov are diverse. It expresses a variety of shades of a gentle, sublime feeling for a woman. This is a passionate youthful love ("Summer Resident", "Snow Maiden"), and the complexity of the relationship between a man and a woman ("Say me to love"), and detached admiring the female destiny, the ability to resist adversity ("Ah, Your Highness!", “Such women live among us”, “One”), and gratitude for the love that a woman can warm from youth to old age:

How to cry

Not ashamed of male tears, -

I kiss the whole gray strand

The famous toy braid. "

- "Spit"

Three "large" female images became the heroines of his poems "Nefertiti", "Drove the Mona Lisa in an electric train" and "Rafael" (Farnarina). Perhaps the more successful are Nefertiti and Gioconda, which the author managed to show through the prism of his era, through his personal perception and at the same time not “land” their images.

A special layer of lyrics is composed of “landscape” poems in which the image of a woman appears at the end of the poem, which makes the attitude to space and landscape change, the world is filled with warmth, love. Often this is achieved only by the pronoun “you”.

“... air is motionless. Glitter sparkles

Above us is a bell and blue.

Your silvered eyelashes

They tremble and melt on my lips. ”

- “Frost” (end)

Although in his homeland, Georgy Vasilyevich is often perceived as the author, who sang his native places, in fact, the poet's landscape lyrics are more complex. Landscape, tree, forest often act as a metaphor for man, human society, relations between people. Because of this, a double game is obtained, and it is not always easy to separate people and nature here:

"In all copses

In the silence of the deep

Birch comes out

An agonizing juice.

<...>

And joy -

It is not easy to get.

Joy tears

At first it will be poured. ”

- "In all copses"

In three poems, a stream stands out as a metaphor for human life and poetic creation: “Forest Stream”, “I Don't Want to Be a Drying Stream,” and from draft records:

"As long as life breathes chest

And the blood beats in the temples

I will not leave this way,

Don't get lost somewhere

Like a brook in the sand "

Extremely close to G.V. Volkov was the image of Pushkin as a poet. He is dedicated to the inspired poem “Poet” and “February 10”, which turned out to be prophetic for George Vasilyevich: he, like Alexander Sergeyevich, died on February 10 (2018) in St. Petersburg.

According to the memoirs of people who knew Georgy Vasilyevich, he was a believer. It is difficult to say when and how much he turned to faith, whether he brought it out of childhood, from the families of the Volkovs and the Shulindins. In his last creative years, he spoke directly about faith - in the poems Soul, Ascension, and Cross. However, his poetry always included religious vocabulary (“And water, like salvation, drank” - “Father”) and a special view of the world. He knew how to see the world from above, from afar, as if from where God looks from - and therefore many of his poetic statements leave a sense of verified truth - not because the author wants the reader to think so, but because before the text appears they are measured by possibilities of the highest measure, are compared with something more than just a canvas framing them, with some super-idea. Some poems directly contain this view from the depths of space - "Time", "Globe", some more "Soviet" "cosmic" poems. On the whole, the poet’s worldview is in many respects close to the poets of the mid-late 18th - early 19th centuries. Thus, the quatrain “Summer Night” and the poem “The Ecumenical Homeless” by the construction of the picture that appears before the lyrical hero echo Lomonosov’s “Evening Reflection on God's Majesty in the Case of the Great Northern Lights” and, in some way, with the religious quest of W. Blake , “Pevunya (to mother) ”- with the poem by J. Keats “ Like a dove from a thinning gloom. ” School diary notes show Goethe 's great influence. Of course, such a view of the world looks quite anachronistic against the background of the Soviet - and anti-Soviet XX century and postmodern border of the XX — XXI centuries. And, at the same time, the high quality of the verse, the true poetry, and the sincerity of the works of G.V. Volkov, just in combination with this opposition to their time, should be of interest to the reader.

Georgy Vasilievich Volkov was published mainly in the local press. During the years of service in the Army, his poems were published in the newspapers Moskovsky Komsomolets, Krasny Voyn, Krasny Sormovich, and Builder of the University. Subsequently, most of the poems were printed at the place of work - in the newspapers Rabochaya Balakhna and Krasny Sormovich. A number of publications were published in the Gorky / Nizhny Novgorod newspapers Leninskaya Smena, Gorkovskaya Pravda - Nizhegorodskaya Pravda. In the magazine "Nizhny Novgorod" was published a fairy tale "The Adventures of Down Jacket."

Gorky and Nizhny Novgorod poets M. Shesterikov, B. Pilnik, A. Lyukin, F. Sukhov, Yu. Adrianov, A. Figarev appreciated his work. Several poetry collections were published with his participation. So, the collection of poets - Gorky of 1961 was named after the line from his poem “Let the nightingales sing”. In addition, his poems were published in collections of the Balakhna literary club “Spring”: “Live, Spring” (1996), “Alley of Mininsky Garden” (1999), “Soul of Balakhna” (2005), “Living Water is a Sip” (2015) . The most complete, author's collection of Georgy Vasilievich - “The word is insisted on dew here” was published in 1997 in Balakhna. For many years, Georgy Vasilyevich led literary circles at the editorial offices of the newspapers Rabochaya Balakhna, Krasny Sormovich, Banner of Labor, and at the Lukino School No. 18. In practice, he created a special literary environment in Balakhna, since many of his students became his followers and followers of their traditions. He also stood at the origins of the literary club "Rodnik" at the Central Library. A. S. Pushkin, the literary page of "Worker Balakhna." Poetry George Vasilyevich is well known in his homeland, performed on local festivals, literary activities. He remains the most significant and popular poet born on Balakhna land.

In 2018-2019, the Central Library. In order to popularize the life and work of G.V. Volkov and preserve the memory of him, A.S. Pushkin of the city of Balakhny developed and implemented the project "Preserving the Present, Defining the Future". As part of this project, research work was carried out, during which the documents of the fund No. 1825 of the GKU GANO of the city of Balakhna, the materials of the personal archive of G.V. Volkov, the articles and poems of the author from the newspapers “Working Balakhna” and “Red Sormovich ". The result of the project was the release of the electronic information publication “G. V. Volkov. A poet of high poetic culture . " It includes scanned copies of published and unpublished documents and materials collected during the research work. This informational edition will allow not only to preserve the historical memory of the poet, but also will open to users the previously little-known facts of the life and work of G. V. Volkov. The disc presentation was held on January 30, 2019 at the Central Library. A.S. Pushkin of the city of Balakhny as part of the local history readings "Balakhninsky poet and journalist G.V. Volkov . "

• August: [poem] // Working Balakhna. - 1971. - 28 aug. - C.3.
• The ballad of the star: [poem] // Working Balakhna. - 1965. - 14 aug. - C.4.
• Beethoven: [poem] // Working Balakhna. - 1960. - 17 dec. - C.4.
• Binoculars: [poem] // Working Balakhna. - 1975. - May 13. - C.3.
• "To be trouble, war, the end of the century ...". The Matryoshka River: [poems] // Working Balakhna. - 1959. - July 31. - C.4.
• Venus: [poem] // Worker Balakhna. - 1966. - March 5. - C.4.
• Spring: [poem] // Worker Balakhna. - 1970. - March 21. - C.3.
• Spring: [poem] // Worker Balakhna. - 1971. - March 30th. - C.4.
• Spring: [poem] // Worker Balakhna. - 1974. - March 23. - C.3.
• Veterans of the “Working Balakhna”: [poem] // Working Balakhna. - 1995 .-- October 3. - C.3.
• Lady of the fall. I am here again. How we love. In the woods. In the garden: [poems] // Working Balakhna. - 2018. - September 14 - p.10.
• Return of Vasily Bortnikov: [article] // Working Balakhna. - 1953. - May 13th. - C.3.
• Time. Globe: [poems] // Working Balakhna. - 1962. - Oct. 27. - C.4.
• Lilac time: [poems] // Working Balakhna. - 1974. - 24 aug. - C.4.
• Lilac time: [poem] // Working Balakhna. - 1965. - June 12th. - C.4.
• Vyatka: [poem] // Working Balakhna. - 1970. - September 19 - C.3.
• Gagarin: [poem] // Worker Balakhna. - 1971. - 10 Apr. - C.3.
• “Where are the dawns of summer ...”: [poem] // Working Balakhna. - 1967. - 19 aug. - C.3.
• Deaf Ramen: [poem] // Working Balakhna. - 1992. - 5 sep. - C.3.
• "They spoke ...": [poem] // Rabochaya Balakhna. - 1976. - 19 aug. - C.4.
• State of poetry: [poem] // Worker Balakhna. - 1974. - May 18. - C.4.
• Summer resident: [poem] // Working Balakhna. - 1974. - Jan. 24 - C.4.
• Day at the factory committee: [article] // Worker Balakhna. - 1952. - May 28th. - C.4.
• “Money for a barrel ...”: [article] // Rabochaya Balakhna. - 1952. - June 15. - C.3.
• “It must be this pleasure ...”: [poem] // Worker Balakhna. - 1968. - 16 Nov. - C.3.
• Road: [poem] // Working Balakhna. - 1967. - Nov 7. - P.8.
• Life: [poem] // Working Balakhna. - 1969. - July 8th. - C.3.
• Here is the spirit of Lermontov: [article] // Working Balakhna. - 1961. - 15 Aug - C.4.
• The spirit of Lermontov hovers here: [article, continuation] // Rabochaya Balakhna. - 1961. - 17 Aug - C.4.
• Here the word is insisted on dew: verses of different years [collection]. - N. Novgorod, 1997.131 s.
• Winter: [poems] // Working Balakhna. - 1965. - Nov 16. - C.4.
• The knowledge of photography is for everyone: [article] // Working Balakhna. - 1960. - June 18th. - C.4.
• “And again in the morning the square of the window ...”: [poem] // Working Balakhna. - 1974. - 18 apr. - C.4.
• “And I remember from childhood ...”: [poem] // Working Balakhna. - 2000. - Aug 31. - C.3.
• Play blue colors: [poem] // Working Balakhna. - 1966. - 24 Feb. - C.4.
• From the lyrics: [poem] // Working Balakhna. - 1965. - Dec 30 - C.4.
• From a flame and light a born word: [article] // Red Sormovich. - 1991. - July 26.
• “How we love to seem young ...”: [poem] // Working Balakhna. - 1962. - June 12. - C.3.
• Comic tragedy: a small feuilleton // Working Balakhna. - 1952. - June 1. - C.3.
• Scythe instead of an ax: [poem] // Working Balakhna. - 1952. - Aug 1. - C.4.
• Forest Stream: [poem] // Working Balakhna. - 1962. - Aug 11. - C.4.
• Forest stream. Chamomile. Star. Thunderstorm. By mushrooms: [poems] // Working Balakhna. - 2018. - July 27th. - C.15.
• Lyukin and others: [article] // Red Sormovich. - 1997. - Nov 6.
• March: [poem] // Worker Balakhna. - 1969. - March 8. - C.4.
• My legend about Parash: [poem] // Working Balakhna. - 1973. - March 24th. - C.3.
• To my copulation: sonnet // Working Balakhna. - 1972. - Sep 26. - C.3.
• On the Volga: [poem] // Working Balakhna. - 1952. - July 18th. - C.3.
• On the forest grew aside: [poems] // Rabochaya Balakhna. - 1973. - 25 Dec. - C.4.
• At the forefront: [article] // Working Balakhna. - 1954. - 1 May. - C.3.
• At the bird's advice: fable // Working Balakhna. - 1952. - Dec 10 - C.4.
• On the home threshold: [poem] // Working Balakhna. - 1962. - 16 aug. - C.1.
• On the construction of peat technical school: [article] // Worker Balakhna. - 1952. - June 20th. - C.3.
• Our New Year's crocodile: poems by G. Volkov // Rabochaya Balakhna. - 1958. - 1 Jan. - C.4.
• To our mothers: [poem] // Working Balakhna. - 1973. - March 8. - C.1.
• "I do not want to be ...": [poem] // Rabochaya Balakhna. - 1962. - 26 Apr. - C.4.
• I do not want to be a creeping stream. Match. Summer night: [poems] // Working Balakhna. - 2018. - 10 Aug. - C.15.
• New Poems // Rabochaya Balakhna. - 1969. - Jan 16 - C.4.
• Zero cycle. Twenty years later: [poems] // Worker Balakhna. - 1976. - 10 Aug. - C.4.
• Promisechkin: [poem] // Working Balakhna. - 1952. - 12 Dec. - C.4.
• Autumn motives: [poems] // Working Balakhna. - 1973. - Sept. 15 - C.3.
• Autumn lines: [poems] // Working Balakhna. - 1961. - September 23 - C.4.
• Autumn lines: [poem] // Working Balakhna. - 1966. - Oct 13 - C.4.
• Autumn: [poem] // Working Balakhna. - 1954. - 10 oct. - C.4.
• Opening a new stadium: [article] // Working Balakhna. - 1952. - June 6th. - C.3.
• First snow: [poem] // Working Balakhna. - 1970. - Nov 7. - C.4.
• The first snow in the forest: [poem] // Working Balakhna. - 1960 .-- Oct 29. - C.4.
• The Tale of Bitter Truth: [article] // Working Balakhna. - 1963. - Jan 17 - C.4.
• Dedication: [poem] // Rabochaya Balakhna. - 2003. - 12 Aug. - C.3.
• Last path: [poem] // Rabochaya Balakhna. - 1961. - Nov 25. - C.4.
• Poet. Rafael: [poems] // Rabochaya Balakhna. - 1975 .-- Jan 23. - C.3.
• Let the nightingales sing: [poem] // Rabochaya Balakhna. - 1966. - May 14. - C.3.
• Let the nightingales sing. May flowed in a sonorous flow: [poems] // Working Balakhna. - 1959. - May 24. - C.4.
• Matryoshka River: [poem] // Working Balakhna. - 1966. - July 2. - C.3.
• Motherland: [poem] // Rabochaya Balakhna. - 1966. - June 11. - C.2.
• Native shore: [poem] // Rabochaya Balakhna. - 1959. - Feb 20. - C.4.
• Chamomile: [poem] // Rabochaya Balakhna. - 1973. - July 7th. - C.3.
• Stream: [poem] // Rabochaya Balakhna. - 1970. - July 16th. - C.4.
• September: [poem] // Rabochaya Balakhna. - 1965. - 25 Sep. - C.3.
• September forest: [poem] // Rabochaya Balakhna. - 1960. - 15 Sep. - C.4.
• Snezhnoe: [poem] // Rabochaya Balakhna. - 1973. - Nov 29. - C.4.
• Salt of Balakhna. Leaving Tolstoy: [poems] // Rabochaya Balakhna. - 1973. - Jan 1. - C.3.
• Sonnet // Rabochaya Balakhna. - 1965. - June 3. - C.4.
• Poems about a horse: [poem] // Rabochaya Balakhna. - 1965. - July 15. - C.4.
• Sideline dear: [poem] // Rabochaya Balakhna. - 1959. - 25 Feb. - C.3.
• Such distant close faces: [article] // Krasny sormovich. - 1997. - 5 Nov. - C.3.
• Turner Nikolai Afanasyev: [article] // Working Balakhna. - 1952. - April 20. - C.3.
• Three beeps: [poem] // Rabochaya Balakhna. - 1997. - September 20 - C.1.
• Morning: [poem] // Rabochaya Balakhna. - 1973. - May 22. - C.3.
• Cold evening. Illuminate me, inspiration. Among the oaks: [poem] // Rabochaya Balakhna. - 2018. - Oct 12 - p.10.
• Man hurries to help: [article] // Rabochaya Balakhna. - 1962. - Aug 21. - C.4.
• To a man of peaceful labor: [poem] // [newspaper unknown]. - 1949. - [without number].
• Driver: [poem] // Rabochaya Balakhna. - 1974. - 27 Apr. - C.2.
• Epigrams // Rabochaya Balakhna. - 1956. - Sep 23. - C.4.
• Language of love. Snow White. Frost. Boats. Singing: [poem] // Rabochaya Balakhna. - 2018. - March 7th. - p.10.

• Gorbunova N. The poet left, the poet stayed with us // Working Balakhna. - 2018. - 13 apr. - p.9.
• Gorbunova N. The language of love // ​​Rabochaya Balakhna. - 2019. - Feb 8
• Youth newspaper // Rabochaya Balakhna. - 2016. - Jan 14 - p. 5.
• Molokanova E. Poet and journalist G.V. Volkov // Red Sormovich. - 2019. - Feb 8
• Ogloblin I. Poems of George Volkov // Builder. - 1949. - September 12
• Special String Sound // Red Sormovich. - 1998. - 5 dec.
• In memory of George V. Volkov // Rabochaya Balakhna. - 2018 .-- Feb 16.
• Chernyaev S. George Vasilyevich Volkov. "I dreamed of a word ..."