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var link = magLinks[Math.floor(Math.random()*magLinks.length)]; $('.mag-nav__random-btn').attr('href',link);</script></header><article class="article blog-article"><div class="blog-article__content"><p class="article-header post-header"><time class="blog-date" datetime="2025-03-24">24 марта 2025</time><a href="/mag/literature">Литература</a></p><h1>«За дверью был цветник»: 9 снов писателей об их ремесле</h1><p class="article-preview">«„Мне тяжело дышать“, сказал Чехов и вытащил изо рта утку. Утка оказалась жареная, с яблоками. И все бросились с разбега к Чехову хватать утку». Что снилось писателям от Джойса до Кинга и как в этих грезах они встречались со своими страхами и кумирами</p><p class="article-author"><span class="label">Подготовили</span> <a target="_blank" href="/authors/1050">Алексей Бороненко</a>, <a target="_blank" href="/authors/810">Ирина Костарева</a></p><div class="simple-share simple-share--material-top"><div class="simple-share__item simple-share__item--vk"><a class="simple-share__link" data-track-social="vk" data-url="https%3A%2F%2Farzamas.academy%2Fmag%2F1328-dream" href="https://vk.com/share.php?url=https%3A%2F%2Farzamas.academy%2Fmag%2F1328-dream" title="Поделиться в VK"></a><div class="simple-share__icon simple-share__icon--vk"></div></div><div class="simple-share__item simple-share__item--ok"><a class="simple-share__link" data-track-social="ok" data-url="https%3A%2F%2Farzamas.academy%2Fmag%2F1328-dream" href="https://connect.ok.ru/offer?url=https%3A%2F%2Farzamas.academy%2Fmag%2F1328-dream&title=%C2%AB%D0%97%D0%B0%20%D0%B4%D0%B2%D0%B5%D1%80%D1%8C%D1%8E%20%D0%B1%D1%8B%D0%BB%20%D1%86%D0%B2%D0%B5%D1%82%D0%BD%D0%B8%D0%BA%C2%BB%3A%209%C2%A0%D1%81%D0%BD%D0%BE%D0%B2%20%D0%BF%D0%B8%D1%81%D0%B0%D1%82%D0%B5%D0%BB%D0%B5%D0%B9%20%D0%BE%D0%B1%C2%A0%D0%B8%D1%85%20%D1%80%D0%B5%D0%BC%D0%B5%D1%81%D0%BB%D0%B5&imageUrl=https%3A%2F%2Fcdn-s-static.arzamas.academy%2Fstorage%2Fpost%2F1328%2Fshare_share_picture-e85ecfd7-fc5b-41e6-a4d0-d279357b5943.jpg" title="Поделиться в Одноклассниках"></a><div class="simple-share__icon simple-share__icon--ok"></div></div><div class="simple-share__item simple-share__item--tw"><a class="simple-share__link" data-track-social="twitter" data-url="https%3A%2F%2Farzamas.academy%2Fmag%2F1328-dream" href="https://twitter.com/intent/tweet?text=%C2%AB%D0%97%D0%B0%20%D0%B4%D0%B2%D0%B5%D1%80%D1%8C%D1%8E%20%D0%B1%D1%8B%D0%BB%20%D1%86%D0%B2%D0%B5%D1%82%D0%BD%D0%B8%D0%BA%C2%BB%3A%209%C2%A0%D1%81%D0%BD%D0%BE%D0%B2%20%D0%BF%D0%B8%D1%81%D0%B0%D1%82%D0%B5%D0%BB%D0%B5%D0%B9%20%D0%BE%D0%B1%C2%A0%D0%B8%D1%85%20%D1%80%D0%B5%D0%BC%D0%B5%D1%81%D0%BB%D0%B5&original_referer=https%3A%2F%2Farzamas.academy%2Fmag%2F1328-dream&url=https%3A%2F%2Farzamas.academy%2Fmag%2F1328-dream" title="Поделиться в Twitter"></a><div class="simple-share__icon simple-share__icon--tw"></div></div></div><script type="text/javascript">$(document).ready(function () { waitFor('initShareButtons', function () { initShareButtons("https%3A%2F%2Farzamas.academy%2Fmag%2F1328-dream", false ) } ) });</script><figure class="article-image article-image-primary"><img alt="" src="https://cdn-s-static.arzamas.academy/uploads/ckeditor/pictures/22165/content_sleep.jpg" style="height:517px; width:660px" /> <figcaption><strong>Две спящие фигуры. Рисунок неизвестного художника. XVII век</strong><cite class="copyright">The Metropolitan Museum of Art</cite></figcaption> </figure> <h4 class="firstmega mega4"><span class="meganum">1</span>Алексей Ремизов — о Чехове и утке</h4> <p>«Мне приснилось: в святой Софии Цареградской открыли фрески: &bdquo;страды Богородицы“, показывает Замятин и Муратов <span class="info-note"><a> </a><span class="note">Павел Павлович Муратов (1881–1950) — писатель и искусствовед, переводчик и издатель, специалист по древнерусской иконописи.</span></span>, а на экране появляются семь мудрецов Эйнштейн, Шестов <span class="info-note"><a> </a><span class="note">Лев Исаакович Шестов (1866–1938) — философ-экзистенциалист, литературовед.</span></span>, Шаляпин и Горький — совсем как живые. Шестов с ключом, а из рамки не выходят, и тут же Иван Павлович Кобеко <span class="info-note"><a> </a><span class="note">Иван Павлович Кобеко (1892 — после 1961) — юрист, мировой судья.</span></span> разложил на столике и показывает с фокусами пластинки; раскрывается комната: Антон Павлович Чехов в черном драповом пальто сидит на зеленой садовой скамейке и весь как освещен изнутри серебром. &bdquo;Вот вы к нам и совсем пришли!“ — говорю я и прохожу по мосту — все на мраморе: выставка скульптур — разноцветные бутылки и соусники.<br />      &bdquo;Мне тяжело дышать“, сказал Чехов и вытащил изо рта утку.<br />      Утка оказалась жареная, с яблоками. И все бросились с разбега к Чехову хватать утку» <span class="info-note"><a> </a><span class="note">А. М. Ремизов. Петербургский буерак. VIII. Хмурые люди // Ремизов А. М. Собрание сочинений. В 10 т. Т. 10. М., 2000–2003. </span></span>.</p> <h4 class="firstmega mega4"><span class="meganum">2</span>Вячеслав Иванов — об Ахматовой в Греции</h4> <p>«Я видел во сне всемирный съезд писателей в Греции, на котором, представь себе, была Ахматова. Как раз в это время в Пирее нашли домик Сократа. Ее в нем поселили: там его стол, его кресло. А я поселился в верхнем этаже. Утром я спускаюсь вниз и вижу: женщина сидит за столом и плачет. Я спрашиваю ее: &bdquo;Анна Андреевна, что с вами?“ Она отвечает, что она видела в этом столе своего ребенка — только он был розовым, а стол черного мрамора. Так было странно ей увидеть свое дитя среди этих клубящихся плит у моря. Я говорю ей: &bdquo;Ведь даже Гомера — и того не изображают на каждой вещи, а что же нам, простым людям, ждать“. И я сказал ей: &bdquo;Когда-нибудь у нас, как в Китае, поэзия будет на каждом шагу, на каждой вещи“. Она ответила: &bdquo;Может быть“» <span class="info-note"><a> </a><span class="note"><u><a href="https://www.ruthenia.ru/60s/kritika/ivanov_ahmatova.htm" target="_blank">В. В. Иванов. Беседы с Анной Ахматовой // Русская поэзия </a> <nobr><a href="https://www.ruthenia.ru/60s/kritika/ivanov_ahmatova.htm" target="_blank">1960-х</a></nobr><a href="https://www.ruthenia.ru/60s/kritika/ivanov_ahmatova.htm" target="_blank"> годов</a> </u>.</span></span>.</p> <h4 class="firstmega mega4"><span class="meganum">3</span>Марина Цветаева — о темно-зеленой книге</h4> <p>«Вы мой самый любимый поэт, я <nobr>когда-то</nobr> — давным-давно — лет шесть тому назад — видела Вас во сне, — Вашу будущую книгу: темно-зеленую, сафьянную, с серебром — &bdquo;Словеса золотые“, — <nobr>какое-то</nobr> древнее колдовство, вроде молитвы (вернее — обратное!) — и — проснувшись — я знала, что Вы ее напишете» <span class="info-note"><a> </a><span class="note"><u><a href="http://tsvetaeva.lit-info.ru/tsvetaeva/pisma/letter-165.htm" target="_blank">Из письма Анне Ахматовой от 26 апреля 1912 года</a></u>.</span></span>.</p> <h4 class="firstmega mega4"><span class="meganum">4</span>Джеймс Джойс — о цветнике за дверью и крови на ее пороге</h4> <p>«После русского балета мне приснился странный сон. Я увидел персидский павильон с шестнадцатью комнатами, по четыре на каждом этаже. Человек, совершивший некое преступление, зашел на нижний этаж. За дверью был цветник. Человек надеялся пройти внутрь, но когда он подошел к порогу, капля его крови пролилась на порог. Я понимал его отчаяние, ведь он прошел с первого этажа до четвертого, каждый раз надеясь, что вот на этот порог из его раны не прольется очередная капля крови. Но, как обнаружил некий чиновник, надежда была напрасной: четко на пороге каждой из шестнадцати комнат пролилось по капле его крови. За ним наблюдали два чиновника в парчовых халатах и человек с ятаганом. <br />      Сможете проанализировать этот сон по Фрейду? Я попробую. Комнаты символизируют двенадцать знаков зодиака. Три двери — Троицу. Преступник — это, разумеется, я сам. Капля крови, пролитая на пороге каждой двери, — это пятифранковые банкноты, которые мне дал в долг Уиндем Льюис» <span class="info-note"><a> </a><span class="note">R. Ellmann. James Joyce. Oxford, 1959.<br /> Перевод Алексея Бороненко.</span></span>. </p> <h4 class="firstmega mega4"><span class="meganum">5</span>Хорхе Луис Борхес — о библиотеке с бесчисленным множеством одинаковых книг</h4> <p>«Снилось мне также, что я нахожусь в библиотеке с бесчисленным множеством одинаковых книг. Они переплетены. Без названия или имени автора. Вроде бы книги с краткими мыслями или фрагментами. Я читал <nobr>какие-то</nobr> из этих фраз: они были непонятны. Я хотел уйти и не находил выхода. У господина, который находился в библиотеке и во сне был одним из моих друзей, я спрашивал, где дверь для выхода. &bdquo;Вообще-то ее нет“, — отвечал тот» <span class="info-note"><a> </a><span class="note">Цит. по: А. Б. Касарес. Борхес. Из дневников. М., 2013.</span></span>.</p> <h4 class="firstmega mega4"><span class="meganum">6</span>Нина Берберова — о гробах в товарном вагоне</h4> <p>«Лет двадцать тому назад я видела сон: я стою в Ленинграде на вокзале и жду поезда из Парижа. Это поезд — товарный, он везет эмигрантские гробы на родину. Я бегу по платформе, медленно тянется длинный состав. На первом вагоне написано мелом: Милюков, Струве, Рахманинов, Шаляпин, на втором: Мережковский, Бунин, Дягилев, еще <nobr>кто-то</nobr>. Я спрашиваю: где Ходасевич? Мне показывают рукой в конец поезда. Мелькает вагон с надписью: Шестов, Ремизов, Бердяев. Я все бегу: наконец в последнем вагоне я с бьющимся сердцем вижу его гроб. Почему я так волнуюсь, будто готовлюсь увидеть его самого? С грохотом раздвигаются двери, и десяток железнодорожных служащих подкатывают тележки. &bdquo;Выгружают! Выгружают!“ — кричит <nobr>кто-то</nobr> за моей спиной. И вдруг я вижу, что рядом с гробом Ходасевича в полутьме товарного вагона стоят еще гроба: Есенина, Цветаевой, Ахматовой… &bdquo;Почему они здесь? — недоумеваю я. — Это <nobr>какое-то</nobr> недоразумение“» <span class="info-note"><a> </a><span class="note">Н. Н. Берберова. Курсив мой. М., 1966.</span></span>.</p> <h4 class="firstmega mega4"><span class="meganum">7</span>Стивен Кинг — о чудовище с седой головой</h4> <p>«Мне редко снятся одни и те же сны, но когда я тревожусь, мне часто снится, как я усердно работаю в душной каморке, похожей на комнату, которая у меня была в подростковом возрасте, и осознаю, что на чердаке — сумасшедшая женщина. Под карнизом крошечная дверь, которая ведет на чердак, и мне обязательно нужно закончить свою работу. Если я этого не сделаю, за мной придет она. Во сне обязательно наступает момент, когда дверь распахивается и из нее выскакивает это чудовище — с седой головой, похожей на облетевший одуванчик, и со скальпелем в руках.<br />      После этого я просыпаюсь.<br />      Мне до сих пор снится этот сон каждый раз, когда у меня случается аврал и я отчаянно пытаюсь соблюсти все эти безумные обязательства, которые я сам на себя взвалил» <span class="info-note"><a> </a><span class="note">N. Epel. Writers Dreaming. 26 Writers Talk About Their Dreams and the Creative Process. New York, 1994.<br /> Перевод Алексея Бороненко.</span></span>.</p> <h4 class="firstmega mega4"><span class="meganum">8</span>Энтони Бёрджесс — о превращении в слона</h4> <p>«Некоторое время назад мне приснился яркий сон о том, как я читаю лекцию в американском колледже. Я отчетливо видел группу студентов, один из которых — грек — вел конспект на родном языке. Мой разум потратил немало усилий на создание декораций для этого сна, включая огромную репродукцию портрета Джона Рёскина работы Милле. Моя лекция была посвящена как раз Рёскину, и хотя по собственной воле я бы такую тему не выбрал, по пробуждении я проверил и убедился, что большую часть фактов, включая даты его рождения и смерти, передал верно. Однако закончил я лекцию следующим заявлением: &bdquo;Величайшей трагедией Джона Рёскина стало его превращение в слона“. Аудитория, к ужасу моего сонного разума, разразилась хохотом, и громче всех смеялся студент-грек (на котором оказались очки и вязаный джемпер). &bdquo;Нет-нет, — крикнул я ему, — я говорю не в метафорическом, а в самом прямом смысле“. Смех стоял такой оглушительный, что из коридора к нам стали заглядывать другие студенты. На этом сон кончился» <span class="info-note"><a> </a><span class="note">A. Burgess. You’ve Had Your Time. The Second Part of the Confessions. New York, 1991.<br /> Перевод Алексея Бороненко.</span></span>.</p> <h4 class="firstmega mega4"><span class="meganum">9</span>Рюрик Ивнев — о поцелуе Достоевского</h4> <p>«Тенишевский концертный зал. Масса народу. Среди присутствующих Ф. М. Достоевский (в амфитеатре). Я рядом. Идут <nobr>какие-то</nobr> споры. Начинает говорить Достоевский. В своей речи (по поводу чего и о чем — не знаю, не помню, и во сне об этом не знал) он вдруг мельком коснулся, что его обвинил (Бурцев? Кажется, он <span class="info-note"><a> </a><span class="note">Владимир Львович Бурцев (1862–1942) — публицист и издатель.</span></span>) в <nobr>чем-то</nobr> нехорошем (провокация? <nobr>Что-то</nobr> очень смутно помню), и продолжал свою речь. Но из публики его перебивает <nobr>кто-то</nobr> (ехидно) с просьбой остановиться подробнее на обвинении (Бурцева?) и (намек?) оправдаться. Тогда я в страшном возбуждении соскакиваю с места и под шум и крики аудитории начинаю говорить, что предлагать Достоевскому останавливаться на этом низком обвинении есть величайшее оскорбление, наносимое России в лице Ф. М. Достоевского.<br />      Во время моей страстной речи Достоевский медленно приближает свое лицо к моей руке и тихо целует мою руку (тихо, нежно, как иногда делает это Колечка). Я не отрываю руки и принимаю это как должное» <span class="info-note"><a> </a><span class="note"><u><a href="https://corpus.prozhito.org/note/225705" target="_blank">Запись из дневника Рюрика Ивнева от 24 ноября 1917 года</a></u> // Прожито.</span></span>.</p> <div class="az__incut"> <div class="az__incut-caption">Arzamas — о сне и сновидениях</div> <div class="az__incut-item"><a class="az__incut-link" href="https://arzamas.academy/mag/1042-gulag-dreams" target="_blank"> </a> <div class="az__incut-title">Что снилось советским заключенным (18+)</div> </div> <div class="az__incut-item"><a class="az__incut-link" href="https://arzamas.academy/mag/1259-gasparov" target="_blank"> </a> <div class="az__incut-title">10 снов Михаила Гаспарова</div> </div> <div class="az__incut-item"><a class="az__incut-link" href="https://arzamas.academy/special/lullabies" target="_blank"> </a> <div class="az__incut-title">Колыбельные народов России</div> </div> </div> <footer class="footer-article"><div 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