Samuel I m drawings on the topic of fire.

Pg.-M., Raduga, 1924. 16 p. from ill. Circulation 5600 copies. In col. lithographed cover. 27.5x22 cm. Very rare!

Raduga is a publishing house founded in 1922 in Petrograd. Creator and owner - journalist Lev Moiseevich Klyachko (1873-1934). The main office was located in the Bolshoi Gostiny Dvor, the editorial office was located in Klyachko's apartment (14 Stremyannaya St.), the publishing house had a branch in Moscow. Up to 120 titles were published per year, mainly books for children, as well as adventure and popular science literature. Among the authors - A.L. Barto, V.V. Bianchi, L.I. Borisova, B.S. Zhitkov, S.Ya. Marshak, K.I. Chukovsky. Thanks to the participation of artists Yu.P. Annenkov, B.M. Kustodieva, V.V. Lebedeva, S.V. Chekhonin's books of the publishing house were distinguished by a high level decoration. The history of the publishing house began with the fact that the young writers Chukovsky and Marshak decided to release a new children's magazine. It was supposed to be called "Rainbow", like the children's collection edited by Maxim Gorky, which was unexpectedly (as it came out on the eve of the new year 1918) was renamed "Yolka". Young authors dreamed of continuing the work of creating a new children's literature, for which Gorky stood up.

They not only prepared the first works for printing, but also concluded an agreement with the publisher. They were supposed to be L. Klyachko, a well-known journalist in pre-revolutionary times, speaking under the pseudonym L. Lvov. He himself possessed the talent of a writer, was easily carried away by any interesting business and had organizational skills. But the publication of the magazine did not take place: plans have changed. Instead, a specialized publishing house for children's literature for primary and school age was opened, which used the works of S. Marshak and K. Chukovsky prepared for the magazine.

The name has not changed, L. Klyachko also remained the publisher. Preliminary permission to open the "Rainbow" was received at the end of 1921, at the same time the equipment of the lithographic workshop began, however, L. Klyachko received the owner's patent only at the beginning of 1923, which served as the official date of foundation of the publishing house. It was originally located at the address: Petrograd, Zhukovsky, 18, then Stremyannaya Street, 14 and, finally, inside the Gostiny Dvor. A branch was opened in Moscow, mainly in charge of sales. It was located at Petrovka, 20.

The staff consisted of about twenty people. L. Klyachko's assistants were journalists V. Polyakov and V. Rosenblum in Leningrad, I. Giller in Moscow. The artist P. Buchkin was responsible for the quality of the lithographic reproduction. One of the editorial staff was K.I. Chukovsky. Raduga was not a purely commercial publishing house. A significant part of the books published by her were distinguished by a high artistic level. Here, even before the formation of the Children's Department of the State Publishing House, the first works of Soviet children's classics appeared - books by S. Marshak, K. Chukovsky, V. Bianchi. A. Barto, V. Inber, B. Zhitkov, E. Schwartz and other writers wrote for the "Rainbow", their books were illustrated by such remarkable artists as S. Chekhonin, M. Dobuzhinsky, B. Kustodiev, K. Petrov-Vodkin, E. Krutikova, Yu. Annenkov, V. Konashevich, V. Lebedev, A. Samokhvalov, K. Rudakov, V. Ermolaeva. The first edition, which can only conditionally be attributed to the "Rainbow", was "Theatre for Children" by E. Vasilyeva and S. Marshak, reprinted for the second time with drawings by S. Chekhonin. On the title page it read: “1922. Rainbow "-" Publishing house A.F. Marx”, but on the other hand, the last page was already decorated with a quadrangular stamp with a flying bird that appeared for the first time. The first books of "Rainbow" were also published at the end of 1922 (although 1923 was indicated on the title pages). These were the works of K. Chukovsky: "Cockroach" with drawings by S. Chekhonin and "Moidodyr" with illustrations by Yu. Annenkov. In 1923, "Fire" by S. Marshak appeared with a cover by B. Kustodiev and drawings by V. Konashevich, as well as "Children in a Cage" with drawings by the popular English artist and poet S. Aldin, reprinted from an English children's edition.

Next came "Murka's Book" and "Mukhina's Wedding" (later called "Fly-Tsokotukha") with illustrations by V. Konashevich and "Barmaley" with drawings by M. Dobuzhinsky. If "Rainbow" had ended its existence on this, then all of the above would have already been a serious contribution to the creation of the Soviet preschool book, but ahead were the brilliant works of V. Lebedev, who found in "Rainbow" such a talented co-author as S. Marshak. "Hunting", "Circus", "Ice Cream", "About a Stupid Mouse", "Yesterday and Today", "Baggage" - all these books, like fireworks, appeared almost simultaneously in "Rainbow" during 1925-1926. This was the period of the highest rise of the publishing house. Later the situation worsened. In 1927, due to the low artistic level of manuscripts (since the leading writers and artists who united in the Rainbow were already working at the State Publishing House by that time), and partly due to the fault of "officials from culture" - the Commission on children's reading banned the printing of 81% of the entire publishing portfolio. Raduga failed to overcome the crisis that had begun until its closure in 1930. More and more occasional editions began to appear; struggling for existence, the publishing house began to make numerous attempts to reprint their books.

The publishing house has released a total of about 400 children's books. According to the authors, L. Klyachko proved to be a gifted, albeit a very peculiar editor. He had his own original criterion for evaluating a work. He immediately asked the author who brought the manuscript to read it aloud, and if they immediately remembered the essay by heart, this meant that it passed the test and Klyachko immediately carried it to his children to read. The fate of the illustrations was decided just as quickly: after carefully looking at the drawings, he would put them aside, close his eyes, restoring what he had seen in his memory, and, depending on how much the images created by the artist were remembered, would briefly announce: “I take” or “No.” Klyachko was not an editor, in the prevailing sense of the word, he was never interested in creative ideas, did not ask to complete or correct.

The authors had to learn mainly from each other, their views were born in conversations and disputes. And if in the field of literature S. Marshak and K. Chukovsky soon became recognized authorities in the publishing house, then in the field of fine art - World of Art and V. Lebedev. "Rainbow" could rightly be called a publishing house of artists - about a hundred graphic artists took part in its work. Along with the venerable ones, beginners and even non-professional authors worked here. Artists not only occupied an equal position with writers, but often played leading roles, handing over completed drawings to writers, to which they had to compose captions. This is how the "Circus" by V. Lebedev and S. Marshak, "Hide and Seek" by V. Konashevich and E. Schwartz and many other books appeared. The graphics of "Rainbow" seem to combine two principles: the World of Art (in the person of the artists who stood at the founding of the publishing house) and the constructivist (in the person of V. Lebedev and his followers). The most striking individuals who expressed these two lines were V. Konashevich and V. Lebedev. If we compare the drawings of the first editions of "Rainbow", it is easy to see that they are all different both in figurative structure and in worldview. Moreover, the epithet "childish" is not suitable for everyone, except for the drawings of V. Konashevich and M. Dobuzhinsky and, to a much lesser extent, the illustrations of S. Chekhonin and Yu. Annenkov. Two principles, the World of Art and the constructivist, not only made up the specifics of the children's book of the 1920s, but also largely predetermined the further path of its development. characteristic feature publications for kids was bringing them closer to life. The conditional characters of old books were replaced by images of reality: postmen, typists, firefighters, plumbers, electricians, NEPmen and homeless children. We are most indebted to V. Lebedev for the introduction of the modern character to the book. In "Rainbow" he continued the unique gallery of life types, the beginning of which was laid by the chimney sweep from the page of "Yolka", and completed later by "Mr. Twister Millionaire".

The best editions of Raduga, which absorbed the features of the new way of life, along with the works of the GIZ, Molodaya Gvardiya and other publishing houses, made up the international fame of the Soviet children's book of the 1920s. The significance of the publishing house in the history of the book of the so-called "pre-Detgiz" period was most accurately determined by A. Fedorov-Davydov, who back in the 1920s argued that "from ... "ABC" and "Toys" we will trace the origin of the artistically excellent children's books of Leningrad (mainly published by Raduga). Indeed, already in 1924 the first books of the publishing house were exhibited in New York. In 1925, the publications of "Rainbow" were awarded the medal of the World Exhibition of Decorative Arts in Paris. In March 1926 they were successfully demonstrated in Cambridge. In May, the books were presented at the Exhibition of the Association of Graphic Artists in the USSR. In 1927, "Rainbow" was awarded a diploma "For the high quality of lithographic reproduction." Now almost no retrospective exhibition of Soviet book graphics can do without books from this publishing house. But by 1930 the time came for the state monopoly in book publishing. The publications of Raduga, which did not have close ties with the People's Commissariat of Education, were recognized as apolitical, far from the pressing problems of the young Soviet republic, and in 1930 the publishing house was closed.

The most prolific and significant master of the new generation of children's books, who was strongly influenced by the aesthetics of the World of Art, was V. Konashevich. Illustrating modern and classic works of children's literature has become the main business of his long creative life, relegating other ideas and hobbies to the background. Turning to graphics in the first post-revolutionary years, the young artist quickly attracted the attention of critics and publishers, and in 1921, at the invitation of A. Benois, he took part in the exhibition of the revived "World of Art" and soon became a member of this association. In 1922-1924. Konashevich designed a number of books for Z. Grzhebin's publishing house. The works of this period are spectacular and highly professional, but not yet too independent, they make one recall Knebel's "gift series" (this is quite understandable, since the artistic concept of the publishing house was developed by A. Benois). A colorful book without text "Stuff: Pictures for Children" was addressed to the smallest readers who were just starting to master the world of things and memorize their names. Images of all kinds of objects placed on the pages without any logical connection with each other (a crocodile, a button, a bouquet, etc. side by side on one sheet) are designed in a relatively realistic manner. The Art Nouveau style makes itself felt in the design of the cardboard, in this composition we see a volcano spewing "all sorts of things": animals, fish, flowers, apples, shoes, toys. Illustrations for Ch. Perrault's fairy tales "Little Red Riding Hood", "Thumb Boy", "Puss in Boots" were made under the noticeable influence of M. Dobuzhinsky's work. This is especially noticeable in the drawings for "Puss in Boots", where the figures of the characters (the obligingly bowing Cat; the huge Ogre that does not fit on the page) are modeled with thin, smoothly curved lines and translucent color spots. The book ends with a wedding procession, meandering in the shape of the letter "S", "cutting" the type-setting strip. The title page is interestingly built: the text fits into the opening of a dilapidated arch, the characters turn into hard-to-see details of the bas-relief. The drawings do not give the impression of illustrations, but rather decorative accompaniment of the text. “In terms of the splendor of their decorative decoration, these publications corresponded to high, but already receding ideas about a children's book. It is no coincidence that they were warmly received, mainly by lovers of fine publications, and in those years they made a name for Konashevich as a talented continuer of the traditions of the World of Art graphics. Subsequently, the artist, taking this tradition as a basis, consistently develops his own graphic style: he manifests himself not only as a virtuoso draftsman, witty and inventive interpreter of a literary text, but also as an attentive researcher of the child's psychology. One of the first steps in the search for a new style was the work done for the Raduga publishing house, a lithograph for S. Marshak's poem "Fire". The cover for this edition was created by B. Kustodiev; he depicted the climax of the plot and set the color scheme for the entire book (black, red, ocher), which was picked up by Konashevich. These three colors turned out to be quite enough to convey the emotional intensity of the ongoing events: “The color is joyfully open to a bizarre game, it rings either red or yellow amid the disturbing rustling of the black mass. In the decorative revelry of colorful experiences, an almost childish rapture of the spectacle reigns. The screen saver is very effective: a half-burnt house, flames and puffs of black smoke rise above it, and the word “fire” is inscribed in clear black letters in the blazing windows. Fire in the form of a sinister living creature becomes the main character. The images of people fighting the fire (not so much pathetic as funny and sharp) perform an important constructive function in the book: “The pages are densely dotted with small silhouettes of firefighters, their rows seem to rhyme with the same black figures of letters. The drawing is freely combined with the graphics of the font, and it willingly echoes it. There is an endless rhythmic pattern, reminiscent of the patter of a children's rhyme. This work became a program in the creative biography of the artist, was a huge success with readers, was noted by critics: “Beautiful autolithographs. Beautiful is a thing of the past, but beautiful and childish is already rare. Later, the poet and illustrator remade Fire many times, trying to adapt it to the changing requirements of the time, but none of the later editions can compare with the first version in terms of freshness and sharpness of the plastic solution. In the 1920s a long-term, surprisingly strong creative union of Konashevich and Chukovsky arose. “Any poem for children must certainly be graphic. For verses composed by children themselves are, so to speak, verse drawings... In the clear graphic nature of children's verses, an indication to artists illustrating children's books and poets composing poems for children... Those verses with which the artist has nothing to do are completely unsuitable for the guys." Although Chukovsky's works were illustrated by many well-known graphics, apparently, it was Konashevich's style that turned out to be especially close to the author, to the greatest extent consistent with his ideas about the essence of a children's book. One of the first works of the famous tandem is the poem-tale “Mukhina’s Wedding” (later renamed “Mukhu-Tsokotukha”), which has gone through many editions. The artist gives the characters human features and enhances this technique in each new edition. But even dressed like people (a mosquito in the form of a Red Army soldier, etc.), insects retain their original species features (for example, the number of wings and legs), drawings do not lose their cognitive function. The illustrator considered this cycle extremely successful, the poet had a different opinion. In general, the relationship between them was not idyllic; as evidenced by the surviving correspondence, the co-authors very often argued and expressed various claims to each other, but this did not in the least interfere with their fruitful cooperation. On the contrary, Konashevich admitted that Chukovsky's critical statements gave him much more pleasure and benefit than praise, inspired him to new searches. Friendly discussions about how this or that character should look have been going on for decades, renewed with new reprints of the most popular poems. For each work of the poet, the artist found an unexpected plastic move. In "Wonder Tree" both drawings and fragments of text seem to be hung on the pages, as if on the branches of a magic tree. In the book “Cats in a Basket”, literally every single line becomes a subject for detailed illustration. The book "So and Not So" parodies the style children's drawing, in "Cockroach" in 1935 (completely different from Chekhonin's interpretation of the poem), the main role is assigned not to animals, but to the exotic rocky landscape surrounding them. Riddles (1933) are especially spectacular and inventive: the brightness of the fantastic pictures that appear before the viewer is enhanced by the black background; in order to find out the visual and verbal clue to the rebus, you need to turn the page. The writer, designer and young reader have in common a love for funny absurdities, puns, playing with meanings, names, visible images of objects. In 1923, V. Konashevich began work on the design of a collection of children's songs from the classic English anthology "Nursery Rhymes", translated by S. Marshak and published in Russia under the title "The House That Jack Built". The covers of the two editions - 1924 and 1925 - differ from each other: on the first we see Jack at work, on the second - the porch of an already finished house with a sign "Jack". The hand-drawn font was designed by the artist specifically for this collection: letters combined from colored geometric shapes and intricately curved black bold lines, in both cases are present among the elements of the facade of the house. The artist believed that the cover should attract the attention of a small reader, first of all, by its beauty, “... surprise, sharpness of the composition and color scheme ... However, in my opinion, the picture on the cover should only hint at the content of the book, but in no way reveal it completely ". The poem that gave the name to the collection is more expressively and dynamically framed in the 1925 edition, where the characters seem to go up and down the stanzas, like stairs, the movement subsides only to the last stanza. Konashevich-colorist is traditionally laconic: blue and ocher prevail. In 1923 another one comes out teamwork Marshak and Konashevich - "The Tale of the Silly Mouse". In this case, the little children's book contains almost all the elements of a solid "adult" edition; there is not only the title page, but also the title page. The pictures on the right side of each spread depict the introduction of a new character. The artist places the animal characters in the atmosphere of an ordinary room and invents comical situations for them: a frog climbed onto the table and gesticulates amusingly, a rooster jumped onto the mouse’s bed, and he barely had time to jump out of it, Aunt Pike arrived in a tub of water, flooding the whole room. Perhaps in this way the illustrator is trying to soften the child's impression of the sad ending. Having become interested in the technology of typographic reproduction of the originals, the master, as an experiment, made drawings for the “Tale of the Silly Mouse” directly on zinc. Compared to Lebedev's interpretation of this poem, Konashevich's version is more conventional and at the same time more emotional, the surroundings of the characters are much more carefully detailed. In the second half of the 1920s. the first publications of the works of A. Barto appear, later one of the most popular children's writers. In 1927, V. Konashevich designed her poems "Borka the Sheep". The stubborn ram ran away from the herd to return to the girl who raised him. The swiftness of his run is expressed not only in the drawings themselves, but also in the way they are placed in the book: the illustrations sometimes take up a whole spread, then they are content with half a page, then they line up in a “chessboard” order or a “ladder”. The artist highlights the figure of the protagonist with the help of ink filling, which helps to follow his progress through the pages. The book "Vanka and Vaska" is a cartoon story about the tricks of two urban hooligan boys, whose "portraits" with tousled red hair are placed on the title page. Marshak made captions for Konashevich's already finished drawings, slightly reminiscent of comics in form and style. In this work, changes in the artist's creative style are clearly visible: from elegantly decorative to more simplified, in details, almost primitive, which will be typical for many subsequent graphic cycles of the master. Some of them were so clear and expressive in themselves that they did not need any textual accompaniment at all. For example, “Mugs” is a portrait gallery of children’s faces drawn at the moment of some kind of experience or action (“Sonya is fun” - “Sonya is angry” - “Sonya was offended” - “Sonya wants to sleep”). In fact, we still have one alphabet, only it teaches not literacy, but the language of facial expressions in its most obvious and amusing manifestations. The cover is ingeniously designed: on the front side, the child's face is depicted, and on the back, the back of the head. The drawings are large, sometimes full page. The artist gives readers (or rather, viewers) the opportunity to see themselves from the outside in different situations. "Like this picture" - a book-game for young children. On the cover there are bright color spots of geometric shapes and large, even "volumetric" letters of the title. The layout of the spreads is thematic: the right lane shows a certain habitat (forest, sea, air, village, city), and the left lane shows the people, animals, objects corresponding to it. The child was asked to put everything in its place, to “populate” the space of the landscape on the opposite page with these objects. The style of the drawings is varied: from the techniques of Art Nouveau graphics in the picture "Forest" to an almost constructivist urban landscape. In the second half of the 1920s, not without the influence of avant-garde trends, the artist made graphic works in a style called by researchers "joking grotesque". Konashevich often “constructs” his characters from colorful geometric figures, which makes them look like toys or little people cut out of paper, and introduces an element of play into the book. However, the grotesque transformation of the appearance of the characters is always motivated by the plot, the freedom with which the artist handles the material is based on the knowledge of the psychology of the child: “Only in the name of expression (so necessary) can it be allowed (and sometimes , however, so that the object always remains itself. So, for example, if the text of the book talks about a man with a nose, then the picture may not be a person with a big nose, but a nose to which a person is attached ... A good and evil person should be depicted and painted differently. The mental qualities and states of a person (and an animal) are felt by a child as an external deformation. From the graphic arsenal of the World of Art, the master retains the decorativeness of the illustration, the theatricality of the composition, the use of vignettes, frames, cartouches. The calligraphic talent of Konashevich manifested itself in the design of Y. Meksin's poem "How Alla was ill." Konashevich supplemented the traditional methods of theatrical "World of Art" graphics with new artistic techniques, designing the second edition of the book "Petrushka the Foreigner" by S. Marshak. These bright and flat, almost silhouette drawings are not typical of the former master of fine line Konashevich. By the end of the 1920s. principles of designing a children's book are gradually changing, decorative trends, echoes of the "era of a beautiful book", are increasingly being attacked as inappropriate to the spirit of the new time. The persecution reached its apogee in 1936, when the best illustrators' works received a devastating article in Pravda. Nevertheless, the style introduced into the design of the children's book by the masters of the World of Art, in the new social conditions, revealed the ability to unexpected transformations and turned out to be much more effective and viable than it seemed to many theorists. Quite quickly getting rid of the affectation and mannerisms of the Art Nouveau era, the graphics of this trend managed to develop a new, more lively and energetic plastic language that could compete with the discoveries of the avant-garde artists. Author of the article: Dmitry Fomin.

Samuil Yakovlevich Marshak's poem "Fire" is educational, educational in nature. At the beginning of the poem, children are given general idea about the fire department in the old days, when there were no telephones. The following is the case of a girl who should not have played with fire. What came of it, read below.

Poem "Fire". Samuil Yakovlevich Marshak

On the market square
At the fire station
All day long
Watchman at the booth
looked around -
To the north,
South,
To the west,
To the East, -
Can't you see the smoke?

And if he saw a fire,
Floating carbon monoxide smoke,
He raised a beacon
Above the fire tower.

And two balls
And three balls
Soared up, it happened.
And here from the fire yard
The team was leaving.

The alarm bell woke the people
The pavement shook.
And rushed forward with a roar
The team is gone.

Now there is no need for a kalanchi, -
Call by phone
And tell about the fire
the nearest area.

Let every citizen remember
Fire number: zero-one!

There is a concrete house in the area -
Three floors and above
With large yard and garage
And with a tower on the roof.

Changing, in the top floor
Firefighters are sitting
And their cars in the garage
They look at the door with a motor.

Just a little - at night or in the afternoon -
Give an alarm
A dashing squad of fire fighters
Carrying along the road…

Mother went to the market
Daughter Lena said:
- Don't touch the stove, Lenochka.
It burns, Lenochka, fire!

Only mother came down from the porch,
Lena sat down in front of the stove,
Looks into the red crack,
And the fire is roaring in the oven.

Lena opened the door -
The fire jumped from the log,
Burned the floor in front of the stove
Climb up the tablecloth on the table,
Ran over the chairs with a bang,
Crawled up the curtains
The walls were covered in smoke
Licks the floor and ceiling.

But the firemen knew
Where it burns, in what quarter.
The commander gives the signal
And now - in a single moment -
Cars break out
From the open gates.

They rush into the distance with a booming sound.
There is no obstacle in their way.
And turns to green
There is a red light in front of them.

In five minutes cars
They reached the fire
Lined up at the gate
Connected elastic hose,
And, puffed up with effort,
He hit like a machine gun.

Carbon monoxide smoke swirled.
Gary's room is full.
In the hands of Kuzma the fireman
Carried Lena out of the window.

He, Kuzma, is an old firefighter,
Fighting fires for twenty years
Saved forty souls from death
Fought with flames more than once.

He's not afraid of anything
puts on gloves,
Boldly climbs the wall.
The helmet glows on fire.

Suddenly on the roof from under the beam
Someone's cry was heard pitiful,
And across the fire
Kuzma climbed into the attic.

I stuck my head in the window
Looked ... - Yes, it's a cat!
You will perish here in the fire.
Get into my pocket!

Flames rage wide...
Scattered with tongues
Licks nearby houses.
Kuzma fights back.

Looking for a way through the flames
Calls the younger ones for help
And rush to his call
Three tall fellows.

They destroy the beams with axes,
Fires are extinguished from hoses.
thick black cloud
Smoke curls underfoot.

The flame shudders and gets angry
Runs away like a fox.
A jet from afar
Chases the beast from the attic.

Here the logs have turned black ...
Evil fire hisses from the crack:
- Spare me, Kuzma,
I will not burn houses!

"Shut up, treacherous fire!" —
The fireman tells him. —
I'll show you Kuzma!
I'll put you in jail!

Stay in the oven
In an old lamp and on a candle!

On the bench at the gate
Lena sheds bitter tears.
On the panel in front of the house -
Table and chairs and bed...
Going to friends
Lena spend the night with her mother.

The girl is crying sobbing,
And Kuzma says to her:
- Do not flood the fire with tears,
We will put out the fire with water.
You will live and live.
Only chur - do not set fire!
Here's a cat for you.
Dry it up a bit!

It is done. Hang up.
And again on the bridge
Cars rushed
They trumpeted, they called.
Rushing ladder, pump.
Dust curls from under the wheels.

Here is Kuzma in a crumpled helmet.
His head is bandaged
Bloody forehead, black eye,
It's not the first time for him.
He worked hard -
Handled the fire well!

Video for the poem "Fire", S.Ya. Marshak

On the market square
At the fire station
All day long
There is a soldier at the booth.
Looks around -
To the north,
South,
To the west,
To the East, -
Do you see smoke?
Mother went to the market
Daughter Lena said:
Don't touch the stove, Lenochka.
It burns, Lenochka, fire!
Only mother came down from the porch,
Lena sat down in front of the stove,
Looks into the red crack
And the fire sings - buzzes:
There isn't much room in the oven,
There was nowhere to roam!
Mom, Lenochka, do not believe.
Open the door a little!
Lena opened the door.
The fire jumped from the log,
Burned the floor in front of the stove
Climb up the tablecloth on the table,
Ran over the chairs with a bang,
Crawled up the curtains
The walls were covered in smoke
Licks the floor and ceiling.
Poor Lena became scared.
Lena ran out into the hallway,
The door closed behind you
And the fire roars: Open!
He blew smoke through the crack in the door,
He stuck his hand into the hole.
Lena rushed into the yard,
From the yard - through the fence ...
And the fire is getting higher and higher.
The cat rushes about on the roof.
From neighboring gates
People run out
Who is with a jug, who is with a bucket -
Pour a burning house.
Fire! Fire!
From the window to the pavement
A featherbed falls into a puddle,
Armchair, stove and picture,
Gramophone and samovar...
Guard! Fire! Fire!
On the market square
On the fire tower -
Ding dong, ding dong
There is a loud ringing.
The work starts
The gates open
convoy is gathering,
They pull a ladder, a pump.
From the gate without a wire
Barrels come out with a crash.
Here is the first horse
Jumped over the pavement.
And behind him a squad of firefighters
In radiant copper helmets
Flew through the market
On the way to the fire...
And the fire is getting higher, higher
Coming out from under the roof
Looks around,
Waving red sleeve.
Whose took! shouting to the people
Beat glass! Pour water!
I'll run across the rooftops
I'll set fire to the whole city!
But it's close on the road
Drogs rush in a string.
Jumping ahead
Out of breath trumpeter.
In front of the house in clouds of dust
The horses were stopped.
Sleeve turned up
Clamping his copper mouth.
The elastic sleeve hissed,
All shook from the strain
And when the faucet was turned on
The fountain went up high.
Hey, brigade, don't yawn!
Download, download!
Evil fire roars and blazes,
He threw two firefighters off the roof
And the axeman Kuzma
I wanted to suffocate in smoke.
But Kuzma is an old firefighter,
Fighting fires for twenty years
Saved forty souls from death
Fell off the roof ten times.
He's not afraid of anything
He beats the fire with his mitten,
Boldly climbs the wall.
The helmet glows on fire.
Suddenly on the roof from under the beam
Someone's cry was heard pitiful,
And across the fire
Kuzma climbed into the attic.
He stuck his head out the window.
I looked ... Yes, it's a cat!
You will be lost here in the fire.
Get into my pocket!
Flames rage wide.
Scattered with tongues
Licks nearby houses...
Kuzma fights back.
Looking for a way in n name,
Calls the younger ones for help.
And rush to his call
Ten brave fellows.
They destroy the beams with axes,
Fires are extinguished from hoses.
Thick black cloud
Smoke follows them...
The flame rushes about and gets angry,
Running away like a fox.
A fire gut
Chases the beast from the attic.
Here the logs have turned black ...
Evil fire hisses from the crack:
Spare me, Kuzma,
I will not burn houses!
Shut up, insidious fire! -
The fireman tells him:
You will remember Kuzma!
I will put you in jail.
You will live only in the oven,
Only in a lamp and on a candle!
Here is the fire for the last time
Angry - and went out.
On the panel at the gate
The people are waiting for saviors.
Just saw Kuzma,
With a cry they rushed to him -
They hug, they ask for a visit,
They bring him pies.
Ah, Kuzma, you are our Kuzma,
Saved us today at home!
Dear firefighter,
We are forever grateful!
On the bench at the gate
Lena sheds bitter tears.
Poor Lena's house burned down -
Ceilings, floors and walls,
Cat, doll and bed.
There will be nowhere to sleep at night.
And in addition to her for the prank
Got it from parents.
The girl is crying sobbing.
And Kuzma says to her:
Crying, young lady, is not worth it,
New house will build for you.
Your cat has been saved.
Admire - here it is!
Lena tightly squeezed the cat
And calmed down a bit.
From the gate on the pavement
The rider departs.
And behind him a squad of firefighters
In radiant copper helmets
Drives slowly back.
Barrels, jumping, rattle.
Here is Kuzma sitting on the droges.
He's got burnt face
Bloody forehead, black eye.
It's not the first time for him!
He worked hard -
Handled the fire well!

BINDING WORKS AND REPAIR OF THE BOOK.
Tissue paper - thin, transparent, used for repairing the pages of a book by text. The thickness of tissue paper is 26 microns, and 1 m2 weighs 16 g.
Bookend paper is thick, it is used to make endpapers for bookleting. To connect the book block with the binding cover, endpaper and gauze are used. The strength, and therefore the durability of a book, especially of a large volume, is largely due to the mechanical properties of endpaper. Therefore, the deformation of endpaper paper when moistened should be minimal. Curl of endpaper usually occurs due to the fact that the structure of the front and grid sides of it is different. In order to prevent the possibility of deformation and twisting, endpaper is glued in bulk (during its production).
Endpaper can be white or colored, dyed in the mass and from the surface, with a patterned pattern or embossing. -For the most part, one or another colored background, decorative or plot image is printed on endpaper.
Endpaper can have different weights: 80, 100, 120, 140 g/m2 At present, endpaper is produced from 100% bleached sulfite pulp.
Paper for endpapers and covers can be made by one's own means. To do this, oil paint is diluted with turpentine or kerosene to a liquid state. Distilled water is poured into a cuvette or vessel in the form of a baking sheet. The paint is sprayed onto the surface of the water with a small brush. The difference in the specific gravity of water, oil, kerosene (turpentine) allows the paint to adhere to the surface of the water and spread randomly over it, forming a pattern similar to marble.
Moru. Then the paper is dipped into the water and the drawing is transferred to it. To remove a drawing from the water surface should be by "rolling" the paper, taking it by the edges. After drying the paper, the ink is firmly held on it without smearing.
Endpaper and cover paper can also be made by coloring. To do this, watercolor or gouache paint is diluted in glutinous water, using starch paste as an adhesive. Low concentration. Then a layer of diluted paint is applied to the paper with a brush and any patterns are made on it, using combs with rare teeth, brushes or a sponge.
Cover paper is durable, moisture-resistant, does not curl when glue is applied to it, and is characterized by high sizing. It is used for pasting the sides of book composite or solid paper bindings and for the manufacture of book and magazine covers. This paper is dyed in various colors.
Backlog paper is applied as follows. In the manufacture of binding covers between the cardboard sides of the binding, depending on the volume of the book (thickness of the book block), a free space is left, which is called spacing. A paper or cardboard strip, which is called a lagging, is glued onto the spacing exactly in its middle. Lag is important element binding cover. Get embossed on the spine High Quality without delay is impossible. In addition, the backlog makes the spine stable when reading a book. The lag paper must be strong and resilient. With an increase in the volume of the book, the backlog density should increase. The thickness of the backlog should be uniform, its surface should be uniform, machine-smooth.
Paper for pasting the spine of book blocks is thin, unglued, made of 100% bleached sulfite pulp without filler, 1 m2 of such paper weighs 70 g.

In Marshak's early childhood, his family survived a fire in own house. The writer said that his very first vivid memory from childhood was a fire that engulfed the curtains, his mother dressing him quickly and with excitement, an incomprehensible feeling of some very deep fear. In Marshak's poems, we will meet fire more than once. After all, he himself always treated him with caution and tried to convey this alertness and attentiveness to the children.
The book "Fire" can be called "educational program" according to fire safety for children for multiple reprints, starting in 1923, and for a topic that has not lost its relevance, and for a fascinating story, accompanied by expressive colorful drawings by Vladimir Konashevich.
In the book, the last version updated by the authors, which was released in 1952, and the action of the book takes place against the backdrop of a modern city: fire trucks have replaced fire teams, and multi-storey buildings have grown in place of one-story houses. Illustrating "Fire" anew, Konashevich carefully looked at the work of the fire station in Leningrad for a long time, questioned the firefighters, scrupulously sketched new cars. But both in the text and in the picture remained curious detail, which has long disappeared from modern firefighting, the meaning of which should be explained to children: by the number of signal balloons that the sentinel raised above the watchtower, they judged the intensity of the fire and the approximate direction of the fire.
ISBN: 978-5-00041-104-9
Pages: 16 (Coated)