The poetic legacy of V.A. Sosnora was published quite late in the form in which it was conceived and created by the author. The texts were subjected to censored and self-censored edits, and it was impossible to publish the entire collections. At the same time, the author insisted on the necessity of getting acquainted with his works precisely in the context of the collections in which they were included. The article analyzes the collection “Continuation” as an artistic unity of the texts included in it. The article examines the substantial and structural connections between all the poems included by V.A. Sosnora in the final edition. Special attention is paid to cross-cutting motives, images, and themes. At the same time, their transformation from the beginning of the collection to its finale is noted. Russian culture and classical Russian culture of the XIX — early XX centuries are the most significant cultural paradigms for understanding the collection “Continuation”: ancient culture, Russian folk culture and classical Russian culture of the XIX — early XX centuries. The analysis allows us to understand the author's logic of combining texts into a collection and, therefore, explain why V.A. Sosnora refuses to include the poem “The Last Forest” in it, which once had been included there. It is concluded that it is fundamentally necessary to take into account contextual connections within cycles, collections and books when analyzing V.A. Sosnora's poems.
For citation: Bolnova E.V. Structural and substantive features of V.A. Sosnora’s collection “Continuation”, Ivanovo State University Bulletin, Series: Humanities, 2024, Special issue, pp. 6—15.