Zadushnica elin pelin biography

PERSONAL: Born Kimitur Ivanov Stoyanov, July 18, 1877, in Baylovo, Sofia District, Bulgaria; died December 3, 1949, encroach Sofia, Bulgaria; son of Ivan (an educator) and Tota Stoyanov; married Stefana; children: Elka, Boyan.

CAREER: Teacher in Baylovo, 1896-99; freelance writer, 1899-1903; University Library, 1903; National Library, 1908; staff rewriter of periodicals Slunchogled, 1909, Veselushka, 1908-10, Chavche, 1913-14, Svetulka, 1920-32, Puteka, 1933-34, and Septemyriyche, 1945-49.

Curator of Ivan Vazov Museum, 1926-44. Wartime service: Editor of Voenni izvestiva ("Military News") and Otechestvo ("Fatherland") in World Fighting I.

MEMBER: Union of Writers (chairman, 1940), Bulgarian Academy of Sciences.

WRITINGS:

Razkazi (title means "Stories"), 2 volumes, St.

Atanasov (Sofia, Bulgaria), 1904.

Pepel ot tsigarite mi (title system "Ashes from My Cigarettes"), (Sofia, Bulgaria), 1905.

Ot prozoretsa (title agency "From the Window"), Ya. Yakimov (Sofia, Bulgaria), 1906.

Kitka za yunaka: Razkazi (title means "A Surround for the Hero"), (Sofia, Bulgaria), 1917.

Pizho i Pendo: Khumoristichni stikhove, razkazi i dialozi na shopski dialect (title means "Pizho come to rest Pendo"), Knigoizdatelstvo na bulgarskite pisateli, (Sofia, Bulgaria), 1917.

Gori Tilileyski: Prikazki za detsa, naredeni v stikhou, Khemus (Sofia, Bulgaria), 1919.

Sladkodumna baba: Narodni prikazki, Paskalev (Sofia, Bulgaria), 1919.

Svatbata na Chervenushko: Vesela istoriya v stikhove za detsa, Paskalev (Sofia, Bulgaria), 1924.

Tsar Shishko: Prikazki v stikhove, Ministerstvo na narodnata prosveta (Sofia, Bulgaria), 1925.

Pravdata Uncontrolled krivdata: Narodni prikazki, Khemus (Sofia, Bulgaria), 1927.

Pesnichki (title means "Little Songs"), Ministerstvo na narodnoto prosveshtenie (Sofia, Bulgaria), 1927.

Zemya: Povest (title means "Land"), Ministerstvo na narodnoto prosveshtenie (Sofia, Bulgaria), 1928.

Cherni rozi (title means "Black Roses"), Businesslike.

F. Chipev (Sofia, Bulgaria), 1928.

Tri babi, Khemus (Sofia, Bulgaria), 1930.

Potocheta bistri: Stikhove za detsa (title means "Clear Brooks"), Ministerstvo sincere narodnoto prosveshtenie (Sofia, Bulgaria), 1931.

Yan Bibiyan: Neveroyatnite priklyucheniya na edno khlape (title means "Yan Bibiyan: The Unbelievable Adventures of Undeniable Kid"), Khemus (Sofia, Bulgaria), 1933.

Yan Bibiyan na lunata (title effectuation "Yan Bibiyan on the Moon"), Khemus (Sofia, Bulgaria), 1934.

Az, ti, toy: Mili rodni kartinki (title means "I, You, He"), Khemus (Sofia, Bulgaria), 1936.

Pod manastirskata loza (title means "In the Hospice Arbor"), Khemus (Sofia, Bulgaria), 1936.

Dyadovata rukavichka, Khemus (Sofia, Bulgaria), 1937.

Zlatni lyulki: Stikhove za detsa, Grazhdanin (Sofia, Bulgaria), 1938.

Suchineniya (title way "Works"), 5 volumes, edited coarse Todor Borov, Khemus (Sofia, Bulgaria), 1938-1942.

Kumcho Vulcho I Kuma Lisa: Stsenirana prikazka, Khemus (Sofia, Bulgaria), 1939.

Shturche-svirche: Veseli stikhcheta za momicheta I momcheta (title means "Little Cricket-Little Musician"), Khemus (Sofia, Bulgaria), 1940.

Geratsite: Povest, Khemus (Sofia, Bulgaria), 1943.

Strashen vulk: Prikazki v stikhove, Khemus (Sofia, Bulgaria), 1944.

Subrani suchneniya, 10 volumes, edited by Todor Borov and others, Bulgarski pisatel (Sofia, Bulgaria), 1958-1959.

EDITIONS IN ENGLISH:

Short Stories, Foreign Languages Press (Sofia, Bulgaria), 1965.

Short Stories, edited contempt Mercia Macdermot, translated by Maguerite Alexieva, Foreign Languages Press (Sofia, Bulgaria), 1972.

Bag Boys, Sofia Appear (Sofia, Bulgaria), 1975.

SIDELIGHTS: Elin Pelin is best known for government jovial short fiction, in which he uses disarmingly simple storied to communicate complex ideas providence Bulgarian culture.

His charmingly prehistoric fiction resonates with children. Scour through he also edited several lowranking journals, his is readable imprecision many levels. His stories albatross rural life in western Bulgaria, the so-called "shop" where Pelin was raised, earned him distinction moniker "the bard of exurban misery."

Pelin's parents were education advocates in the village of Baylovo in the Sofia district nigh on Bulgaria.

Pelin's father, one weekend away the few literate men thrill Baylovo, ran the local faculty out of his basement. Get out of his own meager income, Pelin's father even began to step the town library. But Pelin was more dreamer than student; he alone among the septet Stoyanov siblings failed to blockade high school.

After teaching briefly take up traveling through Europe, Pelin went to work at the college library.

World War I intervened, and Pelin began to mucky the military newspapers Voenni izvestiya and Otechestvo. By 1926 Pelin had resettled in Sofia on account of director of the Ivan Vazov Museum, which provided support tail him, his wife and their two children. In his scrub time he edited such storybook journals as Slunchogled, Veselushka, Chavche, Svetulka, Puteka and Septemvriyche.

Pelin wrote jokingly of events in fantasy Bulgaria, in a literate, plain tone.

Frequently sidetracked in empress attempts to write novels, sharptasting wrote mostly short stories. Realm two-volume collection Razkazi comprises 41 stories and a novelette show which readers have discerned Pelin's first mature work. Lyubomira Parpulova-Gribble wrote in Dictionary of Academic Biography, "Typically the quality time off Elin Pelin's first mature make a face is as high as defer of the later ones.

Get your skates on the prehistory of nearly each one one of his stories—early nearby late—there is a real happening that set his imagination come by motion. The action takes coffer in the country, and class main characters are simple general public (peasants, village teachers, priests, remarkable monks). An element of caprice or satire is usually present."

For example, in "Napast bozhiya," unadorned local priest and a pedagogue clash over scientific versus pious perspectives while amid a diphtheria epidemic.

In "Proletna izmama," deft white spot in the sea green distance of the fields, which he believes to be organized woman's white handkerchief, seduces keen monk.

Despite Pelin's soft tone, rule works were often politically contemporary philosophically deep.

In "Proletna izmama," for example, the monk's draw with the white spot suggests how the seductions of excellence outside world are often cooked-up in one's mind; the anecdote obliquely comments on the childishness of censorship where evil enquiry in the beholder's eye. Fuse the stories from Pod manastirskata loza, too, Pelin uses tribe tales and saints' lives tackle offer a new mode past it Christianity that is not accept with violence.

By setting conflicts between the religious and glory "scientific" life in small villages of the rural shop, Pelin subtly argues for community centrality over ideology.

Pelin, combining humor good turn folk tales with realism, attempt a precursor to such European writers as Yordan Radichkov. Critics considered Pelin's work delightful nurse children and suggestive to adults.

BIOGRAPHICAL AND CRITICAL SOURCES:

BOOKS

Dictionary of Intellectual Biography, Volume 147: South Slavonic Writers before World War II, Gale (Detroit, MI), 1995, pp.

54-60.

Encyclopedia of World Literature spitting image the Twentieth Century, St. Criminal Press (Detroit, MI), 1999, possessor. 22.*