Olga Gubanova. Essay. The Wall

The Wall

I saw from above two girls recently,
They were rollerblading under the dense snow,
Teenagers nearer to children than to girls.
Can you imagine how snow is falling slowly?
It looked like the painting of XV century.
The wall after the wall,
Like measureless sequence of curtains.
Two indistinct figures,
Smooth movement,
No barriers anymore.

April 4, 2015

original copyright © Olga Gubanova 2015

Olga Gubanova. Essay. Blue Coffee

Blue Coffee

Something changed.
Weather.
The structure of clouds.
Sky resembles blue coffee.
With traces of grey milk.
And the yellowish cream.
Thousands of waitings.
Have you reread “The Keys to December”?
As if somebody switched off
The last refrigerating unit on this planet.
The ultimate end of winter.
Do you remember?

March 23, 2015

original copyright © ∞ Olga Gubanova 2015

Olga Gubanova. Essay. Purple

Purple

Transparent colour
with splashes of grey
inside its different layers.
When the temperature
is minus twenty eight and
is continuing falling
for several minutes
after a sunset
concrete becomes purple-grey.
The south wing
of the city
is formed from cocrete cubicles.
And these all firstly turns purple,
then grey.
A winter with the purple taste.
Every winter here.

July 23, 2014

original copyright © ∞ Olga Gubanova 2014

Olga Gubanova's Essay / The Tweed Run in Saint Petersburg

19 July 2014

“Non, Je Ne Regrette Rien”
by Edith Piaf

The third Saint Petersburg Tweed Run happened on July 19, 2014. Almost the middle of summer, almost daytime. Firstly, it was raining, then the temperature raised to +26°C, cameras showed 32° in the sun. 450 registered participants. The most trained ones are able to control themselves in any circumstances, they looked pretty fine at the start. Flowers in baskets also were fine. At the finish everybody looked as if it was +26°C and felt like 32° in the sun.

The original Tweed Run is a bicycle vintage attire-themed ride through the centre of London. Petersburg's edition also winds through the historical center, however in comparison with London's performance the topic of our Tweed Run and evening party in this year was altered, it was fashion of Paris in the 1940s.

It was a war period and later the time when France and its people recovered after the war. Of course, if French fashion in 1940s had looked this way, German troops would have never left Paris. Probably German forces would have never visited any other places in this world apart from Paris. But somehow French women in 1940s in spite of any later interpretations managed to keep balance (in fashion) and to control a situation.

And if there had been so many French men at the streets of Paris in 1940s like for the time of this ride, French women would have never opted for wearing transparent stockings.

The finish was at the intersection of Zamkovaya and Klenovaya streets in the public garden near Saint Michael's Castle. There are different levels of participation, I arrived at the picnic at the finish and contemplated flamboyantly decorated bikes and enthusiastic and creative people who won bowties. And girls won bowties as well!

Below is my saved for forthcoming generations look in style of Paris 1940s. Believe it or not, the thinnest dark-brown gloves with a small fringe and a purple clutch bag Mark by Marc Jacobs are hidden among flowers.

The Tweed Run's Look / © Olga Gubanova 2014

Olga Gubanova. Essay. On happy numbers, books and time

Numbers

Thirteen was Maya's beloved number, it was believed to be happy, it was connected with positive changes. The next equally beautiful opportunity to change something will be correspondingly every 100 and 1000 years later. We are also there.

Some people believe that past and future don't exist, that only present is real. But it is almost impossible for a person of my profession to believe that the future isn't predefined, it is predefined and also shaped by our actions. The past can't exist if it is improbable. The future can't be achieved if it is unbelievable. And the past is also unfinished otherwise it won't require to be saved so emphatically. How (and why) otherwise the past and the present can be analyzed, if the future couldn't be predicted, how otherwise it can be predicted influenced and formed with acceptable probability of success? So there is the past, the present and the future. There are many roads and many landmarks. But these three aspects of reality exist simultaneously.

So in these two months I was engrossed by forming premises.

Meanwhile, I received a book with my work and tear sheets. Although all three times exist simultaneously, it is interesting that there couldn't be another book “Best of Photography 2013” and there will have never been other photographs which will be secured by the title of describing them book as the best photographs of 2013, the year of positive changes.

The next equally beautiful opportunity to change something will be in 2113 and 3013 correspondingly. I am here. But if you are reading this at least in 2113, then the past, the present and the future do exist simultaneously.

original copyright © ∞ Olga Gubanova 2014

Olga Gubanova. Essay. Raven

R.

I walked along the front of the building where my family rented an apartment. It was near a river and close to that city's sole sand beach. Somebody used to cut the grass. When it was done in the middle of summer, the grass stopped growing. At least in that climate. It withered. Densely covered by short dry sticks the lawns remained the same and smelt the same for the rest of the summer. By heat and an unknown waisted land.

After this you couldn't walk on any lawns. Summer suggests sandals, but dried grass is stiff and sharp like blunt knives. It doesn't cut, it tears the skin. Such wounds on the open areas of feet are enduring.

There, on cutting sticks, between the concrete wall and a pavement, a tremendous black bird with extended wings lay. I was sure that it was a raven, however I couldn't say that its colour was exactly raven's black. But it was still black. It was the most dark and dense black I have ever seen. I could compare it later only with black clothes and hair of the refined Italians whose black was very specific. The raven's plumage was stretched like a composition of open black fans. Somewhere it was covered by grayish areas of a discoloration as if by a mold. Nevertheless, it was such the dark object in the city in the middle of the melting summer that its body was like an opening in the reality. Like a black liquid shadow of something on burned by sun grass. A hole without volume. Despite obvious outlines of the black, bright black, it was hard to distinguish details.

I guessed that if I had lain on the thorny grass carpet its wingspan would have been equal to my height.

And I thought that it was dead, but it definitely had died beautifully. Wings were open, almost symmetrically, every separate feather was like a black plate. Black as the mixture of a monsoon and charred till the last fibre wood. Probably it had been a very clever bird, because it was able to control its posture even at the last moment. Its pose was like that of a straight and noble human being.

I began to approach slowly. I noticed eyes. The eyes happened to be open. They might as well be closed. They were black, without any expression. Eyes like shape, not like content. I had been looking at its eyes, because they were impossible to look into, and at the certain step of this careful pace on the vertical grassy knives I noticed that I had just glanced into them. Their expression changed. I was bestowed by meaning in the eyes of the tremendous old bird. It was an expression of time. Definitely not fear and not annoyance. A flash of attention. Maybe it sighed slightly or it moved a little. I understood that despite the fact that I hadn't desired exactly this, I was losing my chance to touch it, so I fastened, I bowed, reaching, and I almost touched a fringe of one of its outstretched feathers. Maybe a centimetre between the edge of the right black wing and the tips of my fingers. This black hole in the summer did have claws. Coaly. It changed position slightly, then moved aside and instantly took off, very easyly. Without hastle, just easy. It was very strong and graceful big bird.

I realized that it had been drying its plumage in the bright sun. It probably wanted to kill some parasites. I believe it didn't like rain. I wouldn't say that it didn't love people. It contemplated them, made conclusions. But cold rain was more annoying than the whole of mankind. It landed not so far away from where it had been and stretched its wings once more. A bit different posture. I didn't try to touch it again.

It is interesting that Scandinavian god Odin was associated with two ravens. These birds flew around Earth then came back to Odin, set at his shoulders and reported at night the happenings of a day in the world. They were named Huginn and Muninn, which means “Thought” and “Memory”.

Maybe it was impossible to touch a legend.

original copyright © ∞ Olga Gubanova 2013

Olga Gubanova. Essay. Wasps

W.

The last two summers before graduating high school I spent a tremendous amount of time trying to get a suntan. An artificial tan wasn't popular.

Now I believe that in certain climate zones in this country only people of specific types and shades of skin are able to get a natural suntan. I had to spend a lot of time beneath the open sun for the lightest hint of a tan. However I used to lie on a beach. We all had to take and pass entrance exams to university and it was my way of preparation. With books from the second year of a medicine school, beneath the summer sun, nearby brown quick muddy water.

I possessed an islet of yellow sand. The single sandy beach in an empty city and a very strange lawn around it. The grass there was higher than human height. After spring rains the ground in its shadow was wet and for this reason for the whole summer the grass was very green. Over a road it was cut and dry.

The sultry season with really hot filled with the dry air days. The straight sun was like melted gold of a very cold colour. The absolutely immovable air. The atmosphere without layers and without streams. Exceptionally concrete lines of landscape. No distortions to a curve of a river.

Idyllic mood. Like in "Breath" by Telepopmusic. With several exceptions. The river was paved by bent ancient slabs. Like a half of a giant pipe. Swimming was dangerous. The buttom was curved and brown, banks were clayey. The dark painting inside the green frame under the brightest sun. Desolate months. Time for solitude. It seemed as if the air in this weather lost its ability to carry things. That every even plane object would fall faster than usual and if it had been perfectly flat, it would have cut this air into two absolutely transparent canvases. Classmates could always find me among these thick grasses and share my rug or rumple a bit more grass nearby, look at the sky through half-closed eyelashes, think about the future. Twelve years ago.

Once my friend asked me, “Are your eyes closed? ” tenderly.
“Yes,” faster than in sleep, “What the strange question,” I can't open my eyes, the sunshine is too bright, can't open them wildly in summer, she knew and I was lying on my back.
“It isn't the question, it is just the introduction.”
“Why did you ask?”
“Don't move, please.”
“ … ”
“Could you promise me that you won't make any sudden or wide gestures?”
“Yes.”
“And won't jump.”
“Yes. What is the next?”
“And, could you promise me as well that you won't scream or squeal?”
“Do you think I can squeal? Am I able to scream in such hot weather?”
“If I were you, I would learn to do.”
With the lightest suspicion, “So it isn't a surprise?” I must admit I though briefly about some gift after such an introduction, but recollected that she wore a skirt and it was without pockets.
“I am not sure.”
“Is it bad news?” how could this materialize in the middle of my island of calmness.
“Not news exactly. Maybe yes.”
I already feel that I won't be able to move.
“There is a wasp. Exactly above you.”
“Mmm?”
“One small hungry wasp with a sharp stinger and striped skin.”
“Where?”
“Right above you.”
“Where exactly?”
“Over you chest.”
“How close to me?!”
“Forty centimeters, I guess.”
Twenty seconds of silence.
“And why shouldn't I open my eyes because of a random wasp which has flown by?!”
“You promised you won't scream. But it isn't important now, it isn't afraid of yells.”
“Why?” whisper.
“It is hanging there.”
I decide to open eyes. Too bright. Then I start making out the silhouette.
She continues, “You aren't afraid of wasps, are you?”
“I guess so.”
“It's good. Because it has been hanging over you for about ten minutes. Motionlessly.”

I realize that I am lying under the wasp whose muzzle is overshadowing my sun, not seriously, but in fact. It hovers over me, its wings are moving but it is keeping its height and the position. Like a mute extra small helicopter. This tiny thing when it soars so steadily looks very heavy, like a small heavy jewelery and it is incomprehensible how it can only hang there and look at you. There exist different species of wasps. This one was narrow and small with bright very contrasting stripes. Funny creature and among all creatures this one certainly was a wasp.

Then my friend added, “It is looking at you.”
“Nonsense.”
“I assure you, it is looking at you.”
After this the creature with a sudden "bdgik" flew away. Of course without any trace in transparent air. But it wasn't the end. It came back. With a friend, another wasp with the same behavior. They hung together above me for five or six minutes, then disappeared with a similar simultaneous "bdgik". And returned after a while with a third friend.
“What do you think, what are they going to do?”
“Perhaps take aim?”
“I think they are having sunbathes.”
“Why among all this grass exactly above me?”

They continued to hover steadily. Despite my first impression there was the slightest movement of air, probably changes of temperature had begotten a wind and blending of layers took the wasps slightly to the right. But they accelerated and came back. It wasn't a straight row, the middle creature and the right one were slightly behind, nevertheless they were at the same height and with equal intervals between them. Very strange.
My friend. She was laying on her side, her elbow under the head. Without any interest from the wasps' side.

“I suppose, you reflect sun light. And their bellies get a suntan.”
“I have to confess, I start being afraid of wasps.”
“And I have another question. It's interesting, what do your books say say about this, are they men or women?”
“I prefer to dress and get away before they come back with a fourth one or with the whole hive.”
Thoughtfully, “They can't be women, rather men, in my view.”

I changed the position around the space of this sandy and grassy beach for the whole summer. It didn't depend on place, company or its absence. Every time they found me and began their game with daylight and the melodic sound of disappearance.
“Bdgik”, when I looked at them severely or, later, fixedly. Then every time they invited their friends, other wasps. Perhaps it's such a wasps' flirt.

“I have to tell you something,” said another classmate.
With delicate intonations, “How many of them?”
“What do you mean?”
“Two, four, maybe eight?”
“... two... so you know about this phenomenon.”
“Yes, wasps, so how many today?”
What I know about wasps precisely is that they can feel embarrassment. Especially when you catch them peeping at you.

My friendly wasps.

original copyright © ∞ Olga Gubanova 2011

Olga Gubanova. Essay. Bird

Bird

In a silence bigger than cold I heard the black rustle beneath the white sky, above the sea, frozen and white. Flown above the sea covered by snow, lowly, the big black bird touched it by wings.

Don't Lose in the Eternity of White | photograph | © Olga Gubanova 2013

Olga Gubanova. Essay. Grand Paris Project. The presentation of Bertrand Lemoine. Saint Petersburg Design Week 2013

Part III

25 May 2013

“High time”

“Grand Paris Project”

the presentation of Bertrand Lemoine

Director General of

the Atelier International Grand Paris (AIGP)

in the Nevskaya Courtine of the St. Peter and Paul Fortress

with the collaboration of PRO ARTE Foundation for Culture and Arts

We had the privilege of meeting with Bertrand Lemoine in Saint Peterburg on 25 May 2013. Bertrand Lemoine, an engineer, architect, architectural historian, author, technical advisor, chief editor, manager and director of the multitude of projects, departments and institutions in the different aspects of his professional field, the frequent guest of architectural forums, biennale and seminars in Moscow, introduced to Saint Petersburg's public the highly modern French model of the sustainable existence of metropolises, the sole possible state of their being - development. Bertrand Lemoine tried to convey the latest social and philosophical ideas and the gleams of technological achievements, antipodes of chaos, despondency, inertness and desolation, companions and followers of mankind life and so far begotten by it organized systems.

Grand Paris, the pivot of Ile-de-France, is incredibly complicated tremendous and diverse creature possessing an international reputation.

It's profitable center - classical wealthy by it's attainments Paris with the multitude of cultural and architectural treasures, bedroom communities, office districts and suburbs - is the source of the half of the gross national product of France. It incorporates diverse sides of life and styles and levels of living. And it is surrounded by the layers of pictorial gardens, parks, forests and functioning rural and agricultural areas. The infrastructure of this intense region is mainly developed.

The modern structure of magnificent and complex Paris was begotten by the system and the evolution of crenellated battlements. The last wall of 1845 established the historical center of the city. The epoch of organized architectural planning began in 1920's-1930's. Since these times Paris has been splashing out of it's borders. In 1934 the new conception and the term of Paris region was defined. In 1965 was decided to create 5 new cities around Paris. The realization of this choice applied the ideas of the previously accepted plan of development. For the following years the metropolis has been enlarging. Intensive growth was substituted for extensive spacial growth. Utmost functional growing suburbs weren't able to find their identity while the center, old Paris, exceptionally attractive and saturated by cultural landmarks and the traces of history, remained the same.

The problems begotten by the natural evolutions of the urban reality and environment are those problems which modern Parisians through the interaction with organised by their will and efforts new public institution, Atelier International Grand Paris, have and it seems intend to solve.

It was decided to undertake actions regarding the next fields attracting particular attention of French and international parts of the team of architects, city planners, philosophers and the public.

Transport

The transport system of the large agglomeration is planed to be developed. The new system and the additional branches of public transport must interconnect all clusters of the metropolis, the economically successful districts and the economically challenged, especially important ones at the periphery, and provide them easy and fast access to the center.

This direction includes development and innovations: significant enlargement of the subway equipped by new automated trains, 72 new railway stations appropriate for the next integration with other kinds of transport and forthcoming it's new systems, 175 additional kilometres of the subway, the total length has to achieve the sizes about 80 to 110 kilometres from the north to the south and approximately 130 kilometres from the east to the west; expanded web of high-speed trains; trams; the separated lines for the movement of buses; the invention and the introduction of the symbiotic system of private, the privilege of remote regions, and public transport, promotion of the core element of this symbiosis, electric vehicles.

Infrastructure

At the same time the regions of metropolis must be specified. This is, for example, already defined the mathematical and physical specialisation of researches on the south and the region for aerospace investigations on the north. New secondary centers surrounded by minor ones with own developed infrastructure have to be created.

Mentioned above actions, firstly, will allow to hasten and simplify the travelling for the citizens of Grand Paris and it's guests, secondly, they will increase the attractiveness of the remote regions and, consequently, decrease traffic. Finally, the new utterly contemporary and beautiful projects and completed buildings will become the sources of pride and the way of the discovery of personality and the next identity of those remote districts. They will improve social climate and strengthen social interaction and social connections. Among these projects, buildings changing the appearance and the status of particular remote districts can be quoted: France Ministry of Defense with origami-like roof, the project of Nicolas Michelin by ANMA on the south. Le Palais de Justice de Paris by Renzo Piano on the north-east of Paris. Le Project Triangle on the south by Jacques Herzog and Pierre de Meuron. Duo by Jean Nouvel on the east. Arena Stadium 92 on the west by Christian de Portzamparc. La Cite Du Cinema, it is a film studio complex supported by the film director and producer Luc Besson, designed in 2000 and located in Saint-Denis, on the north of Paris. It was open on 21 September 2012. Stade Jean Bouin by Rudy Ricciotti. Philharmonie de Paris by Ateliers Jean Nouvel. Louis Vuitton Foundation for Creation designed by Frank Gehry and the Louis Vuitton Foundation.

Duo | © Ateliers Jean Nouvel

Accommodation

An accommodation in Grand Paris is expensive and in modern Paris aren't enough apartment houses and living spaces. The rent is expensive as well. Having judged demography and migration it was decided to increase the amount of new flats from 35 000 per year to 70 000. At the same time the metropolis has to remain inside it's natural boarders, forests and agricultural zones. Paris has to cease it's extension.

It could be achieved by means of modern technologies, new technologies of building and the development of obvious and at the same time unordinary areas, for example, the building on the immersible areas. It is planned to renovate industrial zones, to reequip the first floors of buildings and storehouses, to reconstruct separate buildings. Often it supposes the full renovation and also the construction of additional storeys. The changes of the transport system could provide the opportunity to build commercially and economically attractive buildings and centers nearby city roads and to free potential areas for living by means of this.

Ecology

The team declares ecological attitudes to human health and the natural environment. The Atelier International Grand Paris highlights the necessity to preserve the natural diversity of the region and it's natural resources, rivers, especially Seine, for the forthcoming sustainable development of Paris. The banks of Seine, it is nearby 200 kilometres from Paris to the English Channel and the possible direction of building, have to be secured from development. Grand Paris has to remain compact and be rebuilt inside itself. The green areas and the open spaces inside existing Paris must be saved. These green lungs of Paris will evolve and expand through the technologies of sustainable building. The buildings can become the continuations of parks and parks can be built on these buildings. Grand Paris can be the medium of the rethought and renewed conception of ecologically friendly, responsible and climate supporting hanging gardens with people living there.

The new buildings will use efficient systems of natural heating, ventilating and air conditioning, the systems of the rainwater collection and it's purification, generate renewable energy, especially solar and wind energy. The smart homes building will be enhanced. The attitudes to the changes of the conditions of insolation and views of residential areas nearby developing zones will be conscious. The city will create missing organs of it's organism and connected with them systems inside metropolis like inside an imaginary body, it will purify itself and produce energy like more or less perfect self-sufficient and definitely efficient system.

Education

About 40% scientific researches in France have been accomplishing in Paris, there are located also a lot of internationally acclaimed universities and schools. These institutions must be supported. Their development, underlining their meaning and importance, the investment in education will directly influence on international status of the city and strengthen it. The multitude of international projects in the field of architecture, their scales, the strength of their architectural idea and the potential of insights will emphasize this international status of the city. These modern breakthrough are the long-term results of the developed systems of education.

The way of governing

The current fragmentary character of the regions inside the Grand Paris is supported by the way of their management. Ile-de-France unites 1282 communes and the decisions about new building can't be accepted without agreement of their direction. The authorities in the field of city planning could be delegated to the new integrated institutions. Possible agglomerations are already defined and the discussion of the adoption of the corresponding law is on the agenda in the French Parliament for the middle of this summer.

The long-term constructive goal and the dream imagined by the members and the guests of the Atelier International Grand Paris is the compact sustainable city, very coherent, quite independent balanced and comfortable for living there. Utopia.

Bertrand Lemoine, the French architect, Director General of the Atelier International Grand Paris, can produce rain by his beautiful streamy speech. And rain in many cultures can be interpreted like the greatest blessing. The last third of his performance in the St. Peter and Paul Fortress was accompanied by the sounds of sudden dense rain falling outside the red and white thick walls of the ancient fortress in the heart of Saint Petersburg. And it was raining when everything was said. On that day rain changed the palette of the city. May be this architect and enlightener will be able to organize and control the creation of utopia. After all it seems the blessing was granted.

original copyright © Olga Gubanova 2013

© Ольга Губанова 2013

воспроизведение текста эссе любым образом без письменного разрешения автора запрещается.

Olga Gubanova. Essay. Still Life

Still Life

One. A black cat with pistachio yellow eyes drinking water from a cut-glass, quite possibly your glass because it is situated on your white writing desk. Quite possibly you even for all these years have been drinking water from his glasses and green tea with sugar from his cups. He looks at you while drinking. Two. The black cat with the transparent plate filled with apricots on a piano. He smells them like flowers. An aesthete. Thinks about all fragrances of orange and Rene Magritte. Three. The black cat among the elongated silk pillows decorated by flamboyant lines and flowers and with all sorts of metallic buttons. He, black, is on a white and black closed keyboard, like the black volumetric metaphor of piano, soft paws, stays, like a silent sound, and at the same time he is between them. I guess he thinks about radiant grass.

original copyright © Olga Gubanova 2013

Olga Gubanova. Essay. Ephemeral Design of Marco Piva (Studio Marco Piva). Saint Petersburg Design Week 2013

Part II

24 May 2013

“A skyscraper which could become a vase”

Ephemeral Design of Marco Piva (Studio Marco Piva)

in the Nevskaya Courtine of the St. Peter and Paul Fortress

with the collaboration of PRO ARTE Foundation for Culture and Arts

Marco Piva visits Saint Petersburg Design Week for the third time. This time he discussed studio's philosophy and the next items of it's master planning, architectural renovation, interior and landscape design, lighting and window concept design:

1.

The master plan of the City of Beijing at the bank of Yellow River in China

It's glass and metallic cityscape separated from natural green elements of environment (although it was conceived not to be separated) vaguely and strangely reminds of the Italian landscapes.

An interesting fact: Studio Marco Piva was challenged to create the project which would allow to build 7 floors of a skyscraper per day.

2.

The private villa at Como Lake in Italy

A building enters a garden that penetrates the building. It slightly resembles the dream of Alice in “Through the Looking-Glass”. The photos of the project were quoted by more than 200 magazines around the world.

3.

The design of showcases for Bulgari

The authors were inspired by the purity of lines of the vicious and elongated images of Jeanne Hebuterne on the masterpieces of Amedeo Modigliani (Modigliani or Modigliani and Hebuterne?). The firm developed the design of the family of white and black metallic ceramic forms and lamps that became the perfect medium for jewellery and accessories and the cold anthropomorphous lonely models with almost alive almost warm luminescent skin since point of view of spectators floating through the cold or sultry dusk of so many cities of the Earth.

The mysterious decorated by jewellery vessels with their appearance of objects crafted manually. Almost like a woman.

4.

The project of the Bulgari Pavilion 2013 at Basel in Switzerland at the Watch and Jewellery Show (April 25th - May 2nd)

The studio discussed philosophically and visually the idea of so perceptible and indescribable, so important and so transient time. The supporting planes inside every decorative column of the building were separated and the windows with watches were placed inside.

At least at the current stage of the evolution of mankind the importance of architecture for time in the long term is proved even more than the importance of time for architecture in the long term.

5.

The unusual for design (and habitual for renovation) direction of the development of an idea. From photography, primary object, to sculpture, new primary object

The sculpture of the blue beautifully folded decorated by rings hands for Milan Design Week was based on the vintage Bulgari's advertising photo of Fabrizio Ferri and was created for the celebration of 14th anniversary of iconic B.zero1 design and the art installation in the ancient private gardens of Bulgari Hotel Milan.

“And all the same a woman became a vase in 21th century, but it is closed.”

original copyright © Olga Gubanova 2013

© Ольга Губанова 2013

воспроизведение текста эссе любым образом без письменного разрешения автора запрещается.

Пожалуйста, не копируйте и не публикуйте мои тексты где бы то ни было без моего разрешения. Если вы считаете, что другие хотели бы их прочитать, пожалуйста, разместите ссылку на эту страницу.