History with the destruction of the ironic joke monument "The Shade of Pushkin" leads to very sad thoughts. No one needs anything. And Odessa by and large - in terms of literary and historical legends - it is almost no use to anyone.
That's right on Dostoevsky: everyone does not care ("Dream of a funny man"). Nobody cares. In addition to a couple of hundreds of Odessa residents who go out to defend the Green Theater, the Summer Theater, the "one-walled house" in Vorontsovsky Lane, the remains of Russov's House, and so on.
Old Odessa is getting smaller. On the protection of the historic center and the announcement of its UNESCO monument can already be forgotten. If we are not capable of preserving and protecting authentic monuments of history, architecture and "purely Odessa chips", then who can help us? No one.
The memory of people is short, or ... It's still clear when immigrant Odessaites emigrating to Odessa say about old houses that "this is old, smelly, with rats it is necessary to demolish and build clean and new" (and then huge monstrous houses grow on Leo Tolstoy Square , changing the horizon of the terrain and the general mood of a low and cozy in the past district. But when some kind of local - like Odessa - turn into mankurts (google, who does not know who it is, you will be interested), I can not understand it.
Especially bright mankurtizm was manifested during the restoration of the famous historical monument - the Potemkin Stairs. The work was carried out disorganized, slowly. There was a feeling that we are all present at the destruction of the staircase, and no one can do anything now. It is still unclear whether there was a clear plan for the reconstruction project, or all was repaired situationally and symptomatically. The timing was postponed, because many surprises emerged. It happens when there is no project. When no one has calculated in advance, has not calculated, did not conduct the necessary studies. The corpse is a bum in the arch under the stairs and noticed by Vladislav Balinsky the water left in the frost in the water hose has been repaired more or less open. There were many "jambs". Brigades changed - with not very skillful at all messy. And now we have what we have - the Potemkin staircase seems to be repaired, the plaster is poured from it, the steps are unevenly laid and t.
The brigades were assembled from non-Jews. And they did not care what would happen in the end. They are not ashamed. They received their pay and left - back to the area or to other construction projects. Here, after all, such a thing - someone drags stones, and someone - "builds a temple".
The bridge Kotzebue, near which I live, was also repaired without a plan. They did, reworked, broke, sawed, dug out, again did. Now the bridge is open - quietly, without unnecessary noise. And not only because of the noise, that everything is next to all in the ruins, but also because it was made, probably, by those who did the repair of the Potemkin Stairs. Here is the same style - repaired symptomatically, with postponed terms, with "jambs," with uneven steps and a bump, and t. There are many non-economically made things - in this long-suffering bridge. But to boast - it turns out that there is nothing. But now the bridge is strong, and the wires do not hang. Probably, we should at least enjoy this.
And there are a lot of such things - tree trunks for trees in the central streets, a polymer mixture with granite chips around the tree trunks - everything is done in running, hastily, unified, without taking into account the age of the trees. And again, it seems that the performers of these works "do not know what they are doing". When the old trees are cut down by the roots for laying level with the sidewalk, instead of laying the edge and covering these roots - then the answer of the master "ordered me and I do", sounds infantile and irresponsible. Who will be punished for this? Here this hard worker? So he was ordered, and he does. And he is afraid of losing this job. Therefore - he "does not care".
And now the story of the installation of the pillars, which "hooked" the Shadow of Pushkin. Really it was impossible to put a pillar a little bit behind? There are very strict requirements were set - just like here and not a step to the side?.
Where is the tile that was dismantled? For sure, it is thrown out together with the soil excavated to install the pillar. Tile there, by the way, is not the same as it is now everywhere. It is even visually different from the one that paved almost half the city. The sculptor carved and glued the drawing carefully. The monument to the Shadow of Pushkin was discovered cheerfully and jokingly, at the opening they tried to arrange what is now called "skirmishes of activists". Then the activists were podnachivaemye Nina Kachanovskaya (yes, the same Kachanovskaya) pensioners and old women with icons, and it was a terrible performance in the performance of these unhappy retirees, who suddenly remembered that "Pushkin - our everything! ". And srach in social networks again resumes - the same as when Pushkin's Shadow was just opened.
"How can you walk on Pushkin's feet? "- we already passed. And how can you sit down fotkatsya to Utyosov on his knees in the Gorsad? How can you rub your noses and other parts of your body to monuments, believing that there is such a sign? You can walk in the shadow, because it is only a shadow. And to transfer this humorous monument a little bit to another place and not to cry - advise someone else, not Odessa citizens.
The World Club of Odessites, who invented this monument and organized its installation, probably does not yet know that the monument was destroyed.
I'd like to sue those who allowed themselves such a destruction of the monument. I want to hear and see those who designed all this disgrace, who put and who hollowed this monument on the tile in order to dig a hole for the pillar. World Club of Odessa, we can apply to the police and the prosecutor's office? After all, we are not mankurts? Let it even apply only to the Shadow of Pushkin at the corner of Deribasovskaya and Rishelyevskaya.