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  Latvijas KultÅ«ras Kanons  

Show textShow cached sourceOpen source URL	Mākslinieks veidojis arī mazāka mēroga memoriālus citviet Latvijā (Jaunpiebalgā, Jaunsvirlaukā), pasniedzis tēlniecību Latvijas Mākslas akadēmijā, taču jau 1942. gads nes līdzi nāves ziņu.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	Parallel to this, Zāle won the contract also for the Freedom Monument in Riga. The construction work was started in 1931 and the monument was unveiled in 1935.

  Latvijas KultÅ«ras Kanons  

Show textShow cached sourceOpen source URL	Epa tapšanas gaitā viņš izmainījis ne tikai priekšstatu par to, kas ir un kam jābūt tekstam, lai to dēvētu par dzeju, – to lielākā vai mazākā mērā tiecas darīt katrs dzejnieks, bet arī pašu valodu. Pēc Bērziņa vairs nerunās un nerakstīs tā, kā pirms Bērziņa.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	In the course of writing his epos, Bērziņš has not only changed our understanding of what a text is and what it should be, which is what poets do: he has changed our understanding of the potential of language. After Bērziņš, it will be impossible to write or talk as before. The post-Bērziņš Latvian will be another language.

  Latvijas KultÅ«ras Kanons  

Show textShow cached sourceOpen source URL	Blumberga R. Lībieši // Mazākumtautības Latvijā: Vēsture un tagadne. – Rīga: Latvijas Universitātes Filozofijas un socioloģijas institūts, 2007. – 26.–41. lpp.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	С 1989 года в первую субботу августа в Мазирбе ежегодно проходит праздник ливов – знак того, что традиционная культура ливов жива. Свидетельством этому – активная деятельность ансамблей ливской песни, появление произведений искусства ливов и литературы на ливском языке.

  Latvijas KultÅ«ras Kanons  

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Lielās skatītāju zāles amfiteātrī ir 944 vietas, darbojas arī Mazā zāle un Kamerzāle. Skatuves daudzveidīgas izmantošanas iespējas nodrošina piecpadsmit mazāki (3 x 3 m) vertikāli pārbīdāmi laukumi tās priekšplānā un divi lielāki (3 x 9 m) pārbīdāmi laukumi dziļākā plānā.

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В амфитеатре Большого зрительного зала – 944 мест, есть также Малый и Камерный залы. Многообразие возможностей использования сцены гарантируют пятнадцать небольших (3х3 м), подвижных по вертикали площадок на переднем плане и две большие (3х9 м) площадки на заднем плане. В заднем кармане – выдвижная платформа с поворотным кругом диаметром 14 м и вращающимся в обратную сторону кольцом вокруг него. Передняя часть сцены тоже трансформируема.

  Latvijas KultÅ«ras Kanons  

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Lielās skatītāju zāles amfiteātrī ir 944 vietas, darbojas arī Mazā zāle un Kamerzāle. Skatuves daudzveidīgas izmantošanas iespējas nodrošina piecpadsmit mazāki (3 x 3 m) vertikāli pārbīdāmi laukumi tās priekšplānā un divi lielāki (3 x 9 m) pārbīdāmi laukumi dziļākā plānā.

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В амфитеатре Большого зрительного зала – 944 мест, есть также Малый и Камерный залы. Многообразие возможностей использования сцены гарантируют пятнадцать небольших (3х3 м), подвижных по вертикали площадок на переднем плане и две большие (3х9 м) площадки на заднем плане. В заднем кармане – выдвижная платформа с поворотным кругом диаметром 14 м и вращающимся в обратную сторону кольцом вокруг него. Передняя часть сцены тоже трансформируема.

  Latvijas KultÅ«ras Kanons  

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gadam bija funkcionālisma protagonista Latvijā, LU Arhitektūras fakultātes profesora Ernesta Štālberga asistente; tad viņa līdz ar citiem modernisma aizstāvjiem cīņā pret Staļina retrospektīvo arhitektūru bija spiesta no augstskolas aiziet. Arhitekte sameklēja darba vietu, kur varēja strādāt mazākā partijas funkcionāru uzraudzībā.

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Станя – уникальная личность в истории культуры Латвии: архитектор, дизайнер мебели и интерьера. До 1950 года – ассистентка основоположника латвийского функционализма, профессора факультета архитектуры Латвийского университета Эрнеста Шталбергса. Вместе с другими защитниками модернизма в борьбе против ретроспективной сталинской архитектуры была вынуждена покинуть университет. Так она нашла работу с меньшей долей контроля партийных функционеров – в рыболовецком колхозе Звейниекциемс, где по ее проектам были построены дом культуры, средняя школа и жилые дома.

  Latvijas KultÅ«ras Kanons  

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Jau pirmajās darba sezonās A. Liedskalniņa pārsteidz ar atveidoto tēlu daudzpusību un absolūtas pārtapšanas kontrastiem, turklāt maz izmantojot ārējus raksturošanas paņēmienus. Tikko nojaušamas ir dziļu jūtu vibrācijas Šekspīru mīlošajā Kendelā (M. Zīverta "Āksts", 1957) un Aglonas meitenē Anastasijā (P. Pētersona "Balto torņu ēna", 1959).

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Уже в первые сезоны в театре Лиедскалныня поражает многосторонностью созданных ею характеров и контрастами абсолютного перевоплощения, используя при этом минимум внешних образных средств. Едва угадываемы глубинные волны чувств любящей Шекспира Кенделл (пьеса М. Зивертса «Шут», 1957) или же девушки Анастасии из Аглоны (пьеса П. Петерсонса «Тень белых башен», 1959). А рядом – кокетливая обольстительница Дора (пьеса А. Упитса «Полет чайки», 1957) или эксцентрически сумасбродная Ортруде (А. Деглавса «Рига», 1958). В образе Марги из романтической драмы А. Касоны «Третье слово» (1959) пленяет так и не разгаданная тайна женственности актрисы.

  Latvijas KultÅ«ras Kanons  

Show textShow cached sourceOpen source URL	Nacionālā romantisma celtnēm raksturīga formu smagnējība, monumentāls cēlums, stāvi jumti, logailas ar noslīpinātām augšdaļām un atturīgi etnogrāfisku motīvu rotājumi, kuri radoši interpretēti laikmetīgā formu valodā. Rīgā nacionālajam romantismam vairāk vai mazāk pieskaitāma vismaz katra ceturtā jūgendstila celtne.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	Latvia’s National Romantic movement was inspired by the powerful motives of a ridged roof and natural wood tones ranging from light brown to gray. The nation's historic buildings had decorative and applied art motifs and ethnographic ornaments carved from its forms and textured surfaces. The National Romantic buildings had monumental grandeur, steep roofs, ridges at the top and restrained ethnographic decorative themes, which were creatively interpreted in contemporary architectural language. Riga’s National Romanticism affected at least a quarter of the Art Nouveau buildings.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	Для построек национального романтизма характерны двухскатные крыши, естественные цвета дерева – от светло-коричневого до серого, а также мотивы прикладного искусства и этнические орнаменты в резьбе, текстиле и прочих элементах. Зданиям национального романтизма свойственны определенная тяжеловесность, монументальное величие, крутые крыши, скошенные оконные проемы, напоминающие о средневековье и интерпретирующие идею пралатвийского замка, сдержанный этнический декор. Примерно каждое четвертое строение югендстиля в Риге – образчик национального романтизма.

  Latvijas KultÅ«ras Kanons  

Show textShow cached sourceOpen source URL	Kaut arī paražās ir daudz kopīga ar latviešiem, lībieši nav balti – tā ir somugru tauta, kuras valoda kopā ar igauņu, somu un citām mazākām valodām iekļauta Baltijas jūras somu valodu grupā. Dzīvojot cieši kaimiņos latviešiem, lībieši atstājuši nozīmīgu ietekmi gan uz latviešu kultūru, gan valodu.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	Although they share much with the Latvians, Livs are not Balts: it is a Finno-Ugric people, whose language along with Estonian, Finnish and some other smaller languages, is included in the Baltic Finnish language group. Living in close contact to neighboring Latvians, Livs have left a significant impact both on Latvian culture and language. The Liv language inspired both the phonetics and vocabulary of Latvian (words "sēne" (mushroom), "kaija" (seagull), "muiža" (manor), "māja" (house), "kukainis" (bug) etc. are borrowings from Liv). Also in terms of traditions and customs, an interaction with the nearest neighbors, the Estonians and Latvians, has taken place, so many of them are similar, especially along the Kurzeme coast.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	Несмотря на сходство многих обрядов и традиций с латышскими, ливы – финно-угорский народ. Их язык, вместе с эстонским, финским и другими языками, образует балто-финскую языковую группу. Проживая по соседству с латышами, ливы оказали влияние как на латышскую культуру, так и на язык – в латышской лексике и фонетике немало ливских заимствований. Много общего и в народных традициях, особенно в приморских районах Курземе.

  Latvijas KultÅ«ras Kanons  

Show textShow cached sourceOpen source URL	Kāda lieliska mākslinieka tuvinieki, tikai tādēļ, ka autors ir iekļauts kultūras kanonā, ir gatavi nacionālas nozīmes muzejam dāvināt lielu skaitu šī mākslinieka darbu. Grūti atbildēt, vai tas ir maz, vai daudz.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	Now I have had many more positive experiences regarding the influence of the Canon on various processes. In informal conversations, teachers have told me that they use the list in the teaching process. A woman who heads a memorial museum dedicated to a personality included in the Canon told me that after he made the list it has become easier for her to have a dialogue with her local government and make sure that the museum is appreciated. The family of an outstanding artist are now ready to give a national museum a great number of his works – only because he has been included in the list. It I difficult to say if that is much or little. But it is clear that the Cultural Canon is something living.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	Теперь я всё чаще встречаюсь с положительным влиянием Канона на различные процессы. В неформальных разговорах педагоги подтверждают использование канона, как учебного пособия. Руководитель музея отмечает, что, после включения в Канон персоны, которой посвящен мемориал, ему стало легче разговаривать с местным самоуправлением. Близкие одного прекрасного художника готовы подарить музею национального значения большое число работ этого художника только потому, что автор включен в Канон культуры. Канон живет!

  Latvijas KultÅ«ras Kanons  

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gadsimta otrās puses prozas darbos tikpat kā nav kustības telpā. Mazā, "iekšējā" pasaule vienlaikus ir visa pasaule, tajā pārstāvēti visi sabiedrības slāņi un psiholoģiskie tipi, tajā noris gan traģēdija, gan komēdija, gan arī farss.

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In "Mērnieku laiki", just like in other late 19th century fiction, there is hardly any movement in space. The small "inner" world is at the same time the entire world, with all layers and psychological types of society represented and the action taking the form of tragedy, comedy, and farce. In other words, the brothers clearly showed that even such a small and limited world is suitable for the interplay of regularities from "big" literature. The "outer" world, the metropolis where the fates of the "inner" world are decided, exists of course, but it is so remote and alien, that the characters of the novel simply ignore it. The "inner" world is in perfect order, everything in it is predictable and predetermined. Some fluctuations, some regroupings can take place there, yet the world tends to return to its stable state. The authors’ attitude to these elements of order and chaos is a case to the point: if the "inner" world is stable, it is discussed rather ironically and lightly, but as the balance disappears, tragic motifs make their appearance.

  Latvijas KultÅ«ras Kanons  

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gadsimta pirmās puses vēsturisko notikumu un kultūras dzīves pašaizliedzīgam atveidotājam un sava gaismu pielietojumā izsmalcināta portretēšanas stila iedibinātājam, jauno politisko doktrīnu vidē neatradās pelnītā profesionāla mākslinieka vieta. Jauna fotogrāfu paaudze, kuras ambīcijas sniedzās mākslas jomā, izauga patstāvīgi un lēnām, mazāk meklējot pārmantojamības saiti, vairāk orientējoties uz pieejamo poļu un čehu fotožurnālu ierosmēm.

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Photography had great difficulty in insinuating itself into the art scene of that period. Paradoxically, even the old master Vilis Rīdzenieks, a tireless recorder of the historical and cultural events of the first half of the century and a sophisticated portraitist, was not accorded the status of a professional artist in the environment of new political doctrines. A new generation of photographers with artistic ambitions matured independently and slowly, availing themselves mostly of ideas found in the Polish and Czech photography magazines. The Riga Photography Club (Rīgas Fotoklubs), established in 1962, served as a social and aesthetic platform for this generation. Spuris also joined initially, but in 1975 he established his own aesthetic platform, becoming the artistic director of the Ogre Photography club (Ogres Fotoklubs) where such internationally renowned artists as Andrejs Grants and Inta Ruka developed their photographic thinking. Among the photographers of his generation, Spuris stands out also with a university degree: he graduated from the Riga Polytechnical Institute and worked also as a technical designer.

  Latvijas KultÅ«ras Kanons  

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gadsimta otrās puses prozas darbos tikpat kā nav kustības telpā. Mazā, "iekšējā" pasaule vienlaikus ir visa pasaule, tajā pārstāvēti visi sabiedrības slāņi un psiholoģiskie tipi, tajā noris gan traģēdija, gan komēdija, gan arī farss.

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In "Mērnieku laiki", just like in other late 19th century fiction, there is hardly any movement in space. The small "inner" world is at the same time the entire world, with all layers and psychological types of society represented and the action taking the form of tragedy, comedy, and farce. In other words, the brothers clearly showed that even such a small and limited world is suitable for the interplay of regularities from "big" literature. The "outer" world, the metropolis where the fates of the "inner" world are decided, exists of course, but it is so remote and alien, that the characters of the novel simply ignore it. The "inner" world is in perfect order, everything in it is predictable and predetermined. Some fluctuations, some regroupings can take place there, yet the world tends to return to its stable state. The authors’ attitude to these elements of order and chaos is a case to the point: if the "inner" world is stable, it is discussed rather ironically and lightly, but as the balance disappears, tragic motifs make their appearance.

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Autore (Ezeras paštēls, kuram tikai attāls sakars ar autores reālo personību un kurš iemitis vairākos Ezeras darbos) pēc infarkta klīst rēgainā skulptūru dārzā, kur ierauga savu mazās pilsētiņas Mūrgales paziņu tēlus.

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Regīna Ezera (1930—2002) is one of the most important 20th century Latvian prose writers, equally successful in the novel and story as well as essay, review, journal, autobiography genres. During her lifetime, Ezera published twenty-eight books of original work. Her novel "Zemdegas" ("Smoldering") (1977), which has been called a phantasmagoria, along with the novels "Varmācība" ("Violence") (1982) and "Nodevība" ("Betrayal") (1984) are her masterpieces. These works are expeditions to the periphery of literature where the traditional novel is replaced by entirely different forms of writing: prefaces, notes, letters, diaries, reflections, fragments. In fact they are novels on the subject of the difficulty of writing a novel. Despite such an approach, however, the novels are dense with a variety of passions and existential abysses. In "Zemdegas", the Author (Ezera’s alter ego who has but a distant relationship to the author’s real personality and who has taken residence in several of Ezera’s works) after a heart attack is wandering through a spooky sculpture garden where she sees her acquaintances from her little town Mūrgale cast in stone. The Author realizes that all these people have died as has she: she also reveals that knows everything about these people, including the fact that they have been accidentally killed. Five more or less tragic narratives follow, variations on the theme of indirect/accidental murder, concluding with the sixth, the Author’s story of her own death, different from the preceding ones. While generally the intonation has been lyrical or gently tragic, in this narrative it turns acerbically ironic. The Author seems to try to put a distance between herself and the novel, since in terms of the plot, the sixth narrative is not connected to the preceding five. Autore runā ne tik daudz par savu The Author talks not so much about her biography than about literature: the text in effect is a belles-lettres essay on literature. Yet the death of the Author is also not the "real" ending of the novel; she comes back to life and so do the other supposedly dead people. The six narratives that form the novel are developed in the tradition of realistic-psychological fiction: everything is recognizable and therefore absolutely believable. Yet the introductory and final parts of the novel declare this believability a phantasmagoria and fiction: the believable is no longer trustworthy. The novel tries to negate itself or rather that dimension which i

  Latvijas KultÅ«ras Kanons  

Show textShow cached sourceOpen source URL	Kārtodams dziesmas pēc tā, kādos gadījumos tauta tās dzied, Barons "Latvju dainu" pirmos trīs sējumus (piecas grāmatas) atvēlējis cilvēka mūža posmiem (bērna gaidīšana, dzemdības, audzināšana, jaunības laiks, precības, precēto sadzīve, vecums, nāve) un atbilstīgiem pārejas rituāliem, no kuriem galvenie – kristības, kāzas un bēres. Mazāk apjomīgi cikli ietilpināti ceturtajā un piektajā sējumā: darba dziesmas, sabiedrības un šķiru attiecību dziesmas, kara dziesmas, gadskārtu svētku dziesmas, mītiskās dziesmas.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	Barons’s "Latvju dainas" is an unmatched textual document that, to the present day, has been kept both in his original files and published in a book form, with 217 996 songs included in six volumes (8 books). "Dainu skapis", the file cabinet where Barons accumulated almost all the texts known at the end of the 19th century has been recognized as unique documentary heritage of world significance and in 2001 was included in the UNESCO World Memory list. Using the drawers of the cabinet, Barons sorted the songs organizing them in chapters according to a system that is unsurpassed in Latvian folklore research. Arranging the songs according to the event at which they are sung, Barons devoted the first three volumes (five books) to the stages of a person’s life (pregnancy, birth, childhood, youth, getting married, married life, old age, death) and the relevant rituals, with christening, wedding, and funeral as the central ones. Less numerous cycles are relegated to the fourth and fifth volumes: work songs, songs devoted to the relationships within a society and among classes, war songs, seasonal festival songs, mythic songs. The mischievous and erotic songs are compiled separately in the sixth volume. "Latvju dainas" have come out in two editions; their texts have been used for other collections, and there is also a digital version (dainuskapis.lv), which makes available the original pages from the cabinet along with the texts published as "Latvju dainas".
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	«Дайны латышей» – исключительно ценный документ народной песенной традиции, по сей день хранящийся в оригинальной картотеке и опубликованный в шести томах (8 книг), насчитывающий 217.996 песен. «Шкаф дайн» Баронса – каталог, в котором он накапливал собранные им тексты вплоть до конца XIX – признан уникальным документальным наследием мирового масштаба и в 2001 году занесен в список UNESCO «Память мира». В ящиках шкафа была сформирована и структура будущего издания – лучший образец классификации в латышской фольклористике. Распределяя дайны, Баронс первые три тома своего издания отвел песням, связанным с этапами человеческой жизни (ожидание, рождение и воспитание ребенка, юность, женитьба, семейная жизнь, старость, смерть) и соответствующими ритуалами – крестины, свадьбы, похороны. В четвертом и пятом томах собраны циклы трудовых песен, сопровождавших те или иные работы, песни об обществе и классовых отношениях в нем, военные песни, песни календарных праздников, мифологические песни. Озорные дайны включены в отдельный, ограниченно доступный шестой том. «Латышские дайны» переиздавались еще дважды; их текст использован во многих других публикациях народных песен. Создана цифровая версия, сайт dainuskapis.lv, на котором доступны как изображения оригинальных карточек, так и сами тексты дайн.

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Piecdesmitajos gados un sešdesmito gadu pirmajā pusē Vācieša dzejai bija raksturīga nosliece uz vairāk vai mazāk precīzi formulētām socialām idejām, kas tika izteiktas ar maksimālu poētiskā pārdzīvojuma intensitāti un patētiskiem akcentiem vispārākajā pakāpē.

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Ojārs Vācietis’s (1933–1983) poetry represents a projection of the poetic process as it developed from the 1950s to 1980s and it is difficult to tell to what extent Vācietis perceived and expressed necessities prompted by his time and to what extent he himself was forming this process, influencing almost all of his poetic contemporaries. He wrote: "I did not invent poetry. Poetry invented me." Vācietis’s oeuvre, taken as a whole, resembles a polyphonic piece of music: there are several themes that, in various degrees of intensity, are present already in his early books; these themes are then gradually developed, some culminate and then quiet down, draw to the background and give their place to another. In the 1950s and the first half of the 1960s, Vācietis’s poetry tended toward more or less precisely formulated social ideas, which were expressed with maximum intensity of poetic feeling and pathetic accents at their superlative degree. In the second half of the 1960s, however, he took remote journeys in the wastes of poetic time-space and the expressive poetics was replaced by delving into himself, into the infinity of consciousness, and digressions into Latvian history, albeit with a penchant for discussing social problems in a poetic form. In a sense it was unavoidable: the poet "escapes from himself", using what he has already done as a point of departure. The expressive poetics – in part because of Vācietis’s many followers and imitators – gradually turned into a literary cliché. Vācietis had stirred up the potential for generating poetic ideas and now he had to proceed to unlock the deepest layers of poetry. The passionate apologia for and equally passionate criticism of the civilization were replaced by calm skepticism and irony, which at times turned into a grotesque.

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Show textShow cached sourceOpen source URL	Teikšana jeb saukšana atšķiras no kantilēnās, melodiskās dziedāšanas ar to, ka tā ir tuvāka dziedošai runāšanai: tai raksturīga šaura apjoma – visbiežāk tercas vai kvartas – melodika un sillabisks teksta muzikālās realizācijas veids, kur katrai teksta zilbei atbilst viena muzikāla skaņa, respektīvi, bez locījumiem un melismiem. Teicamajās dziesmās svarīgākais ir teksts, tā saturs, mazāk – melodija, tās skaistums vai izdaiļotība.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	Teikšana "song-reciting" is a distinct and traditional Latvian form of singing, which is mainly used at annual, traditional family occasions. Song-reciting, or -calling, is different from cantilena, or melodic singing, due to the fact that it is closer to speaking in sing-song: the inherent short-scale - often tertiary or quarter-toned – melodic, syllabic text and the musical form of presentation, where each syllable of text corresponds to a musical sound, but without bends and grace notes. The song’s excellence arises from its text, its content, and less so from the beauty of the melody. Unlike chant-songs, which are usually text-based with a plot, and hence longer, each song forms a separate, four-line canto. A spoken-song involves a number of singers, or singers (traditional singing usually involves a greater number of female voices), but with different functions: a soloist or main voice recite-sings one half of the quatrain and the other singers repeat it, either verbatim or modified.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine kulturaskanons.lv as primary domain	Речитативное пение – своеобразный способ латышского традиционного пения, характерный, главным образом, для семейных и календарных обрядов. Речитатив отличается от кантиленного или мелодичного пения тем, что речитатив более близок к певучему разговору: для него характерен узкий диапазон мелодики – чаще всего терции или кварты – и силлабический (слоговый) способ музыкальной реализации текста, где каждому слогу соответствует один музыкальный звук, без распева и мелизмов. Самое важное в речитативных песнях – их содержание, а не красота мелодии или наличие украшений. В отличии от песен мелодических, где текст обычно сюжетный, нарративный и, соответственно, более длинный, речитативную песню образует чередование отдельных четверостиший. В речитативном пении участвуют несколько певцов или певиц (в традиционном пении выражена женская доминанта), каждый со своей функцией: солистка (запевала) поет половину песни (четверостишия), остальные ее повторяют – прямо или с изменениями.

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gadā publicēdams četras mazas dzejas brošūriņas, kas pēcāk tiek apvienotas un ar jauniem dzejoļiem papildinātas grāmatā "Mana paradīze" (1932), pie dzejas apvāršņiem parādījās kā reti atraktīva persona – kā anarhists un tradicionālo pilsonisko vērtību noliedzējs.

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Aleksandrs Čaks (1901–1950), publishing four small poetry brochures in 1928.–1929, which were later combined and supplemented with new poems in the collection "Mana paradīze" ("My Paradise") (1932), arrived on the poetry scene as an anarchist who rejected the traditional bourgeois values. Typical denizens of Čaks’s poetry of this period: "city boy" ready to use his fist to punch away the self-satisfaction in the face of a fat, jovial gentleman he has met by chance and a lonely, poetically inclined vagabond who spends night in less than poetic dives. This "street boy", of course, is just the top layer of poetry, a literary device with which Čaks distanced himself from the poetry of previous eras. At the same time, it was a device that helped Čaks to find his place in his own era: not to dream of some lost paradise traditional to Latvian literature, not to prophesy some utopian future, but to feel and, most importantly, to live the here and now. As early as 1928, Čaks wrote in a little essay, a manifesto of sorts, entitled "My Curtsey to Life": "Only he who loves his time and feels naturally at one with it can be a true poet." Of course, the present, in contrast to the poetic visions of the past or future, is a distinctly prosaic phenomenon. From here stems one of the basic principles of Čaks’s approach: concentration on separate details at a first glance, non-poetical. He set out to poeticize the non-poetical (or what hitherto was considered as such): not to talk about non-poetical things in a poetic things (as Čaks’s friend and teacher Jānis Sudrabkalns did so well), but take the non-poetical, trivial, obvious details characteristic of the city and to transform them paradoxically into poetic elements, which actually put down strong roots in Latvian literature. "Mana paradīze" was a first in Latvian literature where Čaks eloquently showed that it is possible to write poetry about the most non-poetical things, at the same time revitalizing the sterile language of so-called "lofty poetry", returning it to its profane status on the street, in a pub, in chaos. Hence Čaks’s inimitable intonation where provocation and melancholy, bravura and sentimentality, irony and nostalgia, roughness and pain appear side by side.

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Autore (Ezeras paštēls, kuram tikai attāls sakars ar autores reālo personību un kurš iemitis vairākos Ezeras darbos) pēc infarkta klīst rēgainā skulptūru dārzā, kur ierauga savu mazās pilsētiņas Mūrgales paziņu tēlus.

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Regīna Ezera (1930—2002) is one of the most important 20th century Latvian prose writers, equally successful in the novel and story as well as essay, review, journal, autobiography genres. During her lifetime, Ezera published twenty-eight books of original work. Her novel "Zemdegas" ("Smoldering") (1977), which has been called a phantasmagoria, along with the novels "Varmācība" ("Violence") (1982) and "Nodevība" ("Betrayal") (1984) are her masterpieces. These works are expeditions to the periphery of literature where the traditional novel is replaced by entirely different forms of writing: prefaces, notes, letters, diaries, reflections, fragments. In fact they are novels on the subject of the difficulty of writing a novel. Despite such an approach, however, the novels are dense with a variety of passions and existential abysses. In "Zemdegas", the Author (Ezera’s alter ego who has but a distant relationship to the author’s real personality and who has taken residence in several of Ezera’s works) after a heart attack is wandering through a spooky sculpture garden where she sees her acquaintances from her little town Mūrgale cast in stone. The Author realizes that all these people have died as has she: she also reveals that knows everything about these people, including the fact that they have been accidentally killed. Five more or less tragic narratives follow, variations on the theme of indirect/accidental murder, concluding with the sixth, the Author’s story of her own death, different from the preceding ones. While generally the intonation has been lyrical or gently tragic, in this narrative it turns acerbically ironic. The Author seems to try to put a distance between herself and the novel, since in terms of the plot, the sixth narrative is not connected to the preceding five. Autore runā ne tik daudz par savu The Author talks not so much about her biography than about literature: the text in effect is a belles-lettres essay on literature. Yet the death of the Author is also not the "real" ending of the novel; she comes back to life and so do the other supposedly dead people. The six narratives that form the novel are developed in the tradition of realistic-psychological fiction: everything is recognizable and therefore absolutely believable. Yet the introductory and final parts of the novel declare this believability a phantasmagoria and fiction: the believable is no longer trustworthy. The novel tries to negate itself or rather that dimension which i