2024-04-04 18:02:21
Chairman of the National Council, professor Jamil Hasanli
Rasulzade wrote that it is a mistake to expect an extraordinary work from a writer who does not have great deeds. This is what distinguishes Chingiz Huseynov, who was born 92 years ago and who is permanent with his works and his position as a citizen. It is a rare event that a writer who lived a large part of his life within the framework of Soviet ideology remains in the national destiny and contemporary thought. What caused this event was the fact that he had a great idea, a great deed, and looked at the future through the eyes of his conscience.
The literary fate of Chingiz Huseynov has passed the test of history and has reached our present and is ambitious for our tomorrow. In the full sense of the word, he has no old work. Despite the fact that half a century has passed since his death, in “Mohammad, Mammad, Mamish”, “Fatali Fathi”, “Family Secret”, and “Doctor N”, which he wrote soon after, he has kept not only his artistic freshness, but also his public spirit. Each of his works has become a great literary event. It was met with controversy, sometimes even bayonets by those sitting on the bayonet. But Chingiz Huseynov could not turn from his literary path.
The literary path was his own, he did not follow anyone else’s path, he did not imitate anyone. Hard prose that relies on the capabilities of the mind and intellect, hard truth that flows between the lines, hard character that can go against the flow. It was these harsh truths that made Chingiz Huseynov’s works permanent, made them become world languages, and brought them to world stages, which many could not say in the shackles of the system.
Chingiz Huseynov’s path to great literature passed through “Difficult Uphill”.
Indeed, writing “Mohammad, Mammad, Mamish” required great courage. In this work, he brought back the literature that had been developing in the heart of man for a long time, he was able to turn deep psychological problems into multifaceted upheavals of the Soviet society aimed at building communism. In its time, this work created a broad picture of modern problems up to Muhammad’s conversion to Mamish, and that picture today is the size of Azerbaijan itself.
With “Fateli Fathi”, Mirza Fatali conquered the centuries after him, and Chingiz Huseynov conquered the literary environment. It was a phenomenal literary monument based on the historical past and aimed at the future in the national destiny. Creating such a fundamental example of national destiny against the background of historical identity required the writer’s and researcher’s skills. He was able to make Mirza Fatali not only a phenomenon of the 19th century, but also a contemporary of the 20th-21st centuries and centuries that we cannot see. Despite the fact that nearly 200 years have passed since his death, Mirza Fatali is a benchmark in national destiny. And in the time gap of two centuries, in the 21st year of the XXI century, when the question of who we are arises, Akhundov comes to mind again. After the “Conquest of Fatali” this question has become even more relevant: are we the nation of Mirza Fatali or his characters?
“Family Secret” and “Family Secrets” are also like this. Chingiz Husyunov is the first great writer who brought these secrets to literature, who could foresee the tragic consequences of family-clan rules in the national destiny, and who created a destructive picture of it on the way to national formation. His conclusions in the 80s of the last century turned out to be correct. The family rule of the Aliyevs in Azerbaijan, which lasted for more than half a century, together with its secrets and secrets, threw the country back at least half a century. At the July 1969 plenum, when Heydar Aliyev was brought to the leadership of the republic from the State Democratic Party, Aziz Sharif wrote to his close friend Mirza Ibrahimov that “I have been safe and sound on the shores of the Baltic Sea for a week.
we rest. Everyone here asks me why Akhundov was excluded. I’m asking you too. The official reason given in the newspaper is so stupid and inappropriate that everyone laughs. I am both laughing and burning: – how long are these official news
Will the “leaders” who compiled it consider us, that is, the Soviet people, unconscious and unintelligent and hide the real reasons? Who needs this? Ah, Sabir satire, where are you! What is the place of the Sabir crusher!… Who will be the new secretary Aliyev? Somehow I don’t know him. In short… It’s okay, take care of yourself!” Mr. Mirza also replied that, uncle Aziz, don’t worry, the new leadership is one of your people, and it is unlikely that they will lose power. So it was and still is today.
However, it was Chingiz Huseynov who first saw where this impure process would lead and created its artistic landscape. One day in the future, when the Aliyev dynasty is thrown into the dustbin of history and what happened in the last 50 years is wasted, “Family Secrets” will be a salve for this nation’s sense of shame in front of time and history, and it will be a white face in relation to the 50-year family-clan regime. The literary and eternal mission of the great writer Chingiz Huseynov in the history of public opinion is also related to this.
Chingiz Huseynov is a scholarly writer, his writings and works related to the history and theory of literature stand out for their originality. His memories are sincere and vivid like “Pen’s dreams”. “Meraj” is a unique artistic example about the life story of the Prophet Muhammad. Chingiz Huseynov is a unique translator. And together with Aziz Sharif, he translated another Mirza, Mirza Jalili, into Russian. Just as it is difficult to translate Gogol, the soul of Russian public opinion, into Azerbaijani, translating Mirza Jalil into Russian requires great professionalism. Although there are many writers who create interesting animal images in the world, in the stories and narratives of Mirza Jal, especially in “Stories of Danabash Village”, the image of the donkey is stronger, more sincere, more lively, more alive than the human images in the work. It is not the task of every translator to keep this line in line, to convey the tragedy of this image in Russian with such great skill in a society that was formed under the cranberry tree of Bey Khudayar and cannot provide an artistic hero for a literary work.
Although Chingiz Huseynov is the author of complex images, he is a very simple intellectual, a man of words, a man of pen, a man of ideas who worships broad human values and has a civic stance. We had very memorable conversations with him about the fate and history of Azerbaijan both in Baku and Moscow. It happened. In the two-story Azerbaijan museum located among the tall pine trees in Peredelkino, the conversations we had with Mr. Chingiz for hours around the table opened by Mrs. Lena are forever etched in our memory.
At the end of this small treatise, of course, we congratulate Chingiz Huseynov, the teacher of Chingiz, who is still like a glowing crack of the literary environment, and we wish him good health. May Chingiz Huseynov, who has grown old, but does not grow old in words, art, and thoughts, polish our current poor society with his personality.