Зеркало

Ėto filosofskiĭ roman o li͡ubvi, pami͡ati i vremeni, o mire kak o prostranstve otrazheniĭ, gde odno neprestanno prostupaet v drugom. O tom, chto "li͡ubovʹ - vezde i vo vsem". Tema "zerkala" - skvoznai͡a, i ėto derzhit vse tvorenie: "Mir - ėto tvoe zerkalo. Zerkalo s dvoĭnym steklom. Na kazhdui͡u veshchʹ mozhno smotretʹ s raznykh storon, i kazhdyĭ raz ona otkroetsi͡a po-raznomu". Volshebnoe zerkalo vremeni. "Deti - tvort͡sy. Imenno poėtomu vremi͡a v detstve kazhetsi͡a beskonechnym". Dragot͡sennye kartiny detstva. Pervye uroki muzyki, kotorye daet mama, pervye postizhenii͡a zakonov garmonii. "Gde dom moĭ? V zolotistom krae vospominaniĭ, v obiteli sveta i pechali - v prii͡ute pami͡ati - v vechnom detstve". Nichem, krome muzyki, ne ogranichennai͡a assot͡siativnostʹ myshlenii͡a, sovershenno legkai͡a i svobodnai͡a peretasovka literaturnykh, mifologicheskikh i bibleĭskikh personazheĭ (Don Kikhot i Satir, Adam i Eva, Maugli i Skitalet͡s i t.d.). Prekrasnye i mudrye razmyshlenii͡a o priti͡agatelʹnosti iskusstva pisʹma, ob ulovlenii budushchego, poskolʹku v nem estʹ chitatelʹ, ob ėtoĭ taĭne. Ėto kniga redkoĭ vnutrenneĭ svobody i dukhovnoĭ i͡asnosti, v kotoroĭ detstvo, muzyka, mif i slovo skladyvai͡utsi͡a v glubokoe znanie o cheloveke.
- Vladimir Gandelʹsman.
Odni avtory idut ot zhivopisi, drugie - ot muzyki. Kniga Lery Auėrbakh - simbioz bukvy s notoĭ. Ee opus magnum "Zerkalo" dazhe trudno nazvatʹ prozoĭ. Ėto "muzit͡sirovannyĭ" poėticheskiĭ opyt strannogo kharaktera: tonkai͡a, ėlegantnai͡a, vozdushnai͡a, no vpolne vni͡atnai͡a vi͡azʹ slozhno perepletennykh motivov, roman vzroslenii͡a dli͡a solo- virtuoza.
- Aleksandr Genis.
"Zerkalo" - roman, neobychnyĭ po zamyslu i po forme. Ego kompozit͡sii͡a, sostoi͡ashchai͡a iz dvadt͡sati chetyrekh preli͡udiĭ i dvadt͡sati chetyrekh postli͡udiĭ, prevrashchaet samu formu v zerkalo, gde odna chastʹ otrazhaet drugui͡u i pridaet eĭ novyĭ smysl. Auėrbakh s iskli͡uchitelʹnoĭ virtuoznostʹi͡u soobshchaet proze tochnostʹ postroenii͡a i tonkostʹ ni͡uansirovki, obychno prisushchie muzyke. V t͡sentre ėtogo romana - detstvo i pami͡atʹ, ta ischezai͡ushchai͡a materii͡a zhizni, kotorai͡a, vopreki utrate, prodolzhaet svetitʹsi͡a v slove.
- Solomon Volkov.

This is a philosophical novel about love, memory and time, about the world as a space of reflections, where one constantly appears in the other. That "love is everywhere and in everything." The theme of "mirrors" is end–to–end, and it holds the whole creation together: "The world is your mirror. Mirror with double glass. You can look at each thing from different angles, and each time it opens up in a different way." The magic mirror of time. "Children are creators. That's why time in childhood seems endless." Precious childhood paintings. The first music lessons that my mother gives, the first comprehension of the laws of harmony. "Where is my home? In the golden land of memories, in the abode of light and sorrow –in the shelter of memory – in eternal childhood." Nothing but music, unlimited associativity of thinking, a completely easy and free shuffling of literary, mythological and biblical characters (Don Quixote and the Satyr, Adam and Eve, Mowgli and the Wanderer, etc.). Wonderful and wise reflections on the appeal of the art of writing, about capturing the future, because it has a reader, about this mystery. This is a book of rare inner freedom and spiritual clarity, in which childhood, music, myth and word combine into a deep knowledge of a person.
– Vladimir Gandelsman.
Some authors come from painting, others from music. Lera Auerbach's book is a symbiosis of a letter with a note. Her magnum opus "The Mirror" can hardly even be called prose. This is a "musical" poetic experience of a strange nature: a subtle, elegant, airy, but quite intelligible bond of intricately intertwined motifs, a novel of growing up for a solo virtuoso.
– Alexander Genis.
The Mirror is a novel that is unusual in design and form. His composition, consisting of twenty-four preludes and twenty-four postludes, turns the form itself into a mirror, where one part reflects the other and gives it a new meaning. Auerbach, with exceptional virtuosity, communicates to prose the precision of construction and the subtlety of nuance usually inherent in music. At the center of this novel is childhood and memory, that disappearing matter of life that, despite the loss, continues to shine in the word.
– Solomon Volkov.