Agnia Barto is the most famous children's poetess, whose works have forever entered the golden classics of Soviet children's literature. And today she is rightfully considered an unsurpassed master of children's poetry, her poems are a reference for children's poets. Her works, simple at first glance, are the result of painstaking work and an endless search for new poetic forms that are understandable and accessible to children. But the main business of her life was the radio program "Find a Man", thanks to which many families that were separated during the Great Patriotic War were reunited.
Agnia Lvovna Barto was born in Moscow in 1906 into a wealthy Jewish family. The childhood of little Getel (this is the real name of Agnia Barto) was happy and cloudless, she grew up in a typical atmosphere of the Moscow intelligentsia of those years. A spacious apartment, a housekeeper and a cook in the service, frequent dinner parties, mandatory summer moves to the country, admission to the gymnasium and ballet school - everything in Getel's life developed like an ordinary girl from a bourgeois environment. The father, a veterinarian, brilliantly educated, did his best to pass on the knowledge to his only daughter, and dreamed of a career as a ballerina for her. In addition, she was born in the Silver Age of Russian poetry - the era of fashion for writing and the search for new poetic forms, and the future Agniya Barto did not pass the passion for creativity.
At the age of 18, she married the young poet Pavel Barto, with whom they wrote together and dreamed of poetic fame. In 1925, plucking up her courage, Barto brought her poems to the State Publishing House, and was very disappointed when she was sent to the children's literature department. Children's poetry was considered "pampering", real geniuses worked in the field of lyrics. A chance meeting with V. Mayakovsky became fateful, it was he who convinced Agnia of the need for poetry for children, as an important element of pedagogical education. This is probably why Barto's early poems, written with her first husband, are more like "teasers":
What's the howl? What's a roar?
Is there a herd of cows there?
No, there is not a cow,
This is Ganya-revka.
Family life did not work out, but Barto already “got a taste”, her own poems were a success and she created with pleasure for the children. Observant, she accurately noticed the images created by the children, listened to the conversations of the children on the street, communicated with them in schools and orphanages.
The second marriage of Barto with a prominent scientist - a thermal power engineer turned out to be extremely happy, and Agnia plunged headlong into work. She was criticized a lot, the "pillars" of children's poetry S. Marshak and K. Chukovsky often scolded her for changing the size of the stanza, using assonant rhymes, but Barto stubbornly searched for her own style, easy and memorable. The undoubted "highlight" of her work is the ability to reproduce children's speech, with its short sentences and precise images. Her poems are simple for children's perception, and humor and irony give children the opportunity to look at themselves from the outside and notice their shortcomings with a smile.
On May 4, 1945, when the whole country froze in joyful expectation of victory, misfortune happened in Barto's life - the life of her 18-year-old son was absurdly cut short. This tragedy changed her life. But the work saved her, pulling her out of the abyss of terrible grief. Barto traveled a lot not only around the country, but also abroad. Knowing several foreign languages, she freely communicated with children from other countries, took on translations of foreign children's poets.
Agniya Barto became the organizer of the country's first program to search for people, the prototype of the "Wait for me" program. Lost children often remembered only small details of their childhood, and Barto wrote about them, and she read them on the radio, choosing the most significant - the father's name, the dog's nickname, the details of home life. Soon the program became so popular that many people went to Moscow directly to Lavrushinsky Lane, where the poetess lived, and Barto received and listened to everyone, connecting her household to this activity. Subsequently, Barto devoted almost 10 years to this, managed to unite more than 927 families and wrote a touching book about the fate of lost children.
She died in 1981 and was buried at the Novodevichy Cemetery in Moscow. There is no pretentious epitaph on her grave, it simply says:
Agniya Barto
Writer.
Agnia Lvovna Barto
(1906 - 1981),
writer, poet, translator
Agnia Lvovna Barto was born in Moscow on February 17, 1906. Here she studied and grew up. She recalled about her childhood: “The first impression of my childhood was the high voice of a hurdy-gurdy outside the window. For a long time I dreamed of walking around the yards and turning the handle of the hurdy-gurdy so that people attracted by music would look out of all the windows.
In her youth, Agniya Lvovna was attracted to ballet, she dreamed of becoming a dancer. Therefore, she entered the choreographic school. But several years passed, and Agniya Lvovna realized that poetry was the most important thing for her. After all, Barto began to compose poetry in early childhood, in the first grades of the gymnasium. And the first listener and critic of her work was Father Lev Nikolaevich Valov, a veterinarian. He was very fond of reading, he knew by heart many of Krylov's fables, he valued Leo Tolstoy above all. When Agnia was very small, he gave her a book called "How Lev Nikolayevich Tolstoy Lives and Works." With the help of this and other serious books, without a primer, my father taught Agnia to read. It was the father who demandingly followed the first verses of little Agnia, taught how to write poetry “correctly”. And in 1925 (then Barto was only 19 years old) her first book was published. The poems were immediately liked by the readers.
Agnia Lvovna wrote not only poetry. She has several movie scripts. These are Foundling (together with Rina Zelena), Elephant and Rope, Alyosha Ptitsyn develops character, Black Kitten, Ten Thousand Boys. And many of Barto's poems became songs: "Amateur fisherman", "Lyoshenka, Lyoshenka", "Useful goat", etc.
Agnia Lvovna visited many countries, met with children, and from everywhere brought poems of “little poets” - as she jokingly called them. Thus was born an unusual book called "Translations from Children". These are poems by Agnia Barto, written on behalf of the children she met during her trips.
Agnia Lvovna devoted her whole life to children's poetry and left us many wonderful poems. The poetess died at the age of 75 in 1981.
Poetess.
She was born on February 4 (17 n.s.) in Moscow in the family of a veterinarian. She received a good home education, which was led by her father. She studied at the gymnasium, where she began to write poetry. At the same time, she studied at the choreographic school, where A. Lunacharsky came to the graduation tests and, after listening to Barto's poems, advised her to continue writing.
In 1925, books of poems for children were published "Chinese Wang Li", "The Thief Bear". A conversation with Mayakovsky about how children need a fundamentally new poetry, what role it can play in educating a future citizen, finally determined the choice of subject matter for Barto's poetry. She regularly published collections of poems: "Brothers" (1928), "Boy on the contrary" (1934), "Toys" (1936), "Bullfinch" (1939).
In 1937, Barto was a delegate to the International Congress for the Defense of Culture, which was held in Spain. There she saw with her own eyes what fascism was (congress meetings were held in the besieged burning Madrid). During the Patriotic War, Barto often spoke on the radio in Moscow and Sverdlovsk, wrote military poems, articles, and essays. In 1942 she was a correspondent for Komsomolskaya Pravda on the Western Front.
In the post-war years she visited Bulgaria, Iceland, Japan, England and other countries.
In 1940 1950 new collections were published: "First Grader", "Zvenigorod", "Funny Poems", "Poems for Children". In the same years she worked on scripts for children's films "Foundling", "Elephant and Rope", "Alyosha Ptitsyn develops character."
In 1958 she wrote a large cycle of satirical poems for children "Leshenka, Leshenka", "Grandfather's granddaughter", etc.
In 1969 the documentary book "Find a Person" was published, in 1976 - the book "Notes of a Children's Poet".
A. Barto died in 1981 in Moscow.
"A bull is walking, swaying, sighing on the go..." The name of the author of these lines is familiar to everyone. One of the most famous children's poets Agniya Barto has become a favorite author for many generations of children. But few people know the details of her biography. For example, that she experienced a personal tragedy, but did not despair. Or about how she helped meet thousands of people who lost each other during the war.
February 1906. Maslenitsa balls were held in Moscow and Great Lent began. The Russian Empire was on the eve of changes: the creation of the first State Duma, the implementation of Stolypin's agrarian reform; hopes for a solution to the "Jewish question" have not yet died out in society. In the family of the veterinarian Lev Nikolaevich Volov, changes were also expected: the birth of a daughter. Lev Nikolaevich had every reason to hope that his daughter would live in another, new Russia. These hopes came true, but not in the way one might imagine. A little more than ten years remained before the revolution.
Agniya Barto did not like to remember her childhood. Primary education at home, the French language, ceremonial dinners with pineapple for dessert - all these signs of bourgeois life did not adorn the biography of the Soviet writer. Therefore, Agnia Lvovna left the most meager memories of those years: a nanny from the village, fear of a thunderstorm, the sounds of a hurdy-gurdy under the window. The Volov family led a life typical of the intellectuals of that time: moderate opposition to the authorities and a well-to-do home. The opposition was expressed in the fact that Lev Nikolaevich was extremely fond of the writer Tolstoy and taught his daughter to read from his children's books. His wife, Maria Ilyinichna, was in charge of the household, a slightly capricious and lazy woman. Judging by fragmentary memories, Agnia always loved her father more. She wrote about her mother: “I remember that my mother, if she had to do something uninteresting for her, often repeated:“ Well, I will do it the day after tomorrow. ”It seemed to her that the day after tomorrow is still far away. I always I have a to-do list for the day after tomorrow."
Lev Nikolaevich, a fan of art, saw his daughter's future in ballet. Agnia was diligently engaged in dancing, but did not show much talent in this activity. The early manifested creative energy was directed to another channel - poetic. She became interested in poetry following her school friends. Ten-year-old girls then were all like one admirer of the young Akhmatova, and Agnia's first poetic experiments were full of "gray-eyed kings", "swarty-skinned youths" and "hands clenched under a veil."
The youth of Agnia Volova fell on the years of the revolution and the civil war. But somehow she managed to live in her own world, where ballet and poetry coexisted peacefully. However, the older Agnia became, the clearer it was that she could not become either a great ballerina or a “second Akhmatova”. Before the graduation tests at the school, she was worried: after all, after them, she had to start a career in ballet. Lunacharsky, People's Commissar for Education, attended the exams. After the examination performances, the students showed a concert program. He diligently looked at the tests and perked up during the performance of the concert numbers. When the young black-eyed beauty with pathos read poems of her own composition called "The Funeral March", Lunacharsky could hardly restrain his laughter. And a few days later he invited the student to the People's Commissariat of Education and said that she was born to write funny poems. Many years later, Agniya Barto said with irony that the beginning of her writing career was rather insulting. Of course, in youth it is very disappointing when, instead of a tragic talent, only the abilities of a comedian are noticed in you.
How did Lunacharsky manage to discern in Agniya Barto the makings of a children's poet behind a rather mediocre poetic imitation? Or is the whole point that the topic of creating Soviet literature for children has been repeatedly discussed in the government? In this case, the invitation to the People's Commissariat of Education was not a tribute to the abilities of the young poetess, but rather a "government order." But be that as it may, in 1925, nineteen-year-old Agniya Barto published her first book, "Chinese Wang Li". The corridors of power, where Lunacharsky, by his own will, decided to make a children's poetess out of a pretty dancer, led her to the world that she dreamed of as a schoolgirl: having begun to print, Agnia got the opportunity to communicate with the poets of the Silver Age.
Glory came to her rather quickly, but did not add her courage Agnia was very shy. She adored Mayakovsky, but when she met him, she did not dare to speak. Having ventured to read her poem to Chukovsky, Barto attributed authorship to a five-year-old boy. About the conversation with Gorky, she later recalled that she was "terribly worried." Perhaps it was precisely because of her shyness that Agniya Barto had no enemies. She never tried to seem smarter than she was, did not get involved in near-literary squabbles and well understood that she had a lot to learn. The "Silver Age" brought up in her the most important trait for a children's writer: an infinite respect for the word. Barto's perfectionism drove more than one person crazy: somehow, going to a book congress in Brazil, she endlessly reworked the Russian text of the report, despite the fact that it was to be read in English. Over and over again receiving new versions of the text, the translator at the end promised that he would never work with Barto again, even if she was at least three times a genius.
In the mid-thirties, Agnia Lvovna received the love of readers and became the object of criticism from her colleagues. Barto never spoke about this directly, but there is every reason to believe that most of the frankly abusive articles appeared in the press not without the participation of the famous poet and translator Samuil Yakovlevich Marshak. At first, Marshak treated Barto patronizingly. However, his attempts to "instruct and teach" Agniya failed miserably. Once, driven to white heat by his nit-picking, Barto said: "You know, Samuil Yakovlevich, in our children's literature there is Marshak and marchers. I can't be a marshak, but I don't want to be a marcher." After that, her relationship with the master deteriorated for many years.
The career of a children's writer did not prevent Agnia from entering a stormy personal life. In her early youth, she married the poet Pavel Barto, gave birth to a son, Garik, and at twenty-nine left her husband for a man who became the main love of her life. Perhaps the first marriage did not work out, because she was too hasty with marriage, or maybe it was the professional success of Agnia, which Pavel Barto could not and did not want to survive. Be that as it may, Agnia retained the surname Barto, but spent the rest of her life with the energy scientist Shcheglyaev, from whom she gave birth to her second child, daughter Tatyana. Andrei Vladimirovich was one of the most respected Soviet specialists in steam and gas turbines. He was the dean of the power engineering faculty of MPEI, and he was called "the most beautiful dean of the Soviet Union." Writers, musicians, actors often visited their house with Barto - the non-conflict nature of Agnia Lvovna attracted a variety of people. She was close friends with Faina Ranevskaya and Rina Zelena, and in 1940, just before the war, she wrote the script for the comedy The Foundling. In addition, Barto traveled a lot as part of the Soviet delegations. In 1937 she visited Spain. There was already a war going on, Barto saw the ruins of houses and orphaned children. A conversation with a Spaniard made a particularly gloomy impression on her, who, showing a photograph of her son, covered his face with her finger, explaining that the boy's head had been torn off by a shell. "How to describe the feelings of a mother who survived her child?" Agnia Lvovna wrote then to one of her friends. A few years later, she received the answer to this terrible question.
Agniya Barto knew that war with Germany was inevitable. In the late thirties, she traveled to this "neat, clean, almost toy country", heard Nazi slogans, saw pretty blond girls in dresses "decorated" with a swastika. To her, sincerely believing in the universal brotherhood, if not adults, then at least children, all this was wild and scary. But the war had not been too hard on her. She was not separated from her husband even during the evacuation: Shcheglyaev, who by that time had become a prominent power engineer, was sent to the Urals. Agnia Lvovna had friends in those parts who invited her to live with them. So the family settled in Sverdlovsk. The Urals seemed distrustful, closed and harsh people. Barto had a chance to meet Pavel Bazhov, who fully confirmed her first impression of the locals. During the war, Sverdlovsk teenagers worked at defense factories instead of adults who had gone to the front. They were wary of the evacuees. But Agniya Barto needed to communicate with children she drew inspiration and plots from them. In order to be able to communicate with them more, Barto, on the advice of Bazhov, received the profession of a turner of the second category. Standing at the lathe, she argued that "also a man." In 1942, Barto made one last attempt to become an "adult writer". Or rather, a front-line correspondent. Nothing came of this attempt, and Barto returned to Sverdlovsk. She understood that the whole country lives according to the laws of war, but still she missed Moscow very much.
Barto returned to the capital in 1944, and almost immediately life returned to its usual course. In the apartment opposite the Tretyakov Gallery, the housekeeper Domash was again engaged in housekeeping. Friends were returning from evacuation, son Garik and daughter Tatyana again began to study. Everyone was looking forward to the end of the war. On May 4, 1945, Garik returned home earlier than usual. Home was late with dinner, the day was sunny, and the boy decided to ride a bicycle. Agnia Lvovna did not object. It seemed that nothing bad could happen to a fifteen-year-old teenager in the quiet Lavrushinsky Lane. But Garik's bicycle collided with a truck that had come around the corner. The boy fell to the pavement, hitting his temple on the sidewalk curb. Death came instantly. Barto's friend Evgenia Taratura recalls that Agniya Lvovna these days completely withdrew into herself. She didn't eat, she didn't sleep, she didn't talk. The Victory Day did not exist for her. Garik was an affectionate, charming, handsome boy, capable of music and the exact sciences. Did Barto remember the Spanish woman who lost her son? Was she tormented by guilt for frequent departures, for the fact that Garik sometimes lacked her attention?
Be that as it may, after the death of her son, Agnia Lvovna turned all her maternal love to her daughter Tatyana. But she did not work less on the contrary. In 1947 she published the poem Zvenigorod, a story about children who lost their parents during the war. This poem was destined for a special fate. Poems for children turned Agniya Barto into the "face of the Soviet children's book", an influential writer, a favorite of the entire Soviet Union. But "Zvenigorod" made her a national heroine and returned some semblance of peace of mind. It can be called an accident or a miracle. Agniya Barto wrote the poem after visiting a real orphanage in the town of Zvenigorod near Moscow. In the text, as usual, she used her conversations with children. After the book was published, she received a letter from a lonely woman who had lost her eight-year-old daughter during the war. Fragments of childhood memories included in the poem seemed familiar to the woman. She hoped that Barto communicated with her daughter, who disappeared during the war. And so it turned out: mother and daughter met ten years later. In 1965, the radio station "Mayak" began to broadcast the program "I'm looking for a man." The search for missing people with the help of the media was not the invention of Agnia Barto this practice existed in many countries. The uniqueness of the Soviet analogue was that the search was based on childhood memories. "The child is observant, he sees sharply, accurately and often remembers what he sees for life," wrote Barto. "Can not children's memory help in the search? Can parents recognize their adult son or daughter from their childhood memories?" Agniya Barto devoted nine years of her life to this work. She managed to unite almost a thousand war-torn families.
In her own life, everything turned out well: her husband was moving up the career ladder, her daughter Tatyana got married and gave birth to a son, Vladimir. It was about him that Barto composed the poems "Vovka - a kind soul." Andrey Vladimirovich Shcheglyaev was never jealous of her fame, and he was pretty amused by the fact that in some circles he was known not as the largest specialist in steam turbines in the USSR, but as the father of "Our Tanya", the one that she dropped into the river ball (Barto wrote these poems for her daughter). Barto still traveled a lot around the world, even visited the United States. Agnia Lvovna was the "face" of any delegation: she knew how to keep herself in society, spoke several languages, dressed beautifully and danced beautifully. In Moscow, there was definitely no one to dance with - Barto's social circle was made up of writers and colleagues of her husband - scientists. Therefore, Agnia Lvovna tried not to miss a single dance reception. Once, while in Brazil, Barto, as part of the Soviet delegation, was invited to a reception by the owner of Machete, the most popular Brazilian magazine. The head of the Soviet delegation, Sergei Mikhalkov, was already waiting for her in the lobby of the hotel, when the KGB officers reported that a "vicious anti-Soviet article" had been printed in Mashet the day before. Naturally, there could be no talk of any reception. It was said that Mikhalkov could not forget the upset face and words of Agnia Barto, who got out of the elevator in an evening dress and with a fan, for a long time.
In Moscow, Barto often received guests. It must be said that the writer was extremely rarely engaged in housekeeping. In general, she retained her usual way of life from childhood: a housekeeper completely freed her from household chores, the children had a nanny and a driver. Barto loved to play tennis and could arrange a trip to capitalist Paris to buy a pack of drawing paper she liked. But at the same time, she never had a secretary, or even an office - only an apartment in Lavrushinsky Lane and an attic in a dacha in Novo-Daryino, where there was an old card table and stacks of books piled up. But the doors of her house were always open to guests. She gathered MPEI students, academicians, aspiring poets and famous actors around the same table. She was non-confrontational, adored practical jokes and did not tolerate swagger and snobbery. Once she arranged a dinner, set the table - and attached a sign to each dish: "Black caviar for academics", "Red caviar for corresponding members", "Crabs and sprats for doctors of science", "Cheese and ham for candidates ", "Vinaigret for laboratory assistants and students". They say that the laboratory assistants and students were sincerely amused by this joke, but the academicians lacked a sense of humor, some of them were then seriously offended by Agnia Lvovna.
In 1970, her husband, Andrei Vladimirovich, died. He spent the last few months in the hospital, Agnia Lvovna stayed with him. After the first heart attack, she was afraid for his heart, but the doctors said that Shcheglyaev had cancer. It seemed that she returned to the distant forty-fifth: the most precious thing was again taken from her.
She survived her husband by eleven years. All this time she did not stop working: she wrote two books of memoirs, more than a hundred poems. She did not become less energetic, only began to fear loneliness. I talked for hours with my friends on the phone, tried to see my daughter and grandchildren more often. She still did not like to remember her past. She was also silent about the fact that for decades she helped the families of repressed acquaintances: she got scarce medicines, found good doctors; about the fact that, using her connections, for many years she "punched" apartments sometimes for people who were completely unfamiliar.
She passed away on April 1, 1981. After the autopsy, the doctors were shocked: the vessels were so weak that it was not clear how the blood had flowed into the heart for the past ten years. Once Agniya Barto said: "Almost every person has moments in his life when he does more than he can." In her own case, it was not a minute—that was how she lived her whole life.
She began writing poetry as a child. She took up professional literary work on the advice of the People's Commissar of Education Anatoly Lunacharsky, who attended the final exam of the choreographic school and heard Agnia read her own poems.
In 1925, her first poems "Chinese Wang Li" and "The Thief Bear" were published. They were followed by "First of May" (1926), "Brothers" (1928). Some poems were written jointly with her husband, the poet Pavel Barto, - "The Dirty Girl" and "The Girl-Revushka" (1930).
In 1937, Agnia Barto was a delegate to the International Congress for the Defense of Culture, which was held in Spain. During the Great Patriotic War (1941-1945), Barto often spoke on the radio in Moscow and Sverdlovsk, wrote military poems, articles, and essays. In 1942 she was a correspondent for Komsomolskaya Pravda on the Western Front.
In the 1940-1950s, her collections "First Grader", "Zvenigorod", "Merry Poems" were published.
In 1950, for the collection "Poems for Children" (1949), she was awarded the State Prize of the USSR.
In 1958, Barto wrote a large cycle of satirical poems for children "Leshenka, Leshenka", "Grandfather's granddaughter", etc.
Since 1965, for several years, Barto hosted the program Find a Person on Mayak radio, in which she searched for people separated by the war.
With her help, about a thousand families were reunited. About this work, Barto wrote the story "Find a Man", published in 1968.
In 1976, her book "Notes of a Children's Poet" was published.
In the cinema as a screenwriter, Agniya Barto made her debut in 1939 in the film "The Foundling", which gained great popularity among the audience.
Then she wrote the scripts for children's films "The Elephant and the Rope" (1946) and "Alyosha Ptitsyn Develops a Character" (1953), "10,000 Boys" (1961), as well as the short story "Black Kitten" in the film almanac "From Seven to Twelve" ( 1965).
In 1973, the drama "Looking for a Man" was staged according to Barto's script. Based on the book of the same name and based on the writer's series of radio broadcasts, the film is based on true stories about partings and meetings, about the search for loved ones, which continued for many years after the war.
Agnia Barto is a laureate of the State Prize of the USSR (1950), the Lenin Prize (1972). Awarded with the Order of the Badge of Honor.
For many years, Barto headed the Association of Literature and Art for Children, was a member of the international Andersen jury.
In 1976, she was awarded the G.Kh. Andersen.
Agniya Barto was married twice. After a divorce from her first husband, the poet Pavel Barto, she married the energy scientist Andrei Shcheglyaev, from whose marriage her daughter Tatyana was born. Her son from his first marriage, Igor, died in 1945.
The material was prepared on the basis of information from open sources
The famous children's writer Agniya Lvovna Barto was born in 1906 in the family of a veterinarian. Immediately after birth, the parents named the baby Getel, but after marriage she changed her name. That is why for adults and children in all its sources we know the famous poetess and screenwriter as Agniya Barto.
Briefly about childhood and youth
Since childhood, the girl loved to dance and dreamed of ballet. And although her father was engaged in her primary education, after entering the gymnasium, the future poetess studied at the ballet school. Agnia loved to engage in creativity since childhood. That is why the poems and biography of Agnia Barto are included in the program for grade 3. They are saturated with childhood and include instructive meaning.
One could briefly talk about Agnia Barto if her biography was not full of so many interesting facts. Such as, for example, she studied German and French from childhood. After she graduated from the ballet school, Agnia was enrolled in a professional ballet troupe. Thus, a new stage began in the biography of Barto Agnia Lvovna, which inspired her to write new poems.
Literary creativity
Among adults and children it is impossible to find someone who would not love her work. The presence of open human feelings and a language understandable to a child is what really attracts in her work. And to love poetry, her father taught her.
1925 is a significant year in the biography of Agnia Barto, as she published the first two books, the works of which are currently recommended for grade 2.
Agniya read poems with such intonation, thanks to which she aroused confidence. She had an amazing gift for talking to children in their language. That is why such works as “Chinese Wang Li” by Agnia Barto and her biography are recommended for study for grade 3. In the biography of Agnia Lvovna Barto, many exciting events took place, which prompted her to write poetry for children.
Personal life
Like any person, the poetess experienced black and white streaks in life. There were tragic moments, such as the sudden death of a son. There were bright moments associated with the publishing of Agnia Barto's books, which are so much mentioned in all the photo and video sources of her biography. Together with her husband, Agniya Barto wrote a number of works for elementary school children. For example, such as "Girl-revushka". Also, she worked in the magazine "Murzilka".
The poetess lived a very active and eventful life. Her hobbies were travel and sports.
