The article presents an analysis of the readers' opinions expressed in the framework of the "unprofessional" discussion about Andrei Rubanov’s novel "Finist - Yasnyy Sokol" ("Finest - The Brave Falcon"). The author shows how the individual perception of this text is determined, on the one hand, by f its structure, and on the other, by the diverse cultural contexts of the modern functioning of the fairy tale genre. Analyzing the phenomenon of the perception of "Finist" as a historically reliable narrative, we can trace the diverse connections of the novel with the now popular folk history. These connections cover both the image of the past as a whole, and individual artistic techniques that create a sense of the spoken nature of the "tale" and archaized, original Russian speech. The analysis shows that the reader’s impression of the "tale" is based on modern stereotypes about the history of the Russian language on the one 126 hand, as well as by relevant speech genres, and the use of social dialect and subcultural vocabulary on the other. Both at the level of images, and at the level of the language Rubanov’s Finist finds a deep connection with contemporary processes taking place with a fairytale intertext in the vast Russian mass culture. The author of the article combines them within two dominant directions. The first is characterized by the creation of new combinations of fairy tales, motifs, and images that violate the traditional principles of the genre. In the framework of the second, a fairy tale gains the status of psychotechnology and becomes a means of typification of psychological states and conflicts. The first tendency was clearly manifested in Finist through an atypical contamination of plots about a wonderful husband and a dragon slayer, a conditionally historical chronotope, and rationalization of science fiction. The second was reflected in the author's approach to the characters of storytellers and in the readers' perception of the main character Maria.
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