The author analyzes the specifics of the interpretation of the image of home in the prose and drama of Dmitry Lipskerov. The author used comparative-historical and holistic methods of analysis of the literary work. The image of home in the works of modern novelists includes both external and internal space and becomes a place of residence of the human soul. First, in the dramas, the most important characteristic of the image of home is the opposition "light - dark", which is connected with the situations of danger/safety for the characters (Freak Family), whose soullessness emphasizes their alienation from each other and becomes a metaphor of the weakening of connections between people in the "big" world (Southwest Wind). Second, unlike the "homeless" characters of dramas who stay in "false" houses, in the novel Forty Years of Changjohe , the main character in search of himself and "eternal" truth travels along the path "native home - city (temporary houses) - true home (hermit dugout)", experiencing mental and moral contradictions, and finds himself, the meaning of existence, and a long-awaited shelter. Third, Lipskerov's novel complicates the image of home: its semantics is connected with ancient mythological ideas of home as an ambivalent beginning: home as dwelling and home as a symbol of the netherworld, death. Finally, the house in Forty Years of Changjohe becomes the center of the artistic world, and its space is noticeably expanded: it includes Changjohe city itself as a "big house" leading an isolated life in relation to the outer world of the citizens, and "houses" - dwellings of the main characters.
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