In the history of literature, there are such names who cut coins with their image from the silver mined by others and thus, as our Diaspora Armenians say, see a profitable business in the literary market. Sometimes there is not even a need for re-assimilation, the dram with someone else's image circulates for our modern author. This, this revision of existing values, is not vulnerable, but the most difficult thing is when you yourself are both the digger and the episode of your silver, in other words, it is much more honorable to turn a living, murky, contradictory, difficult life into fine art.
In his long literary journey, Anahit Sahinyan has always been himself the searcher of his mine, the digger of the ore, the bender of the metal, even in difficult cases, when the historicity of the case put him in a situational situation and such conditions and duplicating the previous ones seemed inevitable.
Duplication has seemed inevitable, while Sahinyan's novels leave the impression of a primary source in a flood of literature built around one and the same issue, his work is a documentary, his pages seem like precious reports made from their place and time, and it is difficult for our successors to become those events and time bypassing Sahinyan.
This is an easy to explain and hard to believe principle. life did not allow him to be bookish. This, after all, is what we call writer's citizenship. For Sahinyan, no, literature is not a game, it is a certain region of life devoted to the construction of writers, which requires as much blood and sweat, honesty and responsibility as the work of a builder and a farmer.
His civic understanding of the literary work alone can explain the unexpected endurance of his novels. Unexpectedly, because his writing, uneven as a pebble, does not seem to have been subjected to the author's hand, his not so slender structures seem unstable at first. But for his characters, as uneven, as real, it is a precise script, and this unevenness is a fact of the retreat of initial references before the whirlwind of life; among the references it seems solid, it seems that the logical borders emerge, bend, refract, leave their foundations to take this fragment of life, this unexpectedness, this manifestation into the structure. His works, yes, are not collected from the distant, echoing, filtered, weak sounds of life and abstracted, symbol-oriented life-like dim images, but are noisy and heavy life itself, and yet on that murky flood there vibrates a nobleness that is unique only to poetry. On the other hand, this linguistic structural "carelessness" is an open battle against idle flatness and tidy hollowness.
Anahit Sahinyan believes in literature. The confidence reaching that worship of living life in literature, that self-forgetting conviction of subordinating other literary matters to living life is above all the result of faith in literature. Sahinyan believes in the influence of literature on life. Sahinyan endows his literature with such a charge, with the presence of which the literary work truly acquires a creative role. We need that faith more than ever today.