Sergei Shargunov's prose is a landmark phenomenon in contemporary Russian literature. Much of his writing is imbued with a realistic element, which, in one way or another, becomes a marker of this author's artistic distinctiveness. For Sergei Shargunov, the small format is an experiment in recreating the realities of true, vital truth: relatives, family, home, children, happiness itself, and perhaps a certain set of existential questions. In our opinion, the artistic frame in Shargunov's prose becomes the principle of aesthetic drawing; the image itself becomes decisive. Consequently, the pictographic world is a unique technique that distinguishes Shargunov's prose from other 21st-century realists. The purpose of this article is to objectify the visual plane of Shargunov's collection "Ours" (2018). The research methods are close to the canons of receptive aesthetics, as well as structural and typological approaches, which make it possible to decipher the collection's texts within the framework of objective analysis. For Sergei Shargunov, it's important not only to define and outline the existing world of objects; the writer's task is to ensure that the composition of the image becomes a special mechanism for moving the narrative. The visual principle, therefore, is an effective panorama that predetermines the development of the plot, the unfolding of the artistic narrative. Contemporary Russian prose, within the framework of the works of Alexei Varlamov, Yuri Buida, Katya Kachur, Asya Volodina, Zakhar Prilepin, Evgeny Vodolazkin, and Pavel Krusanov, should be considered from the perspective of a new poetic vein. For these authors, text is a visual phenomenon that operates as a mosaic of artistic frames. Semantic emphasis begins to operate effectively within the spectrum of successive images, which can be both equal and distinct. The material in this work can be productively used in the study of contemporary Russian prose
А.Н. Безруков (Thu,) studied this question.