The thematic originality, the originality of artistic conflict and system of image and the poetic features concerning one of the most important motif in the Rasputin’s “Fire” and in all of the writer’s works are analyzed. The narrator “playing” with art time speeding it up, slowing down, then suspending all (literary mean retardation) to focus reader''s attention. Motif of loss dominates the narrative, defining movement of the plot and composition. Unexpected change in traditional way of life of Ivan Petrovich caused by the war led to the irreversible loss of physical and mental peace, peaceful civilian life, family and loved ones back in the distant, harsh Siberia. Next loss of the main character of the story and the people around him was the “disappearance” of Egorovka in mighty waters of the Angara. Tests and losses of exposed people and natural elements that permeate the entire text of “Fire”, speaking in the form of various descriptions statistical deployed or mini-boxes (concrete-real, symbolic, etc.), as well as dynamic, evolving wildlife, for example, water, fire or forest. Natural Rasputin’s elements appear in the text as a “cross-cutting” of images, metaphors or different-sized keynotes like archetypal background or philosophical symbol, expressing the world view of the narrator. Elements in the text perform symbolic artistic function. Appeal to the narrator''s iconic natural picture is far from accidental. Nature is the cradle of the mind. By discovering her secrets, sublime indifference, its utilitarian and sensually contemplative appeal, people learn not only to live in harmony with nature, in science but also in proportion to its benefits. In “Fire” the tragic world dominates, the motives of social loss, mental loss and natural disharmony are exposed in the story. However, Rasputin does not leave the faith in a better tomorrow. The final scene of “Fire” is spring renewal of the earth.

В статье исследуются тематическая оригинальность повести В. Распутина «Пожар», своеобразие художественного конфликта и системы образов, а также поэтические особенности решения важнейшего мотива не только анализируемого произведения, но и всего творчества В. Распутина.