At the turn of the 19th and 20th centuries, Russians of all ages read the newspaper and magazine publications of Vlas Mikhailovich Doroshevich, who was deservedly proclaimed by rumors as “the king of the Russian press.” Each issue of the newspaper with its feuilleton, judicial essay, travel notes, literary or theatrical review turned out to be a bright social event. Influential, respectable publications and “leaflets” inclined to chase cheap sensations lined up for Doroshevich’s new articles. Doroshevich's works gained real popularity at the very end of the 19th century, when he began to be published in Odessa periodicals. At that time, newspaper prose, thanks to careful and scrupulous work with words, stood on a par with great Russian literature. The feuilletons written by Vlas Mikhailovich are still considered a role model. He skillfully compiled a variety of genres - political pamphlet, documentary story, satirical monologue and many others. Moving away from the verbosity that was popular at that time, he formed his own “short line” style, thanks to which his works were laconic and precise. Doroshevich's feuilleton, published in the newspaper, automatically doubled the circulation. As Korney Chukovsky wrote, who called Vlas Mikhailovich’s arrival in Odessa a “literary sensation”: “Doroshevich literally turned the idea of the feuilleton upside down, made it lively, extremely diverse in form...” The writer’s feuilletons combined the brilliance and ease of form with the fullness of serious journalism. ical tasks. What was also striking about Doroshevich was his prolificacy: he wrote daily, tirelessly responding to all the events of the day. Readers were waiting for another revelation, and Vlas Mikhailovich did not deceive them. The writer's success was universal: the townspeople admired this continuous fireworks display of subtle wit.