Born on May 27, 1937 in Leningrad. Hereditary Petersburger. Father - Georgy Leonidovich Bitov (1902-1977), architect. Mother - Olga Alekseevna Kedrova (1905-1990), lawyer. Children: Anna (born 1962), Ivan (born 1977), Georgy (born 1988).
Andrei Bitov’s first childhood memories are associated with the blockade winter of 1941/42. Then there was an evacuation to the Urals, then a move to Tashkent, from which he began his “travels,” which have not stopped to this day. During my school years I became interested in mountaineering, and at the age of 16 I received the “USSR Mountaineer” badge. It was then that I discovered bodybuilding. His love for the mountains led him in 1957 to the Leningrad Mining Institute at the Faculty of Geological Exploration. Andrey Bitov began writing as a student. At the institute, he joined the literary association under the leadership of Gleb Semenov. Such famous poets as A. Kushner, A. Gorodnitsky, V. Britanishsky, G. Gorbovsky and others worked there.
In 1957, the collection of literary associations, which included the first works of A. Bitov, was burned in the courtyard of the institute in connection with the events in Hungary. At the same time, Bitov was expelled from the institute and ended up in the army, in a construction battalion in the North. In 1958, he managed to be demobilized and reinstated at the institute, from which he graduated in 1962. Then he began to write prose. The first stories were published in the anthology “Young Leningrad” in 1960. These stories were later included in the collection “Big Ball”, published in 1963 in Leningrad. Starting this year, Andrei Bitov becomes a professional writer. In 1965 he was admitted to the Union of Writers of the USSR.
In 1965-1967, he studied at the Higher Screenwriting Courses at Goskino in Moscow. His fellow students were R. Gabriadze, V. Makanin, R. Ibragimbekov, G. Matevosyan.
1973-1974 were the years of postgraduate study at the Institute of World Literature (IMLI). The dissertation he wrote in the specialty “theory of literature” was submitted for defense, but he did not defend it.
In 1967, the first book, “Dacha Locality,” was published in Moscow, followed by: “Apothecary Island” (1968), “Lessons of Armenia” (1969), “Lifestyle” (1972), “Days of Man” (1976), “ Seven Journeys" (1976). After the release of the novel “Pushkin House” in 1978 in the USA and participation in the compilation of the uncensored almanac “Metropol” in 1979, it was practically not published until M.S. came to power. Gorbachev. In connection with perestroika, new times began. In 1986, Andrei Bitov’s books “Georgian Album”, “Man in a Landscape” and “Articles from a Novel” were published. In 1987, the novel “The Flying Monks” was published.
Andrei Bitov published collections of poems “Tree” and “On Thursday after the Rain” (St. Petersburg: Pushkin Foundation, 1997). The author has an idea to write a play - the only genre he has not mastered is dramaturgy. A. Bitov's works were translated into almost all European languages.
Since 1978, the writer began to live in two cities - Moscow and Leningrad. He considers himself the record holder of this route. Since 1986, constant travel began: Moscow - Leningrad - abroad. In 1992-1993 in Berlin, the scientific board (“Wishenschafts Kolleg”) provided A. Bitov with the conditions to work on his favorite topic. Before him, among the Russians, such a right was granted to A. Schnittke and O. Ioseliani. During this time, A. Bitov completed “Empire in Four Dimensions”; it was published in Russia in 1996. "Empire..." follows the sequence of English-language publications: "Life in Windy Weather" (1986), "Pushkin House" (1987), "Captive of the Caucasus" (1988), "The Monkey Link" (1995). A. Bitov’s latest books: “The Catechumens” and “The Author’s First Book” (1996), “Thursday After the Rain” and “The New Gulliver” (1997), “The Inevitability of the Unwritten” (1998), “Tree” and “The Assumption of Living, 1836" (1999), "Subtraction of the Hare, 1825" (2001), the last book in English is "Life Without Us" (1999).
Since the fall of 1986, Andrei Bitov became a “travelling” artist, gave lectures and readings in many countries, and participated in many conferences and symposiums. He taught Russian literature abroad, in particular in the USA: Weslyan University, Connecticut (Connecticut, 1988), NYU (New York University, 1995), Princeton (Princeton University, 1996).
Since 1988, A. Bitov participated in the creation of the Russian Pen Club, and since 1991 he has been its president. A. Bitov worked in cinema. In 1979, he wrote the script for the film “Thursday and Never Again” (directed by A. Efros), and in 1967 he co-wrote the script for the Soviet-Japanese film “Little Fugitive”. Once A. Bitov even starred in Sergei Solovyov’s film “Alien, White and Pockmarked.” In 1990 he became the first recipient of the Pushkin Prize in Germany. In 1992 he was awarded the State Prize of the Russian Federation for the novel “The Flying Monks”.
In 1997, he again became a laureate of the State Prize of the Russian Federation and the Northern Palmyra Prize for the novel “The Catechumens” (the last novel that completes “Empire in Four Dimensions”). A. Bitov is a laureate of international awards: Andrei Bely in St. Petersburg (1990), Best Foreign Book of the Year (Paris, 1990) for the novel “Pushkin House”. A. Bitov - Chevalier of the Order of Arts and Letters (France), co-president of the Nabokov Foundation in St. Petersburg, chairman of the commission on the inheritance of Andrei Platonov, member of the presidium of the Mandelstam Society.
A. Bitov is a laureate of awards from the magazines “Friendship of Peoples”, “New World”, “Foreign Literature”, “Star”, “Ogonyok”, etc. Since 1997, A. Bitov has been an honorary doctor of Yerevan State University and an honorary citizen of the city of Yerevan. A. Bitov - vice-president of the international association "World of Culture" (president - Fazil Iskander), vice-president of the European community of intellectuals "Gulliver" centered in Amsterdam, member of the jury of the Pushkin Prize in Hamburg, member of the jury of the Triumph Prize, member of the committee for awarding the State Prize of the Russian Federation. In 1999 he was a member of the jury of the World Essay Competition in Weimar.
As for free time, A. Bitov says that over time, a hobby becomes a profession. Love for cinema led to the profession of screenwriter and actor, love for books led to participation in the design of my own books, love for music led to the creation of Pushkin Jazz, where reading drafts of A.S. Pushkin is accompanied by jazz improvisation. In 1998-1999, Pushkin Jazz toured in New York, Berlin, St. Petersburg and Moscow. Dislike for monumental sculpture led to the idea of “mini-monumentalism” (together with Rezo Gabriadze). As an example - a monument to Chizhik-Pyzhik in St. Petersburg, a Hare - in the village of Mikhailovskoye, etc. The very idea of reuniting a profession with a hobby led to the creation in 1991 of the informal association "BaGaZh" (Bitov, Akhmadulina, Aleshkovsky, Zhvanetsky and those who joined him Yu. Rost, A. Velikanov, V. Tarasov, etc.). According to Andrei Bitov, his whole life is “a continuous journey that can no longer be called a hobby.”
Lives and works in Moscow and St. Petersburg.
Bibliography
1960 - three stories in the anthology “Young Leningrad”
1963 — “Big Ball”
1965 - “Such a long childhood”
1967 — “Dacha area”
1968 - “Apothecary Island”, “Journey to a Childhood Friend”
1972 — “Lifestyle”
1976 - “Seven Journeys”, “Days of Man”
1978 — “Pushkin House”
1980 — “Sunday Afternoon”
1985 - “Georgian Album”
1986 - “Articles from the novel”, “Book of Travels”
1988 - “Man in a Landscape”, “The Last Tale”
1989 - “Tales and Stories”, “Pushkin House”
1990 — “Flying Monks”
1991 - “We woke up in an unfamiliar country”, “Life in windy weather”, S/S in three volumes
1993 - “Waiting for the Monkeys”, “Subtraction of the Hare”
1995 — “Catechumens”
1996 — “The author’s first book,” “Empire in Four Dimensions”
1997 - “The New Gulliver”, “Thursday after the Rain”, “Notes of a Newbie”
1998 - “Justified Jealousy”, “The Inevitability of the Unwritten”, “Tree”
1999 — “The Doctor's Funeral”
2008 — “Symmetry Teacher”
Titles, awards and bonuses
1987 - Order of the Badge of Honor
1989 — Pushkin Prize of the A. Tepfer Foundation (Germany)
1990 - Prize for the best foreign book of the year (France), for the novel “Pushkin House” and Andrei Bely Prize (St. Petersburg)
1992 — State Prize of the Russian Federation for the novel “Flying Monks”
1993 - Order of Merit in Art and Literature (France)
1997 — State Prize of the Russian Federation and the Northern Palmyra Prize for the novel “The Catechumens”
1999 - Tsarskoye Selo Art Prize, Movses Khorenatsi Medal (Armenia)
Winner of awards from the magazines “Friendship of Peoples”, “New World”, “Foreign Literature”, “Star”, “Ogonyok”, etc.
Since 1997 - Honorary Doctor of Yerevan State University and Honorary Citizen of the city of Yerevan.
Film adaptations
"Flying Monks"
2008 Russia, 80 min.
dir. Alexander Dzyublo
Cast: Maxim Kostromykin, Olesya Kazaeva, Yuri Shibanov
Andrey Georgievich Bitov - prose writer, essayist, film playwright - was born May 27, 1937 in Leningrad. Father, G.L. Bitov, - architect, mother, O.A. Kedrova, lawyer.
From besieged Leningrad in 1942 exported to the Urals, then to Central Asia, in 1944 returned to his hometown.
In 1955-1962 A. Bitov studied at the geological exploration department of the Mining Institute (with a break, after expulsion - the first prose, the first enlistment by the authorities as unreliable elements - to serve in a construction battalion, in 1957-1958).
The first literary community that Bitov joined was autumn 1956, it turned out to be LITO of the Mining Institute, led by Gleb Semyonov, a poet, mentor of the then Leningrad unengaged debutants. Bitov's poems were published in the second poetry collection of Semyonov LITO, which was burned by decision of the institute party committee summer 1957.
In the first 1-2 years of his literary life, Bitov became friends with L. Ageev, V. Britanishsky, S. Wolf, J. Vinkovetsky, L. Gladkaya, A. Gorodnitsky, E. Kutyrev, A. Kushner, E. Kumpan and others. young authors of that time.
In 1960 he is a participant in the conference of young writers of Leningrad (together with R. Grachev, Ya. Dlugolensky, B. Sergunenkov and others). A special role in shaping Bitov’s inner world was played by his first wife Inga Petkevich, volcanologist Heinrich Steinberg, poet Gleb Gorbovsky, prose writers Viktor Golyavkin, Reed Grachev, Heinrich Shef. Bitov’s comparatively successful literary destiny was greatly helped by the fact that the most authoritative Leningrad writers of the older generation among young people were initially confident in his talent: L.Ya. Ginzburg, G.S. Gore, V.F. Panova, L.N. Rakhmanov, M.L. Slonimsky... In particular, the latter headed LITO at the publishing house "Soviet Writer", which Bitov visited in the early 1960s.
Having worked for less than a year after graduation as a drilling foreman for the Nevsky Geological Party on the Karelian Isthmus, Bitov, at the age of 25, embarked on the path of a professional writer.
In 1965 he was accepted into the joint venture, in 1965-1966 studies at the Higher Screenwriting Courses in Moscow and since then divides his life between the two capitals.
The first stories of the Bits were published in the anthology “Young Leningrad” ( 1960 ) - “Grandma’s bowl”, “Foreign language”, “Fig”. First Sat. stories "Big Ball" published in 1963.
The authority of the Bits in the eyes of readers, as happened in the late Soviet years, was confirmed by abusive, official criticism. The story “The Wife Is Not at Home” from the collection “The Big Ball” was included by party ideologists in the same negative list with “The Vologda Wedding” by A. Yashin and “Matryona’s Court” by A. Solzhenitsyn. Bitov, together with Golyavkin, were accused of “excessive humiliation and confusion of the heroes they portrayed” (Izvestia. 1965. August 14).
First of all, Bitov returned to Russian prose the “little man” who had been stifled during the Soviet years, equated with the “philistine” and “philistine” as a main literary hero. And not in the guise of Akaki Akakievich, but in the guise of Pushkin’s rebellious Eugene from The Bronze Horseman. Moreover, in Bitov’s prose it is not the ruler who is “on horseback,” but Evgeny himself. Neither in the future nor in the past is there a mystery for a writer greater than that hidden in the existence of a simple modern person among everyday hobbies and worries.
The story "Penelope" ( 1962 , publ. 1965 ) - a variation of the same psychological conflict that is reflected in the story “The Wife Is Not at Home.” Bitov turns the inescapable motive of help (or its terrible lack) to the “little man” inside out and interprets it as deceitful. From an object of someone else's influence, the hero of Bitov's prose turns into a subject influencing his own and others' lives. The a priori value is the consciousness inherent in the hero, his reflection, and not being. In the “little man” Bitov recognized a great individualist, a “pearl of creation.”
The mocking correctness of the characters' self-identification is a kind of brand of Bitov's prose, as well as all young Leningrad prose. But it was Bitov who wrote in the story “The Garden” (publ. 1967 ) directly: “"Lord! How small we are all!" - exclaimed the strange author. "It's so! It's so!" - Alexey was happy.”
The plots of Bitov’s short stories and short stories, which fit within the framework of ordinary realistic prose, merge into non-canonical artistic formations. The writer's artistic intuition overcomes the genre, anticipating the ideas of postmodernism. Instead of “genre,” the structure-forming unit of prose is “text.” Seemingly written in a strictly realistic tone, the stories “Life in Windy Weather” and “The Garden” are conceptualized as a whole, either inside the “folding” “Dacha Locality” (with the cinematic subtitle “Double”), or inside the “dotted-line novel” “The Flying Monks” . The degree of reflection on Bits’s own text becomes such that the work itself strives for the author’s commentary and cannot exist without it. Bitov’s narrated “life incident” only imitated the plot familiar to a traditional realistic story. The spirit of poetic comprehension of life, the spirit of essayism becomes Bitov’s self-sufficient creative method.
In books second half of the 1960s- “Such a long childhood” ( 1965 ), "Dacha area" ( 1967 ), "Journey to a Childhood Friend" ( 1968 ), "Apothecary Island" ( 1968 ) - heroes wander towards themselves.
Meetings with Armenia and Georgia turned out to be serious, existentially experienced - not only (or not so much) with people, but with an “unearthly” fatherland, with temples inscribed in nature and “not obscured by man and the works of his hands” (“Lessons” Armenia"), meetings with speculation about the “divine norm”, which ended with the adoption of the creed. Lit also established itself here. starting point - Pushkin. Pushkin as an a priori, “divine” given, generating a “text”.
Between “Lessons of Armenia” ( 1967-1969 ) and “Georgian album” ( 1970-1973 ) appeared “Pushkin House”, published in fragments in periodicals, but published first in the USA (Ardis publishing house, 1978 ). The novel was published at home in 1987(New World. No. 10-12), and in the canonical full volume only in 1999(SPb.: Ivan Limbach Publishing House). It is significant that “Pushkin House” was written at the same time as another most important work on this topic, “Moscow-Petushki” ( 1969 ) Venedikt Erofeeva. The actual drinking session in the Pushkin House is the only day-night that appears in the novel. In a similar way, Joyce described just one day in the life of Dublin in Ulysses.
Immediately after “Pushkin’s House”, the story-essay “Birds, or New Information about Man” was written ( 1971 ). She became the origin of Bitov’s largest creation in subsequent years - the “roman-journey” “The Catechumens”. The story is written about the dual essence of human existence.
In 1979 Bitov participates as an author ("The Last Bear", "Back Street", "Doctor's Funeral") and compiler (with V. Aksenov, V. Erofeev, F. Iskander and E. Popov) in the Moscow literary almanac "Metropol", formerly according to Erofeev, “an attempt to combat stagnation in conditions of stagnation.” The almanac was not published in the USSR, but it was immediately published in the USA in Russian and translated into English and French. In his homeland, Bitov was excommunicated from the printing press until 1985. Which was immediately “compensated” by publication in Europe and the USA.
During these years, Bitov wrote the story “Man in a Landscape” ( 1983 ), which became the second part of “The Catechumens”.
The characters of the first two stories of “The Catechumens” - the narrator, doctor DD, artist PP - came together in the third, called “Waiting for the Monkeys” ( 1993 ). Heated discussions in an informal setting stretched out and came closer in “Waiting for the Monkeys” to another hot point in our historical landscape - 1984.
The unhidden intention of “The Catechumens” is to see in existence the “little man” - a creator who has not mastered creation, but is still a genius.
If in a totalitarian society Bitov managed to make ends meet with free labor, then in free times the ends were tied to employers: “Perhaps, until 1985, I never wrote on commission, which was something to be proud of. However, it was not so difficult to preserve this honor from a young age: no one asked” (“Robinson and Gulliver”). So Bitov is not exaggerating the severity of the new yoke. For example, he wanted to publish his poems as a separate book, and he immediately did it - in two versions: the collections “Tree” ( 1997 ) and "Thursday after the rain" ( 1997 ). These same poems (part) can be mixed with essays and get another book - another “Tree” ( 1998 ). You can also take up astrology and approve “The Beginnings of Astrology in Russian Literature” ( 1994 ). And release his “first” book, 40 years after writing: “The author’s first book (Aptekarsky Prospekt, 6)” ( 1996 ). The books “The Assumption to Live” are devoted to reflections on Pushkin. 1836" ( 1999 ), "Subtraction of the hare. 1825" ( 2001 ). Etc.
A strange story happened in the house of the Moscow PEN Center. Allegedly, Andrei Bitov, who until recently was “our everything,” raised his hand against the woman. And not just - on his “boss” - the first secretary of the most decent Union of Russian Writers (whom many - mainly from among the Moscow literary community - deny the right to exist, because picky provincials have huddled around him, spoiling the jaded Muscovites with their barrel of honey tearing your mouth with a wooden fly in the ointment)…
The plot of the division of the little property remaining on the Literary Fund's balance sheet, in particular the Peredelkino dachas occupied by various kinds of writers, as well as their offspring and widows, has long been on everyone's lips. Two of the most nimble tenants managed to quietly privatize public property and turn it into personal use. The names of the lucky ones are Yevtushenko and Yuri Polyakov. Someone called the first - very successfully, in my opinion - “the great imitator of conscience”, and the second does not yet have a stable “drive” that has stuck for centuries (this word is from thieves’ jargon - I recently added to my baggage), but he too, Don’t feed them bread, their passion is to teach from the screen, to read the copybook to the younger generation regarding morality and ethics.
I already have to speak out about Yuri Polyakov -
YURI POLYAKOV AND POLYAKOVSHCHINA
It turns out that the remaining guests of Peredelkino live on the verge of rebellion - they also want to appropriate a piece of property that is in their use, so they come up with various tricks to circumvent the law and the few decent people left in their way. Such as Vasilenko, who stated that she is an opponent of privatization. Not today it was said that the “housing issue” has ruined Muscovites. What if these Muscovites are writers? Are you creative and emotionally labile?
In short, Andrei Bitov, unconscious from drinking, first explained to everyone that he had been living in Peredelkino for a long time and was not going to leave it, his descendants grew up under the canopy of Peredelkino pines and he believed that he had the right to assign this canopy to his offspring for eternal use, and then screaming and hit Vasilenko in the jaw so that the woman fell to the ground and ended up in the hospital.
Here is the clearest statement of the issue:
http://www.m-s-p-s.ru/data/06_OLG_1112.pdf
A few thoughts about...
For example, I was surprised that among the users of Peredelkino dachas there are still widows and descendants of Georgy Markov, Mikhail Alekseev, some Virgiles (who knows?). Aitmatova, Shatrova, Tkachenko, Kazantseva...
It would seem, where are Markov and Virgiles - and where are we?
None of these figures is present in the literary situation and is not expected.
Completely different people write, get published, attract attention, create a literary process. Soviet kept women, whose reputations swelled on Soviet circulation and Soviet fees in an aesthetic vacuum, continue to lay claim to their exclusivity, huddled together in a small, cozy island of a sovok, a Sovpisov-style almshouse.
Having some relation to cinema and even being a member of various structures, I want to report that filmmakers behave much more modestly. Although, of course, it’s not easy here either - the so-called “daddy’s movie” has become a real disaster. This is when the scions of noble film families, using the available leverage, break into the forefront of users of budgetary allocations. Their name is legion: German-ml, Bondarchuk-ml, Evstigneev-ml, Yankovsky-ml, Kavaleridze-ml, Mikhalkovs, Mikhalkovs, Mikhalkovs-ml... They are also multiplying - next in line are the grandchildren and even great-grandchildren of film masters of the Soviet past - just like in a decent bantustan, where everything is inherited - loincloths made of palm leaves, banana plantations, concubines, bundles of glass beads, entry into offices, including power itself.
What is the moral of this post?
Yes, there is no morality here.
Once again, countless times, we are talking about aberration, strange twists of consciousness, human baseness, meanness, ugliness, etc. - that is, phenomena from which no one is immune, even our most dear and widely read (in the past), who cannot cope with obscurity, oblivion, poverty (relative), old age, disrepair. I knew Andrei Bitov’s last wife well - Natasha, a sweet, smart and modest woman who taught at St. Petersburg University one thing or another, and in recent years, at Andrei’s suggestion, she traveled to foreign universities giving amateurish lectures. Several years ago Natasha passed away. She was 16 years younger than Andrei, but the struggle for her sick husband took a lot of energy. With all my heart I sympathize with Andrey, in whose life a dark streak came, who survived a serious illness, an operation, who was forced to support numerous dependents from three marriages (eight in number, if not more - according to Natasha), my soul is with him, I grieve for my departed friend, and I shed tears bitterly, BUT I DO NOT WASH AWAY THE SAD LINES...
Don Juan list by Andrei Bitov - ...
Andrey Georgievich Bitov. Born on May 27, 1937 in Leningrad - died on December 3, 2018 in Moscow. Russian writer. One of the founders of postmodernism in Russian literature.
Bitov himself said that he was a fifth-generation Circassian by nationality. He told about the history of his family name: “In general, I was always looking for its roots, but I almost never met the Bitovs. And then suddenly, in the neighborhood of Anapa, I discovered an entire village with a 200-year history, full of Bitovs. It turned out that they were Circassians.” .
Father is an architect.
Mother is a lawyer.
Brother - Oleg, a famous Soviet international journalist and translator.
In 1954 he graduated from secondary school No. 213 (then located on the Fontanka embankment) - the first school in Leningrad that taught a number of subjects in English.
He started writing in 1956.
In 1957 he entered the Leningrad Mining Institute, where he participated in the work of the literary association under the leadership of Gleb Semyonov.
In 1957-1958 he served in a construction battalion in the North. In 1958, he was reinstated at the institute and graduated from the geological exploration faculty in 1962.
Wrote poetry. Imitating Viktor Golyavkin, he began writing short absurdist stories, first published in the 1990s. Often in interviews he called himself an unprofessional writer.
From 1960 to 1978, about ten books of prose were published. Since 1965, member of the Writers' Union.
Perestroika opened up new opportunities. Abroad, lectures, symposiums, public, including human rights, activities. In 1988 he participated in the creation of the Russian Pen Club, and since 1991 he has been its president. In 1991, he was one of the founders of the informal association “BaGaZh” (Bitov, Akhmadulina, Aleshkovsky, Zhvanetsky). He taught at the A. M. Gorky Literary Institute.
“To be honest, I didn’t like the Soviet system and was never mistaken about it, but somehow I got along. I didn’t even think that I liked this country. But when it was gone, I found out for sure that I liked it. As a result, we have now found ourselves in a completely provincial sphere,” said Bitov.
In 1992-1993, the Berlin Scientific College provided Andrei Bitov with a scholarship.
On March 4, 2011, he “became famous” for the fact that during a dispute about the rules for the privatization of Peredelkinsky dachas, he knocked out the writer Svetlana Vasilenko.
Socio-political position of Andrei Bitov
In 2001, he signed a letter in defense of the NTV channel.
In the fall of 2008, Bitov, together with Mikhail Zhvanetsky, Yuri Mann, Inna Churikova, Mark Zakharov and other scientific and cultural figures, signed a letter of appeal to State Duma deputies with a proposal to again move the monument to Gogol to Gogol Boulevard.
In March 2014, in light of the events surrounding the Crimean crisis, together with a number of other famous Russian scientific and cultural figures, he expressed his disagreement with the policies of the Russian authorities in Crimea. He outlined his position in an open letter published in Novaya Gazeta.
In the intensive care unit of the Moscow Clinical Hospital named after N.E. Bauman. The cause of the writer's death was heart problems.
Personal life of Andrey Bitov:
First wife - Inga Petkevich. The marriage produced a daughter, Anna Bitova.
Second wife - Natalya. The marriage produced a son.
“I never lost my responsibilities, I was friends with my ex-wives. Everything was humane. What’s interesting is that while they lived together, they could hit each other’s faces and throw pots, and when they separated, everything was already humane,” - Bitov said.
Had three grandchildren.
Bibliography of Andrey Bitov:
1960 - three stories in the anthology “Young Leningrad”
1963 - “Big Ball”
1965 - “Such a long childhood”
1967 - “Dacha area”
1968 - “Pharmacist Island”
1968 - “Journey to a Childhood Friend”
1969 - “Lessons of Armenia”
1972 - “Lifestyle”
1976 - “Seven Journeys”
1976 - “Days of Man”
1980 - “Sunday Afternoon”
1985 - “Georgian Album”
1986 - “Articles from the novel”
1986 - “Book of Travels”
1988 - “Man in a Landscape”
1988 - “The Last Tale”
1989 - “Tales and Stories”
1989 - “Pushkin House”
1990 - “Flying Monks”
1991 - “We woke up in an unfamiliar country”
1991 - “Life in windy weather”
1993 - “Waiting for the Monkeys”, “Subtraction of the Hare”
1995 - “Catechumens”
1996 - “The author’s first book”
1996 - “Empire in Four Dimensions”
1997 - “New Gulliver”
1997 - “Thursday after the rain”
1997 - “Notes of a Newbie”
1998 - “Justified Jealousy”
1998 - “The Inevitability of the Unwritten”
1998 - “Tree”
1999 - “The Doctor's Funeral”
2008 - “Symmetry Teacher”
Filmography of Andrey Bitov:
1986 - Alien white and pockmarked - Pyotr Petrovich Startsev, composer
Scripts by Andrey Bitov:
1966 - Little Fugitive
1974 - Closing of the season
1977 - Thursday and never again
1981 - Three days and two years
Awards and titles of Andrey Bitov:
1987 - Order of the Badge of Honor;
1989 - Pushkin Prize of the A. Tepfer Foundation (Germany);
1990 - prize for the best foreign book of the year (France), for the novel “Pushkin House” and the Andrei Bely Prize (St. Petersburg);
1992 - State Prize of the Russian Federation for the novel “Flying Monks”;
1993 - Order of Merit in Art and Literature (France);
1997 - State Prize of the Russian Federation and the Northern Palmyra Prize for the novel “The Catechumens”;
1999 - Tsarskoye Selo Art Prize; medal of Movses Khorenatsi (Armenia);
2014 - Prize of the Government of the Russian Federation in the field of culture for the collection of prose “Empire in Four Dimensions”;
2015 - laureate of the Platonov Prize;
2018 - Order of Friendship;
Winner of awards from the magazines “Friendship of Peoples”, “New World”, “Foreign Literature”, “Star”, “Ogonyok”, etc.;
Since 1997 - Honorary Doctor of Yerevan State University and Honorary Citizen of the City of Yerevan, Honorary Member of the Russian Academy of Arts
