home
Psychology of communication
Boris Pilnyak and his creative destiny. See what "Pilnyak, Boris Andreevich" is in other dictionaries

Boris Pilnyak and his creative destiny. See what "Pilnyak, Boris Andreevich" is in other dictionaries

20.03.2019

Pilnyak Boris Andreevich (real name Vogau) (1894-1938), Russian writer.

Born September 29 (October 11), 1894 in Mozhaisk in the family of a veterinarian from Russified Volga Germans. Mother - Russian, daughter of a Saratov merchant. Pilnyak's childhood and youth were spent surrounded by the zemstvo intelligentsia in provincial towns Russia - Saratov, Bogorodsk, Nizhny Novgorod, Kolomna. In this diverse environment, which professed populist ideals, a sense of duty of the educated class to "peasant Russia" was nurtured, and the code of selfless service to democratic values was strictly observed. The impressions of childhood spent in the Russian hinterland, fraught with violent passions invisible for the time being, “dislocations” and “whirlwinds” of the consciousness of the “grassroots” human mass, were reflected in the future in many of Pilnyak’s works.

Russia went under the Tatars - there was a Tatar yoke. Russia went under the Germans - there was a German yoke. Russia is smart to itself... I say at a meeting: there is no internationalist, but there is a people's Russian revolution, a rebellion - and nothing more. In the image of Stepan Timofeevich. “And Karla Marxov?” they ask. - German, I say, and therefore a fool. “And Lenin?” “Lenin, I say, from the muzhiks, a Bolshevik… They must, I say, ring out from the liberation of the yoke!.. So that there is faith and truth… Believe what you want, even in a block of wood.” And the communists are out too! “The Bolsheviks, I say, will manage on their own. (novel The Naked Year)

Pilnyak Boris Andreevich

He began to try to write early - at the age of 9. In March 1909 his first essay was published. His professional career began in 1915, when in the magazines and almanacs Russian Thought, Harvest, Flashes, Milky Way”published a number of his stories - already under the pseudonym B. Pilnyak (from the Ukrainian “Pilnyanka” - a place of forest development; in a village under that name, where he lived in the summer young writer and from where he sent stories to the editors, the inhabitants were called "Pilnyaks"). It is believed that the road to literature was opened to him first of all by the story Zemskoe delo, which was published at the same time in the Monthly Journal by V.S.Mirolyubov.

In 1918, Pilnyak's first book, With the Last Steamboat, was published. Subsequently, he considered it frankly weak, with the exception of two stories - Over the ravine and Death, which he invariably included in almost all lifetime editions of selected works. Collection Bylye (1920), the writer considered "the first book of stories in the RSFSR about Soviet revolution". His role in the creative destiny of the author is, indeed, extremely significant, since the stories that made up the collection became creative laboratory for the novel The Naked Year published in 1922. Many stories were included in the novel as separate chapters, thereby emphasizing the “fragmentation” of its composition, which breaks up into relatively independent parts.

A bare year secured Pilnyak's place as a classic domestic literature 20th century In the history of post-revolutionary Russian prose, the novel played the same role as the Twelve Blocks in the history of poetry. He became innovative artistic reflection revolutionary elements, set an adequate language for depicting tectonic shifts in Russian history. In the center of the novel is life in the terrible and hungry 1919 of the conditional provincial town of Ordynina, which symbolically expands to an all-Russian scale.

At the same time, the temporal boundaries turn out to be no less symbolic and transparent than the actual spatial boundaries: through a very definite moment of the arrival of the revolution in the town of Ordynin, an endless retrospective of a thousand-year Russian history shines through. Starting from the position of a detached reporter who wants to capture what is happening, the author moves towards the creation of a sweeping historiosophical canvas. With his themes and style, Pilnyak frankly inherits the artistic discoveries of A. Bely as the author of the novels Silver Dove and Petersburg. Reflection on Revolution and Philosophy national history in the novel The Naked Year, they also experienced the influence of the Scythian ideology, which also affected the works of Blok 1918-1919. For Pilnyak, the revolution is not just a social cataclysm.

This is a grandiose breakthrough of the irrepressible sectarian-pagan elements, rebellious arrogance, demonic anarchism, Asian chaos, mystical “razinism”, which since the time of Peter I have been crushed by the load of superficial European civilization, which gave the world a fragile intellectual-aristocratic culture now doomed to death. In this sense, according to the logic of the author, the roots Russian revolution and Bolshevism as her driving force- not in the class moods of the recent past and not in the European philosophies of Marxism, but in the energies of the age-old instincts of the dark, but also purifying, revelry of the dark muzhik masses.

Born in the family of a veterinarian Andrey Ivanovich Vogau, from the German colonists of the Volga region, and his wife Olga Ivanovna Savinova, from the family of a Saratov merchant. Childhood and youth were spent moving between the provincial cities of Mozhaisk, Saratov, Bogorodsk, Kolomna, Nizhny Novgorod. Boris started writing at the age of 9. His first work was published in 1909.

In 1915, his stories under the pseudonym B. Pilnyak were published in the magazines and almanacs "Russian Thought", "Harvest", "Splashes", "Milky Way". Pilnyanka in Ukrainian is a place of forest development, the inhabitants of the villages next to which were called "Pilnyaks". In the summer, Boris lived in such a village and sent stories from there to the editors.

In 1918, the first book by Boris Pilnyak "With the last steamer" was published.

In 1920, Boris Pilnyak graduated from the Moscow Commercial Institute and since 1924 settled in Moscow.

In 1920, the collection "Bylye" was published, which Boris Pilnyak himself considered"The first book of stories about the Soviet revolution in the RSFSR." Many of these stories were included in the novel "The Naked Year" in separate chapters, written in 1922. This novel in the history of revolutionary prose has become a classic of literature. XX century.

In 1926, Boris Pilnyak wrote The Tale of the Unextinguished Moon, in which, based on rumors about the death of M. Frunze, he indirectly blamed I.V. Stalin for it: the forty-year-old Frunze was stabbed to death by surgeons during a heart operation on orders from above. The book was sold for two days, after which the circulation was completely withdrawn. Because of the scandal around this story, Boris Pilnyak wrote a "repentant" letter to the magazine " New world” (1927, No. 1), in which he pleaded guilty to “tactlessness”, rejecting accusations of"offensiveness of the story for the memory of Frunze".

He was chairman of the All-Russian Union of Writers until 1929. After the publication of the story "Red Tree" in Berlin by the publishing house "Petropolis", in which Russian writers were published, Boris Pilnyak began to be persecuted in the press from September 1929 to April 1931 for ideological failure. Protesting against the unfolding campaign of persecution, Boris Pilnyak, as head of the All-Russian Union of Writers, filed an application to withdraw from the Writers' Union. Later, the story "Red Tree" was included in the novel "Volga flows into the Caspian Sea", published in 1930 in the USSR. His work was actively and harshly criticized for ideological errors, formalism, eroticism and mysticism. At the same time, Boris Pilnyak until 1937 was one of the most published writers. His collected works in 6 volumes were published in 1929. In 1929-1930 his works were published in 8 volumes. He wrote the novels The Naked Year in 1922, The Machine and the Wolves in 1925, The Volga Runs into the Caspian Sea in 1930, Okay! An American Novel" in 1931, "The Salt Barn" in 1937.

On October 28, 1937, Boriss Pilnyak was arrested on charges of spying for Japan. On April 21, 1938, he was sentenced to death by the Military Collegium of the Supreme Court of the USSR on charges of a state crime as a Japanese spy. The sentence was carried out on the same day.

Boris Pilnyak was rehabilitated in 1956 posthumously.

Pilnyak Boris Andreevich (real name Vogau) (1894–1938), Russian writer.

Born September 29 (October 11), 1894 in Mozhaisk in the family of a veterinarian from Russified Volga Germans. Mother - Russian, daughter of a Saratov merchant. Pilnyak's childhood and youth were spent surrounded by zemstvo intelligentsia in the provincial cities of Russia - Saratov, Bogorodsk, Nizhny Novgorod, Kolomna. In this diverse environment, which professed populist ideals, a sense of duty of the educated class to "peasant Russia" was nurtured, and the code of selfless service to democratic values was strictly observed. The impressions of childhood spent in the Russian hinterland, fraught with violent passions invisible for the time being, “dislocations” and “whirlwinds” of the consciousness of the “grassroots” human mass, were reflected in the future in many of Pilnyak’s works.

Pilnyak Boris Andreevich

He began to try to write early - at the age of 9. In March 1909 his first essay was published. His professional career began in 1915, when a number of his stories were published in the magazines and almanacs "Russian Thought", "Harvest", "Flashlights", "Milky Way" - already under the pseudonym B. Pilnyak (from the Ukrainian "Pilnyanka" - a place of forest development; in the village under that name, where the young writer lived in the summer and from where he sent stories to the editors, the inhabitants were called "pilnyaks"). It is believed that the road to literature was opened to him first of all by the story Zemskoe delo, which was published at the same time in the Monthly Journal by V.S.Mirolyubov.

In 1918, Pilnyak's first book, With the Last Steamboat, was published. Subsequently, he considered it frankly weak, with the exception of two stories - Over the ravine and Death, which he invariably included in almost all lifetime editions of selected works. The writer considered the collection Bylye (1920) "the first book of stories about the Soviet revolution in the RSFSR." His role in the creative fate of the author is indeed extremely significant, since the stories that made up the collection became a creative laboratory for the novel The Naked Year published in 1922. Many stories were included in the novel as separate chapters, thereby emphasizing the “fragmentation” of its composition, which breaks up into relatively independent parts.

A bare year secured Pilnyak's place as a classic of Russian literature of the 20th century. In the history of post-revolutionary Russian prose, the novel played the same role as the Twelve Blocks in the history of poetry. He became an innovative artistic reflection of the revolutionary elements, set an adequate language for depicting tectonic shifts in Russian history. In the center of the novel is life in the terrible and hungry 1919 of the conditional provincial town of Ordynina, which symbolically expands to an all-Russian scale.

Come on, find out if there are fairy tales about Orthodoxy? (The Naked Year novel)

Pilnyak Boris Andreevich

At the same time, the temporal boundaries turn out to be no less symbolic and transparent than the actual spatial boundaries: through a very definite moment of the arrival of the revolution in the town of Ordynin, an endless retrospective of a thousand-year Russian history shines through. Starting from the position of a detached reporter who wants to capture what is happening, the author moves towards the creation of a sweeping historiosophical canvas. With his themes and style, Pilnyak frankly inherits the artistic discoveries of A. Bely as the author of the novels Silver Dove and Petersburg. The comprehension of the revolution and the philosophy of national history in the novel The Naked Year were also influenced by the ideology of the Scythians, which also affected the works of Blok 1918-1919. For Pilnyak, the revolution is not just a social cataclysm.

This is a grandiose breakthrough of the irrepressible sectarian-pagan elements, rebellious arrogance, demonic anarchism, Asian chaos, mystical “Razinism” that has been languishing in Russian soil forever, since the time of Peter I, crushed by the load of superficial European civilization, which gave the world a fragile intellectual-aristocratic culture now doomed to death. . In this sense, according to the author’s logic, the roots of the Russian revolution and Bolshevism as its driving force are not in the class moods of the recent past and not in the European philosophies of Marxism, but in the energies of the age-old instincts of the dark mass of peasants, which seeks a disastrous, but also cleansing revelry.

The revolution in the novel is "a leap into Russian XVII century”, to the origins, behind which the pre-temporal past peeps, paradoxically interlocking with the revelations of the future. In this "jump" the person himself is revealed in a new way. It is described emphatically naturalistically, it reveals a natural-zoological, “animal” principle. Pilnyak shows how human instincts, secrets and calls of the flesh are released from under the former veils, the unconscious breaks through.

The whole history of peasant Russia is the history of sectarianism. (novel The Naked Year)

Pilnyak Boris Andreevich

The Naked Year is a fundamentally innovative work in terms of novelistic technique. The artistic structure here is based on the rejection of the traditional storyline, which is replaced by a mosaic of episodes, relatively independent passages interacting with each other rather on the principle of musical counterpoint. There are no main characters in the novel.

The reader passes through a whole gallery of “equal” characters, reflecting the different cultural “faces” of the city and its environs: ordinary employees, Bolsheviks “in leather jackets”, inhabitants of collapsing noble nests, representatives of the clergy, members of the anarchist commune, sectarians, healers, etc. . Such a “fragmentation” of artistic vision seeks to express the dynamics of history itself, the collapse of established cultural forms, “ European style"of life, which was previously embodied in the harmony of the classical Russian novel of the era critical realism. At the same time, the Russian classics of the 19th - early 20th centuries themselves. becomes in the novel the object of a literary game and artistic rethinking. The author clothes his main historiosophical idea in images that implicitly refer the attentive reader to the heroes of War and Peace L.N. Bunin, etc.

As a master of artistic language, the author focuses on the speech form of a tale (reproduction of an oral, sounding word), dating back to N.S. Leskov and tested in the modernist prose of A.M. Remizov and the same Bely. The bare year of Pilnyak acted as a translator of the stylistic achievements of the leading masters of the 1900-1910s to the generation of writers who came to literature on a revolutionary wave.

The novel emphasizes those features of modernist prose that most anticipate the art of the avant-garde. So, even E. Zamyatin once noted: “Pilnyak’s compositional technique has something very special and new - this is the constant use of the “shift of planes” technique. One plot plane - suddenly, torn - is replaced by another, sometimes several times on one page ". It is obvious that such a "shift of planes" is a transfer to literary text one of the characteristic aesthetic principles cubism. In extremely unexpected, picturesque, condensed images, often built on hyperbole, exaggerated details (especially vivid ones in descriptions of the phantasmagoria of Russian “district” life), one can feel the influence of the poetics of expressionism. In addition, Pilnyak tries to activate not only the reader's consciousness, but also his hearing, and even his eyesight.

The author, like the futurist poets, creates a synthetic work, where artistic sense contains not only sound writing, but also typographic typing, its placement on the page: playing with different fonts, italics, field shapes, etc. Naked Year can rightfully be called the first avant-garde work of a major epic form in Soviet literature. From point of view historical poetics this novel certainly played a role in making the tale established itself as one of the key narrative techniques in Russian prose of the 1920s (A. Vesely, M. Zoshchenko, I. Babel, etc.). It is generally accepted that the Naked Year formed the whole “Pilnyak school” in young Soviet literature, contributed to the birth of such a striking phenomenon of the 1920s as “ornamental prose”.

Since the beginning of the 1920s, Pilnyak's work has provoked heated debate in criticism. The reason for this lay in the originality of his creative and civic position. On the one hand, he became one of the founders of great Soviet prose, he always emphasized his loyalty to the revolution and the new government, although he was never a member of the Communist Party, on the other hand, the internal imperative invariably forced him to observe the principle of artistic objectivity, to put the truth of art above any ideological prescriptions. .

"Loyal" criticism immediately felt the danger and the absence of a "communist core" in the perception of the revolution as a cleansing thunderstorm, "blizzard", "March spring waters". “It is unlikely that another Soviet writer evoked such controversial assessments at the same time as Pilnyak,” wrote the contemporary writer Vyach. Polonsky. - Some consider him not only a writer of the era of the revolution, but also a revolutionary writer. Others, on the contrary, are convinced that it is the reaction that guides his hand. Few doubted Pilnyak's talent. But his revolutionary spirit aroused great doubts.

This complexity of the inner position, consciously withdrawing from any too simple circuits, led to curiously contradictory attempts to certify Pilnyak in terms of his ideological position and belonging to certain literary trends and groupings.

He was called both a “Bolshevik”, and a “fellow traveler”, and an “internal emigrant”, and an “enemy”, and a “Serapion brother”, and a “transfer”, and a “Smenovekhite”. But Pilnyak himself invariably considered himself the author of works about Russia, staying within the ideology of today only insofar as the thousand-year history of the fatherland pronounces itself in it. In Fragments from a diary (1924), he admitted: “I am not ... a communist, and therefore I do not admit that I should be a communist and write in a communist way - and I admit that communist power in Russia is determined - not by the will of the communists, but by historical destinies Russia, and inasmuch as I want to trace (as best as I can and as my conscience and mind tell me) these Russian historical destinies, I am with the communists, that is, since the communists are with Russia, insofar as I am with them ... I admit that the fate of the RCP is much less interesting to me than the fate of Russia.

And even in the much less "harmless" 1930s, Pilnyak continued to deny the obligatory principle of party leadership in literature and defended the writer's right to independence and objectivity.

In 1922, Pilnyak was one of the first representatives of official Soviet literature to visit Germany. He was entrusted with the mission of representing in the West writers "born in the revolution." The bare year made such a favorable impression on emigrants of various political views that Pilnyak was equally favorably accepted by the whole of “Russian Germany” - from Remizov and Bely to the Menshevik Y. Martov. At the same time, Pilnyak published three books in Berlin (The Naked Year, Ivan da Marya, The Tale of Petersburg, or the Holy Stone-City).

A trip to Berlin confirmed Pilnyak's loyalty to his vocation, gave him a sense of creative freedom and a broad outlook, and contributed to his final self-determination as an artist-historian who makes sense of today. Upon returning to his homeland, he noted: “I love Russian - albeit ridiculous - history, its originality, its absurdity ... its dead ends, - I love our Musorgsism. I was abroad, I saw emigration, I saw that Zemstvo. And I know that the Russian revolution is where everything must be taken together, communism, and the Socialist-Revolutionaries, and the White Guard, and the monarchy: all these are the heads of the Russian revolution, but main chapter- in Russia, in Moscow ... And one more thing: I want to be a historian in the revolution, I want to be an indifferent spectator and love everyone, I threw out all sorts of politics. Communism is alien to me ... ".

In 1923, Pilnyak traveled to Great Britain, where he met with major English writers, including G. Wells and B. Shaw. Britain deeply impressed him with the level of industrial progress and the development of modern civilization. Pilnyak reconsiders the former system of views and abandons the former apology of "peasant Rus'", the mysticism of fields and spaces in favor of a new ideal of industrial urbanism and strict rationality. On the ideological plane, this entailed a switch from the "Scythian" spontaneity to pro-communist positions and an openness to the constructivist poetry of the proletariat, factories and machines.

Such an evolution was reflected in a new novel, which was created based on live impressions during the trip - Cars and Wolves, where the "chaotic" beginning - savagery, ignorance and dark instincts ("wolves") - is opposed to the "cosmic" beginning - the utopia of industrial progress (" cars"). Commenting on the work on the work, Pilnyak writes in Excerpts from his diary: "... for the first time now, after England," the communist, workers', machine "sounded" - not the field, not the peasants, not the "Bolshevik", - the revolution, the revolution of factories and urban, workers suburbs, machine revolution, steel, like math, like steel. Until now, I have written in the name of the "wild flower" of the thistle, its life and flowering - now I want to contrast this flower - with machine flowering. My novel was not based on sweat, as before, but on soot and oil: - this is our urban , machine revolution ... ".

However, this reorientation did not in any way entail fine-heartedness and conformism. “I got the bitter glory of a man who goes on the rampage,” said Pilnyak. The validity of these words is confirmed primarily by the publication in 1926 of the Tale of the Unextinguished Moon. The circulation of the issue of the Novy Mir magazine, in which this work was printed, was confiscated.

The Tale of the Unextinguished Moon is a bold essay. Here the author decided to present his own version of the death of a prominent Red Army commander M. Frunze, according to which he was sent to his death under the guise of an operation to remove a stomach ulcer. The prototypes of the main characters are not named, but contemporaries easily discerned familiar features. Here Pilnyak tried to portray one of the sides in the mechanism of the Bolshevik regime - the most severe discipline inherent in revolutionary organisms.

Her iron law overcomes all manifestations of common sense: the main character goes to a medically unnecessary operation in order to fulfill the order. The former people's commissar for military affairs bows to the will of the leadership and senselessly sacrifices his own life.

However, the artistic merits of the story are by no means exhausted by the topical socio-political overtones. Pilnyak comes out here and for more high level generalizations, tries to reveal the deep, existential meanings of the depicted. Gavrilov (M. Frunze) is a symbolic character in many respects. The author focuses on understanding the inner tragedy of loneliness and doom of the “patriarch” of revolutionary tyranny, one of the “creators of history”. Penetrating into the psychology of such a tragedy, Pilnyak partly anticipates the discoveries Western literature second half of the 20th century (Autumn of Patriarch Gabriel Garcia Marquez).

According to the logic of the story, the entire life of the commander was aimed at ensuring that the will of the “stubborn man” dooming to death reigns, which replaces the inexorable Fate in the created “new” world. ancient tragedy. And like any revolt of a tragic hero against the dictates of Doom, any attempt to save himself from the inevitable is absurd in its meaninglessness. This new world, created by the "Hercules" and "Prometheus" of the 20th century, is generally totally absurd, but also, paradoxically, super-rationalistic. Such a plot outgrows the framework of national literature and affects the realities not only of Soviet Russia. Pilnyak is moving along a path similar to that followed in Europe by F. Kafka in his novel The Trial almost at the same time.

The scandal caused by this work forced Pilnyak to appear in Novy Mir (1927, No. 1) with a “repentant” letter, in which, however, he pleaded guilty only to “tactlessness”, accusations of “insulting the story for the memory of Frunze ' rejected outright.

However, in the second half of the 1920s, Pilnyak continued to work actively and publish. In 1929 his collected works were published in 6 volumes, in 1929-1930 an eight-volume edition was published. The books Mother of the Cheese-Earth (1925), Zavolochye, Roots of the Japanese Sun, Regular Stories, Splashed Time, Stories from the East (all - 1927), Chinese Story (1928) appeared. Some of them are written based on impressions from trips around the USSR and foreign countries: Pilnyak visits Greece, Turkey, Palestine, Mongolia, China, Japan, USA.

1929 was marked by a new scandal. In the Berlin publishing house "Petropolis", which published primarily Soviet writers, Pilnyak published the stories Shtos in life and the Mahogany. Storm of indignation in official literary circles caused the very fact of publishing books in the West, but to a greater extent - ideological content Mahogany. In this short story, the writer again presented sketches from the life of a provincial provincial town. The town and its environs are struck by new ulcers generated by the Soviet way of life: the "natural suspicion" of the Bolshevik leadership and its detachment from real life ordinary people, the desire to crush the most hardworking and enterprising - the so-called. "fists" and so on.

However, all this is nothing more than private motives of the story, which do not occupy a leading place here. The main thing in the artistic world of Mahogany is the all-pervading melancholy as the main tone of the life of the Soviet hinterland. This longing equally seizes the souls of the former bar, and of today's young people, and romantic enthusiasts of the first years of the revolution, who turned into beggars, into "declassed elements", doomed to escape from the present and remain faithful to "high ideals" only in the heat of everyday life. drunkenness.

As soon as the publication of the story became known in the USSR, the persecution of Pilnyak began. Newspapers were full of headlines: “The Soviet public is against the Pilnyakovism”, “Forays of the class enemy in literature”, “On the anti-Soviet act of B. Pilnyak”, “Lessons of the Pilnyakovism”, “Against the Pilnyakovism and reconciliation with it”, etc. For the first time, the formula “I myself have not read it, but I am sincerely indignant ...”, which later gained notoriety, was tested. It is characteristic that in the vast majority of articles Pilnyak's work of hardly forty standard pages was invariably called a novel ... The campaign lasted from September 1929 to April 1931. By this time, Pilnyak headed the All-Russian Union of Writers.

Protesting against the unfolding campaign, Pilnyak and B. Pasternak filed applications for withdrawal from the writers' organization. At the same time, in solidarity with Pilnyak and E. Zamyatin, A. Akhmatova left the writers' organization. One of the few who is in it hard time stood up for Pilnyak, and there was also A.M. Gorky, who, by the way, did not sympathize with the story itself in the least. “Besides Pilnyak, there are quite a few other writers on whose heads “unanimous” people try the strength of their fists, trying to convince the authorities that it is they who know how to protect the ideological purity of the working class and the virginity of young people ...”, the classic wrote indignantly Soviet literature.

And yet Pilnyak continued to work. During the remaining seven years, he wrote six more volumes of fiction and journalistic prose. Among them is the book O'Key, the Birth of Man, Selected Stories, inspired by travels in the United States, and finally, The Ripening of Fruits, an essay that tells about the good consequences of cultivating a new life in Central Asia.

In 1937 Pilnyak wrote his last novel, published only in 1990 - Salt barn. This work was conceived as the last word of the writer, his creative testament. On the pages of the novels, the author returns to the years of childhood and youth spent in the provinces, to the maturation of the revolution, to the origins of the epoch-making shifts in Russian life that took place before his eyes. The novel affirms a simple and lofty moral maxim: everyone should selflessly fight for their convictions and live in accordance with their own worldview.

Gradually, the atmosphere around Pilnyak became more and more stuffy. They stop printing it. In October 1937 he was arrested. On April 21, 1938, he was convicted by the Military Collegium of the Supreme Court of the USSR on charges of state crimes and sentenced to death. The sentence was carried out in Moscow.

Boris Andreevich Pilnyak photo

Boris Andreevich Pilnyak - quotes

The whole history of peasant Russia is the history of sectarianism. (novel The Naked Year)

Come on, find out if there are fairy tales about Orthodoxy? (The Naked Year novel)

) - Russian Soviet writer, prose writer.

Biography

Born in Mozhaisk, in the family of a veterinarian Andrei Ivanovich Vogau, who came from the German colonists of the Volga region and was born in Ekaterinenstadt. Mother - Olga Ivanovna Savinova, was born in the family of a Saratov merchant. Wife - Sokolova Maria Alekseevna, doctor of the Kolomna hospital; divorced in 1924. The second wife is Shcherbinovskaya, Olga Sergeevna, actress of the Maly Theater. The third wife is Princess Kira Georgievna Andronikashvili, actress, director.

Pilnyak's childhood and youth were spent surrounded by zemstvo intelligentsia in the provincial cities of Russia - Mozhaisk, Saratov, Bogorodsk (modern Noginsk), Nizhny Novgorod, Kolomna. In 1913 he graduated from a real school in Nizhny Novgorod. In 1920 he graduated. From 1924 he lived in Moscow.

I started trying to write at the age of 9. In March 1909, his first essay was published. His professional career began in 1915, when a number of his stories were published in the magazines and almanacs Russian Thought, Harvest, Flashes, Milky Way - already under the pseudonym Bor. Pilnyak (from the Ukrainian "Pilnyanka" - a place of forest development; in the Kharkov village under that name, where he visited his uncle Alexander Ivanovich Savinov, the inhabitants were called "pilnyaks").

In 1929, he was removed from the leadership of the All-Russian Union of Writers for publishing the story "Mahogany" abroad. However, the story was legally transferred to the Berlin Russian publishing house through the channels of VOKS, and subsequently included in the novel The Volga Flows into the Caspian Sea, published in the USSR in 1930. “Not so long ago, Pilnyak published the counter-revolutionary Mahogany abroad. “Mahogany” he has now remade, polished and made the novel “Volga flows into the Caspian Sea”. But even with a superficial reading, it is clear that this is a superficial rewriting, it is clear that Pilnyak has a white core behind the red words, ”L. Shemshelevich noted in the Discussion on the Quiet Don at the Rostov Association of Proletarian Writers.

Despite criticism, until 1937 Pilnyak remained one of the most published writers. October 28, 1937 was arrested. On April 21, 1938, he was convicted by the Military Collegium of the Supreme Court of the USSR on trumped-up charges of a state crime - espionage for Japan (he was in Japan and wrote about this in his book "The Roots of the Japanese Sun") - and sentenced to death. Shot on the same day in Moscow.

Rehabilitated in 1956.

In Kolomna, two houses have been preserved that are directly related to the writer. In house number 14 on Polyanskaya Street, he lived with his parents. When he got married, he moved to house number 7 on Arbatskaya Street and lived here for seven years. After moving to Moscow, his first wife continued to live in this house with their children. On October 24, a memorial plaque was opened on the facade of the house.

For most of the "starting" in professional literature in 1915, he constantly lived in a dacha in the village of Krivyakino, Kolomna district (where his father worked as a veterinarian), now it is Kuibyshev Street in the city of Voskresensk near Moscow.

In Moscow, he lived on Vorovskogo Street, 26 (now - Povarskaya), from the end of 1927 - on the 2nd street. Yamskogo Polya, 1 (since 1934 it has been called Pravda Street), since June 1936 - in a house in Peredelkino.

Pilnyak's house was also preserved on Rogozhskaya street in Noginsk, where in 1904-1912 future writer lived with his parents. Periodically visiting the city in subsequent years, Pilnyak stopped in this place for the night. Together with him, Andrei Bely, Andrei Sobol and Alexei Nikolaevich Tolstoy visited the house.

Several houses have been preserved in the writer's homeland - in Mozhaisk. However, in which house the writer lived is unknown. There are at least two possible houses - the first is house number 20 on the street. Moscow, standing in the city center, and the second - an old house on the territory of the city hospital (now the dermatology department).

Boris Pilnyak is mentioned in Fyodor Raskolnikov's famous open accusatory letter to I.V. Stalin.

In the USSR, from 1938 to 1975, Pilnyak's books were not published. In 1964, the Moscow magazine published chapters from the novel The Salt Barn.

Creation

The chaos of revolutionary events was formally reflected in a fragmentary, episodic, experimental narrative technique Pilnyak, which (under the influence of A. Bely, as well as A. Remizov and E. Zamyatin) moved away from the traditional realistic narrative, which is determined by the completed action. Event elements exist in isolation from each other, break off, shift in time and come together thanks to figurative symbols and repetition techniques.<…>Pilnyak's ornamental style, which had a significant influence on other Russian writers, also manifests itself in the microstructures of his prose, even in syntax.

According to Gleb Struve, Pilnyak "became the head of an entire school or trend in Soviet literature." Usually this direction is called " ornamental prose"

Lifetime editions

With the last ship. M., Creativity, 1918
Bylye, M., Links, 1920; 2nd ed. - Revel, 1922.
The Naked Year, St. Petersburg - Berlin., ed. Grzhebina, 1922.
Petersburg story, Berlin, Helikon 1922.
Ivan da Marya, Berlin-Pb., ed. Grzhebina, 1922.
Metelinka, Berlin, Ogonki, 1923.
St. Peter-Burch, Berlin, 1922
Deadly beckons. M., 1922
Nikola-on-Posadiy. M.-Pb., "Circle", 1923.
Simple stories. Pg.: Time, 1923. - 80 p.
Tale of black bread. M., Krug, 1923
Third Capital, 1923 (1924 under the title "Mother-Stepmother")
Naked year. M., Krug, 1923; Same, ed. author, 1924; the same, M., GIZ, 1927
English stories, M.-L., Krug, 1924.
Tales. Ed. author, 1924
Stories. Ed. author, 1924
Cars and wolves. Leningrad, GIZ, 1925.
The Tale of the Unextinguished Moon // Novy Mir, 1926, No. 5 (The story was filmed in 1990)
Mother earth cheese. M., 1926
Blizzard. - M., Ogonyok, 1926
Heirs and other stories. - M.-L., GIZ, 1926
A story about keys and clay. M.-L., GIZ, 1926
Russia in flight. M., 1926
Ivan Moscow (novel), 1927.
Zavolochye. L., Surf, 1927. - 144 p., 6,000 copies.
Regular stories, M., Krug, 1927.
Chinese diary, 1927.
. - M.-L., GIZ, 1927.
. - L., Surf, 1927.
A big heart. M., GIZ, 1927
Stories. M., Nikitinsky subbotniks, 1927
Tales from the East. - M., Ogonyok, 1927
Chinese story. M., GIZ, 1928
Mahogany, Berlin, 1929.
Stories. M., Nikitinsky subbotniks, 1929
The Volga flows into the Caspian Sea, M., Nedra, 1930.
Stories. M., "Federation", 1932. - 284 p., 5,200 copies.
OK. M., Federation, 1933; the same, M., GIHL, 1933; the same, M., Goslitizdat, 1935
Stories. Paris, 1933
Stones and roots. M., Soviet literature, 1934; the same, M., Goslitizdat, 1935
Selected stories. M., " Fiction”, 1935.- 320 p., 10,000 copies.
Birth of man M., 1935
Fruit ripening, 1936.
Meat (together with S. Belyaev) // Novy Mir, 1936.
Pilnyak B. A. Collected works: in 8 vols. - M.-L., GIZ, 1929-1930.

Foreign publications in Russian

The murder of the commander, 1965 ("The Tale of the Unextinguished Moon")
Naked Year, 1966
Stones and Roots, Chicago, 1966
Spilled time, 1966
Mahogany, 1966
Bylyo, 1970
Cars and Wolves, 1971
OK, 1972
Doubles, London, OPI, 1983 (novel reconstructed by M. Geller)

Publications in the USSR after 1975

Pilnyak B. A. Selected works. M.: "Fiction", 1976; L., "Fiction", 1978, 1979 - 702 p.
Pilnyak B. A. Whole life In: Selected prose. - Mn.: Mastatskaya Litaratura, 1988.
Pilnyak B. A. Letters to Mirolyubov and Lutokhin // Russian Literature. - 1989, No. 2.
Pilnyak B. A. Mahogany // Friendship of peoples. - 1989, No. 1.
Pilnyak B. A. The Tale of the Unextinguished Moon. - M., book chamber, 1989
Pilnyak B. A. Spilled Time: Novels, Novels, Short Stories. - M.: Soviet writer, 1990.
Pilnyak B. A. Novels. - M.: Sovremennik, 1990. - 607 p.
Pilnyak B. A. Human Wind: Novels, Novels, Short Stories. - Tbilisi, 1990.
Pilnyak B. A. The Tale of the Unextinguished Moon. - M., Pravda, 1990
Pilnyak B. A. Excerpts from the diary // Prospects. - 1991, No. 3. - S. 84-88.
Pilnyak B. A. Letters to M. Gorky // Russian Literature. - 1991, No. 1.
Pilnyak B. A. Zashtat. - N.-Novgorod, 1991; 320 pp., 65,000 copies.
Pilnyak B. A. Novels and short stories 1915-1929. - M.: Sovremennik, 1991., 686 p., 100,000 copies.
Pilnyak B. A. Novel. Tales. Stories. - Chelyabinsk, YuUKI, 1991.
Pilnyak B. A. Third Capital: Novels and Stories. - M.: Russian book, 1992.
Pilnyak B. A. Works: in 3 vols. - M., Lada-M, 1994., 10,000 copies.
Boris Pilnyak: Today's Reading Experience: A Collection of Articles. - M., 1995.
Pilnyak B. A. Collected works in six volumes. - M.: Terra, 2003-2004.
Pilnyak B. A. Bitter glory fell to me. Letters. - M., Agraf, 2002
Boris Pilnyak. Zavolochye. - M.: European editions, 2007.
Pilnyak B. A. Letters. T. 1: 1906-1922. T. 2: 1923-1937. Compilation, preparation of the text, foreword and notes by K. B. Andronikashvili-Pilnyak and D. Kassek. - M.: IMLI RAN, 2010.

Write a review on the article "Pilnyak, Boris Andreevich"

Literature

Boris Pilnyak (collection of articles), 1928
Vera T. Reck. A Soviet Writer in Conflict with the State. Montreal and London: McGill-Queen's University Press, 1975.
Savelli D. Boris Pilnyak in Japan: 1926. M., 2004
B. A. Pilnyak: Research and materials: Collection scientific papers. Issue. VI / Rev. ed. A. Auer. Kolomna: MGOSGI, 2011. 167 p., 500 copies, ISBN 978-5-98492-095-7
Lysenkov V. Resurrection penates. M., 2008

Notes

An excerpt characterizing Pilnyak, Boris Andreevich

That fire, which he had looked at with such indifference the previous evening, increased significantly during the night. Moscow was on fire different parties. Burned at the same time Karetny Ryad, Zamoskvorechye, Gostiny Dvor, Povarskaya, barges on the Moscow River and a wood market near the Dorogomilovsky bridge.
Pierre's path lay through lanes to Povarskaya and from there to the Arbat, to Nikola Yavlenny, in whose imagination he had long ago determined the place where his deed should be done. Most of the houses had locked gates and shutters. The streets and lanes were deserted. The air smelled of burning and smoke. From time to time there were Russians with uneasily timid faces and Frenchmen with a non-urban, camp look, walking along the middle of the streets. Both of them looked at Pierre with surprise. In addition to his great height and thickness, in addition to the strange gloomy concentrated and suffering expression of his face and whole figure, the Russians looked closely at Pierre, because they did not understand what class this person could belong to. The French followed him with surprise with their eyes, especially because Pierre, disgusted by all other Russians, who looked at the French with fear or curiosity, did not pay any attention to them. At the gates of a house, three Frenchmen, who were explaining something to the Russian people who did not understand them, stopped Pierre, asking if he knew French?
Pierre shook his head negatively and went on. In another alley, a sentry standing at a green box shouted at him, and Pierre only realized at the repeated menacing cry and the sound of a gun taken by the sentry in his hand that he had to go around the other side of the street. He did not hear or see anything around him. He, like something terrible and alien to him, with haste and horror carried his intention within himself, fearing - taught by the experience of last night - somehow lose it. But Pierre was not destined to convey his mood intact to the place where he was heading. In addition, even if he had not been hindered by anything on the way, his intention could not have been fulfilled already because Napoleon had traveled more than four hours ago from the Dorogomilovsky suburb through the Arbat to the Kremlin and was now sitting in the tsar’s office in the gloomiest mood. Kremlin Palace and gave detailed, detailed orders on the measures that should immediately have been taken to extinguish the fire, prevent looting and calm the inhabitants. But Pierre did not know this; he, completely absorbed in what was to come, was tormented, as people are tormented who stubbornly undertook an impossible deed - not because of difficulties, but because of the unusualness of the matter with their nature; he was tormented by the fear that he would weaken at the decisive moment and, as a result, lose respect for himself.
Although he did not see or hear anything around him, he knew the way by instinct and was not mistaken by the lanes that led him to Povarskaya.
As Pierre approached Povarskaya, the smoke grew stronger and stronger, it even became warm from the fire. From time to time, fiery tongues rose from behind the roofs of houses. more people met on the streets, and this people were more anxious. But Pierre, although he felt that something unusual was going on around him, did not realize that he was approaching the fire. Walking along a path that ran along a large undeveloped place, adjacent on one side to Povarskaya, on the other to the gardens of the house of Prince Gruzinsky, Pierre suddenly heard a desperate cry of a woman beside him. He stopped, as if awakening from a dream, and raised his head.
Away from the path, on dried dusty grass, a heap of household belongings were piled up: featherbeds, a samovar, images and chests. On the ground near the chests sat a middle-aged, thin woman, with long protruding upper teeth, dressed in a black cloak and cap. This woman, swaying and saying something, bursting into tears. Two girls, from ten to twelve years old, dressed in dirty short dresses and cloaks, with an expression of bewilderment on their pale, frightened faces, looked at their mother. A younger boy, about seven years old, in a coat and a huge cap that was not his own, was crying in the arms of the old nurse. A dirty, barefooted girl sat on a chest and, having loosened her whitish braid, tugged at her singed hair, sniffing at it. The husband, a short, round-shouldered man in a uniform, with wheel-shaped sideburns and smooth temples that could be seen from under a straight-on cap, with an immovable face, parted chests stacked one on top of the other, and pulled out some kind of robes from under them.
The woman almost threw herself at Pierre's feet when she saw him.
“Dear fathers, Orthodox Christians, save me, help me, my dear! .. someone help me,” she uttered through sobs. - A girl! .. Daughter! .. They left my younger daughter! .. Burned down! Oh oh oh! for that I lele you ... Oh oh oh!
“Enough, Marya Nikolaevna,” the husband turned to his wife in a low voice, apparently only to justify himself before stranger. - The sister must have taken it away, otherwise where else to be? he added.
- An idol! The villain! the woman screamed angrily, suddenly stopping crying. “You don’t have a heart, you don’t feel sorry for your child. Another would have taken it out of the fire. And this is an idol, not a man, not a father. You noble man- Patter, sobbing, the woman turned to Pierre. - It caught fire nearby, - it was thrown towards us. The girl screamed: it's on fire! Rushed to collect. In what they were, they jumped out in that ... That's what they captured ... God's blessing and a dowry bed, otherwise everything was gone. Grab the kids, no Katechki. Oh my God! Ooo! – and again she sobbed. - My dear child, it burned down! burned down!
- Yes, where, where did she stay? Pierre said. From the expression on his animated face, the woman realized that this man could help her.
- Father! Father! she screamed, grabbing his legs. “Benefactor, at least calm my heart ... Aniska, go, vile, see her off,” she shouted at the girl, angrily opening her mouth and showing her long teeth even more with this movement.
“See, see, I ... I ... I will do it,” Pierre said hastily in a breathless voice.
The dirty girl came out from behind the chest, cleaned her braid and, sighing, went stupid bare feet forward along the path. Pierre, as it were, suddenly woke up to life after a severe fainting spell. He raised his head higher, his eyes lit up with the brilliance of life, and he quickly followed the girl, overtook her and went out to Povarskaya. The whole street was covered with a cloud of black smoke. Tongues of flame escaped from this cloud in some places. People crowded in front of the fire in a large crowd. In the middle of the street stood a French general and said something to those around him. Pierre, accompanied by a girl, went up to the place where the general was standing; but the French soldiers stopped him.
- On ne passe pas, [They don't pass here,] - a voice shouted to him.
- Over here, uncle! - said the girl. - We will go through the alley, through the Nikulins.
Pierre turned back and walked, occasionally jumping up to keep up with her. The girl ran across the street, turned left into an alley and, after passing through three houses, turned right at the gate.
“Right here now,” said the girl, and, running through the yard, she opened the gate in the boarded fence and, stopping, pointed out to Pierre a small wooden outbuilding that burned brightly and hotly. One side of it collapsed, the other burned, and the flames brightly knocked out from under the openings of the windows and from under the roof.
When Pierre entered the gate, he was overwhelmed with heat, and he involuntarily stopped.
- Which, which is your house? - he asked.
– Oh oh oh! howled the girl, pointing to the outbuilding. - He was the most, she was our most Vater. Burnt, you are my treasure, Katechka, my beloved lady, oh oh! Aniska howled at the sight of the fire, feeling the need to show her feelings as well.
Pierre leaned towards the outbuilding, but the heat was so strong that he involuntarily described an arc around the outbuilding and found himself near big house, which was still burning only on one side from the roof and around which a crowd of Frenchmen swarmed. At first, Pierre did not understand what these Frenchmen were doing, dragging something; but, seeing in front of him a Frenchman who beat a peasant with a blunt cleaver, taking away his fox coat, Pierre vaguely realized that they were robbing here, but he had no time to dwell on this thought.
The sound of the crackling and rumble of collapsing walls and ceilings, the whistling and hissing of flames and the lively cries of the people, the sight of wavering, then frowning thick black, then soaring brightening clouds of smoke with sparkles and somewhere solid, sheaf-like, red, sometimes scaly gold, moving along the walls of the flame , the feeling of heat and smoke and the speed of movement produced their usual exciting effect on Pierre from fires. This effect was especially strong on Pierre, because Pierre suddenly, at the sight of this fire, felt freed from the thoughts that weighed on him. He felt young, cheerful, agile and determined. He ran around the outbuilding from the side of the house and was about to run to that part of it that was still standing, when a cry of several voices was heard above his very head, followed by the crackling and ringing of something heavy that fell beside him.
Pierre looked around and saw Frenchmen in the windows of the house, throwing out a chest of drawers filled with some kind of metal things. The other French soldiers below approached the box.
- Eh bien, qu "est ce qu" il veut celui la, [What else does this need,] one of the French shouted at Pierre.
– Un enfant dans cette maison. N "avez vous pas vu un enfant? [A child in this house. Have you seen the child?] - said Pierre.
- Tiens, qu "est ce qu" il chante celui la? Va te promener, [What else does this one interpret? Go to hell,] - voices were heard, and one of the soldiers, apparently afraid that Pierre would not take it into his head to take away the silver and bronze that were in the box, menacingly approached him.
- Unenfant? shouted a Frenchman from above. - J "ai entendu piailler quelque chose au jardin. Peut etre c" est sou moutard au bonhomme. Faut etre humain, voyez vous… [Child? I heard something squeaking in the garden. Maybe it's his child. Well, it is necessary for humanity. We all people…]
– Ou est il? Ouestil? [Where is he? Where is he?] asked Pierre.
- Parici! Parici! [Here, here!] - the Frenchman shouted to him from the window, pointing to the garden that was behind the house. - Attendez, je vais descendre. [Wait, I'll get off now.]
And indeed, a minute later a Frenchman, a black-eyed fellow with some kind of spot on his cheek, in one shirt jumped out of the window of the lower floor and, slapping Pierre on the shoulder, ran with him into the garden.
“Depechez vous, vous autres,” he called to his comrades, “start a faire chaud.” [Hey, you, come on, it's starting to bake.]
Running outside the house onto a sandy path, the Frenchman pulled Pierre's hand and pointed him to the circle. Under the bench lay a three-year-old girl in a pink dress.
- Voila votre moutard. Ah, une petite, tant mieux, said the Frenchman. – Au revoir, mon gros. Faut etre humane. Nous sommes tous mortels, voyez vous, [Here is your child. Oh girl, so much the better. Goodbye, fat man. Well, it is necessary for humanity. All people,] - and the Frenchman with a spot on his cheek ran back to his comrades.
Pierre, choking with joy, ran up to the girl and wanted to take her in his arms. But, seeing a stranger, the scrofulous, mother-like, unpleasant-looking girl screamed and rushed to run. Pierre, however, grabbed her and lifted her up; she squealed in a desperately angry voice and with her small hands began to tear off Pierre's hands from herself and bite them with a snotty mouth. Pierre was seized by a feeling of horror and disgust, similar to that which he experienced when he touched some small animal. But he made an effort on himself not to abandon the child, and ran with him back to the big house. But it was no longer possible to go back the same way; the girl Aniska was no longer there, and Pierre, with a feeling of pity and disgust, clutching the sobbing and wet girl as tenderly as possible, ran through the garden to look for another way out.

When Pierre, having run around the yards and lanes, went back with his burden to the Gruzinsky garden, at the corner of Povarskaya, for the first minute he did not recognize the place from which he went after the child: it was so cluttered with people and belongings pulled out of the houses. In addition to Russian families with their belongings, who were fleeing the fire here, there were also several French soldiers in various attire. Pierre ignored them. He was in a hurry to find the official's family in order to give his daughter to his mother and go again to save someone else. It seemed to Pierre that he still had a lot to do and that he needed to do it as soon as possible. Inflamed with heat and running around, Pierre at that moment, even stronger than before, experienced that feeling of youth, revival and determination that seized him while he ran to save the child. The girl calmed down now and, holding on to Pierre's caftan with her hands, sat on his arm and, like a wild animal, looked around herself. Pierre glanced at her from time to time and smiled slightly. It seemed to him that he saw something touchingly innocent and angelic in that frightened and sickly little face.
In the same place, neither the official nor his wife was gone. Pierre walked with quick steps among the people, looking at the different faces that came across to him. Involuntarily, he noticed a Georgian or Armenian family, consisting of a very old man, handsome, with an oriental type of face, dressed in a new indoor sheepskin coat and new boots, an old woman of the same type and a young woman. This very young woman seemed to Pierre the perfection of oriental beauty, with her sharp, arched black eyebrows and long, unusually gently ruddy and pretty face without any expression. Among the scattered belongings, in the crowd in the square, she, in her rich satin coat and bright purple shawl that covered her head, resembled a tender hothouse plant thrown into the snow. She was sitting on knots a little behind the old woman and motionlessly with large black oblong eyes with long eyelashes looked at the ground. Apparently, she knew her beauty and was afraid for her. This face struck Pierre, and in his haste, passing along the fence, he looked back at her several times. Having reached the fence and still not finding those whom he needed, Pierre stopped, looking around.
The figure of Pierre with a child in her arms was now even more remarkable than before, and several people of Russian men and women gathered around him.

(1938-04-21 ) (43 years)

Boris Andreevich Pilnyak (real name Vogau, German Wogau; September 29 (October 11), Mozhaisk - April 21, Moscow) - Russian Soviet writer, prose writer.

Encyclopedic YouTube

1 / 1

✪ Pilnyak

Subtitles

Biography

Despite criticism, until 1937 Pilnyak remained one of the most published writers. On October 28, 1937 he was arrested. On April 21, 1938, he was convicted by the Military Collegium of the Supreme Court of the USSR on trumped-up charges of a state crime - espionage for Japan (he was in Japan and wrote about this in his book "The Roots of the Japanese Sun") - and sentenced to death. Shot on the same day in Moscow.

Rehabilitated in 1956.

Pilnyak's house was also preserved on Rogozhskaya Street in Noginsk, where in 1904-1912 the future writer lived with his parents. Periodically visiting the city in subsequent years, Pilnyak stopped in this place for the night. Andrei Bely, Andrei Sobol and Aleksey Nikolaevich Tolstoy visited the house with him.

Boris Pilnyak is mentioned in the famous open accusatory letter to I.V. Stalin by Fedor Raskolnikov.

In the USSR, from 1938 to 1975, Pilnyak's books were not published. In 1964, the Moscow magazine published chapters from the novel The Salt Barn.

Creation

The chaos of revolutionary events was formally reflected in Pilnyak's fragmentary-episodic, experimental narrative technique, which (under the influence of A. Bely, as well as A. Remizov and E. Zamiatin) departed from the traditional realistic narrative, determined by the completed action. Event elements exist in isolation from each other, break off, shift in time and come together thanks to figurative symbols and repetition techniques.<…>Pilnyak's ornamental style, which had a significant influence on other Russian writers, also manifests itself in the microstructures of his prose, even in syntax.

According to Gleb Struve, Pilnyak "became the head of an entire school or trend in Soviet literature." Usually this direction is called " ornamental prose»

Lifetime editions

With the last ship. M., Creativity, 1918
Bylye, M., Links, 1920; 2nd ed. - Revel, 1922.
Naked Year, St. Petersburg - Berlin., ed. Grzhebina, 1922.
Petersburg story, Berlin, Helikon 1922.
Ivan da Marya, Berlin-Pb., ed. Grzhebina, 1922.
Metelinka, Berlin, Ogonki, 1923.
St. Peter-Burch, Berlin, 1922
Deadly beckons. M., 1922
Nikola-on-Posadiy. M.-Pb., "Circle", 1923.
Simple stories. Pg.: Time, 1923. - 80 p.
Tale of black bread. M., Krug, 1923
Third Capital, 1923 (1924 under the title "Mother-Stepmother")
Naked year. M., Krug, 1923; Same, ed. author, 1924; the same, M., GIZ, 1927
English stories, M.-L., Krug, 1924.
Tales. Ed. author, 1924
Stories. Ed. author, 1924
Cars and wolves. Leningrad, GIZ, 1925.
The Tale of the Unextinguished Moon // Novy Mir, 1926, No. 5 (The story was filmed in 1990)
Mother earth cheese. M., 1926
Blizzard. - M., Ogonyok, 1926
Heirs and other stories. - M.-L., GIZ, 1926
A story about keys and clay. M.-L., GIZ, 1926
Russia in flight. M., 1926
Ivan Moscow (novel), 1927.
Zavolochye. L., Surf, 1927. - 144 p., 6,000 copies.
Regular stories, M., Krug, 1927.
Chinese diary, 1927.
Scattered time. Stories. - M.-L., GIZ, 1927.
The roots of the Japanese sun. - L., Surf, 1927.
A big heart. M., GIZ, 1927
Stories. M., Nikitinsky subbotniks, 1927
Tales from the East. - M., Ogonyok, 1927
Chinese story. M., GIZ, 1928
Mahogany, Berlin, 1929.
Stories. M., Nikitinsky subbotniks, 1929
The Volga flows into the Caspian Sea, M., Nedra, 1930.
Stories. M., "Federation", 1932. - 284 p., 5,200 copies.
OK. M., Federation, 1933; the same, M., GIHL, 1933; the same, M., Goslitizdat, 1935
Stories. Paris, 1933
Stones and roots. M., Soviet literature, 1934; the same, M., Goslitizdat, 1935
Selected stories. M., "Fiction", 1935. - 320 p., 10,000 copies.
Birth of man M., 1935
Fruit ripening, 1936.
Meat (together with S. Belyaev) // Novy Mir, 1936.
Pilnyak B. A. Collected works: in 8 vols. - M.-L., GIZ, 1929-1930.

Foreign publications in Russian

The murder of the commander, 1965 ("The Tale of the Unextinguished Moon")
Naked Year, 1966
Stones and Roots, Chicago, 1966
Spilled time, 1966
Mahogany, 1966
Bylyo, 1970
Cars and Wolves, 1971
OK, 1972
Doubles, London, OPI, 1983 (novel reconstructed by M. Geller)

Publications in the USSR and Russia after 1975

Pilnyak B. A. Selected works. M.: "Fiction", 1976; L., "Fiction", 1978, 1979 - 702 p.
Pilnyak B. A. A Whole Life: Selected Prose. - Mn.: Mastatskaya Litaratura, 1988.
Pilnyak B. A. Letters to Mirolyubov and Lutokhin // Russian Literature. - 1989, No. 2.
Pilnyak B. A. Mahogany // Friendship of peoples. - 1989, No. 1.
Pilnyak B. A. The Tale of the Unextinguished Moon. - M., Book Chamber, 1989
Pilnyak B. A. Spilled Time: Novels, Novels, Short Stories. - M.: Soviet writer, 1990.
Pilnyak B. A. Novels. - M.: Sovremennik, 1990. - 607 p.
Pilnyak B. A. Human Wind: Novels, Novels, Short Stories. - Tbilisi, 1990.
Pilnyak B. A. The Tale of the Unextinguished Moon. - M., Pravda, 1990
Pilnyak B. A. Excerpts from the diary // Prospects. - 1991, No. 3. - S. 84-88.
Pilnyak B. A. Letters to M. Gorky // Russian Literature. - 1991, No. 1.
Pilnyak B. A. Zashtat. - N.-Novgorod, 1991; 320 pp., 65,000 copies.
Pilnyak B. A. Novels and short stories 1915-1929. - M.: Sovremennik, 1991., 686 p., 100,000 copies.
Pilnyak B. A. Novel. Tales. Stories. - Chelyabinsk, YuUKI, 1991.
Pilnyak B. A. Third Capital: Novels and Stories. - M.: Russian book, 1992.
Pilnyak B. A. Works: in 3 vols. - M., Lada-M, 1994., 10,000 copies.
Boris Pilnyak: Today's Reading Experience: A Collection of Articles. - M., 1995.
Lysenkov V. Resurrection penates. M., 2008
Andrew Bogen. "Devil on a Saucer": An Introduction to Historical Narratology. Saarbrücken: Lambert Academic Publishing 2016.