Available:*
Item Barcode | Collection | Call Number | Status | Item Holds |
|---|---|---|---|---|
| 33607001025041 | Adult Fiction | ZAMYATI | Searching... Unknown | Searching... Unavailable |
Bound With These Titles
On Order
Summary
Summary
The exhilarating dystopian novel that inspired George Orwell's 1984 andforeshadowed the worst excesses of Soviet Russia,featuring a foreword by the National Book Award-winning New Yorker journalist Masha Gessen
Yevgeny Zamyatin's We is a powerfully inventive vision that has influenced writers from George Orwell to Ayn Rand. In a glass-enclosed city of absolute straight lines, ruled over by the all-powerful 'Benefactor', the citizens of the totalitarian society of OneState live out lives devoid of passion and creativity - until D-503, a mathematician who dreams in numbers, makes a discovery- he has an individual soul. Set in the twenty-sixth century AD, We is the classic dystopian novel and was the forerunner of works such as George Orwell's 1984 and Aldous Huxley's Brave New World . It was suppressed for many years in Russia and remains a resounding cry for individual freedom, yet is also a powerful, exciting and vivid work of science fiction. Clarence Brown's brilliant translation is based on the corrected text of the novel, first published in Russia in 1988 after more than sixty years' suppression.
Author Notes
Zamyatin studied at the Polytechnic Institute in St. Petersburg and became a professional naval engineer. His first story appeared in 1908, and he became serious about writing in 1913, when his short novel A Provincial Tale (1913) was favorably received. He became part of the neorealist group, which included Remizov and Prishvin. During World War I, he supervised the construction of icebreakers in England for the Russian government. After his return home, he published two satiric works about English life, "The Islanders" (1918) and "The Fisher of Men" (1922). During the civil war and the early 1920s, Zamyatin published theoretical essays as well as fiction. He played a central role in many cultural activities---as an editor, organizer, and teacher of literary technique---and had an important influence on younger writers, such as Olesha and Ivanov. Zamyatin's prose after the Revolution involved extensive use of ellipses, color symbolism, and elaborate chains of imagery. It is exemplified in such well-known stories as "Mamai" (1921) and "The Cage" (1922). His best-known work is the novel We (1924), a satiric, futuristic tale of a dystopia that was a plausible extrapolation from early twentieth-century social and political trends. The book, which directly influenced George Orwell's (see Vol. 1) 1984, 1984, was published abroad in several translations during the 1920s. In 1927 a shortened Russian version appeared in Prague, and the violent press campaign that followed led to Zamyatin's resignation from a writers' organization and, eventually, to his direct appeal to Stalin for permission to leave the Soviet Union. This being granted in 1931, Zamyatin settled in Paris, where he continued to work until his death. Until glasnost he was unpublished and virtually unknown in Russia. (Bowker Author Biography)
Reviews (2)
Publisher's Weekly Review
First published in the Soviet 1920s, Zamyatin's dystopic novel left an indelible watermark on 20th-century culture, from Orwell's 1984 to Terry Gilliam's movie Brazil. Randall's exciting new translation strips away the Cold War connotations and makes us conscious of Zamyatin's other influences, from Dostoyevski to German expressionism. D-503 is a loyal "cipher" of the totalitarian One State, literally walled in by glass; he is a mathematician happily building the world's first rocket, but his life is changed by meeting I-330, a woman with "sharp teeth" who keeps emerging out of a sudden vampirish dusk to smile wickedly on the poor narrator and drive him wild with desire. (When she first forces him to drink alcohol, the mind leaps to Marlene Dietrich in The Blue Angel.) In becoming a slave to love, D-503 becomes, briefly, a free man. In Randall's hands, Zamyatin's modernist idiom crackles ("I only remember his fingers: they flew out of his sleeve, like bundles of beams"), though the novel sometimes seems prophetic of the onset of Stalinism, particularly in the bleak ending. Modern Library's reintroduction of Zamyatin's novel is a literary event sure to bring this neglected classic to the attention of a new readership. (On sale July 11) (c) Copyright PWxyz, LLC. All rights reserved
Library Journal Review
In Zamyatin's 1924 futuristic novel, humankind has lost its individuality, and everyone is reduced to a number. Protagonist D-503, a mathematician for the One State, thinks he is going insane but actually is falling in love. Unfortunately for him, he's sweet on a revolutionary bent on overthrowing the government. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Excerpts
Excerpts
081297462X|excerpt Zamyatin: WE record one keywords: A Declaration. The Wisest of Lines. A Poem. I am merely copying, word for word, what was printed in the State Gazette today: In 120 days, the construction of the Integral will be complete. The great, historic hour when the Integral will soar through the Earth's atmosphere is nigh. Some thousand years ago, your heroic ancestors subjugated the Earth to the power of the One State. Today, you are confronting an even greater conquest: the integration of the infinite equation of the universe with the crystalline, electrified, and fire-breathing Integral. You are confronting unknown creatures on alien planets, who may still be living in the savage state of freedom, and subjugating them to the beneficial yoke of reason. If they won't understand that we bring them mathematically infallible happiness, it will be our duty to force them to be happy. But before resorting to arms, we will employ words. In the name of the Benefactor, let it be known to all ciphers of the One State: All those who are able are required to create treatises, poems, manifestos, odes, or any other composition addressing the beauty and majesty of the One State. These works will compose the first cargo of the Integral. All hail the One State, all hail ciphers, all hail the Benefactor! As I write this, I feel something: my cheeks are burning. Integrating the grand equation of the universe: yes. Taming a wild zigzag along a tangent, toward the asymptote, into a straight line: yes. You see, the line of the One State--it is a straight line. A great, divine, precise, wise, straight line--the wisest of lines. I am D-503. I am the Builder of the Integral. I am only one of the mathematicians of the One State. My pen, more accustomed to mathematical figures, is not up to the task of creating the music of unison and rhyme. But I might as well attempt to record what I see, what I think--or, more exactly, what we think. (Yes, that's right: we. And let that also be the title of these records: We.) So these records will be manufactured from the stuff of our life, from the mathematically perfect life of the One State, and, as such, might they become, inadvertently, regardless of my intentions, a poem? Yes--I believe so and I know so. As I write this: I feel my cheeks burn. I suppose this resembles what a woman experiences when she first hears a new pulse within her--the pulse of a tiny, unseeing, mini-being. These records are me; and simultaneously not me. And they will feed for many months on my sap, my blood, and then, in anguish, they will be ripped from my self and placed at the foot of the One State. But I am ready and willing, just as every one--or almost every one of us. I am ready. record two keywords: Ballet. Quadratic Harmony. X. Spring. From beyond the Green Wall, from the wild, invisible plains, the wind brings the yellow honey-dust from a flower of some kind. This sweet dust parches the lips--you skim your tongue across them every minute--and you presume that there are sweet lips on every woman you encounter (and man, of course). This somewhat interferes with logical reasoning. But then, the sky! Blue, untainted by a single cloud (the Ancients had such barbarous tastes given that their poets could have been inspired by such stupid, sloppy, silly-lingering clumps of vapor). I love--and I'm certain that I'm not mistaken if I say we love--skies like this, sterile and flawless! On days like these, the whole world is blown from the same shatterproof, everlasting glass as the glass of the Green Wall and of all our structures. On days like these, you can see to the very blue depths of things, to their unknown surfaces, those marvelous expressions of mathematical equality--which exist in even the most usual and everyday objects. For instance, this morning I was at the hangar, where the Integral is being built, and suddenly: I noticed the machines. Eyes shut, oblivious, the spheres of the regulators were spinning; the cranks were twinkling, dipping to the right and to the left; the shoulders of the balance wheel were rocking proudly; and the cutting head of the perforating machine curtsied, keeping time with some inaudible music. Instantly I saw the greater beauty of this grand mechanized ballet, suffused with nimble pale-blue sunbeams. And then I thought to myself: why? Is this beautiful? Why is this dance beautiful? The answer: because it is non-free movement, because the whole profound point of this dance lies precisely in its absolute, aesthetic subordination, its perfect non-freedom. If indeed our ancestors were prone to dancing at the most inspired moments of their lives (religious mysteries, military parades), then all this can only mean one thing: the instinct for non-freedom, from the earliest of times, is inherently characteristic of humankind, and we, in our very contemporary life, are simply more conscious . . . To be continued: the intercom is clicking. I lift my eyes: it reads "O-90," of course. And, in half a minute, she herself will be here to collect me: we are scheduled for a walk. Sweet O! It has always seemed to me that she looks like her name: she is about ten centimeters below the Maternal Norm, which makes her lines all rounded, and a pink O--her mouth--is open to receive my every word. Also: there are round, chubby creases around her wrists--such as you see on the wrists of children. When she entered, I was still buzzing inside out with the fly-wheel of logic and, through inertia, I started to utter some words about this formula I had only just resolved (which justified all of us, the machines and the dance): "Stunning, isn't it?" I asked. "Yes, the spring, it is stunning . . ." O-90 smiled pinkly. Wouldn't you know it: spring . . . I say "stunning" and she thinks of spring. Women . . . I fell silent. Downstairs. The avenue is crowded: we normally use the Personal Hour after lunch for extra walking when the weather is like this. As usual, the Music Factory was singing the March of the One State with all its pipes. All ciphers walked in measured rows, by fours, rapturously keeping step. Hundreds and thousands of ciphers, in pale bluish unifs,* with gold badges on their chests, indicating the state-given digits of each male and female. And I--we, our foursome--was one of the countless waves of this mighty torrent. On my left was O-90 (a thousand years ago, our hairy forebears most probably would have written that funny word "my" when referring to her just now); on my right were two rather unfamiliar ciphers, a female and a male. The blessed-blue sky, the tiny baby suns on each badge, faces unclouded by the folly of thought . . . All these were rays, you see--all made of some sort of unified, radiant, smiling matter. And a brass beat: Tra-ta-ta-tam, Tra-ta-ta-tam--like sun-sparkling brass stairs--and with each step up, you climb higher and higher into the head-spinning blueness . . . And here, like this morning in the hangar, I saw it all as though for the very first time: the immutably straight lanes, the ray- spraying glass of the streets, the divine parallelepipeds of the transparent buildings, and the quadratic harmony of the gray-blue ranks. And: it was as if I--not whole generations past--had personally, myself, conquered the old God and the old life. As if I personally had created all this. And I was like a tower, not daring to move even an elbow, for fear of chipping fragments off of walls, cupolas, machines . . . And then, in an instant: a hop across centuries from 1 to 2. I was reminded--obviously, it was association by contrast--I was suddenly reminded of a painting in the museum depicting their olden day, twentieth-century avenue in deafening multicolor: a jumbled crush of people, wheels, animals, posters, trees, paint, birds . . . And do you know, they say that it was actually like that--that it's actually possible. I found that so improbable, so ludicrous, that I couldn't contain myself and laughed out loud. And then there was an echo--a laugh--coming from the right. I spun around: the white--unusually white--and sharp teeth of an unfamiliar female face were before my eyes, before me. * This word is probably derived from the ancient word Uniforme. "Forgive me," she said, "but you were observing your surround-ings with such an inspired look--like some mythical God on the seventh day of creation. It looked as though you actually believed that you, yourself, had created everything--even me! I'm very flattered . . ." All this was said without smiling, and I'd even go as far as to say that there was a certain reverence (maybe she was aware that I am the Builder of the Integral). And I don't know--perhaps it was somewhere in her eyes or eyebrows--there was a kind of strange and irritating X to her, and I couldn't pin it down, couldn't give it any numerical expression. For some reason, I became embarrassed and, fumbling, began to justify my laughter to her with logic. It was perfectly clear, I was saying, that the contrast, the impassable chasm, that lies between today and yesterday . . . "But why on earth impassable?" What white teeth! "Across the chasm--throw up a bridge! Just imagine it for yourself: the drums, the battalions, the ranks--these were all things that existed back then too. And consequently . . ." "Well, yes, it's clear!" I cried (it was an astonishing intersection of thoughts: she was using almost exactly my words--the ones I had been writing just before this Walk). "You see, even in our thoughts. No one is ever 'one,' but always 'one of.' We are so identical . . ." Her words: "Are you sure?" I saw those jerked-up eyebrows forming sharp angles toward her temples--like the sharp horns of an X--and again, somehow, got confused. I glanced right, then left and . . . She was on my right: thin, sharp, stubbornly supple, like a whip (I can now see her digits are I-330). On my left was O-90, totally different, made of circumferences, with that childlike little crease on her arm; and at the far right of our foursome was an unfamiliar male cipher, sort of twice-bent, a bit like the letter "S." We were all different . . . This I-330 woman, on my right, had apparently intercepted my confused glance and with an exhale: "Yes . . . Alas!" In essence, her "alas" was absolutely fitting. But again, there was something about her face, or her voice . . . I--with uncharacteristic abruptness--said: "Nothing alas about it. Science progresses, and it's clear that given another fifty, a hundred years . . ." "Even everyone's noses will be . . ." "Yes, noses," I was now almost screaming. "If, after all, there is any good reason for enviousness . . . like the fact that I might have a nose like a button and some other cipher might have . . ." "Well, actually, your nose, if you don't mind me saying, is quite 'classical,' as they would say in the olden days. And look, your hands . . . show, come on, show me your hands!" I cannot stand it when people look at my hands, all hairy and shaggy--such stupid atavistic appendages. I extended my arms and with as steady a voice as I could, I said: "Monkey hands." She looked at my hands and then at my face: "Yes, they strike a very curious chord." She sized me up with eyes like a set of scales, the horns at the corners of her eyebrows glinting again. "He is registered to me today," O-90 rosily-joyfully opened her mouth. It would have been better to have stayed quiet--this was absolutely irrelevant. Altogether, this sweet O person . . . how can I express this . . . She has an incorrectly calculated speed of tongue. The microspeed of the tongue ought to be always slightly less than the microspeed of the thoughts and certainly not ever the reverse. At the end of the avenue, the bell at the top of the Accumulator Tower resoundingly struck 17:00. The Personal Hour was over. I-330 was stepping away with that S-like male cipher. He commanded a certain respect and, now I see, he had a possibly familiar face. I must have met him somewhere--but right now I can't think where. As I-330 departed, she smiled with that same X-ishness. "Come by Auditorium 112 the day after tomorrow." I shrugged my shoulders: "If I am given instructions to go to the particular auditorium you mention, then . . ." With inexplicable conviction, she said: "You will." The effect of that woman on me was as unpleasant as a displaced irrational number that has accidentally crept into an equation. And I was glad that, even if only for a short while, I was alone again with sweet O. Arm in arm, we walked across four avenue blocks. On the corner, she would go to the right and I to the left. "I would so like to come to you today and lower the blinds. Particularly today, now . . ." O shyly lifted her blue-crystal eyes to me. You funny thing. Well, what could I say to her? She came over only yesterday and knows as well as I do that our next Sex Day is the day after tomorrow. This was simply that same "pre-ignition of thought" as sometimes happens (sometimes harmfully) when a spark is issued prematurely in an engine. Before parting, I twice . . . no, I'll be exact: I kissed her marvelous, blue, untainted-by-a-single-cloud eyes three times. Excerpted from We by Yevgeny Zamyatin All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.