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We(novel)

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"Miy" redirects here. For other uses, seeMIY.
"We (book)" redirects here. For the 1927 book byCharles Lindbergh,see"WE" (1927 book).

We
First edition of the novel (New York: E. P. Dutton, 1924)
AuthorYevgeny Zamyatin
Original titleМы
TranslatorVarious (list)
Cover artistGeorge Petrusov,Caricature ofAleksander Rodchenko(1933–1934)
LanguageRussian
GenreDystopian novel,science fiction
PublisherE. P. Dutton
Publication placeSoviet Russia/United States
Published in English
1924
Media typePrint (hardback & paperback)
Pages226 pages
62,579 words
ISBN0-14-018585-2
OCLC27105637
891.73/42 20
LC ClassPG3476.Z34 M913 1993

We(Russian:Мы,romanized:My) is adystopiannovel by Russian writerYevgeny Zamyatin,written in 1920–1921.[1]It was first published as an English translation byGregory Zilboorgin 1924 byE. P. Duttonin New York, with the original Russian text first published in 1952. The novel describes a world of harmony and conformity within a unitedtotalitarian state.It influenced the emergence of dystopia as aliterary genre.George Orwellsaid thatAldous Huxley's 1931Brave New Worldmust be partly derived fromWe,[2]although Huxley denied this. Orwell's ownNineteen Eighty-Four(1949) was also inspired byWe.[3]

Setting[edit]

Weis set in the future. D-503 (Russian:Д-503), a spacecraft engineer, lives in the One State,[4]an urban nation constructed almost entirely ofglass,which assistsmass surveillance.The structure of the state isPanopticon-like, and life is scientifically managedF. W. Taylor-like. People march in step with each other and are uniformed. There is no way of referring to people except by their given numbers. The society is run strictly by logic or reason as the primary justification for the laws or the construct of the society.[5][6]The individual's behaviour is based on logic by way of formulae and equations outlined by the One State.[7]

Plot[edit]

A few hundred years after the One State's conquest of the entire world, the spaceshipINTEGRALis being built in order to invade and conquer extraterrestrial planets. The project's chief engineer, D-503, begins ajournalthat he intends to be carried upon the completed spaceship.

Like all other citizens of the One State, D-503 lives in a glass apartment building and is carefully watched by thesecret police,or Bureau of Guardians. D-503's lover, O-90, has been assigned by the One State to visit him on certain nights. She is considered too short to bear children and is deeply grieved by that status. O-90's other lover and D-503's best friend is R-13, a State poet who reads his verse at public executions.

While on an assigned walk with O-90, D-503 meets a woman named I-330. I-330 smokes cigarettes, drinks alcohol and shamelessly flirts with D-503 instead of applying for an impersonal sex visit; all of these are illegal according to the laws of the One State.

Repelled and fascinated, D-503 struggles to overcome his attraction to I-330. She invites him to visit the Ancient House, notable for being the only opaque building in the One State, except for windows. Objects of aesthetic and historical importance dug up from around the city are stored there. There, I-330 offers him the services of a corrupt doctor to explain his absence from work. Leaving in horror, D-503 vows to denounce her to the Bureau of Guardians but finds that he cannot.

D-503 begins to have dreams, which disturb him, as dreams are thought to be a symptom ofmental illness.Slowly, I-330 reveals to D-503 that she is involved with the Mephi, an organization plotting to bring down the One State. She takes him through secret tunnels inside the Ancient House to the world outside the Green Wall, which surrounds the city-state. There, D-503 meets the inhabitants of the outside world: humans whose bodies are covered with animal fur. The aims of the Mephi are to destroy the Green Wall and reunite the citizens of the One State with the outside world.

Despite the recent rift between them, O-90 pleads with D-503 to impregnate her illegally. After O-90 insists that she will obey the law by turning over their child to be raised by the One State, D-503 obliges. During the pregnancy, O-90 realizes that she cannot bear to be parted from her baby. At D-503's request, I-330 arranges for O-90 to be smuggled outside the Green Wall.

In his last journal entry, D-503 indifferently relates that he has been forcibly tied to a table and subjected to the "Great Operation", which has recently been mandated for all citizens of the One State to prevent possible riots; having been psycho-surgically refashioned into a state of mechanical "reliability", they would now function as "tractors in human form".[8][9]This operation removes the imagination and emotions by targeting parts of the brain with X-rays. After this operation, D-503 willingly informed the Benefactor, the dictator of the One State, about the inner workings of the Mephi. D-503 expresses surprise that even torture could not induce I-330 to denounce her comrades. Despite her refusal, I-330 and those arrested with her have been sentenced to death, "under the Benefactor's Machine".

The Mephi uprising gathers strength; parts of the Green Wall have been destroyed, birds are repopulating the city and people start committing acts of social rebellion. Although D-503 expresses hope that the Benefactor shall restore "reason", the novel ends with the One State's survival in doubt. I-330's mantra is that, just as there is no highest number, there can be nofinalrevolution.

Major themes[edit]

Dystopian society[edit]

The dystopian society depicted inWeis presided over by the Benefactor and is surrounded by a giant Green Wall to separate the citizens from primitive untamed nature.[10]All citizens are known as "numbers".[11]Every hour in one's life is directed by the "Table of Hours". The action ofWeis set at some time after the Two Hundred Years' War, which has wiped out all but "0.2 [20%] of the earth's population".[12]The war was over a rare substance only mentioned in the book through a metaphor; the substance was called "bread" as the "Christians gladiated over it" —as in Christians killed for sport in Roman gladiator games as a form of entertainment, "bread and circuses", suggesting a war that was meant to distract the population from a power grab by the government. The war only ended after the use ofweapons of mass destruction,so that the One State is surrounded with a post-apocalyptic landscape.

Allusions and references[edit]

TheSt. Alexander Nevsky,which was renamedLeninafter theRussian Revolution

Many of the names and numbers inWeare allusions to the experiences of Zamyatin or to culture and literature. "Auditorium 112" refers to cell number 112, where Zamyatin was twice imprisoned and the name of S-4711 is a reference to theEau de Colognenumber4711.[13][14]Zamyatin, who worked as anaval architect,refers to the specifications of theicebreakerSt. Alexander Nevsky.[15]

The numbers [...] of the chief characters in WE are taken directly from the specifications of Zamyatin's favourite icebreaker, the Saint Alexander Nevsky, yard no. A/W 905, round tonnage 3300, where O–90 and I-330 appropriately divide the hapless D-503 [...] Yu-10 could easily derive from the Swan Hunter yard numbers of no fewer than three of Zamyatin's major icebreakers – 1012, 1020, 1021 [...]. R-13 can be found here too, as well as in the yard number ofSviatogorA/W 904.[16][17]

Many comparisons to The Bible exist inWe.There are similarities betweenGenesisChapters 1–4 andWe,where the One State is consideredParadise,D-503 isAdamand I-330 isEve.The snake in this piece is S-4711, who is described as having a bent and twisted form, with a "double-curved body"; he is a double agent. References to Mephistopheles (in the Mephi) are seen as allusions toSatanand his rebellion againstHeavenin the Bible (Ezekiel 28:11–19; Isaiah 14:12–15).[citation needed]The novel can be considered a criticism of organised religion given this interpretation.[18]Zamyatin, influenced byFyodor Dostoyevsky'sNotes from UndergroundandThe Brothers Karamazov,made the novel a criticism of the excesses of a militantly atheistic society.[18][19]The novel displayed an indebtedness toH. G. Wells's dystopiaWhen the Sleeper Wakes(1899).[20]

The novel uses mathematical concepts symbolically. The spaceship that D-503 is supervising the construction of is called theIntegral,which he hopes will "integrate the grandiose cosmic equation". D-503 also mentions that he is profoundly disturbed by the concept ofthe square root of −1—which is the basis for imaginary numbers, imagination having been deprecated by the One State. Zamyatin's point, probably in light of the increasingly dogmatic Soviet government of the time, would seem to be that it is impossible to remove all the rebels against a system. Zamyatin even says this through I-330, "There is no final revolution. Revolutions are infinite".[21]

Literary significance and influences[edit]

Along withJack London'sThe Iron Heel,Weis generally considered to be the grandfather of the satirical futuristicdystopiagenre. It takes the modern industrial society to an extreme conclusion, depicting a state that believes thatfree willis the cause of unhappiness, and that citizens' lives should be controlled with mathematical precision based on the system of industrial efficiency created byFrederick Winslow Taylor.The Soviet attempt at implementing Taylorism, led byAleksei Gastev,may have immediately influenced Zamyatin's portrayal of the One State.[22]In Russia, a dystopian totalitarian society before Zamyatin was described byMikhail Saltykovin his satirical novelThe History of a Town,and Saltykov's idea of "Utopia of the straight line" continues inWe:"To unbend the wild curve, to straighten it out to a tangent — to a straight line!"[23]

Christopher Collins inEvgenij Zamjatin: An Interpretive Studyfinds the many intriguing literary aspects ofWemore interesting and relevant today than the political aspects:

  1. An examination of myth and symbol reveals that the work may be better understood as an internal drama of a conflicted modern man rather than as a representation of external reality in a failed utopia. The city is laid out as amandala,populated witharchetypesand subject to an archetypal conflict. One wonders if Zamyatin were familiar with the theories of his contemporaryC. G. Jungor whether it is a case here of the common European zeitgeist.
  2. Much of the cityscape and expressed ideas in the world ofWeare taken almost directly from the works ofH. G. Wells,a popular apostle of scientific socialist utopia whose works Zamyatin had edited in Russian.
  3. In the use of color and other imagery Zamyatin shows he was influenced byKandinskyand other European Expressionist painters.

The little-known Russian dystopian novelLove in the Fog of the Future,published in 1924 by Andrei Marsov, has also been compared toWe.[24]

George Orwellclaimed thatAldous Huxley'sBrave New World(1932) must be partly derived fromWe.[25]However, in a letter to Christopher Collins in 1962, Huxley says that he wroteBrave New Worldas a reaction to H. G. Wells's utopias long before he had heard ofWe.[26]

Kurt Vonnegutsaid that in writingPlayer Piano(1952), he "cheerfully ripped off the plot ofBrave New World,whose plot had been cheerfully ripped off from Yevgeny Zamyatin'sWe".[27]Ayn Rand'sAnthem(1938) has many significant similarities toWe(detailedhere), although it is stylistically and thematically different.[28]Vladimir Nabokov's novelInvitation to a Beheadingmay suggest a dystopian society with some similarities to Zamyatin's; Nabokov readWewhile writingInvitation to a Beheading.[29]

Orwell beganNineteen Eighty-Four(1949) some eight months after he readWein a French translation and wrote a review of it.[30]Orwell is reported as "saying that he was taking it as the model for his next novel".[31]Brown writes that for Orwell and certain others,We"appears to have beenthecrucial literary experience ".[32]Shane states that "Zamyatin's influence on Orwell is beyond dispute".[33]Robert Russell, in an overview of the criticism ofWe,concludes that "1984shares so many features withWethat there can be no doubt about its general debt to it "; but that there is a minority of critics who view the similarities betweenWeandNineteen Eighty-Fouras "entirely superficial". Further, Russell finds that "Orwell's novel is both bleaker and more topical than Zamyatin's, lacking entirely that ironic humour that pervades the Russian work".[26]

InThe Right Stuff(1979),Tom WolfedescribesWeas a "marvelously morose novel of the future" featuring an "omnipotent spaceship" called theIntegralwhose "designer is known only as 'D-503, Builder of the Integral'". Wolfe goes on to use theIntegralas a metaphor for the Sovietlaunch vehicle,the Soviet space programme, or the Soviet Union.[34]

Jerome K. Jeromehas been cited as an influence on Zamyatin's novel.[35]Jerome's short storyThe New Utopia(1891)[36]describes a regimented future city, indeed world, of nightmarishegalitarianism,where men and women are barely distinguishable in their grey uniforms (Zamyatin's "unifs" ) and all have short black hair, natural or dyed. No one has a name: women wear even numbers on their tunics, and men wear odd, just as inWe.Equality is taken to such lengths that people with well-developed physiques are liable to have lopped limbs. In Zamyatin, similarly, the equalisation of noses is earnestly proposed. Jerome has anyone with an overactive imagination subjected to a levelling-down operation—something of central importance inWe.There is a shared depiction by both Jerome and Zamyatin that individual and, by extension, familial love is a disruptive and humanizing force. Jerome's works were translated in Russia three times before 1917.[citation needed]

In 1998, the first English translation ofCursed Days,a diary kept in secret in 1918-20 byanti-communistRussian authorIvan Buninduring theRussian Civil WarinMoscowandOdessawas published inChicago.In a foreword, the diary's English translator, Thomas Gaiton Marullo, describedCursed Daysas a rare example ofdystopiannonfictionand pointed out multiple parallels between the secret diary kept by Bunin and the diary kept by D-503.[37]

Publication history[edit]

The 1924 Zilboorg translation (from a 1959 republication)

Zamyatin's literary position deteriorated throughout the 1920s, and he was eventually allowed to emigrate to Paris in 1931, probably after the intercession ofMaxim Gorky.

The novel was first published in English in 1924 by E. P. Dutton in New York in a translation byGregory Zilboorg,[38]but its first publication in theSoviet Unionhad to wait until 1988,[39]whenglasnostresulted in it appearing alongsideGeorge Orwell'sNineteen Eighty-Four.A year later,WeandBrave New Worldwere published together in a combined edition.[40]

In 1994, the novel received aPrometheus Awardin the "Hall of Fame" category.[41]

Russian-language editions[edit]

The first complete Russian-language edition ofWewas published in New York in 1952. (Brown, p. xiv, xxx)
  • Zamiatin, Evgenii Ivanovich (1967).Мы(in Russian). vstupitel'naya stat'ya Evgenii Zhiglevich, stat'ya posleslovie Vladimira Bondarenko. New York: Inter-Language Literary Associates.ISBN978-5-7390-0346-1.
  • Zamiatin, Evgenii Ivanovich (1988).Selections(in Russian). sostaviteli T.V. Gromova, M.O. Chudakova, avtor stati M.O. Chudakova, kommentarii Evg. Barabanova. Moskva: Kniga.ISBN978-5-212-00084-0.(bibrec)(bibrec(in Russian))
Wewas first published in the USSR in this collection of Zamyatin's works. (Brown, p. xiv, xxx)
  • Zamyatin, Yevgeny; Andrew Barratt (1998).Zamyatin: We.Bristol Classical Press.ISBN978-1-85399-378-7.(also cited asZamyatin: We,Duckworth, 2006)(in Russian and English)
Edited with Introduction and Notes by Andrew Barratt. Plain Russian text, with English introduction, bibliography and notes.

Translations to English[edit]

Translations to other languages[edit]

  • Zamjatin, Jevgenij Ivanovič (1927).My(in Czech). Václav Koenig (trans.). Prague (Praha): Štorch-Marien.[3]
  • Zamâtin, Evgenij Ivanovic (1929).Nous autres(in French). B. Cauvet-Duhamel (trans.). Paris: Gallimard.[4]
  • Zamjàtin, Evgenij (1955).Noi(in Italian).Ettore Lo Gatto(trans.). Bergamo (Italy): Minerva Italica.
  • Samjatin, Jewgenij (1958).Wir. Roman(in German).Gisela Drohla(trans.). Cologne (Köln) (Germany): Kiepenheuer & Witsch.ISBN3-462-01607-5.
  • Замјатин, Јевгениј (1969).Ми(in Serbian). Мира Лалић (trans.). Београд (Serbia): Просвета.
  • Zamjatin, Jevgenij (1970).Wij(in Dutch). Dick Peet (trans.). Amsterdam (The Netherlands): De Arbeiderspers.ISBN90-295-5790-7.
  • Zamiatin, Yevgueni (1970). Nosotros (in Spanish). Juan Benusiglio Berndt (trans.). Barcelona (Spain): Plaza & Janés.
  • Zamjatin, Evgenij Ivanovič (1975).Mi.Drago Bajt (trans.). Ljubljana (Slovenia): Cankarjeva založba.
  • Zamyatin, Yevgenij (1988).BİZ(in Turkish). Füsun Tülek (trans.). İstanbul (Turkey): Ayrıntı.
  • Zamiatin, Eugeniusz (1989).My(in Polish). Adam Pomorski (trans.). Warsaw (Poland): Alfa.ISBN978-83-7001-293-9.
  • Zamjàtin, Evgenij (1990).Noi(in Italian). Ettore Lo Gatto (trans.). Milano (Italy): Feltrinelli.ISBN978-88-07-80412-0.
  • Zamjatin, Jevgeni (2006).Meie(in Estonian). Maiga Varik (trans.). Tallinn: Tänapäev.ISBN978-9985-62-430-2.
  • Zamjatyin, Jevgenyij (2008) [1990].Mi(in Hungarian). Pál Földeák (trans.). Budapest (Hungary): Cartaphilus.ISBN978-963-266-038-7.
  • Zamiatine, Evgueni (1999).Nós(in Portuguese). Manuel João Gomes (trans.). Lisboa (Portugal): Antigona.ISBN9789726080329.
  • Zamiatin, Jevgenij (2009).Mes.Irena Potašenko (trans.). Vilnius (Lithuania): Kitos knygos.ISBN9789955640936.
  • Zamiatin, Yeuveni (2010).Nosotros.Julio Travieso (trad. y pról.). México: Lectorum.ISBN9788446026723.
  • Zamiatin, Yeuveni (2011).Nosotros.Alfredo Hermosillo y Valeria Artemyeva (trads.) Fernando Ángel Moreno (pról.). Madrid: Cátedra.ISBN9788437628936.
  • Samjatin, Evgenij (2013).Wir. Roman(in German).Josef Meinolf Opfermann(trans.). Bremen (Germany): Europäischer Literaturverlag.ISBN978-3-86267-770-2.
  • Zamjatin, Jevgenij (2015) [1959].Vi(in Swedish). Sven Vallmark (trans.). Stockholm (Sweden): Modernista.ISBN978-91-7645-209-7.
  • Zamyatin, Yevgeny (2015).Nosaltres(in Catalan). Miquel Cabal Guarro (trans.). Catalunya: Les Males Herbes.ISBN9788494310850.
  • Zamjatin, Jevgenij (2016).Vi(in Norwegian Bokmål). Torgeir Bøhler (trans.). Norway: Solum.ISBN9788256017867.
  • Zamiátin, Ievguêni (2017).Nós(in Portuguese). Gabriela Soares (trans.). Brazil: Editora Aleph.ISBN978-85-7657-311-1.
  • Zamiatin, Evgenii (2017).Nós(in Galician). Lourenzo Maroño and Elena Sherevera (trans.). Galiza: Hugin e Munin.ISBN978-84-946538-8-9.
  • Zamiatine, Evgueni (2017).Nous(in French). Hélène Henry (trans.). Arles (France): Actes Sud.ISBN978-2-330-07672-6.
  • Zamjatin, Evgenij (2021).Noi(in Italian). Alessandro Cifariello (trans.). Italy: Fanucci.ISBN978-88-347-4166-5.

Adaptations[edit]

Films[edit]

The German TV networkZDFadapted the novel for a TV movie in 1982, under the German titleWir(English: We).[42]

Weis heavily referenced in the 2023 sci-fi feature film1984.

The novel has also been adapted, by Alain Bourret, a French director, into a short film calledThe Glass Fortress(2016).[43]The Glass Fortressis an experimental film that employs a technique known asstill image film,and is shot inblack-and-white,which help support the grim atmosphere of the story'sdystopian society.[44]The film is technically similar toLa Jetée(1962), directed byChris Marker,and refers somewhat toTHX 1138(1971), byGeorge Lucas,in the "religious appearance of the Well Doer".[45]According to film criticIsabelle Arnaud,The Glass Fortresshas a special atmosphere underlining a story of thwarted love that will be long remembered.[46]

A Russian film adaptation, directed by Hamlet Dulyan and starringEgor Koreshkovwas initially supposed to be released in 2021.[47]As of 2024 the film still has not been released.

Radio[edit]

A two-part adaptation by Sean O'Brien and directed by Jim Poyser was broadcast on 18 and 25 April 2004 onBBC Radio 4'sClassic Serial.[48]The cast includedAnton Lesseras D-503,Joanna Ridingas I-330, Julia Routhwaite as O-90,Brigit Forsythas U, Patrick Bridgeman as S andDon Warringtonas R-13.

Theatre[edit]

The Montreal company Théâtre Deuxième Réalité produced an adaptation of the novel in 1996, adapted and directed byAlexandre Marine,under the titleNous Autres.[49]

Music[edit]

Released in 2015,The Glass Fortress[50]is a musical and narrative adaptation of the novel by Rémi Orts Project and Alan B.

In 2022, the Canadianindie rockbandArcade FirereleasedWe,an album whose title was inspired by the novel.[51]

Other[edit]

In 2022, independent creator Doug Strain producedBeyond the Green Wall,a Dungeons and Dragons adventure based on the novel.

Legacy[edit]

Wedirectly inspired:

See also[edit]

References[edit]

Notes

  1. ^Brown,p. xi, citing Shane, gives 1921. Russell, p. 3, dates the first draft to 1919.
  2. ^Orwell, George (4 January 1946)."Review ofWEby E. I. Zamyatin ".Tribune.London – via Orwell.ru.
  3. ^abBowker, Gordon (2003).Inside George Orwell: A Biography.Palgrave Macmillan. p.340.ISBN978-0-312-23841-4.
  4. ^The Ginsburg and Randall translations use the phrasing "One State". Guerney uses "The One State" —each word iscapitalized.Brown uses the single word "OneState", which he calls "ugly" (p. xxv). Zilboorg uses "United State".
    All of these are translations of the phraseYedinoye Gosudarstvo(Russian: Единое Государство).
  5. ^George Orwell by Harold Bloom pg 54 Publisher: Chelsea House PubISBN978-0791094280
  6. ^Zamyatin's We: A Collection of Critical Essaysby Gary Kern pgs 124, 150 Publisher: ArdisISBN978-0882338040
  7. ^The Literary Underground: Writers and the Totalitarian Experience, 1900–1950 pgs 89–91 By John Hoyles Palgrave Macmillan; First edition (15 June 1991)ISBN978-0-312-06183-8[1]
  8. ^Serdyukova, O.I. [О.И. Сердюкова] (2011).Проблема свободы личности в романе Э. Берджесса "Механический апельсин"[The problem of the individual freedom in E. Burgess’s novel "A Clockwork Orange" ](PDF).Вісник Харківського національного університету імені В. Н. Каразіна. Серія: Філологія [The Herald of the Karazin Kharkiv National University. Series: Philology](in Russian).936(61). Kharkiv: 144–146. Archived fromthe original(PDF)on 7 January 2014.Retrieved6 February2013.
  9. ^Hughes, Jon (2006).Facing Modernity: Fragmentation, Culture and Identity in Joseph Roth's Writing in 1920s.London: Maney Publishing for the Modern Humanities Research Association. p. 127.ISBN978-1904350378.
  10. ^Ginsburg trans. This term is also translated as "Well-Doer".[citation needed]BenefactortranslatesBlagodetel(Russian: Благодетель).
  11. ^Ginsburg trans.Numberstranslatesnomera(Russian: номера). This is translated by Natasha Randall as "cyphers" in the 2006 edition published by The Modern Library, New York.
  12. ^Fifth Entry (Ginsburg translation, p. 21).
  13. ^Randall, p. xvii.
  14. ^Ermolaev.
  15. ^Shane, p 12.
  16. ^Myers.
  17. ^"All these icebreakers were constructed in England, in Newcastle and yards nearby; there are traces of my work in every one of them, especially the Alexander Nevsky—now the Lenin; I did the preliminary design, and after that none of the vessel's drawings arrived in the workshop without having been checked and signed:
    'Chief surveyor of Russian Icebreakers' Building E.Zamiatin. "[The signature is written in English.] (Zamyatin ([1962]))
  18. ^abGregg.
  19. ^Constantin V. Ponomareff; Kenneth A. Bryson (2006).The Curve of the Sacred: An Exploration of Human Spirituality.Editions Rodopi BV.ISBN978-90-420-2031-3.
  20. ^Historical Dictionary of Utopianism.Rowman & Littlefield. 2017. p. 429.
  21. ^Ginsburg, Introduction, p. v. The Thirtieth Entry has a similar passage.
  22. ^"Alexei Gastev and the Soviet Controversy over Taylorism, 1918-24"(PDF).Soviet Studies, vol. XXIX, no. 3, July 1977, pp. 373-94.Retrieved11 April2019.
  23. ^Peter Petro.Beyond History: a Study of Saltykov's The History of a Town.1972
  24. ^"Марсов, Андрей".Academic.ru.Retrieved1 November2013.
  25. ^Orwell (1946).
  26. ^abRussell, p. 13.
  27. ^abStaff (1973). "Kurt Vonnegut, Jr. Playboy Interview". Playboy MagazineArchived7 June 2011 at theWayback Machine
  28. ^Gimpelevich, Zina (1997). "'We and 'I' in Zamyatin'sWeand Rand'sAnthem".Germano-Slavica.10(1): 13–23.
  29. ^M. Keith Booker,The Post-utopian Imagination: American Culture in the Long 1950s.Greenwood Publishing Group, 2002ISBN0313321655,p. 50.
  30. ^Orwell (1946). Russell, p. 13.
  31. ^Bowker (p. 340) paraphrasingRayner Heppenstall.
    Bowker, Gordon (2003).Inside George Orwell: A Biography.Palgrave Macmillan.ISBN978-0-312-23841-4.
  32. ^Brown trans., Introduction, p. xvi.
  33. ^Shane, p. 140.
  34. ^Wolfe, Tom(2001).The Right Stuff.Bantam.ISBN978-0-553-38135-1."D-503": p. 55, 236. "it looked hopeless to try to catch up with the mighty Integral in anything that involved flights in earth orbit.": p. 215. Wolfe uses theIntegralin several other passages.
  35. ^Stenbock-Fermor.
  36. ^The New Utopia.Published inDiary of a Pilgrimage (and Six Essays).(full text)
  37. ^Cursed Days,pages 23-24.
  38. ^In a translation byZilboorg,
  39. ^Brown translation,p. xiv.Tallnotes that glasnost resulted in many other literary classics being published in the USSR during 1988–1989.
  40. ^Tall, footnote 1.
  41. ^"Libertarian Futurist Society: Prometheus Awards".Retrieved22 March2011.
  42. ^WiratIMDb
  43. ^The Glass FortressonYouTube
  44. ^Wittek, Louis (6 June 2016)."The Glass Fortress".SciFi4Ever.Retrieved12 July2018.
  45. ^Erlich, Richard D.; Dunn, Thomas P. (29 April 2016)."The Glass Fortress".ClockWorks2.org.Retrieved12 July2018.
  46. ^Arnaud, Isabelle (2018)."The Glass Fortress: Le court métrage".UnificationFrance(in French).Retrieved12 July2018.
  47. ^WeatIMDb
  48. ^"Classic Serial: We - Episode 1".BBC Programme Index.18 April 2004.Retrieved12 January2024.
  49. ^Article on Théâtre Deuxième Réalité and its early productions:Dennis O'Sullivan (1995)."De la lointaine Sibérie: The Emigrants du Théâtre Deuxième Réalité"(PDF).Jeu: Revue de Théâtre(77). érudit.org: 121–125.
  50. ^"Rémi Orts Project & Alan B – The Glass Fortress".Rémi Orts.15 January 2015.
  51. ^Petridis, Alexis(5 May 2022)."Arcade Fire: We review – goodbye cod reggae, hello stadium singalongs".The Guardian.Retrieved5 May2022.
  52. ^Blair E. 2007. Literary St. Petersburg: a guide to the city and its writers. Little Bookroom, p.75
  53. ^Mayhew R, Milgram S. 2005. Essays on Ayn Rand's Anthem: Anthem in the Context of Related Literary Works. Le xing ton Books, p.134
  54. ^Le Guin UK. 1989. The Language of the Night. Harper Perennial, p.218

Bibliography

Reviews
Books
Journal articles
English:My wives, icebreakers and Russia.Russian:О моих женах, о ледоколах и о России.
The original date and location of publication are unknown, although he mentions the 1928 rescue of theNobileexpedition by theKrasin,the renamedSvyatogor.
The article is reprinted in E. I. Zamiatin, 'O moikh zhenakh, o ledokolakh i o Rossii',Sochineniia(Munich, 1970–1988, four vols.) II, pp. 234–40.(in Russian)

External links[edit]

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