WE (A Dystopia). Yevgeny Zamyatin

      Table of Contents

       Foreword

       Thirty-five Years Later

       Record One

       Record Two

       Record Three

       Record Four

       Record Five

       Record Six

       Record Seven

       Record Eight

       Record Nine

       Record Ten

       Record Eleven

       Record Twelve

       Record Thirteen

       Record Fourteen

       Record Fifteen

       Record Sixteen

       Record Seventeen

       Record Eighteen

       Record Nineteen

       Record Twenty

       Record Twenty-one

       Record Twenty-two

       Record Twenty-three

       Record Twenty-four

       Record Twenty-five

       Record Twenty-six

       Record Twenty-seven

       Record Twenty-eight

       Record Twenty-nine

       Record Thirty

       Record Thirty-one

       Record Thirty-two

       Record Thirty-three

       Record Thirty-four

       Record Thirty-five

       Record Thirty-six

       Record Thirty-seven

       Record Thirty-eight

       Record Thirty-nine

       Record Forty

Foreword

       Table of Contents

      In submitting this book to the American public the translator has this to say:

      The artistic and psychological aspects of the novel are hardly to be discussed in a Foreword. Great as the art of the writer may be and profound as his psychological insight may seem to one, the impression is largely a matter of individual reactions, and this aspect must naturally be left to each individual’s judgment and sensibilities.

      There is, however, one side of the matter which deserves particular mention and even emphasis.

      This is perhaps the first time in the history of the last few decades that a Russian book, inspired by Russian life, written in Russia and in the Russian language, should see its first light not in Russia but abroad, and not in the language in which it was originally written, but translated into a foreign tongue. During the darkest years of Russian history, in the forties, sixties, eighties and nineties of the last century many Russian writers were forced by oppression and reaction to live abroad and to write abroad, yet their writings would reach Russia, as they were intended primarily for the Russian reader and Russian life. Most of Turgenevs novels were written while he was in France, and with the exception of his last short story, which he dictated on his deathbed, all his novels and stories were written in Russian. Hertzen, Kropotkin,