We Zamyatin Essay Topics

  • 1

    Compare and contrast I-330 and O-90.

    I-330 and O-90 are different representations of femininity. I-330 is empowered and independent, leading rebel movements and using her sexuality to secure access to the spaceship INTEGRAL. O-90 is a sensitive and maternal figure; above all she loves D-503 and yearns to have his child. These differences are even manifested physically: I-330 has a sharp figure and biting smile, whereas O-90 is plump and rosy.

  • 2

    How does the novel treat Christianity and religion in general?

    We critiques the totalitarian nature of religion. The Benefactor explains that in Christianity God has total control over man and employs cruel punishments, such as burning in hell. Zamyatin paints the Benefactor as a secular God, with OneState as his Garden of Eden. In paradise, as in OneState, knowledge is guarded from the child-like occupants, who are completely subordinated to a higher power.

  • 3

    How does the architecture in OneState facilitate control of the population?

    In OneState all buildings and furniture are made of glass, allowing for continual surveillance. Every action is observed not only by the government Guardians, but also by one's neighbors. The difficulty of counter-regime action in such a scenario is obvious; in one scene D-503 panics as Guardians approach, realizing that he cannot effectively hide his treasonous papers in his glass desk (160).

  • 4

    Why does D-503 participate in the rebellion?

    Throughout We, D-503 makes his support for the supposedly rational OneState system clear, praising order and control. His decision to join the rebellion is powered by his irrational desire for I-330. It is not that he accepts any of the political or biological arguments posed by the Mephi; he simply wants to be in I-330's presence. Ironically, his capitulation to the irrational proves many of the points made by I-330 about the duality of human nature.

  • 5

    How does mathematics function as a motif in We?

    Mathematics is a constant reference point in the novel, not only for D-503, but also for I-330. D-503 relies on older and Euclidean mathematics to help bound the known universe. Alternately, I-330 uses more irrational mathematical concepts like infinity to argue for a more chaotic view. Radical concepts like the square root of a negative number or infinity were being explored in Zamyatin's time, successfully upending what had once been a conservative discipline.

  • 6

    How does the author use color in the novel?

    Zamyatin uses color to illustrate D-503's emotional state. Before he meets I-330, D-503 lives in a world with little color: everything is composed of clear glass. While he is in love, a golden-pink fog descends on the city. When I-330 refuses to meet with him, everything has a sickly, yellow hue. As he despairs, the protagonist sees gray faces and uniforms. Color marks D-503's shifting emotions.

  • 7

    Is D-503 a reliable narrator?

    D-503 is an unreliable narrator throughout We. His upbringing in OneState has left him brainwashed; he is loathe to question the justifications and claims asserted by the government, even when they are absurd. Later he falls in love with I-330 and his entire world revolves around being near her. D-503 misses clear signals, such seeing S-4711 beyond the wall, because he is lost in the cloud of his infatuation. In the end, D-503 is effectively lobotomized, converted into a mouthpiece for OneState.

  • 8

    What contemporary ideologies was Zamyatin critiquing in We?

    Writing his novel in the aftermath of the Bolshevik Revolution, Zamyatin was criticizing the Utopian vision of the revolutionaries in charge. The USSR censored artistic works and crushed dissidents who threatened their view of a perfect state, much like the Benefactor. Yet Zamyatin was also criticizing England, where he spent time as an engineer. He was distrustful of the mechanization of Britain's post-industrial society and found the English emotionally repressed, much like the citizens of OneState.

  • 9

    Explain the role of irrationality in the novel.

    We depicts irrationality as an essential part of the human experience. Both rationality and irrationality are innately human; in order to be fully developed individuals require both. In OneState the wild tribes beyond the wall represent this irrational "half" (157). Even in a society where emotions and imagination are repressed, citizens fall in love, fight for unlikely causes and sacrifice themselves. I-330 is strongly associated with this irrational impulse.

  • This material remains under copyright and is reproduced by kind permission of the Orwell Estate and Penguin Books.

    Several years after hearing of its existence, I have at last got my hands on a copy of Zamyatin’s We, which is one of the literary curiosities of this book-burning age. Looking it up in Gleb Struve’s 25 Years of Soviet Russian Literature, I find its history to have been this:

    Zamyatin, who died in Paris in 1937, was a Russian novelist and critic who published a number of books both before and after the Revolution. We was written about 1923, and though it is not about Russia and has no direct connection with contemporary politics—it is a fantasy dealing with the twenty-sixth century A.D.—it was refused publication on the ground that it was ideologically undesirable. A copy of the manuscript found its way out of the country, and the book has appeared in English, French and Czech translations, but never in Russian. The English translation was published in the United States, and I have never been able to procure a copy: but copies of the French translation (the title is Nous Autres) do exist, and I have at last succeeded in borrowing one. So far as I can judge it is not a book of the first order, but it is certainly an unusual one, and it is astonishing that no English publisher has been enterprising enough to re-issue it.

    The first thing anyone would notice about We is the fact—never pointed out, I believe—that Aldous Huxley’s Brave New World must be partly derived from it. Both books deal with the rebellion of the primitive human spirit against a rationalised, mechanised, painless world, and both stories are supposed to take place about six hundred years hence. The atmosphere of the two books is similar, and it is roughly speaking the same kind of society that is being described, though Huxley’s book shows less political awareness and is more influenced by recent biological and psychological theories.

    In the twenty-sixth century, in Zamyatin’s vision of it, the inhabitants of Utopia have so completely lost their individuality as to be known only by numbers. They live in glass houses (this was written before television was invented), which enables the political police, known as the ‘Guardians,’ to supervise them more easily. They all wear identical uniforms, and a human being is commonly referred to either as ‘a number’ or ‘a unif’ (uniform). They live on synthetic food, and their usual recreation is to march in fours while the anthem of the Single State is played through loudspeakers. At stated intervals they are allowed for one hour (known as ‘the sex hour’) to lower the curtains round their glass apartments. There is, of course, no marriage, though sex life does not appear to be completely promiscuous. For purposes of love-making everyone has a sort of ration book of pink tickets, and the partner with whom he spends one of his allotted sex hours signs the counterfoil. The Single State is ruled over by a personage known as The Benefactor, who is annually re-elected by the entire population, the vote being always unanimous. The guiding principle of the State is that happiness and freedom are incompatible. In the Garden of Eden man was happy, but in his folly he demanded freedom and was driven out into the wilderness. Now the Single State has restored his happiness by removing his freedom.

    So far the resemblance with Brave New World is striking. But though Zamyatin’s book is less well put together—it has a rather weak and episodic plot which is too complex to summarise—it has a political point which the other lacks. In Huxley’s book the problem of ‘human nature’ is in a sense solved, because it assumes that by pre-natal treatment, drugs and hypnotic suggestion the human organism can be specialised in any way that is desired. A first-rate scientific worker is as easily produced as an Epsilon semi-moron, and in either case the vestiges of primitive instincts, such as maternal feeling or the desire for liberty, are easily dealt with. At the same time no clear reason is given why society should be stratified in the elaborate way that is described. The aim is not economic exploitation, but the desire to bully and dominate does not seem to be a motive either. There is no power-hunger, no sadism, no hardness of any kind. Those at the top have no strong motive for staying at the top, and though everyone is happy in a vacuous way, life has become so pointless that it is difficult to believe that such a society could endure.

    Zamyatin’s book is on the whole more relevant to our own situation. In spite of education and the vigilance of the Guardians, many of the ancient human instincts are still there. The teller of the story, D-503, who, though a gifted engineer, is a poor conventional creature, a sort of Utopian Billy Brown of London Town, is constantly horrified by the atavistic impulses which seize upon him. He falls in love (this is a crime, of course) with a certain I-330 who is a member of an underground resistance movement and succeeds for a while in leading him into rebellion. When the rebellion breaks out it appears that the enemies of The Benefactor are in fact fairly numerous, and these people, apart from plotting the overthrow of the State, even indulge, at the moment when their curtains are down, in such vices as smoking cigarettes and drinking alcohol. D-503 is ultimately saved from the consequences of his own folly. The authorities announce that they have discovered the cause of the recent disorders: it is that some human beings suffer from a disease called imagination. The nerve-centre responsible for imagination has now been located, and the disease can be cured by X-ray treatment. D-503 undergoes the operation, after which it is easy for him to do what he has known all along that he ought to do—that is, betray his confederates to the police. With complete equanimity he watches I-330 tortured by means of compressed air under a glass bell:

    She looked at me, her hands clasping the arms of the chair, until her eyes were completely shut. They took her out, brought her to herself by means of an electric shock, and put her under the bell again. This operation was repeated three times, and not a word issued from her lips.

    The others who had been brought along with her showed themselves more honest. Many of them confessed after one application. Tomorrow they will all be sent to the Machine of the Benefactor.

    The Machine of the Benefactor is the guillotine. There are many executions in Zamyatin’s Utopia. They take place publicly, in the presence of the Benefactor, and are accompanied by triumphal odes recited by the official poets. The guillotine, of course, is not the old crude instrument but a much improved model which literally liquidates its victim, reducing him in an instant to a puff of smoke and a pool of clear water. The execution is, in fact, a human sacrifice, and the scene describing it is given deliberately the colour of the sinister slave civilisations of the ancient world. It is this intuitive grasp of the irrational side of totalitarianism—human sacrifice, cruelty as an end in itself, the worship of a Leader who is credited with divine attributes—that makes Zamyatin’s book superior to Huxley’s.

    It is easy to see why the book was refused publication. The following conversation (I abridge it slightly) between D-503 and I-330 would have been quite enough to set the blue pencils working:

    “Do you realise that what you are suggesting is revolution?” “Of course, it’s revolution. Why not?”

    “Because there can’t be a revolution. Our revolution was the last and there can never be another. Everybody knows that.”

    “My dear, you’re a mathematician: tell me, which is the last number?”

    “What do you mean, the last number?”

    “Well, then, the biggest number!”

    “But that’s absurd. Numbers are infinite. There can’t be a last one.”

    “Then why do you talk about the last revolution?”

    There are other similar passages. It may well be, however, that Zamyatin did not intend the Soviet regime to be the special target of his satire. Writing at about the time of Lenin’s death, he cannot have had the Stalin dictatorship in mind, and conditions in Russia in 1923 were not such that anyone would revolt against them on the ground that life was becoming too safe and comfortable. What Zamyatin seems to be aiming at is not any particular country but the implied aims of industrial civilisation. I have not read any of his other books, but I learn from Gleb Struve that he had spent several years in England and had written some blistering satires on English life. It is evident from We that he had a strong leaning towards primitivism. Imprisoned by the Czarist Government in 1906, and then imprisoned by the Bolsheviks in 1922 in the same corridor of the same prison, he had cause to dislike the political regime he had lived under, but his book is not simply the expression of a grievance. It is in effect a study of the Machine, the genie that man has thoughtlessly let out of its bottle and cannot put back again. This is a book to look out for when an English version appears.

    Published in Tribune, 4th January 1946.

    Gleb Struve on We and Zamyatin

    In Tribune, 25 January 1946, Gleb Struve amplified Orwell’s remarks on We and Zamyatin.

    May I add a few observations and facts to George Orwell’s article about Zamyatin’s We (Tribune, January 4) which, though, I agree, not a great book, is certainly both an important and an interesting work deserving to be known in this country?

    There is no doubt that Zamyatin had in mind, in his Utopian satire, the Soviet Union which, even in 1922, was a single-party dictatorship, and it was because it was understood to be aimed at the Soviet State that the book was refused publication. Although never published in the original (and I do not know whether the Russian manuscript of it has been preserved) the book was at one time freely commented upon by Soviet critics. It is, of course, possible that some features of Zamyatin’s State of the future were suggested by Mussolini’s incipient Fascist order. Conditions of life in Zamyatin’s ‘Single State’ may differ in important particulars from those actually prevailing in the U.S.S.R. at the time the book was written, but the aspects on which Zamyatin dwelt were those which seemed to him to be the inevitable logical outcome of modern totalitarianism. Had the book been written after Hitler’s advent to power it might have been allowed to see the light of day and even hailed as a powerful invective of the Nazi State. It is important just because it is even more prophetic than topical.

    On the other hand Orwell is right in saying that the book was also meant as a protest against the dominant spirit of our machine age. Zamyatin saw modern civilisation heading for an impasse and at times even looked forward to the emergence of a new Attila as the only salvation for humanity. It is curious that Zamyatin himself was by profession a shipbuilding engineer, and it was as an expert in the construction of ice-breakers that he came to this country towards the end of the 1914-18 war on a mission from the Russian Government. His mathematical training is strongly reflected in all his work. The satire on England which Orwell refers to is a longish short story called The Islanders, a bitingly satirical picture of English smugness and philistinism. So far as I know it was translated into English but was turned down by publishers because of its ‘anti-English’ bias.

    Zamyatin’s other works include a satirical play, The Fires of St. Dominic, generally believed to have been aimed at the Soviet Cheka. The action, however, is set in Spain in the times of the Inquisition, and, unlike We, the play was allowed to appear in print. As a result of writing We, and of his general unorthodox attitude, Zamyatin fell under a cloud, was proclaimed an ‘inside émigré’ and eventually forced (or allowed) to emigrate (in 1930, I think). His last book, written in Paris, had Attila for its subject. At one time Zamyatin, as a master of his craft, had a great influence on younger Soviet writers and held the post of Chairman of the Association of Soviet Writers.


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