We
A collectible hardcover centennial edition of the exhilarating Russian dystopian novel of totalitarian mass surveillance that inspired George Orwell's 1984, featuring a foreword by the National Book Award-winning New Yorker journalist Masha Gessen

A Penguin Vitae Edition


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, Yevgeny Zamyatin’s We is the archetype of the modern dystopia and the forerunner of works such as George Orwell’s 1984 and Aldous Huxley’s Brave New World. Suppressed for many years in Russia, it details the fate that might befall us all if we surrender to some collective dream of technology, and remains a resounding cry for individual freedom. 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.

Penguin Vitae—loosely translated as "Penguin of one's life"—is a deluxe hardcover series from Penguin Classics celebrating a dynamic and diverse landscape of classic fiction and nonfiction from seventy-five years of classics publishing. Penguin Vitae provides readers with beautifully designed classics that have shaped the course of their lives, and welcomes new readers to discover these literary gifts of personal inspiration, intellectual engagement, and creative originality.
1100216157
We
A collectible hardcover centennial edition of the exhilarating Russian dystopian novel of totalitarian mass surveillance that inspired George Orwell's 1984, featuring a foreword by the National Book Award-winning New Yorker journalist Masha Gessen

A Penguin Vitae Edition


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, Yevgeny Zamyatin’s We is the archetype of the modern dystopia and the forerunner of works such as George Orwell’s 1984 and Aldous Huxley’s Brave New World. Suppressed for many years in Russia, it details the fate that might befall us all if we surrender to some collective dream of technology, and remains a resounding cry for individual freedom. 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.

Penguin Vitae—loosely translated as "Penguin of one's life"—is a deluxe hardcover series from Penguin Classics celebrating a dynamic and diverse landscape of classic fiction and nonfiction from seventy-five years of classics publishing. Penguin Vitae provides readers with beautifully designed classics that have shaped the course of their lives, and welcomes new readers to discover these literary gifts of personal inspiration, intellectual engagement, and creative originality.
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Overview

A collectible hardcover centennial edition of the exhilarating Russian dystopian novel of totalitarian mass surveillance that inspired George Orwell's 1984, featuring a foreword by the National Book Award-winning New Yorker journalist Masha Gessen

A Penguin Vitae Edition


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, Yevgeny Zamyatin’s We is the archetype of the modern dystopia and the forerunner of works such as George Orwell’s 1984 and Aldous Huxley’s Brave New World. Suppressed for many years in Russia, it details the fate that might befall us all if we surrender to some collective dream of technology, and remains a resounding cry for individual freedom. 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.

Penguin Vitae—loosely translated as "Penguin of one's life"—is a deluxe hardcover series from Penguin Classics celebrating a dynamic and diverse landscape of classic fiction and nonfiction from seventy-five years of classics publishing. Penguin Vitae provides readers with beautifully designed classics that have shaped the course of their lives, and welcomes new readers to discover these literary gifts of personal inspiration, intellectual engagement, and creative originality.

Product Details

ISBN-13: 9780143136293
Publisher: Penguin Publishing Group
Publication date: 12/14/2021
Series: Penguin Vitae
Pages: 240
Sales rank: 338,997
Product dimensions: 5.34(w) x 8.03(h) x 0.80(d)

About the Author

Yevgeny Zamyatin (1884-1937) was a naval architect by profession and a writer by nature. His favorite idea was the absolute freedom of the human personality to create, to imagine, to love, to make mistakes, and to change the world. This made him a highly inconvenient citizen of two despotisms, the tsarist and the Communist, both of which exiled him—the first for a year, the latter forever. He wrote short stories, plays, and essays, but his masterpiece is We, written in 1920–21 and soon thereafter translated into most of the languages of the world, yet it first appeared in Russia only in 1988. It is the archetype of the modern dystopia, or anti-utopia; a great prose poem on the fate that might befall all of us if we surrender our individual selves to some collective dream of technology and fail in the vigilance that is the price of freedom. George Orwell, the author of 1984, acknowledged his debt to Zamyatin. The other great English dystopia of our time, Aldous Huxley’s Brave New World, was evidently written out of the same impulse, though without direct knowledge of Zamyatin’s We.

Clarence Brown (translator/introducer; 1929-2015) was the editor of The Portable Twentieth-Century Russian Reader, which contains his translation of Zamyatin's short story "The Cave."

Masha Gessen (foreword) is the author of more than ten books, including the National Book Award-winning The Future Is History: How Totalitarianism Reclaimed Russia and The Man Without a Face: The Unlikely Rise of Vladimir Putin. A staff writer at The New Yorker and the recipient of numerous awards, including Guggenheim and Carnegie fellowships, Gessen teaches at Bard College and lives in New York City.

Read an Excerpt

Chapter One

First Entry

T0PICS:A Proclamation
The Wisest of Lines
A Poem

I shall simply copy, word for word, the proclamation that appeared today in the One State Gazette:

The building of the Integral will be completed in one hundred and twenty days. The great historic hour when the first Integral will soar into cosmic space is drawing near. One thousand years ago your heroic ancestors subdued the entire terrestrial globe to the power of the One State. Yours will be a still more glorious feat: you will integrate the infinite equation of the universe with the aid of the fire-breathing, electric glass Integral. You will subjugate the unknown beings on other planets, who may still be living in the primitive condition of freedom, to the beneficent yoke of reason. If they fail to understand that we bring them mathematically infallible happiness, it will be our duty to compel them to be happy. But before resorting to arms, we shall try the power of words.

In the name of the Benefactor, therefore, we proclaim to all the numbers of the One State:

Everyone who feels capable of doing so must compose tracts, odes, manifestoes, Poems, or other works extolling the beauty and the grandeur of the One

State.

This will be the first cargo to be carried by the In

tegral.

Long live the One State, long live the numbers,

long live the Benefactor!

I write this, and I feel: my cheeks are burning. Yes, to integrate the grandiose cosmic equation. Yes, to unbend the wild, primitive curve and straighten it to a tangent-an asymptote — a straight line. For the line of the One State is thestraight line. The great, divine, exact, wise straight linethe wisest of all lines.

1, D-503, Builder of the Integral, am only one of the mathematicians of the One State. My pen, accustomed to figures, does not know how to create the music of assonances and rhymes. I shall merely attempt to record what I see and think, Or, to be more exact, what we think (precisely so-we, and let this We be the title of MY record) . But since this record will be a derivative of our life, of the mathematically Perfect life of the One State, will it not be, of itself, and regardless of my will or skill, a poem? it will. I believe, I know it

I write this, and my cheeks are burning- This must be similar to what a woman feels when she first senses within herself the pulse of a new, still tiny, still blind little human being. It is 1, and at the same time, not 1. And for many long months it will be necessary to nourish it with my own life, my own blood, then tear it painfully from myself and lay it at the feet of the One State.

But I am ready, like every one, or almost every one, of us. I am ready.

Second Entry

TOPICS:Ballet
Square Harmony
X

Spring. From beyond the Green Wall, from the wild, invisible plains, the wind brings yellow honey pollen of some unknown flowers. The sweet pollen dries your lips, and every minute you pass your tongue over them. The Ups of all the women you see must be sweet (of the men, too, of course). This interferes to some extent with the flow of logical thought.

But the sky! Blue, unblemished by a single cloud. (How wild the tastes of the ancients, whose poets could be inspired by those absurd, disorderly, stupidly tumbling piles of vapor!) I Iove — I am certain I can safely say, we love-only such a sterile, immaculate sky. On days like this the whole world is cast of the same impregnable, eternal glass as the Green Wall, as all our buildings. On days like this you see the bluest depth of things, their hitherto unknown, astonishing equations-you see them even in the most familiar everyday objects.

Take, for instance, this. In the morning I was at the dock where the Integral is being built, and suddenly I saw: the lathes; the regulator spheres rotating with dosed eyes, utterly oblivious of all; the cranks flashing, swinging left and right; the balance beam proudly swaying its shoulders; the bit of the slotting machine dancing up and down in time to unheard music. Suddenly I saw the whole beauty of this grandiose mechanical ballet, flooded with pale blue sunlight.

And then, to myself: Why is this beautiful? Why is dance beautiful? Answer: because it is unfree motion, because the whole profound meaning of dance lies precisely in absolute, esthetic subordination, in ideal unfreedom. And if it is true that our forebears abandoned themselves to dance at the most exalted moments of their lives (religious mysteries, military parades), it means only one thing: the instinct of unfreedom is organically inherent in man from time immemorial, and we, in our present life, are only consciously....

I will have to finish later: the annunciator clicked. I looked up: 0-90, of course. In half a minute she'll be here, for our daily walk.

Dear O! It always seems to me that she looks exactly like her name: about ten centimeters shorter than the Maternal Norm, and therefore carved in the round, all of her, with that pink O, her mouth, open to meet every word I say. And also, that round, plump fold on her wrist, like a baby's.

When she came in, the flywheel of logic was still humming at full swing within me, and I began, by sheer force of inertia, to speak to her about the formula I had just established, which encompassed everything — dance, machines, and all of us.

"Marvelous, isn't it?" I asked.

"Yes, marvelous." O-90 smiled rosily at me. "It's spring."

Well, wouldn't you know: spring ... She talks ,about spring. Women ... I fell silent.

Downstairs, the avenue was full. In such weathers the...

Table of Contents

Introduction
  • The Context of We
  • Literary Approaches to We
  • A Note on the Text and Translation

We

In Context
  • Work, Productivity, and “Scientific Management”
    • from Frederick Winslow Taylor, The Principles of Scientific Management (1911)
    • from Vladimir Lenin, The Immediate Tasks of the Soviet Governement (1918)
    • from Aleksei Gastev, On the Tendencies of Proletarian Culture (1919)
  • Proletarian Poetry
    • Vladimir Kirillov, “We” (1917)
    • Aleksei Gastev, “We Grow Out of Iron” (1918)
    • Aleksei Gastev, “Whistles” (1918)
    • Aleksei Gastev, “To a Speaker” (1919)
    • Vladimir Kirillov, “The World Collective” (1918)
    • Ivan Logimov, “We Are the First Peals of Thunder” (1919)
    • Aleksei Mashirov-Samobytnik, “Follow Us!” (1919)
    • Vasily Aleksandrovsky, “Workers’ Holiday” (1921)
  • H.G. Wells
    • from H.G. Wells, Anticipations of the Reaction of Mechanical and Scientific Progress upon Human Life and Thought, Chapter 9: “The Faith, Morals, and Public Policy of the New Republic” (1901)
    • from H.G. Wells, “Scepticism of the Instrument” (1903)
    • from H.G. Wells, A Modern Utopia (1905)
  • Early Reception of We
    • from Aleksandr Voronsky, “Literary Portraits: Yevgeny Zamyatin” (1922)
  • Zamyatin on We
    • from Yevgeny Zamyatin, “On Literature, Revolution, Entropy, Etc.” (1923)
  • Images
    • Early Twentieth-Century Visual Art
    • Early Soviet Posters
    • Images of Zamyatin

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"One of the greatest novels of the twentieth century." —-Irving Howe

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