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Yevgeny Ivanovich Zamyatin[1] (Russian: Евге́ний Ива́нович Замя́тин, 20 January (Julian) / 1 February (Gregorian), 1884 – 10 March 1937), sometimes anglicized as Eugene Zamyatin, was a Russian author of science fiction and political satire. He is most famous for his 1921 novel We, a story set in a dystopian future police state. Despite having been a prominent Old Bolshevik, Zamyatin was deeply disturbed by the policies pursued by the CPSU following the October Revolution. In 1921, We became the first work banned by the Soviet censorship board. Ultimately, Zamyatin arranged for We to be smuggled to the West for publication. The subsequent outrage this sparked within the Party and the Union of Soviet Writers led directly to Zamyatin's successful request for exile from his homeland. Due to his use of literature to criticize Soviet society, Zamyatin has been referred to as one of the first Soviet dissidents.
- 俄文英译本
- 科幻
- 小说
- 反乌托邦
- fiction
- Sci-Fi
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.
具体描述
读后感
尤金·扎米亚金的《我们》是世界三大反乌托邦小说里出现得最早的一部，却也是国内最少见的一部。相比之下，赫胥黎的《美丽的新世界》版本比较多，而乔治·奥威尔的《1984》则更为出名。不过，正是因为《我们》的少见，才让更多的读者对这部开反乌托邦小说之先河的作品充满...
评分在书店收入《我们》，绝对是因为其与《一九八四》和《美丽新世界》一起被称为三大“反乌托邦”小说，断断续续，用了两周时间，也只是粗率得看了一遍，远不像最初看《一九八四》，让我在除夕和年初一中用了两天就看完。 也许是我对第一人称的叙述方式不太习惯，或者是因为之前看...
评分扎米亚京没有声嘶力竭，相反他用他冷静的笔触描绘了这样一个美好的乌托邦联众国。没有自由，没有痛苦，没有嫉妒，没有人。只有时间表，只有精确如数学的幸福，只有没有拒绝的性，只有众号码们。 当D -503不再是个号码，他在和内心中的另一个自己搏斗。是亲爱的I勾引了他，不道...
评分这书看的时间早，偶然看到有人提起，就忍不住凭着记忆写一些我最在意的东西。虽然大家都在强调它反乌托邦三部曲的名号，但和另两部比较的话，在我的排名中本书列倒数第一。 并非不喜欢，只是比起另两部这本有些东西更让我介意。也许是作者的背景和信奉的理想，与资本主义教育下...
评分《我们》一书成书于1920年（请注意这个时间，1917年俄国爆发十月革命进而建立苏俄），一直没法在苏俄——或者叫苏联——国内出版，1924年在国外以英文版出版，而作者也最终流浪国外客死巴黎。 那些劳什子的什么“焚书时代的文学奇品”（乔治•奥威尔语）之类的话就不说了，在...
用户评价
结尾出乎意料，看完后不免有些唏嘘。这本书是俄罗斯作家扎米亚金在1921年写成的，也算是反乌托邦作品的鼻祖了。乔治奥威尔的《1984》肯定是受到了这本书的启发，里面有不少其中的影子。书的情节松垮，但意义重大。对毫无感性的人类生活的描写，让人不寒而栗。周同学用catharsis来形容读后感，很有感，谢谢你带来这本好书。
评分rationality与human nature的对抗
评分结尾出乎意料，看完后不免有些唏嘘。这本书是俄罗斯作家扎米亚金在1921年写成的，也算是反乌托邦作品的鼻祖了。乔治奥威尔的《1984》肯定是受到了这本书的启发，里面有不少其中的影子。书的情节松垮，但意义重大。对毫无感性的人类生活的描写，让人不寒而栗。周同学用catharsis来形容读后感，很有感，谢谢你带来这本好书。
评分结尾出乎意料，看完后不免有些唏嘘。这本书是俄罗斯作家扎米亚金在1921年写成的，也算是反乌托邦作品的鼻祖了。乔治奥威尔的《1984》肯定是受到了这本书的启发，里面有不少其中的影子。书的情节松垮，但意义重大。对毫无感性的人类生活的描写，让人不寒而栗。周同学用catharsis来形容读后感，很有感，谢谢你带来这本好书。
评分rationality与human nature的对抗
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