# We (novel)

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1924 novel by Yevgeny Zamyatin

"Miy" redirects here. For other uses, see [MIY](/source/MIY_(disambiguation)).

"We (book)" redirects here. For the 1927 book by Charles Lindbergh, see ["WE" (1927 book)](/source/%22WE%22_(1927_book)).

"D-503" redirects here; not to be confused with [D. 503](/source/D._503).

We First edition of the novel (New York: E. P. Dutton, 1924) Author Yevgeny Zamyatin Original title Мы Translator Various (list) Cover artist George Petrusov, Caricature of Aleksander Rodchenko (1933–1934) Language Russian Genre Dystopian novel, science fiction Publisher E. P. Dutton Publication place Soviet Russia / United States Published in English 1924 Media type Print (hardback & paperback) Pages 226 pages 62,579 words ISBN 0-14-018585-2 OCLC 27105637 Dewey Decimal 891.73/42 20 LC Class PG3476.Z34 M913 1993

***We*** (Russian: Мы, romanized: *My*) is a [dystopian](/source/Dystopia) novel by Russian writer [Yevgeny Zamyatin](/source/Yevgeny_Zamyatin) (often anglicised as Eugene Zamiatin) that was written in 1920–1921.[1] It was first published as an English translation by [Gregory Zilboorg](/source/Gregory_Zilboorg) in 1924 by [E. P. Dutton](/source/E._P._Dutton) in New York. The original Russian text was first published in 1952; the novel was not published in Soviet Russia until 1988. The novel describes a world of harmony and conformity within a united [totalitarian state](/source/Totalitarianism), against which the protagonist, D-503 ([Russian](/source/Russian_language): Д-503), rebels.

The book is considered a literary masterpiece as well as one of the greatest and most influential works of the 20th century. It influenced the emergence of dystopia as a [literary genre](/source/Literary_genre). [George Orwell](/source/George_Orwell) said that [Aldous Huxley](/source/Aldous_Huxley)'s 1931 *[Brave New World](/source/Brave_New_World)* must be partly derived from *We*,[2] although Huxley denied this. Orwell's own *[Nineteen Eighty-Four](/source/Nineteen_Eighty-Four)* (1949) and *[Animal Farm](/source/Animal_Farm)* were also inspired by *We*, as are many other contemporary dystopian novels.[3]

## Setting

*We* is set in the far future. D-503, a spacecraft engineer, lives in the One State,[4] an urban nation constructed almost entirely of [glass](/source/Glass) (presumably to assist with [mass surveillance](/source/Mass_surveillance)). The structure of the state is [Panopticon](/source/Panopticon)-like, and life is based upon [Frederick Winslow Taylor](/source/Frederick_Winslow_Taylor)'s principles of scientific management. Society is run centrally by a power known as the Benefactor, and is run according to a strict timetable—people march in step with each other and are uniformed. There is no way of referring to people except by their given designations (referred to as 'numbers' in the novel.) The society in which *We* is set uses mathematical logic and reason for its scheduling and as justification for its actions.[5][6] The individual's behaviour is based on logic by way of formulae and equations outlined by the One State.[7]

## Plot

A few hundred years after the One State's conquest of the entire world, the spaceship *INTEGRAL* is being built in order to invade and conquer extraterrestrial planets. The project's chief engineer, D-503, begins a [journal](/source/Diary) that he intends to be carried upon the completed spaceship. The book is this journal—it titles chapters as '[n]th Entry' and begins each entry with three lines of notes summarising the events therein.

Like all other citizens of the One State, D-503 lives in a glass apartment building and is carefully watched by the [secret police](/source/Secret_police), or Bureau of Guardians. D-503's lover, O-90, has been assigned 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 by 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 the 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 of [mental illness](/source/Mental_disorder). Slowly, I-330 reveals to D-503 that she is involved with the Mephi, an organisation 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 realises 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. I-330 is then brought to an interrogation chamber, and subjected to torture by suffocation; 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 against these insurgents in doubt. I-330's mantra is that, just as there is no highest number, there can be no *final* revolution.

## Major themes

### Dystopian society

The dystopian society depicted in *We* is 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 of *We* is 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 of [weapons of mass destruction](/source/Weapons_of_mass_destruction), so that the One State is surrounded with a post-apocalyptic landscape.

### Allusions and references

The *[St. Alexander Nevsky](/source/Lenin_(1916_icebreaker))*, which was renamed *Lenin* after the [Russian Revolution](/source/Russian_Revolution_(1917))

Many of the names and numbers in *We* are 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 the [Eau de Cologne](/source/Eau_de_Cologne) number [4711](/source/4711_(brand)).[13][14] Zamyatin, who worked as a [naval architect](/source/Naval_architect), refers to the specifications of the [icebreaker](/source/Icebreaker) *[St. Alexander Nevsky](/source/Lenin_(1916_icebreaker))*.[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 of *[Sviatogor](/source/Svyatogor_(icebreaker))* A/W 904.[16][17]

Many comparisons to The Bible exist in *We*. There are similarities between [Genesis](/source/Book_of_Genesis) Chapters 1–4 and *We*, where the One State is considered [Paradise](/source/Paradise), D-503 is [Adam](/source/Adam) and I-330 is [Eve](/source/Eve). 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 to [Satan](/source/Satan) and his rebellion against [Heaven](/source/Heaven) in the Bible (Ezekiel 28:11–19; Isaiah 14:12–15).[18][19][20] The novel can be considered a criticism of organised religion given this interpretation.[21] Zamyatin, influenced by [Fyodor Dostoyevsky](/source/Fyodor_Dostoyevsky)'s *[Notes from Underground](/source/Notes_from_Underground)* and *[The Brothers Karamazov](/source/The_Brothers_Karamazov)*, made the novel a criticism of the excesses of a militantly atheistic society.[21][22] The novel displayed an indebtedness to [H. G. Wells](/source/H._G._Wells)'s dystopia *[When the Sleeper Wakes](/source/When_the_Sleeper_Wakes)* (1899).[23]

The novel uses mathematical concepts symbolically. The spaceship that D-503 is supervising the construction of is called the *[Integral](/source/Integral)*, which he hopes will "integrate the grandiose cosmic equation". D-503 also mentions that he is profoundly disturbed by the concept of [the square root of −1](/source/Imaginary_unit)—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".[24]

## Literary significance and influences

Along with [Jack London](/source/Jack_London)'s *[The Iron Heel](/source/The_Iron_Heel)*, *We* is generally considered to be the grandfather of the satirical futuristic [dystopia](/source/Dystopia) genre. It takes the modern industrial society to an extreme conclusion, depicting a state that believes that [free will](/source/Free_will) is the cause of unhappiness, and that citizens' lives should be controlled with mathematical precision based on the system of industrial efficiency created by [Frederick Winslow Taylor](/source/Frederick_Winslow_Taylor). The Soviet attempt at implementing Taylorism, led by [Aleksei Gastev](/source/Aleksei_Gastev), may have immediately influenced Zamyatin's portrayal of the One State.[25] In Russia, a dystopian totalitarian society before Zamyatin was described by [Mikhail Saltykov](/source/Mikhail_Saltykov-Shchedrin) in his satirical novel *[The History of a Town](/source/The_History_of_a_Town)*. Further, Saltykov's idea of "Utopia of the straight line" continues in *We*: "To unbend the wild curve, to straighten it out to a tangent — to a straight line!"[26]

Christopher Collins in *Evgenij Zamjatin: An Interpretive Study* finds the many intriguing literary aspects of *We* more 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 a [mandala](/source/Mandala), populated with [archetypes](/source/Archetypes) and subject to an archetypal conflict. One wonders if Zamyatin were familiar with the theories of his contemporary [C. G. Jung](/source/C._G._Jung) or whether it is a case here of the common European zeitgeist.

1. Much of the cityscape and expressed ideas in the world of *We* are taken almost directly from the works of [H. G. Wells](/source/H._G._Wells), a popular apostle of scientific socialist utopia whose works Zamyatin had edited in Russian.

1. In the use of color and other imagery Zamyatin shows he was influenced by [Kandinsky](/source/Wassily_Kandinsky) and other European Expressionist painters.

The little-known Russian dystopian novel *[Love in the Fog of the Future](/source/Love_in_the_Fog_of_the_Future)*, published in 1924 by Andrei Marsov, has also been compared to *We*.[27]

[George Orwell](/source/George_Orwell) claimed that [Aldous Huxley](/source/Aldous_Huxley)'s *[Brave New World](/source/Brave_New_World)* (1932) must be partly derived from *We*.[28] However, in a letter to Christopher Collins in 1962, Huxley says that he wrote *Brave New World* as a reaction to H. G. Wells's utopias long before he had heard of *We*.[29]

[Kurt Vonnegut](/source/Kurt_Vonnegut) said that in writing *[Player Piano](/source/Player_Piano_(novel))* (1952), he "cheerfully ripped off the plot of *[Brave New World](/source/Brave_New_World)*, whose plot had been cheerfully ripped off from Yevgeny Zamyatin's *We*".[30] [Ayn Rand](/source/Ayn_Rand)'s *[Anthem](/source/Anthem_(novella))* (1938) has many significant similarities to *We* (detailed [here](/source/Anthem_(novella)#History)), although it is stylistically and thematically different.[31] [Vladimir Nabokov](/source/Vladimir_Nabokov)'s novel *[Invitation to a Beheading](/source/Invitation_to_a_Beheading)* may suggest a dystopian society with some similarities to Zamyatin's; Nabokov read *We* while writing *Invitation to a Beheading*.[32]

Orwell began *[Nineteen Eighty-Four](/source/Nineteen_Eighty-Four)* (1949) some eight months after he read *We* in a French translation and wrote a review of it.[33] Orwell is reported as "saying that he was taking it as the model for his next novel".[34] Brown writes that for Orwell and certain others, *We* "appears to have been *the* crucial literary experience".[35] Shane states that "Zamyatin's influence on Orwell is beyond dispute".[36] Robert Russell, in an overview of the criticism of *We*, concludes that "*1984* shares so many features with *We* that there can be no doubt about its general debt to it"; but that there is a minority of critics who view the similarities between *We* and *Nineteen Eighty-Four* as "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".[29]

In *[The Right Stuff](/source/The_Right_Stuff_(book))* (1979), [Tom Wolfe](/source/Tom_Wolfe) describes *We* as a "marvelously morose novel of the future" featuring an "omnipotent spaceship" called the *Integral* whose "designer is known only as 'D-503, Builder of the Integral'". Wolfe goes on to use the *Integral* as a metaphor for the Soviet [launch vehicle](/source/Launch_vehicle), the Soviet space programme, or the Soviet Union.[37]

[Jerome K. Jerome](/source/Jerome_K._Jerome) has been cited as an influence on Zamyatin's novel.[38] Jerome's short story *The New Utopia* (1891)[39] describes a regimented future city, indeed world, of nightmarish [egalitarianism](/source/Egalitarianism), 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 in *We*. 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 in *We*. 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](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]

In 1998, the first English translation of *[Cursed Days](/source/Cursed_Days)*, a diary kept in secret in 1918-20 by [anti-communist](/source/Anti-communist) Russian author [Ivan Bunin](/source/Ivan_Bunin) during the [Russian Civil War](/source/Russian_Civil_War) in [Moscow](/source/Moscow) and [Odessa](/source/Odessa) was published in [Chicago](/source/Chicago). In a foreword, the diary's English translator, Thomas Gaiton Marullo, described *Cursed Days* as a rare example of [dystopian](/source/Dystopia) [nonfiction](/source/Nonfiction) and pointed out multiple parallels between the secret diary kept by Bunin and the diary kept by D-503.[40]

## Publication history

The 1924 Zilboorg translation (from a 1959 republication)

Zamyatin's literary position deteriorated throughout the 1920s; he was eventually allowed to emigrate to Paris in 1931, probably after the intercession of [Maxim Gorky](/source/Maxim_Gorky).

The novel was first published in English in 1924 by E. P. Dutton in New York in a translation by [Gregory Zilboorg](/source/Gregory_Zilboorg),[41] but its first publication in the [Soviet Union](/source/Soviet_Union) had to wait until 1988,[42] when [glasnost](/source/Glasnost) resulted in it appearing alongside [George Orwell](/source/George_Orwell)'s *[Nineteen Eighty-Four](/source/Nineteen_Eighty-Four)*. A year later, *We* and *[Brave New World](/source/Brave_New_World)* were published together in a combined edition.[43]

In 1994, the novel received a [Prometheus Award](/source/Prometheus_Award) in the "Hall of Fame" category.[44]

### Russian-language editions

- Zamiatin, Evgenii Ivanovich (1952). *Мы*. Niu-Iork: Izd-vo im. Chekhova. [ISBN](/source/ISBN_(identifier)) [978-5-7390-0346-1](https://en.wikipedia.org/wiki/Special:BookSources/978-5-7390-0346-1). {{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: ISBN / Date incompatibility ([help](https://en.wikipedia.org/wiki/Help:CS1_errors#invalid_isbn_date)) [(bibrec)](http://orbis.uoregon.edu/record=b2166163) [(bibrec (in Russian))](https://web.archive.org/web/20151017130921/http://www.nlr.ru/e-case/expand_bme.php?id=45668&cn=43)

- The first complete Russian-language edition of *We* was 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. [ISBN](/source/ISBN_(identifier)) [978-5-7390-0346-1](https://en.wikipedia.org/wiki/Special:BookSources/978-5-7390-0346-1).

- Zamiatin, Evgenii Ivanovich (1988). *Selections* (in Russian). sostaviteli T.V. Gromova, M.O. Chudakova, avtor stati M.O. Chudakova, kommentarii Evg. Barabanova. Moskva: Kniga. [ISBN](/source/ISBN_(identifier)) [978-5-212-00084-0](https://en.wikipedia.org/wiki/Special:BookSources/978-5-212-00084-0). [(bibrec)](http://orbis.uoregon.edu/record=b1791001) [(bibrec (in Russian))](https://web.archive.org/web/20151017130921/http://www.nlr.ru/e-case/expand_bme.php?id=45668&cn=3)

- *We* was 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. [ISBN](/source/ISBN_(identifier)) [978-1-85399-378-7](https://en.wikipedia.org/wiki/Special:BookSources/978-1-85399-378-7). (also cited as *Zamyatin: 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

- Zamiatin, Eugene (1924). *We*. Gregory Zilboorg (trans.). New York: Dutton. [ISBN](/source/ISBN_(identifier)) [978-0-88233-138-6](https://en.wikipedia.org/wiki/Special:BookSources/978-0-88233-138-6). {{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: ISBN / Date incompatibility ([help](https://en.wikipedia.org/wiki/Help:CS1_errors#invalid_isbn_date)) [\[2\]](http://catalog.loc.gov/)

- Zamiatin, Eugene (1954). *We*. Gregory Zilboorg (trans.). New York: Dutton. [ISBN](/source/ISBN_(identifier)) [978-84-460-2672-3](https://en.wikipedia.org/wiki/Special:BookSources/978-84-460-2672-3). {{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: ISBN / Date incompatibility ([help](https://en.wikipedia.org/wiki/Help:CS1_errors#invalid_isbn_date))

- Zamiatin, Evgenii Ivanovich (1960). "We". In Bernard Guilbert Guerney (ed.). *An Anthology of Russian Literature in the Soviet Period from Gorki to Pasternak*. Bernard Guilbert Guerney (trans.). New York: Random House. pp. 168–353. [ISBN](/source/ISBN_(identifier)) [978-0-39470-717-4](https://en.wikipedia.org/wiki/Special:BookSources/978-0-39470-717-4). {{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: ISBN / Date incompatibility ([help](https://en.wikipedia.org/wiki/Help:CS1_errors#invalid_isbn_date))

- Zamyatin, Yevgeny (1970). *We*. Bernard Guilbert Guerney (trans.). London: Jonathan Cape. [ISBN](/source/ISBN_(identifier)) [022461794X](https://en.wikipedia.org/wiki/Special:BookSources/022461794X).

- Zamyatin, Yevgeny (1999) [1972]. *We*. [Mirra Ginsburg](/source/Mirra_Ginsburg) (trans.). New York: Bantam. [ISBN](/source/ISBN_(identifier)) [978-0-552-67271-9](https://en.wikipedia.org/wiki/Special:BookSources/978-0-552-67271-9).

- Zamyatin, Evgeny (1987). "We". In Carl Proffer (ed.). [*Russian Literature of the Twenties: An Anthology*](https://archive.org/details/russianliteratur00profrich). S.D. Cioran (trans.). US: Ardis. pp. 3–139. [ISBN](/source/ISBN_(identifier)) [978-0-88233-821-7](https://en.wikipedia.org/wiki/Special:BookSources/978-0-88233-821-7).

- Zamyatin, Evgeny (1991). *We*. Alex Miller (trans.). Moscow: [Raduga](/source/Raduga_Publishers). [ISBN](/source/ISBN_(identifier)) [978-5-05-004845-5](https://en.wikipedia.org/wiki/Special:BookSources/978-5-05-004845-5).

- Zamyatin, Yevgeny (1993). [*We*](https://archive.org/details/lish00evge). Clarence Brown (trans.). New York: Penguin Books. [ISBN](/source/ISBN_(identifier)) [978-0-14-018585-0](https://en.wikipedia.org/wiki/Special:BookSources/978-0-14-018585-0). [(preview)](https://books.google.com/books?id=bLMwJEPaYmEC)

- Zamiatin, Eugene (2000). *We*. Gregory Zilboorg (trans.). US: Transaction Large Print. [ISBN](/source/ISBN_(identifier)) [978-1-56000-477-6](https://en.wikipedia.org/wiki/Special:BookSources/978-1-56000-477-6). (author photo on cover)

- Zamyatin, Yevgeny (2006). [*We*](https://archive.org/details/we00zami). Natasha Randall (trans.). New York: Modern Library. [ISBN](/source/ISBN_(identifier)) [978-0-8129-7462-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-8129-7462-1).

- Zamyatin, Yevgeny (2009). *We*. Hugh Aplin (trans.). London: Hesperus Press. [ISBN](/source/ISBN_(identifier)) [978-1843914464](https://en.wikipedia.org/wiki/Special:BookSources/978-1843914464).

- Zamyatin, Yevgeny (2019). *We*. Kirsten Lodge (trans.). Peterborough, Ontario: Broadview Press. [ISBN](/source/ISBN_(identifier)) [9781554814107](https://en.wikipedia.org/wiki/Special:BookSources/9781554814107).

- Zamyatin, Yevgeny (2020). *We*. Nadja Boltyanskaya (trans.). London: Independently published. [ISBN](/source/ISBN_(identifier)) [979-8642770139](https://en.wikipedia.org/wiki/Special:BookSources/979-8642770139).

- Zamyatin, Yevgeny (2021). *We*. Bela Shayevich (trans.). New York: Ecco (A division of Harper Collins). [ISBN](/source/ISBN_(identifier)) [978-0063068445](https://en.wikipedia.org/wiki/Special:BookSources/978-0063068445).

### Translations to other languages

- Zamjatin, Jevgenij Ivanovič (1927). *My* (in Czech). Václav Koenig (trans.). Prague (Praha): Štorch-Marien. [\[3\]](https://web.archive.org/web/20121120010836/http://www.nkp.cz/_en/)

- Zamâtin, Evgenij Ivanovic (1929). *Nous autres* (in French). B. Cauvet-Duhamel (trans.). Paris: Gallimard. [\[4\]](https://web.archive.org/web/20081207185225/http://ccfr.bnf.fr/accdis/accdis.htm)

- Zamjàtin, Evgenij (1955). *Noi* (in Italian). [Ettore Lo Gatto](/source/Ettore_Lo_Gatto) (trans.). Bergamo (Italy): Minerva Italica.

- Samjatin, Jewgenij (1958). *Wir. Roman* (in German). Gisela Drohla (trans.). Cologne (Köln) (Germany): Kiepenheuer & Witsch. [ISBN](/source/ISBN_(identifier)) [3-462-01607-5](https://en.wikipedia.org/wiki/Special:BookSources/3-462-01607-5). {{[cite book](https://en.wikipedia.org/wiki/Template:Cite_book)}}: ISBN / Date incompatibility ([help](https://en.wikipedia.org/wiki/Help:CS1_errors#invalid_isbn_date))

- Zamjatin, Jevgeni (1959). *Me* (in Finnish). Juhani Konkka (trans.). Jyväskylä (Finland): Gummerus.

- 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. [ISBN](/source/ISBN_(identifier)) [90-295-5790-7](https://en.wikipedia.org/wiki/Special:BookSources/90-295-5790-7).

- 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. [ISBN](/source/ISBN_(identifier)) [978-83-7001-293-9](https://en.wikipedia.org/wiki/Special:BookSources/978-83-7001-293-9).

- Zamjàtin, Evgenij (1990). *Noi* (in Italian). Ettore Lo Gatto (trans.). Milano (Italy): Feltrinelli. [ISBN](/source/ISBN_(identifier)) [978-88-07-80412-0](https://en.wikipedia.org/wiki/Special:BookSources/978-88-07-80412-0).

- Zamjatin, Jevgeni (2006). *Meie* (in Estonian). Maiga Varik (trans.). Tallinn: Tänapäev. [ISBN](/source/ISBN_(identifier)) [978-9985-62-430-2](https://en.wikipedia.org/wiki/Special:BookSources/978-9985-62-430-2).

- Zamjatyin, Jevgenyij (2008) [1990]. *Mi* (in Hungarian). Pál Földeák (trans.). Budapest (Hungary): Cartaphilus. [ISBN](/source/ISBN_(identifier)) [978-963-266-038-7](https://en.wikipedia.org/wiki/Special:BookSources/978-963-266-038-7).

- Zamiatine, Evgueni (1999). *Nós* (in Portuguese). Manuel João Gomes (trans.). Lisboa (Portugal): Antigona. [ISBN](/source/ISBN_(identifier)) [9789726080329](https://en.wikipedia.org/wiki/Special:BookSources/9789726080329).

- Zamiatin, Jevgenij (2009). *Mes*. Irena Potašenko (trans.). Vilnius (Lithuania): Kitos knygos. [ISBN](/source/ISBN_(identifier)) [9789955640936](https://en.wikipedia.org/wiki/Special:BookSources/9789955640936).

- Zamiatin, Yeuveni (2010). *Nosotros*. Julio Travieso (trad. y pról.). México: Lectorum. [ISBN](/source/ISBN_(identifier)) [9788446026723](https://en.wikipedia.org/wiki/Special:BookSources/9788446026723).

- Zamiatin, Yeuveni (2011). *Nosotros*. Alfredo Hermosillo y Valeria Artemyeva (trads.) Fernando Ángel Moreno (pról.). Madrid: Cátedra. [ISBN](/source/ISBN_(identifier)) [9788437628936](https://en.wikipedia.org/wiki/Special:BookSources/9788437628936).

- Samjatin, Evgenij (2013). *Wir. Roman* (in German). Josef Meinolf Opfermann (trans.). Bremen (Germany): Europäischer Literaturverlag. [ISBN](/source/ISBN_(identifier)) [978-3-86267-770-2](https://en.wikipedia.org/wiki/Special:BookSources/978-3-86267-770-2).

- Zamjatin, Jevgenij (2015) [1959]. *Vi* (in Swedish). Sven Vallmark (trans.). Stockholm (Sweden): Modernista. [ISBN](/source/ISBN_(identifier)) [978-91-7645-209-7](https://en.wikipedia.org/wiki/Special:BookSources/978-91-7645-209-7).

- Zamyatin, Yevgeny (2015). *Nosaltres* (in Catalan). Miquel Cabal Guarro (trans.). Catalunya: Les Males Herbes. [ISBN](/source/ISBN_(identifier)) [9788494310850](https://en.wikipedia.org/wiki/Special:BookSources/9788494310850).

- Zamjatin, Jevgenij (2016). *Vi* (in Norwegian Bokmål). Torgeir Bøhler (trans.). Norway: Solum. [ISBN](/source/ISBN_(identifier)) [9788256017867](https://en.wikipedia.org/wiki/Special:BookSources/9788256017867).

- Zamiátin, Ievguêni (2017). *Nós* (in Portuguese). Gabriela Soares (trans.). Brazil: Editora Aleph. [ISBN](/source/ISBN_(identifier)) [978-85-7657-311-1](https://en.wikipedia.org/wiki/Special:BookSources/978-85-7657-311-1).

- Zamiatin, Evgenii (2017). *Nós* (in Galician). Lourenzo Maroño and Elena Sherevera (trans.). Galiza: Hugin e Munin. [ISBN](/source/ISBN_(identifier)) [978-84-946538-8-9](https://en.wikipedia.org/wiki/Special:BookSources/978-84-946538-8-9).

- Zamiatine, Evgueni (2017). *Nous* (in French). Hélène Henry (trans.). Arles (France): Actes Sud. [ISBN](/source/ISBN_(identifier)) [978-2-330-07672-6](https://en.wikipedia.org/wiki/Special:BookSources/978-2-330-07672-6).

- Zamjatin, Evgenij (2021). *Noi* (in Italian). Alessandro Cifariello (trans.). Italy: Fanucci. [ISBN](/source/ISBN_(identifier)) [978-88-347-4166-5](https://en.wikipedia.org/wiki/Special:BookSources/978-88-347-4166-5).

## Adaptations

### Films

The German TV network [ZDF](/source/ZDF) adapted the novel for a TV movie in 1982, under the German title *[Wir](/source/Wir_(film))* (English: We).[45]

*We* is heavily referenced in the 2023 sci-fi feature film *[1984](/source/1984_(2023_film))*.

The novel has also been adapted, by Alain Bourret, a French director, into a short film called *The Glass Fortress* (2016).[46] *The Glass Fortress* is an experimental film that employs a technique known as [still image film](/source/Still_image_film), and is shot in [black-and-white](/source/Black-and-white), which help support the grim atmosphere of the story's [dystopian society](/source/Dystopia).[47] The film is technically similar to *[La Jetée](/source/La_Jet%C3%A9e)* (1962), directed by [Chris Marker](/source/Chris_Marker), and refers somewhat to *[THX 1138](/source/THX_1138)* (1971), by [George Lucas](/source/George_Lucas), in the "religious appearance of the Well Doer".[48] According to film critic [Isabelle Arnaud](/source/Sivakumar_Vijayan#Career), *The Glass Fortress* has a special atmosphere underlining a story of thwarted love that will be long remembered.[49]

A [Russian film adaptation](/source/We_(unreleased_film)), directed by Hamlet Dulyan and starring [Egor Koreshkov](/source/Egor_Koreshkov), initially planned for release in 2021,[50] is yet to be released.

### Radio

A two-part adaptation by Sean O'Brien and directed by Jim Poyser was broadcast on 18 and 25 April 2004 on [BBC Radio 4](/source/BBC_Radio_4)'s *[Classic Serial](/source/Classic_Serial)*.[51] The cast included [Anton Lesser](/source/Anton_Lesser) as D-503, [Joanna Riding](/source/Joanna_Riding) as I-330, Julia Routhwaite as O-90, [Brigit Forsyth](/source/Brigit_Forsyth) as U, Patrick Bridgeman as S and [Don Warrington](/source/Don_Warrington) as R-13.

### Theatre

The Montreal company Théâtre Deuxième Réalité produced an adaptation of the novel in 1996, adapted and directed by [Alexandre Marine](/source/Alexandre_Marine), under the title *Nous Autres*.[52]

### Music

[SubRosa](/source/SubRosa_(metal_band))'s 2016 concept album, *For this We Fought the Battle of Ages*, takes lyrical and thematic inspiration from the novel.[53]

In 2022, the Canadian [indie rock](/source/Indie_rock) band [Arcade Fire](/source/Arcade_Fire) released *[We](/source/We_(Arcade_Fire_album))*, an album whose title was inspired by the novel.[54]

## Legacy

*We* directly inspired:

- [Aldous Huxley](/source/Aldous_Huxley)'s *[Brave New World](/source/Brave_New_World)* (1932)[55] (Disputed by Huxley, see above.)

- [Vladimir Nabokov](/source/Vladimir_Nabokov)'s *[Invitation to a Beheading](/source/Invitation_to_a_Beheading)* (1935–1936)[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]

- [Ayn Rand](/source/Ayn_Rand)'s *[Anthem](/source/Anthem_(novella))* (1938)[56]

- [George Orwell](/source/George_Orwell)'s *[Nineteen Eighty-Four](/source/Nineteen_Eighty-Four)* (1949)[3]

- [Kurt Vonnegut](/source/Kurt_Vonnegut)'s *[Player Piano](/source/Player_Piano_(novel))* (1952)[30]

- [William F. Nolan](/source/William_F._Nolan) & [George Clayton Johnson](/source/George_Clayton_Johnson)'s *[Logan's Run](/source/Logan's_Run)* (1967)[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*]

- [Ira Levin](/source/Ira_Levin)'s *[This Perfect Day](/source/This_Perfect_Day)* (1970)

- [Ursula K. Le Guin](/source/Ursula_K._Le_Guin)'s *[The Dispossessed](/source/The_Dispossessed)* (1974)[57]

## See also

- *[Cursed Days](/source/Cursed_Days)* by [Ivan Bunin](/source/Ivan_Bunin)

## References

**Notes**

1. **[^](#cite_ref-1)** [Brown](#Translations), p. xi, citing Shane, gives 1921. Russell, p. 3, dates the first draft to 1919.

1. **[^](#cite_ref-2)** Orwell, George (4 January 1946). ["Review of *WE* by E. I. Zamyatin"](https://www.orwell.ru/library/reviews/zamyatin/english/). *Tribune*. London – via Orwell.ru.

1. ^ [***a***](#cite_ref-orwell_3-0) [***b***](#cite_ref-orwell_3-1) Bowker, Gordon (2003). [*Inside George Orwell: A Biography*](https://archive.org/details/isbn_9780312238414/page/340). Palgrave Macmillan. p. [340](https://archive.org/details/isbn_9780312238414/page/340). [ISBN](/source/ISBN_(identifier)) [978-0-312-23841-4](https://en.wikipedia.org/wiki/Special:BookSources/978-0-312-23841-4).

1. **[^](#cite_ref-One_State_4-0)** The Ginsburg and Randall translations use the phrasing "One State". Guerney uses "The One State"—each word is [capitalized](/source/Capitalized). Brown uses the single word "OneState", which he calls "ugly" (p. xxv). Zilboorg uses "United State". All of these are translations of the phrase *Yedinoye Gosudarstvo* (Russian: Единое Государство).

1. **[^](#cite_ref-5)** George Orwell by Harold Bloom pg 54 Publisher: Chelsea House Pub [ISBN](/source/ISBN_(identifier)) [978-0791094280](https://en.wikipedia.org/wiki/Special:BookSources/978-0791094280)

1. **[^](#cite_ref-6)** *Zamyatin's We: A Collection of Critical Essays* by Gary Kern pgs 124, 150 Publisher: Ardis [ISBN](/source/ISBN_(identifier)) [978-0882338040](https://en.wikipedia.org/wiki/Special:BookSources/978-0882338040)

1. **[^](#cite_ref-7)** The Literary Underground: Writers and the Totalitarian Experience, 1900–1950 pgs 89–91 By John Hoyles Palgrave Macmillan; First edition (15 June 1991) [ISBN](/source/ISBN_(identifier)) [978-0-312-06183-8](https://en.wikipedia.org/wiki/Special:BookSources/978-0-312-06183-8) [\[1\]](https://books.google.com/books?id=5_zBJ7rd--0C&pg=PA89)

1. **[^](#cite_ref-8)** Serdyukova, O.I. [О.И. Сердюкова] (2011). [Проблема свободы личности в романе Э. Берджесса "Механический апельсин"](https://web.archive.org/web/20140107170936/http://www-philology.univer.kharkov.ua/nauka/e_books/visn_11_936.pdf) [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 from [the original](http://www-philology.univer.kharkov.ua/nauka/e_books/visn_11_936.pdf) (PDF) on 7 January 2014. Retrieved 6 February 2013.

1. **[^](#cite_ref-9)** Hughes, Jon (2006). [*Facing Modernity: Fragmentation, Culture and Identity in Joseph Roth's Writing in 1920s*](https://books.google.com/books?id=KEspMDCOON8C&pg=PA127). London: Maney Publishing for the Modern Humanities Research Association. p. 127. [ISBN](/source/ISBN_(identifier)) [978-1904350378](https://en.wikipedia.org/wiki/Special:BookSources/978-1904350378).

1. **[^](#cite_ref-10)** Ginsburg trans. This term is also translated as "Well-Doer".[*[citation needed](https://en.wikipedia.org/wiki/Wikipedia:Citation_needed)*] *Benefactor* translates *Blagodetel* (Russian: Благодетель).

1. **[^](#cite_ref-11)** Ginsburg trans. *Numbers* translates *nomera* (Russian: номера). This is translated by Natasha Randall as "cyphers" in the 2006 edition published by The Modern Library, New York.

1. **[^](#cite_ref-12)** Fifth Entry (Ginsburg translation, p. 21).

1. **[^](#cite_ref-13)** Randall, p. xvii.

1. **[^](#cite_ref-14)** Ermolaev.

1. **[^](#cite_ref-15)** Shane, p 12.

1. **[^](#cite_ref-Myers_16-0)** Myers.

1. **[^](#cite_ref-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]))

1. **[^](#cite_ref-18)** ["Ezekiel 28:11 - 28:19"](https://www.kingjamesbibleonline.org/Ezekiel-28-11_28-19/). *www.kingjamesbibleonline.org*. Retrieved 2 January 2025.

1. **[^](#cite_ref-19)** ["Isaiah 14:12 - 14:15"](https://www.kingjamesbibleonline.org/Isaiah-14-12_14-15/). *www.kingjamesbibleonline.org*. Retrieved 2 January 2025.

1. **[^](#cite_ref-20)** Russell, Jeffrey Burton. *Mephistopheles: The devil in the modern world*. Cornell University Press, 1990.

1. ^ [***a***](#cite_ref-Gregg_21-0) [***b***](#cite_ref-Gregg_21-1) Gregg.

1. **[^](#cite_ref-22)** Constantin V. Ponomareff; Kenneth A. Bryson (2006). [*The Curve of the Sacred: An Exploration of Human Spirituality*](https://books.google.com/books?id=hpXf4r_Zg68C&pg=PA20). Editions Rodopi BV. [ISBN](/source/ISBN_(identifier)) [978-90-420-2031-3](https://en.wikipedia.org/wiki/Special:BookSources/978-90-420-2031-3).

1. **[^](#cite_ref-23)** *Historical Dictionary of Utopianism*. Rowman & Littlefield. 2017. p. 429.

1. **[^](#cite_ref-24)** Ginsburg, Introduction, p. v. The Thirtieth Entry has a similar passage.

1. **[^](#cite_ref-Balies,_Kendall_25-0)** ["Alexei Gastev and the Soviet Controversy over Taylorism, 1918-24"](https://monoskop.org/images/1/1c/Bailes_Kendall_A_1977_Alexei_Gastev_and_the_Soviet_Controversy_over_Taylorism_1918-1924.pdf) (PDF). Soviet Studies, vol. XXIX, no. 3, July 1977, pp. 373-94. Retrieved 11 April 2019.

1. **[^](#cite_ref-26)** Peter Petro. *Beyond History: a Study of Saltykov's The History of a Town*. 1972

1. **[^](#cite_ref-Academic.ru_27-0)** ["Марсов, Андрей"](http://dic.academic.ru/dic.nsf/enc_biography/79077/%D0%9C%D0%B0%D1%80%D1%81%D0%BE%D0%B2). Academic.ru. Retrieved 1 November 2013.

1. **[^](#cite_ref-28)** Orwell (1946).

1. ^ [***a***](#cite_ref-Russell,_p._13_29-0) [***b***](#cite_ref-Russell,_p._13_29-1) Russell, p. 13.

1. ^ [***a***](#cite_ref-PLBY-1973_30-0) [***b***](#cite_ref-PLBY-1973_30-1) [Staff (1973). "Kurt Vonnegut, Jr. Playboy Interview". Playboy Magazine](http://www.playboy.com/articles/kurt-vonnegut-jr-interview/index.html) [Archived](https://web.archive.org/web/20110607145055/http://www.playboy.com/articles/kurt-vonnegut-jr-interview/index.html) 7 June 2011 at the [Wayback Machine](/source/Wayback_Machine)

1. **[^](#cite_ref-31)** Gimpelevich, Zina (1997). "'We and 'I' in Zamyatin's *We* and Rand's *Anthem*". *Germano-Slavica*. **10** (1): 13–23.

1. **[^](#cite_ref-32)** M. Keith Booker, *The Post-utopian Imagination: American Culture in the Long 1950s*. Greenwood Publishing Group, 2002 [ISBN](/source/ISBN_(identifier)) [0313321655](https://en.wikipedia.org/wiki/Special:BookSources/0313321655), p. 50.

1. **[^](#cite_ref-33)** Orwell (1946). Russell, p. 13.

1. **[^](#cite_ref-34)** Bowker (p. 340) paraphrasing [Rayner Heppenstall](/source/Rayner_Heppenstall). Bowker, Gordon (2003). [*Inside George Orwell: A Biography*](https://archive.org/details/isbn_9780312238414). Palgrave Macmillan. [ISBN](/source/ISBN_(identifier)) [978-0-312-23841-4](https://en.wikipedia.org/wiki/Special:BookSources/978-0-312-23841-4).

1. **[^](#cite_ref-35)** Brown trans., Introduction, p. xvi.

1. **[^](#cite_ref-36)** Shane, p. 140.

1. **[^](#cite_ref-37)** [Wolfe, Tom](/source/Tom_Wolfe) (2001). [*The Right Stuff*](https://archive.org/details/rightstuff00tomw). Bantam. [ISBN](/source/ISBN_(identifier)) [978-0-553-38135-1](https://en.wikipedia.org/wiki/Special:BookSources/978-0-553-38135-1). "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 the *Integral* in several other passages.

1. **[^](#cite_ref-38)** Stenbock-Fermor.

1. **[^](#cite_ref-39)** [The New Utopia](http://www.libertarian.co.uk/lapubs/cultn/cultn014.pdf). Published in *Diary of a Pilgrimage (and Six Essays)*.[(full text)](https://archive.org/details/diaryapilgrimag00jerogoog)

1. **[^](#cite_ref-40)** *Cursed Days*, pages 23-24.

1. **[^](#cite_ref-41)** In a translation by [Zilboorg](#Translations),

1. **[^](#cite_ref-42)** [Brown translation](#Translations), p. xiv. [Tall](#Journal_articles) notes that glasnost resulted in many other literary classics being published in the USSR during 1988–1989.

1. **[^](#cite_ref-43)** Tall, footnote 1.

1. **[^](#cite_ref-44)** ["Libertarian Futurist Society: Prometheus Awards"](https://web.archive.org/web/20110628180047/http://www.lfs.org/awards.htm). Archived from [the original](http://www.lfs.org/awards.htm) on 28 June 2011. Retrieved 22 March 2011.

1. **[^](#cite_ref-45)** [*Wir*](https://www.imdb.com/title/tt0164234/) at [IMDb](/source/IMDb_(identifier))

1. **[^](#cite_ref-46)** [The Glass Fortress](https://www.youtube.com/watch?v=PQ6Au4BzFMQ) on [YouTube](/source/YouTube_video_(identifier))

1. **[^](#cite_ref-SF-20160606_47-0)** Wittek, Louis (6 June 2016). ["The Glass Fortress"](http://www.scifi4ever.com/cinema-0097-the-glass-fortress.html). *SciFi4Ever.com*. Retrieved 12 July 2018.

1. **[^](#cite_ref-CW-20160429_48-0)** Erlich, Richard D.; Dunn, Thomas P. (29 April 2016). ["The Glass Fortress"](http://www.clockworks2.org/wiki/index.php?title=THE_GLASS_FORTRESS). *ClockWorks2.org*. Retrieved 12 July 2018.

1. **[^](#cite_ref-UF-2018_49-0)** Arnaud, Isabelle (2018). ["The Glass Fortress: Le court métrage"](http://www.unificationfrance.com/article45501.html). *UnificationFrance.com* (in French). Retrieved 12 July 2018.

1. **[^](#cite_ref-50)** [*We*](https://www.imdb.com/title/tt12518970/) at [IMDb](/source/IMDb_(identifier))

1. **[^](#cite_ref-51)** ["Classic Serial: We - Episode 1"](https://web.archive.org/web/20240113003600/https://genome.ch.bbc.co.uk/9485f713c7e44dacb69bc7d5a36b4a8e). *BBC Programme Index*. 18 April 2004. Archived from [the original](https://genome.ch.bbc.co.uk/9485f713c7e44dacb69bc7d5a36b4a8e) on 13 January 2024. Retrieved 12 January 2024.

1. **[^](#cite_ref-52)** Article on Théâtre Deuxième Réalité and its early productions: Dennis O'Sullivan (1995). ["De la lointaine Sibérie: The Emigrants du Théâtre Deuxième Réalité"](http://www.erudit.org/culture/jeu1060667/jeu1072106/27651ac.pdf) (PDF). *Jeu: Revue de Théâtre* (77). érudit.org: 121–125.

1. **[^](#cite_ref-53)** Currin, Grayson. ["SubRosa: For this We Fought the Battle of Ages Album Review"](https://pitchfork.com/reviews/albums/22251-for-this-we-fought-the-battle-of-ages/). *Pitchfork*. Retrieved 6 June 2025.

1. **[^](#cite_ref-theguardian_54-0)** [Petridis, Alexis](/source/Alexis_Petridis) (5 May 2022). ["Arcade Fire: We review – goodbye cod reggae, hello stadium singalongs"](https://www.theguardian.com/music/2022/may/05/arcade-fire-we-review-goodbye-cod-reggae-hello-stadium-singalongs). *[The Guardian](/source/The_Guardian)*. Retrieved 5 May 2022.

1. **[^](#cite_ref-55)** Blair E. 2007. Literary St. Petersburg: a guide to the city and its writers. Little Bookroom, p.75

1. **[^](#cite_ref-56)** Mayhew R, Milgram S. 2005. Essays on Ayn Rand's Anthem: Anthem in the Context of Related Literary Works. Lexington Books, p.134

1. **[^](#cite_ref-57)** Le Guin UK. 1989. The Language of the Night. Harper Perennial, p.218

**Bibliography**

- - **Reviews**

- Sally Feller, [Your Daily Dystopian History Lesson From Yevgeny Zamyatin: A Review of We](https://web.archive.org/web/20070313005142/http://www.lostwriters.net/archive_popup.php?c=czozOiIzODkiOw==)

- Joshua Glenn (23 July 2006). ["In a perfect world: Yevgeny Zamyatin's far-out science fiction dystopia, 'We,' showed the way for George Orwell and countless others"](http://archive.boston.com/news/globe/ideas/articles/2006/07/23/in_a_perfect_world/). *The Boston Globe*. Retrieved 15 October 2006.

- - **Books**

- Russell, Robert (1999). *Zamiatin's We*. Bristol: Bristol Classical Press. [ISBN](/source/ISBN_(identifier)) [978-1-85399-393-0](https://en.wikipedia.org/wiki/Special:BookSources/978-1-85399-393-0).

- Shane, Alex M. (1968). [*The life and works of Evgenij Zamjatin*](https://archive.org/details/lifeworksofevg00shan). Berkeley: University of California Press. [OCLC](/source/OCLC_(identifier)) [441082](https://search.worldcat.org/oclc/441082).

- [Zamyatin, Yevgeny](/source/Yevgeny_Zamyatin) (1992). *A Soviet Heretic: Essays*. Mirra Ginsburg (editor and translator). Northwestern University Press. [ISBN](/source/ISBN_(identifier)) [978-0-8101-1091-5](https://en.wikipedia.org/wiki/Special:BookSources/978-0-8101-1091-5).

- Collins, Christopher (1973). *Evgenij Zamjatin: An Interpretive Study*. The Hague: Mouton & Co.

- - **Journal articles**

- Ermolaev, Herman; Edwards, T. R. N. (October 1982). "Review of *Three Russian Writers and the Irrational: Zamyatin, Pil'nyak, and Bulgakov* by T. R. N. Edwards". *[The Russian Review](/source/The_Russian_Review)*. **41** (4). Blackwell Publishing: 531–532. [doi](/source/Doi_(identifier)):[10.2307/129905](https://doi.org/10.2307%2F129905). [JSTOR](/source/JSTOR_(identifier)) [129905](https://www.jstor.org/stable/129905).

- Fischer, Peter A.; Shane, Alex M. (Autumn 1971). "Review of *The Life and Works of Evgenij Zamjatin* by Alex M. Shane". *Slavic and East European Journal*. **15** (3). American Association of Teachers of Slavic and East European Languages: 388–390. [doi](/source/Doi_(identifier)):[10.2307/306850](https://doi.org/10.2307%2F306850). [JSTOR](/source/JSTOR_(identifier)) [306850](https://www.jstor.org/stable/306850).

- Gregg, Richard A. (December 1965). "Two Adams and Eve in the Crystal Palace: Dostoevsky, the Bible, and We". *[Slavic Review](/source/Slavic_Review)*. **24** (4). The American Association for the Advancement of Slavic Studies: 680–687. [doi](/source/Doi_(identifier)):[10.2307/2492898](https://doi.org/10.2307%2F2492898). [JSTOR](/source/JSTOR_(identifier)) [2492898](https://www.jstor.org/stable/2492898). [S2CID](/source/S2CID_(identifier)) [164122563](https://api.semanticscholar.org/CorpusID:164122563).

- Layton, Susan (February 1978). "The critique of technocracy in early Soviet literature: The responses of Zamyatin and Mayakovsky". *Dialectical Anthropology*. **3** (1): 1–20. [doi](/source/Doi_(identifier)):[10.1007/BF00257387](https://doi.org/10.1007%2FBF00257387). [S2CID](/source/S2CID_(identifier)) [143937157](https://api.semanticscholar.org/CorpusID:143937157).

- McCarthy, Patrick A. (July 1984). "Zamyatin and the Nightmare of Technology". *Science-Fiction Studies*. **11** (2): 122–29.

- McClintock, James I. (Autumn 1977). "United State Revisited: Pynchon and Zamiatin". *Contemporary Literature*. **18** (4). University of Wisconsin Press: 475–490. [doi](/source/Doi_(identifier)):[10.2307/1208173](https://doi.org/10.2307%2F1208173). [JSTOR](/source/JSTOR_(identifier)) [1208173](https://www.jstor.org/stable/1208173).

- [Myers, Alan](/source/Alan_Myers_(translator)) (1993). ["Zamiatin in Newcastle: The Green Wall and The Pink Ticket"](https://web.archive.org/web/20070927222046/http://www.myersnorth.co.uk/zamyatin.html). *[The Slavonic and East European Review](/source/The_Slavonic_and_East_European_Review)*. **71** (3): 417–427. Archived from [the original](http://www.myersnorth.co.uk/zamyatin.html) on 27 September 2007.

- Myers, Alan. ["Zamyatin in Newcastle"](https://web.archive.org/web/20070927222046/http://www.myersnorth.co.uk/zamyatin.html). Archived from [the original](http://www.myersnorth.co.uk/zamyatin.html) on 27 September 2007. Retrieved 11 May 2007. (updates articles by Myers published in *[The Slavonic and East European Review](/source/The_Slavonic_and_East_European_Review)*)

- Stenbock-Fermor, Elizabeth; Zamiatin (April 1973). "A Neglected Source of Zamiatin's Novel "We"". *Russian Review*. **32** (2). Blackwell Publishing: 187–188. [doi](/source/Doi_(identifier)):[10.2307/127682](https://doi.org/10.2307%2F127682). [JSTOR](/source/JSTOR_(identifier)) [127682](https://www.jstor.org/stable/127682).

- Struve, Gleb; Bulkakov, Mikhail; Ginsburg, Mirra; Glenny, Michael (July 1968). "The Re-Emergence of Mikhail Bulgakov". *[The Russian Review](/source/The_Russian_Review)*. **27** (3). Blackwell Publishing: 338–343. [doi](/source/Doi_(identifier)):[10.2307/127262](https://doi.org/10.2307%2F127262). [JSTOR](/source/JSTOR_(identifier)) [127262](https://www.jstor.org/stable/127262).

- Tall, Emily (Summer 1990). "Behind the Scenes: How Ulysses was Finally Published in the Soviet Union". *[Slavic Review](/source/Slavic_Review)*. **49** (2). The American Association for the Advancement of Slavic Studies: 183–199. [doi](/source/Doi_(identifier)):[10.2307/2499479](https://doi.org/10.2307%2F2499479). [JSTOR](/source/JSTOR_(identifier)) [2499479](https://www.jstor.org/stable/2499479). [S2CID](/source/S2CID_(identifier)) [163819972](https://api.semanticscholar.org/CorpusID:163819972).

- Zamyatin, Yevgeny (1962). "O moikh zhenakh, o ledokolakh i o Rossii". *Mosty* (in Russian). **IX**. Munich: Izd-vo Tsentralnogo obedineniia polit. emigrantov iz SSSR: 25.

- 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 the [Nobile](/source/Umberto_Nobile) expedition by the [Krasin](/source/Krasin_(1916_icebreaker)), the renamed [Svyatogor](/source/Svyatogor_(icebreaker)).

- 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

English [Wikisource](/source/Wikisource) has original text related to this article:

**[We](https://en.wikisource.org/wiki/en:We_(Zilboorg_translation))**

- *[We](https://standardebooks.org/ebooks/yevgeny-zamyatin/we/gregory-zilboorg)* at [Standard Ebooks](/source/Standard_Ebooks) (1924 Zilboorg translation, in English)

- *[We](https://gutenberg.org/ebooks/61963)* at [Project Gutenberg](/source/Project_Gutenberg) (1924 Zilboorg translation, in English)

- [*We*—full text](http://az.lib.ru/z/zamjatin_e_i/text_0050.shtml) (in Russian)

- [*We*—full text](https://mises.org/books/we_zamiatin.pdf) (1924 Zilboorg translation, in English)

- [*We*](https://librivox.org/search?title=We&author=Zamyatin&reader=&keywords=&genre_id=0&status=all&project_type=either&recorded_language=&sort_order=catalog_date&search_page=1&search_form=advanced) public domain audiobook at [LibriVox](/source/LibriVox)

- Film—[*Wir* (1982, GE)](https://www.imdb.com/title/tt0164234/) at [IMDb](/source/IMDb_(identifier))

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Adapted from the Wikipedia article [We (novel)](https://en.wikipedia.org/wiki/We_(novel)) by Wikipedia contributors ([contributor history](https://en.wikipedia.org/wiki/We_(novel)?action=history)). Available under [Creative Commons Attribution-ShareAlike 4.0 International](https://creativecommons.org/licenses/by-sa/4.0/). Changes may have been made.