Yevgeny Zamyatin
Yevgeny Zamyatin
Yevgeny Ivanovich Zamyatin/ February 1, 1884 – March 10, 1937) 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...
NationalityRussian
ProfessionNovelist
Date of Birth1 February 1884
CountryRussian Federation
Yevgeny Zamyatin quotes about
When we remove the snowdrift piled up over Chekhov in recent years, we uncover a man profoundly agitated by social problems; a writer whose social ideals are the same as those we live by; a philosophy of the divinity of man, of fervent faith in man - the faith that moves mountains.
The highly complex, almost mathematical, nature of music creates for it an ironclad protection against the microbes of dilletantism, which penetrate much more easily into the fields of painting, literature, and the theater.
We appeal, not to those who reject today in the name of a return to yesterday, not to those who are hopelessly deafened by today; we appeal to those who see the distant tomorrow -- and judge today in the name of tomorrow.
And tomorrow--who knows what happens? Do you get it? I don't know and no one knows--it's all unknown! You understand, that this is the end to the Known? This is the new, the improbable, the unpredictable.
Explosions are not comfortable.
Every genuine poet is necessarily a Columbus. America existed for centuries before Columbus but it was only Columbus who was able to track it down.
The latest literary discussions reflect a struggle between two artistic methods - romanticism and realism, with the latter clearly ascendant for the time being.
Individual consciousness is just sickness.
Philosophers of genius, children, and the people are equally wise - because they ask equally foolish questions. Foolish to a civilized man who has a well-furnished European apartment, with an excellent toilet, and a well-furnished dogma.
To the feudal aristocracy and the aristocracy of the spirit, nobility derives from diametrically opposite sources. The glory of the feudal aristocrat is in being a link in the longest possible chain of ancestors. The glory of the aristocrat of the spirit is in having no ancestors - or having as few as possible. If an artist is his own ancestor, if he has only descendents, he enters history as a genius; if he has few ancestors, or is related to them distantly, he enters history as a talent.
Life itself today has lost its plane reality: it is projected, not along the old fixed points, but along the dynamic coordinates of Einstein, of revolution. In this new projection, the best-known formulas and objects become displaced, fantastic, familiar-unfamiliar. This is why it is so logical for literature today to be drawn to the fantastic plot, or to an amalgam of reality and fantasy.
To reflect the entire spectrum, the dynamics of the adventure novel must be invested with a philosophic synthesis of one kind or another.
Dogma, static positions, consonance - all these are obstacles to catching the disease of art, at least in its more complex forms.
Revolution is everywhere, in everything. It is infinite. There is no final revolution, no final number. The social revolution is only one of an infinite number of numbers: the law of revolution is not a social law, but an immeasurably greater one. It is a cosmic, universal law - like the laws of the conservation of energy and of the dissipation of energy (entropy).