LITMIR.BIZ

      INTRODUCTION

      Margaret Atwood

      I didn’t read Zamyatin’s remarkable novel, WE, until the 1990s, many years after I’d written The Handmaid’s Tale. How could I have missed one of the most important dystopias of the twentieth century, and one that was a direct influence on George Orwell’s 1984 – which was a direct influence on me?

      Perhaps I missed it because I was an Orwell reader but not an Orwell scholar, and a science fiction reader but not a science fiction scholar. When I did finally come across WE, I was amazed by it. And now, reading it again in this fresh, intense translation by Bela Shayevich, I am amazed all over again.

      So much in WE seems prophetic: the attempt to abolish the individual by merging all citizens with the State; the surveillance of almost every act and thought, in part through the charming giant pink ears that quiveringly listen to every utterance; the ‘liquidation’ of dissenters – in Lenin’s writing of 1918, ‘liquidation’ is metaphorical, but in WE it’s literal, as those to be liquidated are in fact transformed into liquid; the erection of a border wall that serves not just to prevent invasion but to keep citizens inside; the creation of a larger-than-life, all-knowing, all-wise Big Brotherish Benefactor who may be simply an image or a simulacrum – all these details foreshadowed things to come. So did the use of letters and numbers rather than names: Hitler’s extermination camps had not yet engraved numbers on their inhabitants, and we of this age had not yet become the fodder for algorithms. Stalin had yet to forge the cult of his own personality, the Berlin Wall was decades in the future, electronic bugging had not been developed, Stalin’s show trials and mass purges would not take place for a decade – yet here is the general plan of later dictatorships and surveillance capitalisms, laid out in WE as if in a blueprint.

      Zamyatin was writing WE in 1920–21, while the civil war that followed the Bolshevik-dominated October Revolution was still ongoing. Zamyatin himself, having been a member of the movement before 1905, was an Old Bolshevik (a group slated for liquidation by Stalin in the 1930s because they stuck to their original democratic-communist ideals instead of going along with Comrade Stalin’s autocracy) – but now that the Bolsheviks were winning the civil war, Zamyatin didn’t like the way things were going. The original communal committees were becoming mere rubber-stampers for the power élite that had emerged under Lenin and would be solidified by Stalin. Was this equality? Was this the flowering of the individual’s gifts and talents that had been so romantically proposed by the earlier Party?

      In his 1921 essay, ‘I Am Afraid’, Zamyatin said: ‘True literature can exist only when it is created, not by diligent and reliable officials, but by madmen, hermits, heretics, dreamers, rebels and sceptics’. In this he was a child of the Romantic movement, as was the Revolution itself. But the ‘diligent and reliable officials’, having seen which way the Lenin–Stalinist wind was blowing, were already busying themselves with censorship, issuing decrees about preferable subjects and styles, and pulling out the unorthodox weeds. This is always a dangerous exercise in a totalitarianism, since weeds and flowers are likely to change places in the blink of an autocrat’s eye.

      WE can be viewed in part as a utopia: the goal of the One State is universal happiness, and it argues that since you can’t be both happy and free, freedom has to go. The ‘rights’ over which people were making such a fuss in the nineteenth century (and over which they continue to make such a fuss now) are viewed as ridiculous: if the One State has everything under control and is acting for the greatest possible happiness of everyone, who needs rights?

      WE follows a long line of nineteenth century utopias that also proposed recipes for universal happiness. So many literary utopias were written in the nineteenth century that Gilbert and Sullivan created an operatic parody of them called Utopia, Limited. A few highlights are Bulwer-Lytton’s The Coming Race (a superior human race lives underneath Norway, with an advanced technology, inflatable wings, reason over passion, and females who are bigger and stronger than males); News from Nowhere by William Morris (socialist and equal, with arts and crafts, artistic clothing, and every female a Pre-Raphaelite stunner); and A Crystal Age by W.H. Hudson, in which people not only have beauty and artistic clothing, but are rendered happy, like the Shakers, through having no interest in sex whatsoever.

      The later nineteenth century was obsessed with ‘the woman problem’ and ‘the new woman’, and not a single utopia – and then not a single dystopia – could refrain from tinkering with existing conventions concerning sex. Nor could the U.S.S.R. Its early attempts to abolish the family, to raise children collectively, to allow instant divorce, and, in a few cities, to decree it a crime for a woman to refuse to have sex with a male Communist (nice try, guys!) created such a farcical and shambolic misery that Stalin backpedalled furiously in the 30s.

      But Zamyatin was writing in the early, fermenting period, and it is this cluster of attitudes and policies that WE satirises. Though people live in literal glass houses, with all of their actions transparent, they lower their blinds modestly for the hour of sex, booked in advance via pink ticket and duly recorded by an older woman in the foyer of each apartment building, according to regulations. But though everyone has sex, only women who meet certain physical specifications are allowed to have children: eugenics was considered ‘progressive’ at this time.

      As in Jack London’s 1908 novel, The Iron Heel – a dystopia hoping for a utopian future – and also in Orwell’s 1984, the driving forces of dissent in WE are female. D-503, the male protagonist, begins as a dedicated member of the One State, preparing to send a rocket into the universe with the aim of sharing the One State’s recipe for perfect happiness with worlds unknown. Dystopian characters are prone to journal-writing, and D-503 intends his journal for the universe. But soon the plot thickens, and so does D’s prose. Has he been dipping into Edgar Allan Poe in his more lurid moments? Or the German Gothic Romantics? Or Baudelaire? Possibly. Or his author has.

      The cause of this emotional disruption is sex. If only D could stick to his scheduled sexual appointments and his pink tickets! But he cannot. Enter I-330, an angular, individualistic secret bohemian and alcohol-drinking dissident who seduces him in a hidden love nest and leads him to question the One State. She is in sharp contrast to O-90, a round, compliant woman who’s forbidden to have children because she’s too short, and who is D’s registered pink-ticket sexual partner. O can stand for a circle – completion and fullness – or for an empty zero, and Zamyatin chooses both. At first we think O-90 is a nullity, but when she becomes pregnant despite the official veto, she surprises us.

      Much has been written about the difference between I-cultures and We-cultures. In an I-culture such as the United States, individuality and personal choice

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