Tags
Summary
Editor's review
Who it's for
A good fit for
- Readers interested in the origins of the dystopian literary lineage (1984, Brave New World)
- Readers who enjoy thought experiments and philosophical reflection on the dialectic between individual freedom and collective order
- Literary enthusiasts who appreciate modernist fiction with strong symbolic resonance and intricate narrative structure
- Social observers concerned with technocracy and the fate of the individual in the data age
Not a good fit for
- Readers seeking light entertainment or conventional linear narrative
- Readers impatient with abstract concepts, philosophical metaphor, and the diary-form interior monologue
Reading tips
- Compare *We* with Huxley's *Brave New World* and Orwell's *1984*, and consider how each emphasizes a different means of control (pleasure-driven conditioning, fear-based surveillance, transparent rationality).
- Pay attention to recurring core images such as mathematics, glass, and curves, and how they construct this cold and unsettling world.
- While reading, consider whether D-503's "soul sickness" symptoms (imagination, dreams, irrational emotions) have taken on different value or new interpretive possibilities today.
About the publisher
Shanghai Translation Publishing House is a Chinese publisher oriented mainly toward translation and publishing. Its publications cover foreign literature, world classics and classic works, as well as social culture, folk literature and classical poetry. The database contains 2,618 titles, including Never Let Me Go, Les Misérables (2 volumes), Don Quixote (illustrated collector's edition), The Complete Comedies of Molière (4 volumes), The Complete Novels of Kafka (3 volumes), The Collected Works of Dostoevsky (9-volume set), Reason and Persons, and Oedipus Rex (Translation Classics). Its author resources include foreign writers such as Kazuo Ishiguro, Victor Hugo, Cervantes and Molière, as well as translators such as Zheng Kelu, Sun Jiameng, Li Jianwu and Zhang Kun. The publisher has brands such as "Translation Classics Selections" and "Translation Documentary," and emphasizes translated works in foreign literature and the humanities and social sciences, while also publishing bilingual dictionaries and foreign-language educational books. Public information is limited; the above is based on the book information in the database.
Contents
- 版权信息
- 记录一 宣言 最睿智的线条 一首史诗
- 记录二 芭蕾舞 和谐的方阵 未知数X
- 记录三 夹克 墙 时刻表
- 记录四 野人与气压计 癫狂 如果
- 记录五 广场 世界的主宰者 令人愉快而又有用的功能
- 记录六 事故 该死的“显然” 二十四小时
- 记录七 一根眼睫毛 泰勒 莨菪与幽谷百合
- 记录八 无理数的根 R-13 三角形
- 记录九 礼拜仪式 抑扬格 铁铸的手
- 记录十 信 薄膜 毛茸茸的我
- 记录十一 不,我没办法…… 跳过这些内容
- 记录十二 无限的界限 天使 反思诗歌
- 记录十三 雾 “汝” 一起极其荒诞的事件
- 记录十四 “我的人” 不可能 冰冷的地板
- 记录十五 气钟 波平如镜的大海 我将永被烈火焚烧
- 记录十六 黄色 二维的影子 无可救药的灵魂
- 记录十七 穿过玻璃 我死了 走廊
- 记录十八 逻辑的迷宫 创伤与膏药 此后再也不会
- 记录十九 无穷小的三阶函数 愁眉不展的一瞥 越过护墙
- 记录二十 放电 理念的材料 零之绝壁
- 记录二十一 一个作者的责任 膨胀的冰块 最艰难的爱
- 记录二十二 凝固的波浪 一切都很完美 我是一个微生物
- 记录二十三 花 一个晶体的溶解 只要……
- 记录二十四 函数的极限 复活节 删掉一切
- 记录二十五 从天堂降临 史上最大灾难 已知的终结
- 记录二十六 世界依然存在 出疹子 四十一摄氏度
- 记录二十七 没有目录——不能有
- 记录二十八 两个女人 熵与能量 身体不透明的部位
- 记录二十九 脸上的丝线 发芽 别扭的收缩
- 记录三十 最后的数字 伽利略的错误 难道这样不是更好?
- 记录三十一 伟大的手术 我原谅了一切 火车相撞
- 记录三十二 我不相信 人形拖拉机 一个小小的人儿
- 记录三十三 (没时间写目录了,最后的记录)
- 记录三十四 休假的人 明媚的夜晚 无线电女武神
- 记录三十五 箍中 胡萝卜 谋杀
- 记录三十六 白纸 基督教的上帝 关于我的母亲
- 记录三十七 纤毛虫 世界末日 她的房间
- 记录三十八 (我不知道这里是怎么回事,或许只不过是:一个烟蒂)
- 记录三十九 结局
- 记录四十 事实 气钟 我坚信
- 附录 论文学、革命、熵与其他话题
FAQ
What is the place of *We* in literary history?
Why is it called *We*? What is the significance of the title?
What was the background of the author, Zamyatin?
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About the author
Yevgeny Zamyatin was a Russian writer whose biographical details are relatively limited in publicly available sources, yet he occupies a significant place in the lineage of dystopian literature. Four of his works are included in this catalog, among them the novel We, as well as a "Dystopian Novel Trilogy" collection placing it alongside 1984 and Brave New World, and a three-volume "Dystopian Trilogy" set. These works are generally classified under foreign literature and world classics. Set in a highly rationalized future society, We explores the tension between individual freedom and collective order, with a cold, symbolically charged narrative. Zamyatin's style is concise and restrained, using a science-fiction framework to reflect on social systems, and his writing has had an inspiring influence on later dystopian fiction.
Public information about Chen Chao is limited, and his translation work can only be understood from the 39 titles included in the database. He is mainly active in the translation of foreign literature, with translations concentrating on classics of dystopian and war fiction, including All Quiet on the Western Front, Nineteen Eighty-Four, Animal Farm, and the boxed set We + 1984 + Brave New World. His work also covers Orwell's The Road to Wigan Pier and the collected reviews. He thus focuses on twentieth-century critical writing and Western intellectual texts, with translations intended for world classics and essay collections. His translations serve the ideas and narratives of the originals, acting as a bridge for Chinese readers encountering Orwell and related dystopian literature.