The Great, Forgotten Yevgeny Zamyatin (Part 1 of 2)

Portrait of Zamyatin By Boris Kustodiev (1923)

“As the first major anti-utopian fantasy…(Zamyatin’s) We has its own peculiar wryness and grace, sharper than the pamphleteering of 1984 or the philosophical scheme of Brave New World, its celebrated descendants.”  — Kirkus Reviews

“…why should one get one’s work to the largest number of people possible?  Do mere numbers of readers really signify anything?  Art is not a democracy, but only an aristocracy of excellence.”–  S.T. Joshi in Classics & Contemporaries

One author who is obscure, but also excellent, is the great, forgotten Yevgeny Zamyatin (1884-1937).  In fact, I would argue that Zamyatin is an exception to Joshi’s rule.  I feel compelled to take time off from my own writing and self-promotion to  mount a posthumous campaign on behalf of the Russian author, to increase his readership, because he is so obscure that a great many speculative fiction readers have never even heard of him.

Their loss is great.

In fact, I only happened onto him by chance.  One day last summer, I browsed an old, small town, brick-and-mortar bookstore and happened onto a mass market paperback translation of the dystopian novel We.  In the course of reading translator Mirra Ginsburg’s introduction, and then (in short order) finishing the 230 page novel, I felt so impressed by his talent and so frustrated by his obscurity that I decided I had to blog about him.  I finally have a few moments to do this, so let’s get started.

I should start by pointing out that when I say Zamyatin is “obscure” , this is relative.  His work was, after all, published as a mass market paperback by Harper Collins’ Eos Science Fiction imprint two generations after his death.  But the real injustice is that his work remains lesser-known that that of the authors he influenced (George Orwell, Ayn Rand, and Aldous Huxley).  This, in spite of the fact that he, more than any of his literary descendants, lived the dystopia he wrote about and (arguably) wrote a novel that achieved a much greater sense of dread, and even horror.

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The KFC Yum! Center: Louisville’s 238 Million Dollar Mobile Home

 

Architect's Sketch Of KFC Yum! Center

 

 

KFC Yum! Center During Construction (Photo by "Censusdata")

 

 

 

 

 

 

 

 

 

 

Kentucky has lots of problems.

Back in 2000, a report found that 40% of the state population read below the 9th grade level.

More recent data indicate that Kentucky has the greatest number of child deaths related to abuse or neglect, as well as the the nation’s fifth-highest poverty rate.

Given this state of affairs, one would assume that the Bluegrass state’s officials would sagely to stretch the public dollar.  After all, that’s the whole point of government spending, right?  The greatest good for the greatest number, and all that.

Nope.

It’s not as though I actually have any faith in government to solve these problems.  But perhaps it should have the decency to at least put on a convincing show of trying.

Not in Kentucky, though.

There, the government social policy panacea is…basketball.  Specifically, a massive, publicly-subsidized  home for the local college’s mediocre basketball team –  a downtown eyesore given the absurd moniker, “The KFC Yum! Center”.

(The punctuation confuses me.  Are we all supposed to shout “Yum”?)

Oh, it gets worse.

Guess who’s face adorns the KFC Yum! Center?

One might guess Abe Lincoln.  After all, he was born in Kentucky.  Or maybe even Muhammed Ali (the greatest athlete ever born in Louisville).

If you guessed either of those, you’d be wrong.

If, however, you guessed the man responsible for many of the state’s 10,000 annual deaths from heart disease, Colonel Harlan Sanders, you’d be correct!  Now, true, his face shares space on the outside arena wall with the Pizza Hut and Taco Bell logos — but still…really?  Colonel Sanders?

This whole insane project was funded by convincing a largely uncritical/apathetic public that the venture would somehow bring lots of jobs to the city.  I have to think that the people building this have to know better.  The most objective, methodologically-sound studies prove that even professional sports arenas “do not spur large-scale economic activity”.  Sure, there are some construction jobs created in the short term.  But the evidence suggests that ultimately, there’s no real economic boost for the city.

But don’t take my word for all of this.  Visit the web site for the Louisville Arena Authority and the wretched facility itself .  The only silver lining to all of this  is that Lady Gaga is booked to play the KFC Yum! Center next year.

No doubt, she will show up in a chicken costume.

Great Moments In Bizarro History: Ayn Rand’s 1946 Letter To Walt Disney

anthemI have to confess that — up until yesterday –  I’d not read any of Ayn Rand‘s work (although I’ve heard a little about her ideas over the years).

A couple of days ago — while browsing a local Borders store — I skimmed the first few pages of some of her books in the literature section.   That’s sort of how I separate the wheat from the chaff, in my reading life.  I pick up a book and read the first paragraph.  If it snags me, I’ll buy it.  If it doesn’t, it goes back on the shelf.

Atlas Shrugged and The Fountainhead didn’t snag me.  But Anthem did.

Unlike her better known work, Anthem is a work of speculative fiction — a dystopian story set in a near future in which a new dark age has overtaken humanity and individuality is squashed.  Even the word “I” has been outlawed, and our protagonist (named “Equality 7-2521″ )  refers to himself repeatedly as “we” .

It is a tale about leveling — a tale about a state that worships equality to such a degree that any talent is discouraged (because talent implies uniqueness, and uniqueness is blasphemy).

It is, all in all, a grim tale to start off with.  It should go without saying that this piece of work is not exactly Disneyesque.

And yet, Disney was exactly the man who Rand wanted to bring Anthem to the silver screen.  In the introduction to Anthem, Rand’s “intellectual heir” Leonard Peikoff quotes from a letter Rand wrote to Walt Disney.  I haven’t read the letter in its entirety, but the quoted section itself is slightly amusing.

Rand writes to Disney that if Anthem were ever made into a film, “I would like to see it done in stylized drawings, rather than with living actors” (Hint, Hint…Walt).

The idea of Disney taking on Rand’s statist dystopia (“Walt Disney’s ANTHEM”) makes my brain hurt.    It’d be like if Disney had filmed Orwell’s 1984.  It’s just…not-very-Disney.

Perhaps I’m thinking this way because Disney has, fairly or unfairly, come to symbolize suburban conformity.  At the very least, from a  feminist perspective, classic female Disney cartoon characters were never iconoclasts.  They defined their success as snagging the right man (Cinderella) or changing the wrong one into the right one (Beauty & The Beast).

Granted, at the time Rand wrote Disney, the theme parks hadn’t been built.  A generation hadn’t been inspired to don silly mouse-ear beanies.  But surely, Rand had to have some sense that she was barking up the wrong tree.

But then again, maybe not, a quick Google search of “Ayn Rand Walt Disney” revealed that an Ayn Rand quote appears emblazoned on the wall of a Disney attraction, The American Adventure, at Epcot Center.

Which just heightens my resolve to add the Disney/Rand connection to my list of Great Moments In Bizarro History.

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