None of us older writers had gone through such a school. We are all self-taught. And, of course, there is always, in such a school, the danger of goose-stepping, uniformed ranks. But the Serapion Brethren have already, it seems to me, outgrown this danger. Each of them has his own individuality and his own handwriting. The common thing they have derived from the studio is the art of writing with ninety-proof ink, the art of eliminating everything that is superfluous, which is, perhaps, more difficult than writing.
Yevgeny ZamyatinNone of us older writers had gone through such a school. We are all self-taught. And, of course, there is always, in such a school, the danger of goose-stepping, uniformed ranks. But the Serapion Brethren have already, it seems to me, outgrown this danger. Each of them has his own individuality and his own handwriting. The common thing they have derived from the studio is the art of writing with ninety-proof ink, the art of eliminating everything that is superfluous, which is, perhaps, more difficult than writing.
Yevgeny ZamyatinI am like a machine being driven to excessive rotations: the bearings are incandescing and, in a minute, melted metal will begin to drip and everything will turn to nothing. Quick: get cold water, logic. I am pouring it over myself by the bucketload but the logic sizzles on the hot bearings and dissipates elusive white steam into the air.
Yevgeny ZamyatinAnd why do you think that foolishness is bad? If human foolishness had been as carefully nurtured and cultivated as intelligence has been for centuries, perhaps it would have turned into something extremely precious.
Yevgeny ZamyatinThe old, slow, creaking descriptions are a thing of the past; today the rule is brevity - but every word must be supercharged, high-voltage.
Yevgeny Zamyatinwhat primitive tastes the ancients must have had if their poets were inspired by those absurd, untidy clumps of mist, idiotically jostling one another about
Yevgeny ZamyatinThere are two generic and invariable features that characterize utopias. One is the content: the authors of utopias paint what they consider to be ideal societies; translating this into the language of mathematics, we might say that utopias bear a + sign. The other feature, organically growing out of the content, is to be found in the form: a utopia is always static; it is always descriptive and has no, of almost no, plot dynamics.
Yevgeny Zamyatin