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<v Speaker 1>Section sixteen of we Featuring Records thirty two and thirty three.

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<v Speaker 1>This is a LibriVox recording. All LibriVox recordings are in

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<v Speaker 1>the public domain. For more information or to volunteer, please

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<v Speaker 1>visit LibriVox dot ORGUI by Jevgeny Zamyatin, translated by Gregory Zilberg,

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<v Speaker 1>Record thirty two. I do not believe tractors a little

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<v Speaker 1>human splinter? Do you believe that you will die? Oh? Yes,

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<v Speaker 1>man is mortal? I am a man. Consequently, no, not

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<v Speaker 1>that I know that you know that. But I ask,

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<v Speaker 1>has it ever happened that you actually believed it? Believe,

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<v Speaker 1>definitely believe, not with your reason, but with your body,

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<v Speaker 1>that you actually felt that some day those fingers which

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<v Speaker 1>now hold this page will become yellow. I see. No,

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<v Speaker 1>of course, you cannot believe this. That is why you

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<v Speaker 1>have not jumped from the tenth floor to the pavement before. Now,

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<v Speaker 1>that is why you eat, turn over these pages, shave smile,

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<v Speaker 1>write this very thing. Yes, exactly, this is alive in

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<v Speaker 1>me to day. I know that the small black hand

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<v Speaker 1>on the clock will slide down here towards midnight. Then

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<v Speaker 1>again it will start to ascend, and it will cross

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<v Speaker 1>some last border, and the improbable tomorrow will have arrived.

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<v Speaker 1>I know it, but somehow I do not believe it,

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<v Speaker 1>or perhaps I think that twenty four hours are twenty

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<v Speaker 1>four years. Therefore, I am still able to act, to hurry,

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<v Speaker 1>to answer questions, to climb the rope ladder to the integral.

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<v Speaker 1>I am still able to feel how the latter is

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<v Speaker 1>shaking the surface of the water, and I still understand

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<v Speaker 1>that I must grasp the railing, and I am still

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<v Speaker 1>able to feel the cold glass in my hand. I

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<v Speaker 1>see the transparent living cranes bending their long necks, carefully

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<v Speaker 1>feeding the integral with the terrible explosive food which the

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<v Speaker 1>motors need. I still see below the river, the blue

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<v Speaker 1>veins and knots of water swollen by the wind. Yet

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<v Speaker 1>it all seems very distant from me, foreign flat, like

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<v Speaker 1>a draft on a sheet of paper. And it seems

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<v Speaker 1>to me strange when the flat draft like face of

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<v Speaker 1>the second builder suddenly asks, well, then, how much fuel

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<v Speaker 1>for the motor shall we load on? If we count

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<v Speaker 1>on three or say three and a half hours, I

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<v Speaker 1>see before me over a draft, my hand with the

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<v Speaker 1>counter and the logarithmic dial at the figure fifteen fifteen tons,

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<v Speaker 1>But you'd better take yes, better take a thousand. I

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<v Speaker 1>said that, because I know that tomorrow. I noticed that

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<v Speaker 1>my hands and the dial began to tremble. A thousand.

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<v Speaker 1>What do you need such a lot for that would

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<v Speaker 1>last a week? No more than a week? Well, nobody knows,

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<v Speaker 1>I do know. The wind whistled, the air seemed to

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<v Speaker 1>be stuffed to the limit with something invisible. I had

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<v Speaker 1>difficulty in breathing, difficulty in walking, and with difficulty slowly,

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<v Speaker 1>but without stopping for a second. The hand of the

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<v Speaker 1>accumulating tower was crawling. At the end of the avenue.

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<v Speaker 1>The peak of the tower reached into the very clouds,

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<v Speaker 1>dull blue, groaning in a subdued way, sucking electricity from

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<v Speaker 1>the clouds. The tubes of the musical tower resounded as always,

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<v Speaker 1>bore a breast, but the rose did not seem as

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<v Speaker 1>firm as usual. They were swinging, bending more and more,

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<v Speaker 1>perhaps because of the wind. There they seemed to have

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<v Speaker 1>stumbled upon something at the corner, and they drew back

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<v Speaker 1>and stopped, congealed a close mass, a clot breathing rapidly.

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<v Speaker 1>At once, all had stretched their necks like geese. Look, no, look,

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<v Speaker 1>look there, quick they are those they ah never never,

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<v Speaker 1>I'd rather put my head straight into the machine. Silence,

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<v Speaker 1>are you crazy? On the corner the doors of the

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<v Speaker 1>auditorium were ajar, a heavy column of about fifty people.

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<v Speaker 1>The word people is not the right one. These were

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<v Speaker 1>heavy wheeled automatons, bound in iron and moved by an

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<v Speaker 1>invisible mechanism. Not people, but a sort of human like tractor.

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<v Speaker 1>Over their heads, floating in the air, a white banner

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<v Speaker 1>with a golden sun embroidered on it, and the rays

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<v Speaker 1>of the sun. We are the first. We have already

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<v Speaker 1>been operated upon. Follow us, all of you. They slowly,

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<v Speaker 1>unhesitatingly mowed through the crowd, and it was clear that

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<v Speaker 1>if they had had in their way a wall, a tree,

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<v Speaker 1>a house, they would have moved on with no more hesitation,

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<v Speaker 1>through wall, tree or house. In the middle of the avenue,

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<v Speaker 1>they fused and stretched out into a chain, arm in arm.

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<v Speaker 1>Their faces turned towards us, and we a human clot

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<v Speaker 1>tens the hair pricking our heads. We waited. Our necks

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<v Speaker 1>were stretched out goose fashion clouds. The wind whistled. Suddenly,

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<v Speaker 1>the wings of the chain from right and left bent

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<v Speaker 1>quickly around us, and faster faster, like a heavy engine

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<v Speaker 1>descending a hill. They closed the ring and pulled us

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<v Speaker 1>toward the yawning doors, and inside somebody's piercing cry, they

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<v Speaker 1>are driving us in run. All ran close to the wall.

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<v Speaker 1>There was still an open, living gait of human beings.

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<v Speaker 1>Everybody dashed through it heads forward. Their heads became sharp wedges,

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<v Speaker 1>so with their ribs, shoulders hips, like a stream of

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<v Speaker 1>water compressed in a fire hose. They spurted out in

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<v Speaker 1>the form of a fan, and all around me stamping feet,

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<v Speaker 1>raised arms. Eunus, the double curved s with its transparent

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<v Speaker 1>winglike ears, appeared for a moment close before my eyes.

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<v Speaker 1>He disappeared as suddenly I was alone among arms and legs,

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<v Speaker 1>appearing for a second and disappearing. I was running. I

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<v Speaker 1>dashed to the entrance of a house to stop for

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<v Speaker 1>a breath, my back close to the door, and immediately,

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<v Speaker 1>like a splinter borne by the wind, a human being

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<v Speaker 1>was thrown towards me. All the while I I have

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<v Speaker 1>been following you. I do not want, do you see

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<v Speaker 1>I do not want. I am ready to small round,

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<v Speaker 1>hands on my sleeves, round dark blue eyes. It was

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<v Speaker 1>O ninety. She just slipped along my body like a

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<v Speaker 1>unuf which its hanger broken, slips along the wall to

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<v Speaker 1>fall upon the floor like a little bundle. She crumbled

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<v Speaker 1>below me on the cold doorstep, and I stood over her,

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<v Speaker 1>stroking her head, her face. My hands were wet. I

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<v Speaker 1>felt as if I were very big and she very small,

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<v Speaker 1>a small part of myself. I felt something quite different

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<v Speaker 1>from what I feel towards I three thirty. I think

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<v Speaker 1>that the ancients must have had similar feelings toward their

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<v Speaker 1>private children. Below, passing through her hands with which she

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<v Speaker 1>was covering her face, A voice came to me. Every night,

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<v Speaker 1>I I cannot if they cure me. Every night I

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<v Speaker 1>sit in the darkness alone and think of him, and

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<v Speaker 1>of what he will look like when I, if cured,

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<v Speaker 1>I should have nothing to live with. Do you understand me?

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<v Speaker 1>You must, You must an absurd feeling, Yet it was there.

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<v Speaker 1>I really must absurd because this duty of mine was

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<v Speaker 1>nothing but another crime. Absurd because white and black cannot

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<v Speaker 1>be won. Duty and crime cannot coincide. Or perhaps there

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<v Speaker 1>is no black and white in life. But everything depends

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<v Speaker 1>upon the first logical premise. If the premise is that

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<v Speaker 1>I unlawfully gave her a child, it is all right,

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<v Speaker 1>but don't only don't, I said, of course, I understand.

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<v Speaker 1>I must take you to I three thirty, as I

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<v Speaker 1>once offered to so that she yes this in a

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<v Speaker 1>low voice, without uncovering her face. I helped her rise silently.

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<v Speaker 1>We went along the darkening street, each busy with his

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<v Speaker 1>own thoughts, or perhaps with the same thought. We walked

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<v Speaker 1>between silent leaden houses, through the tense whipping branches of

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<v Speaker 1>the wind, through the whistling of the wind. All at

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<v Speaker 1>once I heard, as if splashing through ditches, the familiar

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<v Speaker 1>footsteps coming from some unseen point at the corner. I

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<v Speaker 1>turned around, and among the clouds flying upside down, reflected

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<v Speaker 1>in the dim glass of the pavement, I saw s.

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<v Speaker 1>Instantly my arm became foreign, swinging out of time, and

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<v Speaker 1>I began to tell O ninety in a low voice,

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<v Speaker 1>that tomorrow, yes, tomorrow, was the day of the first

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<v Speaker 1>flight of the integral, and that it was to be

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<v Speaker 1>something that never happened before in all history, great miraculous

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<v Speaker 1>think of it for the first time in life, to

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<v Speaker 1>find myself outside the limits of our city and see,

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<v Speaker 1>who knows what is beyond the green wall. Oh ninety

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<v Speaker 1>looked at me, extremely surprised, her blue eyes trying to

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<v Speaker 1>penetrate mine. She looked at my senselessly swinging arms. But

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<v Speaker 1>I did not let her say a word. I kept talking, talking,

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<v Speaker 1>and within me, apart from what I was saying, and

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<v Speaker 1>audible only to myself, I thought, was feverishly buzzing and knocking. Impossible.

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<v Speaker 1>You must somehow, you must not lead him to I

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<v Speaker 1>three thirty. Instead of turning to the right, I turned

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<v Speaker 1>to the left the bridge, which submissively bent its back

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<v Speaker 1>in a slavish way, to all three of us, to me,

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<v Speaker 1>to OH, to him. Behind lights were falling from the

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<v Speaker 1>houses across the water, falling and breaking into thousands of sparks,

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<v Speaker 1>which danced feverishly, sprayed with the mad white foam of

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<v Speaker 1>the water. The wind was moaning like a tensely stretched

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<v Speaker 1>string of a double basso somewhere not far away, through

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<v Speaker 1>this baso behind. All the while the house where I live,

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<v Speaker 1>at the entrance, Oh stopped and began, no, you promised,

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<v Speaker 1>did you not? That I did not let her finish hastily.

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<v Speaker 1>I pushed her through the entrance, and we found ourselves

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<v Speaker 1>in the lobby, at the controller's desk, the familiar hanging excitedly,

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<v Speaker 1>quivering cheeks. A group of numbers around. They were quarreling

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<v Speaker 1>about something, heads bending over the banisters on the second floor.

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<v Speaker 1>They were running downstairs one by one. But about that later.

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<v Speaker 1>I at once drew O ninety into the opposite unoccupied

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<v Speaker 1>corner and sat down with my back to the wall.

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<v Speaker 1>I saw a dark, large headed shadow gliding back and

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<v Speaker 1>forth over the sidewalk. I took out my note book.

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<v Speaker 1>O ninety, in her chair was slowly sinking, as if

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<v Speaker 1>she were evaporating from under her unuf, as if her

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<v Speaker 1>body were thawing, as if only her empty unif were left,

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<v Speaker 1>and empty eyes taking one into the blue emptiness in

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<v Speaker 1>a tired voice, Why did you bring me here? You

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<v Speaker 1>lied to me? No, not so loud. Look here? Do

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<v Speaker 1>you see through the wall? Yes? I see a shadow.

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<v Speaker 1>He is always following me. I cannot. Do you understand?

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<v Speaker 1>I cannot? Therefore, I am going to write a few

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<v Speaker 1>words to I three thirty. You take the note and

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<v Speaker 1>go alone. I know he will remain here. Her body

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<v Speaker 1>began again to take form and to move beneath the

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<v Speaker 1>unuf on her face a faint sunrise dawn. I put

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<v Speaker 1>the note between her cold fingers pressed her hand firmly,

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<v Speaker 1>and with the last time, looked into her blue eyes

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<v Speaker 1>good bye. Perhaps some day. She freed her hand slightly,

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<v Speaker 1>bending over, she slowly moved away, made two steps, turned

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<v Speaker 1>around quickly, and again we were side by side. Her

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<v Speaker 1>lips were moving. With her lips and with her eyes,

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<v Speaker 1>she repeated some inaudible word, what an unbearable smile? What suffering?

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<v Speaker 1>Then the bent over human splinter went to the door,

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<v Speaker 1>a bent over little shadow beyond the wall. Without turning around,

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<v Speaker 1>she went on faster, still faster, I went to you desk.

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<v Speaker 1>With emotion filling up her indignant gills, she said to me,

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<v Speaker 1>they've all gone crazy. He, for instance, is trying to

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<v Speaker 1>assure me that he himself saw a naked man covered

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<v Speaker 1>with hair near the ancient house. A voice from the

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<v Speaker 1>group of empty raised heads, Yes, I repeat it, yes,

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<v Speaker 1>Well what do you think of that? Oh? What a delirium?

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<v Speaker 1>The word delirium came out of her mouth, so full

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<v Speaker 1>of conviction, so unbending, that I asked myself, perhaps it

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<v Speaker 1>really was nothing but delirium all that has been going

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<v Speaker 1>on around me of late. I glanced at my hairy hand,

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<v Speaker 1>and I remembered there are undoubtedly some drops of that

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<v Speaker 1>blood of the sun and woods in you. That is

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<v Speaker 1>why perhaps you no, fortunately it was not delirium. Or no,

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<v Speaker 1>unfortunately it was not delirium. Record thirty three, this without

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<v Speaker 1>a synopsis. Hastily the last the day, quick to the newspaper.

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<v Speaker 1>Perhaps there I read the paper with my eyes exactly.

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<v Speaker 1>My eyes now are like a pen, or like a

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<v Speaker 1>counting machine, which you hold and feel in your hands,

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<v Speaker 1>like a tool, something foreign, an instrument. In the newspaper,

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<v Speaker 1>on the first page, in large print, the enemies of

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<v Speaker 1>happiness are awake. Hold to your happiness with both hands.

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<v Speaker 1>Tomorrow all work will stop, and all the numbers are

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<v Speaker 1>to come to be operated upon. Those who fail to

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<v Speaker 1>come will be submitted to the machine of the well doer. Tomorrow.

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<v Speaker 1>How can there be, how can there be any tomorrow?

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<v Speaker 1>Following my daily habit, I stretched out my arm instant

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<v Speaker 1>to the bookshelf to put to day's paper, with the

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<v Speaker 1>rest in a cover ornamented with gold. While doing this,

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<v Speaker 1>what for what does it matter? Never again shall I

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<v Speaker 1>in this cover? Never? And out of my hands, down

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<v Speaker 1>to the floor it fell. I stood, looking all around

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<v Speaker 1>over all my room. Hastily I was taking away, feverishly,

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<v Speaker 1>putting into some unseen valise everything I regretted, leaving here,

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<v Speaker 1>my desk, my books, my chair. Upon that chair sat

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<v Speaker 1>I three thirty that day. I was below on the

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<v Speaker 1>floor my bed. Then, for a minute or two I

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<v Speaker 1>stood and waited for some miracle to happen. Perhaps the

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<v Speaker 1>telephone would ring, perhaps she would say that, But no,

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<v Speaker 1>no miracle. I am leaving, going into the unknown. These

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<v Speaker 1>are my last lines. Very well you, my unknown beloved ones,

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<v Speaker 1>with whom I have lived through so many pages, before

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<v Speaker 1>whom I have bared my diseased soul, my whole self,

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<v Speaker 1>to the last broken little screw, to the last cracked spring,

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<v Speaker 1>I am going. And a section sixteen