Foreword

The proletarian writers of the Soviet Union worked hard to create after the October Revolution, and in 1918 the Proletarian Indoctrination Corps published a series of books on proletarian novelists and poets. In the summer of 20 years, another conference of writers was held. The great combination of the first literary scholars was the group called the "Forge Mill".

But the authors of this group, often under the influence of deep traditions, were so little original, that after the implementation of the NEP, they mistakenly believed that the revolution was close to defeat, and folded the wings of illusion, and could hardly sing. The first to declare war on them was the critic of the Nabastus faction, Ingurov, who said:

"For our day, they are slacking off because our day is not as brilliant as it was in October. They...... Unwilling to step down the hero Dearlingbia. It's all too commonplace. It's not their business. ”

In December 1922, a group of proletarian writers gathered in the editorial office of the "Young Guard" and decided to form another "October Regiment", and the members of the "Forge and Smelter" and the "Young Guard" left the old society and joined many people, which was the beginning of the split of the "Forge and Smelter". The "October Regiment" asserted, as Lieliewich said, was that "the civil strife is over, and the era of 'storms and raids' has passed." And the era of gray storms has arrived, and under the curtain of boredom, new 'storms' and new 'attacks' are secretly prepared. "So lyric poetry must be replaced by narrative poetry and fiction; Lyric poetry should also "be blood, flesh, to show us the mood and feelings of the living, and not to express the joy of Plato's first-class delight." ”

However, the idea of the "Young Guards" was somewhat similar to that of the "October Regiment."

It is true that the literature of the proletarians after the revolution is also the most poetic, but the content and technology are very few outstanding. Talented revolutionaries are still in the vortex of bloody battles, and the literary world is almost entirely monopolized by relatively idle "fellow travelers". However, step by step, it proceeded with the reality of society, gradually moving from the abstract and subjective to the concrete, the real description, and the monumental masterpieces were published one after another, such as Lippijinsky's "One Week", Tselafimovicz's "Iron Flow", and Geratkov's "Shimintu", all of which were great gains in 1923-24 and have been transplanted to China and are familiar to us.

Writers who stood on a new standpoint of intellectuals have produced many generations, and some "fellow travelers" on the other side have also become close to reality, such as Ivanov's "Hapu" and Fiding's "City and Year", which are also known as important achievements in the Soviet literary world. The writers who were like fire and water in the past seem to be gradually getting along now. However, this literary proximity and origin are actually very different. Professor Ke Gang said in his book "Literature of the Great Decade":

"Although proletarian literature has undergone many changes and struggles between various groups, it has always developed with one idea as its standard. This concept is to regard literature as the expression of the class level, the artistic base of the proletariat's sense of the world, the formalization of consciousness, the factor that makes the will move towards a certain action, and finally, the conceptual form of the weapon in battle. Despite the disagreements between the various groups, we have never seen anyone who wants to revive a literature that is supraclass, self-sufficient, value-intrinsic, and has nothing to do with life. Proletarian literature proceeds from life, not from literature. Although because the writers' horizons have expanded, and have moved from the subject of direct struggle, to psychological problems, ethical questions, feelings, passions, and subtle experiences of the human heart, all those problems that are called the subject of the eternal end of all mankind have gone, and ' Literariness has also taken on an increasingly glorious position; the so-called artistic techniques, expressions, techniques, and the like will be of great significance; the study of art, the study of art, and the study of artistic techniques have become urgent and important slogans; and sometimes it is as if literature has gone in a big circle and returned to its original place.

"The literature of the so-called 'fellow travelers' has opened up a different path. They went from literature to life. They start from the inner skill of value. They first regarded the revolution as the subject of artistic works, and they said that they were enemies of all tendencies, and dreamed of a free republic without writers of tendencies.

However, these 'pure' literati – and they were probably young men – could not help but be drawn into the boiling war on all fronts. They took part in the war. Thus the proletarian writers, who had come from the real life of the revolution to literature, and the 'fellow travelers' who had reached the real life of the revolution from literature, met at the end of the first ten years. At the end of the first decade, a union of Soviet writers was organized. Under this alliance, they will carry each other forward and move forward. It is not surprising that the end of the first decade is commemorated by such a great trial. ”

It can be seen that by 1927, the "fellow travelers" of the Soviet Union had been influenced by reality and understood the revolution, and the revolutionaries had acquired literature through hard work and education. But only a few years of training can't erase the traces. When we look at the works, we always feel that although the former writes about revolution or construction, they always show the look of being a bystander, while the latter is always in it as soon as he writes it, and it is all his own business.

Unfortunately, the short stories of the proletarian writers I have seen are very limited, and of these ten, the first two are still "fellow travelers", and two of the last eight are also translated by others borrowed by merchants, but they are extremely reliable translations, and the great authors have left out a lot, but fortunately, there are probably other long stories that can be read, so now I will not wait for them, but they will be collected.

As for the author's biography and the book on which the translation is based, they are also written in the "Afterword", just like the "Harp".

At the end of the day, I would like to thank my friends who helped me gather biographical material.

On the night of September 18, 1932, Lu Xun remembered.

postscript

Bo

is Pil

iak), whose real surname is Wogau, was born in 1894 on the coast of the Volga to a family of Germanic, Jewish, Russian, and Tatar blood. At the age of nine, he tried to write essays, and when he printed essays, he was fourteen. He was one of the members of the "Brothers of Serabion" and published the novel "The Year of the Essence of Light" in 1922, which won great literary fame. This is his description of the sour, cruel, ugly, and boring events and scenes he experienced during the civil war era in the form of essays or miscellaneous feelings. There is no protagonist in it, and if you want to seek a protagonist, it is "revolution". The revolution that Brinek writes about is actually nothing more than a riot, a rebellion, a jump from the primitive forces of nature, and the countryside after the revolution is only disgust and despair. He gradually became a reactionary Qu Kui, attacked by Soviet critics, and at the worst in 1925, he almost fell from the literary scene. However, it was not until 1930, after the publication of the novel "Volga Flows to the Caspian Sea," which was based on the five-year plan and described the conspiracy of the counterrevolution and its failure, that he regained some prestige and was still regarded as a "fellow traveler".

"Kupeng" is translated from "A Year of Their Life" translated by Masahide Hiraoka, the 36th part of "New Selection of Overseas Literature", and it was still written in 1919, which is very old in terms of time, but at this time the Soviet Union was in trouble, and the author's attitude was more sincere than after he became famous. However, it is still close to the appearance of an essay, combining legends, superstitions, love, war and other sporadic small materials, forming a piece, with the view of inlay and fine work, but it is also quite pleasing to the eye. Professor Kegang thinks that Brinek's novels are actually the material of novels (see "Literature of the Great Decade"), and it is also very pleasant to use in this article.

Lidia Seifulli

a) born in 1889; Her father was a Tatar who believed in Yashua, and her mother was a peasant girl. After graduating from the seventh grade of high school, she became a teacher in an elementary school, and sometimes went to various places to act in dramas. She joined the Social Revolutionary Party in 1917, but in 19 she left the Party when the Party fought against the revolution. In 1921, he wrote a short novel for a Siberian daily newspaper, which was very popular with readers, and he began to write one after another, the most famous of which are "Verinya" (translated by Mu Mutian in China) and "The Prisoner". (There is a Cao Jinghua translation in China, in "Tobacco Bag.") Translated from Fuji Tatsuma's translation in Volume 23 of the Complete Works of New Literature, "Fertilizer" is suspected to have been written in 1923 and is about the struggle between poor peasants and rich peasants in a village during the October Revolution, the former of which finally failed. Such incidents were common in revolutionary times, and not only in the Soviet Union. However, the author writes very vividly, the insidiousness of the landlords, the rudeness and seriousness of the revolutionaries in the countryside, and the resoluteness of the old peasants, all of which are as vivid as they are now, and there is no such thing as the indifference of ordinary "fellow travelers" to the revolution.

However, translating her work is a difficult undertaking, and at the end of this article, the original translator has a "postscript" that says:

"It is really hard to understand Suivrina's work, which is written in the vernacular of the peasants, and I heard that even in Russia, if you are not well versed in the customs and sounds of the country, you will not be able to read it. As a result, there is a special dictionary for reading Suiflina's work. I don't have such a dictionary at hand.

This translation has been previously published in other publications, but this time it has been retranslated. If there is always something difficult to understand, seek advice from a Tatar woman who is well versed in peasant affairs. Suivrina is also of the Tatar line. But after asking for advice, I became more aware of the difficulty of this article. This translation is naturally not enough to convey the author's mood, but compared to the old translation, I think it is much better. You have to go to Tambov or the countryside there, and live among the peasants for three or four years, and then you may be able to get a complete translation. ”

However, the translator changed the local dialect that I knew after seeking advice to the local dialect of the Japanese countryside that I did not understand, so I had to also seek advice from Mr. M, who grew up in the Japanese countryside, and reluctantly translate it, while in the peasant language, he no longer used the local dialect of a certain place, and still used the usual so-called "vernacular", because I knew that no one would come to make a dictionary of my translation. But in the brilliance of the original work, I am afraid that a lot has been lost.

Nikolei Liashko was born in 1884 in a small city in Harikkov to soldiers and peasant girls. He worked first as a waiter in a coffee shop, and then as a worker in a tannery, machine-building, and shipyard, while listening to the lectures of the workers' night school. In 1901 he joined the secret society of workers, so he spent nearly ten years in a life of arrest, imprisonment, surveillance, and pursuit, but it was in this life that he began to write. After the October Revolution, he was a member of the proletarian literary group "The Forge Mill", and his famous work is "The Melting Pot", which writes about the destruction of factories destroyed in the era of civil strife and revived by the solidarity of the workers themselves, in a pattern similar to Gratkov's "Shimintu".

"The Silence of Iron" was written in 1919 and is now a retranslation of the short story of Lucia from the laborer Lucia, a translation by Shiro Tomura. If you look at the time of its completion, you can see that what is written is the situation immediately after the revolution, the enthusiasm of the workers for revival, and the self-interest of the burghers and peasants in the time of the revolution, all appear in this short story. But the author is a person who has some connection with tradition, so although he is a proletarian writer, his conceptual form is relatively similar to that of a "fellow traveler", but he is a proletarian writer, so the sympathy is clear at a glance on the part of the workers. The hatred of the peasants was also common in the works of the proletarians in the early days, and now writers are trying to correct it, such as Fadeev's "Destruction", for which a lot of space is expended.

Aleksa

d

Neve

ov) whose real surname is Skobelev, born in 1886 as Samara

a) The son of a farmer in the state. After graduating from the second class of the Normal School in 1905, he became a teacher in the village school. During the Civil War, he was the editor of the Red Guards, the organ of the Revolutionary Military Council of Samarra. In 1920-21***, he fled from Volga to Tashkent with the hungry people, went to Mesco in 22, joined the "forge factory", and died of heart palsy in the winter of 22 at the age of Chinese New Year's Eve. His first novels, published in 1905, have since written a large number of them, the most famous of which is Tashkent, the Fertile City, which is translated by Mu Mutian in China.

"I Want to Live" is an excerpt from Albert Einstein's Ma

ia Ei

stei

Translated as Das A

tlitz des Lebe

s). Fighting for the suffering mothers who died, for the children who will suffer the same in the future, and by extension, all those who suffer, are not like revolutionary laborers. However, the author was still a man in the early days of proletarian literature, so this is not surprising. Professor Ke Gang said in "The Literature of the Great Decade":

"The most talented novelist of the 'forge' faction is, needless to say, Alexander Nevilov, one of the outstanding writers of rural life in the age of collapse. He was bathed in revolutionary boasts, but at the same time loved life. …… He is both far away and close to current affairs. He is said to be far away, because he loves life greedily. He said that he was near, because he saw the power to stand on the path to happiness and fulfillment in life, and felt the power of liberation. ……

One of Nevilov's novels, "I Want to Live," is about a Red Army soldier who volunteered to join the army, but this man, like many of Nevilov's main characters, happily loves life. When he saw the vastness of spring, the dawn, the sunset, the cranes flying high, and the brook flowing through the depression, he became happy. He had a wife and two children at home, but he went to war. He went to die. This is because of the desire to live; Because a meaningful outlook on life requires death for the sake of a meaningful life; For mere living is not the sake of living; For he remembered that his mother, who was washing the clothes, came every night with soldiers, porters, wagonmen, and scoundrels, and beat her like a weak horse, and drunk her until she lost consciousness, and pushed her down to her bed in a dull and bored manner. ”

Mara Heptan (Se

gei Malashki

He was from Tula Province, and his father was a poor peasant. He himself said that his first gentleman was his father. However, his father was very old-fashioned and allowed him to read books like the Bible and the book of Acts:

If he secretly reads some "secular books", his father will beat him. But when he was eight years old, he saw the works of Gogol, Pu Shigeng, and Lyermendorf. "Gogol's work made such a great impression on me that I often dreamed of seeing the devil and all kinds of monsters." When he was eleven or twelve years old, he was very mischievous and made trouble everywhere.

At the age of thirteen, he went to work in a rich peasant's house, herding horses, plowing the fields, and mowing grass,......

In this rich peasant house, I did it for four months. Later, he went to work as an apprentice in a shop in the province of Tambov, and although he worked a lot, he always secretly read books, and preferred to be "troublesome and naughty".

In 1904, he fled to Mesco alone, where he found work in a dairy mill. Soon he met some revolutionaries and joined their group. During the Revolution of 1905, he took part in the December uprisings in Mesco and attacked a hotel called "The Wave", where forty gendarmes were stationed: it was very much beaten, so he was wounded. In 1906 he joined the Bolshevik Party, where he remains until now. From 1909 onwards he was a wanderer in Russia, working as a coolie, as a clerk, as a foreman in a lumber factory. During the European War, he served as a soldier and went through many brutal battles on the "German front". He has always liked to read, and he studied diligently, collecting many rare books (5,000 books).

It wasn't until he was thirty-two years old that he "wrote works by accident."

"In the course of five years of continuous literary work, I wrote a number of compositions (a small part of which has already been published). All these works made me very dissatisfied, especially because I saw so many great prose creations: Pushgeng, Lermendorf, Gogol, Dostovsky, and Bunin. As I study their work, I often feel a sense of anguish, remembering what I have written—worthless...... I don't know what to do.

"And before me is roaring, turning the great age, and the people of my class, who have been silent for the last few hundred years, who have suffered everything, are now building a new life, and in their own words, loudly performing their class, simply saying: - We are the masters.

"Among the artists, who can reflect the master in their works in a wide range of profound and capable ,—— he is happy.

"I don't have this happiness for the time being, so it's painful, so it's uncomfortable."

(Autobiography of Mara Shigeng)

In the literary group, he first belonged to the "forge", and then he broke away and joined the "October". In 1927, he published a novel describing the moral collapse of a revolutionary girl, called "The Moon Comes Out from the Right" and "Unusual Love", which caused a big storm and provoked all kinds of criticism. Some say that what he describes is true, which shows the depravity of modern youth; Some say that there is no such phenomenon among the revolutionary youth, so the author is slandering the youth; There are also eclecticists who think that these phenomena are real, but they are only a part of the youth. As a result, colleges and universities have conducted psychological tests, and the results show that the absolute majority of male and female students are willing to continue living together and "lasting romantic relationships". In "The Literature of the Great Decade", Professor Ke Gang said a lot of dissatisfied things about this kind of literature.

However, this book has already been translated by Nobuo Ota in Japan, called "The Moon on the Right Side", and four or five short stories are attached at the end. The "Worker" here, translated from the Japanese translation, is not a work about sexuality, nor is it a masterpiece, but it depicts Lenin in a few places, like a sketch of a skillful hand, which is quite vivid. There is also a man who does not speak Russian, and he is about Stalin, because he was born in Geo

GIA) - that is, the Crewe in "Iron Flow".

Serafimovitz (A.Se

afimovich) whose real surname is Popov (Ale-ksa

d

Se

Afimovich Popov) was a writer who had already become famous before the October Revolution, but since the publication of "Iron Flow", his work has become both a monumental work of the epoch, and the author has also been identified as the author of great proletarian literature. Jinghua's translation of "Tieliu", there is the author's autobiography at the front of the volume, which is to save paper and ink, so I won't say much here.

"A Day's Work" and "Fork Doorman" were both directly translated by Wen Yin from the first volume of the Complete Works of Serafimovich, both of which were written before the October Revolution.

The preface to the previous part of the translation, which was clearly written, is now completely transcribed below:-

Serafimovich is the writer of "Iron Flow", which needs no introduction. However, when "Iron Flow" was published, it was already after October; The theme of "Iron Flow" is already the theme after October. Chinese readers, especially Chinese writers, may be interested in knowing how they were written before October. Yes! They should know, they must know. As for the Chinese writers who thought they didn't need to know about it, we didn't have the leisure to plan for them,—— they would have found a collection of Li Wanyong's essays or a collection of Cadburin's novels...... To learn, to learn that particular clever rhetoric and layout. To deceive people, especially the masses, it is indeed necessary to have some skills! As for Serafimovich, he is not to lie, he is to speak for the masses, and he is able to say what the masses have to say. However, he should have had the ability to deceive dogs before October. How cruel was the prison of words at that time, how strict the censorship of books and newspapers was at that time, and he was still able to write, naturally he could not "speak freely", but he could always write, and he was able to write powerful works that exposed social life, and he was able to constantly expose all kinds of masks.

This novel: "A Day's Work" is one such work. It was published on October 12, 1897 in the newspaper "Yazov Seaside". This daily newspaper was nothing more than an ordinary liberal daily newspaper in the Lostov-on-Don region. If the reader reads this novel carefully, what impression does he get? Isn't it a portrait of the evils of the old system in all its aspects! There are no "heroes", no slogans, no agitation, no drafts of speeches in the "drama of civilization".

But......

The subject matter of the novel is the real facts, the life of a pharmacy apprentice in the city of Novochirkask. The author's brother, Sergei, was working as an apprentice in a pharmacy here for more than 1890 years, and he was personally subjected to all kinds of exploitation. Sergey's life was very bitter. After his father died, he could no longer study, and before graduating from high school, he looked for work everywhere, changed several professions, and worked as a sailor; Later, with the help of his brother (the author), he was admitted to the pharmacy and wanted to qualify as a pharmacist's deputy. Later, Serafimovic helped him to open his own rural pharmacy on the station of Gotirni Kehua. and he who went to that place often; In 1908 he collected material here and wrote his first novel, A City in the Wilderness.

Fan Yi Jiazhi. 1932, 3, 30.

Volmanov (Dmit

iy Fu

ma

ov) does not say where he was from, nor does it say where he came from. He began to read novels at the age of eight, and read a lot, all translated novels by Scott, Ryder, Bean, Tore, etc. He received his primary education in Ivanovo Voznanovosk, attended a commercial school, and graduated from a practical school in Jinashma.

Later, he entered the University of Mesco and graduated in the liberal arts in 1915, but did not pass the "national examination". In that year, she became a nurse in the military doctor, and was sent to the "Turkish Front", to the Caucasus, to the Persian border, to Siberia, to the "Western Front" and the "Southwestern Front......

In 1916 he returned to Ivanovo and worked as a teacher at the workers' school. After the revolution of 1917 began, he enthusiastically participated. He was then an ultra-left wing of the Social Revolutionaries, the so-called "Maximalist".

"With only flaming enthusiasm and very little political experience, I became a maximalist at first, and then an anarchist, and I felt that a new ideal world could be built with anarchist bombs, and everyone was free, and everything was free!"

"And practical life led me to work in the Soviets of Workers' Deputies (deputy **); He then joined the Bolshevik Party in June 1918. Fronz, F

u

Ze, the first chairman of the People's Commissariat of Military Affairs of the USSR after Trotsky's dismissal, is now dead. He played a big role in this conversion of mine, and several conversations he had with me extinguished my last anarchist illusions. (Autobiography)

Soon he became secretary of the provincial party department and a member of the local provincial government, which was in Central Asia. Later, he participated in the civil war with the team of Fronz, became a party representative of the 25th division of Chabaev, the head of the political department of the Turkestan front, and the director of the political department of the Guban army. He secretly went to work in the White Army area of Guban and became the party representative of the "Red Marine Corps", and the commander of the so-called "Marine Corps" was Guo Ruhe (Guo Fu Jiuhe) in "Tieliu". Here he was shot in the foot. He was awarded the Order of the Red Banner for his contributions to the Revolutionary War.

In 1917-18 he wrote articles that were published in newspapers and magazines in other provinces and in the central government. After the end of the Civil War in 1921, he arrived in Mesco and began to write novels. "Red Marines", "Chabaev", "1918" were published. In 1925, his book "Rebellion" was published (the Chinese translation was changed to "Overcoming"), which dealt with the civil war in the Shemilechii region in the summer of 1920. The place of Shemilechii is three or four hundred miles west of Ili, and in old Chinese books, it is translated as "Seven Rivers Land", which is the general name of the basin of the seven rivers.

It was only after 1921 that Volmanov worked exclusively on literature. Unfortunately, he fell ill and died on March 15, 1926. His tombstone bears a sword and a book; The inscription is simple, it is: Temytheli Vormanov, communist, warrior, literati.

Volmanov's writings include:

Chabaev, 1923.

Rebellion, 1925.

"1918", 1923.

The short story "Slack", 1925.

"Seven Days" (a miniature version of "Chabaev"), 1926.

The Road of Struggle is a collection of novels.

"The Coast" ("Report" on the Caucasus), 1926.

The Last Days, 1926.

"A Few Days I Can't Forget", "Report" and a collection of novels, 1926.

A collection of Blind Poets, 1927.

Volmanov's Collected Works, four volumes.

"Miscellaneous Records of the Philistines", 1927.

Collected novels "Sanov the Aviator", 1927.

The "Heroes" here is a translation from D. Fou

ma－

ow∶Die

ote

Helde

，deutsch Vo

A． Vide

s，Ve

lag de

Juge

di

te

atio

ale，Be

li

1928), perhaps the retranslation of "The Red Marines". What is remembered is the use of a strange army to repel the brigade of the White Army, which seems to be somewhat legendary, but many of them are personal experiences and experiences, that is, the period from departure to landing is a great lesson for talkers and naggers.

Replace "Helde."

The translation of "heroes" is a bit of a trick, because it is easy to be confused with the so-called "heroes" of the old Chinese "heroes", which actually means "man, big husband". Translated as "Einsatzgruppen", the original text is "Desse."

t", the source of the French, meaning "addition", can also be extended to the snack after the meal, the appendix of the book, this is not a military language. Here it is called Guo Fu Jiuhe's team "

ote Desse

T", I'm afraid it's a nickname, it should be translated as "red snack", it is not an informal army, it goes to attack the enemy, but to eat a little heart, not the meaning of the main meal. However, because it is only conjecture and cannot be determined, Chinese it is not the "special unit" of the formal army.

Michail Sholochov was born in 1905 in Don Oblast. His father was a grocery, livestock and lumber merchant and later a manager of a machine mill. The mother was the great-granddaughter of a Turkish woman, who had taken her six-year-old son, the grandfather of the instigator, as a prisoner from the Cossacks to Don Oblast. When he was in Mesco, he went to elementary school, and in Vronech, he entered secondary school, but he did not graduate, because they avoided the side of Don for the sake of the invading German army. It was here that the boy witnessed civil warfare, and in 1922 he took part in the battle against horse thieves who were still uneasy in the state of Don. By the age of sixteen, he had become a statistician and later a member of the Support Committee. His work was only printed in 1923, and he is best known for his novel The Quiet Don, which is based on civil warfare, and has now produced four volumes, the first of which is a translation by Ariga Fei in China.

"Father" is translated from "Thirty New Russian Writers", and the original translator was Nadja St

asse

）； It is also about the era of the Civil War, the tragedy of an old Cossack man who was in a very difficult situation, killing two older men for the sake of his children, but hating them for the sake of them. It is very different from Gogol's and Tolstoy's Cossacks, but it is as if you can see the characters that sometimes appear in Goriki's early works. Chekhov's short stories about peasants are close to this category.

Banfilov (Fedo.)

Pa

fe

Born in 1896, the son of a poor peasant, he began to shepherd sheep at the age of nine and later worked as a shopkeeper.

He was a member of the Communist Party, and after the October Revolution, he was engaged in activities for the Party and the government, while writing excellent novels. The best work is Brusky, which depicts the struggle of the poor peasants for the construction of socialism in the countryside, published in 1926 and now translated in almost all countries in Europe and the United States.

About V. Ilie

kov), I know very little.

See only the German text "The Literature of the World Revolution" (Lite

atu

de

Welt

evo－tutio

In the third book of last year, he said that he was a member of the All-Russian Union of Proletarian Writers (Rapp) and a good writer of the life of the people of New Russia, especially the life of the peasants.

When the five-year plan was carried out in Soviet Russia, the revolutionary workers were working hard to build it, to form commandos, to compete in socialism, and by two and a half years, at least ten factories had completed what the "civilized countries" of Western Europe and the Americas regarded as fantasy, delusion, and foolishness. At that time, the writers also responded to the demands of society, and in response to the great works of art, on the one hand, to further enhance the essence of the works of art, and on the other hand, they also used the current sketches of reportage, short stories, poems, and drawings to show the demands of the winning groups, factories, and heroes and commandos who were running the farms together, and went to Kuzbass, Baku, Stalinglat, and other great construction places, and made such works of art in the shortest possible time. In the first volume of the "Soviet Socialist Construction Series" (1931 edition), compiled by the Japanese Society for the Study of Soviet Affairs, there are seven such "reportages."

"Dry Coal, People and Refractory Bricks" was retranslated from there, talking about the causes of the mire lying beneath the ground, the perseverance of the builders to overcome nature, the relationship between the dead coal and culture, the methods of making and building the dry coal furnace, the types of refractory bricks, the situation of the competition, and the key to supervision and guidance. All kinds of things are contained in a short article, which is really not just a good specimen of "reportage", but a brief textbook of practical knowledge and work.

But this may not be suitable for some readers in China, because if you don't know a little about geology, coal smelting, and mining, it will be very uninteresting to read. But in the Soviet Union, however, it was a different story, because in the construction of socialism, the boundary between intellectual and physical labor was also eliminated, so such works were also ordinary reading.

The new intellectuals of the Soviet Union really don't know why some people are sad about the autumn moon and shed tears, just as we don't understand why the furnace of molten iron has no bottom.

In the second volume of the Literary Monthly, there is a copy of the same article translated by Zhou Qi Yingjun, but it is one-third more than here, probably about the story of Jilin. I think that there are about two kinds of original versions, and it is not that the original translator has added or subtracted from them, but that his translation is from English. I wanted to borrow his translation, but after thinking about it, I translated another copy of "The Shock Team". Because the detailed one, although there is more interest, and therefore covers up the important places, the simple one has a clear context, but the reading is inevitably boring. - However, each has its own suitable readership. If a reader or author compares and studies them, he must be very enlightened, and I think that it will not be an eventful and futile effort to give China two different translations.

But the original translation also seems to have its own errors. Here, for example, "He speaks as if he had a cord in his hand that binds it together." "Zhou Translation" He always spoke like this, as if he had something between his teeth and was biting it tightly. "Here" he was often woken up in the morning and pulled out from under the table. "Zhou's translation" He often woke up, or more accurately, looked up from the table. "It makes sense that the latter translation should be good, but for the sake of clutter, I don't correct it.

From "Father", which depicts the civil war era, to "Dry Coal, People and Refractory Bricks" in the construction era, the gap between this is too great, but there is no other good way to do it at the moment. For one thing, there are only a limited number of works that I have collected that can fill this emptiness; Although there are still a few articles, they cannot be introduced, or should not be introduced. Fortunately, China already has several masterpieces of long or medium length that can slightly bridge this flaw.

Sept. 19, 1932, ed.