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suggestive ugliness as anything in Remizov, but lack the master's
unerring linguistic flair and his profound and inclusive humanness.
Zamyatin's stories are most emphatically _made_, manufactured, there
is not an ounce of spontaneity in them, and, especially in the later
work where he is more or less free from reminiscences of Remizov,
they produce the impression of mosaic laboriously set together. They
are overloaded with pointedly suggestive metaphor and symbolically
expressive detail, and in their laborious and disproportionate
elaborateness they remind you of the deliberate ugliness of a
painting by some German "Expressionist." [Footnote: Zamyatin was


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