We - Yevgeny Zamyatin (1920-21)
The ultimate and first dystopia that Ayn Rand's Anthem, Huxley's Brave New World, and Orwell's 1984 all borrowed from (Orwell neatly accused Huxley of borrowing from it in a book review that Orwell wrote in 1946, just before the publication of 1984). Zamyatin was witness to the October Revolution and the subsequent Russian Civil War that saw the socialist Bolsheviks and Lenin seize power in Russia. The experience prompted him to write the book as a reaction to the scientific atheism and totalitarian state that he thought the Soviets embodied and would implement. The totalitarian state in the novel is called One State and the main character in the novel is an engineer named D-503 who is in charge of designing a spaceship that will be used to conquer other planets. It is a novel that is in epistolary form, as it is D-503's journal that he hopes to send in the spaceship upon its completion and voyage that serves as the text of We.
The book is a precursor to the three aforementioned books. Much like Rand's Anthem, the first person singular doesn't exist, Huxley borrowed from it with the plot line and theme of the state's intervention in the sexual and procreative habits of its citizens, and Orwell borrows the premise of there being a lover beyond the state's approval that puts both protagonists at serious risk of running afoul of a state that brooks no dissent.
I won't go too into detail or spoil the work, but it's definitely one of my top fifty novels.
A Man In Full - Tom Wolfe (1998)
Wolfe once called Zamyatin's book "a marvelously morose novel of the future" in his book The Right Stuff. Once a dazzling new journalist and non-fiction writer, Wolfe had turned to fiction for his novel The Bonfire of the Vanities, a book that earned much praise and adulation from contemporary critics writing for mainstream weeklies even if he did not earn the same from the writer's vanguard.
His second novel, A Man In Full, was set in Atlanta, a city Wolfe picked because of the racial politics and tensions between upper-middle class Blacks and southern money. The main characters in the novel are Charles Croker, a real estate mogul and member of Atlanta's high society; Roger "Too White" White II, a prominent Black lawyer with political aspirations; and Conrad Hensley, a young man who is in the penitentiary for a trivial offense.
The book starts with a young Black football recruit who is accused of rape by a young white woman. The story proceeds from there and highlights racial tensions arising from this accusation, delves into Charles Croker's impending bankruptcy, and guides us through Conrad's newfound adoption of stoicism, especially the maxims of the Greek slave Epictetus. In the latter part of the book, Conrad gets out of jail (where he had suffered major tribulations at the hands of would-be rapists) and meets Croker when he works as an employee for him—and the book proceeds from there.
It's a sprawling epic that deals with many sociopolitical issues in Tom Wolfe's inimitable style, and Wolfe is up for the complex task of distilling a city's essence into a novel all while making trenchant observations about ways of living and places that Atlantans fear and aspire to. The simple choosing of Atlanta three or four years before it would blow up in the mainstream as a haven and repository of Black culture was prescient, and it undergirds the work when read in retrospect. Unfortunately, Wolfe delves into Black culture in reductive and silly ways sometimes, creating a rapper named "Doctor Rammer Doc Doc," and he writes imaginary rap lyrics attributed to the character that are, in a word, terrible. But those quibbles aside, Wolfe has his finger on the pulse of America and Atlanta, as is his wont, and the book shows his aptitude in capturing the zeitgeist through his physical and psychological descriptions of the city and its inhabitants.