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Remizov, however, has been more influential in another way, by his method of treating Russian life. At the time it met with even greater indifference: it was refused by the leading magazine of the literary "party" to which the author belonged, and could appear only some years later in a collection of short stories. But it at once became known and very soon began to "make school."
The animal stories of Rudyard Kipling and Jack London were very popular in Russia at that time, but Prishvin is curiously free from every foreign, in fact from every bookish, influence; his story smells of the damp and acid soil of his native Smolensk province, and even Remizov was to him only a guide towards the right use of words and the right way of concentrating on his subject.
Vyacheslav Shishkov, a Siberian, is notable for his good Russian, a worthy pupil of Remizov and Prishvin. Nicholas Nikitin, who is considered by some to be the most promising of all, is certainly the most typical of the school of Zamyatin; his style, overloaded with detail which swamps the outline of the story, is disfigured by the deliberate research of unfamiliar provincial idioms.
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.
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