斯特鲁加茨基兄弟

阿尔卡季和鲍里斯·斯特鲁伽茨基兄弟（俄语：Братья Стругацкие，英语：Arkady and Boris Strugatsky）为俄罗斯科幻小说作家兄弟，阿尔卡季（1925年8月28日—1991年10月12日）是哥哥、鲍里斯（1933年4月14日—2012年11月19日）是弟弟。

阿尔卡季

1925年8月25日，阿尔卡季·斯特鲁加茨基出生于巴统。后来，他随家人搬到列宁格勒。1942年1月，阿尔卡季和父亲离开列宁格勒，但是阿尔卡季是唯一的幸存者，他的父亲则死于沃洛格达。阿尔卡季后来被编入苏联军队，先就读于阿克纠宾斯克炮兵学校，后来进入莫斯科外语军事学院。他曾是一名教师，为军队担任翻译，直到1955年。从1955年起，他开始成为编辑和作家。1958年，他开始与弟弟鲍里斯合作。

鲍里斯

1933年4月14日，鲍里斯·斯特鲁加茨基出生。在第二次世界大战期间，他与母亲留在列宁格勒。1950年，高中毕业后的他在列宁格勒国立大学学习物理，之后研究天文。1955年毕业后，他曾为天文学家和电脑工程师，直到1966年成为一名全职作家。他是不可知论者。

The brothers Arkady Strugatsky (28 August 1925 – 12 October 1991) and Boris Strugatsky (14 April 1933 – 19 November 2012) were Soviet and Russian science-fiction authors who collaborated through most of their careers.

In the second half of the 1950s, military translator A. N. Strugatsky, with the assistance of journalist Lev Petrov and writer and intelligence officer Roman Kim, published the documentary novella Ashes of Bikini (journal versions in 1956 and 1957, book edition in 1958) and secured a position as an editor at Goslitizdat. B. N. Strugatsky, who worked at the Pulkovo Observatory, also harbored literary ambitions; according to legend, the brothers decided to write together on a bet. Between 1957 and 1959, Arkady and Boris Strugatsky wrote the novella The Land of Crimson Clouds and several short stories, which immediately attracted attention. In 1964, the Strugatskys were admitted to the Union of Writers of the RSFSR. After years of experimentation, they developed a working method that involved not only joint discussion of ideas but also the oral rehearsal of every sentence. The writing process followed a detailed plan, which was developed in advance and discussed multiple times.

Starting with works in the synthetic genre of adventure and scientific-technical fiction, the Strugatskys quickly transitioned to social prognostics and modeling in the form of "realistic fiction," with ideological content wrapped in a gripping plot. Most of their books explore the establishment of contact with alien intelligence, the question of the permissibility and justification of intervention or non-intervention in the natural evolution of civilizations of any type, and the study of various forms of utopia and dystopia.

Significant attention in their work was devoted to the problem of the ideologization and de-ideologization of society and the role of culture in the state. In the first half of the 1960s, the Strugatskys created a unified fictional universe, conventionally called the Noon Universe, which serves as the setting for nearly a dozen novellas. The image of communism they constructed evolved toward permanent geopolitical and cosmic expansion and associated mechanisms of social control. Their exploration of various forms of utopia led the Strugatskys (starting with The Far Rainbow) to the conviction that humanity would inevitably split into unequal strata, not all of whose members are suitable or worthy of entering a bright future. The prospect of creating a biological civilization that radically reconstructs human nature and opposes technical culture also concerned the co-authors. From the 1980s, B. N. Strugatsky began to reassess their joint creative path in the context of liberalism and dissidence.

Having achieved significant fame in the 1960s, the Strugatskys faced persecution of philosophical fiction in the USSR by the Department of Agitation and Propaganda of the Central Committee of the CPSU and the leadership of the All-Union Leninist Communist Youth League. In the 1970s and the first half of the 1980s, the number of publications and reprints decreased, and several lengthy texts gained semi-banned status, circulating in samizdat (e.g., The Ugly Swans). Based on the novella Roadside Picnic, which had no book editions at the time, the Strugatskys wrote the screenplay for A. Tarkovsky's film Stalker (1979).

In the 1980s, the Strugatskys became some of the most published Soviet writers, a symbol of independent thought, and were awarded the RSFSR State Prize named after M. Gorky (1986). Yet, the Strugatskys took Marxism seriously and were hardly dissidents. While Arkady insisted in the mid-1980s that he had never doubted the truthfulness of communist ideals (“I have imbibed them from my childhood”), Boris wrote in 1994 that humanity had not invented anything “more radiant, just and attractive” than communism.