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Reconsidering Dostoevsky's legacy 200 years after his birth, this collection addresses how and why his novels contribute so much to what we think of as the modern condition.
Crime and Punishment is the 19th-century psychological thriller by esteemed Russian writer Fyodor Dostoevsky. Now 200 years after his birth, we celebrate this bicentennial with a new introduction by Professor Robin Miller, the perfect lead-in to the celebrated translation by Constance Garnett.
FINALIST FOR THE PEN JACQUELINE BOGRAD WELD AWARD FOR BIOGRAPHY “Feminism, history, literature, politics—this tale has all of that, and a heroine worthy of her own turn in the spotlight.” —Therese Anne Fowler, bestselling author of Z: A Novel of Zelda Fitzgerald A revelatory new portrait of the courageous woman who saved Dostoyevsky’s life—and became a pioneer in Russian literary history In the fall of 1866, a twenty-year-old stenographer named Anna Snitkina applied for a position with a writer she idolized: Fyodor Dostoyevsky. A self-described “girl of the sixties,” Snitkina had come of age during Russia’s first feminist movement, and Dostoyevsky—a notorious radical turned acclaimed novelist—had impressed the young woman with his enlightened and visionary fiction. Yet in person she found the writer “terribly unhappy, broken, tormented,” weakened by epilepsy, and yoked to a ruinous gambling addiction. Alarmed by his condition, Anna became his trusted first reader and confidante, then his wife, and finally his business manager—launching one of literature’s most turbulent and fascinating marriages. The Gambler Wife offers a fresh and captivating portrait of Anna Dostoyevskaya, who reversed the novelist’s freefall and cleared the way for two of the most notable careers in Russian letters—her husband’s and her own. Drawing on diaries, letters, and other little-known archival sources, Andrew Kaufman reveals how Anna protected her family from creditors, demanding in-laws, and her greatest romantic rival, through years of penury and exile. We watch as she navigates the writer’s self-destructive binges in the casinos of Europe—even hazarding an audacious turn at roulette herself—until his addiction is conquered. And, finally, we watch as Anna frees her husband from predatory contracts by founding her own publishing house, making Anna the first solo female publisher in Russian history. The result is a story that challenges ideas of empowerment, sacrifice, and female agency in nineteenth-century Russia—and a welcome new appraisal of an indomitable woman whose legacy has been nearly lost to literary history.
The cult classic from the godfather of Cuban science fiction, Agustín de Rojas’s The Year 200 is both a visionary sci-fi masterwork and a bold political parable about the perils of state power. Centuries have passed since the Communist Federation defeated the capitalist Empire, but humanity is still divided. A vast artificial-intelligence network, a psychiatric bureaucracy, and a tiny egalitarian council oversee civil affairs and quash “abnormal” attitudes such as romantic love. Disillusioned civilians renounce the new society and either forego technology to live as “primitives” or enhance their brains with cybernetic implants to become “cybos.” When the Empire returns and takes over the minds of unsuspecting citizens in a scenario that terrifyingly recalls Invasion of the Body Snatchers, the world’s fate falls into the hands of two brave women. Originally published in 1990, just after the fall of the Berlin Wall and before the onset of Cuba's devastating Special Period, Agustín de Rojas’s magnum opus brings contemporary trajectories to their logical extremes and boldly asks, “What does ‘the greatest good for the greatest number’ really mean?”
Poor Folk -- The Double -- The House of the Dead -- Notes from Underground -- Crime and Punishment -- The Idiot -- The Brothers Karamazov -- Appendix I: Selected Film Adaptations of Dostoevsky's Novels -- Appendix II: "Joseph Frank's Dostoevsky" by David Foster Wallace.
Failed imitation in The Charterhouse and The Gramercy winner -- Faithful re-membering in The Moviegoer -- Modeling a holy fool in The Last gentleman -- Borrowed critiques in Love in the ruins -- "Outdostoevskying Dostoevsky" in Lancelot -- Echoed prophecies in The Second coming and The Thanatos Syndrome -- Conclusion--Imitation versus anxiety: a Christian's response to Harold Bloom's The Anxiety of influence
This second book in a three-volume work on the young Fyodor Dostoevsky is a diary-portrait of his early years drawn from letters, memoirs, and criticism of the writer, as well as from the testimony and witness of family and friends, readers and reviewers, and observers and participants in his life. The result of an exhaustive search of published materials on Dostoevsky, this volume sheds crucial light on the many unexplored corners of Dostoevsky's life in the time between the success of his first novel, Poor Folk, and the failure of his next four works. Thomas Gaiton Marullo lets the original writers speak for themselves—the good and the bad, the truth and the lies—and adds extensive notes with correctives, counterarguments, and other pertinent information. Marullo looks closely at Dostoevsky's increasingly tense ties with Vissarion Belinsky, Nikolai Nekrasov, Ivan Turgenev, and other figures of the Russian literary world. He then turns to the individuals who afforded Dostoevsky security and peace amid the often negative reception from fellow writers and readers of his early fiction. Finally, Marullo shows us Dostoevsky's break with the Belinsky circle; his struggle to stay afloat emotionally and financially; and his determination to succeed as a writer while staying true to his vision, most notably, his insights into human psychology that would become a hallmark of his later fiction. This clear and comprehensive portrait of one of the world's greatest writers provides a window into his younger years in a way no other biography has to date.
In this book Paul Contino offers a theological study of Dostoevsky’s final novel, The Brothers Karamazov. He argues that incarnational realism animates the vision of the novel, and the decisions and actions of its hero, Alyosha Fyodorovich Karamazov. The book takes a close look at Alyosha’s mentor, the Elder Zosima, and the way his role as a confessor and his vision of responsibility “to all, for all” develops and influences Alyosha. The remainder of the study, which serves as a kind of reader’s guide to the novel, follows Alyosha as he takes up the mantle of his elder, develops as a “monk in the world,” and, at the end of three days, ascends in his vision of Cana. The study attends also to Alyosha’s brothers and his ministry to them: Mitya’s struggle to become a “new man” and Ivan’s anguished groping toward responsibility. Finally, Contino traces Alyosha’s generative role with the young people he encounters, and his final message of hope.
'A daring and mesmerizing twist on the art of biography' – Douglas Smith, author of Rasputin: The Biography 'Anyone who loves [Dostoevsky's] novels will be fascinated by this book' – Sue Prideaux, author of I Am Dynamite! A Life of Friedrich Nietzsche Dostoevsky's life was marked by brilliance and brutality. Sentenced to death as a young revolutionary, he survived mock execution and Siberian exile to live through a time of seismic change in Russia, eventually being accepted into the Tsar's inner circle. He had three great love affairs, each overshadowed by debilitating epilepsy and addiction to gambling. Somehow, amidst all this, he found time to write short stories, journalism and novels such as Crime and Punishment, The Idiot and The Brothers Karamazov, works now recognised as among the finest ever written. In Dostoevsky in Love Alex Christofi weaves carefully chosen excerpts of the author's work with the historical context to form an illuminating and often surprising whole. The result is a novelistic life that immerses the reader in a grand vista of Dostoevsky's world: from the Siberian prison camp to the gambling halls of Europe; from the dank prison cells of the Tsar's fortress to the refined salons of St Petersburg. Along the way, Christofi relates the stories of the three women whose lives were so deeply intertwined with Dostoevsky's: the consumptive widow Maria; the impetuous Polina who had visions of assassinating the Tsar; and the faithful stenographer Anna, who did so much to secure his literary legacy. Reading between the lines of his fiction, Christofi reconstructs the memoir Dostoevsky might have written had life – and literary stardom – not intervened. He gives us a new portrait of the artist as never before seen: a shy but devoted lover, an empathetic friend of the people, a loyal brother and friend, and a writer able to penetrate to the very depths of the human soul.