Product Description
Six short stories, including, Araby by James Joyce, The Most Dangerous Game by Richard Connell, The Dream of a Ridiculous Man by Fyodor Dostoevsky, The Happy Prince by Oscar Wilde, The Lottery Ticket by Anton Chekhov, and The Vendetta by Guy De Maupassant. ... Read more

Customer Reviews (1)

Some of My Favorite Short Stories!
These are some of my all-time favorite short stories, especially Joyce's "Araby", which is about as perfect a short story as ever reached the page.Also, Dostoevsky's offering here has one of the best beginnings in literature:"I am a ridiculous person. Now they call me a madman. That would be a promotion if it were not that I remain as ridiculous in their eyes as before. But now I do not resent it, they are all dear to me now, even when they laugh at me - and, indeed, it is just then that they are particularly dear to me. I could join in their laughter - not exactly at myself, but through affection for them, if I did not feel so sad as I look at them. Sad because they do not know the truth and I do know it. Oh, how hard it is to be the only one who knows the truth! But they won't understand that. No, they won't understand it."Good stuff! ... Read more

Customer Reviews (1)

A monster of genius
Dostoevsky is without question one of the great geniuses of world-literature. This is apparent both in his great 'novels' and also in his shorter - works. Here we have a number of these works including what is perhaps a signature- work for him 'The Underground Man'. For in the anger, spite, contradictory and paradoxical relation to himself and the world, the principal character of this work reflects some of the deepest elements in Dostoevsky's soul and character. It might even be said that modern Existensial philosophy has one of its truest beginnings in this work. For in this reflection upon self and world, the anti- hero hero teaches us how contempt and pride, love and hate , freedom and imprisonment are mingled and conflict in one troubled soul, and life.
In all Dostoevsky's the spirit of dialogue reigns. Even when there is monologue there is some kind of internal conversation going on within the self. And with Dostoevsky this conversation is deep and probing, ironic and humorous. This is especially with those characters who seem to present some kind of revelation of human extremity at its worst. The great story 'The Gambler' is another such Dostoevsky work where salvation and contempt, seem to go inevitably with each other.
As with the greatest of writers Dostoevsky seems to reveal to us something new about human nature, something no one ever knew before until this writer brought it into existence. These stories are works of a genius, however monstrous at times this genius seems to be. ... Read more

Product Description
Dostoevsky's first novel.In the form of a series of letters. According to Wikipedia: "Fyodor Mikhaylovich Dostoyevsky (1821 – 1881) was a Russian fiction writer, essayist and philosopher whose works include Crime and Punishment and The Brothers Karamazov. Dostoyevsky's literary output explores human psychology in the troubled political, social and spiritual context of 19th-century Russian society. Considered by many as a founder or precursor of 20th century existentialism, his Notes from Underground (1864), written in the embittered voice of the anonymous "underground man", was called by Walter Kaufmann the "best overture for existentialism ever written." ... Read more

Customer Reviews (12)

Literary tactics
This bundle of short stories shows clearly the literary evolution of Dostoyevsky in his early writing years.
The first two stories, `Poor Folk' and `The Landlady', have essentially the same theme as "White Nights' (not in this bundle).
The differences between the three treatments illustrate perfectly this evolution: from foggy, indirect, tearful prose, over generating intriguing questions marks and confusing psychology, to direct, sharp storytelling with unexpected U-turns and psycho-shocks; in one word, from expressing emotions to arousing them in the heart of the reader.

Poor Folk
Dostoyevsky's first short novel (in letters) is a sentimental, colorless and in no way a subtle text, where literature is `a picture and a mirror, an expression of emotion, a subtle form of criticism, a didactic lesson and a document.'
However, art constitutes an essential part of the story. When the vulgar opinion that `novels were the ruin of young girls, that books were harmful to morality', overwhelms a young girl, the relationship is broken.

The Landlady
This story, where a poor lodger falls in love with the young wife of an old man, is not a typical Dostoyevsky text, because it uses some kind of `supernatural' elements, like the confusing mental nature of the female protagonist. It contains, however, a typical Dostoyevskyan wrap-up.

Mr Prokharchin, Polzunkov
`Mr Prokharchin' is a sharp psychological portrait of `an unconventional capitalist'.
`Polzunkov' is a superb persiflage of a corrupt bureaucracy, where a bribe-taker under blackmail is forced to pay a bribe himself. An April Fool's Day joke gives him an opportunity to take revenge on the blackmailer.

This bundle is not a good introduction to Dostoyevsky's work.
Far better are other short novels/stories like `White Nights', `The Gambler', `The Eternal Husband' or `Uncle's dream'.
But, highly recommended to all Dostoyevsky fans.

Psychological insight!
Poor folk is Dostoevsky's first novel. This is a story of the letter exchanging between a poor copy clerk and a young seamstress.Hero's letters emphasize dignity, pride, suffering, sympathy, agony, desperation, depression, humiliation and so on and so forth.
This book represents physiological insight. I love this book so much!

Good
The thirteenth work by Dostoevsky I've read, and the first collection of short stories. Or, more properly, one novella-type work (Poor Folk) and a collection of short stories. Judged by the standards of most other works read, shows itself hugely superior, wonderful in command of language and intensity of atmosphere. It has brilliant characterization, of course, that's basically a given with Dostoevsky, but what's particularly effective is how the voice of the characters links to the larger narrative. Dostoevsky's take on intensity of characterization is different than most writers I've encountered--showing a forceful personality not by rendering it coherent and self-contained but by playing up its instability, the fragmented ambiguities in how consciousness is experienced.

Since the stories are from earlier in Dostoevsky's career and shorter than the norm there's less of the troubling aspects that feature later--the xenophobic nationalism, the near-masochistic portrayal of suffering, the emphasis on transcendental religion as the source of virtue, the disturbing treatment of women. Instead, in most of these pieces there emerges a less problematic representation of poverty in Russia as well as the nuanced challenges of individual ambition and pride in a nation struggling to form its own identity. There's also less of the sheer spark and genius in his writing, however, with no character or character situation as intense as the kind that rolls off every other page of Brothers Karamazov. There's a lot of material in here that feels substantive and meaningful, but little of it has quite the necessary emotive force to feel truly great, or to make for a highly memorable story climax. Judged by the standards of most authors these are classics, but compared with Dostoevsky's other writings this emerges as a weak collection. It gains its most enduring force in the depiction of Russian social conditions of the nineteenth century, particularly in the titular representation of poverty. This aspect makes for a powerful testimony as part of Russian history, but the text doesn't stand on its own to the extent that is typical for Dostoevsky.

An original, insightful exploration of poverty and its effects on the human psyche
Dostoevsky has a unique approach in this novel--it is comprised entirely of letters between two characters and diary entries from one of these characters.This gives the novel a fresh style and a natural flow.The true strength of the work, however, is its dealing with the nature and impact of poverty--a thematic element in most of Dostoevsky's works.While this novel lacks the depth and substance of Dostoevsky's later writing, this is impressive considering it was his first published work--when he only 25 years old.Highly recommended.

Poor Folks is a good place to begin your acquaintance with the great novelist Fyodor Dostoyevsky
Russia has always had a sad history but has been enriched by great novelists such as Tolstoy and Dostoevsky. In this fine edition of "Poor Folks and Other Stories" we see the young fledgling writer Fyodor Dostoyevsky producing a fine book. He was only 22 years of age winning plaudits for his future career by the influential literary critic Belinsky. Dostoevsky is not only a great Russian writer but one of the handful of great world authors. In such works as "Crime and Punishment"; "The Brothers Karamazov" and "The Idiot" he delved psychological depths of depravity, despair, joy and redemptive love.
Some of these major themes are seen in minature in the very short novella "Poor Folk." Set in St. Petersburg's nineteenth century slums it tells the sad story of the platonic love between a middle age pathetic clerk Makar Devushkin and the much younger Barbara.
This is an epistolatory novel consisting of letters between the lovers. This technique was not new. The father of the English novel Samuel Richardson used it to write such 1740s bestsellers as "Pamela" and the 1400 page "Clarissa." (Lovelace" the lover in "Clarissa" is alluded to in a letter by Makar."
The story ends when the young girl weds a rich landowner. Poor Makar continues a small life of insulting fellow workers, peasant wages and despair as he sickens and weakens in a horrible hovel. The novella is unforgettable with touches of the skill of a Chekhov in limining with technicolor detail the daily life of the poor in Tsarist Russia.
Three other short stories are included in the Penguin edition. "The Landlady" deals with a young intellectual's infatuation for his sexy landlady despite the hatred of that woman's husband. It is written in a fervid state with dream sequences and lots of heated dialogue. "Mr Prok-harghin" tells the story of a reclusive, eccentric boarder who is misunderstood by his fellow lodgers. There is a surpise at the end so I won't share this with the prospective reader! "Polzunkov" tells the story of a fatuous chap who gets in a romantic entanglement with his corrupt boss's daughter which comes a cropper!
These stories are not the greatest ever written. They are, however, a good place to see the very early work of a great novelist. They can all be read in one or two days making them an excellent beginning for an acquaintance with Dostoyevsky's literary genius. They were written prior to Dostoyevsky's banishment for a plot against the Tsar. This horrible experience would deepen his understanding of human suffering and the durability of the human soul. ... Read more

Customer Reviews (28)

Great novel, lousy Kindle edition
This edition is worth just about the $0.99 you pay.Overall, I could read it, but I feel like I was reading something that was assembled in five minutes by some digital scanner with no human proofreader.There are a lot of misspelled words and punctuation problems (like exclamation points in the middle of a sentence, or a paragraph that ends with a comma, etc.), which slow up the reading (averaging about one per Kindle page, totaling around 600 errors).The translation itself is pretty low quality and awkwardly worded.But overall, it is readable, and I could stick it out because it's for a class.The table of contents works, I guess, but how often do you skip to specific chapters in a novel?I recommend downloading this book for free at [...] (I found this after I bought the book).

Dostoevsky's novel itself is incredible and based on his own experience in a Siberian work camp.Powerful and enlightening.

unreadable
The House of the Dead has so many printing errors that it is impossible to read with any involvement and pleasure. I love the story and will try to find an error-free copy from another publisher.

Dostoyevsky's Trip to the Bottom of the Universe: Sucked for him, but made him great
It's Dostoyevsky, which means it's great, fascinating, with throat-grabbing insight into the dark and light places of human souls. But it's not his greatest, lacking narrative framework and the richness of his big novels, which put his insights into the service of a larger metaphysical vision. It seems more of a notebook of a writer's sketches, and indeed it contains the seeds of other, more mature novels, especially Crime and Punishment and The Possessed. Of course, that's exactly what The House of the Dead is: a lightly-veiled autobiography and memoir of his own time in prison. Sucked for him, but plainly his vision of the world would not have been so deep without this trip to the bottom of the universe.

Masterful Memoir
This book was a memoir of Dostoyevsky's experience of his time spent in a Siberian jail. Armed only with a bible and his wit he spent over 5 yrs in this prison. House of the dead is his account of this experience and it has all the crushing truth in it. This is one of the great novels in Russian literature. If you like the Russian writers there is no question you will enjoy the read, if not this is one hell of a way to be introduced.

Gulag Travelogue
"A whaling ship was my Harvard and my Yale!" That's what Herman Melville declared, approximately, through his mouthpeice Ishmael in his supreme novel-of-information Moby Dick. I'm fairly sure no critic has ever linked Melville and Dostoevsky - more specifically, Moby Dick and The House of the Dead - and I'd never have made the connection if I hadn't just re-read the former. Dostoevsky, nevertheless, celebrates much the same net learning experience; his four actual years in prison labor camps in western Siberia were the Harvard and Yale of his craft as a writer and of his "spiritual" regeneration. He says it specifically at the beginning of the penultimate chapter of House (An Escape), if you want to check. By that time in the book, his literary narrative mask has completely slipped and he surely is speaking for himself.

Both Moby Dick and House of the Dead are survivor's tales. Both are told by first-person narrators, although Dostoevsky's surrogate narrator, Aleksandr Goryanchikov, is not fully consistent as a literary device. Both are extremely discursive and parenthetical, spending far more words on description of other inmates/crewmates than on themselves. Just as Moby Dick is as much an account of the whaling industry as a tale of adventure, House of the Dead is a journalistic description of the Tsarist prison facilities, both of their management and of their sociology. Readers looking for a story are likely to be under-stimulated by both books. Most important, both books reveal crises in the lives of their authors -- personal epiphanies almost concealed by the plethora of externalities -- but the two authors travel in opposite directions. Moby Dick is, on one level, a confrontation with loss of belief, a parabola from complacent faith to existential skepticism. Dostoevsky's parabola curves from naive individualism, expressed as political radicalism, to a "resurrection" and redemption based on religious mysticism. How odd that the two books were written within roughly a decade of each other!

I started to read The House of the Dead with a different comparison in mind. I'd just finished Alexander Solzhenitsyn's "Day in the Life of Ivan Denisovich" and I expected to find some interesting similarities and/or contrasts between these two books about Russian imprisonments. 'Ivan' and 'House' do depict equivalent misery and viciousness in the Tsarist and the Stalinist labor-camp prisons in Siberia. 'House" is no a literary phosphorescent flare of the blue flame intensity of 'Ivan', so it might pass unnoticed that conditions hadn't changed much from 1850 to 1940. In fact, Dostoevsky distracts his readers from the horrors of his prison by including large swathes of humor, depictions of jollier times and of the little evasions and corruptions of the system that make prison almost tolerable. Dostoevsky undoubtably offers the more realistic and rounded portrait; reading the House of the Dead exposes the deliberate unreality of A Day in the Life. Solzhenitsyn's Day cannot be extrapolated into Dostoevsky's years; 365 of Ivan's "days" in a row would be inconceivable. No one could survive them realistically. There's a summer even in Siberia.

Dostoevsky explicitly places his ego-surrogate in the House of the DEAD, from which his release constitutes a resurrection. Solzhenitsyn's Ivan is metaphorically in Hell, the frozen Hell of ancient northern myths. And now, having read these two books close together, I feel very strongly that Ivan Denisovich is intended as more than a portrait of an individual. Instead, he's a metaphor also, a synecdoche of the common folk of Russia imprisoned in the absurd inefficiency and misery of their Stalinist Hell. All the more amazing, isn't it, that Nikita K authorized the publication of 'Day'! Somebody in his office wasn't a very deep reader. 'A Day in the Life' is also a survivor's tale, but definitely not a resurrection myth. There's no further destination after Ivan's Hell; survival is perpetual defiance at best.

"The House of the Dead" isn't a great literary accomplishent. It can hardly be called a novel -- more a thinly disguised memoir -- but it's fascinating to read as a piece of sociology and it certainly opens the reader's comprehension of Dostoevsky's later masterpieces. ... Read more

Product Description
The third of Dostoevsky's five major novels, Devils (1871-2), also known as The Possessed, is at once a powerful political tract and a profound study of atheism, depicting the disarray that follows the appearance of a band of modish radicals in a small provincial town. This new translation includes the chapter "Stavrogin's confession," initially censored by Dostoevsky's publisher. ... Read more

Customer Reviews (36)

Dark Masterpiece
Fyodor Dostoyevesky, perhaps the greatest novelist of all-time, has a canon of mostly very long books delving deeply into dark psychological corners. He shed long-dormant light on such subjects as the conscience, madness, the existence of God, family and criminal psychology, etc. Similarly, Devils explores the tendency of people, particularly young ones, toward nihilism. Dostoyevsky shows nihilism's inherent hollowness, that it always leads to the same place in the end. As Don Henley once sang, "It's another hollow rebellion/As rebellions often are/Just another raging tempest/In a jar." Many have observed how Dostoyevsky foresaw the philosophy of Nietzsche, yet for all their darkness and social criticism, many overlook the fact that both, in essence, affirm life. For proof, one need only to look at the fate of characters who deny life. To both Dostoyevsky and Nietzsche, it is not only wrong to live merely for a higher power or hope of eternal reward but also to live for an "ism":atheism, idealism, anarchism, nihilism, etc. This is Dostoyevsky's attempt to strike out at the materialism infesting Russia and to break out of negative modes of thinking. To paraphrase his famous letter, modern nihilists do not deny the existence of God; that is done. They deny with all their might God's creation.

Pity the poor revolutionary who tries to incite a rebellion while denying the very means he must use to do so. Neil Peart once wrote, "Changes aren't permanent/But change is." Anything that does not change becomes stagnant, but we must remember to affirm life. Thankfully we have Dostoyevsky to remind us.

This brilliant novel also explores other subjects:the responsibility of one generation for the next, the responsibility of teachers for students, and above all, the responsibility of philosophers for their ideas. It is a must for any reader of classics or Russian literature.

Dostoyevsky's The Devils is one of the world's greatest political /psychological novels
Fyodor Dostoyevsky (1821-81) along with Count Leo Tolstoy is at the very apex of Russian novelistic masters. He is renowned for such gems as "The Idiot"; "Crime and Punishment" and "The Brothers Karamazov."
The Devils (aka "The Possessed) takes its title from the story in the gospel of Luke in which Jesus drives the devils in a poor wretch into a herd of pigs which are driven over a cliff to destruction. This biblical story is a paradigm of the Russia of 1872 when this novel was first published. Dostoyevsky, a former prisoner and soldier in Siberian exile, viewed Russia to be inhabited by revolutionary devils who wished to overthrow the tsar and destroy the old class structure of his native land. Dostoyevsky became a Slavophilic, conservative Christian who opposed the liberals and believed Russian needed a strong autocratic government led by the tsar.
The long 704 small printed page novel is set in a small and insignficant provincial town. The town is symbolic of the nation. Into this milieu we discover a cell of dissidents who wish to bring down the ruling authorities. Their leader is Nicholas Stavrogin the scion of Mrs. Stavrogin the widow of a general. He is a self-destructive cad and murderer who has spent much time in Switzerland. Stavrogin is wed to the half-wit Mary Lebyakin though he lusts for the luscious but disturbed aristocrat Lisa. Other memorable characters include the suicidal nihilist Kirilov, the inept Shatov and his long suffering wife and an old retired professor who has lived off the bounty of Mrs. Stavrogin. His name is Professor Verkhovensky. He is a fatuous, lazy and hopeless academic who does not know the ordinary life and needs of the typical Russian peasant. His son Peter is one of the main instigators of revloution in the little town. The scenes dealing with the governor Lembke and his socially ambitious but idiotic wife's disastrous literary fete and ball are key to the turn of the plot in the final exciting pages of this classic. The novel has to be the greatest political never ever written.
There are many characters to keep track of and their Russian names are hard to spell and pronounce. The first part of the book is a detailed look at the town and its citizens; part two is devoted to the complicated plotting of the revolutionaries and the third part deals with the tragedies which resulted from their failed plans. Most of the main characters are murdered, commit suicide or live out their lives in exile. At the end of the last paragraph of the last page there are almost as many bodies on stage as there are in Shakespeare's Hamlet!
The Devils is a wonderful story well told by a great writer. I read the old but excellent translation by Dr. David Magarshack which makes reading this daunting novel a pleasure. I have read The Devils several times and always come away learning something new. An excellent and esssential novel for the educated reader.

A real slog, but a rewarding read
I am a very amateurish reviewer of Dostoevskey, but let me humbly suggest that you begin with "Crime and Punishment" or "Notes from Underground" before approaching this novel."Devils" is a study of nihilism, but it is very demanding of the reader.I get the impression that "Devils" provides some extremely subtle satire of upper-class Russian society circa the 19th century, but this satire does not necessarily translate effectively into 21st-century English.

Having said that, I should state that "Devils" offers a compelling portrait of nihilism in the form of Stavrogin, a character who embodies vividly the anomie of 19th century European intellectuals.As well, students of international Communism will learn a great deal from the author's depiction of the prototype radicalism that would eventually fuel the Stalinist movements of the 20th century.In short: be prepared for a real slog, but a rewarding one.

'Oxford World Classics' delivers again with Devils.
If it were up to me there wouldn't be so many translations and so many publications of the old Russian classics. That's partially why I'm writing this review: to help you decide which version you want to purchase. Really, I think it can be narrowed down to two choices.

If you want hardcover I suggest the luxurious Demons (Everyman's Library, 182). It's the Pevear/Volokhonsky translation, which has been highly praised by critics. I find that the P/V translations are able to better articulate ideas.In terms of style they be more accurate, but the prose seem awkward and quite ugly.I also think that according to the contemporary American vernacular that Demons is the best possible title for this book.

It's the Katz's translation you'll be getting if you purchase Devils: The Possessed (Oxford World's Classics). Here is a fine quality paperback. Paper, Ink, Binding are all satisfactory; they seem to last longer than most paperbacks do. Endnotes, Character list, Dostoevsky/Historical timelines are included--all that extra good stuff; perhaps even more of it (certainly no less) than the Hardcover Everyman's edition. Katz, unlike Pevear is a professor; it is for this reason that I attach more value to his introduction than I do that of Pevear.Of course, it's half the price.

As a novel, I highly recommend Devils. Set in provincial Russia, the story is eerily prophetic of the Russian revolution that would take place some fifty years later. The story begins with a lengthy biographical sketch of two characters. Then, the focus shifts to those character's sons, who happen to be at the head of a group of pseudo-revolutionaries. Multiple scandals ensue.

In Devils, Dostoevsky addresses his own concerns about the existence of god. He questions the merits of wholesale social/political reform and the Revolutionary groups who propose said reform.As always, Dostoevsky impressively displays the realistic psychological nuances of his characters.As an added bonus, there's also a parody of the Russian writer Turgenev.

If you haven't read any Dostoevsky before this is a good a place as any to start, though you might try Crime and Punishment first.

one of dostoyevksy's best
this poor novel does not get the attention it deserves.it is far better than the idiot and on par with notes from underground.this is dostoyevsky's most precise response to chernyshevsky's brand of moral nihilism that was corrupting the youth of 19th century russia.and, of course, this corruption ultimately triumphed: lenin, after all, named one of his pamphlets after chernyshevky's "what is to be done."

the problem is not the philosophy of determinism itself: it is the slippery slope determinism takes into moral nihilism.i STILL hear members of my generation speaking against ethics in favor of "science" -- sadly they, like chernyshevsky's and stavrogin's mob, cannot recognize the simple "science" of social contract.thus, i suppose, the book remains somewhat relevant.

anyhow, this novel has all of the elements of a dostoyevskian masterpiece: love, death, and philosophy.read it and you wont regret it. ... Read more

Customer Reviews (3)

Great Collection
Best Short Stories of Dostoevsky truly lives up to its name - a notable accomplishment - and may still be the author's top short fiction collection in English. With seven stories and over three hundred pages, it has a generous offering:"White Nights," "The Honest Thief," "The Christmas Tree and the Wedding," "The Peasant Marey," "Notes from the Underground," "A Gentle Creature," and "The Dream of a Ridiculous Man." Ranging from great to masterful, they are essential for anyone even remotely interested in Dostoevsky and an ideal starting point before tackling his mammoth novels.

Dostoevsky being Dostoevsky, the real thing to know about any of his English books is how good the translation is and how much supplemental material is included. This is very strong in the former department. David Magarshack is now one of the lesser-read Dostoevsky translators but in my view the best. I know no Russian and am unable to comment on accuracy, but I have read Dostoevsky through about half a dozen translators, and Magarshack is the best for me. His Dostoevsky is supple and streamlined, making for relatively easy reading and seeming to readily capture the writer's unique dialogue. Above all, he seems remarkably current and is at least as accessible as more recent translators. As for supplemental material, there is a substantial Introduction with some biographical and contextual information on Dostoevsky and the texts, but those wanting notes or anything else must look elsewhere.

The stories are of course enough reason in themselves to buy the book. "White" is one of Dostoevsky's most intensive love meditations and, indeed, one of the most profoundly searching and affecting - not to mention thorough and honest - investigations of the perennial subject. He shows many of its sides, including those most writers and people ignore, with such realism and emotion that they come across as powerfully as ever - and surely always will. Though missing some of his later depth, this is in many ways one of Dostoevsky's most timeless works. It is also interesting in his canon in that the narrator prefigures some of his more famous characters, especially the Underground Man.

A searching examination of poverty, alcoholism, and other problems plaguing the nineteenth century in Russia and elsewhere, "Honest" is one of Dostoevsky's most moving works. Though again lacking complexity, this has much of the author's core greatness.

Despite being one of his shortest works, "The Christmas" has more than a hint of characteristic greatness and is also somewhat unusual. The narrator again resembles others, but the themes - class, marriage, etc. - are not typical of the author, however prevalent in nineteenth century literature. To see his spin on them is interesting and, though not revolutionary like so much of his work, well done. This is a moving, thought-provoking story that fans will like and that those not normally keen on Dostoevsky may find themselves enjoying.

Though one of his shortest works, "The Peasant" has more than a hint of Dostoevsky's characteristic greatness and is also somewhat unusual in his canon. Like his major work, it is complex in that it can be legitimately read in several very different, even contradictory, ways. Though usually seen as Slavophilic, it ironically has great sympathy for criminals, Poles, and peasants, though certainly in a way very different from today's political correctness. Apparently autobiographical, it begins with a very interesting reminiscence of Dostoevsky's famous prison term and moves to his childhood. His points are well-made, whether or not we agree, and the piece is both moving and thought-provoking.

One might question the inclusion of Notes both because it is too long to be a short story, usually being called a novella or short novel, and because it is so widely available. However, translation advantages aside, including it makes sense in many ways. Primarily, it lets us trace Dostoevsky's career arc, which is particularly interesting in that we can see how prior tales in many ways led up to it. The work itself is masterful beyond words. A vivid depiction of the dark side of human nature, it is a great classic that perfectly evokes the feelings of isolation, despair, narcissism, and paranoia that continue to afflict the masses. Though very short, one feels on completing it that one has read a very profound book. It is one of the best and most essential short novels ever. Dostoevsky is known for stunning penetration into human nature, and his mastery showed here for the first time. Notes touches on many profoundly important issues: philosophical, religious, social, political, etc. Indeed, it was right at the heart of the era's prevalent intellectual modes and remains relevant today. It also works as a springboard for Dostoevsky's later, more ambitious novels. Part of the reason it works so well is that the narrator is so recognizably, touchingly, and pathetically human. Anyone who considers him or herself an outcast, who feels as if he or she has never been able to fit in, who is uncomfortable in social situations, feels morally or intellectually superior for unknown reasons, is overly emotional and susceptible to constant depression - or any such thing - will undoubtedly identify and sympathize. Another reason it works so well is the writing style. Far from traditional novel or documentary style, it gives the impression that one is reading a record of a person's private thoughts. We see the thoughts as they come to the character, not in any linear form. He may well be neurotic, psychotic, manic depressive, bi-polar, or egocentric - but is human nonetheless. This is a singular, profound, and important literary work of unique value that sticks a penetrating and insightful knife straight through human nature's heart. It is an essential read for all; even those who will despise it must deal with it, such is its importance and influence.

"A Gentle" may be Dostoevsky's best short story, a masterpiece in many ways as great as his novels. Moving well beyond his early short works' directness, it is a complex, multi-layered piece that can be legitimately interpreted in many ways. The psychological depth for which his novels are so justly famous is here in full force, as is his strong first-person voice. The narration is indeed one of the highlights, as Dostoevsky uses several techniques - unreliable narrator, stream of consciousness, etc. - not common until about half a century later. This shows his vast originality and influence, but the story also has many core strengths, especially a focus on perennial Dostoevsky themes:suicide, mental instability, love's dark side, egotism's evils, and other heavy psychological, philosophical, and social themes.

"The Dream of a Ridiculous Man" is one of Dostoevsky's best, most original, and most influential short stories. It epitomizes several of his defining preoccupations - alienation, Christian charity, etc. - and is a preeminent example of his characteristic psychological realism. A first-person tour de force, it shows yet again that no one matches him for psychological verisimilitude. It is also heavy on his core philosophical concerns and, perhaps most notably, pioneered important concepts that had not even been defined, namely psychoanalysis and solipsism. One can easily see why Freud frequently cited Dostoevsky, as this story essentially prefigured much of his work on dreams by several decades. Fantastic as the story is in some ways - recalling the wilder flights of Paradise Lost and arguably even being almost a science fiction precursor -, it is one of Dostoevsky's most moving and deeply human works.

Wherever one chooses to read them, these stories are required reading, and this edition is highly recommended.

Brilliant stories replete with meaning
This is a fantastic collection of short works by one of the finest writers in history.While my favorites were "Notes from the Underground" and "The Dream of a Ridiculous Man," each of these stories contains vintage Dostoevsky--memorable characters, readability, a touch of humor and, most importantly, profound insights into human nature.While not as powerful as his longer works, these stories are sure to please any fan or even those who have a casual interest in Dostoevsky.Highly recommended.

Dostoevsky's Grim View of Mankind
This collection of six short stories and the novella Notes from the Underground give the reader a glimpse into the mind of one of the 19th Centuries greatest authors. The collection literally covers the entire career of the novelist. The stories offer compact detailed descriptions of life in St. Petersburg at the end of the last century.

While the stories are certainly not happy they are worth reading. The selections include the following: White Nights: a love story between a dreamer and a woman he meets and loses in a time span of 4 days. This story hearkens to later dreamers in Dostoevsky's writings including the Underground Man.

In The Honest Thief we see a more mature writer grappling with the idea of guilt associated with a minor crime. The honest thief of the title is Yemalyan who may be the genesis for later characters who are unable to avoid crime that surrounds them

The Christmas Tree and a Wedding is a straight forward story with a twist that is almost O. Henry-ish in its finale. It is probably the most perfect story in the collection.

The Peasant Marey is a recollection from the author's youth which was written during a prison stay. The purpose is to show the nobility of the peasant class.

Notes From Underground has been reviewed earlier and needs no more discussion at this point.

A Gentle Creature is an excellent example of realism. The story recounts the tortured thoughts of a less than perfect husband on the occassion of his young wife's suicide.

The Dream of a Ridiculous Man recounts Dostoevsky's final analysis of the human condition. Man is essentially good but can be corrupted bt reason and science.

On the whole this is a good introduction to the author's shorter works that with careful reading can be if not joyful quite meaningful. ... Read more

Product Description
In these stories, Dostoevsky explores both the figure of the dreamer divorced from reality, and also his own ambiguous attitude toward utopianism, themes central to his great novels.In White Nights, the apparent idyll of the dreamer's romantic fantasies disguises profound loneliness and estrangement from "living life."A Gentle Creature and The Dream of a Ridiculous Man show how withdrawal from reality can end in spiritual desolation as well as moral indifference, and how, in Dostoevsky's view, the tragedy of the alienated individual can only be resolved by the rediscovery of a sense of compassion and responsibility toward other people.
No other edition brings together these specific stories--which are most interesting when read alongside one another--and the new translations capture all the power and lyricism of Dostoevsky's writing at its best. ... Read more

Customer Reviews (1)

Excellent Collection but Not the Best
This excellent collection has three of Dostoevsky's best short works: "White Nights," "A Gentle Creature," and "The Dream of a Ridiculous Man." Ranging from great to masterful, they are essential for anyone even remotely interested in Dostoevsky and a good starting point before tackling his mammoth novels. However, as they are available in collections with additional stories -- such as The Best Short Stories of Dostoevsky --, this is not the best choice. That said, anyone who comes across it and has not read the stories would do well to get it.

"White" is one of Dostoevsky's most intensive love meditations and, indeed, one of the most profoundly searching and affecting - not to mention thorough and honest - investigations of the perennial subject. He shows many of its sides, including those most writers and people ignore, with such realism and emotion that they come across as powerfully as ever - and surely always will. Though missing some of his later depth, this is in many ways one of Dostoevsky's most timeless works. It is also interesting in his canon in that the narrator prefigures some of his more famous characters, especially the Underground Man.

"A Gentle" may be Dostoevsky's best short story, a masterpiece in many ways as great as his novels. Moving well beyond his early short works' directness, it is a complex, multi-layered piece that can be legitimately interpreted in many ways. The psychological depth for which his novels are so justly famous is here in full force, as is his strong first-person voice. The narration is indeed one of the highlights, as Dostoevsky uses several techniques - unreliable narrator, stream of consciousness, etc. - not common until about half a century later. This shows his vast originality and influence, but the story also has many core strengths, especially a focus on perennial Dostoevsky themes:suicide, mental instability, love's dark side, egotism's evils, and other heavy psychological, philosophical, and social themes.

"The Dream of a Ridiculous Man" is one of Dostoevsky's best, most original, and most influential short stories. It epitomizes several of his defining preoccupations - alienation, Christian charity, etc. - and is a preeminent example of his characteristic psychological realism. A first-person tour de force, it shows yet again that no one matches him for psychological verisimilitude. It is also heavy on his core philosophical concerns and, perhaps most notably, pioneered important concepts that had not even been defined, namely psychoanalysis and solipsism. One can easily see why Freud frequently cited Dostoevsky, as this story essentially prefigured much of his work on dreams by several decades. Fantastic as the story is in some ways - recalling the wilder flights of Paradise Lost and arguably even being almost a science fiction precursor -, it is one of Dostoevsky's most moving and deeply human works.

Wherever one chooses to read them, these stories are required reading.

... Read more

Product Description
A guide to reading "Crime and Punishment" with a critical and appreciative mind. Includes background on the author's life and times, sample tests, term paper suggestions, and a reading list. ... Read more

Customer Reviews (1)

The book shows the true man, but explict motives he killed.
The beginning starts out innocently as the book progresses the main character develops hypochondria. The mad-man falters, because of his guilt. What disturbs Rodia was not who he killed, but rather his guilt. The book depicts a killer and the true stuff what the soul is made of.comment on the authors philosophy in the book? ... Read more

Product Description
The centerpiece of this collection , "The Eternal Husband" (1890) is one of Dostoevsky's most perfect works. Classical in form, it presents his most profound exploration of mimetic rivalry and the duality of human consciousness. Told from the point of view of a rich and idle man who is confronted by a younger rival, the husband of his former, and now deceased, mistress, the story portrays the interchanging hatred and love of the two men.
Along with "The Eternal Husband" is "A Nasty Anecdote" (1862), a satire on the "reform period of Russia," which portrays a high-ranking official who is convinced that "humaneness" will unite all people in a regenerated society. The other three stories, "Bobok" (1873), "The Meek One" (1876) and "The Dream of A Ridiculous Man" (1877), are taken from The Diary of a Writer, which Dostoevsky published between the completion of Demons and The Brothers Karamazov. Together they represent the culmination and final synthesis of Dostoevsky's philosophical ideas. ... Read more

Customer Reviews (7)

An Alternate explanation for Dostoevsky's Eternal Husband
Fyodor Dostoevsky's The Eternal Husband and Other Stories contains intriguing tales.Many events in the title story are difficult to understand. An explanation,which accounts for several discrepancies in the tale,is that Pavel Trusotky poisons his first wife Natalia, his daughter Liza, and his two "friends" Alexei & Stepan.
Pavel's two "friends" betrayed him by having an affair with his wife. Pavel
wants to punish Alexei & Stepan in a way that mirrors the way they treated him. The
two "friends" befriended Pavel, then they betrayed him, Pavel wants to befriend them
both and then to betray them by poisoning them. Pavel also wants Alexei to form a bond with Liza(the daughter Alexei never knew he had)and then Pavel wants to punish
Alexei by poisoning Liza.
If Pavel poisoned Liza,it would explain many events. It would explain her illness and why Pavel would give Liza to Alexei in the first place-a man who
betrayed him. When Pavel gives Liza to Alexei,It is an act of friendship. If Pavel
gave Liza to Alexei knowing she would die,it is an act of friendship and secretly an
act of betrayal.
Before Liza becomes sick,Pavel makes this strange slip of the tongue. "Do you
know,sir,what Liza was for me, was and is,sir! Was and is!' he suddenly cried almost
in a frenzy."
In a short span of time 3 of the people in Pavel's life become sick and die-his
his wife,his daughter,and his "friend" Stepan. Also his "friend" Alexei becomes sick. Can it all be coincidence? Much of Pavel's behavior can be seen as an attempt
to counter any suspicions that might occur to Alexei or any other concerned party.
-Jim Spinosa

Excellent collection of shorter works
This collection of five stories brings together a range of Dostoevsky's `mad men' stories. That is, stories focused on the middle-aged male narrator, invariably a spiteful, erratic hypochondriac who alternates between philosophical musings and having extremely unsatisfactory relationships with other people. This might not sound particularly appealing, but the sheer intensity with which Dostoevsky carries them off and the psychological insight they contain makes them a lot more fun to read than they should be. Such stories could get old, and sooner or later, you realize that the psychological insight is more limited than it at first appears -- if we were all like Dostoevsky's characters, no one would have children -- but the selection of stories is well-measured and pulls up short of when it would wear out its welcome.

I'm not fond of descriptions of short stories because they rely so much on novelty to work that accurate descriptions ruin some of their effects. This is especially the case with the novella `The Eternal Husband', which has plenty of surprises if you don't read too many reviews. Instead, it should suffice to give a sense of these wicked stories to say that they involve life in Russia (mainly Petersburg) in the middle of the nineteenth century, largely from the point of view of permanently soused, alienated bureaucrats. They're basically _Office Space_ played for keeps.

These stories, especially `The Eternal Husband', are widely praised for their economy, meaning that in contrast to Dostoevsky's big novels, they have the philosophical and religious rambling very much under control (or with 'The Dream of a Ridiculous Man' can make it more fictional). This is accurate: here, you get the good stuff of Dostoevsky, what could potentially appeal to anyone, without the digressions that could put a lot of people off. The stories have a very modern feel to them and can hold their own in terms of current tastes in plot, characterization, etc.

Another review complained about the choppiness of the prose and someone else defended it by saying that this is a faithful rendition of Dostoevsky's prose. I only found a couple of places choppy, most notably the beginning of the fantastical story `Bobok', where it's hard to understand the set up. (But you quickly discover that that doesn't matter, the main conceit of the story is completely unrelated to who the narrator is. In that case, the madness is spread to an entire group of odd memorable characters.)

My main concern with the Pevear and Volokhonsky translations is that they almost seem too easy to read. I love the idea of having a translation team that has a native speaker of both languages (and think it's cool that here they're actually married). It seems to work well in practice. Indeed, I wonder if it might make the final translation deceptively smooth. (Maybe I'd make a good Dostoevsky character: never happy no matter what.)

This translation has less of problem than I've seen with other translations of Dostoevsky. Often you get lines like, "`The sky is blue,' he said maliciously." You're left wondering, "What on earth could be malicious about the sky being blue? I can't visualize someone saying that and it doesn't make sense in context." There's much less of this than usual (though the scene of making devil horns out of fingers in `The Eternal Husband' still baffles me).

Pevear and Volokhonsky are also good at their endnotes. Often, translators get high on their own erudition and clutter the text with so many notes that you stop reading them because they're not really relevant to understanding the story (or contain spoilers). This translation limits itself to the only most necessary supplemental information. Indeed, I wished the notes were footnotes because they are so important and I had to keep my finger at the back of the book. (I discovered that it's best in this case to read through the notes before starting a story.)

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This review is based on a trade paperback. The price for the mass paperback is pretty reasonable.

Generally Impressive: A Good Introduction to Dostoevsky
The book containsfive stories translated by Pevear and Volokhonsky and an introduction by Richard Pevear. The Eternal Husband is 150 pages. The other four stories are short. They are good examples of the writings and the literary techniques of Dostoevsky including the use of dreams.

I have read most of Dostoevsky's major novels. There are about 10 or so available in English, and the present collection is not a substitute for reading the other works. I still like The Gambler and The Brothers Karamazov as his two most interesting works, followed by The Idiot, Crime and Punishment, and Demons. Perhaps The Gambler is not his best work, but it was the first one that I had read. He wrote it with his second wife in 30 days. The Gambler is a short but entertaining - and reflects Dostoevsky`s addiction to gambling. The present works are similar to Notes From the Underground, but less intense, less creative, and more varied in subject matter.

The Eternal Husband involves an extra-marital affair by the male protagonist with a married woman and the subsequent relationship between the man, Velchaninov, and the husband, Pavel Pavlovich. The story is set years later after the death of the wife and uses a dream sequence near the beginning. It reflects a love triangle situation found in his other writings and is loosely related to the circumstances of Dostoevsky`s first marriage, although not identical.

Another story is The Dream of a ridiculous Man. Dostoevsky uses the dream sequences as a vehicle to tell a utopian story about an ideal society. Again, the dream is a literary mechanism used by Dostoevsky. This is related to the short but unusual story Bobok. It is set in a cemetery where the dead are holding conversations. The characters use flights of fancy, dreams, and communicate with the dead. The dead characters lack morals, even dead.

The other two stories, A Nasty Anecdote and The Meek One, are more conventional stories. The first involves an official who accidentally attends the wedding of a poor government worker, a man who works in his department. The official drinks too much and causes much commotion and embarrasses the groom and the wedding party. In short, he makes a fool of himself. Dostoevsky touches on his themes of the disintegration of human life and the use of the "unexpected" gathering to expose false ideas and situations.

The Meek One is about a man who is trying to deal with the suicide of his wife. Again, the story is short. But, he uses the "stream of consciousness" technique - possibly one of the first uses of the technique in the modern literature according to Pevear - years before Joyce.

5 stars and a surprisingly good selection of short stories.

Wonderful.Even better for Dostoevsky-philes
This is a fabulous collection."The Eternal Husband" is quite interesting and features the trademark Doestoevsian psychological interplay (along the lines of that found between _Crime and Punishment_'s Raskolnikov and Porfiry Petrovich, or _The Idiot_'s Rogozhin and Prince Nikolaevich).However, the short stories included are, imho, superior to "The Eternal Husband.""A Nasty Anecdote" is a very funny satire, especially if the reader is privileged to know a bit about post-"emancipation" Russia."The Meek One" studies the fascinating, yet highly unhealthy relationship between a husband and wife.At the same time, it meditates on the uses of love in much the manner of _King Lear_."The Dream of a Ridiculous Man" features the sort of Christ figure found in _The Idiot_ or _The Brothers Karamazov_'s Alyosha.Warning: this story may make you cry.
However wonderful the stories, Richard Pevear's introductory essay alone is worth the price of admission-- with a caveat.If you are familiar with most of Dostoevsky's novels, then you will understand and appreciate Pevear's analysis of Dostoevskian philosophy-- the stories in this collection are even arranged in an order that supports Pevear's theories.However, those unfamiliar with Dostoevsky's work will be very lost.

P.S. These stories are enjoyable for everyone, but those familiar with Dostoevsky will appreciate them even more.I would suggest that Dostoevsky first-timers start with _Crime and Punishment_ or _Notes from Underground_.

dostoevsky lite
i read "the eternal husband" after henry miller strongly recommended it in his "colossus of maroussi". from dostoevsky's perspective, this is a short, tight novella. there is little wasted verbiage or plot development. this is much different than his longer novels like "brothers karamazov", "the idiot", or "crime and punishment".i, however, don't think it makes it better.

story is about a cuckolded husband (pavlovich) who comes to visit one of his recently deceased wife's former lovers (velchaninov). the mystery is whether the visit is simply to see an old friend, or to avenge his prior humiliation. suspence rises and falls with each different act by pavlovich. deepening the plot is a daughter who may be velchaninov's.

as far as short novels go this one is good, but nowhere near the quality of "old man and the sea", "great gatsby" or "of mice and men"--all great american novels.

dostoevsky is a great and interesting writer. this is not his best work, but is well worth the read. ... Read more

Product Description
In this almost documentary account of his own experiences of penal servitude in Serbia, Dostoevsky describes the physical and mental suffering of the convicts, the squalor and the degradation, in relentless detail. The inticate procedure whereby the men strip for the bath without removing their ten-pound leg-fetters is an extraordinary tour de force, compared by Turgenev to passages from Dante's Inferno. Terror and resignation - the rampages of a pyschopath, the brief serence interlude of Christmas Day - are evoked by Dostoevsky, writing several years after his release, with a strikingly uncharacteristic detachment. For this reason, House of the Dead is certainly the least Dostoevskian of his works, yet, paradoxically, it ranks among his great masterpieces. ... Read more

Customer Reviews (12)

Not typical Dostoyevsky
This book in NOTHING like any of Dostoyevsky's other works. No rambling mind rants or outside society "heroes". Here he writes as if he had gone on vacation. He is informative about the subject, but I must admit he comes across a s quite arrogant,- labeling himself an aristocrat of sorts. You read this and his other works take on a new light. If you like what most would associate Dostoyevsky BEWARE!

Brutal, magical, unforgettable
His four years in a prison in Omsk opened widely the eyes of Dostoevsky on `real' life: `I yet could not distinctly see much of what lay under my nose.'
He was brutally confronted with the complexity of man, of facts (crimes) and of murky motives.
One can find here in a nutshell the main themes and characters of his later masterpieces.
In prison he was forced to live herded with a

Fascinating gallery of controversial human personalities
The Idiot (Aley), the eternal servant, the eternal child, the eternal ill, the eternal vagabond, the eternal executioner, the vain, the leader, the hanger-on, the solitary, the dreamer, the desperate, the completely indifferent, the informer, the alcoholic, the beast, the jester, the clown, the cold killer, the absolutely corrupt, the depraved, the passionate flogger, the feigned mad, people with a mission, people with disinterested compassion, the dying.

Man
For Dostoevsky, man `is his worst enemy, a creature of habit to a monstrous degree, a creature who can get used to anything.'
`Every man, however low he may have fallen, requires, if only instinctively and unconsciously, that respect be given to his dignity as a human being. He possesses a mournful desire for an abrupt display of personality, appearing suddenly and developing into fury, the eclipse of reason, the convulsion of madness.'
`It is difficult to conceive to what extent human nature can be perverted. The executioner's nature is found in embryo in almost every man.'

Facts (crimes)
`It was difficult to form even the most elementary idea of some crime, there was so much that was strange in their execution. Some murders derive from the most astonishing causes.'

Unforgettable scenes
There is the magical theatre scene, showing plainly that art is essentially the transmission of pure emotions into the spectator (the reader); the hellish bath scene; the boisterous Christmas party; the shocking death by consumption (`He must have had a mother too!'); the ice cold killing (`like a calf') of a wife by her husband; the sickening cure of the wounds inflicted by flogging (`the adroit plucking out of from the wounds of splinters from broken rods.'

This `documentary' novel is, by any standard, one of the best, profoundest, most shocking, most provocative and most shattering dissections of man.
Dostoevsky wrote one of the greatest literary masterpieces of all times. A must read.

Love Dostoevsky, didn't care for this one.
Wow, it was kind of rough slogging through this work.It generally lacked a plot. I agree that the writing was good, and no one does psychology like Dostoevsky, but I'd really recommend his other books over this one, at least for the casual reader (like myself).I'm fairly compulsive, so I read the entire book, but didn't really enjoy it much.Hope this is helpful.Just my humble opinion.

Gulag Travelogue

"A whaling ship was my Harvard and my Yale!" That's what Herman Melville declared, approximately, through his mouthpeice Ishmael in his supreme novel-of-information Moby Dick. I'm fairly sure no critic has ever linked Melville and Dostoevsky - more specifically, Moby Dick and The House of the Dead - and I'd never have made the connection if I hadn't just re-read the former. Dostoevsky, nevertheless, celebrates much the same net learning experience; his four actual years in prison labor camps in western Siberia were the Harvard and Yale of his craft as a writer and of his "spiritual" regeneration. He says it specifically at the beginning of the penultimate chapter of House (An Escape), if you want to check. By that time in the book, his literary narrative mask has completely slipped and he surely is speaking for himself.

Both Moby Dick and House of the Dead are survivor's tales. Both are told by first-person narrators, although Dostoevsky's surrogate narrator, Aleksandr Goryanchikov, is not fully consistent as a literary device. Both are extremely discursive and parenthetical, spending far more words on description of other inmates/crewmates than on themselves. Just as Moby Dick is as much an account of the whaling industry as a tale of adventure, House of the Dead is a journalistic description of the Tsarist prison facilities, both of their management and of their sociology. Readers looking for a story are likely to be under-stimulated by both books. Most important, both books reveal crises in the lives of their authors -- personal epiphanies almost concealed by the plethora of externalities -- but the two authors travel in opposite directions. Moby Dick is, on one level, a confrontation with loss of belief, a parabola from complacent faith to existential skepticism. Dostoevsky's parabola curves from naive individualism, expressed as political radicalism, to a "resurrection" and redemption based on religious mysticism. How odd that the two books were written within roughly a decade of each other!

I started to read The House of the Dead with a different comparison in mind. I'd just finished Alexander Solzhenitsyn's "Day in the Life of Ivan Denisovich" and I expected to find some interesting similarities and/or contrasts between these two books about Russian imprisonments. 'Ivan' and 'House' do depict equivalent misery and viciousness in the Tsarist and the Stalinist labor-camp prisons in Siberia. 'House" is no a literary phosphorescent flare of the blue flame intensity of 'Ivan', so it might pass unnoticed that conditions hadn't changed much from 1850 to 1940. In fact, Dostoevsky distracts his readers from the horrors of his prison by including large swathes of humor, depictions of jollier times and of the little evasions and corruptions of the system that make prison almost tolerable. Dostoevsky undoubtably offers the more realistic and rounded portrait; reading the House of the Dead exposes the deliberate unreality of A Day in the Life. Solzhenitsyn's Day cannot be extrapolated into Dostoevsky's years; 365 of Ivan's "days" in a row would be inconceivable. No one could survive them realistically. There's a summer even in Siberia.

Dostoevsky explicitly places his ego-surrogate in the House of the DEAD, from which his release constitutes a resurrection. Solzhenitsyn's Ivan is metaphorically in Hell, the frozen Hell of ancient northern myths. And now, having read these two books close together, I feel very strongly that Ivan Denisovich is intended as more than a portrait of an individual. Instead, he's a metaphor also, a synecdoche of the common folk of Russia imprisoned in the absurd inefficiency and misery of their Stalinist Hell. All the more amazing, isn't it, that Nikita K authorized the publication of 'Day'! Somebody in his office wasn't a very deep reader. 'A Day in the Life' is also a survivor's tale, but definitely not a resurrection myth. There's no further destination after Ivan's Hell; survival is perpetual defiance at best.

"The House of the Dead" isn't a great literary accomplishent. It can hardly be called a novel -- more a thinly disguised memoir -- but it's fascinating to read as a piece of sociology and it certainly opens the reader's comprehension of Dostoevsky's later masterpieces.

It was...
When I first found out about this book, I was really excited because I wanted to use it as my new piece for DI in Speech and Debate, but when I started to read it, I was a little disappointed. The character was quite repetitive and spoke in a sophisticated manner. The way that it was described in the back of the book lead me to believe that it was going to be a person who went crazy and killed everyone but that was not the case. As I kept reading, I found it to be quite the interesting book and my first impression of it fell through. I really do like this book because it is so descriptive but it's one of those kinds of books that you have to really want to finish. ... Read more

Product Description
This classic collection of articles, sketches, and letters spans thirty-three years in Fyodor Dostoevsky's writing career: from 1847, just after the successful publication of his first novel, until 1880, a year before his death. These writings show the broad scope of Dostoevsky's artistic development and the changes that occurred as a result of such cataclysmic events as his arrest and trial for treason and his subsequent imprisonment and exile in Siberia. ... Read more

Customer Reviews (1)

This is a greatbook for a higher reading level.
This is a book of romance and forbidin love. I recomend this book to anyone who loves to read. You can find your own way to realate to this book no matter what type of book or lititure your in to. I would have to saythat this book is for a higher reading level. To end my review I give thisbook a 5 star rating! ... Read more

Product Description
The narrator and protagonist of Dostoevsky’s novel The Adolescent (first published in English as A Raw Youth) is Arkady Dolgoruky, a na•ve 19-year-old boy bursting with ambition and opinions. The illegitimate son of a dissipated landowner, he is torn between his desire to expose his father’s wrongdoing and the desire to win his love. He travels to St. Petersburg to confront the father he barely knows, inspired by an inchoate dream of communion and armed with a mysterious document that he believes gives him power over others. This new English version by the most acclaimed of Dostoevsky’s translators is a masterpiece of pathos and high comedy. ... Read more

Customer Reviews (13)

Great read!
Dostoevsky's words bless the page like the stars do the sky.This books momentum is like a pot of water set to boil on the stove, the more time that passes the hotter it gets until it expldes b4 ur eyes.

Minor Dostoevsky but Worthwhile
The Adolescent, previously translated as A Raw Youth, came after all of Fyodor Dostoevsky's great novels except his masterpiece The Brothers Karamazov yet has long been considered minor. Indeed, it not only failed to enter the world canon but had long been hard to find in English before this recent translation by Richard Pevear and Larissa Volokhonsky, the Russian to English translators now most in vogue. Pevear's Introduction seems determined to rescue the book from the critical gutter; he has legitimate points and argues well but is not quite convincing, though he and his wife did at least succeed in getting renewed readership. In the view of this long-time Dostoevsky fan, the novel does deserve more readers and acclaim but is clearly below his major work. Fans will of course want it, as his genius was simply too great to be held back, and those not normally fond of him may be pleasantly surprised by this generally uncharacteristic work.

The novel is essentially a bildungsroman and is quite successful on this front - is indeed one of the popular genre's most underrated entries. Even its many critics have long praised its believably detailed and forcefully presented picture of adolescence, and Arkady, the troubled nineteen-year-old intellectual protagonist, has particular verisimilitude. It has often been said that this was the most convincing adolescence depiction before The Catcher in the Rye, which is truly high praise. Arkady was a more or less representative young Russian male, and many initial readers no doubt found him very relatable. However, since so much of adolescence is universal, his experience still speaks to many across decades and cultures; few cannot relate to his doubts and uncertainties, and even fewer will be unable to sympathize. He is essentially like any young man struggling to find an identity and place in the world. That he is not put on a pedestal makes him easy to relate to and gives much of his appeal. Arkady has many conventionally admirable qualities, not least intelligence and ambition, but is also often impulsive and reckless in a way very familiar to anyone who has dealt with promising but undisciplined youth. However, he learns much in the course of the book and comes to a sort of equilibrium after the dramatic climax, rounding out the classic bildungsroman pattern. That Dostoevsky was able to write all this so plausibly despite being well past middle age and not having such an upbringing himself is a true testament to his artistry.

Many will see the similarities between Arkady and Crime and Punishment's more famous Raskolnikov, and the book is in many ways a less serious version of Crime. Like that novel, it is highly influenced by Ivan Turgenev's Fathers and Sons, particularly its dramatization of the intellectual conflict and larger generation gap between Arkady and his father. They symbolize their generations, making the discussion relevant to Russia in a larger sense. This is now of course mostly of historical interest, but associated domestic issues like responsibility of fathers toward children will surely always be relevant and also hinted at what was to come in The Brothers.

The weakness is primarily in the plot - or lack of one. The bildungsroman format gives a framework of sorts, but much of the action is essentially episodic, which is fine with some but rankles many. Execution is also less than deft, with an overreliance on coincidences, chance meetings, etc. Above all, though, much of what happens is simply uninteresting in itself, though Arkady's thoughts and the greater significance usually make it worthwhile. Finally, the more conventionally exciting bits - e.g., the mysterious letter - are so highly wrought as to be melodramatic. It is very possible that this is intentional - Dostoevsky's way of showing Arkady's, and thus youth's, exaggerated self-absorption -, but most will be unconvinced as to its artistry.

As all this suggests, the novel is considerably less serious than usual. There is a certain lightness to much of the material and significantly more humor than one would expect - though, being Dostoevsky, the humor is very black. This may disappoint some fans but could well be a surprising delight to others, while it is one of several factors that could attract those usually averse to Dostoevsky. Less debatable is the lack of philosophical dramatization that is one of his hallmarks; this certainly does not tackle the weighty issues of thought and theology that his best works do. His other hallmark - psychological perspicuity - is here in full force, which atones to a large degree, but it is hard not to miss the heavier elements.

All told, anyone who likes Dostoevsky should read this, though all his major works should be read first, while those who have read a novel or two and not been particularly thrilled may wish to skip to it.

Overlooked Dostoevsky classic deserves more attention.
The Adolescent must, in my opinion, be acknowledged one of Dostoevsky's masterpieces.The Adolescent, Dostoevsky's second-to-last novel, stands on par with The Brothers Karamazov, The Idiot, Crime & Punishment, Devils, and Notes from Underground.

It difficult for me to understand why some critics have dismissed The Adolescent as a substandard work, or, as is the case in some instances, why others have omitted entirely a discussion of the novel in their critical works.

The plot centers around the narrator Arkady, who, having graduated from High-School, arrives in Petersburg to become acquainted for the first time with Petersburg society, as well as with his biological family, with whom he had had very little contact with since the days if his early childhood.Arkady is an illegitimate son: his father a nobleman; his mother a former household serf.

Adding to the drama is the fact that when Arkady arrives in Petersburg he has with him a sought-after document that could be used to extort and control several important people.One such person is the beautiful and enchanting Katerina Nikolaevna, with whom Arkady and his father, Verislov are both madly in love.

Similar to all of Dostoevsky's great novels, the greatness of The Adolescent is not in the actually plot, but rather, is a result of the deeply insightful, brutally honest and endlessly fascinating portrayal of man and society.

The most noticeable difference in The Adolescent is the narrative form. The novel is written in the first-person, expressing the point of view of the Adolescent himself.

Another difference in The Adolescent is that it does not contain the absolute forms of personality-types that are prominent in the other major novels. This is true more for Arkady than for Verislov.Instead one finds layered hybrids and a more ordinary

As a result of these differences -- which, by the way, I consider to be a great strength of this novel -- one will find that the character of the adolescent (that is, of Arkady Makarovich Dolgoruky) offers the most in-depth, most layered, and above all the most realistic psychological portrait of Dostoevsky's entire literary output. In Arkady one finds traces of a number of Dostoevskian character-types, i.e.: the Underground Man, Prince Myshkin, and Aloysha Karamazov.Yet, unlike those characters, Arkady is a much more ordinary, familiar and altogether realistic character in terms of both his personality and the circumstances in which he is to observed.

If you are new to Dostoevsky, I recommend starting with Crime and Punishment and then moving on to The Brothers Karamazov.If you enjoyed those books and find yourself left wanting more, then The Adolescent, in my opinion, would be a good place to turn and is sure to be an enjoyable and memorable reading experience.

The Most Modern Novel I've Read in a Year
If you judge this book on plot and style - you would probably be inclined to toss it after the first hundred pages. However, plot and style are not parts of what modern art is all about. Every reader is, essentially, a passive consumer, sometimes endowed with a degree of healthy curiosity. And every writer's goal today, in my opinion, is to penetrate deeply into the heart and mind of such a consumer, shake him up, wake him up from his slumber, and, if possible inspire him to "create". Not to the extent of turning him into a writer, but at least into a "co-creator", raise a storm in the reader's soul, so that both the writer and the reader now participate in building this amazing world that only a human mind can build.

Dostoyevsky achieves this par excellence. The long and tedious phrases, the weird characters, their strange, bizarre actions, their mood swings from one extreme to the next within a sentence, and, above all, the grotesque that this novel is saturated with to such an extent, I am almost tempted to call it a farce.

Above all, if one were to think about it in context of modern Russia, one would be shocked at how nothing has changed in more than a century.

If, when you pick up a book, you seek entertainment - don't pick up this book. If, however, you like to embark on self-exploration rollercoaster rides, then, by all means, buckle up!

a pleasant surprise
I picked up this book not knowing much about it and not having read any of the reviews here on Amazon.Being a big Dostoyevsky fan and having read most of his other books multiple times, my first thought after reading about 20 pages into The Adolescent was, "why didn't I read this sooner!"What I like most about Dostoyevsky is his ability to develop such vivid characters, mostly through dialogue.In this book, the eponymous main character is also the narrator (the book is meant to be his memoirs) so the reader gets an even deeper insight into character.We get to read how the young man wants and intends to behave, and then we get to see him repeatedly fail to come across as the dignified adult he wants to be as he behaves more like the adolescent he is.It's often pretty funny--I found this book far more humorous than Dostoyevsky's others.

That being said, I agree with the other reviewers that some of Dostoyevsky's other books are probably a better place to start for people who have read none of his books.I think of Crime and Punishment as being the best introduction.Any of his more well-known books gives a more fully-explained intro to his thinking and style and will probably make The Adolescent a more enjoyable read. ... Read more

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Customer Reviews (2)

2nd-rate Dostoevsky...for Enthusiasts Only
Originally published in 1861, Humiliated and Insulted was the first full-length novel written by Fyodor Dostoevsky after returning from exile in Siberia.The novel was written while Dostoevsky was working on his Memoirs From the House of the Dead, and thus predates Notes From Underground and Crime and Punishment by three and five years, respectively.

Despite being instantly recognizable as a "Dostoevsky" novel, there can be little doubt that Humiliated and Insulted is inferior to the author's later, better-known works. The nuanced psychology of characters and their social interactions, as well as the profound social and philosophical ideas that feature so predominantly in Dostoevsky's greatest works are noticeably absent from Humiliated and Insulted.The result is what the novel's translator, Ignat Avsay, has labeled "Dostoevsky-lite".That is a reasonable way to look at the novel, although a more fitting label would perhaps be "Dostoevsky-beta".The shortcomings of Humiliated and Insulted suggest that it was the work of an author who had not yet figured out to give form to the blueprint that was in his head, and was itself perhaps not yet fully formed.Another reason for the novel's lack of artistic greatness was the pressure to that Dostoevsky was facing after his return from exile to quickly write a novel that was sure to be a commercial success; meaning, it was more important for him to quickly write a novel that would be popular with the general reading public.

By no means is Humiliated and Insulted essential reading.This is true even for the more enthusiastic admirers of Dostoevsky's later novels (by these I mean: Notes from Underground, Crime and Punishment, The Idiot, Devils, A Raw Youth/Adolescent, and Brothers Karamazov). Even a number of the author's minor works, such as The Double, The Gambler, Memoirs from the House of the Dead and White Nights are better and more essential than Humiliated and Insulted.The later, however, is not entirely without merit.I tend to agree with Dostoevsky, who himself acknowledged that the novel contained a single great scene and one or two memorable characters; (after reading it become obvious which ones they are). The novel may also offer the reader a greater insight into Dostoevsky's life-long development as a novelist.

The Oneworld Classics edition receives my stamp of approval.
Its a sturdy, reasonably priced paperback.
It is a fresh translation of an obscure, previously hard-to-find work.
Includes a surprising amount of extras. Including illustrations; four pages in the original Russian; informative essay looking at Dostoevsky's entire career as a writer.
Material construction is cheap but durable.

Incredible translation!!!
Avsey has done an incredible job translating this riveting book. It is hard to put it down. From first page to last, it captivates. Many thanks, Ignat Avsey. ... Read more

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Translated by Constance Garnett.

Product Description

Translated by Constance Garnett.

"A Gentle Creature" (Russian: Krotkaya), sometimes also translated as "The Meek One", is a short story written by Fyodor Dostoevsky in 1876. The piece comes with the subtitle of "A Fantastic Story", and it chronicles the relationship between a pawnbroker and a girl that frequents his shop.

- Excerpted from Wikipedia, the free encyclopedia.

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One of the most profound and disturbing works of nineteenth-century literature, Notes from the Underground is a probing and speculative work, often regarded as a forerunner to the Existentialist movement. The Gambler explores the compulsive nature of gambling, one of Dostoevsky's own vices and a subject he describes with extraordinary acumen and drama.Both works are new translations, specially commissioned for the World's Classics series. ... Read more

Customer Reviews (3)

A Masterpiece and an Excellent Work in One Convenient Volume
Though largely famous for long novels, Fyodor Dostoevsky wrote a number of notable novellas, of which Notes from Underground is the first major example and The Gambler last. This collection includes both, which is not only convenient but a positive bargain. It is an ideal place to start for those curious about Dostoevsky but intimidated by his thick masterpieces and also has a wealth of supplemental material to attract the more dedicated.

A vivid depiction of the dark side of human nature, Notes is a great classic that perfectly evokes the feelings of isolation, despair, narcissism, and paranoia that continue to afflict the masses. Though very short, one feels on completing it that one has read a very profound book. It is one of the best and most essential short novels ever. Dostoevsky is known for stunning penetration into human nature, and his mastery showed here for the first time. Notes touches on many profoundly important issues:philosophical, religious, social, political, etc. Indeed, it was right at the heart of the era's prevalent intellectual modes and remains relevant today. It also works as a springboard for Dostoevsky's later, more ambitious novels. Part of the reason it works so well is that the narrator is so recognizably, touchingly, and pathetically human. Anyone who considers him or herself an outcast, who feels as if he or she has never been able to fit in, who is uncomfortable in social situations, feels morally or intellectually superior for unknown reasons, is overly emotional and susceptible to constant depression - or any such thing - will undoubtedly identify and sympathize. Another reason it works so well is the writing style. Far from traditional novel or documentary style, it gives the impression that one is reading a record of a person's private thoughts. We see the thoughts as they come to the character, not in any linear form. He may well be neurotic, psychotic, manic depressive, bi-polar, or egocentric - but is human nonetheless. This is a singular, profound, and important literary work of unique value that sticks a penetrating and insightful knife straight through human nature's heart.

The Gambler is quite different and significantly less great but still very worthwhile. Dostoevsky is world renowned for psychological insight, and this is a consummate example. The first-person narrative gives a fascinating peek into a gambling addict's mind; we learn much about what causes such behavior and, more importantly, what perpetuates it, often against better judgment. A large part of Dostoevsky's greatness is that his character studies have great verisimilitude no matter what the subject, but something extra here makes it even more piercing. This is doubtless to a great extent because it has the kind of realism that only experience can bring; Dostoevsky certainly knew a lot about gambling addicts, being one himself. In fact, the story was written at near-superhuman speed to pay off gambling debts - a process so legendary that it was even made into a film. Many gambling addicts have said this is the most realistic and compelling portrayal that exists, and it certainly brings their world vividly to life. However, there is also more to it. Gambling may be the focus, but the insight holds for all addiction forms and, by extension, all types of self-destructive behavior. This last is a particular Dostoevsky specialty, especially in regard to the Russian character, which all of his work in a sense tried to define and analyze. Here he zeroes in on its self-abnegating impulse as symbolized by Alexei's passionate love. Many lovers in literature and reality have claimed they would do anything for their beloved, but few have gone to such literal extremes. This and the gambling show him on the verge not only of self-destruction but of madness, which may make him seem too extreme to be identifiable even as his actions lead to much of Dostoevsky's characteristic black humor. However, the fact that he loses love, wealth, and thus happiness because of an inability to overcome his dark forces makes him a truly tragic figure - widely sympathetic and unfortunately widely relatable. It also unflinchingly shows the futility Dostoevsky saw as central to the Russian character; as an English character unforgettably says to Alexei at the end, "your life is now over. I am not blaming you for this--in my view all Russians resemble you, or are inclined to do so. If it is not roulette, then it is something else. The exceptions are very rare." This shows a very dark view of humanity, particularly Russians - all the more so in that, unlike some of Dostoevsky's more famous works, there is no hint of spiritual redemption at the end. Some may cringe, but the realism and perspicuity ensure we cannot ignore the very important point.

The Gambler is also notable for bringing late nineteenth century European resort towns to life. Most Dostoevsky works are of course set in Russia, but he spent much time in Europe - including Germany, where this is set -, and uses his wide knowledge and experience to make the casinos, healing waters, and other aspects seem real. This makes the book of some historical interest to those interested in the time or place, but the sociological value is even more important. The Gambler is in many ways a comedy of manners showing how Russians behaved - and were supposed to behave, often a very different thing - abroad among themselves and with other groups. This unsurprisingly leads to much conflict, which Dostoevsky plays up for all its psychological, dramatic, and comedic worth. As all this suggests, the story is not quite as serious as his major works, lacking their epic sweep, unparalleled dramatization of dense philosophical themes, and heavy dialogue. This may disappoint those looking for a masterpiece but may even be a relief to some. It must also be noted that while even the best Dostoevsky is rough around the edges of finer artistic points - he was never a prose stylist or perfectionist, his greatness being unmatched psychological and philosophical dramatization -, this is unsurprisingly even more so because of its composition's circumstances.

In the end, those not fond of more characteristic Dostoevsky may well be pleasantly surprised, and anyone who likes him should of course read this, whether early or late. Anyone looking to do so might as well do it here, as it comes with an even greater companion.

This is the Version to Buy
I bought the book at a bookstore and realized that Oxford has a slightly different version: "Notes from the Underground and the Gambler" (Oxford World's Classics).

The Oxford book is almost 300 pages long, or twice as big as other "Notes" books, and is divided into four parts.

1. There is a 13 page review or mini-biography of Dostoevsky and his life, along with an analysis of "Notes" and "The Gambler," plus a bibliography of references.

2. There is the "Notes" section part I.

3. Then there is the "Notes" section part II which is a story "Concerning The Wet Snow."

4. Finally, there is a short novel "The Gambler" written around the time of "Crime and Punishment."

I read the first few pages of Notes and the biography, but was immediately captured by "The Gambler" and read it almost non-stop start to finish. It is very well written and a compelling story about a young gambler - written in the narrative - that must reflect Dostoevsky's own passion for gambling. The novel was typed by Anna Grigorevna, a young shorthand typist, who became his second wife. Together they produced "The Gambler" in just 25 days, in October 1965. It is a wonderful story and one immediately understands the fame of Dostoevsky. I like it as a first read from the author.

"Notes" is a source of inspiration for many modern writers. It fictional and is not a biographical or similar description of Dostoyevsky. It is broken into a series of 11 chapters or really two to four page essays followed by a short story. It is in the narrative form and describes the introverted life and thoughts of a young Russian. The first part is a bit choppy but obviously and excellent and interesting read. I have taken these points from another detailed analysis found elsewhere (from Paul Brians but not unique):
-1) it contains an all-out assault on Enlightenment rationalism,
-2) it is an outstanding example of Dostoyevsky's psychological skills,
-3) depicts his profound self-contempt combined with an exquisitely sensitive ego,
-4) the story contains one of the first characters whose childhood experiences have led him to fear love and intimacy even though he longs for them, and
-5) it portrays one of the first anti-heroes in fiction.
The latter figures were to dominate much serious fiction in the mid-twentieth century, notably Albert Camus' Meursault in The Stranger.

Highly recommend this version from Oxford.

A Tour to Despair and Rebellion to Common Sense
A typical taste from the book:A shaken woman, deeply wounded in her soul, a poor woman forced to be a prostitute in order to feed her children, comes to the Man from the Underground for moral support.Now listen what he says to her:"In fact,you know what I really need:that you go to hell,that's what.I need peace.And I am willing to sell the whole World for a kopeyka just not to be disturbed.The World may go to hell or I won't drink my tea!Well, you know what I tell you,the World may very well go to hell,just that I can drink my tea in peace."

If you want to have a few hours of fun with what they told you is "good literature", then DON'T even open the Notes from the Underground. It's undoubtedly one of Dostoevsky's best works, but also one of the darkest and most confusing books ever written (it was Nietzche's favurite). The "hero" of the Notes is an enbittered man, an awful character, who has renounced to all hopes. He has withdrawn from public and social life and lives in his own private "underground", where he hopes the cruel laws of nature and morality will not touch him.He leads a rebellion to logic and common sense,to that "terrible two plus two is four",as he puts it.If you are willing to take a tour of his "underground", it won't be a pleasant experience at all! It's a dark place: no hope, no bright sights, no love, and even no sense. It's a place where the common world ends and where something else, very similar to hell, begins. If you want to visit the underground, be prepared to face the biggest philosophical questions about meaning of life, logic, the truth of common sense. It isn't a tour for anyone. You have to be strong, smart, you must have a sound religious and philosophical background. But if you are prepared to take the tour, you will have one of the most thrilling intelectual experiences ever.
I agree with Lev Shestov, who said that all Dostoevsky's major novels,Crime and Punishment,The Possesed,The Brothers Karamazov, are just a large annotation to the Notes from the Underground, an explanation for a larger audience. Go into the Underground and you will meet Raskolnikov, Stavroghin,the Great Inquisitor, Ivan Karamazov, Mitya Karamazov, Kirillov-they are all there, hidden behind the confusing flux of words that comes from the mouth of the Man from the Underground.

A short book that will take you a long time to read and even longer to understand. A book for corious and intellectually brave readers. A timeless piece of art, that will never stop to shake the ones who dare to take it in their hands without dismissing it as a "stupid little thing". ... Read more

Product Description
The Possessed (In Russian: Бесы, tr. Besy), also translated as The Devils or Demons, is an 1872 novel by Fyodor Dostoevsky. The Possessed is an extremely political book, and is a testimonial of life in Imperial Russia in the late 19th century.As the revolutionary democrats begin to rise in Russia, different ideologies begin to collide. Dostoevsky casts a critical eye on both the left-wing idealists, exposing their ideas and ideological foundation as demonic, and the conservative establishment's ineptitude in dealing with those ideas and their social consequences.This form of intellectual conservativism tied to the Slavophil movement of Dostoevsky's day, is seen to have continued on into its modern manifestation in individuals like Aleksandr Solzhenitsyn. Dostoevsky's novels focusing on the idea that utopias and positivist ideas, in being utilitarian, were unrealistic and unobtainable.The book has five primary ideological characters: Verkhovensky, Shatov, Stavrogin, Stepan Trofimovich, and Kirilov. Through their philosophies, Dostoevsky describes the political chaos seen in 19th-Century Russia. ... Read more

Customer Reviews (5)

The Consequences of Nihilism
I first read this book some years ago and wanted to try it again and see how I reacted to it a second time. It is a strange novel in some ways; alternately brilliant and flawed. The most blatant flaw is in the point of view, which constantly shifts from an omniscient narrator to that of a very minor character in the novel (whose name is only mentioned once). Dostoyevsky seems to forget about this narrator for many pages, then suddenly remembers him and awkwardly explains how he knows this or that fact about what is going on. At other times, we see into the minds of various characters in ways that would be impossible for him. This is something more than a minor flaw as it occurs throughout the book.

Despite this, The Possessed presents a brilliant, if very questionable, picture of one of Dostoyevsky's primary topics -nihilism. As with his other major novels, such as Crime and Punishment and The Brothers Karamazov, Dostoyevsky is passionately concerned about what happens when individuals, and society as a whole, abandons the belief in God. His conclusion is that, without this core belief, man is lost and society breaks down completely. For this, and with some justification, he has been called a reactionary. Indeed, The Possessed is perhaps one of the most fundamentally reactionary novels ever written. I am not saying this as a criticism, but as a simple fact. It is a powerful argument in favor of conservative spiritual and political values. It's thesis is that without these, anarchy and senseless violence will inevitably tear society apart.

The Possessed tells the story of how two amoral, basically sociopathic young men, Nikolai Stavrogin and Peter Verkhovensky, lead a confused and gullible group of radicals and freethinkers on a rampage of destruction. Stavrogin (like more than a few Dostoyevsky characters) is a man who lives in a perpetual existentialist crisis. Nothing has meaning for him, so he randomly experiments with various actions and theories, completely disregarding the consequences. Verkhovensky's character is not quite as well developed. He is presented as a pure nihilist, someone who uses the rhetoric of political radicalism for the purpose of pure destruction. While Stavrogin is, at times, borderline sympathetic because of the pain he suffers, Verkhovensky is portrayed as an almost purely malicious character. Both, however, are responsible, either directly or indirectly for several crimes, including arson and murder.

Dostoyevsky is at least as concerned with the characters who, almost randomly and even, at times, against their will, support the two instigators. These characters are presented as naive, self-centered and frivolous liberals, intellectuals and misfits who are easily led down the path of evil. Central to this is Peter's father, Stepan Verkhovensky, an aging liberal intellectual. He is weak, effete and, often, absurdly sentimental. Dostoyevsky, however, is very good at creating complex characters, and the elder Verkhovensky is no exception. Despite his considerable shortcomings, Mr. Verkhovensky (as he is referred to) is also intelligent, self-aware (at least at times) and able to see the flaws in others -at least to a certain point. Yet, his basically selfish and secular outlook makes him unable to identify pure evil. Mr. Verkhovensky is actually the main character of the novel, if we go by the amount of time devoted to him. I believe he is meant to symbolize the inherent weakness and insubstantiality of the secular intellectual who ends up worshipping, instead of God, romantic and aesthetic ideals.

Despite Dostoyevsky's ability to create extremely complex and nuanced characters,The Possessed actually puts forth a fairly simplistic and reductionist thesis. As deeply complex as the characters often seem, theyare nevertheless locked in to playing very predictable roles in the unfolding of events. In this way, Dostoyevsky reminds me of another, in some ways very different author (also Russian born) -Ayn Rand. Yet, I think Dostoyevsky manages to dig a bit deeper into the human soul than Rand did. The Possessed is a quite pessimistic novel, for there are no heroes --only the insipidly neutral and the evil. Dostoyevsky apparently could not conceive of radical ideas grounded in genuine idealism. Unfortunately, events in Russia several decades after Dostoyevsky's death seem to support his dark views of socialism and radical thought. Still, even if you don't agree with the programs of liberals, socialists or radicals, I think it's a bit simplistic to categorize all of them as either idiots or sociopaths. And this is essentially what Dostoyevsky does in this novel -though he manages to hide this simplification with lots of psychological depth. In many ways, the psychological elements, whether they were of central importance to Dostoyevsky or not, are profound enough to overshadow any political or religious arguments his books are making.

Dostoyevsky is the kind of writer who deeply explores the human psyche in a way few modern writers even attempt. A postmodern interpretation could easily dismiss him as morbidly introspective and symptomatic of a decadent bourgeois class with too much leisure time. Indeed, it even occurred to me while reading this that ifStavrogin had to work at a job, and did not have servants attending to his every need, he'd have less time to contemplate the meaninglessness of existence. Still, I don't think we should dismiss Dostoyevskyso readily, whether we agree with him or not. The issues he grapples with are universal and critical. The Possessed does not present much of a positive argument for how life should be lived. Dostoyevsky's cynical view of radicalism does not seem to be rooted in a firm belief in the political status quo of his day. I think his view was that human society and politics are essentially pointless and the only salvation lies in religion and man's relationship to God. While I do not share his spiritual outlook, I find the way he expresses it thought-provoking and fascinating.

A masterpiece of characterization
I was intriguedwhen John Updike picked this over Dostoevsky's Brothers Karamazov as one of the ten greatest works of literature of the millenium.After reading it I still claim that Karamazov is better, but this novel iscertainly not to be missed.It is touter than some of Dostoevsky's otherworks, and it contains some of his best characterizations, all suffusedwith a very dark and very penetratingsense of humor.No one will forgetthe nihilist Kirilov, who wishes to kill himself in order to become God,the naive aesthete Stepan Trofimovitch and his final, farcical escape intopeasant Russia, or Nikolai Stavrogin, haunted by a terrible crime that ismade all the worse because it is too ordinary.The whole novel is anunabashed piece of anti-revolutionary (indeed, reactionary) propaganda, buteven the characters that are intended as caricatures come across asfascinating and oddly believable.This novel displays as well as any otherof his works the author's extraordinary understanding of the tortured waysof the human spirit.

A great soap opera.
The book is long and melodrmatic. Deeper than that, the nihlistic movments in Russia is intresting to see devolop.

The breaking of the seven seals, courtesy of Dostoevsky
This books improves upon the Divine Comedy and revives the New Testament. This book is a bible of Dionysiac dismemberment. Dostoevsky has translated Job's Jehova for us, from the original thunder.

I read this a year ago and still think on it often
Dostoyevsky is claiming an atheist world can notfunction - that the godless people who inhabit the earth are without values and morrals (they are the"Possessed" individuals)I don't agree with muchwhat he has to say but I was fascinated by his point of view.His book and particularly the character Kirilov are heavily mentioned in the essay by Camus, The Myth of Sisyphus, which argues the oppositeclaim.The Possessed is long but worth reading -studded with useful aphorisms ... Read more

Product Description
Fyodor Mikhaylovich Dostoyevsky (November 11, 1821 – February 9, 1881) was a Russian fiction writer, essayist and philosopher whose works include Crime and Punishment and The Brothers Karamazov. Dostoyevsky's literary output explores human psychology in the troubled political, social and spiritual context of 19th-century Russian society. Considered by many as a founder or precursor of 20th century existentialism, his Notes from Underground (1864), written in the embittered voice of the anonymous "underground man", was called by Walter Kaufmann the "best overture for existentialism ever written." Dostoyevsky is recognized as one of the greatest and most influential writers of all time. - Wikipedia ... Read more

Product Description
A distinguished novella, that deals with the internal psychological dilemma of its main character, Yakov Petrovich Golyadkin. The author has given a fantastic story that evaluates the intrigues and manipulations of the middle class in its socio-economic strivings. Engrossing!

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Customer Reviews (15)

Typos
I would not recommend this particular book. In the first 11 pages there were 4 typos. (I have not read further yet). When I read, I immerse myself into the story line and when a typo pops up it not only takes away from the meaning but it is also very distracting.
I would perhaps recommend buying from a different publisher.

Fear the doppelgänger!
This was a quick read. I picked it up because I recognized the reputable name of the author. An interesting book from my perspective because Golyadkin, our hero, bore such a strong resemblance to a mentally challenged man I have befriended. He repeats your name at the end of every sentence, he is paranoid, displays constant indecisiveness, talks the talk but too timid to walk the walk, talks too himself and has ended up in a mental health care facility. The 'hero' does not talk to himself directly but I believe the doppelgänger to be a figment of his imagination. He appears at our hero's lowest moment and becomes more involved as Golyadkin displays more and more irrational and paranoid behavior. Nice twist at the end, considering it is a classic, I expected him to get the girl and live happily ever after.

Digiread edition is FULL OF TYPOS
Physically, it's a nice enough little book, and the paper looks to be acid-free.But there seems to have been *no* effort at proofing it.Digiread is willing to take money for a book that they were unwilling to spend money proofreading. It's bizarrely shoddy work, and I think this says a lot about the company.I emailed them about it, but they did not write back.My impression is that they really don't give a damn -- not about literature, not about their customers, and not about the quality of their product.

Kind of a shame, really -- it's a great little novel.:(

The Double

On The Double
Should I blame Borges ("The Other"), Conrad ("The Secret Sharer"), Gogol ("The Nose") or Poe ("William Wilson")? I honestly don't know. All I can say is that the short works of these authors, all four of them, will stay with me far, far longer than Dostoyevsky's The Double.

good intro to Dostoyevsky
I read one of Dostoyevsky's longer novels a few years ago and I got lost in it - a lot of names, really long, and confusing writing. The Double, I think is also a difficult read to the casual reader (like me) - it is a hazy line between fantasy and reality in The Double as other reviewers have aptly noted. But it is short (comparably at least) and the characters are easily discernible. I didn't follow everything, but enough to enjoy it. And enough to give me confidence to tackle his other short stories and then Brothers.

As I believe is true of many of Dostoyevsky's characters, you will see traces of yourself in Golyadkin senior and junior - in the insecurities and indecisiveness to name a couple of his traits. For that reason, The Double is not only a interesting story but also a piece that forces the reader to introspect. ... Read more