Fyodor Mikailovich Dostoevsky’s life was as dark and dramatic as the great novels he wrote. He was born in Moscow in 1821. A short first novel, Poor Folk (1846) brought him instant success, but his writing career was cut short by his arrest for alleged subversion against Tsar Nicholas I in 1849. In prison he was given the “silent treatment” for eight months (guards even wore velvet soled boots) before he was led in front a firing squad. Dressed in a death shroud, he faced an open grave and awaited execution, when suddenly, an order arrived commuting his sentence. He then spent four years at hard labor in a Siberian prison, where he began to suffer from epilepsy, and he returned to St. Petersburg only a full ten years after he had left in chains.
His prison experiences coupled with his conversion to a profoundly religious philosophy formed the basis for his great novels. But it was his fortuitous marriage to Anna Snitkina, following a period of utter destitution brought about by his compulsive gambling, that gave Dostoevsky the emotional stability to complete Crime and Punishment (1866), The Idiot (1868-69), The Possessed (1871-72), and The Brothers Karamazov (1879-80). When Dostoevsky died in 1881, he left a legacy of masterworks that influenced the great thinkers and writers of the Western world and immortalized him as a giant among writers of world literature.
(Book Jacket Status: Jacketed)
Dostoevsky’s most revolutionary novel, Notes from Underground marks the dividing line between nineteenth- and twentieth-century fiction, and between the visions of self each century embodied. One of the most remarkable characters in literature, the unnamed narrator is a former official who has defiantly withdrawn into an underground existence. In full retreat from society, he scrawls a passionate, obsessive, self-contradictory narrative that serves as a devastating attack on social utopianism and an assertion of man’s essentially irrational nature.
Richard Pevear and Larissa Volokhonsky, whose Dostoevsky translations have become the standard, give us a brilliantly faithful edition of this classic novel, conveying all the tragedy and tormented comedy of the original.
读这本书的时候一边觉得恶心一边又有一种微妙的爽感。 就与书中人说的一样,他不过是在他的生活中把我们都不敢实行一半的事发展到极端罢了。 地下室人拥有“非英雄”的所有特质,将黑暗的一面无限放大赤裸裸展示于人前。他发掘出自己的劣根性,并几乎是执意地去寻找痛苦,折磨...
评分 评分我们应该感谢博学的博尔赫斯,他曾经用他惯用的那种平缓精准的语言,为我们总结(或者我们以为总结)了陀思妥耶夫斯基的激情和勤劳的一生,以不同阶段的不同身份的形式(或者也是同时存在):士官生、少尉、画报的撰稿人、《先驱报》吃惊的读者、死刑犯、囚犯、士兵、准尉、小...
评分 评分同谋者和审判家,是读书时自己心中要去充当的两种角色。这是伍尔夫教给我的。我们要学会和作者并肩走着,通过他的眼睛和心去看问题,假设自己一无所知,不要处处发扬所谓的批判精神。同时,常常是掩卷之后,我们应该站在一个制高点上,俯视所有的大山小山,去审判那些真诚的和...
失了智。。
评分It's just.......nothing that i haven't already known but also too russian for me to understand?
评分It's just.......nothing that i haven't already known but also too russian for me to understand?
评分It's just.......nothing that i haven't already known but also too russian for me to understand?
评分越看越被歇斯底里的疯魔带走,颤抖着感受到与自身的亲近感。Such a self-loathing egoist, timid and arrogant to wicked. want his wanting. A male hysteria, an anti-hero.
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