No catches, no fine print just unadulterated book loving, with your favourite books saved to your own digital bookshelf.
New members get entered into our monthly draw to win £100 to spend in your local bookshop Plus lots lots more…Find out more
Fyodor Mikhailovich Dostoyevsky was born in Moscow in 1821. In 1849 he was arrested for involvement with the politically subversive 'Petrashevsky circle' and until 1854 he lived in a convict prison in Omsk, Siberia. After the death of his first wife, Maria, in 1864, Dostoyevsky completed Notes from Underground and began work towards Crime and Punishment (1866). The major novels of his late period are The Idiot (1868), Demons (1871-2) and The Brothers Karamazov (1879-80). He died in 1881. Oliver Ready is Research Fellow in Russian Society and Culture at St Antony's College, Oxford. He is general editor of the anthology, The Ties of Blood: Russian Literature from the 21st Century (2008), and Consultant Editor for Russia, Central and Eastern Europe at the Times Literary Supplement.
Initiated by a savage act, this is a powerful story of doom versus redemption. Although first published in 1866 in Russian, this is the original very dark tale of rebellious youth Rodion Raskolnikov stepping over lines and blurring morality in the name of higher purpose. It's a seminal piece of work whose themes are as relevant today as they were then, as you follow the journal of such a complex character. Highly recommended and an absolute must on the list of classics.
Notes from the Underground is recounted from the perspective of a narrator who describes himself as sick, spiteful, and unattractive; he styles himself the Underground Man. His thoughts and his moods veer unpredictably as he reflects on himself and his world; on past, present, and future; on the folly of human idealism and the reality of human squalor and degradation. The intellectual and psychological power of the book are deeply rooted in the conflicts and contradictions that afflict the narrator-many of which seem to have afflicted Dostoevsky himself for much of the 1860s. Once attracted to idealistic and utopian notions, he now found himself repelled by them. A passionate advocate of freedom, he had little confidence that humans could use freedom for the good. The Underground Man is not a unified self, but a self-contradictory character, like his author. His bewildering complexity and relentless self-analysis make him one of the most memorable and thought-provoking protagonists of modern literature. As well as the text itself and an informative introduction, this new edition includes a selection of background documents (also newly translated), which help set the work in the cultural and intellectual context out of which it emerged.
The small town of Mordasov is all abuzz at the arrival of Prince K-, a wealthy, ageing landowner, after an absence of several years. Marya Alexandrovna Moskaleva, a local gossip and fearsome schemer, decides that he would be an advantageous match for her daughter Zina. But in her endeavours to make such a union come about, she must contend with rival matchmakers and Zina's existing suitors. The first book Dostoevsky wrote after serving his sentence in a Siberian prison camp - an experience that inspired his semi-autobiographical novel The House of the Dead - Uncle's Dream shares none of that work's gloomy tone or weighty subject matter: it is a humorous drawing-room novella, a satire of Russian society that can be enjoyed as a lighter counterpoint to the author's later works.
'I have always been ridiculous, and I have known it, perhaps from the hour I was born' A man goes mad because he is happy. A civil servant behaves like a monster at a wedding-party. A man is swallowed by a crocodile, but not eaten nor seriously damaged. Dostoevsky's stories inhabit similarly volcanic atmospheres as his novels, places of curiosity and exception. They resemble jokes and anecdotes, told by volatile, voluble, morbidly sensitive and frustrated characters. These narrators all have a tendency to express themselves in crescendos of conflicting emotions, while the stories themselves steer clear of grand conclusions. Michael Wood's selection of Dostoevsky's shorter works is drawn from the timeless translations of Constance Garnett whose work, he says in his preface, gives readers the best of several worlds.