Thank you for checking out this book by Theophania Publishing. We appreciate your business and look forward to serving you soon. We have thousands of titles available, and we invite you to search for us by name, contact us via our website, or download our most recent catalogues. Whatever topics of his writing were, Dostoyevsky (1821-1881) invariably assumed a view of life as seen from the literal or metaphoric underground. His uniquely incisive analysis of the human nature combined with an invention that can only be compared with Joyce's "stream of consciousness" - polyphony of narrative. English and American readers are sometimes embarrassed by the spiritual openness and nakedness in which Dostoyevsky's characters appear in his novels. This, however, is not really related to the so-called Russian character; we deal with a method of writing that requires absolute honesty and nakedness before the reader. Each character's voice becomes a musical instrument. Those instruments together perform a symphony coming from the underground, de profundis, and this symphony is hard to forget.
Fyodor Mikhaylovich Dostoyevsky was a Russian writer, essayist and philosopher, perhaps most recognized today for his novels 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."
His tombstone reads "Verily, Verily, I say unto you, Except a corn of wheat fall into the ground and die, it abideth alone: but if it die, it bringeth forth much fruit." from John 12:24, which is also the epigraph of his final novel, The Brothers Karamazov.
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