One of the most powerful and significant authors in all modern fiction, Fyodor Dostoevsky was the son of a harsh and domineering army surgeon who was murdered by his own serfs (slaves), an event that was extremely important in shaping Dostoevsky's view of social and economic issues. He studied to be an engineer and began work as a draftsman. However, his first novel, Poor Folk (1846), was so well received that he abandoned engineering for writing. In 1849, Dostoevsky was arrested for being a part of a revolutionary group that owned an illegal printing press. He was sentenced to be executed, but the sentence was changed at the last minute, and he was sent to a prison camp in Siberia instead. By the time he was released in 1854, he had become a devout believer in both Christianity and Russia - although not in its ruler, the Czar. During the 1860's, Dostoevsky's personal life was in constant turmoil as the result of financial problems, a gambling addiction, and the deaths of his wife and brother. His second marriage in 1887 provided him with a stable home life and personal contentment, and during the years that followed he produced his great novels: Crime and Punishment (1886), the story of Rodya Raskolnikov, who kills two old women in the belief that he is beyond the bounds of good and evil; The Idiots (1868), the story of an epileptic who tragically affects the lives of those around him; The Possessed (1872), the story of the effect of revolutionary thought on the members of one Russian community; A Raw Youth (1875), which focuses on the disintegration and decay of family relationships and life; and The Brothers Karamazov (1880), which centers on the murder of Fyodor Karamazov and the effect the murder has on each of his four sons. These works have placed Dostoevsky in the front rank of the world's great novelists. Dostoevsky was an innovator, bringing new depth and meaning to the psychological novel and combining realism and philosophical speculation in his complex studies of the human condition.
„Cartea pe care ar trebui s-o citeasca oricine pentru a intelege natura si semnificatia leninismului ramane romanul Demonii al lui Dostoievski.“
„Dostoievski ne este indispensabil: satira lui asemenea celei a lui Jonathan Swift denunta egoismul cruzimea ipocriziile noastre si mai presus de orice aceasta infirmitate care este constiinta de sine. Acest Shakespeare al romancierilor isi inzestreaza personajele cu o intensitate a trairii pe care doar operele Marelui Will au atins-o si in plus le face sa poarte povara rusinii un lucru pe care Shakespeare nu a fost capabil sa-l realizeze.“
„Flaubert se opune in acelasi timp artei zise oficiale (si care era adesea doar un comentariu usor politizant al virtutilor burgheze) ca si nihilismului galagios al «boemei» adica al celor care aspirau in secret sa patrunda in oligocratia tiparului contestand-o totodata. Doamna Bovary este rezultatul unei hotarari ostentative: pentru a le arata tuturor acestor domni ce inseamna arta Flaubert va renunta la subiectele si forma pe care le considera adecvate unei gandiri superioare si pe care le ilustrase in Ispitirea Sfintului Anton in favoarea celei mai umile materii: romanul mai mult adulterul mai mult faptul divers petrecut in provincie. Acestei substante infame pe care el insusi o detesta si o dispretuieste ii va aplica puterea artei celei mai inalte.“ (Ioan Panzaru)
„Flaubert este un povestitor neobosit si inepuizabil un descriptiv de o minutioasa subtilitate ale carui pagini nu se aseamana cu cele ale lui Stendhal si nici cu cele ale lui Balzac. El scrie despre viata de fiecare zi asa cum se scrie istoria – cu o severa raspundere.“ (Barbey d’Aurevilly)
„Artistul trebuie sa fie in opera sa ca si divinitatea in creatie invizibil si atotputernic; sa fie pretutindeni simtit insa nicaieri vazut.“ (Gustave Flaubert)
The Brothers Karamasov is a murder mystery, a courtroom drama, and an exploration of erotic rivalry in a series of triangular love affairs involving the “wicked and sentimental” Fyodor Pavlovich Karamazov and his three sons—the impulsive and sensual Dmitri; the coldly rational Ivan; and the healthy, red-cheeked young novice Alyosha. Through the gripping events of their story, Dostoevsky portrays the whole of Russian life, is social and spiritual striving, in what was both the golden age and a tragic turning point in Russian culture.
This award-winning translation by Richard Pevear and Larissa Volokhonsky remains true to the verbal
inventiveness of Dostoevsky’s prose, preserving the multiple voices, the humor, and the surprising modernity of the original. It is an achievement worthy of Dostoevsky’s last and greatest novel.