Books with author Fyodor Mikhailovich Dostoyevsky

How is this book unique? 15 Illustrations are included Short Biography is also includedOriginal & Unabridged EditionTablet and e-reader formattedBest fiction books of all timeOne of the best books to readClassic historical fiction booksBestselling FictionThe Brothers Karamazov, also translated as The Karamazov Brothers, is the final novel by the Russian author Fyodor Dostoyevsky. Dostoyevsky spent nearly two years writing The Brothers Karamazov, which was published as a serial in The Russian Messenger and completed in November 1880. The author died less than four months after its publication. The Brothers Karamazov is a passionate philosophical novel set in 19th century Russia, that enters deeply into the ethical debates of God, free will, and morality. It is a spiritual drama of moral struggles concerning faith, doubt, and reason, set against a modernizing Russia, with a plot which revolves around the subject of patricide. Dostoyevsky composed much of the novel in Staraya Russa, which inspired the main setting.[1] Since its publication, it has been acclaimed as one of the supreme achievements in world literature.

In 1864, just prior to the years in which he wrote his greatest novels — Crime and Punishment, The Idiot, The Possessed and The Brothers Karamazov — Fyodor Dostoyevsky (1821–1881) penned the darkly fascinating Notes from the Underground. Its nameless hero is a profoundly alienated individual in whose brooding self-analysis there is a search for the true and the good in a world of relative values and few absolutes. Moreover, the novel introduces themes — moral, religious, political and social — that dominated Dostoyevsky's later works. Notes from the Underground, then, aside from its own compelling qualities, offers readers an ideal introduction to the creative imagination, profundity and uncanny psychological penetration of one of the most influential novelists of the nineteenth century. Constance Garnett's authoritative translation is reprinted here, with a new introduction.

In 1864, just prior to the years in which he wrote his greatest novels — Crime and Punishment, The Idiot, The Possessed and The Brothers Karamazov — Fyodor Dostoyevsky (1821–1881) penned the darkly fascinating Notes from the Underground. Its nameless hero is a profoundly alienated individual in whose brooding self-analysis there is a search for the true and the good in a world of relative values and few absolutes. Moreover, the novel introduces themes — moral, religious, political and social — that dominated Dostoyevsky's later works. Notes from the Underground, then, aside from its own compelling qualities, offers readers an ideal introduction to the creative imagination, profundity and uncanny psychological penetration of one of the most influential novelists of the nineteenth century. Constance Garnett's authoritative translation is reprinted here, with a new introduction.

In 1864, just prior to the years in which he wrote his greatest novels — Crime and Punishment, The Idiot, The Possessed and The Brothers Karamazov — Fyodor Dostoyevsky (1821–1881) penned the darkly fascinating Notes from the Underground. Its nameless hero is a profoundly alienated individual in whose brooding self-analysis there is a search for the true and the good in a world of relative values and few absolutes. Moreover, the novel introduces themes — moral, religious, political and social — that dominated Dostoyevsky's later works. Notes from the Underground, then, aside from its own compelling qualities, offers readers an ideal introduction to the creative imagination, profundity and uncanny psychological penetration of one of the most influential novelists of the nineteenth century. Constance Garnett's authoritative translation is reprinted here, with a new introduction.

Through the story of the brilliant but conflicted young Raskolnikov and the murder he commits, Fyodor Dostoyevsky explores the theme of redemption through suffering. “Crime and Punishment” put Dostoyevsky at the forefront of Russian writers when it appeared in 1866 and is now one of the most famous and influential novels in world literature.The poverty-stricken Raskolnikov, a talented student, devises a theory about extraordinary men being above the law, since in their brilliance they think “new thoughts” and so contribute to society. He then sets out to prove his theory by murdering a vile, cynical old pawnbroker and her sister. The act brings Raskolnikov into contact with his own buried conscience and with two characters — the deeply religious Sonia, who has endured great suffering, and Porfiry, the intelligent and discerning official who is charged with investigating the murder — both of whom compel Raskolnikov to feel the split in his nature. Dostoyevsky provides readers with a suspenseful, penetrating psychological analysis that goes beyond the crime — which in the course of the novel demands drastic punishment — to reveal something about the human condition: The more we intellectualize, the more imprisoned we become.

In 1864, just prior to the years in which he wrote his greatest novels — Crime and Punishment, The Idiot, The Possessed and The Brothers Karamazov — Fyodor Dostoyevsky (1821–1881) penned the darkly fascinating Notes from the Underground. Its nameless hero is a profoundly alienated individual in whose brooding self-analysis there is a search for the true and the good in a world of relative values and few absolutes. Moreover, the novel introduces themes — moral, religious, political and social — that dominated Dostoyevsky's later works. Notes from the Underground, then, aside from its own compelling qualities, offers readers an ideal introduction to the creative imagination, profundity and uncanny psychological penetration of one of the most influential novelists of the nineteenth century. Constance Garnett's authoritative translation is reprinted here, with a new introduction.

The Brothers Karamazov is the final novel by the Russian author Fyodor Dostoevsky, and is generally considered the culmination of his life's work. Dostoevsky spent nearly two years writing The Brothers Karamazov, which was published as a serial in The Russian Messenger and completed in November 1880. Dostoevsky intended it to be the first part in an epic story titled The Life of a Great Sinner, but he died less than four months after its publication. The book portrays a parricide in which each of the murdered man's sons share a varying degree of complicity. On a deeper level, it is a spiritual drama of moral struggles concerning faith, doubt, reason, free will and modern Russia. Dostoevsky composed much of the novel in Staraya Russa, which is also the main setting of the novel.

The Gambler was written under the pressure of crushing debt. It is a stunning psychological portrait of a young man’s exhilarating and destructive addiction, a compulsion that Dostoevsky–who once gambled away his young wife’s wedding ring–knew intimately from his own experience. In the disastrous love affairs and gambling adventures of his character, Alexei Ivanovich, Dostoevsky explores the irresistible temptation to look into the abyss of ultimate risk that he believed was an essential part of the Russian national character.

The Gambler was written under the pressure of crushing debt. It is a stunning psychological portrait of a young man’s exhilarating and destructive addiction, a compulsion that Dostoevsky–who once gambled away his young wife’s wedding ring–knew intimately from his own experience. In the disastrous love affairs and gambling adventures of his character, Alexei Ivanovich, Dostoevsky explores the irresistible temptation to look into the abyss of ultimate risk that he believed was an essential part of the Russian national character.

The Gambler was written under the pressure of crushing debt. It is a stunning psychological portrait of a young man’s exhilarating and destructive addiction, a compulsion that Dostoevsky–who once gambled away his young wife’s wedding ring–knew intimately from his own experience. In the disastrous love affairs and gambling adventures of his character, Alexei Ivanovich, Dostoevsky explores the irresistible temptation to look into the abyss of ultimate risk that he believed was an essential part of the Russian national character.