A magnificent new translation of Dostoevsky's masterpiece, which when first published in 1991 was described by the TIMES as 'a miracle' and by THE INDEPENDENT as a near 'ideal translation'. The BROTHERS KARAMAZOV - Dostoevsky's most widely read novel - is at once a murder mystery, a mordant comedy of family intrigue, a pioneering work of psychological realism and an unblinking look into the abyss of human suffering.

The Voice of a Giant looks at seven masterpieces of Russian nineteenth-century prose fiction-Pushkin's "The Queen of Spades", Lermontov's "A Hero of Our Time", Gogol's "The Greatcoat", Turgenev's "Fathers and Sons", Dostoevsky's "Notes from Underground", Tolstoy's "War and Peace" and Chekhov's "The Lady with the Dog". Each chapter concentrates primarily on a detailed analysis of one of these works but reference is also made to historical background, the seven author's general attitudes and the distinguishing characteristics of Russian literature. The book is intended for A-Level students, for first- and second-year undergraduates, and for the general reader exploring the richness and subtlety of a body of writing which has profoundly influenced the modern European consciousness.

This 1983 volume comprises essays written by British and American scholars to mark the centenary of Dostoyevsky's death in 1881. In many respects it is a companion volume to New Essays on Tolstoy published by Cambridge University Press in 1978. The book is divided into two sections. The first part considers specific works; there are essays on Dostoyevsky's early work, Crime and Punishment, The Idiot, The Devils, and The Brothers Karamazov. The second part ranges more widely over aspects of the great novelist's work and includes essays on Dostoyevsky's religious thought, on Dostoyevsky as philosopher, and on formalist and structuralist approaches to Dostoyevsky's work. The volume concludes with a bibliographical survey of British writing on Dostoyevsky. The collection will be of value to anyone with an interest in Russian literature whether in the original language or in translation.

Malcolm Jones, the author of an earlier, widely read book on Dostoyevsky, here approaches his subject afresh in the light of recent developments in Dostoyevsky studies and in critical theory. He takes as his starting point the vexed question of Dostoyevsky's 'fantastic realism', which he attempts to redefine. Accepting Bakhtin's reading of Dostoyevsky in its essentials, he seeks out its weaknesses and develops it in new directions. Taking well-known texts by Dostoyevsky in turn, Professor Jones illustrates aspects of their multivoicedness. In Part 1, he concentrates on the internal, emotional and intellectual, reversals of 'the underground'. In Part 2, he focuses on the disruptive and subversive aspects of the relationships between characters and between text and reader. In Part 3 he examines textual multivoicedness in its diachronic aspect, showing some of the ways in which Dostoyevsky's texts echo and exploit the voices of precursors.

Malcolm Jones, the author of an earlier, widely read book on Dostoyevsky, here approaches his subject afresh in the light of recent developments in Dostoyevsky studies and in critical theory. He takes as his starting point the vexed question of Dostoyevsky's 'fantastic realism', which he attempts to redefine. Accepting Bakhtin's reading of Dostoyevsky in its essentials, he seeks out its weaknesses and develops it in new directions. Taking well-known texts by Dostoyevsky in turn, Professor Jones illustrates aspects of their multivoicedness. In Part 1, he concentrates on the internal, emotional and intellectual, reversals of 'the underground'. In Part 2, he focuses on the disruptive and subversive aspects of the relationships between characters and between text and reader. In Part 3 he examines textual multivoicedness in its diachronic aspect, showing some of the ways in which Dostoyevsky's texts echo and exploit the voices of precursors.

Many Russian novels of the nineteenth and twentieth centuries have made a huge impact, not only inside the boundaries of their own country but across the western world. The Cambridge Companion to the Classic Russian Novel offers a thematic account of these novels, in fourteen newly-commissioned essays by prominent European and North American scholars. There are chapters on the city, the countryside, politics, satire, religion, psychology, philosophy; the romantic, realist and modernist traditions; and technique, gender and theory. In this context the work of Pushkin, Dostoevsky, Tolstoy, Turgenev, Bulgakov, Nabokov, Pasternak and Solzhenitsyn, among others, is described and discussed. There is a chronology and guide to further reading; all quotations are in English. This volume will be invaluable not only for students and scholars but for anyone interested in the Russian novel.

The Cambridge Companion to the Classic Russian Novel offers a thematic account of a tradition that produced some of the most influential novels of the Western world. In newly-commissioned essays by prominent scholars, the work of Pushkin, Dostoevsky, Tolstoy, Turgenev, Bulgakov, Nabokov, Pasternak, Solzhenitsyn and many others is described and discussed. There is a chronology and guide to further reading, and all quotations are in English. The volume will be invaluable for students, scholars and anyone interested in the Russian novel.