Notes from Underground: A Norton Critical Edition / Edition 2 available in Paperback
The text for this edition of Notes from Underground is Michael Katz’s acclaimed translation of the 1863 novel, which is introduced and annotated specifically for English-speaking readers.
"Backgrounds and Sources" includes relevant writings by Dostoevsky, among them "Winter Notes on Summer Impressions," the author’s account of a formative trip to the West. New to the Second Edition are excerpts from V. F. Odoevksy’s "Russian Nights" and I. S. Turgenev’s "Hamlet of Shchigrovsk District." In "Responses", Michael Katz links this seminal novel to the theme of the underground man in six famous works, two of them new to the Second Edition: an excerpt from M. E. Saltykov-Shchedrin’s The Swallows, Woody Allen’s Notes from the Overfed, Robert Walser’s The Child, an excerpt from Ralph Ellison’s The Invisible Man, an excerpt from Yevgeny Zamyatin’s We, and an excerpt from Jean-Paul Sartre’s Erostratus. "Criticism" brings together eleven interpretations by both Russian and Western critics from the nineteenth and twentieth centuries, two of them new to the Second Edition. Included are essays by Nikolai K. Mikhailovsky, Vasily Rozanov, Lev Shestov, M. M. Bakhtin, Ralph E. Matlaw, Victor Erlich, Robert Louis Jackson, Gary Saul Morson, Richard H. Weisberg, Joseph Frank, and Tzvetan Todorov. A Chronology and Selected Bibliography are also included.
About the Author
Fyodor Dostoevsky wrote The Brothers Karamazov, Crime and Punishment, The Idiot, and many other novels.
Michael R. Katz is the C. V. Starr Professor Emeritus of Russian and East European Studies at Middlebury College. He has published translations of more than fifteen Russian novels, including Fathers and Children and Notes from Underground. He lives in Cornwall, Vermont.
Table of ContentsPreface
The Text of Notes From Underground
Backgrounds and Sources
Selected Letters from Fyodor Dostoevsky to Mikhail Dostoevsky (1859-64)
Fyodor Dostoevsky · [Socialism and Christianity]
Fyodor Dostoevsky · From Winter Notes on Summer Impressions
N.G. Chernyshevsky · From What Is To Be Done?
M.E. Salykov-Shchedrin · From "The Swallows"
Woody Allen · Notes from the Overfed
Robert Walser · The Child
Ralph Ellison · From The Invisible Man
John Lennon and Paul McCartney · "Nowhere Man"
Nicolai Mikhailovsky · [Dostoevsky's Cruel Intent]
Vasily Rozanov · [Thought and Art in Notes From Underground]
Lev Shestov · [Dostoevsky and Nietzsche]
M.M. Bakhtin [Discourse in Dostoevsky]
Ralph E. Matlaw · Structure and Integration in Notes From Underground
Victor Erlich · Notes on the Uses of Monologue in Artistic Prose
Robert Louis Jackson · [Freedom in Notes From Underground]
Gary Saul Morson · [Anti-Utopianism in Notes From Undergound]
Richard H. Weisberg · The Formalistic Model: Notes From Underground
Joseph Frank · Notes From Underground
A Chronology of Dostoevsky's Life and Work
Most Helpful Customer Reviews
Last night I talked to my housemate, a psychology PhD who studies social scientist Rene Girard. Girard posits the belief that societal consciousness requires a scapegoat to break from frustration and violent anger. This scapegoat for example, Joan of Arc or Martin Luther King Jr (or the supreme example) Jesus Christ, is used to purge the society's social unrest, so that it can function and break an uncomfortable cycle which would spin out of control. This is mirrored also in tribal consciousness of course as natives sacrifice an innocent one such as a virgin to an ¿angry¿ God, which lifts the burden of guilt from all. We talked about the role that the brief book Notes from Underground (90 pages) has played in the modern consciousness. What I think we took away from the conversation was that Dostoevsky marked a turn from collective consciousness, to a realization that we (as individuals) are the problem. That we really don¿t have to view a scapegoat such as a homosexual or a Jew as the source of our problems. That we should be looking within ourselves for society¿s flaws, not hating or destroying lives, and especially not succumbing to the scapegoat tendency of the mob. The beauty of the book is that it opens up a person to honesty and unpretention that should be expected from a self-conscious thinking person. Dostoyevsky takes us in cycles in this two-part book. Part I: Underground, is a kind of philosophical treatise on his own complex paradoxical psyche. He starts a line of reasoning admitting his flaws, then turns it around into the kind of discursive reflection that one can experience as an internal monologue. It is highly valued by philosophers, social scientists and literati, because it is far-reaching, pulling beautiful reflections from multiple disciplines, and it is a highly stylized, honest and dramatic first person narrative. The second part: Apropos of Wet Snow, keeps us at arms length, but acts out the unbelievable passions of the Underground Man. This is done from first person point of view as the man takes on a group of Russian men who have little if none respect for him, and in his defeated and vengeful state he seeks out a prostitute and attempts to rehabilitate and redeem her, wanting to pull her up from what he sees is her hopeless and disgusting fate. The book is terrible in its honesty and wondrous in its honest and relentless wit. A true masterpiece by one of the top five novelists of all time and is accessible in its short form. I recommend the Norton Critical Edition, because it has responses to the work by authors such as Ralph Ellison, Woody Allen and Jean-Paul Sarte, including literary criticism, sources for some of Dostoyevsky¿s material and letters from the author to his friends. A sheer masterwork of reflection and an astounding example of first person narrative, which as a bonus, includes a wealth of content that is significant and far-reaching for all mankind and for all time.