Normal view MARC view ISBD view

The brothers Karamazov : a novel in four parts and an epilogue / Fyodor Dostoyevsky ; translated with an introduction and notes by David McDuff.

By: Dostoyevsky, Fyodor, 1821-1881.
Contributor(s): McDuff, David, 1945-.
Material type: materialTypeLabelBookSeries: Publisher: London ; New York, N.Y. : Penguin, 2003Description: xxx, 1013 pages ; 20 cm.ISBN: 9780140449242 (paperback).Other title: The Karamazov Brothers.Uniform titles: Bratʹi︠a︡ Karamazovy. English Subject(s): Fathers and sons -- Fiction | Brothers -- Fiction | Russia -- Social life and customs -- 1533-1917 -- FictionDDC classification: 891.73/3 Summary: The murder of brutal landowner Fyodor Karamazov changes, the lives of his sons irrevocably- Mitya, the sensualist, whose bitter rivalry with his father immediately places him under suspicion for parricide; Ivan the intellectual, whose mental tortures drive him to breakdown; the spiritual Alyosha, who tries to heal the family's rifts; and the shadowy figures of their bastard half-brother Smerdyakov. As the ensuing investigation and trial reveal the true identity of the murderer, Dostoyevsky's dark masterwork evokes a world where the lines between innocence and corruption, good and evil blur, and everyone's faith in humanity is tested. This powerful translation of The Brothers Karamazov features an introduction highlighting Dostoyevsky's recurrent themes of guilt and salvation, with a new chronology and further reading.
Fiction notes: Click to open in new window
Item type Current location Collection Call number Status Date due Barcode Item reserves
Default Sunshine Library (DIY)
Fiction DOST Issued 10/01/2020 IA2009114
Default: returns home Sunshine Library
Classics Collection
Fiction DOST Available IA1550927
Total reserves: 1

"First published 1880"--Title page verso.

"Reissued with revisions 2003"--Title page verso.

The murder of brutal landowner Fyodor Karamazov changes, the lives of his sons irrevocably- Mitya, the sensualist, whose bitter rivalry with his father immediately places him under suspicion for parricide; Ivan the intellectual, whose mental tortures drive him to breakdown; the spiritual Alyosha, who tries to heal the family's rifts; and the shadowy figures of their bastard half-brother Smerdyakov. As the ensuing investigation and trial reveal the true identity of the murderer, Dostoyevsky's dark masterwork evokes a world where the lines between innocence and corruption, good and evil blur, and everyone's faith in humanity is tested. This powerful translation of The Brothers Karamazov features an introduction highlighting Dostoyevsky's recurrent themes of guilt and salvation, with a new chronology and further reading.

Translation from the Russian.

Excerpt provided by Syndetics

From Maire Jaanus's Introduction to The Brothers Karamazov Dostoevsky's characters are concerned with infinitude. They refuse to live without infinitude or without a Hamlet-like concern with the eternal questions. A maddening lack of satisfaction sustains desire in this novel--sexual desire, intellectual desire, and spiritual desire, along with all the more mundane desires for money and power. And all these desires are blocked by impossibility, by the finite. One can choose to live only in the finite, but then, according to Kierkegaard and Dostoevsky, one is in despair. To find joy, one has at that boundary of the finite to choose belief and love. Even a fragmented and muddled being like Dmitri understands that although mankind is conflicted because of too many choices between good and evil, and too broad-- "Yes, man is broad, too broad, indeed. I'd have him narrower"--if you whittle him down you lose freedom and ethical accountability, and Dmitri's major question concerns ethics. "What is ethics?" he asks, and what is the right thing for me to do? If you reduce the human being, you also lose desire and love. Then you create the hell that is "the suffering of being unable to love," to connect, to reach for the impossible. Modern bureaucratization and technologization aggravate the rupture between us and infinity. This infinity that it was still possible to grasp through religion or philosophy in Dostoevsky's era is today only maintained by psychoanalysis via the passions, via that which is bodily and seemingly a product of the body and yet not bodily: that is, via the body's demand for its own beyond. Thus now we can grasp infinity only by a transcendence of our sexual reality toward death or toward love. It is the transcendence that Dmitri is at the end striving for with Grushenka. He feels perturbed and changed by his affective experience with her. She has become for him the unexpected event, an encounter with a love that is beyond phallic sexuality. Dostoevsky does not consider the questions of ethics, epistemology, and subjectivity without considering their founding in the passions, in human desire and fantasies and their attendant modes of enjoyment. He also knows that paradoxically our enjoyment can be a resistance to joy, a desire for unhappiness. Thus Dmitri has said, "There's no living without joy," but Dostoevsky puts Lisa into the novel to contradict him: She says, "I don't want to be happy." The conscious, commonsense idea that everyone wants to be happy becomes thereby more thorny and complex, as does everything having to do with the human passions in Dostoevsky. It was Marx who investigated the grounding of culture in economic labor, work, and production, and similarly it is Dostoevsky who investigates the grounding of the thinking and speaking subject in the work, movement, and productions of the emotions and the passions. The Brothers Karamazov energizes and taxes the intellect; it calls on the reader to think about and to answer the "eternal questions": What is human happiness? Is there a God? What is despair (or Hell)? What is a father? What is the law and how should it operate? When does one forgive? Why is there cruelty? What is ethics? Why do we suffer? How can we face and comfort each other over death and loss? It is because he asks the eternal questions that Dostoevsky is above all a humanist, someone deeply interested in the possibilities and limits of the human condition, someone who wonders where we are going, what our purpose is. The humanist reminds us of the needs and dimensions of the human, what Dostoevsky calls mankind's broadness. We have no boundaries; we bring into the world a sense of something beyond anything in reality or anything graspable. And this dimension is so much a part of mankind that if it is destroyed his being is destroyed. What supports this beyond is freedom, love, belief, and language. Without these things, there cannot be a true subject. There are intellectually taxing sections in the novel that may make some feel Dostoevsky is just beyond their head; but that is because Dostoevsky understood that the human condition as such is beyond our head. Who understands life, its purpose or meaning, given that it empirically concludes in death? Who understands love or death? Life, love, and death are issues that are beyond our logic and comprehension. They permanently and profoundly disturb our existence. The corpse is the ultimate fear and challenge to our courage and the body that is desired is the ultimate object of strife, contest, and war. The main question of the novel--it was perhaps the most passionate question of the nineteenth century--is: What can bind and constrain or what can best guide these passions? Love or law? Not law because, for one, humans transgress it, and, for another, it is not commensurate with human and interhuman complexity or the mystery of human nature. The magnificent extended court scene at the end of the novel proves that law is not enough. An innocent human being, Dmitri, is sentenced for a murder he has not committed, but only desired. Excerpted from The Brothers Karamazov by Fyodor Dostoyevsky, Fyodor Dostoevsky All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Reviews provided by Syndetics

Library Journal Review

Constantine Gregory lends his prodigious voice to this audio version of Dostoyevsky's epic existential tale of familial greed, betrayal, and passion. Considered by many to be the culmination and truest representation of the author's ruminations on the nature of religion, death, spirituality, and humanity, The Brothers Karamazov is expertly conveyed by Gregory, who embodies the dramatic nature of both the plot and the disparate characters. Gregory voices each character-from the manic and scheming father Fyodor to his youngest son, the gentle and tolerant Alexey-with the complexity the author ascribed to each player in his novel. verdict Dostoyevsky's meticulous attention to detail and capacious exploration of philosophical themes requires a commitment from the listener-this is not a text digested in an afternoon; nonetheless, this audiobook is strongly recommended.-Christopher Rager, Oakland, CA (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

The depth, complexity, and length of what many consider to be Dostoyevski's best work make it one of the hardest classic novels to bring to audio. The philosophical novel/murder mystery set in 19th-century Russia requires a strong and versatile narrator to keep listeners going for the day-and-a-half-plus duration. Thankfully, narrator Constantine Gregory masters the challenge. In doing so, he manages the omniscient third-person narration by using a pleasant mellifluous tone that invites the listener to relax and approach the text patiently and carefully. The novel also features first-person voices from the large cast of characters, such as Father Zosima, who, naturally enough, argues for the existence of a higher power-and Gregory is able to imbue those sections with enough individuality to make them as distinct as the author intended. (July) (c) Copyright PWxyz, LLC. All rights reserved.

Powered by Koha