1. At 28, Fyodor Dostoevsky was about to die. The nightmare started when the police burst into his apartment and dragged him away in the middle of the night, along with the rest of the Petrashevsky Circle. This was a group made up of artists and thinkers who discussed radical ideas together, such as equality and justice, and occasionally read books. Madmen, clearly. To be fair, the tsar, Nicholas I, had a right to be worried about revolution. The Decembrist Revolt of 1825 was still fresh in everyone’s mind, and it was obvious throughout the world that something was happening. In addition to earlier revolutions in America and France, revolutionary ideas were spreading like a virus around the world through art, literature, philosophy, science, and more. To the younger generation and Russians who suffered most under the current regime, it was exhilarating. For those like Nicholas I, whose power depended on the established order, it was terrifying. So these revolutionaries, most barely in their 20s, were hauled off to the Peter and Paul Fortress, a prison that contained some of Russia’s most vicious criminals. After months of isolation broken up by the occasional interrogation, Dostoevsky and the rest were condemned to death by firing squad. They were marched into the cold. A priest allowed each man to kiss a cross. Then shrouds were draped over their heads, which did nothing to drown out the soul-crushing sound of soldiers raising their rifles as their commander cried out ONE!...TWO!... WAIT! someone cried. The tsar had changed his mind -- the prisoners would be spared! Dostoevsky and the rest had been victims of a hilarious prank Nicholas I sometimes played on prisoners, staging mock-executions before sending them off to Siberia. When the condemned men heard they had been “saved” by their benevolent tsar, some immediately lost their minds. But not Dostoevsky. He held on and endured two brutal years in a Siberian prison, before enduring another two brutal years in the army. His life wasn’t exactly easy after that. But in large part because of all that suffering, he would grow into the author of such classics as Crime and Punishment, The Brothers Karamazov, and more. Plenty of readers know about the later, mature Dostoevsky, but far fewer know about the young man he once was, the one who thought he was moments away from execution. His presence in front of a firing squad may come as a surprise to anyone familiar with Dostoevsky’s later writing, in which he was a ferocious opponent of the young generation’s revolutionary ideas, and an equally ferocious defender of the tsar’s authority and the Russian Orthodox Church. It’s no exaggeration to say that Dostoevsky felt the very soul of Russia was at stake. Ivan Turgenev, in his short novel Fathers and Sons, coined the word “nihilists” for these young radicals, who seemed hell bent on smashing the existing society and replacing it with one founded on values inimical to people like Dostoevsky. They were an existential threat to the nation and they are presented as such throughout all of Dostoevsky’s later works. Sometimes their ideas are the focus of his attacks, like in Notes from Underground, which is essentially a rebuttal to the socialist arguments made in What Is to Be Done? by Nikolai Chernyshevsky, (a book that, more than any other, inspired those who would later instigate the Russian Revolution). Other times, the youth of Russia are the explicit enemy. The plot of Demons was directly inspired by the murder of a Russian at the hands of a group not all that different from the Petrashevsky Circle. In fact, Dostoevsky later acknowledged in his Diary of a Writer that, as a young man, he himself might have been swayed to commit such a horrible act. Clearly, the post-Siberia Dostoevsky was a different man than the one who faced down that firing squad, to put it mildly. So how do we understand this abrupt transformation? Perhaps the best way is by exploring Dostoevsky’s early major works -- Poor Folk, The Double, and Netochka Nezvanova -- which offer invaluable insights into just how Dostoevsky became Dostoevsky. 2. Poor Folk, Dostoevsky’s first novel, is in some ways the most atypical novel of his career. First, it is his only epistolary novel, composed of letters between a poor old man, Makar Devushkin, and Varvara Dobroselova, a poor young woman he helps support financially (to the extent that he can). They live humble lives, and struggle with daily life rather than colossal questions about existence or morality. Compared with a book like Crime and Punishment, Poor Folk feels small. The author’s focus is on meticulously outlining the dreary existence that those on the outskirts of society quietly endure every single day. When Varvara receives a flower Makar has bought her, she is overwhelmed with gratitude, and when a father is able to help pay for a birthday gift for his son, he is equally ecstatic. A flower and a birthday gift -- these are important not as symbols but for what they are, tiny tokens of the love that make life bearable. Of course, there are tragedies, too. Friends and family are lost, and the devastation is all the more profound because Dostoevsky’s poor folk have so little to lose. The persistent need for money is always on characters’ minds. Given the extraordinary sympathy Dostoevsky shows his characters and the sometimes subtle, sometimes not-so-subtle, criticism of society throughout, it’s easy to see why Vissarion Belinsky, the most important Russian critic at the time, deemed it the first “social novel.” It was emblematic of the kind of literature many involved in revolutionary circles thought was the way of the future -- the novel as a cry for social justice, a working-class weapon. Poor Folk is a fine novel, and Dostoevsky demonstrates the kind of negative capability, to use John Keats’s phrase, that would allow him to create characters like Raskolnikov and Ivan Karamazov, who are discussed by scholars to this day as if they were real people. But it’s absurd to think Poor Folk would have become the national sensation it did and launch the 23-year-old Dostoevsky to literary superstardom had it not been the right kind of book at the right time. Dostoevsky likely didn’t set out to upend the capitalist system with Poor Folk, but it certainly fit in well with a growing trend in literature that focused on the downtrodden and weak, along with the shameful indifference of a society that allowed such suffering to persist. Nikolai Gogol’s short story, “The Overcoat,” also caused a sensation in Russia (and is actually read and written about by Makar in Poor Folk). It also highlighted the indignities that the poor had to endure every day, but like many of Gogol’s stories, there is a supernatural element, in this case involving a ghost. Poor Folk has no such supernatural element. It is painfully, unflinchingly realistic. Consequently, Belinsky and others praised it and predicted nothing but great things for the newly-arrived genius. 3. You’re in your early 20s, your first book is a major national success, and the most influential literary critic in the country has literally declared you are a genius. How would you react? Maybe you’d take the fame and flattery in stride and stay level-headed. But Dostoevsky didn’t, and by all accounts, he became an insufferable jerk. Worse, he was an incredibly sensitive insufferable jerk, unable to handle any criticism. And that was all he got after Poor Folk. Everything he wrote was one commercial disappointment after another. At first people like Belinsky thought it was a temporary slump, and Dostoevsky would bounce back with another great social novel. But Dostoevsky continued to experiment with different kinds of stories, none of which suited the political climate of Russia at the time or the taste of the very critics who had made Dostoevsky a star. In the eyes of most literary circles, Dostoevsky was just a one-hit wonder. One of these “disappointments” was his second major work, The Double. From the very first page, it’s clear that this is not another Poor Folk. It feels like a different species of literature altogether. For one thing, whereas his first book focused on two characters and a community of other people in their lives, The Double is all about Goliadkin, a nobody who finds merely existing a difficult task. He is nervous, jumpy, paranoid, awkward, and incapable of a sane conversation. At multiple points, people interrupt his jumbled, meandering monologues to confess they have no idea what the hell he’s talking about. And this is before his exact double, also named Goliadkin, gets hired at his office. But the similarities are only skin-deep. This Goliadkin is a success in every way that the first Goliadkin is a miserable failure, and the new version gradually begins displacing the original from his own life. The story becomes increasingly bizarre until it ends the only way the life of someone like Goliadkin ever could -- total insanity. There are many things to admire about the hallucinatory world of this novella. The surreal nature of Goliadkin’s double anticipates the dialogue between Ivan Karamazov and the Devil in The Brothers Karamazov. Second, the inner monologue of Goliadkin shows Dostoevsky already toying with the idea of excessive-consciousness as sickness that will become a hallmark of his greatest novels. The plot is almost secondary to the maze-without-an-exit that is Goliadkin’s mind. And third, just writing this novella was brave. Dostoevsky could have stuck with what worked and cranked out another Poor Folk, but he chose to stretch himself beyond the social novel, to not write in the service of any ideology. Belinsky and others didn’t see it this way, and the flops kept on coming right up to the point when Dostoevsky was arrested in the middle of the night. However, he was at work just then on his first full-length novel, which he believed would redeem his literary reputation. We’ll never know what the public’s reaction would have been to the full novel because it was never finished. Only the beginning chapters were completed and, by the time he got back to writing many years later, he had moved on to other projects. However, fragment or not, the parts of Netochka Nezvanoza that do exist are worth our attention because, compared to Poor Folk and The Double, this is the closet the young Dostoevsky gets to becoming the Dostoevsky we all know today. 4. This story is also another outlier in terms of structure -- while Poor Folk was an epistolary novel, Netochka Nezvanova was meant to be a kind of Dickensian story that would cover the life of its protagonist from childhood to adulthood. Think of it as David Copperfield, only with more mental breakdowns and sadomasochistic relationships. Dostoevsky can’t help injecting the story with the kind of increasingly-acute psychological realism he does so well. This is perhaps nowhere more obvious than in the fact that, for nearly half of the existing text, Netochka, the little Dickensian soon-to-be orphan, is completely overshadowed by her explosive stepfather, Efimov. Efimov is a clear precursor to the Underground Man, whose life is a stark warning that we need to live our lives, not dream our way through them. Efimov’s dream is to be a great violinist, but alcoholism and his petty nature drive him to poverty, along with Netochka and her poor mother, who sadly fell for Efimov’s self-narrative that he was a genius destined for glory. If Efimov’s story ended there, his degradation would just be a compelling portrait of a man’s gradual ruination. But this is Dostoevsky, so it’s only the beginning. Although Efimov knows on some level he will never be an internationally famous violinist, he clings to the idea that he is the best violinist in the world. It doesn’t matter if no one else knows it -- he knows it, and that self-delusion becomes the foundation for his life. His whole psyche becomes nothing but a jumble of rationalizations he comes to define himself by. If he isn’t the world’s greatest violinist, he’s nothing. And when he hears a violinist who is undeniably greater than he ever was or could be, we see what happens when a man wakes up from a dream he’s been living for far, far too long. There are other shades of the later, great Dostoevsky to be found in this unfinished novel, but Efimov alone testifies to his development as a writer whose understanding of the human condition would become infinitely richer than anything that could have been explored within the predetermined confines of a social novel. 5. Each of these works hints at the kind of writer Dostoevsky could have become. Had he followed Poor Folk with another social novel, stuck with the surrealism of The Double, or written more Dickensian bildungsromans like Netochka Nezvanova, we would be talking about a very different Dostoevsky today, if we talked about him at all. But instead he synthesized the best elements of all these works and enhanced them with the profound understanding of human nature he began to develop in Siberia. Of course, it’s not necessary to read any of these early works to appreciate Dostoevsky, one of the few writers who can scream in print. But the arc of his literary life becomes all the more fascinating when we consider Dostoevsky’s early career, when he was still figuring out what to scream about, and had his hardest days, and greatest works, still ahead of him. Image Credit: Wikimedia Commons.
Reif Larsen’s first novel The Selected Works of T.S. Spivet was a frustrating narrative wrapped in a beautiful work of art. Parts of it, story-wise, worked wonderfully, but many sections dragged ponderously along, and then the confounding and ill-fitting finale was rushed, as if impatient to be over. But the imagination of the novel –– the lovely images annotating the text, T.S. himself –– is undeniable, as is the talent of its author. But one can always forgive a debut novel its ambition, so it was with much interest that I embarked upon Larsen’s second effort, I Am Radar, a measurably better novel than T.S. Spivet, both for its leanness and its grandness. It’s an epic page-turner filled with small, tender moments of wonder, beginning with its almost archetypally postmodern opening: It was just after midnight in birthing room 4C and Dr. Sherman, the mustached obstetrician presiding over the delivery, was sweating slightly into his cotton underwear, holding out his hands like a beggar, ready to receive the imminent cranium. Without warning, the room plunged into total darkness. The “imminent cranium” belongs to Radar Radmanovic, the center, if not exactly the protagonist, of this tale, and when the lights come back on in the delivery room, Radar comes out a pitch black baby -- was it the electrical event somehow? -- with white parents. It’s 1975 in New Jersey and rumors spread, leading Radar’s mother, Charlene, to find every doctor she can to figure what happened to her son. Soon, the family lands in Norway so that Radar can undergo an experimental procedure involving a machine called a vircator, which can emit a large electromagnetic pulse and somehow rid Radar of his skin abnormality. It works, Radar’s skin lightens until it becomes “a slightly yellowish, flushed cream color,” but it also causes Radar to suffer epileptic seizures. The procedure is overseen by a group of artists/activists/puppeteers called Kirkenesferda, who are, as a group, the real protagonist of I Am Radar. After the first section, we’re launched into various histories surrounding Kirkenesferda. First we learn of the group’s master puppeteer, Miroslav Danilovic and his father, Danilo, both caught in the precursors to the Bosnian War. Miro’s creations seem impossible, puppets with no puppeteer. We get the history of a man named Raksmey Raksmey who, as a baby, was found floating on Cambodia’s Mekong River in a basket. There is also a man in the Congo who is attempting to collect every book in the world. And finally there is Kermin, Radar’s father, who may have inadvertently caused a giant rolling blackout in New Jersey. If this all sounds eerily Pynchonian to you, that’s because it is. Deliberately. Charlene, Radar’s mother, is described reading The Crying of Lot 49, feeling “overcome with what we are able to accomplish with the simple constellation of words.” The phrase “gravity’s rainbow” appears. One sequence features the mysterious Tunguska Event from 1908, when, in the words of one character: There was a huge explosion in Siberia. It blew out two thousand square meters of forest, something like this. Eighty million trees destroyed. Center of explosion was seventy kilometers from Vanavara, but people there, they still feel heat blast all across their skin. The shockwave broke windows, collapsed woodsheds. It blew men right off their horse. It was powerful, so powerful. Stronger than an atom bomb. This perfectly Pynchonian (and perfectly true) historical event was also explored in Thomas Pynchon’s unjustly dismissed masterwork Against the Day, the novel to which I Am Radar is most closely aligned, in my eyes. But Larsen is doing more than simply riffing on one of his favorite author’s themes –– rather, he is riffing on many of his favorite authors' themes. One can, while reading, pick up references to Herman Melville, Leo Tolstoy, Charles Dickens, and Nikolai Gogol (Akaky Akakievich, the protagonist from one of my very favorite short stories, “The Overcoat,” show ups) and you can sense –– in the structure, in the prose, in the language –– the influence of Salman Rushdie, Jorge Luis Borges, David Foster Wallace, Mark Z.Danielewski, and, of course, Pynchon. This is a novel steeped in its own influences. Additionally, within this 653-page tome are fictional books, like, for instance, a book on the history of Kirkenesferda, which the narrator references throughout (replete with excerpts, images, and footnotes), and a novella on part of the life of Raksmey Raksmey. There is also Radar’s book, which, within the novel’s world, he hasn’t written yet. Is I Am Radar the book Radar will write? Well, yes and no. See, on page 621, there is an image taken, a note tells us, from “Radmanovic, R. (2013) I Am Radar, p. 621,” which would suggest that, indeed, the book we’re holding in our hands is this same book. Yet, just a little later, on page 641, another image credit refers to page 705. Radar, we are to assume, wrote his own version that extends beyond the story here and that we won’t get to read. So real books and fake books –– but what’s the point? Why engage in such esoteric literary pastiche? The short answer is that, like Radar and the other sons here, Larsen wants to declare himself. The primary emotional thread of I Am Radar is fathers and sons, of familial legacy and individual identity. Kermin and Radar. Miro and Danilo. Raksmey and his adopted father Jean-Baptiste de Broglie. Each son struggles with becoming their own person while still acknowledging (sometimes begrudgingly) their forebears. They are like their fathers, but they are different. Like father, like son...sort of. Larsen makes a clear connection between these literal fathers and sons and literary fathers and sons. Near the end of the book, as Radar and companions head up the Congo toward a massive secret library created by the man hoping to collect all the world’s books, an almost Biblical passage appears. It lasts nearly two pages, and comes in the form of a speech by Professor Funes, the ambitious collector who also happens to have “perfect and complete memory.” Because he can remember everything in great detail, he’s able to list all of the authors he read throughout his life. Here is a short excerpt: I read Defoe and Asturias and Sterne and Stendhal and Verga and Carducci and Blasco Ibáñez and Hugo and Verne and Balzac and Stendhal and Flaubert and Baudelaire and Sand and Verlaine and Paz and Maupassant and Ibsen and Wordsworth and Austen and Coleridge and Shelley and Keats and Blake and Scott and Carpentier and García Márquez and Puig and Cortázar and García Lorca. And so on, until it more or less moves it way up to “DeLillo and Mailer and Salinger.” This is like a personal version of Genesis or Chronicles with all those endless begats. Larsen, as the finale shows, acknowledges the great authors who came before him, how their influence on him is undeniable, unavoidable, deep –– but that he is still his own writer, one with formidable gifts and looming ambition. If not everything quite works in I Am Radar –– like, e.g., characters’ names sometimes change and are hard to keep track of, which lessens the emotional impact of some of their arcs; and sometimes it’s difficult to tell if we’re reading an omniscient narrator or borrowed information from one of the fictional books or some hybrid of the two –– it’s partly due to Larsen’s maximalist approach. How can any writer sustain perfection in such a large undertaking? It’s nearly impossible to do. Anna Karenina has parts that lag, that underwhelm (most notably Levin’s long diatribes on his serfs), as does Ulysses and The Brothers Karamozov and Infinite Jest. Novels like I Am Radar, which would technically fall under the “historiographic metafiction,” are especially prone to unwieldy excess and inscrutability. Pynchon’s books fall into that same category, and his novels are unquestionably flawed. And here is Larsen, continuing the legacy, in the same vein but in his own way. Like father, like son. Sort of.
In May, I graduated with my B.A. in English. This feels very strange to write in the past tense, but it’s true. In the course of my studies, I was assigned more than 150 books, from novels to plays to biology textbooks. Perhaps it’s no surprise then that my college experience naturally breaks itself down into books read and unread, loved and hated. I remember reading The Secret History on the campus quad, sitting under a massive oak tree and thinking that this is what college should be like — all shade, dusty books, and lofty conversation, though I certainly didn’t intend to kill any of my new friends. I read selections from my Intro to Philosophy textbook in the basement of my dorm in between loads of laundry, which I had to wring out over a drain in the floor before tossing them in the dryer. I remember rushing through my assigned chapters of Moby-Dick every Sunday night before class, when I would meet with three other students and a professor to discuss symbolism. And I remember my horror when I realized exactly how long “Song of Myself” was at two in the morning. But somehow that horror is gone now, and all that’s left is the quiet joy that came from spending so much time interacting with books I otherwise might never have opened. In these first few months after graduation, I can already feel myself pulled toward nostalgia, these stories, stresses, and loves. I am not quite ready to let them go. Although I learned from and appreciate all 150, some stand out as particularly defining. Here, in loose chronological order, are some of the most important. My degree in books, if you will. Don Quixote - My first college assignment was to read five chapters of Don Quixote. I hurried through the chapters and immediately forgot them — the antiquated language escaping me as I read. At the end of my first week of class, I attended a lecture on Cervantes in which a brilliant professor gave a stirring speech about the value of studying the humanities and of the profound life questions Don Quixote addresses. I left feeling that studying English was a noble calling: something I could feel good about, something that would challenge and grow me. I resolved to read more slowly and carefully in the future, so that I, too, could pick out all the profound life questions present in great works and, if I were careful enough, perhaps even some of the answers. But I never finished Don Quixote. It turned out that good intentions and high callings weren’t nearly enough to get me through tangles of plot and language. I later felt grateful that I learned this early—that my first formal reading experience was a failure—because it was only by letting go of some of my grandiose expectations that I was eventually able to force myself through the grunt work of reading difficult books. Jazz - In my second semester humanities course, I was assigned Jazz by Toni Morrison. I read it, slowly at first and then more and more quickly, until I was sitting in a tiny coffee shop on campus for three hours rushing through the last third of the novel. Jazz has a very particular kind of energy and assumes an agency of its own, and it was this agency that I felt myself responding to and trying to mimic. The narration of the novel seems to be coming from the book itself, a sense that culminates in the stirring final lines: “If I were able I’d say it. Say make me, remake me. You are free to do it and I am free to let you because look, look. Look where your hands are. Now.” They address the reader directly and invite him or her to play with narration, structure, and meaning—to make and remake again and again. Reading Jazz left me feeling hollow and yet full, seeing or imagining that I saw connections between everything, past, present, and future all at once. Jazz is the first book that I truly fell in love with in college, and yet I never reread it, worried that doing so would ruin my connection with the novel and shatter the illusion of perfect storytelling. My classmates thought that I was crazy; none of them liked the novel very much at all, and several didn’t bother to finish it. Asked to identify those last few lines of the book on an exam, one friend misattributed them to The Waste Land. I teased him about this for years. Looking back, I see that this fast-and-furious method wasn’t a very good way to read, for pleasure or for study. I swallowed all of Jazz in a gulp, rushed through with some growing sense of awe, and then put it down for good. I don’t remember it very well now, just the intense reaction it inspired. Is that enough? I don’t think so. I wish I had quickly gone back through it, read more closely while that first emotion still lingered, and tried to better understand how the novel was working. I could have learned so much. Funny enough, I feel the same way about that first year of college. I wish I had tried better to understand what was happening, whom I was getting to know, and who I was becoming. I can’t remember what my friends and I discussed until dawn when we were first getting to know one another, or why we drew bad portraits of each other or where they went. I don’t know who lived down the hall from me or remember the name of my history professor. What did we talk about in class when we talked about Jazz? And how was it that, when I went back to Texas, life with my family felt foreign, distant from reality? Now all I have are bits of emotion with little context or cause, which is all I have left of Jazz, too. Wide Sargasso Sea - In the spring semester of my freshman year, I was allowed to register for my first proper English class. As part of the course, I was assigned both Jane Eyre and Jean Rhys’s Wide Sargasso Sea, a postcolonial prequel to Charlotte Bronte’s novel that tells the story of Rochester’s first wife, Antoinette. I had read Jane Eyre before, twice, and wasn’t looking forward to having to go through it again; I wanted to read new books and fresh authors, not the same novels I’d been assigned in high school. But reading Wide Sargasso Sea was a turning point in my English career—a moment that I can point to and say, “There. That’s it. That changed it all.” This book taught me that it was possible to critique the classics; I didn’t have to agree with them or accept their versions of their stories. I realized that every book was leaving something out—that there was almost always some other story to explore, some angle that wasn’t at first obvious—and that looking for these would open books wider than I thought possible. I realized that reading is a political act, as is writing. I talked about the book nonstop. Although I never mentioned Wide Sargasso Sea in any major written assignment and was never graded on my understanding of the novel, its influence underwrote all my studies for the next three years. As I Lay Dying – I was intimidated by Faulkner’s As I Lay Dying when it was first assigned, and this turned out to be an appropriate response, though I found myself swept up in the story in spite of myself. I loved and was confused by the novel in equal measure. I liked this story of a family who seemed incapable of understanding each other—driven by a common goal but also by individual desires, hopes, and despairs. I flinched when they tried to set a broken leg in concrete, and again when Dewey Dell was scammed by an unscrupulous doctor’s assistant. I squirmed when I read Addie’s dark chapter and her final words: “People to whom sin is just a matter of words, to them salvation is just words too.” I thought about how everything was words to me and worried that maybe words weren’t enough—no matter how badly I wanted them to be. I saw the book as a kind of puzzle that surely I could put together into a complete masterpiece if only I read closely enough, paid enough attention, was sensitive to subtleties, but then again, wasn’t it just words, too? How could I get beyond that? For all of this thinking and rethinking, my class only spent a total of three hours discussing the novel. I was left with more questions than I knew how to ask and an unsettling sense that I was not even close to understanding what I had read. I asked questions of this text: How was it that Addie could speak? What happened to Dale’s mind? Why was Vardaman’s mother a fish? Why was all of this speaking and thinking and fish-ing happening together? Then, I tried to answer them on my own. I realized that maybe I wouldn’t be able to put all of the pieces and words of the story into perfect alignment ever, and maybe it was better that way. I began to learn how to accept unknowns and how to live with an imperfect knowledge of things, even as I tried to fill in the gaps of my understanding, that space behind the language. The Rime of the Ancient Mariner - I was confused by this poem as much as I was by As I Lay Dying, though in a different way. Although the density and ambiguity of As I Lay Dying felt essential to the work, the Rime seemed to be almost careless—something that was meant to be understood and yet couldn’t be. It’s not that I couldn’t follow the storyline, but that it was impossible for me to interpret it: to fit the images and events of the poem together into something meaningful and satisfying, into a whole. I was assigned to read a collection of scholarly essays on the poem and hoped that these perspectives, which came with names like “reader response theory” and “new criticism,” would help clarify Coleridge. Maybe I didn’t have to live with ambiguity after all. But the criticism only intensified my confusion, and the jumbled arguments of the scholars added a layer of irritation to my interactions with the poem. They didn’t agree with each other, and when I could follow their arguments, I didn’t agree with them either. I began to wonder exactly what purpose literary criticism served—academics writing articles to argue with other academics while readers like me remained confused and overwhelmed. Then I learned that the poem can be sung to the tune of Gilligan’s Island. This was too much; this made no sense. I could not sing Gilligan’s Island and study psychoanalytic theory at the same time. I gave up, but I was humming the song for days. Medieval Literature in general - I enrolled in a class called Medieval Romance. I had no idea what this meant, and I wasn’t particularly enthused about having to admit that I was studying “Romances,” but it was the only class open by the time I registered. I read Chrétien de Troyes and wrote a harsh critique of the abusive gender dynamics in Erec and Enide, paying attention, for the first time, to specific word choices and the way patterns in action could reveal underlying obsessions in the text. I discovered a talent for reading Middle English. I was assigned a romance titled Richard Coeur de Lion, in which King Richard eats the heart of a lion. I read a long French poem called "Silence," in which a woman dresses as a man, struggles with the allegorical figures of Nature and Nurture, and becomes a successful and valued knight until Merlin exposes her. I read the Gest of Robin Hood and wrote a long paper on social inequality and status inversions present in its short fyttes. Through all of this reading, I gradually realized that these medieval writers were asking many of the same questions and struggling with many of the same social issues that I was encountering in my 21st century university. They wondered about the role of government and what made a good leader. They were curious about gender and identity, social structures, and economic inequality. And I, too, wondered about all of these things: how my world was broken and how it could be fixed. I felt more connected with history and recognized myself as part of a large and continuing stream of humanity and culture, but I also realized that I was not cut out to be a medievalist. There is no Middle English language setting in Microsoft Word, and I couldn’t stand the rows and rows of red underlining that appeared whenever I tried to type quotes from Chaucer. Spring and All – The last semester of my junior year, I approached my Modern Literature professor about completing an additional research paper for Honors credit. She agreed and asked me what writer from our syllabus I wanted to study. I wrote her a long email requesting permission to write about Wallace Stevens because I loved what work of his I’d read and wanted to expand my formal understanding of poetry. Except that instead of typing Wallace Stevens, I got confused and typed William Carlos Williams. Too embarrassed to admit my mistake, I spent a semester studying imagist poetry and the crazed prose of Spring and All. My professor didn’t like Spring and All and couldn’t understand my supposed obsession with Williams, but she tried to be patient with me. When I cautiously offered my explanations of this text to her, she smiled. “Sometimes,” she said, “it really doesn’t mean anything, but nobody will admit it.” I agreed with her completely; no matter how many times I read it I couldn’t force the apocalyptic, manifesto-style prose and the poems about blooming flowers into any relationship that felt very convincing. This made my twelve pages much harder to write. I swore to always double-check author names before sending any more emails, and I learned about how important it is to sincerely love any work that takes more than week to complete. I also learned how to complete work and learn from research I didn’t love at all. I was told that this was good practice for life post-grad. Sir Gawain and the Green Knight - I was assigned to read Sir Gawain and the Green Knight three separate times during college, each time in a slightly different translation. By the third reread, I began to wish that the Green Knight would just behead Gawain at the beginning of the story and let that be that. I wrote an email complaining to the dean about the sameness of the English curriculum that I never sent. My roommates bore the brunt of my wrath instead and could eventually recite the general plot of the poem without ever having picked up a copy. They loved me anyway. I decided that Sir Gawain and the Green Knight was a true test of friendship, not chivalry, and at the end of my junior year, I sold all my translations of the poem for a total of $5. The Book of Night Women - At the beginning of my senior year, I took a class in which my professor paired contemporary books with thematically similar works written before 1900. On the first day of class, she apologized for assigning so many troubling readings and warned us that The Book of Night Women by Marlon James, which she had paired with Incidents in the Life of a Slave Girl and which we weren’t scheduled to begin for another three months, was going to be traumatic. She was right. The Book of Night Women tells the story of Lilith, a young slave girl on an 18th century Jamaican plantation, and it is unflinching in its portrayal of violence and suffering, of the incredible variety of possible pains, and of people desperate to escape misery. It is about destruction, redemption, and the horrors that good people are capable of, but on the first read, I could only see the horror. Thirty pages into the first reading, I was shaking and nauseated, so I put the novel down for a few hours, then read another thirty pages, and stopped again. In this way, I finished the book over a long and harrowing week. It was brutal but brilliant, and I found myself admiring what James was doing in this work even as I recoiled from its violence and darkness. I worried about these characters and about my extreme sensitivity to reading their stories. I was tempted to think James was being deliberately alarming, but I knew the novel was more than that. Was James challenging 20-something, middle-class white students like myself to understand our history and the suffering it had caused? Was I too thin-skinned, or was mine exactly the response he hoped for? Or was he just telling a story in as honest a way as possible? I was reminded of Wide Sargasso Sea. Reading is political. Stories have power. When I finished the book, I cried. During the first class period spent discussing the book, my professor joked that she should find us a group therapist. I felt tempted to press her on this. Every student in the room looked shocked, freshly sensitive, all our nerves exposed and raw. I hoped to someday write something as affecting, if different in every other way. More than this, I hoped to stay thin-skinned. Fun Home – During my last semester, I didn’t take a single English class but instead spent the spring writing my final thesis on the works of Virginia Woolf and Alison Bechdel, particularly on the ways in which they use houses to discuss both creativity and censorship. I kept (and continue to keep) writing personal essays about houses, and I wanted to see how these masters of essay and memoir handled rooms, hallways, facades, and interiors. Studying graphic memoirs like Bechdel’s Fun Home and Are You My Mother? turned out to be surprisingly difficult because I didn’t know how to academically describe or explain the way an image works as part of a text. I read books like The Poetics of Space and Understanding Comics in an attempt to figure this out and ultimately did a passable job, but I realized that there are whole genres, entire fields of literature, writing, and study that my formal English degree hadn’t touched. Even so, I feel confident that I have learned enough to figure the rest out in time. This is cheesy, but I feel good about it anyway, though I can’t quite bring myself to reread my final thesis. Now that I am free from the structures of school, class, and assignments, I feel a little directionless and slightly overwhelmed. I’m not sure where to pick up my life in books, what authors or works to begin, or in what order. My current reading list has contemporary poetry on it, mostly pulled from friends’ recommendations, and some essay collections I’ve been hoarding for a while, but it also has Middlemarch and The Brothers Karamazov. I’ve never read Alice Munro or Montaigne. A friend lent me Jesus’ Son four years ago, and I’ve never read it either. Those 150 books aren’t nearly as much as I once thought they were. There is so much writing that I am completely ignorant of, and I’m excited to keep reading. Image via [email protected]/Flickr
Reared in the dressing rooms of the 18th century, the novel can often seem out of place in our age of LOLcats and Angry Birds. But in spite of its advanced age and sometimes stuffy reputation, the old chap is surprisingly nimble. In the technological tumult of the past decade, for example, YA went through puberty, electric literature moved out of the ivory tower, and the literary novel was successfully (for the most part) cross-pollinated with a number of more exotic genres. In the midst of all this, a strange literary beast has reemerged, a hybrid of the short story and traditional novel. This newly reinvigorated genre -- let’s call it the polyphonic novel -- uses a chorus of voices and narrative styles to create a whole that’s greater than the sum of its parts. Think Nicole Krauss’s Great House or David Mitchell’s Cloud Atlas, Jennifer Egan’s A Visit From the Goon Squad or Tom Rachman’s The Imperfectionists. Just as polyphonic music combines melodies to create texture and tension, the polyphonic novel collects a multiplicity of distinct, often conflicting voices around a single place, family, object, or idea. Polyphony widens the novel’s geographic, psychological, chronological, and stylistic range, while simultaneously focusing its gaze. Drawing inspiration from classics like The Brothers Karamazov, The Sound and the Fury, Mrs. Dalloway, and John Dos Passos’s USA Trilogy, contemporary polyphonic novels make music from the messy cacophony that is life in the 21st century. Bypassing traditional notions of character and plot, polyphonic novels create meaning at the intersection of seemingly random plot lines. Harmonies are found in the artful assemblage of disparate voices. As the Russian literary critic Mikhail Bakhtin described the work of Fyodor Dostoevsky: “A plurality of consciousnesses, with equal rights and each with its own world, combine but are not merged in the unity of the event.” Eschewing objectivity and uniformity, polyphonic novels rely instead on simultaneity, contradiction, and the empty space between voices. Zadie Smith’s most recent novel, NW, is a perfect example of the genre. The book traces four Londoners as they attempt to understand, escape, and make their way through Kilburn, the working-class neighborhood where they all grew up. With each new narrator, the novel loops back on itself, answering and expanding upon questions raised by previous sections. Towards the beginning of the book, for example, one of the main characters watches her best friend and her best friend’s husband exchange a glace across a crowded party. “She sees no smile, no nod, no wave, no recognition, no communication, nothing at all.” Two hundred pages later, we have begun to understand the glance in all its sad complexity. The seemingly enviable couple is really nothing but “an advert for themselves,” “like a double act that only speaks to each other when they are on stage.” Polyphony is particularly well-suited to excavations of the urban landscape. (For what is a city if not a collection of conflicting voices?) In Let the Great World Spin, Colum McCann mobilizes a chorus of seemingly incongruous voices to conjure a portrait of New York in the 1970s. Skipping between narrators -- an aging prostitute, an Irish monk, a judge, and an irresponsible young artist, to name just a few -- McCann creates a dissonant, yet synchronistic world nearly as vivid and wonderfully cluttered as the city itself. But polyphonic novels need not live in the city. Take, for example, Hari Kunzru’s brilliant Gods Without Men, which layers the Mojave desert with a progression of characters searching for meaning in the void. Narrators pop up and fade away. They build doomsday bunkers, military bases, and geodesic domes. They spend decades looking for truth, but the quiet mystery of the desert subsumes them all. As the final narrator writes, “that which is infinite is known only to itself and cannot be contained in the mind of man.” Contemporary polyphonic novels come in a wide variety of flavors. Many find structure in the family. Others, like The Imperfectionists, are shaped around the extended family of the workplace. Ian McEwan’s Atonement centers around a single act of accusation. While Great House and Geraldine Brooks’s People of the Book follow a single object through history, dipping in and out of the lives of those who have possessed it. And then there are those polyphonic novels built on nothing more than an idea. Swirling around seemingly unapproachable concepts such as authorship and fictionality, aging and time, novels like Cloud Atlas and A Visit From the Goon Squad use a variety of forms and styles to create a sense of scope that would be difficult (if not impossible) to achieve with a single narrator. It can be hard sometimes to tell the difference between these most disparate polyphonic novels and linked short story collections like Elizabeth Strout’s Olive Kitteridge or Emma Donoghue’s Astray. Often, unfortunately, this border is delineated by marketing departments eager to attract readers (who, as conventional wisdom would have it, are drawn like moths to those two tiny words, “a novel,” tucked away at the bottom of the book cover). As Jay McInerney grumbled in a recent review: “I suspect that if Dubliners had been published in recent years it would have been marketed as a novel.” Whether or not his assessment is true, many readers agree with McInerney’s basic premise. Indeed, a quick perusal of Goodreads reveals a sizable cadre of those frustrated by polyphonic novels’ lack of traditional plot and character development. As one reviewer on the Great House page wrote: “writing a book of short stories, fitting them together Tetris-like, and calling it a novel DOES NOT MAKE YOUR BOOK A NOVEL.” Even some professional critics seem flummoxed by polyphony (see, for example, Douglas Copeland on Gods Without Men or Mike Peed on Let the Great World Spin). While certain readers and critics might be frustrated by shifting genre boundaries and non-linearity, the polyphonic novel has found favor among those responsible for giving out literary awards. Almost all of the books mentioned above have won (or should win) major literary prizes. The finalists for the past decade of Pulitzers, Bookers, and National Book Awards include quite a few works that could be described as polyphonic. This might be a coincidence, or a peculiar bias of the awards’ judges. Regardless, these awards indicate that the polyphonic novel occupies an important sector of the contemporary literary landscape. With each foray onto the Internet, each ping and clang, we are searching for meaning in a haystack of data, balancing perspectives, trying to find reason in a cacophony of opinion. Is it any wonder we are drawn to fiction that reflects this new way of being, to a form that’s uniquely suited to our fragmented and globalized century? The novel survived the advent of radio, cinema, and television, thanks in large part to its pliability. And the novel will continue to survive so long as it continues to adapt.
Back when I was a reporter at Premiere magazine, I attended a screening of Pedro Almodóvar’s film, Talk to Her, and received one of his famous press notes packages. Almodóvar is known for conducting “auto entrevistas” (self interviews), in which he asks himself pointed and occasionally self-flattering questions about his latest movie. For example: Q: From now on, we’ll have to say that as well as being a good director of actresses you’re also a good director of actors. The leading characters in Talk To Her are two men and the actors who play them are splendid. A: I’m delighted it’s you who’s said that. I remember being amused by these schizophrenic conversations, in which Almodóvar played both interviewer and interviewee. (I imagined the chatty Spanish director in a mad dash, back and forth between two chairs, swapping roles.) At the time, the whole notion of a self interview seemed absurd to me, but now I see the benefits. As Almodóvar put it, “The reason I interview myself is for practical reasons. I say what I want to say and in the fastest way possible. In any case, a self interview is a written piece and writing is always done in solitude.” I frequently thought of Almodóvar while working on the reading group guide for the paperback version of my nonfiction book, The New Kids, chronicling the lives of students at a high school for recent immigrants. Initially, my publisher assigned a freelancer to write a first draft of the reading group guide, which features an introduction, discussion questions, ideas for enhancing book clubs and classes, and an author Q&A. While it was a solid start, I felt that many of the questions could go deeper. So I pulled out two chairs (metaphorically speaking, of course), and set about interviewing myself, figuring that no one knows my book better than I do. Reading group guides can have the feel of an author’s conversation with herself, which is either a good thing or a bad thing, depending on your opinion of the author. In a troubled publishing industry, they can also be enormously helpful in selling a book to general readers as well as more specialized groups, such as book clubs and classes. In my case, the readers’ guide for The New Kids has played an important part in securing adoptions of the book by colleges, universities, high schools, and communities organizing common reading programs. It also has had the cool effect of inspiring others to write their own guides for my book. Recently, a high school teacher in Colorado who taught the book in her classes shared with me her own discussion questions that she had come up with for a New Kids curriculum. After years of being claustrophobically alone with my book during the writing stage, it has been a joy to be able to talk about it with real, live humans who have actually read it. Since the hardcover publication, I’ve been doing events, readings, and visiting book groups. But I can’t be everywhere all the time, and the reading group guide is a way for me to initiate my ideal conversation about the book with readers who keep the discussion going. As a journalist who has interviewed everyone from Colin Powell to Kim Kardashian, I am used to asking other people questions, but turning the focus on myself was a strange and reflective process that made me reconsider the very notion of what makes a “good” question. It also made me curious about other authors’ experiences writing or revising their reading group guides. So, I decided to ask a few. Amy Sohn, the author of Prospect Park West and Motherland, a novel being published in August, is used to interviewing herself for reading group guides — she has been doing it for 15 years. “The best thing about interviewing yourself is that there are no ‘gotcha’ questions!” Sohn says. “The second-best thing is that you can be certain the interviewer read the book.” Of course, not all authors interview themselves. Robin Black, who wrote the short-story collection If I Loved You, I Would Tell You This, shared a conversation she had with Karen Russell (Swamplandia) in her reading group guide. My friend Ransom Riggs answered his editor’s questions about his young adult novel, Miss Peregrine’s Home for Peculiar Children, for his forthcoming paperback, which also will feature photos previewing the next installment of the series. And Melissa Walker, another YA author, worked with her publicity team to revise a readers’ guide that was sent out along with advance reading copies for her book Small Town Sinners, which deals with a teen growing up in an Evangelical community that is producing a Hell House. “I think the publicity department knew this book would create controversy, so they wanted to present questions that would ‘normalize’ me and also make the reader really think about the content,” Walker says. Some authors forego written questions altogether. Daniel Torday, who wrote The Sensualist, chose to provide suggestions for supplemental reading for his novella on a webpage created by his publisher. Frances Greenslade, who wrote the novel Shelter, also took the conversation online, providing a reading group guide on her website that includes a “soundtrack” of songs that appear in the book as well as discussion questions. “I call it ‘Questions I’d love to be asked if I visited your book club,’” she says. “I like the questions my publisher came up with for inside the book, but there are things I grappled with as I wrote the novel that I think make for interesting starting points for a discussion. It’s always the stuff that challenges us that is the richest vein for further exploration.” The authors I polled (myself included) represent several different genres, but we’ve all had a hand in creating our reading group guides for the purpose of enhancing the reading experience and inspiring discussion. Here is what we’ve gathered. Did you write or heavily revise your reading group guide, and if so why? Brooke Hauser: I asked my publisher to revise my reading group guide in part because I felt that some of the discussion prompts came off sounding like pop quiz questions instead of conversation starters. Robin Black, author of If I Loved You, I Would Tell You This: I wrote the Topics for Discussion part of the guide — for the paperback—because my editor said we should start that way and they would make changes as necessary. As I recall though we just went with what I wrote. They also sent me an example from another collection they had published recently and that was actually a huge help especially with tone. To me, the questions I wrote don't sound like me at all—they sound like a readers' guide. Amy Sohn, author of Motherland: I revised my reading group guide for Motherland after it was sent to me for review, because I wanted it to reflect the questions I wanted the book to raise. Some of these questions were already addressed in the reading group guide. Others were absent. I also wanted to be careful not to give my readers any low-hanging fruit when it came to critiquing my work. I deleted questions I found facile. I edited preambles to questions that felt like misreads of my intention. Reader-reviewers can say whatever they want on bookselling sites, but when it came to the readers’ group guide I wanted to raise the level of the discourse. Understanding that I may not get the deep, thoughtful critical reviews I seek because book review space is shrinking, I saw the guide as a place to do something about it. To ask questions that engage literary tropes, metaphors, themes, doubling. Like most authors, I also heavily revise my catalog copy and synopsis and weigh in on what blurbs to use, because the copy ultimately reflects on me and I want to be sure it reads in a way that I'm happy with, a way that I can “own.” What are the components of your reading guide? Hauser: In addition to discussion questions and a Q&A, my reading guide features a section called Enhance Your Book Club or Class Discussion, in which I suggest activities for readers who want to engage more with the book’s subject matter. For instance, I suggest volunteering at a local office of the International Rescue Committee, an organization that resettles refugees across the country. I also recommend visiting Ellis Island and the Lower East Side Tenement Museum in New York. Sohn: Introduction, Topics for Question and Discussion, and Enhance Your Book Club. My book has a scene that takes place at a supper club or underground restaurant. One suggestion was for the book club to hold its own supper club. It’s fun to imagine some of the book groups taking these suggestions. Black: In my paperback, there are discussion questions, and there is also an interview of me done by Karen Russell. They make a good balance, I think. The interview Karen and I did is pretty craft heavy so for anyone who is interested in going a little deeper into the nuts and bolts of writing, it's there. The other questions, the ones I wrote, are more for readers who aren’t necessarily as interested in the writing process. There’s also a third element that isn’t in the book and doesn’t officially count, but I think is important: I heard so many times that book groups didn’t know how to discuss short stories that I put up a guide to doing that on my website. I know this isn't technically part of the book, but in some ways it has done more to make my collection seem approachable to book groups than anything else has. For any collections I write from now on, I will try to have something like that included as an appendix. Daniel Torday, author of The Sensualist: Instead of a traditional reading group guide, my publisher [Nouvella] and I decided it would be fun to do something to harness the great innovative powers of the Internet. To go with each copy of the book, we created a beautifully designed bookmark that has a QR code that brings you to a webpage with what we called “Supplementary Reading.” The book was heavily influenced by Dostoevsky and F. Scott Fitzgerald. So, I compiled some quotations from The Brothers Karamozov that directly influenced my writing — the book’s main character is named after Dmitri Karamozov, and the book takes its title from a chapter in The Brothers Karamozov, called “The Sensualists.” We included excerpts from those chapters, some stuff from André Gide’s great essay on Dostoyevsky, and something from David Foster Wallace’s famous essay on Dostoevsky. How did you come up with your questions and topics for discussion? Did you cull any from events, readings, or book club discussions in which you participated? Hauser: I’ve been asked some great questions about my book by readers, especially book club members who have invited me to participate in their discussions in person or via an email interview. So, when it came time to write my reading guide, I included a few of their best questions in an extended guide that I posted online. One of my favorite questions was about why most of the “main characters” in the book were students who either lived alone or had little parental guidance. That connection hadn’t occurred to me before a reader pointed it out. Sohn: My editor drafted the initial questions, and I added a few that were more thematic. The questions didn’t gel with questions I have been asked at readings because people who attend my readings ask incredibly personal questions: “Do you like being a mother?” or else want to know about how to get their own books published or get an agent. Frances Greenslade, author of Shelter: From visiting book clubs, I was pleasantly surprised to find that readers view the characters in Shelter very much as real people. I see them this way, too. So, I like to ask who they identify with most and why. Readers are quite divided on their sympathy for the mother in Shelter, for example. It’s interesting to explore those conflicting views of her. Black: I stole a few questions from interviews, just recasting them. And then I also threw in a few things that no one had ever asked me but that I wished they had. I also looked for common elements between the stories so the book could be discussed as a whole; and actually a couple of the ones I found surprised me—like that it’s a book about loss but almost nobody cries. When I realized that, I was curious myself about what other ways I had represented grief if there are so few tears shed—so I put the question in. What do you think makes a thought-provoking prompt? Did you ever find it strange interviewing yourself, if in fact you did? Hauser: My book is divided into three parts, loosely reflecting the arc of the students’ journeys as they adapt to life in this country: Passages, Between Worlds, and Almost American. At the eleventh hour, I panicked about the title “Almost American,” worrying it could imply the students were somehow “less than,” when really I meant that becoming American is in and of itself a journey (a legal journey or a psychological one, for instance). I thought about changing the title, but my editor convinced me not to, and I’m glad I listened, because it led to a great question: “What does it mean to be almost American? What does ‘being American’ mean to you?” Greenslade: I think the most thought-provoking questions come from comparisons with our own experience. I hope that reading broadens my view of the world and makes me look at my own firm convictions a bit differently. I like a book to unsettle me a little, so questions that peer into that unsettled feeling interest me. Questions about the characters’ choices and motivations usually lead to good discussions. Sohn: Every writer has her ideal review. This doesn't mean a rave. It means a review that looks at what the author was trying to accomplish and tries to weigh how she succeeded. I got a mixed review of my first novel, Run Catch Kiss, that nonetheless pleased me because it seemed to look at my intention: Did the book work as generation-specific satire? To me, a thought-provoking question is one that addresses the author’s goals and the subtext of the novel but doesn’t weigh in on the morality of the characters. I don’t find “Did you like or didn’t you like ___ character?” questions to be very insightful as a reader myself, though they make for lively discussions in book groups. I prefer “What is the author trying to say about _____?” or “How does ___ theme play out in the novel?” or “Where do you see the characters going at the end?” Black: I think thought-provoking questions are ones that help readers feel some creative ownership in the work. That means that the best questions have no definitive answers. You aren’t testing the readers’ knowledge of the work, you’re trying to get them engaged in discussion—which often means debate. So, I tried to look for points of ambiguity in my stories and direct the readers toward those. I didn’t exactly see it as interviewing myself. I saw it as a way of helping other people find a creative path into the work. That’s how fiction stays alive once it’s written. By having other people continue to wrestle with it, question it, as they read. I tried to craft questions with that in mind. Torday: The idea [of providing a reading syllabus online] was that presenting readers with material for book group discussion would be a more exciting prompt than being too heavy-handed in asking questions directly. The most exciting material we unearthed was a letter from Fitzgerald to his daughter, imploring her to read The Brothers Karamazov, which he called the “masculine influence” on The Great Gatsby. Here I had written a book in which the characters read Gatsby and then literally visit the site of a mansion in Baltimore where Fitzgerald and Zelda lived for years. And one of those characters believed himself to basically be a character out of a Dostoevsky novel. So, in a way, I guess the question in a traditional readers’ guide would’ve been just to point these facts out and say something like, “Isn't that cool?” or “I don't know what to make of that—what the hell do you make of that?” It seemed more fun, and apt, to simply present the material and let it do the work. Do you have any advice or tips for other authors writing their own reading guides? Hauser: One thing I learned through the process of revising my reading group guide is the importance of knowing your audience. In addition to book clubs, students at the graduate, college, and high school levels have read The New Kids. I tried to keep different age demographics in mind while coming up with prompts and questions. Black: Try to craft questions for which there are no definitive answers. Try to engage the reader in an imaginative process. And don’t forget that reading fiction has this oddly social aspect to it. Readers form relationships with characters, so it makes sense to have a question or two that recognizes that attachment, questions along the lines of: “What advice would you have given to so-and-so?” or “With which character would you most want have lunch? Why?” It can sound a little hokey, I guess, but I think it’s important to have questions to which readers with different levels of sophistication can relate. Sohn: Don’t talk down to your readers. Assume they read a lot and can engage with fiction. Think about what might provoke discussion but also think about what might provoke internal thought. Books move people. The readers’ guide should help readers to think and feel more deeply about the book. Greenslade: Questions should be open-ended, not easy to answer with a simple yes or no. Go with problems that engaged you as you wrote and turn them into questions. Try not to sound too much like a literature class. Image via Wikimedia Commons
I was trying to summarize The Brothers Karamazov for my wife when I realized that I was embarrassing myself. “There’s this rich old man with lots of enemies, and it turns out that someone has bashed his head in. The police have to figure out which of his three sons is responsible for the murder, and so they arrest the oldest son (who’s at a drunken party with his mistress), because he clearly needed the old man’s money to pay off his debts. The oldest son tries to put together a convincing alibi, but at the trial his fiancée rats him out because she’s really in love with his younger brother, and—” “Let me guess. The butler did it.” “Oh. Well, yeah, actually, the butler did do it.” (Spoiler alert?) Now, the fault here clearly lies with me rather than Dostoevsky, because my 30-second plot summary manages to exclude everything that puts The Brothers Karamazov among the world’s great novels (such as the fact that the butler did it, in part, because of an argument about the moral implications of the non-existence of God). But sometimes summaries, even the most reductive and unfair ones, can be revealing. And what a plot synopsis reveals is how Dostoevsky managed to hang a book of profound questions on some of the most hackneyed conventions of fiction: the murder mystery, the love triangle, the courtroom drama. Conventions are what we make of them, and they are entirely different things in the paws of a hack, or the hands of a master. In one, they are rote, paint-by-numbers exercises that satisfy our hunger for the familiar; in the other, they are closer to archetypes that bear remarkable thematic weight. But not every convention can bear the weight of every theme. The conventional knight’s quest or saint’s life might have been dominant literary conceits in another era, but it’s hard to imagine serious fiction making use of them today. And just as conventions go in and out of fashion, they also move into and out of better neighborhoods: up and down the scale that, fairly or not, divides “literary fiction” from “genre fiction.” Today’s literary set-piece becomes tomorrow’s predictable genre exercise — and we can see that process playing out in the sad, but inevitable, decline of the courtroom drama. In the 19th century, Dostoevsky gave over the climax of his magnum opus to a full-blown murder trial with all of the trimmings, from surprise witnesses to chapter-length closing statements to a dramatic reading of the verdict. Nearly a century and a half later, though, the courtroom drama lives in a cultural ghetto. We still love the readymade tension and clash of a good trial, but we largely satisfy that urge in the less reputable precincts of cable TV: an excessive interest in Casey Anthony or Scott Peterson (or worse, Nancy Grace) is usually something to be apologetic about. In fiction, our love of trials is catered to by an entire subgenre of lawyer novels, and by lawyer shows whose verdicts seem to always reflect conveniently on the advocates’ sex lives. Today, it’s hard to imagine a major novel, like The Brothers Karamazov, overcoming that accumulated baggage to make a murder trial its dramatic linchpin. An important reason, I’d suggest, is this: as criminal trials have grown fairer, they’ve also grown less dramatically interesting. The difference lies in the changing possibilities of evidence. What would the trial of Dmitri Karamazov have looked like in a world of DNA testing, security cameras, or cellphone records? What would it have looked like even two decades later, as fingerprinting came into widespread use? Absent such hard evidence, a court would have to focus on “softer” variables: questions of character, psychology, relationships, and memory. Not coincidentally, these are exactly the kinds of questions that interest literary novelists — and a trial was once an ideal forum for exploring them. In a world before modern forensic evidence, a criminal trial was much more like a novel: it was more likely to be an exploration of personality, a contest between two different theories of a human being. The growing sophistication of forensic evidence hasn’t erased those questions from the courtroom, but it has relegated them to the background. Given the choice between a 21st-century court and a 19th-century court, we’d be more confident (though certainly not completely confident) that the former gave accurate verdicts. In the latter, however, we’d find much more scope for the ambiguities and dueling interpretations that are crucial to good fiction. That’s the kind of scope we see in the trial of Dmitri Karamazov for the murder of his father. The case is not so much a “whodunit?” as a “who is he?” And his murder trial is an appropriate climax to the novel because it is a struggle, in the absence of hard evidence that points either way, to construct and compare dueling versions of the rash defendant and the victim, his repulsive father. Both prosecution and defense agree that Dmitri repeatedly threatened his father’s life and, on the night of the crime, broke onto his father’s property with the intention of doing him harm; in the process, Dmitri assaulted a servant with a bronze pestle he had in his pocket. The prosecution claims that Dmitri then forced his way into the house, murdered his father with the pestle, and stole 3,000 rubles his father kept in an envelope. The defense claims that Dmitri approached the house but repented and ran away at the last moment; the murder must have been committed by Smerdyakov, the father’s butler. (Dostoevsky reveals that this version is the true one, though neither side has any inkling that the real murder weapon was a paperweight from the victim’s desk.) The prosecution wants to paint Dmitri as vicious and violent, consumed with hatred for his father and entirely capable of following through on his threats; the defense wants to paint him as a fiery and impulsive young man, but ultimately an honorable and sentimental one, whose threats were no more than drunken boasting. It’s remarkable how little of the evidence and argument brought forward by either side would be relevant to fact-finding in a modern courtroom. Modern trials, too, have a place for character testimony — but certainly not to the extent we see in the Karamazov case. A local doctor testifies that he gave the defendant a present of nuts when he was a neglected child, and recounts the tearful thanks Dmitri later gave him as a grown man. Dmitri’s fiancée testifies that he had once generously saved her family from financial ruin, “and, indeed, the figure of the young officer who, with a respectful bow to the innocent girl, handed her his last five thousand rubles — all he had in the world — was thrown into a very sympathetic and attractive light.” Shortly afterward, though, the fiancée suffers a change of heart — and reveals to the court that Dmitri had sent her a letter, scribbled in a bar, promising to murder his father. The prosecutor takes full advantage of that revelation in summing up Dmitri’s character to the jury: He is a marvelous mingling of good and evil, he is a lover of culture and Schiller, yet he brawls in taverns and plucks out the beards of his boon companions. Oh, he, too, can be good and noble, but only when all goes well with him….But if he has not money, he will show what he is ready to do to get it when he is in great need of it. The defense counsel’s response is to build a counter-narrative of Dmitri: “Gentlemen of the jury, the psychological method is a two-edged weapon, and we, too, can use it.” The defense, in fact, wants to cast the prosecutor as an over-eager crime novelist, guilty of telling without showing: We have, in the talented prosecutor’s speech, heard a stern analysis of the prisoner’s character and conduct….He went into psychological subtleties into which he could not have entered, if he had the least conscious and malicious prejudice against the prisoner. But there are things which are even worse….It is worse if we are carried away by the artistic instinct, by the desire to create, so to speak, a romance. With that point made, the defense attorney calls the jury’s attention to the inconsistencies in this psychological portrait. The prosecutor, for instance, claims that Dmitri flung away the envelope containing the 3,000 rubles and then paused to check on the servant he had assaulted, to determine whether or not he had killed a potential witness. But how, the defense asks, could one man do both? The first step is the panic of an amateur—the second, the calculation of a hardened killer. “Mr. Prosecutor,” the defense attorney demands, “have you not invented a new personality?” In the personality built up by the defense, the incriminating letter was merely “drunken irritability.” The butler Smerdyakov, in fact, looks far more like a murderer: In character, in spirit, he was by no means the weak man the prosecutor has made him out to be….There was no simplicity about him, either. I found in him, on the contrary, an extreme mistrustfulness concealed under a mask of naivete, and an intelligence of considerable range….I left him with the conviction that he was a distinctly spiteful creature, excessively ambitious, vindictive, and intensely envious. Summing up, Dmitri’s counsel claims that the prosecution is so eager to bend the truth because of its outrage at the alleged crime of father-killing. But was the victim—abusive, neglectful, and self-absorbed as he was—a father in anything more than name? "Father"…a great word, a precious name. But one must use words honestly, gentlemen, and I venture to call things by their right names: such a father as old Karamazov cannot be called a father and does not deserve to be. Filial love for an unworthy father is an absurdity, an impossibility. Love cannot be created from nothing: only God can create something from nothing. This line of argument matters in the trial because there simply isn’t anything more substantial on which either side can ground its hopes. But it matters in the novel itself because it restates, in blunt form, questions that Dostoevsky has been asking for 800 pages: what do fathers and sons owe to one another? How much are we bound by our inheritance from our parents? Is selfless, unconditional love ex nihilo humanly possible, or is it an attribute of God alone? All of the questions raised in Dmitri’s trial function in a similar way: the trial is the novel in miniature, the place in which its questions and conflicts are cast in the highest relief. In convicting Dmitri, the jury reaches a verdict that’s both understandable and wrong. But that’s of secondary importance: Dostoevsky is able to plausibly write that dramatically rich trial because the question at its heart—did Dmitri Karamazov murder his father?—can’t be answered by anything other than a series of murkier questions. But what if the characters could answer with certainty? What if it were simply a matter of solving the case by dusting for the right fingerprints? Could Dmitri’s trial, transplanted into our century, possibly bear the weight that Dostoevsky wants it to bear? Actually, we don’t have to speculate. Online, I discovered a new classroom activity [pdf] for high school students: “Integrating Forensics, Civics, and World Literature: The Brothers Karamazov.” The exercise, sponsored by the University of North Carolina, asks students to retry Dmitri in a modern courtroom. Here are some of the guidelines: Whose DNA do we need to collect? 1. DNA on the pestle (from the hair fibers) 2. DNA on the paperweight (from the blood) 3. Fyodor’s [victim’s] DNA (We will have to exhume his body to do this.) 4. Grigory’s [assaulted servant’s] DNA Whose fingerprints do we need to collect? 1. Dmitri’s fingerprints 2. Smerdyakov’s fingerprints (We will also have to exhume Smerdyakov’s body to be able to lift his fingerprints. If his body is too badly decomposed, we will need to look at his thumb prints on his birth certificate if that can be found anywhere) That’s practically all the evidence we need to acquit Dmitri and correctly convict Smerdyakov in his place—evidence that renders irrelevant questions of Dmitri’s upbringing, his drunkenness, his volcanic relationship with his fiancée, his clash with his brothers, his father’s failings, Smerdyakov’s feigned simplicity, and everything else that turns the trial into such a troubling character study. Even if the evidence were somehow inconclusive, the retrial exercise translates the story onto an entirely different plane: not of character, but of brute facts. It reads like a script for CSI: Karamazov. And that’s exactly why the courtroom drama has almost died out as a serious literary form. The growth of what we can know, and the certainty with which we can know it, has cut a good bit of guesswork out of criminal justice. But literature—at least literature that aims higher than CSI — is built on inspired guesswork. Certainty is good for justice; it’s poison for fiction.
This past winter I wrote a pair of essays about The Brothers Karamazov that included the admission that I preferred “Tolstoy’s ability to see the angles of everyday life to Dostoevsky’s taste for the manic edges of experience.” That line elicited more of a reaction from readers than anything else I wrote, which prompted me to dive deeper into the question: Just which of these two titans of Russian literature is considered the greater novelist? As it turned out, I was not the first to consider the provocation. The literary critic George Steiner has provided the most authoritative resolution to the problem with his book Tolstoy or Dostoevsky, which positions Tolstoy as “the foremost heir to the tradition of the epic” and Dostoevsky as “one of the major dramatic tempers after Shakespeare.” Isaiah Berlin considered the seemingly opposing qualities of the two authors in his enduring essay “The Hedgehog and the Fox.” Nabokov argued in Lectures on Russian Literature that it was Tolstoy in a landslide, while America’s First Ladies have tended to give the nod to Dostoevsky: both Hillary Clinton and Laura Bush cite The Brothers Karamazov as their favorite novel. Still, I wasn’t satisfied with the answers I found online so I decided to get a second opinion — or rather, eight more opinions. I reached out to the foremost scholars of Russian literature as well as avid lay readers I know and asked if they’d be willing to contribute 500 words weighing the respective merits of Tolstoy and Dostoevsky. Almost everyone said yes, though a few echoed the sentiments of a distinguished emeritus professor who replied to me from a beach in Mexico, writing, “There really is no competition on Parnassus. From my point of view at least, they are both great writers and now live in a realm beyond competition.” And of course that’s true — just as it’s true that it is fun (and often illuminating) to debate Williams vs. DiMaggio and Bird vs. Magic even though at the end of the day we acknowledge that they’re all irreducibly great. So with that, enjoy eight very knowledgeable, passionate takes on two of the great storytellers of all time. And when you’re done reading, please go ahead and share your own views in the comments section. Carol Apollonio, Professor of the Practice of Russian, Duke University The question shot straight into my brain and disabled the parietal cortex. There was a sizzle and a puff of smoke, and the smell of sulfur filled the air. I groped in the dark for a 50-kopeck piece and tossed it upwards. It clinked hollowly on the linoleum. The flickering light of the candle from above illuminated the tiny but unmistakable image of the double-headed eagle. Heads up: Dostoevsky, then. His protagonist is the head: bait for smart people. The intellect sends forth an unending flow of words. YES! You’ve thought this exact same thing so many times! How can there be justice on earth if it comes at the cost of a child’s tear? How can God be all good and all powerful, yet allow suffering in the world? If God exists, then how can he allow ME to walk the earth, sick, sniveling, spiteful creature that I am, scrawny spawn of the most abstract and premeditated city on the earth? If God does not exist, though, how can I be a captain? Should I return my ticket? Read on! They give us the bread that we ourselves have made, and we accept it back from them in exchange for our freedom: cheap sorcery in place of miracle. I love mankind, but how can you expect me to love the stinking, jabbering drunk across the table, the loser who sold his own daughter into prostitution so he could sit here and drink? Prove that you exist, then! Move this mountain, and I will believe! His protagonist is the head, but his hero is the heart. Logic and words will get you nowhere: the more talk, the less truth. Twice two is four, but twice two is five is a charming little thing too. A hug, now, a kiss, a fall to the earth, a leg over the iron railing of a cold St. Petersburg bridge, a pouring forth of tears, a pouring forth of blood, a turning pale, a fainting dead away, an issuing forth of the spirit of decay, a slamming of your own finger in the door, the plaintive sounds of a pipe-organ on the street, ragged orphans begging, the dying gasps of the overworked, bludgeoned horse, the barely detectable breathing of the doomed old woman on the other side of the closed door — you, YOU are the murderer — the clink of coins in the cup, the dizzying whirl of the roulette wheel, brain fever, a silhouette in the doorway, the noble young lady bowing down to the earth before you, YOU, you lustful worm! Shrieks, a rope, a gun, a slap on the cheek, and suddenly... Suddenly an image appears in the darkness: a thin, timid girl in a green shawl, her face pale and drawn from illness. She smiles joyfully and stretches out her hand to me. I must go, for if I do not, I will keep on talking and will never stop…. Ellen Chances, Professor of Russian Literature, Princeton University The question, in my mind, is meaningless. One of the worrisome tendencies of contemporary society is its impulse to rank. Who is better? Who is Number One? The question should not be, “Who is the greater novelist?,” but rather, “What do I learn from reading the books of Tolstoy or Dostoevsky, or of anyone else? Why does everything have to be a race? Why does everything have to be competitive? This implies that there is a winner and a loser. Why does the reading of Tolstoy or Dostoevsky or of anyone else have to be part of a “success” or “failure” story? Framing the question, “Tolstoy or Dostoevsky: Who’s the better novelist?,” in this way does a disservice, it seems to me, to the act of contemplating the meaning of these writers’ books. Asking the question is equivalent to asking, “Which is the greater food, milk or orange juice? Which is the greater food, blueberries or strawberries? Which is better, the sky or the grass, night or day?" To me, both Dostoevsky and Tolstoy are equally great writers. Each focused on some of the important “big questions” of life. Dostoevsky’s Ivan Karamazov, in The Brothers Karamazov, asked how a just God could have created a world that includes the suffering of innocent children. Tolstoy, through his character, Levin, in Anna Karenina, asked what the meaning of life is. Both Dostoevsky and Tolstoy asserted that the essence of life cannot be found by relying on the intellect alone. Both Dostoevsky and Tolstoy understood that being true to the authentic rhythms of life means respecting the non-linear nature of life. Each of the two offers profound insights about psychology. Tolstoy emphasizes the ways in which people relate to one another in a societal context. Dostoevsky digs deeply into the individual human psyche. Tolstoy paints a world in which extreme things happen to ordinary people. Dostoevsky shows us the extremes of which people are capable. Each of the two writers describes crises in faith. Each describes the journey to a life of spiritual values. Both Dostoevsky and Tolstoy write in a way that conveys the energy of life. That energy comes about, in Dostoevsky, through the clash of ideas, through the tension he creates through suspense and the use of words like “suddenly.” Ivan Karamazov says that he loves life more than the meaning of life. Tolstoy shows a love of life of this world – the smell of the earth, the beauty of a flower. He speaks about living a life of authenticity. Both Dostoevsky and Tolstoy make me think about what is important in life. Both urge the reader to appreciate those things that money or competition cannot bestow – love, and life itself... ...So who is the greater writer, Dostoevsky or Tolstoy? Both Tolstoy and Dostoevsky are great...And then there is Chekhov, and Pushkin, and Mandelstam and Akhmatova and Bitov... And that’s just the Russians... Raquel Chanto, Graduate Student, Woodrow Wilson School of Public and International Affairs It is likely that these words express more about me than about Tolstoy or Dostoevsky. I have long ago given up on the idea of objective appraisal of literature: reading is a much more mediated process than we would like to admit. All sorts of ghosts crawl into the pages, a prehistory of tastes and experiences and prejudices and fears. So if I say Dostoevsky is a greater writer than Tolstoy, I only mean he has been greater to me. My first encounter with Russian literature was as random as can be expected for a twelve-year-old girl growing up in suburban Costa Rica. Both Tolstoy and Dostoevsky emerged like potatoes out of a giant plastic bag containing several books of ranging worth. I was lucky enough to be, at the time, very young, very curious and seriously uninformed. Unlike most people, I read War and Peace without having the faintest idea of the book’s reputation. Crime and Punishment followed shortly after, with the same scandalous lack of veneration. I loved them both: Tolstoy, for the story he told, and Dostoevsky, for the thoughts he provoked. Many years and many books later, the two authors continue to inhabit different places in my mind and in my memory. Tolstoy conjures up images of endless steppes and elegant Petersburg homes, where great and complex characters go about the business of living. His books are showcases of literary craftsmanship, epic tales told with impeccable skill. Dostoevsky’s work is less precise, more ambiguous. I experience his books as a ceaseless battle of demons that never rest — not even as you turn the page, as you end a chapter, as you finish the novel and read it again. A Dostoevsky novel sitting on a shelf is a bowl of anxiety and confusion, a bundle of frustrations marked by a desperate need for redemption. His protagonists are shown in extreme situations, where not only their personality but their very nature is put to the test. What I find mesmerizing in Dostoevsky is not just the details of the story, the particular twists and turns of the lives of Rodion Raskolnikov or Dmitri Karamazov; it is the mere possibility of their existence. It is, in the end, the mind-bending notion that we could be just like them — that any of us, any ordinary, simple human being, carries around the highest plane and the lowest point of moral capabilities. Tolstoy’s characters tell me a lot about themselves. Dostoevsky’s characters tell me a lot about myself. If that is not writing of the ultimate importance, I do not know what is. Chris Huntington, author of the novel Mike Tyson Slept Here Reading Tolstoy transports me to another world; reading Dostoevsky makes me feel alive in this one. As I’m reading Tolstoy, I’m drawn into a dream of serfs and country estates, endless royal titles and army ranks. So many beautiful horses! A loyal dog! Women like Kitty and Anna Karenina! But then I put the book down and I find myself using a coat hanger to get the hair out of the shower drain, and it doesn’t feel like the Battle of Austerlitz. It feels like my life again. On the other hand, many times someone will frustrate me at work, and I hear these words from The Brothers Karamazov thundering in my head: 'Why is such a man alive!' Dmitri Fyodorovich growled in a muffled voice, now nearly beside himself with fury, somehow raising his shoulders peculiarly so that he looked almost hunchbacked. ‘No, tell me, can he be allowed to go on dishonoring the earth with himself?’ I say this kind of shit to myself all the time. It’s part of the fun of being alive. As I lead my every day life (so unlike ice-skating in Moscow or cutting grain on my estates), just imagining that I resemble beautiful Levin is to invite self-ridicule. I like him more than he would like me. I’m not nearly as nice, nor as sincere. I find that I can openly admire Prince Myshkin, however, because in The Brothers Karamazov, I’m right there doing it. I’m Dmitri or Ivan, holding Alyosha’s hand. The message of the brothers is that we are all each other; we share each other’s passions. We suffer identically. We demonstrate things differently. I can be innocent and guilty both. That, to me, is life. Borges, I believe, said there was something adolescent about a love of Dostoevsky – that maturity demanded other writers. All I know is, when I first read Crime and Punishment, that book represented a lot of work for me. I didn’t get it! What did I have to feel so guilty about, at eighteen? I hadn’t DONE anything. I was frantic with potential energy. I would have been better off with War and Peace – because I had the temperament of Prince Andrei, ready to go to war. I was angry with myself and frustrated, but I had no major regrets. I certainly could never have understood Ivan Fyodorovich’s madness. I had just spent a summer drifting with a beautiful 17 year-old girl on Harrison Lake; if you’d asked me why Prince Myshkin pursued the troubled Nastassya or allowed the beautiful Aglaya to get away, I would have had no idea. In adolescence, I was loyal with my friends, but also so fiercely uncompromising that I would never have endured a friend like Myshkin’s Rogozhin. That kind of bond would only come later for me, when I understood what it was like to tie myself to someone for life- when I understood what mutual forgiveness was. When I was in my early twenties, one of my friends drunkenly stabbed another. It wasn’t serious. One of my best friends asked me not to see a girl he’d broken up with. Instead, I married her. Later on, I lost her. I chased her in the snow, like Dmitri. I understand Dostoevsky now. What adolescent understands these things? In any case, I realize that the “competition” between Dostoevsky and Tolstoy is just an exercise in love. No one really has to choose one or the other. I simply prefer Dostoevsky. For my last argument, I will simply cite an expert far older and wiser than me: Just recently I was feeling unwell and read House of the Dead. I had forgotten a good bit, read it over again, and I do not know a better book in all our new literature, including Pushkin. It’s not the tone but the wonderful point of view – genuine, natural, and Christian. A splendid, instructive book. I enjoyed myself the whole day as I have not done for a long time. If you see Dostoevsky, tell him that I love him. -Leo Tolstoy in a letter to Strakhov, September 26, 1880 Andrew Kaufman, author of Understanding Tolstoy and Lecturer in Slavic Languages and Literature, University of Virginia All mediocre novelists are alike; every great novelist is great in his own way. Which is why the choice between nineteenth-century Russia’s two supreme prose writers ultimately boils down to the question of which kind of greatness resonates with a particular reader. My own sympathies are with Tolstoy, and even my criteria for judging a work of fiction, I admit, are relentlessly Tolstoyan. “The goal of the artist,” Tolstoy wrote, “is not to solve a question irrefutably, but to force people to love life in all its countless, inexhaustible manifestations.” By this standard Tolstoy’s novels succeed where Dostoevsky’s fall short. True, Dostoevsky saw and felt modern experience in all of its isolating, tragic depth. He showed the obsessive power of ideas and the psychological crises, cracks, and explosions of the soul that have become familiar in our modern world. What he doesn’t do, however, is make you love life in all its manifestations. In fact, when he tries to do so, he reveals his deficiencies. At the end of Crime and Punishment Raskolnikov flings himself at the feet of Sonya, who has followed him to Siberia where he is serving his sentence for double homicide. Sonya jumps up, looks at him and trembles. “Infinite happiness lit up in her eyes; she understood, and for her there was no longer any doubt that he loved her, loved her infinitely, and that at last the moment had come...” If this smacks of modern soap opera or those maudlin French novels Dostoevsky was raised on, that’s because it is melodrama. Sonya’s “infinite love” is an ideal, “the moment” that has supposedly come, an abstraction. What modern readers need, Tolstoy believed, is not more lurching after “infinite happiness” or “the Great Idea,” as Stepan Trofimovich, near the end of The Demons, claims to have discovered, but the ability to embrace an imperfect reality. The author of Anna Karenina teaches us how to seek meaning not through grandiose romantic strivings, like Anna and Vronsky, but within the limits of imperfect social and family structures, like Kitty and Levin. Tolstoy's novels depict the norms and continuities of human behavior by means of grand narratives that expand slowly over time and against the backdrop of vast natural tableaus. “As is usually the case” and “such as often occurs” are phrases you encounter frequently in Tolstoy. Dostoevsky’s world, by contrast, is one in which you can come home one evening and “suddenly” find an axe buried in your skull. Life is always on the verge of imploding on itself. Tragedy is just around the corner, or in your living room. Tolstoy’s living room is a place where people, well, live. It’s where dark-eyed, voluble twelve-year old Natasha Rostova comes running with doll in hand, or where, a decade later, she enjoys with Pierre one of those endearingly mundane conversations between wife and husband about nothing and everything. “I am a realist in a higher sense,” Dostoevsky rightfully claimed. But Tolstoy was a realist in the total sense. “The hero of my tale... is Truth,” he wrote. And that truth is one every generation recognizes as its own, not just those in a state of social crisis or existential despair. If Dostoevsky urges us to reach for the heavens, then Tolstoy teaches us by artistic example how we may touch the transcendent here and now in our messy, fleeting world. Gary Saul Morson, Frances Hooper Professor of the Arts and Humanities, Northwestern University A Soviet anecdote has it that Stalin once asked the Central Committee: which deviation is worse, the right or the left? Some fearfully ventured “the left,” others hesitantly offered, “the right.” The Great Helmsman then gave the right answer: “Both are worse.” I answer the question, “Who is the greater novelist, Tolstoy or Dostoevsky?”: Both are better. Dostoevsky spoke to the twentieth century. He was unique in foreseeing that it would not be an era of sweetness and light, but the bloodiest on record. With uncanny accuracy, The Demons predicted, in detail, what totalitarianism would be. Bakhtin understood the core principle of Dostoevsky’s ethics: a person is never just the product of external forces. Neither heredity nor environment, singly or together, fully accounts for a human being. Each person retains a “surplus,” which constitutes the self’s essential element. True, some people, and all social sciences aspiring to resemble physics, deny the surplus. But they apply their theories only to others. No matter what he professes, nobody experiences himself as a mere play of external forces. Everyone feels regret or guilt, and there is no escaping the agony of choice. We behave as if we believed that each moment allows for more than one possible outcome and that our freedom that makes us in principle unpredictable. Without that unpredictability we would lack humanness. We would be zombies, and no one has ethical responsibility to zombies. Hence ethics demands: always treat another person as capable of surprise, as someone who cannot be explained entirely at second hand. Dostoevsky despised both capitalism and socialism because each treats people as the mere product of economic (or other) laws. If socialism is worse, it is because it also presumes that experts know how to organize life for the best and socialism not only denies but actively removes choice for a supposedly higher good. At best, this view leads to the Grand Inquisitor, at worst to the nightmarish plans of Pyotr Stepanovich. Tolstoy speaks more to the 21st century. His novels’ key concept was contingency. At every moment, however small and ordinary, something happens that cannot entirely be accounted for by previous moments. Like Dostoevsky, Tolstoy also denied the possibility of a social science, which must always wind up resembling the “science of warfare” preached by the generals in War and Peace. Like macroeconomists today, these “scientists” are immune to counter-evidence. To use Tolstoy’s word, social science is mere “superstition.” If social scientists understood people as well as Tolstoy, they would have been able to depict a human being as believable as Tolstoy’s characters, but of course none has come close. If we once acknowledge that we will never have a social science, then we will, like General Kutuzov, learn to make decisions differently. We intellectuals would be more cautious, more modest, and ready to correct our errors by constant tinkering. If we have left the age of ideologies behind, we may need Dostoevsky’s warnings less than Tolstoy’s wisdom. Donna Tussing Orwin, Professor of Russian and Chair, Department of Slavic Languages and Literatures at the University of Toronto, and author of Consequences of Consciousness: Turgenev, Dostoevsky, and Tolstoy I inclined first to Tolstoy. His combination of moral sensibility and love of life appealed to me, and I didn’t like Dostoevsky's over-the-top world of the self in crisis. The two authors have much in common, and yet diverge in ways that make comparison irresistible. Both associate the self with moral agency; for both therefore, the individual is the ultimate source of good and evil. For both, goodness, which consists in overcoming selfishness, is natural but weak. For both feelings trump reason in the soul, though Tolstoy is closer to the Greeks and the Enlightenment in his association of virtue with reason. For Dostoevsky, reason is always tainted by egotism, and therefore he relies on love to spur moral impulses. Dostoevsky concentrates more on evil; for this reason his writings anticipate the horrors of the twentieth and the nascent twenty-first centuries. Tolstoy depicts crimes, such as the lynching of Vereshchagin (War and Peace) or uxoricide in Kreutzer Sonata, but not the pure malice embodied in such Dostoevskian characters as Stavrogin (Demons) or Smerdyakov (Brothers Karamazov). Tolstoy's most evil characters, like Dolokhov in War and Peace, seem to invade his texts from another (Dostoevskian?) world. Dostoevsky also portrays pure goodness. Prince Lev Nikolaevich Myshkin (The Idiot), even though he is named after Tolstoy, is more virtuous than any Tolstoyan character could be, and so is Alyosha Karamazov. Both authors are wicked satirists. Tolstoy's rationalizing solutions to social ills can seem naive, while Dostoevsky's high-minded ones seem sentimental. Tolstoy's fiction encompasses a broader range of experience than Dostoevsky's. No one has described childhood, family life, farming, hunting, and war any better. This reflects his affinity for the physical and the body. Not coincidentally, Tolstoy is also celebrated for his portraits of nature and animals. Dostoevsky usually associates the physical with the base. (Compare fleshy old Fyodor Karamazov with his ethereal son Alyosha.) In his writings illness often brings insight, while Tolstoy mostly (though not always) prefers healthy states to unhealthy ones. Dostoevsky's fiction aims at the revelation of character to the fullest extent possible. He believes that each individual is unique, however, and therefore ultimately inaccessible to others. His protagonists vacillate between good and evil; this makes the future of any one of them, even the most virtuous, unpredictable. Tolstoy’s characters are complex but not unique. The variety among them (greater than in Dostoevsky) is a result of a practically but not theoretically infinite number of combinations among all the possibilities inherent in human nature, and the interaction of these with the outside world. Tolstoy depicts the intersection of chance, historical forces, and character. In his view, the more disengaged we are from outside circumstances, the freer we are. Tolstoy gravitated in old age toward Christian anarchy, while Dostoevsky in his last novel (Brothers Karamazov) seems to advocate for a Christian theocracy headed by someone like Zosima. I still prefer Tolstoy’s earthiness and expansiveness to Dostoevsky’s brilliant, edgy anatomy of the psyche, but I can't imagine life without them both. Joshua Rothman, graduate student in English at Harvard University, and author of the column, Brainiac, which appears every Sunday in the Boston Globe's Ideas section I have the usual reasons for thinking of Tolstoy as the “better" — really, as the best — novelist. There’s the incredible variety of scenes and subjects he explores; there’s his precise, uncluttered style; there’s his epic tone, with its special combination of detachment and humanity. And I’m always overpowered by the way his novels describe everyone from the inside, even the dogs and horses. I have the same reaction to Tolstoy’s writing as his sister-in-law, Tanya Bers, who was the model for Natasha in War and Peace: “I can see how you are able to describe landowners, fathers, generals, soldiers,” she told him, “but how can you insinuate yourself into the heart of a girl in love, how can you describe the sensation of a mother — for the life of me I cannot understand.” I think Tolstoy is better at “insinuating himself” than any other novelist. It’s Tolstoy’s scenes, though, which impress me most. Tolstoy, I’m convinced, is the single greatest writer of scenes in literature. Dostoevsky is often given credit for being more “dramatic” (George Steiner, in Tolstoy or Dostoevsky?, calls Dostoevsky “one of the major dramatic tempers after Shakespeare”). But Tolstoy’s novels are unique in the way they’re constructed entirely out of short, perfect, easy-to-read scenes, and in the way those scenes build on one another until they address the most complex issues in a nonchalant, natural way. Take the run of scenes around Kitty and Vronsky’s ball in Anna Karenina. In the first scene, Kitty and Anna are sitting on a sofa. Kitty invites Anna to the ball, and suggests that she wear a lilac-colored dress. Then a gaggle of children run to Anna, Anna takes them in her arms, and the scene ends. Reading the scene, we understand that that’s how Kitty sees Anna: as a mysterious, beautiful, poetic young mother. Then, two scenes later, Kitty arrives at the ball, wearing a peach-colored dress, and sees Anna — in black velvet. That’s the scene when Anna steals Vronsky from Kitty. Right there, in the juxtaposition of those two scenes, which are only two or three pages apart, you have the difference between childhood and adulthood, and between sexual innocence and experience. No other novelist can show you so much, so quickly. It’s not just that his short scenes move quickly, though; it’s that they let Tolstoy focus on very ordinary things, like the color of a dress. One of the best scenes at the end of Anna Karenina is organized around a thunderstorm; in War and Peace, he does two scenes around an oak tree, bare and then in bloom. In each scene, the details feel unremarkable — but, over many scenes, they assemble themselves into a structure that’s more than the sum of its parts. Tolstoy called that structure a “network.” Dostoevsky built up networks, too, of course, and in some ways they’re more powerful. But I prefer Tolstoy’s ordinary materials to Dostoevsky’s extraordinary ones, because they can teach you to uncover the “scenes” and “networks” in your own life. Images of Tolstoy and Dostoevsky via Wikimedia Commons