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Rating: 8.8 (8693 reviews)
Author: Joseph Frank

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From the author of the definitive biography of Fyodor Dostoevsky, never-before-published lectures that provide an accessible introduction to the Russian writer's major worksJoseph Frank (1918–2013) was perhaps the most important Dostoevsky biographer, scholar, and critic of his time. His never-before-published Stanford lectures on the Russian novelist's major works provide an unparalleled and accessible introduction to some of literature's greatest masterpieces. Presented here for the first time, these illuminating lectures begin with an introduction to Dostoevsky's life and literary influences and go on to explore the breadth of his career—from Poor Folk, The Double, and The House of the Dead to Notes from Underground, Crime and Punishment, The Idiot, and The Brothers Karamazov. Written in a conversational style that combines literary analysis and cultural history, Lectures on Dostoevsky places the novels and their key characters and scenes in a rich context. Bringing Joseph Frank’s unmatched knowledge and understanding of Dostoevsky's life and writings to a new generation of readers, this remarkable book will appeal to anyone seeking to understand Dostoevsky and his times.The book also includes Frank's favorite review of his Dostoevsky biography, "Joseph Frank's Dostoevsky" by David Foster Wallace, originally published in the Village Voice.

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PDF Lectures on Dostoevsky with Free MOBI EDITION!

I'm one of the novices: I have read some (embarrassingly little) of Dostoevsky. The late Joseph Frank (1918–2013) was one of this generation's finest expositors of that author's life and work, including a five-volume biography that won over a half-dozen major awards. This trim volume, consisting of eight succinct lectures originally delivered at Stanford, is for me the ideal, 200-page introduction to a monumental writer. After an introductory lecture, Frank provides perceptive overviews of "Poor Folk," "The Double," "The House of the Dead," "Notes from Underground," Crime and Punishment," "The Idiot," and "The Brothers Karamzaov." (Oddly, "Demons" is omitted.) The book is introduced by Robin Feuer Miller (Brandeis) and one of its editors, Marina Brodskaya (Stanford), who put Frank himself in historical context: something that he insists is necessary for understanding his subject. Why that should be controversial is mystifying but says something about the state of contemporary literary criticism. David Foster Wallace's appreciation of Frank's comprehensive oeuvre concludes the volume.Beyond its concision—of the sort that only a master of the subject could have rendered—the great strengths I find in Frank's lectures are their admirable clarity, lightness of touch (informal in tone, without breezy grandstanding), a firm location of Dostoevsky's literary maturation within his life's twists and turns, demonstration of scarlet threads that run throughout the author's stories, novels, letters, and diaries, and well-tempered critiques of both Dostoevsky and of his critics. Of the former, for example: "The strength of his work is that he can show us so powerfully the tragedy of sacrificing the individual and the personal to the abstract or theoretical [e.g., Nietzsche and Darwinism]; its weakness is that he could not integrate the personal and the social in any convincing artistic way" (pp. 56–57). As for contemporary criticism: "It is now fashionable to say that, since we can never really know the past on its own terms, we might as well stop trying and consider it in our own. We do this inevitably in any case whether we want to or not. And the question is a very complicated one. My own position is a very simple one. We may not be able to know the past as it really was, but there's no reason we should not make the effort to do so as far as possible. There is no harm in trying, and, in doing so, we may be able to avoid egregious historical errors" (75). When so moved, Frank is unafraid to assert his opinions with gusto, comparing "Karamazov" with Dante's "Divine Comedy," Milton's "Paradise Lost," Shakespeare's "Lear," Goethe's "Faust," and Beethoven's Ninth (158, 169). Who am I to disagree?For this novice Frank's "Lectures on Dostoevsky" are pearls of great price, to which I shall be returning for reorientation to Dostoevsky's smaller works and later masterpieces. For the volume of durable erudition it contains, even in hardcovers the book is reasonably priced.

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PDF Lectures on Dostoevsky with Free MOBI EDITION!

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