Fyodor Dostoevsky

Fyodor Dostoevsky

Fyodor Dostoevsky

Fyodor Dostoevsky

Synopsis

-- Brings together the best criticism on the most widely read poets, novelists, and playwrights

-- Presents complex critical portraits of the most influential writers in the English-speaking world -- from the English medievalists to contemporary writers

Excerpt

Rereading Crime and Punishment, I am haunted suddenly by a recollection of my worst experience as a teacher. Back in 1955, an outcast instructor in the then New Critical, Neo-Christian Yale English Department dominated by acolytes of the churchwardenly T. S. Eliot, I was compelled to teach Crime and Punishment in a freshman course to a motley collection of Yale legacies masquerading as students. Wearied of their response to Dostoevsky as so much more Eliotic Original Sin, I endeavored to cheer myself up (if not them) by reading aloud in class S. J. Perelman's sublime parody "A Farewell to Omsk," fragments of which are always with me, such as the highly Dostoevskian portrayal of the tobacconist Pyotr Pyotrvitch:

"Good afternoon, Afya Afyakievitch!" replied the shopkeeper warmly. He was the son of a former notary public attached to the household of Prince Grashkin and gave himself no few airs in consequence. Whilst speaking it was his habit to extract a greasy barometer from his waistcoat and consult it importantly, a trick he had learned from the Prince's barber. On seeing Afya Afyakievitch he skipped about nimbly, dusted off the counter, gave one of his numerous offspring a box on the ear, drank a cup of tea, and on the whole behaved like a man of the world who has affairs of moment occupying him.

Unfortunately, my class did not think this funny, and did not even enjoy the marvelous close of Perelman's sketch:

"Don't take any flannel kopecks," said Afya gloomily. He dislodged a piece of horse-radish from his tie, shied it at a passing Nihilist, and slid forward into the fresh loam.

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