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 everyoneâs 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 Russiaâs 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 âsavedâ 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 wasnât 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 Dostoevskyâs later writing, in which he was a ferocious opponent of the young generationâs revolutionary ideas, and an equally ferocious defender of the tsarâs authority and the Russian Orthodox Church. Itâs 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 ânihilistsâ 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 Dostoevskyâs 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 Dostoevskyâs early major works —Â Poor Folk, The Double, and Netochka NezvanovaÂ — which offer invaluable insights into just how Dostoevsky became Dostoevsky.
Poor Folk, Dostoevskyâs 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 Devushkian, 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 authorâs 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 Dostoevskyâs poor folk have so little to lose.
The persistent need for money is always on charactersâ minds. Given the extraordinary sympathy Dostoevsky shows his characters and the sometimes subtle, sometimes not-so-subtle, criticism of society throughout, itâs easy to see why Vissarion Belinsky, the most important Russian critic at the time, deemed it the first âsocial novel.â 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 capacity, to use John Keatsâs 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 itâs 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 didnât 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 Gogolâs short story, âThe Overcoat,â 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 Gogolâs 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.
Youâre 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 youâd take the fame and flattery in stride and stay level-headed. But Dostoevsky didnât, 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 âdisappointmentsâ was his second major work, The Double. From the very first page, itâs 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 heâs 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 Goliadkinâs 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 Goliadkinâs 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 didnât 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. Weâll never know what the publicâs 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 Netochna 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.
This story is also another outlier in terms of structure — while Poor Folk was an epistolary novel, Netochna 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 canât 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, Netochna, 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. Efimovâs dream is to be a great violinist, but alcoholism and his petty nature drive him to poverty, along with Netochna and her poor mother, who sadly fell for Efimovâs self-narrative that he was a genius destined for glory.
If Efimovâs story ended there, his degradation would just be a compelling portrait of a manâs gradual ruination. But this is Dostoevsky, so itâs 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 doesnât matter if no one else knows it —Â 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 isnât the worldâs greatest violinist, heâs 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 heâs 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.
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, itâs 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 Dostoevskyâs early career, when he was still figuring out what to scream about, and had his hardest days, and greatest works, still ahead of him.
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