Notes from the Underground
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Product Description
Dostoevsky’s Underground Man is a composite of the tormented clerk and the frustrated idealist of his earlier tales, but his Notes from the Underground is a precursor of his fantastic later novels and their central concern with the scenery of free will.
Initially musing on his “sickness” and the detested notion of self-interest, the maladjusted and willful Underground Man turns to a series of incidents from years earlier. Scornful of others and of himself, he recounts a party he attended at which, unwelcome, he got drunk and acted scandalously, the visit to a brothel that ensued, and the chance arrival there of like—like which, of course, by his very scenery he cannot accept, and so debases. Russian novelist Fyodor Dostoevsky (1821–1881) is one of the greatest, most influential prose writers of all time.
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First of all, with a name like “Fyodor Dostoyevsky” how in the world can a guy get published? Perhaps he shouldn’t be. That is my opinion. Maybe Crime and Punishment was excellent, but Notes from the Underground is absolutely dreadful. To be completely honest, I haven’t even gotten to Part 2 yet, but the book is like Johnny Got His Gun and Walden on speed (quoted directly from my English teacher). The main character in this book, the Underground Man, is no more than a coward who has time to write books on how he is much too intelligent to act in life. The first seventeen pages place the reader with a migraine, and after that, it all goes downhill. By the end of the book, I’m nearly positive that one will be half insane and screaming, “Twice two is four, but twice two equals five is charming.” Do not waste your time reading this so-called “classic.”
Reader’s Rating: 1 / 5
contrary to its title, this book does not contain the letters written by the miners who were trapped underground in west virgina. be sure you dont buy this book unless you know what youre getting!!
Reader’s Rating: 1 / 5
Fyodor Dostoevsky’s Notes From Underground (1864) is predominantly a childish, intellectually dishonest, and edgeless tirade against life, living, and mankind. As such, it is entirely ineffective, and pales in comparison to genuinely gripping nihilistic works like Lautreamont’s Maldoror (published only four years later in 1868), Louis-Ferdinand Celine’s Journey To The End of The Night (1932), or any of Jean Genet’s five classic novels (the first, Our Lady of the Flowers, was published in 1943).
Today’s readers may admit that Notes From Underground might have more accurately been titled Victimology 101, since its anti-hero protagonist, who has willingly dropped out of society at the age of forty, seems to exist in a psychic state of what Carl Jung called “prehistoric cr?che.” The narrator builds a series of tiny, circular, and repetitive opinion over the novel’s 29 initial pages, then gleefully deconstructs one after the additional while simultaneously mocking the reader for ostensibly following his previous lines of anti-reason. Dostoevsky may have been attempting to make a larger point about a particular kind of aggrieved personality, but if so, the leader, in conjunction with his narrator, fails entirely to say anything illuminating.
That Dostoevsky’s “underground man” (“I’m no longer the hero I wanted to pass for earlier, but simply a grave small man, a rogue”) is bitter goes lacking adage; he is also cowardly, immature, self-destructive, unobjective, bullying, inflated, and nearly wholly defined by his petty envy and “everlasting spite” for the rest of mankind. The speaker continually states that he is “clever” and “cleverer” than everyone else, yet he repeatedly encourages whatever readership he has to laugh at him, since he assumes such a result will be automatic. But there is nothing particularly clever, acute, abrasive, or piercing about his diatribes, and his lackadaisical experiences, as outlined in Part II, “Apropos Of Wet Snow,” fail to justify his philosophical platform or the outcast position he has elected for himself.
Unsurprisingly, what sinks Notes From Underground is that its perceptions, debates, and critiques are collectively missing teeth of any kind. Is it accurate to summarize “civilization” as an engine that “merely promotes a wider range of sensations in man…and absolutely nothing else”? There’s a world of Marxists that would disagree, and have. Are “all spontaneous men and men of action” active, successfully or otherwise, “precisely because they’re so stupid and limited”? Do such men routinely “mistake immediate and secondary causes for primary ones”? Are courageous men and intelligent men mutually exclusive groups? It is a verifiable fact that “an intelligent man cannot seriously become anything” and that “only a fool can become something”? Western history, with its enormous catalog of highly accomplished “dead white males,” clearly suggests otherwise. Do “normal and fundamental laws” inevitably place mankind “unable to do anything at all”? Is personal integrity merely a hollow charade trotted out for the benefit of others in all cases?
Blanket assumptions like these may place readers believing that the narrator more than deserves his self-induced fate, and that any society, regardless of size and structure, would be better off lacking him. Whether Dostoevsky’s own opinions or merely persons of the narrator, the overall impression the book leaves is that the “underground man” has erroneously extrapolated his own parochial experiences into verities that he believes apply universally to all men and societies. Since he is so grossly flawed, as well as enthusiastically committed to his mistake, it’s no marvel that he is a miserable human being.
Sorry to say, generations of lax, narcissistic personalities seeking validation for their own choices have embraced Notes From Underground as a blueprint and sacred text. But authentic defiance necessitates exactly the sort of conviction, fortitude, insight, diligence, and sense of the relative that are squarely beyond the limitations of the narrator.
Irresponsible, fleeting-sighted, sad-sack squabblers like Dostoevsky’s narrator have permanently existed in all cultures, and probably permanently will. It’s unfortunate that Dostoevsky expended the effort to make and give voice to such a character, but gave him so small of appreciable merit to say.
Reader’s Rating: 1 / 5
middle through the book so far. reasonably a clinic on 19th century russian literature. very introspective i have establish.
would recommend to others.
Reader’s Rating: 3 / 5
some of this VERY fleeting novel, sizzles, but not much. I establish this a chore to read for the most part. The anti-hero is so pathetic that you just want to end the misery as soon as possible, and the stuff with the prostitute is too melodramtic. Obviously this was a pre-curser to his genius work Crime and Punishment. After reading NOTES,I judge it has gotten far too much praise than it deserves.
Reader’s Rating: 3 / 5