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Notes from the Underground
Free Download Notes from the Underground
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Dostoevsky's most revolutionary novel, "Notes from Underground" marks the dividing line between nineteenth- and twentieth-century fiction, and between the visions of self each century embodied. One of the most remarkable characters in literature, the unnamed narrator is a former official who has defiantly withdrawn into an underground existence. In full retreat from society, he scrawls a passionate, obsessive, self-contradictory narrative that serves as a devastating attack on social utopianism and an assertion of man's essentially irrational nature.
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Audible Audiobook
Listening Length: 5 hours and 3 minutes
Program Type: Audiobook
Version: Unabridged
Publisher: Oregan Publishing
Audible.com Release Date: July 24, 2018
Whispersync for Voice: Ready
Language: English, English
ASIN: B07FMRTVLL
Amazon Best Sellers Rank:
THE EBOOK IS NOT THE PEVEAR TRANSLATION! This is flagrant product misrepresentation by Amazon. They listed an e-book version of the PEVEAR translation and when I downloaded it and opened it on my device it is NOT the same translation as you can see in the peak inside of the printed version. You can find free online versions of this translation that Amazon is falsely selling as the PEVEAR translation in lots of places online. Amazon cheated!
As usual with Dostoevsky, the read is complex, even in this instance with the simplest of storylines - an old man ranting. The complexity comes from Dostoevsky's amazing ability to articulate the waves of thought behind human emotion - the flood and ebb of reasoning, the articulation of the irrational. But complexity extends well beyond style. Dostoevsky counters and buttresses contemporaneous philosophical thought using the rantings of his protagonist, "the underground man", the narrator. For those not familiar with Søren Kierkegaard and Nikolay Chernyshevsky (and here I admit my own ignorance) even a quick read of the short, but well done Wikipedia article on this title will be a very useful primer. Interestingly, the reviewer mentions that 'underground' is a flawed translation of the Russian and that 'crawl space' (my alternative) or something like it, might be more apt, implying; underneath the structure and within the loathsomeness of darkness, rats, snakes, spiders, and evil spirits.Part I "underground" overwhelms, tediously with rant, still, the reader comes away with a sense of the underground man's misery, frustration, and disgust at life. It is a pure rant with minimal structure. In part II "Apropos the wet snow" we are taken on a - years earlier - 'social encounter' of the underground man. It does not go well - in fact, the reader will now feel, compellingly, albeit without sympathy, the narrator's hatefulness.Dostoevsky's novels so overwhelm with depth and seriousness that other authors on the list of '100 greatest books' (which I am reading through) can seem well behind. In order NOT to be that reviewer who ‘gushes’ 5-stars at everything picked-up - and because this isn’t my favorite Dostoyevski novel I’ll give it 4-stars (but if my arm were twisted - even a little - 5! ;-).(translation by Richard Pevear and Larissa Volokhonsky, Publisher: Aegitas April 20, 2017)
The first part of the book is phenomenal and timeless. It speaks about how resentment is a part of human nature or maybe how humans will never be satisfied, that it is perhaps ontologically necessary that we cannot experience satiety or fulfillment. I’m not quite sure how to word it, but if you read it for yourself that would be cool, and then you could tell me what it is that I read. I thought the first part was an absolutely brilliant nsight into human natureThe second part is about an angry Russian guy being an angry (and especially miserable) Russian guy. It feels uniquely Russian. I found the second part hard to relate to—probably because I’m not a Russian from the 19th century. But the texture was vivid: I could feel like the spite and the cold wind. Dostoevsky does an amazing job of carefully invoking a vivid image (of something Russian.)
_Notes_ is long on thought and character, and short on incident.In the first (and shorter) part, there are literally _no_ incidents; it consists of a great deal of existential-ish philosophizing and critiquing of society (and of the personality of the narrator, who is never named). Even more, the narrator critiques contemporary scientific utopianism, insisting that, even if human nature were reduced to mathematics, it would still be human nature and perversely inconsiderate of its own best interests; that Man is not a rational animal at all but an emotional animal who demands, above all else, freedom (or its illusion). Man, he says, feels oppressed even by simple mathematics; he wants to be free to declare, when he chooses, that twice two is five.Determinism, he observes, relieves Man of the burden of guilt; Man, he implies, cannot live without it. Implied but never stated (though apparently it was stated in the original text and removed by Russian censors) is that only through faith in Christ can this paradox be overcome.The second part consists, basically, of two sequences of events.In the first, the narrator decides to insult an officer by bumping into him on the street, and eventually does, to no effect.In the second, he invites himself to a party of farewell for a man he doesn't like, gets drunk and behaves badly, berates a prostitute, and makes an ass of himself in front of his servant.Really, at the level of plot, that's about it. It doesn't so much end as is cut off, first by the narrator's claim that he will write no more, then by a fictitious editor's claim that he did, indeed, write more, but that there's no point in continuing.Fortunately, there's a great deal that _isn't_ at the level of plot: deep and detailed analysis of Russian society of the nineteenth century ... which turns out, really, to be analysis not of society, but of the narrator himself, whom we quickly realize is not a reliable or objective speaker. In fact, _Notes_ is a portrait, a portrait of a thoroughly unpleasant and despicable human being; who is, nonetheless, a human being and not some kind of metaphorical cockroach. Even as the narrator demands our despite, Dostoevsky invites us to love him as a perversely damaged image of Christ.
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