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REVIEWS
'It is a pleasure to welcome this distinctive book...Miles...puts Jones into a bigger context and better perspective than most...I recommend it thoroughly'
Miichael Alexander in Modern Language Review
' 'Thorough and revealing...a very useful piece of research, well concewived and well- documented'
The Planet
'Valuable, highly detailed...a great pleasure and enlightenment'
Poetry Listing
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In 1876-77 Dostoyevsky devoted his energies to Dnevnik pisatelya, which he was now able to bring out in the form he had originally intended. A one-man journal, for which Dostoyevsky served as editor, publisher, and sole contributor, the Diary represented an attempt to initiate a new literary genre. Issue by monthly issue, the Diary created complex thematic resonances among diverse kinds of material: short stories, plans for possible stories, autobiographical essays, sketches that seem to lie on the boundary between fiction and journalism, psychological analyses of sensational crimes, literary criticism, and political commentary. The Diary proved immensely popular and financially rewarding, but as an aesthetic experiment it was less successful, probably because Dostoyevsky, after a few intricate issues, seemed unable to maintain his complex design. Instead, he was drawn into expressing his political views, which, during these two years, became increasingly extreme. Specifically, Dostoyevsky came to believe that western Europe was about to collapse, after which Russia and the Russian Orthodox church would create the kingdom of God on earth and so fulfill the promise of the Book of Revelation. In a series of anti-Catholic articles, he equated the Roman Catholic church with the socialists because both are concerned with earthly rule and maintain (Dostoyevsky believed) an essentially materialist view of human nature. He reached his moral nadir with a number of anti-Semitic articles.
Because Dostoyevsky was unable to maintain his aesthetic design for the Diary, its most famous sections are usually known from anthologies and so are separated from the context in which they were designed to fit. These sections include four of his best short stories--"Krotkaya" ("The Meek One"), "Son smeshnogo cheloveka" ("The Dream of a Ridiculous Man"), "Malchik u Khrista na elke" ("The Heavenly Christmas Tree"), and "Bobok"--as well as a number of autobiographical and semifictional sketches, including "Muzhik Marey" ("The Peasant Marey"), "Stoletnaya" ("A Hundred-Year-Old Woman"), and a satire, "Spiritizm. Nechto o chertyakh Chrezychaynaya khitrost chertey, esli tolko eto cherti" ("Spiritualism. Something about Devils. The Extraordinary Cleverness of Devils, If Only These Are Devils"). These are some rare stories indeed...
This book was not intended for light reading. It is scholarly and reference oriented. It is the kind of a book a collector would need at his side constantly, not one to be read from cover to cover and then placed on the shelf.
The only criticism I have of Gilson's work is that he neglects to include any trace of the emotion that one would expect from someone who liked, respected, even loved an author enough to spend so much time on her work.
For myself, I thrill at finding old editions of Jane Austen's books. Thumbing through the leaves of these books is like entering a time machine. It's both an intriguing and surreal experience which has kept me interested for many years.
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