Notes from Underground: A Norton Critical Edition / Edition 2

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The text for this edition of Notes from Underground is Michael Katz’s acclaimed translation of the 1863 novel, which is introduced and annotated specifically for English-speaking readers.
"Backgrounds and Sources" includes relevant writings by Dostoevsky, among them "Winter Notes on Summer Impressions," the author’s account of a formative trip to the West. New to the Second Edition are excerpts from V. F. Odoevksy’s "Russian Nights" and I. S. Turgenev’s "Hamlet of Shchigrovsk District." In "Responses", Michael Katz links this seminal novel to the theme of the underground man in six famous works, two of them new to the Second Edition: an excerpt from M. E. Saltykov-Shchedrin’s The Swallows, Woody Allen’s Notes from the Overfed, Robert Walser’s The Child, an excerpt from Ralph Ellison’s The Invisible Man, an excerpt from Yevgeny Zamyatin’s We, and an excerpt from Jean-Paul Sartre’s Erostratus. "Criticism" brings together eleven interpretations by both Russian and Western critics from the nineteenth and twentieth centuries, two of them new to the Second Edition. Included are essays by Nikolai K. Mikhailovsky, Vasily Rozanov, Lev Shestov, M. M. Bakhtin, Ralph E. Matlaw, Victor Erlich, Robert Louis Jackson, Gary Saul Morson, Richard H. Weisberg, Joseph Frank, and Tzvetan Todorov. A Chronology and Selected Bibliography are also included.
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Editorial Reviews

This revised Norton Critical Edition is based on Michael Katz's translation of the 1863 novel, which is introduced and annotated specifically for English-speaking readers. After the complete text of the novel, a section on background and sources offers selections from Dostoevsky's letters to his brother, some of his writings on socialism and Christianity and on his trip to the West, and excerpts from writings by Dostoevsky's contemporaries. A section on responses offers parodies and works of imitation by writers including Woody Allen, Ralph Ellison, and Jean-Paul Sartre. There are also critical interpretations by both Russian and Western critics from the 19th and 20th centuries. Includes a chronology. Katz teaches Russian at Middlebury College. Annotation c. Book News, Inc., Portland, OR (
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Product Details

  • ISBN-13: 9780393976120
  • Publisher: Norton, W. W. & Company, Inc.
  • Publication date: 7/28/2000
  • Series: Norton Critical Editions Series
  • Edition description: Second Edition
  • Edition number: 2
  • Pages: 272
  • Sales rank: 328,653
  • Product dimensions: 5.10 (w) x 8.40 (h) x 0.60 (d)

Meet the Author

Fyodor Dostoevsky wrote The Brothers Karamazov, Crime and Punishment, The Idiot, and many other novels.

Michael R. Katz, is C. V. Starr Professor of Russian and East European Studies at Middlebury College. He is the author of The Literary Ballad in Early Nineteenth-Century Russian Literature and Dreams and the Unconscious in Nineteenth-Century Russian Fiction. He has translated and edited the Norton Critical Editions of Fyodor Dostoevsky’s Notes from Underground and Ivan Turgenev’s Fathers and Children. He has also translated Alexander Herzen’s Who Is to Blame?, N. G. Chernyshevsky’s What Is to Be Done?, Dostoevsky’s Devils, Druzhinin’s Polinka Saks, Artsybashev’s Sanin, and Jabotinsky’s The Five.

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Table of Contents

Preface to the Second Edition
Preface to the First Edition
A Brief Note on the Translation
The Text of Notes from Underground 1
Backgrounds and Sources 93
Selected Letters from Fyodor Dostoevsky to Mikhail Dostoevsky (1859-64) 95
Socialism and Christianity 98
From Winter Notes on Summer Impressions 99
From Russian Nights 101
From "Hamlet of Shchigrovsk District" 102
From What Is to Be Done? 104
Responses 123
From "The Swallows" 125
Notes from the Overfed 126
The Child 130
From The Invisible Man 133
From We 136
From "Erostratus" 137
Criticism 139
Dostoevsky's Cruel Talent 141
Thought and Art in Notes from Underground 145
Dostoevsky and Nietzsche 148
Discourse in Dostoevsky 152
Structure and Integration in Notes from the Underground 162
Notes on the Uses of Monologue in Artistic Prose 178
Freedom in Notes from Underground 186
The Pun of Creativity; Double Determination 195
The Formalistic Model: Notes from Underground 201
Notes from Underground 213
The Symbolic Game 250
Fyodor Dostoevsky: A Chronology 255
Selected Bibliography 257
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  • Anonymous

    Posted June 4, 2008

    A reviewer

    Last night I talked to my housemate, a psychology PhD who studies social scientist Rene Girard. Girard posits the belief that societal consciousness requires a scapegoat to break from frustration and violent anger. This scapegoat for example, Joan of Arc or Martin Luther King Jr (or the supreme example) Jesus Christ, is used to purge the society's social unrest, so that it can function and break an uncomfortable cycle which would spin out of control. This is mirrored also in tribal consciousness of course as natives sacrifice an innocent one such as a virgin to an ¿angry¿ God, which lifts the burden of guilt from all. We talked about the role that the brief book Notes from Underground (90 pages) has played in the modern consciousness. What I think we took away from the conversation was that Dostoevsky marked a turn from collective consciousness, to a realization that we (as individuals) are the problem. That we really don¿t have to view a scapegoat such as a homosexual or a Jew as the source of our problems. That we should be looking within ourselves for society¿s flaws, not hating or destroying lives, and especially not succumbing to the scapegoat tendency of the mob. The beauty of the book is that it opens up a person to honesty and unpretention that should be expected from a self-conscious thinking person. Dostoyevsky takes us in cycles in this two-part book. Part I: Underground, is a kind of philosophical treatise on his own complex paradoxical psyche. He starts a line of reasoning admitting his flaws, then turns it around into the kind of discursive reflection that one can experience as an internal monologue. It is highly valued by philosophers, social scientists and literati, because it is far-reaching, pulling beautiful reflections from multiple disciplines, and it is a highly stylized, honest and dramatic first person narrative. The second part: Apropos of Wet Snow, keeps us at arms length, but acts out the unbelievable passions of the Underground Man. This is done from first person point of view as the man takes on a group of Russian men who have little if none respect for him, and in his defeated and vengeful state he seeks out a prostitute and attempts to rehabilitate and redeem her, wanting to pull her up from what he sees is her hopeless and disgusting fate. The book is terrible in its honesty and wondrous in its honest and relentless wit. A true masterpiece by one of the top five novelists of all time and is accessible in its short form. I recommend the Norton Critical Edition, because it has responses to the work by authors such as Ralph Ellison, Woody Allen and Jean-Paul Sarte, including literary criticism, sources for some of Dostoyevsky¿s material and letters from the author to his friends. A sheer masterwork of reflection and an astounding example of first person narrative, which as a bonus, includes a wealth of content that is significant and far-reaching for all mankind and for all time.

    1 out of 1 people found this review helpful.

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