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The Idiot (Vintage Classics) Paperback – July 8, 2003
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From Publishers Weekly
Richard Pevear and Larissa Volokhonsky, justly acclaimed for their translations of such Russian classics as Gogol's Dead Souls and Dostoyevski's The Brothers Karamazov, Crime and Punishment and Notes from Underground, have now undertaken another major Dostoyevski novel, The Idiot. Their trademark style fresh, crisp and faithful to the original (bumps and blemishes included) brings the story of nave, truth-telling Prince Myshkin to new life. As is true of their other translations of Dostoyevski, this will likely be the definitive edition for years to come. Intro. by Pevear.
Copyright 2002 Cahners Business Information, Inc. --This text refers to the Kindle Edition edition.
Praise for Pevear and Volokhonsky’s translation of Crime and Punishment:
“Reaches as close to Dostoevsky’s Russian as is possible in English. . . . The original’s force and frightening immediacy is captured. . . . The Pevear and Volokhonsky translation will become the standard English version.” –Chicago Tribune
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Top customer reviews
The story itself was very engaging and took a lot of unpredictable turns. It is easy to lose yourself in the world of the story, as it is so complete in its conveyance of humanity that it could be a real life you're living through vicariously.
told by an idiot, full of sound and fury,signifying nothing."
Total mishmash of characters doing who knows what, when, how, when and where nobody knows. A total waste of time. I quit halfway thru the 3-CD audio book.
The paper quality is SUBPAR.
This site leaves no room to comment on the actual printed copy, and the preconfigured prompts which do exist for content resemble an elementary school book report. For example, as I type this, the page displays three buttons: "Predictable" "Some twists" "Full of surprises" - I do not know what you, dear reader, find predictable - but I predict it matters little in relation to the enjoyment of literature. NABOKOV wrote cogently on Dostoevsky's lack of ability without ever stooping to these childish questions - we enjoy the content of this book nonetheless.
Returning to Russia from Switzerland where he'd been recooperating from his epileptic disorder, Prince Muisken is heir to what equates to a small fortune.
The first day in town he seeks out his distant relatives and meets many interesting personages (The Epanchins, The Ivolgens, Gavrila Ardilionovitch, etc.) Amongst them are Aglaya Epanchin and Nastasia Philipovna.
Both women quickly become key to the central plotline as the Prince simultaneously has deep and tragic feelings for both, this despite each being twisted and twisting him in their own way: one is an eternal contrarian to her family; the other a disgraceful, utterly disagreeable despite being beautiful sort of woman.
Filled with inter and intra familial feuding, side-taking, backstabbing, playing one against the other and hysterics simply for the sake of the ruse, things soon become almost unbearably entangled and convuluted - which Dostoyevsky admits is the case at one point as he narrates to the reader.
Gradually a love triangle develops with another player (Rogojin / Rogozhin) as the odd-man out. Finally the Prince is to be married... with it's failure to pan out a much more gruesome and tragic end lies in wait for the reader - certainly not the end I would have been expecting.