By Fyodor
Dostoevsky
Translated by Richard Pevear and Larissa Volokhonsky
Well, it took me a lot less time than I expected – about
a month. It was worth it. The blurbs on the book all rave about the “fresh,
new, contemporary translation.” I’m not sure if other translations
aren’t as good, nor do I know how accurate this is compared with
the original Russian – though the Chicago Tribune, for
example, raves it “reaches as close to Dostoevsky as is possible
in English” – but I did find it a fast, enjoyable read. Especially
near the end, things happen almost too quickly, and I certainly could
have stayed longer in Raskolnikov’s world.
I’m not ashamed to admit I simultaneously read the Cliff Notes along
with the original. I figured I might need it to supplement my understanding
of the plot, but I ended up finding the plot easy to follow. But the Cliffs
Notes were particularly helpful at the beginning of the book to
keep track of names, since the characters all use their given names,
middle names, and nicknames interchangeably, creating an illusion of
thrice the number of confusing Russian characters. But the novel is so
readable that the names soon become second nature. The Cliffs Notes also
had helpful supplemental pages on 19th-century Russian culture, and maps
of St. Petersburg.
I made sure to read each Cliffs Notes chapter after the novel’s,
so as not to ruin any surprises. There are plenty. I had always heard
that the novel simply followed around a depressed murderer, completely
focused on his inner state. I was surprised that there were so many other
characters and twisting plot developments. The characters and Dostoevsky’s
mastery of psychology clearly drive the novel. Rodion, his sister Dunya,
his savior Sonya, and his friend Razumikhin seemed completely real, and
entirely likable. I did think the arch-foe police officer plot thread
was a little weak, especially since the Cliffs Notes kept comparing
it to classic detective/criminal pairs like ValJean and Javert, or Holmes
and Moriarty. It ends up not amounting to much. I was much more interested
in the potential love between Dunya and Razumikhin, a feel-good plotline
to offset Rodion’s suicidal soul-searching.
If you’re willing to give it a shot, Crime and Punishment will
not disappoint. Its character studies, attention to realistic detail,
and powerful timeless themes of salvation, guilt, and love are among
the most stirring I’ve ever read. It’s always nice when the
classics live up to their claims. And I recommend this particular translation
as immensely readable.
Read July 2002
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