Book Review: Crime and Punishment reflects the age-old query: Why is it always the longest books that are most in need of a good re-reading? Crime and Punishment is a classic if there ever was one, with sufficient wealth to spoil any reader. I'm going to focus on just a few elements of that treasure. First, plot and structure: Raskolnikov commits the crime early in the novel, the state's punishment comes quite late; for six of the book's seven sections we're in a limbo between crime and punishment. It's easy to say that this long stretch is the perp's punishment, but while partly true it's also where we discuss philosophy at length and meet many other characters, from Raskolnikov's mother and sister to the angelic prostitute, Sonya, who is his (literal) salvation (if Sonya is his angel, Svidrigailov may be his devil). The most saintly character in the book, she too violates society's norms, but with the author's approval. Many characters are developed, including Raskolnikov's drinking buddy and his sister's three suitors, all of whom also do wrong or commit a "crime," three of which are punished (one, essentially good, reforms immediately). This alone is worth a thesis. Next, the philosophy. The author often refers to nihilism, but what he's talking about is closer to existentialism (as in the prescient Notes from Underground), at least regarding Raskolnikov. If we define "nihilism" as that life has no meaning and never will, and "existentialism" as that life has no meaning so we must strive to create our own meaning, clearly Raskolnikov is trying to develop his own meaning of life (as in his published article) and find whether the end justifies the means. His philosophy is practically Nietzschean (more of Dostoyevsky's prescience). Raskolnikov then goes from pillar to post looking at every aspect of morals, law, civilization, encountering myriad related issues with everyone he meets. The police interrogation also serves as an inquisition of our protagonist's inchoate beliefs. Although there is some serious monologuing, Dostoevsky mostly keeps it interesting through Raskolnikov's feverish desperation, paranoia, and disordered psyche. This is the author's examination of existentialism with all the characters putting in their two cents; in the end Dostoyevsky's chosen meaning of life is the Russian Orthodox Church, in his view open to elite and commoner alike. This multi-faceted discussion is the most interesting part of the novel, and the reader is free to inject her or his own thoughts into the mix. Ultimately, there is Raskolnikov himself, a poverty stricken intellectual and former student, a determined individualist, he investigates philosophies, but finds himself not acting on any of them. Until he does. He's angry, reclusive, too proud, short tempered, dismissive, arrogant, half-mad, it's a wonder anyone has any time or patience for him. Tremendously isolated, even from the family he loves, he must then deal with a wide range of citizenry. He is decidedly indecisive: "Only this! No! Only that!" He is his own worst enemy, often provoking the police and exposing his own guilt. Although perennially broke, whenever he does come into money he impulsively gives it away (much like a gambling addict) and is skint as ever (money in Crime and Punishment, another thesis?). But it is his ill-tempered passion that drives the story and carries the reader along with him. The murder mystery (and ambiguous, ever elusive motive) provides suspense. But how can such a character exist, or survive, as he travels his long road from humiliation to humility. I also want to note the translations (admittedly, I'm obsessive about translations). I started with the trendy Pevear / Volokhonsky, but found it too literal, difficult to read, as if a step of the translation process had been omitted. I moved on to Penguin's Oliver Ready version, which was much more readable, was written in British vernacular ("chalk and cheese" "twigged that" "gave a fright" "scot-free"), but its Dickensian nature and seeming informality lessened the weight of the book for me. Neither translation engaged me emotionally (perhaps mostly me, not them). I ended up with Penguin's David McDuff translation as the best version for me, but as I only discovered it late in my reading I want to re-read it. Crime and Punishment is a storehouse of ideas, I could've picked many other points to discuss (dreams and nightmares, religions, other characters). On my next read I'm hoping for more of the deep emotional entanglement I had on my first read in my early teens (although having the flu at the time may have had an effect). A classic. [4½★]
No comments:
Post a Comment