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  3. Dostoevsky and English Modernism 1900–1930
  • Cited by 7
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    • Publisher:
      Cambridge University Press
      Publication date:
      22 September 2009
      06 May 1999
      ISBN:
      9780511485121
      9780521623582
      9780521024198
      DOI:
      https://doi.org/10.1017/CBO9780511485121
      Dimensions:
      (228 x 152 mm)
      Weight & Pages:
      0.49kg, 258 Pages
      Dimensions:
      (228 x 152 mm)
      Weight & Pages:
      0.398kg, 260 Pages
      • Subjects:
      Literature, Area Studies, European Literature, European Studies, English Literature 1900-1945
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    Subjects:
    Literature, Area Studies, European Literature, European Studies, English Literature 1900-1945
    Information

    Book description

    When Constance Garnett's translations (1910–20) made Dostoevsky's novels accessible in England for the first time they introduced a disruptive and liberating literary force, and English novelists had to confront a new model and rival. The writers who are the focus of this study - Lawrence, Woolf, Bennett, Conrad, Forster, Galsworthy and James - either admired or feared Dostoevsky as a monster who might dissolve all literary and cultural distinctions. Though their responses differed greatly, these writers were unanimous in their inability to recognize Dostoevsky as a literary artist. They viewed him instead as a psychologist, a mystic, a prophet and, in the cases of Lawrence and Conrad, a hated rival who compelled creative response. This study constructs a map of English modernist novelists' misreadings of Dostoevsky, and in so doing it illuminates their aesthetic and cultural values and the nature of the modern English novel.

    Reviews

    ‘The achievement of Kaye’s book is its gathering together of different cases of influence … it does present some plausible and fresh readings of modernist texts which reveal Dostoevsky’s presence where it hasn’t always been appreciated. In Woolf’s essays Modern Fiction, for example; or The Secret Agent by Joseph Conrad, which is deftly compared to The Possessed.’

    Source: The Times Literary Supplement

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