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Dostoyevsky's penetrating study of a man for whom the distinction between right and wrong disappears, and a riveting portrait of guilt and retribution.

• A concise introduction that gives readers important background information

• A chronology of the author's life and work

• A timeline of significant events that provides the book's historical context

• An outline of key themes and plot points to help readers form their own interpretations

• Detailed explanatory notes

• Critical analysis, including contemporary and modern perspectives on the work

• Discussion questions to promote lively classroom and book group interaction

• A list of recommended related books and films to broaden the reader's experience

Average Customer Rating:

A towering work of criminal psychology

Customer Rating:

It's seldom that I root for the evildoer of a novel or movie, but Dostoyevsky definitely had me doing it with "Crime and Punishment". Early in the novel, impoverished student Raskolnikov murders two innocent older women in order to make a quick buck (and also for deeper reasons revealed later in the novel). We then accompany Raskolnikov through the tumultuous aftermath, during which his feelings towards his evil deed revolve between complete indifference, intense guilt, and a rational desire to hide from the law. A formal investigation by the city, led by the effusive and enigmatic detective Porfiry Petrovich, comprises much of the novel. It's interesting that by a couple hundred pages following the murders, I'd begun to stop thinking of Raskolnikov as an evildoer but rather as someone who was simply insane half the time. At some point I began to sympathize with him and by the end of the novel I was positively rooting for him to escape apprehension and punishment. This is a testament to Dostoyevsky's skill at rendering his characters' thoughts and beliefs so well that the reader internalizes them to some degree. I found the Penguin edition translated by David McDuff to be very readable, not stilted at all like I'd heard that many translations of Dostoyevsky into English can be. In addition to many humorous turns of phrase that came through fine in the translation, dialogue in general seemed to flow naturally. The sense of oppressive gloom so prevalent in Dostoyevsky's works seemed to also be faithfully replicated by McDuff, as was Dostoyevsky's detached matter-of-fact style of narration. Of course, it's difficult to remain cheerful when reading about murder and people driven to desperate measures because of the abject poverty they're in. A must read for fans of serious fiction prepared to step away from the lighthearted for a while!

Good, but overrated

Customer Rating:

The novel is a very good one, and compared to the crap that passes as literature these days it is a classic, however, it is not a great piece of literature. The book has too many manifest flaws, such as being far too long, far too `talky', and most of all, aside from the belief that it's a `Christian tract', the biggest misread of the book is that it is somehow a work of `social realism'. Nothing could be less true- it is primarily a work of symbolism. This is evident from its title, as the very punishment referred to is not that of the legal variety, but that of internal guilt. Yes, when it was first published, in pre-Freudian 1866, it may have seemed a work of psychological depth, but even compared to the fiction of Anton Chekhov, just a few decades later, it is utterly Neolithic in its approach to the human psyche....If Dostoevsky's novel can be considered great, by some, it is not because of the things he intended within it that manifest its greatness, but that which was unwitting, and beyond him at the time, such as the real key to understanding the work, its great insight, that people do not change at a fundamental level. I was recently watching the Up documentary film series, by Michael Apted, on DVD, and those films are premised on the very notion that Crime And Punishment is, the Jesuit saying of `Give me the child till he is seven, and I shall give you the man.' We do not glimpse Raskolnikov at seven, but given what we know becomes of him it is not difficult to extrapolate that he was as amoral then as his twentysomething self appears in the book. If Dostoevsky intended this work to be an allegory on Christianity's redemptive power he clearly failed, so I posit that that was not his intent at all, and that the psychological and ethical stasis of most human beings was his major theme. Regardless, the book is not a great piece of art. It contains great moments, some brilliant writing, and is a very good work of art, however primitive, but it is certainly not great. A modern reader can simply not ignore all its manifest flaws, such as the awkward and heavy-handed symbolism, the stilted and unrealistic dialogue, which reinforces the truth of the characters' symbolism, as it veers between mawkishness during some of the death scenes and Raskolnikov's several confession scenes, and preachiness in many of the philosophical engagements. Another problem with the work, one not in the actual work, but in its willful misinterpretation by critics with axes to grind, is that, aside from the confusion over the literary value of the work, all the poor theories regarding psychology and the fundaments of criminality have somehow found their way into pop culture, and done much to lead people astray in their ideas of true good and evil. Yet, the many fundamental questions that Raskolnikov deals with are never directly addressed, and are only used as a flawed premise for the main action of the novel to go off on. Raskolnikov ponders why those who have power or mass murder in war are labeled heroes, gain fame and respect, have paeans and monuments made for them while the low born, who have to struggle with and against each other, are jailed if they kill. In Part Five, Chapter Four, he rationalizes not confessing to the murders by using this defense: `What wrong have I done them? Why should I go to them? What should I say to them? That's only a phantom....They destroy men by millions themselves and look on it as a virtue. They are knaves and scoundrels, Sonia! I am not going to them. And what should I say to them- that I murdered her, but did not dare to take the money and hid it under a stone?' he added with a bitter smile. `Why, they would laugh at me, and would call me a fool for not getting it. A coward and a fool! They wouldn't understand and they don't deserve to understand. Why should I go to them?' This is a philosophically legitimate point, yet, instead of plumbing this, and applying it to the social caste he exists within, Raskolnikov flies off into mere pop sociological dementia with his ideas on supermen and exceptionalism, never realizing that exceptionalism in one or two fields, no matter how exceeding, brilliant, nor gifted, does not imply any sort of reciprocal ethical exceptionalism. Yet, throughout the book, despite moments of brilliance, whenever Dostoevsky gets too close to the core, the nub of what the book is really about, he backs away. Whether because he lacked the answer or lacked the desire to deal with its clash with his own belief systems I do not know. But it is a flaw, and one that results in banal and bland sermonizing, such as that which ends the book in a very trite Hollywood film fashion: He did not know that the new life would not be given him for nothing, that he would have to pay dearly for it, that it would cost him great striving, great suffering. But that is the beginning of a new story- the story of the gradual renewal of a man, the story of his gradual regeneration, of his passing from one world into another, of his initiation into a new unknown life. That might be the subject of a new story, but our present story is ended. To end, Crime And Punishment is certainly a milestone work in the development of both Dostoevsky and the art of the novel, but a work's cultural or artistic import is not equivalent to its artistic excellence. Therefore, while it may be a great representation of its time, artistically and culturally, it is not a great book- neither as a social tract nor as a novel. It reads more like a mid-stage version of better models to come, which is exactly what it really is. The very fact that such gross misreadings of it has taken root is a testament to the laziness of most readers, and the unwillingness of most to think for themselves. It is this problem with readers, their own anomic stasis, writ into the larger society, that Dostoevsky actually deals with. Raskolnikov, however, still smiles.

A masterpiece from cover to cover

Customer Rating:

Dostoevsky has crafted a monolithic work of literature in every respect here. This book contains all the elements of vintage Dostoevsky--unforgettable characters, a gripping plot, layers of meaning, captivating style and poignant sprinkles of humor. The book is broad in its scope, exploring numerous themes--alienation from society, criminal psychology, poverty, benevolence, confession, spirituality, redemption, love and more. As typical of Dostoevsky, however, it is the spiritual journey of one character that provides the central focus of the narrative. If you don't know much about Dostoevsky, I advise reading some about his life before beginning this novel (a good starting point is wikipedia.org/wiki/Dostoevsky). This novel will take you on a thought-provoking journey about the human heart and experience that you will not forget. Highly recommended.

Crime and Punishment	Customer Rating:
The book arrived in excellent condition. I have not read it yet, but am anxiously waiting to read it. I am very happy that it had arrived in plenty of time.

Crime and Punishment ~ Kindle eBook	Customer Rating:
Fyodor Dostoyevsky's Crime and Punishment is one of the greatest novels of all times. I love this book!