«Devils», also known in English as «The Possessed and The Demons», was first published in 1871. The third of Dostoevsky's five major novels, it is at once a powerful political tract and a profound study of atheism, depicting the disarray which follows the appearance of a band of modish radicals in a small provincial town. Dostoevsky compares infectious radicalism to the devils that drove the Gadarene swine over the precipice in his vision of a society possessed by demonic creatures that produce devastating delusions of rationality. Dostoevsky is at his most imaginatively humorous in Devils: the novel is full of buffoonery and grotesque comedy. The plot is loosely based on the details of a notorious case of political murder, but Dostoevsky weaves suicide, rape, and a multiplicity of scandals into a compelling story of political evil. This new translation also includes the chapter `Stavrogin's Confession', which was initially considered to be too shocking to print. In this edition it appears where the author originally intended it.»

«This is translated by Constance Garnett, with an introduction by A. D. P. Briggs. As Fyodor Karamazov awaits an amorous encounter, he is violently done to death. The three sons of the old debauchee are forced to confront their own guilt or complicity. Who will own to parricide? The reckless and passionate Dmitri? The corrosive intellectual Ivan? Surely not the chaste novice monk Alyosha? The search reveals the divisions which rack the brothers, yet paradoxically unite them. Around the writings of this one dysfunctional family Dostoevsky weaves a dense network of social, psychological and philosophical relationships. At the same time he shows — from the opening 'scandal' scene in the monastery to a personal appearance by an eccentric Devil — that his dramatic skills have lost nothing of their edge. «The Karamazov Brothers», completed a few months before Dostoevsky's death in 1881, remains for many the high point of his genius as novelist and chronicler of the modern malaise. It cast a long shadow over D. H. Lawrence, Thomas Mann, Albert Camus, and other giants of twentieth-century European literature.»

In these stories, Dostoevsky explores both the figure of the dreamer divorced from reality, and also his own ambiguous attitude toward utopianism, themes central to his great novels. In White Nights, the apparent idyll of the dreamer's romantic fantasies disguises profound loneliness and estrangement from living life. A Gentle Creature and The Dream of a Ridiculous Man show how withdrawal from reality can end in spiritual desolation as well as moral indifference, and how, in Dostoevsky's view, the tragedy of the alienated individual can only be resolved by the rediscovery of a sense of compassion and responsibility toward other people. No other edition brings together these specific stories — which are most interesting when read alongside one another — and the new translations capture all the power and lyricism of Dostoevsky's writing at its best.

In this almost documentary account of his own experiences of penal servitude in Serbia, Dostoevsky describes the physical and mental suffering of the convicts, the squalor and the degradation, in relentless detail. The inticate procedure whereby the men strip for the bath without removing their ten-pound leg-fetters is an extraordinary tour de force, compared by Turgenev to passages from Dante's Inferno. Terror and resignation — the rampages of a pyschopath, the brief serence interlude of Christmas Day — are evoked by Dostoevsky, writing several years after his release, with a strikingly uncharacteristic detachment. For this reason, House of the Dead is certainly the least Dostoevskian of his works, yet, paradoxically, it ranks among his great masterpieces.

«Notes from the Underground» (1864) is one of the most profound works of nineteenth-century literature. A probing, speculative book, often regarded as a forerunner of the Existentialist movement, it examines the important political and philosophical questions that were current in Russia and Europe at the time. «The Gambler» (1866), set in the fictional town of Roulettenberg, explores the compulsive nature of gambling, one of the author's own vices and a subject he describes with extraordinary acumen and drama. Specially commissioned for the World's Classics, this new translation includes a full editorial apparatus.»

«Crime and Punishment» is the story of a murder committed on principle, of a killer who wishes by his action to set himself outside and above society. A novel of fearful tension, physical, and psychological, it is pervaded by Dostoevsky's sinister evocation of St Petersburg, yet in the life of its gloomy tenements and drink-shops provides moments of wild humour. «Crime and Punishment» was marked by Dostoevsky's own harrowing experiences. He had himself undergone interrogation and trial, and was condemned to death, a sentence commuted to penal servitude. In prison he was particularly impressed by one hardened murderer who seemed to have attained a spiritual equilibrium beyond good and evil: yet witnessing the misery of other convicts also engendered in Dostoevsky a belief in the Christian idea of salvation through suffering.»

«Dostoevsky's last and greatest novel, «The Karamazov Brothers» (1880) is both a brilliantly told crime story and a passionate philosophical debate. The dissolute landowner Fyodor Pavlovich Karamazov is murdered; his sons — the atheist intellectual Ivan, the hot-blooded Dmitry, and the saintly novice Alyosha — are all at some level involved. Bound up with this intense family drama is Dostoevsky's exploration of many deeply felt ideas about the existence of God, the question of human freedom, the collective nature of guilt, the disatrous consequences of rationalism. The novel is also richly comic: the Russian Orthodox Church, the legal system, and even the authors most cherisehd causes and beliefs are presented with a note of irreverence, so that orthodoxy, and radicalism, sanity and madness, love and hatred, right and wrong are no longer mutually exclusive. Rebecca West considered it «the allegory for the world's maturity», but with children to the fore. This new translation does full justice to Doestoevsky's genius, particularly in the use of the spoken word, which ranges over every mode of human expression.»

«Into a compellingly real portrait of nineteenth-century Russian society, Dostoevsky introduces his ideal hero, the saintly Prince Myshkin. The tensions subsequently unleashed by the hero's innocence, truthfulness, and humility betray the inadequacy of his moral idealism and disclose the spiritual emptiness of a society that cannot accommodate him. Myshkin's mission ends in idiocy and darkness, but it is the world that is rotten, not he. Written under appalling personal circumstances when Dostoevsky was travelling in Europe, «The Idiot» not only reveals the author's acute artistic sense and penetrating psychological insight, but also affords his most incisive indictment of Russia's struggling to emulate contemporary Europe and sinking under the weight of Western materialism. This new translation by Alan Myers is meticulously faithful to the original and has a critical introduction by W. J. Leatherbarrow.»

«Vintage Crime» is a limited edition gift pack which consists of beautifully designed separate volumes of «Crime and Punishment» by Fyodor Dostoevsky and Patricia Highsmith's thrilling novel «Ripley's Game». «Vintage Crime» is just one of ten «Vintage Classic Twins» to collect. Each twin consists of two books: a specially designed limited edition of one modern classic title and one established classic work. The books in each pair have been carefully selected to provide a thought-provoking combination. «Crime and Punishment»: A troubled young man commits the perfect crime. Raskolnikov is desperate for money, but convinces himself that his motive for murder is to benefit mankind. So begins one of the greatest novels ever written, a journey into the criminal mind, a police thriller, and a meditation on morality and redemption. «Ripley's Game»: Tom Ripley detested murder. Unless it was absolutely necessary. If possible, he preferred someone else to do the dirty work. In this case someone with no criminal record, who would commit 'two simple murders' for a very generous fee.»

«In this dark and compelling short novel, Fyodor Dostoevsky tells the story of Alexey Ivanovitch, a young tutor working in the household of an imperious Russian general. Alexey tries to break through the wall of the established order in Russia, but instead becomes mired in the endless downward spiral of betting and loss. His intense and inescapable addiction is accentuated by his affair with the General’s cruel yet seductive niece, Polina. In «The Gambler», Dostoevsky reaches the heights of drama with this stunning psychological portrait.»

«This collection, unique to the Modern Library, gathers seven of Dostoevsky's key works and shows him to be equally adept at the short story as with the novel. Exploring many of the same themes as in his longer works, these small masterpieces move from the tender and romantic «White Nights», an archetypal nineteenth-century morality tale of pathos and loss, to the famous «Notes from the Underground», a story of guilt, ineffectiveness, and uncompromising cynicism, and the first major work of existential literature. Among Dostoevsky's prototypical characters is Yemelyan in «The Honest Thief», whose tragedy turns on an inability to resist crime. Presented in chronological order, in David Magarshack's celebrated translation, this is the definitive edition of Dostoevsky's best stories.»

Prince Myshkin returns to Russia from an asylum in Switzerland. As he becomes embroiled in the frantic amatory and financial intrigues which centre around a cast of brilliantly realised characters and which ultimately lead to tragedy, he emerges as a unique combination of the Christian ideal of perfection and Dostoevsky's own views, afflictions and manners. His serene selflessness is contrasted with the worldly qualities of every other character in the novel. Dostoevsky supplies a harsh indictment of the Russian ruling class of his day who have created a world which cannot accomodate the goodness of this idiot.

«A desperate young man plans the perfect crime — the murder of a despicable pawnbroker, an old women no one loves and no one will mourn. Is it not just, he reasons, for a man of genius to commit such a crime, to transgress moral law — if it will ultimately benefit humanity? So begins one of the greatest novels ever written: a powerful psychological study, a terrifying murder mystery, a fascinating detective thriller infused with philosophical, religious and social commentary. Raskolnikov, an impoverished student living in a garret in the gloomy slums of St. Petersburg, carries out his grotesque scheme and plunges into a hell of persecution, madness and terror. «Crime And Punishment» takes the reader on a journey into the darkest recesses of the criminal and depraved mind, and exposes the soul of a man possessed by both good and evil ... a man who cannot escape his own conscience.»

«» I am a sick man... I am a spiteful man», the irascible voice of a nameless narrator cries out. And so, from underground, emerge the passionate confessions of a suffering man; the brutal self-examination of a tormented soul; the bristling scorn and iconoclasm of alienated individual who has become one of the greatest antiheroes in all literature. «Notes From Underground», published in 1864, marks a tuming point in Dostoevsky's writing: it announces the moral political, and social ideas he will treat on a monumental scale in «Crime And Punishment», «The Idiot», and «The Brothers Karamazov». And it remains to this day one of the most searingly honest and universal testaments to human despair ever penned.»