Library

Fyodor Dostoevsky Pronunciation

Fyodor Dostoevsky pronunciation follows the Russian form, roughly sounding as "FYOH-dor duh-STYEV-skee," emphasizing the first syllable of each name with a soft "yo" and "styev" in the surname.

Chosen Mate

"With the power vested in me, I now pronounce you husband and wife." A tear slid down my cheek on hearing the pronunciation, my life was getting ruined in front of me and there was absolutely nothing that I could do to stop it. "You would regret what you are doing to me, you heartless beast." My eyesight was blurry with the tears that threatened to fall. He cocked his brow to the left, a scoff escaped his lips "Who do you think would regret it the more? Me or you?" I sniffled in the tears, wiping off the tears with the back of my palm. "I would make you experience hell for ruining my life, you monster." All of a sudden, he took me by the chin, jerking my head upright to face him as we both glared at each other "You want to make me experience hell? But you don't even know you are in hell already." "Dear wife, welcome to hell." ******************* In a world where humans and werewolves are enemies, the moon goddess unites two products of vows together. She mates Iris to the remaining white wolf, Dylan. Iris and Dylan develops immense hatred towards each other after they are forced to get married to each other. To the moon goddess, Iris was a sacrifice and she was Dylan's punishment. She was the atonement for his sins, she was his pain and his antidote. What would happen when Dylan finds out that Iris was more than he thought she was? What would happen when Iris holds the cure to his cold-heartedness? What would happen when their hatred develops into love?

162 Chapters

MINE TO OWN

This book contains themes and content not suitable for readers under 18. *** When Russian mafia heir Andrei Dostoevsky attends a secret underground auction in Istanbul, Turkey, he intends only to recover a priceless Rembrandt for his father's collection. Instead, he impulsively purchases Zane Knightly—a fierce, strikingly beautiful young man paraded as human art. Bought and all but imprisoned in Andrei’s isolated Russian mansion, Zane vows to resist as he plots his escape and probable revenge, but each battle of wills fans the spark between them into an uncontrollable inferno. Trapped between hatred and longing, Zane's plan for escape unravels as forbidden emotions take hold. As Andrei’s obsession with Zane grows, he defies his father’s brutal expectations—risking death to claim Zane not as a possession, but as something far more dangerous: a partner. In a world where love is weakness, Andrei and Zane must decide if they are each other's salvation—or each other’s ruin.

Not enough ratings

52 Chapters

The Alpha King's Possession

"I want this woman from your kingdom as my slave." "The woman in your hold is my sister, Morgana, the one and only princess of the kingdom. Our most prized possession… To pay for her crime, she is yours from this day forth. In a world where only the strongest survive and in a kingdom where women are looked down upon, Morgana Aton is the vampire princess who refuses to be silenced. Strong, passionate and fearless. Her heart set on finding and assassinating the man who killed the late king, her father. Only to fail and be taken as a prisoner by the Alpha King himself. Kian Araqiel, the Alpha King who is feared throughout the land. Learns his mate is a vampire in the Sanguine Empire. Only for her to attempt to kill him. Angered and hating the fact that he is mated to a blood sucker, he takes her as a prisoner and brings her to his kingdom. But did he really think he could defy the power of the mate bond, especially when she is a constant temptation that he tries to fight? In a game of passion and hate will they overcome their differences and unite to face a greater threat that now looms upon them?

79 Chapters

Alpha Logan

Aurelia - I live a pretty normal and happy life. But nothing exciting ever seems to happen. I was getting restless. I wanted something new. I wanted an adventure. I don't even know why I picked Camp Okwaho'kenha to spend my summer. But something told me I needed to go there. But now that I'm here I'm starting to think I bit off more than I can chew. This isn't the adventure I thought I would get. I wasn't ready for all this. I wasn't ready for this danger. I wasn't ready for these secrets. And I certainly wasn't ready for him… for Alpha Logan. Logan - I am the Alpha of one of the largest packs in North America. I have proven many times over that I am a strong and capable Alpha. I don't need a Luna. I don't want one either. I loved once and ended up heartbroken. I will never love again. The moon goddess however has other plans. I came to Camp Okwaho'kenha to put an end to the poaching on my territory. I didn't expect to find my mate. This is the first of the Bloodmoon Pack series. All books in the series can be read as standalone. Bloodmoon Pack: Book 1 - Alpha Logan Book 2 - Beta's Surprise Mate Book 3 - The Reluctant Alpha Novella - The Hunted Hunter Book 4 - The Genius Delta

9.8

70 Chapters

Rejected My Alpha Mate

3 years ago, I faked a pregnancy to steal half a million dollars from my mate. I felt as if I didn’t have any other choice as I had to pay my brother’s ransom or let him die. Now, I would rather die than spend another day being treated with icy, bitter resentment. My name is Rachel Flores and I rejected my alpha mate because I’m ready to live, not just survive! *** "Who are you?" I came awake with a jerk, disoriented and aching all over. A heavy male body lay beside me---we were both naked except for the sheet covering our bodies. Embarrassment stained my skin bright red. I searched my memories of the night before, trying to figure out how I had gotten here while attempting to wrap the sheet around my body. I stopped when I realized I'd leave my bed partner totally nude. My skin felt too hot and too tight as I tried to work out how to get myself out of the situation. I wasn't used to being around naked men even if I was a werewolf. We cared about propriety no matter what humans thought! I remembered myself saying over and over, "I'm your mate!" I eased myself off the bed to look for clothes. I tried to be as quiet as I could so I didn't wake up the stranger. I didn't take the sheet to spare his decency, instead sacrificing my own modesty: I'd rather be caught naked than have to face a naked man I'd evidently seduced with all the subtlety of a bitch in heat! His scent was all over me, all over everything really. Rich and masculine...

8.9

160 Chapters

The CEO silenced me with a Kiss

After being dumped by her boyfriend of two years for the second time, Susan decided that she needed a rebound after three months. She meets a possessive hot guy in the club who calls himself Andrew Brown and refuses to leave her house after a one night stand. What happens if Susan finds out his real identity after falling for him as a homeless guy? His fake name didn’t even ring a bell, but was he for real or was he going to dump her just like her previous exes? Dig in to read the fascinating story of Susan Stack and Andrew Crown, the disguised CEO of Crown Investors, a Trillion Dollar multinational company in New York.

71 Chapters

Which Dostoevsky Books Feature Unreliable Narrators?

3 Answers2025-08-30 16:27:40

I’ve always been pulled into Dostoevsky’s narrators like someone following the smell of strong coffee down a rainy street. If you want the purest example of unreliability, start with 'Notes from Underground' — the narrator is practically a manifesto of contradiction, proudly irrational and painfully self-aware, so you can’t trust a word he says without suspecting it’s either performative or defensive. After that, 'White Nights' is a smaller, gentler kind of unreliability: a lonely romantic who embellishes memory and softens facts to make his own life into a story. Those two read like personal confessions that bend truth to emotion.

For larger novels, I watch how Dostoevsky wiggles the camera. 'The Gambler' is first-person and colored by obsession and shame; gambling skews perception, so the narrator’s timeline and motives often wobble. In 'Crime and Punishment' the perspective isn’t strictly first-person, but the focalization dips so deeply into Raskolnikov’s psyche that the narration adopts his fevered logic and moral confusion — that makes us question how much is objective fact versus mental distortion. Similarly, 'The Brothers Karamazov' isn’t a single unreliable narrator, but it’s full of competing, biased accounts and testimony: courtroom scenes, family stories, confessions that are much more about identity than truth.

Beyond those, I’d add 'The Adolescent' (sometimes called 'A Raw Youth') and 'The House of the Dead' to the list of works with strong subjectivity; memory, shame, and self-fashioning shape how events are presented. If you like spotting rhetorical slips and narrative self-sabotage, re-read passages aloud — it’s wild how often Dostoevsky signals unreliability by letting characters contradict themselves mid-paragraph. Also, different translations emphasize different tones, so comparing versions can be fun and revealing.

How Do Dostoevsky Books Portray Moral Ambiguity?

3 Answers2025-08-30 06:04:59

There’s something almost surgical in how Dostoevsky teases apart conscience and crime. When I sit by a window with rain on the glass and 'Crime and Punishment' on my lap, Raskolnikov’s inner debates feel less like plot devices and more like living, breathing moral experiments. Dostoevsky doesn’t hand you a villain to point at; he hands you a human being tangled in ideas, circumstances, pride, and desperation, and then watches them make choices that don’t resolve neatly.

Across his work — from 'Notes from Underground' to 'The Brothers Karamazov' and 'Demons' — he uses unreliable interior monologues, confession-like episodes, and clashing voices to create moral ambiguity. The narrator in 'Notes from Underground' is bitter and self-aware in ways that make you both pity him and cringe; you never know whether to side with his arguments or judge him for hiding behind them. In 'The Brothers Karamazov', debates about God, justice, and free will are embodied in characters rather than abstract essays: Ivan’s intellectual rebellion, Alyosha’s spiritual gentleness, and Dmitri’s chaotic passion all blur the lines between sin and sincerity.

What I love is that Dostoevsky rarely gives simple moral exoneration or condemnation. Redemption often arrives slowly and awkwardly — via suffering, confession, ties of love like Sonya’s compassion, or bitter lessons learned. He also shows how social forces and ideology can warp morality, as in 'Demons', where political fanaticism produces moral ruins. Reading him makes me listen for uncomfortable counter-voices in my own judgments, and that uneasy, complex resonance is why his portrayals of moral ambiguity still feel urgent and alive.

Which Dostoevsky Books Are Shortest For Quick Reads?

3 Answers2025-08-30 15:08:01

If you're after something bite-sized from Dostoevsky that still punches emotionally, there are a few gems that won't bog you down. I often grab one of these on a lazy Sunday with coffee and they fit perfectly between episodes or errands.

Start with 'White Nights' — it's a tender little novella, dreamy and short (like a long short story). It captures loneliness and romantic longing in just a handful of chapters, and you can finish it in an evening. 'Notes from Underground' is denser but still short: more philosophically jagged, it's a sharp, cranky monologue that lays the groundwork for a lot of Dostoevsky's later ideas. For something plot-driven and brisk, 'The Gambler' reads like a novella-meets-thriller about obsession; it's a punchy read, partly inspired by Dostoevsky's own life, so it feels immediate.

If you like micro-fiction, hunt down 'The Meek One' and 'The Dream of a Ridiculous Man' — both are compact and weird in delicious ways. Translators matter: I've leaned toward Pevear & Volokhonsky for clarity and mood, but Constance Garnett is classic and often easy to find. For pacing, read 'White Nights' when you want melancholy, 'Notes from Underground' when you want to wrestle with ideas, and 'The Gambler' when you crave plot tension. Personally, finishing one of these gives me the full Dostoevsky vibe without committing to a doorstop novel, and sometimes that's exactly what I need.

Which Dostoevsky Books Translate Best To TV Adaptations?

3 Answers2025-08-30 14:17:34

Whenever I sit down with Dostoevsky I end up thinking in seasons — some books feel like a short storm, others like a long winter. For TV, the ones that map most naturally are 'Crime and Punishment', 'The Brothers Karamazov', and 'Demons' (also known as 'The Possessed'). 'Crime and Punishment' already has that taut moral-thriller spine: a crime, the chase, the psychological unraveling. On screen you can stretch the investigation, the courtships, and Raskolnikov’s inner turmoil across episodes and use voiceover or visual motifs to externalize his conscience. It’s a compact novel that rewards a limited-series approach with room for side characters to breathe.

'The Brothers Karamazov' screams epic miniseries in the best way — multiple siblings, theological debates, courtroom drama, love triangles, and village politics. A well-cast ensemble can carry the philosophical weight without making it feel like a lecture; pace matters, and TV lets you linger on the relationships that are the emotional core. 'Demons' translates into a feverish political thriller, almost a precursor to modern conspiracy dramas. Its network of radicals, betrayals, and ideological mania would make for addictive serialized television.

Less obvious but intriguing: 'Notes from Underground' makes a brilliant experimental limited run if you lean into unreliable narration and fractured timelines, while 'The Idiot' could be a slow-burn character study about innocence in a corrupt society. In short, choose books with clear external conflicts and strong ensembles for long-form TV, and use creative devices — modern transposition, voiceover, fragmented editing — to handle Dostoevsky’s interiority. I still get chills picturing a rainy, late-night scene of Raskolnikov pacing, headphones on, thinking aloud — that’s the kind of intimate TV I want to watch.

What Themes Define Fyodor Dostoevsky Books For Readers?

3 Answers2025-08-31 18:08:16

I still get a little thrill when I think about the first time I wrestled with Dostoevsky’s moral tangle on a crowded commuter train. The noise around me faded because his characters are so loud in the head: obsessed, guilty, searching. For readers, the big themes that define his books are moral struggle and psychological depth — he dives into conscience, guilt, and the messy calculus people make when they decide whether to right a wrong. Whether you open 'Crime and Punishment' or 'Notes from Underground', you’re entering a world where inner monologue itself is a battleground.

He also keeps circling faith and doubt like a question that won’t be settled. In 'The Brothers Karamazov' that looks like wrestling with God, freedom, and responsibility; in 'The Idiot' it’s about innocence meeting a corrupt society. There’s a persistent social critique, too: poverty, desperation, and the claustrophobia of urban life show up as forces that shape decisions. You end up reading moral philosophy disguised as human drama.

Finally, for the modern reader, his writing is oddly contemporary because it’s obsessed with the self. Dostoevsky anticipates existentialism and psychological realism — people who feel alienated, who overthink, who try to justify violence or seek redemption. If you read him like a friend confessing late at night, you’ll notice how often he asks: what would you do? That’s why his books keep dragging people back in, even when they’re difficult; they don’t hand out tidy solutions, just intense, human questions that stay with you on the way home.

Which Translations Of Fyodor Dostoevsky Books Are Best?

3 Answers2025-08-31 06:16:59

Whenever I pick up a Dostoevsky novel these days I treat the translation like a companion — it can totally change the mood. For me, the clearest starting point is the Pevear & Volokhonsky duo. Their translations (available in Penguin and other presses) aim to keep the Russian cadence and syntactic bite, which means the narrators feel sharper and the philosophical riffs land harder. If you want Dostoevsky to sound urgent and a bit jagged in English, that’s a great modern choice.

If you’re curious about historical context and don’t mind Victorian smoothing, Constance Garnett’s versions are classic for a reason: they made a ton of Russian literature readable to early English audiences, and many older editions use her text. They can feel dated, but they’re free in many public-domain places and still charming. For a middle ground, I’d test a newer translator like Oliver Ready for 'Crime and Punishment' (he’s been praised for bringing fresh rhythm and clarity) or pick up a Penguin/Norton edition with extensive notes so you’ve got footnotes and introductions to help with all the cultural and philosophical baggage.

Practical tip: compare the opening pages of 'Notes from Underground' or the start of 'The Brothers Karamazov' in two translations. If one version makes the voice feel immediate and the other smooths it into 19th-century prose, you’ll know which style you prefer. Also look for editions with good introductions and annotations — those will make the reading richer, whether you go literal, lyrical, or somewhere in between.

Which Fyodor Dostoevsky Books Feature Unreliable Narrators?

3 Answers2025-08-31 20:06:08

There's something deliciously destabilizing about Dostoevsky's voices — they make you doubt not only the storyteller but your own moral compass. When people ask me which of his books feature unreliable narrators, the ones that leap to mind first are 'Notes from Underground' and 'The Double'. In 'Notes from Underground' the narrator openly contradicts himself, wallows in spite, and seems to delight in deceiving both reader and himself. It's a study in self-justification and cognitive dissonance; you can't trust his judgments, only his neuroses. 'The Double' operates differently: it's claustrophobic and hallucinatory, so the protagonist's perception light-years from stable reality — you read with the feeling that the world is slipping through his fingers.

Beyond those, several other works lean into subjectivity in ways that make the narrators unreliable in practice if not always by form. 'The Gambler' is narrated by an obsessed first-person voice whose gambling fervor skews everything he reports, while 'White Nights' is told by a dreamy romantic whose loneliness colors each memory. 'Poor Folk' uses letters, and that epistolary frame means everything is filtered through personal pride, pity, or embarrassment. Even in books like 'Crime and Punishment' and 'The Brothers Karamazov' Dostoevsky lets characters' perspectives dominate scenes so strongly that what you get is less omniscient truth and more polyphonic, conflicting testimony.

If you want to study unreliable narration as a craft, read those texts alongside essays or annotated editions. It helps to note not just what the narrator says but what they omit, how other characters react, and when the language suddenly becomes feverish or evasive. For me, the best pleasure is spotting the cracks and guessing whether the narrator notices them first — it's like a literary game of detective work that keeps pulling me back in.

Which Short Fyodor Dostoevsky Books Are Best For Beginners?

3 Answers2025-08-31 09:16:05

On a slow Sunday afternoon I curled up with a thermos of bad instant coffee and ended up falling in love with Dostoevsky one short piece at a time. If you want a gentle, non-intimidating entry, start with 'White Nights' — it's barely a novella and reads like a melancholic fairy-tale set in St. Petersburg. The language is lyrical, the romance is painfully earnest, and it teaches you Dostoevsky's knack for blending sentiment with unsettling loneliness without demanding a huge time investment.

After that, try 'Notes from Underground'. It's short but savage: a bitter, self-obsessed narrator rails against society and common sense. Readers often find it more confronting than difficult; it's a great introduction to Dostoevsky's psychological intensity and philosophical wrestling. Read it slowly, underline lines that hit you, and don't be afraid to pause and think about the narrator's contradictions.

If you're curious about paranoia and doubles, pick up 'The Double' or the very short story 'A Gentle Creature' next. 'The Double' is eerie and absurd in a way that foreshadows modern psychological fiction, while 'A Gentle Creature' shows Dostoevsky's economy — everything feels loaded with meaning despite the brevity. For translations, I like modern ones that preserve the bite and rhythm; if you're into context, pair these with a short intro or a podcast episode. These little works gave me the confidence to tackle the longer novels later, and they still sit with me months after reading.

Which Quote Dostoevsky Do Philosophers Cite Most?

5 Answers2025-08-28 11:44:49

Philosophers most commonly pull out the line usually paraphrased as 'If God does not exist, everything is permitted.' from 'The Brothers Karamazov'. I say "paraphrased" because the line is often simplified and then used as a riffing point in debates about moral foundations: can objective morality survive without a divine lawgiver? That short sentence acts like a lightning rod — you see it in ethics papers, lectures about moral ontology, and heated pub conversations about nihilism.

When I first bumped into it in a rainy bookstore while skimming criticisms of modern moral theory, what struck me was the context: it's Ivan Karamazov speaking, and Dostoevsky stages the idea to be examined and troubled by the story. Philosophers will use that line to open a discussion, not as an automatic endorsement. Existentialists pick up different snippets from Dostoevsky, like the neurotic confession in 'Notes from Underground' or the hopeful claim in 'The Idiot' that 'Beauty will save the world.' Reading the works themselves shows how Dostoevsky dramatizes dilemmas rather than handing out neat answers.

What Quote Dostoevsky Best Summarizes The Brothers Karamazov?

5 Answers2025-08-28 23:12:46

There’s a line that keeps echoing in my head whenever I think about 'The Brothers Karamazov': 'If God does not exist, everything is permitted.' It’s blunt, uncomfortable, and somehow concise enough to carry the novel’s huge moral weight. When I first read it on a rainy afternoon, I remember pausing, looking up from the page, and feeling the room tilt a little — that sentence isn’t just theology, it’s a moral challenge aimed squarely at how people justify their choices.

That quote comes from Ivan’s rebellion, and it sums up a central tension in the book: what happens to ethics when metaphysical anchors wobble. But I also find the book resists a single line; Zosima’s compassion and Alyosha’s quiet faith complicate Ivan’s bleak logic. Still, if I had to pick one quote that captures the philosophical spine of 'The Brothers Karamazov', that stark claim about God and permission would be it, because it forces the reader to wrestle with freedom, responsibility, and the cost of belief.