Frank, Joseph (2010). Dostoevsky A Writer In His Time. Princeton University Press. ISBN 9780691128191.

La detención de Dostoievski en 1849 junto con el grupo revolucionario utópico de Petrachevsky y el posterior del simulacro de su fusilamiento (algo que lo marcaría a fuego y que narraría magistralmente a través de las palabras del Príncipe Mishkin en "El Idiota") derivaron en su posterior reclusión en Siberia y no iba a ser el mismo Dostoievski el que atravesara el portón de salida cuatro años después. Man is a creature that can get accustomed to anything, and I think that is the best definition of him.” Fyodor Dostoevsky (1862). The House of the Dead: or, Prison Life in Siberia; A Novel in Two Parts. Translated by Garnett, Constance. New York: The Macmillan Company (published 1915). Fyodor Dostoevsky (1862). The House of the Dead. Translated by McDuff, David. Penguin Classics (published 1985). ISBN 9780140444568.Reality is infinitely diverse, compared with even the subtlest conclusions of abstract thought, and does not allow of clear-cut and sweeping distinctions. Reality resists classification.” In 1927–1928, Leoš Janáček wrote an operatic version of the novel, with the title From the House of the Dead. It was his last opera. No writer intends to produce prison literature. Just as incarceration involves its own awful set of debasements, drudgeries, and abuses, so it marks any writing done under its restrictions as part of a genre, one of the oldest to which new work is still added daily. The loose canon of prison literature includes novels (Genet’s Our Lady of the Flowers, Toer’s Buru Quartet), autobiographies (Bunyan’s Grace Abounding to the Chief of Sinners, Cleaver’s Soul on Ice, Madame Roland’s memoirs), poems (Pound’s Pisan Cantos), erotic fictions (de Sade’s Justine, Cleland’s Fanny Hill), poetic dialogues (Boethius’s The Consolation of Philosophy), economic tracts (Gramsci’s prison notebooks), histories (Nehru’s Glimpses of World History) and works of philosophy (portions of Wittgenstein’s Tractatus)—but with the stipulation that whoever enters it must have suffered to an extent, and in a way, for which practically no one would volunteer. No prison writing is professional, but nor is any of it exactly recreational; it comes, by definition, from environments where “any self-willed display of personality … is considered a crime.” He concludes that the existence of the prison, with its absurd practices and savage corporal punishments is a tragic fact, both for the prisoners and for Russia.

Aley is an admirable character. Unlike most other prisoners, Aley does not deserve his imprisonment, as he did not wish to break the law, although he was compelled to by devotion to his family. An attractive young man, Aley is warm and charismatic, and he and Aleksandr soon become fast friends. Akim Akimovich One of the most powerful and significant authors in all modern fiction, Fyodor Dostoevsky was the son of a harsh and domineering army surgeon who was murdered by his own serfs (slaves), an event that was extremely important in shaping Dostoevsky's view of social and economic issues. He studied to be an engineer and began work as a draftsman. However, his first novel, Poor Folk (1846), was so well received that he abandoned engineering for writing. In 1849, Dostoevsky was arrested for being a part of a revolutionary group that owned an illegal printing press. He was sentenced to be executed, but the sentence was changed at the last minute, and he was sent to a prison camp in Siberia instead. By the time he was released in 1854, he had become a devout believer in both Christianity and Russia - although not in its ruler, the Czar. During the 1860's, Dostoevsky's personal life was in constant turmoil as the result of financial problems, a gambling addiction, and the deaths of his wife and brother. His second marriage in 1887 provided him with a stable home life and personal contentment, and during the years that followed he produced his great novels: Crime and Punishment (1886), the story of Rodya Raskolnikov, who kills two old women in the belief that he is beyond the bounds of good and evil; The Idiots (1868), the story of an epileptic who tragically affects the lives of those around him; The Possessed (1872), the story of the effect of revolutionary thought on the members of one Russian community; A Raw Youth (1875), which focuses on the disintegration and decay of family relationships and life; and The Brothers Karamazov (1880), which centers on the murder of Fyodor Karamazov and the effect the murder has on each of his four sons. These works have placed Dostoevsky in the front rank of the world's great novelists. Dostoevsky was an innovator, bringing new depth and meaning to the psychological novel and combining realism and philosophical speculation in his complex studies of the human condition.The form of Notes from a Dead House is constantly at odds with its subject matter; wherever the narrative calls for a dreary roll call of routine tasks and daily humiliations, the book darts off, digresses or swerves to the side. (The effect is heightened in the hands of Pevear and Volokhonsky, who—as in their earlier Dostoyevsky translations—give the writer’s prose a choppier, more elliptical and discursive rhythm than it could ever have reached under Constance Garnett’s majestic, more grammatically fussy treatment.) It’s one of the guiding assumptions behind Notes from a Dead House that the novel as a form can accommodate the free, nimble movements even of a consciousness linked to an imprisoned body. If Dostoyevsky’s captors had found the ribald, cacophonous commonplace book he assembled out of overheard insults and tossed-off sayings during his time in prison, they would have recognized that they were dealing with a spirit not easily suppressed:

Dostoevsky gets more in his usual depth in describing the rise of tyranny in one’s psyche, the intoxication it offers, the profound drug that is hard to resist, and the indefinite power to hurt another human being and have complete power over them, most accurately manifested in the prison system of corporal punishment, which was by far a most striking chapter for me in depicting how physical violence changes the core of the psychological structure. Rayfield, Donald (29 Sep 2016). "The House of the Dead by Daniel Beer review – was Siberia hell on earth?". The Guardian . Retrieved 24 August 2018. Fyodor Dostoevsky (1862). Notes from a Dead House. Translated by Navrozov, Lev. Moscow: Foreign Language Publishing House (published 1950). Cabe destacar también que durante todos los días estaban sometidos a trabajos forzosos sin misericordia. El castigo era la consecuencia irreversible y recíproca que se relacionaba al crimen cometido por el prisionero.What Dostoevsky does best is the erasure of distance between the reader and the disenfranchised, the ones that seem to be far off behind the wire and prison walls, besides the fact that in reality, we can be equally imprisoned as them, even when we are confined only by our own ideas.

Here there is a world's apart, unlike everything else, with laws of its own, its own dress, its own manners and customs, and here is the house of the living dead - life as nowhere else and a people apart." And the story of this living dead is what Dostoevsky brings to us readers. Based loosely on his own prison experience, this semi-autobiographical novel chronicles the ten-year prison life of Alexander Petrovich in a Siberian prison. Dostoevsky did five years of hard labour in a Siberian prison for being in the wrong room at the wrong time. When he was released in 1854 he had to serve time in the Siberian army and he was still banned from publishing anything. This memoir of his time in the joint finally came out in 1861 and it was a big hit. It was the first book to reveal all the horrors of life inside. Dosto said to his brother Access-restricted-item true Addeddate 2023-07-31 12:30:30 Associated-names Pevear, Richard, 1943- translator; Volokhonsky, Larissa, translator Autocrop_version 0.0.15_books-20220331-0.2 Bookplateleaf 0008 Boxid IA41046410 Camera USB PTP Class Camera Collection_set printdisabled External-identifier What are we here for? We are not alive though we are living and we are not in our graves though we are dead.”Petrov, an externally quiet and polite man who befriends Alexander Petrovich and often seeks his company, apparently for edification on matters of knowledge. Alexander Petrovich finds it hard to reconcile Petrov's sincere friendship and unfailing courtesy with the ever-present potential (attributed to him by all the other prisoners, including Alexander Petrovich) for the most extreme violence. In this sense, Petrov is thought to be the most dangerous and determined man in the prison. The appearance of any new translation by Richard Pevear and Larissa Volokhonsky is always an event in a literary season. . . . [A] powerful new translation." — Open Letters Monthly The story begins with "gentleman" Alexander's arrival at the prison which overflows with the peasant community. From the beginning, he is an outsider in every possible way. Imagine, leaving one's own country, surrendering one's liberty, and coming into a prison to serve a ten-year term of penal servitude just to face the cold and unfriendly multitude of peasants; how alone one must feel. The wide gap between the gentry and the peasants in the free world is also preserved in this confined world. A beautiful hardcover edition of the first great prison memoir, Fyodor Dostoevsky's fictionalized account of his life-changing penal servitude in Siberia. Translated by Richard Pevear and Larissa Volokhonsky, with an introduction by Richard Pevear. When once he has passed the fatal line, he is himself astonished to find that nothing sacred exists for him. He breaks through all laws, defies all powers, and gives himself boundless license... From time to time, the murderer will amuse himself by recalling his audacity, his lawlessness when he was in a state of despair. He likes at these moments to have some silly fellow before whom he can brag... "That is the sort of man I am," he says.