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The House of the Dead by Fedor…

The House of the Dead (1860)

by Fedor Mikhaïlovitch Dostoïevski

Other authors: See the other authors section.

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2,004274,808 (3.93)1 / 91

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English (20)  French (2)  Spanish (1)  Swedish (1)  Catalan (1)  Portuguese (1)  Dutch (1)  All languages (27)
Showing 1-5 of 20 (next | show all)
(This is not the version of the book I read. My edition is an Oxford Classic predating ISBNs.)

Book reading in this house really slowed down here for a while, not because I wasn't reading, but because I was taking a 10 week Modern Poetry course online. I read nearly nothing else. Except this, slowly. Motivated by what I felt was an underperformance on a bunch of those "How Many of These Classics Have You Read?" memes going around Facebook, I tossed this into my bag for my homecoming trip. While Memoirs wasn't on any of those lists, any Dostoyevsky should raise my book nerd cred, right?

As it turns out, Memoirs is a strange sort of book. It's more of a series of character studies and recollections than anything with a forward-driving narrative, which contributed to the slowness with which I finished it. Whenever I was reading it, I enjoyed it, remarked on its insightfulness, pondered its ramifications for humanity in general and not just those living in a Siberian prison. But whenever I had to put it down, it was easy to leave it there -- especially during my overextended weeks of my ModPo class.

This book is remarkable both for the clarity of Dostoyevsky's descriptions and also for the amazing chasm between how prisoners are treated in this book and how they are treated now in the U.S. Not that I think modern prisoners should be flogged... But still. Everything must change. ( )
  greeniezona | Dec 6, 2017 |
Numa cidade perdida na Sibéria, o autor trava conhecimento com Aleksandr Petróvitch, o percetor das filhas do seu anfitrião. É um homem gasto, atarracado e enigmático, que se furta ansiosamente a todas as perguntas do autor. Mas este descobre, perguntando a um e outro, que Petróvitch vive ali sossegadamente depois de ter cumprido dez anos de trabalhos forçados pelo assassínio da mulher. Anos mais tarde, quando regressa à mesma cidade, o autor descobre que Petróvitch morreu, e que, entre as suas coisas, estão uns cadernos manuscritos com as suas memórias dos tempos de prisão. Depois de os ler, o autor decide publicar alguns capítulos, deixando à consideração dos leitores a avaliação do seu mérito.

Em Cadernos da Casa Morta, Dostoiévski conta-nos pela boca do seu personagem principal, o fidalgo Aleksandr Petróvitch, a sua experiência como prisioneiro político, durante quatro anos, num campo de correção siberiano. E o que tem para nos contar não é agradável: o sofrimento e os castigos, o clima duro da Sibéria, a corrupção entre os guardas, a sujidade e os piolhos. "De qualquer maneira, existem desconfortos perante os quais tudo isso se torna insignificante, tão depressa nos habituamos à imundície e a uma alimentação fraca e porca. O mais mimado fidalgote, o mais sensível senhorito, depois de um dia de trabalho em que sua em bica, comerá o pão negro e uma sopa em que nadam baratas." O que "dói" mesmo é a desumanização a que são sujeitos os presos que os leva a tornarem-se gente dura e quase insensível.

Aníbal Fernandes refere este livro como sendo um dos primeiros na literatura russa onde é mencionada a homossexualidade. Mas, tal como a maior parte das suas reflexões e críticas ao sistema prisional e social russo desta obra, Dostoiévski aborda o tema da homossexualidade muito brevemente e numa linguagem cheia de subentendidos. O personagem é Sirótkin, "uma criatura enigmática em muitos sentidos", muito belo, muito sossegado e meigo, gozado por todos os outros reclusos, e de quem Gáizin, um prisioneiro violento, era "muitas vezes, o amigo especial."
Embora seja apresentada por Dostoiévski como uma obra de ficção, a sua estrutura, uma sequência de capítulos temáticos, sem enredo a entreligá-los, reflete a sua publicação como uma série de artigos em jornal e o facto de se tratarem de memórias algo distantes, embora marcantes. Esta é a primeira tradução direta do russo (que até alterou o título tradicional em português, que era Recordações da Casa dos Mortos) e, talvez por isso, tem um tom rude e pouco "polido". ( )
  jmx | Jun 20, 2017 |
I recently read The House of the Dead: Siberian Exile Under the Tsars an excellent general history of the 19th C exile system in Russia. Notes from a Dead House is a more personal and sustained account by someone who experienced it first-hand (and was not yet famous). The two books make a perfect pair, the first provides needed historical context and is fleshed out with memorable scenes and excellent writing in the second. It's not as dark or heavy as one might expect, rather the inmates have dynamic ranges of human potential. Much of the book is character portraits of the inmates and guards, plus various incidents.

The corporal punishment of Exiles was as severe as anything done to American slaves, brutal beatings to within an inch of their lives (or to death). By the 1860s, popular resentment towards the exile system was growing and in response reforms were being made. Dostoevsky's book was part of that movement, sort of like how The Jungle introduced Americans to the meat packing industry, House of the Dead gave many Russians their first look at the Exile system, which by 1860 was already being seen as backwards and beyond it's time. But it would last until 1917, and then recreated under the Soviets with the even more brutal and industrial-scale Gulag system. ( )
  Stbalbach | Feb 17, 2017 |
This review is written with a GPL 3.0 license and the rights contained therein shall supersede all TOS by any and all websites in regards to copying and sharing without proper authorization and permissions. Crossposted at Bookstooge.booklikes.blogspot.wordpress.leafmarks.com & Bookstooge's Reviews on the Road Facebook Group by Bookstooge's Exalted Permission. Title: Notes from A Dead House Series: ----- Author: Fyodor Dostoevsky Rating: of 5 Battle Axes Genre: Classic Pages: 336 Format: Hardcover Synopsis: A fictionalized account of Dostoevsky's [I still don't like that spelling!] time in prison. My Thoughts: I went into this with Great Expectations. And if you've read that great story, you'll know how I ended up feeling about this book. Very disappointed. Part of that was due to Philosophical Musing's Wonderful Review. But it didn't work for me. Dostoyevksky's ramblings about how wonderful and human and "feeling" all the prisoners were would be like reading something by Columbus exclaiming how round the world is. Part of it was D's exuberance over this great discovery. In that exuberance he simply tossed aside the horrible things some of these prisoners had done. I felt like he was saying "oh look, this murderer can laugh, what a wonderful human he is! Ha ha." I have a very strong sense of Justice so this wholesale, almost naive, overlooking of crime was beyond what I could take. I intellectually understood the point that D was trying to make, especially given his time and social level but it wasn't enough. Not a waste of time at all, but I simply did not enjoy this. " ( )
  BookstoogeLT | Dec 10, 2016 |
This was my first Dostoyevsky. I'd always dreaded reading him because his weight--not only in length but also in canonical import--intimidated me, but the subject matter of this deeply personal book intrigued me and felt like a good introduction given my tastes in fiction. I wasn't wrong. Dostoyevsky's portrayal of life in a 19th-C. Siberian work prison is bleak and sometimes brutal, a stark vision of human depravity as well as humanity's capacity for adapting to--and accepting--almost any depth of depravity. The book is long, occasionally over-descriptive, and sometimes tedious, and the fractured arrangement of events and categorical assortment of characters feels disorienting at times, but even in translation Dostoyevsky has an powerful ability to paint deeply moving portraits of human beings, so I appreciated his work with character tremendously. My only real complaint is the ending: the back of the book promised revelation and redemption for the novel's broken, autobiographical narrator, but--though Dostovevsky does attempt to spell this idea out for us--the "resurrection" in the end feels rushed, forced, perhaps even trite, and ultimately anticlimactic, nothing nearly as profound as similar movements in, say, Maribou Stork Nightmares or For Whom the Bell Tolls. Still, the book was moving in places, and utterly brilliant in the middle few chapters, so I will definitely return to Dostoyesvky for some slow leisure reading in the distant future. ( )
  Snoek-Brown | Feb 7, 2016 |
Showing 1-5 of 20 (next | show all)
Opptegnelser fra det døde hus er nært knyttet til Dostojevskijs erfaringer fra tukthusoppholdet i Sibir 1850-54. Den er en merkelig kombinasjon av rapport og fiksjon, med dokumentarisk detaljerte beskrivelser av de forferdelige forhold fangene lever under, og fremfor alt en rekke portretter av mennesker som har bragt seg selv - eller av omstendighetene er blitt bragt - på den gale siden av loven, inkludert hovedpersonen selv.
added by KirstenLund | editwww.solumforlag.no (Sep 23, 2009)

» Add other authors (298 possible)

Author nameRoleType of authorWork?Status
Dostoïevski, Fedor Mikhaïlovitchprimary authorall editionsconfirmed
McDuff, DavidTranslatormain authorsome editionsconfirmed
Coulson, JessieTranslatorsecondary authorsome editionsconfirmed
Edwards, H. SutherlandTranslatorsecondary authorsome editionsconfirmed
Garnett, ConstanceTranslatorsecondary authorsome editionsconfirmed
Lahtela, MarkkuTranslatorsecondary authorsome editionsconfirmed
Pekari, IdaTranslatorsecondary authorsome editionsconfirmed
Pevear, RichardTranslatorsecondary authorsome editionsconfirmed
Pyykkö, LeaTranslatorsecondary authorsome editionsconfirmed
Volokhonsky, LarissaTranslatorsecondary authorsome editionsconfirmed
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In the remote regions of Siberia, amidst the steppes, mountains and impassable forests, one sometimes comes across little, plainly built wooden towns of one or often two thousand inhabitants, with two chiurches - one in the town itself, and the other in the cememtry outside - towns that are more like the good-sized villages of the Moscow district than they are like towms.

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Amazon.com Product Description (ISBN 0140444564, Paperback)

In January, 1850, Dostoyevsky was sent to a remote Siberian prison camp for his part in a political conspiracy. The four years he spent there, startlingly re-created in "The House of the Dead", were the most agonizing of his life. In this fictionalized account, he recounts his soul-destroying incarceration through the cool, detached tones of his narrator, Aleksandr Petrovich Goryanchikov: the daily battle for survival, the wooden plank beds, the cabbage soup swimming with cockroaches, his strange 'family' of boastful, ugly, cruel convicts. Yet "The House of the Dead" is far more than a work of documentary realism: it is also a powerful novel of redemption, describing one man's spiritual and moral death and the miracle of his gradual reawakening.

(retrieved from Amazon Thu, 12 Mar 2015 18:18:18 -0400)

(see all 6 descriptions)

'The House of the Dead' is a fictionalised account of the time Dostoyevsky spent in a Siberian prison camp for his part in a political conspiracy. This edition discusses the circumstances of Dostoyevsky's imprisonment, the origins of the novel in his prison writings, and the character of Aleksandr Petrovich.… (more)

» see all 10 descriptions

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