By Rowan Williams
Rowan Williams explores the intricacies of speech, fiction, metaphor, and iconography within the works of 1 of literature's most intricate, and such a lot complexly misunderstood, authors. Williams' research specializes in the 4 significant novels of Dostoevsky's adulthood (Crime and Punishment, The Idiot, Devils, and The Brothers Karamozov). He argues that figuring out Dostoevsky's variety and objectives as a author of fiction is inseparable from figuring out his spiritual commitments. Any reader who enters the wealthy and insightful global of Williams' Dostoevsky will emerge a extra considerate and appreciative reader for it.
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Additional info for Dostoevsky: Language, Faith and Fiction
Example text
Indd 28 5/21/08 11:20:32 AM Christ against the Truth? s 29 popular reading of Dostoevsky’s view of sanctity, a reading found most eloquently in the unfairly neglected work of Paul Evdokimov on the novelist: the Dostoevskian saint is like an icon in the room, a “face on the wall,” a presence that does not actively engage with other protagonists but is primarily a site of manifestation and illumination. 14 There are two very substantial points here. First, it is definitely true that the Inquisitor narrative is not meant to be a last word in the novel and should not be abstracted from the rest of it.
Ten years after the Fonvizina letter, Dostoevsky has turned what was originally perhaps little more than a rhetorically extreme insistence on the compulsion which Christ exercised on his imagination and affections into the beginnings of a very serious literary and theological strategy—even if he would have demurred from being described as a theologian. It is literary as well as theological, because, as we shall see, what he is doing becomes fully explicable in the context of grasping how he sees language itself, including the language of fiction.
He is on earth for a purpose; but that does not make him an enemy of the gratuitous overflow of human warmth and companionship. indd 35 5/21/08 11:20:32 AM 36 s Dostoevsky: Language, Faith, and Fiction from any who approach him. He has made satisfaction for all sin and therefore is free to dispense mercy to each and all. The fact that he has really only one great work to do on earth, to accept the consequence of human evil by his death on the cross, means not that he repudiates everything else, but that any and every human situation can be open to his gift, and the smallest move toward him, even through the medium of instinctive human joy, can be met with the overflow of welcome.