“In order to understand the significance of the style and structure of the book, it is necessary to bear in mind that it was the result of a terrible mental, spiritual, and physical ordeal. . . . The point about the novel, however, is that it charts the reawakening of a man without a personality.”—from the Introduction
Here was the house of the living dead, and a life like none other upon earth.
In January 1850, Fyodor 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.
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Fyodor Dostoyevsky’s harrowing, semi-autobiographical novel about the internal transformation of a man serving ten years in a remote Siberia
