Dostoevsky and Franzen Essay Example for Free

Dostoevsky and Franzen Es enjoinFyodor Dostoevsky is indisputably bingle of the greatest writers of his time, and arguably of every(prenominal) time. He earned this status non however by being an unmatched story teller- writing novels so gripping that they are hard to put d take- but by infusing his dramas with timeless comedy, poignant social commentary, perceptive psychology, and universal philosophical inquiries. His extremely in-depth character development allows for un peg downed societal references that every reader burn relate to.A most common olfactioning expressed among readers is that he puts into words what they have eternally thought around, but never had the words- or the sharp observation- to express. A similar feeling is created by Jonathan Franzen, whose novel, The department of corrections, is a bestseller, and not save on account of its hilarious banter and piercing insight. The Corrections is widely hailed as an epic masterpiece that perfectly brings to light the problems of materialism, technology, and alienation in American culture. This is perhaps even more(prenominal) impressive because he is British and not American.Franzen has risen quickly to the top, and The Corrections will continue to be read for many years to come. Though their personal beliefs are entirely different, Franzen and Dostoevsky address many of the kindred questions regarding family. The psychological breakdown of relationships between family members is key and not only addresses psychology, but also society. Both authors go for the family as a microcosmic representation for society, and Dostoevskys 1880 novel, The Brothers Karamazov, the last of Dostoyevskys famous and well-regarded novels, is the best illustration of this tactic.The Brothers Karamazov begins with a brief family history. The patriarch, Fyodor Karamazov, has three sons (Dimitri, Ivan, and Alyosha) by two different women. Fyodor, preoccupied with hedonistic debauchery, sends his sons to various relatives to be taken care of. Dimitri and Fyodor become enemies as soon as Dimitri is old enough to realize that his nonplus not only has taken no responsibility for him, but is also withholding his inheritance left to him by his dead mother.The feud intensifies when they both fall in love with Grushenka, a woman of notoriously poor reputation. Dimitri, though vengefully abhorrent of his father, has inherited Fyodors taste for wine and women. Ivan, the second oldest, is a brooding intellectual, and Alyosha, the youngest, has moved to the monastery under the well-respected Father Zossima. Smerdyakov, the fourth and illegitimate son, is Fyodors cook. Smerdyakov is anti-social and epileptic, but loves to talk about philosophy with Ivan.Understandably, Dimitri is blamed when Smerdyakov murders Fyodor, because of the overwhelming facts against him. Ivan loses his mind when he realizes that he is more to blame than the innocent Dimitri, because he subconsciously encouraged, and even hoped for the murder, and Alyosha leaves the monastery on Zossimas instructions. The Karamazovs forcefully confront the reader with the timeless questions of family. Is love authorise or earned? Are children unconditionally innocent? Are children obliged to love and respect their parents disdain neglect and abuse?Even sequence The Brothers Karamazov insists on the innocence of children, it also undercuts this idea, showing how children can be sinful even while they sufferthe tension between childhood innocence and childhood iniquity is at the very heart of the novelthey resemble another category of natural victims, the peasants (Hruska, 472) It is not only the idea of children that is representative of a larger social construct, but nearly every character. Alyosha is the devout Christian. He believes wholeheartedly in the good of human kind and Christ.He is honest, loyal, and compassionate. He is not just a person of faith- he embodies faith. He has faith not only in Go d, but also in humanity. Though not representative of Dostoevsky himself, Alyosha is an extremely sympathetic character, designed to uphold the principals of faith and Christ against all opposition- and Dostoevskys representation of opposition is not slight, but in fact, very thorough. Ivan represents doubt and rationality. His intellectualism is both his position and his eventual downfall. Though brilliant, it is precisely his doubt that drives him to madness.He is a respectable character, but he is at last unsuccessful, exhibiting Dostoevskys view on where the path of doubt leads. Fyodor Pavlovich is obviously deplorable and pathetic. He is selfish and greedy. He seeks nothing but pleasure at all costs and is completely uncaring, except, presumably, for Grushenka. He believes that his recognition of his own disgraceful behavior frees him not from outside condemnation, but from true inferiority. His illegitimate son, Smerdyakov, becomes the manifestation of all that is unclean in Fyodor.The Lambert family in The Corrections, though lacking in murderous rivalry and unbridled sensuality, is equally disturbing, if only because of its realism. We are talking about the family values of the House of Atreus, the Brothers Karamazov, the Mafia, and the Manson Gang. (Leonard, 6) While Alfred loses his body and mind to Parkinsons, his wife, Enid, tries desperately to reunite the family for Christmas. The oldest, Gary, is well off and living with his own wife and children in an affluent area of Philadelphia. Denise, the nerve center child, is a successful and beautiful young chef.Chip is a failed screenplay writer, a failed boyfriend, a failed professor, and a failed son. The Corrections, then, addresses not only the gap between generations, but also the grasp of one on the other. The flyaway children who feel themselves wronged return deal boomerangs to the parents whose business it has always been to stamp out errancy (Leonard, 9) Both Dostoevsky and Franzen pus h the readers limit for sympathy with their extremely flawed, but perhaps forgivable characters. The reader is forced to examine the limits of repurchase from greed and base behavior, both in society and in the family.In both novels, the reader is at long last compelled to forgive any sin where repentance is present. In The Brothers Karamazov, for example, it is easier to forgive Dimitris aggression and lies because of his genuine sincerity, while his father, a victim of cold blooded murder, does not evoke the slightest feelings of sympathy, aside, maybe, from sheer pity. In The Corrections, Chip is kindly despite his follies not only because of his self-deprecation, but because he has moral principals. Contrary to his brother, Gary, who has a wife, children, and a situatetle down job, but a very capitalistic mindset and a depressed, numb state of living.Denise is a war-ridden workaholic but is genuinely confused, and the reader his hoping for her salvation because she is so de sperately isolated. The novel shifts from a condemnation of the coetaneous American materialism to the possibility of family (and, by implication, human) forgiveness. The narrative has been dallying with philosophical questions, but now it lingersI cannot say whether Franzen could have pulled off this miraculous redemption of his story had he not so cruelly set up his Lamberts as crass sinners, but I was sorry it took him so long to acknowledge their cognitive content for decency(Sayers 23)Perhaps the biggest difference between these two novels is the philosophical dissonance between Dostoevsky and Franzen. While Dostoevskys characters intelligibly represent specific and largely unchanging ideals, Franzens creations are muddled and confused. They resemble a cervid in the headlights of post-modern America, racing inside, but paralyzed by the chaos of the situation, and unable to move in either direction. Interestingly, though Dostoevksy was a staunch advocate of deep faith while fairly exploring doubt, his ultimate core when is comes to family is far less optimistic than the obviously anti-religious Franzen.This is perhaps dependent on the opposing characters abilities to change. Since Dostoevskys characters stay put of largely the same beliefs and convictions end-to-end and in spite of their life-changing experiences, they are incapable of true metamorphosis. Franzens initially detestable Lambert family is eventually redeemed by each characters inner-changes, which leads ultimately to a realistically cynical, but still heart-warming loyalty to one-another.The only character who doesnt change for the better is Alfred, who just loses his mind, and though the reader is respectful of his work ethic, he is obviously the yoke of the family, whose death is seen as ultimately positive for his wife and children. There is a sense of triumph by the end of the novel, when Enid, who initially looked want an idiot compared to Alfred, is really just in need of indep endence, and proves to be a lot smarter than she seems. If anyone in The Corrections is radically transformedand all of them are turned like sucklings on a spit its Enid at age seventy-five.When Alfred at last is safely dead, she puts on her sudden freedom like a dashing hat. (Leonard, 8) When the charismatic and brilliant defense attorney asserts the childs right to demand proof that he should love his father, the audience wholeheartedly approves and supports him, even so far as to applaud despite the judge. The audience, like a Shakespearean chorus, representing the authors prediction of the readers reaction, is totally in upgrade of Dimitris salvation despite full knowledge of past offenses. The reader blames his father for raising a violent deviant.Franzen, on the other hand, provokes a feeling of pity for Enid that makes the reader want to scold her children, understandably irritated though they may be, for not treating their mother with more kindness. The result is a surpri sing one. Franzen, the postmodern critic of just about everything, takes the route of sympathy and even optimism. His characters change for the better in a very real way. They dont proclaim that they have decided to devote themselves to God, they have no fear of damnation, they just genuinely have tried and succeeded in improving their relationships.Dostoevsky is focused much more on religion, for a variety of justifiable reasons, but his characters are less fluid. Though each of his characters transforms throughout the novel, it is only by way of rigorous philosophical inquiry. Franzens characters, on the other hand, are just now growing up. Enid does not plan to improve her life when her husband dies- she just does. It is a natural forward motion as opposed to a constant battle fought with violent imagery and empty threats.Franzen frees his characters from every limit set by Dostoevsky- especially God and the fear of moral judgment. The result is not a uncheerful tale of a fami ly who does not feel an obligated loyalty to one another. On the contrary, the Lambert family transforms only for love. They are not motivated by religion or society. They simply learn to love one another for no other reason than their shared DNA. This is far more optimistic than the picture of a family according to Dostoevsky, because it is universally attainable.SOURCES Hruska, Anne. The Sins of Children in the Brothers Karamazov. Christianity and Literature 54 (2005) 471-495. Parenthetical Citation Leonard, John. Nuclear Fission. Rev. of The Corrections, by Jonathan Franzen. tender York Review of Books 20 Sept. 2001. Parenthetical Citation Polka, Brayton. Psychology and theological system in the Brothers Karamazov. Journal of Literature and Theology 5 (1991) 1-24. Parenthetical Citation Sayers, Valerie. Caffeinated Realism. Commonweal 21 Dec. 2001 23-24. Parenthetical Citation