One of the main reasons for the Diary’s relative obscurity is its sheer size: with a total number of pages equivalent to two of his novels put together, it is Dostoevsky’s longest literary work. Also slightly daunting is the oddity of its hybrid contents, whose genre – which could be portrayed as a quixotic, probing, perhaps quintessentially Russian take on the essay – Dostoevsky purposefully made hard to categorise. Dostoevsky’s position as a reactionary and ideologically problematic figure after the Revolution did not help. Despite the enormous popularity of A Writer’s Diary during Dostoevsky’s lifetime, it was only ever re-published once during the Soviet period, in 1929, just before Stalin’s Cultural Revolution began placing strictures on the arts. Remarkably, it was not until 2011 that the first properly annotated complete edition was published in Russia (densely printed on fifteen hundred pages).
In the West, scholarship on A Writer’s Diary was hampered for decades by an understandable reluctance to confront head-on the chauvinist and anti-semitic sentiments Dostoevsky expressed on its pages. By drawing a distinction between his artistic and political writings which their author never had, and mostly passing in silence over the latter, Western scholars were not able to investigate A Writer’s Diary as a whole. That situation ended once and for all with the publication of the final volume of Joseph Frank’s magisterial biography in 2002, and the flurry of books and articles which one can now consult about A Writer’s Diary, by both Western and Russian scholars, suggests an eagerness to make up for lost time, and a re-assessment of the work’s position in Dostoevsky’s legacy.
This anthology from A Writer’s Diary brings together a representative selection of entries chosen to reflect the diverse nature of its contents. In them Dostoevsky demonstrates his great power as a writer, as well as his unerring ability to impart a deeper moral and religious resonance to the social and political concerns he raises.
When Dostoevsky began work on his Writer’s Diary in 1873, he was fifty two years old, happily married, and an esteemed and established novelist. Such security had come at considerable personal cost, however, as we know from the traumatic facts of his earlier biography. The second son of an impecunious Moscow army doctor whose dutiful state service had brought him into the lower echelons of the noble class, the young Fyodor Dostoevsky set his heart on becoming a writer while studying at the Military Engineering College in St Petersburg. He launched his literary career in 1843, the year of his graduation, with a translation of Balzac’s then recent novel Eugénie Grandet. But it was not until two years later, having resigned his engineering lieutenant’s commission, that he made his own debut. Shepherded by the influential progressive critic Vissarion Belinsky, the publication of Poor Folk brought him instantly into the front ranks of Russian writers. Dostoevsky’s refusal to continue with that work’s humanitarian theme in The Double, published in 1846, coupled with an inability to moderate his highly strung temperament, led to his equally swift fall from grace. But social ostracism within the small confines of St Petersburg’s stiflingly small literary community was nothing compared to the Siberian exile which followed his arrest in April 1849 by the Secret Police.
Prodigiously well-read in the literature and thought of Romanticism, with a deep moral opposition to serfdom, Dostoevsky had naturally been drawn into the orbit of the Petrashevsky Circle, and the Charles Fourier-inspired discussions of French Utopian Socialism its members conducted behind closed doors. When these discussions became more heated as the 1848 Revolutions broke out across Europe, the paranoid Nicholas I took extreme action, determined to stamp out subversive activity in Russia at any cost. After enduring eight months of imprisonment in the notorious dungeon of the Peter and Paul Fortress, Dostoevsky found himself being led to the stake and enduring a mock execution by firing squad before learning that his sentence was being commuted to hard labour in Siberia.
Four years of living in close confines with hardened criminals from the peasant class were followed by a further six serving as an army private and then officer in remote Semipalatinsk in what today would be Kazakhstan. But perhaps the hardest punishment of all for Dostoevsky to bear was his ten-year exile from the world of writing and publishing. And it was a world which had changed utterly by the time he was allowed to return to European Russia in 1859. Alexander II, the new Tsar on the throne, had been goaded by the catastrophe of the Crimean War into launching a programme of unprecedented reform, including the abolition of serfdom and the relaxation of censorship. But this would not satisfy the rational-minded new generation of the St Petersburg intelligentsia. Having jettisoned the comparatively gentle Utopian Socialism-imbued-with-Christianity of the 1840s as their guiding idea, in favour of Ludwig Feuerbach’s atheist humanism and the Utilitarianism of Jeremy Bentham and John Stuart Mill, they wanted radical action. Dostoevsky, who had also changed during his years as a convict, and was now orientated towards a politically conservative, Christian ideal, was horrified. The publication of his novella Notes from Underground in 1864 marks the beginning of a new phase in his career as a writer. Dostoevsky’s quest to engage creatively with the corrupting effects of the new ideologies from Western Europe, that he perceived were contaminating Russian youth, would lead to the writing of Crime and Punishment, The Idiot and The Devils, and culminate with his last novel The Brothers Karamazov in 1881. His Writer’s Diary was part of this spiritual crusade. Dostoevsky wanted to show a different way forward for Russia, one that was rooted in the Christian values of the Russian Orthodox Church.
Dostoevsky’s immediate impulse for embarking on A Writer’s Diary was a desire to come into closer contact with his readers. By 1862 his reputation was secured with the publication of his semi-autobiography Notes from the House of the Dead, the first fiction to deal with the realities of Russia’s penal system in Siberia. But there were further vicissitudes for him to contend with, including epilepsy, family mortalities, punitive publishing contracts and the constant and humiliating threat of destitution. A journal he optimistically set up with his brother Mikhail in 1861 was closed down in 1863, and its replacement foundered after Mikhail’s death a year later, leaving him with heavy debts.
These were soon compounded by losses from the pathological addiction to gambling Dostoevsky acquired during his visits abroad, and it was in order to escape his creditors that he remained in Western Europe from 1867 until 1871 with his second wife Anna Snitkina. He had plenty of ideas for fiction that he still wanted to explore after completing The Devils, but at the end of 1872, fearing that he had become cut off from the ‘living stream’ of life during his four years away from Russia, he agreed to become editor of a conservative weekly journal called The Citizen. He was pilloried for this by the liberal intelligentsia, but the job gave him a regular income for the first time in his life. Perhaps more crucially, it also gave him the opportunity to begin publishing in The Citizen a series of his musings about art and society without financial risk. The sixteen columns which Dostoevsky published irregularly over the course of 1873 under the title A Writer’s Diary were thus a kind of trial balloon. As well as enabling him to reacquaint himself with Russian reality, they brought him back squarely into the public eye.
Unlike his contemporaries and main literary rivals Tolstoy and Turgenev, Dostoevsky was one of Russia’s first professional authors, and relied on the income from his writing. He had not published an article in many years when he embarked on his Writer’s Diary, but he was a seasoned journalist who had begun contributing to periodicals at the very beginning of his career. He was also successful: the journal he founded with his brother was the most popular new periodical of its day before its unfortunate and precipitous demise. Ever since those days, the creation of a personal almanac had been his long-held dream, and his choice of the feuilleton (the non-political, arts section of a newspaper) to be the main medium for his diary entries was a considered one. The feuilleton was a popular genre dating from the 1840s that he himself had deployed as a journalist. In it, a writer would range in a sometimes random and whimsical manner over diverse topics, from reviews to anecdotes, in the space of one article.
Its discursive style was a deliberate ploy, as was its conversational and informal tone, and it was a perfect choice for Dostoevsky, as it gave him the freedom to experiment with form. His political sympathies may now have been conservative, but artistically he was still a radical. Through the creation of a distinct authorial persona, he could jump or meander from one subject to another in his Diary, and, more daringly, switch from non-fiction to fiction without preamble, removing any distinction between fact-based journalism and artistic fantasy. The short stories embedded in the text of the Writer’s Diary stand on their own as independent works of art, but they can also be seen as parables, serving as artistic illustrations of the ideological arguments Dostoevsky puts forward in the articles which surround them.
Like a good feuilletonist, Dostoevsky immediately struck a confessional and improvisatory
