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Precursors: Demons from the Town of Glupov

Everyone has always known that Dostoevsky is one of our greatest writers. But no one has ever been given a harder time of it. When Aleksei Maksimovich Gor’kii [Maxim Gorky]—soon to construct a new literature and earn the title of founder of Soviet socialist realism (and I underscore “Soviet” here, with a meaning that should become clear as this article progresses)—wrote in 1913 that “Dostoevsky is a genius, but he is Russia’s evil genius,” that was easy enough to understand. But he also told the First Congress of Soviet Writers in 1934: “To Dostoevsky is ascribed the role of seeker after truth. If he sought it, he found it in the bestial, the animalistic in man, and he found it not to refute but to vindicate.” Then there is Andrei Belyi—more dependent on Dostoevsky than most and, moreover, forever linking his real life to the “second reality” engendered by the imagination of the author of Demons and The Brothers Karamazov—who wrote in 1905 that Dostoevsky was being approached ineffectually, with formulas for the most complex harmony, in an effort to explain away his strident, morbid voice. He called him a “spurious priest and a false prophet.” He spoke of the “squeamishness” that Dostoevsky roused in him and dubbed Dostoevsky an emperor with no clothes, sporting a nonexistent costume that people were simply afraid not to praise. This, too, is easy to understand: Dostoevsky has, as it were, drowned out all the prose that followed—unlike that other giant, Tolstoy. Tolstoy was gratefully received as an indisputable exemplar, if only (or even primarily) in terms