The Gambler [Paperback]

I have read the book in the language of the original, so I just randomly chose the edition to post the review. What can I say? Every time I read Dostoevsky, I have that urge to send most of the writers I have read to some sort of writing school, I think of his talent that highly. I know very few writers who can analyse the person in such depth and write about it with such grace. What a spot on description of gambling addiction and at the same time I could feel nothing but pity for the narrator.

My only problem is that the more I read Dostoevsky the harder it gets for me to forgive his antisemitism. I mean, I do forgive him, I keep telling myself that the era should be blamed and that he just did not know any better, but maybe he just did not want to know any better? And this book only has a couple of throaway remarks about "zhidov". I shudder to think as to how he would have chosen to portray Jew as main character. Oh well, as I said I try to remember that he was the product of his times and that very few russian writers of 19 century had sympathetic feelings towards Jews and I still read them.

Other than that? Brilliant book in my view.

This translation of The Gambler may not be the best but is certainly very readable. Anyone wanting an adequate version who comes across this should definitely get it, especially considering the price.

As for the book itself, though largely famous for long novels, Fyodor Dostoevsky wrote a number of notable novellas, of which The Gambler is last. It is not on par with longer works, but their fans will like it, as it has much of their greatness on a small scale. Also, along with Notes from Underground, it is a good place to start for those curious about Dostoevsky but intimidated by his thick masterpieces.

Dostoevsky is world renowned for psychological insight, and this is a consummate example. The first-person narrative gives a fascinating peek into a gambling addict's mind; we learn much about what causes such behavior and, more importantly, what perpetuates it, often against better judgment. A large part of Dostoevsky's greatness is that his character studies have great verisimilitude no matter what the subject, but something extra here makes it even more piercing. This is doubtless to a great extent because it has the kind of realism that only experience can bring; Dostoevsky certainly knew a lot about gambling addicts, being one himself. In fact, the book was written at near-superhuman speed to pay off gambling debts - a process so legendary that it was even made into a film. Many gambling addicts have said this is the most realistic and compelling portrayal that exists, and it certainly brings their world vividly to life. However, there is also more to it. Gambling may be the focus, but the insight holds for all addiction forms and, by extension, all types of self-destructive behavior. This last is a particular Dostoevsky specialty, especially in regard to the Russian character, which all of his work in a sense tried to define and analyze. Here he zeroes in on its self-abnegating impulse as symbolized by Alexei's passionate love. Many lovers in literature and reality have claimed they would do anything for their beloved, but few have gone to such literal extremes. This and the gambling show him on the verge not only of self-destruction but of madness, which may make him seem too extreme to be identifiable even as his actions lead to much of Dostoevsky's characteristic black humor. However, the fact that he loses love, wealth, and thus happiness because of an inability to overcome his dark forces makes him a truly tragic figure - widely sympathetic and unfortunately widely relatable. It also unflinchingly shows the futility Dostoevsky saw as central to the Russian character; as an English character unforgettably says to Alexei at the end, "your life is now over. I am not blaming you for this--in my view all Russians resemble you, or are inclined to do so. If it is not roulette, then it is something else. The exceptions are very rare." This shows a very dark view of humanity, particularly Russians - all the more so in that, unlike some of Dostoevsky's more famous works, there is no hint of spiritual redemption at the end. Some may cringe, but the realism and perspicuity ensure we cannot ignore the very important point.

The book is also notable for bringing late nineteenth century European resort towns to life. Most Dostoevsky works are of course set in Russia, but he spent much time in Europe - including Germany, where this is set -, and uses his wide knowledge and experience to make the casinos, healing waters, and other aspects seem real. This makes the book of some historical interest to those interested in the time or place, but the sociological value is even more important. The Gambler is in many ways a comedy of manners showing how Russians behaved - and were supposed to behave, often a very different thing - abroad among themselves and with other groups. This unsurprisingly leads to much conflict, which Dostoevsky plays up for all its psychological, dramatica, and comedic worth. As all this suggests, the book is not quite as serious as his major works, lacking their epic sweep, unparalleled dramatization of dense philosophical themes, and heavy dialogue. This may disappoint those looking for a masterpiece but may even be a relief to some. It must also be noted that while even the best Dostoevsky is rough around the edges of finer artistic points - he was never a prose stylist or perfectionist, his greatness being unmatched psychological and philosophical dramatization -, this is unsurprisingly even more so because of its composition's circumstances.

In the end, those not fond of more characteristic Dostoevsky may well be pleasantly surprised, and anyone who likes him should of course read this, whether early or late. An important question is what edition to buy; various translations aside, it is available in many versions from standalones to collections. Most will be better off with the latter because of the greater value, but the important thing is to read the book in some form.

Absolutely brilliant, which is quite in line with Fyodor's other works. Fascinating characters are presented in a very skillful way. The Granny character is particularly brilliant. Be prepared for the nuances of the authors style, though. Remember, this is Russian literature. It is very dialog-centered and character-focused. If you haven't read anything by Fyodor, please go read Brothers Karamazov first. That is not to diminish this book, but just to mention that first things should be first. Basically, you want to try to understand Fyodor as an author a bit before you plunge into this one. You'll get a lot more from it if you do that.

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