FTP name this Dostoevsky novel in which the aspiring revolutionaries Kirilov and Stavrogin both commit suicide, embodying the titular Hellish creatures.
Leonid Grossman's essay on this novel's protagonist "and his Stylistics" focuses on a suppressed chapter in which the protagonist writes a confession to a monk. Joyce Carol Oates's essay on "Tragic Rites in" this novel also discusses that censored chapter, which is sometimes titled "At Tikhon's." That chapter describes the main character's rape or seduction of his landlady's twelve-year old daughter Matryosha and her subsequent suicide, events that are partially mirrored in Coetzee's The Master of (*) Petersburg. This work's protagonist marries a mentally stunted woman after his repeated assaults on the facial appendages of various local nobles gets him exiled for insanity for the second time. Albert Camus adapted this work to the stage after expressing a fascination for it in The Myth of Sisyphus, which discusses the "logical suicide" of a character who leaves a note falsely claiming responsibility for Shatov's murder, a crime actually perpetrated by Pyotr Verkhovensky. FTP name this Dostoevsky novel in which the aspiring revolutionaries Kirilov and Stavrogin both commit suicide, embodying the titular Hellish creatures.
Leonid Grossman's essay on this novel's protagonist "and his Stylistics" focuses on a suppressed chapter in which the protagonist writes a confession to a monk.
The {Demons} or {Devils} or {Possessed} or {Besy}