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The Idiot (pre-reform Russian: Идіотъ; post-reform Russian: Идиот, romanized: Idiót) is a novel by the 19th-century Russian author Fyodor Dostoevsky.It was first published serially in the journal The Russian Messenger in 1868–69.
The Idiot was a 2018 Pulitzer Prize Finalist in Fiction. [6] According to the literary review aggregator Book Marks, the novel received mostly positive reviews from critics. [7] Writing for The New York Times, Dwight Garner describes how "Each paragraph is a small anthology of well-made observations."
Prince Lev Nikolayevich Myshkin (pre-reform Russian: князь Левъ Николаевичъ Мышкинъ; post-reform Russian: князь Лев Николаевич Мышкин, romanized: knyazʹ Lev Nikoláyevich Mýshkin) is the main protagonist of Fyodor Dostoevsky's 1869 novel The Idiot.
The Idiot (Japanese: 白痴, Hepburn: Hakuchi) is a 1951 Japanese film directed by Akira Kurosawa from a screenplay co-written with Eijirō Hisaita . It is based on the 1869 novel The Idiot by Fyodor Dostoevsky. [3] The original 265-minute version of the film, faithful to the novel, has been long lost.
Nastasya Filippovna Barashkova (pre-reform and post-reform Russian: Настасья Филипповна Барашкова, romanized: Nastásʹya Filíppovna Baráshkova) is the principal heroine of Fyodor Dostoevsky's 1869 novel The Idiot.
Either/Or is the second novel from Turkish American writer Elif Batuman. [1] The novel is a bildungsroman, continuing the story of Selin, the narrator of Batuman's first novel The Idiot, in her second year at Harvard University. The title is borrowed from Danish philosopher Søren Kierkegaard's first published work. [2]
Reviewing the book for The New York Times, critic Dwight Garner praised the "winsome and infectious delight she feels in the presence of literary genius and beauty." [3] Batuman’s novel The Idiot is partly based on her own experiences attending Harvard in the mid-1990s and teaching English in Hungary in the summer of 1996. [9]
Guerard writes: "A brief account of the wedding procession and the feast immediately recalls Madame Bovary, and any useful derivative was from Flaubert." Guerard further notes that the story opens with a first-person narration, then within a few pages, shifts to an omniscient narrative, as does the opening to Flaubert's famous novel. [18] [19]