The text of this atlas

Constance Garnett

1912 · Heinemann


Keeps
Gravity. Her measured Victorian English suits the elder’s teaching and the narrator’s long periods, and for decades it was the Dostoyevsky English-speaking readers knew.
Costs
Dostoyevsky’s roughness. She smooths his repetitions, hesitations and deliberately clumsy phrasing, and the voices sound more alike than they do in Russian. There are also slips and small omissions; later editors corrected many of them.
For
Readers who want the classic English Dostoyevsky, or the text this atlas quotes. The Norton Critical Edition prints her translation revised by Ralph Matlaw (1976), and later by Susan McReynolds Oddo (2011).

1990 · North Point Press

Richard Pevear & Larissa Volokhonsky


Keeps
The Russian. Readers’ consensus is that it is the closest in cadence and structure: the repetitions, the verbal tics, the narrator’s fussiness, each character’s own way of talking.
Costs
Ease. Keeping the Russian shape sometimes makes for awkward English, and its critics argue it reads as translated.
For
Readers who want to hear how Dostoyevsky sounds, and do not mind the effort.

1993 · Penguin Classics

David McDuff


Keeps
Pace. Readers describe it as leaner and faster than the older translations, in plain modern English.
Costs
Some of the texture both Garnett and Pevear & Volokhonsky, in their different ways, preserve.
For
Often recommended for a first reading.

1994 · Oxford World’s Classics

Ignat Avsey


Keeps
Life in the dialogue. Fluent modern English in which the arguments crackle; readers who find it call it the most underrated.
Costs
Fluency is a choice: the smoother the English, the less of Dostoyevsky’s deliberate awkwardness survives.
For
Readers who stall on stiff prose and want the conversations to move.

2023 · Liveright

Michael R. Katz


Keeps
A contemporary scholar’s reading, the newest of the five.
Costs
Too new for the long record of readers’ reports the others have; judge a chapter for yourself.
For
Readers who want the most recent translation.

What Garnett costs this atlas

The atlas quotes Garnett because her translation is in the public domain, so the whole text can be searched, read and cited here. That is a practical reason, not a judgement.

The standing complaint about her is the one that matters most for this book. Joseph Brodsky’s version of it, as David Remnick reported, was that English readers can hardly tell Tolstoy from Dostoyevsky because what they are reading is Constance Garnett. In a novel whose whole method is that every idea is spoken by a particular person — Ivan’s argument in Ivan’s voice, Smerdyakov’s in his — a translation that brings the voices closer together loses something real. When the atlas says who says what, it is right about the words’ owner and less reliable about their sound.

Reading another translation beside the atlas

Book and chapter numbers are Dostoyevsky’s, so every citation here — Bk V, ch. 5 — finds the same chapter in any translation. Names are spelled differently; Garnett’s older transliteration against Pevear & Volokhonsky’s:

Garnett (here)Pevear & Volokhonsky
Fyodor PavlovitchFyodor Pavlovich
Dmitri FyodorovitchDmitri Fyodorovich
Alexey (Alyosha)Alexei (Alyosha)
Father ZossimaFather Zosima
Father PaïssyFather Paissy
Madame HohlakovMadame Khokhlakov
Kolya KrassotkinKolya Krasotkin
IlushaIlyusha
PerhotinPerkhotin
FetyukovitchFetyukovich
MokroeMokroye
TchermashnyaChermashnya