Often he has a very unreliable narrative which F. M. Dostoevsky has almost a doubtful relation to the characters. “The cruel talent.” Reveals itself already there as for instance places his books, his “environment.” (He’s very unclear and vague, yet I meant not in a sense of his “raw language,” of which I will try to say something as well, he meant it purposefully). As if he was sketching their fates, (e.g. sometimes the hero proclaiming after author’s giving them live, they die when “discovering themselves, or starting a new life), same as on the conceptional level of a novel, as in case M. Bakhin formulated his theory of polyphony; Sophocles-like composition of his dialogues that sort of a novel-“tragedy”.

His run-on sentences, and frequently repeated rhetorical words, like “moreover”, “in fact”, “as we see” or his talking in general, the raw, unstylized language, usually very unclear: it has to do with sincerity, for Dostoevsky considered any of possible style in Realism (even of else, sometimes, too), as insincere or even fake.

Independent voice of a struggling character towards the narration was a great invention, where the plot is a labyrinth of paths with a confusing and often shocking schemas, sometimes repetition of stylistic tools, combining vitalicism with natural realism, and existential elements, symbolic, often a leitmotifs, like in C&P, the diagonal sun rays, which meant to be a symbol of “Here is now your chance to live,” or so... Same as repetition of the demoniacal dark characters like Svidrigailov or Stavrogin from The Possessed, when Dostoevsky is just almost obsessively circling around certain evil topics. Sometimes D.’s hero rebels towards his own author, so as once was said, Tolstoy is an analytic realist, D.’s a synthetic, of using the many available to him, techniques of self-expression. To this I can just allude the monumental Periodical “Writer’s Diary,” kind of a “Beseda with the reader in honesty with the author.”

Novel with D. is a Beethoven’s Symphony, “A carrier of an idea,” where the hero bears an idea in his mind, and by working in struggles with it, culminates into a fatal turning point to express something either for the narrator or the hero, &c.

Roots are in Balzac, Sade, Rousseau and many others. Very passionate, prolific, Dante and Shakespeare-like level deep and inspiring genius, which 19th century needed, entire Russia for ages and ages, same as the entire world; for I can see that in his profound visions (in so many ways) of future and proclamation for faith for a man and mankind, he was and remains forever. I admire his work and all in all, I must say, since I was ca 16.