A detailed bit of history of a typeface in the #colophon of The Possessed, a play by #Camus (adapted from the novel of the same name by #Dostoyevsky). A #Knopf publication.

A detailed bit of history of a typeface in the #colophon of The Possessed, a play by #Camus (adapted from the novel of the same name by #Dostoyevsky). A #Knopf publication.

Notes from Underground, Poor People, The Friend of the Family

by Fyodor Dostoyevsky

Notes from Underground, Poor People, The Friend of the Family

by Fyodor Dostoyevsky

White Nights and Other Stories

by Fyodor Dostoevsky

White Nights and Other Stories

by Fyodor Dostoevsky

In short, I maintain that all great men or even men a little out of the common, that is to say men capable of giving some new word, must from their very nature be criminals—more or less, of course. Otherwise it’s hard for them to get out of the common rut; and to remain in the common rut is what they can’t submit to, from their very nature again, and to my mind they ought not, indeed, to submit to it. You see that there is nothing particularly new in all that. The same thing has been printed and read a thousand times before. As for my division of people into ordinary and extraordinary, I acknowledge that it’s somewhat arbitrary, but I don’t insist upon exact numbers. I only believe in my leading idea that men are in general divided by a law of nature into two categories, inferior (ordinary), that is, so to say, material that serves only to reproduce its own kind, and men that have the gift or talent to utter a new word. There are, of course, innumerable sub-divisions, but the distinguishing features of both categories are fairly well marked. The first category, generally speaking, are men conservative in temperament and law-abiding; they live under control and love to be controlled. To my thinking it is their duty to be controlled, because that’s their vocation, and there is nothing humiliating in it for them. The second category all transgress the law; they are destroyers or disposed to destruction according to their capacities. The crimes of these men are of course relative and varied; for the most part they seek in very varied ways the destruction of the present for the sake of the better. But if such a one is forced for the sake of his idea to step over a corpse or wade through blood, he can, I maintain, find within himself, in his conscience, a sanction for wading through blood—that depends on the idea and its dimensions, note that. It’s only in that I speak of their right to crime in my article (you remember it began with the legal question). There’s no need for such anxiety, however; the masses will scarcely ever admit this right, they punish them or hang them (more or less), and in doing so fulfill quite justly their conservative vocation. But the same masses set these criminals on a pedestal in the next generation and worship them (more or less). The first category is always the man of the present, the seocnd the man of the future. The first preserve the world and peple in it, the second move the world and lead it to its goal. Each class has an equal right to exist. In fact, all have equal rights with me—and vive la guerre éternelle—till the New Jerusalem, of course!

Crime and Punishment by Fyodor Dostoyevsky

Translated from the Russian by Constance Garnett

He stood still, and gazed long and intently into the distance; this spot was especially familiar to him. When he was attending the university, he had hundreds of times—generally on his way home—stood still on this spot, gazed at this truly magnificent spectacle and almost always marveled at vague and mysterious emotion it roused in him. It left him strangely cold; this gorgeous picture was for him blank and lifeless. He wondered every time at his sombre and enigmatic impression and, mistrusting himself, put off finding the explanation of it. He vividly recalled those old doubts and perplexities, and it seemed to him that it was no mere chance that he recalled them now. It struck him as strange and grotesque, that he should have stopped at the same spot as before, as though he actually imagined he could think the same thoughts, be interested in the same theories and pictures that interested him… so short a time ago. He felt it almost amusing, and yet it wrung his heart. Deep down, hidden far away out of sight all that seemed to him now—all his old past, his old thoughts, his old problems and theories, his old impressions and that picture and himself and all, all… He felt as though he were flying upwards, and everything were vanishing from his sight. Making an unconscious movement with his hand, he suddenly became aware of a piece of money in his fist. He opened his hand, stared at the coin, and with a sweep of his arm flung it into the water; he then turned and went home. It seemed to him, he had cut himself off from every one and everything at that moment.

Excerpt from Crime and Punishment by Fyodor Dostoyevsky.

Translated from the Russian by Constance Garnett

Dostoevsky was made by being sent to Siberia. Writers are forged in injustice as a sword is forged.
— Ernest Hemingway (via tealrallythong)
dostoyevsky:

Dostoyevsky in prision. Omsk, Siberia, 1853.

dostoyevsky:

Dostoyevsky in prision. Omsk, Siberia, 1853.

Crime and Punishment by Fyodor Dostoyevsky
Translated from the Russian by Constance Garnett
Cover Design by Milton Glaser

Crime and Punishment by Fyodor Dostoyevsky

Translated from the Russian by Constance Garnett

Cover Design by Milton Glaser

The Possessed by Albert Camus (Play adapted from the novel by Fyodor Dostoyevsky)

The Possessed by Albert Camus (Play adapted from the novel by Fyodor Dostoyevsky)

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