Notes from Underground is something else entirely. It’s the jumbled confession of a jaded twisted man, immersed in his own torment and misery. It amounts to one of the bleakest portraits ever rendered of man alone, man without friend, without God, without hope. “I am a sick man,” the confession begins. “I am a spiteful man.” Thus launches a misanthropic tirade of burning resentment, choking self-pity, and vicious self-loathing.
The book proved prophetic. Increasingly, the nameless anti-hero of the Notes resembles us, or we him: a people longing for the admiration of others without the burden of them, wanting applause without having to earn it, bearing grudges for the slightest slights. A people who throw off God, thinking it’s liberation, and who only end up impoverished and enslaved, captive to our own dark selves.
Dostoevsky was a Christ-follower – a troubled one, to be sure, but with a deep grasp of God’s extravagant grace. His later works – The Idiot, Crime & Punishment, The Brothers K – are breath-taking testaments to the transforming and liberating power of the Christ who meets even the least of us in the most unlikely places.
The relationship in The Brothers K between the simple saintly Alyosha and the brilliant embittered – and rabidly atheistic – Ivan is alone worth the price of that book and the effort of reading it. Ivan’s logic is hard to refute, but Alyosha’s life is hard to resist. We find the atheist semi convincing, but the saint entirely compelling. Alyosha’s soul draws us with its beauty. Ivan’s soul repels us with its ugliness.
It strikes me, leafing through the Notes, that Dostoevsky was sketching all this out, and with it issuing a warning: that among the many horrors of rejecting Christ, not least is a soul that grows ugly.
Thus I begin my confession: I am a forgiven man. I am a thankful man.