6.2 Karamazov Season: The Fiction Machine

In The Brothers Karamazov, Fyodor Dostoevsky puts ideas into motion, and into emotional conflict, with combustible results. The convictions he expressed in his nonfiction—religious convictions, for instance—join a mix that contains wildly different points of view, generating a book that encompasses more than the non-fictional Dostoevsky did. In this second episode of The Cosmic Library’s five-episode Karamazov season, we’re thinking about how that works. More broadly, we’re thinking about how fiction works. 

“I’m, if not smarter, then at least more interesting as a fiction writer,” says the novelist Andrew Martin, “because ambiguity is so much more possible in fiction. You can argue with yourself in interesting ways, and you can not really know what you mean.” Of his own fiction, Martin says that “the characters do things that are more interesting than what I would explain to be my thesis about our generation.”

This fiction machine still uses gears and parts from the non-fictional world. For example: Dostoevsky, we learn in this episode, was inspired by nineteenth-century Russia’s jury system to develop a fiction encompassing multiple views of the truth. “The voices of the jury might provide alternative histories, let’s say, of what actually happened,” says Katherine Bowers, a Dostoevsky scholar. Also, “the jury might subvert the truth,” she adds, or “the jury might act as a truth-finding agent.” All options are in play, it seems, in Dostoevsky’s novel.

Guests for this season of The Cosmic Library:

Garth Risk Hallberg, author of the novel City on Fire

Andrew Martin, author of the story collection Cool for America

Hearty White, host of Miracle Nutrition on WFMU

Paulina Rowińska, author of Mapmatics

Robin Feuer Miller, professor of Russian literature at Brandeis University and author of The Brothers Karamazov: Worlds of the Novel  

Katherine Bowers, professor of Russian literature at the University of British Columbia and author of Writing Fear: Russian Realism and the Gothic

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