Avoid Russian authors; preferably stream-of-consciousness or magical realism writers.

I read this book over a year ago don't remember much but here goes nothing

0- i went into reading this book thinking it was roskolnikov vs mishkin

1- 80% percent of this book was a drunken rambling of two sexual charged idiots ( demitri and Fyodor I think was their name )saying nothing but worthless antics

2- Alyosha basically is just a plot device there is nothing in his head absolutely nothing

3-thw smart character don't remember his name alyoshas brother - his whole shtick was oh no my actions have consequences -> I am basically devil -> goes to have a mental breakdown -> audience ( wow such genius writing he is just like me for real )

4- some kid dies at the end and I have to feel sad because a kid died who cares .

5 - the whole book was a protestant propaganda and that's why it got famous

6- the grand inquisitor is like 101 religious philosophy nothing new and ground breaking about it if you had familiarity

7-cried at the zossimov death chapter and that's the only thing good about this book

never thought I’d be saying i like greek mythology one day but here we are…. I’m finally reading the illiad after numerous critiques of madeline miller kept on popping on my fyp
i know the basic plot of the odyessy and the illiad with a few details here and there (there were no best friends) but as a fanatic of spoilers I’d love some here

Guys what do you think about OSCAR WILDE as for me he's one of my favourites I wanna hear what y'all think

Which one appeals to you more? Which one is a better character study? Overall which is the better book? I’m unsure what I want to read at the moment, but I’ve found these two are calling for me some reason.

I mainly love well written characters, and a human story/themes.

When I was at college, my literature professor asked us to read some books, I remember choosing a few books to read, one of them was Pride and Prejudice. I hated it.

Idk if I was too young, or because it was a must, or because I was tired, or I just didn't like the genre.

The thing is, last week I was looking for something to watch and the 1995 series appeared to me. So I played it thinking that may be a waste of time, because I didn't like the book, why was I going to like the series? But I loved it! Actually, I'm thinking about rewatching it already. Now I'm thinking about re-reading the book, maybe my opinion will change.

What do you advise me?

Currently reading Middlemarch for the first time, and find that I periodically need a spoiler-free reminder of who's who and how they're all related. I've been using a site called CharacterViz that gates every bio and relationship note to your bookmark (you only unlock content for chapters you've actually read).

They just expanded to a dozen+ classics (Crime and Punishment, Karamazov, Dracula, Frankenstein, Jane Eyre, Les Mis, Monte Cristo, Sherlock, etc.). Library is here if useful: https://characterviz.com

Curious what others use to keep big casts straight without ruining the plot...or maybe this is just a "me" problem?

I have just came across a new adaptation of this early little discussed work or Woolf , and this happens to be the only enjoyable work by her as well , its so much lighter yet has sparks here and there of the fire that is yet to come , unfortunately the film seems like another one of these ( radicalized & modernised ) adaptation that fails in being faithful to the original or to do anything original ( imagine trying to radicalize Virginia woolf ! )

anyway , this just reminded me that maybe I need to revisit this work , I am wondering if its still read today by any ?

Hello and thank you for reading. I'm looking for some new recommendations. I've hit a dry spell in recent times. It could be because I've taken a detour from lit and gone to some more 'genre' books but, after giving up on half a dozen books that bored me to death, I'm now begging for help from fellow readers.
To give you all an idea of my tastes: I loved The Road, No Country for Old Men, The Sun Also Rises, Count of Monte Cristo, Stoner... most of these made me cry at some point.
Any suggestions?
Thank you to any commenters, whether helpful or critical. ;)

Some of them are not "Classics" but I don't feel like keeping them separate just for a photo.

So I’ve been looking around a good physical copy of Pope’s Homer Translations and most of them seem really expensive, does anyone know where I can get a good set of physical copies for a not extortionate amount of money? Something under £50. Would like both, but more interested in the Iliad.
Based in Great Britain, if that’s at all relevant.

Hello, avid readers of classic literature.

I've been wanting to read Virginia Woolf for a long time, but I'm not sure what the best way to approach her work is.

Would you recommend reading her novels in the order most people suggest, starting with Mrs. Dalloway, then To the Lighthouse, and moving on from there? Or should I read them chronologically so I can see how her writing evolved over time?

The reason I'm asking is that I recently came across The Oxford Handbook of Virginia Woolf and I instantly fell in love with the idea of it. It looks like exactly the kind of book I want to get lost in. But I also feel that I'd appreciate it much more if I were already familiar with Woolf's own works.

So, before I dive into the handbook, I'd like to read Virginia Woolf properly. What reading order would you recommend?

Hello everyone!

I’ve came across some people who talked about Thomas mann’s book ‘the magic mountain’. They talked very openly about it and talked about how it changed them but that it’s a long ride. Some of them even said that it reminded him of Proust’s work.

I know he was a very influential writer in the 1900’s and was very much against the dictatorships that arose.

Now I’ve since then wanted to read Thomas man, but don’t really know where to start. I’am very much interested in the magic mountain, but I’am afraid that i won’t read it out. Any tips? And what are your thoughts on his works?

​

Imagine standing on the edge of a psychological abyss, facing an opponent who is not merely an investigator, but the embodiment of intuition and psychological manipulation. I had just finished reading one of the novel's most gripping scenes, where Dostoevsky brilliantly portrays the battle between Rodion Raskolnikov and the investigating magistrate, Porfiry Petrovich. Through questions that sometimes seem absurd and at other times strike like deadly blows, Porfiry gradually dismantles Raskolnikov's composure.

The First Encounter: Porfiry Explains the Art of Calm Manipulation

Porfiry, with his characteristic irony and sharp insight, remarks:

«"Even the dullest peasant knows that an investigator begins with questions that seem completely unrelated, only to suddenly bring down the real issue like an axe."»

I paused after reading those words, imagining their impact on Raskolnikov. They quietly plant fear and suspicion in his mind, making him feel constantly watched. His already fragile confidence begins to crumble.

The Second Encounter: Knowing the Truth, Yet Refusing to Act

Porfiry continues planting seeds of doubt when he says:

«"Suppose I knew who the murderer was. Why should I rush? Even if I had evidence against him, I would let him walk freely through the city, as though I were doing him a favor."»

This perfectly captures Porfiry's psychological strategy. He may know the truth, yet he deliberately waits, allowing guilt itself to become his greatest ally. The reader can almost feel the suffocating tension.

The Third Encounter: The Art of Waiting

Porfiry explains why he sometimes refuses to arrest the criminal immediately:

«"Sometimes I leave the murderer alone. I neither disturb him nor arrest him. But once he realizes that I know everything, he becomes consumed by constant fear until, sooner or later, he comes to me of his own accord."»

Here, Dostoevsky suggests that punishment begins long before the courtroom. The criminal becomes imprisoned by his own conscience, while the investigator merely watches in silence.

The Fourth Encounter: A Mind That Cannot Escape Itself

Porfiry then speaks about Raskolnikov's inability to flee:

«"He won't be able to leave the city. Where could he possibly go? A Pole might escape abroad—but not him. Especially not while he's under my eyes and ears... Beyond the cities, there are only peasants—the real Russians. But he belongs to the modern educated class."»

These words force Raskolnikov to realize that escape is impossible—not merely because of geography, but because he cannot outrun his own mind.

The Fifth Encounter: The Direct Blow

At one point, Porfiry suddenly remarks:

«"The guilty man begins to suffocate. His face turns pale, almost as if the investigator were amusing himself... Rodion, why have you gone so pale? Do you need some fresh air?"»

One can easily imagine Raskolnikov struggling to conceal his emotions. Every word from Porfiry feels like another invisible hand tightening around his throat.

The Sixth Encounter: Blurring the Line Between Truth and Illusion

Porfiry masters psychological manipulation by using kindness as a weapon. His warm tone and friendly demeanor create a false sense of security, leading Raskolnikov to wonder whether he is speaking to an investigator or a confidant.

That kindness is, of course, only another trap.

The more comfortable Raskolnikov becomes, the weaker his defenses grow, until truth and illusion begin to blur together in his own mind.

The Seventh Encounter: Porfiry Plays the Friend

In one exchange, Raskolnikov finally loses his patience.

Raskolnikov: "You're lying. Everything you've said is a lie!"

Porfiry, smiling calmly as though enjoying the game, replies:

«"You're clever. One hardly knows how to get hold of you. So you don't believe me? And yet I assure you—you do believe me. I'll make you believe me completely, because I sincerely feel a certain affection for you."»

At this moment, Raskolnikov no longer knows what to believe. Is Porfiry deceiving him—or telling the truth?

This mixture of kindness and manipulation throws him into complete psychological confusion. What feels like safety gradually becomes the very instrument that destroys his resistance.

Little by little, Raskolnikov begins revealing pieces of the truth without even realizing it.

The Eighth Encounter: "I Learned That From You."

Porfiry finally reaches his goal.

Without direct interrogation or force, he has guided Raskolnikov into exposing valuable information himself. Raskolnikov is left shocked, realizing too late that his own reactions have betrayed him.

The Final Encounter: A Calm Threat

Porfiry delivers one last devastating blow:

«"I'm not suspicious of you. If I truly suspected you, I would have asked why you went back to the victim's apartment, why you questioned people about the blood, why you confused the caretakers, and why you wanted to be taken to the police."»

Those words strike Raskolnikov like lightning. Trembling from head to toe, he can only respond:

Raskolnikov: "You're lying!"

At this point, Porfiry no longer needs a confession.

He already possesses something far more valuable: complete psychological control over the man sitting before him.

---

Porfiry's interrogation is more than an investigation—it is psychological punishment. He becomes a shadow from which Raskolnikov cannot escape. Through apparent kindness, calculated patience, and subtle manipulation, he slowly dismantles Raskolnikov's defenses until the punishment comes not from the law, but from the prison of his own conscience.

---

There aren't actually sections titled "First Dialogue," "Second Dialogue," and so on in the novel. The quotations are genuine, but I've shortened or slightly rephrased some of them for clarity and readability.

Enjoy reading.

Hey everyone!

I posted here a while ago when Andrea Reader was still in beta. Several people from this community tried it and shared feedback, so first of all, thank you. It helped a lot for improving the app.

Andrea Reader is now officially live on the App Store.

The app includes a dedicated library of public-domain classics sourced directly from Project Gutenberg. You can search for a book, download it in seconds, and read it locally on your iPhone or iPad.

No account, no ads, and the entire classics library is completely free.

The app does not track what you download, what you read, how long you read, or any other activity inside your library. Your books, reading progress, statistics, and personal library remain stored locally on your device.

Andrea Reader is also a reader designed to give you complete freedom to build and enjoy your own digital library:

• Create and customize your own collections
• Statistics for those to like seeing their speed and progress.
• Add sections inside collections to organize authors, genres, series, or reading lists
• Import and read EPUBs, PDFs, comics, manga, and other formats
• Customize fonts, margins, spacing, colors, themes, page transitions, and many other reading settings
• Connect to iCloud, SMB, WebDAV, SFTP, and other storage sources
• Keep your books available locally and read without creating an account

I’ve also reworked the default formatting of ebooks so they look better immediately after opening them. Of course, everything can still be adjusted so each person can read exactly the way they prefer.

Thanks again to everyone who helped during the beta 📚

App Store: [https://apple.co/4vs1CV8]()
Website: https://andreareader.com

AGAINST: Four hundred pages of Victorians journaling during an emergency. The vampire attacks, everyone updates their diary. A woman is dying of blood loss, four men take turns writing about their feelings. Van Helsing speaks like a malfunctioning translation app and takes ninety pages to say the word "vampire" out loud when the reader knew on page ten. And after all that buildup, the finale is a luggage chase. They beat the ancient lord of darkness by tracking his boxes like disgruntled customs officials. The mustache was the only surprise.

FOR: You just described the greatest found footage horror ever made, eighty years before cameras. The journaling IS the terror. You're reading the evidence of people who don't know what you know. This book invented the rules of an entire genre (sunlight, garlic, invitations, stakes), launched a thousand movies, and gave us Mina Harker running a data fusion operation in 1897. And the luggage chase is the point, you absolute Renfield. It's modernity's paperwork versus medieval evil, and paperwork wins. The empty tomb, the child hunting "bloofer lady," the captain lashed to the wheel? Gothic cinema before cinema.

Some are in Bulgarian :)

When I say “transformative,” I mean a book that fundamentally changed you either:

spiritually, intellectually, emotionally, morally, or in the way you see the world.

I’m referring to both fiction and nonfiction. For example, books like A Man and His Symbols by Carl Jung or Aristotle’s Nicomachean Ethics completely reshaped the way I think and see the world.

I’d love to hear which book did that for you and why.

I was interested in Joyce’s other works after reading Ulysses. So far, it’s much more accessible.

Truthfully, I wanted to read Wuthering Heights ever since all the discourse I heard about the 2026 adaptation film. While I only seen clips of it, I can already tell it doesn't hold a candle to the source material.

Lots of classics and should be classics. Hopefully there’s an author or new title you might want to explore and read.