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Authors Like Fyodor Dostoevsky

In December 1849 Dostoevsky was taken to a square in St Petersburg, tied to a post and told he would be shot for belonging to a circle that discussed banned books. The first three men were bound to stakes; he was in the second group. At the last moment an officer rode up with a letter: the Tsar had commuted the sentences and the entire execution had been staged. One of the condemned lost his mind on the spot. Dostoevsky served four years at hard labour in Omsk and came back with epilepsy, a religious conviction and the subject he never left — what a person will do, and believe, once they have decided the rules do not apply to them. Notes from Underground (1864) invented a voice nobody had written before. Crime and Punishment (1866) is a student who murders a pawnbroker to prove a theory and spends four hundred pages being followed by a detective who never quite accuses him. The Idiot, Demons and The Brothers Karamazov followed; he died two months after finishing the last one. He also gambled away everything he had, repeatedly. The ten below are chosen on moral extremity and on who is arguing with him.

By Lisanne Swart · 10 authors · Russian fiction · Five major novels · Which translation to read · Updated October 2026


Quick answer

The eternal pairing is with Leo Tolstoy, and the argument about which is greater has run for a century and a half. Nikolai Gogol is the Russian he came out of and Anton Chekhov the one who came after. Three writers in other languages took the underground man somewhere new, two Americans inherited the violence and the grace, and one great Russian novelist spent his career telling students that Dostoevsky was overrated.

Every book by Fyodor Dostoevsky →

Where to start if you loved Fyodor Dostoevsky

If you want the other great Russian, read Leo Tolstoy.

Anna Karenina. Daylight where Dostoevsky gives you fever.

If you want where he came from, read Nikolai Gogol.

“The Overcoat”. A clerk, a stolen coat, and an hour of your time.

If you loved Notes from Underground, read Albert Camus.

The Fall. A monologue in an Amsterdam bar that accuses you personally.

If you want the camps, read Aleksandr Solzhenitsyn.

One Day in the Life of Ivan Denisovich. Reveille to lights out, under two hundred pages.

If you want the argument against him, read Vladimir Nabokov.

The Cornell lectures. A great Russian novelist taking him apart in detail.

If you want more novels of this kind

My shelf of the best fiction has the rest.

10 authors like Fyodor Dostoevsky

01
The argument against him

Vladimir Nabokov

Russian-American · Lolita (1955), Pale Fire (1962), Speak, Memory (1951)

Nabokov wrote nine novels in Russian and eight in English, taught literature at Cornell for a decade, and collected butterflies seriously enough to publish scientific papers. His lectures on Russian literature, given to undergraduates and published after his death, devote a long chapter to Dostoevsky, whom he called a prophet, a claptrap journalist and a slapdash comedian, with a taste for the cheap effects of melodrama and detective fiction.

The most distinguished objection on record, from a great Russian novelist who taught Dostoevsky mainly in order to take him apart. The charges are worth knowing: the prose is hasty, the characters are ideas in coats, the coincidences are absurd, and the emotional pressure is applied rather than earned. Some of it is snobbery and some of it lands. Read the Cornell lecture, then Karamazov again, and make up your own mind.

— Lisanne
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02
The other one · Closest match

Leo Tolstoy

Russian · War and Peace (1869), Anna Karenina (1878)

Anna Karenina runs two marriages against each other, one destroyed by an affair and one slowly built in the country, across Russian society, farming, politics and faith. War and Peace covers the Napoleonic invasion through several families and stops periodically to argue with historians about how history works. Tolstoy later renounced most of his own fiction, gave away his property and died in a railway station at eighty-two.

The permanent comparison, and the two men never met. The standing distinction is that Tolstoy shows you how people live and Dostoevsky shows you what they believe when they are at the end of themselves — daylight against fever. Tolstoy is the greater novelist by most technical measures and Dostoevsky asks the harder questions. Read Anna Karenina and you will know which of the two you are.

— Lisanne
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03
Older than the genre · The overcoat

Nikolai Gogol

Russian · The Overcoat (1842), Dead Souls (1842)

“The Overcoat” is a St Petersburg clerk who saves for months for a new coat, is robbed of it, is dismissed by every official he appeals to, and dies — then returns as a ghost pulling coats off shoulders. Dead Souls follows a swindler buying the names of deceased serfs from landowners. Gogol burned the second volume shortly before his death in 1852 and starved himself under the direction of a priest.

The Russian tradition Dostoevsky came out of, and there is a famous line, usually attributed to him and probably not his, that all Russian literature came out from under Gogol's overcoat. The humiliated clerk, the grotesque bureaucracy, the comedy running under the misery: it is all here first. Dostoevsky's first book, Poor Folk, is essentially a reply to it. Read “The Overcoat” in an hour.

— Lisanne
04
The Russian who came after

Anton Chekhov

Russian · the short stories, Uncle Vanya (1898), The Cherry Orchard (1904)

Chekhov practised as a doctor throughout his writing life, wrote several hundred stories and four plays that reinvented the theatre, and in 1890 travelled across Siberia to the penal colony on Sakhalin to survey the convicts himself. He refused to supply conclusions: his stories end where a lesser writer would explain. He died of tuberculosis at forty-four.

The corrective, from inside the same literature. Dostoevsky's characters deliver twenty-page speeches about God and free will; Chekhov's sit at a table saying nothing much while a life quietly fails to happen. He also went to a prison island and wrote what he found, which is the other way of doing what Dostoevsky did with Omsk. If the ideas exhaust you and you want the same country, start here.

— Lisanne
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05
The underground man, in German

Franz Kafka

Czech-German · The Metamorphosis (1915), The Trial (1925)

Kafka worked at an insurance institute in Prague and wrote at night, publishing little in his lifetime and instructing his friend Max Brod to burn everything, which Brod declined to do. The Trial follows a bank officer arrested one morning by an authority that will not tell him the charge; The Metamorphosis opens with a travelling salesman waking as an insect and worrying about his train. He died in 1924 at forty.

The direct heir of Notes from Underground, and he read it closely. Both write a consciousness that cannot stop examining itself, trapped inside a system whose logic it half accepts, and both are funnier than their reputations suggest. Kafka removes the theology and keeps the guilt. Read The Trial if the trial in Crime and Punishment is not the part that gripped you — the pursuit is.

— Lisanne
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06
The same question, in French

Albert Camus

French-Algerian · The Stranger (1942), The Myth of Sisyphus (1942), The Fall (1956)

The Stranger is a man who does not cry at his mother's funeral and later kills an Algerian on a beach, told in flat sentences that refuse to supply a motive. The Fall is a monologue delivered in an Amsterdam bar by a former Paris lawyer who is confessing and accusing the reader at the same time. Camus received the Nobel Prize in 1957 and died in a car crash three years later at forty-six.

The clearest inheritance in another language, and Camus said so — he adapted Demons for the stage and wrote about Dostoevsky throughout his life. The question is identical: if there is no God, is everything permitted, and what does a person do with that. Camus answers without the religion, which makes The Fall the closest thing in French to Notes from Underground. Read that one.

— Lisanne
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07
The camp, a century later

Aleksandr Solzhenitsyn

Russian · One Day in the Life of Ivan Denisovich (1962), The Gulag Archipelago (1973)

One Day in the Life of Ivan Denisovich covers a single ordinary day of a prisoner in a Soviet labour camp, from reveille to lights out, and was published in the Soviet Union in 1962 with Khrushchev's personal approval, which stunned the country. The Gulag Archipelago, assembled secretly from the testimony of over two hundred survivors, got him deported in 1974. He received the Nobel Prize in 1970.

The direct descendant of The House of the Dead, which Dostoevsky wrote out of his own four years at hard labour in Omsk. Both went into a penal system as prisoners and came out with a book about what it does to belief. Solzhenitsyn has the larger crime to document and the plainer style. Read Ivan Denisovich first; it is under two hundred pages and it is one of the great days in fiction.

— Lisanne
Every book by Aleksandr Solzhenitsyn →
08
Violence and grace, in Georgia

Flannery O'Connor

American · A Good Man Is Hard to Find (1955), Wise Blood (1952)

O'Connor wrote two novels and thirty-one stories about the American South, in which a comic, petty, self-satisfied character meets sudden violence and, in the last paragraph, something that looks like grace. She was a devout Catholic writing largely for an audience that was not, lived with lupus and died at thirty-nine, and was explicit that the violence in her work exists to make her characters available to redemption.

The closest American equivalent to what Dostoevsky is actually doing. Both stage a theological argument inside a crime story, both believe that a person must be broken open before anything can reach them, and both are much funnier on the page than their subjects suggest. Her Misfit and his Raskolnikov are asking the same question from opposite ends. Read “A Good Man Is Hard to Find” tonight.

— Lisanne

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09
Metaphysical violence

Cormac McCarthy

American · Blood Meridian (1985), The Road (2006)

Blood Meridian follows a fourteen-year-old runaway into a scalp-hunting expedition on the Texas-Mexico border in the 1840s, led by a figure called the judge who argues, at length and with enormous rhetorical power, that war is the truest condition of existence. The Road won the Pulitzer Prize. McCarthy died in 2023, and a disclosure about his private life published afterwards is covered on his own page here.

The modern novelist who takes the Grand Inquisitor seriously as a literary problem. Judge Holden is a Dostoevskian figure transplanted to the desert: an articulate defender of a universe without mercy, given the best speeches in the book, whom the novel does not refute. If the Inquisitor chapter in Karamazov is the passage you keep returning to, this is where it went.

— Lisanne
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10
Suffering, examined

Viktor Frankl

Austrian · Man's Search for Meaning (1946)

Frankl was a Viennese psychiatrist who spent three years in four Nazi camps, including Auschwitz, losing his wife, parents and brother. The book's first half describes the camps from a clinician's vantage and the second sets out logotherapy, his argument that the will to meaning is the primary human drive and that meaning can be found even in unavoidable suffering. It has sold many millions of copies.

The non-fiction answer to the question Ivan Karamazov puts to his brother: what do you do about suffering that has no justification. Frankl came back from the worst thing the twentieth century built and refused both despair and consolation. Read it beside the Grand Inquisitor rather than after it; the two texts are in direct conversation across seventy years.

— Lisanne
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Frequently asked questions about authors like Fyodor Dostoevsky

Who should I read if I love Dostoevsky?

Leo Tolstoy is the permanent pairing, Nikolai Gogol is the Russian he came out of and Anton Chekhov the one who came after, with the ideas replaced by silence. Franz Kafka is the direct heir of Notes from Underground and Albert Camus asked the same question in French. Aleksandr Solzhenitsyn is the twentieth-century descendant of The House of the Dead. Flannery O'Connor stages the same theology inside a crime story and Cormac McCarthy took the Grand Inquisitor into the desert. Viktor Frankl answers Ivan Karamazov from Auschwitz. Vladimir Nabokov is the argument against.

Which translation of Crime and Punishment should I read?

Three are in wide circulation and they are genuinely different books. Constance Garnett's, from 1914, is smooth, Victorian and sometimes simplifies what she found difficult — beautiful, not precise. Richard Pevear and Larissa Volokhonsky's, revised for the bicentenary, is the standard scholarly choice and keeps the strangeness of the Russian, which some readers find stiff. Michael R. Katz's, the newest, aims at contemporary American English and is the easiest for a reader in 2026, with the psychology landing hardest. If you have bounced off the novel before, try Katz.

Which Dostoevsky should I start with?

Crime and Punishment (1866), which has a murder on page seventy and a detective who never quite accuses anyone, and is far more gripping than its reputation. Notes from Underground (1864) is about a hundred and fifty pages and contains the voice that changed twentieth-century fiction, but it is deliberately unpleasant company. The Brothers Karamazov (1880) is the masterpiece and it is eight hundred pages; come to it third. The Idiot and Demons are for when you are committed.

Was he really almost executed?

Yes. In December 1849, at twenty-eight, he was convicted for involvement with the Petrashevsky circle, a discussion group that read banned material, and taken to Semyonovsky Square to be shot. The first three men were tied to stakes and the order was given before a messenger arrived with a commutation from the Tsar — the whole thing had been staged on the Tsar's instruction. One prisoner never recovered his reason. Dostoevsky then spent four years at hard labour in Omsk, which produced The House of the Dead and, by his own account, his faith.

What is the Grand Inquisitor?

A chapter near the middle of The Brothers Karamazov in which Ivan tells his devout brother Alyosha a story he has invented: Christ returns during the Spanish Inquisition, is arrested, and is told by the old Inquisitor that the Church has corrected his work, because people do not want freedom, they want bread, mystery and someone to obey. It is about twenty pages, it can be read on its own, and it is the single most argued-over passage in the novel. Camus, Frankl and McCarthy are all, in different ways, answering it.

What is the criticism of Dostoevsky?

That the writing is hasty and the effects are cheap. He wrote fast and under contract — The Gambler was dictated in twenty-six days to clear a debt — and the prose shows it; the coincidences are wild, characters arrive to deliver philosophy and leave, and the emotional pressure can feel applied rather than earned. Nabokov made the case at length in his Cornell lectures. The defence is that the questions are the largest anyone has asked in a novel and that no one else has got near them.

Is there a good recent adaptation?

Not really, which is unusual for a writer this famous. A Russian series of Crime and Punishment was made for Kinopoisk in 2024 with a troubled release history and is hard to see outside Russia. The standing stage version by Marilyn Campbell and Curt Columbus compresses the novel to ninety minutes with three actors and is revived regularly by small companies. For once the honest advice is to read the book.

In what order should I read the novels?

Notes from Underground, then Crime and Punishment, then The Brothers Karamazov is the standard route and it works. If you want them chronologically: Poor Folk (1846), The House of the Dead (1862), Notes from Underground (1864), Crime and Punishment (1866), The Gambler (1867), The Idiot (1869), Demons (1872) and The Brothers Karamazov (1880). He died two months after finishing the last.

From the bookshelf

“Beauty will save the world.”

— Fyodor Dostoevsky, The Idiot, 1869.

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