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One of the most profound and disturbing works of nineteenth-century literature, Notes from the Underground is a probing and speculative work, often regarded as a forerunner to the Existentialist movement. The Gambler explores the compulsive nature of gambling, one of Dostoevsky's own vices and a subject he describes with extraordinary acumen and drama. Both works are new translations, specially commissioned for the World's Classics series. Notes from the Underground (1864) is one of the most profound works of nineteenth-century literature. A probing, speculative book, often regarded as a forerunner of the Existentialist movement, it examines the important political and philosophical questions that were current in Russia and Europe at the time. The Gambler (1866), set in the fictional town of Roulettenberg, explores the compulsive nature of gambling, one of the author's own vices and a subject he describes with extraordinary acumen and drama. Specially commissioned for the World's Classics, this new translation includes a full editorial apparatus. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. Narrated by the character Alexei, who is addicted to gambling, this short novel is based on Dostoevsky's own experiences as a compulsive gambler. Like so many characters in Dostoevsky's novels, Alexei is trying to break through the wall of the established order and the human condition itself but instead he is drawn into the vortex of the roulette wheel "Notes From the Underground" examines the important political and philosophical questions that were current in Russian and Europe in the nineteenth century. "The Gambler" contains an unmistakable echo of the author's affair with Polina Suslova, in which he experienced more torment than fulfilment Both the author of the notes and the Notes themselves are, of course, fictional.