Some observations on The Brothers Karamazov

A few notes on Dostoyevsky's The Brothers Karamazov (1880, Pevear-Volokonsky tr.), I'm beginning to (re)read  Part 4 (of 4): First, what an unusual narrative device FD uses in describing the scene of the crime - the killing of the father Fyodor Pavlovich K. FD's narrator is by all measures an omniscient figure, giving us access not only to a wide and vivid range of dramatic scenes but also into the background and the thoughts of all of the major characters. He carefully builds toward the murder scene - Dimitri heading toward his father's house, rage and jealousy foremost in his mind, as well as his need for money that he believes his father owes to him. He brings us right into the garden, as he lures his father out of the house with the "secret" code door-knock. And then: the narrative breaks off with a series of ellipse dots; we simply do not see the scene of the murder - we see Dmitri rushing out of the garden, pursued by the elderly servant, Grigorev (sp?). So when the officials arrive the next morning to arrest Dimitri, we have no way to be sure than his claim of innocence is legitimate; it's up to us to make the judgement - though I think all readers will find his recollection of the events to be spurious or dubious at best. 

And what about the interrogation? Look, we all know that the American system of justice is often abused, in particular in regards to those of color and those w/out the means to hire competent attorneys. But the Russian system, as portrayed here, seems outrageous to most of us today: the prosecutor and the local AG immediately begin a complete examination and interrogation of the suspect and all witnesses, without even any pretense of providing the suspect - Dimitri, in this case - with a lawyer or even w/ any legal advice (they to read him a version of what we call the Miranda rights - so perhaps they were ahead of us on that score alone). Yes, this process is more like a grand jury, and Dimitri will get his day in court - but not after providing the state w/ a whole lot of information that he probably would have withheld had he be competent (he's still reeling from his night of revelry) and well advised. 

It also strikes me, deep into the complex novel, how willing FD is to set aside some of his major characters and to move the "off screen" if and when need be. The first part of the book concerned, mostly, Alyosha, the youngest brother, contemplating whether to marry for become a celibate monk. He pretty much vanishes, for half the novel - tho he will reappear in Part 4 (as we pick up, again the story of the impoversihed family and the young boy bullied by his peers). Similarly, the middle brother, Ivan, romantic rival to his brother Dimitri, heads off for Moscow at about the mid-point and we don't seem him about - maybe not till late in the 4th part? It's also surprising how little we see of the lurid father K, and how, with just a few brushstrokes (mostly, Dimitri's loathing and repulsion when he looks at his father) he creates a vivid character.