324 SEER, 83, 2, 2005 However unfortunatean errorthat 'novelstic'may be (thesethingshappen), the stickiness of the text, with its fondness for obsolete or highly technical terms ('inconcinnity' [p. 43], 'imbricated' [p. 93], 'aporias' [p. iii], 'devalorization' [p. I63], etc.), can only tend to obscure the challenging aspects of its own argument as well as the extraordinaryand trulynovel, not to say novelistic, challenge of Tolstoi's attemptto answerthe questions 'What is power?'and 'Whatforce producesthe movement of nations?' London RICHARD FREEBORN Lantz, Kenneth. 7The Dostoevsky Encyclopedia. Greenwood Press,Westport, CT and London, 2004. xxxiv + 499 pp. Chronology. Lists. Table. Select bibliography.Index. /56.99. THE strength of this work is in its compilation of facts. It begins with an alphabetical list of the entries, followed by a list of entries by topics, and a useful chronological table of Dostoevskii's life and publications. There is an index at the back and a bibliography. In the body of the work the topics proceed alphabetically as one would expect of an encyclopedia. Crossreferencingis achieved through bold type within entries. However, unlike an encyclopedia, thereare no referenceswithin the alphabeticalsequencingitself (of the type: 'EpilepsySeeIllness').Each of Dostoevskii'sworkshas its separate entry, with a limited range of sources at the end, and there is a wealth of informationon Dostoevskii'scontemporariesand some of the figuresreferred to in lettersand works.Acknowledgementis made of the thirty-volumeJ'Nauka edition of the complete works,which with its apparatusof notes and tables of referenceis almost an encyclopedia in itself. Broader,more ideological, mattersare dealtwith Religious and Political views, the Peasantry/People. Yet not all topics appear to merit an entry. Where are 'Humour', 'Nature', 'Napoleons I and III', for example?All this is an enormous taskfor one man to undertake,however great his competence. A true encyclopedia is the work of a team, and although one may admire Kenneth Lantz's industry and erudition, he cannot escape the charge of individual predilection with a resultant narrowing of focus. This is most obvious in his section on 'ReligiousViews'. To begin with thereis the question of whose religious views those of Dostoevskii's characters or the trickier ground of the views of the authorhimself? As regardsthe latter,Lantzstresses Dostoevskii'sChrist-centredOrthodoxy, whilstadmittingLeontiev'sdoctrinal criticisms and Strakhov'sobservations on his minimalist religious practices. Lanz, however, subscribes to the conventional view: 'Dostoevsky's very concept of religiousfaithwas a processof struggle,not a finishedand resolved belief' (p. 357). So far so good, but there is a whole area of religiousexperience airbrushed out of thistraditionalview, which is not only a constantthreadthroughouthis writing, but also affects his portrayal of the Russian people, the 'Russian Christ'and even the manipulativeleversof revolutionarypolitics.When Lantz talksof the peasantsmaintaining 'theirage-old ideals of Orthodox Christianity ' (p. 306), he can only mean, though I doubt he does, that the peasantry REVIEWS 325 persisted in the tradition of the old faith, before the 'Orthodoxy' which was imposed on them in the seventeenth century. The 'Old Faith'was takenvery seriouslyby Dostoevskii,who in an articleof I862 calledit 'themost important phenomenon in Russianlife, and the best pledge for a betterfuturein Russian life'.Dostoevskii'sinterestextended to the extremesof Russiansectarianism the Flagellantsand the Castrates -nor are these minor themes in hiswriting; they have a symbolicpresence throughout,and it is no coincidence that allhis murderers are connected by allusion and symbol to Russian sectarianism. These are matters for which the student of Dostoevskii needs real help, particularlywhen the unmentioned religiouseccentric Fiodorov has an entry, whereasthe leader of the Flagellants,Danila Filippov(whosename does occur in 7heDevils)is not referencedat all. Most strange of all, in the entry on 7he Brothers Karamazov, the main teachingsof Zosima on adorationof the earthand the doctrineof otherworlds are passed over in complete silence (the doctrine of 'other worlds' was anathematizedby the Orthodox church in the eighteenth century, and 'earth worship'has obvious pagan roots).As a resultthe great spiritualclimax of the novel, Alesha'sepiphany in the monasterygarden, is completelylost. Finally it must be said that the proofreading leaves much to be desired. Among other slips Makar Dolgorukii is referred to as Makar Devushkin (p. 422). Turgenev'sNotesofa Hunter becomes Notesofa Hunger (p. 443) and in a felicitous slip, rather than a cloud, 'a great...