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data-ttid="IameEmbedContaer" class="IameEmbedContaer-hptgUZ fXVBaX"><div class="IameEmbedAspectRatWrapper-hFVJps BKpgQ"><iame class="IameEmbedContent-cMdiev csnuAY IameEmbedContent lazyload" height="90" width="100%" sandbox="allow-scripts allow-same-orig allow-popups" tle="Embedd Frame" data-src=" allowfullscreen="" allow="toplay *; encrypted-media *; clipboard-wre; toplay; fullscreen; picture--picture"></iame></div></div></figure><p class="has-dropp has-dropp__lead-standard-headg paywall">At the end of “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Crime and Punishment</a>,” which was pleted 1866, Fyodor Dostoyevsky’s hero, Rodn Romanovich Raskolnikov, has a dream that so closely reflects the roilgs of our own panmic one almost shrks om s power. Here’s part of , Richard Pevear and Larissa Volokhonsky’s <a href=">renrg</a>:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>He had dreamed that the whole world was doomed to fall victim to some terrible, as yet unknown and unseen ptilence spreadg to Europe om the pths of Asia. Everyone was to perish, except for certa, very few, chosen on. Some new trichae had appeared, microspic creatur that lodged themselv men’s bodi. But the creatur were spirs, endowed wh reason and will. Those who received them to themselv immediately beme posssed and mad. But never, never had people nsired themselv so telligent and unshakeable the tth as did the fected on. Never had they thought their judgments, their scientific nclns, their moral nvictns and beliefs more unshakeable. Entire settlements, entire ci and natns would be fected and go mad. Everyone beme anx, and no one unrstood anyone else; each thought the tth was ntaed himself alone, and suffered lookg at others, beat his breast, wept, and wng his hands. They did not know whom or how to judge, uld not agree on what to regard as evil, what as good. They did not know whom to acce, whom to vdite.</p></div></blockquote><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">What is this passage dog there, a few pag before the novel nclus? Rell what leads up to the dream. Raskolnikov, a twenty-three-year-old law-school dropout, tall, blond, and “remarkably good-lookg,” liv a “cupboard” St. Petersburg and pends on handouts om his mother and sister. Lookg for money, he plans and execut the murr of an old pawnbroker, a “els, nasty, pernic loe,” as he lls her; and then kills her half sister, who stumbl onto the murr scene. He mak off wh the pawnbroker’s purse, but then, mysterly, buri an empty urtyard.</p><p class="paywall">Is really money that he wants? His motiv are ls mercenary than, one might say, experimental. He has apparently been readg Hegel on “world-historil” figur. Great men like Napoleon, he believ, m all sorts of crim their ascent to power; once they have attaed emence, they are hailed as benefactors to mankd, and no one holds them rponsible for their early eds. Could he be such a man?</p><p class="paywall">In the days after the crime, Raskolnikov vacillat between exhilaratn and fs of guilty behavr, spillg his soul dreams and hallucatns. Unr the guidance of an eighteen-year-old prostute, Sonya, who embodi what Raskolnikov se as “<em>satiable</em> passn,” he eventually nfs the crime, and is sent to a prison Siberia. As she was for him a nearby village, he falls ill and has that feverish dream.</p><p class="paywall">For , the dream pos a teasg qutn: Is jt a morbidly eccentric summatn of the novel, or is also an unwtg predictn of where we are gog? Dostoyevsky was a geni obssed wh social distegratn his own time. He wrote so forcefully that Raskolnikov’s dream, enuntered now, exprs what we are, and what we fear we might bee.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">I first read “Crime and Punishment” 1961, when I was a hman at Columbia Universy, as part of Lerature Humani, or L Hum, as everyone lls , a required yearlong urse for enterg stunts. In small class, the hmen traverse such formidable peaks as Homer’s and Virgil’s epics, Greek tragedi, scriptural texts, Augte and Dante, Montaigne and Shakpeare; Jane Aten entered the list 1985, and Sappho, Virgia Woolf, and <a href=">Toni Morrison</a> followed. I took the urse aga 1991, wrg a long report on the experience. In the fall of 2019, at the borr of old age—I was seventy-six—I began takg for the third time, and for entirely selfish reasons. In your mid-seventi, you need a jolt now and then, and works like “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Oedip Rex</a>” give you a jolt. What I hadn’t expected, however, was to enunter tastrophe not jt the pag of our readg assignments but far beyond them.</p><p class="paywall">In April, when the class began eight hours of discsn about “Crime and Punishment,” the mp had been shut down for four weeks. The stunts had arrived New York the prev fall om a wi range of plac and backgrounds, and now they had returned to them, stterg across the untry, and the globe—to the Bronx, to Charlottville, to southern Florida, to Sacramento, to Shanghai. My wife and I stayed where we were, our apartment, a uple of subway stops south of the universy, sequtered, empty of purpose, wag for somethg to happen. I trailed listlsly around the apartment, and found hard to sleep after a long day’s activy. I loered the kchen ont of a small TV screen, like a supplint awag favor om his sovereign. Rual, the relig say, exprs spirual necsy. At 7 <em class="small">P.M.</em>, I stood at the wdow, jt past the TV, and banged on a pot wh a woon spoon, the cy’s salute to ont-le workers the panmic. Raskolnikov has been holed up his room for a month at the begng of “Crime and Punishment.” Thirty days, give or take, was how long I had been cut off om life when I began readg the book aga.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">On Tudays and Thursdays, stead of makg my way across College Walk and up the stairs to a semar room Haton Hall, I logged on to our class om home. The greetgs at the begng of each class were like sighs—not feated, exactly, but wan. Our teacher, as always, was Nicholas Dam, a fixture Columbia’s English Department. Profsor Dam is a pact man his late forti, wh dark, ep-set ey and a touch of dark mtache and dark beard around the edge of his jaw. He has been teachg L Hum, on and off, for two s. He has one of those practiced teacher’s voic, a ltle dry but peratg, and the irreplaceable gift of never beg borg. At the begng of the class, his face shadowed by two glarg wdows on eher si of him, he would stggle for a moment wh Zoom. “This don’t feel like the experience we all signed up for,” he said. He uldn’t hear the stunts breathe, or feel them shift their chairs, or watch them take not or drift off. But his voice broke through the murk.</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="A man drsed a Beatlque su ss on a bench and looks for love the petals of a flower." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“She lov you . . . yeah . . . yeah . . . yeah . . .”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Evan Lian</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 13.9642C11.7819 14.0403 12.0058 13.9485 12.1147 13.764C12.2794 13.4849 12.1103 13.1276 11.8083 12.9992C11.7041 12.9549 11.6014 12.9044 11.5007 12.8475C10.0658 12.0368 9.57417 10.2413 10.4026 8.83712L12.4026 5.44715C13.2311 4.04298 15.0658 3.56187 16.5007 4.37257C17.9356 5.18327 18.4272 6.97878 17.5988 8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd 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10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">Nick Dam led the stunts through close readgs of dividual passag, lkg them back, by the end of class, to the stcture of the entire book. He is also a historicist, and has done extensive work on the social background of lerature. He wanted to know that neteenth-century Petersburg—which Dostoyevsky miraculoly renred both as a real cy and as a malevolent fantasy—was an imprsive disaster. In the early eighteenth century, Peter the Great had mand an army of archects and disposable serfs to build the place as a “ratnal” enterprise, tend to rival the great pals of Wtern Europe. But, Profsor Dam said, “elogilly, was a failure.” Prone to floodg, the cy had trouble disposg of sewage, which often found s way to the drkg water; 1831, Petersburg was vastated by a cholera epimic, and ordary cizens, battered by quarant and rdons, gathered protts that turned to rts. After 1861, when Alexanr II abolished serfdom, Profsor Dam said, peasants me pourg , lookg for work. It was an unhealthy place, and “wasn’t built for the populatn was startg to have.” He put a sli on the screen, wh a quotatn om “The Metropolis and Mental Life” (1903), by the German soclogist Ge Simmel:</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="9kj9u5"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="yvq8dy"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>The psychologil basis of the metropolan type of dividualy nsists the tensifitn of nervo stimulatn which rults om the swift and unterpted change of outer and ner stimuli . . . the rapid crowdg of changg imag, the sharp disntuy the grasp of a sgle glance, the unexpectedns of onshg imprsns.</p></div></blockquote><p class="paywall">“The rootlsns that Simmel wr about om tachment and bt,” Profsor Dam said. “And produc a nstant paranoia—a texture of the illogil. And dreams bee very important.”</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Dostoyevsky ignor the magnificent imperial buildgs, the huge public squar. He wr about street life—the voluble dnks, the lost girls, and the hungry children entertag for kopecks. His Petersburg off as a rnival world whout gaiety, a society that is neher palist nor munist but stuck some choate transnal suatn—an imperial cy whout much of a middle class. It seems to be missg the one aspect of life that sur survival: work. “Wh very few exceptns, everybody the novel rents,” Profsor Dam observed. “They are nstantly movg among apartments that they n’t afford.” Social ti were ayed. “And the absence of social stcture stroys fai,” he said. “To the extent that fai exist, they are really poro.”</p><p class="paywall">Cast this light, Raskolnikov’s rage agast the pawnbroker looked que different. He and a few of the other characters are barely clgg to remnants of stat or wealth: a dub nnectn wh a provcial nobleman; a tenuo prospect of a meangls job; or a semi-valuable posssn, like an old watch. No wonr they hate the pawnbroker who helps keep them afloat, Alyona Ivanovna, “a ty, dried-up old crone, about sixty, wh sharp speful ltle ey.” Raskolnikov is a wrath of disposssn.</p><p class="paywall">The cy that Dostoyevsky experienced and Raskolnikov habed had long been a hothoe of reformist and radil ias. In 1825, Petersburg was the center of the Decembrist Revolt, which a group of officers led three thoand men agast Nicholas I, who had jt assumed the throne. The Tsar broke the revolt wh artillery fire. In the late eighteen-forti, Dostoyevsky, then his twenti, was a member of the Petrashevsky Circle, a group of lerary men who met regularly to discs reanizg Rsian society (which, for some members, clud the overthrow of the tsarist regime). He was arrted, subjected to a terrifyg mock executn, and sent off to Siberia, where he pored over the New Ttament. By the time he returned to Petersburg, 1859, he believed Mother Rsia and the Rsian Orthodox Church, and hated both radilism and bourgeois liberalism. He put his iologil shift to supreme advantage: he was now the master of both radil and reactnary temperaments. “Crime and Punishment” is a relig wrer’s notn of what happens to an unstable young man posssed by utopian thkg. Dostoyevsky certaly knew what was simmerg below the surface: March, 1881, a month after the novelist died, two bomb-throwers om a revolutnary group assassated the reformist Tsar Alexanr II Petersburg. Thirty-six years later, Len returned to the cy om exile and led the Bolsheviks to power. Raskolnikov was a failed yet spirually signifint spectre hntg the ongog disaster.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The lively discsns around our semar table earlier the year were hard to sta among so many screens; the stunts were often silent their separate enclosur. But, as Profsor Dam sorted through the form of the novel and the many ntradictns of Raskolnikov, one stunt, whom I’ll ll Anton, burst out of the ad space.</p><p class="paywall">“He’s arrogant,” Anton said. “Self-righteo.” He noted that Raskolnikov seemed unbound by the l that bound others. “But there’s somethg very appealg about this great-man ia,” he ventured. “Is this possible? Could somebody rnate ‘the world spir’ by murrg two women wh an axe and gettg away wh flawlsly? That some of are rootg for Raskolnikov is a reflectn of that qutn. Is someone really pable of ratnalizg such a horrible actn? After the twentieth century, this be a challengg qutn. What kd of person would you have to be to get away wh ?”</p><p class="paywall">Anton, om Sacramento, was slenr, a nner, wh large glass and a radiant se. He had had a good tn a Ju school, and, at neteen, he was ede and attentive, abundant sentenc that sound as if they uld have been wrten. Listeng to him, you heard a flicker of intifitn wh the theory-md murrer.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">For all Raskolnikov’s sullen self-nscns, he has moments of fellow-feelg and righteo anger. His fay and iends adore him; even the suatg and masterly vtigator, Porfiry, believ that ar Rodya is worth fightg for. In our class, Raskolnikov’s feelgs about the vulnerabily of women—an important issue “Crime and Punishment”—stirred a number of stunts, pecially one I’ll ll Julia, who often returned to the theme. There was the matter of Raskolnikov’s sister, Dunya, a provcial bety, extremely telligent but almost impoverished and therefore the victim of solent moary bids for her hand om two spible middle-aged suors. The suatn cens Raskolnikov.</p><p class="paywall">“He firmly believ his sister is prostutg herself,” Julia said. “He has what seems to me a very radil and even progrsive thought—marriage is a form of prostutn, a form of slavery. It’s kd of Cathare MacKnon.”</p><p class="paywall">Julia, who me om a Catholic Cuban fay, had been an embattled femist her South Florida high school, which was filled wh <em class="small">MAGA</em> boys. In class, she hated for a send, but then, grng plicy wh herself, moved swiftly through plited femist and social-jtice ias. Raskolnikov was a puzzle for her. “He’s g this philosophil fense to separate himself om the murr,” she said. Yet he wants to protect women, not jt his sister but hapls young girls the street. Was his tert a se of male “triumphalism”—a way of enhancg his power over women by helpg them? Dostoyevsky’s wrg about the subservient stat of women was as outraged as anythg the Brontës had produced, wh the Rsian addive of persistent vlence. The male characters, tellg stori jocular ton, assume their right to beat women. “ ‘She’s my property,’ ” Julia mimicked. “ ‘I uld have beaten her more.’ ” In the urse of the novel, three different women, all given to extravagant tiras—a Dostoyevsky specialty—fall apart and die early middle age.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="d2wm"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa EOneK body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">I uldn’t pe the novel’s larger theme of cle: the herence of Petersburg, the breakdown of social ti, the dnkenns and vlence. At that moment April, our own cy felt largely empty, but I often imaged Amerin streets filled wh jobls people, some clgg to hop of returng to work, many whout such hop. We were halfway through the novel, halfway to the nfn and proud madns of Raskolnikov’s dream. Would we go the other half? Julia’s femist readg, new for me, opened still another nnectn. The newspapers were reportg that domtic abe had gone up among upl locked together. Women were now beg punished, as the cric Jacquele Rose would note, for the recent liberti they had achieved.</p><p class="paywall">Lookg for prent-day ronanc, I knew, was a grim and limed way of readg this work. “Crime and Punishment” is about many thgs—the psychology of crime, the sty of fai, the vany and anguish of sgle men adrift. But, midway through the book, Dostoyevsky’s wrerly exuberance allayed my worri. He’s an spired entertaer, wh his own hectic style of edy. His characters show up recg their troubl and leag, their liv “hangg out on their tongu,” as the cric V. S. Prchett put . I was now sequtered a welter of betrayals and loyalti, gossip and opn: the assorted virtuo and vic people the book believe manners, but they never stop talkg about one another. Even the pany of Dostoyevsky’s buffoons was liberatg.</p><p class="paywall">And Dostoyevsky’s extremy—his savage wardns, his apolyptic feverishns—had never felt so right. How many lns were now locked their rooms mutterg vile thoughts to themselv, or wonrg about the pot of their existence? He wrote about the absolute ratnaly of evil and the absurd necsy of goodns. He tnted himself and his rears wh alarmg proposns: What happens to man whout God and immortal life? Big qutns n rult banaly, but when an ia is put forward Dostoyevsky’s fictn go someplace—ns up agast an opposg one, or is veloped and refuted two hundred pag later. Such ntradictns notably exist <em>wh</em> characters. Dostoyevsky turned Raskolnikov’s unnsc to a field of actn.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The stunts had returned to faiar surroundgs (dogs barked the background), but they had three or four other urs—not to mentn all the anxieti of a prer future—to ntend wh. Their llege reers were msed up, their iendships terpted, their mp activi and summer ternships wiped out. As we read together April, the universy’s hospal, New York-Prbyterian, was filled wh victims of the panmic. Across the cy, hundreds of them were dyg every day. So many elements of our civilizatn had shut down: church, schools, and universi; librari, bookstor, rearch stut, and mms; opera pani, ncert anizatns, and movie ho; theatre and dance groups; galleri, studs, and lol arts groups of all kds (not to mentn lol bars). Who knew what would perish and what would e back?</p><figure class="AssetEmbedWrapper-eVDQiB byBkf asset-embed"><div class="AssetEmbedAssetContaer-eJxoAx dBHGoQ asset-embed__asset-ntaer"><span class="SpanWrapper-umhxW kKwZhx rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><div data-attr-viewport-monor="" class="RponsiveCartoonWrapper-iTMMjI eXTYsS rponsive-rtoon AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset viewport-monor-anchor"><a class="external-lk rponsive-rtoon__image-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank"><picture class="RponsiveImagePicture-cWuUZO dUOtEa RponsiveCartoonImage-hzNqyc ikeCcH rponsive-rtoon__image rponsive-image"><noscript><img alt="Two ts look at an unshreddable midcentury chair." class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w" siz="100vw"/></noscript></picture></a><div class="CaptnWrapper-jSZdqE gdZTpI ptn RponsiveCartoonCaptn-dokfdF hJgaLQ rponsive-rtoon__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo bsWloa ptn__text">“Enough of this. Let’s go shred a sofa.”</span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn RponsiveCartoonCred-bKlQqO faLAFb rponsive-rtoon__cred"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT bmQtfn ptn__cred">Cartoon by Julia Sus</span></div><div class="RponsiveCartoonCTA-eiqqMB iDCQRs"><div class="RponsiveCartoonCTAWrapper-CYIqa iTbFtf"><div class="RponsiveCartoonLkButtonWrapper-hqDAJK eSEhbj"><button aria-label="Copy lk to rtoon" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Copy lk to rtoon</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-pylk" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Copy lk to rtoon</tle><g clip-path="url(#clip0_3732_178637)"><path fill-le="evenodd" clip-le="evenodd" d="M16.3488 10.5017C16.2107 10.7357 16.2926 11.035 16.5318 11.17C16.7709 11.3052 17.0767 11.225 17.2148 10.991L18.4648 8.87225C19.5694 7.00002 18.9139 4.60601 17.0007 3.52508C15.0875 2.44415 12.6412 3.08562 11.5366 4.95785L9.53657 8.34782C8.432 10.22 9.08751 12.6141 11.0007 13.6949C11.1888 13.8012 11.382 13.8908 11.5785 13.9642C11.7819 14.0403 12.0058 13.9485 12.1147 13.764C12.2794 13.4849 12.1103 13.1276 11.8083 12.9992C11.7041 12.9549 11.6014 12.9044 11.5007 12.8475C10.0658 12.0368 9.57417 10.2413 10.4026 8.83712L12.4026 5.44715C13.2311 4.04298 15.0658 3.56187 16.5007 4.37257C17.9356 5.18327 18.4272 6.97878 17.5988 8.38295L16.3488 10.5017ZM7.6526 13.4983C7.79067 13.2643 7.70873 12.965 7.46959 12.8299C7.23044 12.6948 6.92464 12.775 6.78657 13.009L5.53657 15.1278C4.432 17 5.0875 19.394 7.00068 20.475C8.91385 21.5558 11.3602 20.9144 12.4648 19.0422L14.4648 15.6521C15.5694 13.78 14.9139 11.3859 13.0007 10.305C12.8127 10.1988 12.6195 10.1091 12.4229 10.0357C12.2195 9.95975 11.9956 10.0515 11.8867 10.236C11.7221 10.5151 11.8911 10.8724 12.1932 11.0008C12.2973 11.0451 12.4 11.0956 12.5007 11.1525C13.9356 11.9632 14.4272 13.7587 13.5988 15.1628L11.5988 18.5529C10.7704 19.957 8.93555 20.4382 7.50068 19.6274C6.0658 18.8167 5.57417 17.0212 6.4026 15.6171L7.6526 13.4983Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178637"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button><div class="AlertWrapper-gvFATk MdjE RponsiveCartoonLkAlertPopup-BPAXn kdMXRM shoppg-alert" role="dialog"><div aria-hidn="te" role="prentatn" class="AlertArrow-daOgye AlLda alert-arrow"></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ AlertMsage-jgAjgo bVCFRm ifgabc iOlxjf alert-msage"><p aria-hidn="te">Lk pied</p></div></div></div><button aria-label="Shop" class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv YsOBB button button--primary-pair RponsiveCartoonInButton-hBCBMq lpsjql" data-event-click="{"element":"Button"}" data-ttid="Button" type="button"><span class="ButtonLabel-cjAuJN bBWXSg button__label">Shop</span><div class="ButtonInWrapper-gFdzAL bPDyTT button__in-ntaer"><svg class="in in-rt" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Shop</tle><g clip-path="url(#clip0_3732_178638)"><path fill-le="evenodd" clip-le="evenodd" d="M4 3H2V4H4.23828L6.99617 15.2631C7.11483 15.6982 7.50998 16 7.96094 16H18.0365C18.4875 16 18.8826 15.6982 19.0013 15.2631L20.9648 7.26312C21.1383 6.62698 20.6594 6 20 6H10V7H20L18.0365 15H7.96094L5.03652 3H4.58055H4ZM10.0365 19C10.0365 19.5523 9.58881 20 9.03652 20C8.48424 20 8.03652 19.5523 8.03652 19C8.03652 18.4477 8.48424 18 9.03652 18C9.58881 18 10.0365 18.4477 10.0365 19ZM11.0365 19C11.0365 20.1046 10.1411 21 9.03652 21C7.93195 21 7.03652 20.1046 7.03652 19C7.03652 17.8954 7.93195 17 9.03652 17C10.1411 17 11.0365 17.8954 11.0365 19ZM18.0365 19C18.0365 19.5523 17.5888 20 17.0365 20C16.4842 20 16.0365 19.5523 16.0365 19C16.0365 18.4477 16.4842 18 17.0365 18C17.5888 18 18.0365 18.4477 18.0365 19ZM19.0365 19C19.0365 20.1046 18.1411 21 17.0365 21C15.932 21 15.0365 20.1046 15.0365 19C15.0365 17.8954 15.932 17 17.0365 17C18.1411 17 19.0365 17.8954 19.0365 19Z" fill="black"></path></g><fs><clipPath id="clip0_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath><clipPath id="clip1_3732_178638"><rect width="24" height="24" fill="whe"></rect></clipPath></fs></svg></div></button></div></div></div></span></div></figure><p class="paywall">The stunts were disfed, often quiet, almost abashed. In between class, they sent Profsor Dam their rpons to the readg, and he ed their not to pull them to the nversatn. As we approached the fal dream and s awful picture of social breakdown, I ntued searchg the novel for ditns of what uld summon so dreadful a visn—and also of what suggted s oppose, a possibly more benevolent world that was also praged by Dostoyevsky’s whirlg ntrari. In class, the nversatn turned toward qutns of moral difference and sympathy. What obligatns did we have to one another? Was there any remptive value sufferg? For Amerins, that last qutn was strange, even repellent, but mid-April the language of hardship was all around .</p><p class="paywall">Anton remaed fascated by the ia that one might achieve greatns by dog wrong the service of a larger right. But durg the crime self Raskolnikov falls to an abstracted near-trance and do one stupid thg after another. Anton had noted that Raskolnikov, standg a police statn, fats ad away when someone mentns the pawnbroker: “His body shuts off. The nsequenc of the act bee unstoppable, even if you try to take tellectual approach to prevent yourself om gettg ught.” Anton’s flirtatn wh the murrer was short-lived.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-3 viewport-monor-anchor"></div><p class="paywall">Raskolnikov blurts out many griefs and ambns, but is never able to say exactly what propelled his actns. Dostoyevsky don’t want the rear to solve the mystery: he mak the crime both overtermed and herently motivated. It was hard to judge a young man so tritely posed, and, when Profsor Dam asked, “Do we want him to get away wh ?,” he got no better than a mixed rponse. Raskolnikov wants, and don’t want, to pe punishment. His sulfuro ner monologu alternate between ntempt for others and ntempt for himself. Profsor Dam, answerg his own qutn, said that Dostoyevsky creat extraordary spense, but ’s psychologil spense: “Is he gog to crack?”</p><p class="paywall">Dostoyevsky tend moral spense as well: Would Raskolnikov e to regnize that what he did was absolutely wrong? In the last third of the novel, the gentle but persistent Sonya offers a way out for him. “She’s not g to Raskolnikov om a posn of judgment,” Profsor Dam said, “nor om a posn of implied moral superry. She’s sayg, ‘We are two sners.’ ” A eply relig girl, she had taken to workg the streets a failed effort to save her cmblg fay, and mt endure Raskolnikov’s tnt that she has given up her happs for nothg. In return, she prs him hard: Was he pable of acknowledgg his own misery? The subsequent nversn of the snarlg former stunt to Sonya’s doctre—the necsy of sufferg and salvatn through Christ—is perhaps the most rolutely asexual sctn all of lerature. What uld mean for ?</p><p class="paywall">In the next class, we were guid through the epilogue. Raskolnikov is a prison mp, and Dostoyevsky’s narratn shifts to a more removed, third-person voice. “For the first time, we’re outsi Raskolnikov’s head a staed way,” Profsor Dam said. “We’re separated om psychology, and feels like a loss.” But Julia said she felt “relief,” and quoted the narrator’s remark about Raskolnikov: “Instead of dialectics, there was life.” By dialectics, Dostoyevsky meant all the theori plagug the former stunt. A young man wh a head crammed full of ias, Raskolnikov need “air.”</p><p class="paywall">And what was “air” this clstrophobic novel? The word, Profsor Dam said, “was an articulatn of somethg transcenntal, certaly relig.” Julia was right to steer to the le “Instead of dialectics, there was life.” It was the most important sentence the novel. “But what is meant by ‘life’?” Profsor Dam asked. Raskolnikov tri strenuoly to shape that life, but the end transcennce om a surrenr of dividualy, not an assertn of . “The novel is a strong rebe to dividual happs and dividual rights and tonomy,” he said. At the end of the class, Zoom oze on Profsor Dam, and he remaed immobile on my screen, his dark ey starg straight ahead. We all need air.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">The fal dream is lodged the novel’s epilogue. That dream is a creepy ventn, evokg the genr of science fictn and horror: “Here and there people would band together, agree among themselv to do somethg, swear never to part—but immediately beg somethg pletely different om what they themselv had jt suggted, beg accg one another, fightg, stabbg.” The stggle has a sister dénouement: the few survivors of the disease are “pure and chosen, sted to beg a new generatn of people and a new life.” The dream prents a visn of society even more feral than the thor’s renrg of Petersburg earlier the novel. Surely ’s also an extreme exprsn of Raskolnikov’s md: havg murred two people, he now wants to murr the multus. But isn’t the oppose as well? An exprsn of Raskolnikov’s sympathy, a boundls py for a llapsg world? He remas plex and ntradictory to the end.</p><p class="paywall">I wasn’t the only rear April to be alarmed by the dream of an “unknown and unseen ptilence.” As Julia wrote me an e-mail, the dream was science fictn, but <em>polil</em> science fictn; the notn of a few special survivors suggted a master race, a new form of whe male privilege. She also saw the dream as reflectg on . “I noticed that the fected persons who are stubborn their beliefs to the pot of madns bear a strikg remblance to Amerins tryg to talk polics,” she wrote. “The mobs of people scribed by Dostoyevsky relled photos I saw of nservative folks Michigan prottg stay-at-home orrs at the pol. The exprsns on their fac and their screams, so nvced that their moral nvictns are rrect.” And Anton wrote to me that “people n’t agree on what’s right and wrong, and, our se, we know that ambiguy ncerng the future n make people rtls and highly partisan when reason and passn is what’s need this suatn.” His hope was that “we n humble ourselv enough to realize where we’ve gone wrong, to throw ourselv at the feet of the ‘satiable passn’ that Sonya reprents and emerge better people. If we n do that, then we won’t have to simply survive.”</p><p class="paywall">Two months later, my classmat had survived one experiment—the strangens of timate readg through remote learng. But the stggle for clary and unrstandg had tensified on so many onts. I thought of all the people actg wh urage and generosy, not jt the ont-le warrrs and the outsirs who shed to New York to help when the outbreak began but the many people who created muni of fah or art onle, or sent out all manner of eful advice on how to rist spair. The marchers prottg the murr of Gee Floyd and all that symboliz risked disease to exprs solidary wh one another. As the summer began, Anton, to make money, found work at a nearby untry club—cleang floors, wdows, and golf rts. He told me that was hard for him to “thk about the future, bee of the current suatn, wh the protts and the panmic,” although he didn’t le out a job ernment. Julia was terng for a legal nonprof, and makg plans to bee a human-rights lawyer, perhaps for Amnty Internatnal.</p><p class="paywall">Every day, Tmp’s Ameri, seemed as though we were g closer to the annihilatg turmoil—the mixed state of vexatn and fear— Raskolnikov’s dream. The disease was everywhere, and only heightened our world’s fissur and equi. More than a hundred thoand had died, tens of lns were unemployed, many were hungry, and, at tim, the untry appeared to be unravellg. Some spoke of racism as a “vis,” the Amerin vis; and the language of disease, though missts a human-ma surge as a natural phenomenon, ptur jt how profoundly has filtrated the life of the untry. The Print’s every statement, meanwhile, was signed to win chaos. He spoke of the need to “domate,” and many of were termed not to be domated. We would not lose our dividualy, like the poor murrer his exile. But neher uld we pe rponsibily for the ms we had ma, a ms we had bequeathed to the stunts, and to all of the next generatn. I kept returng to Dostoyevsky’s book, lookg for signs of how llective purpose n heal social divisns and jtic, stokg hope and rolve alongsi fear, anythg that would overtake the sperate anomie that Raskolnikov’s dream had njured: “In the ci, the bells rang all day long: everyone was beg summoned, but no one knew who was summong them or why.” ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="b9msl2"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2020/06/29" data-reactroot="">June 29, 2020</a>, issue, wh the headle “Raskolnikov’s Dream.”</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/david-nby"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/david-nby">David Denby</a> is a staff wrer at The New Yorker. 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tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-1" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 720w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 480w" siz="100vw"/><img alt="The Special Bonds Between Nail Artists and Clients" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN ijFbb summary-em__bric summary-em__seri-lk"><a class="RubricLk-gRWSOU 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summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="The Louis Armstrong Center Celebrat the Heroic Jazz Tmpeter" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Night Life</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">The Louis Armstrong Center Celebrat the Heroic Jazz Tmpeter</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">A new venue wh an archive, an exhibn space, and a theatre has opened up across om the Louis Armstrong Hoe Mm, Corona, Queens.</div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="“Here Li Love” Tackl Broadway; “Uncle Vanya” Tipto Downtown" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Theatre</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">“Here Li Love” Tackl Broadway; “Uncle Vanya” Tipto Downtown</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">David Byrne’s electro-pop Imelda Mars is a seri of hard, mirrored surfac.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Helen Shaw</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 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