ABSTRACT
In spite of the fact that Constance Garnett's translations of Fyodor Dostoyevsky were, as Virginia Woolf wrote retrospectively on many occasions, a major event in the British literary scene, 'doubts and misgivings' still surrounded the figure of the Russian novelist and his work. In fact, in 1912 the terminology used in critical studies and reviews on Dostoevskii was similar to that used in previous years, when the Vizetelly editions were published. Muchnic and other scholars refer to this period as the years of the Dostoevskii cult, and it is fair to acknowledge that many a generation of readers and scholars came to admire Dostoevskii thanks to Constance Garnett's translations. In general, British journals acknowledged the importance of Heinemann's editorial project; however, on the whole they found it difficult to deal with Dostoevskii's artistic form. Murry is on to something when he warns his readers about the impossibility of inscribing Dostoevskii's works within the traditional parameters of the novelistic genre.
