Dostoyevsky's Influence on the True Crime Genre

Jennifer Wilson, a post-doctoral fellow at the University of Pennsylvania, discusses Feodor Dostoyevsky's relationship to today's extremely popular true crime genre (here, for the New York Times).  She says in part,

[T]oday’s true crime resurgence has an antecedent in the works of Fyodor Dostoyevsky, the Russian author of numerous novels about murder including, most famously, “Crime and Punishment.” Dostoyevsky was obsessed with the judiciary. He spent considerable time watching trials, debating with lawyers about the nature of innocence and guilt, visiting the accused in prison and trying to sway public opinion about certain cases. So enmeshed were Dostoyevsky and his writing in the legal consciousness of czarist Russia that defense attorneys were known to invoke Rodion Raskolnikov, the charismatic murderer-protagonist of “Crime and Punishment,” when seeking sympathy from the jury.

Dostoyevsky's Legacy

Brian Christopher Jones sends me this post from the blog Misleading Law of the Week. It discusses the Crime and Punishment (Scotland) Act, 1997. Dr. Jones points out that the name of the Act recalls the title of Fyodor Dostoyevsky's classic work Crime and Punishment. Notes Dr. Jones:

When Fyodor Dostoyevsky penned his classic text Crime and Punishment in 1866, he probably never thought that its title would be attached to pieces of legislation or be so culturally prevalent. Over a century later, however, the Westminster Parliament enacted the Crime and Punishment (Scotland) Act 1997, thus inscribing the provocative name of the author's novel into the UK statute book. While the phrase "crime and punishment" has become ubiquitous in popular culture throughout the years, placing it as the title of an official piece of legislation is much different than putting the label on a video game or as the title to a Dawson's Creek episode...or, so it would seem. 

Insane Delusions In "The Double"

Amy Ronner, St. Thomas University School of Law, has published Does Golyadkin Really Have a Double? Dostoevsky Debunks the Mental Capacity and Insane Delusion Doctrines at 40 Capital University Law Review 195 (2012). Here is the abstract.

In Dostoevsky's "The Double," one of the great, but lesser known Russian novels, protagonist Golyadkin suddenly meets his identical twin, who ostensibly wreaks havoc on his life.
While "The Double" appears to have nothing to do with the law of wills and trusts and has not been redacted into any law school case book, I now suggest what might irritate some staunch traditionalists -- namely that Dostoyevsky should claim an entire chapter on the mental capacity doctrine. It is this article's narrow thesis that "The Double" debunks, or, at least sheds doubt, on some basic mental capacity and insane delusion concepts. On a broader level, this article, diveded into four parts, explores Dostoevsky's proposition that in many cases, we (as lawyers or mere mortals) are incapable of determining unsound mind and insane delusions.
Part II focuses on wills and trusts because it boasts of having a sacrosanct policy in favor of testamentary freedom. Despite that policy's stronghold, courts have in some cases limited or eradicated a decedent's ability to direct the disposition of property upon death. One instance is where contestants argue lack of mental capacity or use a doctrine called "insane delusion" or "monomania" to invalidate estate plans that either omit them entirely or slight them as beneficiaries. Although in wills' law, sound mind and insane delusion are legal constructs, this article, borrowing from the psychiatric definitions of "bizarre" and "non-bizarre" delusions, cordons them to Dostoevsky's message in "The Double."
Part III, shifting from law to literature, summarizes the story in "The Double" and the raging debate over not just the novel's meaning, but also Golyadkin's mental condition. This part suggests that the controversy surrounding this novel belies the fact that in "The Double" we cannot ascertain what is real and what is hallucination. This part, linking Dostoevsky's thesis to the current mental capacity doctrines, suggests that Golyadkin, like many testators, would baffle our courts if his psyche were under the will-contest microscope. In fact, the uncertainty in "The Double" resembles the disquieting dubiousness of such contests, particularly in litigation in which individuals are alleged to have "non-bizarre" delusions. This part goes further than just complaining, however, but, taking a stab at a solution, proposes the sort of doctrinal revamping, which would heed Dostoevsky's wise admonition.

Part IV concludes by revisiting the one (or two Golyadkins) who disclose(s) the most deleterious effect of our current capacity law and demonstrates why it is so crucial to make change.

Download the article from SSRN at the link.

Insanity and Dostoevsky's "The Double"

Amy Ronner, St. Thomas University School of Law, has published Does Golyadkin Really Have a Double? Dostoevsky Debunks the Mental Capacity and Insane Delusion Doctrines at 40 Capital University Law Review 195 (2012). Here is the abstract.

In Dostoevsky's "The Double," one of the great, but lesser known Russian novels, protagonist Golyadkin suddenly meets his identical twin, who ostensibly wreaks havoc on his life.
While "The Double" appears to have nothing to do with the law of wills and trusts and has not been redacted into any law school case book, I now suggest what might irritate some staunch traditionalists -- namely that Dostoyevsky should claim an entire chapter on the mental capacity doctrine. It is this article's narrow thesis that "The Double" debunks, or, at least sheds doubt, on some basic mental capacity and insane delusion concepts. On a broader level, this article, diveded into four parts, explores Dostoevsky's proposition that in many cases, we (as lawyers or mere mortals) are incapable of determining unsound mind and insane delusions.
Part II focuses on wills and trusts because it boasts of having a sacrosanct policy in favor of testamentary freedom. Despite that policy's stronghold, courts have in some cases limited or eradicated a decedent's ability to direct the disposition of property upon death. One instance is where contestants argue lack of mental capacity or use a doctrine called "insane delusion" or "monomania" to invalidate estate plans that either omit them entirely or slight them as beneficiaries. Although in wills' law, sound mind and insane delusion are legal constructs, this article, borrowing from the psychiatric definitions of "bizarre" and "non-bizarre" delusions, cordons them to Dostoevsky's message in "The Double."
Part III, shifting from law to literature, summarizes the story in "The Double" and the raging debate over not just the novel's meaning, but also Golyadkin's mental condition. This part suggests that the controversy surrounding this novel belies the fact that in "The Double" we cannot ascertain what is real and what is hallucination. This part, linking Dostoevsky's thesis to the current mental capacity doctrines, suggests that Golyadkin, like many testators, would baffle our courts if his psyche were under the will-contest microscope. In fact, the uncertainty in "The Double" resembles the disquieting dubiousness of such contests, particularly in litigation in which individuals are alleged to have "non-bizarre" delusions. This part goes further than just complaining, however, but, taking a stab at a solution, proposes the sort of doctrinal revamping, which would heed Dostoevsky's wise admonition.
Part IV concludes by revisiting the one (or two Golyadkins) who disclose(s) the most deleterious effect of our current capacity law and demonstrates why it is so crucial to make change.

Download the article from SSRN at the link. 

"Crime and Punishment" and False Confessions

Rinat Kitai-Sangero, Academic Center of Law & Buriness, Ramat Gan, Israel, has published Can Dostoyevsky's Crime and Punishment Help Us Distinguish between True and False Confessions? at 9 Ohio State Journal of Criminal Law 231 (2011). Here is the abstract.

Dostoyevsky's Crime and Punishment is also a story about confessions. Raskolnikov, who committed a double murder, and Nikolay, an innocent suspect, each confesses to the same crime. An analysis of Raskolnikov’s and Nikolay's confession demonstrates the complexity of motives that drive the guilty and the innocent alike to confess and points to the distinction between true and false confessions. Finally this novel supports the conclusion that the accused should be required to provide significant details of the crime as a requirement for relying on his or her confession.

Download the article from SSRN at the link.