Introduction
In the context of works we read in Liberal Studies, Dostoevsky's Notes from Underground strikes a new and very dissonant chord, although (as I shall mention later) the sound is one we should recognize clearly enough, if we are at all familiar with some of the more important "heroic" figures from twentieth-century literature. For in this work Dostoevsky is holding up for our inspection and appreciation (if that is the right word) his vision of modern heroism or, more precisely put perhaps, his vision of what heroism has become in modern times. The central thrust of the work is designed to force us to recognize some significant transformations in the ability of human beings (including, most importantly, ourselves as readers) to construct good lives for ourselves, lives, that is, worthy of the sort of admiration and respect traditionally reserved for heroic individuals.
Cultural heroes--from history or fiction--as we have encountered them so far, have virtually all had a few qualities in common. First and foremost is their ability to act in the world, to make decisions, carry those out, and deal with the consequences. They might not always succeed and in some cases might be horribly wrong and suffer greatly and die for what they have chosen to do, or they might have to adjust, apologize, and learn from mistakes. Their efforts to confront life may defeat them, or they may emerge as triumphant revolutionaries, as sturdy defenders of traditional values, or as quiet middle-class wives, mothers, fathers, or children.
The key element is their ability to initiate action or respond to the actions around them. They operate, to use Dostoevsky's key metaphor, above ground, people interacting with people in the market place, council chamber, living room.
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