Friedrich Nietzsche once wisely said, “ A young man cannot possibly know what Greeks and Romans are. He doesn't know whether he is suited for finding out about them.” To sum up an intricate journey full of madness, idiosyncrasies and frankly, borderline sociopathic behaviour, let me just say, I have a profound desire to reverse the ticks of the clock which my ears have already heard, and magically engrain these words of Nietzsche into the abyss of my mind, igniting the much needed realisation that an obsession with the classics is akin to selling your soul to the devil. It seizes control over your life, clawing into your brain and, ensnaring your mind, relentlessly forcing it back to the same thing over and over again, no matter how hard you try, only one era runs through your subconscious, while you sleep, while you breathe and even while you lie on the ground perfectly still, intertwining with the soil and reaching another dimension that lies amidst the heavenly tapestri...
When someone asks me what my favourite genre is, I get lost within the intermingled thoughts weaving knots in my mind, pondering over the formation of an articulate term to convey the type of literary works that gnaw at my very soul. The only connecting thread is that all literary works centre around hyper-intellectual, eccentric characters, embarking upon quests fuelled by their idiosyncrasies, which are inexplicable and unfathomable for the common folk. The archetype for this literary niche is none other than the ‘Underground Man’, whose narrative voice Fyodor Dostoevsky writes from in ‘Notes from Underground’. ‘Notes from Underground’, is a limited omniscient novella written by Fyodor Dostoevsky, centring around the narrative perspective of an anti-hero, with the moniker, the ‘Underground Man’, his true identity being anonymous. While the narrator never explicitly reveals his name, the lack of a proper name emphasizes his disconnect from personal identity and his self-imposed ...