Over the past several years, I’ve been working my way through the oeuvre of the Australian novelist Patrick White. One of his books I wrote about a couple of years ago was Riders in the Chariot. Since I happened to pick it up immediately after re-reading Dostoevsky’s The Brothers Karamazov, I couldn’t help but compare the two writers. I described Dostoevsky’s writing as masculine and White’s feminine. My reasons? All of Dostoevsky’s heroes are men, and his writing makes use of action and dialogue as the primary storytelling tools. By contrast, White’s heroes are usually women, and his writing relies on subjectivity rather than action and plot. These brief impressions occurred to me at the time, but I didn’t think any more about them.
Imagine my surprise, then, when I recently decided to tick another of White’s works off my to-read list and found that it’s his direct answer to The Brothers Karamazov. The book in question is White’s seventh novel, The Solid Mandala.
As is usual with White’s work, the Karamazov reference is subtle and could easily be missed. It’s a feature of White that his art requires a certain level of “initiation” into the Western canon. For example, his novel Voss requires an understanding of the Book of Job, the gospels, Goethe’s Faust, Jane Austen, Nietzsche, and Jung.

The Solid Mandala also has obvious references to Jung (the Swiss psychologist became interested in mandalas later in his career). But it is the Dostoevsky reference that is the key. White uses it to create one of the pivot points that occur in seemingly all his novels. These force the reader to completely re-evaluate the story until that point while also opening up a new and unexpected development afterwards.

This is the same trick that White pulled in Voss, where he leads us to believe that the story is about the titular hero, but it ends up really being about Laura Trevelyan. In The Solid Mandala, the reversal is even more stark because the first part of the story is told from the point of view of Waldo Brown, who we assume is the hero. Almost the exact same events are then re-told from the perspective of his twin brother, Arthur. This re-evaluation begins with a seemingly academic argument between the two brothers over the meaning of The Brothers Karamazov.
For those who haven’t read Dostoevsky’s great work, the story revolves around the relationship between four sons and their father. The boys’ mothers died when they were young, and their father, who is a drunken old letch and miser, sent them away to be raised by others. At the beginning of the story, they have all returned to their hometown for different reasons. The main drama in the story revolves around the murder of the father and the trial of the eldest brother, Dmitri. But it is the character of the youngest brother, Alyosha, who is both the real hero of the story and the centre point of a psychological dynamic which is present in all of Dostoevsky’s work but which reaches an apotheosis in Karamazov. In Nietzschean terms, it’s the psychology of ressentiment.
Alyosha is a saint, a paragon of virtue. In the Christian tradition, you can only become a saint after you have died. This is called canonisation. One of the results of this is that saints are abstract figures whose virtue is symbolised in legends, relics, and holy places. Dostoevsky’s brilliant question was to ask what would happen to a person who was a real-life saint? What would happen if even Jesus himself returned to earth?
The Brothers Karamazov deals with this question theoretically via its most famous section: the Grand Inquisitor. However, this philosophical exposition sits alongside the main body of the story, where Dostoevsky explores the same dynamic via Alyosha and his interactions with those around him, including his own family. Alyosha is the Christ-like paragon of virtue. The other characters in the story know that. They acknowledge it openly. But they cannot worship Alyosha, because he is not claiming to be either god or saint, and, in any case, he is their son, their brother, and their neighbour. He is just a normal person who happens to manifest saint-like virtue.
What response would we expect from people confronted with a saint? We might naively assume that Alyosha would be praised and the others would try to live up to his standards. But Dostoevsky knew that this is not what happens in the real world. In the real world, the presence of a virtuous individual causes other people to become ashamed because the virtuous one makes them look bad. When they are unable to rise to the same level, shame turns into resentment, and resentment turns into hatred and revenge. The psychological complex that Dostoevsky shows us involves people who fully understand Alyosha’s virtue but hate him for it. Unable to raise themselves to the higher standard, they try to drag him down to their level by tempting him into sin.
Once you learn to see the psychology of ressentiment as so beautifully portrayed by Dostoevsky, you realise it is everywhere in the world around us. Any time you hear somebody denouncing an individual, organisation, or idea that has not actively harmed them, and which they therefore have no legitimate grievance against, it is almost certain that resentment sits beneath the surface. The seeming paradox is that the resentful individual secretly admires what they claim to hate. The hatred is really self-hatred. It is a cover for shame and impotence, the inability to live up to the higher standard.
In The Solid Mandala, Patrick White begins with the same premise as Dostoevsky. The saint in the story is Arthur Brown. He is an idiot savant. Most people would have met an idiot savant in their life. I remember we had one at my school, a young boy who knew the birthday of seemingly everybody because he could remember after being told only once. Another kind of savant is the one who can do incredibly complex arithmetic in their heads and give correct answers immediately.
The special talents of idiot savants make up for the fact that they lack skills in other areas, most notably social niceties. They are the kinds of people who are called “a little slow” and, as adults, are often assumed to still be children from an intellectual viewpoint. That’s why they used to be called “retards”. However, it is precisely this childlike quality that is assumed to be saintly. Thus, both Arthur Brown’s and Alyosha Karamazov’s virtue rests in the fact that they retain a childlike belief in truth and virtue while those around them have long since become cynically attuned to the “real world”.
It is this latter category to which Arthur Brown’s twin brother, Waldo, belongs in The Solid Mandala. For him, Arthur is mostly a source of frustration and social embarrassment. Nevertheless, Waldo also realises that Arthur’s naivete is a kind of purity. All of this is presented in a very subtle way for the first two-thirds of the novel. In fact, the connection with Karamazov never even occurred to me during this part of the book. The story is typical of White. He shows us the lives of two ordinary people doing ordinary things in post-war suburban Sydney. Waldo’s frustration with his brother is understandable and we are not invited to hold it against him.
As he always does, White builds his story slowly and methodically, laying the groundwork for the dramatic re-evaluation that overturns the reader’s understanding leading into the third act. Waldo Brown is the intellectual brother. In that respect, he is similar to the character of Ivan Karamazov. But Waldo is a failed intellectual who, unlike Ivan, never has any ideas of his own. He ends up becoming a librarian.
Waldo’s increasingly bitter nature throughout the novel seems to stem from his failed ambitions not just at work but also in his love life. As an idiot savant, it is not surprising that Arthur never marries. For Waldo, not marrying is a failure, just like the rest of his life. That failure is symbolised by the fact that Waldo still lives with his brother, even though the two of them are in their sixties when the novel begins. We assume Arthur is still mentally a child, yet Waldo is still living in the home of his parents. Isn’t he also still a child?
Waldo is resentful of his life. However, his resentment is not directed towards Arthur for the first part of the novel. We assume his attitude to his brother is just part of his general grumpiness. That is what gets overturned in the most extraordinary fashion when Arthur suddenly takes an interest in The Brothers Karamazov. We learn that both Waldo and his father had always hated the novel (read: resented). Sibling rivalry rears its head, as it has numerous times throughout the story.
One day, Arthur goes into the library where Waldo works and picks a copy of Karamazov off the shelf. There’s no question that this is a deliberate provocation by Arthur. After all, he’s an idiot savant and is too pure for that kind of thing. Waldo discovers his brother with the book and an argument ensues over the meaning of the Grand Inquisitor. Arthur is nominally doing what he has done throughout the story, i.e., embarrassing his brother in public. In that way, the scene shouldn’t be anything new. But, this time it’s different.
Arthur may be an idiot savant, but he is not a complete dope. His brother and father may have hated the book, but Arthur realises that it resonates with him. In fact, he has started to grasp the true meaning of the work, and he is raising questions that Waldo, the arch-rationalist, does not want to think about. This would all be a purely academic exercise except that the questions that Arthur is asking relate directly to the relationship between the two brothers. Arthur has accidentally gone straight to the heart of the resentment complex that has been building in Waldo his whole life.
Waldo realises that Arthur does understand Karamazov. He is not a complete dummy. Maybe he never has been. Is it possible that Waldo has spent his whole life misunderstanding his brother? Or is it the case that Waldo always knew perfectly well what was going on but repressed the truth? It doesn’t matter much because Karamazov is the trigger that opens up the ressentiment. Waldo realises he hates Arthur. It’s the same kind of hatred that the other characters in Karamazov have for Alyosha, i.e., he secretly admires his brother’s virtue but cannot attain it.
The brilliance of all this is that the revelation that Waldo goes through is the same one we go through as the reader. All of a sudden, the correspondences with Karamazov become obvious, and we re-evaluate the entire story in light of them. Of course Arthur is Alyosha. It’s so obvious. As for Waldo, although he bears some resemblance to Ivan Karamazov, his resentment links him also to the other characters who try to subvert Alyosha’s virtue. In fact, we realise with Waldo that he may have spent his whole life trying to subvert his brother.
That in itself is a testament to the power of stories and their ability to re-align our understanding of the world. Once we have read Dostoevsky’s brilliant portrayal of the psychology of resentment, we can see it everywhere in the “real world”. Great works of art can make us re-evaluate in this way. It’s this exact same re-evaluation that White shows us in his novel. All of the facts about Arthur and Waldo were in the story from the start, but they only come to light once we learn to see them through the prism of Karamazov. If that can happen to us as the reader, then we also understand at a visceral level what has just happened to Waldo. The Brothers Karamazov is forcing him to re-evaluate his whole life.
All that would be brilliant enough, but White goes a step further by pulling the same trick he employed in Voss. Not only does the Karamazov revelation force a re-evaluation of the story so far, but it also opens towards an unexpected ending. In Voss, the hero dies at the end of act 2, and we realise that it is Laura Trevelyan who is the real hero. In The Solid Mandala, it is Waldo who dies and Arthur who steps forward. The final act of the book involves a retelling of the story through the eyes of Arthur.
That is a fascinating reversal in itself. But it is no mere intellectual trick. What White is going to do is call into question not the psychology of resentment but the psychology of the saint.
Waldo dies, but White deliberately obfuscates the cause of death. One thing we do know for sure is that Waldo was so incensed with his brother that he thought about killing him. This is the same heightened resentment which leads to the death of the father in Karamazov. Waldo goes from being an intellectual like Ivan to a resentful potential murderer like Smerdyakov. However, it is clear that Waldo does not succeed in his mission because Arthur is still alive.
Partly because of this, and partly because of our understanding of Arthur as an idiot savant, what happens next is quite extraordinary. Waldo has died in mysterious circumstances. Arthur is going to be held responsible for the death of Waldo. Could the saint be a murderer? In the last section of the book, White forces us to re-evaluate not just the Brown brothers but The Brothers Karamazov too. Of all of the reversals that White created in his novels, this may be the most spectacular.
Let’s return to the psychology of resentment. It begins with the virtuous individual who attains a higher standard than those around them. The others recognise this virtue but also feel ashamed because they have been made to look bad. Different people will respond to this in different ways. Some will redouble their efforts and attempt to lift their game. Others will simply dissociate and not even recognise the virtue at all. The resentful ones are those who recognise the virtue but can’t raise themselves to meet it. They externalise their shame onto the virtuous person and despise the saint for making them look bad.
White’s dangerous question is this: isn’t there an element of validity to this resentment? Doesn’t the saint bear some responsibility for what happens? Isn’t it true that the saint is the cause of the shame and resentment?
This may sound absurd, but it is not that different from what Dostoevsky does in Karamazov. In that story, it is bitter and resentful Smerdyakov who actually commits the murder. The middle brother, Ivan, did nothing to directly help. In fact, Ivan is completely unaware of Smerdyakov’s plot. However, Dostoevsky also holds Ivan responsible because he had put philosophical ideas into Smerdyakov’s head (“everything is permitted”), which convinced the bitter young man that it was acceptable to commit murder. If Ivan can be responsible for that in Dostoevsky’s novel, then why can’t Arthur be held responsible for the death of Waldo in White’s novel?
The question here is not a legal one. There is no law against propagating philosophical ideas. There is certainly no law against being virtuous. Ivan Karamazov is not called to answer before a court of law. He is called to answer before his own conscience, and his conscience finds him guilty. White follows the same idea, only it is Arthur Brown who feels himself guilty at the death of his brother. The saint feels guilt for causing resentment in the sinner.
White’s alteration to the psychology of ressentiment actually sheds a fascinating new perspective on Dostoevsky’s novel. One of the things that always struck me as strange about The Brothers Karamazov was the way in which Alyosha plays almost no role in the events of the second half of the book when his brother Dmitri is being charged for the murder of his father. Alyosha’s journey is to receive initiation from the Elder Zosima, to process the pain of Zosima’s death, and then to come out the other side and become an Elder too. Dostoevsky shows us this in the second half of the book where Alyosha helps a family through the trauma of the death of their son while also assisting the young boy’s classmates to come to terms with the tragedy.
All of that is fine, except Alyosha’s own father has died in the meantime, and his brother has been wrongfully charged with the murder. Meanwhile, both Ivan and Smerdyakov are going through their own inner turmoil. While Alyosha is off helping another family, he pays scant attention to his own. For a man who is supposed to be a saint and paragon of virtue, there is an implied indifference to the sufferings of his own kin. It’s all rather strange.
White must have noticed this too because in his novel the domestic side of the equation takes predominance. In fact, the story is almost suffocatingly housebound. White presents us with twin brothers who never marry and spend their whole lives living together in the house of their parents. That is also deeply strange. But the result is that Waldo and Arthur are the main characters in each other’s lives. There is no escaping from that fact and therefore no escaping from the responsibility that Arthur feels when Waldo dies.
Arthur is virtuous in a way that Waldo never could be, and Waldo spent his whole life resenting Arthur for it. That is the revelation that drives Waldo to his death. However, it is also true that Arthur has been completely oblivious as well. The reason why Arthur’s conscience is triggered when Waldo dies is because he comes to realise that he accidentally spent his whole life tormenting his brother. It was his own saintliness that did it. But, of course, the big question is whether it was “accidental” at all. Perhaps Arthur was wilfully ignorant. Perhaps Waldo was too.
If we again transpose this dynamic back into The Brothers Karamazov, we can see that the same line of thought raises some uncomfortable questions about Alyosha. If Alyosha was such a saint, how come he was unable to prevent his brother from murdering his father? Why did Alyosha make little attempt to diffuse the situation? Why does he afterwards show seemingly no remorse for what happened and no guilt about his own ineffectiveness in stopping it? Why does he have such enormous grief for Zosima but seemingly none for his own family?
Of course, these questions are similar to those which can be asked about the gospel story. Jesus knows full well that Judas will betray him, and he must also know that Judas will commit suicide afterwards. Nevertheless, he allows events to unfold. Doesn’t that make Jesus at least partly responsible for the death of Judas?
It may be blasphemy to ask such questions about God, but Alyosha is not God. White’s re-evaluation reveals a vital flaw in Karamazov. Dostoevsky’s great insight was to place a saint among the living. But there’s a reason why saints are only canonised after their death, because only then can it be known that they lived without sin. Since Alyosha is a human, there is always the potential for sin. The living saint is therefore a contradiction in terms.
If Alyosha is a human, then he is at least potentially a sinner. He may not have sinned yet in his life, but there will always be the possibility of sin as events unfold. Dostoevsky tries to prove Alyosha’s saintliness by having other characters tempt Alyosha. We see him pass the test. Fine. But he is still a human and the next sin is always potentially just around the corner.
More importantly, there is a different kind of sin which can work retrospectively. It’s the sin that both Waldo and Arthur Brown experience: a re-evaluation of the past not based on any new actions but on a mental re-alignment. A revelation. Dostoevsky clearly knows about this kind of sin since it’s exactly what happens to Ivan in Karmazov: he realises he was partly responsible for the death of his father. That message is even reinforced by Dostoevsky in the character of Zosima who actually says earlier in the novel that we are all responsible for each other.
Why is Alyosha immune to the same thing? Why should he take no responsibility for the murder? Dostoevsky avoids this whole question by leaving Alyosha out of all the difficult machinations that unfold in the second half of the novel. That’s the only way that he can he ensure his hero remains a saint.
But isn’t this also true of saints themselves? Isn’t the only way to remain a saint to stay above the fray and not get involved in affairs that might tarnish one’s reputation? Hasn’t the saint removed themselves from the dirty business of life? Moreover, isn’t it only possible to uphold the image of the saint by believing that you are not capable of sin? Isn’t the saint therefore guilty of pride? And if the saint has constructed for themselves an aura of sinlessness, aren’t they also responsible for the resentment they cause in others who know that they cannot meet the same standard? All of this could be avoided if the saint would only be honest and admit that they, too, are at least potentially a sinner.
That is what White shows us in the character of Arthur Brown, the saint who comes to realise that he has sinned. In truth, Arthur is far less responsible than Alyosha because Alyosha has a public image as a saint, and he could use that to influence those around him. Arthur, on the other hand, is viewed more like a village idiot. Even if he tried to make a difference, nobody else in the story would take him seriously, not even Waldo.
The more pressing problem for Arthur is the question of whether he really is an idiot at all. Clearly, he is not as dumb as he looks. Maybe he has spent his whole life living up to the projection that others had placed on him. Maybe it suited him fine to be thought of as an innocent fool. Maybe he used it to his advantage. If so, then he had also not lived up to his potential, just like Waldo. In fact, Waldo may even be superior to him on this score because he at least recognised his own failings while Arthur coasted along in perfect ignorance. The lack of resentment in the saint now looks like not just pride but dissociation. Maybe Arthur has been wilfully blind to himself, just as Alyosha has been wilfully blind to his family.
What White shows us in The Solid Mandala is that The Brothers Karamazov is actually a hagiography of Alyosha. The character may be fictional, but Dostoevsky’s portrayal of him is religious in form. Dostoevsky, the great realist writer, stumbled at the moment of his greatest triumph. This implicit critique of Karamazov is also a critique of art itself. Dostoevsky was writing at a time when he and others really believed that art could fill the void left by religion. But he crossed the line out of the former and into the latter. This is the lesson that Nietzsche had to learn through his break with Wagner.
As a 20th-century writer, Patrick White couldn’t help but have a less idealistic approach art. For White, whenever we make an abstraction, whether it be a great work of literature or a blog post such as this one, we potentially fall into the trap of Ivan Karamazov and Waldo Brown: we become caught up in the Jungian Thinking function. We mistake the map for the territory. We can imagine White saying to Dostoevsky, Yes, that’s a great work of art, my friend. But aren’t you and I also just Ivan Karamazov and Waldo Brown whenever we make art? Aren’t we also detaching ourselves from life? Aren’t we losing ourselves in religion?
There is no way around this. It is simply the cross that the artist and the intellectual must carry. Patrick White’s greatness was that he could bear that cross while still producing great works, unlike the rest of the (post)modernist tradition, which threw the baby out with the bathwater. It’s for that reason that I rate him the greatest novelist of the 20th century.
All posts on Patrick White:
Review of Voss
Review of Riders in the Chariot
Review of The Vivisector
Review of The Solid Mandala

