If I were forced to compare Tolstoy with Dickens, I should say that Tolstoy’s appeal will probably be wider in the long run, because Dickens is scarcely intelligible outside the English-speaking culture; on the other hand, Dickens is able to reach simple people, which Tolstoy is not. Tolstoy's characters can cross a frontier, Dickens's can be portrayed on a cigarette-card. But one is no more obliged to choose between them than between a sausage and a rose.

Dickens is one of those authors who are well worth stealing.

I've always loved Dickens. And Henry James. Tolstoy, Dostoevski.

I know that I am going to meet a personal variation on reality; a partial view of reality. But I know also that by that partiality, that distancing from the shared experience, it will be new: a revelation. It will be a vision, a more or less powerful or haunting dream. A space-voyage through somebody else's psychic abysses. It will fall short of tragedy, because tragedy is the truth, and truth is what the very great artists, the absolute novelists, tell. It will not be truth; but it will be imagination. Truth is best. For it encompasses tragedy and partakes of the eternal joy. But very few of us know it; the best we can do is recognize it. Imagination - to me - is the next best. For it partakes of Creation, which is one aspect of the eternal joy.
All the rest is either Politics or Pedantry, or Mainstream Fiction, may it rest in peace.

Through the decade of the 1880s and into the early 1890s, Tolstoy and Fedorov met many times, and Tolstoy frequently refers to him in his letters and notebooks. For Tolstoy these were years of spiritual unrest. Never a complacent person unaware of his own self-development, Tolstoy in the late 1870S and early 1880s was passing through a stage of especially intense spiritual torment and particularly ruthless self-examination. His earlier religious faith, never terribly strong, had collapsed utterly, and he was seeking a new faith to live by. That he could not live a life strictly consistent with his deeply felt (and widely publicized) principles had always troubled him, and now tormented him. He had turned against the ideal of family life that he had so memorably depicted in War and Peace, but he still lived as-and at times very much enjoyed being-a family man. Theoretically he had turned against his own social class and against all art that did not illustrate some simple moral truth-and yet his biographers give us a charming picture of Tolstoy at age fifty and his old aesthetic and ideological enemy Turgenev, age sixty, sitting at opposite ends of a child's teeter-totter, seesawing up and down as children from the neighborhood laugh and applaud. Even during his famous "peasant" phase, in which he allowed himself to be portrayed by the artist Repin à la moujik behind a plow, we learn from his wife's diary that under his peasant smock he always wore silk underwear.

What the dickens!