
In Dostoevsky's "White Nights," a lonely dreamer's four-night romance unfolds during St. Petersburg's ethereal summer twilights. Capturing the uniquely Russian concept of "toska" - melancholic longing - this haunting tale of unrequited love prefigures the psychological depth that would define literary modernism.
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Petersburg in summer becomes a ghost town as wealthy families retreat to country dachas, leaving behind empty streets and silent facades. Against this backdrop of abandoned grandeur walks our unnamed narrator-a man who knows every crack in the city's granite embankments but hardly a single soul within it. For eight years, he has wandered these magnificent boulevards, forming intimate relationships with buildings while remaining a stranger to people. He can describe the exact date when yellow paint began peeling from the Anichkov Palace or when railings were last repaired along the Fontanka River. His isolation has become so complete that he holds silent conversations with stone lions and marble columns, attributing personalities to different streets and squares. The white nights-that ethereal period near summer solstice when twilight extends almost until dawn-mirror his existence between observation and participation. He lives in perpetual twilight, seeing everything but touching nothing, a ghost haunting the margins of society. When we meet him, his isolation has reached an unbearable intensity as the city empties for summer, every closed shutter and darkened window mocking his solitude.
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