The narrator of “White Nights” is plagued by loneliness and isolation; to ease his pain, he turns to his imagination, concocting lives of perfect fantasy to unburden himself of the struggle of daily life. In short, he lives in an unrealistic world of his own creation, as the truth of his lonely life is far too difficult to face. However, as Dostoevsky deftly indicates, this practice is deeply troubling. It is unhealthy to rely too heavily on these conjurations of the mind, as they fail to provide any substantial joy. Instead, they simply provide a stopgap for those struggling with their lives, allowing them to briefly reject reality and slip away. This practice only worsens their isolation, as the narrator discovers when a friend visits while he is in the midst of one such waking dream; real-life friendships and relationships cannot measure up to the mind’s fictional, romanticized version. Indeed, Dostoevsky argues, life should be lived, not imagined. When one relegates themself to the realm of fantasy, as the narrator does, one rejects all chances of the genuine and authentic human connection they so deeply desire. Essentially, one must be careful to avoid the trap of fantasy: it can be a comforting source of escapism, but it is also a damaging coping mechanism that cannot be relied on in the long term. 

Dostoevsky’s “White Nights” is a painfully poignant discussion of the fears and worries that plague even the most mundane life: loneliness, isolation, low self-esteem, and the desire to escape all figure into the narrative. The narrator’s struggle to connect with others—in platonic and romantic relationships—and reflexive rejection of his painful reality are common themes that many readers might find personally relevant. In an ever-modernizing world, the human connection that makes life worthwhile is increasingly hard to find and maintain. As such, social alienation and isolation are common, recurring symptoms; moreover, when one encounters a companion in their isolation, these relationships are fraught with tension. It is impossible to understand the mind of another, and these relationships are invariably contingent on personal, sometimes selfish, desires. Indeed, it seems as if life is a prolonged effort to build flawed and imperfect connections that, more often than not, wane before they blossom. The human condition is an endless pursuit of acceptance and love, an unceasing search for something that, to the narrator, too often seems impossible. 

One of the key themes of “White Nights” is the brief but emotionally impactful romance between the narrator and his unexpected female companion, Nastenka. Her feelings are volatile and change on a dime; she declares her love for her lost lover at the same time that she calls him uncaring and cruel. As she does, she speaks words of love to the narrator. Their whirlwind romance unfolds throughout the night as she spurns her lover and finds an alternative in the narrative. She requests he marry her, then asks him to move into her home. For a moment, the pair see their life together stretching ahead; just as quickly as the romantic vision finds mooring in reality, she dashes it. Real life returns, and the fantasy fades, devastating the narrator. The lesson is clear: happiness is neither externally found nor forever. Instead, the narrator must find a way to reject the comforting but ultimately damaging coping mechanism of dreaming and find happiness within himself; happiness found in the form of others is unreliable and inconsistent.