Dostoevsky’s work is understood in the light of his confession of faith: “If it somehow turned out... that Christ were outside the truth and truth outside Christ, then I would prefer to remain with Christ outside the truth...” (outside any philosophical and religious idea, outside any worldview). The author explores how this inner light breaks through the “points of madness” in Dostoevsky’s hero, in the oscillations between the “Madonna ideal” and the “Sodomy ideal,” and tries to understand the inner structure of the single unwritten novel (“The Life of a Great Sinner”)—the reflection of which were the five written great novels, beginning with “Crime and Punishment.” Dostoevsky’s polemical hyperboles are linked to the formation of his style. We can trace how flashes of xenophobia are dispelled by surges of universal responsiveness, by a planet without hatred (“The Dream of a Ridiculous Man”).