I liked this one a lot more than I initially anticipated.

Regardless of the specific plot, Dostoevsky has an uncanny ability to fully immerse the reader in the mind of the narrator.

One gets a comprehensive view of their thoughts, emotions, and their perceptions of those around them.

He is truly excellent at delving into these aspects of the human consciousness.

I also had a great appreciation for the elements within his stories that critiqued the social norms of the time.

Particularly, his criticism of elitism and the practice of forcing young girls to marry for the sake of money and social rank was quite powerful.

I really liked "The Peasant Marey" from his earlier works.

It beautifully portrays the kindness that can exist within any human soul, emphasizing that such qualities transcend social hierarchies.

The stories were presented in chronological order, which was a nice touch.

It enables the reader to witness Dostoevsky's growth as an author over the years.

His later stories delve much deeper into the reflection on the human condition and place a greater emphasis on interpersonal relationships.

For example, his later works highlight the lack of awareness people have regarding what others are truly going through and ultimately stress the need for greater human compassion and empathy, while also suggesting that such a thing is indeed possible.

Dostoevsky, you're a dream. Your works are like a magical key that unlocks the deepest recesses of the human soul. The complex characters you create, with their flaws and virtues, their struggles and triumphs, come alive on the pages, making us feel as if we are part of their lives.

Your novels, such as "Crime and Punishment" and "The Brothers Karamazov," explore profound themes of morality, guilt, and redemption. They force us to question our own beliefs and values, and to look within ourselves for answers.

Dostoevsky's writing style is unique and captivating. His use of vivid descriptions, powerful dialogues, and psychological insights draws us in and keeps us engaged from beginning to end. He has the ability to make us feel a wide range of emotions, from pity and compassion to horror and disgust.

In conclusion, Dostoevsky is not just a writer, but a visionary who has left an indelible mark on the world of literature. His works continue to inspire and influence generations of readers, and will undoubtedly do so for many years to come.

Well, I find myself in a rather uncomfortable position writing "I don't like Dostoyevsky."

But the truth is, that's exactly how I feel. I'm tempted to blame the translation, thinking that perhaps it didn't do justice to the original work.

However, more likely than not, I simply lack the ability to see what others seem to find so captivating in his writing.

Several of the stories, such as the renowned "White Nights" and "Notes from the Underground," verged on being unreadable for me.

Their convoluted plots and complex characters left me feeling confused and disengaged.

Alas, I'll have to admit defeat and stick to the Russian authors I've come to love, like Tolstoy and Bulgakov.

Their works speak to me on a deeper level, and I can easily get lost in their richly detailed worlds.

Maybe one day, I'll give Dostoyevsky another chance and discover the hidden gems that others have found. But for now, I'm content to explore the works of my favorite Russian writers.

I have been revisiting this particular collection ever since 9th grade.

Fyodor Dostoevsky is truly a master, and that's putting it simply. He had an understanding of psychology and suffering that few others have ever possessed.

This anthology showcases the absolute best of his shorter works. It serves as an excellent introduction to a genius whom we desperately need to rediscover in our modern times.

Dostoevsky's ability to delve deep into the human psyche and explore the darkest corners of our souls is both captivating and profound.

His works have the power to make us question our beliefs, values, and the very nature of our existence.

By revisiting this collection, we are given the opportunity to gain a deeper appreciation for his literary genius and the timeless wisdom that his works contain.

It is my hope that more people will take the time to explore Dostoevsky's works and discover the profound insights that he has to offer.

I read everything except "Notes From the Underground." So, technically speaking, this isn't a complete finish.

However, I have to assume that the police aren't going to show up at my door and arrest me at Christmas time for this kind of an infraction.

And truly, I do have every intention of reading it someday!

I read this as part of the Hardcore Literature Book Club with Ben McEvoy. As usual, his lectures were excellent and extremely enlightening.

He has this amazing ability to bring the works to life and make me see things from different perspectives.

After this experience, I realize that I need more Dostoevsky in my life.

His writing is so profound and thought-provoking, and I can't wait to explore more of his works in the future.

It's like opening a door to a whole new world of literature and ideas.

I'm excited to see where this journey takes me.

It is truly frustrating that a comprehensive volume encompassing all of Dostoevsky’s short stories does not seem to exist in English. Moreover, it appears that not all of them are even available in hardcover across multiple collections. Nevertheless, this particular collection offers a nice selection of a handful of stories from the very early stages of his career, interspersed with the final few short stories he penned. My exploration of Dostoevsky’s works has been rather haphazard in terms of chronology. Therefore, I truly appreciated that these stories were presented in the order they were written. “Notes From Underground” was the first book of his that I delved into; I have also re-read it since then, which is why I skipped it in this volume. I will likely return to it at some point, simply to experience the different translation. However, my to-read list is already growing far too long!

By far, “White Nights” stood out to me the most. It was followed closely by “A Gentle Creature” and “The Dream of a Ridiculous Man.” The other stories, for the most part, served as simply nice distractions. So, let’s take a closer look at each of these stories.

“White Nights” - 5 stars
The last book I read was “Poor Folk,” which, at the time, was one of the saddest stories I had ever encountered. That may have been true then, but without a doubt, that position has now been usurped by “White Nights.” Few things are as liberating as pulling oneself from the depths of miserable solitude into the realm of joyful communion. Conversely, few things are as damning as being thrust back from the heights of ecstasy to the pit of agony. In just a few short pages, Dostoevsky masterfully crafts an achingly brilliant exploration of both sides of this emotional drama within a single story.

The narrator of the story is a rather loquacious fellow. Despite his perceived inability to truly interact with the world around him, he has a firm understanding not only of who he is but also of who he aspires to be. I cannot help but see the lonely adolescent in him, the one who, alone in his (or her) room, believes that “there isn’t any” story to his life and that, “[he sees] all sorts of people but is alone all the same.” However, this is no adolescent. He is a man full of ideas, full of life, and full of hope. A man who finds himself沉浸 in fantastical stories and dreams, a man who believes “that there is something alive and palpable in his vain and empty dreams!” How can I, a mere observer, not feel sympathy for this character who at least attempts to know himself and “had long ago passed judgment on [him]self?” He proclaims himself a dreamer, yet the entire story of his life is punctuated with harsh doses of reality. If he had been only a dreamer, then crossing that street to Nastenka, to his future, to his Love, would never have occurred. In fact, it would never have been possible. Our dreamer knew himself and his dreams, and, more importantly, he knew that he desired those dreams to become reality. He had deceived himself into believing that his role in life had been reduced to “hearing and seeing people living real lives…”

Dostoevsky, however, makes it abundantly clear that we are not dealing with a man completely lost in his dreams, tales of others, and the real lives of strangers. The narrator took not only the first step toward his true Self when he crossed that road but also the second step when he returned, the third in baring his soul, and the fourth in returning yet again, relying solely on the promise of the opportunity to feel alive. But then Dostoevsky展现了他的独特风格. His joy, his love, his ecstasy – all of these things are fleeting, misplaced, and ephemeral as the wind. Instead of opening his heart, the narrator is compelled to open his mind to Nastenka in an effort to direct this new light of his life to shine on another, for she is already in love. In love, but with an absentee lover, and she reaches out to our narrator not for him but for compassion and empathy regarding her own situation. He composes himself and then composes a letter for the precocious Nastenka to the object of her desire. He states (for her) that, “I do not blame you that I have no power over your heart: such seems to be my fate.” What blind devotion she must feel for her former lodger and future lover not to see how clearly our narrator was expressing his own heart to hers? It was enough to break my heart, but Dostoevsky was not done with me yet.
The narrator takes yet another step and returns again the next night with a “full heart” and every intention and hope of creating a reality from the dream he had been living, despite Nastenka’s insistence on loving a man who was not present. He returns and is crushed in an episode that I feel plays out every day even now. “I love you,” Nastenka says before he can express his feelings, “because you haven’t fallen in love with me.” She twists the knife further: “When I am married, we shall be such good friends… I shall love you almost as much as him!” And Dostoevsky drives the blade home with a simple and childlike action as the narrator walks toward the future hand-in-hand with the only hand he wants to hold but is forced to realize that, “[her] hand is cold, but mine burns like fire.” He proceeds to finally explain his feelings to Nastenka, yet she, “does not understand.” She wonders, “Why isn’t he like you?” She believes that, “He’s not as good as you,” and then, mercifully, the torture stops with the killing stroke, for the truth remains that, “I love him more than you.”
I had to stop reading at this point. I thought I was prepared for the direction of this story, but these words and these actions were so hauntingly and beautifully portrayed that I had no choice but to, like the narrator, feel “tears well up in my eyes.” It had been nearly a year since I had found my own eyes watering in a public place, and I was not about to let a story nearly 200 years old shatter that ridiculously short record for me. So, I left our narrator with Nastenka on that St. Petersburg street for the evening. Vodka/Red Bull, please.
When I returned, I was ready. I was ready when the only thing he (I) could offer Nastenka, the only thing she would accept, was an assurance that, “[Your lover will] come tomorrow.” I was ready for my (his) sad assertion that, “[Nastenka and her lover] must be together now…” when she did not arrive at the planned rendezvous. I was not prepared, however, to repeatedly attempt to “go away” from her only to have her show up and, “continue to walk” with me, for her to beg me to, “stop!” to “wait!” and to at last give up the world around us, exist together, act “like children,” and believe in and PLAN a future together. Now I was blinded as I dutifully followed the narrative, followed the narrator, and allowed my own heart to build a future reality from what, in hindsight, was nothing more than a construct of straw. I should have known, but I wanted to believe. I should have known, but I wanted to feel “her hand tremble in mine,” and I should have known, but I wanted two hearts to slowly begin to beat in time as “she clung to me more closely.”
I should have known as “a young man passed us by.” I should have known… “It’s him!” I felt my knees buckle under me just as the narrator found that he “could hardly stand up.” I felt my eyes, dry and unblinking, as she “flung her arms around my neck and kissed me ardently. Then, without uttering a word, rushed back to him again, clasped his hands, and drew him after her” just as, with the narrator, “I stood a long time, watching them walking away.” And for the second time, Dostoevsky stops my heart.
Tennyson, I think, could not have been more wrong. It is far better to have never loved at all than to have loved and lost. And, despite our nameless narrator finally opining that, “Only a moment of bliss… is sufficient for the whole of a man’s life,” for me, “White Nights” proves just the opposite. A man who is “a dreamer” who finally experiences that dream “in real life” and then finds himself forced back to simply “re-living such moments as these in [his] dreams” must be the saddest man of all. “What is there left… to dream of now that I’ve been so happy beside you in real life and not in a dream?”

“The Honest Thief” - 3 stars
Forgive my own loquaciousness regarding that. Thankfully, I found the next several stories to be much less introspective and destructive. “The Honest Thief” was, at last, a Dostoevsky tale that I could truly see through to the end before I finished it. I felt like it was a fairly long and meandering tale with a foregone conclusion. Perhaps I lack the insight to ascribe a deeper meaning to this story, but what I took away from it was simply an edification of an idea that most of us already hold dear: “dishonesty, especially to those whom we love and who love us, will kill you in the end.”

“The Christmas Tree and a Wedding” - 3 stars
Once more, I found myself glad to be reading a simple story, a simple narrative that did not cut nearly as deeply as “White Nights” had. The exposition and Dostoevsky’s brilliance in creating a scene and an ambiance were on full display in this early short story. My God, it was creepy, but this story, like the one before it, seemed to simply convey notions that are likely already ingrained in the majority of his audience. This was a story of greed, of selfishness. Upon its conclusion, I simply shuddered. “Not me,” I thought. “Not me.”

“The Peasant Marey” - 2 stars
This was a fascinating look into Dostoevsky’s real life. I am vaguely familiar with his banishment, his death sentence, and the fact that he spent time in prison. To be allowed inside his mind, firsthand, during this period of his life was an incredible journey. The story itself, I found to be somewhat confusing and lacking real direction. Lacking direction, at least, for a reader. I understand the cathartic effect this must have had on the author, which is what made this such an interesting read. However, as an outsider who has not had an experience even remotely close to that which Dostoevsky lived through, I found it difficult to establish a personal connection to this story. I enjoyed this in a strange cerebral sort of way, but I don’t know what I will take from it as I attempt to craft my own story.

“Notes From Underground” - 5 stars
As I mentioned earlier, I skipped this during my reading of this volume. I may return to it at some point, but not now. For one thing, I really dislike that it is referred to as “Notes From the Underground” here. This story shaped so much of my personal outlook for many years. I have purchased multiple copies to give away to people I hoped would understand and, thereby, be closer to me. And I was introduced to this story as “Notes From Underground.” I know it’s petty, but there it is. This was an absolutely brilliant story, and it’s clear why it was included in this collection. Many elements of this were clearly evident in the earlier short stories, and their influence on the themes and styles of the stories that followed was obvious. This was, for me, a life-defining moment, and I’d like to believe, for Dostoevsky, a career-defining one as well.

“A Gentle Creature” - 5 stars
I don’t know if I can keep my word count down on this one, but I’ll try.
After “White Nights,” this was, without question, the most affecting story included here. I was immediately drawn in during the author’s “brief introduction” as he referenced Hugo’s “The Last Day of a Man Condemned to Death.” I haven’t read that story (although now I must), but everything he said pulled me forward in time and face-to-face with Jorge Luis Borges and his short story on the same subject. (I dearly wish I could remember the title, but all I can recall is that I read it in his collection “Labyrinths.”)
Regardless, this story affected me deeply, if only because, really, it is just revolting. I hope, dear God, I hope that I was not disgusted by this solely because I found myself looking in a mirror and seeing a monster looking back. I hope, dear God, I hope that I can recognize these things in myself long before my story takes the same path as this. I wanted, at first, to identify with the narrator of this story. I wanted to feel sympathy when he notes that it is, “sincerity that assures them their victory,” even as I write in the margins that “assurance is not the same as a guarantee.” I wanted to feel “one of the most voluptuous thoughts in the world, you know. Not to be in doubt, I mean.” To feel that even as I wrote that, “having no doubt is not the same thing as being right.” I was fully prepared to find an empathetic lead character whose fate, though sealed, still created an engaging and hopeful tale of the purity of desire.
But no! So quickly did he transform from an empathetic character to a selfish monster beyond redemption! I continued to hope that this was a story written in hindsight that had created a new perspective, the story of a man who, once tragedy had struck, truly realized the error of his ways. But I could not align myself with one who shaped their personality simply because it can “bias the imagination [of another] in one’s favor.” It is not, for me, a “feeling of inequality” that is fascinating. It is in equality that I seek edification, love, and companionship! (Or so I hope.) Page after page reveals the worst possible self I could be, and the narrator seems to revel in it. I recoil from the thought that she should “discover by herself this man and understand him!” I want nothing more than to take the journey to understanding together. Together to understand me and for me to understand. Well, “Find out yourself,” he exclaims, “and learn to appreciate me!” I shook my head in despair and prayed, “Please don’t let that have been me.”
The narrator here is the epitome of selfishness and singular desire who, at least for the majority of the story, reveled in his machinations to convince this young girl that he is the better of her two suitors. Was he attempting to make up for his past cowardice or just trying to raise himself above his economic competition? To prove himself better than another? This was a tale of extreme narcissism that is only realized once “a gun had been leveled against [him] by a human being [he] adored.” Even then, I felt no sympathy, only disgust. It is, again, a testament to Dostoevsky’s skill that he creates this disgust not only for his character but also in recognition that the same potential for such selfishness exists in me as well. The narrator clearly has no true understanding of others, for if, “she was the only person [he] had hoped to make [his] true friend in life,” then how could he possibly also say that, “a friend had to be taken in hand, licked into shape, and – yes – even mastered?”
If “White Nights” elicited deep and sincere feelings of regret and sadness from me, “A Gentle Creature” equally evoked notions of anger and, well, also regret. The characters of the two stories seem to have had a similar origin, as the narrator here also proclaims that, “I am a dreamer,” yet he has taken the opposite path of our “White Nights” narrator to create one of the worst caricatures of humanity I have ever seen. I still found myself unable to be hopeful here, even when he was “stunned” by her wordless question, “So it’s love you still want? Love?” My heart screamed, “Yes,” but how could I support these two when he still “paid no attention to her fear” because “a new life shone like a bright star before [him]!” At least he finally noticed that he “made a mistake,” but he failed to understand the impact his mistakes and his actions had on the one person who might have loved him. I mean, “him.”
It is here that I finally begin to have hope, yes, but also see my own mistakes with such clarity. It is here, however, that he turns it around on me again when he starts to believe that his new mistake was to “have looked upon her with such rapture” and that he “should have controlled himself.” I certainly understand the situation and know, painfully well, when that can be true, but he never realizes that his true “mistake” was that he should have been looking upon her “with such rapture” from the very beginning! This was brutal until the end. He never learned to change. Not really. He certainly never learned to convince her – with actions! – that he had actually changed. The only satisfying outcome here was the one we received. If it wasn’t the physical ledge of the window, then it should have been at least an emotional one. Such monstrous selfishness cannot be tamed. All I wanted was freedom for his poor wife.
I finished my reflections on “Poor Folk” thinking that I like to read these types of stories so that I can see the realities that lead to disaster and do my best to avoid them. If ever there was a character whose life choices I wish to avoid, Dostoevsky created him here.

“The Dream of a Ridiculous Man” - 4 stars
Out of all the stories contained here, this one felt most like “Notes From Underground.” From the beginning, the narrator’s self-deprecating description of himself had me believing I knew the philosophy that Dostoevsky intended to share with me. This also brought me back to Borges (or Camus) when the narrator succumbed to a sort of pre-existentialism, believing that “nothing in the whole world made any difference.” Honestly, I did not want to hear it. I did not want to read about a character who was, “so utterly indifferent to everything that [he] was anxious to wait for the moment when [he] would not be so indifferent and then kill [him]self.”
So, I was glad, even as I wondered what would have happened to me if I’d had a gun on the table, that he at least realized that, “though nothing made any difference to [him

Dostoyevsky has long been regarded as one of the most intimidating and yet appealing classic authors. In my mind, this perception held true until last year when the online fanfare surrounding "White Nights" finally compelled me to give in. While "White Nights" was the main attraction for me, with its earth-shatteringly gorgeous and timeless quotes on nearly every other page, I was also subtly drawn in by many of the other stories. "Stories from the Underground", with its despicable yet enthralling narrator, and "The Dream of a Ridiculous Man", which seems to transcend its era and cut to the heart of personal and societal morality, especially in a 2025 that appears to be spiraling out of control and when hope for a just and equitable society seems lost. (As simply put: "If only we all wanted it, everything could be arranged immediately.")

The characters in Dostoyevsky's works are often unappealing and even repulsive, the social mores and premises of almost all the stories comically outdated, and the writing archaic. However, Fyodor had some secret charm that reels you in and makes you hang on to the every last word of sociopaths and misogynistic social pariahs. Unfortunately, the female characters remain enigmatic, though interestingly described from the male counterparts' view. I am desperate for just a glimpse into the inner thoughts of both the women who lived in that era and those who were stuck with the peculiar, tyrannical men and the lives fate dealt them.

Overall, Dostoyevsky's works contain some gems and some snoozers, but they are ultimately very much worth reading.

Brilliantly executed subtleties and deceptions

are truly captivating. I have always found the unreliable narrator to be alluring,

as it adds an element of mystery and complexity to the story.

Lessons in empathy can be learned through the power of contrast,

where different characters and their experiences are juxtaposed.

Personal tragedies are cleverly realized through irony,

creating a sense of poignancy and depth.

The stories in this volume were arranged in a way that showcases Dostoevsky's growth and evolution as a writer.

I thoroughly enjoyed Magarshack's introduction and translation,

which provided valuable insights into the works and the author's mind.

I finally picked up Crime and Punishment and delved into the lengthy introduction. By the time I reached the end, I made a decision. I would first read Notes from the Underground to gain an understanding of Dostoevsky's early and later writings. In this particular edition, you have (published in chronological order except for The Peasant Marey):

White Nights
The Honest Thief
The Christmas Tree and a Wedding
The Peasant Marey
Notes from the Underground, which is truly more of a novella than a short story
A Gentle Creature
The Dream of a Ridiculous Man

As I read through these works, my initial reaction of "Good God, why did no editor save him from verbosity and ponderousness" gradually changed. I found myself laughing out loud at certain points (Notes from the Underground), feeling a sense of righteousness (A Gentle Creature), and experiencing admiring respect (The Dream of a Ridiculous Man). It becomes abundantly clear why Dostoevsky is renowned as a great observer of human psychology. His insights into how people interact with each other, including the tendencies towards envy, greed, resentment, and the need to exert power over others to feel superior (even if only temporarily), are profound. Most importantly, his works also highlight the need to accept and forgive oneself for these all-too-human frailties. I am now eagerly looking forward to reading Crime and Punishment in the near future.

If you were to read only a couple of short pieces by Dostoevsky, I wholeheartedly recommend Notes from the Underground and The Dream of a Ridiculous Man. Yay!

I am an extremely huge fan of Dostoevsky's novels. His works have always had a profound impact on me, with their complex characters and deep exploration of human nature. However, when it comes to these short stories, I have to admit that I was mostly bored while reading them.

Although there were a few highlights here and there, they were not enough to hold my attention throughout the entire book. I found myself constantly looking forward to the book being over, which is truly never a good sign. It made me realize that perhaps Dostoevsky's genius shines more brightly in his longer works, where he has more space to develop his ideas and characters.

Nevertheless, I still respect Dostoevsky as a great writer and will continue to explore his other works. Maybe these short stories were just not my cup of tea, but that doesn't mean they don't have value for others. I hope that in the future, I will be able to discover more of the hidden gems in his literature and gain a deeper understanding of his unique vision.

I am extremely glad that I had the opportunity to read this piece. However, I truly had to focus intently to follow the author's messaging.

My brother, who was a Russian history teacher, enlightened me by explaining that Russian authors during this era deliberately wrote with excruciatingly rambling dialogue. Their intention was to convey their messages without facing censorship.

The censors would either become bored due to the long-winded nature of the dialogue or simply not understand it.

The editor's comments significantly enhanced the value of the piece, especially the explanation of the author's imprisonment.

This newfound understanding has piqued my interest even further, and I now firmly plan on reading "The Brothers Karamazov" in the future.

I am eager to explore more of the author's works and gain a deeper appreciation for his unique writing style and the hidden messages within.

The best in the biz. I'm rating every story!

White Nights: 5/5

Captures the melodrama of youth with an expert's perspective. It is sentimental and fun, taking the reader on a journey through the passionate emotions of young love and longing.

Honest Thief: 4/5

Classic Dostoevsky at its best, featuring guilt that eats a character from the inside out. However, there could have been more contrast between the narrator and his boarder to add an extra layer of depth.

Christmas Tree and a Wedding: 4/5

The title seems unconnected, and the narrator is a bit passive. But still, it offers a fascinating expose on gender and power dynamics, highlighting the inequalities and struggles within relationships.

Peasant Marey: 5/5

Wonderful! Tight, memorable, and well-crafted. It's like finding a shaded, colored-in sketch in Michelangelo's workbook, a hidden gem that reveals the beauty and simplicity of human nature.

Notes From the Underground: 5/5

Defies expectation. It is lasting, specific, universal, and revealing. This was my second read, and I noticed the protagonist's great attention to detail when describing his clothes and his forgetfulness when he's naked. I'll definitely reread it again someday.

A Gentle Creature: 5/5

Surprising and lasting. It combines worldview-shaping ideas on gender, power, emotion, personality, and money in a fresh and dense package. It might just be my sneaky favorite, as it delves deep into the human psyche and challenges our assumptions.

Dream of a Ridiculous Man: 5/5

Beautiful, cosmic, and inspiring. It shows a love for humanity in all our gross flaws and an appreciation for the potential we hold. The collection flowed wonderfully, and I hold immense respect for this dude. Wow!