{"id":111675,"date":"2017-06-12T11:00:29","date_gmt":"2017-06-12T15:00:29","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=111675"},"modified":"2017-06-12T12:27:45","modified_gmt":"2017-06-12T16:27:45","slug":"fyodor-dostoevsky-white-nights","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/06\/12\/fyodor-dostoevsky-white-nights\/","title":{"rendered":"Fyodor Dostoevsky, <i>White Nights<\/i>"},"content":{"rendered":"<p><em>Matteo Pericoli is the founder of the\u00a0<a href=\"http:\/\/www.lablitarch.com\" target=\"_blank\">Laboratory of Literary Architecture<\/a>,\u00a0an interdisciplinary project that <a href=\"https:\/\/www.theparisreview.org\/blog\/2013\/08\/16\/literary-architecture\/\" target=\"_blank\">looks at fiction through the lens of architecture<\/a>,\u00a0designing and building stories\u00a0as architectural projects. This is the final installment of\u00a0<a href=\"https:\/\/www.theparisreview.org\/blog\/category\/literary-architecture\/\" target=\"_blank\">\u00a0a series<\/a>\u00a0dedicated to his designs and what they reveal about the stories\u00a0<\/em><em>they\u2019re modeled on.<\/em><\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_site_map.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-111676\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_site_map.jpg\" alt=\"\" width=\"768\" height=\"653\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_site_map.jpg 769w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_site_map-300x255.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_site_map-768x653.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>We\u2019re used to seeing skyscrapers towering over cities. We\u2019re used to imagining the fabric of a city as the footprint of solids over voids.<\/p>\n<p>The protagonist of Fyodor Dostoyevsky\u2019s <a href=\"https:\/\/www.gutenberg.org\/files\/36034\/36034-h\/36034-h.htm\" target=\"_blank\"><em>White Nights<\/em><\/a> is, as he himself tells us, a <em>dreamer<\/em>. A lonely man, with no friends or acquaintances, who only <em>knows<\/em> the look and soul of the physical places around his city, Saint Petersburg. Hiding from the sunlight, he wanders the city at nighttime, animating each street corner with character\u2014filling its voids.\u00a0<!--more--><\/p>\n<p>The novel is an adventure that lasts four nights. On the first night, the dreamer meets a woman in tears, bravely approaches her as he\u2019s never approached anyone before, and consoles her.<\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_elevationsmall_size.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-111677\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_elevationsmall_size.jpg\" alt=\"\" width=\"1003\" height=\"307\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_elevationsmall_size.jpg 1045w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_elevationsmall_size-300x92.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_elevationsmall_size-768x235.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_elevationsmall_size-1024x314.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>Although her heart beats for someone else, she lets him in and the two spend four nights getting to know each other. The closer he gets to her, the farther he distances himself from his lonely life. He has finally found the one chance he\u2019ll ever have to rise above the city from which he feels estranged.<\/p>\n<p>The improbable union between the two protagonists approaches in an unbearable crescendo until the final moment, when the story ends as abruptly as it had begun, and the dreamer suddenly sees even the physical city as a lifeless and meaningless place.<\/p>\n<p>\u201cMy nights ended with the morning.\u201d The glow of his dreamy nights has been turned off. Everything is clearer now\u2014even the view from his window has changed and the house across the way suddenly seems \u201cold and dingy.\u201d The disappearance of an unexpected sunbeam reinforces the dreamer\u2019s loneliness and distance and, with them, the prospect of a life spent recalling a \u201cmoment of blissful happiness.\u201d<\/p>\n<p>The skyscraper laboriously rises over the city. With an inclination well below forty-five degrees, its weight looms even more imposingly over the city below. Along its ascent, each of the skyscraper\u2019s four elements becomes lighter and airier.<\/p>\n<p><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_birds-eye.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-111678\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_birds-eye.jpg\" alt=\"\" width=\"909\" height=\"985\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_birds-eye.jpg 911w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_birds-eye-277x300.jpg 277w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/06\/dostoevsky_birds-eye-768x832.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>Seen from above, with its volumes coinciding with the streets, squares, intersections and boulevards, the skyscraper doesn\u2019t even seem to exist, blending in with the city\u2019s fabric.<\/p>\n<p>At the top of the succession of the four volumes there is a small, additional element: a balcony or belvedere of sorts. A viewpoint over a distant and faint city from where, in solitude, we can catch the last sunbeam before twilight.<\/p>\n<p>&nbsp;<\/p>\n<p><em style=\"line-height: 1.5;\">In collaboration with Giuseppe Franco.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Matteo Pericoli\u2019s Literary Architecture series reimagines classic stories as architectural projects.<\/p>\n","protected":false},"author":272,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[22546],"tags":[21331,14359,12976,17159,2861,15329,22550,452,13134,29141],"class_list":["post-111675","post","type-post","status-publish","format-standard","hentry","category-literary-architecture","tag-blueprints","tag-buildings","tag-drawings","tag-fyodor-dostoevsky","tag-history","tag-laboratory-of-literary-architecture","tag-literary-architecture","tag-matteo-pericoli","tag-sketches","tag-white-nights"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Reimagining Doestoevky\u2019s \u201cWhite Nights\u201d As a Building<\/title>\n<meta name=\"description\" content=\"Matteo Pericoli\u2019s Literary Architecture series looks at fiction through 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