The particular dialect or language that a person chooses to use on any occasion is called a code


 

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IDEAS  

Journal of Language Teaching and Learning, 
Linguistics and Literature 
 

ISSN 2338-4778 (Print) 
ISSN 2548-4192 (Online) 

Volume 12, Number 2, December 2024 
pp. 2361 - 2377 

Between Dream and Inherited Trauma: A Post-

memory Reading of Dostoevsky's White Nights 
Dyah Suryaningrum1, Theodore Alexander Atmaja2 

 dyah.suryaningrum@widyadharma.ac.id1, theodore@widyadharma.ac.id2 
1,2Widya Dharma University Pontianak 

 

Received: 2024-11-26 Accepted:2024-12-31 

DOI: 10.2456/ideas. v12i2.5874 

 

Abstract 

This article explores Fyodor Dostoevsky’s White Nights through the lens of Marianne 

Hirsch’s concept of post-memory, revealing how inherited trauma and societal alienation 

shape the novella’s protagonist. Set in 19th-century St. Petersburg, a city emblematic of 

Russia’s conflicting forces of modernization and tradition, White Nights presents a 

narrator isolated both by his introspective nature and by broader social conditions. 

Through a post-memory perspective, this analysis investigates the protagonist’s emotional 

detachment, romantic idealization, and eventual disillusionment, linking them to 

generational trauma and the archetype of the Russian “superfluous man.” The 

protagonist’s unrequited love for Nastenka is not merely a romantic fixation but a 

symptom of his inherited emotional burdens, reflecting how individuals inherit unresolved 

traumas and memories from previous generations, which shape their identities and 

interactions. The article further examines Dostoevsky’s critical portrayal of the Romantic 

“dreamer,” contrasting idealism with the grim realities of the city’s alienated inhabitants. 

Ultimately, this reading of White Nights highlights the novella’s enduring relevance, as 

Dostoevsky probes the complexities of memory, trauma, and the individual’s place within 

society, resonating with modern themes of inherited psychological and social dislocation. 

 

Keywords: Post-memory, Dostoevsky, White Nights, trauma, dreams, memory, inheritance 

 

Introduction 

“You can’t go back and change the beginning, but you can start where you are 

and change the ending.” — C.S. Lewis. The impact of traumatic events is never been 

cared for couple of decades as not many people understand how significant the 

wound is. Even after one or two generation shifts, the influence of traumatic 

memory from the past still last and has transformed in such depth that the 

transmission is also supressed.  

http://u.lipi.go.id/1457703302
mailto:dyah.suryaningrum@widyadharma.ac.id1,


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Marianne Hirsch introduced the concept of post-memory referring to the 

relationship between the second generation and the trauma experienced by the 

first generation, particularly affected by atrocities such as war, displacement, or 

other forms of intense violence. Post-memory suggests that past traumas are 

indirectly remembered and relived by those who inherit them (Anastiadis, 2012). 

The next generation receives trauma through various ways either persona, familial, 

or collective transmissions. 

Framework of post-memory is particularly resonant when applied to 

literature, where characters often navigate personal and collective histories 

through subconscious channels like dreams and fantasies. In White Nights (1848), 

Dostoevsky presents a narrator whose dreamlike existence and failed attempts at 

real connection speak to more than individual loneliness. Through a post-memory 

reading of the story, reveals layers of inherited emotional trauma, reflecting the 

broader societal context in which Dostoevsky was writing. This paper analyses the 

narrator's internal struggles as symptomatic of unresolved historical memory, 

shaped by his own experience and the lingering impact of collective trauma. 

 

Literature Review 

Dostoevsky’s White Nights has often been analysed through various lenses, 

including existentialism, romanticism, and psychological realism. Scholars such as 

Frank (2010) emphasizes the exploration of human isolation and yearning for 

connection at individual level. The disconnected self generally struggles to open 

and to establish links toward the collective or cultural. On the other hand, some 

individuals might drown into closing the possibility of engagement with the 

environment causing the more complex suffering of the secluded personal.  

However, few studies have approached the text through the framework of post-

memory and inherited trauma.  

The notion of trauma inheritance has primarily been discussed in the context 

of Holocaust literature (Hirsch, 2012) and post-colonial studies (Craps, 2013). 

Applying this theoretical framework to 19th century Russian literature, and 

specifically to Dostoevsky’s earlier work, offers new insights into how dreams and 

memories shape characters' lives and identities (Mortimer, 1956). While studies 

like Aho (2016) focus on Dostoevsky’s later works such as The Brothers Karamazov, 

a post-memory perspective on White Nights allows an investigation into the latent 

emotional scars transmitted across generations. 

White Nights was selected as the focus of this post-memory analysis due to its 

distinctive narrative structure and thematic exploration of emotional intimacy, 

soliloquy, and unfulfilled dreams, which resonate profoundly with the concept of 

inherited trauma. Unlike Dostoevsky’s more widely analysed works, such as Crime 

and Punishment or The Brothers Karamazov, White Nights operates on a smaller, 



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more personal scale, offering a unique lens through which to examine the 

transmission of memory and emotion across generations. Its protagonist's 

poignant reflections and yearning for connection create a fertile ground for 

analysing how personal and collective histories intertwine, especially in the context 

of post-memory theory. Furthermore, the melancholic yet hopeful tone allows for 

a nuanced exploration of the interplay between inherited emotional burdens and 

the individual’s search for identity and meaning. This focus makes White Nights 

particularly suitable for illuminating the subtle, often overlooked dimensions of 

post-memory.  
 

Method 

Post-memory: Key Concepts and Framework 

Literary scholar Marianne Hirsch first introduced the concept of post-

memory to describe generational relationship towards traumatic experiences of 

the previous generations; parents or grandparents. Although these individuals did 

not directly experience the traumatic events themselves, there have been obvious 

traces of a profound connection through stories, images, monuments, and 

behaviours inherited from the earlier generations. Post-memory focuses on how 

trauma is passed down through generations, not as an explicit memory but as an 

emotional and psychological inheritance.  

In the Generation of Post-memory: Writing and Visual Culture After the 

Holocaust, Hirsch defines post-memory as a form of memory “characterized by 

generational distance and mediated by imaginative investment, projection, and 

creation” (Hirsch, 2012). The experience of post-memory differs from direct 

memory for it is transmitted indirectly, often through familial and cultural 

narratives, rather than through personal experience. 

 

Trauma and Transmission 

The central idea in Hirsch's work is that the trauma experienced by survivors 

of historical atrocities such as the Holocaust, war, displacement, and genocide does 

not vanish with time. Instead, it is passed on to future generations in complex and 

often unconscious ways. This transmission of trauma is not straightforward or 

literal but occurs through emotional, psychological, and cultural means. The second 

generation is often haunted by the unspoken or fragmented stories of the first 

generation as they try to make sense of a past that they did not live but that shapes 

their identity nonetheless. 

Hirsch explains that post-memory is "distinguished from memory by 

generational distance and from history by deep personal connection" (2012). 

While historians or outside observers might analyse traumatic events as distant 

occurrences, those experiencing post-memory engage with these events on a more 

visceral and emotional level. They internalize their ancestors' suffering, even if they 



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do not fully understand it or have direct access to the memories themselves. This 

internalization can manifest as dreams, emotional disconnection, or unconscious 

behaviours shaped by the past. 

 

Imaginative and Affective Engagement 

Since the second generation does not have direct access to the events that 

caused the trauma, they often use imagination and creative expression to fill in the 

gaps left by fragmented family stories and silences. Hirsch emphasizes the role of 

cultural and artistic practices in this process, stating that post-memory “is not an 

exact reproduction of the past but a reinvention and reconstruction of it” (2012). 

This reinvention can take many forms, including literature, visual art, film, and 

other forms of representation that help the second generation make sense of the 

inherited trauma. 

A critical function of this imaginative engagement is allowing those 

experiencing post-memory to cope with the emotions and experiences that are 

otherwise difficult to process. Through creative acts, they can symbolically work 

through the unresolved grief, loss, and pain passed down to them (Mendez-Negrete, 

2013). Hirsch suggests that post-memory operates through "imaginative 

investment and creation" and that this allows the second generation to "inhabit the 

past while distancing themselves from it" (2012). This balance between immersion 

in the past and necessary distance is crucial for psychological survival, as it allows 

the second generation to engage with the trauma without being completely 

overwhelmed by it. 

 

Post-memory and Collective Identity 

In addition to affecting individuals, post-memory also has implications for 

collective identity. Hirsch argues that post-memory shapes personal experiences 

and how communities and societies remember and deal with their traumatic pasts. 

Post-memory, in this sense, becomes a cultural phenomenon as well as a familial 

one. For example, the children of Holocaust survivors often inherit a collective 

sense of trauma that extends beyond their family histories to encompass the shared 

experiences of their community. This broader sense of post-memory "transforms 

familial and cultural transmission into a dynamic process of memory production" 

(Hirsch, 2012). 

Through this dynamic process, the second generation contributes to the 

ongoing creation of memory. They are not passive recipients of their ancestors' 

stories but active participants in reconstructing and reshaping how they are told 

and understood. By engaging with their inherited trauma, individuals and 

communities can find ways to memorialize the past while also forging new paths 

forward (Wezer, 2010). In this way, post-memory plays a critical role in both 



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personal and collective healing processes, allowing the trauma of the past to be 

acknowledged and worked through, even if it cannot be fully resolved. 

 

The Unconscious Transmission of Trauma 

Hirsch also highlights how trauma can be passed down unconsciously, 

affecting individuals in ways they may not fully understand. This unconscious 

transmission often occurs in the form of emotional patterns, behaviours, or dreams, 

where the second generation re-experiences the trauma of their ancestors without 

knowing their origins. Hirsch notes that post-memory is "haunting," as it "comes to 

inhabit the minds and lives of those who have not directly lived through the trauma" 

(2012). This haunting quality often leaves the second generation feeling 

disconnected from the present as they grapple with the weight of a past they did 

not directly witness. 

In summary, Marianne Hirsch's concept of post-memory provides a 

framework for understanding how trauma is passed from one generation to the 

next, shaping both personal identities and collective histories. Post-memory is not 

merely about remembering past events but about reliving and reimagining them, 

often through creative engagement. Through this lens, post-memory allows us to 

examine how trauma is inherited and how individuals can work through these 

emotional legacies, even when they cannot entirely escape their shadow. However, 

this framework is not without limitation in exploring the notion of memory and 

trauma. Post-memory is always on the indirectness of trauma transmission 

through long term process which familial, collective or cultural mode take place. 

The immersion of trauma passed down to next generation might not be clear and 

hard to interpret for its nature of changing and merging into one’s personality.  

 

Thematic-Symbolic Analysis 

Analysis in this paper mainly employs combination of thematic and symbolic. 

First, a thematic analysis identified recurring motifs of displacement, seclusion, 

and unfulfilled desire, linking these to the broader dynamics of inherited memory 

presented in the text. All findings were recorded accordingly. Next, a symbolic 

analysis explored and paid attention to key symbols, such as the cityscape of St. 

Petersburg, the streets, the houses, the interplay of light and darkness, and other 

considerably significant symbols to uncover how they encapsulate 

intergenerational emotions and unresolved historical narratives. 

In White Nights, the protagonist lives in a world of dreams, where his 

encounters with others, particularly with Nastenka, are suffused with fantasy and 

illusion. His inability to maintain a stable sense of reality reflects not only his 

exclusiveness by limiting contacts to people but also a more profound sense of 

inherited trauma. His repeated attempts to connect with Nastenka, only to be left 

in emotional turmoil, mirror the experience of post-memory: the unresolved pain 



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of the past constantly intrudes upon the present, making it difficult for the narrator 

to establish authentic relationships. The circumstanced around the main character 

match the framework of post-memory on the ground of familial transmission by 

the grandmother figure. Fragments of memory about time when nurturing process 

occurred becomes valid and executable. 

One key aspect of this post-memory reading is the function of dreams in the 

text. The narrator's dreams serve as a metaphor for his disconnection from the 

present, representing an emotional inheritance he cannot fully articulate. Just as 

the trauma experienced by previous generations remains unspoken yet ever-

present, the narrator's dreamlike state reflects his unconscious absorption of past 

sorrows. In many ways, the narrator is trapped in a cycle of emotional inheritance, 

one in which the unprocessed traumas of the past manifest as fantasies of 

unattainable love and happiness. 

The flow of the analysis in this research follows simple chart starting from the 

identification of words or expressions identical to emotions, specifically related to 

feeling of loss, suffering, or distress. Phrases and other descriptions either about 

self or environment which support and connect to significant traumatic events in 

the past. Next, identification is on the possible mode of transmissions to pass down 

memory and trauma. The last is identification and analysis on the current mode of 

living by the generation in influence of the memory from the past in completion of 

the concept of post-memory.  

The setting further reinforces this thematic approach on post-memory. The 

city, St. Petersburg, often depicted in Dostoevsky's works as a city of duality, 

represents both a dream and a nightmare for the narrator. The nocturnal habit of 

wanderings through the city streets mirrors internal conflict between longing for 

connection and an ingrained sense of marginalisation of the main character. Like 

the narrator's memories, the city is a space of unresolved tension between past and 

present. The city is one of the most significant loci of traumatic past as the historical 

documentation kept the record on how the place become the witness of such 

totalitarian enforcement by the authorities. To consider, refer how Auswitchz is the 

iconic link to mediate memory of the Holocaust during violent years of Germany.  

 

Historical and Cultural Context of White Nights 

1. Dostoevsky and 19th-Century Russian Society 

Published in 1848, White Nights was written during a period of significant 

political and social change in Russia. Fyodor Dostoevsky's early works, 

including White Nights, were deeply influenced by the turbulent socio-political 

atmosphere of 19th-century Russia, where class divisions, rapid urbanization, 

and the stirrings of revolutionary thought were beginning to challenge 

traditional structures. This period in Russian history was marked by the decline 



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of serfdom (officially abolished in 1861) and a growing tension between the 

intelligentsia and the ruling autocracy. Dostoevsky's St. Petersburg, where the 

novella is set, reflects these socio-economic tensions. The city symbolized 

Russia's modernization under Peter the Great but was infamous for its poverty, 

squalor, and hostility. As Dostoevsky describes it, the city is a place of sharp 

contrasts: the wealthy, modern facades of the aristocracy are juxtaposed with 

the shadowy, rundown corners inhabited by the poor and forgotten. 

The unnamed narrator of White Nights is part of this urban landscape, 

representing the growing sense of confined space experienced by individuals in 

modern cities. His sense of disaffection is compounded by his dreamer-like 

existence, which distances him from his time's social realities and political 

movements. The sense of not being in the large group or the commons recurring 

in the White Nights represents notable importance of such psychology or 

internal mind of a person. Emotional disconnection from the world around the 

main character reflects the broader estrangement of the individual in an 

increasingly industrialized and impersonal society.  

In her exploration of Dostoevsky's early work, Frank (2002) notes that 

White Nights is "imbued with the social concerns and existential questions that 

would come to define Dostoevsky's later works," particularly his concern with 

the plight of the individual in a rapidly changing world (p. 45). The narrator's 

physical and emotional separation mirrors the same feeling of being placed in 

limitation of interaction with the outer world, where many feels in Russia's 

growing urban centres. 

 

2. The ‘Dreamer’ Archetype in Russian Literature 

The "dreamer" was a familiar archetype in 19th-century Russian literature, 

particularly within the fantastical or novel of consciousness genre. These 

dreamer characters, often young men, are disconnected from reality and prone 

to retreating into their imaginations or fantasies. They are typically passive and 

introspective, unable or unwilling to engage meaningfully with the world 

around them. Dostoevsky's narrator in White Nights is a quintessential example 

of this archetype. His nocturnal wanderings through St. Petersburg and his 

unrequited love for Nastenka reflect the internal world of the dreamer, who is 

more at home in his fantasies than in reality. This literary tradition of the 

dreamer has roots in the works of earlier Russian writers like Nikolai Gogol. 

However, Dostoevsky gives it a psychological depth that would define his later, 

more famous works. 

The novella's title, White Nights, refers to a natural phenomenon 

experienced in St. Petersburg during the summer, when the sun barely sets, 

creating long, dreamlike twilights. This setting reinforces the narrator's sense 

of disconnection from reality, as his world becomes perpetual twilight, neither 



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fully day nor night. As Jackson (1993) points out, "The white nights are not just 

a backdrop, but a metaphor for the narrator's ambiguous existence, caught 

between the real world and the world of dreams" (p. 62). 

 

3. The Role of St. Petersburg in Russian Literature 

St. Petersburg plays a pivotal role in White Nights, functioning almost as a 

character. The city symbolized Russia's push toward Westernization and 

modernization under Peter the Great. However, by the 19th century, it had 

become a site of profound contradictions: it was both the centre of political 

power and a place of great poverty and inequality. Dostoevsky's portrayal of the 

city reflects this duality as his narrator navigates its streets with a sense of 

detachment and melancholy. 

In Russian literature, St. Petersburg has often been portrayed as cold and 

alienating. As Bethea (1994) notes, "For many Russian writers, St. Petersburg 

was a city of contradictions: it was both the gateway to the West and a symbol 

of Russia's own internal struggles" (p. 39). This duality is apparent in White 

Nights, where the city's geography mirrors the narrator's internal state. The 

deserted streets and mysterious shadows reflect his personal realm, while the 

fleeting moments of light symbolize his brief encounters with hope and 

connection.  

Dostoevsky's use of the city as a setting also highlights the broader social 

and psychological dislocation experienced by many in urban environments. As 

the narrator wanders through the city at night, he encounters figures who are 

as lost and disconnected as he is, reinforcing the theme of seclusion that 

pervades the novella. Like the narrator's mind, the city is a labyrinth of 

memories and dreams leading nowhere. 

 

4. Romanticism and the Influence of European Literature 

Dostoevsky’s White Nights is also heavily influenced by the Romantic 

tradition, particularly in its exploration of unrequited love and the inner 

emotional life of the protagonist. The novella shares similarities with European 

Romantic works, especially those of Goethe and Byron, which emphasize 

individual emotion, the sublime, and the experience of being overwhelmed by 

powerful feelings. 

For example, the narrator's idealization of Nastenka echoes the Romantic 

trope of the unattainable love object. This figure exists more as a projection of 

the dreamer's desires than a natural person. His emotional suffering when 

Nastenka reunites with her lover is similarly Romantic, underscoring the tragic, 

unfulfilled love theme. This theme is prevalent in much European Romantic 

literature, from Goethe's The Sorrows of Young Werther to Byron's Childe 



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Harold's Pilgrimage. 

However, while White Nights draws on these Romantic themes, 

Dostoevsky’s treatment of them is more critical than celebratory. The narrator’s 

inability to act or engage with the world around him is portrayed as a weakness 

rather than a strength, and his retreat into fantasy is ultimately shown to be 

futile (Florovski, 1996). This critique of Romantic idealism anticipates 

Dostoevsky’s later, more mature works, where he explores the dangers of living 

in a world of abstraction disconnected from reality. 

 

5. Social Class and the ‘Superfluous Man’ 

One of the underlying themes in White Nights is the concept of the 

'superfluous man,' a figure that emerged in Russian literature during the 19th 

century. This figure, usually an educated and intelligent man, feels out of place 

in society and cannot find a meaningful role or purpose. The 'superfluous man' 

is often marked by his passivity, cynicism, and disillusionment, traits evident in 

White Nights's narrator. 

The narrator's inability to engage meaningfully with society or form 

lasting relationships is a hallmark of this archetype. His introspection and 

emotional paralysis render him 'superfluous' because he cannot contribute to 

the social or political life around him. As Leatherbarrow (2005) observes, "The 

superfluous man is a product of his historical moment, shaped by a society in 

transition yet unable to find a place within it" (p. 55). In White Nights, 

Dostoevsky presents the narrator as a man adrift, unable to reconcile his 

internal world with the external demands of society. 

White Nights is a product of its time, reflecting the historical and cultural 

tensions of mid-19th century Russia. The novella's exploration of urban 

distancing, romantic idealism, and the 'superfluous man' archetype provides 

insight into individuals' psychological and social challenges in a rapidly 

changing world (Bevereidge, 2009). By situating Dostoevsky's work within its 

historical context, we can better understand the themes of separation, memory, 

and emotional dislocation that pervade the narrative. 

 

Discussion 

Dostoevsky's White Nights provides fertile ground for post-memory reading, 

primarily by exploring the protagonist's dreamlike existence and difficulty forming 

meaningful connections with others. This section examines how the narrator's 

remoteness, idealization of Nastenka, and his relationship with the city of St. 

Petersburg encapsulate the unresolved traumas passed down to him. This analysis 

will focus on how the narrator’s experiences can be understood as manifestations 

of inherited emotional and psychological burdens, highlighting how post-memory 

shapes his interactions with the world around him. 



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Dreams and Emotional Displacement 

The dream element is significant as the narration contains more than forty 

times using the base word and the derivatives. The narrator's descriptions of his 

life indicate a deep sense of emotional dislocation and unreality. He refers to 

himself as a "dreamer," much of the novella is suffused with a sense of unreality as 

the boundaries between dream and waking life blur. The narrator says, "I am a 

dreamer; I have so little real life that I look upon such moments as this now, as so rare, 

that I cannot help going over such moments again in my dreams. I shall be dreaming 

of you all night, a whole week, a whole year." (p. 12).  

This statement introduces the reader to his fragmented identity and suggests 

that his inability to engage with the present moment entirely is symptomatic of 

deeper psychological scars. The intensity of dreaming as daily routine indicates the 

problematic individual. In the earlier page, the narrator mention,” And I do nothing 

but dream every day … I make up regular romances in my dreams “(p. 10). In 

common understanding, dream is something special, however when dream 

becomes a regular, the specialty is challenged. Such depiction strongly led to the 

displacement of meaning.  

The narrator's dreams are not simply individual fantasies but can be read as 

a form of collective memory passed down through unspoken traumas. Post-

memory theory suggests that the traumas of past generations can become 

ingrained in the psyche of subsequent generations, often without direct knowledge 

of the original events. As Hirsch (2012) argues, "post-memory is distinguished 

from memory by generational distance and from history by deep personal 

connection" (p. 22).  

In White Nights, the narrator's emotional detachment can be interpreted as 

a manifestation of post-memory, as he is burdened by inherited emotional pain that 

he cannot fully comprehend or articulate. The strong expression supports this idea 

by reading “Let me tell you that in these corners live strange people—dreamers. The 

dreamer—if you want an exact definition—is not a human being, but a creature of 

an intermediate sort. (p. 16). He pictures the self as uncommon and even further of 

being not a human. It is general truth that people do dreaming, yet he meant 

something else saying that a dreamer is not human.  

Throughout the novella, the narrator’s experiences seem to exist in a liminal 

space between reality and fantasy. In the space of living of a house, somebody 

generally feels comfort, yet the narration expresses differently ‘why I felt so 

uncomfortable in it. And in perplexity I scanned my grimy green walls, my ceiling 

covered with a spider's web, ... I looked over all my furniture, examined every chair, 

wondering whether the trouble lay there. I looked at the window, but it was all in 

vain ...” (p.6). The stress or the traumatic sense is really intense through the diction. 



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His wanderings in St. Petersburg mirror his internal state of displacement: 

“I took long walks, succeeding, as I usually did, in quite forgetting where I was. —so 

strong was the effect of nature upon a half-sick townsman like me, almost stifling 

between city walls.” (p.7). The city, for the narrator, is a repository of unprocessed 

memories that resurface during his wanderings, reinforcing the notion that his 

emotional state is shaped by inherited trauma. Dreaming or imagination is blended 

with the reality of space as seen in “I know the houses too.  

As I walk along, they seem to run forward in the streets to look out at me from 

every window, and almost to say: "Good-morning! How do you do? I am quite well, 

thank God, and I am to have a new story in May," or, "How are you? I am being 

redecorated to-morrow;" or, "I was almost burnt down and had such a fright," and so 

on.” (p. 5). Normally, people do not talk to buildings which likely may happen in 

dreams. 

 

Nastenka as a Projection of Longing and Loss 

Nastenka, the young woman with whom the narrator becomes infatuated, 

represents more than just an object of romantic desire. She embodies the narrator's 

yearning for connection but also serves as a mirror that reflects his inability to 

move beyond the traumas of the past. Nastenka's story of unfulfilled love resonates 

with the narrator's deep sense of loss and longing, which he may not fully 

understand. The narrator’s idealization of Nastenka can be read as a defence 

mechanism, a way of protecting himself from the emotional pain that he has 

inherited.  

He projects his fantasies of happiness and fulfilment onto her, as evidenced 

by his description of her: “Now that I sit beside you and talk to you it is strange for 

me to think of the future, for in the future—there is loneliness again, again this musty, 

useless life; and what shall I have to dream of when I have been so happy in reality 

beside you! (p.22). This idealization suggests that Nastenka is not a fully realized 

person in the narrator's eyes but a symbol of his unattainable desires. His inability 

to see her as a natural person underscores his disconnection from reality, which is 

symptomatic of his inherited emotional trauma.  

 “Oh, Nastenka! you know it will be sad to be left alone, utterly alone, and to 

have not even anything to regret —nothing, absolutely nothing ... for all that you have 

lost, all that, all was nothing, stupid, simple nullity, there has been nothing but 

dreams!" (p.24) 

Furthermore, the narrator's relationship with Nastenka reflects the cyclical 

nature of post-memory. Just as the traumas of past generations are passed down 

and relived by subsequent generations, the narrator's emotional patterns are 

repetitive and self-destructive. His initial hope for connection with Nastenka 

quickly turns to despair when he realizes she loves another man. This moment of 



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realization mirrors the experience of post-memory, in which the individual is 

forced to confront the unprocessed pain of the past: "Do you know how far you have 

reconciled me to myself? Do you know now that I shall not think so ill of myself, as I 

have at some moments? Do you know that, maybe, I shall leave off grieving over the 

crime and sin of my life? (p.23).  

Time is another significant element to observe, between the past and present 

and the trajectory using the character of Nastenka as the person he can talk much, 

“Do you know that I am forced now to celebrate the anniversary of my own sensations, 

the anniversary of that which was once so sweet, which never existed in reality—for 

this anniversary is kept in memory of those same foolish, shadowy dreams—and to 

do this because those foolish dreams are no more, because I have nothing to earn 

them with; you know even dreams do not come for nothing! (p.23). 

Nastenka becomes the field of expression for him to clearly project feeling of 

loss and longing which are the dominant part of the trauma. See the statement “I 

was once happy in my own way? I love to build up my present in harmony with the 

irrevocable past, […] What memories they are! To remember […] Some more years 

will pass, and after them will come gloomy solitude; then will come old age trembling 

on its crutch, and after it misery and desolation’ (p. 24). The interplay between the 

characters is a showcase of fragmented and scattered traumatic symptoms. 

 

The City as a Space of Memory and Trauma 

St. Petersburg, as portrayed in White Nights, is more than just a backdrop for 

the narrator's wanderings. The city becomes a character in the story, representing 

the weight of memory and trauma that the narrator cannot escape. His descriptions 

of the city are suffused with melancholy and dislocation, reflecting his internal 

struggles. He says, “I have already two or three such places in Petersburg. I once shed 

tears over memories ... like you.... Who knows, perhaps you were weeping ten minutes 

ago over some memory.... But, forgive me, I have forgotten myself again. (p.12). This 

description aligns with Hirsch's (2012) concept of post-memory, in which the 

individual is haunted by memories that are not directly their own but are 

profoundly felt. 

The narrator's nighttime walks through the city can be interpreted as an 

attempt to navigate the landscape of his psyche, which is filled with unresolved 

emotional traumas. The city's dark and labyrinthine streets serve as a metaphor 

for the complexities of post-memory, in which the individual is trapped in a cycle 

of reliving the past. As Craps (2013) notes in his discussion of postcolonial trauma, 

"the experience of trauma is not confined to the individual; it permeates the social 

and cultural fabric, shaping the collective memory of a people" (p. 45).  

 

 



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In White Nights, the city of St. Petersburg becomes a symbol of this collective 

memory, embodying the emotional scars of the narrator and the society in which 

he lives, “And we parted. I walked about all night; I could not make up my mind to go 

home.” (p.13). It is unique to have explicit narration of such deep feeling of trauma 

unless the self cannot bear the pain therefore no reason to hold it. Why is it that 

whole sleepless nights pass like a flash in inexhaustible gladness and happiness, and 

when the dawn gleams rosy at the window and daybreak floods the gloomy room with 

uncertain, fantastic light, as in Petersburg, our dreamer, worn out and exhausted, 

flings himself on his bed and drops asleep with thrills of delight in his morbidly 

overwrought spirit, and with a weary sweet ache in his heart? (p.21).  

Furthermore, the city's duality—the contrast between its bright, bustling 

days and quiet, eerie nights—mirrors the narrator's internal conflict between his 

conscious and unconscious mind. During the day, the city seems distant and 

impersonal, much like the narrator's attempts to engage with the present. However, 

at night, the city transforms into a space of dreams and memories, where the past 

intrudes upon the present. The narrator's inability to escape this cycle reflects the 

persistence of post-memory: “"What made me?... But you were alone; that 

gentleman was too insolent; it's night. You must admit that it was a duty...." or the 

other statement, “And yet my night was better than my day! This was how it 

happened. (p.7). 

 

Inherited Trauma and the Cycle of Isolation 

The narrator's ultimate fate in White Nights, his return to self-exclusive space 

after his brief encounter with Nastenka, reinforces the idea that unresolved trauma 

perpetuates cycles of emotional disconnection. His brief hope for a future with 

Nastenka is shattered when she reunites with her former lover, leaving the narrator 

to retreat again into his world of dreams and fantasies. This outcome reflects the 

inescapable nature of post-memory, in which the emotional burdens of the past are 

continually relived in the present.  

Consider the statement ‘Thank you, yes, thank you for that love! For it will live 

in my memory like a sweet dream which lingers long after awakening’ […] the 

memory of you will be exalted by a feeling of everlasting gratitude which will never 

be effaced from my soul.... I will treasure that memory: I will be true to it, I will not 

betray it, I will not betray my heart: it is too constant (p.50).  

The narrator’s final reflections on his experience reveal a deep sense of 

resignation and acceptance of his detached circumstance: “It has grown dark in the 

room; his soul is sad and empty; the whole kingdom of fancies drops to pieces about 

him, drops to pieces without a trace, without a sound, floats away like a dream, and 

he cannot himself remember what he was dreaming. (p. 19) and other expression 

“Such fondness at certain moments makes the heart cold and the soul heavy. (p.36). 

This passage encapsulates the central theme of post-memory: the idea that the 



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trauma of the past is not only remembered but internalized and perpetuated by 

future generations.  You see, I am alone.... I don't even know how to talk to them. 

(p.9). 

In post-memory theory, the narrator's failure to establish a lasting connection 

with Nastenka can be understood as a reflection of his inability to break free from 

the emotional patterns inherited from previous generations. His dreamlike 

existence, his idealization of Nastenka, and his disaffection from the city all point 

to a more profound sense of inherited trauma that he cannot fully comprehend or 

escape. “I felt afraid of being left alone, and for three whole days I wandered about 

the town in profound dejection, not knowing what to do with myself.’ (p.4) The 

ultimate expression of loneliness express despair- "Absolutely without any history! 

I have lived, as they say, keeping myself to myself, that is, utterly alone—alone, entirely 

alone. Do you know what it means to be alone? (p.14).  My heart was full: I tried to 

speak, but I could not. (p.42) 

Dostoevsky critiques the rigid societal structures of 19th century Russia 

through the protagonist's inability to connect meaningfully with others, framing 

this limited interaction as both a personal struggle and a reflection of collective 

separation. The novella’s dreamlike narrative serves as a metaphor for the 

disconnection between individual aspirations and societal expectations, 

illustrating how inherited trauma can arise not only from familial but also from 

cultural memory. This critique sets White Nights apart where the focus shifts to 

moral dilemmas and theological inquiries of personal existence.  

In comparison to other literary works, such as Kafka's The Metamorphosis or 

Camus’s The Stranger, which also address themes of alienation, Dostoevsky’s 

approach is distinct in its empathetic portrayal of the protagonist’s longing for 

connection. While Kafka and Camus often depict alienation as an existential 

inevitability, Dostoevsky intertwines it with societal critique, suggesting that 

solitude is a symptom of broader systemic failures. 

 Additionally, the symbolic interplay of light and darkness and its fragmented 

narrative structure uniquely encapsulate the disruption of memory and identity 

inherent in post-memory theory. This layered analysis highlights the distinctive 

ability of White Nights to illuminate the personal and societal dimensions of 

inherited trauma, making it a compelling choice for this framework. 

 

Conclusion 

In White Nights, Dostoevsky crafts a poignant narrative that bridges the 

ethereal and the historical, examining how individuals grapple with dreams and 

unfulfilled desires while burdened by inherited traumas and societal seclusion. By 

applying Marianne Hirsch’s concept of post-memory, this analysis has illuminated 

the psychological depths of Dostoevsky’s protagonist, whose emotional 



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disconnection and fixation on unrequited love reflect more than personal 

romanticism; they mirror the estrangement and cultural shifts of 19th-century 

Russian society. The protagonist’s experiences reveal an inherited burden of 

disillusionment—he is shaped by an environment that oscillates between grandeur 

and despair, progress and decay. This environment influences his identity and 

hinders his ability to engage meaningfully with others, exemplifying the traits of 

the Russian ‘superfluous man’ whose inner world is marked by separation of 

individuals and introspection. 

Through his nocturnal wandering in St. Petersburg, the protagonist 

embodies the dreamer archetype typical in Russian Romantic literature, yet 

Dostoevsky's treatment of the dreamer's escapism is critical. The protagonist's 

failure to act meaningfully, in reality, is presented not as a consequence of personal 

failing alone but as a reflection of societal conditions that perpetuate disconnection. 

His unrequited love for Nastenka and his inevitable return to his personal realm 

underscore the cycle of idealization and disillusionment that shapes his experience, 

a recurring theme in Romanticism.  

However, this article has shown that Dostoevsky transcends Romantic 

idealism by questioning the dangers of living detached from reality and 

foreshadowing themes of trauma and inherited suffering that would define modern 

psychological and literary studies. Ultimately, White Nights invites readers to 

explore the liminal spaces between dreams and reality, individual and society, 

memory and post-memory. Dostoevsky’s portrayal of love, introvertive self, and 

societal estrangement continues to resonate, encouraging reflection on how 

personal and collective pasts shape present identities and emotional landscapes. 

Reflecting on the contemporary relevance of these themes, the analysis of 

White Nights resonates deeply with modern post-trauma literature, which 

frequently grapples with questions of inherited memory, displacement, and the 

enduring effects of societal estrangement. In an era marked by increasing 

awareness of generational trauma, whether stemming from war, displacement, or 

systemic injustice, offers timeless insights into the interplay between individual 

and collective memory. Dostoevsky's empathetic narrative reminds readers that 

the longing for connection and meaning transcends historical and cultural 

boundaries, underscoring the enduring human struggle to reconcile the weight of 

the past with the possibilities of the present. 

 

 

 

 

 

 

 



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