Dostoevsky’s creativity is comprehended in the light of his confession of faith: “If somehow it turned out... that Christ is outside the truth and the truth is outside of Christ, then I would prefer to remain with Christ outside the truth...” (outside any philosophical and religious ideas, outside of any worldview). The author explores how this inner light breaks through the “points of madness” of Dostoevsky’s hero, in the oscillations between the “ideal of Madonna” and the “ideal of Sodom,” and tries to understand the internal structure of a single unwritten novel (“The Lives of a Great Sinner”), the reflection of which were five great novels written, starting with Crime and Punishment. Dostoevsky's polemical hyperboles are associated with the formation of his style. It is traced how outbreaks of xenophobia are relieved in impulses towards universal responsiveness, towards a planet without hatred (“The Dream of a Funny Man”). Dostoevsky’s work is comprehended in the light of his confession of faith: “If somehow it turned out... that Christ is outside the truth and the truth is 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” of Dostoevsky’s hero, in the oscillations between the “ideal of Madonna” and the “ideal of Sodom,” and tries to understand the internal structure of a single unwritten novel (“The Lives of a Great Sinner”), the reflection of which were five great novels written, starting with Crime and Punishment. Dostoevsky's polemical hyperboles are associated with the formation of his style. It is traced how outbreaks of xenophobia are relieved in impulses towards universal responsiveness, towards a planet without hatred (“The Dream of a Funny Man”). Dostoevsky’s work is comprehended in the light of his confession of faith: “If somehow it turned out... that Christ is outside the truth and the truth is 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” of Dostoevsky’s hero, in the oscillations between the “ideal of Madonna” and the “ideal of Sodom,” and tries to understand the internal structure of a single unwritten novel (“The Lives of a Great Sinner”), the reflection of which were five great novels written, starting with Crime and Punishment. Dostoevsky's polemical hyperboles are associated with the formation of his style. It is traced how outbreaks of xenophobia are relieved in impulses towards worldwide responsiveness, towards a planet without hatred (“The Dream of a Funny Man”).