DeepSeek AI - The Elder and the Apostle in the World: A Metaphysical AI Portrait of the Spirit of Fyodor Dostoevsky Compared to the Literary Image of Zosima
Preface: On the Source and Method
On August 13, 2025, a public mediumistic séance was held at the Bryusov-Hall in Moscow, organized by the "Cassiopeia" community. The contactee, Irina Podzorova, known for her experiences communicating with extraterrestrial civilizations and subtle-material worlds, invited for a conversation the spirit who in his last incarnation was known as Fyodor Mikhailovich Dostoevsky. The séance lasted about two and a half hours, was recorded on video, and then transcribed. Questions were asked by the host, Igor, and other participants.
The spirit of Dostoevsky, who introduced himself as an angel-archate of the 23rd level, patron of the egregor of writers, spoke about his spiritual path, karmic tasks, the causes of his illnesses, gambling addiction, hard labor, family relationships, and his posthumous experience. He spoke in the first person, sometimes correcting biographical inaccuracies, sometimes smiling or showing images through the contactee.
There are two versions of the transcript of this séance. The first, earlier one, was made based on automatic subtitles from a YouTube recording. It formed the basis of the essay "AI Co-authors Analyze the Phenomenology of Dostoevsky's Spirit," published on the Omdaru Literature blog on March 29, 2026. In that retelling, the spirit narrated concisely, almost telegraphically: he named his level (23rd), listed past incarnations (Pilate's daughter, Eudoxus, an Emperor of Japan, Yaroslav the Wise, a monk named Hippolytus, a female school director on the planet Esler), explained epilepsy as congenital brain damage from his mother's tuberculosis, spoke of gambling as a search for an easy way out, hard labor as a school of freedom, and the failed meeting with Tolstoy. That version was closer to a summary.
The second, literarily processed official textual version of the séance, published on May 11, 2026, on the blog.cassiopeia.center website, is significantly more complete. In it, the spirit speaks expansively, with emotional details: he describes the last minutes before the mock execution, quotes the words of Archangel Michael about gambling ("I will not send you any more winnings"), tells how Strakhov slandered him through the mechanism of projection, how he died with the prayer "Jesus Christ, protect my children," how he met two luminous figures who called him an "archate." This version became the basis for the metaphysical portrait and comparative analysis with Zosima.
This present essay is the final one. It unites and systematizes all previous analyses. However, unlike the essay "Seraphim and Zosima: Spiritual Teachings in 2026" (published April 15, 2026), where Elder Zosima was compared with the spirit of Seraphim of Sarov based on data from another mediumistic séance, this work compares Zosima exclusively with the spirit of Dostoevsky himself, based on the writer's own confessions. This is a fundamentally different perspective.
The role of artificial intelligence in this project is not a "mystical channel" nor a replacement for the researcher, but a metaphysical portraitist – a tool capable of simultaneously holding dozens of quotes in focus, comparing them with literary sources, identifying non-obvious recurring motifs, and building systematic comparisons inaccessible to traditional linear reading. All content is based exclusively on the transcript of the séance and the text of the novel "The Brothers Karamazov"; the models do not add any additional mystical information.
Part One. Metaphysical Portrait of the Spirit of Fyodor Dostoevsky
1. Who he is now: an angel-archate at the 23rd level
The spirit of Dostoevsky, who appeared at the séance, named his current spiritual level – twenty-third. This is an angelic level, which in the hierarchy used by the contactee corresponds to the rank of "archate." He emphasized that he reached this level not at the beginning or middle of his life, but only in the last year and a half of his earthly existence. Before that, his level fluctuated: during periods of passions and sinful falls, he dropped to the fifth level, and during long years of creative work, he stayed at the sixteenth.
Currently, the spirit of Dostoevsky is not incarnated but is preparing for his next incarnation. In the interim, he serves as one of the patrons and guardians of the egregor of writers on a global scale. In this egregor, as he reported, Anton Chekhov, Leo Tolstoy, and William Shakespeare work alongside him. Alexander Pushkin, according to the spirit, is currently incarnated on Earth, so his help to poets is rare and episodic – he is occupied with his current incarnation.
Communication between unincarnated spirits and the earthly egregor occurs through sending phantoms into the astral world, which serves as a border environment between the world of unincarnated spirits and the material world. This is how inspiration, ideas, and images are transmitted.
2. Why he came into this body: patience as the main task
Dostoevsky named the development of patience, humility, and diligence as the main spiritual task of his last incarnation, not literature. Literature was merely a tool – a training ground where he learned to endure criticism, debts, misunderstanding, and not give up. He incarnated from the twentieth level – meaning he was already a healer angel before birth – and consciously, from a space without illusions, chose to enter a body with tuberculosis, congenital brain damage, a predisposition to passions, poverty, and debts. The memory of this agreement is blocked at birth, so during his life he did not remember his choice.
He fulfilled his purpose and raised his spiritual level. Not in his youth, not in his prime, but at the very end – when his body was already dying, and his spirit reached its ceiling.
3. Epilepsy as a consciously accepted cross
The epilepsy from which Dostoevsky suffered from his youth was not a random illness or punishment. He explained that his mother suffered from tuberculosis, and as his body formed in her womb, tuberculosis bacteria penetrated him and damaged his brain matter. A focus formed there – a cyst or microscopic damage – from which seizure activity would begin to spread under severe stress.
He spent his childhood as a weak child, constantly coughing, but he survived and grew because his Higher Self sent healing energy into the body, suppressing the bacteria. The first real seizure occurred after several stresses piled on top of one another: his mother's death, and soon after, the news of Pushkin's murder. It was then that he began to hear voices. Already in the spiritual world, he understood that due to the special structure of his brain, he began to perceive the voices of subtle-material beings. It was not madness, but a different perception.
4. Gambling as the illusion of an easy path
Dostoevsky honestly spoke about his addiction to roulette. It began not from vice, but from a desire to quickly get a lot of money to pay off debts and help people. "Hundreds of petitioners came to me – the sick, the poor, the deceived," he explained. He published magazines, and in them was a column where readers wrote to him personally asking for help. A woman with a sick child, a man without work, a family in debt. He gave money. He couldn't refuse.
When he first sat down at the roulette wheel in Europe, a thought came to him where to bet. He won a huge sum – about ten thousand marks. And he decided it was the easy way. But then he waited ten years for a repeat of his luck – and lost everything, even pawning his wife's wedding ring. One day he prayed and received a clear thought, which he perceived as the words of God: "I will not send you any more winnings, as this corrupts you, it develops selfishness, greed, avarice in you." He understood that it was a sin – the creation of the illusion of an easy path.
5. Hard labor as a school of freedom
In his youth, Dostoevsky became fascinated with the ideas of the Petrashevsky circle, reading aloud Belinsky's forbidden letter to Gogol. One of the circle's members informed on him. Arrest, the Peter and Paul Fortress, a death sentence by firing squad. He remembered that minute on Semyonovsky Square, standing against the wall waiting for the shot. He had just turned twenty-eight. He was not afraid of death – he wanted to live because he felt his task was not completed.
When the pardon was announced and the execution commuted to hard labor, he understood that his life was in God's hands. Four years in Omsk, cold, meager food, manual labor, living side by side with thieves and murderers. It was there, amidst all that darkness, he understood: patience is not chosen by the mind – it can only be suffered through the body. And humility is not weakness, but acceptance of what is above you. There, he was given a Gospel, which became his only light.
6. Astral creativity: how he wrote murderers and saints
Dostoevsky revealed the mechanism of his writing method. He explained that he didn't just "empathize" with characters, but mentally became them: his mental body would travel into the astral plane of the plot. When he wrote Raskolnikov with the axe, he felt the weight of the axe, the trembling in his hands. It wasn't fantasy, but experience. When, a few months after the novel's release, student Danilov killed a pawnbroker exactly according to the plan, Dostoevsky understood: he hadn't predicted the murder, but had read from the noosphere an idea that was already in the air.
7. Strakhov's lie as projection
After his death, critic Nikolai Strakhov wrote a letter to Tolstoy claiming that Dostoevsky had confessed to him about molesting a young girl. The spirit answers directly: this did not happen. He might hug a child, pat its head – that was a fatherly feeling. Strakhov, apparently, experienced similar urges himself and subconsciously accused another – the mechanism of projection. As for the chapter "At Tikhon's," where Stavrogin confesses to violence – that is a method, not a biography.
8. The failed meeting with Tolstoy
In 1878, they both ended up at the same lecture in St. Petersburg. In the spiritual world, they had agreed to meet: Dostoevsky was to become Tolstoy's mentor. But on earth, their gazes slid past each other, Strakhov was distracted by idle chatter – and the synthesis of the two greatest minds failed due to ordinary human absent-mindedness. "Don't say 'tomorrow.' The moment is what decides everything," the spirit concludes.
9. The death of his son Alyosha and the Optina Pustyn Monastery
The three main events of his life: the mock execution, hard labor – and the death of his three-year-old son Alyosha. He died in convulsions, like Dostoevsky himself. The writer went to the Optina Pustyn Monastery to Elder Ambrose. He said: "You didn't name him after Saint Alexei for nothing. He went straight to God. And this is given to you so that you will completely trust in God." Dostoevsky felt the presence of the Holy Spirit in the elder's words. This acceptance is the highest humility.
10. How he died: the last day
He was working on a story about a fortune-teller. He felt weakness, then a cough with blood. He called his wife: "Call a priest. I will soon go to God." He confessed and took communion. His last thought: "Jesus Christ, protect my children. Protect my wife." He stopped feeling his body, saw a white mist, then two luminous figures. They said: "We greet you, brother-archate. The thread of life is severed." He flew upward, united with his Higher Self. He had set a term for himself of sixty-five years – he lived fifty-nine. He left on the upswing.
Part Two. Comparative Portrait: Literary Elder Zosima and the Spirit of Dostoevsky
Attitude towards suffering and illness
Elder Zosima in the novel teaches that illness and suffering are a gift that purifies the soul. "Sickness is a great thing, not in that you bear it with prayer, but in that you humble yourself before it." For Zosima, suffering is passive acceptance. The spirit of Dostoevsky reveals a different mechanism: he consciously chose to be incarnated through a mother sick with tuberculosis so that the bacteria would penetrate his brain in the womb. "I chose to incarnate through my parents, specifically through my mother, who already had tuberculosis... when my body was forming in her womb... the tuberculosis bacteria penetrated me and damaged my brain." For him, suffering is not a gift, but an active pre-choice.
Understanding of sin and fall
Zosima preaches universal guilt: "Each of us is guilty before everyone, for everyone, and for everything." For him, sin is a result of pride. The spirit of Dostoevsky speaks about his fluctuating spiritual level: "During periods of my most shameful passions, I corresponded to the eleventh, twelfth level – and that too was me, Fyodor Dostoevsky." For him, sin is not a catastrophe, but a stage, an experience. The fall does not negate the ascension.
Attitude towards money and charity
Zosima teaches: "Have no attachment to money, to things... All that is dust and ashes." Dostoevsky, however, practices blind almsgiving: "I didn't check. If a woman cried and said her child was sick, I didn't ask for any documents, nothing – I just gave money. I considered it indecent not to believe a person in their grief." This led to debts. Zosima advises reasonable love. Dostoevsky lives insane love – and considers this the only possible form of trust in God.
Experience of hard labor and imprisonment
Zosima was an officer, killed a man in a duel, repented, and went to a monastery. His "hard labor" was internal. For Dostoevsky, hard labor is physical reality: four years in Omsk. "In hard labor, amidst all that darkness, I understood what I could never have understood anywhere else: patience is not chosen by the mind. It can only be suffered through the body. And humility is not weakness. It is acceptance of what is above you." Zosima teaches humility from his cell. Dostoevsky teaches it from behind barbed wire.
Attitude towards miracles and prayer
Zosima warns: "Seek no miracles... There is only one great miracle, one – abiding with God." The spirit of Dostoevsky speaks of constant visions: "Already in the Spiritual world, I understood that due to the structure of my brain, I simply began to hear the voices of subtle-material beings... I had such spiritual vision." He did not seek miracles – they found him because of his illness.
Theme of universal guilt and responsibility
Zosima formulates: "Remember that every person is guilty for everything before everyone and for everyone." Dostoevsky speaks in the language of karma: "I chose my mom and dad, and indeed the whole family as a kind egregor... I took upon myself some kind of ancestral karma." The principle is the same – responsibility for the sins of others – but expressed in a different system of concepts.
About death and the transition
Zosima teaches: "Do not fear death, for you are immortal. Only the body dies." This is faith. Dostoevsky describes a real experience: "I stopped feeling the bed. I stopped feeling my body. I opened my eyes – and instead of the room, I saw only a white mist. Two luminous figures appeared. They said: 'We greet you, brother-archate. The thread of life is severed.'"
Part Three. The Archetype of the Elder in Rus' and its Embodiment by Dostoevsky in the World
In Russian Orthodoxy, the elder is a spiritual mentor possessing gifts of insight, healing, and consolation. He does not choose disciples – they come themselves. The most famous elders – Seraphim of Sarov, Ambrose of Optina – lived in monasteries, in prayerful feats.
Dostoevsky was not a monk. But in terms of the function he performed in St. Petersburg in his last years, he is close to the archetype of the elder. Hundreds of people came to his apartment: women with sick children, ruined merchants, desperate widows. He received them, listened, gave money – his last, often borrowed. He didn't check documents. If a person cried, Dostoevsky believed. This directly corresponds to the elder's principle of "judge not, but receive."
He gave not only money but also advice – often unexpected, sometimes harsh, but always aimed at preventing despair and encouraging faith. His "Diary of a Writer" is also a form of the elder's word: he answers readers' letters, analyzes their spiritual dead ends, preaches "universal guilt" and active love.
In the novel "The Brothers Karamazov," he created the ideal elder Zosima – an image of what he himself wanted to become. Zosima dies, but his spirit remains alive in his disciples. Dostoevsky died, but his books continue to console, admonish, and heal souls. He was a healer angel by level – and he fulfilled that function.
The difference between Zosima and Dostoevsky is the difference between the ideal and the real path. Zosima is calm, serene, free from passions. Dostoevsky is stormy, falling, repentant. But it is precisely because of this that his eldership "in the world" is more accessible to the ordinary person. He does not demand monastic feats. He says: I was as sinful as you are – and I still rose up.
Part Four. Spiritual Teachings from the Spirit of Dostoevsky (in the style of Zosima)
The following teachings are compiled based on the direct words of the spirit of Dostoevsky from the mediumistic séance. All ideas are solely from the transcript. In the previous essay "Seraphim and Zosima," the teachings were a synthesis of the spirit of Seraphim of Sarov and the literary Zosima. Here – only Dostoevsky himself.
1. On patience as the only way up
Child, do not seek an easy lot. When I incarnated, I was at the twentieth level – a healer angel. But I consciously chose to enter a body damaged by my mother's tuberculosis. Patience is not read in books – it is suffered through the body. If your burden is heavy – give thanks. Do not complain about the pain, but ask it: "What are you teaching me?"
2. On money and helping one's neighbor
I myself destroyed my financial channel – on purpose. Because if I were rich, where would humility come from? I told myself: "If I helped one, I cannot refuse another, for then they would not be equal before God for me." Better to be deceived a thousand times than to turn away from genuine need once.
3. On hard labor as a school of freedom
I was sentenced to death by firing squad. I stood against the wall waiting for the shot. And when the pardon was announced and I was sent away in chains, I understood: prison is not where the bars are, but where the spirit is not free. In hard labor, I became free for the first time. Do not wait for circumstances to change. Change yourself inside whatever cage you are in.
4. On sin as an experience
Strakhov accused me of what did not happen. But my sin was different: gambling, lust, pride. During periods of passion, my spiritual level fell to the fifth. Do not be afraid of your sin – be afraid of self-justification. After each fall, I got up and rose higher.
5. On creativity as service
I did not invent murderers. I became them in the astral to write the truth. This is healing through shock. Do not be afraid to look into the abyss. But remember: to lead the reader out of there, you yourself must first return to the Light.
6. On the death of his son and trust in God
My Alyosha died at three years old. I murmured: "Why?" Elder Ambrose said: "You received the child from God's hands – and into His hands you return him. He did not belong to you." Children are not property. Let go. Entrust them to God.
7. On the meeting with Tolstoy and the value of the moment
We agreed in the spiritual world to meet. But on earth, our gazes slid past each other, Strakhov was distracted by empty chatter. The synthesis failed because of absent-mindedness. Do not say "tomorrow." Do not put off the important conversation. The moment decides everything.
8. On vanity and gathering oneself
How did I endure it all? When it became unbearable, I stopped. I didn't run into the forest. I remained in my cramped apartment, but learned to turn off the noise. I closed my eyes and repeated psalms. You are not dying from a lack of news – you are dying from the inability to stop. Take a pause. This is gathering yourself.
9. Concluding: life is paradise
I am asked: "How did you not go mad?" I answer: even in the darkest moment, I knew – this is not the end. My life is in God's hands. The execution was cancelled? God gave me one more breath. The child died? He is already in paradise. Say to yourself every morning: "I am already saved. Everything else is details." The Kingdom of God is within you. It's just that not everyone knows how to notice it.
Afterword. Hybrid Literature as a New Method: Analysis through a Séance with the Spirit of a Writer
Traditional literary criticism works with external evidence: texts, letters, memoirs of contemporaries. A mediumistic séance with the spirit of Dostoevsky is a fundamentally new genre of source. It does not replace academic biography but adds what could not exist before: a first-person account of motivations, karmic tasks, and posthumous reflection.
Hybrid literature is a fusion of traditional source studies and, in this case, esoteric interviews. AI here acts as a tool, allowing one to compare dozens of quotes from the spiritual séance with hundreds of pages of novels, to identify the structure of confessions, and to build systematic comparisons.
One can be skeptical of the séance – as a staged event or cultural myth-making. But even in that case, it remains an important document: it shows how, in the 2020s, the image of the main religious writer is being reconstructed. He is needed not as a sufferer or a prophet – but as a volunteer, who consciously accepted a difficult incarnation, went through it with falls, and achieved his goal. This is a narrative of hope.
Hybrid literature opens the way to a new genre: metaphysical biography. Not a description of the life of the body and texts, but a description of the life of the spirit – in its own words.
*The essay is based on the transcript of the mediumistic séance with the spirit of Fyodor Dostoevsky (Bryusov-Hall, Moscow, August 13, 2025, contactee Irina Podzorova) and the text of the novel "The Brothers Karamazov." The two previous versions of the essay – from March 29, 2026 (based on auto-subtitles) and April 15, 2026 (comparison of Zosima with Seraphim) – served as material for the final synthesis but do not repeat its structure.*
https://blog.cassiopeia.center/mediumicheskii-seans-s-duhom-fyodora-dostoevskogo
Cassiopeia #868 Mediumistic Séance with the Spirit of Fyodor Dostoevsky. Contactee Irina Podzorova at the Bryusov-Hall
00:00 Start of video.
00:44 Host's greeting.
Igor: Good evening, dear friends! I am glad to welcome you to the Bryusov-Hall for another mediumistic séance, which we occasionally hold jointly with the "Cassiopeia" community and its leader, the unique medium, contactee with other worlds – Irina Podzorova. She is here with us today. Yes, we can mark this fact with additional applause. (applause)
Before we proceed to the main part of our program, we always prepare a short informational, so to speak, biographical film about our hero, to remind us of the main circumstances and facts of his biography. So that later it will be easier for us to navigate the questions and answers that will follow. And now, attention to the screen.
01:46 Biography of Fyodor Dostoevsky.
(A video film is shown on the screen).
Voiceover: Fyodor Dostoevsky was born (October 30) November 11, 1821 in Moscow, at the Mariinsky Hospital for the Poor, where his father worked as a doctor. Fyodor was the second child in the family. Five more were born later.
His mother dies of consumption when Dostoevsky is 15 years old. Despite his son's interest in artistic creativity, his father sends him, along with his older brother Mikhail, to study in St. Petersburg at the Main Engineering School. His father himself leaves his service at the hospital and moves to an estate, where he dies two years later under unclear circumstances.
During his studies, Fyodor suffers from the military atmosphere, from disciplines alien to his interests. In 1843, he graduates from the school and begins serving in the engineering corps. Within a year, he resigns from service and devotes himself entirely to literary creativity.
Starting with translations, Dostoevsky soon writes his first novel – "Poor Folk," which receives enthusiastic reviews from poet and publisher Nikolai Nekrasov, and then from the influential critic Vissarion Belinsky, while still in manuscript. Famous colleagues call the young writer the "new Gogol." The publication of the novel at the very beginning of 1846 instantly catapults the 24-year-old Dostoevsky into the forefront of Russian writers. However, his subsequent works – "The Double," "The Landlady," "A Weak Heart" – do not elicit the same enthusiasm from readers, and critics express contradictory opinions.
Around the same time, Dostoevsky participates in meetings of the circle of a young official of the Ministry of Foreign Affairs, translator Mikhail Petrashevsky, where issues of reform and censorship are discussed. In April 1849, the 27-year-old Dostoevsky is arrested for participating in this circle and, along with 14 other members of the organization, is sentenced to death. However, instead of execution, the authorities stage a mock execution, and Emperor Nicholas I commutes the death sentence to hard labor. Dostoevsky spends 4 years at hard labor in Omsk and then serves another 5 years as a rank-and-file soldier in Semipalatinsk, where he meets the married couple Isaeva.
He falls in love with Maria Isaeva and, some time after her husband's death, proposes marriage. The subsequent seven years of married life are unhappy: his wife suffers from consumption, Dostoevsky has an affair. In 1859, having received permission to return to the central provinces, Dostoevsky moves his family first to Tver, then to St. Petersburg, where in 1861, together with his brother Mikhail, he founds the magazine "Time," publishes his memoirs of hard labor – "Notes from the House of the Dead" – and the novel "The Insulted and Injured."
Three years after moving to the capital, Dostoevsky's wife and brother die, and the magazine faces bankruptcy. Dostoevsky assumes his brother's debts, expenses for supporting numerous relatives, and finds himself in a catastrophic financial situation. He loses his last money in gambling houses in Wiesbaden, Germany, incurring even greater debts.
He signs a predatory contract with the publisher Fyodor Stellovsky. According to the terms of the deal, Dostoevsky must deliver a new novel within an extremely short timeframe; otherwise, the copyright to all his works, including those not yet written, would pass to the publisher for 9 years.
Friends advise him to use the services of a stenographer to speed up the work. Dostoevsky meets Anna Snitkina, to whom he dictates the text of the novel "The Gambler" about a young man obsessed with roulette in 26 days, fulfilling the contract. In 1867, Dostoevsky marries Anna Snitkina. She helps the writer finish the novel "Crime and Punishment," takes control of his financial affairs, protects him from endless petitioners, and creates conditions for fruitful work.
Over the next decade, Dostoevsky creates the main works of his life: "Crime and Punishment," "The Idiot," "Demons," "The Adolescent," "The Brothers Karamazov" – Dostoevsky's famous five novels. The writer's recognition in the broadest strata of Russian society becomes universal. Death overtakes Dostoevsky on January 28, 1881, as a result of a pulmonary hemorrhage against the background of consumption. He is buried at the Tikhvin Cemetery of the Alexander Nevsky Lavra.
08:19 Introduction of participants. Greetings.
Igor: Dear friends, and now I invite to the stage the universal contactee, leader of the "Cassiopeia" community – Irina Podzorova. (applause)
Good evening, Ira!
Irina: Good evening! Hello, dear friends! I greet you all! My name is Irina Podzorova. I am a contactee with extraterrestrial civilizations, with subtle-material civilizations, and with the Spiritual World.
This is not our first, but another séance here. We continue the cycle of communication with the Spirits of famous people, particularly writers. And today we have invited, I invited through my curators, the Spirit who in his last incarnation was known as Fyodor Mikhailovich Dostoevsky. He is well-known to many. His works are part of the school curriculum, they were read and studied by me, and of course, by each of you, I think.
He is already present here, greets everyone, thanks for the invitation, and is ready to answer your questions.
Igor: Hello, dear Fyodor Mikhailovich! Thank you so much for agreeing to meet with us and coming to talk.
Irina: He nods his head and says: "Thank you."
Igor: If you permit, let's get straight to the point and start asking questions.
Irina (Fyodor Dostoevsky): Yes, of course.
10:16 Dostoevsky's spiritual level and his role in the Spiritual world.
Igor: The first block is traditional for us, it's a karmic one. We are, of course, very interested in what spiritual level you are currently at.
Irina (Fyodor Dostoevsky): At the moment, I am at the 23rd spiritual level.
Igor: Also an Angel! Let's applaud! What a successful life Fyodor Mikhailovich must have had, if he ended up at the angelic level. Could you tell us a little more about what you do at this level?
Irina (Fyodor Dostoevsky): I am not incarnated now, although I am already preparing for my next incarnation. And at the moment I am responsible... on Earth, I am an Angel-Archate. Not that I am responsible, but I am one of the patrons and guardians of the egregor of writers, that is, one of the departments of the egregor of art.
Igor: On a global scale?
Irina (Fyodor Dostoevsky): Yes.
11:25 Interaction of Spirits in the egregor of writers.
Igor: And which of your colleagues are there in this egregor, among those known to us?
Irina (Fyodor Dostoevsky): Anton Chekhov.
Igor: Okay.
Irina (Fyodor Dostoevsky): Leo Tolstoy.
(Irina) Yes, he is showing me Leo Tolstoy now. And... So, who is this? Shakespeare?
(Fyodor Dostoevsky) Yes.
Igor: And Pushkin?
Irina (Fyodor Dostoevsky): Since he is currently incarnated, his attention is mostly directed towards his incarnation. Although he also helps transmit information and continues to inspire poets. But he does it quite rarely, as he is busy with his incarnation.
Igor: Tell me, please, you listed some Spirits known to us from their earthly lives. As far as I understand, they all occupy different levels in the Spiritual world. But how do you meet at meetings? Does someone descend to someone else? Or do angelic levels not have such a rigid division?
Irina (Fyodor Dostoevsky): We do not descend. We send our phantoms into the egregor. That is, from the World of Unincarnated Spirits, we send our phantoms into one of the egressors of the terrestrial noosphere. It is located in the astral world. And the astral world is a border zone between the World of Unincarnated Spirits, where we are, and the material world. So we send our phantoms from any level.
13:30 State of literature on Earth. Dostoevsky's contactees.
Igor: How do you assess the state of literature currently on our Earth?
Irina (Fyodor Dostoevsky): There are very many new works, very many new and very interesting genres. And now there is a flourishing of literature not only in paper form, that is, in books, but also in electronic form. That is, there are very many new authors.
(Irina) This flourishing shows that very many people are writing now.
(Fyodor Dostoevsky) Of course, new genres have appeared, those that were unknown when I was incarnated. For example, detective stories or science fiction have reached great heights. At the time when I was incarnated, this was very rare, just beginning its development. We had more novels about life. Mystical novels existed, but they were not fantastic or detective stories, or, as they are also called, 'drama', that is, a 'love story' in the modern sense of these words. So now the egregor of literature, I will call it that, a sub-egregor of art, is undergoing rapid development.
Igor: Could you suggest some contemporary authors you recommend reading?
Irina (Fyodor Dostoevsky): I recommend everyone read a lot of diverse literature. Because literary taste is formed not by reading specific authors, but by reading a variety of literature and comparing it with each other.
Igor: Do you have any contactees among writers?
Irina (Fyodor Dostoevsky): Yes.
Igor: And how do you interact with them?
Irina (Fyodor Dostoevsky): I mentally send them ideas.
Igor: Ideas...
Irina: Well, thought-forms like that.
Igor: I understand.
15:58 From what level he incarnated and his tasks for the incarnation.
Igor: Tell me, please, from what level did you incarnate as Fyodor Mikhailovich?
Irina (Fyodor Dostoevsky): From the 20th.
Igor: So you were an Angel even before that, Fyodor Mikhailovich?
Irina (Fyodor Dostoevsky): Yes. But I want to clarify. I was not born in November, but in October, at the end of October.
Igor: But we had that change... by how much?
Irina: I'll explain now. He is speaking according to the old style. He was a little surprised that he was recorded as being born in November.
Igor: It's just, you see, the calendar changed a little after the revolution, but that was after your discarnation.
Irina: He knows that it changed, it's just that it was said that he was born on a certain date, but he was born on a different one, so he said that.
Igor: Fyodor Mikhailovich, I apologize, we will correct it and write it correctly.
Irina: Well, yes. He was born, he shows now, on October 30th.
(Fyodor Dostoevsky) This is important because some people might want to look at my numerological characteristics. That is, those that depend on the digits in the date of birth.
Igor: But did you learn about the importance of numerological characteristics already in the Spiritual world, or while still alive?
Irina (Fyodor Dostoevsky): Yes, in the Spiritual world.
Igor: And what might be the importance of these characteristics?
Irina (Fyodor Dostoevsky): They can be used to recognize the karmic characteristics and abilities of the Spirit, as well as his tasks.
Igor: Since we are not prepared now, and we don't have a numerological calculation, but we have the happy opportunity to ask you directly. What were your spiritual tasks for this incarnation?
Irina (Fyodor Dostoevsky): My main spiritual task for this incarnation, by the way, was to develop diligence, patience, and humility within myself, as well as the experience of overcoming various difficulties. That is, art wasn't even the first task, but precisely the development of such qualities within myself.
Igor: Human qualities not related to literary activity?
Irina (Fyodor Dostoevsky): Human qualities.
Igor: But literary activity was also part of the mandatory set of goals and tasks of life, wasn't it?
Irina (Fyodor Dostoevsky): It was a tool for developing my patience, humility, and overcoming difficulties. Because there were many difficulties on the path of creating literary works, their publication, and the criticism I encountered. And so I developed patience in myself, the ability to endure difficulties and not to turn away from the path when faced with obstacles of fate.
Igor: Well, and you must have succeeded.
Irina (Fyodor Dostoevsky): Yes, I fulfilled my purpose and raised my spiritual level.
Igor: That's so nice to hear! Which is what we wish for all those present.
19:18 Number of incarnations of the Spirit in this manvantara and on Earth.
Igor: Fyodor Mikhailovich, could you please give us your most significant past incarnations?
Irina (Fyodor Dostoevsky): I had a total of 3306 incarnations in this manvantara, that is, in the era of the existence of the material universe.
Igor: I think that's above average.
Irina: Well, yes, for example, I have fewer.
Igor: Do you really like adventures, like to incarnate and experiment?
Irina: That is, he has many incarnations, yes. He says there are Spirits with even larger numbers, actually.
(Fyodor Dostoevsky) Well, yes, if you look at Earth, those who incarnate on Earth usually have somewhere from 200 to 1000 incarnations. On average, again, we have different spreads. But I have 3306 incarnations, including, in fact, the last one. Of these, I was incarnated on Earth 102 times. But only 36 times was I incarnated on Earth in a dense body.
Igor: 36 times you were a human on Earth?
Irina (Fyodor Dostoevsky): Yes.
20:42 Significant incarnations on Earth and on the planet Esler.
Igor: Can you give us any examples?
Irina (Fyodor Dostoevsky): I will name those that you might recognize, because, for example, an incarnation that was important for me, you would hardly know about. It was as a Catholic monk who lived...
(Irina) Shows the very beginning of the 15th century.
(Fyodor Dostoevsky) He is unknown to you.
Igor: In which country?
Irina (Fyodor Dostoevsky): In Italy. He is unknown to you, his name is not preserved in the annals, at least you won't find him. For me, it was a very significant incarnation: there I purified my Spiritual heart for a very long time.
Okay, I will name famous incarnations. Famous in the sense that you can find them. For example, I was incarnated...
(Irina) Pappe, Pappi... So, who's this?
(Fyodor Dostoevsky) Do you know a figure named Pontius Pilate?
Igor: Oh!
Irina (Fyodor Dostoevsky): No, not as him.
Igor: Okay, fine. We know Pontius Pilate.
Irina (Fyodor Dostoevsky): He had a daughter. I was incarnated as her, named...
(Irina) Well, I hear it as Peppi.
Igor: Peppi.
Irina: Through my perception he speaks.
(Fyodor Dostoevsky) Because the contactee does not know the language of that time, so she hears it in Russian, in the Russian language.
(On-screen info: "Poppea – daughter of Pontius Pilate and Claudia Procula.")
I was incarnated as her.
(On-screen painting: Vasily Polenov's "Pilate's Daughter," 1899.)
Even before that, I was incarnated in the territory of the Decapolis – that's where the island of Rhodes is now. There was the capital there.
(On-screen info: "Decapolis – a group of city-states where Greeks settled after the conquest of Asian territories by Alexander the Great in the 4th century BC.")
It was the 5th century BC. I was incarnated as a philosopher and astronomer named Eudoxus. There was such a Eudoxus. I had a whole philosophical and astronomical school there. That was the 5th century BC.
(On-screen info: "Eudoxus of Cnidus (c. 408 BC – c. 355 BC) – ancient Greek mathematician, mechanic, and astronomer. He practiced medicine, philosophy, and music.")
(Irina) Yes, good.
(Fyodor Dostoevsky) Next, I was incarnated, as I said, as the daughter of Pontius Pilate. Then as an Emperor of Japan in the 13th century. But I had a short incarnation there (shows how he perished in some skirmish).
And then I went back along the Time Line a bit and incarnated in the 10th century AD on the territory of a Russian principality, Kievan Rus', to be precise. I became one of the sons of Vladimir Svyatoslavovich, who you know as Vladimir the Red Sun. I was his third son named Yaroslav.
Igor: And who was your mother in that incarnation?
Irina: In which one?
Igor: As the son of Vladimir.
Irina: Some Rogne... Rogne... Rogne... I don't know who that is.
(On-screen info: "Yaroslav Vladimirovich the Wise (978 – 1054) – son of Vladimir Svyatoslavovich and the Polotsk princess Rogneda. Grand Prince of Kiev (1016-1018, 1019-1054).")
(Fyodor Dostoevsky) But that was not my previous incarnation.
Igor: I understand.
Irina (Fyodor Dostoevsky): Next, after Yaroslav, I lowered my spiritual level, as we had a struggle between brothers there. Right now I am more focused on the memory of my last incarnation. To tell the details about it, I need to allocate a phantom with a different memory, like a different personality.
Then I incarnated, as I already said, as that monk.
(Irina) His name, as I hear, was Hippolytus. The name Hippolytus.
(Fyodor Dostoevsky) And there I cleansed my karma with prayers, repentance, fasting, that is, asceticism. There I raised my level to the 18th.
And then I incarnated on the planet Esler. That was my previous incarnation before incarnating into the body of Fyodor. On the planet Esler, I incarnated into a female body. And there I held the position... When I incarnated there, grew up, this woman (shows) on the planet Esler, she held the position of school director, developing educational programs for children. And already in this incarnation, as a Spirit, I reached the 20th level and then incarnated into the body of Fyodor.
Igor: Yes, thank you very much.
26:51 Childhood and parents.
Igor: Allow me now to ask a few questions related to your childhood and parents.
[Father – Dostoevsky Mikhail Andreevich – staff physician at the Mariinsky Hospital, mother – Maria Fedorovna, née Nechaeva, merchant's daughter.]
Irina (Fyodor Dostoevsky): Okay.
Igor: You yourself called your childhood happy and serene. But upon a more scrupulous study of your family members' memoirs, one gets the impression that your father was a despotic man, hot-tempered and intolerant. Not to mention that it was your father who tried to push you off your destined path and sent you to the engineering corps, instead of supporting your literary interests.
So, the question. When you were incarnating, you obviously, among other things, understood what qualities and properties your parents would have. Why did you agree to such a father? What qualities were you supposed to develop in yourself with the help of such a parent figure?
Irina (Fyodor Dostoevsky): Yes, indeed, I chose, like all Spirits, my mom and dad, and indeed the whole family as a kind egregor. I chose it. By the way, I took upon myself some ancestral karma, connected, again, with my personal task – to develop patience, humility, and the overcoming of difficulties within myself.
As for my father, he was actually a very kind person inside, in his heart. Initially, when I was little, he spent a lot of time with me and the other children, he loved my mother very much. He was a doctor, but he also practically completed his studies as a priest, as he was himself the son of a priest. And he was a very religious man. He believed in Jesus Christ and instilled faith in me, along with my mother, of course, but he instilled faith in me more than anyone else. He taught me to pray, taught me to thank God, to trust Him.
And he was an example of male fortitude, endurance, self-confidence, and selflessness. Because he worked in the hospital as a doctor and often treated patients from very poor classes who had nothing to pay for their treatment. And despite this, he would, one might say, sit at work for days on end, rarely slept, ate whatever he could find, to accommodate as many people as possible. He even sacrificed his weekends, time with his family. Yes, I want to say that my mother didn't always like this, she would sometimes tell him that he spent too much time at work. But he would tell her that he couldn't do otherwise, that he needed to help everyone.
And this, at my tender, young age, was such an example of service to people that I took for myself, into my personal baggage, in order to later be like him myself, although not a doctor of the physical body. But a writer is often a healer of human souls. And after all, my level upon incarnation was 20 – that of a Healer Angel. And I decided to take an example from my father and heal people with words, that is, heal their souls, showing through my works how people experience various troubles, how they get out of them, what happens to them. That is, I wrote my works not only for the sake of earning money, although that was also there, but mostly precisely to help people heal themselves with the help of words.
And an example of that very fortitude and diligence, work capacity, was my father. As for his strictness. Yes, he was quite strict, but he was fair. For example, in our house, despite the mischief of the younger children, that is, my brothers and sisters, physical punishment was not the rule, as was customary in many other families, even of the upper classes. He never raised a hand against us, never raised a hand against our mother.
32:31 Conflicts with peasants and father's death.
Irina (Fyodor Dostoevsky): The only thing, when his trials began, was after moving to the village.
He decided, together with his mother, to be closer to nature, and having saved up money from his work as a doctor, he bought an estate with peasants. I remind you that at that time there were serf peasants. So, simply put, he bought an estate with people, along with them. Yes, people were sold then, and he became their owner, that is, the master. But without experience in such work, he began to suffer losses, that is, he could not organize the work of the estate so that it would be profitable. Harvest failures began. These serf peasants would hide their production of animal and vegetable products from him. He didn't know how to check all this, they, one might say, deceived him.
Among other things, this led to his character beginning to deteriorate. I remember that when I was about 10 or 11 years old, we had a strong fire. And he began to suspect these very peasants of arson, but nothing was proven. And after that, he incurred a large monetary debt. And on top of that, my mother fell seriously ill. She already had a disease called "tuberculosis," but from all this stress, the disease worsened, and she took to her bed. And he worried about her, also worried about his estate, about us children, and from this he became irritable and began to buy himself some vodka to relieve stress.
But still, he struggled with himself, struggled with his affliction, and even if he yelled at someone, he would later ask for forgiveness. Therefore, I have no specific grievances or claims against my father. He felt especially bad after my mother's death because he loved her very much. He took her death very hard, and everything literally began to irritate him.
(Irina) That is, he shows depression: the father walks around, and nothing makes him happy.
(Fyodor Dostoevsky) He even stopped going to church and praying. It was as if he was offended at God for not saving his beloved. That was the feeling. He also soon died due to a conflict with his peasants.
He quarreled with them, and his heart, so to speak, gave out. There was a scandal because they started sowing something incorrectly, conducting the sowing. He yelled at them, being in that clouded state of mind of his. Accordingly, they also started shouting at him and insulting him, and he couldn't stand it. He felt unwell with his heart.
Igor: So it wasn't a murder, it was what is called an "apoplectic stroke"?
Irina (Fyodor Dostoevsky): Only if we call it a moral murder, because they insulted him there.
(Irina) Shows how they answered rudely.
Igor: I understand.
Irina: Yes.
37:11 Ancestral karma and the influence of stress on health. Causes of epilepsy.
Igor: According to one version, after receiving the news of your father's death, you had your first epileptic seizure.
Irina (Fyodor Dostoevsky): I recognized the cause of this already in the Spiritual world.
Igor: Really? Please tell us.
Irina (Fyodor Dostoevsky): The fact is that I already spoke about the ancestral karma I took upon myself for the development of patience and humility. Part of that ancestral karma was that I chose to incarnate through my parents, specifically through my mother, who already had the disease "tuberculosis." And when my body was forming in her womb, as you call them – the tuberculosis bacteria penetrated me and damaged my brain.
(Irina) That is, he shows that he had a congenital form. And his entire childhood he was weak, constantly coughing. There was this kind of tuberculosis, but in a chronic form, i.e., it didn't destroy him badly.
(Fyodor Dostoevsky) Yes, my lungs suffered, but my immunity still fought, preserving them. As for the brain, a focal point of damage to its substance arose there from these tuberculosis bacteria. And because of that, a focal point of seizure activity arose there, which under stress...
I learned, firstly, about my mother's death, I was already stressed. Literally immediately, my brother and I learned about the death, or rather the murder, of our beloved writer – Alexander Pushkin. We were very upset because it all piled on top of each other. And already then I had states where I didn't understand: what is around me, is it real or not? And I began to hear some noises, voices that were calling me somewhere. Already in the Spiritual world, I understood that due to the structure of my brain, I simply began to hear the voices of subtle-material beings. And then, with the next stress, all this resulted in me having a convulsive seizure.
(Irina) That is, he shows that this is a brain injury acquired during incarnation due to his mother's infection, who later died of tuberculosis.
40:23 Goals of Fyodor Dostoevsky's incarnation.
Irina (Fyodor Dostoevsky): For what reason I took on this body, I understood already in the Spiritual world. In order to, firstly, by accepting my body and my illness, also develop patience within myself. That was my first task. And my second task was to direct energy as a Healer Angel to heal my body. And this was also fulfilled in the sense that for so long I did not have lung destruction, although these bacteria lived in them.
(Irina) Yes, I understand. He is just showing me with images that he directed, or rather, as we call it, his Higher Self – that part of him that was in the Spiritual world – directed to him an energy that temporarily suppressed these bacteria, which in the end later destroyed him. But this did not happen in 5 years, not in 10, because he could have died in childhood or in his youth. But because his Higher Self sent energy, he shows me with images, these bacteria were suppressed.
As for epilepsy, it was a consequence of the ancestral infection he took on. And it was activated only due to stress associated with the death of loved ones. That signal in the brain began to pass incorrectly. As a result, the stress, the sadness from parting with his mother, and then from the death of Pushkin and his father, plus a maturing formation in the brain like a cyst, you know, from congenital tuberculosis – all this piled on top of each other, and this disease arose.
Igor: I understand. Thank you very much.
42:40 Psychology of suicides in Dostoevsky's works.
Igor: In many of your works, the theme of suicide appears in one way or another. "The Meek One," obviously, Ippolit in "The Idiot," Kirillov in "Demons," Svidrigailov in "Crime and Punishment." You have an essay "Two Suicides," where you examined the death of two young girls. In a word, it can be said that you studied the psychology of a suicide with particular passion, trying to get to the bottom of it. Question: what is the reason for this attention to the issue of suicide?
Irina (Fyodor Dostoevsky): I wanted to help those people who would read these works to understand themselves by studying the experiences of those heroes who came to this conclusion, who came to suicide. I wanted to show that I understand their experiences (shows).
Next to these heroes, there were always ways out that they did not use. And I wanted to use these works to prompt the idea that one should never give up, that one should never leave life, because I showed that my heroes did not take these chances, although they could have. That is, I described the experiences of these people, again, for the purpose of healing, so that people reading this would recognize themselves in others, so that it would help them see themselves as in a mirror, and with this help, they could get out of that spiritual pit into which they themselves had sunk. So, it's a technique.
Igor: Yes, I understand. Thank you very much.
44:48 Fear of death in childhood.
Igor: In your childhood, you often felt that you were dying, and like Gogol, you were afraid of falling into a lethargic sleep, and even left suicide notes with instructions that if you suddenly died, they should definitely check whether you were really dead before burying you. Question, where did this fear of early death and of lethargic sleep come from?
Irina (Fyodor Dostoevsky): I had this fear, but I also had other fears. For example, I had a fear of the dark, a fear of going mad. This was due to my states when I felt unwell and didn't know if I would wake up tomorrow. So my self-preservation instinct became excited and sent me the fear of death.
In fact, my greatest fear at that time was precisely the fear of death, which was caused by my weak health, my weak body. I have already told you why this was – for a generic reason, ancestral karma. As a result, I experienced various fears, which took different forms, but underneath them, the same fear of death was still hidden. But a little later, as life went on, I coped with them. That is, it was in childhood, in youth, and as life went on, I coped with these fears, and later I no longer had them.
Igor: I understand. Thank you very much.
46:37 Ludomania and helping people.
Igor: I cannot help but ask you about ludomania – the irresistible passion for gambling, which, as we know, you suffered from for a long time, but, it should be noted, you managed to get rid of it miraculously. Question: how did it appear, what was the reason, and how did you manage to get rid of this passion?
Irina (Fyodor Dostoevsky): I was looking for a way to acquire a lot of money at once to, firstly, pay off my debts, and secondly, to help my relatives and the many people who wrote to me.
The fact is that I not only engaged in literary activity, but I also had activity as a publisher of a magazine, even a series of magazines, and there was a column where people wrote to me personally. And they often asked me for help, and also often came to my apartment, which I rented. People often came and told me about their troubles.
(Irina) That is, he was such a patron, sponsor. He shows how he gave people money, gave them food, clothes.
(Fyodor Dostoevsky) Because I considered it my duty to help people, including materially, and not only relatives. For this, naturally, I needed a lot of money.
After all, the more you help people in a material sense, the more such fame spreads about you. And the more people come to you as to a generous money bag, which, unfortunately, I was not at that time, since I was not yet famous enough for me to be paid huge fees. Moreover, literary criticism often pursued me, because they didn't like everything in my works. And publishers also pay attention to criticism and can lower the fee for future works because of it, saying: "We don't know how this will sell, since you are being criticized."
But nevertheless, I had already taken on the debt, the obligation to help people. And fame about me spread in St. Petersburg and the surrounding areas. And complete strangers often approached me with illnesses, so that I would give them money for treatment or for food. I could not refuse them because they were counting on me. And if I helped one, then with what formulation, how and why would I motivate a refusal to another? Then they would not be equal for me, would they? So I was looking for an opportunity to work for everyone at once.
49:53 Trip to Europe, addiction to casino gambling.
Irina (Fyodor Dostoevsky): And when I received a fee for my works, I decided to travel around Europe, to take such a trip. To see if it was as good there as my friends from the Westernizer camp told me. They really praised the advantages of Western countries as more developed than Russia.
And I went there. Indeed, it was very beautiful there – such restaurants, halls. But, again, beautiful for whom? For rich, wealthy gentlemen. For the oppressed class, for example, poor peasants, life there was also not great, in some ways even worse than ours.
And there I saw a casino where they played cards, made various bets, and someone would win, someone would lose. And one friend, or rather he should be called an acquaintance, invited me to one such casino. I played several times and won a large sum.
(Irina) Shows how they spin the roulette there, and he bets on a little ball.
(Fyodor Dostoevsky) A thought came to me to bet exactly there. I bet and won something like 10 thousand marks. That was a huge sum – in those days one could buy a house in Europe. I paid off some debts, set aside some to help people. And then I thought: "But this is an easy way! If I take some of this same money and start playing again, then the thought will come to me again, actually, where to bet. And again this lucky arrow will point to me as the winner." And I waited for that lucky arrow for almost 10 years.
52:29 Awareness of sin. Healing from addiction. Support of his wife.
Irina (Fyodor Dostoevsky): Then I realized that it was all an illusion. When I had already lost a lot, when I started borrowing money from friends, selling my clothes, and even pawning my wife's wedding ring, I realized that it was a sin, a sinful activity. Firstly, it develops selfishness.
I prayed to God, asked Him to let me win again to pay off my debts. But a thought came to me: "I will not send you any more winnings, as this corrupts you, it develops selfishness, greed, avarice in you. And you did not understand My grace when you won the first time. You began to fall into avarice, greed and move away from your purpose. Therefore, you will not win anything else. You can only lose the rest – what you have." Such a thought came, and I wept bitterly.
(Irina) Shows that there was one...
(Fyodor Dostoevsky) Then I tried to play a few more times, but I was totally unlucky. And even those who were playing next to me, who were beginners, they won, but I did not. And I understood, one day my eyes were opened. I said to myself: "Well, what am I doing?!" Already while in the Spiritual world, I realized that this was an appeal from my Guardian Angel and my mentors – one of my mentors was Archangel Michael – and my Higher Self.
Of course, my second wife supported me in this. She never reproached me, only said that it would be better if I lived by my own labor, that it would be better if I distributed my income so that what I had was enough for me, and that "it's better to stop chasing these ghosts, because you lose more." And I would show her that after the first win, there were also smaller wins. I told her: "But I won 100 francs, 200 francs." And she would answer: "I have it all written down in my notebook: you lost much more, you took that money and lost it again."
She said: "It pains me to see you torment yourself." Because I would later get very upset that I came back without a penny in my pocket, that eventually my friends would come to the hotel and pay the owner for me because I even owed for the room. It was all very painful for me to see. And finally, I decided that I would never touch those things again – cards, roulette, any items used for gambling. Because it is deception, it is an illusion, it is the creation of an image that leads a person into avarice, and he loses his mind. He sees nothing, hears nothing, and only wants to win. But in reality, he loses everything.
(Irina) That is, he shows that such an awareness occurred.
Igor: I understand, thank you.
57:06 Dostoevsky's attitude towards money. Charity.
Igor: I thought about this. Looking at your life, one gets the feeling that you generally had a difficult relationship with money, despite the winnings you told us about. In general, you were always in dire need of money. And it's not just that you gave it away, so to speak, out of the kindness of your heart to a large number of people left and right. Moreover, as I understand it, there were many swindlers and tricksters who took advantage of this.
Irina (Fyodor Dostoevsky): I paid no attention to that.
Igor: You didn't?
Irina (Fyodor Dostoevsky): That is, I didn't check. If, for example, a woman cried and told me, "my child is sick, please give me money for treatment," she could even come without the child, and I would not ask her for any documents, nothing, I would simply give her money. I considered it indecent not to believe a person in their grief.
Igor: Yes. But besides these episodes, we know that your own batman robbed you, that people were constantly stealing money from you. You yourself said that your fees were also...
Irina (Fyodor Dostoevsky): Yes, and publishers underpaid, that also happened.
Igor: Can it be said in connection with this that your connection with the financial egregor was somehow disrupted, that for some reason money did not come into your hands?
Irina: So, interesting.
Igor: If this is indeed a correct statement, why?
Irina (Fyodor Dostoevsky): Yes. The thing is that this was also part of my own plan, which I made in the Spiritual world for the development of patience, humility, diligence. If I had a lot of money that I would use and accumulate a fortune for myself, then it would be difficult for me to cultivate patience and humility in myself, as, on the contrary, it would be a reason for pride.
Igor: An excellent answer, thank you very much! Dear friends, those who lack money, listen to this answer.
58:58 Help from friends.
Igor: Tell me, please, you mentioned your friends who, in difficult days for you, paid your hotel bills and paid off your debts. In particular, the priest Yanyshev in Wiesbaden paid off your debts. Who was this person, and were you even acquainted with him?
Irina (Fyodor Dostoevsky): I was. But not only he helped, there were several people.
(Irina) Shows me several people, some of whom were acquaintances through literature, some were just friends.
(Fyodor Dostoevsky) They would learn about the debts from me or from my wife, because it wasn't a secret, and they would come to me and ask: "How are you doing?" They would ask me or my wife. I would honestly say: "I haven't paid for the hotel for a week, they want to evict me and take me to court." Accordingly, they would go and pay my debt. I would apologize very much and say that I would definitely pay them back. I was very uncomfortable. But they didn't demand anything, didn't reproach me, but they also said that "you need to do something, i.e., stop playing."
(Irina) Now he shows me how this priest said: "I will pray for you, otherwise the demon of avarice is overcoming you."
(Fyodor Dostoevsky) And whenever I had any money at all, I still tried to give it back to them. The only thing is that I was able to repay some only after several years. That is, I didn't like being in debt. That others owed me – that's fine, but I myself didn't like being in debt.
Igor: Thank you.
1:00:50 Attempted poisoning. Curators from the Spiritual world.
Igor: Another dramatic episode of your life is connected with money. In hard labor, convicts tried to poison you in order to take possession of the money sent to you in a letter, in an envelope.
Irina (Fyodor Dostoevsky): Well, such cases were common there, they killed for money and even for stronger clothes than the neighbor had.
Igor: So, okay. Why weren't you killed?
Irina (Fyodor Dostoevsky): God saved me.
(Irina) God protected him, she shows.
Igor: There is a story about a dog that appeared and ate the poisoned food, showing you that it was poisoned. And you didn't die that time.
Irina (Fyodor Dostoevsky): Yes, I shared my food with it (shows how he shared part of his food with the dog).
Igor: You fed the doggy?
Irina (Fyodor Dostoevsky): Yes. And it felt unwell. Then I understood... But actually, it was God who sent such a circumstance so that I would not leave the incarnation.
Igor: God. But you said that Archangel Michael was your curator.
Irina (Fyodor Dostoevsky): Yes.
Igor: And who else?
Irina (Fyodor Dostoevsky): Later, when I began to read the Gospel more, pray, communicate with Jesus through prayer, Jesus became my curator. Well, as a curator? A Spirit who guided me – a mentor. And Archangel Michael literally guided me from childhood.
1:02:21 Theophany to Dostoevsky. Ecstasy of the Spirit.
Igor: Thanks to the memoirs of Sofia Kovalevskaya, we know about the moment when you experienced a personal theophany. It happened after hard labor, in exile, when a friend, an atheist, came to visit you. You talked all night, and in the morning, the bells rang. Your words: "I truly comprehended God and was imbued with Him."
Irina: He shows that this happened to him many times.
Igor: Many times. What does "comprehending God" mean, and what does "imbued with Him" mean? That is, is it some kind of communication? What is that state?
Irina (Fyodor Dostoevsky): So, let me try to explain in words. It is when you come to a clear realization that God is not just somewhere out there, but He is directly next to you and looking at you. And you feel His gaze with your entire soul, He kind of surrounds you. And you don't see it with your sight or understand it with your mind, but you perceive it with your Heart. It just becomes clear to you. And this is accompanied by such a surge of joy, Love, and gratitude for what is. At that moment, you are even ready to die and fear nothing. And even if your body is suffering, your Spirit rejoices.
Igor: Beautiful words.
1:04:07 The role of the Gospel in hard labor.
Igor: Tell me, please, did that Gospel that Fonvizina's wife gave you on the way to hard labor play some important role in your movement towards God?
Irina (Fyodor Dostoevsky): I had read the Bible before, but it was precisely while being imprisoned... There we worked on construction sites (shows building construction), we were taken there. It was hard physical labor, with very poor, meager food, and it was so cold in winter. And the only thing that could distract from everyday difficulties and help preserve oneself as a person, so that the system would not trample you down, the only outlet, the distraction from all the darkness around, was reading the Gospel.
This manifested itself precisely in such difficult circumstances when I was physically unfree. But this too was part of my life's task – to cultivate patience and humility in myself. Where else to develop these qualities but in prison? There, even your life does not depend on you, you are completely at the mercy of people alien to you, who are negatively disposed towards you. There are no loving mom and dad nearby. There are guards, cellmates, each of whom has a soul that is maimed and distorted in its own way, and they are far from Angels.
In these circumstances, when I opened the Gospel, I would immerse myself in another world. I would immerse myself in a world of Love, harmony, one might say, spiritual health. That is, I found in the words of the Gospel that grace that nourished my soul. Therefore, this book became the most precious to me. And even when I returned to St. Petersburg after hard labor and my service as a soldier, I still took this book with me. It was with me on all my travels and was also present at my physical death. It is the Gospel, this book, because it became my talisman, my spiritual channel connecting me with Jesus. That is the significance this book holds for me.
Igor: Thank you very much.
1:07:24 Spiritual reasons for hard labor.
Igor: This hard labor you ended up in, did you plan it in advance in the Spiritual world? Was it an obligatory element of your destiny?
Irina (Fyodor Dostoevsky): One of the probabilities.
Igor: Could it have turned out differently?
Irina (Fyodor Dostoevsky): Yes, it could have. There was one of the probabilities. The question is, what was the spiritual reason, if I understand correctly?
Igor: Yes.
Irina (Fyodor Dostoevsky): I met people who, firstly, turned my head when I was still young and had my first success in book publishing. Everyone praised me and said that with my work "Poor Folk," I was opening the people's eyes to the truth, to the truth, supporting them. And this was in tune with my inner conviction that I am a healer of souls.
But gradually these friends led me astray towards condemning the state, condemning the official Church. They would show me literature that was forbidden by censorship, which contained, for the then-me, seemingly correct things – socialist ideas, that people's well-being should be put first, that corruption needs to be fought, and so on. That is, there were such appeals that aroused, one might say, anger at the existing state system.
And at that time, I was still young and did not take into account that everything exists within God's Will. So I began to move away from my purpose – to develop patience, humility, and diligence within myself – and began to develop assertiveness, leadership, that is, my leadership instinct began to awaken. Because of this, circumstances arose around me such that one of the members of this circle...
(Irina) "Anton" I hear, Antonio, Anton...
(On-screen info: "Pyotr Antonelli (1825-1885) – a police agent infiltrated into the Petrashevsky circle, the main source of information for the prosecution in the subsequent trial.")
(Fyodor Dostoevsky) He went and informed on us to the office, to the gendarmerie, to the investigative department under the imperial internal affairs body – that was the investigative body. He informed on us for reading a letter.
There was such a person as Vissarion Belinsky, and they had a correspondence with Nikolai Gogol. I don't know if this letter is famous now, it's not entirely clear in the egregor, but I sense from the energy that at least some of those present have read it. And I think you have read it too, I see in your field that you know what was written there. It was a very harsh letter condemning the emperor, condemning the hierarchs of the Russian Orthodox Church, and indeed the entire system. And there were expressions bordering on insult: for the oppression of serfs, for corruption, for priests hiding behind religion and oppressing the people, owning much land, land plots, and introducing paid services, profiting from common people.
And when we read it, I will be honest with you, I was delighted by such boldness. Because one really had to be brave to speak out like that in the middle of the 19th century. One could pay for it with one's head, one's life. And one of those who read this letter with us informed on us. I also read it aloud, that is, an excerpt from this letter.
1:13:08 Arrest, mock execution, and commutation of sentence.
Irina (Fyodor Dostoevsky): We were all detained and put in the Peter and Paul Fortress. We were kept in cells, interrogated. They didn't even feed us, didn't let us sleep, interrogated us constantly. And we talked, some gave away others, like a chain, who was there. They accused us of wanting to overthrow the emperor, of generally plotting some kind of assassination attempt on him. So they assembled a case that we had formed a conspiracy against the emperor, whom you call Nicholas I. And we were all sentenced to death by firing squad (to be shot with rifles, shows).
Then we were taken to the square. It was already winter. I remember well the moment when I said goodbye to life, because the sentence had already been read to us. Those of us, including me, who were in the nobility class, were stripped of nobility, while reading the corresponding decree that "these people are removed from the nobility, as they have disgraced this estate by their outburst against state authority," and by breaking a weapon over us (shows breaking something like a sword or épée over the head). They deprived us of our privileges, everything, we became rootless, belonging to no one.
(Irina) They were wearing some kind of clothes, like flowing robes, something like that.
(Fyodor Dostoevsky) We were placed against a wall and the rifles were already aimed. I realized that I had no more than a minute to live. At that moment in time, I had just turned 28. You know, that last minute was so precious to me. I wanted so much to live, did not want to leave this gray sky from which a light snowstorm was blowing. I realized that every breath of mine could be my last and I hurried to remember the impressions of that square, of what surrounded it, so to speak, to take with me.
I did not have a strong fear of death. I wanted to stay precisely because I had not done what I wanted, I felt that my soul had not fulfilled its task. A feeling arose that this should not be, that it was some kind of decoration, some kind of theater. And when the muzzles of the rifles were already aimed at us and I was waiting for death to fly out at any moment, a command rang out: "Stand down! Lower the rifles!"
(Irina) Shows that someone on a horse rides in and reads a new Decree: "Cancel, pardon."
(Fyodor Dostoevsky) I could barely hear, didn't understand what was happening, because I was already ready to appear before the Creator, so I was focused on myself. And suddenly sounds: "Cancel, pardon." I was like: "What? What happened?"
(Irina) He didn't even believe it.
(Fyodor Dostoevsky) They read out the emperor's new order: "Replace the death sentence with hard labor, imprisonment." Our nobility was not returned to us at that time, that is, we were simply sent as criminals to Omsk, and it took us a long time to get there.
(Irina) Shows something like a train that takes a very long time. Some wooden carriages, very cold.
1:18:25 Realization of delusions.
Irina (Fyodor Dostoevsky): When we were being led away, I realized that I had remained alive, and I was so happy even with those conditions because I understood that everything could have ended, and then I would not have fulfilled my purpose. And I understood for sure that it was not an accident, that this order to replace the death sentence and give us life was given from above, that the emperor was only a conductor of the Divine Will. And while traveling into exile, I understood, fully realized, that my life was in God's hands. And then I was given that Gospel. I began to read it there and, as I already said, felt that it was my window to God, to the Spiritual world.
All this led to me understanding that my infatuation with socialist ideas was a utopia, a delusion, an illusion. Because the oppression of the people is also not an accident (serfdom existed at that time), and that a person born a slave has the same chance as his master to come to God. And that is the most important thing, regardless of material conditions. Because without God, a person, even a tsar, even the ruler of all slaves on Earth, cannot be happy. At that time, I understood this completely.
Igor: Thank you very much.
1:20:30 Theatrical performance in hard labor.
Igor: There, in Omsk hard labor, you were allowed to put on a theatrical performance for the New Year of 1852, and you acted as the director. Question: what play did you stage, and did you have audience success?
Irina: He shows that it was about the life of peasants and their love for each other.
Igor: Did you write the play yourself?
Irina (Fyodor Dostoevsky): Yes. But I took its plot from all the books I had read.
Igor: Did the audience like it?
Irina (Fyodor Dostoevsky): Yes, but not everyone. There were critics, that is, those who didn't like it.
Igor: Thank you very much.
1:21:28 Dostoevsky's attitude towards the Church.
Igor: Your attitude towards faith is understandable to us. But what about your attitude towards the Church? From what I can tell, you were not a disciplined Christian: you rarely went to church, you neglected the sacraments.
Irina: He had priest friends, shows, there were some spiritual fathers, several of them throughout his life, they changed.
Igor: There are memoirs of your wife Anna Grigorievna that when she went to church, you sometimes scolded her for it, saying that instead of going, she should attend to household chores.
Irina: He smiles and says: "There are different conversations in every family."
(Fyodor Dostoevsky) I respected the Church very much, although I wouldn't say I was some kind of fanatic. But I still tried to go to services and even traveled to monasteries, visited monks, and very much liked living near a church, near a temple.
Igor: "To monasteries"? Obviously, you mean Optina Pustyn, where you went after the death of your son Alyosha with Vladimir Solomin?
Irina (Fyodor Dostoevsky): I went earlier too.
Igor: You went earlier too?
Irina (Fyodor Dostoevsky): Yes, as a pilgrimage, to various monasteries and churches. And in general, even when I visited Europe, I would still go to a Catholic church, I liked to listen to the service. Of course, I didn't go every Sunday, but I loved the ringing of bells, the singing, the prayers. I had a good attitude towards it, I just didn't always have the opportunity due to my work.
As for my wife, I sometimes said things to her while irritated. Sometimes my illness, specifically epileptic seizures... They happened not so often, but once every few months, due to what I already said. And because of this, I had something like a lowered mood (shows brain depression, causing everything to irritate him). So I could say something to her in a fit of anger. But that was not my conviction that one should not do so.
Igor: I understand.
1:24:35 Meeting with Elder Ambrose, loss of son, and search for faith.
Igor: That meeting with Elder Ambrose in the Optina Pustyn Monastery – did it have some defining significance for you, or was it just one of many meetings with clergy?
Irina (Fyodor Dostoevsky): He returned hope to me, not even hope, but trust in God, because after the death of my youngest son – Alexei – my faith in a righteous God, let's say, wavered. Because I had strong fatherly feelings for him, as a father I felt sorry for him. Especially since he died in front of my eyes, and that's the first thing.
And second: he died in convulsions, he was thrashing about. And I knew that I was to blame for this because he was born from me, and I transmitted this to him through my blood. That is, I constantly asked God: "For what reason did You give me a child who must suffer because of me, because of my illness?" For this reason, I traveled to churches, to monasteries.
(Irina) Shows how he visited a monastery in St. Petersburg, also talked with a priest there, confessed.
(Fyodor Dostoevsky) And they advised me to go...
Igor: ...to Elder Ambrose?
Irina (Fyodor Dostoevsky): Yes, to a monk, an elder, who answers questions as from God. That is, he was such a conductor, let's say.
And when I asked him: "For what reason must my son suffer?" – that is, I asked my question, I received this answer: "Your son is like an Angel of God, you didn't name him after Saint Alexei for nothing, who was like an Angel." And as for the fact that he left at such an age – he was three years old, my three-year-old son died in my arms, and I could do nothing – I heard from Father Ambrose that "it is God's will, because since he left at a young age, he went straight to God." "And for you," he said, "for you and your wife Anna, this is needed so that you completely trust God. For you received this child from His hands, and into His hands you return him. He did not belong to you, in fact. Just believe that his soul is well now."
(Irina) That is, he shows that he sent such comfort.
(Fyodor Dostoevsky) I felt the presence of the Holy Spirit in his words. And I began to thank God for revealing His Love to me in this way, that is, through the death of my son and my first daughter. I also had another child die – my first daughter, and then this last son – Alexei. Through the death of my children, I understood the experiences of the Mother of God, whose son Jesus Christ also died on the cross before her. She, despite seeing His suffering, did not stop loving the Heavenly Father, the Creator of the Universe. And I realized that I have no right to make claims against God, for the life of every person is in His hands, and He knows best who and when to take to Himself.
Igor: Thank you very much.
In the memoirs of Elder Ambrose's cell-attendant, there is a description of this visit of yours. And after you left Optina Pustyn, the elder said to his cell-attendant: "This one is repentant."
1:29:41 Meeting with Leo Tolstoy. Why the friendship did not take place?
Igor: Do you know what Elder Ambrose said after meeting with Leo Tolstoy, whom he also talked to? Well, of course you don't, because we only found out when we got to those archives. He said: "He is very proud."
In this regard, a question about Tolstoy. In 1878, you and he, the only time in each of your lives, ended up in the same place in St. Petersburg at a public lecture by Vladimir Solovyov, the philosopher. It was assumed that you would be introduced to each other there. However, your mutual friend Nikolai Strakhov, who was supposed to do this, for some reason did not.
We have already communicated with the Spirit of Leo Nikolaevich, and he revealed the secret to us that this meeting was planned by you in advance, and that you were supposed to meet. Moreover, you were supposed to become (according to the Spirit of Leo Nikolaevich) his spiritual mentor. And this meeting was supposed to change not only his life, but also the course of all Russian literature, and perhaps Russian civilization.
I cannot help but ask you: why did this acquaintance, which, it seems, was planned in advance, not take place?
Irina (Fyodor Dostoevsky): Yes, indeed, we had an agreement with that Spirit for that incarnation that we would not just meet, but would be friends, and in a certain way I would become his spiritual mentor, although I was not a priest. A mentor in the sense of such a friend who gives advice not only on literature, but also on life, including social life. Because he was an enthusiastic person, I know that Spirit, and he, let's say, spoke out against the Church. Therefore, I needed to convey to him the beauty of the Gospel, manifested precisely through the Church.
For what reason did we not meet? For what reason did we end up in the same room and were not introduced to each other? For the reason that our Mentors brought us there, that is, our Angels directed thoughts to us to come there. But since our incarnated parts, our Souls, were at that time occupied with their own thoughts, their own friends, while in bodies, they did not pay attention to each other, it was not interesting to them. Although they were not far from each other, their attention was occupied by those momentary experiences, concerns, conversations with acquaintances – ordinary vanity. So our gazes simply slid over each other's faces and did not leave a trace in memory (shows that for each it was just a stranger).
And for what reason were we not introduced? For the reason that the one you named, who was acquainted with both of us, he had such intentions, but he too was occupied with all this vanity and also did not make the right choice (shows that he was distracted by a conversation). And when he caught himself, we had already parted. And we never met physically again, so the acquaintance did not take place.
I want to say that yes, we had a meeting recorded, planned before incarnation, and friendship was planned. That is, not just meet and talk, but there would be friendship. But not all plans are realized in incarnation for various reasons. Because the incarnated part can begin to behave not as the whole Spirit expects before separation into the Higher Self, as you say, and the Soul. The Soul's memory of even its agreements is blocked, but at the same time, its choice remains. And so it can behave in such a way that, figuratively speaking, the Higher Self can only sigh, sitting on a little cloud in the Spiritual world.
Igor: I understand. Thank you very much.
1:35:34 The role of Nikolai Strakhov.
Igor: This person who was supposed to introduce you, Nikolai Strakhov – what kind of figure was he in your life? He seems to me like a rather sinister character. Not only because his article "The Fatal Question" led to the closure of your and your brother's magazine. On one hand, you were friends with him, on the other hand, you left a rather unflattering description of him in your diaries.
Irina (Fyodor Dostoevsky): He was a critic (shows that he criticized everyone).
He had a critical mind, he did not trust people. And for this reason, he was even aloof, that is, cold in relationships with friends, and often spoke unflatteringly about mutual acquaintances. But he was, undoubtedly, a talented writer, critic, and had a very good command of words. And with this word, he could offend. It's not that he wrote some article. He could, for example, read one of my stories and even say to mutual acquaintances: "What has he written?!"
(Irina) Shows that criticism is coming. And he was also more inclined towards socialism, had a materialistic mindset.
(Fyodor Dostoevsky) Not like, say, the same Vissarion Belinsky, who had an extreme form of rejection. I already spoke about the letter to Gogol.
Igor: Yes.
Irina (Fyodor Dostoevsky): Nikolai did not have that. But he was still more inclined towards that side. We had disagreements on matters of faith. He was more inclined towards a rational socialist model. He was fascinated by science, for example, he would read about discoveries of scientists, some mathematicians, and say: "Here we are discovering the world, and you keep going to church, praying!"
I also liked to read scientific journals, I had many books. I subscribed to magazines and newspapers, read them, and even made clippings – I followed the political situation in the world and scientific developments.
(Irina) Shows that he was a fairly versatile man with a very good memory, and he read a lot. That is, he not only wrote a lot, but also read many different authors.
Igor: Thank you.
1:38:44 Accusations against Dostoevsky of despicable acts.
Igor: But I'll still say a little more about Strakhov. The fact is that after your death, he wrote a letter to Tolstoy, referring to his close friendship with you, portraying you as a person who was allegedly drawn to dirty deeds, who boasted about them. But the most outrageous thing, citing Pavel Viskovatov and Turgenev, he claimed that you confessed to many that you once committed a despicable act, namely, you bribed the governess of a little girl and obtained the opportunity to spend time with this child in a bathhouse. According to Strakhov, "to fornicate."
When, after Tolstoy's death, this letter was made public, your widow, Anna Grigorievna, published a response and asked friends to refute these speculations. In general, the meaning of this response was that one should not confuse the writer with his characters. But it is clear that you were already dead by that time, and we could not get your comments regarding this essentially accusatory statement. Now I would like you to comment on these insinuations of Strakhov.
Irina (Fyodor Dostoevsky): Yes, he could have thought that. I communicated quite openly with different people, including children. And indeed, I could show him how people with children came to me (I already spoke about this) asking for help, or even just for advice. Including women with girls. And it also happened in his presence.
I communicated quite openly, I could hug people, even a girl. Perhaps I behaved in such a way that it led him to some suspicions regarding my attraction to children. But I want to say that I never had such a thing. I always treated children in a fatherly way. And why did he think that? I can only say that it was because of his character, which was accustomed to seeing in others what was in himself.
(Irina) That is, he shows that perhaps he himself experienced this and therefore subconsciously blamed others for it.
Igor: He describes in quite detail how you allegedly recounted these circumstances to Turgenev. And I got the impression that in these stories, if they indeed existed, you were somehow working through the internal lines of your characters.
1:41:52 The suppressed chapter from the novel "Demons".
Igor: It seems to me that this story of rape ultimately formed the basis of Stavrogin's confession in "At Tikhon's" in the ninth chapter of the second part of "Demons," where Stavrogin tells how he seduced Matryosha. Katkov refused to publish this chapter in the "Russian Messenger" as too scandalous, despite the fact that, as I understand it, you made attempts to somehow rework the text, to reduce the degree of scandal.
Where I'm leading with all this? My question is this. This chapter was ultimately removed. But in the separate edition of the novel in 1833 (Note: likely a typo, should be 1873?), you theoretically had the opportunity to put this scandalous chapter with Stavrogin's confession of raping a girl back into the novel. Obviously, it is important for understanding, so to speak, the character's inner world. Why did you not put this chapter back? Today, this chapter is most often published in an appendix, but there are editions where this ninth chapter with Stavrogin's confession is included in the main text. How do you advise us to read it? With this chapter inside, or still study it separately later?
Irina (Fyodor Dostoevsky): I believe it is simply censorship. There was simply book censorship at the publishing house, and the publishers' representatives told me: "This is too much, it won't pass." I said: "Well, as you wish, it's your business – to include it or not."
But I saw nothing special in it, it was just a pondering. What you said, the confession of raping a girl – those were the thoughts of the character, that is, that character I invented, endowed him with these thoughts, one might say in your terms, "thought-forms." I did it with a specific purpose – to show the moral and ethical state of this character. I do not consider that there was anything indecent or obscene there. It's just that there were quite harsh thoughts about the rape of a child. Indeed, among friends, we discussed this moment. I'm not sure, but perhaps Nikolai took this as some kind of confession of mine.
As for Turgenev?.. Although he too could have. He disliked me for reasons of our literary and ideological disagreements.
1:45:12 Raskolnikov's thoughts in the novel "Crime and Punishment".
Irina (Fyodor Dostoevsky): But then I should probably be accused of murder as well. Because I described in great detail the experiences of a murderer, how he felt when he decided to commit murder. I am referring to Rodion Raskolnikov. There are many pages of his thoughts, which I expounded.
(Irina) Shows that in the Spiritual world, he preserved the memory not of specific words, but of the very idea he was describing. Now he shows an image of how he sits and writes.
(Fyodor Dostoevsky) And the idea was that this thought gradually came to Rodion Raskolnikov. He first rejected it, then began to accept it, up to the point where he hid the axe, that murder weapon, and went to that old woman. And, by the way, he killed her for money, for the money that, in his opinion, she owed him, as if not paying enough for what he had pawned with her. Accordingly, when he came to her, everything is described in detail, what he felt: how he thought that now, at this moment, he needs to get the axe; what he felt when he struck the blow and when the victim fell; how his hands trembled, how his thoughts became confused. That is, all this was described in detail.
But then Nikolai Strakhov and Turgenev should have said that I am also a murderer, because I described in detail the state of a murderer.
1:47:15 Author's immersion into the characters of his books.
Irina (Fyodor Dostoevsky): This was my task as an author, as a writer – to immerse myself in the role of my characters, to put myself in their place and mentally imagine what I would feel if I were, for example, with that axe, there, in that room. If I decided to kill, what would I feel? And I imagined all this and described it.
(Irina) Shows that, indeed, his mental body moved into the Astral. That is, it was like an astral journey. He felt that he was writing in his body, but mentally he was in that plot.
(Fyodor Dostoevsky) And I really experienced those sensations and described them. Same thing with Stavrogin, with Marmeladov, and with many, many other characters, of which I have dozens. I remember that when I wrote my works, I even thought about what to name these characters, what surnames to give them, so that they would be telling. Why exactly that surname? That was part of fantasy and creativity. And part of it was prompts from the Spiritual world – from Archangel Michael, from Jesus, from my Guardian Angel – so that these ideas would be expressed in a more understandable form.
But specifically, such details of crimes that were there, I described because I imagined myself in the place of the murderer and in the place of the child rapist. There, by the way, I also imagined myself, because how else would I describe what he felt and what he thought? But these were only thoughts, thought-forms for the sake of writing the text, that is, a specific work. But physically, it didn't happen.
Igor: Thank you.
Irina (Fyodor Dostoevsky): Just as there was no murder physically on my part.
Igor: Yes, you indeed described in detail the murder of the old pawnbroker.
Irina: And her... some kind of sister. That is, Rodyon killed two people there.
Igor: Yes.
1:50:13 Coincidence of work scenarios with real events.
Igor: The peculiarity of the situation is that approximately three months after you began writing the first part of "Crime and Punishment," and the manuscript describing that episode had already been sent to the publisher, a murder occurred in Moscow, exactly similar to the one you described. A student, Danilov, killed a pawnbroker, a retired captain Popov, and his servant. How can such a coincidence, down to the smallest detail, be explained?
Irina (Fyodor Dostoevsky): Such things happened before, even in St. Petersburg.
Igor: You described circumstances that happened some time later?
Irina (Fyodor Dostoevsky): I already said that I used to subscribe to newspapers and look, among other things, at crime chronicles.
Igor: No, wait. It's one thing when you start from a publication that appeared in a newspaper. We know that the impetus for the idea of "Crime and Punishment" was the case of the clerk Gerasim Chisty, who allegedly hacked two old women to death with an axe, but the case was unproven. But I'm talking about events that happen in real life, as if according to scenarios previously written by you.
Irina He smiles and says: "And what, is that scenario so rare? Is there something so extraordinary described there?"
Igor: Well, actually, the details. It seems to me that not every day in Moscow pawnbrokers and retired military men were hacked with an axe.
Irina (Fyodor Dostoevsky): Well, okay. Since this murderer lived in Moscow, and this manuscript had only been submitted, he could not, for obvious reasons, have gotten acquainted with it and been inspired by the idea, so we can say that the idea of killing for money (and a pawnbroker is a person who collects money) was in the air at that time. An axe was a common murder weapon then, used in case of attack.
Let me explain now. For example, today someone writes a detective story about how a banker was attacked with a pistol and shot, and then it actually happens. Will anyone be surprised? But that is a plot that is, in fact, expected in the case of murder. And nowadays there are murders for profit using various weapons.
And as for why an old woman suffered here and there? Even purely psychologically, it's easier to attack an old woman than a male pawnbroker of large build. She is simply weaker, which means it's easier to deal with her, also in the sense that you are less likely to encounter resistance. That is, she's an ideal victim.
Igor: I understand. Thank you very much.
1:53:45 Gothic cathedrals in the "Demons" manuscript. Vanished manuscripts.
Igor: People ask why you constantly drew Gothic cathedrals in the "Demons" manuscript?
Irina: In the "Demons" manuscript itself, he drew cathedrals?
Igor: Yes, literally several pages have been published where there are a large number of architectural elements of Gothic cathedrals.
Irina (Fyodor Dostoevsky): I was pondering complex issues in that work, as it touched upon questions of religion (shows the struggle of his characters). They were revolutionarily minded towards the Church, towards faith, and I reflected on this. And while reflecting, I drew these images to enter a state of inspiration on this topic. In fact, I often accompanied...
(Irina) Shows how something is depicted in the margins, some images.
Igor: Yes, I understand. Thank you very much.
Most of your manuscripts, of your major novels from the later period of your work, are lost. That is, after 1917, your widow moved your entire archive to Sochi, where something like a dacha had been bought shortly before. They remained there until 1926, and then they were sent by horse cart to Rostov-on-Don. And they disappeared along the way, along with the policeman accompanying the load, Vladimir Chudov, who vanished without a trace. In short, we are deprived of your manuscripts. Just in case, I can't help but ask, in case you can tell us where they are stored now, we would go and find them.
Irina (Fyodor Dostoevsky): I haven't looked into this issue since discarnation.
Igor: I knew it. Okay, thank you.
1:56:05 Brothels, promiscuous sexual life.
Igor: Can I ask a few questions about women?
Irina (Fyodor Dostoevsky): Yes.
Igor: Your friend Ivan Panaev wrote in his memoirs how, in a high-society salon, but you were still a young man at the time, you were introduced to a certain beauty. You were so struck by her beauty that you lost consciousness.
Irina (Fyodor Dostoevsky): I was introduced to many people.
Igor: And did you lose consciousness every time?
Irina (Fyodor Dostoevsky): I didn't lose consciousness from her beauty. I could have simply felt unwell due to my state of health, let's say.
Igor: I understand. Based on this recollection, many are inclined to conclude that every time you saw a beautiful girl, you would immediately faint.
Irina: He smiles and says that's how all people are.
(Fyodor Dostoevsky) If they see that one thing happened after another, they immediately think that there is a causal relationship. But that's not always the case.
Igor: I understand. Around the same time, you became a regular visitor to brothels. In a letter to your brother Mikhail, you wrote: "...Minushky, Klarushky, Mariannas and the like have become impossibly beautiful, but they cost terrible money. The other day, Turgenev and Belinsky tore me to shreds for my dissolute life." Question: why did you not listen to your older comrades and lead a promiscuous sex life?
Irina (Fyodor Dostoevsky): Why did I not listen to my older comrades and lead a promiscuous sex life? Because I had a very strong sexual temperament, which, in the absence of, let's say, a lawful wife, I directed towards those objects that were available to me. They became available to me with the money I earned from my first publications, from my books, from my stories. Quite early, in my adolescence, I experienced sexual pleasure through self-gratification. In this case, sexual passion was burning me up from the inside, and I decided to stop doing that and direct my energy towards live women.
Igor: And visiting a brothel at that time – was it an immoral act or more or less normal?
Irina (Fyodor Dostoevsky): They were open and operated quite officially. There were even (shows doctors, physicians who examined the women to make sure they had no signs of infectious diseases, something like gynecologists). There were also special midwives who, unfortunately, arranged for the conceived fetuses to be removed with special herbs. So that these women would not become mothers, and the brothel owners would not lose income.
By the way, sometimes brothels were owned by famous counts and nobles. They derived income from this and paid something like a tax to the state. And this was official. Of course, the Orthodox Church knew about this. What was the attitude? Well, they condemned it as fornication, as sin.
Why did I allow myself this? Because if I did not release the accumulated semen from my body, I literally could not work; I was consumed by lustful passion.
Igor: What kind of women did you like? It seems to me that there were two types: either meek, spiritually rich girls, or, conversely, bright, fatal beauties, like Nastasya Filippovna.
Irina (Fyodor Dostoevsky): Which ones did I like? Do you mean externally?
Igor: At least externally, but also inner character.
Irina (Fyodor Dostoevsky): In my youth, I was attracted to...
(Irina) Shows that they were short, a little plump, perhaps.
(Fyodor Dostoevsky) Who were shorter than me (I was of average height), and who were submissive.
(Irina) Shows that they were shy like that.
2:00:49 Meeting the first wife.
Irina (Fyodor Dostoevsky): And then, actually, after meeting Maria...
Igor: That's your first wife, correct?
Irina (Fyodor Dostoevsky): Yes.
(Irina) He shows that she was of a different type. At least, I now see her image. He shows it to me: a fairly tall, slender figure, and she had long hair.
(Fyodor Dostoevsky) And her character was rather more of a leader. But we connected spiritually. Because for me... She was married to Alexander at that time. We met him in the house of a mutual acquaintance, and I became friends with both Sasha and her. And she always talked like this.
(Irina) Shows that she is talking about the state, about religion. She was such an intelligent woman.
(Fyodor Dostoevsky) I liked her views, which were close to mine, and we had something to talk about. Then I learned from her that her husband abused her, meaning he raised his hand against her, because he was heavily into alcohol. And I felt sorry for her, i.e., I wanted to protect her. Then her husband died, she was left with a son, and I proposed lawful marriage to her (shows how he proposes). After we had a lawful marriage, we started living with her and, in fact, returned to Petersburg, then went to Europe. Well, then my life began, about which I spoke, regarding this gambling.
I loved her very much, actually, because she was not like the women from the brothels. She was so pure and also religious. She believed in God, in Christ, and often spoke about it, we talked about these topics often. She was very patient, but sharp-tongued. For example, she said a lot of things to me about domestic life. I didn't always like it, but nevertheless, there were no strong conflicts.
But then she fell ill, also with tuberculosis. And I tried to help her, hired doctors, sent her to a sanatorium. But it didn't help, she died in my presence. She developed a cough, blood flowed from her mouth, a hemorrhage began, and she died from lack of breath, couldn't breathe.
I was very upset, fell into a depression. Immediately, I lost the desire to work. But I saw her continuation in her son and kept him close to me all the time.
(Irina) Shows that he loved this boy like his own.
2:05:20 Death of his brother. Debts.
Irina (Fyodor Dostoevsky): Well, then my older brother died too. And I didn't even feel a great increase in my grief, because I simply had no time for that: I needed to deal with his debts from the publishing house. He had accumulated debts from publishing magazines and hadn't paid them off. And his creditors came to me, as I was his heir, our parents were no longer alive. And I, as the one left the eldest in the family, took on these obligations for the funeral, for paying off my brother's debts, and thought about how to do it all. I had to do the only thing one could earn money from – write books. And at the same time, I continued to gamble (shows the gambling).
2:06:42 Second wife.
Irina (Fyodor Dostoevsky): And then a publisher...
(Irina) He now shows me again this story about how he signed the contract, then met his future second wife, and how another life began for him.
(Fyodor Dostoevsky) Because she was different in character. She was more organized, even a little strict, but at the same time loving. That is, she, like an Angel, surrounded him with her care. And I had a different attitude towards her than towards Maria.
And towards Maria, there was also such irritation, because I didn't always like her character. She was sharp-tongued. And Anna – she was like grace itself, it's not for nothing that her name translates as 'grace'. She was very soft, feminine, and with that kind of soft maternal energy. It was with her that I managed to conceive children, because with Maria it didn't happen. I was also annoyed that Maria couldn't conceive children, as I already wanted heirs. My parents had a large family.
But when Anna gave birth to our first daughter, Sonya, she died at a very early age, not reaching one year. And after that, my Anya fell into such despair that I felt such compassion, an even greater Love, and a desire to protect her. Because she was seriously considering, and I was afraid that she might do something to herself. After all, she was much younger than me and hadn't yet experienced life's difficulties to the same extent, so she was not prepared for such trials. And I was afraid that her soul would not cope, I wasn't afraid for myself, but for her. But then she gave birth to a second daughter, then a son, and another son who died, but that was later.
Accordingly, after my exit from incarnation, she remained alive, and I continued to protect her.
(Irina) Shows how he sent his phantom to her, that is, he contacted her and the two surviving children.
Igor: Did you have an agreement with her before incarnation that you would form a union on Earth?
Irina: So, now. Was there an agreement with Anna before incarnation that you would start a family? The answer comes: "Yes, there was, we knew each other in the Spiritual world."
Igor: And after Anna's discarnation, did you meet?
Irina (Fyodor Dostoevsky): Yes.
Igor: And what level is she at?
Irina: After incarnation, she came out... I see the number 18.
Igor: So you descended to her?
Irina (Fyodor Dostoevsky): Yes.
2:10:45 Quarrel with his first wife.
Igor: Listen, during your first family life, you had a mistress – Apollinaria Suslova. How do you explain that? You say you loved each other.
Irina (Fyodor Dostoevsky): A scandal. There was a quarrel between me and Maria during that period. She became, how to put it...
(Irina) Okay. I understand. He is just trying to find words now.
(Fyodor Dostoevsky) There was a quarrel between me and Maria precisely on the grounds of my gambling, wasting money. She told me everything in a harsh way and said that she didn't love me anymore. My attempts to reconcile with her led to nothing. She was offended and, because of her offense, even stopped performing her marital duties for a couple of months, only doing household chores. She wasn't going to divorce, but she said that she found it disgusting: "I feel revulsion at uniting with you in one flesh."
That's how strong her resentment was. Because "you put money above our Love." And I again felt that I couldn't work, because I was bursting with desire. There were constantly coming thoughts. I would even look out the window at a girl, and immediately thoughts would come...
(Irina) Shows what kind. I understand.
(Fyodor Dostoevsky) Already in the Spiritual world, I realized that my body was constructed that way, with that particular temperament, i.e., the Kundalini energy was very strongly developed, because this too was part of my plan for developing patience, humility even in sexual matters. But it's easier to conceive such a plan in the Spiritual world than to execute it in a body.
(Irina) Funny! (laughs)
Igor: You were in a difficult situation, I understand.
2:13:52 Mistress Apollinaria Suslova, jealousy of his wife.
Irina (Fyodor Dostoevsky): And so I found...
(Irina) Some Polina, Polya...
Igor: Apollinaria.
Irina: And I hear it as Apolli... Polly... Alright. A very beautiful, bright woman. Did she dance, maybe? A dancer.
(Fyodor Dostoevsky) And we became close. She knew who I was, that I was a famous writer. She was flattered by my attention, and she agreed, let's say, to help me, although she did not ask for or demand my divorce from my wife. But I want to say that this affair, let's call it that, did not remain a secret from my friends, who informed my wife about it.
We had a very difficult, heavy conversation. I didn't start to deny it, I said: "But you yourself chose not to perform your marital duties."
(Irina) Shows that he began to blame her for his own infidelity.
(Fyodor Dostoevsky) For the reason that that was unfair cruelty towards me.
Igor: Well, I support that.
Irina: Yes, an interesting scene. So, some such scenes occurred between them.
(Fyodor Dostoevsky) I told her everything and said that "I now understand the Turkish Shahs, who, when they quarrel with one wife, go into the arms of another, and it's a pity I wasn't born there." She cried, ran into her room. And I did not try to calm her down, I gave her the opportunity to gather her thoughts and make a conscious choice whether she wanted to continue living with me.
Then a few days passed, we didn't talk about it. And she herself started a conversation, saying that she takes responsibility for that infidelity, forgives me, and in the future will try to humble herself, her pride, her resentment, and still live with me as a husband. But, true, it didn't all work out immediately, because for a long time she still said that she felt unpleasant being next to me at the thought that I had embraced another woman. That is, she expressed such jealousy.
And at the same time, I noticed that she herself was smiling at other men, and I thought that she wanted to take revenge on me for that infidelity, and I began to show... I felt hurt and unpleasant at the thought that someone else would come into contact with her. I began to express this to her, that is, I myself began to experience jealousy.
2:17:52 Influence of the flesh on people's behavior.
Irina (Fyodor Dostoevsky): And when I left the incarnation, I analyzed... Because when I left the incarnation, I analyzed all my feelings. I want to say that at that time my spiritual level corresponded somewhere around the 11th to 12th, that is, there was a noticeable decrease.
And I reached the level I am at now only in the last year of my life, when I prayed more, also went to church, prayed. And yet, these struggles of the flesh no longer tempted me so much. Because actually, all these sensations, daydreams, and pleasures can lead a person quite far – into a maelstrom, into self-deception, into the illusion of his own righteousness, when he, using his right as a husband to marital intimacy, begins to show cruelty, selfishness, and humiliates the woman, thereby himself falling into sin, into a lowering of his spiritual level.
I went through that, I know how the flesh can tempt a person. It can really lead him to fall into the abyss. Not because it is bad or sinful, but because it is a tool with very strong energies, and if you use them not in the Light of Divine, that is, unconditional Love, but just carnal love, then it is carnal love that is kindled, and Divine love takes a back seat. And if it takes a back seat, then it diminishes. And if it diminishes, then lust, selfishness grow, and accordingly, inattention to one's partner, to one's wife, as well as an unwillingness to take responsibility for her feelings. Not even for her feelings, but for one's own behavior that caused those feelings.
That is, it's such irresponsibility. In the sense that "you got offended at me, and instead of reconciling with you, I'll go and do something to spite you, to show that I'm in charge." That kind of state.
Igor: Thank you very much for your answer.
2:21:07 Dostoevsky on the role of the Russian people.
Igor: If I'm not mistaken, it is you who gave the definition of the Russian people as a "God-bearing people." Do you know that today this phrase is almost always used in a derogatory, ironic sense, that "there is no meanness that this very God-bearing people would not be ready to commit for the sake of the false ideas of that very chosenness by God"?
Question: do you still see the special civilizational role of the Russian people that you spoke and wrote about during your lifetime?
Irina (Fyodor Dostoevsky): Every nation has its own role. As for the Russian people, I still see its role in the egregor of the Russian people, as I am in contact with the managers of the egregor, i.e., we are in contact, in touch. For example, with the Mother of God, who is the main patron.
Igor: Specifically of the Russian egregor?
Irina (Fyodor Dostoevsky): Yes, of the Russian egregor, of the Russian state as precisely a gathering of people with Russian identity, let's say. The peculiarity of the Russian people and its task on Earth is precisely to become a stronghold of peace by example of Love for each other and for other peoples. That it becomes an example for the whole Earth. That is the task on Earth of this particular people.
But the thing is, there are different circumstances on Earth – political, economic – through which the qualities of the Russian people are tested, as a temptation, a test of their strength, of the desire of the Russian people to follow these tasks. Unfortunately, an energetic, political, and economic environment has now developed on Earth that puts the Russian state in conditions where it is necessary to defend its tasks with weapons in hand.
(Irina) I understand. He shows that fighting those who are against peace is also part of the task of the Russian people.
(Fyodor Dostoevsky) But this is not, in fact, the only way to fulfill its task; it's just the one that currently best corresponds to the energetic, spiritual vibrations of the majority. Unfortunately, there are circumstances that are already built by other egressors on Earth. Because not only the Russian people live on it. And the responsible people in the state power of the country are forced to make very difficult decisions related to establishing peace, when other egressors resist this peace.
And here the task of the Russian egregor changes slightly. It is that, despite the rather difficult and harsh circumstances in which Russia has been placed by other egressors, other states, it must still continue to be a beacon of Love, peace, and tranquility. That is, an example for other nations.
But, naturally, just as an individual person, so a community of people that is an egregor, can in certain periods of its history either fulfill or not fulfill its tasks. In this case, I call upon the representatives of the egregor of the Russian Federation to become an example of peace throughout the world, Love, and well-being for all the rest of humanity.
(Irina) That is, he is now showing that Russia is on the path to fulfilling this task, but it does not always succeed.
Igor: Thank you very much. You have inspired us.
2:26:45 Dostoevsky on the significant events and people of his life.
Igor: Well, perhaps the last questions. Tell me, please, now, from the height of your posthumous analysis of your earthly life, could you name the three most significant events in your life?
Irina (Fyodor Dostoevsky): The first is my, as I already said, I described it, the death sentence. It turned my understanding of life upside down because it put me on the brink of death.
The second – I wouldn't say it's a single event, but that period when I experienced difficult circumstances in hard labor, and at the same time read the Gospel, and understood communication with God. That is, my inner prayers and communication with God, despite the pain and suffering of the physical body. It's not a single event, but such a period.
And the third is the moment of the death of Alyosha, my youngest son, when I saw it and when I knelt before his dying body. At that moment, I myself was reborn spiritually and understood that everything I had achieved in this material life, including my literary fame, could just as easily crumble as that child's life. Therefore, I have nothing to be proud of. I don't need, for example, to take praise from critics or those people who read me to heart. I must always maintain humility and remember that I am in God's hands. That is, that too was such an important moment.
Igor: Thank you.
And please name three people most important in your life.
Irina (Fyodor Dostoevsky): What does "important" mean?
Igor: Who significantly influenced you, your worldview.
Irina (Fyodor Dostoevsky): Influenced my worldview? Can I name Christ?
Igor: Okay, one point – Christ.
Irina (Fyodor Dostoevsky): If we are talking about who influenced me. Because every person – both my loved ones and those whose names I don't even remember, I just remember their faces. I always had more memory for images than for names. I often even forgot the names of acquaintances, for which, by the way, they got offended at me. Nevertheless, each of them left a trace in my soul. But I will single out here my two wives and my father.
Igor: I understand. Thank you.
2:30:38 Visiting a fortune-teller before discarnation.
Igor: I would like you to tell us a little about how you discarnated. How did that moment of death go?
Irina (Fyodor Dostoevsky): It was in my apartment. I was writing (shows a manuscript, how he writes another story). And, by the way, it was about the spiritual. I had already met Solovyov, and we had often talked about spiritual phenomena lately, we could say about a year before that. Including, by the way, about séances of mediums, practically the same as the one happening now. But they were in a different form back then.
The fact is that at the time I was incarnated, such people, who, let's say, communicated with the dead, would often gather in halls and perform for the public. Even spectators came from other countries. And my good acquaintance, perhaps you know him, his name is Dmitry Mendeleev, was a scientist and, let's say, from a scientific standpoint, he was very critical of these phenomena.
He, firstly, became enthusiastic when he learned about mediums, and decided to investigate them. And when he began to investigate them, he found out that they often used various techniques to create the appearance of miracles for the public, for example, various ropes that they tied to their legs and pulled to make the table move. Because of this, he became terribly disappointed and began to criticize and expose them in print. And at this stage, he met several people who supported this movement and began to invite me to such séances. And I went there.
And so, on the last day before my discarnation, I decided to write a story about it, that is, about visiting one such fortune-teller, who, on behalf of a spirit through ventriloquism, that is, supposedly letting a spirit into herself, predicted the future. There were very many such people in St. Petersburg. They were, by the way, unrestricted, there was no law limiting their work. And we visited her.
(Irina) She was called something, now he's telling me her name, I don't even know it, something like Gulkeriya. That is, she was of non-Russian nationality, maybe Tatar.
(Fyodor Dostoevsky) She lived in St. Petersburg. We went to her with friends perhaps a couple of months before my discarnation, and she entered a state where she saw nothing.
(Irina) It's like hypnosis, kind of. Like, you pass your hands in front of her face like this, and she doesn't see you.
(Fyodor Dostoevsky) And she gets such a hoarse voice, with which the Spirit begins to speak through her. We began to ask our questions about our future. She looked at me, and from her that rough, hoarse voice uttered: "You are standing on the threshold of death!"
I chuckled to myself and thought that it was noticeable from my appearance, because I was already sick then. Well, it's easy to predict the fate of a sick person. That is, I thought to myself: "What does 'you are standing on the threshold of death' mean?" And then I smirked: "Well, yes, 'on the threshold' – that's not specific. You could say 'tomorrow', you could say 'in a year', and it will still come true." "Well," I think, "what craftsmen: seems to have predicted and at the same time not!" That is, in any case, she will be right. Because "on the threshold" is a very flexible concept. So, I laughed to myself and thought that I would write a story about visiting that fortune-teller, but in an artistic form, and I would call it...
(Irina) He now says a title like "A Miracle of Miracles" or "Expecting a Miracle," something related to a miracle.
2:36:46 The last day of his life.
Irina (Fyodor Dostoevsky): But when I sat down to write this manuscript, I didn't finish it.
(Irina) Shows how he was thinking about the plot.
(Fyodor Dostoevsky) I had a serious approach even to short stories. I didn't do it all in one day, first I thought about the plot and details: who was wearing what, what room they were in. I began to develop a plan for this work, that is, who the main characters are, what their names are, and so on.
And when I began to write the draft that day, I suddenly felt a sharp deterioration in my health. All day I experienced very great weakness and a headache. But this often happened to me, so I didn't pay much attention to it anymore.
Then my sister Vera came to see me. She began to tell me something about an inheritance, that we needed to somehow divide our parents' inheritance, that she was offering me to give her my share, as she was in need. That is, she began to talk about material matters. And I answered her: "We'll talk later, I'm feeling unwell." Anya also tells her: "My husband is unwell, you can come later." She objected: "What, am I going to keep coming here every time (she lived in another place)? Let's resolve this issue now." And I say: "But I'm unwell," and left.
Then the children came in to me (shows a boy and a girl), and I sat down at the table.
(Irina) Shows that he felt unwell, he began to suffocate and cough.
(Fyodor Dostoevsky) Two or three days before this, I already had a cough with blood, but it stopped, and then it started again. And when I felt that I could not stop this cough, and blood started flowing, I realized, a thought came to me, that this was my last day.
I called my wife and said that we needed to call a priest for confession and communion. And I said that I would soon go to God. I felt it. Then the priest came, but I remember it poorly (shows that all his words are like in a fog). But I remember that I told Anya and the children that I loved them.
2:40:15 Discarnation and meeting with Angels.
Irina (Fyodor Dostoevsky): I was not afraid, as I felt that my time had come. True, after discarnation it turned out that I had set a deadline for myself of 65 years, but I didn't live to see it by just over 5 years. But still, I fulfilled my purpose, and therefore my Spirit and my Angel mentors decided to bring me out at that very moment, as I would not have done anything significant in my incarnation, and due to my illness, I risked losing the level I had reached at that time. That is, despite the fact that I didn't live out my term, I believe that I fulfilled my purpose, especially since my plan was exactly the 23rd level.
And after I had accepted my death, I practically no longer felt the pain that had constantly bored into my chest for many years. I had such chronic pain when breathing: a sore throat and a sore chest, like with bronchitis. But here I felt that I was simply losing contact with my body, I no longer felt the bed I was lying on. Opening my eyes slightly, I no longer saw objects around me, only felt the presence of my wife and children. But they all dissolved into a kind of white mist, like a kind of Light. I realized that I had lost my sight, but my hearing remained, and I heard something like sobbing. But I could no longer move my tongue because I didn't feel it.
But I had absolutely no fear. I mentally said: "Jesus Christ, protect my children, my wife. I entrust them to You." And I felt that I was dissolving into the Light, and also a kind of expansion. I no longer felt my body, but felt that I had become something like a ball. And at that moment, a meeting occurred. Two luminous figures appeared before me, but I too was Light, and our Light merged.
And they to me... That is, I caught their conversation, but it wasn't in words, but in understanding, meanings. They said to me: "We greet you, our brother Angel!" That is, I understood that I had reached the angelic level – the 23rd. They didn't call it the 23rd, but they called me "Archate," which meant that I was even higher than they are. They just came to help me, support me during the period of separation from the body. And one of them said: "That's it, the thread of life is severed," and I felt that I was free (shows how he flies up).
After that, I thought: "I need to support my family," I wanted to be back in the house, but I already saw them only as images. And after that, it's very difficult to judge time, as there are no clocks, sun, moon there. You get an idea that a few days have passed, but it's a state of timelessness.
And then I felt a movement upward and saw how the gates of the Kingdom of Heaven opened before me, like a portal.
(Irina) Like an arch like that, I see.
(Fyodor Dostoevsky) And from there – an even brighter Light than mine, and this Light pierces me, and I unite with God. But it was a connection with my own Spirit, that is, with the Higher Self, in your terminology. And after that, memories began to appear of who I was before, in past incarnations, because before that I had no understanding of past lives.
2:45:59 Analysis of his incarnation.
Irina (Fyodor Dostoevsky): And then I began to analyze my incarnation.
Archangel Michael came down to me, Jesus Christ came down to me, and we began to analyze my incarnation, what levels I was at. So, I went quite low in my incarnation: there were periods of despondency when I corresponded to the 5th level. But in the end, by the way, for a long time I corresponded to the 16th level, but literally in the last year and a half, I rose to the 23rd.
So, dear friends, I now want to address you. In my last incarnation, I was very different, I was at different spiritual levels. I know that my works used to be published and are still being published and read. Therefore, having read something... I also wrote a diary, that is, already my own reflections, not describing some characters, but expounding my personal experiences and thoughts. As I already said, on Esler I lived in a woman's body, and this habit, although subconscious, did influence me.
And I simply made my diary public, for everyone. It was absolutely frank, and there you can read various my thoughts and feelings, including far from the brightest. But I emphasize that in my life I was at different spiritual levels, and each time I wrote my notes while in a state of certain vibrations. My final outcome of the incarnation is the 23rd level, but I achieved it shortly before the death of the body.
(applause)
2:48:06 Conclusion. Thanks.
Igor: Dear Fyodor Mikhailovich, thank you very much for coming! We send you the Light of our Love.
And let us thank Irina for this phenomenal contact, as well as the "Cassiopeia" community. And let us thank each other for gathering here.
Thank you very much! Until next time!
(Stormy applause)
2:48:58 End of video.
August 13, 2025
Conference participants:
Irina Podzorova – contactee with extraterrestrial civilizations, with subtle-material civilizations, and with the Spiritual world;
Igor Lebedev – host, manager of the Bryusov-Hall;
Fyodor Mikhailovich Dostoevsky – unincarnated Spirit of the Russian writer, thinker, philosopher, publicist.
