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Vladimir Nabokov

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Despair

March 7, 2016 by Roy Johnson

tutorial, commentary, plot, and study resources

Despair was written in 1932 when Vladimir Nabokov was living in exile in Berlin and it was first serialized as Otchayanie in the émigré review Sovremennye Zapiski in Paris. It was then released in single volume book form by the publishing house Petropolis in Berlin in 1936. The following year Nabokov made a translation into English (his third language) which was then published by John Lane in London in 1937.

Despair

Nabokov re-translated the novel in 1965 as part of the post-Lolita refurbishment of his earlier works that had been written in Russian and were largely unknown to readers in the English-speaking world. In an author’s foreword he admits that “I have done more than revamp my thirty-year-old translation” – and it is certainly true that the current text bears a number of the hallmarks of Nabokov’s mannered later prose style.


Despair – critical commentary

The unreliable narrator

This is one of Nabokov’s many fictions in which a first person narrator is seriously deranged or neurotic almost to the point of madness. An early example is the self-obsessed Smurov in The Eye (1930); the most famous is Humbert Humbert, the confessional paedophile narrator of Lolita (1955), and in 1962 Charles Kinbote the fictional editor of Pale Fire turns his madness into a work of literary interpretation. All of these characters, despite their self-regard and even their crimes, remain grotesquely fascinating because of the entertaining prose style Nabokov gives them by which to transmit their stories.

Hermann is unreliable in the sense that his narrative is a novel-length study in self-justification. He has nursed the illusion of having met his own double, has murdered him both to collect on the insurance and as he believes, a creative work of artistry – the perfect crime. Hermann is vain, boastful, and even admits to being a liar; he misinterprets events; he is blind to his wife’s adultery, and he thinks himself superior to everyone else in the novel.

Nabokov’s literary skill is in creating a first person narrator through whose eyes all available information is relayed to the reader – who is nevertheless able to discern the ‘truth’ lying behind the events and opinions in the narrator’s account. Nabokov offers a playful and complex game of literary hide-and-seek to the reader, planting clues in his text for the reader to enjoy and decipher.

He always plays fair by the rules of narrative logic and gives readers a chance to work out the subtlest of clues. For instance Hermann is caught out in his crime because he leaves Felix’s walking stick (which also bears his name) in the car he has abandoned in the countryside – but both the stick and its signature have been mentioned previously, planted deep within the narrative for the attentive (or eagle-eyed) reader to spot.

Narrative mode

Even though it is not easy to see how much the original Russian version was ‘improved’ during its later translation, the narrative is clearly very sophisticated. Technically, Herman is delivering the story after its events have concluded. He has read newspaper reports of his crime and decides to compose his own account of what happened.

But throughout the novel Nabokov very skilfully combines a timescale that includes the narrative present, with Hermann’s reflections on his own account of events, plus flashes forward in time. Yet in order to retain the reader’s interest, Nabokov must not give away too much of the story which is yet to come – so Hermann’s ‘premonitions’ are masked as psychological curios or mere eccentricities. But they are actual pointers to the fact that he knows what will happen because he is giving his account in retrospect.

For example, early in the novel, when Hermann visits the countryside allotment with Lydia and Ardalion (Chapter Two) he feels that the locale is ‘familiar’. It is familiar to him, because it is where he has just killed Felix before starting to write his narrative. .

Conversational style

Nabokov exploits the full range of possibilities offered by a first person narrative mode and the quasi-conversational manner that he made famous. As the narrator, Hermann addresses the reader, he thinks aloud, interrupts himself, ( ‘Well, as I was saying’) and comments on the process of composition, often trailing off onto irrelevant topics:

‘but I am digressing, digressing—maybe I want to digress … never mind, let us go on, where was I?’

Built in to the narrative is a meta-critique of fictional techniques and novel clichés – many of which are clearly self-referential:

‘How shall we begin this chapter? I offer several variations to choose from. Number one (readily adopted in novels where the narrative is conducted in the first person by the real or substitute author):

He also criticises alternative conventions of literary presentation – including the epistolary novel:

‘it would be possible now to adopt an epistolic form of narration. A time-honored form with great achievements in the past. From Ex to Why — “Dear Why” — and above you are sure to find the date … The reader soon ceases to pay any attention whatever to the dates’

With almost predictable irony, Hermann himself abandons his sequence of chapters, and adopts a popular literary mode — “Alas, my tale degenerates into a diary … the lowest form of literature” — complete with dated entries, the last of which is April 1st.


Despair – study resources

Despair Despair – Penguin Classics – Amazon UK

Despair Despair – Penguin Classics – Amazon US

Despair Otchayanie – Russian original – Amazon UK

Despair Otchayanie – Russian original – Amazon US

Despair The Cambridge Companion to Nabokov Amazon UK

Despair Vladimir Nabokov: The Russian Years – Biography: Vol 1

Despair Vladimir Nabokov: American Years – Biography: Vol 2

Despair Zembla – the official Nabokov web site

Despair The Paris Review – Interview with Vladimir Nabokov

Despair Nabokov’s first English editions – Bob Nelson’s collection

Despair Vladimir Nabokov at Wikipedia – biographical notes, links

Despair Vladimir Nabokov at Mantex – tutorials, web links, study materials

Despair was also made into a film in 1978 by the German director Rainer Werner Fassbinder. It features Dirk Bogard in his last starring role as Hermann, and has a screenplay written by Tom Stoppard.

Despair Despair – film on DVD – Amazon UK

Despair


Despair – principal characters
Hermann a Russian of German descent living in Berlin (35)
Lydia his scatterbrained wife (30)
Felix Wohlfahrt a vagrant
Ardalion Lydia’s cousin, a would-be painter
Orlovious a bachelor friend of Hermann

Despair


Despair – chapter summaries

Chapter One   Herman is in Prague on chocolate factory business. Strolling on a local hill, he comes across Felix the tramp. Hermann is convinced he is his double.

Chapter Two   Hermann is a communist sympathiser, whilst Lydia is not. He starts growing a beard and avoids mirrors. He gives a self-centred account of Lydia and her scatter-brained attitudes , and then describes his experience of physical disassociation. Herman and Lydia visit an allotment her cousin Ardalion has bought in the countryside.

Chapter Three   Herman reflects on his childhood passion for writing, which he thinks of as ‘lying’. He introduces the character Orlovius, and mentions problems in the chocolate business. Meanwhile, he makes further visits to Ardalion’s countryside retreat.

Chapter Four   Herman writes to Felix with an offer of work and arranges to meet him. Lydia spends a lot of time with her wastrel cousin Ardalion. Herman visits the town where he is to meet Felix. Elements of the town remind him of other places he has visited.

Chapter Five   Herman meets Felix and pretends to be a film actor, then spins him a yarn about wanting an understudy. Felix doesn’t believe him and refuses the offer. Herman takes him back to his hotel room for the night and explains the real plan. He wants him as a visual alibi whilst he does something illegal. In the early morning, Herman leaves Felix asleep and goes back home.

Chapter Six   It is clear to the reader (but not to Hermann) that Lydia is having an affair with her obnoxious cousin Ardalion. Someone calls at the house asking for Hermann, who has him sent away, thinking it is Felix. But it turns out to be a friend of Ardalion, and Hermann suddenly wonders if Felix will write to him.

Chapter Seven   Hermann goes to the post office and collects letters left poste restante from Felix. They complain then menace him with vague threats of blackmail. He writes to Felix with instructions then tries to bribe Ardalion to go to Italy.

Chapter Eight   Ardalion borrows money and is much delayed in his departure for Italy. Hermann invents a story of discovering a long-lost brother for Lydia. He has a scheme of planting his own identity on Felix, killing him, then collecting the insurance money. He rehearses Lydia’s part in the plot, even though she is very reluctant to participate.

Chapter Nine   Hermann reflects on his literary enterprise. He has plans to send his manuscript to a famous Russian émigré writer. He drives into the countryside, where he meets Felix. He shaves Felix, exchanges their clothes, and then shoots him. He then escapes by train.

Chapter Ten   Hermann supplies his narrative with an ending in which all his plans are successful – but then returns to the truth. He goes to a quiet French hotel near the Spanish border. When the murder is reported in newspapers he goes into complete denial and is angry that they make no mention of the similarity of victim and murderer. He decides to write his own version of events.

Chapter Eleven   Hermann buys another newspaper and reads that his car has been discovered. He re-reads his manuscript and realises that Felix’s walking stick (which bears his name) was in the car. He picks up a pre-arranged letter from Lydia, but it turns out to be an offensive rebuke from Ardalion. He moves to rooms in a little village, but is immediately recognised, detected, and his account ends whilst he is awaiting arrest.


Vladimir Nabokov – web links

Despair Vladimir Nabokov at Mantex
Biographical notes, book reviews, tutorials, study guides, videos, web links, and essays on the Complete Short Stories.

Despair Vladimir Nabokov at Wikipedia
Biographical notes, list of major works, bibliography, and web links

Despair Lolita USA
A ‘geographical scrutiny’ of Humbert and Lolita’s journey across America. Essay and photographic study by Dieter E. Zimmer.

Despair Vladimir Nabokov Writings – First Appearance
An illustrated collection of first editions in English. Photographs with bibliographical notes compiled by Bob Nelson

Despair Vladimir Nabokov at the Internet Movie Database
Adaptations for the cinema and television – in various languages. Full details of directors and actors, plot, box office, trivia, continuity errors, and quiz.

Despair Zembla
Biography, timeline, photographs, eTexts, sound clips, butterflies, literary criticism, online journal, scholarly essays, and an online annotated version of Ada – housed at Pennsylvania State University Library.

Despair Nabokov Museum
A major collection housed in Nabokov’s old family home (now a museum) in St. Petersburg. – biography, photos, family home, videos in English and Russian.

© Roy Johnson 2016


DespairThe Cambridge Companion to Nabokov Vladimir Nabokov held the unique distinction of being one of the most important writers of the twentieth century in two separate languages, Russian and English. This volume offers a concise and informative introduction into the author’s fascinating creative world. Specially commissioned essays by distinguished scholars illuminate numerous facets of the writer’s legacy, from his early contributions as a poet and short-story writer to his dazzling achievements as one of the most original novelists of the twentieth century. Topics receiving fresh coverage include Nabokov’s narrative strategies, the evolution of his world-view, and his relationship to the literary and cultural currents of his day. The volume also contains valuable supplementary material such as a chronology of the writer’s life and a guide to further critical reading.   Despair Buy the book here


More on Vladimir Nabokov
More on literary studies
Nabokov’s Complete Short Stories


Filed Under: Vladimir Nabokov Tagged With: English literature, Literary studies, The novel, Vladimir Nabokov

Discourse and Ideology in Nabokov’s Prose

July 3, 2009 by Roy Johnson

Routledge Harwood Studies in Russian Literature

Vladimir Nabokov’s work has been widely regarded as an elaborate series of linguistic games in which a variety of clever and seductive narrators invite readers to collude in a system of aesthetic and moral beliefs which are held so firmly that to dissent from them would seem like heresy or not playing the game. Editor David Larmour explains the title of this collection of essays as an exploration of the ‘system of power relations in which the author, text, and reader are enmeshed’. In other words, Nabokov’s strategies are seen as open to challenge, with the clear implication that he has been getting away with it for far too long.

Discourse and Ideology in Nabokov's ProseHe is well known for his ‘strong opinions’, and some of his subject matter and authorial attitudes are very often seen as dubious – especially in Lolita, which gets special extended treatment here. Galya Diment starts the collection with her best efforts to defend Edmund Wilson from the damage inflicted on him by Nabokov in their now famous friendship-turned-dispute over the translation of Pushkin’s Eugene Onegin. Then Brian Walter makes a lengthy criticism of Bend Sinister to say not much more than that it is not one of his best novels.

Galina Rylkova reveals a literary precedent for The Eye in a novel by Mikhail Kuzmin called Wings published in 1906. She has no problem in establishing the parallels between the two texts, but most of her lofty interpretive claims are undermined by her failure to see that Nabokov’s narrator Smurov is a self-deceiving liar and a totally unreliable narrator. He is a comic-pathetic character who is a vehicle for one of Nabokov’s most brilliant experiments in narrative – an experiment which was only matched in subtlety by his later Spring in Fialta.

David Larmour contributes an essay which looks at the relationship between sex and sport in Glory. But like many of the other contributors he accepts almost at face value what Nabokov has to say in his introductions – which were written at a later date. There is no acknowledgement of ‘Trust the tale, not the teller’, or ‘Death of the author’, whichever you prefer.

Paul Miller offers a chapter which demonstrates that Kinbote, narrator of Pale Fire is a homosexual – something which I would have thought any reader above the age of fifteen would realise without being told. There are some perceptive analyses of the American crewcut, but not much more than can be accessed by any reasonably attentive reader.

What struck me was how long it takes these writers to say so little. They come from what is now the bygone age of pre-Internet writing – one which persists in the modern world only thanks to the requirements of tenure in the US and the Research Assessment Exercise in the UK.

Tony Moore makes a valiant attempt to offer what he calls a feminist reading of Lolita, even enlisting the help of Camille Paglia, but his argument that Humbert Humbert changes his moral stance and his prose style at the end of the novel doesn’t seem very convincing, especially when it simply ignores the fact that Humbert is guilty of murder.

There’s also a full-on rad fem reading of Lolita from Elizabeth Patnoe which combines personal testimony and high moral outrage in a very unprofessional manner, ignoring any distinction between the worlds of fiction and reality. At the end of a long tortuous argument, one is left wondering why she bothers reading the novel.

She also has an annoying habit of describing almost every narrative twist as ‘doubling’ – a term she uses indiscriminately as a synonym for ‘ambiguous’, ‘dubious’, ‘disingenuous’, ‘devious’, ‘evasive’, and other related terms.

Fortunately the collection is rounded off by two sensible chapters by Donald Johnson and Suellen Stringer-Hye which place Nabokov in the context of popular culture and America in the 1960s. The collection is based on papers given at an academic conference. It’s obviously one for the literary specialist, but Nabokov enthusiasts will not want to miss it – even if it’s to sharpen their own critical analysis against the views being expressed.

© Roy Johnson 2004

Buy the book at Amazon UK

Buy the book at Amazon US


David H.J.Larmour (ed), Discourse and Ideology in Nabokov’s Prose, London: Routledge, 2002, pp.176, ISBN 0415286581


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Filed Under: Literary Studies, Vladimir Nabokov Tagged With: Discourse & Ideology in Nabokov's Prose, Literary criticism, Literary studies, Vladimir Nabokov

Glory

April 8, 2016 by Roy Johnson

tutorial, commentary, study resources, and web links

Glory was written in the later part of 1930 when Vladimir Nabokov was living in Berlin, exiled from his native Russia. The Novel originally had a working title ofRomanticheskiy vek (Romantic Times) but this was discarded in favour of Podvig (‘gallant feat’ or ‘high deed’) under which title it was first serialized in a Russian emigré journal in Paris 1932. Like his other early works, it was published under the pen name of “V. Sirin” which he had adopted earlier to distinguish himself from his father, who was also called Vladimir Nabokov and was a prominent writer and politician.

Glory

Nabokov later translated the novel into English in collaboration with his son Dmitri as part of the post-Lolita refurbishment of his earlier works that had been written in Russian and were largely unknown to readers in the English-speaking world. It appeared simultaneously in America and the UK in 1971.


Glory – critical commentary

The biographical element

Vladimir Nabokov was adept at transforming the events of his own life into the materials of his fiction and non-fiction works. His first novel Mary (1926) is a metaphoric reflection of separation from his native Russia (as it then was). He used the details of his own life in the semi-autobiographical novel The Real Life of Sebastian Knight in 1938 – his first novel written in English. His later non-fictional Speak Memory (1967) covers memoirs of individuals and events from his ‘Russian years’, and he continued to mine the same subject matter through the comic burlesque of Pale Fire (1962) to the almost self-parodic Look at the Harlequins (1974).

It is strange but true that having lost a personal fortune as a result of the Russian revolution, having been separated from his home and culture, endured exile, and been forced to live in countries where he did not feel comfortable (Germany) – despite all this, Nabokov’s work is full of positive, optimistic, and even ecstatic evocations of everyday life. He seems to find life-affirming responses and a persistent delight in the aesthetics of common events – the visual textures of busy streets, the atmospheric effects of weather systems, and the colour schemes of a sunset. Martin Edelweiss, the protagonist of Glory is the concentration of this pleasure in phenomena into one character. His exile from his native land is never seen in terms of regret or a peeved sense of injustice. He experiences epiphanies and ‘moments being’ wherever he happens to find himself:

An automobile advertisement, brightly beckoning in a wild, picturesque gorge from an absolutely inaccessible spot on an alpine cliff thrilled him to tears. The complaisant and affectionate nature of very complicated and very simple machines, like the tractor or the linotype, for example, induced him to reflect that the good in mankind was so contagious that it infected metal. When, at an amazing height in the blue sky above the city, a mosquito-sized airplane emitted fluffy, milk-white letters a hundred times as big as it, repeating in divine dimensions the flourish of a firm’s name, Martin was filled with a sense of marvel and awe.

His movements are a close approximation to Nabokov’s own – retreat from a privileged home in Russia, exile in Europe; material support from a rich uncle; education at Cambridge University; coaching tennis as a spare time job in Berlin, which is exactly what Nabokov was doing at the time he wrote the novel.

The conclusion

When Nabokov wrote the novel in 1930 his personal biography had reached no further than literary ambitions and spare time work as an exile in Berlin – so the parallels between Nabokov and his protagonist Martin Edelweiss are quite exact. But he decided not to make Martin into “an artist, a writer” – so how is Martin to find ‘fulfilment’ (which was another possible title for the novel)?

From the very early chapters of the narrative Martin has been fascinated by fairy tale-like scenes of woodlands into which he sees himself disappearing. He has such a framed picture in his bedroom; he sees a similar landscape in Provence; and ultimately he disappears figuratively into a woodland scene he imagines waiting at the Latvian border.

Similarly, throughout the novel, Martin has been touched emotionally by Russian connections – its people, its intellectual and literary culture, and even its cuisine. He has a deep-seated yearning for connections with his homeland of which he is only half conscious – seeing his escapade of re-crossing the border almost as a romantic dream. Nabokov himself on the other hand made no secret of his understandable yearning for his Russian heritage, and his clear understanding that it was impossible to ‘go back’ to it.

The ambiguity of Nabokov’s own personal feelings is perhaps reflected in the fact that he sends his protagonist Martin on an expedition back across the border – but we do not know if he gets there or not. We do not know if he is killed by the secret agents, the border guards, or the spies he knows will line his route – or if he simply ‘disappears’ into mother Russia.

This is a logically explicable ending to the trajectory of Martin’s life, but it does not make for a very satisfactory conclusion to a novel. We expect some sort of resolution or ‘closure’ to events. Having a protagonist simply ‘vanish’ from the proceedings of the narrative is not good creative practice. The absence of any conceptual structure reduces the narrative to what is not much more than a well decorated memoir, an autobiographical sketch, or a chronological record of life in exile. It is clever and well-articulated picture, but it is not constructed in a manner that produces a satisfying whole.


Glory – study resources

Glory Glory – Penguin Classics – Amazon UK

Glory Glory – Penguin Classics – Amazon US

Glory Podvig – Russian original – Amazon UK

Glory Podvig – Russian original – Amazon US

Glory The Cambridge Companion to Nabokov Amazon UK

Glory Vladimir Nabokov: The Russian Years – Biography: Vol 1

Glory Vladimir Nabokov: American Years – Biography: Vol 2

Glory Zembla – the official Nabokov web site

Glory The Paris Review – Interview with Vladimir Nabokov

Glory Nabokov’s first English editions – Bob Nelson’s collection

Glory Vladimir Nabokov at Wikipedia – biographical notes, links

Glory Vladimir Nabokov at Mantex – tutorials, web links, study materials

Glory


Glory – principal characters
Martin Edelweiss a young Russian exile
Sonia Edelweiss his mother
Henry Edelweiss his rich uncle, later his stepfather
Alla Chernosvitove a flirtatious poet
Darwin Martin’s bosom friend at Cambridge
Archibald Moon gay professor of Russian at Cambridge
Mihail Platonovich Zilanov a liberal politician and activist
Mrs Zilanov Martin’s Russian landlady in London
Sonia Zilanov her flirtatious but fickle young daughter
Vadim student at Cambridge – a practical joker
Alexandr Naumovich Igolevich a Russian patriot
Bubnov a Russian emigre writer
Guzinov a Russian exile in Lausanne

Glory – chapter summaries

1   The background of Martin’s Swiss grandfather and his Anglophile mother Sofia.

2   Martin’s mother reads to him English fairy tales. He dreams imaginatively of entering the forests in paintings and stories.

3   Martin’s parents separate, and shortly afterwards his father dies.

4   Martin is full of stoical self control, but he has romantic dreams of courage and heroic deeds.

5   On summer holiday in the Crimea he is capable as a teenager of experiencing transcendental ‘moments of being’.

6   This experience evokes memories of childhood holidays via overnight train journey to Biarritz.

7   In 1919 Martin and his mother escape from the revolution, sailing from the Crimea to Constantinople.

8   On board ship he is forced into the company of businessman Chernosvitov and his flirtatious wife the poet Alla, with whom Martin falls in love.

9   In Greece Alla and Martin become lovers, and he has his first ‘peek into paradise’.

10   Martin and his mother sail on to Marseilles and then travel to Lausanne, where they stay with his rich uncle Henry.

11   Martin wonders romantically what form his future instances of happiness will take. Arriving in London, he spends a night with a prostitute, who robs him the next morning.

12   In London his knowledge of English culture suddenly seems out of date. He lodges with family friends, the Zilanovs.

13   At Cambridge University he is forced to learn the conventions and rituals of undergraduate life. He befriends Darwin, to whom he embellishes his life experiences.

14   Darwin is an individualist, a veteran of the first World war who has published a collection of short stories.

15   Martin is attracted to various subjects of study, but finally chooses Russian history and literature.

16   Archibald Moon, Martin’s tutor, is an eccentric English Russophile. They receive Mrs Zilanov and her prickly daughter Sonia for afternoon tea.

17   They are joined by Vadim, a raffish undergraduate who is given to practical jokes, slang, and obscenities.

18   At the Christmas vacation Martin visits his mother in Switzerland, where because of the snow he thinks of himself as back in Russia.

19   Martin calls on Mihail Zilanov in London, who talks to him about his father’s death.

20   Martin feels awkward in Sonia’s presence. She behaves in a cavalier way to his friend Darwin. Martin wants to travel, but his uncle Henry says he must wait.

21   Whilst climbing in Switzerland Martin has a fall and a terrifying experience on a narrow ledge. He calls on the Zilanovs, where there has been a death in the family.

22   They are joined by Igolevich, who imparts terrible news from Russia, which rouses strange feelings in Martin that he does not understand. He has a nocturnal meeting with Sonia, who gets into his bed but rejects his physical advances.

23   After the vacation Martin discovers that Moon is a homosexual. He feels jealous of Darwin’s relationship with Sonia, and still dreams of performing heroic deeds.

24   Martin’s mother marries his uncle Henry. Martin has an affair with Rose who works in a tea shop. She becomes pregnant.

25   The pregnancy is a lie, and Rose is bought off by Darwin. Martin continues to hanker after Sonia.

26   Martin feels that his. Imaginative reveries can be turned into reality, and he has one of making an ‘illegal, clandestine. expedition’. Martin plays football for Trinity College. Darwin proposes to Sonia, who refuses him.

27   The Zilanov family move to Berlin. Martin reproaches Sonia for her ill-treatment of Darwin. Punting on the Cam, Martin and Darwin have an argument ostensibly about Rose.

28   Martin and Darwin have a fisticuffs duel – which Martin realises is really about their rivalry over Sonia.

29   Having finished university, Martin is not sure what to do, but he hatches a dream to ‘explore a distant land’.

30   Martin is disappointed by the matter-of-fact letters he receives from Sonia. His uncle reproaches him for his lack of employment and ambition. He decides to go to Berlin.

31   Berlin has changed and there is a recession. Martin recalls his earlier visits. And meanwhile he works as a tennis coach.

32   Martin visits the Zilanov family and becomes acquainted with the expatriate. Russian community.

33   He mixes with the literary exile community who try to keep Russian culture alive.

34   Sonia continues her coquettish behaviour towards him, but she does join in his fantasy of Zoorlandia – an imaginary distant northern country.

35   He continues his thankless pursuit of Sonia, but she treats him disdainfully, so he decides to leave Berlin.

36   He travels south through France by train, ambiguously outlining his plans to a fellow passenger.

37   Seeing lights in some distant hills, he gets off the train in the middle of the night.

38   Leaving his luggage at an inn, he walks to the nearest town Molignac.

39   He works as an agricultural labourer and has reveries that combine English and Russian culture. Despite the idyllic experience, his planned ‘expedition’ nags at his mind. He returns to his uncle and mother in Lausanne.

40   He successfully retraces his climb of the perilous mountain ledge from which he almost fell. Then he meets the ‘adventurer’ Gruzinov.

41   He borrows money from his uncle and announces his departure for Berlin.

42   He asks Gruzinov for advice about making an illegal entry to Russia – but feels that Gruzinov makes fun of him.

43   Despite his mother’s entreaties to stay, Martin takes leave of his uncle’s house.

44   He arrives in Berlin and is caught between the daring of his enterprise and the attractions of staying.

45   He calls on the Zilanovs and takes a very awkward farewell of Sonia

46   He dines on borsch in a Russian restaurant.

47   He visits Bubnov who is ill but still writing, then he goes to wait for Darwin at his hotel.

48   He tells Darwin his plans, but his friend refuses to believe he is serious. Some time later Darwin checks with the Zilanovs and even visits various embassies in Riga, but Martin has disappeared. Darwin breaks the news to Martin’s mother.


Vladimir Nabokov – web links

Glory Vladimir Nabokov at Mantex
Biographical notes, book reviews, tutorials, study guides, videos, web links, and essays on the Complete Short Stories.

Glory Vladimir Nabokov at Wikipedia
Biographical notes, list of major works, bibliography, and web links

Glory Lolita USA
A ‘geographical scrutiny’ of Humbert and Lolita’s journey across America. Essay and photographic study by Dieter E. Zimmer.

Glory Vladimir Nabokov Writings – First Appearance
An illustrated collection of first editions in English. Photographs with bibliographical notes compiled by Bob Nelson

Glory Vladimir Nabokov at the Internet Movie Database
Adaptations for the cinema and television – in various languages. Full details of directors and actors, plot, box office, trivia, continuity errors, and quiz.

Glory Zembla
Biography, timeline, photographs, eTexts, sound clips, butterflies, literary criticism, online journal, scholarly essays, and an online annotated version of Ada – housed at Pennsylvania State University Library.

Glory Nabokov Museum
A major collection housed in Nabokov’s old family home (now a museum) in St. Petersburg. – biography, photos, family home, videos in English and Russian.

© Roy Johnson 2016


GloryThe Cambridge Companion to Nabokov Vladimir Nabokov held the unique distinction of being one of the most important writers of the twentieth century in two separate languages, Russian and English. This volume offers a concise and informative introduction into the author’s fascinating creative world. Specially commissioned essays by distinguished scholars illuminate numerous facets of the writer’s legacy, from his early contributions as a poet and short-story writer to his dazzling achievements as one of the most original novelists of the twentieth century. Topics receiving fresh coverage include Nabokov’s narrative strategies, the evolution of his world-view, and his relationship to the literary and cultural currents of his day. The volume also contains valuable supplementary material such as a chronology of the writer’s life and a guide to further critical reading.   Glory Buy the book here


More on Vladimir Nabokov
More on literary studies
Nabokov’s Complete Short Stories


Filed Under: Vladimir Nabokov Tagged With: Literary studies, The novel, Vladimir Nabokov

King, Queen, Knave

February 29, 2016 by Roy Johnson

tutorial, critical commentary, plot, and study resources

King, Queen, Knave was first published in Berlin in 1928 under the title Korol, Dama, Valet. It was Vladimir Nabokov’s second novel, written in his native Russian, and appeared under the pseudonym Vladimir Sirin, which he had adopted earlier to distinguish himself from his father (also called Vladimir Nabokov) who was a writer and a politician. The novel was much later translated into English by Nabokov and his son Dmitri, and published in London in 1968.

King, Queen, Knave


King, Queen, Knave – critical commentary

Characters

There are really only three characters of any importance in the novel – Kurt Dreyer, his wife Martha, and his young nephew Franz. Because there are only three characters, the motivation for their behaviour becomes an important factor in the logic and development of the narrative.

Dreyer is almost a parody of the rich and bountiful uncle. He is affable and generous towards his nephew, and he is amazingly tolerant towards his cold and unresponsive wife, though we do learn that he has liaisons with two of his former secretaries (‘stenographists’). We are given no information that explains his indulgent attitude to Franz, and he passes the whole narrative apparently sublimely ignorant of his wife’s infidelity and her plans to kill him.

Martha is a cold and scheming manipulator who is obnoxious to her husband and nasty to everybody else except Franz. She even mistreats her own pet dog, and eventually arranges for it to be put down. Her physical attractiveness is seen largely from Franz’s point of view. The main problem with her characterisation is that it is very unlikely that a woman of her type would forge such an important alliance with an inexperienced and penniless young man from the countryside who was fifteen years younger, and her protestations of love for Franz do not seem psychologically convincing.

Franz is the archetypal naive young man from a small country town sent into the big metropolitan city to make good. He is treated generously by his rich and indulgent uncle, and then seduced by his scheming aunt and led into the realms of plots to murder his own benefactor. As this process deepens, he does become quite convincingly distanced from Martha and oppressed by the illicit relationship he has forged with her.

Translation

Nabokov wrote his earliest novels and stories in Russian, but when he emigrated to the United states in 1940, he switched to writing in English – the ‘third’ language of the Russian aristocracy (French being second). For the next twenty years he worked as a college and university teacher, then following the worldwide success of his novel Lolita in 1959, he moved to Switzerland and began translating his earlier works into English – for understandable commercial reasons.

It is almost certain that he ‘improved’ these earlier productions during this process. In his author’s foreword to the English edition he admits to not only making ‘little changes’ but to having ‘mercilessly struck out and rewritten many lame odds and ends’ as well as making changes to the plot.

The little changes show up nowhere more obviously than in his choice of vocabulary. Nabokov was much given to stylistic quirks such as the use of mixed registers, alliteration, and obscure terminology – but some of the language he uses in King, Queen, Knave gives the impression of having been excavated from a very large dictionary and shoehorned into the narrative. He uses terms such as nacrine, chelonians, cerevis, chorea, pygal, karakul and even words he makes up, such as avunculicide.

It is not just that the terms are obscure, but they do not sit easily with the prose in which they are embedded. They create a distinct impression of an author showing off – something about which Nabokov’s detractors have often complained.

There are also instances of irregular translation and non-standard English. Dreyer at one point is described as a ‘saloonkeeper’ which he certainly is not, and at another point Martha finds ‘an old little album of faded snapshots’ – which any native speaker would render as ‘a little old album’.

There is no cultural law against an author ‘improving’ his own work. This process commonly takes place in early drafts and revisions of a work in galley proof. In the nineteenth century it also took place when a work made its first appearance in serial magazine format and then was re-edited by the author before its publication as an independent volume as a book. But these were normally minor revisions of spelling and punctuation – what are known as ‘accidentals’ in editing parlance.

Substantial changes and re-workings on the other hand amount to a new version of the text, and changes to the plot make it virtually a new work altogether. This is quite a contentious issue, and there is a whole academic project waiting for someone with the language skills to make a comparison of Nabokov’s early works in Russian with his later translations into English which were made by Nabokov himself, often in collaboration with his wife and son.

Reader expectation

Nabokov is particularly fond of teasing his readers and thwarting their expectations by ironic plot reversals or false signals woven into his narratives. Early in King, Queen, Knave there are a number of motoring problems, all of which seem like pre-figurations of disaster – particularly for Dreyer. First his car (the symbolically named ‘Icarus’) is involved in an accident, which makes him suspect that his driver has been drinking. But when the foreshadowed accident actually does occur, it is the driver who is killed, not Dreyer.

Franz never reveals the address of his seedy apartment which acts as a trysting spot for his meetings with Martha. But when Dreyer meets Franz in the street and asks to see the apartment, neither of them know what we the readers know – that Martha has also gone out for a walk and is likely to be in the room. So the scene is set for a classical farce-type exposure and denouement. But the adultery is not revealed, because the landlord actually announces to Franz (and Dreyer) that ‘Your girl is in there’. Dreyer assumes Franz has a secret girlfriend, and tactfully withdraws, not realising that the clandestine lover is his own wife.

Similarly, the holiday plan to murder Dreyer by throwing him out of a boat is very carefully orchestrated and is surrounded by lots of small setbacks which heighten the dramatic tension. Dreyer at first doesn’t want to get into the boat, then when he does the ‘arrangements’ are thwarted, and finally Dreyer reveals that he is on the point of securing a business deal that will make him even richer. Martha’s ambition to be a wealthy widow leads her to call off the murder, she catches cold in the rain, and with a final dramatic plot twist, it is she who dies from pneumonia shortly afterwards.


King, Queen, Knave – study resources

King, Queen, Knave King, Queen, Knave – Penguin Classics – Amazon UK

King, Queen, Knave King, Queen, Knave – Penguin Classics – Amazon US

King, Queen, Knave Korol, Dama, Valet – Russian original – Amazon UK

King, Queen, Knave Korl, Dama, Valet – Russian original – Amazon US

King, Queen, Knave The Cambridge Companion to Nabokov Amazon UK

King, Queen, Knave Vladimir Nabokov: The Russian Years – Biography: Vol 1

King, Queen, Knave Vladimir Nabokov: American Years – Biography: Vol 2

King, Queen, Knave Zembla – the official Nabokov web site

King, Queen, Knave The Paris Review – Interview with Vladimir Nabokov

King, Queen, Knave Nabokov’s first English editions – Bob Nelson’s collection

King, Queen, Knave Vladimir Nabokov at Wikipedia – biographical notes, links

King, Queen, Knave Vladimir Nabokov at Mantex – tutorials, web links, study materials


King, Queen, Knave


King, Queen, Knave – chapter summaries

1.   Young dreamer Franz transfers from his third class carriage to second class on a train to Berlin. There he silently shares a compartment with Dreyer and his wife Martha, to whom Franz is attracted. There appears to be mild domestic tension between the couple.

2.   Next day Franz breaks his spectacles, then takes a bus to his uncle’s house on the outskirts of the city. The uncle turns out to be Dreyer, who generously lavishes food and drink on him over lunch. Afterwards, Martha argues with her husband about his behaviour.

3.   Next day Franz gets new glasses and goes hunting for a room. Martha helps him to find one, then reflects on the men she has attracted. Franz goes out every day exploring Berlin, until he is suddenly summoned to the house by Dreyer.

4.   Dreyer takes Franz to his department store at night and gives him lessons in sales technique. Franz takes up his role of shop assistant but feels distant from it in the sportswear department. He visits the Dreyer house frequently and is obsessed with Martha’s physical attractiveness. Martha secretly wants a lover, and thinks Franz will do. He is too timid to act.

5.   Dreyer is approached by the inventor of some synthetic material in search of funding. Franz is writing a letter to his mother one Sunday when he is visited by Martha in his room. They become lovers, and she visits him on a regular basis. Franz subsequently feels uncomfortable in Dreyer’s presence. Dreyer summons the inventor to another interview, but his intentions remain obscure.

6.   Martha is in a rapture over Franz. She thinks about how much money she has for the future. Dreyer, Martha, and Franz go to a variety show. When Dreyer doesn’t show up as expected, Franz and Martha have dinner alone. She becomes agitated when Dreyer is very late. Eventually he arrives, having been in a car crash which has killed his driver.

7.   Franz and Martha fantasise about marriage and begin to consider ‘removing’ Dreyer. There is a Xmas party where Dreyer frightens the guests and Franz is sick. Next day Dreyer announces that he is leaving for three weeks’ skiing in Davos.

8.   Martha teaches Franz to dance. After two weeks Dreyer decides to go back home. Martha and Franz are playing at being married, and they narrowly miss being caught out when Dreyer returns. They start to consider various ways of poisoning him.

9.   Dreyer meets Erica, his former lover, who correctly guesses that his wife is unfaithful to him. Franz and Martha rehearse plans to kill Dreyer by shooting him. Martha locates a revolver in her husband’s desk. They all go off to play tennis, at which Franz is quite hopeless. Martha explains to Franz a new (and quite impractical) plan for the shooting.

10.   Dreyer’s inventor acquaintance produces an automated mannequin. The men’s outfitting business starts to lose money. The gun turns out to be a cigar lighter. Martha and Franz begin to despair. Dreyer visits an exhibition of crime at police headquarters.

11.   Dreyer and Martha go for separate walks. Dreyer bumps into Franz and they go to visit his apartment, not knowing that Martha is already there. She is saved from discovery by Dreyer’s misunderstanding of the landlord’s warning. Preparations are made for a holiday at the seaside, where Martha has a plan to kill Dreyer by drowning..

12.   Dreyer, Martha, and Franz are on holiday at a Baltic seaside resort. Martha and Franz plan to throw Dreyer (who cannot swim) out of their rowing boat. But Dreyer reveals that he is selling his secret product and will make a lot of money next day. The murder is postponed and Martha becomes ill.

13.   Dreyer returns to Berlin and puts on a display of the automated mannequins for his prospective customer – but it does not seem successful. He is recalled to the seaside hotel, because Martha has been taken to hospital in a nearby town. Franz is oppressed by the whole intrigue, but is asked to bring Martha’s earrings to the hospital. But the request turns out to be a linguistic error – and when he arrives there, she is dead.


King, Queen, Knave

first edition 1928


King, Queen, Knave – principal characters
Franz Bubendorf a myopic 20 year old
Kurt Dreyer his uncle, a rich and expansive owner of Dandy, a men’s clothing business
Martha his attractive and manipulative wife (34)
Enricht Franz’s seedy landlord
Piffke a store manager at Dandy
Willy Wald a friend of Dreyer
Elsa Wald his wife

Other work by Vladimir Nabokov

King, Queen, KnavePale Fire is a very clever artistic joke. It’s a book in two parts – the first a long poem (quite readable) written by an American poet who we are encouraged to think of as someone like Robert Frost. The second half is a series of footnoted commentaries on the text written by his neighbour, friend, and editor. But as we read on the explanation begins to take over the poem itself, we begin to doubt the reliability – and ultimately the sanity – of the editor, and we end up suspended in a nether-world, half way between life and illusion. It’s a brilliantly funny parody of the scholarly ‘method’ – written around the same time that Nabokov was himself writing an extensive commentary to his translation of Pushkin’s Eugene Onegin.
King, Queen, Knave Buy the book at Amazon UK
King, Queen, Knave Buy the book at Amazon US

King, Queen, KnavePnin is one of his most popular short novels. It deals with the culture clash and catalogue of misunderstandings which occur when a Russian professor of literature arrives on an American university campus. Like many of Nabokov’s novels, the subject matter mirrors his life – but without ever descending into cheap autobiography. This is a witty and tender account of one form of naivete trying to come to terms with another. This particular novel has always been very popular with the general reading public – probably because it does not contain any of the dark and often gruesome humour that pervades much of Nabokov’s other work.
King, Queen, KnaveBuy the book at Amazon UK
King, Queen, KnaveBuy the book at Amazon US

King, Queen, KnaveCollected Stories Nabokov is also a master of the short story form, and like many writers he tried some of his literary experiments there first, before giving them wider reign in his novels. This collection of sixty-five complete stories is drawn from his entire working life. They range from the early meditations on love, loss, and memory, through to the later technical experiments, with unreliable story-tellers and the games of literary hide-and-seek. All of them are characterised by a stunning command of language, rich imagery, and a powerful lyrical inventiveness.
King, Queen, KnaveBuy the book at Amazon UK
King, Queen, KnaveBuy the book at Amazon US

© Roy Johnson 2016


More on Vladimir Nabokov
More on literary studies
Nabokov’s Complete Short Stories


Filed Under: Vladimir Nabokov Tagged With: English literature, Literary studies, The novel, Vladimir Nabokov

Laughter in the Dark

April 24, 2018 by Roy Johnson

tutorial, study guide, commentary, web links

Laughter in the Dark (1933) is often regarded as one of the most cruel of Vladimir Nabokov’s novels. He is famous for dealing with challenging subjects and using black comedy in his work. This novel tells the story of a well-intentioned family man with a weakness for young girls who is drawn into a complex web of desire, deceit, and revenge which has disastrous consequences. It is also a story told with all Nabokov’s usual subtle twists and verbal panache. It has become much discussed in recent years because it clearly prefigures the more famous Lolita he wrote more than twenty years later.

Laughter in the Dark


Laughter in the Dark – a note on the text

Laughter in the Dark (1933) is the sixth novel by Vladimir Nabokov. It was first serialised in the Russian language journal Sovremennye Zapiski (Contemporary Annals) in 1932. It was then published in Berlin the following year with the title Camera Obskura in the name of V. Sirin. Nabokov used this nom de plume in his early works to avoid confusion with his father, a writer and politician who was also called Vladimir Nabokov.

It was the first work by Nabokov to appear in English, published in London by John Long in a translation by Winifred Roy. Nabokov disliked this version so much that he made his own translation for its publication in America by Bobbs-Merrill in 1938.

In the Russian original, the protagonist Albert Albinus had the name Bruno Krechmar, and his rival Axel Rex was called Robert Gorn, whilst Margot was called Magda. Nabokov rarely missed an opportunity to ‘improve’ or update his texts.

Following Nabokov’s huge international success with Lolita in 1955, many of his earlier novels were re-translated and re-issued in English. It is possible that Laughter in the Dark was translated again in 1965, since in that year Nabokov renewed his copyright to the title.


Laughter in the Dark – commentary

Narrative strategies

Nabokov is famous for the inventive and playful manner in which he delivers his stories. Sometimes he teases his readers by planting clues in a game of literary hide and seek, and at others he introduces unusual variations on the conventions of story-telling. Laughter in the Dark begins with two very good examples of this inventiveness.

The first instance is a particularly daring narrative venture: he reveals the plot of his novel in advance. The opening paragraph is presented in mock fairy tale mode:

Once upon a time there lived in Berlin, Germany, a man called Albinus. He was rich, respectable, happy; one day he abandoned his wife for the sake of a youthful mistress; he loved; was not loved; and his life ended in disaster.

That is the plot of Laughter in the Dark summed up in two sentences. As readers we know what is going to happen. The more important issues are how it is going to happen, and how will the tale be told?

The second example of narrative inventiveness comes shortly afterwards, and in terms of story-telling strategy it is the exact opposite. He includes cleverly concealed details which do not become significant until much later in the novel. When Albinus enters the cinema where he meets Margot:

He had come in at the end of a film: a girl was receding among tumbled furniture before a masked man with a gun. There was no interest whatever in watching happenings which he could not understand since he had not yet seen their beginning.

Albinus might well have paid more attention to the film – because what he is witnessing (and what Nabokov is foretelling) is how the novel will end. This is a version of the final scene of the story when Albinus goes to shoot Margot. He is not ‘masked’ but blind – and it is she who ends by shooting him. [For those interested, the technical term for this literary device is ‘prolepsis’.]

In 1932 Nabokov was at an early stage of his development as a novelist and in particular his manipulation of narratives – though he had at that time produced the masterly novella The Eye (1930). This is a story in which a first person narrator both tells lies about himself and commits ‘suicide’ half way through the story he is relating.

Nabokov and paedophilia

Nabokov had been writing about older men yearning for and having sexual encounters with young girls ever since his earliest works. The English novelist Martin Amis (a great Nabokov enthusiast) calls this an ‘embarrassment’ in assessing Nabokov’s achievement as a writer.

In A Nursey Tale (1926) an elderly man strolls through the story with a girl whom the protagonist will choose as his erotic object. She is described as ‘a child [my emphasis] of fourteen or so in a low-cut party dress … mincing at the old poet’s side … her lips were touched up with rouge. She walked swinging her hips very, very slightly’.

In Laughter in the Dark Margot is slightly older, though it should be noted that although Albinus thinks she might be eighteen, her brother Otto confirms that she is in fact sixteen and has been virtually a prostitute up to the point when Albinus meets her.

Moreover, Nabokov later wrote a whole novella based on the same theme, The Enchanter (1939) then found fame with an entire novel devoted to the seduction, abduction, and abuse of an under-age girl in Lolita (1955). He was still including scenes of paedophilia in works as late as Ada or Ardor (1969), Transparent Things (1972), and Look at the Harlequins (1974).

In his posthumous and unfinished The Original of Laura (2009) the girl in question is twelve years old and is pursued lecherously by an ageing roué called (believe it or not) Hubert H. Hubert.

The purpose of pointing to the recurrence of this topic in his work is to emphasise that paedophilia is not an accidental subject in his novels, but a theme deeply rooted in his consciousness. Nabokov tried to sidestep any accusations of impropriety by re-naming his obsession as nympholepsy and frequently attributing its origin to the loss of an ideal love during childhood. His verbal flim-flam might have been an understandable form of self-defense in the middle of the twentieth century, but now in the twenty-first it can be seen for what it is – a loquacious and over-elaborated form of self-justification.

It is interesting that these narratives often end with the death of the paedophile. The unnamed protagonist of The Enchanter dies under the wheels of the passing truck after giving way to his impulse to molest the girl he has abducted. Humbert murders his rival and fellow paedophile Quilty, then dies in prison whilst awaiting trial. The blind Albinus sets out to shoot Margot because of her treacherous deception of him with Axel Rex, but is shot by her instead.

The relationships between Albinus, Margot, and Alex Rex are clearly a precursor to Humbert, Lolita, and Quilty in Lolita. One middle-aged man is obsessed with a young girl, but is being cruelly deceived by her engagement with a fellow paedophile.

In works such as Laughter in the Dark Nabokov was publishing under the moral constraints of the early twentieth century. Those who transgressed society’s norms must be punished. But following the turning point of Lolita, which appeared around the same time as the famous legal controversies surrounding The Naked Lunch (1959), Lady Chatterley’s Lover (1960), and Last Exit to Brooklyn (1964), Nabokov gradually lowered the age of his ‘nymphets’ in his later works until it stabilised around twelve.

This takes the question of aesthetic judgements into very murky waters. Most critics of Nabokov ignore this aspect of his work, concentrating instead on his verbal dexterity, his wit, and the gymnastic stunts he brings to the arrangement of his narratives. But the inescapable fact is that it is a subject he returned to again, again, and again.

The double

Axel Rex and Albert Albinus mirror or ‘double’ each other throughout the novel. Albinus is a wealthy art critic, and Rex is a cartoonist whom he first contacts with a view to their producing animations of classical paintings. Rex buys Margot from the procuress Frau Levandovsky and puts her into an apartment for his own use. When Rex disappears, Albinus does exactly the same thing: his first act is to install Margot in a flat as his sexual plaything.

When Alex reappears later in the story Albinus is quite friendly towards him. The two men socialise with each other, and whilst Margot is deceiving Albinus behind his back, they even go on holiday together. In the end, they are not only sharing Margot’s sexual favours but (thanks to Axel’s unscrupulous venality) Albinus’s money.

In their final scene together both men are in a state of undress. Axel is completely naked and Albinus is wearing a dressing gown. Axel caresses Albinus with a blade of grass he had just been sucking. It is also significant that whenever Albinus fears he is being deceived or when he actually discovers her betrayal, it is Margot who he seeks to kill, not his rival Axel Rex.

What does this tell us about the novel? It is often observed that when two men desire(or share) the same woman, this tells us more about their unconscious attraction to each other than to the woman herself. This might be regarded as accidental or a coincidence – except for the fact that exactly the same senario is acted out in Lolita, written almost a quarter of a century later.


Laughter in the Dark – study resources

Laughter in the Dark – Penguin – Amazon UK

Laughter in the Dark – Penguin – Amazon US

Lolita – Penguin – Amazon UK

The Cambridge Companion to Nabokov – Amazon UK

Vladimir Nabokov: The Russian Years – Biography: Vol 1

Vladimir Nabokov: The American Years – Biography: Vol 2

Zembla – the official Nabokov web site

The Paris Review – Interview with Vladimir Nabokov

Martin Amis – The Problem with Nabokov


Laughter in the Dark


Laughter in the Dark – plot summary

Albert Albinus is a wealthy art critic who has the idea of animating famous paintings, and he seeks someone who might help him technically. He is married to the placid Elizabeth, but has hankerings after young girls, including Margot Peters, an usherette whom he meets in a cinema. Margot dreams of being a film star, but she works as an artists’ model. She is procured by a man called Axel Miller who keeps her in a flat for a month then disappears. She subsequently resorts to prostitution then meets Albinus.

He rapidly becomes obsessed with her. She flirts and torments him, even provocatively visiting his house to check that he is wealthy. Albinus sets Margot up in a flat. When she writes to tell him the address, his wife Elizabeth intercepts the letter then leaves home with their daughter. Albinus moves in with Margot, who is menaced by her thuggish brother Otto with demands for money.

Albinus takes Margot to the Adriatric on holiday, but when they return to Berlin she objects to being hidden from public view. They move into his old apartment where he tries to disguise the fact that they are living together. He finds her a part in a low-budget film which he finances. To alleviate her boredom they throw a party – at which another guest is Axel Rex (previously Axel Miller). Margot regards him as her first true love – but she demands that Albinus seek a divorce.

The cruel and cynical Rex is down on his luck. He befriends Albinus as a ruse to regain Margot, who at first rejects Axel’s advances because he has no money. Albinus’s daughter contracts pneumonia and when she is dying Margot tries to prevent Albinus going to see her. Rex takes advantage of his absence to seduce Margot.

After a year Albinus resolves to return to his former life – but fails to do so. At a private showing of the film Margot is revealed as hopelessly incompetent. Albinus takes her on a motoring holiday as a compensation, together with Axel, who is pretending to be a homosexual. They drive to the south of France, where Margot continues to deceive Albinus with Rex.

Albinus meets an old friend Udo Conrad who naively reveals that he has overheard Axel and Margot discussing their love affair. Albinus confronts Margot with a gun, but she denies wrongdoing. They depart immediately, leaving Rex behind. Albinus crashes the car on a mountain road and recovers in hospital to discover that he has gone blind.

Rex writes to say that he is going back to New York, but in fact he takes over Albinus’s money and secretly moves with Margot and Albinus into a Swiss chalet. Rex and Margot torment the blind Albinus by flirting with each other in his presence. They plan to take over his property assets then leave him.

Elizabeth’s brother Paul is suspicious of the large cash withdrawals that Albinus appears to be making from his bank. He goes to Switzerland where he catches Rex and reveals the deception. Albinus wants to stay and kill Margot, but Paul takes him back to Elizabeth. A few days later, learning that Margot has returned to Berlin, Albinus takes a taxi to their old apartment where he tries to shoot her. But in the struggle it is she who shoots him dead.


Laughter in the Dark – main characters
Albert Albinus a wealthy German art critic
Elizabeth his placid wife
Axel Rex an unscupulous cartoonist and gambler
Margot Peters a lower-class teenage waif
Otto Peters her thuggish brother
Paul Hochenwart Elizabeth’s loyal brother
Dorianna Karenina a fashionable Berlin actress

© Roy Johnson 2018


More on Vladimir Nabokov
More on literary studies
Nabokov’s Complete Short Stories


Filed Under: Vladimir Nabokov Tagged With: English literature, Literary studies, The novel, Vladimir Nabokov

Lolita

February 11, 2010 by Roy Johnson

tutorial, characters, film versions, study resources

Lolita (1955) is without doubt Nabokov’s masterpiece – a tour de force of fun and games in both character, plot, and linguistic artistry. And yet its overt subject is something now considered quite dangerous – paedophilia. A sophisticated European college professor goes on a sexual joy ride around the USA with his teenage step-daughter. He evades the law, but drives deeper and deeper into a moral Sargasso, and the end is a tragedy for all concerned. There are wonderful evocations of middle America, terrific sub-plots, and language games with deeply embedded clues on every page. You will probably need to read it more than once to work out what is going on, and each reading will reveal further depths.

Vladimir Nabokov - portrait

Vladimir Nabokov

Vladimir Nabokov is one of the great twentieth-century writers. He wrote of himself: “I was born in Russia and went to university in England, then lived in Germany for twenty years before emigrating to the United States.” The first half of his oeuvre was written in Russian; then he switched briefly to French, and then permanently to English. He also spent a third period of exile living in Geneva, and translating his earlier works from Russian into English.

Nabokov loves word-play, stories that pose riddles, and games which keep readers guessing. Above all, he loves jokes. He produces witty and intellectual writing – and yet persistently draws our attention to moments of tenderness and neglected sadness in life. It is lyric, poetic writing, in the best sense of these terms. Yet be prepared for black humour and unashamed tenderness – often on the same page. And be sure to keep a dictionary on hand.


Lolita – plot summary

LolitaLolita is narrated by Humbert Humbert, a literary scholar born in 1910 in Paris, who is obsessed with what he refers to as ‘nymphets’. Humbert suggests that this obsession results from his failure to consummate an affair with a childhood sweetheart before her premature death. In 1947, Humbert moves to Ramsdale, a small New England town. He rents a room in the house of Charlotte Haze, a widow, mainly for the purpose of being near Charlotte’s 12-year-old daughter, Dolores (also known as Dolly, Lolita, Lola, Lo, and L).

While Lolita is away at summer camp, Charlotte, who has fallen in love with Humbert, tells him that he must either marry her or move out. Humbert reluctantly agrees in order to continue living near Lolita. Charlotte is oblivious to Humbert’s distaste for her and his lust for Lolita until she reads his diary. Upon learning of Humbert’s true feelings, Charlotte is appalled: she makes plans to flee with Lolita and threatens to expose Humbert’s perversions. But as she runs across the street in a state of shock, she is struck and killed by a passing car.

LolitaHumbert picks Lolita up from camp, pretending that Charlotte is ill and in a hospital. He takes Lolita to a hotel, where he meets a strange man (later revealed to be Clare Quilty), who seems to know who he is. Humbert attempts to use sleeping pills on Lolita so that he may molest her without her knowledge, but they have little effect on her. Instead, she consciously seduces Humbert the next morning. He discovers that he is not her first lover, as she had sex with a boy at summer camp. Humbert reveals to Lolita that Charlotte is actually dead; Lolita has no choice but to accept her stepfather into her life on his terms.

Lolita and Humbert drive around the country, moving from state to state and motel to motel. Humbert initially keeps the girl under control by threatening her with reform school; later he bribes her for sexual favours, though he knows that she does not reciprocate his love and shares none of his interests. After a year touring North America, the two settle down in another New England town. Humbert is very possessive and strict, forbidding Lolita to take part in after-school activities or to associate with boys; the townspeople, however, see this as the action of a loving and concerned, if old fashioned, parent.

Lolita begs to be allowed to take part in the school play; Humbert reluctantly grants his permission in exchange for more sexual favours. The play is written by Clare Quilty. He is said to have attended a rehearsal and been impressed by Lolita’s acting. Just before opening night, Lolita and Humbert have a ferocious argument, which culminates in Lolita saying she wants to leave town and resume their travels.

As Lolita and Humbert drive westward again, Humbert gets the feeling that their car is being tailed and he becomes increasingly suspicious. Lolita falls ill and must convalesce in a hospital; Humbert stays in a nearby motel. One night, Lolita disappears from the hospital; the staff tell Humbert that Lolita’s ‘uncle’ checked her out. Humbert embarks upon a frantic search to find Lolita and her abductor, but eventually he gives up.

Lolita - posterOne day in 1952, Humbert receives a letter from Lolita, now 17, who tells him that she is married, pregnant, and in desperate need of money. Humbert goes to see Lolita, giving her money and hoping to kill the man who abducted her. She reveals the truth: Clare Quilty, an acquaintance of Charlotte’s and the writer of the school play, checked her out of the hospital and attempted to make her star in one of his pornographic films; when she refused, he threw her out.

Humbert asks Lolita to leave her husband and return to him, but she refuses, breaking Humbert’s spirit. He leaves Lolita forever, kills Quilty at his mansion in an act of revenge and is arrested for driving on the wrong side of the road and swerving. The narrative closes with Humbert’s final words to Lolita in which he wishes her well.

The narrative has been written by Humbert in jail, whilst he is awaiting his trial for murder. But a ‘forward’ to the novel supposedly written by a psychiatrist, tells us that Humbert died of coronary thrombosis upon finishing his manuscript. Lolita too died whilst giving birth to a stillborn girl on Christmas Day, 1952.


Lolita – video documentary


Lolita – study resources

Lolita Lolita – Penguin Classics – Amazon UK

Lolita Lolita – Penguin Classics – Amazon US

RLolita The Annotated Lolita – notes & explanations – Amazon UK

RLolita The Annotated Lolita – notes & explanations – Amazon US

Lolita Lolita: A Reader’s Guide – Amazon UK

Lolita Lolita: A Reader’s Guide – Amazon US

Lolita Lolita: A Casebook – Amazon UK

Red button The Cambridge Companion to Nabokov Amazon UK

Lolita Lolita – the 1965 Stanley Kubrick film version – Amazon UK

Lolita Lolita – the 1998 Adrian Lyne film version – Amazon UK

Lolita Lolita – audiobook version – Amazon UK

Red button Vladimir Nabokov: The Russian Years – Biography: Vol 1 – Amaz UK

Red button Vladimir Nabokov: The American Years – Biography: Vol 2 – Amaz UK

Red button Zembla – the official Nabokov web site

Red button The Paris Review – Interview with Vladimir Nabokov

Red button First editions in English – Bob Nelson’s collection

Red button Lolita USA – Humbert’s and Lolita’s journeys across America

Red button Vladimir Nabokov at Wikipedia – biographical notes, links

Red button Vladimir Nabokov at Mantex – tutorials, web links, study materials

Lolita


Lolita – principal characters
Humbert Humbert literary ‘scholar’ aged 37, heir to perfume company
Charlotte Haze bourgeois American housewife and widow
Dolores (Lolita) Haze Charlotte’s precocious 12 year old daughter
Clare Quilty playwright, playboy, and pornographer
Annabel Leigh Humbert’s 12 year old childhood love
Valeria Humbert’s first wife, who leaves him for a Russian taxi driver
Dick Schiller a working man who Lolita marries after she escapes from Quilty
Rita an alcoholic who Humbert lives with after Lolita leaves him
Mrs Pratt the short-sighted headmistress at Lolita’s school
Mona Lolita’s school friend who flirts with Humbert
Gaston Grodin a plump gay French professor at Lolita’s school
Vivian Darkbloom Quilty’s female writing partner

Lolita – film versions

Red button See reviews of the film at the Internet Movie Database


Lolita – the main theme

In an afterward to his novel — ‘On a Book Entitled Lolita‘ — written a year after it was first published, Nabokov sought to explain the genesis of the story which had caused such a scandal when it appeared in 1955.

the initial shiver of inspiration was somehow prompted by a newspaper story about an ape in the Jardin des Plantes who, after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature’s cage. The impulse I record had no textual connection with the ensuing train of thought which resulted, however, in a prototype of my present novel, a short story some thirty pages long … but I was not pleased with the thing and destroyed it some time after moving to America in 1940.

This is a rather typically Nabokovian piece of post-rationalisation. He was much given to controlling and re-shaping his life to suit his own purposes. Fortunately, the novella-length work he mentions was not destroyed, but was recovered later and published in 1987 as The Enchanter. This tells the story of a middle-aged man who has a passion for little girls, and one day becomes besotted by a twelve year old. He marries her mother to gain access to her, and after the mother dies takes the girl away to a hotel. She wakes up to find him introducing her to his ‘magic wand’, and when she screams in terror he runs out into the street and is killed by a passing truck.

But the theme of a middle-aged man’s passion for young girls goes back further than that. Laughter in the Dark (1932) features a middle-aged art critic who becomes obsessed with a sixteen year old girl who he seduces and runs away with, abandoning his wife. And in the short story A Nursery Tale written as early as 1926, the principal character Erwin is in search of girls to help him fulfil a sexual fantasy. He chooses ‘a child [my emphasis] of fourteen or so in a low-cut party dress … mincing at [an] old poet’s side … her lips were touched up with rouge. She walked swinging her hips very, very slightly’.

And lest it be thought that these are unusual examples, it has to be said that the same theme occurs in later works such as Transparent Things (1972) Ada (1969) which combines the theme with incest between the two principal characters, and his last uncompleted novel The Original of Laura first published in 2009. This features the sexual life of a flirty young girl called Flora aged twelve who is pursued lecherously by an ageing roué called (believe it or not) Hubert H. Hubert.

What does all this add up to? Well, certainly the claim that the Lolita theme is not something that suddenly came to Nabokov out of a newspaper via a painting ape. He was writing about what we currently call paedophilia throughout his life. Fortunately he wrote about many other things as well, but his admirers have to take on board this feature which Martin Amis calls ‘an embarrassment’.


Lolita – further reading

Red button David Andrews, ‘Aestheticism, Nabokov, and Lolita‘. Vol. 31, Studies in American Literature. Lewiston, New York: E. Mellen Press, 1999.

Red button Alfred Appel Jr, The Annotated Lolita. New York: Vintage, 1991.

Red button Harold Bloom, ed. Vladimir Nabokov’s Lolita. New York: Chelsea House, 1987.

Red button Brian Boyd, Vladimir Nabokov: The Russian Years, Princeton University Press, 1990.

Red button Brian Boyd, Vladimir Nabokov: The American Years, Princeton University Press, 1991.

Red button Harvey Breit, ‘In and Out of Books’. Review of Lolita, by Vladimir Nabokov. New York Times Book Review, Feb. 26, 1956, p. 8, and March 11, 1956, p. 8.

Red button Laurie Clancy, The Novels of Vladimir Nabokov. New York: St. Martin’s Press, 1984.

Red button Christine Clegg, Vladimir Nabokov’s ‘Lolita’: A Reader’s Guide to Essential Criticism, London: Macmillan, 2000

Red button Julian W. Connoly (ed), The Cambridge Companion to Nabokov, Cambridge: Cambridge University Press, 2005.

Red button Neil Cornwell, Vladimir Nabokov: Writers and their Work, Northcote House, 2008.

Red button Jane Grayson, Vladimir Nabokov: An Illustrated Life, Overlook Press, 2005.

Red button Norman Page, Vladimir Nabokov: Critical Heritage, London: Routledge, 1997

Red button Ellen Pifer, Vladimir Nabokov’s Lolita: A Casebook, Oxford University Press, 2002.

Red button David Rampton, Vladimir Nabokov: A Critical Study of the Novels. New York: Cambridge University Press, 1984.

Red button Marianne Sinclair, Hollywood Lolitas: The Nymphet Syndrome in the Movies. New York: Henry Holt, 1988.

Red button Michael Wood, The Magician’s Doubts: Nabokov and the Risks of Fiction. Princeton, New Jersey: Princeton University Press, 1995.


Film version

Adrian Lyne’s 1997 version
starring Jeremy Irons, Melanie Griffith, Dominique Swain

Red button See reviews of the film at the Internet Movie Database


Nabokov’s writing methods

Nabokov created all of his novels using ordinary 6″ X 4″ office index cards, on which he wrote in pencil. He claimed that he would first of all compose the novel completely in his head, before doing any writing. Then he would write sections of it on the cards, which he could then arrange in any order. This gave him the freedom to work on any section of the novel that he pleased.

The publication of his posthumous fragment of a novel, The Original of Laura, proves that this was not entirely true. The book combines photocopies of its index cards with a transcription of their contents, and they make it quite clear that he was at many points making up the story as he went along.

Despite his claims to be meticulously correct about very single detail of everything he wrote, his cards for The Original of Laura demonstrate that he made spelling mistakes, grammatical errors, and he revised heavily most of what he wrote. This of course is similar to the way in which most other writers compose their works.

Nabokov - index card

from The Original of Laura


Nabokov discusses Lolita

In conversation with Lionel Trilling – late 1950s

 

Part two of the same conversation


Other work by Vladimir Nabokov

Pale FirePale Fire is a very clever artistic joke. It’s a book in two parts – the first a long poem (quite readable) written by an American poet who we are encouraged to think of as someone like Robert Frost. The second half is a series of footnoted commentaries on the text written by his neighbour, friend, and editor. But as we read on the explanation begins to take over the poem itself, we begin to doubt the reliability – and ultimately the sanity – of the editor, and we end up suspended in a nether-world, half way between life and illusion. It’s a brilliantly funny parody of the scholarly ‘method’ – written around the same time that Nabokov was himself writing an extensive commentary to his translation of Pushkin’s Eugene Onegin.
Vladimir Nabokov - Pale Fire Buy the book at Amazon UK
Vladimir Nabokov - Pale Fire Buy the book at Amazon US

 

PninPnin is one of his most popular short novels. It deals with the culture clash and catalogue of misunderstandings which occur when a Russian professor of literature arrives on an American university campus. Like many of Nabokov’s novels, the subject matter mirrors his life – but without ever descending into cheap autobiography. This is a witty and tender account of one form of naivete trying to come to terms with another. This particular novel has always been very popular with the general reading public – probably because it does not contain any of the dark and often gruesome humour that pervades much of Nabokov’s other work.
Vladimir Nabokov - Pnin Buy the book at Amazon UK
Vladimir Nabokov - Pnin Buy the book at Amazon US

 

Collected StoriesCollected Stories Nabokov is also a master of the short story form, and like many writers he tried some of his literary experiments there first, before giving them wider reign in his novels. This collection of sixty-five complete stories is drawn from his entire working life. They range from the early meditations on love, loss, and memory, through to the later technical experiments, with unreliable story-tellers and the games of literary hide-and-seek. All of them are characterised by a stunning command of language, rich imagery, and a powerful lyrical inventiveness.
Vladimir Nabokov - Collected Stories Buy the book at Amazon UK
Vladimir Nabokov - Collected Stories Buy the book at Amazon US

© Roy Johnson 2010


More on Vladimir Nabokov
More on literary studies
Nabokov’s Complete Short Stories


Filed Under: Vladimir Nabokov Tagged With: Literary studies, Lolita, study guide, The novel, Vladimir Nabokov

Look at the Harlequins!

June 30, 2015 by Roy Johnson

tutorial, commentary, study resources, plot summary, links

Look at the Harlequins! was first published in the United States in 1974 by McGraw-Hill, then in the United Kingdom in 1975 by Wiedenfeld and Nicolson. It was the last of Nabokov’s novels to be published during his own lifetime, and was only superseded by his partial work-in-progress, The Original of Laura, which was published posthumously in 2009.

Look at the Harlequins!

first American edition


Look at the Harlequins! – critical commentary

This book was written in the final stages of Nabokov’s career as a novelist. He had taken his famously playful style to an almost ne plus ultra of literary self-indulgence in Ada or Ardor: A Family Chronicle in 1969, but Look at the Harlequins! wrings a final gasp of self-referentiality out of both his own life and his own books – both of which form the substance of this lightweight confection.

Vadim (the fictional character) has a life history that closely parallels that of Vladimir Nabokov. Vadim Vadimovich was born in Russia, displaced by the Bolshevik revolution, exiled in Paris and the south of France, and earned his living by writing novels and poetry, mixing amongst emigre literary circles, and later moving from France to a college professorship in America. The parallels between the fictional construction and Nabokov’s own life are quite obvious and do not need to be spelled out.

What is of interest is ‘what does he make of this fictionalisation of his own life?’ And the answer is – not very much. The work includes all sorts of biographical trivia: Nabokov’s interest in chess and its problems, his interest in butterflies (which he transfers onto another character), and his near obsession with rape and young girls.

Nabokov and paedophilia

When Nabokov wrote the afterward to Lolita he claimed that the idea for its principal subject had been inspired by a newspaper report of a sketch produced by an ape in the Jardin des Plantes showing the bars of its cage. This round-about appeal to our sympathy deflected attention from two uncomfortable facts.

The first uncomfortable fact is that the novel’s protagonist, Humbert Humbert, is not trapped or imprisoned by his obsession with under-age girls: he acts fully conscious of his desires with the free will of an adult. The second fact is that Nabokov had been writing about older men having sexual encounters with young girls ever since his earliest works – such as A Nursery Tale (1926) and <Laughter in the Dark (1932). Moreover, he wrote a whole novella based on that theme, The Enchanter (1939) and was still including mention of paedophilia in works as late as Ada or Ardor (1969) and Transparent Things (1972).

Readers taken in by his ‘explanation’ should heed the advice of D.H.Lawrence – to ‘Trust the tale, not the teller’. Nabokov was a master of manipulating his own public image – aided and abetted by both his wife and son. Look at the Harlequins! is almost defiantly, brazenly packed with episodes of an older man (Vadim, in this case) having sexual encounters with young girls – from the child Dolly Borg to his own daughter Isabella and her school friend at the end of the novel who – as he deliberately points out – is forty-five years younger than him.

Self-referentiality

The level of self-referentiality in this novel is Nabokov’s idea of an extended joke. He creates a fictional narrative which is closely modelled on elements of not only his own biography, but also the other works of fiction he has produced. Thus when Vadim refers to his first fictional work written in English, See Under Real (1939) the ‘knowing’ reader realises that Nabokov is alluding to The Real Life of Sebastian Knight which was indeed Nabokov’s first work written in English. Similarly, the work which makes Vadim rich is A Kingdom by the Sea (1962) the very title of which is taken from Lolita (1958) which catapulted Nabokov to fame when it was first published.

At one point Vadim gives an extended account of his novel The Dare which is a parody of Nabokov’s 1937 novel The Gift (Russian title, Dar~ – hence a multi-lingual pun). Vadim’s account of The Dare is as follows:

The novel begins with a nostalgic account of a Russian childhood (much happier, though not less opulent than mine). After that comes adolescence in England (not unlike my own Cambridge years); then life in émigré Paris, the writing of a first novel (Memoirs of a Parrot Fancier) and the tying of amusing knots in various literary intrigues. Inset in the middle part is a complete version of the book my Victor wrote ‘on a dare’ : this is a concise biography and critical appraisal of Fyodor Dostoyevski, whose politics my author finds hateful and whose novels he condemns as absurd …

Thus we have a real author (Vladimir Nabokov) withing a novel (Look at the Harlequins!) which is narrated by a fictional character (Vadim) who summarises one of his own novels (The Dare) which is written by a fictional character called Victor, based on the events of his fictional life – but which is actually a pastiche of Nabokov’s own 1936 novel The Gift which was based losely on the events of his own life. Nabokov even repeats this conceit later in Look at the Harlequins with a similar account of A Kingdon by the Sea which is a parody of Lolita. Self-referentiality does not come much thicker than this.

The problem with this technique is that rather like the obsessive puns and wordplay in Nabokov’s later works, the literary gesture loses its impact after a very few iterations, and rapidly becomes annoying. Moreover, it is an elitist device in that anyone who does not know Nabokov’s personal biography and his works of fiction is excluded from the supposedly amusing purpose of these references. Per contra, readers who know Nabokov’s work well have nothing new to learn from them.

The other problem connected with this auto and pseudo-biographical ‘playfulness’ is that it dilutes any possibility of the novel having a central theme or core subject. If there is any principal issue in Look at the Harlequins! it is ‘fake biography’ – which is neither amusing, interesting, nor important.

The unreliable narrator

Nabokov was very fond of using the device of an unreliable narrator – someone telling a story whose account is gradually revealed to be unsound, skewed, inaccurate, or even a pack of lies. His un-named narrator in The Eye (1930) manages to invent his own double, misjudge other characters, and fail to recognise that the other people in the story do not like him. Nabokov’s skill is in presenting the unreliable account of events in this novella in such a way that the reader is able to work out the truth of what is happening, behind the misleading surface account of events.

Later in his novel Pale Fire (1962) he has a narrator who edits, comments on, and interprets another man’s poem in such a way that the reader eventually realises that the interpretation is completely wrong and the editor is quite mad.

The Vadim Vadimovich of Look at the Harlequins! is closely related to such narrators. We only have his account of events, and he is obviously not reliable. His description of his spatial inabilities (which is very overdone) is a clear sign that he is neurotic, and he himself reveals that some of the scenes he describes are inventions.

He claims that he has a mental instability that he must confess to any women he is about to marry, but this is clearly an abberation invented by Nabokov which is never really convincing. Moreover, Vadim is not unreliable in any consistent manner. He refuses the opportunity to learn details of his first wife’s infidelity following her death, but in the very next chapter he acknowledges that the letter she showed him was from her lover.

Nabokov acknowledges within the text that there are rules in narratives: “The I of the book / Cannot die in the book”. In other words, if someone is presenting a narrative as a first person narrator, the story cannot include the death of the narrator. But similarly, if a narrator pretends to ignorance of some matter at one stage of the story, they cannot acknowledge the truth of it at a later stage – because first person narrators are in full possession of the facts at the outset, when they begin to compose a narrative. Other writers have fallen foul of this fictional trap when using first person narrators – most noticeably Joseph Conrad and Ford Maddox Ford.


Look at the Harlequins! – study resources

Look at the Harlequins! Look at the Harlequins! – Penguin Classics- Amazon UK

Look at the Harlequins! Look at the Harlequins! – Penguin Classics – Amazon US

Look at the Harlequins! Look at the Harlequins! – Penguin Classics – Amazon UK

Look at the Harlequins! Look at the Harlequins! – Penguin Classics – Amazon US

Look at the Harlequins! Look at the Harlequins! – Library of America – Amazon UK

Look at the Harlequins! Look at the Harlequins! – Library of America – Amazon US

Look at the Harlequins! The Cambridge Companion to Nabokov Amazon UK

Red button Vladimir Nabokov: The Russian Years – Biography: Vol 1

Red button Vladimir Nabokov: American Years – Biography: Vol 2

Red button Zembla – the official Nabokov web site

Red button The Paris Review – Interview with Vladimir Nabokov

Red button First editions in English – Bob Nelson’s collection

Red button Vladimir Nabokov at Wikipedia – biographical notes, links

Red button Vladimir Nabokov at Mantex – tutorials, web links, study materials

Look at the Harlequins!


Look at the Harlequins! – plot summary

Part One

1   Vadim Vadimovich arrives at the Cote d’Azur villa of his old university colleague Ivor Black, an actor and director.

2   Vadim recalls his precocious erotic puberty, his aristocratic connections, and his escape from Russia following the Bolshevik revolution. In England he is taken up by an aristocratic sponsor, Count Starov.

3   At the villa, Vadim meets Black’s sister Iris, who acts out charades with Ivor, pretending to be a deaf mute

4   Vadim gives an account of an obsessive nocturnal fear from which he suffers. He consults a psychiatrist, who recommends a dentist – and then Vadim reveals that these scenes are not real but inventions.

5   Vadim discusses literature with Iris in the garden of the villa. His memoir reveals his ambition whilst at Cambridge University to return to a post-revolutionary Russia as a famous writer. He writes and translates poems for Iris.

6   Vadim observes ‘nymphets’ on the beach. Iris acts and talks in a provocative manner. He contemplates the uneven nature of his sun tan, then inspects his naked body in Iris’s bedroom mirror. He plans to propose to Iris the next day.

7   Vadim and Iris walk to the beach, meeting the pianist Kanner on the way, collecting butterflies. Vadim recalls two youthful occasions of cramp seizures whilst swimming.

8   As a prelude to marriage, Vadim tries to explain to Iris his ‘mental aberarration’ concerning spatial orientation, but Iris simply explains it away for him.

9   In the garden at sunset Ivor does a comic imitation of Vadim to amuse his guests. Next day, when Ivor goes off fishing, Vadim takes Iris to bed. He recalls a similar scene he witnessed voyeuristically as a young boy.

10   Vadim and Iris get married and are visited by his patron Count Starov who quizzes Vadim about his finances and his intentions.. Vadim and Iris move to Paris, where eventually Vadim suffers from jealousy. He quizzes Iris about her past and begins to suspect her of infidelity.

11   Iris cannot learn Russian and has no access to Vadim’s writing. She starts writing a detective novel. Vadim publishes his first novel and starts the second. Iris goes briefly for Russian lessons with Nadezhda Starov, who has a dashing husband.

12   Iris gives Vadim a badly written and badly translated letter written to her fictional heroine for his comment. Vadim believes it might be from a real admirer – but screws it up and throws it away.

13   Ivor returns from the USA and goes to dinner with Vadim and Iris, following which Nadezhda’s husband turns up in the street, kills Iris, then shoots himself. When Nadezhda turns up for her husband’s funeral she offers to tell Vadim ‘everything’ – but he prefers not to know about what is obviously his wife’s infidelity.

Part Two

1   Following his wife’s death Vadim goes to stay with his friend Stephan Stephanov and mixes with other Russian emigres. He also has a very dubious relationship with a very young girl called Dolly Borg.

2   After describing his composition techniques, he hires a typist Lyuba Savich, who turns out to be an avid fan of his works. However, even though she is very attractive, he gets rid of her.

3   He continues to complain about his spatial ‘madness’, continues writing, gives lectures, and starts to look for a replacement typist.

4   He visits Oksman, manager of a Russian emigre bookshop in Paris, and former revolutionary. Oksman compliments Vadim on his novels, but gets their titles wrong.

5   Vadim’s second typist is Annette Blagovo, who makes lots of mistakes and criticises his work. She does not understand his writing at all.

6   Vadim describes a dream of his younger self and Annette in two beds in the same room. When he gets into Annette’s bed, an attractive maid enters the room, laughing.

7   Vadim writes Annette an absurdly detailed letter describing his difficulty recreating topographical space in his memory, which he regards as ‘madness’. He feels obliged to warn her about this , before making a proposal of marriage. But she agrees to become engaged anyway.

8   He goes to meet her parents to announce his intentions. Then, despite her inexperience and prudishness, he makes a clumsy and unsuccessful attempt to seduce her.

9   Vadim refuses to get married in grand style. His literary success continues in the late 1930s, and his work begins to appear in English.

10   He complains about translations of his work appearing in the USA and England, and then in the late 1930s he begins writing in the English language. He recalls the language he learned in his childhood, discusses the perils of switching from one language to another, then he goes to America.

Part Three

1   In America Vadim obtains a fellowship in European literature at Quirn University, and his writing becomes more widely known.

2   He and Annette have a child (Isabella) but the marriage rapidly goes cold. On a trip to New York City he meets Dolly Borg whom he knew as a child in Paris. She visits his office at Quirn, and they begin a sexual relationship.

3   Dolly arranges a rendezvous in a friend’s apartment in New York. When they arrive the meeting becomes a nightmare fantasy of thwarted expectations and bad taste. Vadim seems to collapse and is taken to hospital.

4   His wife Annette finds out about his affair with Dolly and leaves him She writes a letter in pro-Soviet tones and demands support payments.

Part Four

1   Vadim takes a sabbatical year from Quirn, buys a car, and drives West. After a year’s wandering he returns to the University and to new quarters. He begins an affair with the wife of his Head of Department.

2   There is a local tornado, after which he prepares his house for the arrival of his daughter Bel. She turns out to be clever and sexually precocious.

3   They go touring in his car together. She writes poetry which he pretends to enjoy, and there is a lot of suggestive foreplay. He is addressing his narrative to one of her school friends, Louise.

4   People at Quirn begin to question the nature of his relationship with Bel. He is invited to a party where he makes a public announcement about his ‘disability’ – prior to proposing to Louise, who says she will marry him nevertheless.

5   Louise calls round next morning at breakfast and meets Bel – with whom there is something of a rivalry and standoff.

6   Louise introduces lots of vulgarity into his household, and the relationship with Bel gets even worse.

7   Bel is sent to a Swiss finishing school and Vadim claims to miss her, whilst working on the novel which is to bring him fame and fortune (A Kingdom by the Sea. His relationship with Louise gets worse, and she makes contact with a former lover.

Part Five

1   Bel marries a young American and elopes to Russia. Vadim’s novel is a big success. He receives word from an intermediary that Bel needs his help. He grows a beard and obtains a false passport.

2   He takes a flight to Moscow and a connection to St Petersburg, the city of his birth. He is followed by an agent of some sort. But when he meets his informant she is a partly deranged woman who tells him that Bel has been taken away by her husband.

3   He flies back to Paris en route to New ~York. At Orly airport he is intercepted by the agent, who turns out to be a Soviet writer and an apparatchik. He insults Vadim for ‘betraying’ Russia in his writings – and Vadim punches him on the nose.

Part Six

1   Vadim resigns from his post at Quirn, and whilst clearing out his belongings meets a classmate of his daughter, forty-five years younger than him.

2   They travel together to Europe. Vadim gives her the index cards on which he has written his latest novel Ardis. He then goes for a walk, reflecting on what a successful writer he is. But at the end of the walk he finds it impossible to turn back.

Part Seven

1   Vadim has some form of mental seizure which he records in fantasmagoric images

2   He is transported to a hospital, suffering from some sort of paralysis or dementia. He perceives life as a series of lurid images composed from elements of his former life.

3   When he partially recovers he cannot remember his family name.

4   He recuperates in another hospital, joined by his still un-named fourth wife-to-be. She has read his confessional fragments from Ardis, and explains that his mental dilemma is based on a false premise.


Vladimir Nabokov - portrait

Vladimir Nabokov


Look at the Harlequins – principal characters
Vadim Vadimovich N. the narrator and protagonist
Ivor Black Vadim’s friend from Cambridge – an actor and director
Count Starov Vadim’s rich Russian patron
Iris Black’s sister, Vadim’s first wife
Kanner a pianist who collects butterflies
Stephan Stephanov Vadim’s friend in Paris
Lyuba Savich Vadim’s first typist
Oksman Russian bookshop owner in Paris
Annette Blogovo Vadim’s second typist and second wife
Isabel (Bel) Vadim and Annette’s daughter
Dolly Borg grand-daughter of Vadim’s Paris friend
Louise school friend of Bel, Vadim’s third wife
Waldemar Exkel Vadim’s Baltic assistant at Quirm
Gerrard Adamson Chair of English at Quirm
Louise Adamson his wife, Vadim’s lover
— a school friend of Bel, and Vadim’s fourth wife

Other work by Vladimir Nabokov

Pale FirePale Fire is a very clever artistic joke. It’s a book in two parts – the first a long poem (quite readable) written by an American poet who we are encouraged to think of as someone like Robert Frost. The second half is a series of footnoted commentaries on the text written by his neighbour, friend, and editor. But as we read on the explanation begins to take over the poem itself, we begin to doubt the reliability – and ultimately the sanity – of the editor, and we end up suspended in a nether-world, half way between life and illusion. It’s a brilliantly funny parody of the scholarly ‘method’ – written around the same time that Nabokov was himself writing an extensive commentary to his translation of Pushkin’s Eugene Onegin.
Vladimir Nabokov - Pale Fire Buy the book at Amazon UK
Vladimir Nabokov - Pale Fire Buy the book at Amazon US

 

PninPnin is one of his most popular short novels. It deals with the culture clash and catalogue of misunderstandings which occur when a Russian professor of literature arrives on an American university campus. Like many of Nabokov’s novels, the subject matter mirrors his life – but without ever descending into cheap autobiography. This is a witty and tender account of one form of naivete trying to come to terms with another. This particular novel has always been very popular with the general reading public – probably because it does not contain any of the dark and often gruesome humour that pervades much of Nabokov’s other work.
Vladimir Nabokov - Pnin Buy the book at Amazon UK
Vladimir Nabokov - Pnin Buy the book at Amazon US

 

Collected StoriesCollected Stories Nabokov is also a master of the short story form, and like many writers he tried some of his literary experiments there first, before giving them wider reign in his novels. This collection of sixty-five complete stories is drawn from his entire working life. They range from the early meditations on love, loss, and memory, through to the later technical experiments, with unreliable story-tellers and the games of literary hide-and-seek. All of them are characterised by a stunning command of language, rich imagery, and a powerful lyrical inventiveness.
Vladimir Nabokov - Collected Stories Buy the book at Amazon UK
Vladimir Nabokov - Collected Stories Buy the book at Amazon US

© Roy Johnson 2015


More on Vladimir Nabokov
More on literary studies
Nabokov’s Complete Short Stories


Filed Under: Vladimir Nabokov Tagged With: English literature, Literary studies, The novel, Vladimir Nabokov

Mary

March 7, 2017 by Roy Johnson

tutorial, commentary, study resources, and web links

Mary (1926) is Vladimir Nabokov’s first novel. It was written in Berlin and appeared as Mashenka under his pen name of V. Sirin, which he used to distinguish himself from his father – a writer and politician who was also called Vladimir Nabokov.

Mary

The novel was completely ignored at the time of its first publication – and yet it is a marvellous debut, full of subtle touches and an admirable restraint in telling three stories simultaneously. It is the tale of a first young love, an account of political exile, and the evocation of a dawning poetic imagination.

It is also full of what were to become the hallmarks of Nabokov’s mature literary style – verbal playfulness, ironic twists of story line, the juxtaposition of tenderness with the grotesque, and beautiful evocations of the textures of everyday life.


Mary – critical commentary

The love story

At its most obvious and superficial level, this is a story about a youthful love affair. Ganin is a sensitive teenage boy living on a country estate in Russia at the time of the First World War. He sees a pretty girl at an outdoor musical event and falls in love with her.

In the idyllic summer days that follow they meet in the countryside. His later memories of youthful rapture and erotic exploration are mingled with his sense of freedom and appreciation of the natural world of which he feels himself a part. The whole of this experience is summoned from memory whilst he is in exile.

In the autumn Ganin and Mary both return to St Petersburg and find their opportunities for privacy are severely curtailed. There is a brief attempt at consummating their romance – but it fails. The relationship then dwindles as they are forced apart – yet Ganin keeps the memory of it alive as a significant event in his life.

When Ganin sees Mary’s photograph as the wife of the vulgarian Alfyorov, it re-awakens these memories and fuels him with the desire to recapture his first true love. He detaches himself from his current mistress Lyudmila, and ignores the attentions of Klara, his busty neighbour in the Berlin pension. He plans to intercept Mary when she arrives at the station. But when she finally reaches Berlin to join her husband, Ganin suddenly realises that his perfect experience with Mary is a thing of the past:

As Ganin looked up at the skeletal roof in the etherial sky he realised with merciless clarity that  his affair with Mary was ended forever.  It had lasted no more than four days –  four days which were perhaps the happiest days of his life. But now he had exhausted his memories, was sated by them, and the image of Mary … remained in the house of ghosts, which itself was already a memory. Other than that image no Mary existed, nor could exist.

Nabokov’s great skill here is in evoking the delicious nature of an early romantic experience, recollected in a later and dramatically different period which spells its doom. It is significant that Mary is never dramatised: she is only summoned via Ganin’s memories of their time together. He cannot go back to his lost love, just as he will never go back to his homeland.

Memory and epiphany

Ganin is in exile. He has left behind his native Russia and like other exiles he been cut off from the emotional comforts of his birthplace. But he is maintaining a fragile intellectual stability by two means. The first is by keeping ‘the past’ alive with active efforts of reminiscence. The other is by an equally vigorous effort in appreciating the current pleasures of the material world in which he finds himself.

These moments of appreciation are fleeting experiences of aesthetic and sensory pleasure. He notices the shifting moods and textures of the world around him. Surrounded by vulgarity and desperation, he rescues from it precious moments of insight.

The trajectory of exile

At its deepest level the novel is about emigration and exile, and in one sense the imagined character of Mary, Ganin’s first true love, acts as a metaphor for the loss of homeland. Ganin has grown up in the idyllic world of an aristocratic Russian country estate for which he has very deep feelings. These are mingled with his feelings for the young girl Mary.

But he is separated from both by his participation in the Civil War which follows the revolution of 1917-18. When he is injured and on the losing side, he is forced to flee the country he loves in order to survive. Hence his temporary presence in the seedy pension in Berlin – the ‘first’ centre of emigration.

He is surrounded by the other flotsam and jetsam thrown up by political upheavals in his mother country: the old poet Podtyagin, the crapulous Alfronov, and two homosexual ballet dancers. Podtyagin is stranded without a visa, waiting to travel on to the ‘second’ centre of emigration – Paris. But it seems likely that he will die from heart failure before he makes the journey.

Ganin also feels as if he must move on – but he chooses what was to become the most celebrated route for exiles within a decade of the novel’s publication in 1926. This route was into southern France and the Mediterranean ports, from which it was possible to continue the journey westwards. In this sense Nabokov accurately prophesied his own future.

Like many other exiles from the Stalinist Soviet Union and Hitler’s Germany, Nabokov was forced to travel from Berlin in Germany then on to Paris in France, and finally to the Mediterranean coast. Hoping for safe transport to a neutral country such as Portugal, he eventually went to America. There is a very well-documented account of this escape route, much of which was organised by the American ‘special agent’ Varian Fry.

Double time-scheme

The narrative also takes place on two separate chronological planes at the same time. Events in the pension unfold between Monday and Saturday of a single week. Saturday is the day when Ganin has decided to leave Berlin, and it is the day when Mary is due to arrive.

But Ganin’s recollections of his youthful love affair and the country he has lost go back over the previous ten years. This period spans his summer romance with Mary, their return to Saint Petersburg, the end of his schooling, and his participation in the Civil War and its aftermath.

These two chrolologies are woven together quite seamlessly and present the reader with an unbroken narrative flow. This is a very skillful control of narrative in such a young writer, as Nabokov was at the time of the novel’s composition.


Mary – study resources

Mary Mary – Penguin Classics – Amazon UK

Mary Mary – Penguin Classics – Amazon US

Mary Mashenka – Russian version – Amazon UK

Mary Mashenka – Russian version – Amazon US

Mary The Cambridge Companion to Nabokov Amazon UK

Mary Vladimir Nabokov: The Russian Years – Biography: Vol 1 – Amazon UK

Mary Vladimir Nabokov: American Years – Biography: Vol 2 – Amazon UK

Mary Zembla – the official Nabokov web site

Mary The Paris Review – Interview with Vladimir Nabokov

Mary Nabokov’s first English editions – Bob Nelson collection

Mary Vladimir Nabokov at Wikipedia – biographical notes, links

Mary Vladimir Nabokov at Mantex – tutorials, web links, study materials


Mary

first edition 1926


Mary – plot summary

1. Ganin is staying in a Russian-run boarding house in Berlin. A fellow guest Alfronov is expecting his wife to arrive from Russia.

2. Ganin is bored by his loveless affair with Lyudmila. He compares notes on life in exile with Alfronov.

3. An evocation of Berlin at night.

4. Ganin breaks off relations with Lyudmila, then wallows in the pleasure of reminiscences about Russia. He reconstructs the memory of recovering from typhus and forms the image of a girl. He reflects on the evanescence of even the most pleasant memories. Back at the pension he is caught by fellow guest Klara snooping in Alfronov’s desk, where he sees a photograph of his childhood sweetheart Mary, to whom Alfronov is now married.

5. Ganin and the old poet Podtyagin exchange reflections on memories.

6. Ganin recalls his first meeting with Mary and his first experiences of poetic epiphany.

7. He receives a letter from Lyudmila which he tears up and throws away without reading.

8. He lives in his memories of Russia and Mary, recalling their idyllic meetings in summer. His reveries are interrupted when his neighbour Podtyagin has a heart attack.

9. Next day Alfyonov receives a telegram confirming his wife’s arrival at the week end. Ganin recalls the last of his summer meetings with Mary. They both return to St Petersburg in the autumn. They try but fail to consummate the relationship. In the war years that follow, they gradually lose touch with each other.

10. Lyudmila sends a message of complaint, but Ganin prepares to leave Berlin at the week end.

11. Ganin helps Podtyagin to apply for an exit visa – which the old man leaves on a bus.

12. Podtyagin despairs of his lost passport.

13. Ganin packs his suitcases and reads old letters from Mary – written to him whilst serving during the Civil War in Yalta.

14. There is an unsuccessful party at the pension to celebrate Ganin’s departure.

15. Ganin recalls his retreat from the war. Wounded in the head, he sails to Constantinople. The party in. The pension degenerates badly. 

16. Mary’s husband Alfyonov passes out in a drunken stupor. In the early morning Ganin takes leave of the poet Podtyagin.

17. Ganin goes to the station to meet Mary and rescue her from her appalling husband. But he suddenly realises that she is now a completed memory that he must leave behind. He takes a train instead, heading for France and the Mediterranean coast.


Mary – principal characters
Lev Glebovich Ganin

a young Russian exile in Berlin
Aleksey Ivanovich Alfyorov

the Russian husband of Mary
Lydia Nikolaevna Dorn

the landlady of the pension
Lyudmila Rubanski

Ganin’s lover in Berlin
Klara

a busty resident at the pension in love with Ganin
Anton Sergeyevich Podtyagin

an old popular Russian poet
Mary Alfyorov

Ganin’s youthful love, who never appears

© Roy Johnson 2017


More on Vladimir Nabokov
More on literary studies
Nabokov’s Complete Short Stories


Filed Under: Vladimir Nabokov Tagged With: Literary studies, Russian literature, The novel, Vladimir Nabokov

Nabokov’s Complete Stories

September 24, 2009 by Roy Johnson

a critical examination of Nabokov’s collected stories

Nabokov’s Complete Stories is an analysis of the fifty collected tales included in Nabokov’s Dozen (1959), A Russian Beauty and Other Stories (1973), Tyrants Destroyed and Other Stories (1975), and Details of a Sunsetand Other Stories (1976).

In 1995 Nabokov’s son Dmitri edited and issued a single volume of Nabokov’s complete collected stories. This edition contained stories which had emerged since the author’s death and some very early works that Nabokov himself did not think were worth republishing. Studies and critiques of these earlier works are being added as a supplement here.

•   Introduction

Part I – Apprentice Years: Stories 1924 – 1929

•   A Matter of Chance
•   Details of a Sunset
•   The Thunderstorm
•   Bachmann
•   Christmas
•   A Letter that Never Reached Russia
•   The Return of Chorb
•   A Guide to Berlin
•   A Nursery Tale
•   Terror
•   The Passenger
•   The Doorbell
•   An Affair of Honour
•   The Potato Elf

Part II – The European Master: Stories 1930 – 1939

•   The Eye
•   The Aurelian
•   A Bad Day
•   A Busy Man
•   Terra Incognita
•   Lips to Lips
•   The Reunion
•   Orache
•   Music
•   A Dashing Fellow
•   Perfection
•   The Admiralty Spire
•   The Leonardo
•   The Circle
•   Breaking the News
•   In Memory of L.I.Shigaev
•   A Russian Beauty
•   Torpid Smoke
•   Recruiting
•   A Slice of Life
•   Spring in Fialta
•   Cloud, Castle, Lake
•   Tyrants Destroyed
•   The Visit to the Museum
•   Lik
•   Vasiliy Shishkov

Part III – American Notes: Stories 1940 – 1951

•   The Assistant Producer
•   That in Aleppo Once…
•   A Forgotten Poet
•   Time and Ebb
•   Conversation Piece
•   Signs and Symbols
•   The Vane Sisters
•   Lance
•   Conclusion

Additional Stories

•   Additional stories

Vladimir Nabokov Collected Stories   Vladimir Nabokov: The Collected Stories – Amazon UK
Vladimir Nabokov Collected Stories   Vladimir Nabokov: The Collected Stories – Amazon US

© Roy Johnson 2005


Vladimir Nabokov web links
Vladimir Nabokov greatest works
Vladimir Nabokov criticism
Vladimir Nabokov life and works


Filed Under: Nabokov - Stories, Vladimir Nabokov Tagged With: Nabokov collected stories, The Short Story, Vladimir Nabokov

Pale Fire

February 5, 2018 by Roy Johnson

tutorial, study guide, commentary, and web links

Pale Fire (1962) is a bizarre and playful ‘novel’ from the master of literary inventiveness, Vladimir Nabokov. It was written at the same time that he was editing his scholarly translation of Pushkin’s novel in verse, Eugene Onegin. What Pale Fire offers is a comic parody of the same enterprise. It is a novel comprised of a spoof academic introduction written by the editor, a long poem written by his neighbour which gives the novel its title, and then the editor’s elaborate commentary which purports to explain hidden meanings in the text. All the notes are cross referenced with a scholarly apparatus. He then even adds an index.

Pale Fire


Pale Fire – critical commentary

Structure

Perhaps the most interesting feature of the novel is its successful parody of an academic study – complete with bibliographic introduction, cross references, a scholarly apparatus, critical commentary, and index. All of these are brought to bear on the central text – John Shade’s poem Pale Fire – which has absolutely nothing to do with the Boy’s Own adventure story into which it is embedded.

Moreover, as a self-proclaimed ‘editor’, Charles Kinbote is a comic failure in his enterprise. He not only completely fails to understand Shade’s poem; he gets lots of details wrong; he fails to spot things that are obvious; he can’t be bothered to follow up his own ‘researches’; and he sets up links in his commentaries which turn out to be non-sequiturs.

Nabokov also makes Kinbote quite laughable as a character. He misunderstands what is happening around him. He is insensitive to the reactions of the people he encounters. And he is given quasi-absurd opinions – such as his half-baked critique of Proust and A la recherche du temps perdues (which is incorrectly capitalised in the index).

The unreliable narrator

Nabokov was a master of fiction delivered by unreliable narrators. From his earliest works as a writer of short stories such as The Eye (1930) and Spring in Fialta (1936) he created narrators who recount events that the reader is invited to interpret otherwise. Some of these narrators tell lies or attempt to mislead the reader. They play a form of literary hide and seek in which they deliver information which does not seem quite consonant with the rest of the story – and we begin to doubt their judgement. It is a skilful manipulation of point of view on the author’s part, and an invitation to readers to ‘participate’ in creating the ‘true meaning’ of the story.

This literary device can sometimes be stretched over the length of a novel. Henry James used it in The Sacred Fount (1901). But it is usually confined to the short story or the novella – for good reasons. The most important reason is that once the reader has realised that information is coming from an unreliable source, dramatic tension in the tale is put at risk.

It should be immediately apparent to most intelligent readers of Pale Fire that the editor-narrator Kinbote is both unreliable and not who he claims to be. In the Foreward he relates that a certain ‘ferocious lady’ says to him ‘What’s more you are insane’. She is quite right, and most readers will have no trouble realising that his account of the King’s ‘escape’ from Zembla is his own (factitious) autobiography. Shortly afterwards, if not at the same time, they will realise that the whole story is the delusion of a madman.

The problem is that they will realise this quite quickly, when there is still considerable plot-commentary to be revealed – which dilutes the effectiveness of any dramatic tension that follows. To offset this weakness, Nabokov introduces a second plot element in the character of political gangster Jakob Gradus whose role is to pursue and assassinate King Charles.

This too turns out to be part of Kinbote’s delusion – for the man who shoots John Shade is not a foreign political assassin but an escapee from a lunatic asylum seeking to avenge himself on the man (Judge Goldsworth) who has sent him there.

Interpretation

It has to be said that the apparent levels of fictionality in the novel have thrown critics into all sorts of acrobatic interpretations. There are some who believe that the commentary to the poem was written by John Shade himself, and others who think the ghost of Hazel Shade is somehow involved.

Nabokov, as the author of all the mischievous hints and clues scattered throughout the book, muddies the water even further by introducing a character called Professor V. Botkin, whom he describes as ‘an American scholar of Russian descent’. This sends other commentators into analytic raptures, pointing to the fact that the name Botkin is merely Kinbote in reverse. Perhaps Kinbote is the alter-ego of Botkin – or the other way round?

But the multiple levels of fictionality are apparent rather than real. Kinbote is clearly a fictional character, created by the author Vladimir Nabokov. Kinbote is operating as a teacher in a fictional (but credible) American university called Wordsmith College in the Appalachians. Kinbote claims to be the exiled king of a not-so-credible country called Zembla – and his escape from it is related via cardboard and comic operetta sequence of events. He is clearly delusional and his tale is a fantasy-invention. Interpretation of the novel is much simpler than its complicated story.

We know that Nabokov ‘lost his kingdom’ and had to flee Russia following the revolution; we know that he eventually emigrated to America; we know that he taught at a provincial college (Wellesley College) and wrote about the experience in other fictional productions (such as Pnin). We know that Nabokov had been translating and editing a scholarly version of Eugene Onegin – which comprised an introduction, the text of Pushkin’s poem/novel, and two volumes of commentary plus an index.

Pale Fire is nothing more than a literary spoof which re-mixes these biographical elements to offer a playful charade, a jeu d’esprit that is laced with the sorts of in-house jokes, narrative tricks, and literary spasms (wordplay, neologisms, and obsessive alliteration) that mark his later works following the high point of Lolita in 1955.

Extras

It should be clear from a few pages into the novel and everything following that Kinbote is a homosexual. What is not clear is why Nabokov should add this characteristic to his protagonist. The repeated and coy references to young boys and ‘manly behaviour’ become quite irritating – mainly because they are not in any way connected to the rest of the narrative. They eventually assume a sort of schoolboy smuttiness and reinforce other silly elements of the plot.


Pale Fire – study resources

Pale Fire – Penguin – Amazon UK

Pale Fire – Penguin – Amazon US

Pale Fire – Library of America – Amazon UK

Pale Fire – Library of America – Amazon US

Nabokov’s Pale Fire – Princeton – Amazon UK

Celestial Keys to Pale Fire – Sputnik – Amazon UK

The Cambridge Companion to Nabokov – Amazon UK

Vladimir Nabokov: The Russian Years – Biography: Vol 1

Vladimir Nabokov: The American Years – Biography: Vol 2

Zembla – the official Nabokov web site

The Paris Review – Interview with Vladimir Nabokov

Pale Fire


Pale Fire – plot summary

Foreward

The ‘editor’ Charles Kinbote presents a scholarly description giving the provenance of John Shade’s poem Pale Fire. He details the rivalries surrounding ownership and publication of the manuscript. He meets Shade and his wife Sybil when he becomes their next door neighbour whilst teaching at the same institution – Wordsmith College. Kinbote is a figure of fun at the college, and is clearly a homosexual.

Pale Fire

The poem in four cantos is an autobiographical meditation on Shade’s domestic life and his reflections on the borderlines between life and death. His parents die when he is young, and he is raised by his aunt Maude. He loses his religious belief, but searches for a meaning in life and wonders about the possibilities of life beyond the grave.

He meets his wife Sybil at high school, and still loves her forty years later. They have a daughter Hazel who is solitary, dyslexic and unattractive. She goes out with friends as a teenager and is shunned by the group. She pretends to go home, but drowns herself in an icy lake.

Shade meditates on life as a preparation for what will happen after death and the possibilities of reincarnation. He wonders who we might meet in the afterlife. Sybil thinks she receives signals from their dead daughter. After giving a lecture one evening Shade has a minor heart attack and a ‘vision’ of being briefly ‘dead’, when he sees the image of a white fountain. When he reads of a woman who has had the same experience he goes to interview her – but she thinks it is a social call. Nevertheless, he feels he has discovered some hidden pattern in life which gives it meaning.

He reflects on the difficulties of poetic composition and describes shaving whilst in the bath. He thinks about his wife, his dead daughter, and the books of poetry he has written. Finally he finds some comfort in his appreciation of the everyday life that surrounds him.

Commentary

Charles Kinbote examines the poem in close detail and explains meanings hidden in the text. He has forcibly befriended his neighbour the American poet John Shade and recounted to him the amazing story of King Charles II’s escape from a revolution in Zembla. Kinbote hopes that Shade will re-tell this story in a long poem on which he is currently working.

Kinbote’s story is that when a revolution occurs in Zembla, the king is imprisoned in his castle, from which he escapes via a secret passageway. He travels over mountains and eventually reaches the seashore. Zembla is divided politically into supporters of the king (Karlists) and their rival Extremists, including would-be regicides (the Shadows) who elect Jakob Gradus as their assassin.

The king is eventually parachuted into the USA where his friend Sylvia arranges for him to teach at Wordsmith College. He rents a house from Judge Goldsworth, next door to John Shade and his wife Sybil. Although he has only been there a short time, he claims to be close friends with Shade – though it is quite clear that these feelings are not reciprocated.

Kinbote spies on Shade day and night, whilst Sybil makes transparent excuses to protect her husband’s privacy by keeping Kinbote away from the house. Meanwhile the stupid and incompetent Gradus is making his way across northern Europe in search of King Charles. Gradus fails at every point, until he is eventually instructed to go to America.

Kinbote is saving a big surprise for John Shade when he completes his poem. It is quite clear that this is the revelation that he is King Charles. But on the very day the poem is finished and Kinbote has invited Shade for a celebratory drink, Gradus arrives and bungles the assassination, killing Shade in error.

Believing that Kinbote tried to protect Shade from the assassin, Sybil gives him the right to be the poem’s official editor. Gradus turns out to be an escaped lunatic who has gone to kill the person who sentenced him to an asylum – Judge Goldsworth, Kinbote’s landlord. Gradus subsequently commits suicide in jail.

Kinbote confiscates the manuscript of Pale Fire and at first is horrified to realise that it contains no mention of his escape from Zembla. Later he convinces himself that Shade has cleverly hidden the account in minor details of the poem – and so his commentary is designed to squeeze meaning out where none exists.


Pale Fire – principal characters
Charles Kinbote the deposed King Charles II of Zembla
John Shade an American poet and college teacher
Sybil Shade his protective wife
Hazel Shade their teenage daughter who commits suicide
Jakob Gradus aka Jack Grey a bungling criminal and lunatic
Judge Goldsworth the absent owner of Kinbote’s rented house

© Roy Johnson 2018


More on Vladimir Nabokov
More on literary studies
Nabokov’s Complete Short Stories


Filed Under: Vladimir Nabokov Tagged With: English literature, Literary studies, The novel, Vladimir Nabokov

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