“Wonderful, compulsively readable, delicious” personal correspondences, spanning decades in the life and literary career of the author of Lolita (The Washington Post Book World). An icon of twentieth-century literature, Vladimir Nabokov was a novelist, poet, and playwright, whose personal life was a fascinating story in itself. This collection of more than four hundred letters chronicles the author’s career, recording his struggles in the publishing world, the battles over Lolita, and his relationship with his wife, among other subjects, and gives a surprising look at the personality behind the creator of such classics as Pale Fire and Pnin. “Dip in anywhere, and delight follows.” —John Updike
No marriage of a major twentieth-century writer is quite as beguiling as that of Vladimir Nabokov’s to Véra Slonim. She shared his delight at the enchantment of life’s trifles and literature’s treasures, and he rated her as having the best and quickest sense of humor of any woman he had met. From their first encounter in 1923, Vladimir’s letters to Véra chronicle a half-century-long love story, one that is playful, romantic, and memorable. At the same time, the letters reveal much about their author. We see the infectious fascination with which Vladimir observed everything—animals, people, speech, landscapes and cityscapes—and glimpse his ceaseless work on his poems, plays, stories, novels, memoirs, screenplays, and translations. This delightful volume is enhanced by twenty-one photographs, as well as facsimiles of the letters and the puzzles and drawings Vladimir often sent to Véra. With 8 pages of photographs and 47 illustrations in text
The first novel Nabokov wrote while living in America and the most overtly political novel he ever wrote, Bend Sinister is a modern classic. While it is filled with veiled puns and characteristically delightful wordplay, it is, first and foremost, a haunting and compelling narrative about a civilized man caught in the tyranny of a police state. Professor Adam Krug, the country's foremost philosopher, offers the only hope of resistance to Paduk, dictator and leader of the Party of the Average Man. In a folly of bureaucratic bungling and ineptitude, the government attempts to co-opt Krug's support in order to validate the new regime.
Using Vladimir Nabokov as its “case study,” this volume approaches translation as a crucial avenue into literary history and theory, philosophy and interpretation. The book attempts to bring together issues in translation and the shift in Nabokov studies from its earlier emphasis on the “metaliterary” to the more recent “metaphysical” approach. Addressing specific texts (both literary and cinematic), the book investigates Nabokov’s deeply ambivalent relationship to translation as a hermeneutic oscillation on his part between the relative stability of meaning, which expresses itself philosophically as a faith in the beyond, and deep metaphysical uncertainty. While Nabokov’s practice of translation changes profoundly over the course of his career, his adherence to the Romantic notion of a “true” but ultimately elusive metaphysical language remained paradoxically constant.
These letters document the evolution of Lowell's work and illuminate another side of his life: his deep friendships with other writers, his manic depression, his marriages to three prose writers, and his involvement with the antiwar movement of the 1960s.
The Feud is the deliciously ironic (and sad) tale of how two literary giants destroyed their friendship in a fit of mutual pique and egomania. In 1940, Edmund Wilson was the undisputed big dog of American letters. Vladimir Nabokov was a near-penniless Russian exile seeking asylum in the States. Wilson became a mentor to Nabokov, introducing him to every editor of note, assigning him book reviews for The New Republic, engineering a Guggenheim Fellowship. Their intimate friendship blossomed over a shared interest in all things Russian, ruffled a bit by political disagreements. But then came the worldwide best-selling novel Lolita, and the tables were turned. Suddenly Nabokov was the big (and very rich) dog. The feud finally erupted in full when Nabokov published his hugely footnoted and virtually unreadable literal translation of Pushkin’s famously untranslatable verse novel, Eugene Onegin. Wilson attacked his friend’s translation with hammer and tongs in The New York Review of Books. Nabokov counterattacked. Back and forth the increasingly aggressive letters flew, until the narcissism of small differences reduced their friendship to ashes. Alex Beam has fashioned this clash of literary titans into a delightful and irresistible book—a comic contretemps of a very high order and a poignant demonstration of the fragility of even the deepest of friendships. (With black-and-white illustrations throughout)
In this wry, judiciously balanced, and thoroughly engaging book, Galya Diment explores the complicated and fascinating relationship between Vladimir Nabokov and his Cornell colleague Marc Szeftel who, in the estimate of many, served as the prototype for the gentle protagonist of the novel Pnin. She offers astute comments on Nabokov�s fictional process in creating Timogey Pnin and addresses hotly debated questions and long-standing riddles in Pnin and its history. Between the two of them, Nabokov and Szeftel embodied much of the complexity and variety of the Russian postrevolution emigre experience in Europe and the United States. Drawing on previously unpublished letters and diaries as well as on interview with family, friends, and collegues, Diment illuminates a fascinating cultural terrain. Pniniad--the epic of Pnin--begins with Szeftel�s early life in Russia and ends with his years in Seattle at the University of Washington, turning pivotally upon the time in Szeftel�s and Nabokov�s lives intersected at Cornell. Nabokov apparantly was both amused by and admiring of the innocence of his historian friend. Szeftel�s feelings towards Nabokov were also mixed, raning from intense disappointment over rebuffed attempts to collaborate with Nabokov to persistent envy of Nabokov�s success and an increasing wistfulness over his own sense of failure.
First published in 1995. This companion constitutes a virtual encyclopaedia of Nabokov, and occupies a unique niche in scholarship about him. Articles on individual works by Nabokov, including his short stories and poetry, provide a brief survey of critical reactions and detailed analyses from diverse vantage points. For anyone interested in Nabokov, from scholars to readers who love his works, this is an ideal guide. Its chronology of Nabokov's life and works, bibliographies of primary and secondary works, and a detailed index make it easy to find reliable information any aspect of Nabokov's rich legacy.
The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a Florentine clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into juxtaposition with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall), and cinema (Rohmer, Haneke, Tarantino), this volume enlarges our understanding of global postmodernism for the twenty-first century.
This collection of original essays is concerned with one of the most important writers of the twentieth century: Vladimir Nabokov. The book features contributions from both well-established and new scholars, and represents the latest developments in research. The essays all address the possibility of reading Nabokov's works as operating between categories of various kinds - whether linguistic, formal, historical or national. In doing so, they explore exciting new paradigms for approaching Nabokov's oeuvre. The volume brings together a diverse range of critical voices from around the world, to respond to some of the most urgent questions raised about Nabokov's work. Topics covered include the relationship between his artistic and scientific work, his influences on contemporary fiction, and the development of his aesthetics over his career. Drawing variously on archive research, alternative readings of key texts, and fresh theoretical approaches, this book injects new impetus into Nabokov studies as it continues to evolve as a discipline.
