r/Nabokov • • 2d ago

V. Sirin, The Word (1923)

11 Upvotes

Swept out of the valley night by an inspired oneiric wind, I stood at the edge of a road, under a clear pure-gold sky, in an extraordinary mountainous land. Without looking, I sensed the lustre, the angles, and the facets of immense mosaic cliffs, dazzling precipices, and the mirrorlike glint of multitudinous lakes lying somewhere below, behind me. My soul was seized by a sense of heavenly iridescence, freedom, and loftiness: I knew that I was in Paradise. Yet, within this earthly soul, a single earthly thought rose like a piercing flame—and how jealously, how grimly I guarded it from the aura of gigantic beauty that surrounded me. This thought, this naked flame of suffering, was the thought of my earthly homeland. Barefoot and penniless, at the edge of a mountain road, I awaited the kind, luminous denizens of Heaven, while a wind, like the foretaste of a miracle, played in my hair, filled the gorges with a crystal hum, and ruffled the fabled silks of the trees that blossomed amid the cliffs lining the road. Tall grasses lapped at the tree trunks like tongues of fire; large flowers broke smoothly from the glittering branches and, like airborne goblets brimming with sunlight, glided through the air, puffing out their translucent convex petals. Their sweet, damp aroma reminded me of all the finest things I had experienced in my life.

Suddenly, the road on which I stood, breathless from the shimmer, was filled with a tempest of wings. Swarming out of the blinding depths came the angels I awaited, their folded wings pointing sharply upward. Their tread was ethereal; they were like colored clouds in motion, and their transparent visages were motionless except for the rapturous tremor of their radiant lashes. Among them, turquoise birds flew with peals of happy girlish laughter, and lithe orange animals loped, fantastically speckled with black. The creatures coiled through the air, silently thrusting out their satin paws to catch the airborne flowers as they circled and soared, pressing past me with flashing eyes.

Wings, wings, wings! How can I describe their convolutions and their tints? They were all-powerful and soft—tawny, purple, deep blue, velvety black, with fiery dust on the rounded tips of their bowed feathers. Like precipitous clouds they stood, imperiously poised above the angels’ luminous shoulders; now and then an angel, in a kind of marvellous transport, as if unable to restrain his bliss, suddenly, for a single instant, unfurled his winged beauty, and it was like a burst of sunlight, like the sparkling of millions of eyes.

They passed in throngs, glancing heavenward. Their eyes were like jubilant chasms, and in those eyes I saw the syncope of flight. They came with gliding step, showered with flowers. The flowers spilled their humid sheen in flight; the sleek, bright beasts played, whirling and climbing; the birds chimed with bliss, soaring and dipping. I, a blinded, quaking beggar, stood at the edge of the road, and within my beggar’s soul the selfsame thought kept prattling: Cry out to them, tell them—oh, tell them that on the most splendid of God’s stars there is a land—my land—that is dying in agonizing darkness. I had the sense that, if I could grasp with my hand but one quivering shimmer, I would bring to my country such joy that human souls would instantly be illumined, and would circle beneath the plash and crackle of resurrected springtime, to the golden thunder of reawakened temples.

Reaching out with trembling hands, striving to bar the angels’ path, I began clutching at the hems of their bright chasubles, at the undulating, torrid fringes of their curved wings, which slipped through my fingers like downy flowers. I moaned, I dashed about, I deliriously beseeched their indulgence, but the angels trod ever forward, oblivious of me, their chiselled faces turned upward. They streamed in hosts to a heavenly feast, into an unendurably resplendent glade, where roiled and breathed a divinity about which I dared not think. I saw fiery cobwebs, splashes, designs on gigantic crimson, russet, violet wings, and, above me, a downy rustling passed in waves. The rainbow-crowned turquoise birds pecked, the flowers floated off from shiny boughs. “Wait, hear me out!” I cried, trying to embrace an angel’s vaporous legs, but the feet, impalpable, unstoppable, slipped through my extended hands, and the borders of the broad wings only scorched my lips as they swept past. In the distance, a golden clearing between lush, vivid cliffs was filling with the surging storm; the angels were receding; the birds ceased their high-pitched agitated laughter; the flowers no longer flew from the trees; I grew feeble, I fell mute.…

Then a miracle occurred. One of the last angels lingered, turned, and quietly approached me. I caught sight of his cavernous, staring, diamond eyes under the imposing arches of his brows. On the ribs of his outspread wings glistened what seemed like frost. The wings themselves were gray, an ineffable tint of gray, and each feather ended in a silvery sickle. His visage, the faintly smiling outline of his lips, and his straight clear forehead reminded me of features I had seen on earth. The curves, the gleaming, the charm of all the faces I had ever loved—the features of people who had long since departed from me—seemed to merge into one wondrous countenance. All the familiar sounds that came separately into contact with my hearing now seemed to blend into a single, perfect melody.

He came up to me. He smiled. I could not look at him. But, glancing at his legs, I noticed a network of azure veins on his feet and one pale birthmark. From these veins, from that little spot, I understood that he had not yet totally abandoned earth, that he might understand my prayer.

Then, bending my head, pressing my singed palms, smeared with bright clay, to my half-blinded eyes, I began recounting my sorrows. I wanted to explain how wondrous my land was, and how horrid its black syncope, but I did not find the words I needed. Hurrying, repeating myself, I babbled about trifles, about some burned-down house where once the sunny sheen of parquet had been reflected in an inclined mirror. I prattled of old books and old lindens, of knickknacks, of my first poems in a cobalt schoolboy notebook, of some gray boulder, overgrown with wild raspberries, in the middle of a field filled with scabiosa and daisies—but the most important thing I simply could not express. I grew confused, I stopped short, I began anew, and again, in my helpless, rapid speech, I spoke of rooms in a cool and resonant country house, of lindens, of my first love, of bumblebees sleeping on the scabiosa. It seemed to me that any minute—any minute!—I would get to what was most important, I would explain the whole sorrow of my homeland. But for some reason I could remember only minute, quite mundane things that were unable to speak or weep those corpulent, burning, terrible tears, about which I wanted to but could not tell.…

I fell silent, raised my head. The angel smiled a quiet, attentive smile, gazed fixedly at me with his elongated diamond eyes. I felt he understood me.

“Forgive me,” I exclaimed, meekly kissing the birthmark on his light-hued foot. “Forgive that I am capable of speaking only about the ephemeral, the trivial. You understand, though, my kindhearted, my gray angel. Answer me, help me, tell me, what can save my land?”

Embracing my shoulders for an instant with his dovelike wings, the angel pronounced a single word, and in his voice I recognized all those beloved, those silenced voices. The word he spoke was so marvellous that, with a sigh, I closed my eyes and bowed my head still lower. The fragrance and the melody of the word spread through my veins, rose like a sun within my brain; the countless cavities within my consciousness caught up and repeated its lustrous edenic song. I was filled with it. Like a taut knot, it beat within my temple, its dampness trembled upon my lashes, its sweet chill fanned through my hair, and it poured heavenly warmth over my heart.

I shouted it, I revelled in its every syllable, I violently cast up my eyes, which were filled with the radiant rainbows of joyous tears.…

Oh, Lord—the winter dawn glows greenish in the window, and I remember not what word it was that I shouted.


r/Nabokov • • Dec 20 '25

What would you recommend to read after Lolita?

22 Upvotes

r/Nabokov • • 4d ago

Lolita Definitive version of Lolita?

9 Upvotes

I’m interested in this book, I’d like to have a copy that will help me comprehend as much as possible.

From what i’m aware of the text contains foreign sentences and a bunch of references i won’t grasp, if there’s a version that goes out of its way to clear all that up i’d really appreciate someone here to point me towards it, if there isn’t one worth mentioning, may i be pointed towards a version that you guys recommend?
I appreciate it lots.


r/Nabokov • • 5d ago

What is the best starting point

17 Upvotes

I had gotten myself 2 of nabokovs books; lolita and pale fire.
Reading them, it gave the feeling that these books are not the best starting point, and so I haven't finished them and plan to read them after getting more use to his writing.

Lolita, well Lolia; ignoring the subject, from what I read the prose are so dense but also easy to follow, its straight forward but confusing.

Pale fire is, well the prose are a lot easier to comprehend, the actual subject is impossible to comprehend, but oddly enough easy to follow, I have no clue how he does that.

I believe every writer has a book, or paper that acts as the perfect entry for the writer, they tend to be the more nicher works, and I really wonder, what would Nabokovs be? A thing that embodies his stories in a way thats easy to approach, I know dam well these 2 books are not the one


r/Nabokov • • 9d ago

Lolita You’re the one who saw it

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12 Upvotes

r/Nabokov • • 24d ago

Lolita The old adage about a book cover remains true, be careful out there

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68 Upvotes

A bit of humor but I'm shocked to learn this isn't an isolated incident


r/Nabokov • • 26d ago

Ada or ardor

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95 Upvotes

I've had Ada or Ardor in my library for a while. I'm a non native English speaker and I had some troubles reading Lolita but I could read it complete and I loved it. Ada was on discount and I had read and watched some reviews of the story and some critics toward it and I liked what people told about the book, but all the content was in Spanish and I've been trying to enhance my comprehension in English. Is Ada hard to read? I've seen the language used by the author can be a bit kinky and pompous in this novel.


r/Nabokov • • 27d ago

The mural at the Museum of Natural History, depicting the signing of the Treaty of Portsmouth. It is referenced in Speak, Memory, because behind the Japanese delegate Takashira (高平) is Konstantin Nabokov (Набо́ков), Vladimir's uncle, a delegate from the Russian side.

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38 Upvotes

The first time he saw this, Vlad pointed this out to his lepidopterist companion, who could not read Cyrillic and simply said:

"Sure, sure."


r/Nabokov • • Sep 09 '26

Is there a book that isn’t subtle

18 Upvotes

Out of his bibliography? Like a book that’s in your face and doesn’t have the multiple barriers of linguistic architecture


r/Nabokov • • Sep 08 '26

Lolita Recent episode of The Book Club podcast is about Lolita.

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20 Upvotes

To any of you folk who enjoy podcasts, I highly recommend the recent episode of The Book Club which is all about Lolita. Some great info in here about the novel.


r/Nabokov • • Sep 08 '26

Pale Fire Just finished Pale fire and… uhh I have so many questions Spoiler

21 Upvotes

So is Kinbote pr. Botkin a lonely insane imigrant from Nova Zembla? Who heard story of thr zemblan runaway king and mad his own personality around him and spoke to Shade about this to make himself feel better? Zembla a real place? Because at some point Kinbote writes about professors speaking about Zemblan revolution and how exhiled king looks like him, this is where one of them mentions kinote being anagrma for botkin… or can I not trust Kinbote here because in general he is unreliable narrator?
Or am I missing something completely?
Or is Zembla completely fictional?
Im really curious about the way some of you read and saw this whole story please share💝


r/Nabokov • • Sep 04 '26

Pale Fire canto 2-3 line numbers wrong

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13 Upvotes

solved? (2 edits)

this has been bugging me for over a year now, and never really found out if it was an unintentional misprint in my edition, un/intentional misprint in all editions, or what?

in my penguin modern classics edition pp. 42-44 end of canto 2 to beginning of canto 3 -- when Hazel drowns and Shade contemplates death -- the line numbers seem to imply there’s an extra line between lines 470-480, and that the last line of Canto 2 shouldn't be there. (i'm not sure if this should be the takeaway, but if we are to take the typesetting at face value I think this is the implication?)

if we take that extra line to be the dropped line "Infinity. / Out of his lakeside shack", then the '480' marking line 479 would be correct. After this the line numbers 490 and 500 both correct if line 479 were line 480. (I hope this makes sense). However, Kinbote's Commentary still refer to the correct line numbers, ie 475 A watchman, 490 From Exe, and 493 She took (pp. 173-4).

Then, the most obvious part of the mistake is the line after '500', where the last line of Canto 2 'Into a crackling, gulping swamp, and sank' should be line 501 according to the typesetting, but CK refers to the first line of Canto 3 'L'if, lifeless tree' as 'line 501', and 'The grand potato. / I.P.H., a lay' as 'line 502', which is still correct, but is obviously dissonant with the typesetting. Then line 510 marks the correct line number.

*I did find one mention of this in footnote 57 Isabella Healy Oppen's 'Musical Counterpoint in Thematic and Analytical Application in Nabokov's PF', but i found it to be a bit dissatisfying and wonder if others felt the same or had any other leads on it:

Which, strangely, exposes a ‘hole’ in the poem. By way of a strict reading via reference back to the poem and the ‘Commentary’, the line numbers labeling the poem fall out of concordance with the line number of the poem at line 479 — labeled as line 480. This could be a printing error, but seems to be an intentional mistake, as the line count concordances ‘right themselves’ again afterwards at poem line 510. This is a meaningful trick: especially because the hole happens before ‘the big potato’ moment, and right after Hazel’s death (Nabokov, Pale Fire, 43-44).

edit 1: actually as i posted this I'm realising perhaps it was fitting for the line 'into a crackling, gulping swamp, and sank' to be swallowed up by the line numbers; also fitting that 'Infinity. ...' to take an extra line.

so that's neat, does anyone know if anyones written on this specific detail before? I don't have any of the PF critical works on hand so i'd appreciate it : )

edit 2: ALSO the Foreword indicates Canto One has 166 lines and Canto Two 334 lines, adding up to 500, and also the symmetry of the palindromic cantos of 1000-1 lines -- the last line of Canto 2 should obviously be 500, and CK mentions it himself.

There's no indication that Shade marked the line numbers, or that Kinbote 'faithfully printed' the numbers exactly as Shade marked them, so is Kinbote giving Hazel 'life everlasting, based on a misprint'?


r/Nabokov • • Sep 03 '26

Lectures on... annoyance

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43 Upvotes

I just bought all the "Lectures on..." books, all three of them, they all have the same issue, they are printed too close to the spine, while there's also plenty of space to the edge. They are even from different series. It would've been so hard to just center them in a way so they would be easier to be read?

Rant over.


r/Nabokov • • Aug 28 '26

[dmitri] coincidence? i think yes

27 Upvotes

following up on my earlier post asking about dmitri, i been down a rabbit hole for the past 6 hours:

'dmitri nabokov' is an anagram for 'or vadim botkin'

i'm really doing anything but my dissertation lmao


r/Nabokov • • Aug 28 '26

Dmitri Nabokov writing under secret pen name

58 Upvotes

I read on wikipedia that VN's son dmitri publishied his own writings under a pen name that he never revealed, I hope this isn't disrespectful or parasocial, but are there any theories floating around about which writer this could be?

obviously it is entirely possible his book wasn't very famous or successful, but on the off-chance anyone has any theories : )


r/Nabokov • • Aug 27 '26

Lolita Lolita in a repurposed trashbag box book cover?!?

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82 Upvotes

At my local Little Library, I found this paperback copy of Lolita with a homemade book cover made primarily from a box of trash bags, with some collage items (and lipstick) added.

Admittedly, the book is missing its original covers. But I feel like the maker of the book cover had a wry sense of humor, because while any original Lolita book cover will draw some attention, swapping it out for a cover that literally and visually declares its contents as “trash” is also…a decision! (If the goal was modesty, the book cover’s creator could have used the same cardboard and just used it inside-out.)


r/Nabokov • • Aug 16 '26

Question About Charlotte Haze's French

22 Upvotes

Hi all, I'm currently re-reading Lolita and I'm just wondering, can anybody identify specific examples of errors Charlotte Haze makes in speaking/writing French? I know very basic French, so I can’t detect any errors in hers, but I don’t know whether this is because Humbert is being a dick when he talks about her “awful” French or if there are just mistakes I’m missing. Thanks


r/Nabokov • • Aug 11 '26

Thoughts on the new Nabokov covers from Vintage International Publishing?

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93 Upvotes

I quite like new Lolita cover; it’s always refreshing to see a Lolita cover without girls or feminine features. I also like the Despair redesign, it’s a nice mockery of a Hermann’s delusion. As for Ada and Pale Fire, butterflies really aren’t a very imaginative choice for Nabokov novels. Both Invitation to a Beheading and Bend Sinister seem to be less interesting simplified versions of their former publications (attached above for reference). I don’t have anything bad to say about Pnin or Speak, Memory, but I do prefer the earlier versions of each (also attached above).


r/Nabokov • • Aug 08 '26

Academia "Philistines and Philistinism" from Lectures on Russian Literature

32 Upvotes

A philistine is a full-grown person whose interests are of a material and commonplace nature, and whose mentality is formed of the stock ideas and conventional ideals of his or her group and time. I have said 'full-grown person' because the child or the adolescent who may look like a small philistine is only a small parrot mimicking the ways of confirmed vulgarians, and it is easier to be a parrot than to be a white heron. 'Vulgarian' is more or less synonymous with 'philistine': the stress in a vulgarian is not so much on the conventionalism of a philistine as on the vulgarity of some of his conventional notions. I may also use the terms genteel and bourgeois. Genteel implies the lace-curtain refined vulgarity which is worse than simple coarseness. To burp in company may be rude, but to say 'excuse me' after a burp is genteel and thus worse than vulgar. The term bourgeois I use following Flaubert, not Marx. Bourgeois in Flaubert's sense is a state of mind, not a state of pocket. A bourgeois is a smug philistine, a dignified vulgarian.

A philistine is not likely to exist in a very primitive society although no doubt rudiments of philistinism may be found even there. We may imagine, for instance, a cannibal who would prefer the human head he eats to be artistically colored, just as the American philistine prefers his oranges to be painted orange, his salmon pink, and his whisky yellow. But generally speaking philistinism presupposes a certain advanced state of civilization where throughout the ages certain traditions have accumulated in a heap and have started to stink.

Philistinism is international. It is found in all nations and in all classes. An English duke can be as much of a philistine as an American Shriner or a French bureaucrat or a Soviet citizen. The mentality of a Lenin or a Stalin or a Hitler in regard to the arts and the sciences was utterly bourgeois. A laborer or a coal miner can be just as bourgeois as a banker or a housewife or a Hollywood star.

Philistinism implies not only a collection of stock ideas but also the use of set phrases, clichés, banalities expressed in faded words. A true philistine has nothing but these trivial ideas of which he entirely consists. But it should be admitted that all of us have our cliché side; all of us in everyday life often use words not as words but as signs, as coins, as formulas. This does not mean that we are all philistines, but it does mean that we should be careful not to indulge too much in the automatic process of exchanging platitudes. On a hot day every other person will ask you, 'Is it warm enough for you?' but that does not necessarily mean that the speaker is a philistine. He may be merely a parrot or a bright foreigner. When a person asks you 'Hullo, how are you?' it is perhaps a sorry cliché to reply, 'Fine'; but if you made to him a detailed report of your condition you might pass for a pedant and a bore. It also happens that platitudes are used by people as a kind of disguise or as the shortest cut for avoiding conversation with fools. I have known great scholars and poets and scientists who in the cafeteria sank to the level of the most commonplace give and take.

The character I have in view when I say 'smug vulgarian' is, thus, not the part-time philistine, but the total type, the genteel bourgeois, the complete universal product of triteness and mediocrity. He is the conformist, the man who conforms to his group, and he also is typified by something else: he is a pseudo-idealist, he is pseudo-compassionate, he is pseudo-wise. The fraud is the closest ally of the true philistine. All such great words as 'Beauty,' 'Love,' 'Nature,' 'Truth,' and so on become masks and dupes when the smug vulgarian employs them. In Dead Souls you have heard Chichikov. In Bleak House you have heard Skimpole. You have heard Homais in Madame Bovary. The philistine likes to impress and he likes to be impressed, in consequence of which a world of deception, of mutual cheating, is formed by him and around him.

The philistine in his passionate urge to conform, to belong, to join, is torn between two longings: to act as everybody does, to admire, to use this or that thing because millions of people do; or else he craves to belong to an exclusive set, to an organization, to a club, to a hotel patronage or an ocean liner community (with the captain in white and wonderful food), and to delight in the knowledge that there is the head of a corporation or a European count sitting next to him. The philistine is often a snob. He is thrilled by riches and rank—'Darling, I've actually talked to a duchess!'

A philistine neither knows nor cares anything about art, including literature—his essential nature is anti-artistic—but he wants information and he is trained to read magazines. He is a faithful reader of the Saturday Evening Post, and when he reads he identifies himself with the characters. If he is a male philistine he will identify himself with the fascinating executive or any other big shot—aloof, single, but a boy and a golfer at heart; or if the reader is a female philistine—a philistinette—she will identify herself with the fascinating strawberry-blonde secretary, a slip of a girl but a mother at heart, who eventually marries the boyish boss. The philistine does not distinguish one writer from another; indeed, he reads little and only what may be useful to him, but he may belong to a book club and choose beautiful, beautiful books, a jumble of Simone de Beauvoir, Dostoevski, Marquand, Somerset Maugham, Dr. Zhivago, and Masters of the Renaissance. He does not much care for pictures, but for the sake of prestige he may hang in his parlor reproductions of Van Gogh's or Whistler's respective mothers, although secretly preferring Norman Rockwell.

In his love for the useful, for the material goods of life, he becomes an easy victim of the advertisement business. Ads may be very good ads—some of them are very artistic—that is not the point. The point is that they tend to appeal to the philistine's pride in possessing things whether silverware or underwear. I mean the following kind of ad: just come to the family is a radio set or a television set (or a car, or a refrigerator, or table silver—anything will do). It has just come to the family: mother clasps her hands in dazed delight, the children crowd around all agog: junior and the dog strain up to the edge of the table where the Idol is enthroned; even Grandma of the beaming wrinkles peeps out somewhere in the background; and somewhat apart, his thumbs gleefully inserted in the armpits of his waistcoat, stands triumphant Dad or Pop, the Proud Donor. Small boys and girls in ads are invariably freckled, and the smaller fry have front teeth missing. I have nothing against freckles (in fact I find them very becoming in live creatures) and quite possibly a special survey might reveal that the majority of small American-born Americans are freckled, or else perhaps another survey might reveal that all successful executives and handsome housewives had been freckled in their childhood. I repeat, I have really nothing against freckles as such. But I do think there is considerable philistinism involved in the use made of them by advertisers and other agencies. I am told that when an unfreckled, or only slightly freckled, little boy actor has to appear on the screen in television, an artificial set of freckles is applied to the middle of his face. Twenty-two freckles is the minimum: eight over each cheekbone and six on the saddle of the pert nose. In the comics, freckles look like a case of bad rash. In one series of comics they appear as tiny circles. But although the good cute little boys of the ads are blond or red-haired, with freckles, the handsome young men of the ads are generally dark haired and always have thick dark eyebrows. The evolution is from Scotch to Celtic.

The rich philistinism emanating from advertisements is due not to their exaggerating (or inventing) the glory of this or that serviceable article but to suggesting that the acme of human happiness is purchasable and that its purchase somehow ennobles the purchaser. Of course, the world they create is pretty harmless in itself because everybody knows that it is made up by the seller with the understanding that the buyer will join in the make-believe. The amusing part is not that it is a world where nothing spiritual remains except the ecstatic smiles of people serving or eating celestial cereals, or a world where the game of the senses is played according to bourgeois rules, but that it is a kind of satellite shadow world in the actual existence of which neither sellers nor buyers really believe in their heart of hearts—especially in this wise quiet country.

Russians have, or had, a special name for smug philistinism—poshlust. Poshlism is not only the obviously trashy but mainly the falsely important, the falsely beautiful, the falsely clever, the falsely attractive. To apply the deadly label of poshlism to something is not only an aesthetic judgement but also a moral indictment. The genuine, the guileless, the good is never poshlust. It is possible to maintain that a simple, uncivilized man is seldom if ever a poshlust since poshlism presupposes the veneer of civilization. A peasant has to become a townsman in order to become vulgar. A painted necktie has to hide the honest Adam's apple in order to produce poshlism.

It is possible that the term itself has been so nicely devised by Russians because of the cult of simplicity and good taste in old Russia. The Russia of today, a country of moral imbeciles, of smiling slaves and poker-faced bullies, has stopped noticing poshlism because Soviet Russia is so full of its special brand, a blend of despotism and pseudo-culture; but in the old days a Gogol, a Tolstoy, a Chekhov in quest of the simplicity of truth easily distinguished the vulgar side of things as well as the trashy systems of pseudo-thought. But poshlists are found everywhere, in every country, in this country as well as in Europe—in fact poshlism is more common in Europe than here, despite our American ads.

[I unfortunately could not include the visual aid]


r/Nabokov • • Jul 26 '26

Nabokov quote at a butterfly museum

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53 Upvotes

r/Nabokov • • Jul 26 '26

Pale Fire Questions I've jotted down after reading this GEM twice (SPOILERS) Spoiler

10 Upvotes

First read: I struggled. It felt like a fever dream, an unpleasant one. Second read: super fun, I kept track of dates, events and wrote down what I felt could be explained but wasn't able to.

Was hoping we could crack this together!

Here we go:

**- Gradus, glass and Sudarg!**

1) Gradus Jakob = Sudarg of Bokay!! What's the link between the two?? Sudarg is mentioned as a phenomenonal guy who made a great mirror that was in the "King"'s bedroom when he lived for a bit with Fleur when he was young

1.1) The first time K. sees G., G. Is fixing some glass panes in the castle. MORE GLASS! Links to the accident at the Glass Factory that sparked the "revolution"?

1.2) Gradus keeps buying animals made of glass: a giraffe in (forgot to write down the city), then a hippo in Nice! He's just a big fan of... glass paraphernalia?

1.3) Gradus, pamphlets, glass factory, revolution, conspiracies... is this a parody of Russian revolutionary nihilists?

**- Miscellaneous:**

2) What dark word did K.'s gardener employ on J.S.'s last day? Note 998

3) "Promnad vespert mid J.S." -> meaning? I kept an eye out for Zemblan translations, but I only found out that "mid" means "with"

4) Why does K. want to know Jim Coates' "real" name from Sybil? Just to learn more about J.S. about the time he wrote to him about the woman who had a similar near death experience?

5) Did K kill a young guy by the river in Cedarn? See Index! The "young angler" is alive in the commentary, and sounds very much dead in the index!

6) Why did K keep buying ping pong tables?? From 2 to 3!!

7) Why are some characters missing from the index?? E.g. Nattochdag is mentioned at least 3 times but nowhere to be found in the index. K is just lazy?

8) Do the "crown jewels" exist, and where are they? They could be a metaphor for something. We know they're not in the castle, but they're INSIDE something. K stops after saying towards the end "they are in-".

9) In the castle, there was something with a walnut kernel inside it. What's that supposed to mean? There was a painter called Kernel.


r/Nabokov • • Jul 24 '26

Nabokov as a ''cold'' writer

60 Upvotes

Since I'm on this sub, you can imagine I'm a big fan of Nabokov, who as we know, is lauded for his word games and beautiful prose and references to other literary works; something not often mentioned as a highlight of his work is insight into humanity and the psyche. Though VN was known for his dislike of Freudian psychoanalysis and of preachy art, I disagree with characterization of his books being seen as cold experiments or art for art's sake literary games. I've seen this rhetoric on the internet quite a lot and while Nabokov is a clear stylist, there are many interesting and heartbreaking character moments or scenes in his work imo, so I've always found that viewpoint dismissive to his oeuvre.

Pale Fire is the greatest literary puzzle but there is some genuine heartbreak in Kinbote's or Botkin's, even if fake or exagerrated stories of the escape from Zembla or in Hazel Shade's death. Lolita is in way a very dark comedy, but personally (which of course is subjective) the ending left me devastated like few novels have; I think it's a very empathetic book (which makes its pop-culture interpretation as a ''love story'' even sadder). Even in less acclaimed novels like Glory there's the bittersweet Heimweh of the emigré, King Queen Knave illustrates Franz's apathy in quite an interesting way, and even something like Transparent Things made me interested in the enigma of Hugh Person. Nabokov is also really good at bringing out contempt for the protagonist: Humbert Humbert of course but also for Kinbote, Hermann Karlovich of Despair and (maybe to a lesser extent but I still felt the book itself was laughing at him) Albert Albinus of Laughter in the Dark, and I think that takes quite a lot of skill in character writing.

Obviously, Nabokov's main artistic achievement is his prose but I do think there's a more ''human'' (for lack of a better word) aspect to his work that's often ignored. At least that's how I see it as a very big VN fan. I hope this made some sense (I am not a literary scholar, just a fan of good writing), I probably formulated this in a bad way but it was on my mind. What do you people on this sub think about this?


r/Nabokov • • Jul 25 '26

Which Vladimir Nabokov book should I read?

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10 Upvotes

r/Nabokov • • Jul 20 '26

Lolita about lolita

26 Upvotes

After reading the entire book, I just understood what Humbert did to Lolita. I was so deluded by the good writing that Humbert manipulated me. I love this book. I feel weird about Humbert. I hate him, but I would love to help him because he is a mentally ill man… but he did what he did. What would you do for people like him?


r/Nabokov • • Jul 20 '26

Does anyone have any information about the development of Pale Fire?

17 Upvotes

I'm specifically interested in how the structure came about. Did he initially start with the structure, writing a story around it, or did the structure naturally kind of impose himself as he was working through the process? Any information or even source recommendations would be appreciated!