Часть текста: for the last six years lived in an opulent hotel built in 1835, which still retains its nineteenth-century atmosphere. Their suite of rooms is on the sixth floor, overlooking Lake Geneva, and the sounds of the lake are audible through the open doors of their small balcony. Since Mr. Nabokov does not like to talk off the cuff (or "Off the Nabocuff," as he said) no tape recorder was used. Mr. Nabokov ei! ther wrote out his answers to the questions or dictated them to the interviewer; in some instances, notes from the conversation were later recast as formal questions-and-answers. The interviewer was Nabokov's student at Cornell University in 1954, and the references are to Literature 311-312 (MWF, 12), a course on the Masterpieces of European Fiction (Jane Austen, Gogol, Dickens, Flaubert, Tolstoy, Stevenson, Kafka, Joyce, and Proust). Its enrollment had reached four hundred by the time of Nabokov's resignation in 1959. The footnotes to the interview, except where indicated, are provided by the interviewer, Alfred Appel, Jr. For years bibliographers and literary journalists didn't know whether to group you under "Russian" or "American. "Now that you're living in Switzerland there seems to be complete agreement that you're American. Do you find this kind of distinction at all important regarding your identity as a writer? I have always maintained, even as a schoolboy in Russia, that the nationality of a worthwhile writer is of secondary importance. The more distinctive an insect's aspect, the less apt the taxonomist is to glance first of all at the locality label under the pinned specimen in order to decide which of several vaguely described races it should be assigned to....

2. Интервью Набокова на английском языке. Playboy, 1964 г.

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Часть текста: in Playboy for January, 1964. Great trouble was taken on both sides to achieve the illusion of a spontaneous conversation. Actually, my contribution as printed conforms meticulously to the answers, every word of which I had written in longhand before having them typed for submission to Toffler when he came to Montreux in mid-March, 1963. The present text takes into account the order of my interviewer's questions as well as the fact that a couple of consecutive pages of my typescript were apparently lost in transit. Egreto perambis doribus! With the American publication of Lolita in 1958, your fame and fortune mushroomed almost overnight from high repute among the literary cognoscenti-- which you bad enjoyed for more than 30 years-- to both acclaim and abuse as the world-renowned author of a sensational bestseller. In the aftermath of this cause celebre, do you ever regret having written Lolita? On the contrary, I shudder retrospectively when I recall that there was a moment, in 1950, and again in 1951, when I was on the point of burning Humbert Humbert's little black diary. No, I shall never regret Lolita. She was like the composition of a beautiful puzzle-- its composition and its solution at the same time, since one is a mirror view of the other, depending on the way...

3. Набоков Дмитрий: Отцовские бабочки. Отцовские бабочки. Father's Butterflies (английский язык)

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Часть текста: library there were more than a thousand of the latter alone, representing a good hundred journals) - all this had to be overcome in order to hunt down the necessary reference, if it existed at all. Nonetheless, even in my exceptionally propitious situation things were not easy: Russia, particularly in the north, dwelt in a mist, while the local lists, scattered through the journals, totally haphazard, scanty, and cruelly inaccurate in nomenclature, only maddened me when at last I ferreted them out. My father was the preeminent entomologist of his time, and very well off to boot, but the ordinary amateur, unable to dispatch his scouts throughout Russia, and denied the opportunity - or not knowing how - to gain access to specialized collections and libraries (and an accidental boon, the hasty inspection of collections at a lepidopterological society or in the cellar of some museum, does not satisfy the true enthusiast, who needs to have the boon always at hand), had no choice but to hope for a miracle. And that miracle dawned in 1912 with the appearance of my father's...

4. Nabokov's Butterflies: Unpublished and Uncollected Writings

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Часть текста: Writings Nabokov's Butterflies: Unpublished and Uncollected Writings Editorial Reviews from Amazon © From Publishers Weekly Admirers of the great novelist Vladimir Nabokov (1899-1977) know that collecting and classifying butterflies was for him not so much a hobby as an obsession, especially during the 1940s, when he worked for Harvard's Museum of Comparative Zoology and made important discoveries about the American genera known as Blues. Butterfly-linked images and ideas pervade some of his fiction, and butterfly-collecting expeditions took up much of his free time. Nabokov biographer Boyd and butterfly expert Pyle team up to offer a gigantic compendium of butterfly-relevant Nabokoviana. Reprinted here are draft reminiscences later revised for the autobiography Speak, Memory; the 1920 technical paper "A Few Notes on Crimean Lepidoptera"; selected parts of the later scientific and technical work; numerous poems with butterfly-related lines, some in English, some translated from Russian; Nabokov's last short story, "The Admirable Anglewing"; excerpts from letters and interviews; notes for the New Yorker ("Incidentally, pinching the thorax is a much simpler way of dispatching a butterfly") and segments of Nabokov's lecture notes; and lepidopteran passages from the novels and stories. Among the previously unpublished works, one standout is the 36-page essay (originally in Russian) that Nabokov meant to use as the afterword to The Gift. Also present are the surviving fragments of Nabokov's never-completed descriptive catalogue, Butterflies of Europe. Boyd and Pyle contribute separate, informative and...

5. Lolita. Part One. Chapters 28 - 33

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Часть текста: her crystal sleep. Jurors! If my happiness could have talked, it would have filled that genteel hotel with a deafening roar. And my only regret today is that I did not quietly deposit key “342” at the office, and leave the town, the country, the continent, the hemisphere,indeed, the globethat very same night. Let me explain. I was not unduly disturbed by her self-accusatory innuendoes. I was still firmly resolved to pursue my policy of sparing her purity by operating only in the stealth of night, only upon a completely anesthetized little nude. Restraint and reverence were still my motto-even if that “purity” (incidentally, thoroughly debunked by modern science) had been slightly damaged through some juvenile erotic experience, no doubt homosexual, at that accursed camp of hers. Of course, in my old-fashioned, old-world way, I, Jean-Jacques Humbert, had taken for granted, when I first met her, that she was as unravished as the stereotypical notion of “normal child” had been since the lamented end of the Ancient World B. C. and its fascinating practices. We are not surrounded in our enlighted era ...

6. Бартон Д.Д.: Миры и антимиры Владимира Набокова. Часть V. Набоков — литературный космолог

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Часть текста: в одном из них, но другой мир все время где-то рядом. Из другого мира просачиваются знаки и предзнаменования, которые влияют на события «первичного» мира романа, а иногда и определяют их. Набоковская космология двух миров впервые появляется в прозе начала тридцатых годов и постепенно приобретает все более важное значение в поздних английских романах. Хотя космология двух миров является более или менее постоянной, в романах она делится на два основных подтипа, отчасти в зависимости от того, какой из миров — более реальный или менее реальный — выдвинут на передний план. В романах «Приглашение на казнь», «Под знаком незаконнорожденных» и «Ада» мир героя фантастичен, и в нем герой различает скрытые узоры, подтверждающие существование «настоящего» мира, в который он стремится. Ко второму подтипу относятся романы «Solus rex», «Бледное пламя» и «Смотри на арлекинов!»: действие в основном происходит в «реальном» мире, но герои, которые (как кажется) безумны, носят внутри себя второй, фантастический мир, который для них вытесняет «реальный». В то время как герои романов первого типа стремятся обнаружить «настоящий» мир, чье...

7. Александров В. Е.: Набоков и потусторонность. Литература

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Часть текста: гуманитарного института, 1997. С. 741–750. Переписка с сестрой. Ann Arbor: Ardis, 1985. Произведения Набокова, изданные на английском языке: The Annotated Lolita / Edited, with a preface, introduction, and notes by Alfred Appel, Jr. New York: McGraw-Hill, 1970. Appendix One: Abram Gannibal. // Eugene Onegin, by Aleksandr Pushkin. Revised edition. Translated with a commentary by Vladimir Nabokov. Four volumes. Princeton: Princeton University Press, 1975. Vol. 3. P. 387–447. The Circle // Nabokov F. A Russian Beauty and Other Stories. New York: McGraw-Hill, 1973. P. 253–268. Conclusive Evidence: A Memoir. New York: Harper and Row, 1951. The Creative Writer // Bulletin of the New England Modern Language Association. 1942. 4. N 1. P. 21–29. Foreword // Nabokov V. Despair. New York: Putnam's, 1965. P. 7–10. Lectures on Don Quixote / Ed. by Fredson Bowers. New York: Harcourt Brace Jovanovich / Bruccoli Clark, 1983. Lectures on Literature / Ed. by Fredson Bowers. New York: Harcourt Brace Jovanovich / Bruccoli Clark, 1980. Lectures on Russian Literature / Ed. by...

8. Review by Brian Boyd, Robert Michael Pyle

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Часть текста: translations are, as usual, by Nabokov's son Dmitri, who has lavished time and unusual talent on his father's work over several decades." John Fowles also suggests that all the translations are by Dmitri Nabokov. However, in the introductory A Note on the Texts it clearly states that: "Translations are by Brian Boyd unless otherwise noted." (A number are noted as being by Nabokov fils, but certainly not all.) From the Reviews: "Some selectivity could have made for a more accessible volume, though the care with which it has been assembled is an impressive testament to the deep devotion that Nabokov continues to inspire almost 25 years after his death. Apart from entomologists and Nabokov fans, it is difficult to imagine that many readers will last the enormous distance." - Simon Caterson, The Age "While few readers will want to study the scientific articles reprinted here, their presence in this striking miscellany operates in subtle ways to remind us that Nabokov (who referred to himself as VN), was also a student "of that other VN, Visible Nature"." - Jay Parini, The Guardian...

9. Галинская И.Л.: Владимир Набоков - современные прочтения. Набоков "без ретуши"

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Часть текста: книга о нем – знак», писала «Новая газета», предвосхищая выход книги об этом знаменитом русско-американском писателе (4, с. 22). Книга «Классик без ретуши» (1) содержит почти все, что было написано о Владимире Набокове его современниками: «Обзоры Вл. Ходасевича, рецензии Г. Адамовича, яростные выпады Георгия Иванова, тексты Г. П. Федотова, Вл. Вейдле, Мих. Осоргина, Юрия Иваска, интервью Ю. П. Анненкова, рецензия Ж. -П. Сартра на роман «Отчаяние», эссе С. Лема и А. Роб-Грийе о «Лолите»… Джон Апдайк, Питер Акройд, Энтони Бёрджесс, Гор Видал, Дж. К. Оутс, пародия Умберто Эко (довольно, впрочем, ученическая)» (4, с. 22). Когда в 1930 г. в берлинском издательстве «Слово» вышел роман В. Сирина (В. В. Набокова) «Защита Лужина», Владислав Ходасевич откликнулся на него положительной рецензией в журнале «Возрождение» (1, с. 64-67). «История Лужина рассказана с хорошо взвешенной непринужденностью, – писал Ходасевич. –Однако ж мы знаем, что только тяжким трудом дается то, что зовется легкостью…Молодого писателя надо поздравить с большой удачей» (1, с. 67). Впрочем, еще до выхода книги, когда роман печатался по частям в «Современных записках», главном журнале Русского Зарубежья, «вокруг него уже раздались презренные речи зависти», заключал Ходасевич (1, с. 67). Роман В. Сирина «Камера обскура» (1933) также вызвал отрицательную реакцию ряда критиков Русского Зарубежья, но Владислав Ходасевич вопреки им говорил «об очаровательном, порой как бы даже пресыщающем мастерстве, с которым роман написан… точность и безошибочность работы на сей раз доведены Сириным почти до излишества» (1, с. 111). В свою очередь Георгий Адамович заметил, что роман легковесный и...

10. Петраков И. А.: "Лолита". Заметки литературоведа.

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Часть текста: убийства отражается это подлинное намерение Гумберта Гумберта" ( Л. Зуншин, с. 54 ). === С событием счастья в романе Набокова парадоксально связана тема беззаботной бедности героя. Так, в романе "Лолита" Гумберт переводит наличные средства на имя Лолиты и "выходит в сентябрьский зной беззаботным нищим" ( см. также роман "Соглядатай" - "призрачная, безденежная моя легкость" - в "Соглядатае" сближаются темы бедности и болезни ( "Что с вами? хворали? Я ответил, что был болен" ( "Соглядатай" ), "подобно многим русским беднякам" ( "Лик" ) и акцентировано "одиночество жизни" героя, у которого "всего гривеник в кармане" и герою "надо решить: позвонить - значило бы лишить себя трамвая". В финале романа "Дар" - " .. после этого у них осталось одиннадцать пфеннигов, считая почерневшую монетку, которую она на днях подобрала с панели: приносит счастье". === В романах "Машенька", "Соглядатай", "Лолита", рассказе "Возвращение Чорба" задача героя состоит прежде...

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