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А Б В Г Д Е Ж З И Й К Л М Н О П Р С Т У Ф Х Ц Ч Ш Щ Э Ю Я
0-9 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
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1. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.
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2. Интервью Набокова на английском языке. Time, 1969 г.
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3. Савельева В.В.: Художественная гипнология и онейропоэтика русских писателей. Приложение
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4. Вне Лолиты: Вновь открывая Набокова. (Проект CNN, 1999 г.). The Writer
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5. Inspiration
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6. Набоков Дмитрий: Отцовские бабочки. Интервью данное Брайеном Бойдом журналу BOMB Magazine
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7. Афанасьев О.И.: Интертекстуальные связи музыкальных мотивов в рассказе В.В. Набокова "Музыка"
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8. Интервью Набокова на английском языке. Playboy, 1964 г.
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9. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Five. Kafka
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10. Роупер Р: Набоков в Америке. По дороге к «Лолите». Библиография
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11. Lolita. Part Two. Chapters 32 - 36
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12. Интервью Набокова на английском языке. Novel, 1970 г.
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13. Интервью Набокова на английском языке. BBC Television, 1962 г.
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14. Lolita. Foreword
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15. Из переписки Владимира Набокова и Эдмонда Уилсона. 1940 г.
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16. Lolita. Part Two. Chapters 9 - 16
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17. Злочевская А. В.: Три лика мистической метапрозы XX века. Глава III. «Искусство – божественная игра». «Дар»
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18. Здесь говорят по-русски (перевод С. Сакуна)
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19. Шраер Д. Максим: Спасение еврейско-русского мальчика - рассказы Набокова в ожидании катастрофы
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20. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Six. This Hovering Honeyed Mist
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21. Брайан Бойд. Владимир Набоков: американские годы. Библиография
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22. Левинтон Г. А.: The Importance of Being Russian или Les allusions perdues
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23. Anniversary notes
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24. Интервью Набокова на английском языке. Vogue, 1969 г.
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25. Вне Лолиты: Вновь открывая Набокова. (Проект CNN, 1999 г.). The Man
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26. Eugene Onegin. A Novel in Verse by Aleksandr Pushkin. Chapter four
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27. Мельников Н. Г.: О Набокове и прочем. Владимир Набоков и взбесившиеся лошади просвещения
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28. Жаккар Жан-Филипп: От Набокова к Пушкину. Наказание без преступления (Хармс и Достоевский)
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29. Nabokov's Butterflies: Unpublished and Uncollected Writings
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30. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Eight. Dying Is No Fun
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31. Бабиков А. А.: Прочтение Набокова. Изыскания и материалы. «Дар» за чертой страницы
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32. Lolita. Part One. Chapters 18 - 22
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33. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Four. Night Roams the Fields
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34. Найман Эрик: Извращения в «Пнине» (Набоков наоборот). Глава 4
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35. Lolita. Part One. Chapters 23 - 27
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36. Долинин Александр: Комментарий к роману Владимира Набокова «Дар». Литература
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37. Эссе о драматургии ("Playwriting", на английском языке)
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38. Бабиков А. А.: Прочтение Набокова. Изыскания и материалы. Сократова отрава
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39. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Seven. King, Queen, Knave
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40. Карпов Н.А.: Романтические контексты Набокова. Избранная библиография
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41. Lolita. Part One. Chapters 12 - 17
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42. Пнин (перевод С. Ильина)
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43. Карпов Н.А.: Романтические контексты Набокова. Примечания
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44. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Three. Mashen'ka
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45. Lolita. Part One. Chapters 9 - 11
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46. Букс Нора: Эшафот в хрустальном дворце. О русских романах Владимира Набокова. Глава IV. Волшебный фонарь, или «Камера обскура»
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47. Классик без ретуши. Бледный огонь
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48. Мельников Н. Г.: О Набокове и прочем. Бедный Уилли, бедный Энтони…
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49. Злочевская А. В.: Три лика мистической метапрозы XX века. Введение. Русская и европейская литература XX в.: Реализм мистический и метапроза – что мерцает между ними?
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50. Lolita. Part One. Chapters 28 - 33
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1. Интервью Набокова на английском языке. Wisconsin Studies, 1967 г.
Входимость: 8. Размер: 63кб.
Часть текста: 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. The writer's art is his real passport. His identity should be immediately recognized by a special pattern or unique coloration. His habitat may confirm the correctness of the determination but should not lead to it. Locality labels are known to have been faked by unscrupulous insect dealers. Apart from these considerations I think of myself today as an American writer who has once been a Russian o! ne. The Russian writers you have translated and written about all precede the so-called "age of realism, " which is more celebrated by English and American readers than is the earlier period. Would...
2. Интервью Набокова на английском языке. Time, 1969 г.
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Часть текста: they arrived, whereupon they added a dozen more, of which I answered seven. Some of the lot were quoted in the May 23, 1969, issue-- the one with my face on the cover. There seem to be similarities in the rhythm and tone of Speak, Memory and Ada, and in the way you and Van retrieve the past in images. Do you both work along similar lines? The more gifted and talkative one's characters are, the greater the chances of their resembling the author in tone or tint of mind. It is a familiar embarrassment that I face with very faint qualms, particularly since I am not really aware of any special similarities-- just as one is not aware of sharing mannerisms with a detestable kinsman. I loathe Van Veen. The following two quotations seem closely related: "I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. " (Speak, Memory) and "pure time, perceptual time, tangible time, time free of content, context and running commentary-- this is my time and theme. All the rest is numerical symbol or some aspect of space. " (Ada). Will you give me a lift on your magic carpet to point out bow time is animated in the story of Van and Ada? In his study of time my creature distinguishes between text and texture, between the contents of time and its almost tangible essence. I ignored that distinction in my Speak, Memory and was mainly concerned with being faithful to the patterns of my past. I...
3. Савельева В.В.: Художественная гипнология и онейропоэтика русских писателей. Приложение
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Часть текста: are not to use the psychological methods for the literary analysis, but to use the literary methods in order to analyze the psychological phenomenon, which is described in the literary text”) [20, с.9]. These studies are interdisciplinary, for they are situated on the boundaries of different academic fields, such as physiology, medicine, philosophy, psychology, literary and cultural studies, and semiotics. V.M.Kovalzon, The Doctor of Biology and a member of the International Association for the Study of Dreams, defines the process of sleeping as “...особое генетически детерминированное состояние организма человека и других теплокровных животных (т.е. млекопитающих и птиц), характеризующееся закономерной последовательной сменой определенных полиграфических картин в виде циклов, фаз и стадий» (“.a special, genetically determined state of the human body and the body of other warm-blooded animals (mammals and birds), which is characterized by the logical succession of certain multi-graphic pictures in the form of cycles, phases and stages” ) [6, с.311]. The process of sleeping is inevitably accompanied by the phases of dreams, which some scholars describe as the period of paradoxical sleeping. According to J.M. Lotman, a dream is «семиотическое...
4. Вне Лолиты: Вновь открывая Набокова. (Проект CNN, 1999 г.). The Writer
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Часть текста: for the 1962 movie version of "Lolita," directed by Stanley Kubrick. In short, he was obsessed with words and was not intimidated by genre. He spent his working life trying to capture the perfect style and structure on the page, in the same way he netted a butterfly that fluttered in his path. Nabokov, known as VN, first gained acclaim in Berlin, writing in his native Russian language and developing a following with fellow émigrés. In 1923, shortly after his graduation from Cambridge, Nabokov was busy with work - he published four plays (including "Death" and "The Grandfather") and two books of poetry ("The Empyrean Path" and "The Cluster"). His first book, "Mary," was published in 1926. The story details a young émigré's longing for the love he left behind in Russia, the battle between what is memory and what is real, and the inevitable disappointment of facing both. The book received little initial attention. Nabokov working on "The Defense" at a hotel in Le Boulou, East Pyrenees, February 1929 That's not to say Nabokov was an unknown. He continued to write, publishing the novels "King, Queen, Knave" (1928), "The Defense" (1930), and "Glory" (1932) and the 1929 short story collection "The Return of Chorb," Nabokov...
5. Inspiration
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Часть текста: study, which I do not plan to conduct, would reveal, probably, that inspiration is seldom dwelt upon nowadays even by the worst reviewers of our best prose. I say "our" and I say "prose" because I am thinking of American works of fiction, including my own stuff. It would seem that this reticence is somehow linked up with a sense of decorum. Conformists suspect that to speak of "inspiration" is as tasteless and old-fashioned as to stand up for the Ivory Tower. Yet inspiration exists as do towers and tusks. One can distinguish several types of inspiration, which intergrade, as all things do in this fluid and interesting world of ours, while yielding gracefully to a semblance of classification. A prefatory glow, not unlike some benign variety of the aura before an epileptic attack, is something the artist learns to perceive very early in life. This feeling of tickly well-being branches through him like the red and the blue in the picture of a skinned man under Circulation. As it spreads, it banishes all awareness of physical discomfort-- youth's toothache as well as the neuralgia of old age. The beauty of it is that, while completely intelligible (as if it were connected with a known gland or led to an expected climax), it has neither source nor object. It expands, glows, and subsides without revealing its secret. In the meantime, however, a window has opened, an auroral wind has blown, every exposed nerve has tingled. Presently all dissolves: the familiar worries are back and the eyebrow redescribes its arc of pain; but the artist knows he is ready. A few days elapse. The next stage of inspiration is something ardently anticipated-- and no longer anonymous. The shape of the new impact is indeed so definite that I am forced to relinquish metaphors and resort to specific terms. The narrator forefeels what he is going to tell. The forefeeling can be defined as an instant vision turning into rapid speech. If some...
6. Набоков Дмитрий: Отцовские бабочки. Интервью данное Брайеном Бойдом журналу BOMB Magazine
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Часть текста: Vladimir Nabokov: The Russian Years and Vladimir Nabokov: The American Years, and of Nabokov's Ada: The Place of Consciousness and the just-released Nabokov's Pale Fire: The Magic of Artistic Discovery, is a scholar who changed his mind. Writing in The New York Observer on Boyd's 'remarkable, obsessive, delirious, devotional study, Nabokov's Pale Fire,' Ron Rosenbaum called him 'an ornament of the accidents and possibilities of Nabokov scholarship' and praised him 'for having the courage and humility to retract an earlier conjecture and the imaginative daring' to (as Boyd himself might put it) re-re-reread Pale Fire. Nabokov's 1962 novel takes the form of an introduction by a scholar named Charles Kinbote; a lucid 999-line poem by an American poet named John Shade; and a commentary and index by Kinbote, whose attention veers continually from the poem to his own unsatisfactory life, from John Shade's homely metaphysics and painful autobiography to what must be his own entirely irrelevant fantasy—unless he really is Charles the Beloved, the deposed King of Zembla; and that unless unlocks only the first in a series of secret passages. From the dedication copy of Pale Fire, inscribed by Nabokov for his wife Vera. Image from Vera's Butterflies (NY: Glenn Horowitz Bookseller, 1999). Courtesy the Estate of Vladimir Nabokov. Has Boyd's book-length study, written in response to an online discussion, produced a robust thesis or the shadow of a madman's fancy? All I can say now is that reading Nabokov's Pale Fire and then Nabokov's Pale Fire is like being immersed in a medium that clarifies, but not without some shifting and spill of glare, what was before all...
7. Афанасьев О.И.: Интертекстуальные связи музыкальных мотивов в рассказе В.В. Набокова "Музыка"
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Часть текста: позицию. Ключевые слова и фразы : интертекстуальность; аллюзия; реминисценция; ирония; историко-культурная память; музыка чувств; межтекстовая солидарность. Северо-Осетинский государственный университет имени К. Л. Хетагурова yasha64@bk.ru Рассказ «Музыка» был написан В. В. Набоковым в начале 1932 года. Тематически и композиционно он примыкает к ранней истории «Бахман» [8, c. 799], написанной в 1925 году. Несмотря на незначительный объем, рассказ «Музыка» обнаруживает довольно богатые интертекстуальные связи с музыкальными мотивами как произведений самого В. В. Набокова, так и с произведениями других авторов. Согласно теории интертекстуальности, любой художественный текст «не существует изолированно, вне связи с другими. Он часто возникает как отклик на уже существующее литературное произведение, как реакция на него, ответная “реплика” в диалоге текстов; он включает и преобразует “чужое” слово, приобретая при этом смысловую множественность» [10, c. 223], а также смысловую полноту, что является следствием...
8. Интервью Набокова на английском языке. Playboy, 1964 г.
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Часть текста: 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 you look. Of course she completely eclipsed my other works-- at least those I wrote in English: The Real Life of Sebastian Knight, Bend Sinister, my short stories, my book of recollections; but I cannot grudge her this. There is a queer, tender charm about that mythical nymphet. Though many readers and reviewers would disagree that her charm is tender, few would deny that it is queer-- so much so that when director Stanley Kubrick proposed his plan to make a movie of Lolita, you were quoted as saying, "Of course they'll have to change the plot. Perhaps they will make Lolita a dwarfess. Or they will make her 16 and Humbert 26. " Though you finally wrote the screenplay yourself, several reviewers took the film to task for watering down the central relationship. Were you satisfied with the final product? I thought the movie was absolutely first-rate. The four main actors deserve the very...
9. Чарльз Кинбот: Серебристый свет. Подлинная жизнь Владимира Набокова. Chapter Five. Kafka
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Часть текста: spas and sanatoria, among them Kiesling on the Black Sea coast, fifteen kilometers south of Sochi. It was here, on the white sand beach, that Nabokov met the dying writer. According to our hero, he had travelled by train to Kiesling to visit a friend, referred to only as "M." in his diary. (Jean-Jacques Molard, a casual acquaintance of Nabokov's since 1922 when they met at Cambridge, believes M. to have been Maria Ostrowsky, the adopted daughter of a Galician timber merchant, about whom we will hear more later.) The time was mid-June. Kafka, as was his custom, spent the morning reclining on a chaise longue on the spa's veranda overlooking the sea. Nabokov, sketching fat figures in the margins of his notebook while relaxing on the beach, had stuffed the end of a Gauloise cigarette into his mouth when he realized he had left his matches at the Pension des H?brides five hundred meters away. Sitting up as a prelude to borrowing what he needed, the young writer noticed the older writer, whose six-foot frame, by this time, weighed less than nine stone, all in black, surveying the strand from his chair. Nabokov stood, folded closed his notebook, and plodded off, minus his espadrilles, toward the invalid. He asked for a match first in French, which elicited only a questioning stare, then in Russian ( m?me jeu ), finally in German, to which the elegant consumptive replied "Schade, Mein Herr, Ich rauche nicht." Nabokov went back to his blanket and gave up on the cigarette. Waves soughed against the damp and spongy shingle, gulls mewed and dived for small fry or the scraps of someone's lunch, a bald man with a mandarin moustache strolled slowly by, accompanied by an olive-skinned lady, the two ...
10. Роупер Р: Набоков в Америке. По дороге к «Лолите». Библиография
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Часть текста: and Insect Mimicry. ” Nabokov Studies 7 (2002-2003): 177-213. Alexandrov, Vladimir E. “Nabokov and Bely.” In Alexandrov. Garland Companion. Alexandrov, Vladimir E. Nabokov’s Otherworld. Princeton, N. J.: Princeton University Press, 1991. Alexandrov, Vladimir E., ed. The Garland Companion to Vladimir Nabokov. New York: Garland, 1995. Altschuler, Glenn, Kramnick, Isaac. “«Red Cornell»: Cornell in the Cold War, ” part 1. Cornell Alumni Magazine, July 2010. Amis, Martin. “Divine Levity: The Reputation of Vladimir Nabokov Is High and Growing Higher and There Is Much More Work Still to Come.” Times Literary Supplement, December 23 and 30, 2011, 3-5. Amis, Martin. “The Sublime and the Ridiculous: Nabokov’s Black Farces”. In Quennell. Vladimir Nabokov, His Life. Amis, Martin. Visiting Mrs. Nabokov and Other Excursions. New York: Vintage International, 1995. Appel, Alfred, Jr. “The Road to Lolita, or the Americanization of an Emigre.” Journal of Modern Literature 4 (1974): 3-31. Appel, Alfred, Jr. Nabokov’s Dark Cinema . New York: Oxford University Press, 1974. Appel, Alfred, Jr., ed. The Annotated Lolita. New York: McGraw-Hill, 1970. Appel, Alfred, Jr., Newman, Charles, eds. Nabokov: Criticism, Reminiscences, Translations, and Tributes. London: Weidenfeld and Nicolson, 1971. Bahr, Ehrhard. Weimar on the Pacific: German Exile Culture in Los Angeles and the Crisis of Modernism. Berkeley: University of California Press, 2007. Baker, Nicholson. U and I: A True Story. New York: Vintage, 1992. Banta, Martha. “Benjamin, Edgar, Humbert, and Jay. ” Yale Review 60 (Summer 1971): 532-49. Barabtarlo,...