Nabokov Sighting: Mary Karr's The Art of Memoir
From Mary Karr's The Art of Memoir:
"If I didn't have to pay out the wazoo to quote from better books than my own, I'd have way more Nabokov in here."
From Mary Karr's The Art of Memoir:
"If I didn't have to pay out the wazoo to quote from better books than my own, I'd have way more Nabokov in here."
Karl Ove Knausgaard travels across America, retraces Norwegian and Viking trails across the country, makes this observation: "I loved it not only because I had finally seen something in the United States that Humbert and Lolita could have seen — a fabulous entry for Nabokov’s catalog of American monuments, wonders and reconstructions — but also because it struck me that the image of reality that this particular reconstruction presented was, in a curious way, absolutely true."
From My Saga, Part 2.
Part 1 is here.
Isaiah Berlin |
I’ve been reading Michael Igniatieff’s biography of Isaiah Berlin. At this time (1949) Berlin was a pleasant but sexless Oxford don who suddenly, at age forty, fell violently in love. While teaching at Harvard that year, he was translating Turgenev’s First Love into English and unsure of how to translate the hero’s sudden rush of feeling when the beloved responds to his interest. Ignatieff tells us that Berlin was asking friends if it was correct to say “that your heart ‘turned over’ when your loving glance was first returned? Or should he say that the heart ‘slipped its moorings’?” and totally misses the comedy when he reports what happened when Berlin asked Nabokov for help:
"While at Harvard, Isaiah actually consulted Vladimir Nabokov—then a research fellow in Lepidoptera at the Harvard zoology department—on how to translate this particular passage. Nabokov’s suggestion—‘my heart went pit a pat’—left Isaiah unimpressed. Finally, he settled on ‘my heart leaped within me’."Nabokov quizzes a student, the student flails and provides a wildly erroneous answer, and the following ensues:
Only after the exam did I learn that many of the details I described from the movie were not in the book. Evidently, the director Julien Duvivier had had ideas of his own. Consequently, when Nabokov asked “seat 121” to report to his office after class, I fully expected to be failed, or even thrown out of Dirty Lit.
What I had not taken into account was Nabokov’s theory that great novelists create pictures in the minds of their readers that go far beyond what they describe in the words in their books. In any case, since I was presumably the only one taking the exam to confirm his theory by describing what was not in the book, and since he apparently had no idea of Duvivier’s film, he not only gave me the numerical equivalent of an A, but offered me a one-day-a-week job as an “auxiliary course assistant.” I was to be paid $10 a week.
Vladimir Nabokov, his life cleaved by exile, created a miniature version of the homeland he would never see again and tucked it, with a jeweler’s precision, into the housing of John Shade’s miniature epic of family sorrow. Anderson—who has suggested that the breakup of his parents’ marriage was a defining experience of his life—adopts a Nabokovian procedure with the families or quasi families at the heart of all his films, from Rushmore forward, creating a series of scale-model households that, like the Zemblas and Estotilands and other lost “kingdoms by the sea” in Nabokov, intensify our experience of brokenness and loss by compressing them. That is the paradoxical power of the scale model; a child holding a globe has a more direct, more intuitive grasp of the earth’s scope and variety, of its local vastness and its cosmic tininess, than a man who spends a year in circumnavigation.Chabon himself is no stranger to world-building, or to Nabokovilia: he has made Nabokov references in Wonder Boys, The Amazing Adventures of Kavalier and Clay, and in The Yiddish Policemen's Union.
I had two English teachers. The main one was a sexy wildman who eventually married one of our classmates when she managed to turn eighteen. He said that Nabokov was truly great and that one day I would understand that. "He hates women," I said, not realizing that this was the beginning of my feminism.
"He hates what women become," said the wildman. "That's different. He loves women until they become what they become."
And then we had an argument about Dorothea Brooke in Middlemarch, and the revolting Rosamund, whom all the men prefer, presumably because she hasn't become what women become...
The argument led nowhere and I went trampolining with a couple of girls who weren't worried about Dorothea Brooke or Lolita. They just liked trampolining. (122-3)
When Gary brings his ultra-perky girlfriend, Mary (Amy Adams), on a trip to Los Angeles, Walter tags along too, in great anticipation of visiting the Muppets' studio and meeting, in Vladimir Nabokov's phrase, "beings akin to him."
We’ve lost our techno-impresario and digital dream granter. Vladimir Nabokov once wrote, in a letter, that when he’d finished a novel he felt like a house after the movers had carried out the grand piano. That’s what it feels like to lose this world-historical personage. The grand piano is gone.Read the rest of the piece at http://www.newyorker.com/talk/2011/10/17/111017ta_talk_baker#ixzz1bF6x4se6