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Аноним17 июня 2015 г.Читать далееThroughout his work Nabokov takes all this into account as he re-fines his implicit logic of artistic discovery. He sets up carefully spaced obstacles to our comprehension, to match the difficulties our minds have in coping with our world, but on the other side of every hurdle he invites us to an exhilarating splashdown into discovery. His particularity and precision, far from working against or scoring off his readers, show him here at his most generous. He allows us to find out through our own curiosity and imagination the excitements and achievements of the mind in confronting its world, and for those ready to persist he even prepares something akin to the unspeakable shock of "death knowledge," of finding ourselves suddenly in a consciousness beyond the human.
34- Аноним17 июня 2015 г.
Death especially jangles our nerves. A favorite exercise among teachers of literature is to compare the death scenes in nineteenth-century novels. The deaths that conclude many of Nabokov's novels place us not at the character's bedside, standing behind the shoulders of the grieving family, but drop us down into the gaping grave until a plank in reason breaks.
37 - Аноним16 июня 2015 г.
Perhaps it will be clearer now that when Nabokov makes a great many of his characters artists and hangs the fact of their art in a prominent place he is not simply an aesthete or an egomaniac populating his worlds with little Nabokovs. For him the creatures of imagination on whom his stories focus are those who ought to be at the last ramparts of consciousness, ready to jump the moat to total freedom if anyone can.
37 - Аноним16 июня 2015 г.
Nabokov resolutely cuts the spatial world off from time: by direct assertion and argument, as in Ada, or by contrasting, in this form or that, symmetrical space and the asymmetry of time.
37 - Аноним16 июня 2015 г.
In his lifetime Nabokov was often charged with being a trickster with nothing to say. The "tricks" he made up and mastered over a lifetime of writing in fact bear witness to an extraordinary imagination striving to convey all that is original in his sense of the world.
38 - Аноним16 июня 2015 г.Читать далее
THE TRUE STORY of Nabokov's art is the story of his finding the formal and fictional inventiveness to express all the problems his philosophy poses. By the end of the 1920s, he had not only rejected the secondhand words and devices of his early poetry, he had also left behind the direct meditations of stories like "Sounds," "Grace," or "A Guide to Berlin," better as philosophy, but still thin, and as art, much too flat. As his talent burgeoned he discovered new structures and strategies that would allow his ideas their full intellectual value and a human context that gave them a local habitation and a name.
38 - Аноним16 июня 2015 г.
CHAPTER 13
Nabokov the Writer
Our sense of Time may be the draft coming from the next dimension.manuscript of Conclusive Evidence
37 - Аноним13 июня 2015 г.
Berlin's Russian publishing market had started to crash, and over the coming months hundreds of thousands of books would have to be pulped. Andrey Bely, who had been planning to move to Prague, where the Russian enclave was much more exclusively emigre than Berlin's part-emigre, part-Soviet, mix, surprised everybody by returning instead to Moscow. Khodasevich left for Prague and then Italy. Thousands of others were quitting Berlin.
38 - Аноним13 июня 2015 г.Читать далее
On May 8, a couple of days before Nabokov was to leave for the south of France, he attended one of the charity balls Russian organizations staged in those years. During the course of the ball, he encountered a woman in a black mask with a wolf's profile. She had never met him
before, and knew him only through watching over the growth of his poetic talent, in print and at public readings. She would not lower her mask, as if she rejected the appeal of her looks and wished him to respond only to the force of her conversation. He followed her out into the night air. Her name was Vera Evseevna Slonim.
36 - Аноним13 июня 2015 г.
On such occasions the tall, slender Sirin with his "irresistibly attractive fine-featured, intelligent face," would make more than a few women's hearts beat faster. One such woman was Roma Klyatchkin, an attractive Jewish blonde with whom Nabokov had a brief affair about this time, another was Danechka (maiden name unknown), also Jewish and voluptuous, with whom he had an even briefer link. A third Jewish woman who had also seen Sirin on stage was destined to be far more permanent.
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