Download Vladimir Nabokov by Wyllie, Barbara; Nabokov, Vladimir Vladimirovich PDF

By Wyllie, Barbara; Nabokov, Vladimir Vladimirovich

Best identified for his deeply arguable 1955 novel, Lolita, Vladimir Nabokov (1899-1977) is well known as essentially the most special literary stylists of the 20 th century. In Vladimir Nabokov, Barbara Wyllie offers a finished account of the existence and works of the author, from his formative years and earliest tales in pre-revolutionary Russia, to The unique of Laura—a novel written virtually completely on index playing cards released for the 1st time in 2009, probably opposed to Nabokov’s wishes.

            This literary biography investigates the author’s poetry and prose, in either Russian and English, and examines the connection among Nabokov’s outstanding erudition and the topics that recur all through his works.  His services as a expert in butterflies complemented his huge wisdom of Russian and Western eu tradition, philosophy, and historical past, and knowledgeable the topics of transformation and transcendence that dominate his paintings. Wyllie strains his lifelong preoccupations with time, reminiscence, and mortality throughout either his Russian and English works, and he or she illuminates his certain via particular research of his significant novels. Wyllie assesses his poetry and prose variety along Nabokov’s personal autobiography, letters, and significant writings—as good because the basically recently-published The unique of Laura—in order to create an entire and up to date photograph of the author within the context of his works.

            Vladimir Nabokov offers a desirable portrait of 1 of the 20 th century’s such a lot eclectic, prolific, and arguable authors. it really is a necessary learn for fanatics of Nabokov and students of 20th century English and Russian literature.

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Sample text

In ‘A Letter that Never Reached Russia’ the narrator refers to his happiness as ‘a kind of challenge’ that counteracts his loneliness, a force that will remain, contained in all the things that brought him such joy – ‘in the moist reflection of a streetlamp, in the cautious bend of stone steps that descend into the canal’s black waters, in the smiles of a dancing couple’. 59 At the same time, this ability to marvel at the mundane world – ‘to wonder at trifles’60 – is key to overcoming the pain of loss and mortality’s arbitrary and chaotic destructive power.

39 The wood-sprite’s loss takes on dimensions far greater than any human experience, and yet he also signifies a very particular loss to the narrator as one of the many aspects of a land that formed the source of his inspiration. The creature’s voice dominates the story, preventing its dramatic potency from being undermined by nostalgic sentimentality, whilst his non-human perspective establishes an emotive distance from the horrors he describes, in turn magnifying their impact on nature, such that it is seen to have been violated in equal measure by the wages of death and destruction.

Sirin’. Anxious not to be confused with or to impose upon his father’s name, Nabokov’s adoption of this pen-name, which became his literary identity in Russian émigré Europe, also afforded him a means of guarding his artistic 29 Sirin bird, Russia, early 18th century. autonomy and personal anonymity. As a principle, too, the potential of a pseudonym for self-referential play held considerable appeal. For example, in 1921, using the names Dorian Vivalcomb and Vivian Calmbrood, Nabokov authored, respectively, a letter to his parents and his first English verse play, The Wanderers, whilst Vivian Badlook, Vivian Darkbloom and Adam von Librikov make appearances in King, Queen, Knave, Lolita and Ada (1928, 1955 and 1969).

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