Introduction Chapter One Nabokov As Anti-Symbolist

NOTES

Introduction

1. Kristeva, “Word, Dialogue and Novel,” 64–91. 2. Clayton and Rothstein, Influence and Intertextuality in Literary History, 3. 3. Irwin, “Against Intertextuality,” 228.

Chapter One Nabokov as Anti-Symbolist

1. Rimbaud, “Letter to Paul Demeny,” 307. 2. Nabokov, Strong Opinions, 42–43. 3. Nabokov, “A Blush of Colour,” 367+. 4. Strong Opinions, 97. 5. For a detailed discussion of the relative characteristics of French and Russian Symbolism see West, Russian Symbolism. Elsewhere, West discusses the Russian and French Symbolists’ anti- materialist tendency as manifested in their reaction against French Impressionism. See West, “The Poetic Landscape of the Russian Symbolists,” 1–16. 6. Lehmann, The Symbolist Aesthetic in France, 34. 7. Meyer, “Dolorous Haze, Hazel Shade: Nabokov and the Spirits,” 100. 8. Johnson, “Vladimir Nabokov and Walter de la Mare’s Otherworld,” 76. 9. Johnson and Boyd, “Prologue: The Otherworld,” 20. 10. Johnson and Boyd, “Prologue: The Otherworld,” 24. 11. Boyd, Vladimir Nabokov: The Russian Years; Boyd, Vladimir Nabokov: The American Years. 12. Founded in 1994 and sponsored by the International Vladimir Nabokov Society. 13. The Nabokv-L Website was founded by Johnson in 1993. 14. Johnson, Worlds in Regression, 3. 15. Johnson, Worlds in Regression, 186. 16. Johnson, “Belyj and Nabokov,” 395. 17. Grossmith, “Spiralizing the Circle,” 51–74. 18. Grossmith Spiralizing the Circle, 54–55 19. Rowe, Nabokov’s Spectral Dimension, 11. 20. Boyd, Vladimir Nabokov: The Russian Years, 319. 164 Notes 21. Borden, “Nabokov’s Travesties of Childhood Nostalgia,” 108. 22. Borden, “Nabokov’s Travesties of Childhood Nostalgia,” 109. 23. Strong Opinions, 480. 24. Barabtarlo, “Nabokov’s Trinity,” 134. 25. Barabtarlo, Aerial Views, 51. 26. Alexandrov, “The Fourth Dimension of Nabokov’s Laughter in the Dark,” 3–9. 27. Alexandrov, Nabokov’s Otherworld, 3–4. See also Alexandrov, “The Otherworld,” in The Garland Companion to Vladimir Nabokov, 566–71. 28. Schiff, Véra (Mrs. Vladimir Nabokov), 41. 29. See Mallarmé, “Music and Literature,” 43–56. See also Hillery, Music and Poetry in France from Baudelaire to Mallarmé. 30. Mallarmé, “Art for All,” Selected Prose Poems, Essays and Letters, 10. 31. Mallarmé, “Mystery in Literature,” 47. 32. For a detailed listing of the Parnassian poets see Bays, The Orphic Vision, 258–70. 33. Cited in Wilson, Axel’s Castle, 23. 34. Strong Opinions, 168. 35. Strong Opinions, 32. 36. Speak Memory, 73. 37. Strong Opinions, 55. 38. Shklovsky, Theory of Prose, 22. 39. Baudelaire, “Anywhere Out of the World,” 205. 40. Baudelaire, “Elevation,” 11. 41. Wilson, Bohemians: The Glamorous Outcasts. 42. Robb, Rimbaud, 551. 43. Storr, “Writers and Recurrent Depression,” 3–14. 44. Strong Opinions, 145. 45. West, Russian Symbolism, 151. 46. West, Russian Symbolism, 147. 47. Mallarmé, Art for All, 11–12. 48. Nabokov, Lectures on Russian Literature, 309. 49. Bays, The Orphic Vision, 14. 50. Strong Opinions, 181. 51. Strong Opinions, 95. 52. Strong Opinions, 183. 53. Strong Opinions, 100–01. 54. Jakobson, “Modern Russian Poetry,” 73. 55. Cited in Erlich, Russian Formalism, 183. 56. Levy, “Understanding VN,” 24. 57. Nabokov, “Rowe’s Symbols,” 305. 58. Strong Opinions, 168. 59. Nabokov, Poems and Problems, 13. 60. Poems and Problems, 39. 61. Poems and Problems, 59. 62. Poems and Problems, 62. 63. Poems and Problems, 41. 64. Strong Opinions, 92. 65. Donchin, The Influence of French Symbolism on Russian Poetry, 29. 66. Chukovsky, Alexander Blok as Man and Poet, 143. 67. Blok, Selected Poems, 77. 68. Blok, Selected Poems, 47. 69. Boyd, Vladimir Nabokov: Russian Years, 94. 70. Speak Memory, 28. Notes 165 71. Speak Memory, 30. 72. Speak Memory, 32. 73. Bailey and Johnson, “Synaesthesia,” 182–207. 74. Harrison, Synaesthesia, 140. 75. Dann, Bright Colours Falsely Seen, 17. 76. MacIntyre, French Symbolist Poetry, 13. 77. Speak Memory, 28. 78. Speak Memory, 28. 79. Speak Memory, 28. 80. Rimbaud, Complete Works, 305. 81. Speak Memory, 41. 82. Whitehead, Symbolism. 83. Whitehead, Symbolism, 2. 84. Whitehead, Symbolism, 86–87. 85. Whitehead, Symbolism, 77. 86. Whitehead, Symbolism, 86. 87. Strong Opinions, 3.

Chapter Two Nabokov and Russian Formalism

1. Cited in Brian Boyd, Vladimir Nabokov: The American Years (London: Vintage, 1993) 145. 2. Boyd, American Years, 178. 3. Unpublished draft letter to Morris Bishop, February 21, 1952. Cited in Boyd, American Years, 289–90. 4. Strong Opinions, 263. 5. Hannah Green, “Mr. Nabokov,” in Nabokov, Vladimir Nabokov: A Tribute, 34–41. 6. Nabokov, Lectures on Literature, 381–82. 7. Brown, “Nabokov, Chernyshevsky, Olesha and the Gift of Sight,” 286. 8. Nabokov, Transparent Things. 9. Lock, “Transparent Things and Opaque Words,” 109. 10. Lock, “Transparent Things and Opaque Words,” 105. 11. Nabokov, The Gift. 12. Paperno, “How Nabokov’s Gift Is Made,” 295–322. 13. The Gift, 219. 14. Shklovsky, Knight’s Move. 15. Nabokov, Poems and Problems. 16. Nabokov, The Defence. 17. Hyde, Vladimir Nabokov, 89–90. 18. Pifer, Nabokov and the Novel, 25. 19. Pifer, “Consciousness, Real Life, and Fairy-Tale Freedom,” 65–81. 20. Tynyanov and Jakobson, “Problems of Research in Literature and Language,” 49. 21. Erlich, Russian Formalism, 21–22. 22. Eichenbaum, “The Theory of the Formal Method,” 4. 23. Jakobson, “Modern Russian Poetry,” 62. 24. Eichenbaum, “The Theory of the Formal Method,” 4. 25. Hodgson, “Viktor Shklovsky and the Formalist Legacy,” 195. 26. Boyd, Russian Years, 149. 27. Bely, Petersburg. 28. Strong Opinions, 85 29. Shklovsky, “Art as Device,” 4. 166 Notes 30. Bakhtin and Medvedev, The Formal Method in Literary Scholarship, 57. 31. Pomorska, Russian Formalist Theory and Its Poetic Ambiance, 22. 32. A lucid exposition of the various Futurist groupings may be found in: Lawton, Russian Futurism through Its Manifestoes, 1–4. See also: Markov, Russian Futurism. 33. Houston and Houston, French Symbolist Poetry, 3. 34. Shklovsky, “The Resurrection of the Word,” 41. 35. Stead, The New Poetic, 96–124. 36. Khlebnikov et al., “A Slap in the Face for Public Taste,” 51–52. 37. Burliuk, “Go to Hell!” 85–86. 38. See Jakobson, “From Alyagrov’s Letters,” 1–5. 39. Pike, The Futurists, the Formalists and the Marxist Critique, 4. 40. Khlebnikov, “Incantation by Laughter,” 62. 41. Hyde, “Russian Futurism,” 265. 42. Shklovsky, “Art as Device,” 1–14. 43. Jakobson, “Modern Russian Poetry,” 58–82. 44. Jakobson, “Modern Russian Poetry,” 73. 45. Jakobson, “Modern Russian Poetry,” 73. 46. Shklovsky, Theory of Prose, vii. 47. de Saussure, Course in General Linguistics, 120–22. 48. Shklovsky, Knight’s Move, 51. 49. Boyd, Russian Years, 93. 50. Nabokov, The Nabokov–Wilson Letters, 220. 51. Jakobson, “On Realism in Art,” 39. 52. Bennett, Formalism and Marxism, 54. 53. de Saussure, Course in General Linguistics, 67. 54. Lectures on Literature, 1–2. 55. Lodge, “What Kind of Fiction Did Nabokov Write?: A Practitioner’s View,” 150–69. 56. Jakobson and Halle, “Two Aspects of Language and Two Types of Aphasic Disorders,” 67–96. 57. Jakobson “Two Aspects of Language,” 92–93. 58. Lodge, Practice of Writing, 155–56. 59. Lodge, “The Language of Modernist Fiction,” 481–96. See also Lodge, The Modes of Modern Writing. 60. Lodge, Practice of Writing, 157–58. 61. Pomorska, Russian Formalist Theory and Its Poetic Ambiance, 83. 62. Erlich, Russian Formalism, 183. 63. Strong Opinions, 189. 64. Cited in Boyd, Russian Years, 198. 65. Shklovsky, Zoo or Letters Not about Love; A Sentimental Journey; Knight’s Move. 66. Williams, Culture in Exile, 131–32. 67. Boyd, Russian Years, 353. 68. Strong Opinions, 113. 69. Boyd, American Years, 311. 70. Nabokov–Wilson Letters, 220. 71. Nabokov–Wilson Letters, 195. 72. Speak Memory, 214–16. 73. Strong Opinions, 85–86. 74. Nabokov, Selected Letters 1940–1977, 396–97. 75. Shklovsky, Sentimental Journey, 131–276. 76. Strong Opinions, 96. 77. Boyd, Russian Years, 369, 390. 78. Sheldon, Introduction to Zoo, or Letters Not about Love, vii–xxv. Notes 167 79. Shklovsky, Third Factory; Zoo or Letters Not about Love,. 80. Erlich, Russian Formalism, 135–39. 81. Sheldon, Introduction to Third Factory, vi–xxx. 82. Mandelstam, Hope against Hope, 346–52. 83. Malmstad, “Khodasevich and Formalism,” 71. 84. Nabokov, Nikolai Gogol, 51. 85. Dickens, Bleak House. 86. Lectures on Literature, 113. 87. Dickens, Little Dorrit, 57–78. 88. Shklovsky, Theory of Prose, 126. 89. Shklovsky, Theory of Prose, 22–32, 52–54. 90. Lectures on Literature, 65. 91. Shklovsky, Sentimental Journey, 233. 92. Shklovsky, Sentimental Journey, 232. 93. Nabokov, Lectures on Russian Literature; Lectures on Don Quixote. 94. Shklovsky, Theory of Prose, 171. 95. Rosenberg, “The Concept of Originality in Formalist Theory,” 168. 96. Strong Opinions, 115. 97. Strong Opinions, 183. 98. Shklovsky, “Art as Device,” 7–8. 99. Tolstoy, “Kholstomer,” 368–99. 100. Shklovsky, “Art as Device,” 10–12. 101. Nabokov, Look at the Harlequins!, 94. 102. Nabokov, Lolita, 59. 103. Lolita, 283. 104. James, “Nabokov’s Grand Folly,” 54. 105. Wilson, “The Strange Case of Pushkin and Nabokov,” 3–6. 106. Strong Opinions, 250. 107. Lolita, 9. 108. Baker, U and I, 83. 109. Strong Opinions, 288. 110. Strong Opinions, 179. 111. Shklovsky, Theory of Prose, 6. 112. With his vivid and meticulous delineations of office interiors, door furniture, escalator handrails, styrofoam cups, etc., Nicholson Baker contrives in his fiction to celebrate the material world in a way that might well have found favor with Shklovsky and Nabokov. See, for example, The Mezzanine. 113. Baker, U and I, 72. 114. Baker, U and I, 73. 115. Shklovsky, “The Resurrection of the Word,” 46. 116. Nabokov, “A Guide to Berlin,” 93–94. 117. Shklovsky, “Art as Device,” 13. 118. Shklovsky, “Art as Device,” 10. 119. Shklovsky, “Art as Device,” 4–5. 120. Shklovsky, “Art as Device,” 5. 121. Bakhtin and Medvedev, Formal Method, 49. 122. Shklovsky, “Art as Device,” 6. 123. Matthews and McQuain, The Bard on the Brain, 104. 124. See: Eichenbaum, “How Gogol’s Overcoat Is Made,” 269–91; Shklovsky, Theory of Prose, 94–95, 160–61; Maguire, “The Formalists on Gogol,” 213–30. 125. Nikolai Gogol, 89–90. 168 Notes 126. Amis, Visiting Mrs Nabokov and Other Excursions, 54. The “peeled eyeball” trope is here employed by Amis in the course of a discussion of the prose style of John Updike. 127. Lectures on Russian Literature, 54. 128. Nabokov, Pale Fire, 227. 129. Shklovsky, “Art as Device,” 6. 130. Nabokov, “A Bad Day,” 29–30. 131. Shklovsky, Third Factory, 156. 132. Strong Opinions, 146–47. 133. Strong Opinions, 308–09, 311–12. 134. Lectures on Russian Literature, 11. 135. Lectures on Russian Literature, 138. 136. Morson, “Return to Genesis,” 178. 137. Lectures on Literature, 138. 138. Shklovsky, Theory of Prose, 171. 139. Morson, “Return to Genesis,” 176–77. 140. Matthews, Twentieth Century French Philosophy, 139. 141. Barthes, “The Death of the Author,” 142–48. 142. Brik, “The So-Called Formal Method,” 90–91. 143. Nabokov, Eugene Onegin: A Novel in Verse. 144. Nabokov, “The Butterfly Memory,” prev. unpub. ch. 16 of Speak Memory, The Guardian 17 Apr. 1999, Weekend: 4. 145. Bakhtin, Formal Method, 152–53. 146. Bakhtin, Formal Method, 150–51. 147. Eagleton, Literary Theory, 107–08. 148. Erlich, Russian Formalism, 179.

Chapter Three Nabokov and Bergson

1. Strong Opinions, 43. 2. Curtis, “Bergson and Russian Formalism,” 109–21. 3. Bergson, The Creative Mind, 87. 4. Oldroyd, Darwinian Impacts, 278. 5. Papanicolaou and Gunter, Bergson and Modern Thought; Mullarkey, The New Bergson. 6. Jahanbegloo, Conversations with Isaiah Berlin, 8. 7. See Kumar, Bergson and the Stream of Consciousness Novel; Stevenson, Modernist Fiction, 106–16. 8. Russell, History of Western Philosophy, 756. 9. Russell, History of Western Philosophy, 756. 10. Marcuse, Negations, 114. 11. Lewis, Time and Western Man, 193. 12. Bergson, Creative Evolution, 11. 13. Rawson, “Italian Futurism,” 245. 14. James, Pragmatism, 39. 15. Nabokov, The Gift. 16. Toker, “Philosophers as Poets,” 185–96. Hyde also detects a Bergsonian influence in The Gift, specifically in Nabokov’s portrayal of the “rigid and inflexible behaviour patterns” that obtain in the household where the narrator Fyodor has his lodgings. See Hyde, Vladimir Nabokov, 27. 17. Toker, “Nabokov and Bergson on Duration and Reflexivity,” 132–40. 18. Toker, “Nabokov and Bergson,” 369. 19. Foster, Jr., Nabokov’s Art of Memory and European Modernism. Notes 169 20. Bergson, Matter and Memory, 9. 21. Bergson, Creative Evolution, 263. 22. Speak Memory, 124. 23. Nabokov, King, Queen, Knave, 1. 24. Nabokov, Bend Sinister, 29–30. 25. Strong Opinions, 305. 26. Bergson, Creative Mind, 163. 27. Bergson, Creative Mind, 161–62. 28. Bergson, Creative Mind, 162. 29. Strong Opinions, 11. 30. Bergson, Creative Evolution, 32–33. 31. Strong Opinions, 44–45. 32. Bergson, Two Sources of Morality, 250. 33. Bergson, Two Sources of Morality, 251. 34. Bergson, Two Sources of Morality, 220–21. 35. Strong Opinions, 45. 36. Bergson, Creative Evolution, 41–42. 37. Bergson, Creative Evolution, 107. 38. Bergson, Creative Evolution, 107. 39. Bergson, Creative Evolution, 161. 40. Speak Memory, 98. 41. Strong Opinions, 153. 42. Nabokov, Nabokov’s Butterflies, 219. 43. Dennett, Darwin’s Dangerous Idea, 51. 44. Dennett, Darwin’s Dangerous Idea, 59. 45. Strong Opinions, 23. 46. Strong Opinions, 23–24. 47. King, Queen, Knave, 9. 48. Nabokov–Wilson Letters, 88. 49. Bend Sinister, 11. 50. Freud, “The Psychoanalytic View of Psychogenic Disturbance of Vision,” 113. 51. Freud, “An Outline of Psycho-Analysis,” 157. 52. Strong Opinions, 115. 53. Strong Opinions, 116. 54. Storr, “Freud,” 8. 55. Storr, “Freud,” 9. 56. Strong Opinions, 142. 57. Bergson, “Laughter,” 165. 58. Strong Opinions, 41. 59. Strong Opinions, 44. 60. Freud, “Delusions and Dreams in Jensen’s Gradiva,” 92. 61. Freud, “Delusions and Dreams in Jensen’s Gradiva,” 92. 62. The Butterfly Memory, 4. 63. Nabokov, “A Blush of Colour,” 367. 64. Strong Opinions, 64. 65. Eysenck, Decline and Fall of the Freudian Empire, 38. 66. Selected Letters, 310–11. 67. Strong Opinions, 54. 68. Green, Freud and Nabokov. 69. Bloom, Vladimir Nabokov’s Lolita, 3. 70. Shute, “Nabokov and Freud,” 413. 71. Shute, “Nabokov and Freud,” 415. 170 Notes 72. Shute, “Nabokov and Freud,” 416. 73. Bergson, Creative Evolution, 48–49. 74. Bergson, Creative Mind, 16. 75. Nabokov, Ada or Ardor, 440. 76. Strong Opinions, 185. 77. Creative Mind, 137. 78. Moore, Bergson, 69. 79. Creative Mind, 69. 80. Creative Evolution, 322. 81. Creative Evolution, 322–23. 82. Creative Mind, 39. 83. Bergson, Time and Free Will, 201. 84. Bergson, Creative Evolution, 11. 85. Bergson, Time and Free Will, 231. 86. Nabokov, Despair. 87. Bergson, Creative Mind, 70. 88. Bergson, Creative Evolution, 172. 89. Bergson, Matter and Memory, 151. 90. Bergson, Matter and Memory, 150. 91. Bergson, Matter and Memory, 151. 92. Bergson, Matter and Memory, 151. 93. Strong Opinions, 12. 94. Strong Opinions, 12. 95. Strong Opinions, 12. 96. Bergson, “Laughter,” 158–59. 97. Bergson, “Laughter,” 161–62. 98. Bergson, Creative Mind, 162. 99. Strong Opinions, 118. 100. Strong Opinions, 101. 101. Bergson, Creative Mind, 87. 102. Lectures on Russian Literature, 57. 103. Bergson, “Laughter,” 179. 104. Bergson, “Laughter,” 179–80. 105. Bergson, Creative Mind, 138.

Chapter Four Pale Fire

1. Pale Fire, 67. 2. Baker, The Size of Thoughts, 266–67. 3. Boyd, Russian Years, 171. 4. Pale Fire, 23. 5. Baker, Size of Thoughts, 266–67. Baker provides no details of Marx’s work. Housman’s origi- nal review article itself omits any bibliographic information beyond authorship and publica- tion date. The work in question proves to be: Marx, C. Lucilii Carminum Reliquiae. 6. Baker, Size of Thoughts, 267. 7. Housman, “Luciliana,” 53–74, 148–59. 8. Speak Memory, 43. 9. Housman, Selected Prose. 10. Housman, “Luciliana,” 159. 11. Nabokov, Eugene Onegin: A Novel in Verse. Notes 171 12. Pale Fire, 223–24. 13. Shakespeare, Timon of Athens, 4.3.438–44. 14. McCarthy, “A Bolt from the Blue,” 21–27. 15. Johnson, Worlds in Regression, 68–73. 16. Stegner, Escape into Aesthetics. 17. Field, Nabokov: His Life in Art, 335. 18. Boyd, American Years, 443–56. 19. Lodge, “What Kind of Fiction Did Nabokov Write?,” 163. 20. Boyd, Nabokov’s Pale Fire. 21. Pekka, “Pale Fire,” 576. 22. Grabes, Fictitious Biographies, 63. 23. See Rampton, Vladimir Nabokov: A Critical Study of the Novels, 105; Hennard, “Playing a Game of Worlds in Nabokov’s Pale Fire,” 299–317. 24. Wood, The Magician’s Doubts, 178. 25. Pale Fire, 13. 26. Pale Fire, 22. 27. Pale Fire, 22. 28. Pale Fire, 23. 29. Pale Fire, 23. 30. Bergson, Time and Free Will, 231. 31. Rampton, Vladimir Nabokov: A Critical Study of the Novels, 155. 32. Merrill, “Nabokov and Fictional Artifice,” 457. 33. Morrison, “Nabokov’s Third-Person Selves,” 508. 34. Pale Fire, 196. 35. Pale Fire, 86. 36. Field, VN: The Life and Art of Vladimir Nabokov38; Speak Memory, 55. 37. Pale Fire, 165. 38. Pale Fire, 168. 39. Pale Fire, 163. 40. Bergson, Creative Mind, 70. 41. Pale Fire, 75. 42. Pale Fire, 79. 43. Pale Fire, 23. 44. Allan, Madness, Death and Disease in the Fiction of Vladimir Nabokov, 12. 45. Pope, “An Essay on Man,” line 224. 46. Pale Fire, 214. 47. Pale Fire, 232. 48. Pale Fire, 233. 49. Pale Fire, 24–25. 50. Pale Fire, 227. 51. Shklovsky, “Art as Device,” 11. 52. Bergson, Creative Mind, 136. 53. Pale Fire, 106. 54. Pale Fire, 126. 55. Pale Fire, 29. 56. Pale Fire, 58. 57. Pale Fire, 41. 58. Untermeyer, Come In and Other Poems, 18. 59. Frost, “For Once Then Something,” 225. 60. Strong Opinions, 202. 61. Pale Fire, 233. 62. Grabes, Fictitious Biographies, 58. 172 Notes 63. Field, Nabokov: His Life in Art, 336. 64. Boyd, American Years, 427. 65. Hyde, Vladimir Nabokov, 178. 66. Fowler, Reading Nabokov. 67. Kernan, “Reading Zemblan,” 103. 68. For example, two bestselling 1970s songs that subsequently covered exactly the same ground, thematically and tonally, are: “Homely Girl” by the Chi-Lites and “At Seventeen” by Janis Ian. 69. Pale Fire, 38. 70. Shklovsky, “Art as Device,” 6. 71. Pale Fire, 71. 72. Pale Fire, 110. 73. Pale Fire, 65. 74. Pale Fire, 123. 75. Pale Fire, 219. 76. Pale Fire, 220. 77. Pale Fire, 123. 78. Bergson, Laughter, 161–62. 79. Pale Fire, 124. 80. Bergson, Creative Evolution, 72. 81. Shklovsky, “Art as Device,” 5. 82. Pale Fire, 236.

Chapter Five Lolita

1. Amis, “Untitled (On Lolita),” 105–06. 2. Lolita, 17. 3. Lolita, 307. 4. Lolita, 248. 5. Lolita, 42. 6. Lolita, 132. 7. Lolita, 48. 8. Lolita, 56. 9. Lolita, 306. 10. Josipovici, “Lolita: Parody and the Pursuit of Beauty,” 55. 11. Tamir-Ghez, “Rhetorical Manipulation in Nabokov’s Lolita,” 173. 12. Appel, Jr., “Lolita: The Springboard of Parody,” 121. 13. Lolita, 25. 14. Lolita, 76. 15. Lolita, 76. 16. Lolita, 37. 17. Lolita, 38. 18. Lolita, 39. 19. Lolita, 39. 20. Lolita, 59. 21. Lolita, 62. 22. Lolita, 111. 23. Lolita, 15. 24. Poe, “Annabel Lee,” 89–90. 25. Trilling, “The Last Lover: Vladimir Nabokov’s Lolita,” 5–11. Notes 173 26. Boyd, Russian Years, 174. 27. Lewis, The Allegory of Love, 23. 28. Ovid, “The Art of Love,” 166–238. 29. See Larrington, Women and Writing in Mediaeval Europe; Muscatine, Chaucer and the French Tradition; Dodd, “The System of Courtly Love,” 1–15. Numerous examples of courtly love poetry are available, in translation, in O’Donoghue, The Courtly Love Tradition. 30. Capellanus, The Art of Courtly Love, 152. 31. Lolita, 54. 32. Goldin, “The Array of Perspectives in the Early Courtly Love Lyric,” 57. 33. Notes on Prosody, 32. 34. Chaucer, The Franklin’s Tale, 60. 35. Lolita, 133. 36. Lolita, 147–49. 37. Lolita, 71. 38. Lolita, 68. 39. Lolita, 146. 40. Booth, “Metaphor as Rhetoric,” 67. 41. Bergson, Laughter, 161–62. 42. Shklovsky, “The Resurrection of the Word,” 46. 43. Bergson, Laughter, 158. 44. Lolita, 150–51. 45. Shklovsky, “Art as Device,” 5. 46. Cohen, “The Making of Nabokov’s Fiction,” 336. 47. Lolita, 146. 48. Brent, “Lolita: Nabokov’s Critique of Aloofness,” 82. 49. Lolita, 208–09. 50. Bergson, Creative Mind, 70. 51. Lolita, 62. 52. Lolita, 107. 53. Lolita, 108. 54. Lolita, 150. 55. Lolita, 150. 56. Lolita, 28. 57. Lolita, 83. 58. Lolita, 86. 59. Lolita, 83. 60. Lolita, 53. 61. Lolita, 53. 62. Bergson, Creative Mind, 12.

Chapter Six Despair

1. Despair, 162. 2. Despair, 13. 3. Herdman, The Double in Nineteenth-Century Fiction. 4. Hallam, “The Double as Incomplete Self,” 1–31. 5. Strong Opinions, 83. 6. Rosenfield, “Despair and the Lust for Immortality,” 71. 174 Notes 7. See Blake, Songs of Innocence and of Experience. 8. Davydov, “Despair,” 90. 9. Clancy, The Novels of Vladimir Nabokov, 60. 10. Arana, “The Line Down the Middle in Autobiography,” 126. 11. Meyer, “Black and Violet Worlds,” 38. 12. Sweeney, “Subject-Cases and Book-Cases,” 247–69. 13. Connolly, “Dostoevski and Vladimir Nabokov,” 155–62.; Dostoevsky, Crime and Punishment; Dostoevsky, Notes from the Underground and The Double. 14. Connolly, “The Function of Literary Allusion in Nabokov’s Despair,” 302–13. 15. Nivat, “Nabokov and Dostoevsky,” 398–402. 16. Despair, 106. For further Dostoyevskyan allusions see 148, 150, 158. 17. Bergson, Time and Free Will, 231. 18. Despair, 26. 19. Despair, 32. 20. Despair, 33. 21. Despair, 34. 22. Despair, 36. 23. Bergson, Creative Evolution, 172. 24. Despair, 147. 25. Despair, 69. 26. Despair, 73. 27. Despair, 147. 28. Despair, 71. 29. Bergson, Creative Evolution, 172. 30. Despair, 66. 31. Despair, 65. 32. Despair, 27. 33. Despair, 31. 34. Bergson, Creative Mind, 182. 35. Shklovsky, “Art as Device,” 4. 36. Bergson, “Laughter,” 161. 37. Pale Fire, 227. 38. Despair, 148. 39. Boyd, Russian Years, 389. 40. Despair, 29. 41. Despair, 13. 42. Despair, 22. 43. Nabokov, Laughter in the Dark. 44. Despair, 55. 45. Despair, 114. 46. Despair, 114. 47. Despair, 108. 48. Despair, 108 49. Despair, 172. 50. Despair, 55. 51. Despair, 44. 52. Despair, 44. 53. Despair, 27. 54. Bergson, “Laughter,” 158. Notes 175 Chapter Seven Deluded Worlds—King, Queen, Knave, Invitation to a Beheading, and Bend Sinister

1. King, Queen, Knave, 223. 2. Hyde, Vladimir Nabokov, 47. 3. Connolly, Nabokov’s Early Fiction, 62. 4. Edmunds, “Look at Valdemar!,” 153–71. 5. Merkel, “Vladimir Nabokov’s King, Queen, Knave and the Commedia Dell’ Arte,” 83–102. 6. Toker, Nabokov: The Mystery of Literary Structures, 48. 7. King, Queen, Knave, 70. 8. King, Queen, Knave, 233. 9. Bergson, Laughter, 156. 10. King, Queen, Knave, 234. 11. King, Queen, Knave, 234. 12. Gogol, Dead Souls. 13. King, Queen, Knave, 206. 14. King, Queen, Knave, 250. 15. Shklovsky, “Art as Device,” 6. 16. King, Queen, Knave, 106. 17. King, Queen, Knave, 35. 18. Shklovsky, “Art as Device,” 11. 19. Bergson, Creative Mind, 70. 20. King, Queen, Knave, 178. 21. King, Queen, Knave, 180. 22. King, Queen, Knave, 250. 23. Bergson, Laughter, 67. 24. Bergson, Time and Free Will, 199. 25. King, Queen, Knave, 198. 26. King, Queen, Knave, 229. 27. King, Queen, Knave, 117. 28. King, Queen, Knave, 31. 29. King, Queen, Knave, 153. 30. King, Queen, Knave, 150. 31. King, Queen, Knave, 165. 32. King, Queen, Knave, 144. 33. King, Queen, Knave, 151. 34. Invitation to a Beheading, 21. 35. King, Queen, Knave, 28. 36. Lucius Quinctius Cincinnatus, 519?–439? B.C. 37. Johnson, Worlds in Regression, 41. 38. King, Queen, Knave, 32. 39. Oles, “Silence and the Ineffable,” 191. 40. Alexandrov, Nabokov’s Otherworld, 97. 41. Connolly, Nabokov’s Early Fiction, 166. 42. Moynahan, “ Russian Preface,” 16. 43. Moynahan, “Russian Preface,” 14. 176 Notes 44. Moynahan, “Russian Preface,” 15. 45. Klemtner, “To Special Space,” 438. 46. Davydov, “Invitation to a Beheading,” 196. 47. Shapiro, “The Salome Motif,” 102. 48. Bergson, Matter and Memory, 9. 49. Bergson, Time and Free Will, 88. 50. Bergson, Time and Free Will, 205 51. Invitation to a Beheading, 62. 52. Invitation to a Beheading, 190. 53. “Rowe’s Symbols,” Speak Memory, 305. 54. Invitation to a Beheading, 12. 55. Invitation to a Beheading, 21. 56. Invitation to a Beheading, 104. 57. Invitation to a Beheading, 14. 58. Invitation to a Beheading, 43. 59. Invitation to a Beheading, 38. 60. Invitation to a Beheading, 171. 61. Bergson, Creative Mind, 16. 62. Bergson, Creative Mind, 16. 63. Invitation to a Beheading, 38. 64. Invitation to a Beheading, 43. 65. Shklovsky, “Art as Device,” 5. 66. Invitation to a Beheading, 22–23. 67. Speak Memory, 192. 68. Speak Memory, 192–93. 69. Invitation to a Beheading, 37. 70. Invitation to a Beheading, 65. 71. Invitation to a Beheading, 176. 72. Invitation to a Beheading, 175. 73. Invitation to a Beheading, 79. 74. Invitation to a Beheading, 45–46. 75. Shklovsky, “Art as Device,” 12. 76. Invitation to a Beheading, 44. 77. Invitation to a Beheading, 47. 78. Invitation to a Beheading, 23. 79. Connolly, Nabokov’s Early Fiction, 177. 80. Connolly, Nabokov’s Early Fiction, 179. 81. Invitation to a Beheading, 175. 82. Invitation to a Beheading, 115. 83. Shklovsky, “Art as Device,” 7. 84. Invitation to a Beheading, 179. 85. Bend Sinister, 70. 86. Kermode, “Nabokov’s Bend Sinister,” 228–34. 87. Selected Letters, 528. 88. Bend Sinister, 7. 89. Bend Sinister, 13. 90. Bend Sinister, 135. 91. Bend Sinister, 11. 92. Bend Sinister, 200. 93. Bend Sinister, 160. 94. Bend Sinister, 121. 95. Bergson, Creative Mind, 87. Notes 177 96. Bend Sinister, 68. 97. Bergson, Creative Mind, 177. 98. Strong Opinions, 3. 99. Strong Opinions, 118. 100. Bend Sinister, 64. 101. Bend Sinister, 64. 102. Steiner, “The Writer and Communism,” 307. 103. Wood, The Magician’s Doubts, 59. 104. Rampton, Vladimir Nabokov, 55. 105. Bergson, Creative Mind, 70. 106. Lowenthal, False Prophets, 184. 107. Lowenthal False Prophets, 183. 108. Bracher, “Totalitarianism as Concept and Reality,” 135. 109. Shklovsky, “Art as Device,” 5. 110. Shklovsky, “The Resurrection of the Word,” 41. 111. Shklovsky, “Art as Device,” 5. 112. Steiner, “The Hollow Miracle,” 136–37. 113. Steiner, “Hollow Miracle,” 143. 114. Bend Sinister, 8. 115. Bend Sinister, 143. 116. Bend Sinister, 97. 117. Bend Sinister, 65. 118. Bend Sinister, 65. 119. Bend Sinister, 65. 120. Whitehead, Symbolism, 86. 121. Bend Sinister, 65. 122. Bend Sinister, 131. 123. Bend Sinister, 74.

Chapter Eight The Ethics of Delusion

1. Boyd, Russian Years, 295. 2. Rowe, Nabokov’s Spectral Dimension, 11. 3. Brown, “Oratio Nabokoviensa,” 323. 4. Boyd, American Years, 425. 5. Boyd, American Years, 440. 6. Amis, “The Sublime and the Ridiculous,” 73. 7. Briggs, Interview with Simon Armitage. 8. Tanner, “On Lexical Playfields,” 48. 9. Booth, The Company We Keep, 3. 10. Rampton, “Lolita,” 99; see also Rampton, Vladimir Nabokov: A Critical Study of the Novels. 11. Green, “Tolstoy and Nabokov,” 30. 12. Updike, “Untitled,” 342–43. 13. Wood, Magician’s Doubts, 7. 14. Sharpe, Vladimir Nabokov, 106. 15. Trilling, The Liberal Imagination, 207. 16. McEwan, Enduring Love, 104. 17. McEwan, Enduring Love, 180–81. 18. New Shorter Oxford English Dictionary on Historical Principles. 19. Lolita, 282–83. 178 Notes 20. Eagleton, After Theory, 155–58. See also Merleau-Ponty, Phenomenology of Perception. 21. Selected Letters, 56. 22. Bayley, “Under Cover of Decadence,” 46. 23. Trilling, Liberal Imagination, 208. 24. Nabokov, Lectures on Don Quixote, 51–52. 25. Forster, “Art for Art’s Sake,” 105. 26. Knight, The Christian Renaissance, 43. 27. Rorty, Contingency, Irony and Solidarity, 167. 28. Bell, The Sentiment of Reality, 184. 29. Trilling, Liberal Imagination, 283. 30. Eliot, “The Lesson of Baudelaire,” 4. 31. Amis, Experience, 121. SELECT BIBLIOGRAPHY

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London: Weidenfeld, 1972. 39. ———. The Enchanter. Trans. Dmitri Nabokov. London: Picador, 1987. ———, trans. Eugene Onegin: A Novel in Verse. By Aleksandr Pushkin. With a commentary by Vladimir Nabokov. 4 Vols. New York: Bollingen, 1964. ———. The Eye. Trans. Dmitri Nabokov with Vladimir Nabokov. New York: Vintage, 1990. ———. The Gift. Trans. Michael Scammell with Vladimir Nabokov. London: Penguin, 1981. ———. Glory. Trans. Dmitri Nabokov with Vladimir Nabokov. London: Penguin, 1974. ———. “A Guide to Berlin.” Details of a Sunset and Other Stories. Trans. Dmitri Nabokov with Vladimir Nabokov. London: Penguin, 1994. 89–98. ———. “In Paradise.” Poems and Problems. London: Weidenfeld, 1972. 44. ———. Invitation to a Beheading. Trans. Dmitri Nabokov with Vladimir Nabokov. London: Penguin, 1963. ———. King, Queen, Knave. Trans. Dmitri Nabokov with Vladimir Nabokov. Oxford: Oxford UP, 1988. ———. Laughter in the Dark. Trans. and Rev. Vladimir Nabokov. Harmondsworth: Penguin, 1963. ———. Lectures on Don Quixote. Ed. Fredson Bowers. New York: Harcourt, 1983. ———. Lectures on Literature. Ed. Fredson Bowers. London: Weidenfeld, 1980. ———. Lectures on Russian Literature. Ed. Fredson Bowers. London: Weidenfeld, 1981. ———. Lolita. London: Penguin, 1980. ———. Look at the Harlequins! London: Penguin, 1980. ———. The Man from the USSR and Other Plays. Trans. Dmitri Nabokov. London: Weidenfeld, 1985. ———. Mary. Trans. Michael Glenny with Vladimir Nabokov. London: Penguin, 1973. ———. The Nabokov–Wilson Letters. Ed. Simon Karlinsky. New York: Harper, 1979. ———. Nabokov’s Butterflies: Unpublished and Uncollected Writings. Trans. Dmitri Nabokov. Ed. Brian Boyd and Robert Michael Pyle. Boston: Beacon, 2000. ———. Nabokov’s Dozen. London: Penguin, 1960. ———. Nikolai Gogol. London: Editions Poetry London, 1947. ———. Notes on Prosody. London: Routledge, 1965. ———. Pale Fire. London: Penguin, 1973. ———. Pnin. London: Penguin, 1988. ———. Poems. London: Weidenfeld, 1961. ———. Poems and Problems. London: Weidenfeld, 1972. ———. The Real Life of Sebastian Knight. London: Penguin, 1964. 192 Select Bibliography Nabokov, Vladimir. “Rowe’s Symbols.” Strong Opinions. New York: Vintage, 1990. 304–07. ———. A Russian Beauty and Other Stories. Trans. Dmitri Nabokov with Vladimir Nabokov. London: Penguin, 1975. ———. Selected Letters 1940–1977. Ed. Dmitri Nabokov and Matthew J. Bruccoli. New York: Harcourt, 1989. ———. “Snow.” Poems and Problems. London: Weidenfeld, 1972. 62. ———. “Soft Sound.” Poems and Problems. London: Weidenfeld, 1972. 59. ———, trans. The Song of Igor’s Campaign: An Epic of the Twelfth Century. Anon. New York: McGraw, 1960. ———. Speak Memory; an Autobiography Revisited. London: Penguin, 1969. ———. Strong Opinions. New York: Vintage, 1990. ———. Transparent Things. London: Penguin, 1975. ———. Tyrants Destroyed and Other Stories. Trans. Dmitri Nabokov with Vladimir Nabokov. London: Penguin, 1981. ———. The Waltz Invention. New York: Phaedra, 1966. “Nabokv-L Website.” Ed. D.Barton Johnson. Penn State University Libraries Ͻhttp://www. libraries.psu.edu/iasweb/nabokov/listinfo.htmϾ. New Shorter Oxford English Dictionary on Historical Principles. Ed. Lesley Brown. 2 vols. Oxford: Clarendon, 1993. 1827. Nivat, Georges. “Nabokov and Dostoevsky.” The Garland Companion to Vladimir Nabokov. New York: Garland, 1995. 398–402. Nussbaum, Martha. Love’s Knowledge: Essays on Philosophy and Literature. Oxford: Oxford UP, 1990. Oldroyd, D.R. Darwinian Impacts: An Introduction to the Darwinian Revolutiion. Milton Keynes: Open UP, 1980. Oles, Brian Thomas. “Silence and the Ineffable in Nabokov’s Invitation to a Beheading.” Nabokov Studies 2 (1995): 191–212. Ovid. “The Art of Love.” The Erotic Poems. Trans. Peter Green. London: Penguin, 1982. 166–238. O’Donoghue, Bernard. The Courtly Love Tradition. Manchester: Manchester UP, 1982. Papanicolaou, Andrew W. and Pete A.Y. Gunter, eds. Bergson and Modern Thought: Towards a Unified Science. Chur, Switzerland: Harwood, 1987. Paperno, Irina. “How Nabokov’s Gift Is Made.” Stanford Slavic Studies 4.2 (1992): 295–322. Parker, Stephen Jan. “Nabokov Studies: The State of the Art Revisited.” Nabokov at Cornell. Ed. Gavriel Shapiro. Ithaca: Cornell UP, 2003. 265–75. ———. Understanding Vladimir Nabokov. Columbia: U of South Carolina P, 1987. Pekka, Tammi. “Pale Fire.” The Garland Companion to Vladimir Nabokov. Ed. Vladimir Alexandrov. New York: Garland, 1995. 571–86. Pereira, Frederico, ed. Literature and Psychoanalysis: Proceedings of the Eighth International Conference on Literature and Psychoanalysis, London, July 1991. Lisbon: Instituto Superior de Psicologia Aplicada, 1991. Peterson, Ronald E. A History of Russian Symbolism. Linguistic and Literary Studies in Eastern Europe 29. Amsterdam: John Benjamins, 1993. Pifer, Ellen. “Consciousness, Real Life, and Fairy-Tale Freedom: King, Queen, Knave.” Vladimir Nabokov. Ed. Harold Bloom. Modern Critical Views. New York: Chelsea House, 1987. 65–81. ———. Nabokov and the Novel. Cambridge, MA: Harvard UP, 1980. Pike, Christopher, ed. The Futurists, the Formalists and the Marxist Critique. Trans. Christopher Pike and Joe Andrew. London: Ink Links, 1979. Pipes, Richard, ed. The Russian Intelligentsia. New York: Columbia UP, 1961. Select Bibliography 193 Poe, Edgar Allan. “Annabel Lee.” Selected Writings of Edgar Allan Poe; Poems, Tales, Essays and Reviews. Ed. David Galloway. Harmondsworth: Penguin, 1967. 89–90. ———. “William Wilson.” Selected Writings of Edgar Allan Poe; Poems, Tales, Essays and Reviews. Ed. David Galloway. Harmondsworth: Penguin, 1967. 158–78. Pomorska, Krystyna. “Russian Formalism in Retrospect.” Readings in Russian Poetics: Formalist and Structuralist Views. Ed. Ladislav Matejka and Krystyna Pomorska. Cambridge, MA: M.I.T., 1971. 273–83. ———. Russian Formalist Theory and Its Poetic Ambiance. Ed. C.H. Schooneveld. The Hague: Mouton, 1968. Pope, Alexander. “An Essay on Man.” Collected Poems. Ed. Dobrée Bonamy. London: Dent, 1978. 181–215. Power, Mick. “Freud and the Unconscious.” The Psychologist 13.12 (December 2000): 612–14. Propp, Vladimir. “Fairy Tale Transformations.” Readings in Russian Poetics: Formalist and Structuralist Views. Ed. Ladislav Matejka and Krystyna Pomorska. Cambridge, MA: M.I.T., 1971. 94–114. Pushkin, Alexander. Eugene Onegin. Trans. Charles Johnston. London: Penguin, 1979. Quennell, Peter, ed. Vladimir Nabokov: A Tribute. London: Weidenfeld, 1979. Quinn, Terry. “Dear Bunny, Dear Volodya: The Friendship and the Feud.” The Paris Review 157 (Winter 2000/2001): 175–217. Rampton, David. “Lolita.” Vladimir Nabokov’s Lolita. Ed. Harold Bloom. New York: Chelsea House, 1987. 99–117. ———. Vladimir Nabokov. London: Macmillan, 1993. ———. Vladimir Nabokov: A Critical Study of the Novels. Cambridge: Cambridge UP, 1984. Rawson, Judy. “Italian Futurism.” Modernism: A Guide to European Literature 1890–1930. Ed. Malcolm Bradbury and James McFarlane. London: Penguin, 1991. 243–58. Rimbaud, Arthur. Complete Works, Selected Letters. Ed. and trans. Wallace Fowlie. Chicago: U of Chicago P, 1966. ———. “Letter to Paul Demeny.” May 15, 1871. Complete Works, Selected Letters. Ed. and trans. Wallace Fowlie. Chicago: U of Chicago P, 1966. 304–11. Robb, Graham. Rimbaud. London: Picador, 2000. Rorty, Richard. Contingency, Irony and Solidarity. Cambridge: Cambridge UP, 1989. Rosenberg, Karen. “The Concept of Originality in Formalist Theory.” Russian Formalism: A Retrospective Glance—A Festschrift in Honor of Victor Erlich. Ed. Robert Louis Jackson and Stephen Rudy. Yale Center for International and Area Studies, 1985. 162–72. Rosenfield, Claire. “Despair and the Lust for Immortality.” Nabokov: The Man and the Work. Ed. L.S. Dembo. Madison: U of Wisconsin P, 1967. 66–86. Rowe, W.W. Nabokov and Others: Patterns in Russian Literature. Ann Arbor: Ardis, 1979. ———. Nabokov’s Spectral Dimension. Ann Arbor: Ardis, 1981. Russell, Bertrand. The Autobiography of Bertrand Russell. London: Unwin, 1975. ———. History of Western Philosophy. London: Book Club, 1979. ———. The Problems of Philosophy. Oxford: Oxford UP, 1998. Schapiro, Leonard. Totalitarianism. London: Macmillan, 1972. Schiff, Stacy. “The Birth of Lolita.” Sunday Times July 4, 1999: 1–2. ———. Véra (Mrs. Vladimir Nabokov). London: Picador, 1999. ———. Vladimir Nabokov: A Reference Guide. Boston: G.K. Hall, 1979. Schwartz, Sanford. “Bergson and the Politics of Vitalism.” The Crisis in Modernism: Bergson and the Vitalist Controversy. Ed. Frederick Burwick and Paul Douglass. Cambridge: Cambridge UP, 1992. 277–305. Scott, Clive. “Symbolism, Decadence and Impressionism.” Modernism: A Guide to European Literature 1890–1930. Ed. Malcolm Bradbury and James McFarlane. London: Penguin, 1991. 206–27. 194 Select Bibliography Scott, Clive. Timon of Athens. Ed. J.C. Maxwell. Cambridge: Cambridge UP, 1968. Shapiro, Gavriel., ed. Nabokov at Cornell. Ithaca: Cornell UP, 2003. ———. “The Salome Motif in Nabokov’s Invitation to a Beheading.” Nabokov Studies 3 (1996): 101–22. Sharpe, Tony. Vladimir Nabokov. London: Arnold, 1991. Sheldon, Richard. “The Formalist Poetics of Viktor Shklovsky.” Russian Literature Triquarterly 2 (1972): 351–71. Sheldon, Richard. Introduction. Third Factory. By Viktor Shklovsky. Ed. and trans. Richard Sheldon. Ann Arbor: Ardis, 1977. vii–xxx. Sheldon, Richard. Introduction. Zoo, or Letters Not about Love. By Viktor Shklovsky. Ed. and trans. Richard Sheldon. Ithaca: Cornell UP, 1977. vii–xxv. Sherwood, Richard. “Viktor Shklovsky and the Development of Early Formalist Theory on Prose Literature.” Russian Formalism. Ed. Stephen Bann and John E. Bowlt. Edinburgh: Scottish Academic, 1973. 26–41. Shklovsky, Viktor. “Art as Device.” Theory of Prose. Trans. Benjamin Sher. Elmwood Park, IL: Dalkey Archive, 1991. 1–14. ———. In a Void. Letchworth: Prideaux, 1978. ———. Knight’s Move Normal: Dalkey Archive, 2005. ———. Lev Tolstoy. Trans. Olga Shartse. Moscow: Progress, 1978. ———. “A Monument to Scientific Error [Pamiatnik Nauchnoi Oshibke].” Literaturnaia Gazeta 14 ( January 27, 1930): 1[ no eng. trans.]. ———. “On the Connection between Devices of Syuzhet Construction and General Stylistic Devices.” Russian Formalism. Ed. Stephen Bann and John E. Bowlt. Edinburgh: Scottish Academic, 1973. 48–72. ———. “Parallels in Tolstoy.” Twentieth-Century Russian Literary Criticism. Ed. Victor Erlich. London: Yale UP, 1975. 81–85. ———. “Poetry and Prose in Cinematography.” Russian Formalism. Ed. Stephen Bann and John E. Bowlt. Edinburgh: Scottish Academic, 1973. 128–30. ———. “Pushkin and Sterne: Eugene Onegin.” Twentieth-Century Russian Literary Criticism. Ed. Victor Erlich. London: Yale UP, 1975. 63–80. ———. “The Resurrection of the Word.” Russian Formalism. Trans. Richard Sherwood. Ed. Stephen Bann and John E. Bowlt. Edinburgh: Scottish Academic, 1973. 41–47. ———. A Sentimental Journey: Memoirs 1917–1922. Trans. Richard Sheldon. Ithaca: Cornell UP, 1970. ———. Theory of Prose. Trans. Benjamin Sher. Elmwood Park, IL: Dalkey Archive, 1991. ———. Third Factory. Ed. and trans. Richard Sheldon. Ann Arbor: Ardis, 1977. ———. Zoo or Letters Not about Love. Ed. and trans. Richard Sheldon. Ithaca: Cornell UP, 1977. Shukman, Ann. Bakhtin School Papers. Russian Poetics in Translation 10. Oxford: Holdan, 1983. Shukman, Harold. The Russian Revolution. Stroud: Sutton, 1998. Shute, Jenefer. “Nabokov and Freud.” The Garland Companion to Vladimir Nabokov. Ed. Vladimir Alexandrov. New York: Garland, 1995. 412–20. ———. “Nabokov and Freud: The Play of Power.” Modern Fiction Studies 30.4 (Winter 1984): 637–50. Stead, C.K. The New Poetic: Yeats to Eliot. Philadelphia: U of Pennsylvania P, 1987. Stegner, Page. Escape into Aesthetics: The Art of Vladimir Nabokov. London: Eyre, 1966. Steiner, George. After Babel: Aspects of Language and Translation. London: Oxford UP, 1975. ———. “Extraterritorial.” Nabokov Criticism, Reminiscences, Translations and Tributes. Ed. Alfred Appel, Jr. and Charles Newman. Evanston: Northwestern UP, 1970. 119–35. Select Bibliography 195 ———. “The Hollow Miracle.” Language and Silence: Essays 1958–1966. Harmondsworth: Penguin, 1979. 136–51. ———. “K.” Language and Silence: Essays 1958–1966. Harmondsworth: Penguin, 1979. 160–68. ———. “Nabokov Was Miserable and Poor. Then His Wife Made Him Publish Lolita.” Observer August 1, 1999: 13. ———. “Remembering the Future.” Theology 93.756 (November/December 1990): 437–44. ———. “Untitled (On Pale Fire).” Nabokov: The Critical Heritage. Ed. Norman Page. London: Routledge, 1982. 140–41. ———. “The Writer and Communism.” Language and Silence: Essays 1958–1966. London: Faber, 1967. 307–15. Steiner, Peter. “The Praxis of Irony: Viktor Shklovsky’s Zoo.” Russian Formalism: A Retrospective Glance—A Festschrift in Honor of Victor Erlich. Ed. Robert Louis Jackson and Stephen Rudy. New Haven: Yale Center for International and Area Studies, 1985. 27–43. Storr, Anthony. Freud. Oxford: Oxford UP, 1996. ———. “Writers and Recurrent Depression.” Literature and Psychoanalysis: Proceedings of the Eighth International Conference on Literature and Psychoanalysis, London, July 1991. Ed. Pereira. Frederico. Lisbon: Instituto Superior de Psicologia Aplicada, 1991. 3–14. Striedter, Jurij. Literary Structure, Evolution and Value: Russian Formalism and Czech Structuralism Reconsidered. Cambridge, MA: Harvard UP, 1989. Sweeney, Susan Elizabeth. “Subject-Cases and Book-Cases: Impostures and Forgeries from Poe to Auster.” Detecting Texts: The Metaphysical Detective Story from Poe to Postmodernism. Ed. Patricia Merivale and Susan Elizabeth Sweeney. Philadelphia: U of Pennsylvania P, 1999. 247–69. Tamir-Ghez, Nomi. “Rhetorical Manipulation in Nabokov’s Lolita.” The Structural Analysis of Narrative Texts. Ed. Andrej Kodjak, Michael J. Connolly, and Krystyna Pomorska. Columbus: Slavica, 1980. 172–95. Tanner, Tony. The American Mystery. Cambridge: Cambridge UP, 2000. ———. “On Lexical Playfields.” City of Words; American Fiction 1950–1970. London: Cape, 1971. 33–49. ———. The Reign of Wonder: Naivety and Reality in American Literature. Cambridge: Cambridge UP, 1965. Toker, Leona. “Nabokov and Bergson.” The Garland Companion to Vladimir Nabokov. Ed. Vladimir Alexandrov. New York: Garland, 1995. 367–73. ———. “Nabokov and Bergson on Duration and Reflexivity.” Nabokov’s World Vol. 1: The Shape of Nabokov’s World. Ed. Jane Grayson, Arnold McMillin, and Priscilla Meyer. Basingstoke: Palgrave, 2002. 132–40. ———. Nabokov: The Mystery of Literary Structures. Ithaca: Cornell UP, 1989. ———. “Philosophers as Poets.” Russian Literature Triquarterly 24 (1990): 185–96. Tolstoy, Leo. “Kholstomer.” An Anthology of Russian Literature from Earliest Writings to Modern Fiction. Ed. Nicholas Rzhevsky. Armonk, NY: Sharpe, 1996. 368–99. Tomasevskij, Boris. “Literature and Biography.” Readings in Russian Poetics: Formalist and Structuralist Views. Ed. Ladislav Matejka and Krystyna Pomorska. Cambridge, MA: M.I.T., 1971. 47–55. Trilling, Lionel. “The Last Lover: Vladimir Nabokov’s Lolita.” Vladimir Nabokov’s Lolita. Ed. Harold Bloom. New York: Chelsea House, 1987. 5–11. ———. The Liberal Imagination. London: Secker, 1951. Trotsky, Leon. Literature and Revolution. London: Redwords, 1991. ———. “Majakovskij and Russian Futurism.” Twentieth-Century Russian Literary Criticism. Ed. Victor Erlich. London: Yale UP, 1975. 169–81. 196 Select Bibliography Tynyanov, Yuri. “The Meaning of the Word in Verse.” Readings in Russian Poetics: Formalist and Structuralist Views. Ed. Ladislav Matejka and Krystyna Pomorska. Cambridge, MA: M.I.T., 1971. 136–45. 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London: Chatto, 1994. ———. “Proust, Nabokov and Modern Time.” Nabokov’s World Vol. 2: Reading Nabokov. Ed. Jane Grayson, Arnold McMillin, and Priscilla Meyer. Basingstoke: Palgrave, 2002. 156–70. INDEX

advertising as metaphor, in Lolita, 108 Shklovsky and, 49–51, 109, 123, aestheticism, in art, 161 131–2, 151 Alexandrov, Vladimir, 10, 136 and tyranny, 150–1 “Alyagrov” see Jakobson, Roman automatization, principle of, 43–4, 45, American culture, in Lolita, 109–11 49–50, 53, 54, 65–6, 73–4, 76–7 Amis, Kingsley, 99 autonomy Amis, Martin, 45, 156, 161 and Formalism, 37 Andreas Capellanus, 105 idea of, 70 anti-Symbolism, in Bend Sinister, 153 in King, Queen, Knave, 131 see also Symbolism in Lolita, 105, 111, 112 Appel, Alfred, 102 in Pale Fire, 89, 96 art and Russian Formalism, 27 aestheticism in, 161 avant garde see Futurists classification of, 8 Nabokov and, 161–2 Baker, Nicholson, 41, 42, 82 purpose of, 44, 48 Bakhtin, Mikhail, 27, 44, 50–1 Symbolists’ and, 13–14 Barabtarlo, Gennady, 9–10 artistic sensibility, in King, Queen, Knave, Baudelaire, Charles, 12, 19, 20 128, 130 Bayley, John, 159 artists Bell, Michael, 161 Bergson’s and, 76 Bely, Andrey, 8, 27 Freud’s and, 69 Bergson, Henri autobiography, novel as, 119 and automatism, 3, 111, 132 automatism and delusion, 3 Bergson and, 3, 111, 132 and difficulty, 53–4 Nabokov and, 149, 150: Bend Sinister, and duration, 3, 57, 60, 70–5, 96, 114, 146, 147, 153; Despair, 121, 126; 119, 121–2, 130, 132–3 Invitation to a Beheading, 140–1; and dyadic personalities, 73, 119–20 King, Queen, Knave, 127–8, and free will, 73 131–2, 134–5; Lolita, 99, 110, and Freud, Sigmund, 69 111, 112–15, 158–9; Pale Fire, 89, and metaphor, 60 95–7 and Nabokov, Vladimir, 53–77, 125 198 Index Bergson, Henri—continued in Lolita, 99, 100, 101, 104, 115 and perception, 135 in Pale Fire, 83, 84, 87, 90, 93, 95 philosophy of, 55–8, 59 philosophy of, 71–3, 76–7 and reality, 72 Dennett, Daniel, 65 and Russian Formalism, 2, 7, 23, 53, 54 Dickens, Charles, 38, 39 and scientific knowledge, 59–64 difficulty, value of, 40, 53–4 and self, notion of, 86, 120 divided self see dyadic personalities and symbolic knowledge, 122 Don Quixote (Cervantes), 76–7, 159 and time, 70–1, 114, 122 doppelgangers, 118–23, 125, 126 works: Creative Evolution, 63, 72, 140; Dostoevsky, Feodor, 119 Creative Mind, The, 60–1, 76, 140; dyadic personalities Laughter, 68, 75–6, 76–7, 109, and Bergson, Henri, 73, 119–20 123, 125; Matter and Memory, 137; in Despair, 73, 117, 123 Time and Free Will, 73, 133, 137; in Pale Fire, 84, 86 Two Sources of Morality And Religion, 62 Eagleton, Terry, 51, 159 Berlin, Isaiah, 55 Ehrlich, Victor, 51 Blake, William, 118 Eichenbaum, Boris, 26, 29, 45 Blok, Alexander, 7, 18–19 Eliot, T.S., 161 Bolsheviks, VN and, 35–6 eroticism Booth, Wayne C., 108, 157 in Despair, 120 Boyd, Brian, 8–9, 23–4, 82, 84, 94, 123, in imagery, 40–1 155, 156 in Lolita, 100–1, 114 Bracher, Karl-Dietrich, 151 Essay on Man (Pope), 82, 90 Briggs, Anthony, 156 estrangement, theory of, 110, 144 Brik, Osip, 29, 49 Eugene Onegin (Pushkin), VN’s translation Brucke, Ernst, 67 of, 24, 41, 82–3 evolution see Darwinian evolutionary Canterbury Tales (Chaucer), 106–7 theory; literary evolution Capellanus, Andreas see Andreas Eysenck, Hans, 69 Capellanus Carter, John, 82 Fascism, and Bergsonism, 56 Chretien de Troyes, 105 Field, Andrew, 84, 87–8, 94 Classical Quarterly (periodical), 82 Formalism, Russian, 2, 23–51 Comte, Auguste, 8 in Lolita, 99, 109 Connolly, Julian, 119, 127–8, 136–7, 144 and materialism, 46–7 courtly tradition, and Lolita, 104–7 in Pale Fire, 90, 92 Curtis, James, 53–4 Formalists, Russian, 34 and Futurists, 28, 29, 31 Darwinian evolutionary theory, 63–6 and Symbolists, 26–7 Davydov, Sergey, 118–19, 137 Forster, E.M., 160 definitive reality, in Pale Fire, 83, 85 free will, 72 delusion Freud, Sigmund, 66–70, 118 in Bend Sinister, 146, 147 Frost, Robert, 93 in Despair, 120–1, 123–4, 125 Futurists, Russian, 27–9, 31, 33–4 Index 199 Go To Hell! (manifesto), 28 literary influence, 1 Gogol, Nikolai, 37, 45, 76, 130 literary language, 44 Goldin, Frederick, 105–6 literature Grabes, Herbert, 84, 94 and reality, 31–2 Green, Martin, 157 Russian emigré, 34 Grossmith, Robert, 9 Lodge, David, 32, 33, 84 Lowenthal, Leo, 150–1 homosexuality, 87–8 Housman, A.E., 82 McEwan, Ian, 158 Hulme, T.E., 28 Mallarmé, Stéphane, 10–11, 13–14 Hyde, G.M., 94, 128 Mandelstam, Osip, 37 Marcuse, Herbert, 56 imagery Marinetti, Filippo Tommaso, 56 in Bend Sinister, 147–8 Marxism, 35 erotic, 40–1 material world, in Invitation to a Beheading, influence studies, 1 137, 138, 139–40, 142, 143 intellect, operation of, 72 materialism intertextuality, 1 and Formalism, 46–7 irony in Lolita, 108, 110 in Lolita, 106, 112, 114 Mayakovsky, Vladimir, 28 in Pale Fire, 94 memory, 57, 74–5 Merkel, Stephanie, 128 Jakobson, Roman, 15, 26, 29, 31, 32–3 Merleau-Ponty, Maurice, 159 James, Clive, 41 metaphors, 14, 32, 33, 34, 60 James, William, 56 in Lolita, 103, 105 Johnson, D. Barton, 8, 83–4, 136 Meyer, Priscilla, 8, 119 Modernism, 55 Kermode, Frank, 146 Moscow Linguistic Circle, 29 Khlebnikov, Velimir, 28, 29 Khodasevich, Vladislav, 37 Nabokov, Dmitri (VN’s son), 35, 146 Knight, G. Wilson, 160 Nabokov, Elena Ivanovna (VN’s Kristeva, Julia, 1 mother), 19, 20 Kruchenykh, Alexander, 28 Nabokov, Sergey (VN’s brother), 87 Nabokov, Vera (VN’s wife), 10 language Nabokov, Vladimir in Bend Sinister, 151, 152, 153 as anti-Symbolist, 2, 3, 7–22 in King, Queen, Knave, 134–5 and art, 161–2 literary, 44 and automatism, 149, 150 poetic, 43 and Bergson, Henri, 53–77, 125, and terror, 151–2 137 trans-rational, 28, 29 biographies, 25 Lewis, Wyndham, 56 and Bleak House (Dickens), 38, 39 literary discourse, 30 and chess, 25 literary evolution, 39 Cornell lectures, 23 literary form, 27 critical studies of, 8–9 200 Index Nabokov, Vladimir—continued and time, 71 and Darwinian evolutionary theory, and totalitarianism, 153–4 63, 64–5, 66 as transcendentalist, 8 and delusion, 3, 118, 155–62 and Wilson, Edmund, 35, 41 and Eugene Onegin, translation, 24, 41, works: Ada, 71; Bad Day, A, 46; Bend 82–3 Sinister, 80, 127, 145–54, 162; as exile, 34 Defence, The, 25, 80; Despair, 73, and Freud, Sigmund, 66–70 74, 80, 117–26, 128; Enchanter, and Futurists, 35 The, 80; Eugene Onegin, VN’s and ‘genius’, 47 translation of, 24, 41, 82–3; Gift, and gnosticism, 9, 137 The, 24–5, 80; Invitation to a and Gogol, Nikolai, 45, 76, 107, 130 Beheading, 9, 80, 127, 135–45, and hallucinations, 20 147, 162; King, Queen, Knave, 59, and homosexuality, 87–8 74, 80, 127–35, 147; Laughter in as hyper-realist, 34 the Dark, 80; Lectures on Don as individualist, 69 Quixote, 39; Lectures on Literature, and language, 10–11, 15, 134–5, 151 38; Lectures on Russian Literature, life, 1–2 14, 39, 45, 48, 76; Lolita, 8, 41, and literary form, 24 74, 80, 99–115, 128, 131, 147, and materialism, 46–7, 66, 109 157, 158–9, 161; Look at the and memory, 75 Harlequins!, 41, 80; Notes on as metaphysical writer, 9, 10, 136–7 Prosody, 106; Pale Fire, 8, 80, and morality, 159–60 81–97, 111, 123, 131, 147, 156; and mysticism, 57 Poems and Problems, 16, 25; use of narrators, 144 poetry, 8, 16–19, 156; Real Life of novels, 9, 10, 32, 58–9; see also under Sebastian Knight, 80, 119; Rowe’s works Symbols, 15, 138; Speak, Memory, and paranormal, 19 9, 11, 19, 49, 57, 88, 141; Strong personality, 12–13 Opinions, 15, 18, 35, 40, 53, 60, and philosophy, 56, 57 65, 76 and politics, 35–6, 150 Nabokov Studies, 9 relationship with son, 35, 146 Nabokov’s World, 8 and religion, 9–10, 62 NABOKV-L (website), 9 and Russian Formalism, 11, 23–51 narrative, in Pale Fire, 85–6 and satire, 102 novels, as autobiography, 119 and science, 59–62 and Shklovsky, Viktor, 35, 37–40, Opoyaz (St Petersburg Society for 43–6, 49, 125, 137, 151 the Study of Poetic Language), and Solzhenitsyn, Alexander, 146 29, 31 and spiritualism, 8–9 Ovid, 115 and style, 41, 46, 101 and Symbolism, 7, 60, 108, 133, Paperno, Irina, 25 142, 144 Pifer, Ellen, 25 and synaesthesia, 19, 20 Poe, Edgar Allen, 104, 119 as teacher, 11, 24 poetic language, 43 Index 201 poetry, essence of, 43 see also courtly and Symbolism, 122 tradition and totalitarianism, 151 poets, 27–9 works: Art as Device, 27, 29, 31, 37, Pope, Alexander, 82, 90 40–1, 43, 44, 123, 144; Knight’s Potebnya, Alexander, 43 Move, 25, 35; Resurrection of the Proust, Marcel, 57 Word, 27; Sentimental Journey, 35, psychoanalysis, 70 see also Freud, 39; Theory of Prose, 38; Third Sigmund Factory, The, 36, 47; Zoo, Or Pushkin, Alexander see Eugene Onegin: Letters Not About Love, 35, 36 VN’s translation of Shulgin, Valentina, 141 Slap in the Face for Public Taste, A Rampton, David, 86–7, 150, 157 (manifesto), 28 reality Solzhenitsyn, Alexander, 146 in Bend Sinister, 147 Soviet Russia, Nabokov and, 146 definitive, 85 Spencer, Herbert, 56 in King, Queen, Knave, 130 St Petersburg Society for the Study of and nature of perception, 135 Poetic Language see Opoyaz Rimbaud, Arthur, 7, 12 Steiner, George, 150, 151–2 Rorty, Richard, 161 Structuralism, and Formalism, 47 Rosenberg, Karen, 39 symbolic knowledge, in Despair, Rowe, W.W., 9, 15, 155 122 Rukavishnikov, Vasily Ivanovich Symbolism, 7–22 (VN’s uncle), 87–8 in Despair, 122–3 Russell, Bertrand, 55–6 in Invitation to a Beheading, 138 Russia see Soviet Russia in Lolita, 99, 102–3, 104, 106, Russian emigré literature, 34 107–9 in Pale Fire, 90, 92 satire, in Lolita, 102 and totalitarianism, 153–4 Saussure, Ferdinand de, 30, 31–2 see also anti-Symbolism self-portraits see autobiography, novel as Symbolists, compared with Russian Shakespeare, William, 83, 152–3 Formalists, 26–7 Shapiro, Gavriel, 137 Sharpe, Tony, 157 Taine, Hippolyte Adolphe, 8 Shklovsky, Viktor, 2, 3, 7, 11–12, 23, 29 Tamara (VN’s girlfriend) see Shulgin, and automatism, 49–51, 109, 123, Valentina 131–2, 151 Tamir-Ghez, Nomi, 102 and estrangement, theory of, 110, Tanner, Tony, 156, 157 144 teleology, 63 as exile, 34–7 texts, influence studies, 1 and language, 151 time and literary evolution, 39 Bergson and, 70–1, 114, 122 and Dickens, Charles, 38 in Despair, 122 and Nabokov, Vladimir, 35, 37–40, Tolstoy, Leo, 40 43–6, 49, 125, 137, 151 totalitarianism, 151, 153–4 and perception, 91, 135 trans-rational language see “zaum” 202 Index Trilling, Lionel, 104, 157–8, 159, 161 Verlaine, Paul, 12 Troyes, Chretien de see Chretien de Vinokur, Grigory, 29 Troyes Whitehead, Alfred North, 20–2, 153 UncleVasily see Rukavishnikov, Vasily Wilson, Edmund, 35, 41 Ivanovich (VN’s uncle) Wood, Michael, 150, 157 Union of Russian Writers and Journalists (Berlin), 35 “zaum” (trans-rational language), 28, 29 Updike, John, 157 Zenzinov, Vladimir, 36