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 mate- rial 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.