As previously posted:
‘Therein lies the central tension of Speak, Memory. Its prose is meticulous, suggesting memory as an exercise in exacting dictation from an omniscient oracle, yet its message points to memory as mutable, prone to the passage of time and the vagaries of imagination’
I merely enjoy good writing.
“Nabokov in America” is rewarding on all counts, as biography, as photo album (there are many pictures of people, Western landscapes and motels) and as appreciative criticism. Not least, Roper even avoids the arch style so often adopted by critics faintly trying to emulate their inimitable subject.’
What’s more American than an exiled member of the Russian aristocracy intimately making his way into the English language and peering out from a thousand Motor Lodges?
As previously posted an interview with Nabokov at The Paris Review.
A little bit about politics and also the politics amidst fellow writers and critics:
‘…when in doubt, I always follow the simple method of choosing that line of conduct which may be the most displeasing to the Reds and the Russells.’
‘Who’s in, who’s out, and where are the snows of yesteryear. All very amusing. I am a little sorry to be left out. Nobody can decide if I am a middle-aged American writer or an old Russian writer—or an ageless international freak.’
On his professional collection of butterflies:
‘The pleasures and rewards of literary inspiration are nothing beside the rapture of discovering a new organ under the microscope or an undescribed species on a mountainside in Iran or Peru. It is not improbable that had there been no revolution in Russia, I would have devoted myself entirely to lepidopterology and never written any novels at all.’
Via Youtube: An interviewer, Nabokov and Lionel Trilling discuss ‘Lolita:’