Vladimir Nabokov, in full Vladimir Vladimirovich Nabokov, (born April 22, 1899, St. Petersburg, Russia—died July 2, 1977, Montreux, Switzerland), Russian-born American novelist and critic, the foremost of the post-1917 émigré authors. He wrote in both Russian and English, and his best works, including Lolita (1955), feature stylish, intricate literary effects.
Nabokov was born into an old aristocratic family. His father, V.D. Nabokov, was a leader of the pre-Revolutionary liberal Constitutional Democratic Party (Kadets) in Russia and was the author of numerous books and articles on criminal law and politics, among them The Provisional Government (1922), which was one of the primary sources on the downfall of the Kerensky regime. In 1922, after the family had settled in Berlin, the elder Nabokov was assassinated by a reactionary rightist while shielding another man at a public meeting; although his novelist son disclaimed any influence of this event upon his art, the theme of assassination by mistake has figured prominently in Nabokov’s novels. Nabokov’s enormous affection for his father and for the milieu in which he was raised is evident in his autobiographySpeak, Memory (revised version, 1967).
Nabokov published two collections of verse, Poems (1916) and Two Paths (1918), before leaving Russia in 1919. He and his family made their way to England, and he attended Trinity College, Cambridge, on a scholarship provided for the sons of prominent Russians in exile. While at Cambridge he first studied zoology but soon switched to French and Russian literature; he graduated with first-class honours in 1922 and subsequently wrote that his almost effortless attainment of this degree was “one of the very few ‘utilitarian’ sins on my conscience.” While still in England he continued to write poetry, mainly in Russian but also in English, and two collections of his Russian poetry, The Cluster and The Empyrean Path, appeared in 1923. In Nabokov’s mature opinion, these poems were “polished and sterile.”
Between 1922 and 1940 Nabokov lived in Germany and France, and, while continuing to write poetry, he experimented with drama and even collaborated on several unproduced motion-picture scenarios. A five-act play written 1923–24, Tragediya gospodina Morna (The Tragedy of Mr. Morn), was published posthumously, first in 1997 in a Russian literary journal and then in 2008 as a stand-alone volume. By 1925 he settled upon prose as his main genre. His first short story had already been published in Berlin in 1924. His first novel, Mashenka (Mary), appeared in 1926; it was avowedly autobiographical and contains descriptions of the young Nabokov’s first serious romance as well as of the Nabokov family estate, both of which are also described in Speak, Memory. Nabokov did not again draw so heavily upon his personal experience as he had in Mashenka until his episodic novel about an émigré professor of Russian in the United States, Pnin (1957), which is to some extent based on his experiences while teaching (1948–58) Russian and European literature at Cornell University, Ithaca, New York.
His second novel, King, Queen, Knave, which appeared in 1928, marked his turn to a highly stylized form that characterized his art thereafter. His chess novel, The Defense, followed two years later and won him recognition as the best of the younger Russian émigré writers. In the next five years he produced four novels and a novella. Of these, Despair and Invitation to a Beheading were his first works of importance and foreshadowed his later fame.
During his years of European emigration, Nabokov lived in a state of happy and continual semipenury. All his Russian novels were published in very small editions in Berlin and Paris. His first two novels had German translations, and the money he obtained for them he used for butterfly-hunting expeditions (he eventually published 18 scientific papers on entomology). But until his best sellerLolita, no book he wrote in Russian or English produced more than a few hundred dollars. During the period in which he wrote his first eight novels, he made his living in Berlin and later in Paris by giving lessons in tennis, Russian, and English and from occasional walk-on parts in films (now forgotten). His wife, the former Véra Evseyevna Slonim, whom he married in 1925, worked as a translator. From the time of the loss of his home in Russia, Nabokov’s only attachment was to what he termed the “unreal estate” of memory and art. He never purchased a house, preferring instead to live in houses rented from other professors on sabbatical leave. Even after great wealth came to him with the success of Lolita and the subsequent interest in his previous work, Nabokov and his family (he and his wife had one son, Dmitri) chose to live (from 1959) in genteelly shabby quarters in a Swiss hotel.
The subject matter of Nabokov’s novels is principally the problem of art itself presented in various figurative disguises. Thus, The Defense seemingly is about chess, Despair about murder, and Invitation to a Beheading a political story, but all three works make statements about art that are central to understanding the book as a whole. The same may be said of his plays, Sobytiye (“The Event”), published in 1938, and The Waltz Invention. The problem of art again appears in Nabokov’s best novel in Russian, The Gift, the story of a young artist’s development in the spectral world of post-World War I Berlin. This novel, with its reliance on literary parody, was a turning point: serious use of parody thereafter became a key device in Nabokov’s art. His first novels in English, The Real Life of Sebastian Knight (1941) and Bend Sinister (1947), do not rank with his best Russian work. Pale Fire (1962), however, a novel consisting of a long poem and a commentary on it by a mad literary pedant, extends and completes Nabokov’s mastery of unorthodox structure, first shown in The Gift and present also in Solus Rex, a Russian novel that began to appear serially in 1940 but was never completed. Lolita (1955), with its antihero, Humbert Humbert, who is possessed by an overpowering desire for very young girls, is yet another of Nabokov’s subtle allegories: love examined in the light of its seeming opposite, lechery. Ada (1969), Nabokov’s 17th and longest novel, is a parody of the family chronicle form. All his earlier themes come into play in the novel, and, because the work is a medley of Russian, French, and English, it is his most difficult work. (He also wrote a number of short stories and novellas, mostly written in Russian and translated into English.)
Nabokov’s major critical works are an irreverent book about Nikolay Gogol (1944) and a monumental four-volume translation of, and commentary on, Pushkin’s Eugene Onegin (1964). What he called the “present, final version” of the autobiographical Speak, Memory, concerning his European years, was published in 1967, after which he began work on a sequel, Speak On, Memory, concerning the American years.
As Nabokov’s reputation grew in the 1930s so did the ferocity of the attacks made upon him. His idiosyncratic, somewhat aloof style and unusual novelistic concerns were interpreted as snobbery by his detractors—although his best Russian critic, Vladislav Khodasevich, insisted that Nabokov’s aristocratic view was appropriate to his subject matters: problems of art masked by allegory.
Nabokov’s reputation varies greatly from country to country. Until 1986 he was not published in the Soviet Union, not only because he was a “White Russian émigré” (he became a U.S. citizen in 1945) but also because he practiced “literary snobbism.” Critics of strong social convictions in the West also generally hold him in low esteem. But within the intellectual émigré community in Paris and Berlin between 1919 and 1939, V. Sirin (the literary pseudonym used by Nabokov in those years) was credited with being “on a level with the most significant artists in contemporary European literature and occupying a place held by no one else in Russian literature.” His reputation after 1940, when he changed from Russian to English after emigrating to the United States, mounted steadily until the 1970s, when he was acclaimed by a leading literary critic as “king over that battered mass society called contemporary fiction.”
When Nabokov died in 1977, he left behind a stack of index cards filled with the text of what was to become his final novel, The Original of Laura. On his deathbed, he instructed his wife, Véra, to burn the unfinished work. She instead placed it in a Swiss bank vault, where it remained the object of much speculation for three decades. With Véra’s death in 1991, responsibility for the final work fell to the Nabokovs’ son, Dmitri. In 2008 he announced his decision to allow its publication. The Original of Laura, which the younger Nabokov referred to as “the most concentrated distillation” of his father’s creativity, was released in 2009. Though it proved to be in a highly incomplete state, the text was nevertheless marked by Nabokov’s celebrated facility with allusion and wordplay. The story revolves around an obese intellectual, Philip, and his young, wild wife, Flora, who is the seeming subject of a scandalous novel written by one of her former lovers. The work also offers a view of Nabokov’s final writings on the theme of mortality, as Philip courts his own end via an act of “auto-dissolution,” a kind of willed erasure.
A collection of Nabokov’s missives to his wife was published as Letters to Véra (2015).
Vladimir Nabokov, A Bibliography of Criticism
by Dieter E. Zimmer
with additions by Jeff Edmunds
MacGowan, Christopher. "Kubrick's Lolita: One of 'Those Foreign Films'?" In Schwartz, Joel (introd.), Proceedings of the Conference on Film and American Culture (Roy R. Charles Center, College of William and Mary, 1994), pp. 74-79.
Machu, Didier. "Arrêt sur l'image: le tombeau de Lolita." Q/W/E/R/T/Y, 5 (Oct. 1995), pp. 333- 342.
Machu, Dider. Lolita, ou le tyran confondu: lecture de Vladimir Nabokov. Lyon: Presses universitaires de Lyon, 2010. ISBN 9782729708313.
Machu, Didier. "Apollo and Dionysus in Lolita," English version of a chapter from Lolita, ou le tyran confondu. Zembla, 3/14/12.
MacNeely, Trevor. "Lo and Behold: Solving the Lolita Riddle." Studies in the Novel, 21 (2), 1989, p. 182.
Maddox, Lucy. "Necrophilia in Lolita." The Centennial Review (East Lansing, MI), Fall 1982, 26:4, pp. 361-374.
Maddox, Lucy. "Necrophilia in Lolita." In Harold Bloom ed., Lolita (New York: Chelsea House, 1993), pp. 79-89.
Marko, Kurt. "Lolita doziert: Vladimir Nabokov als Kunstrichter, eine Hommage aus Anlass des zehnten Todestages." Österreichische Osthefte (ISSN 0029-9375), 29 (2), 1987, p. 223.
Maruyama Michiyo. "Narrative Strategy and Its Failure in a Dramatized Confession: On the Former Section of Nabokov's Lolita." Amerkia Bungaku Kenkyuu / Studies in American Literature (Tokyo), no. 25 (1988), pp. 119-35.
Masinton, Charles G. "What Lolita Is Really About?" New Mexico Humanities Review (Socorro, NM), 1989, 31, pp. 71-76.
Mason, Bruce. "Mr. Pim." The Vladimir Nabokov Research Newsletter, Spring 1981, 6, pp. 31-32. [Refers to A. A. Milne's Mr. Pim Passes By.]
McGinn, C. "The Meaning and Morality of Lolita (Vladimir Nabokov's 'Campus Novel')." Philosophical Forum, 30:(1), March 1999, pp. 31-41.
McNeely, Trevor. "'Lo' and Behold: Solving the Lolita Riddle." In Harold Bloom ed., Lolita (New York: Chelsea House, 1993), pp. 134-148. [Also in Studies in the Novel (Denton, TX), Summer 1989, 21:2, pp. 182-199.]
Meyer, Priscilla. "Nabokov's Lolita and Pushkin's Onegin: McAdam, McEve, and McFate." In Gibian, George and Stephen Jan Parker (eds.), The Achievements of Vladimir Nabokov (Ithaca: Center for International Studies, Committee on Soviet Studies, Cornell University, 1984), pp. 179-211.
Montandon, Alain. "L'Unique et sa recollection: Lolita." Q/W/E/R/T/Y, 5 (Oct. 1995), pp. 343-348.
Mooney, Susan. The Artistic Censoring of Sexuality: Fantasy and Judgment in the Twentieth-Century Novel. Columbus: Ohio State UP, 2008. Preview available at the publisher's website.
Morgan, Paul Bennett. "Nabokov and Dante: The Use of La Vita Nuova in Lolita." Delta: Revue du Centre d'Etudes et de Recherche sur les Ecrivains du Sud aux Etats-Unis (Montpellier, France), Oct. 1983, 17, pp. 53-59.
Mösch, Stephan. "Feuer Meiner Lenden: 'Lolita' von Rodion Schtschedrin für die Opernbühne entdeckt und in Stockholm uraufgeführt." Opernwelt (ISSN 0030-3690), Febr. 1995, p. 22-23.
Nakhimovsky, Alexander D. and Paperno, S. An English-Russian Dictionary of Nabokov's Lolita. Ann Arbor: Ardis, 1982.
Novak, Frank G. Jr. "Ambiguity and Incest: An Allusion to Melville in Nabokov's Lolita." Notes on Contemporary Literature 11, no. 5 (Nov. 1981), p. 10.
O'Connor, Katherine Tiernan. "Rereading Lolita, Reconsidering Nabokov's Relationship with Dostoevskij." Slavic and East European Journal (Tucson, AZ), Spring 1989, 33:1, pp. 64-77.
Olsen, Lance: "A Janus-Text: Realism, Fantasy, and Nabokov's Lolita". Modern Fiction Studies (Purdue, IN), 32 (1), 1986, pp. 115-126
Olsen, Lance: Lolita: A Janus Text. New York: Twayne, 1995.
Packman, David: "'Lolita': Detection and Desire". In: David Packman: Vladimir Nabokov: The Structure of Literary Desire. Columbia, MO: University of Missouri Press, 1982, pp. 23-67
Parker, Dorothy: "Sex Without the Asterisks". Esquire (Chicago, IL), 50 (4), October 1958, pp. 102-103
Pellerdi, Marta: "Aestheticism and Decadence in Nabokov's
Lolita." The AnaChronisT. Budapest: Dept. of English Studies,
School of English and American Studies, ELTE, 1999, pp. 201-212.
Petersen, Mark. "The Vision of America in Lolita." Meiji Daigaku Kyouyou Ronshuu / The Bulletin of Arts and Sciences (Tokyo: Meiji University), no. 206 (March 1988), pp. 147-55.
Phelan, James, "Estranging Unreliability, Bonding Unreliability, and the Ethics of Lolita," in Elke D'hoker & Gunther Martens (eds.), Narrative Unreliability in the Twentieth-Century First-Person Novel, Narratologia vol. 14. Berlin/New York: Walter de Gruyter, 2008, pp. 7-28.
Pier, John, "Narrative Configurations," in John Pier (ed.), The Dynamics of Narrative Form: Studies in Anglo-American Narratology. Narratologia vol. 4. Berlin/New York: Walter de Gruyter, 2004, pp. 239-268 (253-264 contains an analysis of Lolita).
Pifer, Ellen: "Lolita". In: The Garland Companion to Vladimir Nabokov (ed. Vladimir E. Alexandrov), New York: Garland, 1995, pp. 305-321
Pifer, Ellen. "Birds of a Different Feather: Nabokov's Lolita and Kosinski's Boy." Cycnos, v. 12, no. 2, 1995, pp. 165-171.
Pifer, Ellen. "Lolita and Her Kin." Q/W/E/R/T/Y, 5 (Oct. 1995), pp. 349-358.
Pinnells, James R. "The Speech Ritual as an Element of Structure in Nabokov's Lolita." Dalhousie Review [Halifax, Nova Scotia] 60, no. 4 (1980), pp. 605-621.
Pope, Robert. "Beginnings." The Georgia Review (Athens, GA), Winter 1982, 36:4, pp. 733-751. [Compares the narrative beginnings of Lolita, Flannery O'Connor's The Violent Bear It Away, Jorge Luis Borges' "Las ruinas circulares," and Gabriel Garcia Marquez' One Hundred Years of Solitude.]
Prescott, Orville: "Books of The Times". New York Times (New York), August 18, 1958, pp. 17
Proffer, Carl R.: Keys to Lolita. Bloomington, IN: Indiana University Press, 1968
Proffer, Carl R. "Nabokov's Russian Lolita." In Kenneth N. Brostrom ed., Russian Literature and American Critics: In Honor of Deming B. Brown (Ann Arbor: University of Michigan, 1984), pp. 249-263. (Papers in Slavic Philology 4)
Pultorak, Jake. "Goethe in Humberland." The Nabokovian, Spring 1993, 30, pp. 49-53.
Quinn, Brian T. "The Occurence [sic] of French Idiomatic Phrases in Nabokov's Lolita." Eigo-Eibungaku Ransou / Studies in English Language and Literature (Fukuoka: Kyushu University), no. 39 (February 1989), pp. 85-111.
Raguet-Bouvart, Christine. Lolita: un royaume au-delà des mers. Bordeaux, France: Presses universitaires de Bordeaux, 1996.
Raguet-Bouvart, Christine. "That Intangible Island of Entranced Time: Vladimir Nabokov's Lolita." In Wurst, Gayle and Christine Raguet-Bouvart (eds.), Sounding the Depths: Water as Metaphor in North American Literatures (Liège, Belgium: Liège Language and Literature, English Dept., Université Liège, 1998).
Rambeau, James M. "Nabokov's Critical Strategy." In Rivers, Julius Edwin and Charles Nicol (eds.), Nabokov's Fifth Arc: Nabokov and Others on His Life's Work (Austin: University of Texas Press, 1982), pp. 22-34.
Rampton, David: "Lolita". In: David Rampton: Vladimir Nabokov: A Critical Study of the Novels. Cambridge: Cambridge University Press, 1984. Also in: Modern Critical Views: Vladimir Nabokov (ed. Harold Bloom). New York: Chelsea House, 1987, pp. 99-113
Reichel, Norbert. "Klaustrophilie: Das Experiment mit dem engen Raum oder zur poetischen Integration sozialer Raume." In Bauer, Roger et al. (eds.), Space and Boundaries in Literature: Proceedings of the XIIth Congress of the International Comparative Literature Association (Munich; Iudicium, 1990), pp. 208-213.
Rezzori, Gregor von. Ein Fremder in Lolitaland: ein Essay = A stranger in Lolitaland : an essay. Hildesheim: Claassen, 1993. [First published in English in the periodical Vanity Fair, then in Best American Essays, 1987.]
Robbe-Grillet, Alain: "La notion d'itinéraire dans Lolita". L'Arc (Aix-en- Provence), 7 (24), Printemps 1964 (reprinted 1986 as no. 99), pp. 37-38
Rorty, Richard. "The Barber of Kasbeam: Nabokov on Cruelty." In Lopate, Phillip (introd.), The Ordering Mirror: Readers and Contexts (New York: Fordham University Press, 1993), pp. 198- 220.
Rougemont, Denis de: "Nouvelles métamorphoses de Tristan". Preuves (Paris), 96, Février 1959, pp. 14-27. [Also in: Denis de Rougemont: Love Declared: Essays on the Myths of Love. New York: Pantheon Books, 1963, pp. 48- 54, 55-57.]
Rowe, W. W. "A Note on Nabokov's Unity." The Nabokovian, Fall 1984, 13, pp. 33- 35.
Schickel, Richard: "A Review of a Novel You Can't Buy". The Reporter (New York), 17, November 28, 1957, pp. 45-47
Schuman, Sam. "'Red Rocks' in Laughter in the Dark and Lolita." Notes on Contemporary Literature (Carrollton, GA), May 1988, 18:3, pp. 7-8.
Schuman, Sam. "On the Road to Canterbury, Liliput and Elphinstone-- The Rough Guide: Satiric Travel Narratives in Chaucer, Swift and Nabokov." Zembla, August 1996.
Shapiro, Gavriel. "Anagrams in Lolita." The Nabokovian, Fall 1991, 27, pp. 34-37.
Shapiro, Gavriel. "This 'Burley Krestovski'." The Nabokovian, Spring 1992, 28, pp. 53- 56.
Shapiro, Gavriel. "Lolita Class List." Cahiers du Monde russe 37 (1996): 317-35.
Shapiro, Marianne. From the Critic's Workbench: Essays in Literature and Semiotics. New York: Peter Lang, 2005. (Includes a chapter entitled "Notes on Nabokov's Lolita and Pnin.")
Shaw, Alan J. "Nabokov-McCrystal." The Nabokovian, Fall 1992, 29, p. 44.
Shute, Jenefer P. "'So Nakedly Dressed': The Text of the Female Body in Nabokov's Novels." Amerikastudien/American Studies (Mainz, Germany), 1985, 30:4, pp. 537-543.
Simonton, Margaret Dudley. From Solipsism to Dialogue: A Bakhtinian Approach to Nabokov's Lolita and Kharms's Starukha. Washington University, Ph.D., 1993.
Simpson, Louis: "Fiction Chronicle". Hudson Review (New York), 9 (2), Summer 1956, pp. 302-305
Sinclair, Marianne. Hollywood Lolitas: The Nymphet Syndrome in the Movies. New York: Henry Holt, 1988.
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Sweeney, S. E. "Io's Metamorphosis: A Classical Subtext for Lolita." Classical and Modern Literature (Terre Haute, IN), Winter 1986, 6:2, pp. 79-88.
Sweeney, Susan Elizabeth. "Executing Sentences in Lolita and the Law," in Punishment, Politics and Culture, Vol. 30 (2004), pp. 185-209. Reprinted in Zembla, 8/04.
Szeftel, Marc. "Lolita at Cornell." Cornell Alumni News (Nov. 1980), pp. 27-28.
Tammi, Pekka. Studies in the Style and Meaning of Vladimir Nabokov's Novel Lolita. Helsinki: Helsingin yliopiston monistuspalvelu, 1977. Ph.D. thesis, Helsingin yliopisto, 1976.
Tammi, Pekka. "Nabokov's Lolita." Explicator (Washington, DC), Summer 1981, 39:4, pp. 41-43.
Tammi, Pekka. "Nabokov's Lolita: The Turgenev Subtext." Notes on Modern American Literature 5, no. 2 (1981): Item 10.
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Trilling, Lionel: "The Last Lover: Vladimir Nabokov's 'Lolita'". Encounter (London), 11, 1958, p. 9-19. Also in: "Vladimir Nabokov's Lolita: Modern Critical Interpretations" (ed. Harold Bloom). New York: Chelsea House, 1987, pp. 5-12
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