Word: nabokovs
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...Humbert's sad obsession with twelve-year-old Dolores Haze went off in the U.S. of the late '50s like a shot in church. At first, U.S. publishers were afraid to touch it. Vera was afraid Nabokov might lose his job at Cornell if they did. When it finally came out, reviewers, not yet used to such material in "serious literature," flew into rages of indignation and feigned boredom. New York Times Critic Orville Prescott, in particular, earned a gargoyle's niche in literary history by exclaiming, "Dull, dull, dull." But Lolita in due course was recognized as the masterpiece...
...first fruit of that freedom was Pale Fire. Spectacularly unread, it made no concessions to popular tastes while proving that a genius can write a brilliant novel consisting of a 999-line poem and scholarly comment on it. The book is a wintry, touching parable concerning two of Nabokov's persistent themes?the feeling of being unloved and the horror of willfully inflicted pain. Pale Fire elicited the high-water mark of Nabokov's critical acceptance. Perhaps the most perfect tribute came from Mary McCarthy, a critic rarely given to generosity or overstatemeat: this work, "half poem, half prose...
...Today, Nabokov is a distant and revered personage safe in Switzerland; his judgments and comments are no less candid than ever. Along with a great many writers (see box p. 82), the informal list of his jocular pet hates includes such things as: progressive education; "serious" writers; confessions in the Dostoevskian manner; book reviewers, most of whom, Nabokov contends, "move their lips when reading"; people who say "excuse me" when they belch. Clearly, in an age practiced in the smooth piety of mock humility and slackly trained to believe that sincerity is an excuse for nearly everything, the public Nabokov...
...views on what he regards as the two principal scourges of the century ?Communism and Freudianism?are staunch. Nabokov sees both as dreadful infringements upon creative freedom. "The social or economic structure of the ideal state is of little concern to me," he says. "My desires are modest. Portraits of the head of government should not exceed a postage stamp in size. No torture and no executions. No music, except coming through earphones or played in theaters...
...Nabokov's novels, prefaces and discourses drip with scathing references to Freud. His basic objection to Freudian theories is that they slight the creative imagination by putting it in a sexual straitjacket and by insisting that dreams and images are determined mechanistically. "I reject completely the vulgar, shabby, fundamentally medieval world of Freud," he writes, "with its crankish quest for sexual symbols (something like searching for Baconian acrostics in Shakespeare's works) and its bitter little embryos spying from their natural nooks upon the love life of their parents." Nabokov may yet get his wish to see Shakespeare in heaven...