Word: nabokovs
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...novelists." There are memorable figures, of course: Hawthorne's Hester Prynne, John O'Hara's Grace Caldwell Tate and Gloria Wandrous, Fitzgerald's Daisy Buchanan, Dreiser's Sister Carrie, Steinbeck's Ma Joad, Margaret Mitchell's Scarlett O'Hara, Nabokov's Lolita, Roth's Sophie Portnoy...
...status symbols had to have the editor explain to him why there are so few convertibles on the market. Girls are still called chicks, and the cartoons are often 1930s vintage-elderly lechers chasing gamboling nymphs around the old yacht. Playboy fiction often features the best names-Vladimir Nabokov, Graham Greene-though not too often their best work. Playboy interviews, alertly conducted with subjects worth talking to-Saul Alinsky, Charles Evers-are the magazine's quality product. But they seem to belong to another world: the real one. Playboy, alas, has become the voice of sexist Middle America...
Like the limerick, the pun may well be a folk-art form that defies condescension, scorn and contempt, and possess es the lust for survival of an amoeba. There will always be some, like that formidable adamant, Vladimir Nabokov, who believe that the pun is mightier than the word, that people who cannot play with words cannot properly work with them. "A man who could call a spade a spade," Oscar Wilde remarked, "should be compelled...
...Glory, Nabokov...
Glory is the painstaking work of a brilliant young writer who is still testing his skills, as Martin tests experience, "with different acids." Nabokov has mastered so many narrative techniques that one sometimes forgets that like most great novelists, he is usually telling the same story. It is no flaw that Glory resembles Speak, Memory as well as his first novel Mary, and even Ada. In it, as in all his work, he caresses his opulent memory and exalts it. This fresh and graceful book is pervaded by what, in an aside, Nabokov calls "a writer's covetousness...