The letters of the great writer to his wife—gathered here for the first time—chronicle a decades-long love story and document anew the creative energies of an artist who was always at work.
No marriage of a major twentieth-century writer is quite as beguiling as that of Vladimir Nabokov’s to Véra Slonim. She shared his delight in life’s trifles and literature’s treasures, and he rated her as having the best and quickest sense of humor of any woman he had met. From their first encounter in 1923, Vladimir’s letters to Véra form a narrative arc that tells a half-century-long love story, one that is playful, romantic, pithy and memorable. At the same time, the letters tell us much about the man and the writer. We see the infectious fascination with which Vladimir observed everything—animals, people, speech, the landscapes and cityscapes he encountered—and learn of the poems, plays, stories, novels, memoirs, screenplays and translations on which he worked ceaselessly. This delicious volume contains twenty-one photographs, as well as facsimiles of the letters themselves and the puzzles and doodles Vladimir often sent to Véra.
VLADIMIR NABOKOV studied French and Russian literature at Trinity College, Cambridge, then lived in Berlin and Paris, writing prolifically in Russian under the pseudonym Sirin. In 1940, he left France for America, where he wrote some of his greatest works, including Lolita (1955) and Pnin(1957), while also teaching at Wellesley, Harvard, and Cornell. After returning to Europe in 1959, he wrote Pale Fire (1962) and Ada (1969) and translated his earlier Russian novels, stories and poems into English. He died in Switzerland in 1977.
OLGA VORONINA was deputy director of the Nabokov Museum in St. Petersburg and was the Nabokov Estate representative in Russia before receiving a PhD in Slavic languages and literatures from Harvard University. She is now assistant professor of Russian and director of the Russian and Eurasian Studies Program at Bard College.
BRIAN BOYD, University Distinguished Professor of English, University of Auckland, wrote an MA thesis that Vladimir Nabokov called “brilliant” and a PhD thesis that Véra Nabokov thought the best thing written about her husband to date. His biography of Nabokov won awards on four continents; his criticism has been translated into eighteen languages. He has edited Nabokov's English-language novels, autobiography, butterfly writings, and translations from Russian poetry.
“洛丽塔,舌尖得由上颚向下移动三次,到第三次再轻轻贴在牙齿上,洛-丽-塔。”这个广为人知的开篇在许荣哲的《小说课》里被列为十大经典小说开头。而弗拉基米尔·纳博科夫本人则一定如此玩味过另一个名字:牙齿划过下唇,继之柔和的气息从齿间淌出嘴唇的弧度。那是他的“生命...
评分文/吴情 谈起俄裔美籍小说家弗拉基米尔•纳博科夫,读者群体可能抱着一种极为矛盾复杂的感情。一方面,喜欢他的人会为其文学才华所倾倒;另一方面,厌恶他的人可能将着眼点放在他对经典作家诸如陀思妥耶夫斯基的批评上。从在德国俄裔文艺群体中的得名到因为《洛丽塔》的爆红...
评分文/文小妖 《洛丽塔》的成功,让弗拉基米尔·纳博科夫迅速在世界文坛占据了一席之地。据悉,当时完成《洛丽塔》后,纳博科夫曾几次想要焚烧掉这本书稿,他的妻子薇拉抢回了书稿,并想尽办法让这本书得以出版。《洛丽塔》能出现在大众的视野,薇拉可谓是功不可没。 最近,读了弗...
评分文/栗一白 一 当薇拉第一次出现在纳博科夫面前时,出于矜持,她戴了一个花斑黑色面具。1923年5月8日,这是他们初次见面的纪念日。 相遇 被这奇特的接近吸引…… …… 也许仍然不知姓名的你 真的是那位被等待的人? …… 多久?永远?我向 远方徘徊,时刻聆听 我们相遇时夜空中...
评分文/吴情 谈起俄裔美籍小说家弗拉基米尔•纳博科夫,读者群体可能抱着一种极为矛盾复杂的感情。一方面,喜欢他的人会为其文学才华所倾倒;另一方面,厌恶他的人可能将着眼点放在他对经典作家诸如陀思妥耶夫斯基的批评上。从在德国俄裔文艺群体中的得名到因为《洛丽塔》的爆红...
从文学脉络来看,这本书无疑继承了某些古典文学的厚重感,同时又以极其现代的视角对传统母题进行了颠覆性的重构。它巧妙地在叙事中嵌入了大量的文化典故和哲学思辨,但这些元素的添加处理得非常自然,仿佛它们本就该出现在故事之中,而非生硬的堆砌。特别是书中关于“时间错位”的处理,它打破了我们对因果关系的固有认知,促使我们思考,在命运的洪流中,我们究竟是自由的,还是被既定的轨迹所牵引?不同角色的叙事声音风格迥异,有的声音如同低沉的大提琴般庄重,有的则像急促的短笛般尖锐,这种听觉上的差异感,极大地丰富了文本的层次感,让人在阅读时仿佛置身于一场精心编排的交响乐现场,感受着不同乐章之间巧妙的衔接与冲突。
评分坦率地说,这本书的门槛不低,它要求读者具备一定的耐心和对文学形式的敏感度。它不是那种能让你轻松消遣的读物,每一次翻页都像是进行一次深入的考古挖掘,试图从层层叠叠的文字之下,探寻出作者想要表达的那个核心真理。我欣赏作者的这份“不妥协”,他没有为了迎合大众口味而简化主题或稀释情感的浓度。相反,他将复杂的人性剖析得淋漓尽致,展现了人类情感中那些最矛盾、最难以言喻的部分。书中对于“失落”和“追寻”的探讨,尤其触动了我——那种明知不可为而为之的执着,那种在无望中寻找微小希望的韧性,读来令人心潮澎湃,甚至忍不住想要对书中的角色大喊出声,去提醒他们,或给予他们无声的支持。
评分这本书最令人称道的一点,是它对“环境”和“氛围”的营造达到了出神入化的地步。你几乎能闻到纸页上散发出的潮湿气息,感受到那种特定季节里特有的萧瑟或繁盛。作者笔下的场景,早已超越了单纯的背景设定,它们成为了角色心理活动的延伸和投射。例如,某处长期被遗忘的阁楼,其积满灰尘的窗户和斑驳的木地板,完美地映照出主人公内心深处对过去的抗拒与眷恋。这种将物理空间与内在情感深度融合的处理手法,使得阅读体验变得异常立体和沉浸。更妙的是,作者对于光影的运用极其老道,无论是清晨穿过百叶窗的几何光束,还是黄昏时分弥漫在空气中的橘红色微粒,都精准地烘托了当下情节的情感基调,使得阅读过程充满了视觉上的享受和心理上的暗示。
评分我必须承认,这本书的叙事结构极具挑战性,它不像传统小说那样线性推进,反而更像是一张由无数时间碎片和意识流交织而成的网。这种非线性的叙述方式,初看可能会让人感到迷失,需要集中全部注意力去捕捉那些潜藏的逻辑线索。然而,一旦你适应了这种节奏,那种被作者引导着在不同时空维度间穿梭的快感是无与伦比的。它迫使读者从被动的接受者转变为主动的构建者,去填补那些刻意留白的空白,去解读那些晦涩难懂的象征符号。文学技巧上,作者对语言的掌控达到了近乎苛刻的程度,每一个词汇的选择都像是经过了千锤百炼,既保持了诗意的张力,又不失叙事的精确性。读完后,我感觉自己不是“读完”了一本书,而是“经历”了一场精神上的洗礼,那些残留的片段在脑海中不断重组,形成了我自己独有的理解体系。
评分这本小说初读时,那种细腻入微的笔触简直让人沉醉其中,仿佛每一个句子都浸润着作者对生活深沉的体悟。故事的展开并不急促,而是像一条缓缓流淌的河流,不经意间就将你带入了一个充满隐喻和哲思的世界。角色的塑造极其成功,他们身上的每一个犹豫、每一次抉择,都让人感到无比真实和亲切。尤其是一些次要人物,他们的存在绝非点缀,而是如同拼图上不可或缺的一块,共同构建起一个复杂而又迷人的情感图景。作者似乎拥有一种魔力,能将那些日常琐碎的场景描绘出史诗般的分量,使得原本平淡无奇的对话也充满了张力与潜台词。阅读过程中,我常常需要停下来,反复咀嚼那些精妙的比喻,它们如同夜空中闪烁的星辰,引导着我对人性的幽暗与光辉进行更深层次的探索。这不仅仅是一个关于特定事件的故事,更是一部关于时间、记忆与存在本质的沉思录,其回味悠长,足以在心底激起持久的共鸣。
评分Touching
评分纳博科夫
评分纳博科夫
评分纳博科夫
评分“I swear that I have never loved before as I love you, with such tenderness - to the point of tears”
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