The Tender Friendship And The Charm Of Perfect Accord

"In The Tender Friendship and the Charm of Perfect Accord, Gavriel Shapiro contends that Vladimir Nabokov's worldview and verbal artistry cannot be fully understood without first understanding the relationship between the writer and his father, Vladimir Dmitrievich Nabokov, the distinguished jurist and prominent statesman at the turn of the 20th century, who at the same time was a great connoisseur of literature, painting, theater, and music; a passionate lepidopterist; an enthusiastic chess player; and an avid athlete. Although Nabokov experts have long noted the importance of this relationship, this is the very first book-length study on this crucial subject. In this book, Shapiro explores the unique nature of their bond, which Nabokov characterized asthat of the "tender friendship" marked by the "charm of our perfect accord," particularly exceptional when compared to numerous father-and-son relationships in Russian and Western European literature of the 19th and 20th centuries"--

H. G. Wells and All Things Russian is a fertile terrain for research and this volume will be the first to devote itself entirely to the theme. Wells was an astute student of Russian literature, culture and history, and the Russians, in turn, became eager students of Wells’s views and works. During the Soviet years, in fact, no significant foreign author was safer for Soviet critics to praise than H. G. Wells. The reason was obvious. He had met – and largely approved of – Lenin, was a close friend of the Soviet literary giant Maxim Gorky and, in general, expressed much respect for Russia’s evolving Communist experiment, even after it fell into Stalin’s hands. While Wells’s attitude towards the Soviet Union was, nevertheless, often ambivalent, there is definitely nothing ambiguous about the tremendous influence his works had on Russian literary and cultural life.

The Real Life of Sebastian Knight is one of Vladimir Nabokov’s most autobiographical novels and it has often been observed that Sebastian’s passionate affair with the femme fatale Nina Rechnoy is a dramatized extension of Nabokov’s infatuation with Irina Guadanini. In this book it is shown that the novel also conceals another, secluded, love affair Sebastian had with a man, which reflects the main episode in the life of Nabokov’s brother Sergey. By pursuing many biographical and literary references and allusions, and by disregarding the deceptive guiding by the narrator (Sebastian’s half-brother), this moving story about Sebastian’s silent love becomes brightly visible.

The revival of the Olympic games in 1896 and the subsequent rise of modern athletics prompted a new, energetic movement away from more sedentary habits. In Russia, this ethos soon became a key facet of the Bolsheviks' shared vision for the future. In the aftermath of the revolution, glorification of exercise persevered, pointing the way toward a stronger, healthier populace and a vibrant Socialist society. With interdisciplinary analysis of literature, painting, and film, Faster, Higher, Stronger, Comrades! traces how physical fitness had an even broader impact on culture and ideology in the Soviet Union than previously realized. From prerevolutionary writers and painters glorifying popular circus wrestlers to Soviet photographers capturing unprecedented athleticism as a means of satisfying their aesthetic ideals, the nation's artists embraced sports in profound, inventive ways. Though athletics were used for doctrinaire purposes, Tim Harte demonstrates that at their core, they remained playful, joyous physical activities capable of stirring imaginations and transforming everyday realities.

On Nabokov, Ayn Rand and the Libertarian Mind not only conjoins two seemingly divergent authors but also takes on the larger picture of libertarian trends and ideologies. These timely topics further intermingle with Bell-Villada’s own conflicted relationship – personal, cultural, satirical, literary – to the “odd pair” and their ways of thinking. The inclusion of Louis Begley’s essay adds yet another dimension to this unique, wide-ranging meditation on art and politics, history and memory.

This book makes an important contribution to cultural analysis by opening up the work of two canonical authors to issues of exile and migration. Barbara Straumann's close reading of selected films and literary texts focuses on Speak, Memory, Lolita, The Real Life of Sebastian Knight, Suspicion, North by Northwest and Shadow of a Doubt and explores the connections between language, imagination and exile. Invoking psychoanalysis as the principal discourse of dislocation, the book not only uses concepts such as 'screen memory', 'family romance', 'fantasy' and 'the uncanny' as hermeneutic foils, it also argues that, in their own ways, the arch-parodists Hitchcock and Nabokov are remarkably in tune with the images and tropes developed by Freud.

In his autobiography Speak, Memory, Vladimir Nabokov compared his life to a spiral, in which “twirl follows twirl, and every synthesis is the thesis of the next series.” The first four arcs of the spiral of Nabokov’s life—his youth in Russia, voluntary exile in Europe, two decades spent in the United States, and the final years of his life in Switzerland—are now followed by a fifth arc, his continuing life in literary history, which this volume both explores and symbolizes. This is the first collection of essays to examine all five arcs of Nabokov’s creative life through close analyses of representative works. The essays cast new light on works both famous and neglected and place these works against the backgrounds of Nabokov’s career as a whole and modern literature in general. Nabokov analyzes his own artistry in his “Postscript to the Russian Edition of Lolita,” presented here in its first English translation, and in his little-known “Notes to Ada by Vivian Darkbloom,” published now for the first time in America and keyed to the standard U.S. editions of the novel. In addition to a defense of his father’s work by Dmitri Nabokov and a portrait-interview by Alfred Appel, Jr., the volume presents a vast spectrum of critical analyses covering all Nabokov’s major novels and several important short stories. The highly original structure of the book and the fresh and often startling revelations of the essays dramatize as never before the unity and richness of Nabokov’s unique literary achievement.

The Rise of the Memoir traces the growth and extraordinarily wide appeal of the memoir. Its territory is private rather than public life, shame, guilt, and embarrassment, not the achievements celebrated in the public record. What accounts for the sharp need writers like Rousseau, Woolf, Orwell, Nabokov, Primo Levi, and Maxine Hong Kingston felt to write (and to publish) such works, when they might more easily have chosen to remain silent? Alex Zwerdling explores why each of these writers felt compelled to write them as that story can be reconstructed from personal materials available in archival collections; what internal conflicts they encountered while trying; and how each of them resisted the private and public pressures to stop themselves rather than pursuing this confessional route, against their own doubts, without a reasonable expectation that such works would be welcome in print, and eventually find an empathetic audience. Reconstructing this process in which a dubious project eventually becomes a compelling product-a "memoir" that will last-illuminates both what was at stake, and why this serially invented open form has reshaped the expectations of readers who welcomed a vital alternative to "the official story."