Subject
Fw: Fw: Auction of Nabokov Presentation Copies
From
Date
Body
EDNOTE. While it sad in a way to think of VN's presentation copies being
dispersed, it is my understanding that this was VN's intention. Any included
material that might be of interest to future scholars has been duplicated
and preserved.
---------------------------------------------
----- Original Message -----
From: "Mark Bennett" <mab@straussandasher.com>
> ---------------- Message requiring your approval (405
lines) ------------------
> Why the sadness? I know I'm sad that I don't have an extra couple million
euros at hand so that I could purchase the whole lot. Unspeakably sad.
>
> Mark Bennett
>
> -----Original Message-----
> From: Vladimir Nabokov Forum [mailto:NABOKV-L@LISTSERV.UCSB.EDU] On Behalf
Of D. Barton Johnson
> Sent: Tuesday, March 23, 2004 9:23 AM
> To: NABOKV-L@LISTSERV.UCSB.EDU
> Subject: Fw: Auction of Nabokov Presentation Copies
>
>
> ----- Original Message -----
> From: "Michael Suh" <ardishall@earthlink.net>
> > ---------------- Message requiring your approval (230
> lines) ------------------
> > Dear Professor Johnson:
> >
> > I haven't had anything to contribute to this list in some years, but
> > upon
> reading about this auction, I feel the urge to register, for what it's
worth, my unspeakable sadness.
> >
> > Michael Suh
> >
> > on 3/22/04 6:07 PM, D. Barton Johnson at chtodel@cox.net wrote:
> >
> > >
> > > dqm__codebase = "/js/" //script folder location
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > > The Library of Dmitri Nabokov
> > > Inscribed and annotated Books by Vladimir Nabokov
> > > 09 march 2003 < Sale 05 may 2004, Hôtel des Bergues, Geneva
> > >
> > > Book collectors can get very excited over certain books, and the
> > > sale of
> many
> > > a great library can create real turmoil in enlightened circles.
> > > Then,
> there
> > > are collections of a different kind, the value of which, beyond the
> usual
> > > criteria, is due to the special relationship between the books and
> > > their owner. Those books are exceptional. Such is indeed the case
> > > with this
> library.
> > > The full measure of its importance will be understood by the fact
> > > that, consisting of about one hundred volumes comprising some thirty
> > > titles,
> it does
> > > represent a section of world literature.
> > >
> > > The sale of Dmitri Nabokov's library is, and will always be,
> > > regarded as
> a
> > > historical sale.
> > >
> > > After placement of the writer's archives and manuscripts in the Berg
> > > Collection of the New York Public Library in 1991, this sale is the
> second and
> > > probably last major sale of important documents pertaining to
> > > Vladimir Nabokov. The provenance
> > > of this collection speaks for its authenticity, its cohesion and its
> exclusive
> > > character.
> > >
> > > Nabokov seldom signed his presentation copies; most of the signed
> > > copies
> were
> > > for his wife and his son Dmitri. Recipient of many of them, and heir
> > > to
> his
> > > late mother's books, Dmitri therefore possesses most of the books
> inscribed by
> > > his father in particular those illustrated with the famous Nabokov
> > > butterflies. The same is true of the books from V. Nabokov's
> > > personal
> library,
> > > identified by a discreet butterfly sketched on one of the first
> > > pages.
> All the
> > > books described herein being part of Dmitri Nabokov's personal
> collection,
> > > their authenticity is beyond all doubt a welcome certainty since
> > > such discreet marks can easily be imitated. The lives and works of
> > > Nabokov Like Godot or L'Étranger, Lolita was one of those stellar
> > > books that
> suddenly
> > > blaze with worldwide glory and propel their author to the very first
> rank, but
> > > cast no light on his other writings. This phenomenon occurs only
> > > with
> truly
> > > major writers and highly important books; Lolita is a case in point.
> > >
> > > Indeed, Nabokov is one of the great writers of the twentieth century
> > > and
> of
> > > Anglo-Saxon literature. Furthermore, he is one of the supreme
> > > Russian
> authors
> > > of his century. There is no other instance of a writer responsible
> > > for
> books
> > > of such importance in two different languages, an achievement that
> > > seems superhuman.
> > >
> > > « I am an American author, born in Russia, educated in England where
> > > I
> studied
> > > French texts », Nabokov once said. His French writings were few, but
> their
> > > excellence suggests that Vladimir Nabokov might have become a
> > > literary virtuoso in three languages, rather than two, in five
> > > countries1. He was
> also
> > > an authentic entomologist, discovering two new species of
> > > butterflies,
> and
> > > establishing a new taxonomy still valid today. He was an ardent
> > > chess
> player
> > > and sportsman. He taught languages, Russian literature and boxing.
> > > The Australian scolar Brian Boyd impassioned by Nabokov, set out to
> > > write
> about
> > > his life; it took him ten years of his own: 1500 pages in two
> > > volumes2. Nabokov married Véra Slonim and they lived together for
> > > half a century.
> They
> > > had a son, Dmitri, born in 1934. All three of them always had a
> > > close relationship, Dmitri never being away from his parents for
> > > long. They
> worked
> > > together, contributing to Vladimir's works till the writer's last
> > > days
> at the
> > > Palace-Hotel in Montreux. Vladimir died during the Summer of 1977;
> > > Véra followed him in the Spring of 1991. What remains of all this
> > > or, to be
> more
> > > precise, what are the traces that can be found in Dmitri Nabokov's
> library?
> > > Nabokov is present on every page
> > > Fully aware of his genious and giving the utmost importance to
> > > language
> and
> > > the meaning of words, V. Nabokov paid great attention to the
> > > translation
> of
> > > his own books. He had a passion for correcting, for changing, for
> revising.
> > > Where Proust's texts were in their definite state when given to the
> printer,
> > > Nabokov would alter his writings long after the books were first
> printed. Many
> > > of the books here bear witness to his never-ending rewriting. In the
> margins,
> > > one finds notes, corrections, translations, often quite long; most
> > > of
> them by
> > > V. Nabokov himself, some by Véra or by Dmitri, at Vladimir's behest.
> > >
> > > Each of these books therefore is a result of constant change a
> > > unique
> record
> > > of their evolution. Not only in the printed text, but in his
> > > personal notations as well, Nabokov himself can be found, on every
> > > page.
> > >
> > > A large number of Nabokov's annotations pertain to the translation
> > > of
> his own
> > > texts. He himself was a translator: from Russian to English and
> > > French;
> from
> > > English and sometimes French to Russian. He translated, amongst
> > > others, Pushkin, Shakespeare, and Musset. But most of all, Nabokov
> > > translated
> Nabokov.
> > > Thus he really knew what translation was all about or rather, what
> > > he considered what it should be, particularly as regards his own
> > > texts,
> which he
> > > would sometimes rewrite or write anew. This is stressed in his
> autobiography,
> > > Speak, Memory, the genesis of which took many years, with changes
> > > from
> one
> > > language to another, each of those « translations » being not
> > > strictly a translation but altogether another text.
> > >
> > > On occasion, he would be moderately pleased by the translations
> > > provided
> by
> > > his publishers. More often he found translators generally
> > > disastrous, declaring that they had, in particular « an overwhelming
> > > incompetence
> for
> > > poetry ». « What is translation? On a platter / A poet's pale and
> glaring
> > > head, / A parrot's screech, a monkey's chatter, / And profanation of
> > > the dead... » (first lines of his poem « On translating Eugene
> > > Onegin » in
> Poems,
> > > 1959). Most of the translations were corrected in new revised
> > > editions
> by
> > > Vladimir Nabokov himself, or by his son Dmitri, translator of many
> > > V.
> N.'s
> > > prose works in collaboration with the author or alone, and currently
> > > at
> work
> > > on an anthology of previously untranslated V. N.'s poems. Dmitri was
> probably
> > > the only translator with whom he was fully satisfied, as he
> > > emphasized
> in a
> > > number of the dedications.
> > >
> > > The corrections and annotations are of great literary and historical
> > > importance. However, some of the volumes of Dmitri Nabokov's library
> > > do
> not
> > > belong to this category of « working books ». They show the writer's
> > > involvment with his work in a more subtle and emotional way, a bond
> tying
> > > together Vladimir, Véra and Dmitri Nabokov; such are, in particular,
> > > the volumes with the butterfly dedications. Véra's and Dmitri's
> > > butterflies Since childhood, through the influence of his parents,
> > > Nabokov developed
> a
> > > passion for butterflies. When he was nine years old, he submitted to
> > > the University a specimen he thought belonged to an unknown species.
> > > He was
> wrong.
> > > But one he submitted some thirty years later was an authentic
> > > discovery.
> By
> > > then, few people in the field had a better knowledge than he.
> > > Indeed, he
> had
> > > become a well known entomologist, a lepidopterist of international
> repute,
> > > specializing in lycaenidae. The taxonomic denomination of the
> > > butterfly
> he
> > > discovered includes his name, as it does in the case of another,
> > > later, discovery of his.
> > >
> > > Butterflies always represented an essential rather than a marginal
> > > part
> of his
> > > activities. Nature was giving him « the same kind of magic [he was
> searching
> > > for] in art: mystification and magic spell intertwined ». If
> > > Nabokov's
> texts
> > > appear studded with those « pretty insects », other much rarer
> butterflies are
> > > to be found in some of the books in this collection.
> > >
> > > Indeed, a great number of the butterflies Vladimir Nabokov drew when
> > > inscribing books to his son and his wife are to be found in Dmitri's
> library.
> > > Some were drawn in ink, others are in colour. Those made for Véra
> > > during
> the
> > > last twenty years of his life are probably the most spectacular:
> > > they
> are like
> > > highly enameled little creatures with stained-glass wings that might
> have been
> > > touched by a rainbow.
> > >
> > > Confronted with such fantasy, the question arises: how realistic are
> these
> > > drawings? Intriguing hybrids of naturalistic realism and sui generis
> fantasy,
> > > they convey Nabokov's idea of creation: « there is no science
> > > without imagination; likewise, there is no art that does not rely on
> > > facts ».
> The same
> > > principle was applied when giving names to these butterflies: the
> > > names
> are of
> > > course imaginary, but in keeping with scientific rules. It is only
> > > in
> these
> > > pages, and nowhere else, that the exacting collector will ever find
> > > a
> Colias
> > > verae (or, for that matter, a blue Colias), an Armandia
> > > wonderlandensis
> or a
> > > Verina raduga. The latter, and a dozen other of these figments,
> > > derive
> from
> > > Véra Nabokov's name in particular the superlative Verina verae
> dedication.
> > > « à Véra »
> > > These dedications, these butterflies are probably the illustration
> > > of a certain concept of art as expressed by Nabokov. But they are
> > > also manifestations of a different feeling that can simply be called
> > > love; a
> love
> > > that took the form of vivid, touching inventions. A love at a loss
> > > to
> find the
> > > right words a translational problem intensely felt by Nabokov, as
> > > was
> his
> > > disdain for « inept sentimental words ». These butterflies seem to
> convey what
> > > Vladimir and Véra shared a unique and total love.
> > >
> > > « I can name a blooming garden in Paris [...] where I noticed, in
> > > 1938
> or
> > > 1939, a quiet girl of ten or so, with a deadpan white face [and]
> > > dark,
> shabby,
> > > unseasonable clothes [...] who had deftly tied a live butterfly to a
> thread
> > > and was promenading the pretty, weakly fluttering, slightly crippled
> insect on
> > > that elfish leash [...] » (Speak, Memory, ch. 15).
> > >
> > > Every one of Dmitri Nabokov's books bears the precious, intimate and
> rare
> > > imprint of Vladimir Nabokov's genius. They are the writer's legacy
> > > to
> his son,
> > > the son who carried on his father's unfinished task of translating
> > > and editing. They are offered today to those who can understand
> > > their value
> and
> > > their significance. It might be appropriate if the collection were
> > > to
> remain
> > > intact as a legacy to world literature; or else, on the contrary, if
> > > it
> were
> > > to be scattered, letting Véra's butterflies and Dmitri's fly for
> > > the
> first
> > > time in all directions.
> > >
> > > Alain Nicolas
> > >
> > >
> > >
> > > 1 Cf. the introduction to the definitive bibliography that we
> > > consulted
> for
> > > preparation of this catalogue: Michael Juliar, Vladimir Nabokov A
> > > Descriptive Bibliography, Garland Publishers, 1986 (with Updates of
> 1991).
> > >
> > > 2 Brian Boyd, Vladimir Nabokov, Princeton University Press, 1990 et
> 1991.
> > >
> > > # # #
> > >
> > > Sale Informations
> > > Eric Masquelier <mailto:masquelier-e@tajan.com> +33 1 5 3 30 30 79
> > >
> > > Relations with the press
> > > Marie-Alix Vignau <mailto:vignau-ma@tajan.com> +33 1 53 30 30 80
> > >
> > > Back to news <../news/presse.asp>
> > >
> > > Home page </en/index.asp> | French version </fr/index.asp> Terms
> > > and Conditions </en/help/conditions.asp> | © Tajan 2003
> > >
> >
> >
>
dispersed, it is my understanding that this was VN's intention. Any included
material that might be of interest to future scholars has been duplicated
and preserved.
---------------------------------------------
----- Original Message -----
From: "Mark Bennett" <mab@straussandasher.com>
> ---------------- Message requiring your approval (405
lines) ------------------
> Why the sadness? I know I'm sad that I don't have an extra couple million
euros at hand so that I could purchase the whole lot. Unspeakably sad.
>
> Mark Bennett
>
> -----Original Message-----
> From: Vladimir Nabokov Forum [mailto:NABOKV-L@LISTSERV.UCSB.EDU] On Behalf
Of D. Barton Johnson
> Sent: Tuesday, March 23, 2004 9:23 AM
> To: NABOKV-L@LISTSERV.UCSB.EDU
> Subject: Fw: Auction of Nabokov Presentation Copies
>
>
> ----- Original Message -----
> From: "Michael Suh" <ardishall@earthlink.net>
> > ---------------- Message requiring your approval (230
> lines) ------------------
> > Dear Professor Johnson:
> >
> > I haven't had anything to contribute to this list in some years, but
> > upon
> reading about this auction, I feel the urge to register, for what it's
worth, my unspeakable sadness.
> >
> > Michael Suh
> >
> > on 3/22/04 6:07 PM, D. Barton Johnson at chtodel@cox.net wrote:
> >
> > >
> > > dqm__codebase = "/js/" //script folder location
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > > The Library of Dmitri Nabokov
> > > Inscribed and annotated Books by Vladimir Nabokov
> > > 09 march 2003 < Sale 05 may 2004, Hôtel des Bergues, Geneva
> > >
> > > Book collectors can get very excited over certain books, and the
> > > sale of
> many
> > > a great library can create real turmoil in enlightened circles.
> > > Then,
> there
> > > are collections of a different kind, the value of which, beyond the
> usual
> > > criteria, is due to the special relationship between the books and
> > > their owner. Those books are exceptional. Such is indeed the case
> > > with this
> library.
> > > The full measure of its importance will be understood by the fact
> > > that, consisting of about one hundred volumes comprising some thirty
> > > titles,
> it does
> > > represent a section of world literature.
> > >
> > > The sale of Dmitri Nabokov's library is, and will always be,
> > > regarded as
> a
> > > historical sale.
> > >
> > > After placement of the writer's archives and manuscripts in the Berg
> > > Collection of the New York Public Library in 1991, this sale is the
> second and
> > > probably last major sale of important documents pertaining to
> > > Vladimir Nabokov. The provenance
> > > of this collection speaks for its authenticity, its cohesion and its
> exclusive
> > > character.
> > >
> > > Nabokov seldom signed his presentation copies; most of the signed
> > > copies
> were
> > > for his wife and his son Dmitri. Recipient of many of them, and heir
> > > to
> his
> > > late mother's books, Dmitri therefore possesses most of the books
> inscribed by
> > > his father in particular those illustrated with the famous Nabokov
> > > butterflies. The same is true of the books from V. Nabokov's
> > > personal
> library,
> > > identified by a discreet butterfly sketched on one of the first
> > > pages.
> All the
> > > books described herein being part of Dmitri Nabokov's personal
> collection,
> > > their authenticity is beyond all doubt a welcome certainty since
> > > such discreet marks can easily be imitated. The lives and works of
> > > Nabokov Like Godot or L'Étranger, Lolita was one of those stellar
> > > books that
> suddenly
> > > blaze with worldwide glory and propel their author to the very first
> rank, but
> > > cast no light on his other writings. This phenomenon occurs only
> > > with
> truly
> > > major writers and highly important books; Lolita is a case in point.
> > >
> > > Indeed, Nabokov is one of the great writers of the twentieth century
> > > and
> of
> > > Anglo-Saxon literature. Furthermore, he is one of the supreme
> > > Russian
> authors
> > > of his century. There is no other instance of a writer responsible
> > > for
> books
> > > of such importance in two different languages, an achievement that
> > > seems superhuman.
> > >
> > > « I am an American author, born in Russia, educated in England where
> > > I
> studied
> > > French texts », Nabokov once said. His French writings were few, but
> their
> > > excellence suggests that Vladimir Nabokov might have become a
> > > literary virtuoso in three languages, rather than two, in five
> > > countries1. He was
> also
> > > an authentic entomologist, discovering two new species of
> > > butterflies,
> and
> > > establishing a new taxonomy still valid today. He was an ardent
> > > chess
> player
> > > and sportsman. He taught languages, Russian literature and boxing.
> > > The Australian scolar Brian Boyd impassioned by Nabokov, set out to
> > > write
> about
> > > his life; it took him ten years of his own: 1500 pages in two
> > > volumes2. Nabokov married Véra Slonim and they lived together for
> > > half a century.
> They
> > > had a son, Dmitri, born in 1934. All three of them always had a
> > > close relationship, Dmitri never being away from his parents for
> > > long. They
> worked
> > > together, contributing to Vladimir's works till the writer's last
> > > days
> at the
> > > Palace-Hotel in Montreux. Vladimir died during the Summer of 1977;
> > > Véra followed him in the Spring of 1991. What remains of all this
> > > or, to be
> more
> > > precise, what are the traces that can be found in Dmitri Nabokov's
> library?
> > > Nabokov is present on every page
> > > Fully aware of his genious and giving the utmost importance to
> > > language
> and
> > > the meaning of words, V. Nabokov paid great attention to the
> > > translation
> of
> > > his own books. He had a passion for correcting, for changing, for
> revising.
> > > Where Proust's texts were in their definite state when given to the
> printer,
> > > Nabokov would alter his writings long after the books were first
> printed. Many
> > > of the books here bear witness to his never-ending rewriting. In the
> margins,
> > > one finds notes, corrections, translations, often quite long; most
> > > of
> them by
> > > V. Nabokov himself, some by Véra or by Dmitri, at Vladimir's behest.
> > >
> > > Each of these books therefore is a result of constant change a
> > > unique
> record
> > > of their evolution. Not only in the printed text, but in his
> > > personal notations as well, Nabokov himself can be found, on every
> > > page.
> > >
> > > A large number of Nabokov's annotations pertain to the translation
> > > of
> his own
> > > texts. He himself was a translator: from Russian to English and
> > > French;
> from
> > > English and sometimes French to Russian. He translated, amongst
> > > others, Pushkin, Shakespeare, and Musset. But most of all, Nabokov
> > > translated
> Nabokov.
> > > Thus he really knew what translation was all about or rather, what
> > > he considered what it should be, particularly as regards his own
> > > texts,
> which he
> > > would sometimes rewrite or write anew. This is stressed in his
> autobiography,
> > > Speak, Memory, the genesis of which took many years, with changes
> > > from
> one
> > > language to another, each of those « translations » being not
> > > strictly a translation but altogether another text.
> > >
> > > On occasion, he would be moderately pleased by the translations
> > > provided
> by
> > > his publishers. More often he found translators generally
> > > disastrous, declaring that they had, in particular « an overwhelming
> > > incompetence
> for
> > > poetry ». « What is translation? On a platter / A poet's pale and
> glaring
> > > head, / A parrot's screech, a monkey's chatter, / And profanation of
> > > the dead... » (first lines of his poem « On translating Eugene
> > > Onegin » in
> Poems,
> > > 1959). Most of the translations were corrected in new revised
> > > editions
> by
> > > Vladimir Nabokov himself, or by his son Dmitri, translator of many
> > > V.
> N.'s
> > > prose works in collaboration with the author or alone, and currently
> > > at
> work
> > > on an anthology of previously untranslated V. N.'s poems. Dmitri was
> probably
> > > the only translator with whom he was fully satisfied, as he
> > > emphasized
> in a
> > > number of the dedications.
> > >
> > > The corrections and annotations are of great literary and historical
> > > importance. However, some of the volumes of Dmitri Nabokov's library
> > > do
> not
> > > belong to this category of « working books ». They show the writer's
> > > involvment with his work in a more subtle and emotional way, a bond
> tying
> > > together Vladimir, Véra and Dmitri Nabokov; such are, in particular,
> > > the volumes with the butterfly dedications. Véra's and Dmitri's
> > > butterflies Since childhood, through the influence of his parents,
> > > Nabokov developed
> a
> > > passion for butterflies. When he was nine years old, he submitted to
> > > the University a specimen he thought belonged to an unknown species.
> > > He was
> wrong.
> > > But one he submitted some thirty years later was an authentic
> > > discovery.
> By
> > > then, few people in the field had a better knowledge than he.
> > > Indeed, he
> had
> > > become a well known entomologist, a lepidopterist of international
> repute,
> > > specializing in lycaenidae. The taxonomic denomination of the
> > > butterfly
> he
> > > discovered includes his name, as it does in the case of another,
> > > later, discovery of his.
> > >
> > > Butterflies always represented an essential rather than a marginal
> > > part
> of his
> > > activities. Nature was giving him « the same kind of magic [he was
> searching
> > > for] in art: mystification and magic spell intertwined ». If
> > > Nabokov's
> texts
> > > appear studded with those « pretty insects », other much rarer
> butterflies are
> > > to be found in some of the books in this collection.
> > >
> > > Indeed, a great number of the butterflies Vladimir Nabokov drew when
> > > inscribing books to his son and his wife are to be found in Dmitri's
> library.
> > > Some were drawn in ink, others are in colour. Those made for Véra
> > > during
> the
> > > last twenty years of his life are probably the most spectacular:
> > > they
> are like
> > > highly enameled little creatures with stained-glass wings that might
> have been
> > > touched by a rainbow.
> > >
> > > Confronted with such fantasy, the question arises: how realistic are
> these
> > > drawings? Intriguing hybrids of naturalistic realism and sui generis
> fantasy,
> > > they convey Nabokov's idea of creation: « there is no science
> > > without imagination; likewise, there is no art that does not rely on
> > > facts ».
> The same
> > > principle was applied when giving names to these butterflies: the
> > > names
> are of
> > > course imaginary, but in keeping with scientific rules. It is only
> > > in
> these
> > > pages, and nowhere else, that the exacting collector will ever find
> > > a
> Colias
> > > verae (or, for that matter, a blue Colias), an Armandia
> > > wonderlandensis
> or a
> > > Verina raduga. The latter, and a dozen other of these figments,
> > > derive
> from
> > > Véra Nabokov's name in particular the superlative Verina verae
> dedication.
> > > « à Véra »
> > > These dedications, these butterflies are probably the illustration
> > > of a certain concept of art as expressed by Nabokov. But they are
> > > also manifestations of a different feeling that can simply be called
> > > love; a
> love
> > > that took the form of vivid, touching inventions. A love at a loss
> > > to
> find the
> > > right words a translational problem intensely felt by Nabokov, as
> > > was
> his
> > > disdain for « inept sentimental words ». These butterflies seem to
> convey what
> > > Vladimir and Véra shared a unique and total love.
> > >
> > > « I can name a blooming garden in Paris [...] where I noticed, in
> > > 1938
> or
> > > 1939, a quiet girl of ten or so, with a deadpan white face [and]
> > > dark,
> shabby,
> > > unseasonable clothes [...] who had deftly tied a live butterfly to a
> thread
> > > and was promenading the pretty, weakly fluttering, slightly crippled
> insect on
> > > that elfish leash [...] » (Speak, Memory, ch. 15).
> > >
> > > Every one of Dmitri Nabokov's books bears the precious, intimate and
> rare
> > > imprint of Vladimir Nabokov's genius. They are the writer's legacy
> > > to
> his son,
> > > the son who carried on his father's unfinished task of translating
> > > and editing. They are offered today to those who can understand
> > > their value
> and
> > > their significance. It might be appropriate if the collection were
> > > to
> remain
> > > intact as a legacy to world literature; or else, on the contrary, if
> > > it
> were
> > > to be scattered, letting Véra's butterflies and Dmitri's fly for
> > > the
> first
> > > time in all directions.
> > >
> > > Alain Nicolas
> > >
> > >
> > >
> > > 1 Cf. the introduction to the definitive bibliography that we
> > > consulted
> for
> > > preparation of this catalogue: Michael Juliar, Vladimir Nabokov A
> > > Descriptive Bibliography, Garland Publishers, 1986 (with Updates of
> 1991).
> > >
> > > 2 Brian Boyd, Vladimir Nabokov, Princeton University Press, 1990 et
> 1991.
> > >
> > > # # #
> > >
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> > >
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> > > Marie-Alix Vignau <mailto:vignau-ma@tajan.com> +33 1 53 30 30 80
> > >
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