Content-Type: message/rfc822 Date: Tue, 06 Jun 2006 18:04:09 -0400 From: "jansymello" To: "Vladimir Nabokov Forum" Subject: Re: [NABOKV-L] A new question on a "centonial" Quilty Mime-Version: 1.0 Content-Type: multipart/mixed; boundary="=__Part9BBE57C9.1__=" --=__Part9BBE57C9.1__= Content-Type: multipart/alternative; boundary="=__Part9BBE57C9.2__=" --=__Part9BBE57C9.2__= Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Michael Strickland brought us an astounding list of literary allusions in = "Lolita" and a wealth of insights and details that also helps us to locate = similar references in VN=B4s other works ( such as Lou=FFs "Chanson de = Bilitis" with its links with Sapho and Lesbos in "ADA", or quills-aiguille = in "Transparent Things" - and so on).=20 Nevertheless, it was not my intention to suggest a joint effort to weave = something like a "Nabokov=B4s Quilt: Lolita as Patchwork". My "cento-centon= ian" suggestion, as inspired by the poet Manuel Bandeira=B4s brief poem = named "Anthology", i.e, by his "florilege": a collection of flowers he=B4d = picked from his own garden. I saw it as a kind of poetic statement and as = a refinement of his poetic aims. =20 T.S.Eliot achieved his poems while building up several "poetic fragments".= He also noted that when we are looking for an original trait in any poet = "we shall often find that not only the best, but the most individual parts = of his world may be those in which the dead poets, his ancestors, assert = their immortality most vigorously". ( Tradition and the Individual = Talent", in The Sacred Wood. Essays on Poetry and Criticism, Methuen & = Co., London, 1920, following Ivan Junqueira=B4s article on "Eliot and the = Poetics of the Fragment".)=20 And yet we are also familiar with what VN himself wrote about Eliot=B4s = poetry and therefore I suppose we=B4d have to go a step further than = a"patchwork", if we want to understand VN=B4s intentions. =20 Anyway, I can only thank Michael Strickland for the honor of having = offered us his amazingly rich research after my "centonian" posting. Jansy ----- Original Message -----=20 From: Michael S Strickland=20 To: NABOKV-L@LISTSERV.UCSB.EDU=20 Sent: Monday, June 05, 2006 4:53 PM Subject: [NABOKV-L] A new question on a "centonial" Quilty Jansy Mello's intuition anent the patchwork or mosaic or centonian = nature of Lolita seems quite apt. A collaborative project aimed at = tracking down the novel's various tesserae may be called for. Such a = project could have for title something like "Nabokov's Quilt: Lolita as = Patchwork" or "Nabokov's Quilt: Lolita as Cento."=20 Maurice Couturier's insights concerning the use of the name Lolita among = early 20th century French novelists would be included: "Isidore G=E8s's En = vill=E9giature. Lolita published in 1894, Ren=E9 Riche's La Chanson de = Lolita published in 1920 which obviously refers to Pierre Lou=FFs's = Chanson de Bilitis (1894) which itself celebrated nymphets. And Val=E9ry = Larbaud's passage on the name of Lolita in his Des pr=E9noms f=E9minins = (1927) has often been quoted" [NABOKV-L posting of 2 April 2004]. Perhaps = we should add Marcel Schwob's Le livre de Monelle to the list, and mention = in passing that, in the first edition of Lolita, the drugstore where = Bill's wife "used to secretly admire the famous young actor as he ate = sundaes" was called Schwob's [Lolita I, 32].=20 We might also like to expand upon and refine Mary Catherine Rainwater's = observations concerning the structural and thematic links between Lolita = (and its Russian precursor) and H. G. Wells's Apropos of Dolores (1938) = [Mary Catherine Rainwater, Twentieth-Century Writers in the Poe Tradition: = Wells, Bowles, and Nabokov. PhD dissertation, The University of Texas at = Austin, 1982]. (We will have to make an important emendation to Rainwater's= thesis. Rainwater states that "Dolores 'Lolita' Haze derives from Wells's = Dolores" [p. 238] and that "Nabokov fashions Lolita after Wells's Dolores = almost as much as after Poe's Annabel Lee" [pp. 239-240]. This contention = is surely false. Although the narrator of Apropos of Dolores, Stephen = Wilbeck, meets his Dolores in circumstances quite similar to those in = which Humbert Humbert meets his Annabel Leigh, the Dolores whom Wilbeck = meets is long past her nymphettage, if ever she had been a member of that = species. No. Wells's Dolores is a member of the same species as "the Haze = woman," Charlotte. That being said, we may note that Stephen Wilbeck has a = daughter from a previous marriage, Lettice. Lettice, alas, is not a = nymphet. However, Apropos of Dolores indirectly implies that the relationsh= ip between Wilbeck and Lettice borders, at least, on the incestuous: = Wilbeck's attitude towards Lettice seems to be more romantic than = paternal, and Wilbeck's cousin John, under the influence of Dolores's = "nasty imagination" [Wells, Apropos of Dolores, IV, 7: 138], accuses = Wilbeck of having an affair with his "own flesh and blood" [Wells, Apropos = of Dolores, IV, 7: 137]. Wilbeck denies the accusation. In addition, after = Dolores dies unexpectedly (in a manner that parallels the deus ex machina = that conveniently removes Charlotte), Wilbeck sends for his daughter (whom = he has not seen for several years) and they embark on a tour of Brittany = (Armorica). Lettice is quite unlike the elegant and refined young lady = Wilbeck had imagined: her conversation consists mostly of the monosyllable = "Urm.")=20 In our collaborative work, we may also wish to mention that Humbert pens = his confession in order to assist his case in an imaginary (or infernal) = trial and that the equally unreliable narrator of the Wells novel pens his = confession as the "Case of Stephen Wilbeck contra Dolores" in preparation = for divorce proceedings that never materialize since Dolores suddenly dies = (or does Wilbeck murder her?).=20 Furthermore, we may wish to interpret Nabokov's afterword as a signpost = pointing to other tessellae:=20 "There was a spacious, bright Jardin des Plantes with nice unhurried- = looking people sitting about, more old ladies in lovely white caps, and = children playing and being reproved, and various of those rotund groups of = sculptures just for the sake of sculpture, all breasts and thighs and = bottoms and sprawl, with which France abounds." [Wells, Apropos of = Dolores, I, 2: 7.]=20 "The other day, just before I started upon this trip, I spent half an = hour in silent and sympathetic proximity to a big rusty-red orang-outang = in the Jardin d'Acclimatation. He is that sort of orang-outang which has a = flat expansion of the cheeks on either side so that its face, so far as = its lower parts are concerned, looks like a mask. It seems to wear those = huge jaws and lips like something that has been imposed upon it, and over = them very intelligently light-brown eyes look out with an expression of = patient resignation upon the world. So it has pleased God. Sometimes those = quiet eyes would scrutinize me, mildly speculative, sometimes they watched = other spectators or brooded upon the baboons in an adjacent cage, whose = sins were as scarlet. // My sage moved rarely, to scratch his chest or his = arm thoughtfully and once to yawn. But even in captivity and already = perhaps mortally sick, for these great apes acquire tuberculosis and = suchlike human infections with a terrible readiness, he gave no sign of = unhappiness. Those little hazel eyes were wise and tranquil. Captive and = ill, he had every reason to be unhappy, but I do not think he was unhappy. = If I could have changed consciousness with him and got into that cokernut = head of his, I think I should have perceived small weak childish interest = in spectators and baboons -- like a child looking out of a window -- = little imaginations set going by these sights and nothing else. I doubt if = he was worried and distressed in the least by his captivity. Quite = possibly, but not certainly, he would have been happier in his native = forest, but he did not know that. He had forgotten his native forest, or = remembered it and the parental nest only in dreams. There may have been = terror in these dreams and it may have been reassuring to wake in the = large secure cage again. I think he was still to be counted as a mild = fragment of at least contentment." [Wells, Apropos of Dolores, II, 2: = 24-25.]=20 We will also include, of course, Michael Juliar's NABOKV-L posting of 26 = October 1998 in which he presents letters from an issue of Life magazine = from H. Huber Clark and Seaborn Jones Jr (John Ray Jr himself could not = have invented more strangely apropos pseudonyms), both about chimps with = cameras, with the facing letter from Nabokov about one of Bosch's = butterflies.=20 More pieces for our patchwork, in no particular order:=20 Le d=E9licat coquillage de son oreille tremblait au fond de sa m=E9moire.= Helena.=20 Helena. Helena.=20 Helena. Elle serait perdue. L'absence s'enflerait de toutes les = catastrophes et dans la masse opaque des malheurs du monde cette s=E9parati= on se perdrait indiscernable. Elle serait engloutie. [Raymond Queneau, Un = rude hiver. Paris: Gallimard, 1939. ch. XII, p. 141.]=20 Lorsque Lehameau arriva au bout de la jet=E9e pr=E8s du s=E9maphore, la = Zbelia s'engageait entre les deux digues. Il n'en pouvait plus voir que la = poupe blanche qui disparaissait graduellement, un fant=F4me qui marchait = sur les eaux, et s'en allait =E0 reculons, en le regardant. Helena.=20 Helena. Helena.=20 Helena.=20 Puis les deux transports travers=E8rent l'avant port et disparurent, = suivis d'un torpilleur. [Raymond Queneau, Un rude hiver. Paris: Gallimard, = 1939. ch. XIII, p. 152.]=20 The lexical, rhythmic, and phonetic parallels between the above passages = and Lolita II, 26 are unmistakable. ("Repeat till the page is full, = printer.") Attentive readers of the Queneau will also notice the sexualized= relationship (never consummated) between the main character, Lehameau, = and a young girl.=20 Other collaborators may wish to consult the two volumes of Francis = Hemming, H=FCbner: A bibliographical and systematic account of the = entomological works of Jacob H=FCbner, and of the supplements thereto by = Carl Geyer, Gottfried Franz von Fr=F6lich, and Gottlieb August Wilhelm = Herrich- Sch=E4ffer. London: Royal Entomological Society of London, 1937. = This work (with which Nabokov was certainly familiar due to its importance = in regards the systematics of the Lepidoptera) contains the following = delightful passage: "When this copy [the 'Francillon' copy of H=FCbner's = Sammlung] was received at the British Museum at Bloomsbury, from which it = was transferred as a duplicate, there was pinned on to the title- page of = the text of the 'Sechste Horde' with an old pin with a twisted wire head, = a manuscript of two quarto pages. This manuscript is unsigned and it has = not been possible to identify the author. Since its receipt at South = Kensington, this copy has been bound and the two pages of manuscript have = been bound up with it. The old pin has been carefully preserved." = [Hemming, H=FCbner. vol. 1, p. 148.]=20 The French word 'quille' designates the keel of a boat, a bowling or = juggling pin, a game of bowling (as one might have seen played on the = gravel in the Jardin des Plantes not far from place Valhubert in Paris, = between the Museum of Anatomy and the Zoological Gardens, as one sat among = sunlight and tree shadows with nymphets gamboling about in the late = '30s...), the boat which brought prisoners back to France from the penal = colonies (abolished in 1938) [could we imagine the ship which brought = Nabokov and family to the freedom of America from the 'prison' of Fascist- = overshadowed Europe as a sort of 'quille'?], and hence the argot term for = the end of military service. 'Quille' is cognate with 'aiguille,' needle, = and with both quill and quilt. The word 'quillet' (is it pronounced 'key- = yay' or 'kill-it' or 'quill-it'?) occurs in Shakespeare, Love's Labour = Lost v, ii: "Some tricks, some quillets, how to cheat the devil!"=20 Michael S Strickland (mstrickland@p3.net)=20 Search the Nabokv-L archive at UCSB Contact the Editors All private editorial communications, without exception, are read by = both co-editors.=20 Visit Zembla View Nabokv-L Policies Search the archive: http://listserv.ucsb.edu/archives/nabokv-l.html Contact the Editors: mailto:nabokv-l@utk.edu,nabokv-l@holycross.edu Visit Zembla: http://www.libraries.psu.edu/nabokov/zembla.htm View Nabokv-L policies: http://web.utk.edu/~sblackwe/EDNote.htm Search the archive: http://listserv.ucsb.edu/archives/nabokv-l.html Contact the Editors: mailto:nabokv-l@utk.edu,nabokv-l@holycross.edu Visit Zembla: http://www.libraries.psu.edu/nabokov/zembla.htm View Nabokv-L policies: http://web.utk.edu/~sblackwe/EDNote.htm --=__Part9BBE57C9.2__= Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Description: HTML
Michael Strickland brought us an = astounding=20 list of literary allusions in "Lolita" and a wealth of = insights=20 and details that also helps us to locate similar references = in=20 VN=B4s other works ( such as Lou=FFs "Chanson de Bilitis" with its links = with Sapho=20 and Lesbos in "ADA", or quills-aiguille in "Transparent Things" - and = so=20 on). 
Nevertheless, it was not my intention to suggest a joint = effort=20 to weave something like a "Nabokov=B4s Quilt: Lolita = as=20 Patchwork". My "cento-centonian" suggestion, as inspired by the poet M= anuel=20 Bandeira=B4s brief poem named "Anthology", i.e,=20 by his "florilege": a collection of flowers he=B4d = ;picked=20 from his own garden. I saw it as a kind of poetic statement and = as a=20 refinement of his poetic aims.   
T.S.Eliot achieved&nbs= p;his=20 poems while building up several "poetic fragments". He= =20 also noted that when we are looking for an original trait in any poet = "we=20 shall often find that not only the best, but the most individual parts of = his=20 world may be those in which the dead poets, his ancestors, assert their=20 immortality most vigorously". ( Tradition and the Individual Talent", in = The=20 Sacred Wood. Essays on Poetry and Criticism, Methuen & Co., London, = 1920,=20 following Ivan Junqueira=B4s article on "Eliot and the Poetics of the = Fragment".)=20
And yet we are also familiar with what VN himself wrote about = Eliot=B4s=20 poetry and therefore I suppose we=B4d have to go a step further than=20 a"patchwork", if we want to understand VN=B4s=20 intentions.     
Anyway, I can only thank Michael = Strickland for the=20 honor of having offered us his amazingly rich research after = my=20 "centonian" posting.
Jansy
----- Original Message -----
Fro= m:=20 Michael = S=20 Strickland
To: NABOKV-L@LISTSERV.UCSB.EDU=
Sent: Monday, June 05, 2006 4:53 = PM
Subject: [NABOKV-L] A new = question on a=20 "centonial" Quilty

Jansy Mello's intuition anent the patchwork or mosaic = or=20 centonian nature of Lolita seems quite apt. A collaborative = project=20 aimed at tracking down the novel's various tesserae may be called for. = Such a=20 project could have for title something like "Nabokov's Quilt: Lolita = as=20 Patchwork" or "Nabokov's Quilt: Lolita as Cento."=20

Maurice Couturier's insights concerning the use of the name Lolita = among=20 early 20th century French novelists would be included: "Isidore G=E8s's = En=20 vill=E9giature. Lolita published in 1894, Ren=E9 Riche's La = Chanson de=20 Lolita published in 1920 which obviously refers to Pierre = Lou=FFs's=20 Chanson de Bilitis (1894) which itself celebrated nymphets. And = Val=E9ry=20 Larbaud's passage on the name of Lolita in his Des pr=E9noms = f=E9minins=20 (1927) has often been quoted" [NABOKV-L posting of 2 April 2004]. = Perhaps we=20 should add Marcel Schwob's Le livre de Monelle to the list, and = mention=20 in passing that, in the first edition of Lolita, the drugstore = where=20 Bill's wife "used to secretly admire the famous young actor as he ate = sundaes"=20 was called Schwob's [Lolita I, 32].=20

We might also like to expand upon and refine Mary Catherine Rainwater'= s=20 observations concerning the structural and thematic links between=20 Lolita (and its Russian precursor) and H. G. Wells's Apropos = of=20 Dolores (1938) [Mary Catherine Rainwater, Twentieth-Century Writers = in the=20 Poe Tradition: Wells, Bowles, and Nabokov. PhD dissertation, The = University of=20 Texas at Austin, 1982]. (We will have to make an important emendation = to=20 Rainwater's thesis. Rainwater states that "Dolores 'Lolita' Haze derives = from=20 Wells's Dolores" [p. 238] and that "Nabokov fashions Lolita after = Wells's=20 Dolores almost as much as after Poe's Annabel Lee" [pp. 239-240]. = This=20 contention is surely false. Although the narrator of Apropos of=20 Dolores, Stephen Wilbeck, meets his Dolores in circumstances quite = similar=20 to those in which Humbert Humbert meets his Annabel Leigh, the Dolores = whom=20 Wilbeck meets is long past her nymphettage, if ever she had been a = member of=20 that species. No. Wells's Dolores is a member of the same species as = "the Haze=20 woman," Charlotte. That being said, we may note that Stephen Wilbeck has = a=20 daughter from a previous marriage, Lettice. Lettice, alas, is not a = nymphet.=20 However, Apropos of Dolores indirectly implies that the relationsh= ip=20 between Wilbeck and Lettice borders, at least, on the incestuous: = Wilbeck's=20 attitude towards Lettice seems to be more romantic than paternal, and=20 Wilbeck's cousin John, under the influence of Dolores's "nasty imaginatio= n"=20 [Wells, Apropos of Dolores, IV, 7: 138], accuses Wilbeck of = having an=20 affair with his "own flesh and blood" [Wells, Apropos of Dolores, = IV,=20 7: 137]. Wilbeck denies the accusation. In addition, after Dolores = dies=20 unexpectedly (in a manner that parallels the deus ex machina that = conveniently=20 removes Charlotte), Wilbeck sends for his daughter (whom he has not seen = for=20 several years) and they embark on a tour of Brittany (Armorica). Lettice = is=20 quite unlike the elegant and refined young lady Wilbeck had imagined: = her=20 conversation consists mostly of the monosyllable "Urm.")=20

In our collaborative work, we may also wish to mention that Humbert = pens=20 his confession in order to assist his case in an imaginary (or infernal) = trial=20 and that the equally unreliable narrator of the Wells novel pens his=20 confession as the "Case of Stephen Wilbeck contra Dolores" in preparation= for=20 divorce proceedings that never materialize since Dolores suddenly dies = (or=20 does Wilbeck murder her?).=20

Furthermore, we may wish to interpret Nabokov's afterword as a = signpost=20 pointing to other tessellae:=20

"There was a spacious, bright Jardin des Plantes with nice unhurried-= =20 looking people sitting about, more old ladies in lovely white caps, = and=20 children playing and being reproved, and various of those rotund groups = of=20 sculptures just for the sake of sculpture, all breasts and thighs and = bottoms=20 and sprawl, with which France abounds." [Wells, Apropos of Dolores= , I,=20 2: 7.]=20

"The other day, just before I started upon this trip, I spent half an = hour=20 in silent and sympathetic proximity to a big rusty-red orang-outang in = the=20 Jardin d=92Acclimatation. He is that sort of orang-outang which has a = flat=20 expansion of the cheeks on either side so that its face, so far as its = lower=20 parts are concerned, looks like a mask. It seems to wear those huge jaws = and=20 lips like something that has been imposed upon it, and over them very=20 intelligently light-brown eyes look out with an expression of patient=20 resignation upon the world. So it has pleased God. Sometimes those quiet = eyes=20 would scrutinize me, mildly speculative, sometimes they watched other=20 spectators or brooded upon the baboons in an adjacent cage, whose sins = were as=20 scarlet. // My sage moved rarely, to scratch his chest or his arm = thoughtfully=20 and once to yawn. But even in captivity and already perhaps mortally = sick, for=20 these great apes acquire tuberculosis and suchlike human infections with = a=20 terrible readiness, he gave no sign of unhappiness. Those little hazel = eyes=20 were wise and tranquil. Captive and ill, he had every reason to be = unhappy,=20 but I do not think he was unhappy. If I could have changed consciousness = with=20 him and got into that cokernut head of his, I think I should have = perceived=20 small weak childish interest in spectators and baboons -- like a child = looking=20 out of a window -- little imaginations set going by these sights and = nothing=20 else. I doubt if he was worried and distressed in the least by his = captivity.=20 Quite possibly, but not certainly, he would have been happier in his = native=20 forest, but he did not know that. He had forgotten his native forest, = or=20 remembered it and the parental nest only in dreams. There may have been = terror=20 in these dreams and it may have been reassuring to wake in the large = secure=20 cage again. I think he was still to be counted as a mild fragment of at = least=20 contentment." [Wells, Apropos of Dolores, II, 2: 24-25.]=20

We will also include, of course, Michael Juliar's NABOKV-L posting of = 26=20 October 1998 in which he presents letters from an issue of Life=20= magazine from H. Huber Clark and Seaborn Jones Jr (John Ray Jr himself = could=20 not have invented more strangely apropos pseudonyms), both about chimps = with=20 cameras, with the facing letter from Nabokov about one of Bosch's = butterflies.=20

More pieces for our patchwork, in no particular order:=20

Le d=E9licat coquillage de son oreille tremblait au fond de sa = m=E9moire.=20 Helena.
Helena. Helena.
Helena. Elle serait perdue. L=92absence= =20 s=92enflerait de toutes les catastrophes et dans la masse opaque des = malheurs du=20 monde cette s=E9paration se perdrait indiscernable. Elle serait = engloutie.=20 [Raymond Queneau, Un rude hiver. Paris: Gallimard, 1939. ch. XII, = p.=20 141.]=20

Lorsque Lehameau arriva au bout de la jet=E9e pr=E8s du s=E9maphore, = la Zbelia=20 s=92engageait entre les deux digues. Il n=92en pouvait plus voir que la = poupe=20 blanche qui disparaissait graduellement, un fant=F4me qui marchait sur = les eaux,=20 et s=92en allait =E0 reculons, en le regardant. Helena.
Helena. = Helena.=20
Helena.
Puis les deux transports travers=E8rent l=92avant port = et=20 disparurent, suivis d=92un torpilleur. [Raymond Queneau, Un rude = hiver.=20 Paris: Gallimard, 1939. ch. XIII, p. 152.]=20

The lexical, rhythmic, and phonetic parallels between the above = passages=20 and Lolita II, 26 are unmistakable. ("Repeat till the page is = full,=20 printer.") Attentive readers of the Queneau will also notice the = sexualized=20 relationship (never consummated) between the main character, Lehameau, = and a=20 young girl.=20

Other collaborators may wish to consult the two volumes of Francis = Hemming,=20 H=FCbner: A bibliographical and systematic account of the entomologica= l works=20 of Jacob H=FCbner, and of the supplements thereto by Carl Geyer, = Gottfried Franz=20 von Fr=F6lich, and Gottlieb August Wilhelm Herrich- Sch=E4ffer. = London: Royal=20 Entomological Society of London, 1937. This work (with which Nabokov = was=20 certainly familiar due to its importance in regards the systematics of = the=20 Lepidoptera) contains the following delightful passage: "When this copy = [the=20 'Francillon' copy of H=FCbner's Sammlung] was received at the = British=20 Museum at Bloomsbury, from which it was transferred as a duplicate, = there was=20 pinned on to the title- page of the text of the 'Sechste Horde' with an = old=20 pin with a twisted wire head, a manuscript of two quarto pages. This=20 manuscript is unsigned and it has not been possible to identify the = author.=20 Since its receipt at South Kensington, this copy has been bound and the = two=20 pages of manuscript have been bound up with it. The old pin has been = carefully=20 preserved." [Hemming, H=FCbner. vol. 1, p. 148.]=20

The French word 'quille' designates the keel of a boat, a bowling = or=20 juggling pin, a game of bowling (as one might have seen played on the = gravel=20 in the Jardin des Plantes not far from place Valhubert in Paris, between = the=20 Museum of Anatomy and the Zoological Gardens, as one sat among sunlight = and=20 tree shadows with nymphets gamboling about in the late '30s...), the = boat=20 which brought prisoners back to France from the penal colonies (abolished= in=20 1938) [could we imagine the ship which brought Nabokov and family to = the=20 freedom of America from the 'prison' of Fascist- overshadowed Europe as = a sort=20 of 'quille'?], and hence the argot term for the end of military = service.=20 'Quille' is cognate with 'aiguille,' needle, and with both quill and = quilt.=20 The word 'quillet' (is it pronounced 'key- yay' or 'kill-it' or = 'quill-it'?)=20 occurs in Shakespeare, Love's Labour Lost v, ii: "Some tricks, some = quillets,=20 how to cheat the devil!"=20


Michael S Strickland (mstrickland@p3.net)=20

Search the Nabokv-L archive = at=20 UCSB

Contact the=20 Editors

All private editorial communications, without = exception,=20 are read by both co-editors.

Visit Zembla

View Nabokv-L Policies

Se= arch the Nabokv-L archive at UCSB

Contact the Editors

All private editorial communications, without exception, are read by both co-editors.

Vi= sit Zembla

View = Nabokv-L Policies

Search the Nabokv-L archive at UCSB

Contact the Editors

All private editorial communications, without exception, are read by both co-editors.

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