Content-Type: message/rfc822 Date: Tue, 17 Jun 2008 11:53:54 -0400 From: "laurence hochard" To: "Vladimir Nabokov Forum" Subject: RE: [NABOKV-L] CORRECTION: Hochard on "Natasha" Mime-Version: 1.0 Content-Type: multipart/mixed; boundary="=__PartAB82B902.1__=" --=__PartAB82B902.1__= Content-Type: multipart/alternative; boundary="=__PartAB82B902.2__=" --=__PartAB82B902.2__= Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Date: Sun, 15 Jun 2008 21:45:32 -0700From: vanveen13@SBCGLOBAL.NETSubject: = Re: [NABOKV-L] CORRECTION: Hochard on "Natasha"To: NABOKV-L@LISTSERV.UCSB.E= DUJA: the silver flask: LH a silver CASE, a silver cigar case JA: It's not a matter of objective proof in the text: LH: yes it is(in my opinion); one can't impose one's meaning, one's = fantasies on a text regardless of the reality of this text, the WORDS of = THIS VERY TEXT even less so when the text is written by Nabokov!If it's = only a question of subjective appraisal, then real discussion and enquiry = stop short and debate amounts to no more than more or less sophisticated = chitchat. I'm not saying that one can't have hunches but one must try to = anchor them in the text for them to be validated JA: ... and his large, somewhat corpulent figure swayed slightly, 'Ah, the = distant congo, my dear Alexy Ivanych...'" Now to my inner ear this sounds = at least a little like boasting LH: I don't think so; I think the swaying movement is rather like a kind = of trance; besides, everybody seems to live in a state of trance in this = short story... and moreover, it doesn't seem to be consistent with the = rest of the story; no, Wolfe is definitely not that kind of character; = besides, there is no irony towards him from Nabokov. JA: Also the old man's response, "'Natasha is back,' Khrenov quietly and = firmly interjected, without raising his eyelids..." not only suggests how = supersensitive he is, but also delicately hints at embarrassment on his = part LH: I disagree with that too; throughout the story, Khrenov seems to be a = character mainly centered on what takes place within himself: his = forebodings, his dreams or visions... I think he is sick, not only = physically sick, because of what he lived through back in Russia; he is a = broken man (there is this beautiful passage when Natasha remembers him as = he used to be before exile) JA: I mean why else name him Wolfe, if not as in the sexually big bad = kind, LH: YES !! I think you have a point there; there is definitely something = strange about Wolfe; and his name points to that; when reading the story = for the first time, I felt at the beginning that he was a danger for = Natasha (his body is sort of hidden under the ample clothes...) but it = came to nothing really; Natasha comes to no harm. After re-reading the = story I found other unsettling details... But maybe you have more to say = about that ? Laurence Hochard Well I read the story twice, carefully. I admit that I did not notice the = silver flask; I think your connection to the silver pencil is very thin to = non-existent. As I said in my previous note, we've come to a point where = our subjective takes on the story simply will not jibe, and that's all she = wrote. It's not a matter of objective proof in the text. Whether or not = Natasha knows he's lying, or whether or not part of his purpose is to = cheer an old man up or not, may mitigate but does not entirely make moot = my point. "'It was back when I was wandering around the Congo,' he was = saying, and his large, somwhat corpulent figure swayed slightly, 'Ah, the = distant congo, my dear Alexy Ivanych...'" Now to my inner ear this sounds = at least a little like boasting, as much as simple entertainment for a = sick man, indeed the mention of his swaying belly not only recalls the = fat-bellied kinglet of his absurd annecdote, but also a contemptuous image = of fat middle-aged guys who like to sit around and pump themselves up with = grand adventures they never lived through. Also the old man's response, = "'Natasha is back,' Khrenov quietly and firmly interjected, without = raising his eyelids..." not only suggests how supersensitive he is, but = also delicately hints at embarrassment on his part, an attempt such Wolfe = up. It was primarily by this part I first thought Nabokov was being ironic = about Wolfe. In the country trip, though, he switches things around tries = to make him charming. It's a trick. I mean why else name him Wolfe, if not = as in the sexually big bad kind, only try for something differrent--it = doesn't work. And I think you cannot really be so certain from the text = that Natasha knew he was boasting. Certainly a first reading suggests that = she tells him about herVirgin Mary vision and her bell-ringing because = she believes that his mysterious worldliness will make him understand her = experiences and then takes them back when he admits to lying, so that he = won't think she's wacky. A second reading made me almost totally unsure as = to what was intended with her character. As to a detail I did notice: when = Natasha goes out to the country with Wolfe, Khrenov is looking for a = newspaper, even under the couch; when she returns it is for that paper he = is leaving the apartment. Again an ambiguity. Is it really his ghost or = suggestible hysteria on her part that makes her give him as a post-life = task the last thing she saw him doing? ----- Original Message ----From: laurence hochard To: NABOKV-L@LISTSERV.UCSB.EDUSent: Friday, June 13, 2008 6:38:11 = AMSubject: Re: [NABOKV-L] CORRECTION: Hochard on "Natasha" On Wolfe's lies:JA : What makes the character more like Smurov than = Sebastian Knight is that Wolfe lies to Natasha [...] clearly using his = fibs to impress her and others to make himself seem more interstingI = disagree.LH : Firstly, what is clear IN THE TEXT is that UNLIKE Smurov, = Wolfe NEVER stages himself as the hero of his anecdotes, he just gives = poetic descriptions of the places he has "seen".Secondly, it is also clear = that Natasha perfectly KNEW that Wolfe's stories were visions (she is no = more surprised when Wolfe "reveals" the "truth" to her than he is when she = tells him about her own "visions") and that she appreciated them as such, = all the more so since she, too, has visions. This is why I compared their = relationship to the one between Sebastian and Clare: both men invent = fictions and both women relish them (RLSK chapter 9 p.79: "She (Clare) = stayed there (in Sebastian's life) [...] quietly getting used to the = strange creatures (Sefastian's fictions) she found there and petted = despite their amazing shape.") Of course, the two stories are stylistically= very different (RLSK is rose and mauve and violet whereas "Natasha" is = blue and gray - you speak of "the loveliness of the bleuy description).Thir= dly, far from using his stories to show off, the text CLEARLY shows, if = one but reads it, that Wolfe uses his stories to humour a sad sick old man = haunted by nightmarish memories and the vision of his own death far from = home. I quote: "I hear you've almost totally recovered" ...slapping his = knees........"Nonsense" Wolfe merrily interrupted and extracted from his = hip pocket an ENORMOUS SILVER CIGAR CASE (more about that later) Wolfe = started speaking loudly and distinctly. He spoke of how Khr=E9nov still = had a long time to live, thank goodness, and how everyone would be = returning to Russia in the spring, together with the storks.And then he = proceeded to recount an incident from his past."Now, if you can quote some = evidence from NABOKOV'S TEXT showing that I'm mistaken, I certainly won't = feel humbled by your disagreeing with me, but, on the contrary, grateful. = After all, the purpose of this forum is to unearth "various little = marvels" in VN's oeuvre, isn't it?Speaking of little marvels, did you = notice that each time Wolfe is going to "recount an incident from his = past", he takes out his SILVER cigar case (it's a "habitual gesture"), as = if it were an inexhaustible MAGIC box from which he draws all his = fictions. And this leads me back to RLSK chapter 13 p.127 (vintage = paperback edition) where V. is given "an extraordinarily nice note-book = enclosing a delightful SILVER pencil" by Mr SILBERmann, and, significantly,= this scene takes place just after V. informed Silbermann that he planned = to write a book about Sebastian: writing as a magic gift!I think that a = story in which can be detected the presence of images Nabokov will use and = develop in later works deserves to be read and re-read before being = pronounced minor.=20 Date: Thu, 12 Jun 2008 12:30:59 -0700From: vanveen13@SBCGLOBAL.NETSubject: = Re: [NABOKV-L] CORRECTION: Hochard on "Natasha"To: NABOKV-L@LISTSERV.UCSB.E= DU Learning from Hochard that Nabokov was a subtle artist was, of course, = nothing short of a revelation; being told I am a=20 hasty reader, humbling. So I re-read Natasha and am convinced more than = ever this is a very minor Nabokov story. On the previous subjects: Wolfe's = lies. I am in agreement with Hochard, as I always was, that N. was not = being ironic in the suggestion that there is something charming in the = character living so fully in his imagination. My problem was with the = validity of the idea as dramatized in the story. What makes the character = more like Smurov than Sebastian Knight is that Wolfe lies to Natasha up = until the trip to the country, clearly using his fibs to impress her and = others to make himself seem more interesting, whereas Knight was a writer = whose profession is making up stories and being up front about it. On the = subject of whether the character's imagination is cliched, I stand by = initial opinion, the monkey vertebra, the fat bellied kinglet, the exotic = trees with the oranges, seem like something off Skull Island from the old = King Kong movie (please don't inform me that that film came out in 1933 = and so could not possibly have influenced N.'s story in 1924), or covers = of National Geographics without limit. And about the childishness of = Natasha. I should revise my statement a little. She's mushy and formless, = characterized only by her visions (which she does and doesn't have) and by = her eroticism, especially heightened in the couch scene the night before = she and Wolfe go on their trip to the country where lethargy keeps her = from brushing away the "formication" on her legs that makes her press them = together (this is prophetic as well, by the way, since in the country she = and Wolfe have to jump up from the ground where they sat on an anthill); = she's also described by her childish hairdo twice (I would like to suggest = as well that N.'s idea that we should look at the world with childlike = wonder is also cliche. Why is a child's wonder any more valuable than an = adult's? My interest in the world--of nature and the comings and goings of = civilization--are far deeper and more varied as an adult than any = superstious lazy ideas I had about virtually everything as a kid.) But = these things are of course subjective appraisals about which we'll never = agree. I instead turn my criticism to structural problems with the story. = I had found on my first reading a certain clumsiness in the tale's = development, despite the loveliness of the bluey description. It comes in = that trip to the country Nabokov forces Natasha to take with Wolfe. They = don't just go on a date to a nearby restaurant because N. needs them to be = so far away they can't be fetched when Natasha's father kicks the bucket, = so that he can make sure she has her vision of him healthily going out to = buy the paper before she discovers in fact he has died--though Natasha = probably would not have chanced that trip. The part where Wolfe tells her = he loves her then dashes into a tobacco shop right near the end seems = awkward as well. Clearly N. hoped this reticence would have a certain = psychological legitimacy, when really you can see it's been staged this = way just so Natasha will be by herself when she runs into her father = outside the apartment building, because N. needs this vision to remain = ambiguous. In fact the whole problem with the story's metaphysical = elements is that they've been worked out with an eye to tricking the = reader. First Natasha says she's had a vision of the virgin Mary and = telikenetically made a bell ring, then says she was lying about the whole = thing. Then at the end she has a genuine vision? You can too easily see = the author is playing the reader rather than revealing his characters, = which can be amusing, but flattens out any expression of genuiness there = might be in the idea of extrasensory perception, which, since it doesn't = exist, needs all the compelling depth Nabokov can invest it with.=20 ----- Original Message ----From: NABOKV-L To: = NABOKV-L@LISTSERV.UCSB.EDUSent: Thursday, June 12, 2008 12:08:51 PMSubject:= [NABOKV-L] CORRECTION: Hochard on "Natasha" My message has been a bit mangled; it should read:"...so self-centered, in = other words,that he can't but be blind to the real (=3Dpoetic) Bombay.This = "reversal of values" is what VN never ceased to illustrate, to incarnate...= ." =20 Laurence Hochard =20 Search the archive Contact the Editors Visit "Nabokov Online Journal" Visit Zembla View Nabokv-L Policies Manage subscription options All private editorial communications, without exception, are read by both = co-editors.=20 Search the archive Contact the Editors Visit "Nabokov Online Journal" Visit Zembla View Nabokv-L Policies Manage subscription options All private editorial communications, without exception, are read by both = co-editors.=20 Centralisez tous vos comptes mails dans Hotmail ! Cr=E9ez un compte = Hotmail, c'est gratuit !=20 Search the archive Contact the Editors Visit "Nabokov Online Journal" Visit Zembla View Nabokv-L Policies Manage subscription options All private editorial communications, without exception, are read by both = co-editors.=20 Search the archive Contact the Editors Visit "Nabokov Online Journal" Visit Zembla View Nabokv-L Policies Manage subscription options All private editorial communications, without exception, are read by both = co-editors.=20 _________________________________________________________________ Caroline vient de mettre =E0 jour son profil Messenger ! Connectez-vous ! http://login.live.com/login.srf?wa=3Dwsignin1.0&rpsnv=3D10&ct=3D1198837564&= rver=3D4.0.1534.0&wp=3DMBI&wreply=3Dhttp:%2F%2Fhome.services.spaces.live.co= m%2F&lc=3D1036&id=3D73625 Search archive with Google: http://www.google.com/advanced_search?q=3Dsite:listserv.ucsb.edu&HL=3Den 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 Visit "Nabokov Online Journal:" http://www.nabokovonline.com Manage subscription options: http://listserv.ucsb.edu/ Search archive with Google: http://www.google.com/advanced_search?q=3Dsite:listserv.ucsb.edu&HL=3Den 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 Visit "Nabokov Online Journal:" http://www.nabokovonline.com Manage subscription options: http://listserv.ucsb.edu/ --=__PartAB82B902.2__= Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Description: HTML


Date: Sun, 15 Jun 2008 21:45:32 -0700
From: vanveen13@SBCGLOBAL.NET
S= ubject: Re: [NABOKV-L] CORRECTION: Hochard on "Natasha"
To: NABOKV-L@LIS= TSERV.UCSB.EDU

JA: the silver flask:
LH a silver CASE, a silver cigar case
JA: It's not a matter of objective proof in the text:
LH:  yes it is(in my opinion); one can't impose one's meaning, one's = fantasies on a text regardless of the reality of this text, the WORDS of = THIS VERY TEXT even less so when the text is written by Nabokov!
If = it's only a question of subjective appraisal, then real discussion and = enquiry stop short and debate amounts to no more than more or less = sophisticated chitchat.
I'm not saying that one can't have hunches but = one must try to anchor them in the text for them to be validated
JA: ... and his large, somewhat corpulent figure swayed slightly, 'Ah, the = distant congo, my dear Alexy Ivanych...'" Now to my inner ear this sounds = at least a little like boasting
LH: I don't think so; I think the swaying movement is rather like a kind = of trance; besides, everybody seems to live in a state of trance in this = short story... and moreover, it doesn't seem to be consistent with the = rest of the story; no, Wolfe is definitely not that kind of character; = besides, there is no irony towards him from Nabokov.
JA: Also the old man's response, "'Natasha is back,' Khrenov quietly and = firmly interjected, without raising his eyelids..." not only suggests how = supersensitive he is, but also delicately hints at embarrassment on his = part
LH: I disagree with that too; throughout the story, Khrenov seems to be a = character mainly centered on what takes place within himself: his = forebodings, his dreams or visions... I think he is sick, not only = physically sick, because of what he lived through back in Russia; he is a = broken man (there is this beautiful passage when Natasha remembers him as = he used to be before exile)
JA: I mean why else name him Wolfe, if not as in the sexually big bad = kind,
LH: YES !! I think you have a point there; there is definitely something = strange about Wolfe; and his name points to that; when reading the story = for the first time, I felt at the beginning that  he was a danger for = Natasha (his body is sort of hidden under the ample clothes...) but it = came to nothing really; Natasha comes to no harm. After re-reading the = story I found other unsettling details... But maybe you have more to say = about that ?
Laurence Hochard


Well I read the story twice, carefully. I admit that I did = not notice the silver flask; I think your connection to the silver pencil = is very thin to non-existent. As I said in my previous note, we've come to = a point where our subjective takes on the story simply will not jibe, and = that's all she wrote. It's not a matter of objective proof in the text. = Whether or not Natasha knows he's lying, or whether or not part of his = purpose is to cheer an old man up or not, may mitigate but does not = entirely make moot my point. "'It was back when I was wandering around the = Congo,' he was saying, and his large, somwhat corpulent figure swayed = slightly, 'Ah, the distant congo, my dear Alexy Ivanych...'" Now to my = inner ear this sounds at least a little like boasting, as much as simple = entertainment for a sick man, indeed the mention of his swaying belly = not only recalls the fat-bellied kinglet of his absurd annecdote, but = also a contemptuous image of fat middle-aged guys who like = to sit around and pump themselves up with grand adventures they = never lived through. Also the old man's response, "'Natasha is back,' = Khrenov quietly and firmly interjected, without raising his eyelids...= " not only suggests how supersensitive he is, but also delicately hints at = embarrassment on his part, an attempt such Wolfe up. It was primarily by = this part I first thought Nabokov was being ironic about Wolfe. In the = country trip, though, he switches things around tries to make him = charming. It's a trick. I mean why else name him Wolfe, if not as in the = sexually big bad kind, only try for something differrent--it doesn't = work. And I think you cannot really be so certain from the text = that Natasha knew he was boasting. Certainly a first reading suggests that = she tells him about herVirgin Mary vision and her  bell-ringing = because she believes that his mysterious worldliness will make him = understand her experiences and then takes them back when he admits to = lying, so that he won't think she's wacky. A second reading made = me almost totally unsure as to what was intended with her character. = As to a detail I did notice: when Natasha goes out to the country with = Wolfe, Khrenov is looking for a newspaper, even under the couch; when she = returns it is for that paper he is leaving the apartment. Again an = ambiguity. Is it really his ghost or suggestible hysteria on her part that = makes her give him as a post-life task the last thing she saw him = doing?

----- Original Message ----
From: laurence hochard = <laurence.hochard@HOTMAIL.FR>
To: NABOKV-L@LISTSERV.UCSB.EDU
Se= nt: Friday, June 13, 2008 6:38:11 AM
Subject: Re: [NABOKV-L] CORRECTION:= Hochard on "Natasha"

On Wolfe's lies:
JA : What makes the character more like Smurov than = Sebastian Knight is that Wolfe lies to Natasha [...] clearly using his = fibs to impress her and others to make himself seem more intersting
I = disagree.
LH : Firstly, what is clear IN THE TEXT is that UNLIKE = Smurov, Wolfe NEVER stages himself as the hero of his anecdotes, he just = gives poetic descriptions of the places he has "seen".
Secondly, it is = also clear that Natasha perfectly KNEW that Wolfe's stories were visions = (she is no more surprised when Wolfe "reveals" the "truth" to her than he = is when she tells him about her own "visions") and that she appreciated = them as such, all the more so since she, too, has visions. This is why I = compared their relationship to the one between  Sebastian and Clare: = both men invent fictions and both women relish them (RLSK chapter 9 p.79: = "She (Clare) stayed there (in Sebastian's life) [...] quietly getting used = to the strange creatures (Sefastian's fictions) she found there and petted = despite their amazing shape.") Of course, the two stories are stylistically= very different (RLSK is rose and mauve and violet whereas "Natasha" is = blue and gray - you speak of "the loveliness of the bleuy description).
= Thirdly, far from using his stories to show off, the text CLEARLY shows, = if one but reads it, that Wolfe uses his stories to humour a sad sick old = man haunted by nightmarish memories and the vision of his own death far = from home. I quote: "I hear you've almost totally recovered" ...slapping = his knees........"Nonsense" Wolfe merrily interrupted and extracted from = his hip pocket an ENORMOUS SILVER CIGAR CASE (more about that later) Wolfe = started speaking loudly and distinctly. He spoke of how Khr=E9nov still = had a long time to live, thank goodness, and how everyone would be = returning to Russia in the spring, together with the storks.And then he = proceeded to recount an incident from his past."
Now, if you can quote = some evidence from NABOKOV'S TEXT showing that I'm mistaken, I certainly = won't feel humbled by your disagreeing with me, but, on the contrary, = grateful. After all, the purpose of this forum is to unearth "various = little marvels" in VN's oeuvre, isn't it?
Speaking of little marvels, = did you notice that each time Wolfe is going to "recount an incident from = his past",  he takes out his SILVER cigar case (it's a "habitual = gesture"), as if it were an inexhaustible MAGIC box from which he draws = all his fictions. And this leads me back to RLSK chapter 13 p.127 (vintage = paperback edition) where V. is given "an extraordinarily nice note-book = enclosing a delightful SILVER pencil" by Mr SILBERmann, and, significantly,= this scene takes place just after V. informed Silbermann that he planned = to write a book about Sebastian: writing as a magic gift!
I think that = a story in which can be detected the presence of images Nabokov will use = and develop in later works deserves to be read and re-read before = being pronounced minor.


Date: Thu, 12 Jun 2008 12:30:59 -0700
From: vanveen13@SBCGLOBAL.NET
S= ubject: Re: [NABOKV-L] CORRECTION: Hochard on "Natasha"
To: NABOKV-L@LIS= TSERV.UCSB.EDU

Learning from Hochard that Nabokov was a = subtle artist was, of course, nothing short of a revelation; being told I = am a
hasty reader, humbling. So I re-read Natasha and am = convinced more than ever this is a very minor Nabokov story. On the = previous subjects: Wolfe's lies. I am in agreement with Hochard, as I = always was, that N. was not being ironic in the suggestion that there is = something charming in the character living so fully in his imagination= . My problem was with the validity of the idea as dramatized in the story. = What makes the character more like Smurov than Sebastian Knight is that = Wolfe lies to Natasha up until the trip to the country, clearly using his = fibs to impress her and others to make himself seem more interesting, = whereas Knight was a writer whose profession is making up stories and = being up front about it. On the subject of whether the character's = imagination is cliched, I stand by initial opinion, the monkey vertebra, = the fat bellied kinglet, the exotic trees with the oranges, seem like = something off Skull Island from the old King Kong movie (please don't = inform me that that film came out in 1933 and so could not = possibly have influenced N.'s story in 1924), or covers of National = Geographics without limit. And about the childishness of Natasha. I should = revise my statement a little. She's mushy and formless, characterized only = by her visions (which she does and doesn't have) and by her eroticism, = especially heightened in the couch scene the night before she and Wolfe go = on their trip to the country where lethargy keeps her from brushing = away the "formication" on her legs that makes her press them together = (this is prophetic as well, by the way, since in the country she and = Wolfe have to jump up from the ground where they sat on an anthill); she's = also described by her childish hairdo twice (I would like to = suggest as well that N.'s idea that we should look at the world with = childlike wonder is also cliche. Why is a child's wonder any more valuable = than an adult's? My interest in the world--of nature and the = comings and goings of civilization--are far deeper and more varied as an = adult than any superstious lazy ideas I had about virtually everything as = a kid.) But these things are of course subjective appraisals about which = we'll never agree. I instead turn my criticism to structural problems = with the story. I had found on my first reading a certain clumsiness in = the tale's development, despite the loveliness of the bluey descriptio= n. It comes in that trip to the country Nabokov forces Natasha to take = with Wolfe. They don't just go on a date to a nearby restaurant = because N. needs them to be so far away they can't be fetched when = Natasha's father kicks the bucket, so that he can make sure she has her = vision of him healthily going out to buy the paper before she discovers in = fact he has died--though Natasha probably would not have chanced that = trip. The part where Wolfe tells her he loves her then dashes into a = tobacco shop right near the end seems awkward as well. Clearly N. = hoped this reticence would have a certain psychological legitimacy,&nb= sp;when really you can see it's been staged this way just so Natasha will = be by herself when she runs into her father outside the apartment = building, because N. needs this vision to remain ambiguous. In fact the = whole problem with the story's metaphysical elements is that they've been = worked out with an eye to tricking the reader. First = Natasha says she's had a vision of the virgin Mary and telikenetically= made a bell ring, then says she was lying about the whole thing. Then= at the end she has a genuine vision? You can too easily see the = author is playing the reader rather than revealing his characters, which = can be amusing, but flattens out any expression of genuiness there might = be in the idea of extrasensory perception, which, since it doesn'= t exist, needs all the compelling depth Nabokov can invest it = with. 

----- Original Message ----
From: NABOKV-L <NABOKV-L@HO= LYCROSS.EDU>
To: NABOKV-L@LISTSERV.UCSB.EDU
Sent: Thursday, June = 12, 2008 12:08:51 PM
Subject: [NABOKV-L] CORRECTION: Hochard on = "Natasha"

My message has been a bit mangled; it should read:
"...so = self-centered, in other words,that he can't but be blind to the real =
(=3Dpoetic) Bombay.
This "reversal of values" is what VN never = ceased to illustrate, to
incarnate...."
 
Laurence Hochard
 
Search the archive Contact the Editors= Visit "Nabokov Online = Journal"
Visit Zembla View Nabokv-L Policies= Ma= nage subscription options

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

Search the archive Contact the Editors= Visit "Nabokov Online = Journal"
Visit Zembla View Nabokv-L Policies= Ma= nage subscription options

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


Centralisez tous vos comptes mails dans Hotmail ! Cr=E9ez un compte Hotmail, c'est gratuit = !=20 =
Search the archive Contact the Editors Visit "Nabokov Online Journal"=
Visit ZemblaView Nabokv-L Policies Ma= nage subscription options

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

Se= arch the archive Contact the Editors Visit "Nabokov Online Journal"
Visit Zembla View Nabokv-L Policies Manage subscripti= on options

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


Tous vos amis discutent sur Messenger, et = vous ? T= =E9l=E9chargez Messenger, c'est gratuit !
Search the archive Contact the = Editors Visit "Nabokov = Online Journal"
Vi= sit Zembla View = Nabokv-L Policies Manage subscription = options

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

Search the archive Contact the Editors Visit "Nabokov Online Journal"
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