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Posts Tagged ‘Vladimir Nabokov’

15 DECEMBER, 2014

The Best Biographies, Memoirs, and History Books of 2014

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Nabokov’s love letters, Shackleton’s courageous journey, the unsung heroes behind creative icons, Joni Mitchell unbound, and more.

After the year’s best reads in science, children’s books, psychology and philosophy, and art, design, and photography, here come the finest memoirs, biographies, and history books of the year — our most inviting bridge between past and present, personal and universal.

1. A LIFE WORTH LIVING

“To decide whether life is worth living is to answer the fundamental question of philosophy,” Albert Camus wrote in his 119-page philosophical essay The Myth of Sisyphus in 1942. “Everything else … is child’s play; we must first of all answer the question.” One of the most famous opening lines of the twentieth century captures one of humanity’s most enduring philosophical challenged — the impulse at the heart of Seneca’s meditations on life and Montaigne’s timeless essays and Maya Angelou’s reflections, and a wealth of human inquiry in between. But Camus, the second-youngest recipient of the Nobel Prize in Literature after Rudyard Kipling, addressed it with unparalleled courage of conviction and insight into the irreconcilable longings of the human spirit.

In the beautifully titled and beautifully written A Life Worth Living: Albert Camus and the Quest for Meaning (public library | IndieBound), historian Robert Zaretsky considers Camus’s lifelong quest to shed light on the absurd condition, his “yearning for a meaning or a unity to our lives,” and its timeless yet increasingly timely legacy:

If the question abides, it is because it is more than a matter of historical or biographical interest. Our pursuit of meaning, and the consequences should we come up empty-handed, are matters of eternal immediacy.

[…]

Camus pursues the perennial prey of philosophy — the questions of who we are, where and whether we can find meaning, and what we can truly know about ourselves and the world — less with the intention of capturing them than continuing the chase.

Dive deeper with more on Camus’s crusade for happiness as our moral obligation.

2. CAN’T WE TALK ABOUT SOMETHING MORE PLEASANT?

“Each day, we wake slightly altered, and the person we were yesterday is dead,” John Updike wrote in his magnificent memoir. “So why, one could say, be afraid of death, when death comes all the time?” It’s a sentiment somewhat easier to swallow — though certainly not without its ancient challenge — when it comes to our own death, but when that of our loved ones skulks around, it’s invariably devastating and messy, and it catches us painfully unprepared no matter how much time we’ve had to “prepare.”

Count on another beloved New Yorker contributor, cartoonist Roz Chast, to address this delicate and doleful subject with equal parts wit and wisdom in Can’t We Talk about Something More Pleasant?: A Memoir (public library | IndieBound) — a remarkable illustrated chronicle of her parents’ decline into old age and death, pierced by those profound, strangely uplifting in-between moments of cracking open the little chests of truth we keep latched shut all our lives until a brush with our mortal impermanence rattles the lock and lets out some understanding, however brief and fragmentary, of the great human mystery of what it means to live.

The humor and humility with which Chast tackles the enormously difficult subject of aging, illness and death is nothing short of a work of genius.

See more here.

3. SUSAN SONTAG

In addition to being a great personal hero of mine, Susan Sontag endures as one of the most influential intellectuals of the past century. But her most enchanting quality was a singular blend of fierce, opinionated intellect and vast emotional capacity — a mind not only aware of the world, but also of itself and its own vulnerability, coupled with a heart that beat with uncommon intensity and inhabited its fallible human potentiality fully, unflinchingly — not only a “professional observer” of life, per her memorable definition of a writer, but also an active participant in life, both public and private. Sontag lived with more dimension than most people are capable of even imagining, let alone comprehending, which rendered her at times revered, at times reviled, but mostly artificially flattened into the very labels she so deplored.

To capture Sontag’s life and spirit by honoring her dimensionality, then, is a monumental task, but one which Berlin-based writer and art critic David Schreiber accomplishes with enormous elegance in the long-awaited Susan Sontag: A Biography (public library | IndieBound).

Perhaps the most interesting narrative thread in Schreiber’s story of Sontag explores how she claimed her place in culture and crafted her version of “the American dream,” beginning with her conquest of New York:

In March 1959, Susan and her son, David, moved to New York. With her typical flair for self-dramatization, Sontag told interviewers that she arrived in the metropolis with only two suitcases and thirty dollars. Later it was seventy dollars, a somewhat more realistic amount that would be about $450 in today’s dollars. Because of the low rents in New York at the time, it would have been enough to make a start.

As Sontag told it, it sounds like a version of the American dream: a twenty-three-year-old single mother without resources moves to a huge and hostile city intending to live there as an author, filmmaker, and intellectual. And on her own and against all odds, she realizes her dream. There could not have been a better place than New York for Sontag to convert her fantasy of the bohemian life into reality. In this city, everything seemed possible for a young, ambitious woman.

Portrait of Susan Sontag by Peter Hujar, 1975, from 'Hide/Seek: Difference and Desire in American Portraiture.' Click image for details.

But it wasn’t merely a matter of ambition: Sontag possessed a rare talent to possess — people, places, social situations. Schreiber cites an account by one of Sontag’s lifelong friends, the American poet and Pulitzer Prize winner Richard Howard:

Howard remembers what a natural Sontag was at making new contacts, striking up friendships, and meeting influential people. “She could be very, very nice — even seductive — to people she wanted something from. She just could not talk to stupid people.”

[…]

Sontag’s natural and self-confident contact with this exclusive society is all the more remarkable when one recalls how difficult it was to gain admittance. The gathering of New York’s high society of writers, artists, and intellectuals was an almost hermetically sealed world with strict criteria for admission.

[…]

Sontag seemed to exude an irresistible mixture of intelligence, hipness, sex, and beauty, so that, as she herself once said, she had Jasper Johns, Bobby Kennedy, and Warren Beatty all at her feet.

Dive deeper here.

4. MEANWHILE IN SAN FRANCISCO

Although Meanwhile, in San Francisco: The City in Its Own Words (public library | IndieBound) by illustrator extraordinaire and frequent Brain Pickings contributor Wendy MacNaughton may be “about” a city, in the sense that the raw inspiration was drawn from the streets of San Francisco, it is really about the city, any city — about community, about subcultures and belonging, about the complexities of gentrification, about what it means to have individual dignity and shared identity. In that sense, it is a collective memoir of community.

Like a modern-day Margaret Mead armed with ink and watercolor, not a critic or commentator but an observer and amplifier of voice, MacNaughton plunges into the living fabric of the city with equal parts curiosity and compassion, gentleness and generosity, wit and wisdom, and emerges with a dimensional portrait painted with honesty, humor, and humility.

Beneath the individual stories — of the bus driver, of the hipsters, of the old men in Chinatown, of the librarian, of the street preacher — lies a glimpse of our shared humanity, those most vulnerable and earnest parts of the human soul that we often overlook and dismiss as we reduce people to their demographic and psychographic variables, be those race or gender or socioeconomic status or subcultural identification. Embedded in these simple, moving stories is MacNaughton’s tender reminder that there is no greater gift we can give each other than the gift of understanding, of looking and really seeing, of peering beyond the persona and into the person with an awareness that however different our struggles and circumstances may be, we are inextricably bonded by the great human longing to be truly seen for who we are.

See more here.

5. EVER YOURS

Vincent van Gogh was woven of contradictions — an extraordinary artist who also illuminated the scientific mysteries of movement and light; a man of great hunger for love and light and a great capacity for anguish. Nowhere does the role of these polarizing pulls in the making of his genius shine more brilliantly than in Ever Yours: The Essential Letters (public library | IndieBound) — a revelatory selection of 265 letters exploring Van Gogh’s creative restlessness, his struggle to find his path in life, his tentative first steps into painting, and his views on art, society, love, and life.

In one letter, Van Gogh writes to his brother, Theo:

I’m always inclined to believe that the best way of knowing [the divine] is to love a great deal. Love that friend, that person, that thing, whatever you like, you’ll be on the right path to knowing more thoroughly, afterwards; that’s what I say to myself. But you must love with a high, serious intimate sympathy, with a will, with intelligence, and you must always seek to know more thoroughly, better, and more.

'Self-Portrait with Straw Hat' by Vincent van Gogh

In another, he despairs:

In the springtime a bird in a cage knows very well that there’s something he’d be good for; he feels very clearly that there’s something to be done but he can’t do it; what it is he can’t clearly remember,and he has vague ideas and says to himself, “the others are building their nests and making their little ones and raising the brood,” and he bangs his head against the bars of his cage. And then the cage stays there and the bird is mad with suffering. “Look, there’s an idler,” says another passing bird — that fellow’s a sort of man of leisure. And yet the prisoner lives and doesn’t die; nothing of what’s going on within shows outside, he’s in good health, he’s rather cheerful in the sunshine. But then comes the season of migration. A bout of melancholy — but, say the children who look after him, he’s got everything that he needs in his cage, after all — but he looks at the sky outside, heavy with storm clouds, and within himself feels a rebellion against fate. I’m in a cage, I’m in a cage, and so I lack for nothing, you fools! Me, I have everything I need! Ah, for pity’s sake, freedom, to be a bird like other birds!

An idle man like that resembles an idle bird like that.

[…]

You may not always be able to say what it is that confines, that immures, that seems to bury, and yet you feel [the] bars…

Dive deeper with Van Gogh’s heartfelt letters on his struggle to find his purpose.

6. THE UNSPEAKABLE

Meghan Daum is undoubtedly one of the finest essayists of our time. In The Unspeakable: And Other Subjects of Discussion (public library | IndieBound), she explores “the tension between primal reactions and public decorum” and aiming at “a larger discussion about the way human experiences too often come with preassigned emotional responses,” driven by a valiant effort to unbridle those messy, complex experiences from the simplistic templates with which we address them, both privately and publicly.

In the introduction, Daum echoes Zadie Smith’s piercing critique of our platitudes-paved road to self-actualization and laments the hijacking of our darker, more disquieting emotions by the happiness industrial complex:

For all the lip service we pay to “getting real,” we remain a culture whose discourse is largely rooted in platitudes. We are told — and in turn tell others — that illness and suffering isn’t a ruthless injustice, but a journey of hope. Finding disappointment in places where we’re supposed to find joy isn’t a sign of having different priorities as much as having an insufficiently healthy outlook. We love redemption stories and silver linings. We believe in overcoming adversity, in putting the past behind us, in everyday miracles. We like the idea that everything happens for a reason. When confronted with the suggestion that life is random or that suffering is not always transcendent we’re apt to not only accuse the suggester of rudeness but also pity him for his negative worldview. To reject sentimentality, or even question it, isn’t just uncivilized, it’s practically un-American.

Dive deeper with Daum on aging, nostalgia, and how we become who we are.

7. WORN STORIES

One of the most extraordinary things about human beings is that we weave our lives of stories, stories woven of sentimental memories, which we can’t help but attach to our physical environment — from where we walk, creating emotional place-memory maps of a city, to how smell transports us across space and time, to what we wear.

For artist and editor Emily Spivack, clothes can be an “evolving archive of experiences, adventures, and memories” and a powerful storytelling device. Since 2010, she has been meticulously curating a remarkable catalog of such wearable personal histories from the living archives of some of the most interesting minds of our time — artists and Holocaust survivors, writers and renegades, hip-hop legends and public radio personalities. In Worn Stories (public library), published by Princeton Architectural Press, Spivack shares the best of these stories — some poignant, some funny, all imbued with disarming humanity and surprising vulnerability — from an impressive roster of contributors, including performance artist Marina Abramovic, writer Susan Orlean, comedian John Hodgman, fashion designer Cynthia Rowley, Orange Is the New Black memoirist Piper Kerman, artist Maira Kalman, MoMA curator Paola Antonelli, and artist, writer, and educator Debbie Millman.

The stories span a remarkable range — a traditional Indian shirt worn during a spiritual Hindu gathering turned kidnapping; the shoes in which Marina Abramovic walked the Great Wall of China while saying farewell to a soulmate; an oddly uncharacteristic purple silk tuxedo shirt that belonged to Johnny Cash, preserved by his daughter; and, among myriad other shreds and threads of the human experience, various mementos from the “soul loss” — as one contributor puts it — of love affairs ending.

Read some of the stories here, then hear Spivack’s fascinating interview on Design Matters.

8. LETTERS TO VÉRA

Long before Vladimir Nabokov became a sage of literature, Russia’s most prominent literary émigré, and a man of widely revered strong opinions, the most important event of his life took place: 24-year-old Vladimir met 21-year-old Véra. She would come to be not only his great love and wife for the remaining half century of his life, but also his editor, assistant, administrator, agent, archivist, chauffeur, researcher, stenographer in four languages, and even his bodyguard, famously carrying a small pistol in her purse to protect her husband from assassination after he became America’s most famous and most scandalous living author.

So taken was Vladimir with Véra’s fierce intellect, her independence, her sense of humor, and her love of literature — she had been following his work and clipping his poems since she was nineteen and he twenty-two — that he wrote his first poem for her after having spent mere hours in her company. But nowhere did his all-consuming love and ebullient passion unfold with more mesmerism than in his letters to her, which he began writing the day after they met and continued until his final hours. They are now collected in the magnificent tome Letters to Véra (public library) — a lifetime of spectacular contributions to the canon of literary history’s greatest love letters, with intensity and beauty of language rivaled only, perhaps, by the letters of Vita Sackville-West and Violet Trefusis and those of Frida Kahlo to Diego Rivera.

Véra and Vladimir Nabokov, Montreaux, 1968 (Photograph: Philippe Halsman)

In July of 1923, a little more than two months after they met, Vladimir writes to Véra:

I won’t hide it: I’m so unused to being — well, understood, perhaps, — so unused to it, that in the very first minutes of our meeting I thought: this is a joke… But then… And there are things that are hard to talk about — you’ll rub off their marvelous pollen at the touch of a word… You are lovely…

[…]

Yes, I need you, my fairy-tale. Because you are the only person I can talk with about the shade of a cloud, about the song of a thought — and about how, when I went out to work today and looked a tall sunflower in the face, it smiled at me with all of its seeds.

[…]

See you soon my strange joy, my tender night.

By November, his love has only intensified:

How can I explain to you, my happiness, my golden wonderful happiness, how much I am all yours — with all my memories, poems, outbursts, inner whirlwinds? … I swear — and the inkblot has nothing to do with it — I swear by all that’s dear to me, all I believe in — I swear that I have never loved before as I love you, — with such tenderness — to the point of tears — and with such a sense of radiance.

Devour more of Nabokov’s exquisite love letters here.

9. SHACKLETON’S JOURNEY

In August of 1914, legendary British explorer Ernest Shackleton led his brave crew of men and dogs on a journey to the end of the world — the enigmatic continent of Antarctica. That voyage — monumental both historically and scientifically — would become the last expedition of the Heroic Age of Antarctic Exploration, which stretched from 1888 to 1914. From Flying Eye Books — the children’s book imprint of British indie press Nobrow, which gave us Freud’s comic biography, Blexbolex’s brilliant No Man’s Land and some gorgeous illustrated histories of aviation and the Space Race — comes Shackleton’s Journey (public library | IndieBound), a magnificent chronicle by emerging illustrator William Grill, whose affectionate and enchanting colored-pencil drawings bring to life the legendary explorer and his historic expedition.

As Grill tells us in the introduction, Shackleton was a rather extraordinary character:

Shackleton was the second of ten children. From a young age, Shackleton complained about teachers, but he had a keen interest in books, especially poetry — years later, on expeditions, he would read to his crew to lift their spirits. Always restless, the young Ernest left school at 16 to go to sea. After working his way up the ranks, he told his friends, “I think I can do something better, I want to make a name for myself.”

And make it he did. Reflecting on the inescapable allure of exploration, which carried him through his life of adventurous purpose, Shackleton once remarked:

I felt strangely drawn to the mysterious south. I vowed to myself that some day I would go to the region of ice and snow, and go on and on ’til I came to one of the poles of the Earth, the end of the axis on which this great round ball turns.

Years later, Shackleton himself captured the spirit that carried them:

I chose life over death for myself and my friends… I believe it is in our nature to explore, to reach out into the unknown. The only true failure would be not to explore at all.

See more here.

10. THE WHO, THE WHAT, AND THE WHEN

There is something quite wonderful about witnessing one human being selflessly bolster the creative achievement of another, especially in a culture where it’s easier to be a critic than a celebrator — from the man who helped Bukowski quit his soul-sucking day job to become a full-time writer to the way Ursula Nordstrom nurtured young Maurice Sendak’s talent. But those who blow quiet, steadfast wind into the sails of genius clash with our narrow mythology of solitary brilliance — not to mention that as we so readily dismiss creative contribution on the accusatory grounds of “privilege” today, we weigh the material advantages but forget that the loving and staunch support of human capital is often the greatest privilege of all. And for many people we’ve come to celebrate as geniuses, such human capital was precisely what made their achievements possible — a vital aid rather than a detractor of their greatness.

That’s precisely what illustrator extraordinaire Julia Rothman and her collaborators Jenny Volvovski and Matt Lamothe celebrate in The Who, the What, and the When: 65 Artists Illustrate the Secret Sidekicks of History (public library | IndieBound) — an illuminating inventory of the little-known champions behind a wide range of cultural icons and an homage to the gift of what Robert Krulwich once so poetically termed “friends in low places.” Each story is told by a different writer and illustrated by a different artist, all of astounding range and talent.

Illustration by Wendy MacNaughton

Among these enabling unknowns are George Washington’s dentist, Andy Warhol’s mother, Alan Turing’s teenage crush, Emily Dickinson’s dog, Vladimir Nabokov’s wife, and Roald Dahl’s mother. Indeed, as immeasurably heartening as the project is, there is also a heartbreaking undertone reminding us how consistently women are sidelined in history — throughout the book, the most frequently recurring roles of these silent supporters are of wife and mother, who doubled and tripled and quadrupled as assistant, caretaker, editor, publicist, and a great many more utilitarian and creative duties.

Véra Nabokov, 1902–1991; art by Thomas Doyle

Rothman and team write in the introduction:

Behind every great person there is someone who enabled his or her ascension. These friends, relatives, partners, muses, colleagues, coaches, assistants, lovers, teachers, and caretakers deserve some credit… When you consider your own life, there are dozens of people who have guided you along your path — whether a teacher from fifth grade who finally got you to raise your hand in class, a family friend who gave you your first camera, or that whiskey-sipping neighbor who’d tell you stories of his childhood. These relationships shape our lives, some lightly and others with more impact.

Julia Warhola, 1891–1971; art by Leslie Herman

Read some of these heartening illustrated stories here.

11. E.E. CUMMINGS

“The art of seeing has to be learned,” Marguerite Duras memorably wrote. Half a century earlier, a young poet began teaching the world this art, and teaching us to question what is seen, then made another art of that questioning. In E. E. Cummings: A Life (public library | IndieBound), memoirist, biographer, and journalist Susan Cheever chronicles the celebrated poet’s “wildly ambitious attempt at creating a new way of seeing the world through language.”

Cheever considers the three ways in which modernists like Cummings and his coterie — which included such icons as Gertrude Stein, James Joyce, Pablo Picasso, Henri Matisse, and Marcel Duchamp — reshaped culture:

Modernism as Cummings and his mid-twentieth-century colleagues embraced it had three parts. The first was the exploration of using sounds instead of meanings to connect words to the reader’s feelings. The second was the idea of stripping away all unnecessary things to bring attention to form and structure: the formerly hidden skeleton of a work would now be exuberantly visible. The third facet of modernism was an embrace of adversity. In a world seduced by easy understanding, the modernists believed that difficulty enhanced the pleasures of reading. In a Cummings poem the reader must often pick his way toward comprehension, which comes, when it does, in a burst of delight and recognition.

One can’t help but feel the particular timeliness, today, of the third — how often are we offered “a burst of delight and recognition” in our culture of monotonously shrill linkbait as we struggle to glean any semblance of wisdom in the age of information? Cummings knew that equally essential was the capacity to notice the invitation to experience that burst — a capacity ever-shrinking, ever-urgently longed for in our age of compulsive flight from stillness — and he made an art of that noticing. Cheever writes:

[The modernists] were trying to slow down the seemingly inexorable rush of the world, to force people to notice their own lives. In the twenty-first century, that rush has now reached Force Five; we are all inundated with information and given no time to wonder what it means or where it came from. Access without understanding and facts without context have become our daily diet.

Read more, including a note on the faux-controversy over Cummings’s name capitalization, here.

12. THE LONDON JUNGLE BOOK

Something happened to us between Shackleton’s day in the Golden Age of Exploration and today — something that transformed us from wide-eyed wanderers who came to know distant lands with a sense of wonder and awe into the habitually crabby, short-tempered, entitled travelers we are today. We tap our feet impatiently at the airport security line, oblivious to the miracle we’re about to experience — a giant beast of our own creation is to take us high into the sky (where we can enjoy food and Academy-Award-winning cinema) and to a distant, often foreign land. A mere century ago, the vast majority of people never traveled more than fifty miles from their place of birth in their lifetime — and yet here we are today, jaded and irritable at the prospect of travel. How did we end up that way? And what if we arrogant moderns could, if only for a moment, strip ourselves of our cultural baggage and experience travel afresh, with eager new eyes and exuberant joy for the journey?

That’s precisely what award-winning artist Bhajju Shyam, working in the Gond tradition of Indian folk art, does in The London Jungle Book (public library | IndieBound) — an extraordinary and invigorating book from Indian independent publisher Tara Books, who continue to give international voice to marginalized art and literature through their commune of artists, writers and designers collaborating on unusual, often handmade books. Titled as both an homage and a mirror-image counterpoint to Rudyard Kipling’s iconic The Jungle Book, this gem tells the story of young Bhajju’s reality-warping encounter with London, where he journeyed from his native India.

At once a highly symbolic, almost semiotic visual travelogue and a work of remarkable philosophical sensitivity, the book invites us to see our tiresomely familiar world through the eyes of a young man who has a creative intelligence few adults are endowed with and a childlike capacity for wonder and metaphorical imagery. The busy King’s Cross station of the London Tube becomes a serpentine King of the Underworld, Big Ben a giant omniscient rooster, and London’s female workforce — women who seem to Shyam to do most of the work “and happily” — multi-handed goddesses.

Dive deeper with more of Shyam’s gorgeous drawings and the story of his voyage from poverty in a small Indian village to international acclaim as a self-made artist.

13. CATALOGING THE WORLD

Decades before Alan Turing pioneered computer science and Vannevar Bush imagined the web, a visionary Belgian idealist named Paul Otlet (August 23, 1868–December 10, 1944) set out to organize the world’s information. For nearly half a century, he worked unrelentingly to index and catalog every significant piece of human thought ever published or recorded, building a massive Universal Bibliography of 15 million books, magazines, newspapers, photographs, posters, museum pieces, and other assorted media. His monumental collection was predicated not on ownership but on access and sharing — while amassing it, he kept devising increasingly ambitious schemes for enabling universal access, fostering peaceful relations between nations, and democratizing human knowledge through a global information network he called the “Mundaneum” — a concept partway between Voltaire’s Republic of Letters, Marshall McLuhan’s “global village,” and the übermind of the future. Otlet’s work would go on to inspire generations of information science pioneers, including the founding fathers of the modern internet and the world wide web. (Even the visual bookshelf I use to manage the Brain Pickings book archive is named after him.)

In Cataloging the World: Paul Otlet and the Birth of the Information Age (public library | IndieBound), writer, educator, and design historian Alex Wright traces Otlet’s legacy not only in technology and information science, but also in politics, social reform, and peace activism, illustrating why not only Otlet’s ideas, but also his idealism matter as we contemplate the future of humanity.

The Mundaneum, with its enormous filing system designed by Otlet himself, allowed people to request information by mail-order. By 1912, Otlet and his team were fielding 1,500 such requests per year.

(Image: Mundaneum Archive, Belgium)

Read more here.

14. MOCHA DICK

In May of 1839, Herman Melville found himself riveted by an article in the New York monthly magazine The Knickerbocker about a “renowned monster, who had come off victorious in a hundred fights with his pursuers” — a formidable albino whale named Mocha Dick, who had been terrorizing whaling ships with unprecedented ferocity for nearly half a century. Twelve years later, the beast was immortalized in Melville’s Moby-Dick, a commercial failure in the author’s lifetime that went on to be celebrated as one of the Great American Novels and is among the greatest books of all time.

Now, children’s book author Brian Heinz and artist Randall Enos tell the story of the original white whale behind Melville’s masterpiece in Mocha Dick: The Legend and the Fury (public library | IndieBound) — a captivating picture-book “biography” of the monster-turned-literary-legend, from how human aggression turned the “peaceful giant” into a ferocious beast to his first recorded attack near the South American island of Mocha off the coast of Chile to the final, fatal harpoon blow.

Suddenly, the whale burst through the waves, his jaws gnashing in the foam. One sweep of his flukes hurled the craft high into the air, spilling the crew into the sea. Twenty-six pairs of teeth as long as a man’s hand clamped down on the boat. The huge head shook savagely until only splinters remained. Then the whale disappeared in the twilight. The remaining boats plucked up their comrades and rowed briskly to their whaler. Some men sat stone-faced. Some shook.

Randall’s gorgeous linocut collage illustrations, to which the screen does no justice whatsoever, lend Heinz’s lyrical narrative dimension and magic that render the end result utterly enchanting.

See more here.

15. UPDIKE

John Updike (March 18, 1932–January 27, 2009) wasn’t merely the recipient of two Pulitzer Prizes and a National Humanities medal, among a wealth of other awards. He had a mind that could ponder the origin of the universe, a heart that could eulogize a dog with such beautiful bittersweetness, and a spirit that could behold death without fear. He is also credited with making suburban sex sexy, which landed him on the cover of Time magazine under the headline “The Adulterous Society” — something Adam Begley explores in the long-awaited biography Updike (public library | IndieBound).

Begley chronicles Updike’s escapades in Ipswich, Massachusetts, in the early 1960s, just as he was breaking through with The New Yorker — the bastion of high culture to which he had dreamed of contributing since the age of twelve. His literary career was beginning to gain momentum with the publication of Rabbit, Run in 1960 — the fictional story of a twenty-something suburban writer who, drowning in responsibilities to his young family, finds love outside of marriage. That fantasy would soon become a reality for 28-year-old Updike, a once-dorky kid who had gotten through Harvard by playing the class clown clad in his ill-fitted tweed jackets and unfashionably wide ties.

Dive deeper with the story of how Updike made suburban sex sexy.

16. JONI MITCHELL

At the age of eight, Joni Mitchell (b. November 7, 1943) contracted polio during the last major North American epidemic of the disease before the invention of the polio vaccine. Bedridden for weeks, with a prognosis of never being able to walk again, she found hope in singing during that harrowing time at the hospital a hundred miles from her home. And yet she did walk again — an extraordinary walk of life that overcame polio, and overcame poverty, and pernicious critics to make Mitchell one of the most original and influential musicians in modern history, the recipient of eight Grammy Awards, including one for Lifetime Achievement. The liner notes of her 2004 compilation album Dreamland capture with elegant precision her tenacious spirit and creative restlessness: “Like her paintings, like her songs, like her life, Joni Mitchell has never settled for the easy answers; it’s the big questions that she’s still exploring.”

When musician, documentarian, and broadcast journalist Malka Marom chanced into a dark hole of a coffeehouse one November night in 1966, it was this explorer’s soul that she felt emanating from 23-year-old Mitchell, who was quietly tuning and retuning her guitar onstage. Marom knew that she was in the presence of genius. Over the decades that followed, she would interview Mitchell on three separate occasions — in 1973, in 1979, and in 2012. These remarkably wide-ranging conversations are now collected in Joni Mitchell: In Her Own Words (public library | IndieBound) — an effort “to crack something so mysterious … the creative process itself, in all its fullness,” over the course of which Mitchell, with equal parts conviction and vulnerability, tussles with those “big questions.”

Dive deeper with Mitchell on freedom, the source of creativity, and the dark side of success and therapy and the creative mind.

17. RADIO BENJAMIN

Walter Benjamin may be best known as a literary critic, philosopher, and essayist — with enduring insight on the written word that includes his thirteen rules of writing and his advice on how to write a fat tome — but he was also a pioneer of early German radio. Between 1927 and 1933, thirty-something Benjamin wrote and delivered nearly ninety broadcasts over the nascent medium. (The world’s first radio news program had aired in August of 1920 and commercial entertainment broadcasts followed in 1922.) Those pioneering pieces, at last translated into English and released as Radio Benjamin (public library | IndieBound), were notable for many reasons, but perhaps most of all for upholding the idealism and optimism of any young medium. (Early German radio, for instance, was based on subscriptions and had strict rules against commercially sponsored programming — something wholly heartening and wholly heartbreaking in our era of “native advertising” and other unending violations of the church-state relationship between public-interest journalism and private-interest greed.) Many of Benjamin’s broadcasts were also groundbreaking in being aimed at children, from educational programming to fairy-tale adaptations to original plays.

Dive deeper with Benjamin’s satirical take on the key qualities of the successful person.

18.THE YEAR OF READING DANGEROUSLY

“A classic is a work which constantly generates a pulviscular cloud of critical discourse around it,” Italo Calvino wrote in one of his fourteen definitions of a classic, “but which always shakes the particles off.” And yet even if we agree that “a book is a heart that only beats in the chest of another,” there is an infinite range of what different chests can — or want to — hold. The question of what makes a great book is thus notoriously elusive — so much so that even the most celebrated writers of our time can’t agree on the greatest books of all time. That question is what Andy Miller implicitly, and at times explicitly, asks in The Year of Reading Dangerously: How Fifty Great Books (and Two Not-So-Great Ones) Saved My Life (public library | IndieBound) — his wonderfully elevating and entertaining memoir of the twelve months he spent reading “some of the greatest and most famous books in the world, and two by Dan Brown.” (With this, at the very outset, comes a comforting character test that casts Miller as the kind of person who cherishes the written word but does so without an ounce of the self-important puffery with which most professional cherishers parade around literature.)

Miller’s project — which parallels Henry Miller’s The Books in My Life in some ways and intersects it at one point — began as an earnest effort to pay off his literary debt by reading many of the books he had “succeeded in dodging during an otherwise fairly literate thirty-seven years on Earth.” His intention was not to construct a definitive canon — he calls the project “a diary rather than a manifesto; a ledger, not an agenda,” a quest to “to integrate books — to reintegrate them — into an ordinary day-to-day existence, a life which was becoming progressively less engaging to the individual living it.”

Read more here.

19. MARX

The history of our species is rife with ideologies — political, religious, social, philosophical — that have been either wholly hijacked from their creators or gradually warped, with only fragments of the original vision intact, doomed to being continually misunderstood by posterity.

On the heels of the excellent graphic biography of Freud, British indie press Nobrow is back with Marx (public library | IndieBound) by Swiss writer, economist, historian, and psychoanalyst Corinne Maier and French illustrator Anne Simon — an illuminating chronicle of the life and legacy of a man at once reviled as “the Devil” for denouncing capitalism and celebrated for his ideals of eradicating inequality, injustice, and exploitation from the world. More than the sum total of his political legacy, Marx’s story is also one of great personal turmoil and tragedy, inner conflict, and moral tussle — subtleties that the comic genre, with its gift for stripping complexities to their simplest truths without losing dimension, reveals with great sensitivity and insight.

The story begins with Marx’s childhood as the third of nine kids in a traditional Jewish family and traces his exasperation with classical education and his choice to study philosophy instead, how he fell in love with the woman who would become his partner for life, the evolution of his influential treatise The Communist Manifesto, how he ended up dying a stateless person, “both adored and hated,” and what his ideas have to do with the 2008 economic collapse.

See more here.

20. THE PILOT AND THE LITTLE PRINCE

“The Little Prince will shine upon children with a sidewise gleam. It will strike them in some place that is not the mind and glow there until the time comes for them to comprehend it.” So sang a 1943 review of The Little Prince, published a few months before the beloved book’s author disappeared over the Bay of Biscay never to return. But though it ultimately became the cause of his tragic death, Antoine de Saint-Exupéry’s experience as a pilot also informed the richness of his life and the expansive reach of his spirit, from his reflection on what his time in the Sahara desert taught him about the meaning of life to his beautiful meditation on the life-saving potential of a human smile. It was at the root of his identity and his imagination, and as such inspired the inception of The Little Prince.

That interplay between Saint-Exupéry the pilot and Saint-Exupéry the imaginative creator of a cultural classic is what celebrated Czech-born American children’s book author and illustrator Peter Sís explores in the beautiful graphic biography The Pilot and the Little Prince (public library | IndieBound) — a sensitive account of Saint-Exupéry’s life, underpinned by a fascinating chronicle of how aviation came to change humanity and a poignant undercurrent of political history, absolutely magical it its harmonized entirety.

Dive deeper here.

For more timelessly rewarding biographies, memoirs, and history books, see the selections for 2013, 2012, and 2011.

Donating = Loving

In 2014, I poured thousands of hours and tons of love into bringing you (ad-free) Brain Pickings. But it also took some hefty practical expenses to keep things going. If you found any joy and stimulation here over the year, please consider helping me fuel the former and offset the latter by becoming a Supporting Member with a recurring monthly donation of your choosing, between a cup of tea and a good dinner.





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03 DECEMBER, 2014

Vladimir Nabokov’s Passionate Love Letters to Véra and His Affectionate Bestiary of Nicknames for Her

By:

“You are the only person I can talk with about the shade of a cloud, about the song of a thought…”

Long before Vladimir Nabokov became a sage of literature, Russia’s most prominent literary émigré, and a man of widely revered strong opinions, the most important event of his life took place: 24-year-old Vladimir met 21-year-old Véra. She would come to be not only his great love and wife for the remaining half century of his life, but also one of creative history’s greatest sidekicks by acting as Nabokov’s editor, assistant, administrator, agent, archivist, chauffeur, researcher, stenographer in four languages, and even his bodyguard, famously carrying a small pistol in her purse to protect her husband from assassination after he became America’s most famous and most scandalous living author.

So taken was Vladimir with Véra’s fierce intellect, her independence, her sense of humor, and her love of literature — she had been following his work and clipping his poems since she was nineteen and he twenty-two — that he wrote his first poem for her after having spent mere hours in her company. But nowhere did his all-consuming love and ebullient passion unfold with more mesmerism than in his letters to her, which he began writing the day after they met and continued until his final hours. They are now collected in the magnificent tome Letters to Véra (public library) — a lifetime of spectacular contributions to the canon of literary history’s greatest love letters, with intensity and beauty of language rivaled only, perhaps, by the letters of Vita Sackville-West and Violet Trefusis and those of Frida Kahlo to Diego Rivera.

Véra and Vladimir Nabokov, Montreaux, 1968 (Photograph: Philippe Halsman)

In July of 1923, a little more than two months after they met, Vladimir writes to Véra:

I won’t hide it: I’m so unused to being — well, understood, perhaps, — so unused to it, that in the very first minutes of our meeting I thought: this is a joke… But then… And there are things that are hard to talk about — you’ll rub off their marvelous pollen at the touch of a word… You are lovely…

[…]

Yes, I need you, my fairy-tale. Because you are the only person I can talk with about the shade of a cloud, about the song of a thought — and about how, when I went out to work today and looked a tall sunflower in the face, it smiled at me with all of its seeds.

[…]

See you soon my strange joy, my tender night.

By November, his love has only intensified:

How can I explain to you, my happiness, my golden wonderful happiness, how much I am all yours — with all my memories, poems, outbursts, inner whirlwinds? Or explain that I cannot write a word without hearing how you will pronounce it — and can’t recall a single trifle I’ve lived through without regret — so sharp! — that we haven’t lived through it together — whether it’s the most, the most personal, intransmissible — or only some sunset or other at the bend of a road — you see what I mean, my happiness?

And I know: I can’t tell you anything in words — and when I do on the phone then it comes out completely wrong. Because with you one needs to talk wonderfully, the way we talk with people long gone… in terms of purity and lightness and spiritual precision… You can be bruised by an ugly diminutive — because you are so absolutely resonant — like seawater, my lovely.

I swear — and the inkblot has nothing to do with it — I swear by all that’s dear to me, all I believe in — I swear that I have never loved before as I love you, — with such tenderness — to the point of tears — and with such a sense of radiance.

Vladimir's letter to Véra from November 8, 1923

After a charming aside professing that he had begun writing a poem for her on the page but a “very inconvenient little tail got left” and he had no other paper on which to start over, he continues in his characteristic spirit of earnest lyricism with a sprinkle of disarming irreverence:

Most of all I want you to be happy, and it seems to me that I could give you that happiness — a sunny, simple happiness — and not an altogether common one…

I am ready to give you all of my blood, if I had to — it’s hard to explain — sounds flat — but that’s how it is. here, I’ll tell you — with my love I could have filled ten centuries of fire, songs, and valor — ten whole centuries, enormous and winged, — full of knights riding up blazing hills — and legends about giants — and fierce Troys — and orange sails — and pirates — and poets. And this is not literature since if you reread carefully you will see that the knights have turned out to be fat.

But Nabokov makes clear that his feelings supersede the playful and expand into the profound:

I simply want to tell you that somehow I can’t imagine life without you…

I love you, I want you, I need you unbearably… Your eyes — which shine so wonder-struck when, with your head thrown back, you tell something funny — your eyes, your voice, lips, your shoulders — so light, sunny…

You came into my life — not as one comes to visit … but as one comes to a kingdom where all the rivers have been waiting for your reflection, all the roads, for your steps.

Young Vladimir and Véra Nabokov by Thomas Doyle from 'The Who, the What, and the When: 65 Artists Illustrate the Secret Sidekicks of History.' Click image for more.

In a letter from December 30 reminiscent of Lolita’s famous opening line, he writes:

I love you very much. Love you in a bad way (don’t be angry, my happiness). Love you in a good way. Love your teeth…

I love you, my sun, my life, I love your eyes — closed — all the little tails of your thoughts, your stretchy vowels, your whole soul from head to heels.

On the one hand, the half-century span of Vladimir’s love letters to Véra do follow the neurobiological progression of love, moving from the passionate attraction that defines the beginning of a romance to the deep, calmer attachment of longtime love. On the other, however, they suggest that the very act of writing love letters can help sustain the excitement and passion of a long-term relationship, countering what Stendhal called the “crystallization” that leads to disenchantment.

In fact, in 1926 — three years into the relationship — Nabokov, a lifelong lover of wordplay, enlists an especially endearing strategy in infusing their correspondence with passionate sparkle. While Véra is at a Swiss sanatorium to regain weight she had lost due to anxiety and depression, Nabokov begins addressing her by an increasingly amusing series of nicknames — no doubt in part to amuse and cheer her up, in part to live up to his earlier assertion that she “can be bruised by an ugly diminutive,” but also possibly as a language-lover’s creative exercise for himself, a playful daily assignment of sorts. The traditional terms of endearment opening his earlier letters — “my happiness,” “my love and joy,” “my dear life” — give way to a loving bestiary of nicknames, inspired by Vladimir and Véra’s shared love of animals.

Among his addresses to her that summer are “Sparrowling,” “Pussykins,” “Mousie,” “Mymousch” (after the Russian for “monkey”), “Mothling,” “Roosterkin,” “Long bird of paradise with the precious tail” (in a letter that closes with “Goodbye, my heavenly, my long one, with the dazzling tail and the little dachshund paws”), “Fire-Beastie,” and the especially wonderful “Pupuss,” which Nabokov parenthetically explains as “a little cross between a puppy and a kitten.”

In one letter from June of 1926, he opens by addressing Véra as “Mosquittle” and, after reporting on how his work is going, gushes:

My tender Mosquittle, I love you. I love you, my superlative Mosquittle… My sweet creature… I love you. I am going to bed, Mosquittle… Good night, my darling, my tenderness, my happiness.

In one letter that would no doubt have embarrassed the very private Véra (who destroyed all of her own letters to Vladimir), he addresses her by “Skunky” — a nickname itself far from offensive in the context of his already established warmth of adoration and its menagerous manifestations, but one that may have mortified Véra by the venereal basis for it that Nabokov’s naughty closing lines imply:

Well, Skunky, good night. You will never guess (I am kissing you) what exactly I am kissing.

But jest aside, it’s worth noting here what a true masterwork of linguistic craftsmanship — in the true Virginia Woolfian sense — these letters are for translator Olga Voronina. As if it weren’t daunting enough to translate the man who reserved rather ungenerous words for translators, Nabokov’s love of wordplay and his penchant for untranslatable words render his quirky animal-inspired endearments especially challenging. But even his favorite standard endearment lacks for an English equivalent. Voronina writes in the preface:

Most often, he prefers to call his wife dushen’ka, literally a diminutive of the Russian word dusha (“soul,” “psyche”). It would have been possible to translate this word as “darling” (our choice), “sweetheart” or “dearest” (options from a discarded pile), had the writer not bedecked it with other tender adjectives: dorogaya (“dear”), lyubimaya (“beloved”), milaya (“lovely,” “sweet”), and bestsennaya (“priceless”). We used “dear darling” a few times in spite of its sounding too alliterative, resorted to “beloved darling” rarely, tried “sweet darling” once or twice, and once (April 15, 1939) had to go along with “My beloved and precious darling.” Unfortunately, even that baroque phrase does not fully convey the fretful and persistent affection of the Russian “dushen’ka moya lyubimaya i dragotsennaya,” with its one and a half times as many syllables and with the adjectives coming cajolingly after the noun.

In some cases, readers simply have to accept it as a given that Nabokov did not use his tenderness sparingly.

And that’s precisely the point — the true gift of these letters is how they immerse the reader in a soul-warming bath of Nabokov’s tender and exuberant love, not only for his wife but for literature and for life itself. What John Updike once wrote on the jacket of Nabokov’s Selected Letters, 1940–1977“Dip in anywhere, and delight follows. What a writer! And, really, what a basically reasonable and decent man.” — is even more vibrantly true in Letters to Véra.

Complement with Nabokov on inspiration, censorship and solidarity, the necessary qualities of a great storyteller, and the attributes of a good reader.

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In 2014, I poured thousands of hours and tons of love into bringing you (ad-free) Brain Pickings. But it also took some hefty practical expenses to keep things going. If you found any joy and stimulation here over the year, please consider helping me fuel the former and offset the latter by becoming a Supporting Member with a recurring monthly donation of your choosing, between a cup of tea and a good dinner.





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24 SEPTEMBER, 2014

A Lolitigation Lament: Nabokov on Censorship and Solidarity

By:

“Could you visualize LOLITA as a little paperback being offered for sale on the newstands?”

Vladimir Nabokov was a man of strong opinions — whether about the necessary qualities of a great storyteller or the nature of inspiration or the attributes of a good reader — but nowhere more so than when it came to defending his greatest work against censorship.

When Lolita was first published in Europe in September of 1955, its first printing of 5,000 copies flew off the shelves, but the book remained largely under the radar of the literary establishment. It wasn’t until December of that year that Graham Greene catapulted it into public attention by declaring it one of the year’s three best books in a piece for London’s Sunday Times. And because rivaling publications thrive on provocation and at the heart of all cultural controversy is a powerfully charged battery of approval and disapproval, the editor of London’s Sunday Express went vocally against Greene, calling the novel “sheer unrestrained pornography” and “the filthiest book I have ever read.” The controversy stirred frantic alarm at the UK Home Office, which instructed customs agents to begin confiscating all copies of the book entering the United Kingdom. A few months later, France’s Minister of the Interior banned novel. The original publisher, Maurice Girodias of Olympia Press, who had convinced Nabokov not to publish the book under a pseudonym, faced legal trouble on account of the book. Nabokov responded with equal parts concern and indignation.

In a letter to Girodias from early March of 1957, found in the unfailingly absorbing Vladimir Nabokov: Selected Letters 1940–1977 (public library), Nabokov wryly scoffs at what he called the “lolitigation” surrounding his book:

My moral defense of the book is the book itself. I do not feel under any obligation to do more… On the ethical plane, it is of supreme indifference to me what opinion French, British or any other courts, magistrates, or philistine readers in general, may have of my book. However, I appreciate your difficulties.

Alternative cover for Lolita by Jamie Keenan from 'Lolita: The Story of a Cover Girl.' Click image for more.

But Nabokov knew such idealism bordering on moral arrogance would hurt the book’s odds of reaching commercial success in the long run. Burned by Lolita‘s European reception, he was determined to protect it from a similar fate in America. (A few months later, he would write in another letter to Girodias: “I am positive that LOLITA is the best thing I have written so far.”) This required a highly strategic approach to timing, allegiances, and literary ideals.

Nabokov had his eye set on Doubleday as the best American publisher for the book he took such pride in. “Nothing in the world would please me better than to have Doubleday bring out LOLITA,” he wrote to Doubleday editor and publisher Jason Epstein earlier the same day, before sending his “lolitigation” lament to Girodias.

Meanwhile, Nabokov was being courted by McDowell, the New York publishing firm founded by the prominent financial analyst Prince Ivan Sergeyevich Obolensky. When he saw that Doubleday was dragging its feet, Nabokov wrote to Epstein — whether as political goading or in earnest, or some combination of the two — of Obolensky’s competing offer:

My reaction to it is not a matter of principle but a matter of money. I am not particularly impressed by his firm but I cannot afford to miss the opportunity of not missing the opportunity to sell the book.

And yet ten days later, he sent Obolensky a polite rejection, along with a lengthy justification for declining his offer:

I have given much thought to the plans you suggested for LOLITA and have consulted several friends whose opinion I value. I have also been in touch with my publisher in Paris. The unanimous opinion is that this is not the right moment to publish LOLITA in the United States. I am terribly sorry to disappoint you. Here are a few reasons against publication:

  1. Everybody seems convinced that LOLITA would be banned if it were to be published now, without further preparation. Even if you are willing to assume the costs of a legal fight which may run into 50.000 or 60.000 dollars, you may eventually lose the case, and then LOLITA would be lost irretrievably.
  2. Should the book get into trouble, the NY. Times would at once refuse to advertise it, and every important publication in the country would follow suit. Nor would the Post Office let you announce the book directly through the mails if the legal action were begun under a federal statute.
  3. When you suggested that you would get in touch with a reprint house it became clear to me that you did not realize all the implications of this case. Could you visualize LOLITA as a little paperback being offered for sale on the newstands? [sic]

Let me repeat that I am terribly sorry that this will be a disappointment to you. But I have become convinced that the publication has to be put off at least until I see how the Anchor Review fares, how the Paris litigation is settled, and what decision the Supreme Court takes in some similar cases now before it.

Alternative cover for Lolita by Michael Bierut from 'Lolita: The Story of a Cover Girl.' Click image for more.

To make matters even more complicated, Girodias kept pressing to publish the book in America under his own European imprint. Nabokov, determined to land at Doubleday, wrote to Girodias on May 14, weighing the many factors at play regarding potential censorship in America:

Dear Mr. Girodias,

You know as well as I do that publishing LOLITA in the US under your own imprint would mean asking for trouble. Nor can you fail to realize that a second-rate publisher would be no use since he would not be able to defend the book. Some ten years ago Doubleday spent more than $60000 on the defense of HECATE COUNTY by Edmund Wilson. Costs have gone up since then and are beyond the means of a second-rate publisher.

Since you know all this, and also know that we have here all sorts of Watch and Ward Societies, Catholic Legions of Decency, etc., and that, moreover, every post master in the country can start censorship trouble, I feel sure that you do not seriously contemplate the course of action you suggest in your letter.

But Nabokov’s most poignant point, from the same letter to Girodias, has to do with the question of solidarity against censorship — the idea that a publisher must not only be an author’s commercial vendor, but also his or her greatest champion and unconditional comrade in creative idealism. Nabokov writes:

Whoever publishes LOLITA here will have to agree to defend it, at his own expense, and to carry this defense through the courts as far as the Supreme Court, if necessary.

By August, the situation worsens and the Nabokov’s evocation of the Supreme Court suddenly stops seeming like bombast. He writes again to Girodias:

The situation here is extremely delicate. Doubleday have chosen the passages from LOLITA for the Anchor Review with the help of their lawyers, who in two instances made them change their choice of text. These lawyers have now been consulted as to the prospects of a complete edition; they have advised against it for the present. As you probably know, the Supreme Court has just handed down some very disappointing decisions. Although the cases judged were far removed from LOLITA’s case, the important thing is that the Court did not bother with the definition of the term “obscenity”, and did not take any measures against local censorship. This means that any small-town postmaster can set in motion the machine of censorship, starting the case on its way from Court to Court, until it reached the Supreme Court, which probably (though by no means certainly) would exonerate my book.

If Nabokov’s mention of the postmaster-censor sounds like a throwaway remark of exaggeration, it is anything but. Local censorship would go on to plague America for decades, the most famous example perhaps being the story of Ursula Nordstrom’s brilliantly feisty letter to a school librarian, who had decided to burn Maurice Sendak’s In the Night Kitchen as an act of censorship merely because it depicted a little boy without pants.

He goes on to reject Girodias’s offer, revisiting the notion of solidarity in the face of censorship and citing it as a major reason for his decision:

An important consideration is, too, that Doubleday think of me as of one of “their” authors. They have acquired two more books from me, and will do more than any other publisher to “push” LOLITA, which would be as much to your advantage as to mine (or theirs). For all these reasons I am sorry that you so resolutely rejected their offer.

Urging Girodias to consider an agreement with Doubleday, he adds:

I am positive that LOLITA is the best thing I have written so far; I shall be always grateful to you for having published it. It would be an awful shame if some false move prevented you and me from enjoying some profit from it.

Alternative cover for Lolita by Henry Sene Yee from 'Lolita: The Story of a Cover Girl.' Click image for more.

At the end, Doubleday didn’t come through — likely in large part out of fear of what the kind of solidarity Nabokov demanded would cost them if an obscenity lawsuit indeed resulted from the publication. The publisher willing to offer such solidarity was ultimately G.P. Putnam’s Sons, currently owned by Penguin Group, who published the American edition of Lolita in August of 1958. Already into its third printing within days, it became the first book since Gone with the Wind to sell 100,000 copies in its initial three weeks on the market. Despite Nabokov’s fears of censorship, or perhaps precisely because of his elaborate strategizing to prevent it, there were no official government sanctions.

Then again, such is the nature of capitalism — commercial success automatically grants moral approval.

Complement the always opinionated, always pleasurable Vladimir Nabokov: Selected Letters with the celebrated author on literature and life in a rare 1969 BBC interview and his recommendation for the six short stories everyone must read, then revisit other literary icons on censorship.

Donating = Loving

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