Книга: Nabokov Vladimir «Machenka»


Производитель: "Gallimard-Folio"

Серия: "Folio"

Lorsque Machenka parut en anglais en 1970, les lecteurs y appr&233;ci&232;rent surtout les&233;chos du premier amour de Nabokov, la Tamara de son autobiographie r&233;cemment r&233;vis&233;e, Autres rivages. Mais pour le public, ce n`&233;tait pas tant un r&233;cit autobiographique qu`un portrait de l`exil. Nabokov est ici l`observateur scrupuleux de la vie d`&233;migr&233;. Situ&233; en avril 1924, quand les Russes fuyaient Berlin en masse, le r&233;cit montre Ganine en train de se pr&233;parer vaguement&224; partir de la France. Alfiorov, qui vient d`emm&233;nager dans la chambre voisine de celle de Ganine, se pr&233;pare&224; accueillir sa femme, bloqu&233;e depuis des ann&233;es en Russie sovi&233;tique, qui doit le retrouver dans six jours, et compte bien l`installer dans la chambre de Ganine. Ganine d&233;couvre alors que la femme d`Alfiorov n`est autre que Machenka, son premier amour, avec qui il avait go&251;t&233; en 1915 tous les d&233;lices d`une radieuse passion de jeunesse, jusqu`&224; ce qu`un an apr&232;s ils se perdent de vue. En entendant de nouveau son nom, Ganine est brutalement sorti de son engourdissement et revit dans sa m&233;moire toute la f&233;licit&233; du pass&233;, avec une violence qui efface le pr&233;sent. Ganine d&233;cide de quitter Berlin avec Machenka et, la veille de son arriv&233;e, enivre un Alfiorov surexcit&233; jusqu`&224; ce qu`il s`effondre inconscient. Il se dirige alors vers la gare pour&234;tre le premier&224; retrouver Machenka et l`escamoter ensuite...

Издательство: "Gallimard-Folio" (1993)

ISBN: 978-2-07-038590-4

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Nabokov, Vladimir

▪ American author
in full  Vladimir Vladimirovich Nabokov 
born April 22, 1899, St. Petersburg, Russia
died July 2, 1977, Montreux, Switz.
 Russian-born American novelist and critic, the foremost of the post-1917 émigré authors. He wrote in both Russian and English, and his best works, including Lolita (1955), feature stylish, intricate literary effects.

      Nabokov was born into an old aristocratic family. His father, V.D. Nabokov, was a leader of the pre-Revolutionary liberal Constitutional Democratic Party (Kadets) in Russia and was the author of numerous books and articles on criminal law and politics, among them The Provisional Government (1922), which was one of the primary sources on the downfall of the Kerensky regime. In 1922, after the family had settled in Berlin, the elder Nabokov was assassinated by a reactionary rightist while shielding another man at a public meeting; and although his novelist son disclaimed any influence of this event upon his art, the theme of assassination by mistake has figured prominently in Nabokov's novels. Nabokov's enormous affection for his father and for the milieu in which he was raised is evident in his autobiography Speak, Memory (revised version, 1967).

      Nabokov published two collections of verse, Poems (1916) and Two Paths (1918), before leaving Russia in 1919. He and his family made their way to England, and he attended Trinity College, Cambridge, on a scholarship provided for the sons of prominent Russians in exile. While at Cambridge he first studied zoology but soon switched to French and Russian literature; he graduated with first-class honours in 1922 and subsequently wrote that his almost effortless attainment of this degree was “one of the very few ‘utilitarian' sins on my conscience.” While still in England he continued to write poetry, mainly in Russian but also in English, and two collections of his Russian poetry, The Cluster and The Empyrean Path, appeared in 1923. In Nabokov's mature opinion, these poems were “polished and sterile.”

      Between 1922 and 1940 Nabokov lived in Germany and France, and, while continuing to write poetry, he experimented with drama and even collaborated on several unproduced motion-picture scenarios. By 1925 he settled upon prose as his main genre. His first short story had already been published in Berlin in 1924. His first novel, Mashenka (Mary), appeared in 1926; it was avowedly autobiographical and contains descriptions of the young Nabokov's first serious romance as well as of the Nabokov family estate, both of which are also described in Speak, Memory. Nabokov did not again draw so heavily upon his personal experience as he had in Mashenka until his episodic novel about an émigré professor of entomology in the United States, Pnin (1957), which is to some extent based on his experiences while teaching (1948–58) Russian and European literature at Cornell University, Ithaca, N.Y.

      His second novel, King, Queen, Knave, which appeared in 1928, marked his turn to a highly stylized form that characterized his art thereafter. His chess novel, The Defense, followed two years later and won him recognition as the best of the younger Russian émigré writers. In the next five years he produced four novels and a novella. Of these, Despair and Invitation to a Beheading were his first works of importance and foreshadowed his later fame.

      During his years of European emigration, Nabokov lived in a state of happy and continual semipenury. All of his Russian novels were published in very small editions in Berlin and Paris. His first two novels had German translations, and the money he obtained for them he used for butterfly-hunting expeditions (he eventually published 18 scientific papers on entomology). But until his best-seller Lolita, no book he wrote in Russian or English produced more than a few hundred dollars. During the period in which he wrote his first eight novels, he made his living in Berlin and later in Paris by giving lessons in tennis, Russian, and English and from occasional walk-on parts in films (now forgotten). His wife, the former Véra Evseyevna Slonim, whom he married in 1925, worked as a translator. From the time of the loss of his home in Russia, Nabokov's only attachment was to what he termed the “unreal estate” of memory and art. He never purchased a house, preferring instead to live in houses rented from other professors on sabbatical leave. Even after great wealth came to him with the success of Lolita and the subsequent interest in his previous work, Nabokov and his family (he and his wife had one son, Dmitri) chose to live (from 1959) in genteelly shabby quarters in a Swiss hotel.

      The subject matter of Nabokov's novels is principally the problem of art itself presented in various figurative disguises. Thus, The Defense seemingly is about chess, Despair about murder, and Invitation to a Beheading a political story, but all three works make statements about art that are central to understanding the book as a whole. The same may be said of his plays, Sobytiye (“The Event”), published in 1938, and The Waltz Invention. The problem of art again appears in Nabokov's best novel in Russian, The Gift, the story of a young artist's development in the spectral world of post-World War I Berlin. This novel, with its reliance on literary parody, was a turning point: serious use of parody thereafter became a key device in Nabokov's art. His first novels in English, The Real Life of Sebastian Knight (1941) and Bend Sinister (1947), do not rank with his best Russian work. Pale Fire (1962), however, a novel consisting of a long poem and a commentary on it by a mad literary pedant, extends and completes Nabokov's mastery of unorthodox structure, first shown in The Gift and present also in Solus Rex, a Russian novel that began to appear serially in 1940 but was never completed. Lolita (1955), with its antihero, Humbert Humbert, who is possessed by an overpowering desire for very young girls, is yet another of Nabokov's subtle allegories: love examined in the light of its seeming opposite, lechery. Ada (1969), Nabokov's 17th and longest novel, is a parody of the family chronicle form. All of his earlier themes come into play in the novel, and, because the work is a medley of Russian, French, and English, it is his most difficult work. (He also wrote a number of short stories and novellas, mostly written in Russian and translated into English.)

      Nabokov's major critical works are an irreverent book about Nikolay Gogol (1944) and a monumental four-volume translation of, and commentary on, Pushkin's Eugene Onegin (1964). What he called the “present, final version” of the autobiographical Speak, Memory, concerning his European years, was published in 1967, after which he began work on a sequel, Speak On, Memory, concerning the American years.

      As Nabokov's reputation grew in the 1930s so did the ferocity of the attacks made upon him. His idiosyncratic, somewhat aloof style and unusual novelistic concerns were interpreted as snobbery by his detractors—although his best Russian critic, Vladislav Khodasevich, insisted that Nabokov's aristocratic view was appropriate to his subject matters: problems of art masked by allegory.

      Nabokov's reputation varies greatly from country to country. Until 1986 he was not published in the Soviet Union, not only because he was a “White Russian émigré” (he became a U.S. citizen in 1945) but also because he practiced “literary snobbism.” Critics of strong social convictions in the West also generally hold him in low esteem. But within the intellectual émigré community in Paris and Berlin between 1919 and 1939, V. Sirin (the literary pseudonym used by Nabokov in those years) was credited with being “on a level with the most significant artists in contemporary European literature and occupying a place held by no one else in Russian literature.” His reputation after 1940, when he changed from Russian to English after emigrating to the United States, mounted steadily until the 1970s, when he was acclaimed by a leading literary critic as “king over that battered mass society called contemporary fiction.”

Andrew Field

Additional Reading
Vladimir Nabokov, Speak, Memory (1967), the author's autobiography up to 1940; three books by Andrew Field, Nabokov: His Life in Art (1967), Nabokov: A Bibliography (1972), and Nabokov: His Life in Part (1977); C. Newman and Alfred Appel, Jr. (eds.), For Vladimir Nabokov on His Seventieth Birthday (1971), a Festschrift of reminiscences of Nabokov and critical articles and tributes; Alfred Appel Jr., Nabokov's Dark Cinema (1974), on Nabokov's work in film; Peter Quennell (ed.), Vladimir Nabokov, His Life, His Work, His World: A Tribute (1980).

* * *

Источник: Nabokov, Vladimir

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