Show Less
Restricted access

Women in Nabokov’s Life and Art


Nailya Garipova and Juan José Torres Núñez

Despite the considerable amount of criticism that Vladimir Nabokov’s literary legacy has produced since the sixties, the studies on his female characters are scarce, except the ones on Lolita. This volume delves into Nabokov’s women from different perspectives and points of view. The contributions are from different parts of the world, some from prominent scholars. These Nabokovians study the gender issue in Nabokov’s life and art, paying tribute to his women. The volume has two closely connected parts. In the first one, the reader can find biographical essays that discuss the role of the real women in Nabokov’s life and how their love, support and suffering are reflected in his prose. The second part deals with Nabokov’s women in his fiction. There is a discussion of the representation of female voices.
Show Summary Details
Restricted access

“Or of the air itself”: Nabokov’s “mothers” as bearers of spiritual understanding


← 102 | 103 →NORA SCHOLZ

“Or of the air itself:” Nabokov’s “mothers” as bearers of spiritual understanding

In a letter to his mother of October 1925 Nabokov writes, “We are translators of God’s creation, his little plagiarists and imitators, we dress up what he wrote, as a charmed commentator sometimes gives an extra grace to a line of genius.”1 There are many hints not only in Nabokov’s prose, but also in his autobiographical writings, that his spiritual understanding was deeply connected to his mother, Elena Ivanovna.2 This understanding is probably most directly expressed in a famous sentence in his Playboy interview of 1964, reprinted in Strong Opinions: “I know more than I can express in words, and the little I can express would not have been expressed, had I not known more” (SO, 38).

Nabokov’s spirituality is multifaceted and calls for more in-depth explanation. It is clearly encountered in his experience of oneness, which he describes in Speak, Memory and which is connected to his mother, in particular in the context of Nabokov’s memory that allows him “to always have his Russia with him”. One of the essential characteristics of this memory is the ability to call up certain “trifles,” just as he had learned from his mother: to read the marks left on the surface of time – “Her special tags and imprints became as dear and as sacred to me as they were to her” (SM, 22) – which become a substrate of memory...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.