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The Stories of Vladimir Nabokov

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Keep in mind as you read anything that Nabokov wrote that English is this man's second language. Many people only know Vladimir Nabokov as the author of the controversial classic, Lolita. That's a shame. Not to say that Lolita isn't one of the finest books ever written. It is, but the duststorm of strong emotions that the book whipped up created a cloud of obscurity that blurred his many other contributions the history of literature. It lead to many blinded generalities of Nabokov as an "immoral" or "obscene" writer. Those under the mis-guided impression that all Nabokov was about, like so many mediocre artists today, is shock and controversy are in for a shock of an entirely different sort if they read this delicious collection of 65 short stories. His short stories offer conclusive evidence that Nabokov had a gift for storytelling that went far beyond simply lifting the rocks off wet ground and showing us the slimy creatures underneath--he could also show us why those too are beautiful. His collection is edited by his son Dmitri Nabokov who also acted the role of translator, in close collaboration with the man himself, on most of his Russian works. Translations, of course, always offer a delicate problem of who to credit or critisize for particular stylistic choices, but in this family project it's clear that these versions at least received the approval of the author. Beginning writers who stand over-awed and intimidated by the prose master of Nabokov's later, familiar works might find some relief in examples taken from his early stories. They prove that Nabokov was not simply born with the ability to jot down genius, but that his style of storytelling is a craft he worked on and fiddled with for years before he could perfect it. Not that any of them fall completely flat (I'm sure he wrote bad stories in his life, but I'm also sure he would never have allowed their inclusion), but some stumble a bit as the young writer gropes for style, theme and a defintion of art he wanted his stories to exemplify. For example, early efforts like "A matter of Chance," or "Revenge" attempt the clever twist-ending so tempting to young authors. These stories are fun, they may make you smile, but they won't leave you in a state of awe. On the other side in his early repetoire, stories like "A guide to Berlin," "Sounds," and "Terror" seem almost more like excercises in description or experiments in creating a single mood than fully formed stories on their own. It is in the alchemic combination of those two aspects of storytelling when Nabokov reached his stride and began his favorite game of blending Art and "reality" together as fiction (early works like "La Veneziana" point to this potential and direction). Later efforts, mostly written in English, show why it is not the controversy that makes him an artist, but instead his control of the language, his understanding of the human heart, his mastery of dense imagery and detail, and most of all, his insistence that literature ought to be a game, to be fun. "Spring in Fialta," "A Forgotten Poet," and the autobiographical "Mademoiselle O" are but three that come to mind that show a complexity of emotion that do not make you laugh and then cry but instead (something far more brilliant) laugh and cry at the same time. "The Vane Sisters" may just be the most clever, beautiful and maddening story in the English language (do NOT read Nabokov's note at the end until you've read it at least twice). Anyone familiar with Nabokov's style will understand when I call it "dense." His prose is indeed delicious but as rich as the finest banquet. Don't rush through it. Savor the talent and the language. Don't read more than a couple stories at a time, even though most are short (10 pages). Let them sink in and digest. These 65 stories run the gambit from main course to dessert, and I guarentee you won't leave this book unsatisfied.

The stories in this book (there are about 65 of them) are for the most part very short. Some of my favorite are his earliest ones, they have been translated from the Russian by Nabokov's son, Dmitri, and they are semi-autobiographical, sweet and so beautiful. Included in this book are a few chapters from Nabokov's autobiography, "Speak, Memory" which were published independently as stories. I would also recommend "Speak, Memory" without reservations. It would be a good book to read after or before this one. They are both so wonderful.

I can't imagine anyone not liking at least some of these stories, especially if you like the genre of short stories and if you are familiar with Nabokov's lucid, detailed prose. Some of them are briefer and sketchier, and some are more like small novels, some are auto-biographical, and some are like fairy-tales. All of the different kinds are good, even my least favorite stories in this vast collection have stuck in my mind. They are lovely. Everyone should own this book.

Vladimir Nabokov uses words like an artist uses paint on canvas ... you can see, feel, touch, and sense the stories on many levels. He uses words to control images, emotions, and the level of impact on the reader. "The written word" is his media. His stories provide gripping emotions, startling revelations, depths of experience, creative twists and turns of the plot ... leaving the reader flipping pages as fast as the mind can grasp the meaning what is read. Whether Nabokov is describing the deep, dark Russian soul or the generous, warm Russian heart, or mundane everyday experiences and scenes - he is a master psychologist who understands human behavior. While his subjects are primarily Russians or Russian emigres, he confines his writing to a unique time in history, about 75 - 80 years ago. Often, the settings are Russia, Germany, or other parts of Europe. The characters come from all walks of life: the aristocracy, the educated, rich landowners, students, ordinairy workers, shopkeepers, writers, and poor peasants. He sometimes contrasts their persona with a deep dark secret or desire.. He seldom leaves a stone unturned when describing the particular path they trod in life. The stories are so engaging and captivating, the characters, plot, settings are so realistic ... this reader wishes some of the stories would never end. You just know there is something yet remaining ... to reveal.

Favorite stories, are "A Matter of Chance", in which a Russian waiter working in the dining car of a German fast train, narrowly misses meeting his wife whom he has not seen in five years. Ironically, she loses her gold wedding ring, later found by a German waiter. The waiter reads the inscription but makes no connection to his co-worker. The Russian waiter unexpectedly gets off at the next stop. Read the story to find out ... the unexpected ending. Another favorite is, "Wingstroke", the most creative and imaginative story in the book. Kern is a young skier who falls in love with a mysterious young woman, Isabel. She is staying on the same floor of his hotel. One night Kern can not sleep, he tosses and turns due to thinking of her. He goes out into the corridor and sees the key in her door. He gingerly opens it and startles Isabel, who lunges toward the window and leaps ... As Kern is pondering this turn of events, in flies something huge, with wings. He wrestles with the creature and stuffs it in the wardrobe. Isabel returns and asks about it, knowing it flew in. Kern tells her where it is and returns to his room.. The next day, Isabel is expected to make a difficult jump. To discover what happened to "the creature", Isabel, and Kern ... you have to read the story. Another most appealing story is, "La Veneziana". The McGores are a wealthy couple who collect art. They acquired a beautiful portrait of a young woman which captured everyone's attention. After the guests play a game of croquet, they come inside to admire the portrait. It dawns on Simpson, a student, who was a friend of the family's son, that the portrait resembles Mr. McGore's wife. Yet, the painter was said to be Sebastiano Luciano, from the fifteenth century. To discover how and why this painting could resemble Mrs. McGore... one needs to read the story.

In summary, the author writes stories with imagination, creativity, substance, depth, unique perspective, and deep emotion. He explores human experiences from many angles. His stories are entertaining, educational, and deeply satisfying to read. Most highly recommended. Erika Borsos (erikab93)

Although I had read various Nabokov stories over the years I had never done so in a comprehensive manner, and finally decided to do so. I anticipated that this would be a wonderful read, and of course, I was right.

I was well aware as to how gifted Nabokov is with the language; what surprised me is his versatility. It seems like there is nothing he can't do. Contained in this collection is every kind of character imaginable: rich, poor, simple, smart; there is even an entirely credible portrait of a Siamese twin. There is straight drama, fantasy, adventure, horror and intrigue. There are all the elements of what our English teachers told us make good writing: symbolism, allegory, descriptive power, observation, wit, cleverness, heart, and an enormous store of knowledge, performed in a style that can only be described as poetic. And woven through it are the themes that make up the web of humanity: beauty, truth, and love. It is an utterly splendid collection, as good a collection of short stories as any I have ever read.

One of the things that sets him apart is restraint, or perhaps subtlety is a better word. In, "The Reunion," for example, two brothers meet after not seeing each other for ten years. One escaped the Soviet Union and is living a poor, almost wretched existence in Berlin. His brother stayed, and was able to achieve some success as a Soviet functionary. They finally meet each other in the Berliner's shabby apartment. Most authors would not be able to resist the urge to let this to sink into melodrama. There would be arguments, tears, and recriminations. But not for Nabokov. In his story the brothers simply find that they are uncomfortable with one another, and when they go their separate ways the seeming lack of drama beforehand makes their parting all the more poignant.

Humor and sadness are evident in all of this collection, sometimes in succeeding stories, sometimes in succeeding pages. "A Bad Day," is the touching and amusing story of a little boy's visit to his cousins in the Russian countryside, a visit he dreads because he doesn't get along and because he will be teased. The last line of the story--which in the hands of somebody like Updike would be a devastating condemnation of humanity--is here bittersweet, bringing both a tear to the eye and a smile to the face in self-recognition. It is, after all, nothing more than a "bad day."

But if there is whimsy here there is also great power. In, "Signs and Symbols," an old man and woman make a trip to the sanatorium to visit their deranged adult son on his birthday. Such a simple exercise is made terribly complicated by their age, their lack of means, the unpredictable nature of their son, and the indifference of the hospital staff. Nothing is really resolved by story's end; we are simply given an indelible portrait of the difficult, arduous journey that life has been for these uncomplicated, decent people. It is very moving and also an excellent example of Nabokov's worldly or otherworldly knowledge.

Many of the stories here have to do with, as you would expect, Russians and Russian expatriates. ("Write about what you know!" the English teachers say.) Nabokov unfortunately knew about the horrible experience of being exiled from his country, a country that his stories make clear he deeply loved, and to which he never returned. He doesn't spend a lot of time condemning the evil system that drove him and millions like him away, (although he does, briefly, in two of his earlier, weaker stories), he instead concentrates on those that it drove away. There are many excellent examples of this, but perhaps my favorite is entitled, "Cloud, Castle, Lake." In it, an older fellow is taken on a holiday train excursion he tries to get out of, is coerced into taking part in activities he doesn't wish to engage, and told to forsake the simple pleasures he has come to enjoy; all for--he is told--his own good. The train eventually stops at a perfect little inn, which overlooks a perfect lake in which is reflected a lovely cloud and castle. He wants to stay. Of course, he can't. Sad as it is, the story is also very amusing, and, typical of Nabokov at his best, works on several different levels.

The story also contains examples of Nabokov's splendid use of the language at the height of his power. Our friend observes the countryside from his hurtling train: "The badly pressed shadow of the car sped madly along the grassy bank, where flowers blended into colored streaks. A crossing: a cyclist was waiting, resting one foot upon the ground. Trees appeared in groups and singly, revolving coolly and blandly, displaying the latest fashions. The blue dampness of a ravine. A memory of love, disguised as a meadow. Wispy clouds--greyhounds of heaven." How marvelously descriptive this, and so beautiful that one finds oneself emotionally engaged.

The book is loaded with this stuff. You can barely turn a page without some surprise or delight awaiting you. A twenty-eight year old son returns unexpectedly after many years to visit his mother in, "The Doorbell." In the dimly lit room, he is taken aback by the fact that she is clearly preoccupied with something. Suddenly, "like a stupid sun issuing from a stupid cloud, the electric light burst forth from the ceiling." This, by the way, is another great story. In, "Ultima Thule," as a character is walking on the beach, "a wave would arrive, all out of breath, but, as it had nothing to report, it would disperse in apologetic salaams."

I could go on and on. After picking up the book I decided to read it cover to cover, but after about a hundred and fifty pages, I simply opened it and read the stories randomly. After a time I began to open the book onto stories I had already read, and found that I couldn't help but to reread them. Finally, I became apprehensive in fear that I might have missed something.

But no matter. If I haven't gotten to one yet, I will eventually. The book has already become an old friend, and like an old friend I will return to its comfort and joys for many years to come.

This collection proves that Nabokov was as great a short-storyist as he was a novelist. In some ways, his short works might be even greater; the concentration of the story form pushed him to achieve some startling feats of linguistic and narrative dexterity.

Some of the early stories are unambitious sketches or modest experiments that don't quite work, but gradually mature masterpieces start to appear, and it continues that way right to the end. Among my favorites: "The Visit to the Museum," "Cloud, Castle, Lake," "Time and Ebb," "Signs and Symbols," "Lance," and of course "The Vane Sisters," with its famous ending of which the author himself says "this particular trick can be tried only once in a thousand years of fiction." And that list is only partial; there's still a lot of this book that I haven't yet read. (As with a box of really good chocolates, I'm trying to make it last.)

Given his super-highbrow reputation, it's easy to overlook the fact that when he's at the top of his game, Nabokov is fun. Many of his best stories take the kind of imaginative leaps you expect from high-grade fantasy or science fiction; and the complexity of his style is necessary to his conceptions rather than vain showing-off. Coming upon this book after reading the normal run of fiction ("literary" or otherwise) was like feasting on rich, multi-layered Indian or French food after eating every day in the local pub.

It is difficult to review a momentous collection such as this: 65 of the late master's short stories, spanning the full range of the author's years of expatriation (the Russian, European and American eras) and meticulously edited by the author's son, Dmitri Nabokov. The stories that were not originally written in English were translated under the author's own careful eye, as well as that of his son. The result is a sumptuous collection, worth reading and then re-reading many, many times (one can think of this book as a kind of passport to a world of inner experience) and since the stories are arranged, on the whole, in a chronological order one can trace the progress of an artistic mind, while at the same time appreciating the sense of continuity that runs like an invisible thread, on which the stories hang. The themes here are ones of beauty, memory, longing, regret, human cruelty, pain and the pain of exile (so well known to expatriates).

Memory, especially, is a recurrent theme, whether it is a Russian emigre living in Berlin, and trying desperately to recall a lost memory so as to establish a link between his estranged brother and him (in `The Reunion'), or a melancholy re-creation of a life lost (as in `A letter than never reached Russia') or memory as an artistic filter (thus in `A guide to Berlin', the protagonist realizes that "here lies the sense of literary creation: to portray ordinary objects as they will be reflected in the kindly mirrors of future times; to find in the objects around us the fragrant tenderness that only posterity will discern and appreciate in the far-off times..."). Memory for Nabokov is one of the tools used by an artist. It is not a passive recording machine for our experiences: every memory entails a process of recreation which allows for the intervention of artistry and imagination. It is a prism which filters our experience.

In his lecture on Kafka's `Metamorphosis' Nabokov attempts a definition of art: "Beauty plus pity-that is the closest we can get to a definition of art. Where there is beauty there is pity for the simple reason that beauty must die: beauty always dies, the manner dies with the matter, the world dies with the individual." In the stories of this collection, beauty and pity are always close compatriots. There are too many instances of this coupling to attempt to outline them, but they figure prominently in stories such as `A Matter of Chance', `Gods', `Breaking the News' and `The Doorbell'.

However, there is always a certain detachment from the characters, as if Nabokov means to remind us that the true beauty of literature does not lie in a kind of pathetic identification with fictional characters and settings, but a meeting, halfway, between the author and the reader, in which both are aware of one another and of the pains of creation and life. In the closing lines of `The Fight' we get perhaps the clearest sense of this:
"I neither know nor wish to know who was wrong and who was right in this affair. The story could have been given a different twist, and made to depict compassionately how a girl's happiness had been mortified for the sake of a copper coin, how Emma spent the whole night crying, and how, after falling asleep toward morning, she saw again, in her dreams, the frenzied face of her father as he pummeled her lover. Or perhaps what matters is not the human pain or joy at all but, rather, the play of shadow and light on a live body, the harmony of trifles assembled on this particular day, at this particular moment, in a unique and inimitable way."

The compilation of 65 short stories written by Vladimir Nabokov is altogether a true masterpiece. In his stories, Nabokov explores the depth of human emotions, as well as the darkest sides of humanity. With stories such as Revenge, where Nabokov demonstrates to the reader how a common man is capable of murder after having falsely accused his wife of adultery, Nabokov reveals the depth of his understanding of humanity. Another example of how Nabokov analyses human emotions can be found in his story, The Dragon, which discusses the human addiction to money, and tells the tale of two tobacco company leaders who risk their lives to advertise their product and gain money. Each one of these enticing stories is an oeuvre that was elaborately put together by Nabokov to furnish the reader with a whole new perspective on humanity.

Some of the stories in this book are realistic, while others are fantastic, but both types are intriguing, disturbing, and in each one, Nabokov does all he can to trick his reader. In his stories, the reader is never fully aware of the happenings, and the endings usually always come as a surprise. The titles of the stories help to trick the reader because Nabokov leaves them open for interpretation. An example of this is the story titled, A Nursery Tale, which is about a young man's will to own and dominate the pretty women he contemplates. The reader is surprised by the content of the story and this makes it even more captivating. The reader embraces the realism of the stories and relies on it as a mean of understanding the events, only to discover that the realism incorported in the stories is what helps Nabokov to fool the reader. The reader becomes a child, whose actions are predictable and Nabokov is the parent who has already anticipated his child's doings. Nabokov undertakes all he can to astound the reader, and to make each one of his stories an engaging journey.

More of a Rasputin than a Vladimir, Nabokov enjoys playing with the reader's emotions with his descriptions. He confuses, angers, astonishes, or even worries the reader through his stories. Nabokov manages to delude the reader and make him/her believe in a reality that he will later on contradict, causing great perplexity to the reader. To toy with his reader, Nabokov discusses a crucial matter and remain impassive and apathetic as he does in his story, Russian Spoken Here, where he makes the imprisonment of a Russian officer by a local grocer seem absolutely normal. Describing the gore of a murder scene or a sunny morning on the beach appears to be all the same for Nabokov and with these descriptions, Nabokov never ceases to surprise the reader. The reader becomes Nabokov's puppet, and by pulling the strings, he becomes the manipulative puppeteer who continually plays with his toy, allowing himself to become master of the game.

Once written in Russian, the stories of Vladimir Nabokov were translated by his son, Dmitri, and were compiled in a single book in which each story entertains the reader from beginning to end. With these 65 stories, the reader is thrown into a world where he does not control anything, and is subdued by an almighty Nabokov. The reading of these stories allows the reader to understand the complexity of Nabokov's art. He manages to make the simplest, most habitual events become huge psychological issues, which make the reader reflect on the meanings of everyday events. The stories in this book are distressing, but they also hold a profound meaning. Through them, not only does Nabokov share his understanding of humanity, but he also subtly manages to convey to the reader his opinion on humanity, and reveals himself to be a truly honest writer.

Started out reading this book little by little in order to digest each story in full, but then began reading one story after another with seemingly no intermission in between. Both ways suited me fine. In fact, sometimes it doesn't really help to think all that long about some of his stories--they are are like simple chance meetings w/ strangers, while other stories of his spawn dramatic lifetime relationships and require, even demand your utmost attention.

Everytime I stray from reading Nabokov I always come back to his books and think, "Wow, he is such an amazing writer!". I can't say enough about his detailed descriptions, his amazing perspectives, and his uncannily large English vocabulary. He never ceases to amaze me.

As banal as it may sound, these stories are true treasures of language. If I were banished to a desert island with only one book, it would be these stories of Mr. Nabokov. His prose stands in a category I believe only two other authors habitate (Joyce & Proust). Each story is alive, from early Russian translations to later English originals (everyone is hereby required to read "The Vane Sisters"). Truly astounding, condensed bursts of imagination.

After I first read, Lolita, I was quite eager to find more stories by this amazing author. The only other Nabokov book sold by my local bookstore was The Stories of Vladimir Nabokov. I had no idea how *fantastic* each of these stories would be. He has taken a form of writing and completely made it his own. Every single one of them is superbly written. Even the less plot-driven ones stand out for their wonderful descriptions. Nabokov has a way of somehow bringing all of his subjects to life.

So, in short, this is a great book for *anyone*. Wonderful, wonderful, wonderful.