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A rich evocation of Nabokov's life and times, even as it offers

incisive insights into his majo***orks, including LOLITA, PNIN,

DESPAIR, THE GIFT and others.

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Vladimir Vladimirovich Nabokov was born on

April 23, 1899, in St. Petersburg, Russia. The Nabokovs were known

for their high culture and commitment to public service, and the

elder Nabokov was an outspoken opponent of antisemitism and one of

the leaders of the opposition party, the Kadets. In 1919, following

the Bolshevik revolution, he took his family into exile. Four years

later he was s*** and killed at a political rally in Berlin while

trying to shield the speaker from right-wing assassins.

The Nabokov household was trilingual, and as a child Nabokov was

already reading Wells, Poe, Browning, Keats, Flaubert, Verlaine,

Rimbaud, Tolstoy, and Chekhov, alongside the popular entertainments

of Sir Arthur Conan Doyle and Jules Verne. As a young man, he

studied Slavic and romance languages at Trinity College, Cambridge,

taking his honors degree in 1922. For the next eighteen years he

lived in Berlin and Paris, writing prolifically in Russian under

the pseudonym Sirin and ***ing himself through translati***,

less*** in English and tennis, and by composing the first crossword

puzzles in Russian. In 1925 he married Vera Slonim, with whom he

had one child, a son, Dmitri.

Having already fled Russia and Germany, Nabokov became a refugee

once more in 1940, when he was forced to leave France for the

United States. There he taught at Wellesley, Harvard, and Cornell.

He also gave up writing in Russian and began composing fiction in

English. In his afterword to Lolita he claimed: "My private

tragedy, which cannot, and indeed should not, be anybody's concern,

is that I had to abandon my natural idiom, my untrammeled, rich,

and infinitely docile Russian tongue for a second-rate brand of

English, devoid of any of those apparatuses--the baffling mirror,

the black velvet backdrop, the implied associati*** and

traditi***--which the native illusionist, frac-tails flying, can

magically use to transcend the heritage in his own way." [p. 317]

Yet Nabokov's American period saw the creation of what are arguably

his greatest works, Bend Sinister (1947), Lolita

(1955), Pnin (1957), and Pale Fire (1962), as well as

the translation of his earlier Russian novels into English. He also

undertook English translati*** of works by Lermontov and Pushkin

and wrote several books of criticism. Vladimir Nabokov died in

Montreux, Switzerland, in 1977.

From the Hardcover edition.

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想象，是不朽和不成熟的人的极顶快乐，应该受到限制。为了能够享受生活，我们不应过多地享受想象的快乐。

这样的想象对于年轻人来说并不陌生。或者换句话来说，想到最初和最后的事情常常带有青少年的特点——除非可能受到某种古老、严厉的宗教指引。天性期望一个成年人接受这两个黑暗的虚空，和接受这两者之间的惊人景象时同样冷漠。

起初，我并没有意识到，乍看起来如此无边无际的时间竟会是一个监狱。在我探究我的童年的时候（这仅次于探究你的永恒），我看到了意识的觉醒是一系列隔开的闪现，间隔逐渐缩小，直到形成了鲜明的大块的感知，提供给记忆一个并不牢靠的支撑点。

秋天以各种颜色的落叶铺满了庭园，罗宾逊小姐给我们展示了那出色的技巧——前一年秋天，那个大师的儿子，她小小的世界里的一个熟悉人物，非常喜欢它——如何在地上挑选后在一张大纸上摆放能够构成几乎是完整的光谱的枫叶（缺少蓝色——太遗憾了），绿色逐渐变成柠檬黄，柠檬黄变成橘黄，如此等等，到红色到紫色，紫褐色，再带点红色，回到柠檬黄到绿色（已经很难找到绿色了，只有叶子的一个部分，最后一道勇敢的叶边）。

生动地追忆往昔生活的残留片段似乎是我毕生怀着最大的热情来从事的一件事，而且我有理由相信，这一回顾能力几近病态的强烈是具有遗传特征的。在树林里的某个地方，一座跨越棕色溪流的人行小桥边，父亲会虔诚地停下脚步，回忆在一八八三年八月十七日，他的德国家庭教师在那儿为他网住的那只珍稀的蝴蝶。三十年前的一幕会再度重现。他和他的兄弟们看见那思慕已久的蝴蝶停留在一块木头上，激动得不能自已，突然停了下来；它上下移动，仿佛在警觉地呼吸，四片樱红色的翅膀上各有一个孔雀尾羽上那种眼状斑。在紧张的沉寂中，他不敢自己下手，把网交给了正在摸索着找网的罗格先生，后者的眼睛一直紧盯着那只绝美的蝴蝶，四分之一个世纪以后，我的陈列柜里继承下了那个标本。还有一个感人的细节：由于过早地、过于急切地把蝴蝶从标本板上取下，它的翅膀“拱翘”了起来。

有色听觉

英语字母表中的长音a对我来说具有风化的木头的色彩，但是法语的a唤起的是抛光的乌木。... 法文on让我感到迷惑，我看到的是一只倒满烈酒的小酒杯具有张力的液面。... 既然在声音和形状之间存在着微妙的相互作用，我看到的q比k的棕色更深，而s不是e那样的浅蓝，而是天蓝色和珍珠色的奇特混合。（22）

从他那里我得知，在巴斯克语言中，蝴蝶是misericoletea，此后我一直将它保存在了记忆中的一个玻璃小囊里。（169）

半透明的微型图画，袖珍的奇境色泽绚丽而宁静的灵巧的小天地！在后来的年月里，我在显微镜魔力无边的镜筒被照亮了的底部重又发现了同样精确而宁静的美。在用于放映的幻灯片的玻璃片上，一幅景色被缩小了，这激发了人们的想象；在显微镜下，一只昆虫的器官被放大了，以进行从容的研究。看来，在世界的大小比例之中，似乎在想象和知识之间有着某个微妙的汇合点，这一个汇合点是通过缩小大的事物和放大小的事物达到的，这在本质上具有艺术性。（192）

摇篮在深渊上方摇着，而常识告诉我们，我们的生存只不过是两个永恒的黑暗之间瞬息即逝的一线光明。尽管这两者是同***双生，但是人在看他出生前的深渊时总是比看他要去的前方的那个深渊要平静得多。（3）

宇宙是多么小啊（袋鼠的育儿袋就能够将它装下），和人的意识相比，和个人的一个回忆及语言对这个回忆的表达相比，又是多么微不足道啊！（8）

科学家看到空间中一点上发生的一切，而诗人则感受到时间中的一点上发生的一切。（256）

螺旋在实质意义上是一个圆。在螺旋的形式下，那个圆伸开、松展后就不再有恶性循环；它被解放了。（329）

每当我开始想到我对一个人的爱的时候，我习惯于立刻从我的爱——从我的心脏、从一个私人事件的温柔的核心——画出半径，直及宇宙极端遥远的地点。（354）

编辑推荐

The late Vladimir Nabokov always did things his way, and

his classic autobiography is no exception. No dry recital of dates,

names, and addresses for this linguistic magician--instead,

Speak, Memory is a succession of lapidary episodes, in which

the factoids play second fiddle to the development of Nabokov's

sensibility. There is, to be sure, an impressionistic whirl through

the author's family history (including a gallery of Tartar princes

and fin-de-siècle oddities). And Nabokov's account of his tenure at

St. Petersburg's famous Tenishev School--where he counted

Osip Mandelstam among his

schoolmates--offers a lovely glimpse into the heart of Russia's

silver age. Still, Nabokov is much too artful an autobiographer to

present Speak, Memory as a slice of reality--a word, by the

way, that he insisted must always be surrounded by quotation

marks.

书籍介绍

A rich evocation of Nabokov's life and times, even as it offers incisive insights into his majo***orks, including LOLITA, PNIN, DESPAIR, THE GIFT and others.