13
May

Final exam puns and games

1. Pnin-”during the academic year he existed mainly on a motuweth frisas basis” : (motuweth frisas=monday, tuesday, wednesday, etc.)  (See Barabtarlo)

2. Do I really need to explain the pun on part in “provided male parts are taken by female parts”? (See Proffer.)

3. “haw” is also a command to a horse to “turn left”.  Think of all the narrative twisting, winding, and turning in Pnin. (See Naiman.)

4. “the two professors of English, tweedy and short-haired Miss LESter and fadedly feminine Miss FaBIAN.” (Read capitalized letters as bookends of sorts; the women are introduced right before Gaston Godin, who likes little boys.)

08
May

found!

Found: a copy of “Lolita: A Screen Play” by Vladimir Nabokov. Found weds. morning on a barrel on Marston Quad. Found still there Weds night and taken in by me and Siobhan. Pretty good condition. Needed a home so is now with us! Anyone lose this? Or was it a gift from the Nabokov gods?

06
May

some questions about Pnin

So, I don’t know if anyone will actually respond to this now (please respond!), but I noticed a few things while I was working on my paper that I wanted to ask all of you about. Some of the characters we have seen in Nabokov’s novel are represented as either good or bad readers, and occasionally writers. How should we classify Pnin?

Also, what does Pnin’s relationship with Victor say about both of them, as well as the text as a whole? It seems as though Victor is really Nabokov’s ideal artist, and that he has a great affection for Pnin. In fact, following water as a motif in the novel, it almost suggest that as Victor’s “water father,” Victor has inherited more from Pnin than from either of the Winds. What should we draw from this?

05
May

Metamorphoses?

In class today, I’m going to ask you to think about how signature themes and motifs undergo metamorphoses in VN’s work–from MAry and the Berlin short storis to Pnin and beyond.

If you see this before our last class, brainstorm a bit on your way to class.  Otherwise, follow up on that last class–use the ONE LAST BLOG POST to say goodbye (for now) to NAbokov and the class.

Thanks for your insights and participation this semester!

03
May

narrative russianisms and other obstacles to faith

I was re-reading Chapter 1 and came across a strange word: “versta”:

When inviting him to deliver a Friday-evening lecture at Cremona–some two hundred versts west of Waindell, Pnin’s academic perch since 1945–the vice-president of the Cremona Women’s Club, a Miss Judith Clyde, had advised our friend that the most convenient train left Waindell at 1:52 P.M., reaching Cremona at 4:17; but Pnin–who, like so many Russians, was inordinately fond of everything in the line of timetables, maps, catalogues, collected them, helped himself freely to them with the bracing pleasure of getting something for nothing, and took especial pride in puzzling out schedules for himself–had discovered, after some study, an inconspicuous reference mark against a still more convenient train (Lv. Waindell 2:19 P.M., Ar. Cremona 4:32 P.M.); the mark indicated that Fridays, and Fridays only, the two-nineteen stopped at Cremona on its way to a distant and much larger city, graced likewise with a mellow Italian name.

A “verst” is an obsolete (since 1924) Russian unit for measuring distance, slightly longer than a kilometer.  I found it interesting that the narrator, who otherwise “dominates” Pnin in part through his superior grasp of the English language, would choose to use such an obscure word in his own narrative voice.  On the other hand, the word is in the OED, so an American reader “could” look it up and be rewarded with a Russian history tidbit about a system of measurement that was, like Pnin’s and V.N.’s childhood Russia, “abolished by one blow of history.” (12)

Another strange thing that I found: “Robert Horn” appears twice in the novel.  In Chapter 1, at the bus terminal, Bob Horn attends to Pnin’s luggage: “Just tell them Bob Horn sent you.” (25)  In Chapter 7, during the theater performance at the narrator’s aunt’s country estate, his double shows up: “I came with my brother, and next to me sat the steward of my aunt’s estate, Robert Karlovich Horn, a cheerful plump person from Riga with bloodshot, porcelain-blue eyes, who kept applauding heartily at the wrong moments.”

I don’t think this coincidence “means” anything, but it’s still significant.  It suggests that the character “Bob Horn,” who “helps” Pnin with his valise, is only called “Bob Horn” because to the narrator, that name has the right associations, and is fitting for a bus stop attendant.  This further suggests that even more of the novel may be free improvization, and reduces (my) faith in the reliability of the narration.

28
Apr

more van eyck

On page 154, Laurence Clements is sitting in Pnin’s living room:

“Holding his glasses in one hand, he looked away, trying to recall something he had always wished to check but now could not remember, and his attitude accentuated his striking resemblance, somewhat en jeune, to Jan van der Eyck’s ample-jowled, fluff-haloed Canon van der Paele, seized by a fit of abstraction in the presence of the puzzled Virgin to whom a super, rigged up as St. George, is directing the good Canon’s attention. Everything was there — the knotty temple, the sad, musing gaze, the folds and furrows of facial flesh, the thin lips, and even the wart on the left cheek.”

Close-up of Canon van der Paele

Here’s the whole picture as well.

27
Apr

Even More Pnin Images, Even More Confusion

Before I saw Nora’s post, I searched for the images Nabokov references on p. 95, and encountered some confusion.

The first image on Lake’s wall is supposed to be “a copy of Gertrude Kasebier’s photographic masterpiece ‘Mother and Child.’”

When searching, I found the first image Nora unearthed (the first one below). I was a bit confused when I reread Nabokov’s description of the piece, however, because he mentions that photo had a “wistful, angelic infant looking up and away.” Comparing the description to the rest of the google results at hand, I found the second image below to be a much better match. This one has a similar title, “Maternity.” You can see the child’s face, and he is indeed looking up and away.

We all know that Nabokov doesn’t make mistakes, and, sure enough, the evidence of some sort of Nabokovian foul play continues.

Rembrandt’s “The Pilgrims of Emmaus” simply doesn’t exist. “The Pilgrims AT Emmaus” (third image) does, but again lacks adherence to Nabokov’s description – the same wistful, angelic upward look. I found that look in “Supper at Emmaus,” which is the fourth and final image I’ve included.

What is the significance of Nabokov’s obsession with the angled, upward look found on both of the young men depicted? Knowing that Lake has “an attitude of somber emarassment in the presence of athletic, rosy-cheeked lads,” the obvious answer is simply that this fixation is a reflection of Lake’s feelings towards comely lads. I’d be curious to see if anyone can find a different (better) explanation, because I fear that perhaps pedophiliac interpretations are too easy to come by in my post-Lolita mind.

Also, I’m open to discussing the unreliability of free interweb information, and am fully aware of the possibility that webmasters have made mistakes made in naming these pieces on their own websites. Anyone have a better art background?

27
Apr

Nabokov’s Cameo in Pnin

Last class, I suggested that Nabokov was the narrator– I deduced (albeit erroneously) that the narrator is an academic (from the line “our friend’s lectures”). Now, I have a more definitive proof for my hypothesis. I am sure most of you noticed this, but in chapter 5, section (is that the right term?) 4, the characters refer to Nabokov by name:

A score of small butterflies, all of one kind, were settled on a damp patch of sand, their wings erect and closed, showing their pale undersides with dark dots and tiny orange-rimmed peacock spots along the hindwing margins; one of Pnin’s shed rubbers disturbed some of them and, revealing the celestial hue of their upper surface, they fluttered around like blue snow-flakes before settling again.

‘Pity Vladimir Vladimirovich is not here,’ remarked Chateau. ‘He would have told us all about these enchanting insects.’

Of course, it is not definitive proof that they are referring to the narrator. Nevertheless, I think it is interesting that Nabokov’s name appears in the novel, regardless of whether he is the narrator or not.

25
Apr

More Pnin images

On the walls of Lake’s studio at St Bart’s

“Mother and Child” (Gertrude Kasebier)

“The Pilgrims at Emmaus” (Rembrandt)

23
Apr

Funny/interesting moment in ch. 1

One aspect of Pnin that I found especially interesting was the first sentence of part 3 of chapter 1 on page 25.

“Some people, and I am one of them- hate happy endings.  We feel cheapted.  Harm is the norm.  Doom should not jam.  The avalance stopping in it’s tracks a few feet above the cowering village behaves not unnaturally but unethically.  Had I been reading about this mild old man, instead of writing about him, I would have preferred him to descover, upon his arrival to Cremona, that his lecture wsa not this Friday but the next.”

I think this pretty well describes Nabokov’s view as well.  It’s almost like he has to appologise for not being completely cruel in this instance.  Nabokov could have easily had the lecture be on a different day so that he wouldn’t have had to include this paragraph.  It seems to me that it might be included to justify a cruel event that happens later on in the book- or maybe justifying the character of Pnin.  I have’t finished the book yet, so I’ not sure what happens in the end.  Did anyone else think this?




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