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nostalgebraist · 3 months ago

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notes on ada or ardor, from the "summer of ardor 2013" reading group

This post contains my notes on the novel Ada or Ardor: A Family Chronicle by Vladimir Nabokov, which I wrote in 2013 in connection with a small reading group for the book that I hosted for a few of my friends.

I've posted these notes online before, in several places. However, I recently discovered that all of its incarnations had disappeared, lost in the devouring maw of Web 2.0 you-are-the-product enshittification. (It was originally posted through "Facebook Notes," a feature that doesn't exist anymore; I also put it up as a series of "Goodreads Stories," a feature that also doesn't exist anymore.)

So, I'm putting them up again here, on tumblr.

I'm not under any illusions that tumblr will be around forever, and eventually I expect this copy to go the way of the others. Maybe when it does, I'll finally do the right thing and put it up on my (currently unused) personal website. But pasting it into the tumblr box is slightly easier, so here we are.

Looking back over these notes, I feel quite proud of them. I think I was underselling them in the original intro to the Goodreads edition, which (for the record) said the following:

These notes are certain [sic] inferior in comprehensiveness and erudition to, say, Brian Boyd's notes on Ada Online, or the Kyoto Reading Circle notes. In place of those qualities they mostly substitute bad jokes and webcomic references. The reasons you might, however, want to read this notes in addition to the existing sources are as follows: 1) Unlike everyone else, I try to avoid spoilers 2) I'm just a regular guy writing notes for his friends to read, which may be a good thing if you're an ordinary reader who doesn't want their face blasted off by endless scholarly discussions of minutiae

In fact, I actually went much further into "scholarly discussions of minutiae" than this would seem to suggest – with extensive citations of Boyd and others as needed – and I think I did a pretty good job of it, while not losing sight of bigger themes and stuff.

More generally, I feel like these notes really showcase my love and enthusiasm for the book.

----

The notes are divided into 11 sections, each of which covers a block of chapters we read in a particular week of the reading group. The goofy thematic titles for each of the weekly chapter blocks (e.g. "Oh, Inverted World" for the first one) are my inventions, part of my notes rather than the book itself.

I tried to avoid spoilers for later chapters when writing about earlier ones, though of course if you read the notes all the way through, you'll eventually get fully spoiled.

Except for one small added note (clearly signposted), these are given in their original 2013 form without any edits.

1. Oh, Inverted World (Part 1, Chapters 1-8)

GENERAL REMARKS (Chapters 1-8)

Let's review what we know so far. The story is apparently set on another planet (called "Demonia" or "Antiterra" -- I don't think these terms have come up yet, but I'm mentioning them for the sake of ease of reference). Its history and geography are quite similar to those of earth, although names are often different, and the dates of historical events can vary by up to 100 years. On Antiterra the northern reaches of North America have a mild, warm climate and, politically, form not an independent country (Canada) but a subsection of the U.S. called "Canady," which contains a "province" called "Estoty" which is inhabited largely by Russian-speakers in the west ("Russian Estoty") and Francophones in the east ("French Estoty"). What we call Russia on earth is called "Tartary" on Antiterra, and was settled by Tartars after the Russians were expelled to North America. (If you want some clarification on all of this, there is a very nerdy page about it called "The Geography of Antiterra" at http://www.dezimmer.net/ReAda/AntiterraGeography.htm .)

The mentally ill on Antiterra often have hallucinatory visions of our earth, which they call "Terra." This tendency began in a sort of fad in the Antiterran 1860s. A mysterious event called the "L disaster," which caused electricity to be banned, was responsible in some unspecified way for caused the Terra mania. At the time our protagonist, Van Veen, is writing, electricity has been made legal again, but in the story so far (covering the 1860s and 1880s) it is illegal and electrical devices have been replaced with hydrodynamic equivalents, such as the "dorophone" (hydrodynamic telephone). On the other hand, on the evidence of Ch. 6 at least, Antiterrans in 1884 (the date of Van and Ada's first meeting) have flying carpets and household robots. What little we see of conventional religion on Antiterra is peculiar: people say "thank Log" (short for "logos," maybe?) rather than "thank God," mention is made of "Faragod" ("the god of electricity"), and demons are seen as good rather than evil figures.

That's the setting; what about the story? The first three chapters are a convoluted and uninviting description of Van and Ada's ancestry, as well as (in Ch. 3) an account of the Terra mania and some of the differences between Antiterra and Terra. These three chapters make numerous but oblique references to the fact that Van and Ada, the two romantic leads, are not actually cousins -- as the family tree at the start of the book says -- but brother and sister: they are both actually the children of Demon and Marina, not of Demon and Aqua (Van's putative parents) and Dan and Marina (Ada's putative parents). After a description of Van's first amorous and sexual experiences in Ch. 4, we finally get some narrative traction in Ch. 5, where we start following 14-year-old Van in 1884 as he visits his relatives in Ardis Hall and meets his "cousin"/sister Ada -- who's a pedantic weirdo, but Van's, like, totally into it. That's pretty much it so far.

All of this is being described retrospectively, in the third person, by a very (implausibly?) old Van (he was born in 1870 and Ch. 4 says he "started to reconstruct his deepest past" in "the middle of the twentieth century"), with some notes in the margin by a similarly old Ada. The notes have been preserved in the text we're reading, which is curious in itself (an unedited, or partially edited, manuscript?).

One big question this book presents to the reader is whether Antiterra is real or whether it's something Van (who, in this latter conception, actually lives on our earth) has made up. When I first read the book, I thought "Antiterra is fake" was a plausible theory but by no means certain. Now, upon re-reading, it seems more and more obvious to me that Antiterra is just clearly fake -- the alternate Antiterran names are constantly shifting, for instance. So some of my notes below will talk about why I think Antiterra isn't real. (There is no critical consensus on this point, but that may just be because not enough people are paying attention.)

SOME RELEVANT TEXTS

As you probably know, Brian Boyd has been annotating Ada on his website. The annotations aren't done, and may never be -- he's up to Chapter 34 now, which is only a few chapters further than he'd gotten to when I first read the book two years ago. I will quote from these annotations often, but if you're worried about spoilers (for plot or for discoverable secrets) I don't recommend looking at them (although I used them heavily on my first read-through).

Boyd has also written a critical monograph called "Ada: The Place of Consciousness." I don't strongly recommend it, as it has the typical Boyd faults (justifies inherently implausible theories with over-complicated webs of evidence, expects first-time readers to have super-naive responses that no first-time readers actually have in practice, etc.) and in terms of the Boyd virtues (e.g. obsessive attention to detail) it has nothing to recommend it over the annotations. A better, and shorter, book is "Nabokov's Garden" by Bobbie Ann Mason (published -- really -- by Ardis Press in Ann Arbor), which gets closer to the heart of what Nabokov is doing than Boyd ever seems to.

There is also a set of annotations that Nabokov prepared himself to aid translators, called "Notes to Ada, by Vivian Darkbloom." Your copy may include them at the back. These are pretty sparse and pedestrian, but they are worth mentioning from time to time.

Ada makes a whole bunch of references to books and to visual art. According to Boyd and Mason, some of the more important textual reference points are:

Pushkin (Eugene Onegin) Tolstoy (Anna Karenina, War and Peace, Childhood/Boyhood/Youth) Chateaubriand (Atala/Rene)

Of these I have only read Anna Karenina.

NOTES

A note on pronunciation: "Ada," as Chapter 5 indicates, is pronounced "ahh-dahh," so that it sounds like "ardor" spoken in a non-rhotic accent. "Van" has the same type of "a" sound, since it is an abbreviation of "Ivan." "Veen" is, I think, pronounced like "vain," both for resonance with the word "vain" and because that's how it's pronounced in the Dutch surname "van Veen," which Van's name is supposed to remind us of. I've heard some people pronounce it like the first syllable of "Venus," though, and "Venus" is another intended resonance of the name.

" 'All happy families are more or less dissimilar; all unhappy ones are more or less alike,' says a great Russian writer in the beginning of a famous novel (Anna Arkadievitch Karenina, transfigured into English by R.G. Stonelower, Mount Tabor 3.05 Ltd., 1880)." (1) -- this inversion of the opening sentence of Anna Karenina (which Nabokov, incidentally, insisted should be called Anna Karenin in English) is many things. It's Nabokov making fun of bad translations. It is our narrator, Van Veen, declaring that his family, although sui generis (so to speak), is a happy one. It is an indication that we are entering a mirrored world in which some things may be different from what we're used to -- indeed, may take precisely the opposite form. It's an indication that this book will be (among other things) a parody of 19th century novels. Above all, it is a bizarre opening line that sets the tone for this bizarre book.

"Demon's twofold hobby was collecting old masters and young mistresses. He also liked middle-aged puns." (4) -- now that's my kind of 19th-century libertine! (Note, incidentally, that since Antiterra is also known as Demonia, Demon is effectively named after the earth [or the version of the earth he lives on], which is a good match for names like Marina and Aqua.)

" 'I deduce,' said the boy, 'three main facts . . . " (8) -- this first (textually, not chronologically) conversation between Van and Ada is wonderfully and implausibly dense. The upshot here is that the two have discovered the secret of Van's birth: Marina substituted her baby, whom Demon fathered, for Aqua's dead son, and the mentally impaired Aqua believed that the baby really was her child. This makes Van the son of Marina and Demon (rather than Aqua and Demon), and since the pair already knows that Ada's true father is Demon rather than Dan, this means they are both children of Marina and Demon -- full siblings. (This contradicts the family tree printed at the beginning, and -- despite numerous hints in the coming pages -- was actually missed by some early reviewers of the novel, who went through the whole thing believing that Van and Ada were cousins. Martin Amis, writing in 2009, thinks they are "half-siblings." My nerdrage knows no bounds.)

"by the sea, his dark-blue great-grandmother" (8) -- here's Boyd with the genealogy of this phrase: "Van says 'the sea, his dark-blue great-grandmother' in allusion to the opening chapter of another famous novel, Ulysses (pub. 1922), by James Joyce (1882-1941). In the opening chapter Buck Mulligan, looking seaward, and like Van and Ada also showing off in the first conversation in the novel, exclaims: 'Isn't the sea what Algy calls it: a grey sweet mother? The snotgreen sea. The scrotumtightening sea. Epi oinopa ponton' ([Harmondsworth: Penguin, 1986], 4; 1.77-78). 'Algy' here is Algernon Charles Swinburne (1837-1909): 'I will go back to the great sweet mother, / Mother and lover of men, the sea' ('The Triumph of Time,' pub. 1866, ll. 257-58). 'Epi oinopa ponton' means 'over the wine-dark sea,' a Homeric formula recurring throughout the Odyssey. Notice that Nabokov's 'dark-blue great-grandmother' wittily combines the 'grey' color term in Joyce's recycling of Swinburne's phrase and the 'great sweet mother' in Swinburne, with the 'great' again wittily given an improbable new value in 'great-grandmother.' "

Chapter 2 -- according to Boyd, the bad play Marina acts in here is a parody of bad translations/adaptations of Eugene Onegin. Unlike some of you, I haven't read Eugene Onegin, so the jokes are lost on me.

"the Baron, a physical wreck and a spiritual Samurai, had gone over to Japan forever" (14) -- for some reason I can't stop laughing over the weird, unexpected use of the word "Samurai" here. (It seems ripe for being turned into some sort of surrealist compliment/insult, e.g. "Rob, you are a physical wreck and a spiritual Samurai!")

"Van, I trust your taste and your talent but are we quite sure we should keep reverting so zestfully to that wicked world which after all may have existed only oneirologically, Van? marginal jotting in Ada's 1965 hand; crossed out lightly in her latest wavering one." (15) -- this is the first of what I think of as "moments of instability," moments when the book suggests that there is some crucial secret of its nature that we are not privy to. What is it that "may have existed only oneirologically"? Van and Ada's highly detailed ideas about what their parents' courtship was like? Antiterra as a whole? (If the latter, this would explain why Ada later crossed out the comment, since Chapter 3 makes it clear that Van is determined to stick with the Antiterra idea.) "Reverting" suggests regression (towards something worse, more immature) as well as turning something over (from the root "vert") as images are turned over by a mirror.

"The details of the L disaster (and I do not mean Elevated)" (17) -- strange that he would have to point the latter out in a world in which the L disaster is "well-known historically." "L" can stand for "electricity" (the L disaster has caused electricity to be banned) -- also "Ladore"? (Or Lenin. Or other, more spoilery options.)

"1869 (by no means a mirabilic year)" (19) -- Boyd's annotation for this reads as follows: "a pun on annus mirabilis (Latin, 'wonderful year,' applied especially to 1666, the year of London's Great Fire, in John Dryden's 'Annus Mirabilis,' 1667); on aqua mirabilis, sometimes shortened simply to mirabilis, 'a distilled cordial made of spirits, sage, betony, balm and other aromatic ingredients' (W2), since Aqua is about to be introduced; and as Proffer suggests on Russian mir, 'peace,' and Latin bellum, 'war,' since 1869 was the year Tolstoy's War and Peace was completed." Now that's a pun!

"Marina, with perverse vainglory, used to affirm in bed that Demon's senses must have been influenced by a queer sort of 'incestuous' (whatever that term means) pleasure (in the sense of the French /plaisir/, which works up a lot of supplementary spinal vibrato), when he fondled, and savored, and delicately parted and defiled, in unmentionable but fascinating ways, flesh (/une chair/) that was both that of his wife and that of his mistress, the blended and brightened charms of twin peris, an Aquamarina both single and double, a mirage in an emirate, a geminate gem, an orgy of epithelial alliterations." (19) -- And that is a sentence!

"Demon Veen married Aqua Durmanov -- out of spite and pity, a not unusual blend." (19) -- Karkat would be proud!

"Abraham Milton" on p. 18 becomes "Milton Abraham" on p. 21. Curiouser and curiouser.

"this our sufficient world. . . . Sufficient for your purpose, Van, entendons-nous. (Note in the margin.)" (21) -- second moment of instability. What is Van's "purpose"? This one is easier to make sense of under an "Antiterra isn't real" theory, since in that case Antiterra is sufficient for Van's purposes (i.e. for the reasons that led him to invent it), but not, e.g., for the purposes of other people whose real actions might be misrepresented there. If Antiterra is real, then Ada is either reminding Van of the general fact that some people are less satisfied with the world than he is, or reminding him in particular of people who hope their souls will transmigrate to Terra after death.

With its mystical manias and its college students dropping out to join 'fashionable' social causes, the Antiterran 1860s seem to imitate the Terran 1960s, in which Nabokov was writing.

Strange to have "Anna Karenin, a novel" (25), with that helpful explanatory clause, when on the first page the same novel (with a less accurate name) was "famous." "Manipulate each other" sounds more sexual than what actually happens in A.K., fitting for Ada's combination of 19th century stylings and sexual frankness.

" ' . . . it would have been so much more plausible, esthetically, ecstatically, Estotially speaking -- if she were really my mother.' " (30) -- an enigmatic outburst. Boyd's annotation for "Estotially" says "given the incest laws in Estoty?"

"such details of his infancy as really mattered (for the special purpose the reconstruction pursued)" (31) -- third moment of instability. (What is this "special purpose"? Is is the same as "your purpose" on p. 21?)

"He knew she was nothing but a fubsy pig-pink whorelet and would elbow her face away when she attempted to kiss him after he had finished" (33) -- this will turn out to be pretty representative of how Van sees women.

Chapters 5 and 6 -- we are now past the abstruse genealogical/scene-setting chapters, and, suddenly and somewhat incongruously, we're dropped into a Wes Anderson movie or something. Everything is visually lush and sort of cutesy. Something like this tone will persist, with various interruptions, for quite a while, but don't be fooled into thinking this is all the book has to offer.

"Ardelia" (36) -- Van's misremembering of "Adelaida" (Ada).

"the tiny, tremulous poodlet" (37) -- I present this phrase without comment.

" 'I used to love history,' said Marina. 'I loved to identify myself with famous women. There's a ladybird on your plate, Van. Especially with famous beauties -- Lincoln's second wife or Queen Josephine.' " (38) -- that's Marina for you. Also we can now add "Lincoln" to the two variants of "Abraham Milton."

" . . . jikkers were banned by the airpatrol; but four years later Van who loved that sport bribed a local mechanic to clean the thing, reload its hawking-tubes, and generally bring it back into magic order . . . " (44) -- I'm 99% sure the jikkers with their "hawking-tubes" were the inspiration for the flying carpets called "Hawking mats" that appear in the Hyperion series by science fiction writer Dan Simmons, which I coincidentally happened to be reading concurrently with Ada in summer 2011. (Simmons is a Nabokov fan and uses the name "Ardis" in the series as well. Of course when he uses "Hawking" it's also a reference to Stephen Hawking.)

"Owing to a mixture of overlapping styles and tiles (not easily explainable in non-technical terms to non-roof-lovers)" (45) -- "non-roof-lovers" is certainly not a category that enters my mind very often.

"le Docteur Chronique, I mean Crolique" (49) -- [insert weed joke here]

"Les Amours du Docteur Mertvago" (53) -- Vivian Darkbloom explains: "play on 'Zhivago' ('zhiv' in Russian means alive and 'mertv' dead)."

"Did he like elms? Did he know Joyce’s poem about the two washerwomen? He did, indeed. Did he like it? He did." (54) -- Apparently Finnegans Wake existed in 1884 on Antiterra. Boyd says: "The famous lyrical prose passage involving two washerwomen by the Liffey, at the end of the 'Anna Livia Plurabelle' chapter (I.viii) of Finnegans Wake (1938) -- a passage Joyce recorded in his own voice -- includes the refrain 'Tell me,' which in its last transformation becomes 'Tell me, tell me, tell me elm! Night night! Telmetale of stem or stone.' (216.03-04). Though a great admirer of Ulysses, Nabokov thought Finnegans Wake 'a formless and dull mass of phony folklore, a cold pudding of a book, a persistent snore in the next room. . . . Finnegans Wake’s façade disguises a very conventional and drab tenement house, and only the infrequent snatches of heavenly intonations redeem it from utter insipidity.' (Strong Opinions 71)"

"The retractile head and diabolical anal appendages of the garish monster that produces the modest Puss Moth" (55) -- "Diabolical Anal Appendages" is a great band name.

"Les Malheurs de Swann" (55) -- Vivian Darkbloom: "cross between Les malheurs de Sophie by Mme de Ségur (née Countess Rostopchin) and Proust’s Un amour de Swann."

2. Youth in Revolt (Part 1, Chapters 9-16)

GENERAL REMARKS (Chs. 9-16)

So, starting around Ch. 10 or so, we find ourselves REALLY CLEARLY situated inside the mind of a teenage boy. Everything is openly sexualized, even the food ("enormous purple pink plums, one with a wet yellow burst-split" [62] -- eww). Nabokov usually isn't this overt about this kind of stuff (if he includes it at all), and it was pretty startling to me the first time I read this book.

Back then these chapters startled me in a number of ways, really -- most of them having to do with the way they realistically, perhaps too realistically, take us into the world of adolescents with all their horniness and haughtiness. Van and Ada, who were likable enough in the previous section, begin to grate in this one. Take, for instance, the way their sense of superiority to Mlle Larivière infects not only their own dialogue but also the narration:

". . . the story lacked 'realism' within its own terms . . . That was the fatal flaw in the Larivière pathos-piece, but at the time young Van and younger Ada could not quite grope for that point although they felt instinctively the falsity of the whole affair." (87)

If we take this as an editorial comment from Nabokov himself (rather than just from old Van), it seems pretty self-indulgent: he has created a character who is an incompetent writer, has attack her writing in the voices of his other characters, and now attacks her in the narration itself -- pointing out flaws that he created to begin with! What's even worse is how close Van, and especially Ada, are to Nabokov in various ways -- e.g. Ada's interest in botany and entomology and her distaste for bad translations -- which makes this close to self-congratulatory self-insert 19th-century-novel fanfiction.

Is this interpretation false? Well, I think so, but for reasons that only become clear later on. For the moment, I'll just say that if your reaction to these chapters is "get off my lawn, you damn kids," your reaction is valid, and probably what Nabokov intended. (I mean, not to say their romance doesn't have some appeal; of course it does.)

NOTES

"punctuating Ada’s discourse with little ejaculations" (62) -- see what I mean about sexualizing everything?

" 'It was sort of long, long. I mean (interrupting herself)… like a tentacle… no, let me see' " (62) -- I rest my case.

Chapter 12 is beautiful and odd in its own unique way.

"among the instruments in the horsecart" (72) -- "horsecart" is an anagram for "orchestra." Darkbloom: "horsecart: an old anagram. It leads here to a skit on Freudian dream charades ('symbols in an orchal orchestra')."

"Children of her type contrive the purest philosophies. Ada had worked out her own little system. Hardly a week had elapsed since Van’s arrival when he was found worthy of being initiated in her web of wisdom. An individual’s life consisted of certain classified things: 'real things' which were unfrequent and priceless, simply 'things' which formed the routine stuff of life; and 'ghost things,' also called 'fogs,' such as fever, toothache, dreadful disappointments, and death. Three or more things occurring at the same time formed a 'tower,' or, if they came in immediate succession, they made a 'bridge.' 'Real towers' and 'real bridges' were the joys of life, and when the towers came in a series, one experienced supreme rapture; it almost never happened, though. In some circumstances, in a certain light, a neutral 'thing' might look or even actually become 'real' or else, conversely, it might coagulate into a fetid 'fog.' When the joy and the joyless happened to be intermixed, simultaneously or along the ramp of duration, one was confronted with 'ruined towers' and 'broken bridges.' " (74) -- I like this passage, and this system. I've forgotten a lot of stuff from this book but this has always stuck in my mind.

"The wasp was investigating her plate. Its body was throbbing. 'We shall try to eat one later,' she observed . . . " (75) -- Ada, you are so WEIRD.

" . . . the child was permitted to wear her lolita . . . a rather long, but very airy and ample, black skirt" (77) -- how Japanese of her. Seriously, though, this is one of the many throwaway references to Lolita in Nabokov's later work, which have always gotten on my nerves for some reason. I guess it's poking fun at the public's perception of him as primarily "the guy who wrote Lolita," but it also seems like more fuel for that very perception? I dunno.

" . . . thus dubbed after the little Andalusian gipsy of that name in Osberg’s novel" (77) -- Osberg is an anagram of Borges, to whom Nabokov has often been compared.

"with red poppies or peonies, 'deficient in botanical reality,' as she grandly expressed it, not yet knowing that reality and natural science are synonymous in the terms of this, and only this, dream. (Nor did you, wise Van. Her note.)" (77) -- another moment of instability at which I can only smile and nod. No clue what this means.

"[thus in the MS. Ed.]" (79) -- so the manuscript has been edited, but in a hands-off way, preserving errors and marginal notes rather than removing them or smoothing them out.

"'But, my poor Mathilde, the necklace was false: it cost only five hundred francs!' " (83) -- this story is the Antiterran equivalent of Maupassant's La Parure (thanks, Boyd). I do wonder if there's any intended parallel here to Van being substituted for Aqua's child.

"Being unfamiliar with the itinerary of sun and shade in the clearing, he had left his bicycle to endure the blazing beams for at least three hours." (86) -- even the most trivial details in this book are just so entertainingly described.

Chapter 15 -- I really like the way this chapter seems to be a parody of "loss of innocence" scenes, complete with the heavy-handed Tree of Knowledge symbolism. Since it rings true that Van and Ada might retrospectively view their lives in parodic terms, the scene also works "normally," as characterization, even while it also works as a parody.

"to snatch, as they say, a first shy kiss" (95) -- the innuendo pile doesn't stop from getting taller, if you believe Boyd: "Pun. Cf. Boyd 1985/2001: 243: 'seems to allude to a stock expression -- but the actual idiom is "steal a kiss." Why then that "as they say" just after snatch? Because, of course, there is one colloquial use of "snatch" ': vulva." (On the other hand, I remember the phrase "snatch a kiss" appearing in the romance-novelly chapter of Ulysses, so unless that was the same joke, it may just be an antiquated idiom . . . )

"with only that stray ardilla daintily leavesdropping" (98) -- hard to read even a few words of this book without encountering some sort of mischief. "Ardilla" means squirrel in Spanish, FYI.

3. And I'll Bury My Soul in a Scrapbook (Part 1, Chapters 17-24)

GENERAL REMARKS (Chs. 17-24)

Van and Ada's romance begins in earnest with an appropriately pyrotechnic backdrop; DIY sex ed is facilitated by the vast Ardis library; poems are transmogrified and crossbred; Lucette gets in the way; the style is sometimes gorgeous and sometimes playful or jokey to the point of tedium. The attic scene at the end of Ch. 1 fits somewhere in here, chronologically speaking. Meanwhile, the density of references has gone up precipitously, so I've written a lot more notes, most of which are quoted or cribbed from Boyd. There is the feeling of a steady rise in difficulty after the easy early Ardis chapters, like a musical piece that slowly builds in complexity.

If you're up to date, can you leave a comment saying whether you like the book so far? Just curious. I know this book is polarizing, and I don't want to feel like I'm leading you down a very long blind alley.

NOTES

Compared the leering and arch chapters directly preceding it, Chapter 17 is rather lovely. The tone in much of Part 1 seems to waver between romantic and satiric, with one of the two dominating the other in each chapter (speaking roughly).

"Their lips were absurdly similar in style, tint and tissue. Van's upper one resembled in shape a long-winged sea bird coming directly at you, while the nether lip, fat and sullen, gave a touch of brutality to his usual expression. Nothing of that brutality existed in the case of Ada's lips, but the bow shape of the upper one and the largeness of the lower one with its disdainful prominence and opaque pink repeated Van's mouth in a feminine key." (102) -- just felt like noting this down because it's an example of this book's excellent descriptions of sensory detail. Note the motif of Van's "brutality" (Ada's reaction to Van's hand-walking performance in Ch. 13: "I felt there was something dreadful, brutal, dark, and, yes, dreadful, about the whole thing" [86]).

"Nose, cheek, chin -- all possessed such a softness of outline (associated retrospectively with keepsakes, and picture hats, and frightfully expensive little courtesans in Wicklow)" (103) -- unsubtle foreshadowing: apparently Van will be soliciting courtesans later on.

"pascaltrezza" (103) -- Darkbloom: "pascaltrezza: in this pun, which combines Pascal with scaltrezza (Ital., 'sharp wit') and treza (a Provençal word for 'tressed stalks'), the French 'pas' negates the 'pensant' of the ‘roseau’ in his famous phrase 'man is a thinking reed.' " Sick pun, bro!

"Remembrance, like Rembrandt, is dark but festive." (103) -- okay, I'm going to have to stop noting down every cool or cute line in this chapter or else I'll just be noting down the whole thing. Boyd quibbles: "Rembrandt . . . is generally much less festive than such compatriots and contemporaries as Franz Hals (c.1581-1665) and Jan Steen (1625/6-1679). Van may particularly have in mind the decidedly festive 'Self-portrait with Saskia' . . . "

"What (Ada asks) are eyes anyway? Two holes in the mask of life. What (she asks) would they mean to a creature from another corpuscle or milk bubble whose organ of sight was (say) an internal parasite resembling the written word 'deified'?" (104) -- my quote moratorium has lasted less than a page, it seems.

" . . . the most tragic and almost fatal point of my life . . . How I used to seek, with what tenacious anguish, traces and tokens of my unforgettable love in all the brothels of the world!" (104) -- this chapter seems intent on briefing us about the shape of the overall plot. Note that a moment ago we got a reminder that Lucette died young ("at eight, twelve, sixteen, twenty-five, finis" [104]), though technically that could be deduced from the family tree at the beginning.

" 'I am sentimental,' she said. 'I could dissect a koala but not its baby. I like the words damozel, eglantine, elegant. I love when you kiss my elongated white hand.' " (105) -- Boyd: "Damozel is an archaic variant of 'damsel,' revived by Sir Walter Scott and other romantics after him 'to express a more stately notion than is now conveyed by damsel' (OED). Eglantine, especially [sic? -Rob] the sweetbriar (Rosa eglantera). Edmund Spenser (c.1552-1599) in The Faerie Queene (1590-96) uses both words toward the end of Book III, Canto VI (The Garden of Adonis), 'eglantine' in stanza 44, 'damozel' in stanza 54."

"a cad" (105) -- presumably Demon.

"after Mlle Larivière had threatened to smear poor Ada's fingertips with French mustard and tie green, yellow, orange, red, pink riding hoods of wool around them" (106) -- Boyd cites Jay Alan Edelnant's Ph.D. thesis, which notes that "this sequence implies 'green thumb' and 'pinkie.' ".

"born between Paris and Tagne (as he'd better, said Ada, who liked crossing orchids)." (106) -- Boyd notes that "Tagne" is not a real place and "seems a back formation from 'montagne' in the poem (106.25), as if it were 'mon Tagne,' 'my Tagne.' " The poem that follows is a hybrid ("crossing orchids") between the most famous poems of Baudelaire and (the actual) Chateaubriand (the latter poem will show up again in Ch. 22, where V&A will play with various phrases of the form "mon [X]"). Darkbloom translates it as "my child, my sister, think of the thickness of the big oak at Tagne, think of the mountain, think of the tenderness -- "

"Lucette’s and Lucile’s" (106) -- "Lucille, incidentally, was the true name of Chateaubriand’s sister, with whom he was in love" (Vera Nabokov).

" . . . and briefly attaining a drugged beatitude into which, as into a vacuum, the ferocity of the itch would rush with renewed strength." (107) -- a good description of this familiar experience.

"Nowadays it seems to be getting extinct, what with the cooler climate" (108) -- apparently the Antiterran climate has been growing closer to the Terran one?

"Suddenly Van heard her lovely dark voice on the staircase saying in an upward direction, 'Je l’ai vu dans une des corbeilles de la bibliothèque' -- presumably in reference to some geranium or violet or slipper orchid." (125) -- Ada's utterance, "I saw it in one of the wastepaper-baskets of the library," is actually (presumably) a response to Blanche asking about the location of her slipper, which she lost at the start of Ch. 19 ("Yes, she rushed down the corridor and lost a miniver-trimmed slipper on the grand staircase." [114]).

"She wore -- though not in collusion with him" (126) -- Boyd's annotation reads: "Why might we have thought that Ada had donned her black shorts and white jersey in collusion with Van?" I dunno, man.

From Boyd's Forenote to Ch. 21: "The prohibition against knowing about sex matches the Edenic prohibition against tasting of the Tree of Knowledge, and the theme of Ardis as Garden of Eden somehow resounds even amid the hush of the library. Just as the solitary couple in the left panel of Bosch’s Garden of Delights gives way to the throngs of sensualists, fructivores and sexual acrobats in the triptych’s central panel, in an endless slow merry-go-round of desire, so Van and Ada returning now as lovers to the library sample sex as something endlessly repeated through time: in evolutionary terms, from Serromyia flies and the lowliest farm animals to geishas and Casanovas; in cultural terms, from Oriental erotica, Shastras and Nefzawis, to litterateurs and sexologists."

"May 1, 1884 . . . 14,841 items" (130) -- I quote Boyd's annotation here because it's the kind of hyper-minute and hyper-trivial analysis only Boyd, for better or for worse, can provide: "The echo of the date ('1, 1884') in the number of items in the library (which would have been even closer had Nabokov chosen April 1, 1884: 1-4-1884: why did he choose 'Mayday' rather than April Fool’s Day?; and see 133.01 and n.) and the palindromic quality of '14841' (which also happens to be the sum of the squares of 120 and 21, the latter the number of the chapter -- is this significant, in this self-referential section? -- and the former a near palindrome of it, with 'nothing' added -- was that intended?) reflect Nabokov’s abilities as mathematical prodigy in his infant years, and his preoccupation with pattern in both nature (butterfly wing-markings, for instance) and art (versification, for instance)."

"A bawdy critic in a collection of articles which she now could gleefully consult (Les muses s'amusent)" (133) -- Nabokov's invention, title means "The Muses Have Fun." (Boyd)

"Ivan Ivanov" (134) -- sounds like a reference to Van, but Boyd notes also: " 'Ivan Ivanovich Ivanov' is the archetypal Russian; see for instance Bernard Guilbert Guerney’s translation of Gogol’s Dead Souls (but not in Gogol himself), ch. 11: 'why, on several occasions caricatures had actually been put out depicting Ivan Ivanovich Ivanov talking with John Bull' (1942; New York: Holt, Rinehart and Winston, 1966, 252.)"

"Kapuskan patois" (136) -- Boyd: "Kapuskan patois: Which, judging by the sample, seems to consists of a mix of French, American and Spanish, the European languages (except for Portuguese) of Earth’s Americas. Kapuskasing is a town in northern Ontario (49.25N, 82.26W), in an area of Ontario where French and English are both widely spoken." As for the "Kapuskan" quote itself: "This comically transparent macaronic passage yields: 'The only sure method of deceiving nature is for a strong-guy to continue-continue-continue until the pleasure brims; and then, at the last moment, to switch to the other groove; but because an ardent or a heavy woman cannot turn over quick enough, the transition is helped by the position of torovago.' "

"Heinrich Müller" (136) -- Darkbloom: "author of Poxus, etc." Of course this is Henry Miller, author (on Terra many decades later) of Sexus, etc. (For a good time, check out Gore Vidal's review of Sexus.)

"My sister . . . " (138) -- for the song by Chateaubriand on which this is based (which was crossbred with Baudelaire back in Ch. 17), see here. (If you want to avoid a quotation from a later chapter of Ada, stop reading at the sentence beginning "The poem, with score and tune . . . ")

"Ma soeur, te souvient-il encore / Du château que baignait la Dore?" (138) -- straight from the Chateaubriand: "My sister, do you still remember / The castle bathed by the Dore?"

"Sestra moya, tï pomnish' goru / I dub vïsokiy, i Ladoru?" (138) -- Darkbloom's trans.: "my sister, do you remember the mountain, and the tall oak, and the Ladore?"

"Oh! qui me rendra mon Aline / Et le grand chêne et ma colline?" (138) -- Darkbloom's trans.: "oh who will give me back my Aline, and the big oak, and my hill?" Slight alteration of the final sestet of the Chateaubriand: "mountain" has been changed to "hill" and "Helene" has become "Aline," the name of Chateaubriand's elder brother's wife (significance?). Darkbloom on the original: "The final (fifth) sestet begins with 'Oh! qui me rendra mon Hélène, Et ma montagne et le grand chêne' -- one of the leitmotivs of the present novel."

"Oh! qui me rendra, mon Adèle / Et ma montagne et l'hirondelle?" (138) -- now the name is "Adele" (now the addressee rather than the object) and the "great oak" is the "swallow." Adele brings "Adelaida" (Ada's real name) to mind just as "Lucile" below does for Lucette/Lucinda.

"Oh! qui me rendra ma Lucile, / La Dore et l'hirondelle agile?" (139) -- now it's "the Dore" and "the agile swallow." Lucile is the real name of Chateaubriand's sister. "Agile swallow" comes from an utterance of Mlle Lariviere's ("And see that agile swallow!" [87]), as do some other bits here.

"Oh, who will render in our tongue" (139) -- pun on earlier "rendra" ("give back").

"say 'chort' (devil) . . . which he had never heard her do before" (139) -- Van's forgetting that he had her say "chort" on p. 96. Speaking of devils, note that "Ada" means "of hell" (i.e. it's the genitive of "hell") in Russian.

"To the average physiologist, the energy of those two youngsters might have seemed abnormal" (139) -- part of a motif about Van and Ada's exceptional nature; cf. the earlier mention of the "demon blood" (20) they inherited from their father (which brings us back, thematically, to hell).

"yclept" (141) -- "Meaning 'called,' 'named,' this word, elsewhere obsolete, survived as an allowable archaism in poetry." (Boyd)

" 'I kept for years -- it must be in my Ardis nursery -- the anthology you once gave me; and the little poem you wanted me to learn by heart is still word-perfect in a safe place of my jumbled mind, with the packers trampling on my things, and upsetting crates, and voices calling: time to go, time to go. Find it in Brown and praise me again for my eight-year-old intelligence as you and happy Ada did that distant day, that day somewhere tinkling on its shelf like an empty little bottle. . . . ' " (146) -- well, that's heartbreaking. Note that Van, typically (as we shall see), does not comment on the pathos of the situation.

"Here, said the guide . . . " (146): Nabokov wrote, in third person, to Bobbie Ann Mason: "The poem Peter and Margaret is of course Nabokov’s own composition. Not a single reader (as far as he knows) has understood that it is a stylized glimpse of a mysterious person visiting the place, open to tourists, where in legendary times ('legendary' in Antiterra terms) a certain Peter T. had his last interview with the Queen’s sister. Although he accuses the old guide of being a 'ghost,' it is he, in the reversal of time, who is a ghostly tourist, the ghost of Peter T. himself. It is a very beautiful little poem, it should send a tingle down the spine of the reader." For a full report on the reference here and the way this poem by the fictional "Robert Brown" emulates Tennyson and Browning, see here.

"But as Van casually directed the searchlight of backthought into that maze of the past where the mirror-lined narrow paths not only took different turns, but used different levels (as a mule-drawn cart passes under the arch of a viaduct along which a motor skims by), he found himself tackling, in still vague and idle fashion, the science that was to obsess his mature years -- problems of space and time, space versus time, time-twisted space, space as time, time as space -- and space breaking away from time, in the final tragic triumph of human cogitation: I am because I die" (153) -- death has poked its head into the frame a number of times in these chapters ("the most tragic and almost fatal point of my life" [104], "a fatidic shiver" [146], " their . . . in many ways fatal romance" [148]), and it does so again in this remarkable sentence. Et in Arcadia ego?

"just finished reading her new story" (154) -- this one is based on Maupassant's "La Petite Roque" (AKA "Little Louise Roque"). There's a summary here.

4. The Second Law of Thermodynamics (Part 1, Chapters 25-34)

GENERAL REMARKS (Chs. 25-34)

In which Van learns you can never really recapture your childhood.

The story now shifts into a new phase: where Van's preoccupying monomania used to be his attraction to Ada, it is now his jealousy of anyone who might, conceivably, have designs on her. There is a newly neurotic tone to many of these chapters, and Van's characteristic allusiveness starts to seem defensive rather than expressive or simply playful. Meanwhile, Lucette herself has become infatuated with Van. (What is it with this family?)

NOTES

"kitchen Kim with his camera" (156) -- pay close attention to Kim and his camera.

"Tel un lis sauvage confiant au désert" (157) -- "Thus a wild lily entrusting the wilderness" (Darkbloom). A quote from Les Trois Règnes de la Nature by Abbé Jacques Delille (in context: "Thus a wild lily / Entrusting to the wilderness the perfume it exhales, / Hides its virginal beauty from the indiscreet winds"). Delille seems to have been one of the many, many authors on Nabokov's shit list.

" . . . and this attire was hardly convenient for making klv zdB AoyvBno wkh gwzxm dqg kzwAAqvo a gwttp vq wjfhm Ada in a natural bower of aspens; xliC mujzikml, after which she said: . . ." (157) -- just when you thought this book couldn't get any weirder, it just starts throwing glitchy gibberish at you with no warning whatsoever. Of course, all is explained in the next chapter, but I really like the audacity of it. (The joke here is that if you actually decode the text, it's completely tame, at least on a surface level: "making his way through the brush and crossing a brook to reach Ada in a natural bower of aspens; they embraced.")

"the letter scene in Tschaikow’s opera Onegin and Olga" (158) -- Boyd: "Nabokov mocks here the inaccuracies of theatrical adaptations of literary texts, including the Chaikovsky adaptation of Pushkin’s Eugene Onegin (see 10.11-12.20 and nn. and 511.34: 'the preposterous libretto'). The letter scene, itself specifically parodied at 11.02-20 (and nn.), of course focuses on Tatiana as letter-writer. A version that had misconstrued Pushkin’s story enough to have her sister Olga share the title with Onegin might even omit Tatiana altogether. In Pt. 1 Ch. 2 the show in which Marina plays the letter-writing role seems to be called Eugene and Lara (13.22), which at least preserves as well as distorts some of Tatiana’s surname (Larina); but by now, the disintegration has become even more complete, as the other Larina girl takes over the title role."

"I don't know. I adore you. I shall never love anybody in my life as I adore you, never and nowhere, neither in eternity, nor in terrenity, neither in Ladore, nor on Terra, where they say our souls go." (158) -- "adore"/"Ladore" here resonates nicely with the unspoken (but, in this book, always present) "ardor."

"Stumbling on melons, fiercely beheading the tall arrogant fennels with his riding crop" (159) -- Darkbloom: "allusions to passages in Marvell’s 'Garden' and Rimbaud’s 'Mémoire.'" (From Marvell's Garden: "Stumbling on melons, as I pass, / Ensnared with flowers, I fall on grass.") [TV narrator voice] "Previously on Ada or Ardor": Rimbaud's poem was referenced a number of times in Van and Ada's esoteric lunch-table conversation in Ch. 10.

In Chapter 27 we begin to get a sense of Van's conventionally masculine double standard about infidelity.

"Villa Armina: Marina never realized it was an anagram of the sea, not of her." (163) -- Ouch!

"garbotosh" (165) -- reference to a famous poster for the film Anna Christie, which pictures Greta Garbo wearing a macintosh. As it happens, all of the physical characteristics listed later in this passage are consistent with the idea that Cordula is supposed to look like Garbo. Garbo was rumored to have had affairs with women. (She also -- perhaps relevantly? -- played the title character in the 1935 adaptation of Anna Karenina.)

"ambivert" (165) -- apparently this means "a type of person intermediate between the introvert and the extrovert," though of course it sounds as though it means "bisexual."

"by his amour-propre, not by their sale amour" (168) -- "amour-propre" can mean either "self-love" or "clean love"; the former appears to be the actual meaning here, but the latter allows the phrase to appear to contrast more directly with "sale amour" ("dirty love"). Darkbloom: "pun borrowed from Tolstoy's 'Resurrection.'"

"On the contrary: a private picture of their fondling each other kept pricking him with perverse gratification." (168) -- another "yep, Van sure is a teenage boy" moment. (It wasn't until I copied this quote down here that I noticed the retrospectively obvious innuendo in "pricking." Maybe it's best to assume that every word of this book is some sort of innuendo until proven otherwise . . . )

"Adula" (168) -- resonates of course with "adulation."

"the entire treatment of the Marcel and Albertine affair" (169) -- Van refers to the theory that the character Albertine in In Search of Lost Time is really a gender-swapped male, i.e., that her affair with Marcel is actually a veiled depiction of a male homosexual affair.

"(On fait son grand Joyce after doing one's petit Proust. In Ada's lovely hand.)" -- the previous sentence links up to Joyce's Ulysses in several difficult-to-catch ways, described by Boyd here. Note that Van's monologue about Proust was itself in the style of Proustian dialogue.

"He could solve an Euler-type problem" (171) -- an insignificant detail, but as a math guy I'm of course curious what exactly is meant by this phrase. There are many problems associated with Euler, who was one of the most prolific mathematicians ever. In the French translation of Ada this becomes "a problem in Euler integrals." Euler integrals are certain special mathematical functions, which doesn't nail down what the problems in question are, but gives us a general idea of what sort of knowledge is involved -- calculus, probably. (Van is 10!)

"I have often wondered why the Russian for it" (175) -- by "it" he means "cheating."

"Van worked under Tyomkin, at the Chose famous clinic, on an ambitious dissertation he never completed, 'Terra: Eremitic Reality or Collective Dream?' " (182) -- the nature of the Terra pathology, along with the nature of time and space, will be one of Van's major interests as an adult.

"a triumph, in a sense, over the ardis of time" (185) -- "ardis" means "point of an arrow" in Greek, so this is a modification of the conventional phrase "the arrow of time."

"Thus the rapture young Mascodagama derived from overcoming gravity was akin to that of artistic revelation in the sense utterly and naturally unknown to the innocents of critical appraisal, the social-scene commentators, the moralists, the idea-mongers and so forth." (185) -- yep, we're definitely reading a Nabokov book here.

"Van on the stage was performing organically what his figures of speech were to perform later in life -- acrobatic wonders that had never been expected from them and which frightened children." (185) -- this makes explicit what might already have been clear: the connection between Van's interest in card tricks, acrobatic feats, etc. and his penchant for playing tricks with words.

"and (I have a note here, for the ghost of a novel) 'the low cut of her black dress allowed the establishment of a sharp contrast between the familiar mat whiteness of her skin and the brutal black horsetail of her new hair-do.'" (188) -- a vertical A-B-A (or, equivalently, A-D-A) pattern. The novel in question here is presumably Ada itself, which apparently means that this bit is some earlier note or thought that has been incorporated into the text. Note that the dramatic arc of Ada follows something like an A-D-A pattern, and that the title itself contains more than one such pattern (the word "Ada" is one, and the fact that "Ada" sounds like "Ardor" makes the phrase "Ada or Ardor" another).

"'My teacher,' she said, 'at the Drama School thinks I'm better in farces than in tragedy. If they only knew!'" (191) -- a self-conscious nod to the tension between comedy and drama in this novel?

"her only true love, the head of the arrow" (192) -- another ardis.

"I'll have them reassembled in Ladore when I motor there one of these days." (193-4) -- and here's another attempt to triumph over the ardis of time, this one much closer to the sort of examples found in introductory physics textbooks. The collecting of the necklace pieces seems like a pretty transparent metaphor for the lovers' attempt in this scene to recapture what they had in 1884.

Note that Ada has become less interested in biology (nature) and more interested in acting (artifice). Bobbie Ann Mason sees this as an effect of the corrupting influence of her "unnatural" affair with Van.

"Her director, G.A. Vronsky" (197) -- Vronsky is Anna's lover in Anna Karenina. His name is combined here with "the 'common Russian-Jewish name' Gavronsky" (Boyd citing Alfred Appel). Cf. Marina's lover "Baron d’Onsky" (13).

"what begins with a 'de' and rhymes more or less with a Silesian river ant" (199) -- "Since the Oder is the main river of Silesia, a historical region of eastern Europe now mostly in Poland although with small portions in Germany and the Czech Republic, the riddle spells the hint: 'deodorant.'" (Boyd).

"She smelled of damp cotton, axillary tufts, and nenuphars, like mad Ophelia." (199) -- cool sentence. Nenuphars are water lilies.

"The indecent 'telegraph'" (201) -- the banning of electricity has had amusing consequences for Antiterran profanity.

"(reversing the action of Dr. Ero, pursued by the Invisible Albino in one of the greatest novels of English literature)" (203) -- Darkbloom: "thus the h-dropping policeman in Wells’s Invisible Man defined the latter’s treacherous friend." Could additionally be a reference to Ellison's Invisible Man. (In an interview, Nabokov discusses the notion of meeting literary figures in heaven: "It would be fun to hear Shakespeare roar with ribald laughter on being told what Freud (roasting in the other place) made of his plays. It would satisfy one's sense of justice to see H. G. Wells invited to more parties under the cypresses than slightly bogus Conrad.")

"the sunglasses of much-sung lasses" (203) -- that's a pretty good one.

"two black and one golden-red head" (204) -- a possible A-D-A, although it seems more likely that Van is in the middle (in which case it's an A-D-A by gender, I guess).

5. Father Lucifer (Part 1, Chapters 35-38)

GENERAL REMARKS (Chs. 35-38)

The Ardis of 1888 continues to be awkward. Scrabble is played. Demon stops by and wants to ask whether Van and Ada are involved, but never manages to.

To be honest, with the exception of the Scrabble scene, I'm not that fond of these chapters -- the plot has been lagging lately and the reader could be forgiven for wondering whether any of this is going anywhere or whether the rest of the book will be comprised of minor, unpleasant Veen family interactions described at great length. Mark my words, though: the next section (the rest of Part 1) is utter gold, and is what convinced me I loved the book the first time around.

And as always, no matter how slow the plot is, there's plenty of trivia to note! Speaking of which, Boyd's online notes end at Ch. 34, although note that there are some interesting notes (composed with Boyd's help) here that go up through Ch. 38. After this, we're flying blind.

NOTES

"the oars crippled by refraction" (217) -- nice metaphor.

"my acarpous destiny" (219) -- "acarpous" means "fruitless."

"A diligent student of case histories, Dr. Van Veen never quite managed to match ardent twelve-year-old Ada with a non-delinquent, non-nymphomaniac, mentally highly developed, spiritually happy and normal English child in his files, although many similar little girls had bloomed -- and run to seed -- in the old châteaux of France and Estotiland as portrayed in extravagant romances and senile memoirs." (219) -- a self-conscious nod to the implausibility of Ada the character. Minor evidence for theories of the "Van invented Ada" variety (of which I am fond).

"Captain Grant's Microgalaxies" (220) -- Darkbloom: "known on Terra as Les Enfants du Capitaine Grant, by Jules Verne."

"ailleurs" (220) -- "go away" (?), lit. "elsewhere."

The ending of Ch. 35 has been "scrawled on a separate writing-pad page" and is apparently by a very old Van, possibly on his last night before death. It is appropriately (?) strange. Mentions of the process of composition sometimes coincide with especially abstruse and odd passages (cf. the sections alternately written by Van and Ada in Ch. 12). Is this an indication that these were written last, by an older senile Van / Ada, who either wrote strangely because they were senile or simply died before having the chance to revise this material (or both)?

"and now a century later seems to be again in vogue, so I am told, under the name of 'Scrabble,' invented by some genius quite independently from its original form or forms." (222-3) -- cf. earlier " 'We [Van and Ada in 1884] played mostly Scrabble and Snap,' said Van." (163)

"Lucette would later recall how her sister's triumphs in doubling, tripling, and even nonupling (when passing through two red squares) the numerical value of words evolved monstrous forms in her delirium during a severe streptococcal ague in September, 1888, in California." (223) -- like the Noodle Incident, this is all the more hilarious for its lack of specificity. ("Evolved monstrous forms"?)

"Baron Klim Avidov" (223) -- anagram for "Vladimir Nabokov" (Kyoto Reading Circle notes).

"Avidov . . . at a particule" (223-4) -- "The gist of this short incident is that Avidov was accused by the Englishman Keyway of his pretentions to aristocratic lineage by using the French 'de' before his name (d’Avidov)." (Kyoto Reading Circle notes)

"By July the ten A's had dwindled to nine, and the four D's to three. The missing A eventually turned up under an Aproned Armchair, but the D was lost" (224) -- A-D-A reference, of course, and maybe another arrow of time / entropy thing? (The "A" of paradisiacal Ardis lost and then regained.)

"it was pitiful to see Lucette cling to her last five letters (with none left in the box) forming the beautiful ARDIS which her governess had told her meant 'the point of an arrow' -- but only in Greek, alas." (225) -- I'm sure you could do some "clinging to Ardis" / "arrow of time" thematic stuff with this. (I have kind of a one-track mind today, it seems.)

"the amusing VANIADA" (226) -- this coinage will turn up again.

"TORFYaNUYu" (227) -- there is a peat motif (yes, you heard me, a peat motif) in this book: "Veen" for instance means "peat bog" in Dutch. (Boyd has written an article called "Ada, the Bog and the Garden: or, Straw, Fluff, and Peat: Sources and Places in Ada.")

V&A's virtuosic triumphs over Lucette in Ch. 36 leave me wondering exactly what they feel they have to prove (numerous decades later!).

"some 'blue' (peat-bog) land" (236) -- peat again.

"his "prebrandial" brandy (an ancient quip)" (238) -- cf. "he liked . . . middle-aged puns" (4).

"You look quite satanically fit, Dad." (239) -- I wonder what exactly "satanically" means on Antiterra, where religion seems to have been tweaked somewhat, and demons are benign figures. (Note the reference to the Eden story later in this chapter, and the Eden reference that dominates Ch. 15.)

" 'You’ll live to reach Terra, and come back a wiser and merrier man' " (241) -- this may be fortune-teller frivolity, but it is interesting to wonder whether it has any deeper meaning in the context of the plot.

"the sweetest word in the language rhymes with 'billiard' " -- Kyoto Reading Circle: "The word is 'milliard,' thousand million, that is, billion."

"That’s very black of you" (241) -- Kyoto Reading Circle: "Converted 'white of you,' a Southern racist compliment which means 'good of you.' "

"Filius aquae" (243) -- Darkbloom: " 'son of water,' bad pun on filum aquae, the middle way, 'the thread of the stream'." But, as the Kyoto Reading Circle observes, this is also a reference to Van's parentage (he is not "filius aquae," "son of Aqua"). This chapter is packed with hints about Van and Ada's parentage, particularly to the fact that Ada is Demon's daughter.

"Tell him I’m the youngest Venutian? Does he belong, too? Show the sign? Better not. Invent." (244) -- in Ch. 28, Dick offered Van a membership to the "Villa Venus Club." Apparently Van is now a member.

"Old Demon, iridescent wings humped" (245) -- one of several references so far to Demon's "wings." Presumably a flight of fancy rather than a literal description, but then so much of Van's tale is difficult to believe that a literally winged father might not be so out of place. (But if the wings really existed we might expect some remark about how he had been named for them, when in fact we just hear that Demon is "a form of Demian or Dementius" [4].)

"which Ada de Grandfief here has twisted into English" (246) -- yet another colorful version of "translate."

" 'Which is amply sufficient," said Demon, "for my little needs, and those of my little friends.' " (247) -- cf. "Sufficient for your purpose, Van" (21).

"the unfortunate plant used to be considered by the ancient inhabitants of the Ladore region not so much as a remedy for the bite of a reptile, as the token of a very young woman’s easy delivery" (247) -- the reference to the pains of childbirth here continues the Adam and Eve reference begun in Ada's preceding line, in which she links snakes and "corruption."

" 'I'm Fanny Price, actually' . . . 'In the staircase scene' " (249) -- not having read Mansfield Park, I can't divine the significance of either of these statements. Google leads me to this: "The stairs leading to the attic also have significance in the novel. A week after Fanny’s arrival at Mansfield Park, Edmund finds his cousin sitting on the stairs that lead to the attic. Her placement on the stairs reinforces the view of Fanny as a person between two worlds. She can no longer live with her family in Portsmouth and does not feel that the Bertram house is her home either. She is never completely part of the Bertram family until later in the novel; and in her first years with the family, Fanny does not feel fully accepted as a member of the household."

"this gemel planet" (256) -- "gemel" is a heraldic term meaning "coupled" or "paired."

"the young hospital nurse Dan had been monkeying with ever since his last illness (it was, by the way, she, busybody Bess, whom Dan had asked on a memorable occasion to help him get 'something nice for a half-Russian child interested in biology')" (256) -- the 12th birthday gift Ada received and hated back in Ch. 13 ("a huge beautiful doll -- unfortunately, and strangely, more or less naked; still more strangely, with a braced right leg and a bandaged left arm, and a boxful of plaster jackets and rubber accessories, instead of the usual frocks and frills" [84]).

"certicle storms" (258) -- Darkbloom: "certicle: anagram of 'electric.' " Electricity may be taboo, but Antiterrans still need a way to refer to natural electrical phenomena. (Also brings "cervical" to mind?)

"Antiamberians" (258) -- apparently some sort of anti-electricity group. The word "electricity" itself comes from the Greek word for "amber." Philip Pullman, thinking along the same lines, had his otherworldly characters in the His Dark Materials trilogy use "anbaric" (from the Arabic for "amber") energy.

"young Bout hurried in dragging the long green cord (visibly palpitating in a series of swells and contractions rather like a serpent ingesting a field mouse) of the ornate, brass-and-nacre receiver" (260) -- a hydrodynamic telephone sure is a funny image.

"his key: 221" (262) -- Demon is linked a number of times in this Chapter to Sherlock Holmes, who lived on 221 Baker Street (Kyoto Reading Circle).

"till dee do us part" (263) -- "dee" is the first letter in Demon's name: when Demon finally discovers their affair, Ada expects him to order them to stop. Also, possibly, a reference to the negative associations of the "D" segment of the A-D-A sequence (if this book is about paradises lost and then regained, "A" is the paradise while "D" is its absence).

6. Van/Ada, Blanche/Van, Rack/Ada, Percy/Ada, Van/Cordula, Hurt/Comfort, Mpreg (Part 1, Chapters 39-43)

GENERAL REMARKS (Chs. 39-43)

Shit just got real.

NOTES

"Speaking as a character in an old novel" (266) -- this "old novel" motif is starting to get a bit worn out.

"One of your aunt's servants is the sister of one of our servants and two pretty gossips form a dangerous team" (271) -- the former servant is Blanche. (Cf. "better than waste them on her, let him give them, she said, to Blanche's lovely sister" [277].)

"Percy, you were to die very soon -- and not from that pellet in your fat leg, on the turf of a Crimean ravine, but a couple of minutes later when you opened your eyes and felt relieved and secure in the shelter of the macchie; you were to die very soon, Percy; but that July day in Ladore County, lolling under the pines, royally drunk after some earlier festivity, with lust in your heart and a sticky glass in your strong blond-haired hand, listening to a literary bore, chatting with an aging actress and ogling her sullen daughter, you reveled in the spicy situation, old sport, chin-chin, and no wonder. Burly, handsome, indolent and ferocious, a crack Rugger player, a cracker of country girls, you combined the charm of the off-duty athlete with the engaging drawl of a fashionable ass. I think what I hated most about your handsome moon face was that baby complexion, the smooth-skinned jaws of the easy shaver. I had begun to bleed every time, and was going to do so for seven decades." (273) -- enjoyably spiteful paragraph. Strange to think of Van, over ninety, having lived with Ada for decades, writing this as though still angry at Percy. (I always tend to assume that Van's uses of the first person indicate heights of emotional intensity or involvement, though that may be too simple.)

"It was, he understood, a collation of shepherds." (274) -- no idea what to make of the shepherds. Suggestions welcome.

"Ada strolled up. 'My hero,' she said, hardly looking at him, with that inscrutable air she had that let one guess whether she expressed sarcasm or ecstasy, or a parody of one or the other." (278) -- doubles, of course, as a description of Ada the book.

"We do not care to follow the thoughts troubling Ada, whose attention to her book was far shallower than might seem; we will not, nay, cannot follow them with any success, for thoughts are much more faintly remembered than shadows or colors, or the throbs of young lust, or a green snake in a dark paradise." (280-1) -- strange to point this out when the book almost never follows Ada's thoughts, and the excuse rings hollow since Van's thoughts are, by contrast, followed relentlessly. I wonder what that "green snake in a dark paradise" means. There have been various Eden references (Shattal tree, dinner party), but none that seem to match up satisfactorily with that phrase.

"Therefore we find ourselves more comfortably sitting within Van while his Ada sits within Lucette, and both sit within Van (and all three in me, adds Ada)." (281) -- all three are in Ada the book, of course . . . "and all three in me" also makes me think of the Trinity. (If older Ada is incarnating in younger Lucette, then Ada is the Father and Lucette is the Son, which would make Van the Holy Spirit, which is funny since the Holy Spirit, unlike the other two, is believed by some to be female. [Is this my silliest line of speculation yet?])

"Van was lying in his netted nest under the liriodendrons, reading Antiterrenus on Rattner." (283) -- cf. p. 230: "Van lay reading Rattner on Terra, a difficult and depressing work." Mirror-reflection motif, of course.

"I've seen him in Sexico" (286) -- now that is a good bad movie title.

"It was not the sly demon smile of remembered or promised ardor, but the exquisite human glow of happiness and helplessness. . . . They stood brow to brow, brown to white, black to black, he supporting her elbows, she playing her limp light fingers over his collarbone, and how he 'ladored,' he said, the dark aroma of her hair blending with crushed lily stalks, Turkish cigarettes and the lassitude that comes from 'lass.' " (286-7) -- the writing has returned to romantic gorgeousness; it's been a long time since we've been here. Note that the style of this passage, and the use of the adore/Ladore pun, recalls the passage on p. 158-9 when Van and Ada part for the first time. Van seems to view his relationship with Ada in the most idealized terms at moments that directly precede their partings.

"That's a beautiful passage, Van. I shall cry all night (late interpolation)." (287) -- not sure what to make of this, but it seems significant.

"she was wearing his diamonds for the first time" (288) -- apparently Van did repair the diamond necklace after all?

I love Chapter 41. Nabokov is very good at rendering the moment when it all comes crashing down, and much of Ch. 41 is a wonderfully well-written, aching and hilarious depiction of what it feels like when your brain hits a fact it just can't deal with. In a lot of Nabokov's novels, though, this moment happens at the end, while here it's right in the middle: the demonic D of the A-D-A pattern ("till Dee do us part"). An A-D-A dramatic arc, if plotted with something like "happiness" on the vertical axis, would form a "V" shape (or, if mirror-inverted -- with both paradises exposed as false? -- an "A" shape).

"her quaint English, elegiac and stilted, as spoken only in obsolete novels" (292) -- this has the form of a diss towards Blanche, but its impact is kind of distorted by the fact that all sorts of things in Ada, including Ardis Hall itself, are describes as reminiscent of "old novels." "Obsolete novels" is kind of a strange notion in the context of this book, which is itself written in an archaic mode.

" 'Van,' she said, 'I must tell you my dream before I forget. You and I were high up in the Alps . . . ' " (296) -- the coincidence of Van and Ada's dreams here recalls dream coincidences in Anna Karenina and Ulysses. (Nabokov, in this interview: "Activist, demonstration-struck students of the present decade would, I suppose, either drop my course after a couple of lectures or end by getting a fat F if they could not answer such exam questions as: Discuss the twinned-dream theme in the case of two teams of dreamers, Stephen D.-Bloom, and Vronski-Anna.")

"Aqua used to say that only a very cruel or very stupid person, or innocent infants, could be happy on Demonia, our splendid planet. Van felt that for him to survive on this terrible Antiterra, in the multicolored and evil world into which he was born, he had to destroy, or at least to maim for life, two men." (301) -- unless I'm forgetting something, this is the first appearance of either of the names of Van's planet. Given that they will appear frequently from here on out, this seems statistically unlikely to be a coincidence. It's as if Van has invented these nasty-sounding terms to express his despair at this particular moment, and only later retconned them in as "official" names for his (fantasy) planet.

I remember reading somewhere that the duel in Ch. 42 is heavily derivative of Eugene Onegin. The author I was reading claimed this as reason to doubt the duel ever actually happened. (Which makes sense if, and only if, you're working in a general framework that says Van has access to something like western literature as it exists on earth.)

"In 1884, during my first summer at Ardis, I seduced your daughter" (309) -- clarifies that Ada is Demon's daughter, in case the reader still hasn't picked up on it.

"Van noticed a speckled movement on his right: two little spectators -- a fat girl and a boy in a sailorsuit, wearing glasses, with a basket of mushrooms between them. It was not the chocolate-muncher in Cordula's compartment, but a boy very much like him, and as this flashed through Van's mind he felt the jolt of the bullet ripping off, or so it felt, the entire left side of his torso" (310-11) -- I feel like this is significant (either Cordula and the boy or their doppelgängers appear as here like angels of [near-]death?), but I have no idea where to go with it.

Van's prepared monologue to Rack (314-15) is so weird I almost want to call it another "moment of instability." Death has been an important motif up until this point; now Van meditates, seemingly without prompting, on the afterlife. The futility of this magisterial proclamation (which Rack doesn't even appear to hear) is hilarious, but the passage is unnerving in a way that goes beyond that comedic function. There is a feeling that the book is going off the rails, that we and Van, not Rack, are in fact plummeting into "the panic and pain of infinite night" (315).

"kissing her rosy hot face and kneading her soft catlike body through her black silk dress" (318) -- to contrast with the swoonyspoony purple prose in the highest-pitch V&A encounters, Van's exciting moments with other women get assigned this down-to-earth porn-novel style. (I may be imagining this contrast -- I'll have to see whether it persists in the rest of the book.)

"But, of course, an invaluable detail in that strip of thought would have been -- perhaps, next to the pitcher peri -- a glint, a shadow, a stab of Ardis." (320) -- of course Van is trying to link the death of Percy -- far away, having nothing to do with him or Ada -- with his own desire to kill Percy and its motivation. Is that all that's going on here, though? Another odd, extended passage which, like the earlier monologue, serves to remind us that we're not in Kansas/Ardis anymore. (Incidentally, in this passage two open parentheses are closed with only one close parenthesis -- this is the case both in my edition and on Ada Online. Is this meant to be unsettling? Stop me before I read into trivial details again!)

"anxious to enjoy Cordula as soon as humanly and humanely possible" (320) -- nice turn of phrase.

"When in early September Van Veen left Manhattan for Lute, he was pregnant." (325) -- a funny piece of trivia: some early editions (including some of the copies at the NYU library) have "he was pregnant" idiotically "corrected" to "she was pregnant." Anyway, this parting shot for Part 1 is a anticlimactic parody of the climactic important of pregnancy in 19th-century fiction. (In the Darkbloom notes, VN says it's specifically a reference to Kitty Levin's pregnancy in Anna Karenina.) The genesis of a creative work is a poor substitute for a real pregnancy as a culmination to a story so concerned with sex and romance -- a fact only accentuated by the relatively minor status of the creative work in question (which we'll learn about in the next section).

7. L. Van Hubbard and the Modern Science of Mental Health (Part 2, Chapters 1-5)

GENERAL REMARKS (Part 2, Chs. 1-5)

This week's section is more varied than some. Van reads letters from Ada; writes a science fiction novel based on his patients' experiences; visits a chain of high-class brothels whose origins and peculiarities are described in more detail than we really need, thank you very much; riffs on dreams; and has an incredibly awkward reunion with Lucette.

NOTES

"I implore you for breath [sic! Ed.] of understanding" (332) -- there are several editor's notes in Ada's letters here (from the fictional, Nabokov-created editor). They call into question turns of phrase that seem like deliberate wordplay, which makes one wonder just who this editor is and whether their competence can be trusted. It also raises the question of why these particular instances of wordplay are being singled out in this wordplay-heavy book. Does the editor, for instance, have some grudge against Ada's (the character's) writing style?

"[Los Angeles, mid-September, 1888]" (332) -- Ada's "severe streptococcal ague," which made her delirious, occurred "in September, 1888, in California" (223). But if this has had any influence upon this letter, I can't discern it.

"He and I have gamed at Nevada, my rhyme-name town" (333) -- apparently either Vegas or Reno has been replaced with a city called "Nevada" on Antiterra. Similarly, the use of the word "Manhattan" in the book seems to indicate that instead of a New York City, Antiterra just has a city called Manhattan.

"Van, you are responsible (or Fate through you is responsible, ce qui revient au même) for having let loose something mad in me when we were only children" (334) -- the idea that Van has somehow corrupted Ada will recur.

"in early Thargelion, 1888" (335) -- Thargelion is . . . apparently the second month of spring in the Attic Greek calendar? Maybe Sam can explain this reference to me.

"as they were bound to be in the long ruin [sic! "run" in her blue stocking. Ed.]" (335) -- another problematic "sic." Also, I confess I don't know what the editor means by "in her blue stocking." Has Ada herself has made this correction in blue pen? [2024 edit: huh, apparently I didn't know the term "bluestocking" (meaning "feminist") back in 2013.]

"When Van retrieved in 1940 this thin batch of five letters, each in its VPL pink silk-paper case, from the safe in his Swiss bank where they had been preserved for exactly one half of a century, he was baffled by their small number. The expansion of the past, the luxuriant growth of memory had magnified that number to at least fifty." (336) -- this seems to call into question much of the book so far, since if Van can misremember a simple fact this severely, how the hell did he remember all of the little novelistic details he's included? Van does provide an excuse for this particular case a moment later, but this is a strong reminder that we aren't supposed to take Ada as a purely factual account.

"the impeccable paranymph" (337) -- a paranymph is an attendant in a ceremony, originally an attendant to the bridge and groom in an ancient Greek wedding.

I really like Chapter 2, mostly for the fact that it sheds light on Terra, one of this book's enduring mysteries.

"In his struggle to keep the writer of the letters from Terra strictly separate from the image of Ada, he gilt and carmined Theresa until she became a paragon of banality." (339-40) -- "carmined" here could indicate that Theresa is an analogue of Lucette, a redhead.

"his anagram-looking name, Sig Leymanksi, had been partly derived by Van from that of Aqua’s last doctor" (340) -- the doctor was "Sig Heiler" (28). Darkbloom on Sig Leymanksi: "anagram of the name of a waggish British novelist keenly interested in physics fiction." The novelist in question is Kingsley Amis.

"with Theresa swimming inside like a micromermaid" (340) -- Michael Maar in his book "Speak, Nabokov" links Lucette with the Little Mermaid of the classic fairy tale. I remember very little of his discussion, but I imagine this was part of the evidence. (The Little Mermaid of the Disney movie, which long postdates Ada, was a redhead, but I can't find any indication that this was a traditional feature.)

"a sumptuously fripped up, trite, tedious and obscure fable, with a few absolutely marvelous metaphors marring the otherwise total ineptitude of the tale." (344) -- anticipates, of course, one subset of the Terran reactions to Van's later work "Ada or Ardor: A Family Chronicle."

"Osberg (Spanish writer of pretentious fairy tales and mystico-allegoric anecdotes, highly esteemed by short-shift thesialists)" (344) -- remember that "Osberg" is an anagram of "Borges." Ouch!

"The Perfumed Garden" (344) -- this book, a "fifteenth-century Arabic sex manual and work of erotic literature" (Wikipedia), actually exists, and according to Bobbie Ann Mason is a significant source for Ada. I don't remember much about Mason's appendix on the subject, though.

Chapter 3 is something else, that's for sure. The best interpretation I can come up with is that it, or some subset of it, is an erotic dream of Van's that has been incorporated into the text. He is clearly half-asleep as he writes the end of Chapter 2. Van's sleepy state of mind may explain the sudden mentions of Eric van Veen and his dream in that section, which at that point have never been mentioned and are a mystery to the reader. If Van falls asleep with thoughts of Eric van Veen in his mind, it makes sense that he would dream of floramors. The narrative action in Ch. 3 (what little of it there is) has the sudden shifts and strangeness of dreams, and the exposition has the implausibility of the sort of "backstory" that dreams often present as given knowledge, as well as the extravagant elaborations often characteristic of sexual fantasies. Having awoken, Van recounts his dream (Ch. 3) and then, inspired, proceeds to riff on dreams in general, and erotic dreams in particular, in an imagined psychology lecture (Ch. 4).

There are problems with this. The most obvious is, of course, that if Van is doing this, why doesn't he tell us? It seems especially perverse to spend a brief paragraph on erotic dreams -- beginning with "Van's sexual dreams are embarrassing to describe" -- if in fact the previous chapter was an extended description of one. There's also the fact that the Venus club has been mentioned before, so we're clearly supposed to believe it exists, even if we don't believe every detail from Ch. 3. And although much of the design of the Villa Venus club resembles a sexual fantasy, there's actually a pre-existing justification for this in the idea that it was the sexual fantasy of a horny teenager, realized in reality after his death.

"David van Veen, a wealthy architect of Flemish extraction (in no way related to the Veens of our rambling romance)" (347) -- a reminder that "van Veen" is, in the real world, usually encountered as a Dutch surname. So if we want to play the plausibility game, it seems more likely that David and Eric van Veen were real names, and "Ivan Veen" a pseudonym inspired by them, than vice versa. (But since so many Nabokov characters have zany names, this is probably a pointless exercise, unless we want to call into doubt absolutely everything.)

"a chain of palatial brothels that his inheritance would allow him to establish all over 'both hemispheres of our callipygian globe' " (348) -- that's definitely the best use of the word "callipygian" I've ever seen. (Not that it has much competition.)

Note that, according to Nabokov in an interview, the image of Van holding a young prostitute in a ruined villa was the first seed of Ada the novel in his mind, and he was pleased with himself for managing to work it into the finished product.

"impeccable buttocks" (351) -- a funny phrase given the etymologically literal meaning of "impeccable": "unable to sin."

"a well-known oneirotic device" (354) -- a hint that this a dream.

"subsidunt montes et juga celsa ruunt" (355) -- "mountains subside and heights deteriorate."

"was not sure if her name was really Adora, as everybody maintained" (357) -- compare to earlier "Adula" (168), formed by merging the names of Ada and Cordula.

"but the soft little creature in Van's desperate grasp was Ada" (358) -- this could mean several things. Most conservatively, Van is trying to recapture Ardis by imagining that prostitutes like this one are Ada. But it is also possible that this is a literal description of a dream shift: a stranger in his dream has just turned into Ada. This seems especially plausible given the way the word "Ada" comes at the end of the sentence, forming the "punchline" of the sentence and perhaps of the whole chapter. This kind of ambiguity is characteristic of Van's style (remember Demon's "wings" -- and there will be more examples).

"Van Veen [as also, in his small way, the editor of Ada]" (365) -- the brackets seem to indicate that this comment is from the editor, but then the lack of an "Ed." seems to indicate otherwise. Maybe Van is imitating the editor.

"At sixteen she looked considerably more dissolute than her sister had seemed at that fatal age." (367) -- the use of the word "fatal" in this book is very odd (see e.g. Ada as "pale fatal sister" [307]). How is sixteen a "fatal" age? "Fatal" can mean something like "fateful" and I assume that's the primary meaning in most of these cases. That the word has another, more common meaning provides resonance with the death motif and a link between death and fate.

"Two ideas were locked up in a slow dance, a mechanical menuet, with bows and curtseys: one was "We-have-so-much-to say"; the other was 'We have absolutely nothing to say.' " (370) -- that's a good way of putting it.

"ejaculated Lucette" (370) -- the beginning (I think) of a series of silly sexual innuendoes in this scene, similar to those in the early Ardis sections. Intuitively enough, this tendency toward innuendo seems to be a hallmark of scenes in which Van is in the presence of an attractive woman and doesn't have a steady girlfriend.

"[thus in the MS. Ed.]" -- we saw this phrase once before, in Part 1 Ch. 13 (p. 79). There, too, Van wrote the start of a paragraph twice. I would conjecture that this mistake reflects the feverish anxiety that characterizes the present chapter -- which Van may be reliving as he writes -- except I don't think anything similar can be said of Ch. 13. (This could also be an indication that these chapters were written late, and thus revised relatively little before Van's death.)

"It certainly came from Lucette's sister. He knew that shade and that shape. "That shade of blue, that shape of you" (corny song on the Sonorola)." (372) -- indication that Ada writes in blue pen? (See earlier "blue stocking.")

"The mental in Van always rimmed the sensuous: unforgettable, roughish, villous, Villaviciosa velour." (373) -- sensuous words for a sensuous sensation. "Villous": "(of a structure, esp. the epithelium) Covered with villi." ("Villi": "small, finger-like projections that protrude from the epithelial lining of the intestinal wall.") "Villaviciosa" is the name of several places in Spain and the Philippines. "Velour": "A plush woven fabric resembling velvet, chiefly used for soft furnishings, clothing, and hats."

"[quite possibly, this is not remembered speech but an extract from her letter or letters. Ed.]" (374) -- this could probably be said about almost any of the speech in this book, couldn't it?

"We were Mongolian tumblers, monograms, anagrams, adalucindas." (375) -- cf. the description of Marina as experienced by Demon: "an Aquamarina both single and double, a mirage in an emirate, a geminate gem, an orgy of epithelial alliterations." (19)

"campophone" (376) -- could be from Latin "campus" (field) or the Greek root "kamp-" meaning "bend." The latter seems more likely, especially since "phone" is Greek and we've seen "dorophone" from Greek "hydro." It's unclear what a "campophone" is, and since it affects the radiators, it seems to be a type of dorophone.

"polliphone" (376) -- could be from Latin "pollex" (thumb) or Greek "polloi" (many, majority). (I don't actually know Greek so I could be screwing up these Greek roots.) Might also be a reference to Pollux, one of two famous twins? The phones are morphing, like Abraham Milton / Milton Abraham / Abraham Lincoln.

"Bergson is only for very young people or very unhappy people, such as this available rousse." (377) -- as I mentioned a while ago, Bergson seems to have been a source for Van's, and Nabokov's, views of time. (From this interview: "At a later period, in Western Europe, between the ages of 20 and 40, my favorites were Housman, Rupert Brooke, Norman Douglas, Bergson, Joyce, Proust, and Pushkin.")

"Vandemonian" (377) -- "a white inhabitant of Tasmania," according to Merriam-Webster.

"A ribald contemporary of Justinus, the Roman scholar." (384) -- at least on Terra, this is false, as Herodas and Justin were separated by several centuries. (That's one thing that's nice about the alternate world: it gives Van an alibi for each lapse in his erudition.)

"campophoned" (385) -- back to "campophone" from "polliphone."

" 'I also know,' said Lucette as if continuing their recent exchange, 'who he is.' She pointed to the inscription 'Voltemand Hall' on the brow of the building from which they now emerged. Van gave her a quick glance -- but she simply meant the courtier in Hamlet." (386) -- Voltemand was the pseudonym under which Letters From Terra was published, hence Van's misinterpretation.

8. Cameras and Obscurities (Part 2, Chapters 6-9)

GENERAL REMARKS (Part 2, Chs. 6-9)

Ardis regained? Peeping Kim. Two sisters and a brother. Three sisters.

NOTES

"He . . . had a structurally perfect stool (its cruciform symmetry reminding him of the morning before his duel)" (389) -- Van has aesthetic standards for everything, it seems. As it turns out, if we go back to Part 1 Ch. 42 -- the morning before Van's duel -- we find the very same phrase ("He shaved, disposed of two blood-stained safety blades by leaving them in a massive bronze ashtray, had a structurally perfect stool" [309-10]). I remember Boyd pointing this out in The Place of Consciousness. Apparently some reviewers complained about the repetition, but Boyd claims that they don't appreciate the "structural perfection" of the whole book, in which repetitions have some special role. (I don't remember this part of Boyd's argument very well -- it struck me as pretty silly and hence I have retained only this, its silliest detail.)

"libellula" (390) -- "a genus of dragonflies, commonly called Skimmers" (Wikipedia). Since Van "broke down on '…ulla,' " what he's actually said is "I saw you circling above me on libel," but I dunno if that has any significance.

"denunciation of demoniac life" (391) -- presumably "demoniac life" means "life on Demonia" (similar to e.g. "earthly existence"), but the associations of the word "demon" in this book are complex and I don't really know what to make of them. There's the planet Demonia (Antiterra), V&A's father Demon, incidental uses of words like "demoniac" and "satanic," and the fact that demons are good rather than evil figures in Antiterran religion. As Maar has noted, there's a longstanding association between demons/hell and pedophilia in Nabokov, perhaps indicating that N identifies pedophilia as some sort of ultimate or absolute evil -- e.g. Humbert Humbert says that the girls to whom he is attracted have a "not human, but nymphic (that is, demoniac)" nature, and in Nabokov's early poem "Lilith," the pedophilic narrator realizes in the last line that he is in hell.

"Veen and Dean" (393) -- this seems to encourage us to pronounce "Veen" to rhyme with "Dean," for symmetry -- but then see e.g. "Vain Van Veen" (299), which gives an identical push in the opposite direction.

"He was omniscient. Better say, omni-incest" (394) -- someone should write an article called "The Omni-Incest Narrator in Ada."

"mossio votre cossin" (396) -- "monsieur your cousin" (Darkbloom).

"Mademoiselle n'aurait jamais dû recevoir ce gredin" (397) -- "should have never received that scoundrel" (Darkbloom).

"Sumerechnikov! He took sumerographs of Uncle Vanya years ago." (399) -- Darkbloom: "His name comes from Russ. sumerki, twilight; see also p. 43." The Darkbloom annotation for p. 43 identifies sumerki as "dusk" rather than "twilight." On p. 43 itself, we find "The late Sumerechnikov, American precursor of the Lumière brothers, had taken Ada’s maternal uncle in profile with upcheeked violin, a doomed youth, after his farewell concert." The Lumiere brothers were real people, the inventors of the earliest motion-picture equipment in history. This all sheds some light on Van's quip "The Twilight before the Lumières" (399).

The density of unusual words ("leering caruncula in the unreticent reticulation" [401]), and of multilingual wordplay, has increased in this chapter, possibly to accompany Ada's return to the frame.

"it was Mr Ben Wright's last petard at Ardis" (401) -- Darkbloom: "Mr Ben Wright, a poet in his own right, is associated throughout with pets (farts)." Wright was "fired after letting winds go free while driving Marina and Mlle Larivière home" (140), and in 1888 he has been replaced as coachman by a guy named . . . Trofim Fartukov (actually from Russ. fartuk, apron). This also (see p. 418) appears to be the true origin of "pet" as V&A's pet name for Lucette. It is perhaps a sign of the basic goodness of our blessed Terra that no scholar, to my knowledge, has written at any length about the intricacies of farting in Ada.

"Bright derision can easily grade, through a cline of glee, into a look of rapture" (402) -- good sentence.

"this Love under the Lindens by one Eelmann transported into English by Thomas Gladstone" (403) -- Darkbloom: "O'Neil, Thomas Mann, and his translator tangle in this paragraph." We can add "transport" to the stack of derisive replacements for "translate."

"But, in the sudden storm, calculations went to the canicular devils." (403) -- cf. "l’ardeur de la canicule" and "the ardor of your little canicule" (95). "Canicule" refers to the "dog days" of summer ("the hot period between early July and early September").

"Art my foute. This is the hearse of ars, a toilet roll of the Carte du Tendre!" (406) -- Darkbloom explains all. "Foute: French swear word made to sound 'foot.' " "Ars: Lat., art." "Carte du Tendre: 'Map of Tender Love,' sentimental allegory of the seventeenth century." ( http://en.wikipedia.org/wiki/Map_of_Tendre )

"I will either horsewhip his eyes out or redeem our childhood by making a book of it: Ardis, a family chronicle." (406) -- trivia note: in Nabokov's last novel, Look At The Harlequins!, the protagonist, an alternate universe version of Nabokov, writes a body of work that strongly resembles Nabokov's own. His equivalent of Ada is titled "Ardis." (The actual book "was entitled at first Villa Venus, then The Veens, then Ardor, and finally Ada," according to this essay.)

"Knabenkräuter" (408) -- Darkbloom: "Germ., orchids (and testacles)."

"She married our Russian coachman . . . Oh she did? That's delicious. Madame Trofim Fartukov. I would never have thought it." (408) -- why doesn't Van remember this from Ada's letter? (" . . . as your sweet Cinderella de Torf (now Madame Trofim Fartukov) used to say . . . " [334].)

"She had never realized, she said again and again (as if intent to reclaim the past from the matter-of-fact triviality of the album), that their first summer in the orchards and orchidariums of Ardis had become a sacred secret and creed, throughout the countryside. Romantically inclined handmaids, whose reading consisted of Gwen de Vere and Klara Mertvago, adored Van, adored Ada, adored Ardis's ardors in arbors. Their swains, plucking ballads on their seven-stringed Russian lyres under the racemosa in bloom or in old rose gardens (while the windows went out one by one in the castle), added freshly composed lines -- naive, lackey-daisical, but heartfelt -- to cyclic folk songs. Eccentric police officers grew enamored with the glamour of incest. Gardeners paraphrased iridescent Persian poems about irrigation and the Four Arrows of Love. Nightwatchmen fought insomnia and the fire of the clap with the weapons of Vaniada's Adventures. Herdsmen, spared by thunderbolts on remote hill-sides, used their huge "moaning horns" as ear trumpets to catch the lilts of Ladore. Virgin chatelaines in marble-floored manors fondled their lone flames fanned by Van's romance. And another century would pass, and the painted word would be retouched by the still richer brush of time." (409) -- this delightful paragraph seems like a particularly overt and silly instance of the kind of tall-tale embellishment that we are supposed to imagine Van and Ada have applied to most parts of their story (to one extent or another).

Chapter 8 starts off with lots of long jeweled sentences, then descends into obscure weirdness after the Veens get drunk.

" 'Van, too, was upset,' replied Ada cryptically and grazed with freshly rouged lips tipsy Lucette's fanciest freckle." (413) -- notice how the sound echoes here (cr[yptically]/gr[azed]/fr[eshly]/fr[eckle], [graz]ed/[roug]ed, lips/tips[y], f[anciest]/f[reckle]) create the sensory impression of the words "grazing" one another.

"Nikak-s net" (415) -- Darkbloom: "Russ., certainly not."

"vorschmacks" (416) -- Darkbloom: "Germ., hors-d'oeuvres."

"in a nulliverse, in Rattner's 'menald world' where the only principle is random variation" (416) -- "menald": "speckled, variegated." Not sure what Lucette is getting at here.

"you cannot demand pudicity on the part of a delphinet!" (416) -- "delphinet" appears to be a Nabokovian coinage. It seems to be a diminutive of some "delph-" word . . . the flower genus "Delphinium"? The name "Delphine"? Suggestions welcome.

"the flat palpitating belly of a seasand nymph" (418) -- Lucette/mermaid connection.

"Thus seen from above" (418) -- the long, elaborate visual description here is the opposite of the quickly escalating action one might expect from an erotic scene like this. The joke is how far this passage is from ordinary sex writing; it's hard to imagine anyone getting turned on by it. (Which recalls the debate over whether Lolita was pornographic.)

". . . but I know somebody who is not simply a cat, but a polecat, and that's Cordula Tobacco alias Madame Perwitsky." (420) -- huh??? Google searching for "polecat slang" reveals only that in the South it means "skunk," and a "perwitsky" is apparently a "tiger weasel." No idea what she means here.

"After a while he adored [sic! Ed.] the pancakes" (420) -- OK, the editor has a point here. If this is wordplay on "ordered," it's pretty feeble. There may be an element of self-parody here -- after all this isn't too far from some of the more frivolous of Van's/Nabokov's clearly intentional jokes.

"Esmeralda and mermaid" (421) -- Lucette/mermaid.

"for the first time in my fire [thus in the manuscript, for 'life.' Ed.]" (421) -- similar to the case just mentioned. I wonder what we're meant to make of the varying frequency of editorial comments -- most chapters have none, but (e.g.) Chs. 1, 5, and 8 of Part 2 have several. Maybe this is an indication of compositional order.

"The whole matter secretly nauseated Van (so that, by contrast, her Natural History passion acquired a nostalgic splendor)." (425) -- there's a wry nod to the nature of adolescent love in the fact that Van, though obsessed with Ada, never actually shares her central passions. First he's bored with her interest in natural history, then he's so bored with her interest in acting that he looks back fondly on the natural history phase.

"I seem to have always felt, for example, that acting should be focused not on 'characters,' not on 'types' of something or other, not on the fokus-pokus of a social theme, but exclusively on the subjective and unique poetry of the author" (246) -- Reminder Number (n+1) That We Are Reading A Vladimir Nabokov Novel

"In 'real' life we are creatures of chance in an absolute void" (426) -- cf. Lucette's "in a nulliverse, in Rattner's 'menald world' where the only principle is random variation" (416). As before, I'm not sure what we are supposed to make of this idea. There's a recurring idea, I think, that Antiterra is variegated/motley/diverse, perhaps in a "random" way ("the multicolored and evil world into which he was born" [301]). Rattner's "menald world" is presumably Antiterra. Does Terra, by contrast, possess some sort of unity or harmony?

"so that the title of the play might have been The Three Sisters" -- this (technically just "Three Sisters") is in fact the title of the real play on Terra. Much of the rest of this chapter probably makes more sense if you've read the play . . .

"We all know those old wardrobes in old hotels in the Old World subalpine zone." (430) -- but of course!

"the rose sore of Eros alone" (431) -- oh my god, this is a double anagram and a really good phrase in its own right. Picture me as Sweet Bro stricken with awe.

9. The Many-Worlds Interpretation (Part 2, Chapter 10 to Part 3, Chapter 4)

GENERAL REMARKS (Part 2, Ch. 10 to Part 3, Ch. 4)

Where Part 1 ended with a parody climax, Part 2 ends with a real climax -- in fact two real climaxes, the latter of which is suddenly defused in one of this weird book's weirdest moments.

Then, after a lurching fast-forward through many Ada-less years, we get yet another cringe-inducing encounter with desperate Lucette in Part 3 Ch. 3. At this point, Van's refusal to indulge Lucette's desires is beginning to seem almost perverse; it's understandable that he doesn't want to lead her on when he doesn't love her, but that kind of consideration hasn't stopped him from becoming involved with other women. For much of the book Van has come off simply as an amoral aesthete, but as we near the end, he is -- between the blinding of Kim and his conduct with Lucette -- starting to seem like something much worse.

This raises a number of questions: how are we supposed to feel about the coming Van-Ada reunion (which we know is happening because of Ada's annotations to the manuscript) if Van is such a bastard? And why, when Van makes up numerous details (e.g. in the Ardis chapters) that he couldn't possibly have remembered, does he allow himself to come off so badly in the latter parts of the book? If he has no commitment to strict factual accuracy, why not just twist the facts to make himself look better in the Lucette scenes? It would be one thing if Van's guilt over his own mistakes were a major theme of his book (and it may in fact be, in some hidden sense), but Van is curiously silent on these issues, as though expecting the reader to take his bad behavior in stride. Issues like these make this book (to me) both fascinating and intensely creepy in a way that would not be possible if Van's flaws were dealt with more overtly.

NOTES

"He set off at once for Manhattan, eyes blazing, wings whistling." -- Demon's wings again.

"The only personage they had not reckoned with was the old scoundrel usually portrayed as a skeleton or an angel" (433) -- so Antiterrans depict Death roughly the same way Terrans do, despite the differences in religion.

"but [Dan's] death had shown an artistic streak because of its reflecting (as his cousin, not his doctor, instantly perceived) the man’s latterly conceived passion for the paintings, and faked paintings, associated with the name of Hieronymus Bosch." (433) -- Dan, like Aqua, has descended into madness before dying. There is a symmetry to this: each of V&A's parents has a sibling (of the same gender) who has died in this way, and madness is now attested to on both the Durmanov and Veen sides of the family. There is an antisymmetry in the content of the madness -- Aqua dies dreaming of heaven-like Terra, while Dan dies haunted by visions out of Bosch's depiction of hell. (According to Boyd the reference here is to Bosch's triptych The Last Judgment. Demon brings up "that other triptych," the Garden of Earthly Delights; Mason's book contains some discussion of The Garden of Earthly Delights as a broader influence upon Ada.) Have Van or Ada inherited the mental illness that plagued their aunt and uncle? (Who are their putative mother and putative father -- and what's the significant of that?) It's interesting that Nabokov encourages us to think about this possibility just before the bizarre ending of Part 3.

"might still be living with dull little Cordula de Prey . . . but Cordula was not dull and had not been present" (434) -- Van invents a thought process for Demon, then disputes it. The point of contention is odd, since Cordula has come off as pretty "dull" in all of Van's own accounts of her thus far.

"looking forward to another day of increasing happiness (with yet another uncomfortable little edge smoothed away, another raw kink in the past so refashioned as to fit into the new pattern of radiance)" (434) -- a nice statement of Van's broader MO.

"According to Bess (which is 'fiend' in Russian)" (435) -- actually, it means "demon" (e.g. Dostoyevsky's novel "Bésy," usually translated "Demons").

"how incestuously -- c’est le mot -- art and science meet in an insect, in a thrush, in a thistle of that ducal bosquet" (436) -- this remark of Demon's calls back to the peculiar phrase " 'incestuous' (whatever that term means) pleasure" (19) used to describe Demon's enjoyment of his mistress Marina's similarity to his wife Aqua.

"what we have to study [in Bosch], as I was telling your cousins, is the joy of the eye, the feel and taste of the woman-sized strawberry that you embrace with him, or the exquisite surprise of an unusual orifice" (437) -- hilarious.

"Jeroen Anthniszoon van Äken" (438) -- the real name of Hieronymus Bosch.

"hell curs, k chertyam sobach’im" (438) -- the Russian is "to hell's hounds" or "to the canine devils" (so roughly the equivalent of "hell curs"). "Canicule" may be relevant here (Ada/hell connection)? The Russian phrase appears two other times in Ada, translated differently each time: "hydrodynamic telephones and miserable gadgets that were to replace those that had gone k chertyam sobach'im (Russian 'to the devil')" (23), and "But, added Ada, just before being whisked away and deprived of her crayon (tossed out by Marina k chertyam sobach'im, to hell's hounds" (151).

"Norbert von Miller" (440) -- mentioned earlier by Marina on p. 261.

"Kim who would have bothered Ada again had he not been carried out of his cottage with one eye hanging on a red thread and the other drowned in its blood" (441) -- so Van did blind Kim after all. (That Van actively did this -- that Kim wasn't just a casualty of coincidence like Percy and Rack -- is confirmed at the end of the chapter.) Boyd, in The Place of Consciousness, makes much of the fact that this gruesome detail is mentioned almost in passing and could easily be overlooked in a book with so many lurid incidental details. To fully grasp the nastiness of Van's character, we must pay attention.

"his father had made himself up as Boris Godunov" (443) -- an play by Pushkin titled "Boris Godunov" was adapted by Mussorgsky into an opera, so this calls back to the bad Eugene Onegin adaptation Demon watches in Part 1 Ch. 2.

"My first is a vehicle that twists dead daisies around its spokes; my second is Oldmanhattan slang for 'money' " (444) -- a "van" is certainly a vehicle, though I can't find anything online about "veen" as slang for money.

"My second is also the meeting place of two steep slopes." (444) -- "ravine"?

"Right-hand lower drawer of my practically unused new desk -- which is quite as big as Dad’s, with Sig’s compliments." (444) -- this Freud joke is one of the several details in this passage that remind us of Aqua's suicide.

"Then, standing before a closet mirror, he put the automatic to his head, at the point of the pterion, and pressed the comfortably concaved trigger. Nothing happened -- or perhaps everything happened, and his destiny simply forked at that instant, as it probably does sometimes at night, especially in a strange bed, at stages of great happiness or great desolation, when we happen to die in our sleep, but continue our normal existence, with no perceptible break in the faked serialization, on the following, neatly prepared morning, with a spurious past discreetly but firmly attached behind. Anyway, what he held in his right hand was no longer a pistol but a pocket comb which he passed through his hair at the temples." (445) -- moment of instability! In the poem Pale Fire, the phrase "[And here time forked.]" appears shortly before Hazel Shade's suicide. In this passage the idea of forking time is used to illustrate a suicide attempt that Van doesn't go through with. But is that all? The idea of changing to a different time track, in which Van is holding a comb rather than a gun, could just be a colorful way of saying that Van putting down the gun. But given the resonances of madness that have build up in the course of this chapter -- and Van's enduring interest in the nature of time -- this could well be more literal than that. One interpretation is that the rest of the book from hereon out is fantasy, and the novel is an elaborate suicide note.

"There are other possible forkings and continuations that occur to the dream-mind, but these will do." (446) -- elaboration of the earlier moment of instability, and a return of the "dream" motif that taunts the reader throughout Ada. On one level, this could be a simple statement that Van is ready to end the chapter (and Part 2) rather than ramble about further in an effectively inexhaustible trove of relevant memories. If we want to adopt something like the "suicide note" theory, this is instead a statement that other alternative futures -- in which Van does not commit suicide -- can be imagined, but the one he has started to sketch here (in which he blinds Kim, is reunited with Ada, etc.) "will do" -- and indeed it forms the basis of the remainder of the novel.

Time has moved more quickly in each successive section of Ada. Part 1 covers four years and takes up half the book. Part 2 does five years in half that length. Now Part 3 Ch. 1 fast-forwards through seven years of Van's life in a few pages. As a reader, it's easy to forget just how much time is elapsing here, and it can be illuminating to remind oneself of it. For instance, the meeting with Greg and Cordula in Ch. 2 seems like a relatively minor scene, not too different from many of the earlier scenes involving secondary characters -- but it is only the second event (after Marina's death) in seven years that Van has deemed worthy of relating in any detail! The most obvious explanation for this is that Greg and Cordula are people he remembers from his Ardis days, and so they are important to him -- and to the central story of this book -- in a way that many of the events of this period were not. (Moreover, it is Greg who tells Van that Lucette is in town, and thus precipitates his much more significant meeting with her.) I also wonder, though, whether Van's feelings for Cordula aren't deeper than he has let on (which would explain that defensive [?] "Cordula was not dull" earlier).

"Three elements, fire, water, and air, destroyed, in that sequence, Marina, Lucette, and Demon. Terra waited." (450) -- another suggestion that Van and/or Ada are destined to end up on Terra ("You’ll live to reach Terra, and come back a wiser and merrier man" [241]).

"She rode it twice. Their brisk nub and its repetition lasted fifteen minutes in all, not five." (457) -- as before with Cordula, the language here is blunt and unromantic.

"Invitation to a Climax" (459) -- this parody of the title of another VN novel invites one to think about "beheading" as a metaphor for male orgasm.

"For a minute he stood behind her, sideways to remembrance and reader (as she, too, was in regard to us and the bar), the crook of his silk-swathed cane lifted in profile almost up to his mouth. . . . a natural masterpiece incomparably finer and younger than the portrait of the similarily [sic] postured lousy jade with her Parisian gueule de guenon on the vile poster painted by that wreck of an artist for Ovenman" (460-1) -- this description of Van standing behind Lucette is meant to remind us of a famous Toulouse-Lautrec poster.

" ' . . I’m like Dolores—when she says she’s "only a picture painted on air." ' 'Never could finish that novel -- much too pretentious.' " (464) -- a joke about Lolita, of course. The phrase "only a picture painted on air" doesn't get any Google hits that aren't related to Ada, incidentally.

"It’s safer and faster by plane" (465) -- as far as I can tell, this is the first mention of planes on Antiterra. (Flight of some sort has always been possible there, however, by means of the "jikkers.") Planes appeared earlier in Aqua's visions of Terra: "she saw giant flying sharks with lateral eyes taking barely one night to carry pilgrims through black ether across an entire continent from dark to shining sea" (21), so this is one indication that (because of the temporal discrepancy between the two worlds) Terran visions can actually foretell what will happen on Antiterra. Several details in this chapter and the next seem to indicate that electricity has recently been unbanned (another noted feature of Terra was that electricity was used freely).

"I have an important, important telephone call to make, but I don’t want you to listen" (466) -- "telephone," not "dorophone," since they're using electricity now.

" 'That’s rich,' said Lucette, 'you’ve gone far enough with me on several occasions, even when I was a kid; your refusing to go further is a mere quibble on your part; and besides, besides you’ve been unfaithful to her with a thousand girls, you dirty cheat!' " (467) -- this all seems pretty undeniable . . . indeed, as I said above, Van's refusal to become involved with Lucette has grown to seem almost perverse given the rest of his personality.

"What was he? Who was he? Why was he? He thought of his slackness, clumsiness, dereliction of spirit." (471) -- both the introspection and the self-criticism in this chapter are utterly atypical of Van, though it wasn't until I encountered them here that I realized just how absent they've been from the preceding 470 pages.

"In his sadder moments, as now, he attributed at least part of his 'success' to his rank, to his wealth, to the numerous donations, which (in a kind of extension of his overtipping the haggard beggars who cleaned rooms, manned lifts, smiled in hotel corridors) he kept showering upon worthwhile institutions and students." (471-2) -- this, for instance, is startling. Until this point, money has very rarely entered Van's thinking (except when e.g. he tells Demon that he isn't financially dependent on him because of his inheritance from Aqua), and his judgments of value have tended to align frictionlessly with the striations of aristocratic rank (e.g. Cordula, whom he doesn't much respect, is "quite a notch below our set" [330], to say nothing of the way he treats various servants, maids, etc). It's hard to imagine the entitled, amoral Van we know agonizing over whether he really deserves his success (if that is indeed what is happening here).

10. Rolling in the Deep (Part 3, Chapters 5-8)

GENERAL REMARKS (Part 3, Chs. 5-8)

Interviewer: There seem to be similarities in the rhythm and tone of Speak, Memory and Ada, and in the way you and Van retrieve the past in images. Do you both work along similar lines?

Nabokov: The more gifted and talkative one's characters are, the greater the chances of their resembling the author in tone or tint of mind. It is a familiar embarrassment that I face with very faint qualms, particularly since I am not really aware of any special similarities -- just as one is not aware of sharing mannerisms with a detestable kinsman. I loathe Van Veen.

(Source: 1969 interview with Time magazine)

Things are starting to become clear -- at least in a sense.

Lucette's death in Part 3 Ch. 5 is arguably the central scene of the book, and it rearranges our conception of everything around it. Lucette begins to seem more important than she had originally seemed (in this book entitled "Ada" -- not "The Veens," which was one of Nabokov's working titles). There is a reality to her plight and Van's shame in that chapter that is lacking in many of the Ada scenes, particularly in the unconvincing and artificial reunion with Ada that follows in Part 3 Ch. 8. Moreover, much of the book's thematic skeleton seems to have radiated outward from Lucette's death rather than from anything having to do with Ada.

Consider, for instance, the influence of Lucette's watery death on Part 1 Chapter 3, in which Van first begins to explicitly lay out the nature of Antiterra. Van's putative mother, really his aunt (just as Lucette is merely a half-sister), named Aqua, encounters a series of comedically negligent psychologists and kills herself by taking an overdose of pills. In Aqua's vision of Terra, people freely use electricity, but on Antiterra electricity is banned, and the only consequence that is mentioned with any frequency over the course of the book is the banning of telephones -- such as the electric telephone on which Van has his shameful conversation with Lucette just before her death. (They have been replaced with devices that use water.) The chapter opens with the sentence:

"The details of the L disaster (and I do not mean Elevated) in the beau milieu of last century, which had the singular effect of both causing and cursing the notion of 'Terra,' are too well-known historically, and too obscene spiritually, to be treated at length in a book addressed to young laymen and lemans -- and not to grave men or gravemen." (17)

Electricity is banned (which pretty much means "telephones are banned") because of "the L disaster" -- and now we can be pretty sure what that "L" really stands for! The book is addressed to "lemans" (lovers) rather than "gravemen": Van is saying that he plans to write about the love between him and Ada, not the grave matter of Lucette's death. But as we know, Van can't seem to keep either death or Lucette from intruding into his chronicle. By Part 3 the original plan seems to have derailed, and in Part 3 Ch. 5 the book reaches its climax in, yes, a "treatment at length" of "the details of the L disaster."

"Gravemen" brings Hamlet to mind, which in turn brings to mind Van's comparison of Lucette to Ophelia. Van's refusal to sleep with Lucette is indeed kind of Hamlet-like. Van explains his behavior not as assumed madness but as a supposed concern for Lucette's own well-being. But this concern clashes with the amoral and sexually uninhibited nature of the Van Veen we have known so far, and ends up seeming as strange as Hamlet's behavior. One could say that Van's interactions with Ada are over-analyzed, and his interactions with Lucette are under-analyzed. My hunch is that the latter are more true to life, and that Van's relentless "concern" for Lucette makes more sense in some real context which he does not deign to give us, instead turning away from Lucette again and again to focus on Ada.

Compared to the intensity and reality of the Tobakoff chapter, the scenes with Ada that close out Part 3 are thin, dull, and artificial. The sense of unreality is heightened by the mentions of "life forking" and Van's fake death. Even by the rather unreal standards set up in earlier V&A scenes, these interactions feel out-of-character: Ada is saddled with some very un-Ada-esque lines ("The poor, poor little man! How dare you sneer?" [530]), while Van's lines are jarringly corny ("Castle True, Castle Bright! Helen of Troy, Ada of Ardis! You have betrayed the Tree and the Moth!" [ibid]). Plausibility -- even plausibility of Van Veen's peculiar sort -- is fraying at the seams; Van's heart just doesn't seem to be in this anymore. The book is almost over, and we know that Van and Ada will (at last!) be reunited by the end . . . but with so little of the book left, there is no hope that this reunion will be a romantic triumph rather than a shambling, perfunctory stumble across the finish line.

Given the significance of telephones in Ada, I'm inclined to think that Van's phone conversation with Lucette might be the very center of the book:

"I'm not alone" -- the lie that is at the root of all of Van's shame? It's this kind of thinking that leads me to my favorite theory of Ada: that Van only had one sister, who was basically Lucette. Ada Veen, Van's perfect double, is an invention made to justify statements like that "I'm not alone," when in reality Van is alone with only his shame over Lucette's death as company. ("Lucette" comes from "Lucile," the name of Chateaubriand's beloved sister. "Ada" is a palindrome, a mathematical contrivance, a mere mirror-flipping of the Vs in "Van Veen" -- and born from Van's torment ["of hell"].)

NOTES

"Professor Counterstone" (474) -- play on "Antiterra" (stone/earth).

"His gaze, traveling on, tripped over Dr. Ivan Veen and pulled up at the next name. What constricted his heart? Why did he pass his tongue over his thick lips? Empty formulas befitting the solemn novelists of former days who thought they could explain everything." (475) -- an interesting twist on the "old novels" motif. Ada as a whole presents itself as a man's self-conscious attempt to cram his life story into the conventions of "old novels," and now here is a detail that he feels he can't fit into the mold.

"Van interrupted Lucette’s nervous patter by asking her if her bath taps bore the same inscriptions as his: Hot Domestic, Cold Salt. Yes, she cried, Old Salt, Old Salzman, Ardent Chambermaid, Comatose Captain!" (477) -- huh?

"To most of the Tobakoff’s first-class passengers the afternoon of June 4, 1901, in the Atlantic, on the meridian of Iceland and the latitude of Ardis, seemed little conducive to open-air frolics: the fervor of its cobalt sky kept being cut by glacial gusts" (477) -- could be a reflection of the Antiterran climate getting colder at the latitude of Ardis. Then again, it could just be a cold day.

"Spring in Fialta and a torrid May on Minataor, the famous artificial island, had given a nectarine hue to her limbs" (477) -- "Spring in Fialta" is the title of a famous Nabokov story. Note also "Pale Fire with Tom Cox Up" (477).

"Van peeled off his jersey and stayed on for a while, brooding, fingering the little green-gemmed case with five Rosepetal cigarettes, trying to enjoy the heat of the platinum sun in its aura of “film-color” but only managing to fan, with every shiver and heave of the ship, the fire of evil temptation." (482) -- temptation here is "evil" . . . strange how normally dissolute Van hews to something like a moral principle in this one case, with no clear motivation and with disastrous consequences. Why?

"He discovered an insidious omission in his galleys where an entire line was wanting, with the vitiated paragraph looking, however, quite plausible -- to an automatic reader -- since the truncated end of one sentence, and the lower-case beginning of the other, now adjacent, fitted to form a syntactically correct passage" (484) -- since the book we are reading is an incompletely edited manuscript, the suggestion seems to be that this sort of insidious error might also be present in it. Maddening!

"had he not recollected (a recollection confirmed by his typescript) that at this point should have come a rather apt, all things considered, quotation: Insiste, anime meus, et adtende fortiter (courage, my soul and press on strongly)." (484) -- from Augustine's Confessions. Seems to underscore how out-of-character Van's stoicism is, since Van and Augustine are normally polar opposites in many respects (e.g. self-esteem).

"It’s crowded and gay down there, with a masturbating jazzband." (484) -- amusing nod to the origins of the word "jazz."

"As he gloomily looked at her thin bare shoulders, so mobile and tensile that one wondered if she could not cross them in front of her like stylized angel wings" (485) -- interesting parallel to Demon's wings. Remember that Lucette, unlike Van and Ada, doesn't have "demon blood."

"He could describe her dress only as struthious (if there existed copper-curled ostriches)" (486) -- struthious: "of or relating to the ostriches and related birds." You learn something new every day.

"Dolores, a dancing girl (lifted from Osberg’s novella, as was to be proved in the ensuing lawsuit)" (488) -- recall that on Antiterra, Osberg (anagram of Borges) is the author of a book that resembles Lolita.

One can probably a lot of interpretive mileage out of "Don Juan's Last Fling," the movie that Van and Lucette watch. Low-hanging fruit: is Van (rhymes with Don) himself sort of a combination of Don Juan and Don Quixote, like the protagonist of DJLF?

"In a series of sixty-year-old actions which now I can grind into extinction only by working on a succession of words until the rhythm is right, I, Van, retired to my bathroom, shut the door (it swung open at once, but then closed of its own accord)and using a temporary expedient less far-fetched than that hit upon by Father Sergius (who chops off the wrong member in Count Tolstoy’s famous anecdote), vigorously got rid of the prurient pressure as he had done the last time seventeen years ago." (490) -- both first and third person appear here in the same sentence, perhaps a sign of Van's state of agitation while writing this passage. I'm not sure what "succession of words" he's referring to. Is there a rhyme in this sentence or somewhere in the surrounding passages?

"He welcomed the thought which suddenly seemed so absolutely true, and new, and as lividly real as the slowly widening gap of the sitting room’s doorway, namely, that on the morrow (which was at least, and at best, seventy years away) he would explain to Lucette, as a philosopher and another girl’s brother, that he knew how agonizing and how absurd it was to put all one’s spiritual fortune on one physical fancy and that his plight closely resembled hers, but that he managed, after all, to live, to work, and not pine away because he refused to wreck her life with a brief affair and because Ada was still a child." (491) -- the similarity of Van and Lucette's situations is interesting. As an excuse for not becoming involved with Lucette, this is pretty transparently feeble, since Van is still so clearly invested in getting back together with Ada.

"At that point the surface of logic began to be affected by a ripple of sleep, but he sprang back into full consciousness at the sound of the telephone." (491) -- if Van invented Antiterra, then it's possible that stye presence of telephones (not dorophones!) at several important moments late in the book, such as this one, gave Van the idea that telephones should be banned in the earlier parts of the story. (Remember that telephones were banned on account of something called "the L disaster." It's now becoming quite clear what that "L" probably stands for.)

"No doubt he was morally right in using the first pretext at hand to keep her away from his bed; but he also knew, as a gentleman and an artist, that the lump of words he brought up was trite and cruel, and it was only because she could not accept him as being either, that she believed him: 'Mozhno pridti teper’ (can I come now)?' asked Lucette. 'Ya ne odin (I’m not alone),' answered Van." (491) -- seems like a crucial moment, perhaps the seed of the many earlier descriptions of Van and Ada's unique similarity, symmetry, etc. This shameful statement can perhaps be vindicated if Van is somehow always not alone, because of the very existence of his double/twin/soul mate.

"Dimanche. Déjeuner sur l’herbe. Tout le monde pue. Ma belle-mère avale son râtelier. Sa petite chienne" (493) -- Darkbloom: "Sunday. Lunch on thé grass. Everybody sticks. My mother-in-law swallows her dentures. Her little bitch, etc. After which, etc. (see p. 375, a painter's diary Lucette has been reading)" [my copy says 375, which by our pagination here should be around 479-80, but I'm not sure if that's right?]

"Although Lucette had never died before—no, dived before, Violet" (493) -- "Violet" appears to be Van's typist. Their interactions have been typed verbatim in this passage -- why?

"As she began losing track of herself, she thought it proper to inform a series of receding Lucettes—telling them to pass it on and on in a trick-crystal regression—that what death amounted to was only a more complete assortment of the infinite fractions of solitude." (494) -- good sentence; cf. Van's "I'm not alone." Interesting and unnerving that Van has made up the experiences related here, since he can't possibly know Lucette's actual final thoughts.

"She did not see her whole life flash before her as we all were afraid she might have done; the red rubber of a favorite doll remained safely decomposed among the myosotes of an unanalyzable brook" (494) -- reference to the brook scene in Part 1 Ch. 23. Of course the doll swept away by the current foreshadows the means of Lucette's death. Boyd, who seems to have taken that "unanalyzable" as a challenge, devotes much of The Place of Consciousness to the doll scene and its echoes.

"As a psychologist, I know the unsoundness of speculations as to whether Ophelia would not have drowned herself after all, without the help of a treacherous sliver, even if she had married her Voltemand." (497) -- the replacement of Hamlet by Voltemand (an ambassador and very minor character in Hamlet) is a reference to Van's use of Voltemand as a pseudonym.

"In other more deeply moral worlds than this pellet of muck, there might exist restraints, principles, transcendental consolations, and even a certain pride in making happy someone one does not really love; but on this planet Lucettes are doomed." (498) -- important for the Terra/Antiterra divide.

"Cher ami [etc.]" (499) -- the Darkbloom notes translate Cordula's entire letter (which is in French -- why?): "Dear friend, my husband and I, were deeply upset by the frightful news. It was to me - and this I'll always remember - that practically on the eve of her death the poor girl addressed herself to arrange things on the Tobakoff, which is always crowded and which from now on I'll never take again, slightly out of superstition and very much out of sympathy for gentle, tender Lucette. I had been so happy to do all I could, as somebody had told me that you would be there too. Actually, she said so herself; she seemed so joyful to spend a few days on the upper deck with her dear cousin! The psychology of suicide is a mystery that no scientist can explain. I have never shed so many tears, it almost makes me drop my pen. We return to Malbrook around mid-August. Yours ever." There is a very Nabokovian twist to the statement "the psychology of suicide is a mystery that no scientist can explain" -- it sounds like a banal commonplace at first, but in fact Van's inability to foresee Lucette's suicide is a major source of shame.

"[This letter] would not have been written at all if your last line, your cry of unhappiness, were not my cry of triumph." (500) -- the "last line" in question is "I cannot express, dear Van, how unhappy I am, the more so as we never learned in the arbors of Ardis that such unhappiness could exist." Why is this a "triumph" for Van? Simply because it is a restatement of the supposed Edenic innocence of Ardis?

"Artistically, and ardisiacally, the best moment is one of the last" (500) -- cf. the much more opaque "esthetically, ecstatically, Estotially speaking" (30).

"And o’er the summits of the Tacit / He, banned from Paradise, flew on: / Beneath him, like a brilliant’s facet, / Mount Peck with snows eternal shone." (502) -- Darkbloom: "parody of four lines in Lermontov's The Demon."

No clue what to make of the strange "Andrey Vaynlender" letter.

"Mont Roux" (508) -- a version of Montreux, the region of Switzerland where Nabokov lived while writing this novel. "Roux" means red, so this might be a Lucette reference?

"Vrubel’s wonderful picture of Father, those demented diamonds staring at me, painted into me." (509) -- refers to Vrubel's paintings of the titular figure from Lermontov's poem "Demon." (See e.g. "Demon Seated in a Garden.".) "Demented" resonates with the early identification of "Demon" as "a form of Demian or Dementius" (4).

"and on the opposite shore of Leman, Leman meaning Lover, loomed the crest of Sex (Scex) Noir, Black Rock." (509) -- cf. the first sentence of Part 1 Ch. 3: "The details of the L disaster (and I do not mean Elevated) in the beau milieu of last century, which had the singular effect of both causing and cursing the notion of 'Terra,' are too well-known historically, and too obscene spiritually, to be treated at length in a book addressed to young laymen and lemans -- and not to grave men or gravemen." (17)

"A dead and dry hummingbird moth lay on the window ledge of the lavatory. Thank goodness, symbols did not exist either in dreams or in the life in between." (510) -- cf. "You have betrayed the Tree and the Moth!" (530)

"His reply was inept, and the whole episode had a faint paramnesic tang—and next instant Van was shot dead from behind (such things happen, some tourists are very unbalanced) and stepped into his next phase of existence." (510) -- what the fuck? Perhaps Van is simply contending, in jest, that another meeting with Ada could not happen except in heaven and thus that he must be dead. But this is also another intimation of unreality, or potential reality, like the mention of "life forking" at the end of Part 2 and at the end of this chapter.

"cygneous" (511) -- "curved like the neck of a swan." Cf. Lucette's "struthious" dress.

"As Andrey’s crumpled forlorn face came closer, one could distinguish various wartlets and lumps, none of them, however, placed in the one-sided jaunty position of his kid sister’s naric codicil." (513) -- "naric": "of or relating to the nares [the pair of openings of the nose or nasal cavity]." So a "naric codicil" would be a sort of "supplement" to the nasal openings.

"During that dismal dinner (enlivened only by the sharlott and five bottles of Moët, out of which Van consumed more than three) he avoided looking at that part of Ada which is called “the face”—a vivid, divine, mysteriously shocking part, which, in that essential form, is rarely met with among human beings (pasty and warty marks do not count)." (516) -- good sentence.

"(A pause.)" (517) -- Darkbloom: "This and the whole conversation parody Chekhov's mannerisms."

"in my works, I try not to ‘explain’ anything, I merely describe." (519) -- perhaps applicable to Ada itself, Van's final "work."

"and then he pounced upon her new, young, divine, Japanese neck which he had been coveting like a veritable Jupiter Olorinus throughout the evening." (520) -- Darkbloom: "Olorinus: from Lat. olor, swan (Leda's lover)."

"Somebody said, wheeling a table nearby: “It’s one of the Vane sisters,” and he awoke murmuring with professional appreciation the oneiric word-play combining his name and surname" (521) -- reference to "The Vane Sisters," a famous Nabokov story in which the first letters of the words in the final paragraph carry an acrostic message from the beyond.

"Rufomonticulus" (522) -- presumably the Latin name of Mont Roux.

"Then a robed person who looked like an extra in a technicolor incarnation of Vishnu made an incomprehensible sermon." (523) -- cool sentence.

" 'Ne ricane pas!' exclaimed Ada. 'The poor, poor little man! How dare you sneer?' " (530) -- this whole exchange, though presented as a kind of tragic culmination of Van-Ada exchanges (e.g. with the recapitulation of the "Qui me rendra" stuff), seems oddly out-of-character: Van's lines are self-parodically Romantic while Ada's are unusually simple and banal.

"As had been peculiar to his nature even in the days of his youth, Van was apt to relieve a passion of anger and disappointment by means of bombastic and arcane utterances which hurt like a jagged fingernail caught in satin, the lining of Hell." (530) -- good sentence!

" 'Castle True, Castle Bright!' he now cried, 'Helen of Troy, Ada of Ardis! You have betrayed the Tree and the Moth!' " (531) -- the Tree might be the Shattal Tree, or perhaps the tree that Ada stands with her back to in Part 1 Ch. 39 (p. 272), and which later forms an integral part of the agonizing image of her that Van carries away with him when he leaves Ardis in 1888. The Moth could be one of the various moths Ada enthuses about at Ardis in 1884, or the dead moth mentioned earlier in this chapter?

"Ardis the First, Ardis the Second, Tanned Man in a Hat, and now Mount Russet" (530) -- V&A's two summers in Ardis (1884 and 1888), their time in Manhattan, and now their rendezvous in Mont Roux.

"Ach, perestagne!" (530) -- intentionally or not, this provides a new variant: "Ach, perestagne" replaces "Et ma montagne" (138).

"Life forked and reforked." (531) -- this again.

11. And Much, Much More (Part 4 to Part 5, Chapter 6)

GENERAL REMARKS (Part 4 to Part 5, Ch. 6)

If Van Veen were to record a hip-hop album -- under the name "Mascodegama," of course -- it would be titled "The Texture of Rhyme." Possible subject matter: being the youngest Venutian, blinding Kim Beauharnais, the important difference between his own sick flow and the non-passage of Pure Time . . .

So now we've come to the end. There is all kinds of weird stuff going on Part 4 and Part 5. First we have Van's philosophical treatise (which espouses views very close to Nabokov's own and seems to have been intended as an attempt at serious philosophical writing, however silly much of it may strike me and various other readers). Then we have Part 6: a bizarre, at times rapturous but just as often petty and underwhelming account of Van and Ada's last years together.

What should we make of the fact that, faced with decades of romantic satisfaction to describe, Van tells us about the bodily annoyances of old age and the charms of his cute typist (and the "gipsy girl" next door)? Is he simply asserting that his and Ada's connection is ineffable, mystical, impossible to explain to non-Vaniadans? (Whereof Van cannot speak, thereof he must be silent? Ada's final line in Part 4 supports this interpretation, if we take the entirety of Part 5 to be the completion of her sentence "It is like -- ": Vaniadan experience is as ineffable as Time.) Or is Van giving up, pencilling in the very crudest sketch of a "happily ever after" ending that he knows is totally unconvincing? His suggestion that he has regained the earliest days of Ardis -- "Their life together responded antiphonally to their first summer in 1884" (574) -- is belied by the formal design of the novel, as Part 5 is the shortest of the Parts, the most sparing with detail. Time's arrow remains undefeated. How can he be so vague when describing recent months when he was so fantastically precise about stuff that happened when he was 14? Is this how memory really works? Surely not.

We are adrift. What on (anti-)earth did we just read? The hilarious ending, in which Van (?) imagines a blurb that sells Ada as a work of grand entertainment, simply underscores how far we are from anything resembling an ordinary novel. The text seems to be Van's attempt to squeeze his life story into the novel format (specifically, into the form of a big, dramatic Russian classic like Anna Karenina). There are numerous indications that he is willing to go to great lengths of invention. It is pretty much impossible to take the story straight; it continually pokes and prods the reader with its own implausibility, instability, inconsistency ("Abraham Milton / Milton Abraham / Lincoln"). In some tricky novels there is a clear "standard model" from which one can defiantly deviate (e.g., in Pale Fire, the various "Shade invented Kinbote or vice versa" theories are replacements for the basic interpretation of the book that any ordinary reader comes to, in which S and K are real, distinct people). Ada, by contrast, has no stable top layer -- and perhaps no bottom. As readers we have to figure out what in Van's story is real and what is invented. But to do so, we must speculate about the psychology of the "real Van" -- and that psychology will depend on our opinions about what is real and what is invented!

An ideal start for someone contemplating these problems is David Auerbach's blog post "Kinbote Triumphant in Hell: The Riddle of Nabokov’s Ada." It's where I've gotten a lot of my own ideas about the book, like the significance of Lucette's last call. I'll just quote a few paragraphs here:

I won’t attempt to figure out precisely what is real and what is not in the book because I don’t think I stand much of a chance, but I will make some broad guesses. I am inclined to be extremely skeptical of the mostly unchronicled decades of happiness with Ada, as well as of the success of Van’s book. The happier the events, the more dubious I am. The tragic events–Lucette’s death being the central one–most likely hold greater reality. Ada’s intrusions throughout, but especially at the end of the book, seem more likely to be a voice within Van, not an actual person. I think it highly unlikely that Van and Ada are ever happily reunited. Nabokov did not intend to redeem Van Veen through suffering, but particularly in the later novels, Nabokov’s rotten characters do tend to be spared any real happiness. I strongly suspect that to be the case here. The idyllic, hermetic, and very long Part 1 is a pastiche or a parody of the 19th century Russian novel. Inverting Tolstoy’s maxim turns it into a joke. Hence from the beginning Van is protecting himself and not being straight, and the offputting nature of the whole text is a reflection of Van’s solipsism. He is building a sealed coffin for himself that he intends no one to penetrate. He will avoid unpleasantness as much as possible, even at the cost of making himself unpleasant. With each subsequent section things get more miserable, the length gets shorter, and different strategies of avoidance are invoked. The late years of happiness with Ada are more likely years of self-torture, any success in love or life a delusion on Van’s part. By Part 4, he has abandoned plot in favor of mere allusions to wish-fulfillment and philosophical self-indulgence. At his supposed happiest he is least able to describe anything that happened to him.

(Auerbach ends up speculating that the text might actually have been written by Andrey Vinelander, which strikes me as almost uniquely unlikely . . . )

Ada is my favorite Nabokov novel, and probably tied for my favorite novel overall. In the end, it's one of the darkest and creepiest novels I've ever read, precisely because of the bottomlessness of its potential horror. Other books tell us about nasty characters and nasty situations; this one merely shows us a bunch of fanciful wishful thinking and leaves us to guess the real situation from which it is as escape (with plenty of suggestive references to hell, in case we need some general pointers). It is a closed system, standing securely upon its own head, self-contained, self-referential, self-possessed. There is a risk in this. The book is purely itself, and Van is purely himself, from the first page to the last. It does not provide a convenient ledge on which the author and reader can congregate and snicker at the far-off characters. It's written in third person (because that's how Van wrote it); there is no voice there untouched by Van's, no world untainted by Antiterra. As Auerbach puts it:

. . . we don’t see anything pushing back against Van Veen. All opposing forces tend to dissolve away sooner or later. The marshaling of fantasy to defy reality becomes a structuring principle of the book even to the point of alienating readers from it, lest they crack open Van’s coffin and discover his secrets. Where there is little reality, there is little sympathy to be had, hence the uninvolving nature of so many of the characters, not least Van himself. While Van puts up a good front to a point, ultimately he knows he’s not fooling anyone with his “happy family chronicle.” What starts off in Part 5 as the joyous introduction ends with solipsistic torment in a self-fashioned hell. And what better analogy for a solipsistic world than incest?

Or, as Martin Amis puts it, under the impression that he is criticizing the book rather than pointing out one of its design features:

And then, too, with Ada, there is something altogether alien – a sense of monstrous entitlement, of unbridled, head-in-air seigneurism. Morally, this is the world for which the twisted Humbert thirsts: a world where "nothing matters", and "everything is allowed".

But I love the closed system of Ada because it feels real, in the sense that it feels psychologically authentic. People really do create great systems of private associations like this; people really do neurotically rearrange and sanitize their memories like this. We all have it within us to fetishize the past like this, to take a few key moments and make of them an Ardis that exerts a grotesque influence on our lives -- one which ends up having less and less to do with real arbors or Adas. And when we do this it is not simple or straightforward; it is not pleasant to read about; it is the kind of convoluted, obsessive, opaque, obscure personal mythology that Auerbach calls "uninviting" and that we find all throughout Ada.

And of course the book is gorgeously written -- in a way that is often obscure but never feels obscurantist. I remember one reviewer saying that they enjoyed every sentence in Ada, even the ones they didn't understand; this seems to apply more generally to every aspect of the book. Even when I have no clue what he's doing, I never feel like Nabokov is just trying to fuck with me. Every element of the closed system is authentic, on the unique terms of that system.

The final words of the book are a characteristically brilliant flourish: Nabokov finishes off his hilarious parody of ad copy by repurposing an advertising cliche -- "and much, much more" -- so as to lend it a new meaning that is stunning, moving, and even terrifying in a sort of Lovecraft way. How many strange and unsettling details this book contains! How many the reader must undoubtedly have missed! (The blurb encourages the reader to go back and re-read.) This book teems. "And much, much more" -- too much! Too much!

To remind us that there's always (much, much) more to discover, I'll let the master have the final word -- and in the process claim "loathed" Van Veen as one of his "favorites" (?):

I wonder if there is really so much doom and "frustration" in my fiction? Humbert is frustrated, that’s obvious; some of my other villains are frustrated; police states are horribly frustrated in my novels and stories; but my favorite creatures, my resplendent characters -- in The Gift, in Invitation to a Beheading, in Ada, in Glory, et cetera– are victors in the long run. In fact I believe that one day a reappraiser will come and declare that, far from having been a frivolous firebird, I was a rigid moralist kicking sin, cuffing stupidity, ridiculing the vulgar and cruel -- and assigning sovereign power to tenderness, talent, and pride.

(Nabokov, interviewed for Bayerischer Rundfunk, 1971)

(Okay, okay. One last thing from me. The book opens with the following note: "With the exception of Mr. and Mrs. Ronald Oranger, a few incidental figures, and some non-American citizens, all the persons mentioned by name in this book are dead. [Ed.]" Who are these "non-American citizens"? The phrasing seems to imply that they are not "incidental figures," yet I can't think of any characters of any importance, besides the Orangers, who might have outlived the Veens.)

NOTES

"novo-sapiens" (536) -- seems like it should be "novus-sapiens," but I guess Nabokov/Van wanted the similarity in sound.

"Man, in that sense, will never die, because there may never be a taxonomical point in his evolutionary progress that could be determined as the last stage of man in the cline turning him into Neohomo, or some horrible, throbbing slime." (536) -- reminiscent of the speculations about quasi-mystical future forms of mankind that were popular in science fiction at the time (e.g. in Arthur C. Clarke's "Childhood's End").

"One can be a lover of Space and its possibilities: take, for example, speed, the smoothness and sword-swish of speed; the aquiline glory of ruling velocity; the joy cry of the curve; and one can be an amateur of Time, an epicure of duration. I delight sensually in Time, in its stuff and spread, in the fall of its folds, in the very impalpability of its grayish gauze, in the coolness of its continuum." (537) -- nice passage.

"Aurelius Augustinus" (537) -- Saint Augustine, whose discussions of the conscious experience of time are similar to Van's.

"The direction of Time, the ardis of Time, one-way Time, here is something that looks useful to me one moment, but dwindles the next to the level of an illusion obscurely related to the mysteries of growth and gravitation." (538) -- and yet the directionality of time has been one of the main themes of the whole book. Van gives up the game when he uses the word "ardis." Maybe he doesn't intend irreversibility to fall within the scope of this treatise, but when that treatise is written as an account of his journey toward his final and lasting reunion with Ada, surely irreversibility can't be truly irrelevant . . . ?

"The irreversibility of Time (which is not heading anywhere in the first place) is a very parochial affair: had our organs and orgitrons not been asymmetrical, our view of Time might have been amphitheatric and altogether grand, like ragged night and jagged mountains around a small, twinkling, satisfied hamlet." (538-9) -- or, in cross-section, something like a "V" shape.

"But beware, anime meus, of the marcel wave of fashionable art; avoid the Proustian bed and the assassin pun (itself a suicide -- as those who know their Verlaine will note)." (540) -- a flurry of spurious references (Augustine, Proust, Procrustes, Verlaine) that seems intended to warn by example: puns and allusions will get you nowhere in this business, no matter how fun they are. Darkbloom: "assassin pun: a pun on pointe assassine (from a poem by Verlaine)."

"We, poor Spatians, are better adapted, in our three-dimensional Lacrimaval" (541) -- for "Lacrimaval" Google only turns up full text versions of Ada. Presumably it's a version of "Vale of Tears."

" 'Space is a swarming in the eyes, and Time a singing in the ears,' says John Shade, a modern poet, as quoted by an invented philosopher ('Martin Gardiner') in The Ambidextrous Universe, page 165." (542) -- an Antiterran reversal of the real fact that, on Terra, Martin Gardner (not "Gardiner" as in the text) quoted John Shade in his book The Ambidextrous Universe. The appearance of John Shade (invented poet from Pale Fire) as a real person in Antiterra is Nabokovian fan service along the same lines as Professor Pnin's cameo appearance at at the university in Pale Fire.

"Minkowski" (542) -- mathematician who contributed to special relativity and first introduced the modern/relativistic version of four-dimensional space-time.

"At this point, I suspect, I should say something about my attitude to 'Relativity.' It is not sympathetic. What many cosmogonists tend to accept as an objective truth is really the flaw inherent in mathematics which parades as truth." (543) -- astonishingly, Nabokov himself actually believed this. ("While not having much physics, I reject Einstein's slick formulae; but then one need not know theology to be an atheist." [1968 BBC interview]) Since he loved mimicry and other trickery in biology, it's surprising that he didn't see the same appeal in the way that the strangeness of relativistic space-time hides behind a nicely intuitive Newtonian veil until one gets close to light speed.

"Alice in the Camera Obscura" (547) -- seems to be a mixture of "Alice's Adventures in Wonderland" and "Camera Obscura," the original title of the Nabokov novel usually called "Laughter in the Dark." Also an allusion to Kim taking pictures of Ada? Another example of shifting Antiterran names, since on p. 53 the Antiterran equivalent of Carroll's book was "Palace in Wonderland." (See also "Ada in Wonderland" [127], "Ada's Adventures in Adaland" [568] -- which leads us to conclude that Van is working from something like the actual earthly title, since where else could he have gotten that "Adventures" from?)

"Dr. Froid of Signy-Mondieu-Mondieu" (549) -- compare to this from Ch. 3: "A Dr Froid, one of the administerial centaurs, who may have been an émigré brother with a passport-changed name of the Dr Froit of Signy-Mondieu-Mondieu in the Ardennes" (27).

"Now blows the wind of the Present at the top of the Past -- at the top of the passes I have been proud to reach in my life, the Umbrail, the Fluela, the Furka, of my clearest consciousness!" (549) -- as one might expect from context, these are all passes in Switzerland.

"Here they are, the two rocky ruin-crowned hills that I have retained for seventeen years in my mind with decalcomaniac romantic vividness" (551) -- "Decalcomania, from the French décalcomanie, is a decorative technique by which engravings and prints may be transferred to pottery or other materials. Today the shortened version is 'Decal'. " (Wikipedia)

"He transmitted by the new 'instantogram,' flashed to the Geneva airport, a message ending in the last word of her 1905 cable" (552) -- unless I'm missing something, the word is "rainbows"? (508)

"Now it so happened that she had never -- never, at least, in adult life -- spoken to him by phone; hence the phone had preserved the very essence, the bright vibration, of her vocal cords, the little 'leap' in her larynx, the laugh clinging to the contour of the phrase, as if afraid in girlish glee to slip off the quick words it rode." (555) -- another significant telephone call, and another possible source for the banning of telephones -- although this one isn't connected with the "L disaster" in any way I can discern, and the psychological motivation for inventing a ban on telephones would be less clear here.

"lucubratiuncula" (559) -- "The act of working by night; lucubration, nocturnal study, night work." (Wiktionary). Apparently it's a diminutive of another Latin word meaning the same thing? "A little night work"?

" 'To be' means to know one 'has been.' 'Not to be' implies the only 'new' kind of (sham) time: the future. I dismiss it. Life, love, libraries, have no future." (559) -- more Hamlet. Also, I wonder what Van's denial of the existence of the future (expressed here and earlier) has to do with the themes of the novel? Perhaps nothing: at various points in Parts 4 (like the irreversibility comments mentioned above), Van dismisses as irrelevant certain issues that are very relevant to the novel's story, as though Nabokov is trying to tell us that we're supposed to read this as an actual, serious philosophical treatise rather than a thinly veiled expression of personal anxieties. But then it's hard not to deem it significant that these thoughts about the future come right after Ada's departure . . .

"But the future remains aloof from our fancies and feelings. At every moment it is an infinity of branching possibilities." (560-1) -- more of the "forking" motif, though it's not clear to me what this claim has to do with Van's deadpan (though presumably? non-literal) descriptions of branching possibilities earlier in the book.

" 'I told him to turn,' she said, 'somewhere near Morzhey ('morses' or 'walruses,' a Russian pun on 'Morges' -- maybe a mermaid’s message). And you slept, you could sleep!' " (562) -- Darkbloom, uncharacteristically, points out something that should already be clear: "mermaid: allusion to Lucette." Boyd, in The Place of Consciousness, goes wild with this idea and claims that Lucette, acting from beyond the grave, actually told Ada to turn back. He would later espouse an analogous theory of Pale Fire. Yes, according to Brian Boyd that is the secret of both these books: when women commit suicide they come back as ghosts who send the protagonists helpful messages. I'm sorry, but I don't exactly find this kind of thing adds much to the books . . .

"My aim was to compose a kind of novella in the form of a treatise on the Texture of Time, an investigation of its veily substance, with illustrative metaphors gradually increasing, very gradually building up a logical love story, going from past to present, blossoming as a concrete story, and just as gradually reversing analogies and disintegrating again into bland abstraction." (563) -- I might be reckoning this wrong, but my impression is that Part 4 begins the process of "disintegrating again into bland abstraction" after Ada leaves, and the only thing that prevents Van's original plan from running to completion is the eucatastrophic final reunion.

"I wonder if the attempt to discover those things is worth the stained glass. We can know the time, we can know a time. We can never know Time. Our senses are simply not meant to perceive it. It is like -- " (563) -- what is the significance of this? Is Ada completing the "reversal of analogies" by supplying her own analogy, hence completing Van's original plan after all (and thus reconfirming the fundamental unity between Van and Ada)? Is Nabokov inviting us to consider the whole of the following Part 5 as an account of something unknowable? ("It is like [Part 5]"? Or perhaps "it is like [the many years skipped between Parts 4 and 5]"?) IIRC, Look At The Harlequins! ends, with a dash, in the middle of a sentence of dialogue; I wonder if the same is true of some of the Nabokov novels or stories I haven't read.

"This Part Five is not meant as an epilogue; it is the true introduction of my ninety-seven percent true, and three percent likely, Ada or Ardor, a family chronicle." (567) -- interesting choice of proportions. Note how the notion of Part 5 as the "true introduction" works as an instance of the time-reversal motif, and also as a nod to Nabokov's idea that books can only be truly appreciated upon re-reading. Having reached the final Part of Ada or Ardor, the reader is finally ready to be "introduced" to it.

" 'matches the highest forms of human thought—pure mathematics & decipherment' (unpublished ad)." (567) -- though diminished by that "(unpublished ad)," this is an uncharacteristically -- and pleasingly -- positive reference to the pleasures of mathematics, about which Nabokov otherwise had little good to say.

"a spoonful of sodium bicarbonate dissolved in water that was sure to release three or four belches as big as the speech balloons in the “funnies” of his boyhood" (570) -- perhaps meant to recall "the Sunday supplement of a newspaper that had just begun to feature on its funnies page the now long defunct Goodnight Kids, Nicky and Pimpernella (sweet siblings who shared a narrow bed)" (5-6). There are a number of references in Part 5 to the very early sections of the book. The beginning and the end are one: the tips of the "V" or "A."

"the bedside light (a gurgling new surrogate -- real lammer having been forbidden again by 1930)" (572) -- another callback to the beginning: " the extremely elaborate and still very expensive hydrodynamic telephones and miserable gadgets that were to replace those that had gone k chertyam sobach'im (Russian 'to the devil') with the banning of an unmentionable "lammer." (There Darkbloom glosses "lammer" as "allusion to electricity.") The re-banning of electricity is produces an A-D-A. (And now that the two significant telephones calls had passed, what purpose could it serve on Antiterra / in Van's story?)

"Their life together responded antiphonally to their first summer in 1884" (574) -- confirms what had been implicitly made clear.

"An overwhelming tenderness impelled him to kneel suddenly at her feet in dramatic yet utterly sincere attitudes, puzzling to anyone who might enter with a vacuum cleaner." (574) -- another instance of overly romantic corniness. These seem to cluster near the end of the book; it's hard to imagine young Van doing anything like this, even in his imagination.

"She was (and still is -- ten years later) an enchanting English blonde with doll eyes, a velvet carnation and a tweed-cupped little rump […..]" (576) -- it's not clear to me whether the editor has omitted something or is merely expressing, through indicated silence, his offense at this comment about his wife.

"she had supported for ten years her mother’s children from two marriages, besides laying aside [something]" (576) -- but apparently Ronald Oranger doesn't want us to know what. (What does this mean? Am I just being dense?)

"this strange, friendless, rather repulsive nonagenarian (cries of “no, no!” in lectorial, sororial, editorial brackets)." (577) -- strange: who did write this? And hasn't it been quite a long time since we saw a note from Ada? (If I'm not mistaken it was back in Part 2 Ch. 2, p. 338, about Letters From Terra: "I disagree, it’s a nice, nice little book! Ada’s note.")

"one of his last papers (1959) entitled The Farce of Group Therapy in Sexual Maladjustment" (577) -- a joke about the threesome scene.

"Ada, who amused herself by translating . . . John Shade into Russian and French" (577) -- John Shade on Antiterra again.

"E, p, i -- why 'y,' my dear?" (578) -- Darkbloom explains that this is Violet trying to spell the word "epistemic," which occurs earlier on this page.

"That work [The Texture of Time], she said, always reminded her, in some odd, delicate way, of the sun-and-shade games she used to play as a child in the secluded avenues of Ardis Park." (579) -- another callback to the beginning. Suggests that a certain appreciation for the subtle "texture" of conscious experience is a key part of V&A's connection to one another. (Remember Ada's towers/bridges system?)

"They found the historical background absurdly farfetched and considered starting legal proceedings against Vitry—not for having stolen the L.F.T. idea, but for having distorted Terrestrial politics as obtained by Van with such diligence and skill from extrasensorial sources and manic dreams." (581) -- and yet the account of earth history given here is much more accurate than the one that Van gives in LFT (described in Part 2 Ch. 2).

"in a flashback to a revolution in former France, an unfortunate extra, who played one of the under-executioners, got accidentally decapitated while pulling the comedian Steller, who played a reluctant king, into a guillotinable position" (581) -- this death, along with the scope of the project ("some said more than a million, others, half a million men and as many mirrors") link the LFT film with the real-life film Ben Hur.

"From the tremendous correspondence that piled up on Van’s desk during a few years of world fame, one gathered that thousands of more or less unbalanced people believed (so striking was the visual impact of the Vitry-Veen film) in the secret Government-concealed identity of Terra and Antiterra. Demonian reality dwindled to a casual illusion. Actually, we had passed through all that. Politicians, dubbed Old Felt and Uncle Joe in forgotten comics, had really existed. Tropical countries meant, not only Wild Nature Reserves but famine, and death, and ignorance, and shamans, and agents from distant Atomsk. Our world was, in fact, mid-twentieth-century. Terra convalesced after enduring the rack and the stake, the bullies and beasts that Germany inevitably generates when fulfilling her dreams of glory. Russian peasants and poets had not been transported to Estotiland, and the Barren Grounds, ages ago -- they were dying, at this very moment, in the slave camps of Tartary. Even the governor of France was not Charlie Chose, the suave nephew of Lord Goal, but a bad-tempered French general." (582) -- I'm sure CML would take me to task if I didn't point out that this is reminiscent of the Borges story "Tlön, Uqbar, Orbis Tertius." It's also a huge moment of instability, and perhaps the most frustrating instance of the ambiguity between literal and figurative in Van's style (e.g. Demon's wings, forking time). Is Van merely saying that the dreams of Terra were surprisingly prophetic, and that Antiterra as of the 1960s is surprisingly similar to the Terra envisioned by patients in the late 19th century? Or is he simply giving up the whole game and declaring, with infuriating insouciance, that the whole story took place in the real world after all? (Incidentally, the period on Terra corresponding to V&A's last years on Antiterra would be . . . the 2010s, i.e., now. To channel C again: "Far out, man, far fuckin' out.")

"Recorded and replayed in their joint memory was their early preoccupation with the strange idea of death. . . . The strange mirage-shimmer standing in for death should not appear too soon in the chronicle and yet it should permeate the first amorous scenes. Hard but not insurmountable (I can do anything, I can tango and tap-dance on my fantastic hands)." (583-4) -- the presence of the concept of death even in the earliest parts of the book is here confirmed. (Compare to Van's attempt to disclaim this side of the story: "a book addressed to young laymen and lemans -- and not to grave men or gravemen" [17]).

" 'As lovers and siblings,' she cried, 'we have a double chance of being together in eternity, in terrarity' " (583) -- cf. this from p. 158: "I shall never love anybody in my life as I adore you, never and nowhere, neither in eternity, nor in terrenity, neither in Ladore, nor on Terra, where they say our souls go." "Terrenity" (unlike "terrarity") is a real word, meaning "Earthiness; worldliness."

"And I knew a girl called Adora, little thing in my last floramor. What makes me see that bit as the purest sanglot in the book?" (584) -- perhaps the fact that that scene was the first one Nabokov came up with for the book, as he revealed in an interview.

"And finally, there is the featureless pseudo-future, blank and black, an everlasting nonlastingness, the crowning paradox of our boxed brain’s eschatologies!" (585) -- good sentence!

"And if you land then on Terra Caelestis" (585) -- "caelestis" means "heavenly" or "celestial" in Latin. May be a reference to "Harmonia Caelestis" ("a cycle of 55 sacred cantatas attributed to the Hungarian composer Paul I, 1st Prince Esterházy of Galántha (1635–1713)" [Wikipedia])?

"She insisted that if there were no future, then one had the right of making up a future, and in that case one’s very own future did exist, insofar as one existed oneself. Eighty years quickly passed—a matter of changing a slide in a magic lantern." (585) -- seems like a strong suggestion that Van's happy life with Ada is invented? (But of course Ada is saying this as a 12-year-old, and the "eighty years" here are the whole rest of the story.)

The lines given on p. 585 are indeed lines 569-572 of the poem "Pale Fire" (from the novel Pale Fire). I don't know what non-metrical significance the omission of the "boths" could have (claimed by imagined Freudians on p. 586).

"Oh, Van, oh Van, we did not love her enough. That’s whom you should have married, the one sitting feet up, in ballerina black, on the stone balustrade, and then everything would have been all right -- I would have stayed with you both in Ardis Hall, and instead of that happiness, handed out gratis, instead of all that we teased her to death!" (586) -- what should we make of this acknowledgement? If V&A acknowledge their responsibility in Lucette's death, then why hasn't it had more of a footprint in the book? (Of course, it probably has, just covertly.)

"whose principal part is staged in a dream-bright America -- for are not our childhood memories comparable to Vineland-born caravelles, indolently encircled by the white birds of dreams?" (588) -- a possible justification for the invention of Antiterra. Note the double meaning of "principle part" (also a grammatical term) -- part of a motif about how textual/verbal the Ada world is ("old novels," etc).

"Nothing in world literature, save maybe Count Tolstoy’s reminiscences, can vie in pure joyousness and Arcadian innocence with the 'Ardis' part of the book." (588) -- the reminiscences in question are presumably Tolstoy's "Childhood, Boyhood, Youth." Also, "innocence" is (at least in one sense) a hilarious word to use for the randy Veens.

"That the relationship is not simply dangerous cousinage, but possesses an aspect prohibited by law, is hinted in the very first pages." (588) -- I love the awkward, ugly language here: "possesses an aspect prohibited by law."

"Her tragic destiny constitutes one of the highlights of this delightful book." (588) -- the cloying cliche "tragic fate" seems to mock the intuitively appealing interpretation that Lucette's death is supposed to be the emotional climax of the book. This sentence itself parodies the awkwardness of trying to hawk fictional tragedy as an appealing experience -- "tragic" clashes with "highlights" and "delightful."

"It is interrupted by her marriage to an Arizonian cattle-breeder whose fabulous ancestor discovered our country." (588) -- more hilariously awkward/platitudinous language.

"They spend their old age traveling together and dwelling in the various villas, one lovelier than another, that Van has erected all over the Western Hemisphere." (588) -- the word "villa" and the innuendo in "erected" remind us of a different set of villas, the Villa Venus club.

"Not the least adornment of the chronicle is the delicacy of pictorial detail" (589) -- you can say that again.

"a pretty plaything stranded among the forget-me-nots of a brook" (589) -- Lucette's doll lost in the brook again ("the red rubber of a favorite doll remained safely decomposed among the myosotes of an unanalyzable brook" [494]).

"and much, much more" (589) -- see above (in every sense!).

#ada or ardor #vladimir nabokov

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themthouse · 2 years ago

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The Internet Archive, Misinformation & the Problem of Digital Lending

I am in the embarrassing situation of having reblogged a post with misinformation. Specifically, the "Save the Internet Archive" post featuring the below image and its associated link to a website called "Battle for Libraries".

The post claims that the recent lawsuit the IA faced threatened all IA projects, including the Wayback Machine, which is not true. The link to a petition to "show support for the Internet Archive, libraries’ digital rights, and an open internet with uncensored access to knowledge" only has one citation, which is the internet archive's own blog.

After looking for more context, I found that even articles published from sources I trusted didn't seem to adequately cover the complexity of what is going on. Here's what I think someone who loves libraries but is hazy about copyright law and the digital lending world should know to understand what happened and why it matters. I am from the U.S., so the information below is specifically referring to laws protecting American public libraries. I am not a librarian, author or copyright lawyer. This is a guide to make it easier to follow the arguments of people more directly invested in this lawsuit, and the potential additional lawsuits to come.

Table of Contents:

First-Sale Doctrine & the Economics of E-books

Controlled Digital Lending (CDL)

The “National Emergency Library” & Hachette v. Internet Archive

Authors, Publishers & You

-- Authors: Ideology v. Practicality

-- Publishers: What Authors Are Paid

-- You: The Ethics of Piracy

First-Sale Doctrine & the Economics of E-Books

Libraries are digitizing. This is undisputed. As of 2019, 98% of public libraries provided Wi-Fi, 90% provided basic digital literacy programs, and most importantly for this conversation, 94% provided access to e-books and other digital materials. The problem is that for decades, the American public library system has operated on a bit of common law exhaustion applied to copyright known as first-sale doctrine, which states:

"An individual who knowingly purchases a copy of a copyrighted work from the copyright holder receives the right to sell, display or otherwise dispose of that particular copy, notwithstanding the interests of the copyright owner."

With digital media, however, because there isn't a physical sale happening, first sale doctrine doesn't apply. This wasn't a huge problem back in the early 2010s when most libraries were starting to go digital because the price of a perpetual e-book license was only $14 -- about the price of single physical book. Starting in 2018, however, publishers started limiting how long a single e-book license would last. From Pew Charitable Trusts:

"Today, it is common for e-book licenses from major publishers to expire after two years or 26 borrows, and to cost between $60 and $80 per license, according to Michele Kimpton, the global senior director of the nonprofit library group LYRASIS... While consumers paid $12.99 for a digital version, the same book cost libraries roughly $52 for two years, and almost $520 for 20 years."

Publishers argue that because it's so easy to borrow a digital copy of a book from the library, offering libraries e-book licenses at the same price as individual consumers undermines an author's right to license and profit from the exclusive rights to their works. And they're not entirely wrong about e-book lending affecting e-book sales -- since 2014, e-book sales have decreased while digital library lending has only gone up. The problem, they say, is that e-book lending is simply too easy. Whereas before, e-book sales were competing with the less-convenient option of going to the library and checking out a physical copy, there is essentially no difference for the reader between buying or lending an e-book outside of its cost.

Which brings us to the librarians, authors and lawmakers of today, trying to find any solution they can to make digital media accessible, affordable and still profitable enough to make a livable income for the writers who create the books we read.

Further Reading:

1854. Copyright Infringement -- First Sale Doctrine

The surprising economics of digital lending

Librarians and Lawmakers Push for Greater Access to E-Books

Publishing and Library E-Lending: An Analysis of the Decade Before Covid-19

Controlled Digital Lending (CDL)

Controlled digital lending is a legal theory at the heart of the Internet Archive lawsuit that has been proposed as one solution to the economic issue with digital media lending. This quick fix is especially appealing to nonprofits like the IA that are not government, tax-funded programs. Where many other solutions, like a legally enforced max price on e-book licensure for public libraries, would not apply to the IA, CDL would essentially be manipulating copyright law itself as a way to avoid e-book licensure altogether and would apply to the IA as well as public libraries.

Essentially, proponents of CDL argue that through a combination of first-sale and fair use doctrine, it can be legal for libraries to digitize the physical copies of books they have legally paid for and loan those digital copies to one person at a time as if they were loaning the original physical copy.

It is worth noting that the first-sale doctrine protecting physical media lending at public libraries does not cover reproductions:

“The right to distribute ends, however, once the owner has sold that particular copy. See 17 U.S.C. § 109(a) & (c). Since the first sale doctrine never protects a defendant who makes unauthorized reproductions of a copyrighted work, the first sale doctrine cannot be a successful defense in cases that allege infringing reproduction.”

This is where fair use comes in, which allows some flexibility in copyright law for nonprofit educational and noncommercial uses. Because the IA and other online collections are nonprofit organizations, proponents of CDL argue that they are covered by fair use so long as their use of CDL follows very specific rules, such as:

A library must own a legal copy of the physical book, by purchase or gift.

The library must maintain an “owned to loaned” ratio, simultaneously lending no more copies than it legally owns.

The library must use technical measures to ensure that the digital file cannot be copied or redistributed.

While this model first earned its name in 2018, it has been practiced by a number of digital collections like The Internet Archive’s Open Library since as early as 2010. It is important to know that controlled digital lending has never been proven officially legal in court. It is a theoretical legal practice that has passed by mostly unchallenged until the Internet Archive lawsuit. This is partially due to the fact that before releasing their official CDL statement in 2018, the IA had been honoring Digital Millennium Copyright Act (DMCA) takedown requests of books in CDL circulation, which authors claim they are not always responding to or honoring anymore. The legality of CDL essentially depends on a judge's interpretation of current copyright law and whether they see the practice as an infringement, which would set a precedent for similar cases moving forward.

There are, however, U.S. court decisions that have rejected similar cases, like Capitol Records v. ReDigi, which argues that digital files (in this case, music files) cannot be resold without copyright holder’s permission on the grounds that digital files do not deteriorate in the same way that physical media does, implying that first sale doctrine doesn’t apply to digital media.

In 2019, the Authors Guild, a group of American authors who advocate for the rights of writers to earn a living wage and practice free speech, pointed out this court case in an article condemning CDL practices. They also argued that not only does CDL undermine e-book licensure (and therefore author profits off e-book sales), but it also would effectively shut down the e-book market for older books (the market for copyrighted books that were published before e-books became popular and are only being digitized and sold now). The National Writers Union has also released an “Appeal from the victims of Controlled Digital Lending (CDL),” that cites many of the same complaints.

Further Reading:

U.S. Copyright Office Fair Use Index

Position Statement on Controlled Digital Lending by Libraries

FAQ on Controlled Digital Lending [Released by NYU Law’s Engelberg Center on Innovation Law & Policy]

Controlled Digital Lending Is Neither Controlled nor Legal

Appeal from the victims of Controlled Digital Lending (CDL)

FAQ on Controlled Digital Lending [Released by the National Writers Union]

The "National Emergency Library" & Hachette v. Internet Archive

While the Internet Archive is known as the creator and host of the Wayback Machine and many other internet and digital media preservation projects, the IA collection in question in Hachette v. Internet Archive is their Open Library. The Open Library has been digitizing books since as early as 2005, and in early 2011, began to include and distribute copyrighted books through Controlled Digital Lending (CDL). In total, the IA includes 3.6 million copyrighted books and continues to scan over 4,000 books a day.

During the early days of the pandemic, from March 24, 2020, to June 16, 2020, specifically, the Internet Archive offered their National Emergency Library, which did away with the waitlist limitations on their pre-existing Open Library. Instead of following the strict rules laid out in the Position Statement on Controlled Digital Lending, which mandates an equal “owned to loaned” ratio, the IA allowed multiple readers to access the same digitized book at once. This, they said, was a direct emergency response to the worldwide pandemic that cut off people’s access to physical libraries.

In response, on June 1, 2020, Hachette Book Group, HarperCollins, John Wiley & Sons, and Penguin Random House filed a lawsuit against the IA over copyright infringement. Out of their collective 33,000 copyrighted titles available on Open Library, the publishers’ lawsuit focused on 127 books specifically (known in the legal documentation as the “Works in Suit”). After two years of argument, on March 24, 2023, Judge John George Koeltl ruled in favor of the publishers.

The IA’s fair use defense was found to be insufficient as the scanning and distribution of books was not found to be transformative in any way, as opposed to other copyright lawsuits that ruled in favor of digitizing books for “utility-expanding” purposes, such as Authors Guild, Inc. v. HathiTrust. Furthermore, it was found that even prior to the National Emergency Library, the Open Library frequently failed to maintain the “owned to loaned” ratio by not sufficiently monitoring the circulation of books it borrows from partner libraries. Finally, despite being a nonprofit organization overall, the IA was found to profit off of the distribution of the copyrighted books, specifically through a Better World Books link that shares part of every sale made through that specific link with the IA.

It worth noting that this ruling specifies that “even full enforcement of a one-to-one owned-to-loaned ratio, however, would not excuse IA’s reproduction of the Works in Suit.” This may set precedent for future copyright cases that attempt to claim copyright exemption through the practice of controlled digital lending. It is unclear whether this ruling is limited to the National Emergency Library specifically, or if it will affect the Open Library and other collections that practice CDL moving forward.

Edit: I recommend seeing what @carriesthewind has to say about the most recent updates in the Internet Archive cases for a lawyers perspective of how these cases will effective the future of digital lending law in the U.S.

Further Reading:

Full History of Hachette Book Group, Inc. v. Internet Archive [Released by the Free Law Project]

Hachette v. Internet Archive ruling

Internet Archive Loses Lawsuit Over E-Book Copyright Infringement

The Fight Continues [Released by The Internet Archive]

Authors Guild Celebrates Resounding Win in Internet Archive Infringement Lawsuit [Released by The Authors Guild]

Relevant Court Cases:

Authors Guild, Inc. v. Google, Inc.

Authors Guild, Inc. v. HathiTrust

Capitol Records v. ReDigi

Authors, Publishers & You

This is where I’m going to be a little more subjective, because each person’s interpretation of events as I have seen has depended largely on their characterization and experience with the parties involved. Regardless of my own ideology regarding accessibility of information, the court ruling seems to be completely in line with current copyright law and precedent. Ironically, it seems that if the Internet Archive had not abandoned the strict rules regarding controlled digital lending for the National Emergency Library, and if they had been more diligent with upholding those rules with partner library loans prior to the NEL, they may have had a better case for controlled digital lending in the future. As is, I agree with other commentators that say any appeal the IA makes after this point is more likely to damage future digital lending practices than it is to save the IA’s current collection of copyrighted works in the Open Library. Most importantly, it seems disingenuous, and even dangerously inaccurate, to say that this ruling hurts authors, as the IA claimed in their response.

The IA argues that because of the current digital lending and sales landscape, the only way authors can make their books accessible digitally is through unfair licensing models, and that online collections like the IA’s Open Library offer authors freedom to have their books read. But this argument doesn’t acknowledge that many authors haven’t consented to having their works shared in this way, and some have even asked directly for their work to be removed, without that request being honored.

The problem is that both sides of this argument about the IA lawsuit claim to speak for authors as a group when the truth isn’t that simple.

Authors: Ideology v. Practicality

Those approaching the case from an ideological point of view, including many of the authors who signed Fight for the Future’s Open Letter Defending Libraries’ Rights in a Digital Age, tend to either have a history of sharing their works freely prior to the lawsuit (ex: Hanif Abdurraqib, who had published a free audio version of his book Go Ahead in The Rain on Spotify before Spotify began charging for audiobooks separately from their music subscriptions) or have alternative incomes related to their writing that don’t stem directly from book sales (ex: Neil Gaiman, who famously works with multiple mediums and adaptations of his writing).

In these cases, the IA lawsuit is framed as an ideological battle over the IA’s intention when releasing the National Emergency Library.

Many other authors, including a large number of smaller names and writers early in their careers, take a much more practical approach to the lawsuit, focused on defending their ability to monetarily profit off their works. This is by no means a reflection of their own ideology surrounding who has the right to information and whether libraries are worth protecting. Instead, it is a response to the fact that these authors love writing, and they simply would not be able to afford to continue writing in a world where they do not have the power to stop digital collections from distributing their copyrighted work without their consent. These include the authors, illustrators and book makes working with the Author’s Guild to submit their amicus brief in Hachette v. Internet Archive.

These authors claim that controlled digital lending practices cause significant harm to their incomes in the following ways:

CDL undermines e-book licensing and sales markets, as most consumers would choose a free e-book over paying for their own copy.

CDL devalues copyright, meaning authors have less bargaining power in future contract negotiations.

CDL undermines authors ability to republish, whether as a reprint or e-book, out of print books once their publisher has ceased production. This includes self-publishing after the rights to their work have been returned to them.

CDL removes the income from public lending rights (PLR) that authors receive from libraries outside of the U.S. which operate on different lending and copyright standards.

The amicus brief provides first-person anecdotes from authors, including Bruce Coville of The Unicorn Chronicles, about how the rights to backlisted books, or books without an immediately obvious market, make up a huge portion of their annual salary. Jacqueline Diamond cites reissues of out-of-print novels as what kept her afloat during her breast cancer treatment.

It is worth noting that according to the Author’s Guild, some authors who originally signed Fight for the Future’s open letter defending the Internet Archive have even retracted their support after learning more about the specific lawsuit, including Daniel Handler, who writes under the pseudonym Lemony Snicket. The confusion stems from the use of the term “library” by both the Internet Archive and Fight for the Future. While authors overwhelmingly support public libraries, online collections like the Internet Archive don’t always fit the same role or abide by the same regulations as tax-funded public libraries. Sandra Cisneros, author of The House on Mango Street, has written the following:

“To this day, I am angry that Internet Archive tells the world that it is a library and that, by bootlegging my books, it is simply doing what libraries have always done. Real libraries do not do what Internet Archive does. The libraries that raised me paid for their books, they never stole them.”

Further Reading:

Amicus Brief [Submitted by the Author’s Guild]

Fight for the Future’s Open Letter Defending Libraries’ Rights in a Digital Age

Joint Statement in Response to Fight for the Future’s Letter Falsely Claiming that the Lawsuit Against Internet Archive’s Open Library Harms Public Libraries [Published by the Author’s Guild]

Publishers: What Authors Are Paid

Some of the commentators I’ve seen are disgruntled specifically with the publishers suing the Internet Archive, and I will say that many of these complaints are valid. The four publishing companies behind the lawsuits (Hachette Book Group, HarperCollins Publishers, John Wiley & Sons, and Penguin Random House) are not known for the stellar treatment of their authors and employees. With the HarperCollins Publishers strike ending only a month before the IA lawsuit ruling, many readers are poised to support any entity at odds with one or more of the “Big Five” publishers. In this particular case, however, the power wielded by these publishing companies was used in defense of author’s rights to their works, for which The Authors Guild and other similar creator groups have expressed gratitude.

When it comes to finding solutions to the digital lending problem in general, it is important to understand what and how authors are paid for digital copies of their work. Jane Friedman has created the graphic below displaying the industry standards for the Big Five publishers. You can read more about agency and wholesome models here.

As you can see, authors and publishers alike benefit from e-book library licensure when compared to individual e-book sales, especially when you consider the time limits on library licensures. But advocates of this licensure model argue that the high prices for e-book licensure are designed to make up for the lost sales in e-books. While library goers buy more books than book buyers who don’t visit the library, the copies they buy typically vary by format. For example, a reader may borrow an audiobook from the library, decide they like it, and purchase a physical copy for their collection. While readers may buy a physical copy of a book after reading a physical library copy, they are unlikely to buy a digital copy after readying a digital library copy, making e-book lending a replacement for e-book buying in ways that physical lending doesn’t fully replace physical book purchases.

What ISN’T accounted for in this graphic is self-publication and what is known as a right of reversion. Depending on the wording of their contract, an author can request their publication rights be returned to them if the work in question is out of print and no longer being published. The publisher can then either return the work to “in print” status or return the rights to the author, who can then self-publish the work. In these cases, the 5-15% profit they would have made off their traditionally published book becomes a 35-70% profit as a self-published book. This is why authors are particularly frustrated with the IA’s argument that it is perfectly legal and ethical to release digital copies of books that are no longer in print. Those out-of-print works are where many authors earn their most reliable, long-term income, and they provide the largest opportunity for the authors to take control of their own works again and make fairer wages through self-publication.

The most obvious answer to this is that if authors are being the ones hit hardest by library and digital lending, then it is the publishers that need to treat their authors with better contracts. The fact that some authors are only earning 5% of profits on hardcover copies of their books (whether those are being sold to libraries or individuals) is eye opening. Alas, like the “we shouldn’t have to tip waiters” argument, this is much easier said than done.

Further Reading:

What Is the Agency Model for E-books? Your Burning Questions Answered

What Do Authors Earn from Digital Lending at Libraries?

You: The Ethics of Piracy

There are number of contributing factors to Tumblr’s enthusiasm for pirating. We are heavily invested in the media we consume, and it is easy to interpret (sometimes accurately) copyright as a weapon used by publishers and distant descendants of long-dead authors to restrict creativity and representation in adaptations of beloved texts. There are also legitimate barriers that keep us from legally obtaining media, whether that is the physical or digital inaccessibility of our local libraries and library websites, financial concerns, or censorship on an institutional or familial level. In fact, studies have found that 41% of book pirates also buy books, implying that a lot of illegal piracy is an attempt at format shifting (ripping CDs onto your computer to access them as MP3 files, for example, or downloading a digital copy of a book you already own in order to use the search feature).

The interesting thing is that copyright law in the U.S. has a specific loophole to allow for legal format shifting for accessibility purposes. This is due to the Chafee Amendment (17 U.S.C. § 121), passed in 1996, which focused on making published print material more available to people with disabilities that interfere with their ability to read print books, such as blindness, severe dyslexia and any physical disability that makes holding and manipulating a print book prohibitively difficult. In practice, this means nonprofits and government agencies in the U.S. are allowed to create and distribute braille, audio and digital versions of copyrighted books to eligible people without waiting for permission from the copyright holder. While this originally only applied to “nondramatic literary works,” updates to the regulations have been made as recently as 2021 to include printed work of any genre and to expand the ways “print-disabled” readers can be certified. Programs like Bookshare, Learning Ally, and the National Library Service for the Blind and Print-Disabled no longer require certification from a medical doctor to create an account. The Internet Archive also uses the Chafee Amendment to break their Controlled Digital Lending regulations for users with print disabilities. While applications of the Chafee Amendment are still heavily regulated, it is worth noting that even U.S. copyright law acknowledges the ways copyright contributes to making information inaccessible to a large amount of people.

Accessibility is not the only argument when discussing the morality of pirating. For some people, appreciation for piracy and shadow libraries comes from a background in archival work and an awareness how much of our historical archives today wouldn’t exist without pirated copies of media being made decades or even a century ago. But we have to be more careful about the way we talk about piracy. Though piracy is often talked about as a victimless crime, this is not always the case, and each one of us has a responsibility to critically think about our place in the media market and determine our own standards for when piracy is ethical. In some cases, such as the recent conversation surrounding the Harry Potter game, some people may even decide that pirating is a more ethical alternative to purchasing. Here are a few questions to consider when deciding whether or not to pirate a piece of media:

What other alternatives have you seen for legally purchasing, renting or borrowing a copy of this media?

Is the alternative to pirating this media purchasing it or not reading/referencing it at all?

Who does this particular piracy affect? Whether or not you think the creator(s) deserve to have their work pirated, you need to acknowledge there is someone who would otherwise be paid for their work.

If a significant portion of consumers pirated this work, what would the consequences be for future projects? Would you be willing to claim partial responsibility for that outcome?

I’m not making any moral statements about pirating as a whole, just noting that the way we discuss the consequences of pirating has a genuine effect on the media landscape. If you got this far, thank you so much for reading! It is genuine work to try and understand the complexity behind every day decisions, especially when the topic at hand is as complicated as the modern digital lending crisis.

Further Reading:

Panorama Project Releases Immersive Media & Books 2020 Research Report by Noorda and Berens

The Chafee Amendment: Improving Access To Information

National Center on Accessible Educational Materials

National Library Service for the Blind and Print Disabled

Books For People With Print Disabilites: The Internet Archive

Bookshare

Learning Ally

#Internet archive #IA lawsuit #digital lending #libraries #digital libraries #open library #controlled digital lending #national emergency library

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