Quotes by Vladimir Nabokov

But soon the poltergeist ran out of ideas in connection with Aunt Maud and became, as it were, more eclectic. All the banal motions that objects are limited to in such cases, were gone through in this one. Saucepans crashed in the kitchen; a snowball was found (perhaps, prematurely) in the icebox; once or twice Sybil saw a plate sail by like a discus and land safely on the sofa; lamps kept lighting up in various parts of the house; chairs waddled away to assemble in the impassable pantry; mysterious bits of string were found on the floor; invisible revelers staggered down the staircase in the middle of the night; and one winter morning Shade, upon rising and taking a look at the weather, saw that the little table from his study upon which he kept Bible-like Webster open at M was standing in a state of shock outdoors, on the snow (subliminally this may have participated in the making of lines 5-12).I imagine, that during the period the Shades, or at least John Shade, experienced a sensation of odd instability as if parts of the everyday, smoothly running world had got unscrewed, and you became aware that one of your tires was rolling beside you, or that your steering wheel had come off.

Running in the wind, in the pollen and dust, a flower in flight

...for she soars with the wildest hyperbole when not tagging after the most pedestrian dictum.

He loved her in spite of her unlovableness. Armande had many trying, thought not necessarily rare, traits, all of which he accepted as absurd clues in a clever puzzle.

The best part of a writers biography is not the record of his adventures but the story of his style. [Vogue, interview, 1969]

...I happen to be the kind of author who in starting to work on a book has no purpose than to get rid of that book....

He loved her in spite of her unlovableness. Armande had many trying, though not necessarily rare, traits, all of which he accepted as absurd clues in a clever puzzle.

From early childhood his mother had taught him that to discuss in public a profound emotional experience-which, in the open air, immediately evanesces and fades, and, oddly, becomes similar to an analogous experience of ones interlocutor-was not only vulgar, but also a sin against sentiment.

They are beautiful, heart-rendingly beautiful, those wilds, with a quality of wide-eyed, unsung, innocent surrender that my lacquered, toy-bright Swiss villages and exhaustively lauded Alps no longer possess. Innumerable lovers have clipped and kissed on the trim turf of old-world mountainsides, on the innerspring moss, by a handy, hygienic rill, on rustic benches under the initialed oaks, and in so many cabanes in so so many beech forests. But in the Wilds of America the open-air lover will not find it easy to indulge in the most ancient of all crimes and pastimes. Poisonous plants burn his sweethearts buttocks, nameless insects sting his; sharp items of the forest floor prick his knees, insects hers; and all around there abides a sustained rustle of potential snakes--que dis-je,of semi-extinct dragons!--while the crablike seeds of ferocious flowers cling, in a hideous green crust, to gartered black sock and sloppy white sock alike.

Human thought, flying on the trapezes of the star-filled universe, with mathematics stretched beneath, was like an acrobat working with a net but suddenly noticing that in reality there is no net.

I am sufficiently proud of my knowing something to be modest about my not knowing all.

You forget, my good man, that what the artist perceives is, primarily, the difference between things. It is the vulgar who note their resemblance.

In this very special self-hypnotic state there can be no question of getting out of touch with on[e]self and floating into a normal sleep (unless you are very tired at the start)

All my life I have been a poor go-to-sleeper. No matter how great my weariness, the wrench of parting with consciousness is unspeakably repulsive to me. I loathe Somnus, that black-masked headsman binding me to the block; and if in the course of years I have got so used to my nightly ordeal as almost to swagger while the familiar axe is coming out of its great velvet-lined case, initially I had no such comfort or defense: I had nothing - save a door left slightly ajar into Mademoiselles room. Its vertical line of meek light was something I could cling to, since in absolute darkness my head would swim, just as the soul dissolves in the blackness of sleep.

The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail.

A sunset, almost formidable in its splendor, would be lingering in the fully exposed sky. Among its imperceptibly changing amassments, one could pick out brightly stained structural details of celestial organisms, or glowing slits in dark banks, or flat, ethereal beaches that looked like mirages of desert islands. I did not know then (as I know perfectly well now) what to do with such things—how to get rid of them, how to transform them into something that can be turned over to the reader in printed characters to have him cope with the blessed shiver—and this inability enhanced my oppression.

I notice I may have somehow mixed up two events, my visit with Rita to Briceland on our way to Cantrip, and our passing through Briceland again on our way back to New York, but such suffusions of swimming colors are not to be disdained by the artist in recollection.

She thought of the recurrent waves of pain that for some reason or other she and her husband had had to endure; of the invisible giants hurting her boy in some unimaginable fashion; of the incalculable amount of tenderness contained in the world; of the fate of this tenderness, which is either crushed or wasted, or transformed into madness; of neglected children humming to themselves in unswept corners; of beautiful weeds that cannot hide from the farmer.

Nowadays you have to be a scientist if you want to be a killer. No, no, I was neither. Ladies and gentleman of the jury, the majority of sex offenders that hanker for some throbbing, sweet-moaning, physical but not necessarily coital, relation with a girl-child, are innocuous, inadequate, passive, timid strangers who merely ask the community to allow them to pursue their practically harmless, so-called aberrant behavior, their little hot wet private acts of sexual deviation without the police and society cracking down upon them. We are not sex fiends! We do not rape as good soldiers do. We are unhappy, mild, dog-eyed gentlemen, sufficiently well integrated to control our urge in the presence of adults, but ready to give years and years of life for one chance to touch a nymphet. Emphatically, no killers are we. Poets never kill.

And yet I shall try again: they are murdering me!--all right, all together once more: they are murdering me! and again: murdering... I want to write this in such a way that you will cover your ears, your membranaceous, simian ears that you hide under strands of beautiful feminine hair--but I know them, I see them, I pinch them, the cold little things, I worry them with my fingers to somehow warm them, bring them to life, render them human, force them to hear me.