Happy birthday, Vladimir Nabokov! Here are some quotes from his writing.
“Curiosity is insubordination in its purest form.”
“For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm. There are not many such books.”
“The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness.”
“My loathings are simple: stupidity, oppression, crime, cruelty, soft music. My pleasures are the most intense known to man: writing and butterfly hunting.”
“Literature, real literature, must not be gulped down like some potion which may be good for the heart or good for the brain—the brain, that stomach of the soul. Literature must be taken and broken to bits, pulled apart, squashed—then its lovely reek will be smelt in the hollow of the palm, it will be munched and rolled upon the tongue with relish; then, and only then, its rare flavor will be appreciated at its true worth and the broken and crushed parts will again come together in your mind and disclose the beauty of a unity to which you have contributed something of your own blood.”
“Literature is invention. Fiction is fiction. To call a story a true story is an insult to both art and truth. Every great writer is a great deceiver, but so is that arch-cheat Nature. Nature always deceives. From the simple deception of propagation to the prodigiously sophisticated illusion of protective colors in butterflies or birds, there is in Nature a marvelous system of spells and wiles. The writer of fiction only follows Nature’s lead.”
“Let all of life be an unfettered howl. Like the crowd greeting the gladiator. Don’t stop to think, don’t interrupt the scream, exhale, release life’s rapture.”
“I think it is all a matter of love; the more you love a memory the stronger and stranger it becomes.”
“A writer should have the precision of a poet and the imagination of a scientist.”
“Curiously enough, one cannot read a book; one can only reread it. A good reader, a major reader, and active and creative reader is a rereader.”
“The pages are still blank, but there is a miraculous feeling of the words being there, written in invisible ink and clamoring to become visible.”
“What surprises you in life? The marvel of consciousness—that sudden window swinging open on a sunlit landscape amidst the night of non-being.”
“I have no desires, save the desire to express myself—in defiance of all the world’s muteness. How frightened I am. How sick with fright. But no one shall take me away from myself.”
“There are three points of view from which a writer can be considered: he may be considered as a storyteller, as a teacher, and as an enchanter. A major writer combines these three—storyteller, teacher, enchanter—but it is the enchanter in him that predominates and makes him a major writer.
To the storyteller we turn for entertainment, for mental excitement of the simplest kind, for emotional participation, for the pleasure of traveling in some remote region in space or time. A slightly different though not necessarily higher mind looks for the teacher in the writer. Propagandist, moralist, prophet—this is the rising sequence. We may go to the teacher not only for moral education but also for direct knowledge, for simple facts…Finally, and above all, a great writer is always a great enchanter, and it is here that we come to the really exciting part when we try to grasp the individual magic of his genius and to study the style, the imagery, the pattern of his novels or poems.
The three facets of the great writer—magic, story, lesson—are prone to blend in one impression of unified and unique radiance, since the magic of art may be present in the very bones of the story, in the very marrow of thought. There are masterpieces of dry, limpid, organized thought which provoke in us an artistic quiver quite as strongly as a novel like Mansfield Park does or as any rich flow of Dickensian sensual imagery. It seems to me that a good formula to test the quality of a novel is, in the long run, a merging of the precision of poetry and the intuition of science. In order to bask in that magic a wise reader reads the book of genius not with his heart, not so much with his brain, but with his spine. It is there that occurs the telltale tingle even though we must keep a little aloof, a little detached when reading. Then with a pleasure which is both sensual and intellectual we shall watch the artist build his castle of cards and watch the castle of cards become a castle of beautiful steel and glass.”
“Poetry, of course, includes all creative writing; I have never been able to see any generic difference between poetry and artistic prose. As a matter of fact, I would be inclined to define a good poem of any length as a concentrate of good prose, with or without the addition of recurrent rhythm and rhyme.”
“Usually I read several books at a time—old books, new books, fiction, nonfiction, verse, anything—and when the bedside heap of a dozen volumes or so has dwindled to two or three, which generally happens by the end of one week, I accumulate another pile.”
John Madera's fiction may be found in Conjunctions, Opium Magazine, The &Now Awards 2: The Best Innovative Writing, and many other journals. His criticism may be found in American Book Review, Bookforum, The Review of Contemporary Fiction, Rain Taxi: Review of Books, The Believer, The Brooklyn Rail, and many other venues. Recipient of an M.F.A. in Literary Arts from Brown University, John Madera lives in New York City, where he runs Rhizomatic and manages and edits Big Other.
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