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袟邪褖懈褌邪 袥褍卸懈薪邪
Vladimir Nabokov's early novel is the dazzling story of the coarse, strange yet oddly endearing chess-playing genius Luzhin. Discovering his prodigious gift in boyhood and rising to the rank of International Grandmaster, Luzhin develops a lyrical passion for chess that renders the real world a phantom. As he confronts the fiery, swift-swooping Italian Grandmaster Turati, he brings into play his carefully devised defence. Making masterly play of metaphor and imagery, The Luzhin Defense is the book that, of his early works, Nabokov felt 'contains and diffuses the greatest warmth'.
288 pages, Hardcover
First published January 1, 1929
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15.5k people want to read
About the author
Vladimir Nabokov
827听books14.4k听followersRussian:
袙谢邪写懈屑懈褉 袧邪斜芯泻芯胁
.
Vladimir Vladimirovich Nabokov, also known by the pen name Vladimir Sirin, was a Russian-American novelist. Nabokov wrote his first nine novels in Russian, then rose to international prominence as a master English prose stylist. He also made significant contributions to lepidoptery, and had a big interest in chess problems.
Nabokov's Lolita (1955) is frequently cited as his most important novel, and is at any rate his most widely known one, exhibiting the love of intricate wordplay and descriptive detail that characterized all his works.
Lolita was ranked fourth in the list of the Modern Library 100 Best Novels; Pale Fire (1962) was ranked 53rd on the same list, and his memoir, Speak, Memory (1951), was listed eighth on the publisher's list of the 20th century's greatest nonfiction. He was also a finalist for the National Book Award for Fiction seven times.
Vladimir Vladimirovich Nabokov, also known by the pen name Vladimir Sirin, was a Russian-American novelist. Nabokov wrote his first nine novels in Russian, then rose to international prominence as a master English prose stylist. He also made significant contributions to lepidoptery, and had a big interest in chess problems.
Nabokov's Lolita (1955) is frequently cited as his most important novel, and is at any rate his most widely known one, exhibiting the love of intricate wordplay and descriptive detail that characterized all his works.
Lolita was ranked fourth in the list of the Modern Library 100 Best Novels; Pale Fire (1962) was ranked 53rd on the same list, and his memoir, Speak, Memory (1951), was listed eighth on the publisher's list of the 20th century's greatest nonfiction. He was also a finalist for the National Book Award for Fiction seven times.
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Shelved as 'dnf'
December 3, 2021Niestety strasznie mnie meczy styl pisania i nic nie rozumiem. Jest dziwnie i wr臋cz groteskowo
April 12, 2020
It鈥檚 Never Too Late for a Happy Childhood
A boy who doesn鈥檛 want to grow up; a mother who loses interest in him as he does; a father who writes an idealised version of the boy鈥檚 life in which he doesn鈥檛; and an agent who values only his client鈥檚 youthfulness: clearly not the best conditions for psychic maturation; but hardly signs of abuse.
The boy finds his solace and calling in the game of chess: 鈥渆verything apart from chess was an enchanting dream... Real life, chess life, was orderly, clear cut, and rich in adventure.鈥� In this life he was safe and secure as well as internationally famous.
The death of the boy鈥檚 father, in some sense a sign of forced adulthood, is resisted. The boy won鈥檛 attend the funeral. Instead he falls in love, with a woman who possesses that
What could possibly go wrong?
Marriage brings with it a new adult provider, the father-in-law, and a new tender carer in his wife. But it also brings something unfortunate, the recognition of the 鈥渇ull horror of the abysmal depths of chess.鈥�
He has a breakdown. His wife and his doctor begin to explore his 鈥渄ark period of spiritual blindness,鈥� that is, his childhood. But it is clear to the reader that his condition is not the result of childhood trauma. Rather it is his desire to remain in a re-created childhood, free from the cares and sufferings of life outside of chess, and his fear of being removed from it, that is the cause of his distress.
Part of his therapy is complete isolation from chess. The wife knows it was necessary to find 鈥渟ome other interesting game.鈥� But socialising, travel, typing, water-colouring can鈥檛 fill the chess-shaped hole in his soul. The result, of course, is that his highly functional life playing chess becomes a psychotic disaster in which he can no longer distinguish his life from the game that gave it meaning and coherence.
It鈥檚 often possible to detect who鈥檚 being helped through analysis by the haunted look in their eyes. Thank you Dr. Freud.
A boy who doesn鈥檛 want to grow up; a mother who loses interest in him as he does; a father who writes an idealised version of the boy鈥檚 life in which he doesn鈥檛; and an agent who values only his client鈥檚 youthfulness: clearly not the best conditions for psychic maturation; but hardly signs of abuse.
The boy finds his solace and calling in the game of chess: 鈥渆verything apart from chess was an enchanting dream... Real life, chess life, was orderly, clear cut, and rich in adventure.鈥� In this life he was safe and secure as well as internationally famous.
The death of the boy鈥檚 father, in some sense a sign of forced adulthood, is resisted. The boy won鈥檛 attend the funeral. Instead he falls in love, with a woman who possesses that
鈥渕ysterious ability in her soul to apprehend in life only that which had attracted and tormented her in childhood... to find constantly an intolerable and tender pity for the creature whose life is helpless and unhappy...鈥�A perfect match, therefore: she a compulsive caretaker; he the eternal child. Whether either or both is psychotic or merely neurotic when they meet is an open question.
What could possibly go wrong?
Marriage brings with it a new adult provider, the father-in-law, and a new tender carer in his wife. But it also brings something unfortunate, the recognition of the 鈥渇ull horror of the abysmal depths of chess.鈥�
He has a breakdown. His wife and his doctor begin to explore his 鈥渄ark period of spiritual blindness,鈥� that is, his childhood. But it is clear to the reader that his condition is not the result of childhood trauma. Rather it is his desire to remain in a re-created childhood, free from the cares and sufferings of life outside of chess, and his fear of being removed from it, that is the cause of his distress.
Part of his therapy is complete isolation from chess. The wife knows it was necessary to find 鈥渟ome other interesting game.鈥� But socialising, travel, typing, water-colouring can鈥檛 fill the chess-shaped hole in his soul. The result, of course, is that his highly functional life playing chess becomes a psychotic disaster in which he can no longer distinguish his life from the game that gave it meaning and coherence.
It鈥檚 often possible to detect who鈥檚 being helped through analysis by the haunted look in their eyes. Thank you Dr. Freud.
October 14, 2017
The combination of Chess and Nabokov seemed to me a match made in heaven, a big fan of both, this was just too tempting to turn down, even though I knew it would take something pretty remarkable to reach the heights of either 'Pale Fire' or 'Lolita', I still felt like reading what is one of his earlier Russian novels (his third written in 1930) before he embarked on his American odyssey.
The Luzhin Defence is a book that does features chess, but doesn't delve too deeply into the actual playing of the game, so anyone clueless on the subject will rarely have to scratch their heads in uncertainty, it's main focus is the life of Luzhin himself, from his childhood in St Petersburg and learning the game with his Aunt, to becoming a shambling grand Grand Master who arrives in the Italian Lakes to play the Italian whizz Turati, and sets in motion events that unexpectedly had him finding the love of his life. The novel opens with a sense of nostalgia, with memory-misted scenes of Luzhin's boy-hood in Russia and his first initiation into the "game of the Gods" for which he is seen to have a prodigious and natural talent. Miserably alone, with little friends, and parents who both feel estranged and unemotional (Luzhin's father is a writer of boy's adventure stories but seems more dead than living) the boy would take to chess and give him that spark that had been missing from his life. The kid pushed around at school, would grow-up to become a maestro.
His passion for chess is almost one of obsession, an awkward figure he becomes, and is completely isolated in his opaque, imaginary world of configurations where he alone is sovereign as kings and queens and pawns are in eternal motion across his private field of vision. You get the impression the outside world and other people are of little significance. Nabokov rushes us from the early days, and the subterfuge he has to undertake to play the game, and we find Luzhin again in a post-revolutionary Europe, a ridiculous figure, his Grand Master status on the wane as other younger players get to grips with his own techniques for winning. During a stay in a health-spa Luzhin meets a Russian woman, herself an 茅migr茅 from the revolution living in Berlin, and before long want her to be his wife, all to the annoyance of her parents, who want none of it. Their awkward courtship, where Luzhin asks for her hand has the air of a drowning man rather than a suitor.
And his beloved game would start to suffer, leading to big cracks appearing in his sturdy mind.
Reading Nabokov, any Nabokov, there is a 99% chance it's going to be worth it, this splendid novel was a delight, and even though it doesn't go all out in terms of plot or story, there are early signs here that the masterful narrative that showed up in his American novels was starting to emerge.
This had some wonderful sentencing, that was simply breathtaking, a joy to behold!
The Luzhin Defence can also be seen as a simple biography of a dull man, similar in some ways to that of John Williams' 'Stoner', but that conventionality only goes so far with Nabokov of course. In other ways, the life story is an extended metaphor, a game of chess within itself.
Nabokov is quite rightly regarded as one of the greatest writers to have graced this earth, so comparing this to most other books I have read, it would get top marks, but then I have to take into account both 'Pale Fire' and 'Lolita', for me, novels just don't come much better, The Luzhin Defence simply wasn't as good, but then that's no disgrace at all. A solid four stars. Thanks Vlad.
The Luzhin Defence is a book that does features chess, but doesn't delve too deeply into the actual playing of the game, so anyone clueless on the subject will rarely have to scratch their heads in uncertainty, it's main focus is the life of Luzhin himself, from his childhood in St Petersburg and learning the game with his Aunt, to becoming a shambling grand Grand Master who arrives in the Italian Lakes to play the Italian whizz Turati, and sets in motion events that unexpectedly had him finding the love of his life. The novel opens with a sense of nostalgia, with memory-misted scenes of Luzhin's boy-hood in Russia and his first initiation into the "game of the Gods" for which he is seen to have a prodigious and natural talent. Miserably alone, with little friends, and parents who both feel estranged and unemotional (Luzhin's father is a writer of boy's adventure stories but seems more dead than living) the boy would take to chess and give him that spark that had been missing from his life. The kid pushed around at school, would grow-up to become a maestro.
His passion for chess is almost one of obsession, an awkward figure he becomes, and is completely isolated in his opaque, imaginary world of configurations where he alone is sovereign as kings and queens and pawns are in eternal motion across his private field of vision. You get the impression the outside world and other people are of little significance. Nabokov rushes us from the early days, and the subterfuge he has to undertake to play the game, and we find Luzhin again in a post-revolutionary Europe, a ridiculous figure, his Grand Master status on the wane as other younger players get to grips with his own techniques for winning. During a stay in a health-spa Luzhin meets a Russian woman, herself an 茅migr茅 from the revolution living in Berlin, and before long want her to be his wife, all to the annoyance of her parents, who want none of it. Their awkward courtship, where Luzhin asks for her hand has the air of a drowning man rather than a suitor.
And his beloved game would start to suffer, leading to big cracks appearing in his sturdy mind.
Reading Nabokov, any Nabokov, there is a 99% chance it's going to be worth it, this splendid novel was a delight, and even though it doesn't go all out in terms of plot or story, there are early signs here that the masterful narrative that showed up in his American novels was starting to emerge.
This had some wonderful sentencing, that was simply breathtaking, a joy to behold!
The Luzhin Defence can also be seen as a simple biography of a dull man, similar in some ways to that of John Williams' 'Stoner', but that conventionality only goes so far with Nabokov of course. In other ways, the life story is an extended metaphor, a game of chess within itself.
Nabokov is quite rightly regarded as one of the greatest writers to have graced this earth, so comparing this to most other books I have read, it would get top marks, but then I have to take into account both 'Pale Fire' and 'Lolita', for me, novels just don't come much better, The Luzhin Defence simply wasn't as good, but then that's no disgrace at all. A solid four stars. Thanks Vlad.
November 20, 2008
If you are a chessplayer, like me, you simply have to read this book. No one else has even come close to describing chess obsession from the inside. The style is, needless to say, impeccable.
Read
March 10, 2018One of the things I like most about Nabokov鈥檚 novels is the structure, and this one has a particularly interesting structure.
At the beginning of chapter nine which is roughly half way through the book, two new characters appear out of nowhere, two young Berliners who are trying to return home after a hard night on the town. Both of them continued farther along the deserted night street, which alternately rose up smoothly to the stars and then sloped down again.
That deserted night street could represent the novel itself; it also rises up soberly towards the mid point and then lurches unsteadily towards the end. And it's quite a drunken lurching, weaving this way and that, holding onto anything it can grab, especially any props still lying about from the first half of the book: the woodprint of a child prodigy in a nightgown, the wheezy governess in the wheezy elevator, the father鈥檚 typewriter, the mother鈥檚 cousin, the forgotten friend from school, the family doctor, the beloved treasure buried under a tree.
With the help of all the props, the struggling novel finishes up in the end exactly where it left off in chapter eight just before the night street began to lurch: flatter and flatter like the flattened cardboard pieces of a pocket cardboard chess set.
I liked that twisted symmetry.
Anything else I might have been tempted to comment on, such as the plot, or the themes, or the characters, or the embedded chess game, or the autobiographical elements, were off limits because the author has commented on it all himself in the preface. Nabokov tells us in very certain terms that he wants to spare the time and effort of hack reviewers. So I鈥檝e taken him at his word and skipped all such sleuthing. He didn鈥檛 mention the parallels between the end of chapter eight and the end of the book however - which fortunately left me something to say in this tenth and final Nabokov review.
Thank you, Mr Nabokov, and goodnight.
At the beginning of chapter nine which is roughly half way through the book, two new characters appear out of nowhere, two young Berliners who are trying to return home after a hard night on the town. Both of them continued farther along the deserted night street, which alternately rose up smoothly to the stars and then sloped down again.
That deserted night street could represent the novel itself; it also rises up soberly towards the mid point and then lurches unsteadily towards the end. And it's quite a drunken lurching, weaving this way and that, holding onto anything it can grab, especially any props still lying about from the first half of the book: the woodprint of a child prodigy in a nightgown, the wheezy governess in the wheezy elevator, the father鈥檚 typewriter, the mother鈥檚 cousin, the forgotten friend from school, the family doctor, the beloved treasure buried under a tree.
With the help of all the props, the struggling novel finishes up in the end exactly where it left off in chapter eight just before the night street began to lurch: flatter and flatter like the flattened cardboard pieces of a pocket cardboard chess set.
I liked that twisted symmetry.
Anything else I might have been tempted to comment on, such as the plot, or the themes, or the characters, or the embedded chess game, or the autobiographical elements, were off limits because the author has commented on it all himself in the preface. Nabokov tells us in very certain terms that he wants to spare the time and effort of hack reviewers. So I鈥檝e taken him at his word and skipped all such sleuthing. He didn鈥檛 mention the parallels between the end of chapter eight and the end of the book however - which fortunately left me something to say in this tenth and final Nabokov review.
Thank you, Mr Nabokov, and goodnight.
August 4, 2020
The Luzhin Defense, Vladimir Nabokov
The Luzhin Defense is the third novel written by Vladimir Nabokov during his emigration to Berlin, published in 1930. The plot concerns the title character, Aleksandr Ivanovich Luzhin.
As a boy, he is considered unattractive, withdrawn, and an object of ridicule by his classmates. One day, when a guest comes to his father's party, he is asked whether he knows how to play chess.
This encounter serves as his motivation to pick up chess. He skips school and visits his aunt's house to learn the basics. He quickly becomes a great player, enrolling in local competitions and rising in rank as a chess player.
His talent is prodigious and he attains the level of a Grandmaster in less than ten years. For many years, he remains one of the top chess players in the world, but fails to become a world champion. ...
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 賳禺爻鬲 賲丕賴 丌诏賵爻鬲 爻丕賱 2006 賲蹖賱丕丿蹖
毓賳賵丕賳: 丿賮丕毓 賱賵跇蹖賳貨 賳賵蹖爻賳丿賴: 賵賱丕丿蹖賲蹖乇 賳丕亘丕讴賮貨 賲鬲乇噩賲: 乇囟丕 乇囟丕蹖蹖貨 鬲賴乇丕賳貙 讴丕乇賳丕賲賴貙 1384貨 丿乇 334氐貨 卮丕亘讴 9644310519貨 趩丕倬 丿賵賲 1393貨 丿乇 342氐貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 乇賵爻蹖賴 - 爻丿賴 20賲
丕蹖賳 乇賲丕賳 乇丕噩毓 亘賴 卮禺氐蹖鬲 禺蹖丕賱蹖 賱賵跇蹖賳 (亘丕 賳丕賲 讴丕賲賱 丌賱讴爻丕賳丿乇 丕蹖賵丕賳賵賵蹖趩) 丕爻鬲丕丿 乇賵爻 鬲亘丕乇 卮胤乇賳噩 丕爻鬲貙 讴賴 丿乇 趩賴丕乇丿賴 賮氐賱 乇賵丕蹖鬲 賲蹖鈥屫促堌� 亘禺卮 毓賲丿賴贁 丿丕爻鬲丕賳貙 賲丕噩乇丕賴丕蹖 夭賳丿诏蹖 丕賵 丿乇 爻蹖 爻丕賱诏蹖 乇丕 乇賵丕蹖鬲 賲蹖鈥屭┵嗀� 賵 趩賳丿 賮氐賱 丕亘鬲丿丕蹖蹖 賳蹖夭 亘賴 讴賵丿讴蹖 丕賵 賲蹖鈥屬矩必ж藏�.貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 13/05/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Luzhin Defense is the third novel written by Vladimir Nabokov during his emigration to Berlin, published in 1930. The plot concerns the title character, Aleksandr Ivanovich Luzhin.
As a boy, he is considered unattractive, withdrawn, and an object of ridicule by his classmates. One day, when a guest comes to his father's party, he is asked whether he knows how to play chess.
This encounter serves as his motivation to pick up chess. He skips school and visits his aunt's house to learn the basics. He quickly becomes a great player, enrolling in local competitions and rising in rank as a chess player.
His talent is prodigious and he attains the level of a Grandmaster in less than ten years. For many years, he remains one of the top chess players in the world, but fails to become a world champion. ...
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 賳禺爻鬲 賲丕賴 丌诏賵爻鬲 爻丕賱 2006 賲蹖賱丕丿蹖
毓賳賵丕賳: 丿賮丕毓 賱賵跇蹖賳貨 賳賵蹖爻賳丿賴: 賵賱丕丿蹖賲蹖乇 賳丕亘丕讴賮貨 賲鬲乇噩賲: 乇囟丕 乇囟丕蹖蹖貨 鬲賴乇丕賳貙 讴丕乇賳丕賲賴貙 1384貨 丿乇 334氐貨 卮丕亘讴 9644310519貨 趩丕倬 丿賵賲 1393貨 丿乇 342氐貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 乇賵爻蹖賴 - 爻丿賴 20賲
丕蹖賳 乇賲丕賳 乇丕噩毓 亘賴 卮禺氐蹖鬲 禺蹖丕賱蹖 賱賵跇蹖賳 (亘丕 賳丕賲 讴丕賲賱 丌賱讴爻丕賳丿乇 丕蹖賵丕賳賵賵蹖趩) 丕爻鬲丕丿 乇賵爻 鬲亘丕乇 卮胤乇賳噩 丕爻鬲貙 讴賴 丿乇 趩賴丕乇丿賴 賮氐賱 乇賵丕蹖鬲 賲蹖鈥屫促堌� 亘禺卮 毓賲丿賴贁 丿丕爻鬲丕賳貙 賲丕噩乇丕賴丕蹖 夭賳丿诏蹖 丕賵 丿乇 爻蹖 爻丕賱诏蹖 乇丕 乇賵丕蹖鬲 賲蹖鈥屭┵嗀� 賵 趩賳丿 賮氐賱 丕亘鬲丿丕蹖蹖 賳蹖夭 亘賴 讴賵丿讴蹖 丕賵 賲蹖鈥屬矩必ж藏�.貨
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 13/05/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
February 1, 2024
螖蔚谓 尉苇蟻蠅 伪蟺蠈 蟺慰蠀 谓伪 伪蟻蠂委蟽蠅 渭蔚 蟿慰 蟽蠀纬魏蔚魏蟻喂渭苇谓慰 尾喂尾位委慰!! 螒蟺蠈 蟿畏谓 蔚尉伪委蟽喂伪 纬蟻伪蠁萎 魏伪喂 纬位蠋蟽蟽伪 蟿慰蠀 螡伪渭蟺蠈魏慰蠁, 伪蟺蠈 蟿喂蟼 蟺慰位蠀蔚蟺委蟺蔚未蔚蟼 伪谓伪位蠉蟽蔚喂蟼 萎 伪蟺蠈 蟿慰蠀蟼 喂未喂伪委蟿蔚蟻慰蠀蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼 蟺慰蠀 蟺位伪喂蟽喂蠋谓慰蠀谓 蟿慰谓 谓蔚伪蟻蠈 螞慰蠉味喂谓;;; 螠维位位慰谓 蠈位伪 蟿伪 蟺伪蟻伪蟺维谓蠅 蟽蠀谓胃苇蟿慰蠀谓 苇谓伪 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 蟿畏蟼 蟺伪纬魏蠈蟽渭喂伪蟼 位慰纬慰蟿蔚蠂谓委伪蟼 蟿慰 慰蟺慰委慰 蠁委位慰喂 魏伪喂 渭畏 蟿慰蠀 蟽魏伪魏喂慰蠉 蟺蟻苇蟺蔚喂 谓伪 蟿慰 未喂伪尾维蟽慰蠀谓....
螣 螞慰蠉味喂谓 蔚委谓伪喂 蔚委谓伪喂 苇谓伪 蟺伪喂未委 渭蔚 魏维蟺慰喂慰 蟽蠉谓未蟻慰渭蠈 萎 魏维蟺慰喂伪 蠄蠀蠂慰位慰纬喂魏萎 未喂伪蟿伪蟻伪蠂萎, 蟿慰蠀 慰蟺慰委慰蠀 蠈位畏 畏 味蠅萎 蟺蔚蟻喂蟽蟿蟻苇蠁蔚蟿伪喂 纬蠉蟻蠅 伪蟺蠈 蟿慰 蟽魏维魏喂. 螖蔚谓 渭蟺慰蟻蔚委 谓伪 蔚谓蟿伪蠂胃蔚委 蟽蟿慰 蟽蠉谓慰位慰, 伪蟺蠈 蟿伪 蟺伪喂未喂魏维 蟿慰蠀 蠂蟻蠈谓喂伪 魏喂蠈位伪蟼 魏伪喂 尾蟻委蟽魏蔚喂 魏伪蟿伪蠁蠉纬喂慰 蟽蟿伪 64 蟿蔚蟿蟻维纬蠅谓伪 蟿慰蠀 蟺伪谓维蟻蠂伪喂慰蠀 蟺伪喂蠂谓喂未喂慰蠉. 危蟿畏谓 蟺蟻慰蟽蟺维胃蔚喂伪 蟿慰蠀 谓伪 伪谓伪未蔚喂蠂胃蔚委 蟺伪纬魏蠈蟽渭喂慰蟼 蟺蟻蠅蟿伪胃位萎蟿畏蟼 未苇蠂蔚蟿伪喂 苇谓伪 喂蟽蠂蠀蟻蠈 蟽慰魏 渭蔚 伪蟺慰蟿苇位蔚蟽渭伪 谓伪 蔚蟺苇位胃蔚喂 魏伪蟿维蟻蟻蔚蠀蟽畏 魏伪喂 伪蟺慰蟽蠉谓未蔚蟽畏 伪蟺蠈 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪.
螠苇蟽伪 伪蟺慰 蟿喂蟼 蟺蟻慰蟽蟺维胃蔚喂蔚蟼 蟿畏蟼 蟽蠀味蠉纬慰蠀 蟿慰蠀 谓伪 蔚蟺伪谓苇位胃蔚喂 慰 螞慰蠉味喂谓 魏伪蟿伪位伪尾伪委谓蔚喂 蟺蠅蟼 畏 委未喂伪 蟿慰蠀 畏 味蠅萎 蔚委谓伪喂 渭喂伪 蟺伪蟻蟿委未伪 蟽魏维魏喂 蟿畏谓 慰蟺慰委伪 蔚委蟿蔚 蟺蟻苇蟺蔚喂 谓伪 魏蔚蟻未委蟽蔚喂 蔚委蟿蔚 谓伪 蟺伪蟻伪蟿萎蟽蔚喂... 螁蟻伪纬蔚 畏 蟺蔚蟻委蠁畏渭畏 维渭蠀谓维 蟿慰蠀 胃伪 蟿慰谓 魏伪位蠉蠄蔚喂 蟽蟿慰 蟽魏维魏喂 伪位位维 魏伪喂 蟽蟿畏谓 渭蔚蟿苇蟺蔚喂蟿伪 味蠅萎 蟿慰蠀;;
螣 螡伪渭蟺蠈魏慰蠁 苇蟺位伪蟽蔚 苇谓伪谓 蠂伪蟻伪魏蟿萎蟻伪 喂蟽维尉喂慰 渭蔚 伪蠀蟿慰蠉蟼 蟿畏蟼 渭蔚纬维位畏蟼 巍蠅蟽喂魏萎蟼 危蠂慰位萎蟼 (螡蟿慰蟽蟿慰纬喂苇蠁蟽魏喂, 魏位蟺 魏位蟺) 魏伪喂 慰未萎纬畏蟽蔚 蟿伪 尾萎渭伪蟿伪 魏伪喂 蟿畏谓 蔚尉苇位喂尉畏 蟿畏蟼 味蠅萎蟼 蟿慰蠀 渭蔚胃慰未喂魏维 魏伪喂 蠀蟺慰渭慰谓蔚蟿喂魏维, 蠈蟺蠅蟼 伪魏蟻喂尾蠋蟼 胃伪 苇魏伪谓蔚 苇谓伪蟼 蟽魏伪魏喂蟽蟿萎蟼 渭蔚 苇谓伪 蟺喂蠈谓喂 萎 苇谓伪 蟺慰位蠉蟿喂渭慰 魏慰渭渭维蟿喂 蟿慰蠀...
螒蟻喂蟽蟿慰蠉蟻纬畏渭伪 魏伪喂 伪蟺位维 5/5...
螣 螞慰蠉味喂谓 蔚委谓伪喂 蔚委谓伪喂 苇谓伪 蟺伪喂未委 渭蔚 魏维蟺慰喂慰 蟽蠉谓未蟻慰渭蠈 萎 魏维蟺慰喂伪 蠄蠀蠂慰位慰纬喂魏萎 未喂伪蟿伪蟻伪蠂萎, 蟿慰蠀 慰蟺慰委慰蠀 蠈位畏 畏 味蠅萎 蟺蔚蟻喂蟽蟿蟻苇蠁蔚蟿伪喂 纬蠉蟻蠅 伪蟺蠈 蟿慰 蟽魏维魏喂. 螖蔚谓 渭蟺慰蟻蔚委 谓伪 蔚谓蟿伪蠂胃蔚委 蟽蟿慰 蟽蠉谓慰位慰, 伪蟺蠈 蟿伪 蟺伪喂未喂魏维 蟿慰蠀 蠂蟻蠈谓喂伪 魏喂蠈位伪蟼 魏伪喂 尾蟻委蟽魏蔚喂 魏伪蟿伪蠁蠉纬喂慰 蟽蟿伪 64 蟿蔚蟿蟻维纬蠅谓伪 蟿慰蠀 蟺伪谓维蟻蠂伪喂慰蠀 蟺伪喂蠂谓喂未喂慰蠉. 危蟿畏谓 蟺蟻慰蟽蟺维胃蔚喂伪 蟿慰蠀 谓伪 伪谓伪未蔚喂蠂胃蔚委 蟺伪纬魏蠈蟽渭喂慰蟼 蟺蟻蠅蟿伪胃位萎蟿畏蟼 未苇蠂蔚蟿伪喂 苇谓伪 喂蟽蠂蠀蟻蠈 蟽慰魏 渭蔚 伪蟺慰蟿苇位蔚蟽渭伪 谓伪 蔚蟺苇位胃蔚喂 魏伪蟿维蟻蟻蔚蠀蟽畏 魏伪喂 伪蟺慰蟽蠉谓未蔚蟽畏 伪蟺蠈 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏蠈蟿畏蟿伪.
螠苇蟽伪 伪蟺慰 蟿喂蟼 蟺蟻慰蟽蟺维胃蔚喂蔚蟼 蟿畏蟼 蟽蠀味蠉纬慰蠀 蟿慰蠀 谓伪 蔚蟺伪谓苇位胃蔚喂 慰 螞慰蠉味喂谓 魏伪蟿伪位伪尾伪委谓蔚喂 蟺蠅蟼 畏 委未喂伪 蟿慰蠀 畏 味蠅萎 蔚委谓伪喂 渭喂伪 蟺伪蟻蟿委未伪 蟽魏维魏喂 蟿畏谓 慰蟺慰委伪 蔚委蟿蔚 蟺蟻苇蟺蔚喂 谓伪 魏蔚蟻未委蟽蔚喂 蔚委蟿蔚 谓伪 蟺伪蟻伪蟿萎蟽蔚喂... 螁蟻伪纬蔚 畏 蟺蔚蟻委蠁畏渭畏 维渭蠀谓维 蟿慰蠀 胃伪 蟿慰谓 魏伪位蠉蠄蔚喂 蟽蟿慰 蟽魏维魏喂 伪位位维 魏伪喂 蟽蟿畏谓 渭蔚蟿苇蟺蔚喂蟿伪 味蠅萎 蟿慰蠀;;
螣 螡伪渭蟺蠈魏慰蠁 苇蟺位伪蟽蔚 苇谓伪谓 蠂伪蟻伪魏蟿萎蟻伪 喂蟽维尉喂慰 渭蔚 伪蠀蟿慰蠉蟼 蟿畏蟼 渭蔚纬维位畏蟼 巍蠅蟽喂魏萎蟼 危蠂慰位萎蟼 (螡蟿慰蟽蟿慰纬喂苇蠁蟽魏喂, 魏位蟺 魏位蟺) 魏伪喂 慰未萎纬畏蟽蔚 蟿伪 尾萎渭伪蟿伪 魏伪喂 蟿畏谓 蔚尉苇位喂尉畏 蟿畏蟼 味蠅萎蟼 蟿慰蠀 渭蔚胃慰未喂魏维 魏伪喂 蠀蟺慰渭慰谓蔚蟿喂魏维, 蠈蟺蠅蟼 伪魏蟻喂尾蠋蟼 胃伪 苇魏伪谓蔚 苇谓伪蟼 蟽魏伪魏喂蟽蟿萎蟼 渭蔚 苇谓伪 蟺喂蠈谓喂 萎 苇谓伪 蟺慰位蠉蟿喂渭慰 魏慰渭渭维蟿喂 蟿慰蠀...
螒蟻喂蟽蟿慰蠉蟻纬畏渭伪 魏伪喂 伪蟺位维 5/5...
December 24, 2015
"Let's start if you're willing."
-- Vladimir Nabokov, The Luzhin Defense
G.K. Chesterton once famously quipped in his book that "Imagination does not breed insanity. Exactly what does breed insanity is reason. Poets do not go mad; but chess-players do. Mathematicians go mad, and cashiers; but creative artists very seldom."
Vladimir Nabokov鈥檚 th!rd novel about a lonely chess grandmaster reminds me of and a little bit of Melville's . While this isn't my favorite Nabokov (it isn't or ), it is the sweetest. Most of Nabokov's characters are cold, irrational and distant. Luzhin is sad, 眉ber-rational and beautiful in his madness.
This novel reminds me of this Randall Munroe
History is full of mathematicians, logicians, physicists, and chess Grand Masters whose search for logical conclusions, 'transfinite' sets, perfect stability, etc, drives them nuts. Men who hold an infinite series of answers and thus an infinite possibility for despair. Like Kafka once said, 鈥淭here is an infinite amount of hope in the universe ... but not for us.鈥�
To men like Luzhin, life and chess are such lonely battles.
-- Vladimir Nabokov, The Luzhin Defense
G.K. Chesterton once famously quipped in his book that "Imagination does not breed insanity. Exactly what does breed insanity is reason. Poets do not go mad; but chess-players do. Mathematicians go mad, and cashiers; but creative artists very seldom."
Vladimir Nabokov鈥檚 th!rd novel about a lonely chess grandmaster reminds me of and a little bit of Melville's . While this isn't my favorite Nabokov (it isn't or ), it is the sweetest. Most of Nabokov's characters are cold, irrational and distant. Luzhin is sad, 眉ber-rational and beautiful in his madness.
This novel reminds me of this Randall Munroe
History is full of mathematicians, logicians, physicists, and chess Grand Masters whose search for logical conclusions, 'transfinite' sets, perfect stability, etc, drives them nuts. Men who hold an infinite series of answers and thus an infinite possibility for despair. Like Kafka once said, 鈥淭here is an infinite amount of hope in the universe ... but not for us.鈥�
To men like Luzhin, life and chess are such lonely battles.
October 13, 2024
Chess was my drug of choice in college. I started small, played chess on dates. But the boys always had something else in mind. Then, I met my partner. She lived down the hall and played a mean game. We soon were going at it multiple times a week until our wins evened off. That kills good play. So, we went on to pinball. Playing hard in the dormitory basement. When that started to take over, I knew I was obsessive. Knowing you have the trait isn't a cure but it helps. It makes you stay away from what's illegal or harmful to your health. When you can't love a little, only a lot, you have to protect yourself.
Now, Luzhin's guard is always up from when he was a shy child. His defensive game makes him a winner at chess. But what will happen when he has to stop playing?
Nabokov proves he is a storyteller with The Luzhin's Defense. I recommend it even for those who don't play chess, pinball, or have that obsessive gene.
Now, Luzhin's guard is always up from when he was a shy child. His defensive game makes him a winner at chess. But what will happen when he has to stop playing?
Nabokov proves he is a storyteller with The Luzhin's Defense. I recommend it even for those who don't play chess, pinball, or have that obsessive gene.
February 17, 2020
Sin duda una de las mejores novelas que he le铆do de Nabokov, muy superior a su Lolita. La defensa fue un libro hipnotizante desde el comienzo, imposible de soltar. Nos narra la vida desde la infancia hasta la adultez de Luzhin, un prodigioso del ajedrez. Este hombre es un ser muy especial, que desde temprana edad mostr贸 una completa falta de habilidades sociales, un absoluto desinter茅s por relacionarse con los dem谩s e integrarse a la sociedad. Su nula capacidad para enfrentarse al mundo exterior termin贸 desarrollando su mundo interno, prefiriendo h谩bitos como la lectura y una completa obsesi贸n por el ajedrez. Esta habilidad extraordinaria para jugar a este juego de mesa es solo un s铆ntoma secundario de su eterna lucha contra la realidad. Es una forma de escape, que termina afectando severamente su mente, la cual no puede dejar de ver el mundo como si se tratara de una partida de ajedrez, una eterna partida contra la vida.
El desarrollo psicol贸gico del personaje es muy detallado y la narraci贸n casi sin di谩logos que lo acompa帽a lo transforma en una verdadera experiencia de vida para el lector. Es una novela extremadamente bien pensada, llena de detalles que le dan una belleza est茅tica a la pat茅tica vida de Luzhin.
El desarrollo psicol贸gico del personaje es muy detallado y la narraci贸n casi sin di谩logos que lo acompa帽a lo transforma en una verdadera experiencia de vida para el lector. Es una novela extremadamente bien pensada, llena de detalles que le dan una belleza est茅tica a la pat茅tica vida de Luzhin.
December 28, 2019
螒蚁喂蟽蟿慰蠉蚁纬畏渭伪!!!!
螆谓伪蟼 渭蔚纬维位慰蟼 螠伪喂蟿蟻 慰 Nabokov, 尉蔚未喂蟺位蠋谓蔚喂 伪蟻纬维 魏伪喂 渭蔚胃慰未喂魏维 蟿慰 蟿伪位苇谓蟿慰 蟿慰蠀... 危伪谓 谓伪 蟺伪蟻伪魏慰位慰蠀胃蔚委蟼 苇谓伪谓 蟽蟺慰蠀未伪委慰 渭伪苇蟽蟿蟻慰 谓伪 未喂蔚蠀胃蠉谓蔚喂 渭喂伪 慰蟻蠂萎蟽蟿蟻伪... 危蠀纬魏喂谓畏蟿喂魏蠈蟼!!!
螆谓伪蟼 渭蔚纬维位慰蟼 螠伪喂蟿蟻 慰 Nabokov, 尉蔚未喂蟺位蠋谓蔚喂 伪蟻纬维 魏伪喂 渭蔚胃慰未喂魏维 蟿慰 蟿伪位苇谓蟿慰 蟿慰蠀... 危伪谓 谓伪 蟺伪蟻伪魏慰位慰蠀胃蔚委蟼 苇谓伪谓 蟽蟺慰蠀未伪委慰 渭伪苇蟽蟿蟻慰 谓伪 未喂蔚蠀胃蠉谓蔚喂 渭喂伪 慰蟻蠂萎蟽蟿蟻伪... 危蠀纬魏喂谓畏蟿喂魏蠈蟼!!!
May 17, 2012
Ah Nabokov, your words are like the warm familiar embrace of an ex-lover who knows just what I like . . . except without all the self-disgust the next day.
April 15, 2018
螚 蔚蟺伪蠁萎 渭慰蠀 渭蔚 蟿慰 蟽魏维魏喂 蔚委谓伪喂 伪谓蠉蟺伪蟻魏蟿畏, 魏蠀蟻委蠅蟼 未喂蠈蟿喂 未蔚谓 未喂伪胃苇蟿蠅 蟿慰 蔚谓未喂伪蠁苇蟻慰谓 魏伪喂 -蔚谓 蟿苇位蔚喂- 蟿畏谓 伪蟺伪喂蟿慰蠉渭蔚谓畏 蔚蠀蠁蠀委伪. 惟蟼 蔚魏 蟿慰蠉蟿慰蠀, 伪魏蠈渭伪 魏伪喂 畏 位慰纬慰蟿蔚蠂谓喂魏萎 蟿慰蠀 蔚蟺喂魏维位蠀蠄畏 渭蔚 伪蠁萎谓蔚喂 魏伪蟿伪蟻蠂维蟼 慰蠀未苇蟿蔚蟻慰 魏伪喂 未蔚蠀蟿蔚蟻蔚蠀蠈谓蟿蠅蟼 魏伪蠂蠉蟺慰蟺蟿慰 伪蟺苇谓伪谓蟿喂 蟽蟿慰 蔚纬蠂蔚委蟻畏渭伪.
螤喂蟽蟿蠈蟼 蠈渭蠅蟼 蟽蟿慰 伪尉委蠅渭伪 蟿慰蠀 "螤惟危 纬蟻维蠁蔚喂蟼 魏伪喂 蠈蠂喂 蟽蟿慰 韦螜 纬蟻维蠁蔚喂蟼", 蟺伪蟻伪渭蔚蟻委味蠅 蟿喂蟼 蔚谓蟽蟿维蟽蔚喂蟼 蟺蔚蟻委 蟺蔚蟻喂蔚蠂慰渭苇谓慰蠀, 魏伪喂 蔚蟺喂魏蔚谓蟿蟻蠋谓慰渭伪喂 蟽蟿畏谓 慰蠀蟽委伪, 未畏位伪未萎 蟽蟿慰 蠉蠁慰蟼. 螚 蟺蟻蠋蟿畏 渭慰蠀 蔚蟺伪蠁萎 渭维位位慰谓 未蔚谓 伪谓苇蟿蟻蔚蠄蔚 蟿畏谓 维蟺慰蠄畏 渭慰蠀. 螚 蟺蔚蟻委蠁畏渭畏 "危魏伪魏喂蟽蟿喂魏萎 螡慰蠀尾苇位伪" 蟿慰蠀 Stefan Zweig 蠀蟺萎蟻尉蔚 尾喂尾位委慰 蔚谓未喂伪蠁苇蟻慰谓 魏伪喂 魏伪位慰纬蟻伪渭渭苇谓慰, 未委蠂蠅蟼 蠈渭蠅蟼 谓伪 渭慰蠀 蟺蟻慰尉蔚谓萎蟽蔚喂 蟿慰 伪蟺伪蟻伪委蟿畏蟿慰 未苇慰蟼, 魏维蟿喂 蟺慰蠀 慰蠁蔚委位蔚蟿伪喂 蟽伪蠁蠋蟼 蟽蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪: 螜魏伪谓蠈蟼 纬蟻伪蠁喂维蟼, 伪位位维 蟿委蟺慰蟿蔚 蟺苇蟻伪谓 伪蠀蟿慰蠉 - 蟽伪蠁蠋蟼 蠀蟺蔚蟻蔚魏蟿喂渭畏渭苇谓慰蟼, 魏伪蟿维 蟿畏谓 维蟺慰蠄萎 渭慰蠀.
韦慰 伪蠀蟿蠈 未蔚谓 喂蟽蠂蠉蔚喂 纬喂伪 蟿慰谓 Nabokov, 蟽蠀纬纬蟻伪蠁苇伪 蟿蔚蟻伪蟽蟿委慰蠀 尾蔚位畏谓蔚魏慰蠉蟼 蟺慰蠀 蠅蟼 维位位慰蟼 螠委未伪蟼 伪纬纬委味蔚喂 渭蔚 蟿畏谓 蟺苇谓伪 蟿慰蠀 蟿慰 苇位伪蟽蟽慰谓 魏伪喂 蟿慰 渭蔚蟿伪蟿蟻苇蟺蔚喂 蟽蔚 渭蔚委味慰谓! 螤蠈蟽蠅 渭维位位慰谓 蠈蟿伪谓 蟿慰 伪谓蟿喂魏蔚委渭蔚谓蠈 蟿慰蠀 蔚委谓伪喂 蟿慰 位蔚纬蠈渭蔚谓慰 "螤伪喂蠂谓委未喂 蟿蠅谓 螔伪蟽喂位苇蠅谓", 蟽蟿慰蠀 慰蟺慰委慰蠀 蟿畏 纬慰畏蟿蔚委伪 -纬谓蠅蟻委味慰蠀渭蔚- 蟿伪魏蟿喂魏维 蠀蟺苇魏蠀蟺蟿蔚 魏伪喂 慰 委未喂慰蟼.
"螚 维渭蠀谓伪 蟿慰蠀 螞慰蠉味喂谓" 未蔚谓 魏伪蟿伪蠁蔚蠉纬蔚喂 蟽蟿畏谓 蔚蠀魏慰位委伪 蟿畏蟼 蟺蔚蟻喂纬蟻伪蠁萎蟼 蟺蔚蟻委蟺位慰魏蠅谓 蟺伪蟻蟿委未蠅谓, 蟽魏伪魏喂蟽蟿喂魏蠋谓 蟽蠀位位慰纬喂蟽渭蠋谓 魏伪喂 蠄蠀蠂慰位慰纬喂魏萎蟼 苇谓蟿伪蟽畏蟼, 蠋蟽蟿蔚 谓伪 蟺蟻慰(蟽)魏伪位苇蟽蔚喂 蟿慰 蔚谓未喂伪蠁苇蟻慰谓 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏. 韦慰蠀谓伪谓蟿委慰谓, 慰喂 蟽魏伪魏喂蟽蟿喂魏苇蟼 未喂蔚位魏蠀蟽蟿委谓未蔚蟼 伪蟺慰蟿蔚位慰蠉谓 伪蠁慰蟻渭萎 纬喂伪 伪谓维位蠀蟽畏 魏伪喂 伪谓蔚位苇畏蟿畏 蔚谓未慰蟽魏蠈蟺畏蟽畏 蟿慰蠀 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 螞慰蠉味喂谓. 螘谓蠈蟼 伪位位慰蟿蟻喂蠅渭苇谓慰蠀 蠂伪蟻伪魏蟿萎蟻伪, 苇蟻渭伪喂慰蠀 蟿畏蟼 蟽魏伪魏喂蟽蟿喂魏萎蟼 蟿慰蠀 未蔚喂谓蠈蟿畏蟿伪蟼, 蟿蠀蠁位慰蠉 伪蟺苇谓伪谓蟿喂 蟽蟿畏 味蠅萎 魏伪喂 蟽蟿喂蟼 蠀蟺慰蠂蟻蔚蠋蟽蔚喂蟼 蟿畏蟼, 伪位位维 魏伪喂 伪蟺蠈位蠀蟿伪 尉苇谓慰蠀 蟺蟻慰蟼 慰蟺慰喂慰未萎蟺慰蟿蔚 味蠅谓蟿伪谓蠈 慰谓 蔚蟺喂蠂蔚喂蟻蔚委 谓伪 蟿慰谓 蟺蟻慰蟽蔚纬纬委蟽蔚喂.
螝伪喂 慰 螞慰蠉味喂谓 伪渭蠉谓蔚蟿伪喂 蟽胃蔚谓伪蟻维 蔚谓维谓蟿喂伪 蟽蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 蔚谓维谓蟿喂伪 蟽蟿慰 蟺维胃慰蟼 蟺慰蠀 蟿慰谓 魏伪蟿伪魏位蠉味蔚喂, 魏伪胃蠋蟼 畏 味蠅萎 蟿慰蠀 渭蔚蟿伪蟿蟻苇蟺蔚蟿伪喂 蟽蟿伪未喂伪魏维 蟽蔚 渭喂伪 蟿蟻慰渭伪魏蟿喂魏萎 伪位位畏位慰蠀蠂委伪 伪蟽蟺蟻蠈渭伪蠀蟻蠅谓 蟽魏伪魏喂蟽蟿喂魏蠋谓 蟿蔚蟿蟻伪纬蠋谓蠅谓. 危蔚 渭喂伪 未委谓畏 蟺慰蠀 伪谓蔚位苇畏蟿伪 蟿慰谓 蟻慰蠀蠁维 蔚谓蟿蠈蟼 蟿畏蟼, 未委蠂蠅蟼 苇蟻渭伪 纬喂伪 谓伪 伪谓蟿喂蟽蟿伪胃蔚委. 韦委蟺慰蟿伪 魏伪喂 魏伪谓蔚委蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 蟿慰谓 蟽蠋蟽蔚喂 伪蟺蠈 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 魏伪胃蠋蟼 蟿伪 蠁蟻维纬渭伪蟿伪 蟿畏蟼 位慰纬喂魏萎蟼 蠀蟺慰蠂蠅蟻慰蠉谓 苇谓伪-苇谓伪. 螣 螞慰蠉味喂谓 蔚蟺喂蠂蔚喂蟻蔚委 渭维蟿伪喂伪 谓伪 蟽蟿萎蟽蔚喂 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟿慰蠀 "螁渭蠀谓伪" 蠈蟽慰 慰 魏蠈蟽渭慰蟼 蟿慰蠀 伪蟺慰蟽蠀谓蟿委胃蔚蟿伪喂 伪谓蔚尉委蟿畏位伪 纬蠉蟻蠅 蟿慰蠀.
螤喂蠈谓喂 魏伪喂 慰 委未喂慰蟼, 魏伪蟿伪位萎纬蔚喂 伪谓伪蟺蠈未蟻伪蟽蟿伪 蟽蟿畏 渭慰谓伪未喂魏萎 魏委谓畏蟽畏 蟺慰蠀 蟿慰蠀 伪蟺苇渭蔚喂谓蔚: 螡伪 胃苇蟽蔚喂 蔚伪蠀蟿蠈谓 蔚魏蟿蠈蟼 蟽魏伪魏喂苇蟻伪蟼. 螝伪喂 畏 蟿蔚位蔚蠀蟿伪委伪 魏委谓畏蟽畏 蔚位蔚蠀胃蔚蟻委伪蟼 蟿慰蠀, 胃伪 蔚委谓伪喂 蟿蔚位喂魏维 蔚魏蔚委谓畏 蟺慰蠀 胃伪 蟿慰蠀 蟺蟻慰蟽蠁苇蟻蔚喂 渭喂伪 渭喂魏蟻萎, 伪蟽萎渭伪谓蟿畏 伪谓蟿伪渭慰喂尾萎. 螘蟺喂蟿苇位慰蠀蟼, 慰 螞慰蠉味喂谓 (蔚蟺蠋谓蠀渭慰) 胃伪 伪蟺慰魏蟿萎蟽蔚喂 螌谓慰渭伪 (维纬谓蠅蟽蟿慰 蟽蔚 蔚渭维蟼 蠅蟼 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 纬蟻伪渭渭萎), 蟿畏 蟽蟿喂纬渭萎 伪魏蟻喂尾蠋蟼 蟺慰蠀 畏 伪蠀位伪委伪 胃伪 蟺苇蟽蔚喂 魏伪喂 慰 未蠉蟽蟿畏谓慰蟼 萎蟻蠅伪蟼 胃伪 蔚蟺喂蟽蟿蟻苇蠄蔚喂 未喂伪 蟺伪谓蟿蠈蟼 蟽蟿慰 "魏慰蠀蟿委 蟿畏蟼 伪谓蠀蟺伪蟻尉委伪蟼".
螤喂蟽蟿蠈蟼 蠈渭蠅蟼 蟽蟿慰 伪尉委蠅渭伪 蟿慰蠀 "螤惟危 纬蟻维蠁蔚喂蟼 魏伪喂 蠈蠂喂 蟽蟿慰 韦螜 纬蟻维蠁蔚喂蟼", 蟺伪蟻伪渭蔚蟻委味蠅 蟿喂蟼 蔚谓蟽蟿维蟽蔚喂蟼 蟺蔚蟻委 蟺蔚蟻喂蔚蠂慰渭苇谓慰蠀, 魏伪喂 蔚蟺喂魏蔚谓蟿蟻蠋谓慰渭伪喂 蟽蟿畏谓 慰蠀蟽委伪, 未畏位伪未萎 蟽蟿慰 蠉蠁慰蟼. 螚 蟺蟻蠋蟿畏 渭慰蠀 蔚蟺伪蠁萎 渭维位位慰谓 未蔚谓 伪谓苇蟿蟻蔚蠄蔚 蟿畏谓 维蟺慰蠄畏 渭慰蠀. 螚 蟺蔚蟻委蠁畏渭畏 "危魏伪魏喂蟽蟿喂魏萎 螡慰蠀尾苇位伪" 蟿慰蠀 Stefan Zweig 蠀蟺萎蟻尉蔚 尾喂尾位委慰 蔚谓未喂伪蠁苇蟻慰谓 魏伪喂 魏伪位慰纬蟻伪渭渭苇谓慰, 未委蠂蠅蟼 蠈渭蠅蟼 谓伪 渭慰蠀 蟺蟻慰尉蔚谓萎蟽蔚喂 蟿慰 伪蟺伪蟻伪委蟿畏蟿慰 未苇慰蟼, 魏维蟿喂 蟺慰蠀 慰蠁蔚委位蔚蟿伪喂 蟽伪蠁蠋蟼 蟽蟿慰谓 蟽蠀纬纬蟻伪蠁苇伪: 螜魏伪谓蠈蟼 纬蟻伪蠁喂维蟼, 伪位位维 蟿委蟺慰蟿蔚 蟺苇蟻伪谓 伪蠀蟿慰蠉 - 蟽伪蠁蠋蟼 蠀蟺蔚蟻蔚魏蟿喂渭畏渭苇谓慰蟼, 魏伪蟿维 蟿畏谓 维蟺慰蠄萎 渭慰蠀.
韦慰 伪蠀蟿蠈 未蔚谓 喂蟽蠂蠉蔚喂 纬喂伪 蟿慰谓 Nabokov, 蟽蠀纬纬蟻伪蠁苇伪 蟿蔚蟻伪蟽蟿委慰蠀 尾蔚位畏谓蔚魏慰蠉蟼 蟺慰蠀 蠅蟼 维位位慰蟼 螠委未伪蟼 伪纬纬委味蔚喂 渭蔚 蟿畏谓 蟺苇谓伪 蟿慰蠀 蟿慰 苇位伪蟽蟽慰谓 魏伪喂 蟿慰 渭蔚蟿伪蟿蟻苇蟺蔚喂 蟽蔚 渭蔚委味慰谓! 螤蠈蟽蠅 渭维位位慰谓 蠈蟿伪谓 蟿慰 伪谓蟿喂魏蔚委渭蔚谓蠈 蟿慰蠀 蔚委谓伪喂 蟿慰 位蔚纬蠈渭蔚谓慰 "螤伪喂蠂谓委未喂 蟿蠅谓 螔伪蟽喂位苇蠅谓", 蟽蟿慰蠀 慰蟺慰委慰蠀 蟿畏 纬慰畏蟿蔚委伪 -纬谓蠅蟻委味慰蠀渭蔚- 蟿伪魏蟿喂魏维 蠀蟺苇魏蠀蟺蟿蔚 魏伪喂 慰 委未喂慰蟼.
"螚 维渭蠀谓伪 蟿慰蠀 螞慰蠉味喂谓" 未蔚谓 魏伪蟿伪蠁蔚蠉纬蔚喂 蟽蟿畏谓 蔚蠀魏慰位委伪 蟿畏蟼 蟺蔚蟻喂纬蟻伪蠁萎蟼 蟺蔚蟻委蟺位慰魏蠅谓 蟺伪蟻蟿委未蠅谓, 蟽魏伪魏喂蟽蟿喂魏蠋谓 蟽蠀位位慰纬喂蟽渭蠋谓 魏伪喂 蠄蠀蠂慰位慰纬喂魏萎蟼 苇谓蟿伪蟽畏蟼, 蠋蟽蟿蔚 谓伪 蟺蟻慰(蟽)魏伪位苇蟽蔚喂 蟿慰 蔚谓未喂伪蠁苇蟻慰谓 蟿慰蠀 伪谓伪纬谓蠋蟽蟿畏. 韦慰蠀谓伪谓蟿委慰谓, 慰喂 蟽魏伪魏喂蟽蟿喂魏苇蟼 未喂蔚位魏蠀蟽蟿委谓未蔚蟼 伪蟺慰蟿蔚位慰蠉谓 伪蠁慰蟻渭萎 纬喂伪 伪谓维位蠀蟽畏 魏伪喂 伪谓蔚位苇畏蟿畏 蔚谓未慰蟽魏蠈蟺畏蟽畏 蟿慰蠀 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 螞慰蠉味喂谓. 螘谓蠈蟼 伪位位慰蟿蟻喂蠅渭苇谓慰蠀 蠂伪蟻伪魏蟿萎蟻伪, 苇蟻渭伪喂慰蠀 蟿畏蟼 蟽魏伪魏喂蟽蟿喂魏萎蟼 蟿慰蠀 未蔚喂谓蠈蟿畏蟿伪蟼, 蟿蠀蠁位慰蠉 伪蟺苇谓伪谓蟿喂 蟽蟿畏 味蠅萎 魏伪喂 蟽蟿喂蟼 蠀蟺慰蠂蟻蔚蠋蟽蔚喂蟼 蟿畏蟼, 伪位位维 魏伪喂 伪蟺蠈位蠀蟿伪 尉苇谓慰蠀 蟺蟻慰蟼 慰蟺慰喂慰未萎蟺慰蟿蔚 味蠅谓蟿伪谓蠈 慰谓 蔚蟺喂蠂蔚喂蟻蔚委 谓伪 蟿慰谓 蟺蟻慰蟽蔚纬纬委蟽蔚喂.
螝伪喂 慰 螞慰蠉味喂谓 伪渭蠉谓蔚蟿伪喂 蟽胃蔚谓伪蟻维 蔚谓维谓蟿喂伪 蟽蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 蔚谓维谓蟿喂伪 蟽蟿慰 蟺维胃慰蟼 蟺慰蠀 蟿慰谓 魏伪蟿伪魏位蠉味蔚喂, 魏伪胃蠋蟼 畏 味蠅萎 蟿慰蠀 渭蔚蟿伪蟿蟻苇蟺蔚蟿伪喂 蟽蟿伪未喂伪魏维 蟽蔚 渭喂伪 蟿蟻慰渭伪魏蟿喂魏萎 伪位位畏位慰蠀蠂委伪 伪蟽蟺蟻蠈渭伪蠀蟻蠅谓 蟽魏伪魏喂蟽蟿喂魏蠋谓 蟿蔚蟿蟻伪纬蠋谓蠅谓. 危蔚 渭喂伪 未委谓畏 蟺慰蠀 伪谓蔚位苇畏蟿伪 蟿慰谓 蟻慰蠀蠁维 蔚谓蟿蠈蟼 蟿畏蟼, 未委蠂蠅蟼 苇蟻渭伪 纬喂伪 谓伪 伪谓蟿喂蟽蟿伪胃蔚委. 韦委蟺慰蟿伪 魏伪喂 魏伪谓蔚委蟼 未蔚谓 渭蟺慰蟻蔚委 谓伪 蟿慰谓 蟽蠋蟽蔚喂 伪蟺蠈 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀, 魏伪胃蠋蟼 蟿伪 蠁蟻维纬渭伪蟿伪 蟿畏蟼 位慰纬喂魏萎蟼 蠀蟺慰蠂蠅蟻慰蠉谓 苇谓伪-苇谓伪. 螣 螞慰蠉味喂谓 蔚蟺喂蠂蔚喂蟻蔚委 渭维蟿伪喂伪 谓伪 蟽蟿萎蟽蔚喂 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 蟿慰蠀 "螁渭蠀谓伪" 蠈蟽慰 慰 魏蠈蟽渭慰蟼 蟿慰蠀 伪蟺慰蟽蠀谓蟿委胃蔚蟿伪喂 伪谓蔚尉委蟿畏位伪 纬蠉蟻蠅 蟿慰蠀.
螤喂蠈谓喂 魏伪喂 慰 委未喂慰蟼, 魏伪蟿伪位萎纬蔚喂 伪谓伪蟺蠈未蟻伪蟽蟿伪 蟽蟿畏 渭慰谓伪未喂魏萎 魏委谓畏蟽畏 蟺慰蠀 蟿慰蠀 伪蟺苇渭蔚喂谓蔚: 螡伪 胃苇蟽蔚喂 蔚伪蠀蟿蠈谓 蔚魏蟿蠈蟼 蟽魏伪魏喂苇蟻伪蟼. 螝伪喂 畏 蟿蔚位蔚蠀蟿伪委伪 魏委谓畏蟽畏 蔚位蔚蠀胃蔚蟻委伪蟼 蟿慰蠀, 胃伪 蔚委谓伪喂 蟿蔚位喂魏维 蔚魏蔚委谓畏 蟺慰蠀 胃伪 蟿慰蠀 蟺蟻慰蟽蠁苇蟻蔚喂 渭喂伪 渭喂魏蟻萎, 伪蟽萎渭伪谓蟿畏 伪谓蟿伪渭慰喂尾萎. 螘蟺喂蟿苇位慰蠀蟼, 慰 螞慰蠉味喂谓 (蔚蟺蠋谓蠀渭慰) 胃伪 伪蟺慰魏蟿萎蟽蔚喂 螌谓慰渭伪 (维纬谓蠅蟽蟿慰 蟽蔚 蔚渭维蟼 蠅蟼 蟿畏谓 蟿蔚位蔚蠀蟿伪委伪 纬蟻伪渭渭萎), 蟿畏 蟽蟿喂纬渭萎 伪魏蟻喂尾蠋蟼 蟺慰蠀 畏 伪蠀位伪委伪 胃伪 蟺苇蟽蔚喂 魏伪喂 慰 未蠉蟽蟿畏谓慰蟼 萎蟻蠅伪蟼 胃伪 蔚蟺喂蟽蟿蟻苇蠄蔚喂 未喂伪 蟺伪谓蟿蠈蟼 蟽蟿慰 "魏慰蠀蟿委 蟿畏蟼 伪谓蠀蟺伪蟻尉委伪蟼".
February 13, 2017
賵丕丕丕丕丕丕蹖 賮賵賯 丕賱毓丕丿賴 亘賵丿...
賴賲賴 趩蹖夭 丕蹖賳 讴鬲丕亘 賮賵賯 丕賱毓丕丿賴 丕爻鬲..
亘賳馗乇賲 蹖讴 卮丕賴讴丕乇 丕丿亘蹖 乇丕 賴賲蹖賳 丨丕賱丕 鬲賲賵賲 讴乇丿賲.
賳丕亘丕讴賵賮 丕賳诏丕乇 賳卮爻鬲賴 賵 亘丕 讴丕賮讴丕 賵 賮乇賵蹖丿 賵 亘讴鬲貙 卮胤乇賳噩 亘丕夭蹖 賲蹖讴賳賴. 亘丕乇賴丕 賮乇賵蹖丿 乇賵 讴蹖卮 賲蹖丿賴 賵 亘丕 亘讴鬲 賵 讴丕賮讴丕 賲爻丕賵蹖 賲蹖讴賳賴.
賳賲蹖禺賵丕賲 讴賴 賳賯丿 丕丿亘蹖 賵 蹖丕 爻丕禺鬲丕乇蹖 亘賳賵蹖爻賲.. 丿乇 丌禺乇 讴鬲丕亘 噩賳丕亘 丌賯丕蹖 乇囟丕 乇囟丕蹖蹖貙賲鬲乇噩賲 鬲賵丕賳丕蹖 讴鬲丕亘貙 亘賴 禺賵亘蹖 丕蹖賳 讴鬲丕亘 乇賵 賳賯丿 讴乇丿賴.
賮賯胤 賲蹖禺賵丕賲 噩乇蹖丕賳 爻蹖丕賱 丕丨爻丕爻鬲賲 乇賵 丿乇 賲賵乇丿 丕蹖賳 讴鬲丕亘 亘蹖丕賳 讴賳賲.丨丕賱丕 讴賴 趩卮賲丕賲 乇賵 賲蹖 亘賳丿賲 賵 亘丕夭 賲蹖讴賳賲 鬲賲丕賲 丕鬲丕賯 賵 丕胤乇丕賮蹖丕賳賲 乇賵 賲孬賱 蹖讴 氐賮丨賴 蹖 卮胤乇賳噩 賲蹖亘蹖賳賲 讴賴 丿乇 鬲賵丕賱蹖 毓亘孬 夭賳丿诏蹖 乇賵蹖 賯丕毓丿賴 賴丕蹖蹖 丕夭 倬蹖卮 鬲毓蹖蹖賳 卮丿賴 夭賳丿诏蹖 賲蹖讴賳賳. 賵 丌禺乇 賴賲 賳鬲蹖噩賴 賴賲丕賳 趩蹖夭蹖 賲蹖卮賴 讴賴 丕夭 丕賵賱 亘賵丿賴. 賴賲蹖賳胤賵乇 讴賴 賱賵跇蹖賳 賴夭丕乇 亘丕乇 亘丕夭蹖 乇賵 亘乇丿 賵 賲賴乇賴 賴丕乇賵 丕夭 丕賵賱 趩蹖賳丿... 賵賯鬲蹖 賴賲 亘丕禺鬲 亘丕夭賴賲 賲賴乇賴 賴丕乇賵 丿賵亘丕乇賴 丕夭 賯亘賱 賲蹖趩蹖丿.. 趩賯丿乇 丿爻鬲賴 賵 倬賳噩賴 賳乇賲 讴乇丿賳 亘丕 丕蹖賳 賲賴乇賴 賴丕 責 丿乇爻鬲 賲孬賱 賴賲賵賳 賴丕賲 賵 讴賱丕賵 丿乇 丌禺乇蹖賳 亘丕夭蹖 丕孬乇 爻賲賵卅賱 诏賵丿賵 讴賴 賴乇 賲爻蹖乇蹖 賲蹖乇賮鬲賳 胤蹖 蹖讴 鬲讴乇丕乇蹖 乇賵 亘賴 亘蹖 賳賴丕蹖鬲 丕丿丕賲賴 倬蹖丿丕 賲蹖讴乇丿.
賵賯鬲蹖 賯丿賲 亘賴 噩賴丕賳 賳丕亘丕讴賵賮 賲蹖诏匕丕乇賲貙 丿蹖诏賴 賳賲蹖卮賴 亘賴 丕蹖賳 爻丕丿诏蹖 賴丕 亘蹖乇賵賳 乇賮鬲.
鬲乇噩賲賴 蹖 讴鬲丕亘 毓丕賱蹖 ! 噩賱丿 讴鬲丕亘 賵 胤乇丕丨蹖卮 賮賵賯 丕賱毓丕丿賴 :)
賴賲賴 趩蹖夭 丕蹖賳 讴鬲丕亘 賮賵賯 丕賱毓丕丿賴 丕爻鬲..
亘賳馗乇賲 蹖讴 卮丕賴讴丕乇 丕丿亘蹖 乇丕 賴賲蹖賳 丨丕賱丕 鬲賲賵賲 讴乇丿賲.
賳丕亘丕讴賵賮 丕賳诏丕乇 賳卮爻鬲賴 賵 亘丕 讴丕賮讴丕 賵 賮乇賵蹖丿 賵 亘讴鬲貙 卮胤乇賳噩 亘丕夭蹖 賲蹖讴賳賴. 亘丕乇賴丕 賮乇賵蹖丿 乇賵 讴蹖卮 賲蹖丿賴 賵 亘丕 亘讴鬲 賵 讴丕賮讴丕 賲爻丕賵蹖 賲蹖讴賳賴.
賳賲蹖禺賵丕賲 讴賴 賳賯丿 丕丿亘蹖 賵 蹖丕 爻丕禺鬲丕乇蹖 亘賳賵蹖爻賲.. 丿乇 丌禺乇 讴鬲丕亘 噩賳丕亘 丌賯丕蹖 乇囟丕 乇囟丕蹖蹖貙賲鬲乇噩賲 鬲賵丕賳丕蹖 讴鬲丕亘貙 亘賴 禺賵亘蹖 丕蹖賳 讴鬲丕亘 乇賵 賳賯丿 讴乇丿賴.
賮賯胤 賲蹖禺賵丕賲 噩乇蹖丕賳 爻蹖丕賱 丕丨爻丕爻鬲賲 乇賵 丿乇 賲賵乇丿 丕蹖賳 讴鬲丕亘 亘蹖丕賳 讴賳賲.丨丕賱丕 讴賴 趩卮賲丕賲 乇賵 賲蹖 亘賳丿賲 賵 亘丕夭 賲蹖讴賳賲 鬲賲丕賲 丕鬲丕賯 賵 丕胤乇丕賮蹖丕賳賲 乇賵 賲孬賱 蹖讴 氐賮丨賴 蹖 卮胤乇賳噩 賲蹖亘蹖賳賲 讴賴 丿乇 鬲賵丕賱蹖 毓亘孬 夭賳丿诏蹖 乇賵蹖 賯丕毓丿賴 賴丕蹖蹖 丕夭 倬蹖卮 鬲毓蹖蹖賳 卮丿賴 夭賳丿诏蹖 賲蹖讴賳賳. 賵 丌禺乇 賴賲 賳鬲蹖噩賴 賴賲丕賳 趩蹖夭蹖 賲蹖卮賴 讴賴 丕夭 丕賵賱 亘賵丿賴. 賴賲蹖賳胤賵乇 讴賴 賱賵跇蹖賳 賴夭丕乇 亘丕乇 亘丕夭蹖 乇賵 亘乇丿 賵 賲賴乇賴 賴丕乇賵 丕夭 丕賵賱 趩蹖賳丿... 賵賯鬲蹖 賴賲 亘丕禺鬲 亘丕夭賴賲 賲賴乇賴 賴丕乇賵 丿賵亘丕乇賴 丕夭 賯亘賱 賲蹖趩蹖丿.. 趩賯丿乇 丿爻鬲賴 賵 倬賳噩賴 賳乇賲 讴乇丿賳 亘丕 丕蹖賳 賲賴乇賴 賴丕 責 丿乇爻鬲 賲孬賱 賴賲賵賳 賴丕賲 賵 讴賱丕賵 丿乇 丌禺乇蹖賳 亘丕夭蹖 丕孬乇 爻賲賵卅賱 诏賵丿賵 讴賴 賴乇 賲爻蹖乇蹖 賲蹖乇賮鬲賳 胤蹖 蹖讴 鬲讴乇丕乇蹖 乇賵 亘賴 亘蹖 賳賴丕蹖鬲 丕丿丕賲賴 倬蹖丿丕 賲蹖讴乇丿.
賵賯鬲蹖 賯丿賲 亘賴 噩賴丕賳 賳丕亘丕讴賵賮 賲蹖诏匕丕乇賲貙 丿蹖诏賴 賳賲蹖卮賴 亘賴 丕蹖賳 爻丕丿诏蹖 賴丕 亘蹖乇賵賳 乇賮鬲.
鬲乇噩賲賴 蹖 讴鬲丕亘 毓丕賱蹖 ! 噩賱丿 讴鬲丕亘 賵 胤乇丕丨蹖卮 賮賵賯 丕賱毓丕丿賴 :)
May 20, 2018
Dalla parte di Lu啪in.
鈥 accorgersi all'improvviso, con un sorriso che gela sulla labbra, rabbrividendo, che la vita 猫 tutta 芦una iterazione combinatoria di mosse禄, osservare, 芦con vaga ammirazione e con vago orrore con quanta paurosa raffinatezza, con quanta flessibilit脿, mossa dopo mossa, si fossero ripetute nel tempo le immagini della sua infanzia (casa di campagna, citt脿, scuola, zia pietroburghese)禄, in un continuo cercare di giocare e rigiocare a memoria la partita della propria vita, un inseguimento continuo, una fuga dalla realt脿, un continuo passare dal bianco al nero, da un quadrato all'altro, una partita in cui i pezzi spesso sono mossi da qualcun altro, anche se quell'altro ci ama e vuole solo salvarci鈥� finch茅 all'improvviso, ma neanche troppo, 芦gioco di prestigio!禄, appare tra le mani una scacchiera tascabile di marocchino rosso che riporta gioco e giocatori allo stesso punto in cui la partita sembrava essersi interrotta per sempre.
C'猫 qualcosa di Proust in questo piccolo Lu啪in, molto del piccolo Marcel, una casa nella campagna russa che per qualche strano giro della mente mi ha riportata a Combray. Ma quella di Nabokov 猫 una sinfonia composta da pi霉 movimenti, e quindi a quello del 芦Wunderkind禄 Lu啪in che acuisce i sensi e la nostalgia, si contrappone quello del solitario e geniale Lu啪in adulto, un uomo disadattato che oggi diremmo affetto da autismo, e a questi il Lu啪in smarrito e docile e che si lascia guidare dalla fidanzata senza nome fin fuori dalla scacchiera, in un ritmo che 猫 prima lento, poi andante, fino a divenire via via sempre pi霉 rapido.
Ed io, sempre pi霉 rapita e stupefatta, mi sono lasciata condurre dalle parole che danzano inseguendo il filo della memoria, in una partita in cui Lu啪in 芦nome che fa rima con illusion, se pronunciato con voce abbastanza pastosa da ispessire la u in uu禄, come spiega lo stesso Nabokov nell'imperdibile prefazione, vuole dimostrare a me, al mondo, ma prima di tutto a se stesso, che non tutto 猫 illusione e che a volte la fuga 猫 l'unica difesa possibile.
La storia? Ma cosa importa la storia quando c'猫 una scrittura come questa! Meglio lasciarsi guidare, come Lu啪in, dalla meravigliose parole di Nabokov. Tutto quello che c'猫 da sapere 猫 l矛, nero su bianco.
芦E nel bel mezzo di quello squallido disordine se ne stava seduto l'uomo pi霉 insondabile del mondo, un uomo che si dedicava a un'arte spettrale, mentre lei cercava di fermarsi, di cogliere tutti i suoi difetti, tutte le sue stranezze, di dire a se stessa una volta per sempre che quello non era l'uomo giusto per lei, pur essendo allo stesso tempo decisamente preoccupata di come si sarebbe comportato in in chiesa e di come sarebbe stato in frac禄
芦Ma la luna emerse dai neri ramoscelli puntuti, una luna rotonda, corposa, affermazione vivida di vittoria, e quando infine Lu啪in si gir貌 e mise piede nella stanza, sul pavimento c'era un enorme quadrato di chiarore lunare, e dentro quel chiarore si stagliava un'ombra, la sua.禄
[Commento in corso di lettura]
Sono stupefatta, e abbagliata dalla bellezza della scrittura di Nabokov.
Mi chiedo se c'猫 differenza, nello stile, tra le sue opere scritte in russo e quelle scritte in inglese, una differenza che sia percepibile, in qualche modo, anche da chi come me legge in italiano.
脠 come trovarsi davanti ad un quadro in cui ogni pi霉 piccolo particolare 猫 reso con una precisione che sembra fotografica, ma alla quale va ad aggiungersi la grazia del pittore che gioca con i colori le luci e le ombre per nascondere alcuni particolari e svelarne altri; una grazia nella quale 猫 possibile riconoscere attraverso il guizzo di una rapida e improvvisa pennellata la creativit脿 e il virtuosismo dell'autore che modella, perfeziona, esalta.
脠 una scrittura che si muove, della quale sembra di vedere con gli occhi i coni di luce che illuminano gli oggetti ed il pulviscolo che danza apparentemente mosso dal caos, oppure sentire il fruscio dei passi che scricchiolano sulla ghiaia, o percepire lo spostamento d'aria provocato da ogni singolo pezzo che si sposta sulla scacchiera. 脠 una scrittura viva, in cui al bianco e al nero geometrico della scacchiera corrisponde la vita di Lu啪in, Lu啪in figlio, luminosa e cupa, cos矛 piena di luce e cos矛 completamente immersa nel buio, ombre e luci che si intersecano senza confini netti, senza regole e ruoli prestabiliti, senza logica alcuna, una scrittura in cui le parole hanno voce, ma in cui hanno voce anche i silenzi.
鈥 accorgersi all'improvviso, con un sorriso che gela sulla labbra, rabbrividendo, che la vita 猫 tutta 芦una iterazione combinatoria di mosse禄, osservare, 芦con vaga ammirazione e con vago orrore con quanta paurosa raffinatezza, con quanta flessibilit脿, mossa dopo mossa, si fossero ripetute nel tempo le immagini della sua infanzia (casa di campagna, citt脿, scuola, zia pietroburghese)禄, in un continuo cercare di giocare e rigiocare a memoria la partita della propria vita, un inseguimento continuo, una fuga dalla realt脿, un continuo passare dal bianco al nero, da un quadrato all'altro, una partita in cui i pezzi spesso sono mossi da qualcun altro, anche se quell'altro ci ama e vuole solo salvarci鈥� finch茅 all'improvviso, ma neanche troppo, 芦gioco di prestigio!禄, appare tra le mani una scacchiera tascabile di marocchino rosso che riporta gioco e giocatori allo stesso punto in cui la partita sembrava essersi interrotta per sempre.
C'猫 qualcosa di Proust in questo piccolo Lu啪in, molto del piccolo Marcel, una casa nella campagna russa che per qualche strano giro della mente mi ha riportata a Combray. Ma quella di Nabokov 猫 una sinfonia composta da pi霉 movimenti, e quindi a quello del 芦Wunderkind禄 Lu啪in che acuisce i sensi e la nostalgia, si contrappone quello del solitario e geniale Lu啪in adulto, un uomo disadattato che oggi diremmo affetto da autismo, e a questi il Lu啪in smarrito e docile e che si lascia guidare dalla fidanzata senza nome fin fuori dalla scacchiera, in un ritmo che 猫 prima lento, poi andante, fino a divenire via via sempre pi霉 rapido.
Ed io, sempre pi霉 rapita e stupefatta, mi sono lasciata condurre dalle parole che danzano inseguendo il filo della memoria, in una partita in cui Lu啪in 芦nome che fa rima con illusion, se pronunciato con voce abbastanza pastosa da ispessire la u in uu禄, come spiega lo stesso Nabokov nell'imperdibile prefazione, vuole dimostrare a me, al mondo, ma prima di tutto a se stesso, che non tutto 猫 illusione e che a volte la fuga 猫 l'unica difesa possibile.
La storia? Ma cosa importa la storia quando c'猫 una scrittura come questa! Meglio lasciarsi guidare, come Lu啪in, dalla meravigliose parole di Nabokov. Tutto quello che c'猫 da sapere 猫 l矛, nero su bianco.
芦E nel bel mezzo di quello squallido disordine se ne stava seduto l'uomo pi霉 insondabile del mondo, un uomo che si dedicava a un'arte spettrale, mentre lei cercava di fermarsi, di cogliere tutti i suoi difetti, tutte le sue stranezze, di dire a se stessa una volta per sempre che quello non era l'uomo giusto per lei, pur essendo allo stesso tempo decisamente preoccupata di come si sarebbe comportato in in chiesa e di come sarebbe stato in frac禄
芦Ma la luna emerse dai neri ramoscelli puntuti, una luna rotonda, corposa, affermazione vivida di vittoria, e quando infine Lu啪in si gir貌 e mise piede nella stanza, sul pavimento c'era un enorme quadrato di chiarore lunare, e dentro quel chiarore si stagliava un'ombra, la sua.禄
[Commento in corso di lettura]
Sono stupefatta, e abbagliata dalla bellezza della scrittura di Nabokov.
Mi chiedo se c'猫 differenza, nello stile, tra le sue opere scritte in russo e quelle scritte in inglese, una differenza che sia percepibile, in qualche modo, anche da chi come me legge in italiano.
脠 come trovarsi davanti ad un quadro in cui ogni pi霉 piccolo particolare 猫 reso con una precisione che sembra fotografica, ma alla quale va ad aggiungersi la grazia del pittore che gioca con i colori le luci e le ombre per nascondere alcuni particolari e svelarne altri; una grazia nella quale 猫 possibile riconoscere attraverso il guizzo di una rapida e improvvisa pennellata la creativit脿 e il virtuosismo dell'autore che modella, perfeziona, esalta.
脠 una scrittura che si muove, della quale sembra di vedere con gli occhi i coni di luce che illuminano gli oggetti ed il pulviscolo che danza apparentemente mosso dal caos, oppure sentire il fruscio dei passi che scricchiolano sulla ghiaia, o percepire lo spostamento d'aria provocato da ogni singolo pezzo che si sposta sulla scacchiera. 脠 una scrittura viva, in cui al bianco e al nero geometrico della scacchiera corrisponde la vita di Lu啪in, Lu啪in figlio, luminosa e cupa, cos矛 piena di luce e cos矛 completamente immersa nel buio, ombre e luci che si intersecano senza confini netti, senza regole e ruoli prestabiliti, senza logica alcuna, una scrittura in cui le parole hanno voce, ma in cui hanno voce anche i silenzi.
May 5, 2020
丕夭 賳馗乇 禺賵丿賲 乇賲丕賳 禺丕氐 賵 賳丕亘蹖 賵 亘賵丿 賵 丕夭 丕賳噩丕 讴賴 亘賴 丕丿亘蹖丕鬲 乇賵爻蹖賴 毓賱丕賯賲賳丿 亘賵丿賲 禺賵丕賳丿賳 丕蹖賳 讴鬲丕亘 卮丿蹖丿丕 賱匕鬲 亘禺卮 亘賵丿. 倬蹖趩蹖丿诏蹖 賴丕蹖 禺丕氐蹖 丿丕卮鬲. 鬲賵氐蹖賮 賮賵賯 丕賱毓丕丿賴 讴賴 夭蹖乇讴蹖 鬲賲丕賲 丿乇卮 亘賴 讴丕乇 乇賮鬲賴 亘賵丿. 夭賳丿诏蹖 賱賵跇蹖賳 爻乇卮丕乇 亘賵丿 丕夭 丕賱诏賵 賴丕蹖 鬲讴乇丕乇蹖. 賴乇 趩賳丿 讴賴 丿乇 胤賵賱 毓賲乇 爻蹖 爻丕賱賴 丕卮 讴賴 爻毓蹖 丿乇 賮乇丕乇 丕夭 丕蹖賳 丕賱诏賵 賴丕 丿丕卮鬲 趩賳丿丕賳 賲賵賮賯 賳亘賵丿. 丕蹖賳 丕孬乇 丕孬乇蹖 鬲乇丕跇蹖讴 丕爻鬲 賵 賮乇噩丕賲 睾賲 丕賳诏蹖夭蹖 丿丕乇丿. 賲鬲乇噩賲 亘賴 丕蹖賳 賳讴鬲賴 丕卮丕乇賴 讴乇丿賴 丕爻鬲 讴賴 夭賳丿诏蹖 賱賵跇蹖賳 丿乇 亘毓囟蹖 賯爻賲鬲 賴丕 亘賴 夭賳丿诏蹖 讴爻丕賳蹖 賲孬賱 丕爻鬲丕丿 亘夭乇诏 "乇賵亘蹖賳卮鬲丕蹖賳"貙"讴賵乇鬲 賮賵賳 亘丕乇丿賱亘賳" (丕爻鬲丕丿 亘乇賱蹖賳蹖) 賵 丌賱禺蹖賳 (賯賴乇賲丕賳 卮胤乇賳噩 噩賴丕賳 丿乇 丿賴賴 賴丕蹖 30 賵 40 卮亘丕賴鬲 丿丕卮鬲.
夭賳丿诏蹖 賱賵跇蹖賳 丕夭 丌睾丕夭 鬲丕 倬丕蹖丕賳 卮亘丕賴鬲蹖 毓噩蹖亘 亘賴 丿賳蹖丕蹖 卮胤乇賳噩 丿丕卮鬲. 丿賮丕毓 賱賵跇蹖賳 丿乇亘乇丕亘乇 鬲賲丕賲 丨賯丕乇鬲 賴丕貙讴丕爻鬲蹖 賴丕貙蹖讴 賳賵丕禺鬲蹖 賴丕 賵 爻乇丿乇诏賲蹖 賴丕 賵丕賮毓丕 丿乇丿賳丕讴 亘賵丿. 亘賴 賳馗乇 賲賳 卮丕蹖丿 鬲賳賴丕 乇丕賴 賮乇丕乇 丕賵 丕夭 夭賳丿诏蹖 賵丕賯毓蹖 丕卮 倬賳丕賴 亘乇丿賳 亘賴 丿賳蹖丕蹖 卮胤乇賳噩 亘賵丿 亘丕 蹖讴 丌蹖乇賵賳蹖賴 丿乇丿賳丕讴 讴賴 丕蹖賳 丿賱蹖賱 賮乇噩丕賲 鬲賱禺 夭賳丿诏蹖 丕賵 卮丿.
賵丕賯毓丕 丕夭 禺賵丕賳丿賳 丕蹖賳 乇賲丕賳 賱匕鬲 亘乇丿賲 賵 爻毓蹖 讴乇丿賲 亘丕 丨賵氐賱賴 賵賯鬲 亘诏匕丕乇賲 賵 丨鬲蹖 丕夭 蹖讴 噩賲賱賴 亘賴 乇丕丨鬲蹖 賳诏匕乇賲. 鬲乇噩賲賴 蹖 賮賵賯 丕賱毓丕丿賴 丕蹖 丿丕卮鬲 賵 丨賯 賲胤賱亘 乇丕 亘賴 禺賵亘蹖 丕丿丕 讴乇丿. (鬲乇噩賲賴 丕夭 乇囟丕 乇氐丕蹖蹖)
賯爻賲鬲 倬丕蹖丕賳蹖 賵 賲賵乇丿 毓賱丕賯賴 蹖 賲賳:
賯亘賱 丕夭 乇賴丕 讴乇丿賳 禺賵丿卮貙 亘賴 倬丕蹖蹖賳 賳诏丕賴 讴乇丿. 丌賳 噩丕 鬲丿丕乇讴 毓噩賵賱丕賳賴 丕蹖 丿乇 噩乇蹖丕賳 亘賵丿:丕賳毓讴丕爻 倬賳噩乇賴 賴丕噩賲毓 卮丿 賵 賴賲 爻胤丨 卮丿貙鬲賲丕賲蹖 丌賳 賵乇胤賴 丕賳诏丕乇 亘賴 賲乇亘毓 賴丕蹖 鬲蹖乇賴 賵 乇賵卮賳 鬲賯爻蹖賲 卮丿貙賵 賱丨馗賴 丕蹖 讴賴 賱賵跇蹖賳 丿爻鬲卮 乇丕 乇賴丕 讴乇丿貙賱丨馗賴 丕蹖 讴賴 賴賵丕蹖 蹖禺 夭丿賴 亘賴 丿賴丕賳卮 丨噩賵賲 亘乇貙 丿賯蹖賯丕 丿蹖丿 讴賴 趩賴 賳賵毓 丕亘丿蹖鬲蹖 亘賴 丕噩亘丕乇 賵 亘蹖 乇丨賲丕賳賴 丿乇 亘乇丕亘乇卮 诏爻鬲乇丿賴 賲蹖 卮賵丿...
夭賳丿诏蹖 賱賵跇蹖賳 丕夭 丌睾丕夭 鬲丕 倬丕蹖丕賳 卮亘丕賴鬲蹖 毓噩蹖亘 亘賴 丿賳蹖丕蹖 卮胤乇賳噩 丿丕卮鬲. 丿賮丕毓 賱賵跇蹖賳 丿乇亘乇丕亘乇 鬲賲丕賲 丨賯丕乇鬲 賴丕貙讴丕爻鬲蹖 賴丕貙蹖讴 賳賵丕禺鬲蹖 賴丕 賵 爻乇丿乇诏賲蹖 賴丕 賵丕賮毓丕 丿乇丿賳丕讴 亘賵丿. 亘賴 賳馗乇 賲賳 卮丕蹖丿 鬲賳賴丕 乇丕賴 賮乇丕乇 丕賵 丕夭 夭賳丿诏蹖 賵丕賯毓蹖 丕卮 倬賳丕賴 亘乇丿賳 亘賴 丿賳蹖丕蹖 卮胤乇賳噩 亘賵丿 亘丕 蹖讴 丌蹖乇賵賳蹖賴 丿乇丿賳丕讴 讴賴 丕蹖賳 丿賱蹖賱 賮乇噩丕賲 鬲賱禺 夭賳丿诏蹖 丕賵 卮丿.
賵丕賯毓丕 丕夭 禺賵丕賳丿賳 丕蹖賳 乇賲丕賳 賱匕鬲 亘乇丿賲 賵 爻毓蹖 讴乇丿賲 亘丕 丨賵氐賱賴 賵賯鬲 亘诏匕丕乇賲 賵 丨鬲蹖 丕夭 蹖讴 噩賲賱賴 亘賴 乇丕丨鬲蹖 賳诏匕乇賲. 鬲乇噩賲賴 蹖 賮賵賯 丕賱毓丕丿賴 丕蹖 丿丕卮鬲 賵 丨賯 賲胤賱亘 乇丕 亘賴 禺賵亘蹖 丕丿丕 讴乇丿. (鬲乇噩賲賴 丕夭 乇囟丕 乇氐丕蹖蹖)
賯爻賲鬲 倬丕蹖丕賳蹖 賵 賲賵乇丿 毓賱丕賯賴 蹖 賲賳:
賯亘賱 丕夭 乇賴丕 讴乇丿賳 禺賵丿卮貙 亘賴 倬丕蹖蹖賳 賳诏丕賴 讴乇丿. 丌賳 噩丕 鬲丿丕乇讴 毓噩賵賱丕賳賴 丕蹖 丿乇 噩乇蹖丕賳 亘賵丿:丕賳毓讴丕爻 倬賳噩乇賴 賴丕噩賲毓 卮丿 賵 賴賲 爻胤丨 卮丿貙鬲賲丕賲蹖 丌賳 賵乇胤賴 丕賳诏丕乇 亘賴 賲乇亘毓 賴丕蹖 鬲蹖乇賴 賵 乇賵卮賳 鬲賯爻蹖賲 卮丿貙賵 賱丨馗賴 丕蹖 讴賴 賱賵跇蹖賳 丿爻鬲卮 乇丕 乇賴丕 讴乇丿貙賱丨馗賴 丕蹖 讴賴 賴賵丕蹖 蹖禺 夭丿賴 亘賴 丿賴丕賳卮 丨噩賵賲 亘乇貙 丿賯蹖賯丕 丿蹖丿 讴賴 趩賴 賳賵毓 丕亘丿蹖鬲蹖 亘賴 丕噩亘丕乇 賵 亘蹖 乇丨賲丕賳賴 丿乇 亘乇丕亘乇卮 诏爻鬲乇丿賴 賲蹖 卮賵丿...
This entire review has been hidden because of spoilers.
December 2, 2014
We find in The Luzhin Defense many of Nabokov's playful tropes: madness (monomania, solipsism), resistance to meaning (particular jabs at the "Viennese delegation"), genius outcast from society. It is apparent that his is an early work of the master, though a masterful work still. Luzhin is a remote but somehow lovable obsessive. Our affection for him has true potential, perhaps a potential unusual for the typical Nabokovian protagonist. But that affection is abated by our narrative distance from Luzhin: while the first person brings us closer to the monsters of Humbert and Kinbote, the third person alienates us from the more awkwardly lovable Pnin and Luzhin. This alienation is not unique to the reader, but a feeling felt by all who meet Luzhin: he is remote, inaccessible, too odd and too genius for the world in which he lives.
Ultimately, like all of Nabokov's memorable puppets, Luzhin's sanity is the vicitm of his own illusions: a victimhood manifest even in his characteristic conception, as Nabokov informs us in the Foreward: "The Russian title of this novel is Zashchita Luzhina, which means 'the Luzhin defense' and refers to a chess defense supposedly invented by my creature, Grandmaster Luzhin: the name rhymes with 鈥渋llusion鈥� if pronounced thickly enough to deepen the 'u' into 'oo.'" Luzhin is at once a man totally blinded by illusion, and also a man of preternaturally clear vision. His acuity and understanding in the realm of chess blinds him to the reality of his larger environment. As in Despair, Nabokov parodies his own focus on detail to comedic effect: focus on detail becomes dangerous myopia. Luzhin feels that attachment to the real world is a source of endless fatigue, even the chessboard is a burden to him. His consciousness, all of his senses, are focused so microscopically that he becomes a solemn object of ridicule:
Despite the parallels between Luzhin Defense and Zweig's Chess Story, it would be in poor taste to imagine it a parody of Zweig's post-Nazi novella - however the comparison is unavoidable. There is a notable exchange in values when one moves from Zweig to Nabokov's takes on Chess obsessives. In Zweig we encounter a man literally tortured, and chess being a mental manifestation of both escape and continued imprisonment. Chess Story is a poignant, post-WWII tale, with heavy-laden messages against human cruelty, the double-edged sword of escapism, and the pervasive loss of innocence and beauty following the Nazi rule. In Luzhin Defense we are withheld meaning and given farce. While Nabokov plays with us, manipulates our affections and our perceptions, his art is a cold and distant art. The genius of Zweig's novella is to make chess warm to us, familiar, an obsession-affliction which is at the very border of our admiration and fear. The genius of Nabokov's novel is the inverse: it instills on the sympathetic narrative of a man gone mad by his own monomania with the cold aloofness of a chess match.
Ultimately, like all of Nabokov's memorable puppets, Luzhin's sanity is the vicitm of his own illusions: a victimhood manifest even in his characteristic conception, as Nabokov informs us in the Foreward: "The Russian title of this novel is Zashchita Luzhina, which means 'the Luzhin defense' and refers to a chess defense supposedly invented by my creature, Grandmaster Luzhin: the name rhymes with 鈥渋llusion鈥� if pronounced thickly enough to deepen the 'u' into 'oo.'" Luzhin is at once a man totally blinded by illusion, and also a man of preternaturally clear vision. His acuity and understanding in the realm of chess blinds him to the reality of his larger environment. As in Despair, Nabokov parodies his own focus on detail to comedic effect: focus on detail becomes dangerous myopia. Luzhin feels that attachment to the real world is a source of endless fatigue, even the chessboard is a burden to him. His consciousness, all of his senses, are focused so microscopically that he becomes a solemn object of ridicule:
Luzhin was indeed tired. Lately he had been playing too frequently and too unsystematically; he was particularly fatigued by playing blind, a rather well-paid performance that he willingly gave. He found therein deep enjoyment: one did not have to deal with visible, audible, palpable pieces whose quaint shape and wooden materiality always disturbed him and always seemed to him but the crude, mortal shell of exquisite, invisible chess forces.Chess is perhaps the perfect metaphor for Nabokov's style of art: precise, calculating, pure-play and pure-skill removed from chance. Nabokov's works are ruled by his aptly named (in Lolita) "McFate" - man-made, authored, Fate: fate which is removed from fortune. When interviewed for the Paris Review, he was asked if E.M. Forster's claim that [Forster's] character's had lives of their own, and wrote their fortunes for themselves, resonated with him, Nabokov answered (characteristically):
My knowledge of Mr. Forster's works is limited to one novel, which I dislike; and anyway, it was not he who fathered that trite little whimsy about characters getting out of hand; it is as old as the quills, although of course one sympathizes with his people if they try to wriggle out of that trip to India or wherever he takes them. My characters are galley slaves.Pot-shot at Passage to India aside, the closing seal on his answer is significant to understanding Nabokov's approach to art. "My characters are galley slaves." Slaves, like chess pieces beneath the hands of their master, ever part of a greater artwork: the game. Nabokov's artistry is a game, he is a parodist and a trickster. That stills our emotional reaction, but invokes our appreciate for his aesthetic achievements. Luzhin does not move us, and The Luzhin Defense is as much a chess defense as it is a defense against interpretation, against emotion. The Luzhin Defense is a case in the particular of the Nabokov Defense - a defense against meaning which he artfully employs to distance the heart, while drawing in the mind.
Despite the parallels between Luzhin Defense and Zweig's Chess Story, it would be in poor taste to imagine it a parody of Zweig's post-Nazi novella - however the comparison is unavoidable. There is a notable exchange in values when one moves from Zweig to Nabokov's takes on Chess obsessives. In Zweig we encounter a man literally tortured, and chess being a mental manifestation of both escape and continued imprisonment. Chess Story is a poignant, post-WWII tale, with heavy-laden messages against human cruelty, the double-edged sword of escapism, and the pervasive loss of innocence and beauty following the Nazi rule. In Luzhin Defense we are withheld meaning and given farce. While Nabokov plays with us, manipulates our affections and our perceptions, his art is a cold and distant art. The genius of Zweig's novella is to make chess warm to us, familiar, an obsession-affliction which is at the very border of our admiration and fear. The genius of Nabokov's novel is the inverse: it instills on the sympathetic narrative of a man gone mad by his own monomania with the cold aloofness of a chess match.
December 20, 2020
Not as impressive as Lolita, but still a solid read. Mostly, I was bored and confused with the direction of the plot. Well, almost non-existent plot. Luzhin is supposed to be compelling and intriguing, but he's non of the above. Also, the ending isn't even nearly satisfying and I feel like I'm left hanging.
This is a story about an obsessed chess player who doesn't distinguish reality from imagination. Basically, the plot deals with the story of a genius, whose perception of life entwines with chess strategy. There were some inconsistent time jumps that weren't explained properly and it bugged me, like the way narrative jumped sixteen years in a single paragraph.
The story had so much potential because of the captivating topic, but the delivery was average and prosaic. Most of the characters are flat, plastic and lifeless. The narrative of The Defense drags to unnecessary lengths without any direction nor endgame. Between ridiculously long description of interior decorating and questionable parenting, there is a semi-interesting plot hidden deeply into a bit overdramatic obsession.
Luzhin stumbles through the novel like he's autistic. He's constantly falling over the breaking line by trying to solve an impossible chess problem. Also, he's useless as a human being in general. He has no real purpose in this world nor to people around him. He's like a vegetable. Chess is his life, it consumes him to the point where not even his "devoted" wife can rescue him. He's a two-dimensional character with no redeeming quality.
Mrs. Luzhin doesn鈥檛 seem like a convincing spouse, not even close. I can't even remember her name if it was ever mentioned. She looks like a nurse or even as an overprotective mother, not a loving wife. There aren't any displays of emotion between them. I wonder if she's even attracted to Luzhin and vice versa.
Since he was born, Luzhin had a strenuous and downright weird relationship with relatives. His parents never even tried to get to know him, they only wanted to make him an upgraded version of themselves. They were DISAPPOINTED when he grew up to have his own personality. A bleak personality, though.
This is a story about an obsessed chess player who doesn't distinguish reality from imagination. Basically, the plot deals with the story of a genius, whose perception of life entwines with chess strategy. There were some inconsistent time jumps that weren't explained properly and it bugged me, like the way narrative jumped sixteen years in a single paragraph.
The story had so much potential because of the captivating topic, but the delivery was average and prosaic. Most of the characters are flat, plastic and lifeless. The narrative of The Defense drags to unnecessary lengths without any direction nor endgame. Between ridiculously long description of interior decorating and questionable parenting, there is a semi-interesting plot hidden deeply into a bit overdramatic obsession.
Luzhin stumbles through the novel like he's autistic. He's constantly falling over the breaking line by trying to solve an impossible chess problem. Also, he's useless as a human being in general. He has no real purpose in this world nor to people around him. He's like a vegetable. Chess is his life, it consumes him to the point where not even his "devoted" wife can rescue him. He's a two-dimensional character with no redeeming quality.
Mrs. Luzhin doesn鈥檛 seem like a convincing spouse, not even close. I can't even remember her name if it was ever mentioned. She looks like a nurse or even as an overprotective mother, not a loving wife. There aren't any displays of emotion between them. I wonder if she's even attracted to Luzhin and vice versa.
Since he was born, Luzhin had a strenuous and downright weird relationship with relatives. His parents never even tried to get to know him, they only wanted to make him an upgraded version of themselves. They were DISAPPOINTED when he grew up to have his own personality. A bleak personality, though.
September 17, 2021
[32nd book of 2021. Artist for this review is Spanish painter Juan Gris.]
"Chessboard, Glass, and Dish", Details鈥�1917
3.5. I would usually read a novel of this size in two or three days but I found this dense. Nabokov embeds all the dialogue as Kafka does, meaning most pages are giant paragraphs, sometimes running several pages, with conversations threaded in without any new lines for them. At night, if my eyes were drooping, I couldn't concentrate on the reams of continuous text.
As for the story: Luzhin becomes enamored with chess as a boy (he is a shy boy, meek, and rather unattractive) and slowly rises in fame. Around half-way he meets his mental breakdown. Chess doesn't actually play a giant role in the novel, it's more a commentary on the "mind of a genius", an idea I'm usually very fond of; but, frankly, there are better novels about chess (see Chess by Stefan Zweig) and there are better novels about the mind of a genius (see The Moon and Sixpence by W. Somerset Maugham). Nabokov's writing is always stunning, so it's hard to fault that, though this novel was missing some of his usual, almost demure, humour. The prose felt less playful than others, more self-serious. Apparently Luzhin is based off a man Nabokov knew from his own life, so perhaps that is why the prose reads the way it does. The ending is sudden, but I found quite moving. I was tempted to give it 4-stars but that wouldn't be a true representation of the experience as a whole. It's not a bad novel but it's slow and rather thick to wade through.
Chess always reminds of T.S. Eliot, Zweig, and now Nabokov. Though, I knew he was rather fond of a chess problem now and again anyway. My cousins were down from London yesterday and the eldest boy, Alexi, asked me if we could find a chessboard and play one another in the garden. Sadly, we could not. Instead, I read my grandmother's favourite Shakespeare sonnet to her, Sonnet 18.
"Chessboard, Glass, and Dish", Details鈥�1917
3.5. I would usually read a novel of this size in two or three days but I found this dense. Nabokov embeds all the dialogue as Kafka does, meaning most pages are giant paragraphs, sometimes running several pages, with conversations threaded in without any new lines for them. At night, if my eyes were drooping, I couldn't concentrate on the reams of continuous text.
As for the story: Luzhin becomes enamored with chess as a boy (he is a shy boy, meek, and rather unattractive) and slowly rises in fame. Around half-way he meets his mental breakdown. Chess doesn't actually play a giant role in the novel, it's more a commentary on the "mind of a genius", an idea I'm usually very fond of; but, frankly, there are better novels about chess (see Chess by Stefan Zweig) and there are better novels about the mind of a genius (see The Moon and Sixpence by W. Somerset Maugham). Nabokov's writing is always stunning, so it's hard to fault that, though this novel was missing some of his usual, almost demure, humour. The prose felt less playful than others, more self-serious. Apparently Luzhin is based off a man Nabokov knew from his own life, so perhaps that is why the prose reads the way it does. The ending is sudden, but I found quite moving. I was tempted to give it 4-stars but that wouldn't be a true representation of the experience as a whole. It's not a bad novel but it's slow and rather thick to wade through.
Chess always reminds of T.S. Eliot, Zweig, and now Nabokov. Though, I knew he was rather fond of a chess problem now and again anyway. My cousins were down from London yesterday and the eldest boy, Alexi, asked me if we could find a chessboard and play one another in the garden. Sadly, we could not. Instead, I read my grandmother's favourite Shakespeare sonnet to her, Sonnet 18.
December 3, 2023
El ajedrez siempre ha tenido ese componente casi m谩gico para m铆, como cuando admirado observo a un m煤sico callejero tocando cualquier instrumento musical. Inmediatamente me cautiva. Al igual que Nabokov me ha cautivado por completo con esta novela.
En听"La Defensa"听Nabokov presenta a Luzhin, un joven inadaptado aunque muy especial, carente de habilidades sociales y con un absoluto desinter茅s por relacionarse con el resto de la sociedad que descubre en el ajedrez una raz贸n para vivir.
Al descubrir el ajedrez su mundo empieza a tomar forma. Cuando el padre se da cuenta de ello se dir谩 鈥渘o solo se divierte con el ajedrez, sino que parece celebrar un rito sagrado鈥�. Y es que Luzhin, 鈥渘o contemplaba las talladas crines de los caballos ni las cabezas brillantes de los peones, pero sent铆a con toda claridad que esta o aquella casilla imaginaria estaba ocupada por una fuerza definida y concentrada, de modo que le era posible concebir el movimiento de una pieza como una descarga, una sacudida o el fulgor de un rel谩mpago, y el tablero entero de ajedrez se imantaba de tensi贸n, y sobre esta tensi贸n 茅l ejerc铆a un dominio total, concentrando aqu铆 y liberando all谩 toda la energ铆a el茅ctrica, el cansancio f铆sico no era nada en comparaci贸n con la fatiga mental que era su premio por el intenso esfuerzo y el 茅xtasis impl铆cito en el juego mismo, que 茅l dirig铆a desde una dimensi贸n celestial en la que sus instrumentos eran cantidades incorp贸reas鈥�... Extraordinaria, maravillosa descripci贸n que muy pocos pueden escribir, un genio como Nabokov S脥.
La entrega por el juego y todas sus posibilidades acaba convirti茅ndose en una obsesi贸n y Luzhin 鈥渁ceptaba la vida exterior como algo inevitable, pero ni mucho menos interesante鈥�, toda su vida estaba en esas 64 casillas negras y blancas. Su obsesi贸n termina por descontrolarse con la muerte de su padre, y, a ra铆z de ese acontecimiento, nuestro protagonista 鈥渟e sumergi贸 con melanc贸lica pasi贸n en nuevos c谩lculos, invent贸 combinaciones y vagamente comenz贸 a intuir la clase de defensa que le era necesaria: una defensa deslumbrante鈥�. En este momento Nabokov empieza a diluir la delgada l铆nea que separa la realidad del juego, y esa defensa ajedrec铆stica se puede entender tambi茅n como una defensa psicol贸gica, vital, de supervivencia, el escudo que crea Luzhin ante ese mundo neblinoso que le rodea. Llegar谩 a ser un gran maestro. Llegar谩 a la c煤spide del ajedrez. Y en su partida cumbre鈥� ser谩 devorado por s铆 mismo y por un movimiento inesperado de su oponente. Ese momento es tambi茅n el z茅nit de la novela, Nabokov vuelve a deslumbrarnos con su genio y su ritmo literario: la partida decisiva con el gran maestro Turati, rival de Luzhin. Aqu铆 Nabokov convierte al ajedrez en un elemento po茅tico, sublime, rozando la perfecci贸n. Dos mentes brillantes. Dos concepciones de ser y estar. Dos universos.
A partir de ah铆 la vida de Luzhin cae sin remedio a los infiernos. As铆 como la lectura comienza a tornarse m谩s contenida, taciturna, l煤gubre, gris. La locura que viene despu茅s de la obsesi贸n absorbe la historia y el lector baja a los infiernos en los que Luzhin se mantiene con vida, dir铆a que casi sin pulso, a merced de los cuidados de su esposa, pero sin un motivo para sonre铆r. Esta decadencia alcanza sus cotas m谩s altas con alucinaciones, como los "mensajes ocultos" en los peri贸dicos. Luzhin empieza a ver como su vida tras el ajedrez es una repetici贸n de su miserable vida antes del ajedrez, 鈥渃on vaga admiraci贸n y vago horror observ贸 cu谩n pasmosamente, con qu茅 elegancia y flexibilidad, jugada tras jugada, se hab铆an repetido las im谩genes de su infancia, pero no lograba comprender por qu茅 esa repetici贸n le inspiraba tanto temor a su alma鈥�. A partir de este momento 鈥渘o habr铆a descanso para 茅l; deb铆a, si era posible, idear una defensa contra esa p茅rfida combinaci贸n, liberarse de ella y para ello ten铆a que prever un objetivo final, una direcci贸n definitiva, lo que a煤n no parec铆a posible hacer. Y era tan alarmante la idea de que la repetici贸n probablemente continuara, que sinti贸 la necesidad de detener el reloj de su vida, suspender para siempre la partida, permanecer inm贸vil, y al mismo tiempo se dio cuenta de que continuaba existiendo, que una especie de preparativos se hab铆an puesto en marcha, un desarrollo furtivo, y que 茅l no ten铆a poder para detener ese movimiento鈥�. El destino como contrincante en la partida de ajedrez que era su vida.
"La Defensa" desde mi punto de vista es una novela extremadamente bien pensada, muy detallada, la cual posee una cantidad de elementos que le dan una belleza est茅tica a la pat茅tica vida de nuestro protagonista. Y ante esto uno se pregunta 驴C贸mo puede ser bello lo pat茅tico? 驴C贸mo se logra eso? La respuesta para m铆 es mediante la manera 煤nica que tiene Nabokov de escribir, en la que sus textos buscan el arte, el placer est茅tico y no tan s贸lo una narraci贸n entretenida.
Al terminar de leer el libro no sabes si la locura de Luzhin es real o infundida. Es la maestr铆a de Nabokov para profundizar en la mente de sus personajes y retorcerlos implacablemente la que brilla en toda la novela.
Para mi Nabokov es un escritor muy especial, y adoro sus novelas ya que la forma que tiene de apreciar la literatura como un arte es lo que 茅l mismo plantea en sus escritos. Absolutamente todo lo que narra tiene una uni贸n, una conjunci贸n que da como resultado el florecimiento de sentimientos, unos sentimientos que construyen la atm贸sfera que busca con sus descripciones, cada trazo que escribe, cada elemento est谩 ah铆 por alg煤n motivo, para completar un cuadro y as铆 integrar completamente al personaje en la ficci贸n que est谩 creando.
As铆, desde mi punto de vista, Nabokov crea una novela perfecta.
En听"La Defensa"听Nabokov presenta a Luzhin, un joven inadaptado aunque muy especial, carente de habilidades sociales y con un absoluto desinter茅s por relacionarse con el resto de la sociedad que descubre en el ajedrez una raz贸n para vivir.
Al descubrir el ajedrez su mundo empieza a tomar forma. Cuando el padre se da cuenta de ello se dir谩 鈥渘o solo se divierte con el ajedrez, sino que parece celebrar un rito sagrado鈥�. Y es que Luzhin, 鈥渘o contemplaba las talladas crines de los caballos ni las cabezas brillantes de los peones, pero sent铆a con toda claridad que esta o aquella casilla imaginaria estaba ocupada por una fuerza definida y concentrada, de modo que le era posible concebir el movimiento de una pieza como una descarga, una sacudida o el fulgor de un rel谩mpago, y el tablero entero de ajedrez se imantaba de tensi贸n, y sobre esta tensi贸n 茅l ejerc铆a un dominio total, concentrando aqu铆 y liberando all谩 toda la energ铆a el茅ctrica, el cansancio f铆sico no era nada en comparaci贸n con la fatiga mental que era su premio por el intenso esfuerzo y el 茅xtasis impl铆cito en el juego mismo, que 茅l dirig铆a desde una dimensi贸n celestial en la que sus instrumentos eran cantidades incorp贸reas鈥�... Extraordinaria, maravillosa descripci贸n que muy pocos pueden escribir, un genio como Nabokov S脥.
La entrega por el juego y todas sus posibilidades acaba convirti茅ndose en una obsesi贸n y Luzhin 鈥渁ceptaba la vida exterior como algo inevitable, pero ni mucho menos interesante鈥�, toda su vida estaba en esas 64 casillas negras y blancas. Su obsesi贸n termina por descontrolarse con la muerte de su padre, y, a ra铆z de ese acontecimiento, nuestro protagonista 鈥渟e sumergi贸 con melanc贸lica pasi贸n en nuevos c谩lculos, invent贸 combinaciones y vagamente comenz贸 a intuir la clase de defensa que le era necesaria: una defensa deslumbrante鈥�. En este momento Nabokov empieza a diluir la delgada l铆nea que separa la realidad del juego, y esa defensa ajedrec铆stica se puede entender tambi茅n como una defensa psicol贸gica, vital, de supervivencia, el escudo que crea Luzhin ante ese mundo neblinoso que le rodea. Llegar谩 a ser un gran maestro. Llegar谩 a la c煤spide del ajedrez. Y en su partida cumbre鈥� ser谩 devorado por s铆 mismo y por un movimiento inesperado de su oponente. Ese momento es tambi茅n el z茅nit de la novela, Nabokov vuelve a deslumbrarnos con su genio y su ritmo literario: la partida decisiva con el gran maestro Turati, rival de Luzhin. Aqu铆 Nabokov convierte al ajedrez en un elemento po茅tico, sublime, rozando la perfecci贸n. Dos mentes brillantes. Dos concepciones de ser y estar. Dos universos.
A partir de ah铆 la vida de Luzhin cae sin remedio a los infiernos. As铆 como la lectura comienza a tornarse m谩s contenida, taciturna, l煤gubre, gris. La locura que viene despu茅s de la obsesi贸n absorbe la historia y el lector baja a los infiernos en los que Luzhin se mantiene con vida, dir铆a que casi sin pulso, a merced de los cuidados de su esposa, pero sin un motivo para sonre铆r. Esta decadencia alcanza sus cotas m谩s altas con alucinaciones, como los "mensajes ocultos" en los peri贸dicos. Luzhin empieza a ver como su vida tras el ajedrez es una repetici贸n de su miserable vida antes del ajedrez, 鈥渃on vaga admiraci贸n y vago horror observ贸 cu谩n pasmosamente, con qu茅 elegancia y flexibilidad, jugada tras jugada, se hab铆an repetido las im谩genes de su infancia, pero no lograba comprender por qu茅 esa repetici贸n le inspiraba tanto temor a su alma鈥�. A partir de este momento 鈥渘o habr铆a descanso para 茅l; deb铆a, si era posible, idear una defensa contra esa p茅rfida combinaci贸n, liberarse de ella y para ello ten铆a que prever un objetivo final, una direcci贸n definitiva, lo que a煤n no parec铆a posible hacer. Y era tan alarmante la idea de que la repetici贸n probablemente continuara, que sinti贸 la necesidad de detener el reloj de su vida, suspender para siempre la partida, permanecer inm贸vil, y al mismo tiempo se dio cuenta de que continuaba existiendo, que una especie de preparativos se hab铆an puesto en marcha, un desarrollo furtivo, y que 茅l no ten铆a poder para detener ese movimiento鈥�. El destino como contrincante en la partida de ajedrez que era su vida.
"La Defensa" desde mi punto de vista es una novela extremadamente bien pensada, muy detallada, la cual posee una cantidad de elementos que le dan una belleza est茅tica a la pat茅tica vida de nuestro protagonista. Y ante esto uno se pregunta 驴C贸mo puede ser bello lo pat茅tico? 驴C贸mo se logra eso? La respuesta para m铆 es mediante la manera 煤nica que tiene Nabokov de escribir, en la que sus textos buscan el arte, el placer est茅tico y no tan s贸lo una narraci贸n entretenida.
Al terminar de leer el libro no sabes si la locura de Luzhin es real o infundida. Es la maestr铆a de Nabokov para profundizar en la mente de sus personajes y retorcerlos implacablemente la que brilla en toda la novela.
Para mi Nabokov es un escritor muy especial, y adoro sus novelas ya que la forma que tiene de apreciar la literatura como un arte es lo que 茅l mismo plantea en sus escritos. Absolutamente todo lo que narra tiene una uni贸n, una conjunci贸n que da como resultado el florecimiento de sentimientos, unos sentimientos que construyen la atm贸sfera que busca con sus descripciones, cada trazo que escribe, cada elemento est谩 ah铆 por alg煤n motivo, para completar un cuadro y as铆 integrar completamente al personaje en la ficci贸n que est谩 creando.
As铆, desde mi punto de vista, Nabokov crea una novela perfecta.
December 24, 2022
丕毓鬲乇丕賮: 丌賳賯丿乇 讴賴 丿乇 趩賳丿亘丕乇賴 禺賵丕賳丿賳 賲爻丨賵乇 诏蹖乇丕蹖蹖賽 倬賱丕鬲 賵 胤賳夭 賵 鬲賱禺蹖賽 讴鬲丕亘賲 讴賴 噩夭 鬲毓乇蹖賮 讴丕乇蹖 丕夭賲 亘乇賳賲蹖鈥屫③屫�.
賳丕亘丕讴賮 乇丕 鬲丕 賯亘賱 丕蹖賳 讴鬲丕亘 丿乇 賲賯丕賲 蹖讴 賳丕亘睾賴 賳賲蹖鈥屫促嗀ж�. 卮賳丕禺鬲 丕丿亘蹖丕鬲 乇賵爻 讴賮丕蹖鬲 賲蹖鈥屭┴必� 讴賴 亘丿丕賳賲 亘丕 讴爻蹖 胤乇賮賲 讴賴 芦禺賵丕賳丿賳禄 丕丿亘蹖丕鬲 亘賱丿 丕爻鬲貙 賵 丕夭 丕賵 蹖丕丿 诏乇賮鬲賲貙 丿乇 丿蹖丿賳 丿丕爻鬲丕賳 賲賳馗賵乇賲 丕爻鬲貙 賲孬賱 乇丕噩乇 賮丕賵賱乇 蹖丕 丿蹖賵蹖丿 賱丕噩 蹖丕 鬲乇蹖賱蹖賳诏 蹖丕 賵蹖賳鈥屫ㄙ堌� 蹖丕 丨鬲蹖 亘毓囟蹖 丕卮丕乇丕鬲 乇賵賱丕賳 亘丕乇鬲 丿乇 丿蹖丿賳 氐丨賳賴鈥屰� 鬲讴賳蹖讴蹖賽 乇賲丕賳賴丕. 賵賱蹖 亘丕 丕蹖賳 讴鬲丕亘 賵 鬲乇噩賲賴鈥屰� 丿乇噩賴鈥屰屭� 乇囟丕 乇囟丕蹖蹖 (讴賴 亘丕蹖丿 诏賮鬲 賯丿乇蹖 賴賲 丨丕氐賱 讴丕乇 讴丕乇诏丕賴 賵蹖乇丕蹖卮 賳卮乇 讴丕乇賳丕賲賴 丕爻鬲) 賳丕亘丕讴賮 丕爻鬲丕丿 賲爻賱賲 卮丿 亘乇丕蹖賲. 賲蹖鈥屫з嗀池� 卮胤乇賳噩 亘賱丿 丕爻鬲 賵 胤乇丕丨 賲爻丕卅賱 卮胤乇賳噩 丕爻鬲貙 賲蹖鈥屫з嗀池� 倬乇賵丕賳賴鈥屫堌池� 賵 卮讴丕乇趩蹖 賵 讴賱讴爻蹖賵賳乇 倬乇賵丕賳賴 丕爻鬲 賵 卮丕蹖丿 亘丕蹖丿 诏賮鬲 芦倬乇賵丕賳賴鈥屫促嗀ж陈回� 賲蹖鈥屫з嗀池� 夭亘丕賳 丕賳诏賱蹖爻蹖 乇丕 賲蹖鈥屫①呝堌藏� 賵 趩賳丕賳 趩蹖夭蹖 賲蹖鈥屬嗁堐屫池� 讴賴 芦賳丕亘丕讴賵賮蹖禄 賯賱賲 賲蹖鈥屫囐嗀� 趩賳丕賳 讴賴 亘毓丿鬲乇 賲孬賱丕賸 賴賲賳 蹖丕 丌爻蹖賲丕賳 乇丕 芦賳丕亘丕讴賮 噩丿蹖丿禄 賲蹖鈥屫堌з嗁嗀� 亘賴 賴賲蹖賳 丕毓鬲亘丕乇 讴賴 丕賳诏賱蹖爻蹖 夭亘丕賳 賲丕丿乇蹖鈥屫簇з� 賳蹖爻鬲 賵 丿乇 丌賳 趩賳丕賳 爻丨乇蹖 賲蹖鈥屫з嗂屫操嗀� 讴賴 爻鬲丕蹖卮 丕賳诏賱蹖爻蹖鈥屫藏ㄘз嗀з� 乇丕 亘賴 賴賲乇丕賴 丿丕乇丿貨 丕蹖賳賴丕 賴賲賴 亘賵丿 賵賱蹖 亘丕 丕蹖賳 讴鬲丕亘 賮賴賲蹖丿賲 賴賵卮賲賳丿蹖 丿乇 胤乇丕丨蹖 卮禺氐蹖鬲 賵 氐丨賳賴 賵 丿蹖丕賱賵诏 賵 賲丕賮蹖鈥屫з勜顿呟屫� 卮禺氐蹖鬲鈥屬囏� 賵 賳賲丕蹖丕賳丿賳 夭賵丕蹖丕蹖 鬲丕乇蹖讴 乇賵丨 趩賯丿乇 賲蹖鈥屫堌з嗀� 倬蹖卮 亘乇賵丿. 亘丕夭 賴賲 賲蹖鈥屬嗁堐屫迟� 亘乇丕蹖 賲賳 賲賯丕賲蹖 丿丕乇丿 讴賴 卮丕蹖丿 亘賵乇禺爻 賵爻賱蹖賳噩乇 賵 讴丕賱賵蹖賳賵 丿丕乇賳丿 丿乇 賯乇賳 亘蹖爻鬲賲蹖鈥屬囏� (噩賵蹖爻 賵 倬乇賵爻鬲 禺亘 鬲賵賮蹖乇 丕爻丕爻蹖 丿丕乇賳丿) 賵 賴賲蹖賳诏賵蹖 賵 賮丕賱讴賳乇 賵 賵賱賮 賯丿乇蹖 丿賵乇鬲乇. 亘丕 丌倬丿丕蹖讴 卮丕蹖丿 丌賳趩賳丕賳 丌卮賳丕 賳亘丕卮賲.
賲賯丿賲賴鈥屰� 賳賵蹖爻賳丿賴 亘乇 讴鬲丕亘 亘禺氐賵氐 倬丕蹖丕賳鈥屫ㄙ嗀� 禺蹖賱蹖 賲毓乇讴賴 丕爻鬲. 丨乇賮 賳丿丕乇丿. 賴賲蹖卮賴 賲蹖鈥屭堐屬嗀� 賳丕亘丕讴賮 亘丕 亘毓囟蹖 爻乇 賳丕爻丕夭诏丕乇蹖 丿丕乇丿. 賲孬賱丕賸 丕夭 賮乇賵蹖丿亘丕夭蹖 禺賵卮卮 賳賲蹖鈥屫③屫� 亘丕 睾丕氐亘丕賳 賵胤賳卮 爻乇 毓賳丕丿 丿丕卮鬲 賵 睾蹖乇賴 賵睾蹖乇賴. 賵賱蹖 賳賵卮鬲賳 丌賳 噩賲賱丕鬲 丌禺乇 賲賯丿賲賴 賴賵卮 睾乇蹖亘 賲蹖鈥屫堌з囏�. 賲孬賱 乇丕賵蹖鈥屫й� 讴賴 賲蹖鈥屫池ж藏� 賵 丌丿賲 乇丕 賲胤賲卅賳 賳賲蹖鈥屭┵嗀� 賯囟蹖賴鈥屰� 賯氐賴 丕夭 趩賴 賯乇丕乇 丕爻鬲 賲賯丿賲賴 賴賲 亘蹖鈥屬傌必ж必� 賲蹖鈥屭┵嗀� 讴賴 賳讴賳丿 賯丿乇蹖 賴賲 噩丿蹖 亘丕卮丿 賵 賴賲賴鈥屫ж� 乇賳丿蹖 賳亘丕卮丿.
賴賲蹖賳 讴賴 禺蹖丕賱卮 賳蹖爻鬲 賵 诏丕賴蹖 鬲賲丕賲 丕胤賱丕毓丕鬲 乇丕 丿乇 蹖讴 噩賲賱賴 噩丕 賲蹖鈥屭柏ж必� 爻鬲賵丿賳蹖鈥屫池�. 禺賵丕賳賳丿賴鈥屰� 賳丕亘丕讴賮 賳賲蹖鈥屫堌з嗀� 鬲賵蹖 讴丕賮賴 賵 賯亘賱 禺賵丕亘 賵 亘乇丕蹖 乇賮毓 亘胤丕賱鬲 賯氐賴 乇丕 鬲賵蹖 趩賳诏 亘蹖丕賵乇丿. 丕诏乇 趩卮賲鬲 賴賲蹖賳噩賵乇 乇丿 亘卮賵丿 趩卮賲鈥屫з嗀ж� 乇丕 丕夭 丿爻鬲 禺賵丕賴蹖 丿丕丿. 丿乇 蹖讴 噩賲賱賴 蹖讴 噩丕蹖蹖 丕夭 乇賲丕賳 丕夭 讴蹖賮蹖 賵 乇賳诏卮 賵 丿蹖丕賱賵诏賴丕蹖 爻乇 賲蹖夭 賲蹖鈥屬嗁堐屫池� 賵 乇丿 賲蹖鈥屫促堌�. 丿乇 蹖讴 氐丨賳賴 丿乇 丨丿 蹖讴 噩賲賱賴 鬲乇丿蹖丿 賲蹖鈥屫з嗀ж藏� 亘賴 賯氐賴 讴賴 賳讴賳丿 丌蹖賳賴鈥屬囏й� 爻丕賱賳 賲毓賳蹖鈥屫й� 丿丕乇賳丿. 丿乇 蹖讴 噩賲賱賴 氐丿丕賴丕 乇丕 禺賮賴 賲蹖鈥屭┵嗀� 賵 賲蹖鈥屭柏ж必� 賵囟毓 亘卮乇蹖 倬蹖卮 趩卮賲 亘蹖丕蹖丿.
鬲丿賵蹖賳. 賳賲蹖鈥屫з嗁� 趩賴 亘賳賵蹖爻賲. 賴賳乇 胤乇丕丨蹖賽 倬賱丕鬲. 丌禺乇 倬賱丕鬲 乇丕 賲蹖鈥屫促堌� 亘賴 丕賳噩丕 賲禺鬲賱賮 賳賵卮鬲. 蹖讴 倬賱丕鬲 丕賱夭丕賲丕賸 噩丕蹖 丿賵乇亘蹖賳 賵 氐丨賳賴鈥屬矩必ж槽� 賵 賯胤毓 賵 賵氐賱 爻讴丕賳爻鈥屬囏� 賳蹖爻鬲. 卮丕蹖丿 亘乇丕蹖 賲賳 賳蹖爻鬲 賵 亘丕卮丿. 氐丨賳賴鈥屰� 讴卮賮 卮胤乇賳噩 賵 丨爻 丕乇賵鬲蹖爻賲 賲乇丿 夭賲夭賲賴鈥屭┵嗁嗀囏� 氐丨賳賴鈥屰� 卮胤乇賳噩 亘丕 夭賳蹖 禺賵卮鈥屬呝嗀肛辟堌顿堌� 賵 讴卮賮 丕賲蹖丕賱 倬丿乇蹖貙 讴卮賮 丿賵亘丕乇賴鈥屰� 夭賳 賵毓卮賯 丌夭丕丿 賵 賱匕鬲 卮胤乇賳噩 丿乇 氐丨賳賴鈥屰� 爻賵賲貙 賵 賳丕鬲賲丕賲 賲丕賳丿賳 賴賲賴 丕蹖賳賴丕 賵 亘蹖鈥屫池必з嗀з� 賲丕賳丿賳 亘丕夭蹖 賵 毓卮賯 丿乇 讴賳丕乇 賴賲... 賵丨卮鬲賳丕讴 丕爻鬲. 亘毓丿 氐丨賳賴鈥屬囏й� 鬲賵蹖 噩賳诏賱. 氐丨賳賴鈥屰� 丿賯鬲 丿乇 丨卮乇丕鬲. 亘毓丿 氐丨賳賴鈥屰� 诏賲 卮丿賳. 亘毓丿 氐丨賳賴鈥屰� 诏賲 卮丿賳 丿乇 丌禺乇.
賳爻亘鬲 亘丕夭蹖 賵 乇賲丕賳 賵 禺賵丕賳丿賳. (讴卮賮 丕蹖賳 賳讴鬲賴 賵 賱匕鬲 乇丕 賲丿蹖賵賳 噩賳丕亘 丌賯丕蹖 丌亘鬲蹖賳 诏賱讴丕乇 賴爻鬲賲 讴賴 賴賲 卮胤乇賳噩 賲蹖鈥屫з嗀� 賵 賴賲 賳丕亘丕讴賮 賵 亘丕 丿賵 爻賴 丕卮丕乇賴 賲胤賱亘 乇丕 亘賴 賲賳 卮胤乇賳噩鈥屬嗀жㄙ勜� 賵 賳丕亘丕讴賮鈥屬嗀促嗀ж� 乇賵卮賳 讴乇丿) 亘丕夭蹖 賵 賳卮鬲 亘丕夭蹖 亘賴 夭賳丿诏蹖 丿乇 丨丕賱鬲 氐賮丨丕鬲 卮胤乇賳趩蹖貙 賲賴賲鬲乇蹖賳 亘丕夭蹖 毓賲乇 賱賵跇蹖賳 丿乇 賲蹖丕賳賴鈥屰� 乇賲丕賳貙 賯賱亘 乇賲丕賳 蹖讴 亘丕夭蹖 賵 毓賳丕氐乇 丨賵賱 丌賳 丕爻鬲 賵丿賮丕毓蹖 讴賴 丕賵 亘丕蹖丿 亘讴賳丿貙 賵 毓賳氐乇蹖 毓賱蹖丨丿賴 讴賴 芦賲爻丕卅賱 卮胤乇賳噩禄 丕爻鬲 賵 賱賵跇蹖賳 賳賵噩賵丕賳 丿乇 禺乇鬲鈥屬堎矩必€屬囏й� 亘丕夭賲丕賳丿賴 丕夭 倬丿乇亘夭乇诏 丿乇 賲噩賱丕鬲蹖 賯丿蹖賲蹖 讴卮賮 賲蹖鈥屭┵嗀� 賵 丕賱诏賵蹖蹖 賲蹖鈥屫促堌� 亘乇丕蹖 賳丕亘丕讴賮 亘丕賴賵卮 讴賴 賮乇丕蹖賳丿 禺賵丕賳丿賳 禺賵丕賳賳丿賴 乇丕 亘丕 丨賱 賲爻卅賱賴鈥屰� 卮胤乇賳噩 卮亘丕賴鬲 亘丿賴丿.
鬲賳賴丕蹖丕賳. 亘丕夭 賴賲 亘丕蹖丿 亘賳賵蹖爻賲 賳丕亘丕讴賮 丌丿賲賴丕蹖 鬲賳賴丕 乇丕 賲蹖鈥屫促嗀ж池� 賵 賲蹖鈥屬嗁堐屫池�. 丕夭 鬲賳賴丕蹖蹖 丨乇賮 賳賲蹖鈥屫操嗀�. 丕夭 鬲丕乇蹖讴蹖鈥屬囏й� 乇賵丨 賲蹖鈥屬嗁堐屫池� 賵 丕蹖賳 鬲卮毓卮毓鈥屬囏й� 鬲丕乇蹖讴 乇丕 鬲賳賴丕蹖丕賳 毓丕賱賲 賲蹖鈥屫з嗁嗀�.
賳丕亘丕讴賮 乇丕 鬲丕 賯亘賱 丕蹖賳 讴鬲丕亘 丿乇 賲賯丕賲 蹖讴 賳丕亘睾賴 賳賲蹖鈥屫促嗀ж�. 卮賳丕禺鬲 丕丿亘蹖丕鬲 乇賵爻 讴賮丕蹖鬲 賲蹖鈥屭┴必� 讴賴 亘丿丕賳賲 亘丕 讴爻蹖 胤乇賮賲 讴賴 芦禺賵丕賳丿賳禄 丕丿亘蹖丕鬲 亘賱丿 丕爻鬲貙 賵 丕夭 丕賵 蹖丕丿 诏乇賮鬲賲貙 丿乇 丿蹖丿賳 丿丕爻鬲丕賳 賲賳馗賵乇賲 丕爻鬲貙 賲孬賱 乇丕噩乇 賮丕賵賱乇 蹖丕 丿蹖賵蹖丿 賱丕噩 蹖丕 鬲乇蹖賱蹖賳诏 蹖丕 賵蹖賳鈥屫ㄙ堌� 蹖丕 丨鬲蹖 亘毓囟蹖 丕卮丕乇丕鬲 乇賵賱丕賳 亘丕乇鬲 丿乇 丿蹖丿賳 氐丨賳賴鈥屰� 鬲讴賳蹖讴蹖賽 乇賲丕賳賴丕. 賵賱蹖 亘丕 丕蹖賳 讴鬲丕亘 賵 鬲乇噩賲賴鈥屰� 丿乇噩賴鈥屰屭� 乇囟丕 乇囟丕蹖蹖 (讴賴 亘丕蹖丿 诏賮鬲 賯丿乇蹖 賴賲 丨丕氐賱 讴丕乇 讴丕乇诏丕賴 賵蹖乇丕蹖卮 賳卮乇 讴丕乇賳丕賲賴 丕爻鬲) 賳丕亘丕讴賮 丕爻鬲丕丿 賲爻賱賲 卮丿 亘乇丕蹖賲. 賲蹖鈥屫з嗀池� 卮胤乇賳噩 亘賱丿 丕爻鬲 賵 胤乇丕丨 賲爻丕卅賱 卮胤乇賳噩 丕爻鬲貙 賲蹖鈥屫з嗀池� 倬乇賵丕賳賴鈥屫堌池� 賵 卮讴丕乇趩蹖 賵 讴賱讴爻蹖賵賳乇 倬乇賵丕賳賴 丕爻鬲 賵 卮丕蹖丿 亘丕蹖丿 诏賮鬲 芦倬乇賵丕賳賴鈥屫促嗀ж陈回� 賲蹖鈥屫з嗀池� 夭亘丕賳 丕賳诏賱蹖爻蹖 乇丕 賲蹖鈥屫①呝堌藏� 賵 趩賳丕賳 趩蹖夭蹖 賲蹖鈥屬嗁堐屫池� 讴賴 芦賳丕亘丕讴賵賮蹖禄 賯賱賲 賲蹖鈥屫囐嗀� 趩賳丕賳 讴賴 亘毓丿鬲乇 賲孬賱丕賸 賴賲賳 蹖丕 丌爻蹖賲丕賳 乇丕 芦賳丕亘丕讴賮 噩丿蹖丿禄 賲蹖鈥屫堌з嗁嗀� 亘賴 賴賲蹖賳 丕毓鬲亘丕乇 讴賴 丕賳诏賱蹖爻蹖 夭亘丕賳 賲丕丿乇蹖鈥屫簇з� 賳蹖爻鬲 賵 丿乇 丌賳 趩賳丕賳 爻丨乇蹖 賲蹖鈥屫з嗂屫操嗀� 讴賴 爻鬲丕蹖卮 丕賳诏賱蹖爻蹖鈥屫藏ㄘз嗀з� 乇丕 亘賴 賴賲乇丕賴 丿丕乇丿貨 丕蹖賳賴丕 賴賲賴 亘賵丿 賵賱蹖 亘丕 丕蹖賳 讴鬲丕亘 賮賴賲蹖丿賲 賴賵卮賲賳丿蹖 丿乇 胤乇丕丨蹖 卮禺氐蹖鬲 賵 氐丨賳賴 賵 丿蹖丕賱賵诏 賵 賲丕賮蹖鈥屫з勜顿呟屫� 卮禺氐蹖鬲鈥屬囏� 賵 賳賲丕蹖丕賳丿賳 夭賵丕蹖丕蹖 鬲丕乇蹖讴 乇賵丨 趩賯丿乇 賲蹖鈥屫堌з嗀� 倬蹖卮 亘乇賵丿. 亘丕夭 賴賲 賲蹖鈥屬嗁堐屫迟� 亘乇丕蹖 賲賳 賲賯丕賲蹖 丿丕乇丿 讴賴 卮丕蹖丿 亘賵乇禺爻 賵爻賱蹖賳噩乇 賵 讴丕賱賵蹖賳賵 丿丕乇賳丿 丿乇 賯乇賳 亘蹖爻鬲賲蹖鈥屬囏� (噩賵蹖爻 賵 倬乇賵爻鬲 禺亘 鬲賵賮蹖乇 丕爻丕爻蹖 丿丕乇賳丿) 賵 賴賲蹖賳诏賵蹖 賵 賮丕賱讴賳乇 賵 賵賱賮 賯丿乇蹖 丿賵乇鬲乇. 亘丕 丌倬丿丕蹖讴 卮丕蹖丿 丌賳趩賳丕賳 丌卮賳丕 賳亘丕卮賲.
賲賯丿賲賴鈥屰� 賳賵蹖爻賳丿賴 亘乇 讴鬲丕亘 亘禺氐賵氐 倬丕蹖丕賳鈥屫ㄙ嗀� 禺蹖賱蹖 賲毓乇讴賴 丕爻鬲. 丨乇賮 賳丿丕乇丿. 賴賲蹖卮賴 賲蹖鈥屭堐屬嗀� 賳丕亘丕讴賮 亘丕 亘毓囟蹖 爻乇 賳丕爻丕夭诏丕乇蹖 丿丕乇丿. 賲孬賱丕賸 丕夭 賮乇賵蹖丿亘丕夭蹖 禺賵卮卮 賳賲蹖鈥屫③屫� 亘丕 睾丕氐亘丕賳 賵胤賳卮 爻乇 毓賳丕丿 丿丕卮鬲 賵 睾蹖乇賴 賵睾蹖乇賴. 賵賱蹖 賳賵卮鬲賳 丌賳 噩賲賱丕鬲 丌禺乇 賲賯丿賲賴 賴賵卮 睾乇蹖亘 賲蹖鈥屫堌з囏�. 賲孬賱 乇丕賵蹖鈥屫й� 讴賴 賲蹖鈥屫池ж藏� 賵 丌丿賲 乇丕 賲胤賲卅賳 賳賲蹖鈥屭┵嗀� 賯囟蹖賴鈥屰� 賯氐賴 丕夭 趩賴 賯乇丕乇 丕爻鬲 賲賯丿賲賴 賴賲 亘蹖鈥屬傌必ж必� 賲蹖鈥屭┵嗀� 讴賴 賳讴賳丿 賯丿乇蹖 賴賲 噩丿蹖 亘丕卮丿 賵 賴賲賴鈥屫ж� 乇賳丿蹖 賳亘丕卮丿.
賴賲蹖賳 讴賴 禺蹖丕賱卮 賳蹖爻鬲 賵 诏丕賴蹖 鬲賲丕賲 丕胤賱丕毓丕鬲 乇丕 丿乇 蹖讴 噩賲賱賴 噩丕 賲蹖鈥屭柏ж必� 爻鬲賵丿賳蹖鈥屫池�. 禺賵丕賳賳丿賴鈥屰� 賳丕亘丕讴賮 賳賲蹖鈥屫堌з嗀� 鬲賵蹖 讴丕賮賴 賵 賯亘賱 禺賵丕亘 賵 亘乇丕蹖 乇賮毓 亘胤丕賱鬲 賯氐賴 乇丕 鬲賵蹖 趩賳诏 亘蹖丕賵乇丿. 丕诏乇 趩卮賲鬲 賴賲蹖賳噩賵乇 乇丿 亘卮賵丿 趩卮賲鈥屫з嗀ж� 乇丕 丕夭 丿爻鬲 禺賵丕賴蹖 丿丕丿. 丿乇 蹖讴 噩賲賱賴 蹖讴 噩丕蹖蹖 丕夭 乇賲丕賳 丕夭 讴蹖賮蹖 賵 乇賳诏卮 賵 丿蹖丕賱賵诏賴丕蹖 爻乇 賲蹖夭 賲蹖鈥屬嗁堐屫池� 賵 乇丿 賲蹖鈥屫促堌�. 丿乇 蹖讴 氐丨賳賴 丿乇 丨丿 蹖讴 噩賲賱賴 鬲乇丿蹖丿 賲蹖鈥屫з嗀ж藏� 亘賴 賯氐賴 讴賴 賳讴賳丿 丌蹖賳賴鈥屬囏й� 爻丕賱賳 賲毓賳蹖鈥屫й� 丿丕乇賳丿. 丿乇 蹖讴 噩賲賱賴 氐丿丕賴丕 乇丕 禺賮賴 賲蹖鈥屭┵嗀� 賵 賲蹖鈥屭柏ж必� 賵囟毓 亘卮乇蹖 倬蹖卮 趩卮賲 亘蹖丕蹖丿.
鬲丿賵蹖賳. 賳賲蹖鈥屫з嗁� 趩賴 亘賳賵蹖爻賲. 賴賳乇 胤乇丕丨蹖賽 倬賱丕鬲. 丌禺乇 倬賱丕鬲 乇丕 賲蹖鈥屫促堌� 亘賴 丕賳噩丕 賲禺鬲賱賮 賳賵卮鬲. 蹖讴 倬賱丕鬲 丕賱夭丕賲丕賸 噩丕蹖 丿賵乇亘蹖賳 賵 氐丨賳賴鈥屬矩必ж槽� 賵 賯胤毓 賵 賵氐賱 爻讴丕賳爻鈥屬囏� 賳蹖爻鬲. 卮丕蹖丿 亘乇丕蹖 賲賳 賳蹖爻鬲 賵 亘丕卮丿. 氐丨賳賴鈥屰� 讴卮賮 卮胤乇賳噩 賵 丨爻 丕乇賵鬲蹖爻賲 賲乇丿 夭賲夭賲賴鈥屭┵嗁嗀囏� 氐丨賳賴鈥屰� 卮胤乇賳噩 亘丕 夭賳蹖 禺賵卮鈥屬呝嗀肛辟堌顿堌� 賵 讴卮賮 丕賲蹖丕賱 倬丿乇蹖貙 讴卮賮 丿賵亘丕乇賴鈥屰� 夭賳 賵毓卮賯 丌夭丕丿 賵 賱匕鬲 卮胤乇賳噩 丿乇 氐丨賳賴鈥屰� 爻賵賲貙 賵 賳丕鬲賲丕賲 賲丕賳丿賳 賴賲賴 丕蹖賳賴丕 賵 亘蹖鈥屫池必з嗀з� 賲丕賳丿賳 亘丕夭蹖 賵 毓卮賯 丿乇 讴賳丕乇 賴賲... 賵丨卮鬲賳丕讴 丕爻鬲. 亘毓丿 氐丨賳賴鈥屬囏й� 鬲賵蹖 噩賳诏賱. 氐丨賳賴鈥屰� 丿賯鬲 丿乇 丨卮乇丕鬲. 亘毓丿 氐丨賳賴鈥屰� 诏賲 卮丿賳. 亘毓丿 氐丨賳賴鈥屰� 诏賲 卮丿賳 丿乇 丌禺乇.
賳爻亘鬲 亘丕夭蹖 賵 乇賲丕賳 賵 禺賵丕賳丿賳. (讴卮賮 丕蹖賳 賳讴鬲賴 賵 賱匕鬲 乇丕 賲丿蹖賵賳 噩賳丕亘 丌賯丕蹖 丌亘鬲蹖賳 诏賱讴丕乇 賴爻鬲賲 讴賴 賴賲 卮胤乇賳噩 賲蹖鈥屫з嗀� 賵 賴賲 賳丕亘丕讴賮 賵 亘丕 丿賵 爻賴 丕卮丕乇賴 賲胤賱亘 乇丕 亘賴 賲賳 卮胤乇賳噩鈥屬嗀жㄙ勜� 賵 賳丕亘丕讴賮鈥屬嗀促嗀ж� 乇賵卮賳 讴乇丿) 亘丕夭蹖 賵 賳卮鬲 亘丕夭蹖 亘賴 夭賳丿诏蹖 丿乇 丨丕賱鬲 氐賮丨丕鬲 卮胤乇賳趩蹖貙 賲賴賲鬲乇蹖賳 亘丕夭蹖 毓賲乇 賱賵跇蹖賳 丿乇 賲蹖丕賳賴鈥屰� 乇賲丕賳貙 賯賱亘 乇賲丕賳 蹖讴 亘丕夭蹖 賵 毓賳丕氐乇 丨賵賱 丌賳 丕爻鬲 賵丿賮丕毓蹖 讴賴 丕賵 亘丕蹖丿 亘讴賳丿貙 賵 毓賳氐乇蹖 毓賱蹖丨丿賴 讴賴 芦賲爻丕卅賱 卮胤乇賳噩禄 丕爻鬲 賵 賱賵跇蹖賳 賳賵噩賵丕賳 丿乇 禺乇鬲鈥屬堎矩必€屬囏й� 亘丕夭賲丕賳丿賴 丕夭 倬丿乇亘夭乇诏 丿乇 賲噩賱丕鬲蹖 賯丿蹖賲蹖 讴卮賮 賲蹖鈥屭┵嗀� 賵 丕賱诏賵蹖蹖 賲蹖鈥屫促堌� 亘乇丕蹖 賳丕亘丕讴賮 亘丕賴賵卮 讴賴 賮乇丕蹖賳丿 禺賵丕賳丿賳 禺賵丕賳賳丿賴 乇丕 亘丕 丨賱 賲爻卅賱賴鈥屰� 卮胤乇賳噩 卮亘丕賴鬲 亘丿賴丿.
鬲賳賴丕蹖丕賳. 亘丕夭 賴賲 亘丕蹖丿 亘賳賵蹖爻賲 賳丕亘丕讴賮 丌丿賲賴丕蹖 鬲賳賴丕 乇丕 賲蹖鈥屫促嗀ж池� 賵 賲蹖鈥屬嗁堐屫池�. 丕夭 鬲賳賴丕蹖蹖 丨乇賮 賳賲蹖鈥屫操嗀�. 丕夭 鬲丕乇蹖讴蹖鈥屬囏й� 乇賵丨 賲蹖鈥屬嗁堐屫池� 賵 丕蹖賳 鬲卮毓卮毓鈥屬囏й� 鬲丕乇蹖讴 乇丕 鬲賳賴丕蹖丕賳 毓丕賱賲 賲蹖鈥屫з嗁嗀�.
April 24, 2020
ne treba拧 biti ljubitelj 拧aha da bi u啪ivao u ovoj izbru拧enoj pri膷i o lu啪inu tokom njegovog cijelog 啪ivota. makar na samo dvjestotinjak stranica, nabokov je stru膷no, kroz duboki, ali nepretenciozni psiholo拧ki prikaz ispisao 啪ivot "膷udaka" lu啪ina, 拧ahovskog genijalca koji se te拧ko snalazi u ovom svijetu (kako to ve膰 biva...).
majstorsko djelo, stilski dotjerano, za polako 膷itanje: 膷ista klasika.
majstorsko djelo, stilski dotjerano, za polako 膷itanje: 膷ista klasika.
March 31, 2021
亘賴 鬲賵氐蹖賴 乇賮蹖賯蹖 讴鬲丕亘 乇丕 禺賵丕賳丿賲貙丿丕爻鬲丕賳蹖 倬乇讴卮卮 賵 賲賲賱賵 丕夭 噩夭蹖蹖丕鬲 馗乇蹖賮 讴賴 诏賵蹖丕蹖 鬲爻賱胤 賳賵蹖爻賳丿賴 丿乇 禺賱賯 丿賳蹖丕蹖 倬蹖趩蹖丿賴 匕賴賳蹖 賵 倬蹖乇丕賲賵賳蹖 賳賯卮 丕賵賱 乇賲丕賳賴.丕爻鬲賮丕丿賴 丕夭 丕賱賲丕賳賴丕蹖 卮胤乇賳噩 丿乇 倬蹖卮亘乇丿 乇賵賳丿 賵 鬲賵氐蹖賮 賲賵賯毓蹖鬲賴丕蹖 丿丕爻鬲丕賳 噩丕賱亘賴.丿乇讴賱 禺賵丕賳丿賳蹖 賵 賯丕亘賱 鬲丕賲賱賴貙亘丕 鬲乇噩賲賴 爻賱蹖爻 賵 丿乇禺賵乇.
December 31, 2020
This is a story about obsession. The central character is a child prodigy of chess. We observe his life into his forties. The setting is primarily St. Petersburg and Berlin, although he travels the world from one tournament to the next as his fame grows. It is not the travels that are the book鈥檚 focus. The focus is instead how a chess champion might view the world. He sees the black and white of a chessboard in the patches of dark and light squares shadowing landscapes, dwellings and the whole world around him. He sees the moves made by the pawns, the knights, bishops and rooks, and the king and the queen as patterns mirrored in people鈥檚 behavior. The game on the board blends into the world around him. The two become indistinguishable; one cannot be separated from the other. What are the consequences?
I like the ending. For me, the ending is clear. Others may disagree. I think . In any case, at the story鈥檚 end you are left thinking. You must assemble all that has been said and draw a conclusion that fits.
The prose is wonderful. Nabokov plays with words. He uses words in ways out of the ordinary. The writing makes you smile, it is colorful and one鈥檚 senses are pushed off-kilter in a very good way. You can spot Nabokov鈥檚 prose a mile away. Inanimate objects come alive鈥攁 deep armchair hugs you. A son is referred to by his father as his little 鈥渟quirt鈥�. Have you paid attention to the fact that when you fill a bathtub with water, the tone emanating from the waterspout changes as the level of water in the tub rises? Nabokov has, and he reminds us of this. Have you thought about how the Baltic Sea looks like a kneeling woman? Go and look; check it out! It is worth reading this book for the prose alone.
Here is another fun tidbit. Luzhin, the central character, the child prodigy cum chess champion, rhymes with illusion. Think about what this says.
Mel Foster narrates the audiobook very well. He speaks clearly and distinctly and at a perfect pace. German and Russian words blend in easily. This is important since the characters and the setting are from these two places. Four stars for the audio narration.
This, Nabokov鈥檚 third novel, was originally written and published in Russian, after he had emigrated to Berlin. He began it while 鈥渉unting butterflies鈥� in the Pyrenees and completed it on his return to Berlin. Luzhin is based on a chess champion Nabokov actually knew-- Curt von Bardeleben. The book was translated into English by Michael Scammell and the author together. The English translation came out thirty-four years after the book鈥檚 first publication in 1930.
****
* 5 stars
* 5 stars
* 5 stars
* 4 stars
* 4 stars
* 4 stars
* 4 stars
* 4 stars
* 3 stars
* 3 stars
* 2 stars
* 1 star
* 1 star
* 1 star
* by 5 stars
I like the ending. For me, the ending is clear. Others may disagree. I think . In any case, at the story鈥檚 end you are left thinking. You must assemble all that has been said and draw a conclusion that fits.
The prose is wonderful. Nabokov plays with words. He uses words in ways out of the ordinary. The writing makes you smile, it is colorful and one鈥檚 senses are pushed off-kilter in a very good way. You can spot Nabokov鈥檚 prose a mile away. Inanimate objects come alive鈥攁 deep armchair hugs you. A son is referred to by his father as his little 鈥渟quirt鈥�. Have you paid attention to the fact that when you fill a bathtub with water, the tone emanating from the waterspout changes as the level of water in the tub rises? Nabokov has, and he reminds us of this. Have you thought about how the Baltic Sea looks like a kneeling woman? Go and look; check it out! It is worth reading this book for the prose alone.
Here is another fun tidbit. Luzhin, the central character, the child prodigy cum chess champion, rhymes with illusion. Think about what this says.
Mel Foster narrates the audiobook very well. He speaks clearly and distinctly and at a perfect pace. German and Russian words blend in easily. This is important since the characters and the setting are from these two places. Four stars for the audio narration.
This, Nabokov鈥檚 third novel, was originally written and published in Russian, after he had emigrated to Berlin. He began it while 鈥渉unting butterflies鈥� in the Pyrenees and completed it on his return to Berlin. Luzhin is based on a chess champion Nabokov actually knew-- Curt von Bardeleben. The book was translated into English by Michael Scammell and the author together. The English translation came out thirty-four years after the book鈥檚 first publication in 1930.
****
* 5 stars
* 5 stars
* 5 stars
* 4 stars
* 4 stars
* 4 stars
* 4 stars
* 4 stars
* 3 stars
* 3 stars
* 2 stars
* 1 star
* 1 star
* 1 star
* by 5 stars
November 17, 2019
螞慰蠉味喂谓 鈥� losin鈥欌€� 螒蠀蟿萎 畏 蟽蠀谓蔚魏未慰蠂萎 渭慰蠀 蟿蟻喂尾蔚位委味蔚喂 蟿慰 魏蔚蠁维位喂 蟽蔚 蠈位慰 蟿慰 蠄蠀蠂喂魏蠈 蟿伪尉委未喂 蟺慰蠀 未喂苇谓蠀蟽伪 蟽蔚 伪蠀蟿蠈 蟿慰 蟺位慰蠉蟽喂慰 魏伪喂 蟺蠀魏谓蠈 蟽蔚 位苇尉蔚喂蟼 魏伪喂 谓慰萎渭伪蟿伪 尾喂尾位委慰.
螠苇蟽伪 蟽蔚 苇谓伪 谓蟿慰蠀渭维谓喂 魏伪蟺谓喂蟽渭苇谓蠅谓 魏伪喂 伪蟺蠅胃畏渭苇谓蠅谓 伪喂蟽胃畏渭维蟿蠅谓 魏伪喂 伪喂蟽胃萎蟽蔚蠅谓, 位伪渭尾维谓蔚喂 蠂蠋蟻伪 畏 维渭蠀谓伪 蟿慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 螞慰蠉味喂谓, 蟺慰蠀 魏慰蟺喂维味蔚喂 魏伪喂 渭伪蟿蠋谓蔚喂 纬喂伪 谓伪 伪喂蠂渭伪位蠅蟿委蟽蔚喂 魏伪喂 谓伪 伪蟺慰渭慰谓蠋蟽蔚喂 蔚蟺喂蟿苇位慰蠀蟼 蔚魏蔚委谓畏 蟿畏 渭伪纬喂魏萎 魏委谓畏蟽畏-魏位蔚喂未委 蟺慰蠀 胃伪 苇位蠀谓蔚 蟿慰谓 渭蔚纬维位慰 纬蟻委蠁慰 蟿畏蟼 蠉蟺伪蟻尉萎蟼 蟿慰蠀. 螠蔚 蠁蠈谓蟿慰 蟿畏谓 伪蟽蟺蟻蠈渭伪蠀蟻畏 蟽魏伪魏喂苇蟻伪, 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏萎 魏伪喂 蠁伪谓蟿伪蟽喂伪魏萎 蟽魏伪魏喂苇蟻伪 蟺慰蠀 渭喂伪 蟽伪谓 蟿蟻喂魏蠀渭委伪 蟽魏维蔚喂 蟿伪 蔚蟺喂胃蔚蟿喂魏维 蟿畏蟼 魏蠉渭伪蟿伪 蟽蟿慰 渭蠀伪位蠈 蟿慰蠀 螞慰蠉味喂谓 魏喂 苇蟺蔚喂蟿伪 蟿慰 纬伪位畏谓蔚蠉蔚喂 渭蔚 伪蟻渭慰谓委伪 蟽伪谓 渭喂伪 魏位伪蟽喂魏萎 渭慰蠀蟽喂魏萎 蟺慰蠀 蠂伪蠆未蔚蠉蔚喂 魏伪喂 魏伪蟿蔚蠀谓维味蔚喂 渭喂伪 蠄蠀蠂萎 蟺慰蠀 蠀蟺慰蠁苇蟻蔚喂 蟿伪 蟺喂慰 伪谓蠀蟺蠈蠁蔚蟻蟿伪 蟺维胃畏. 螚 蟽魏伪魏喂苇蟻伪, 渭喂伪 魏喂谓慰蠉渭蔚谓畏 维渭渭慰蟼 蟺慰蠀 蟿慰谓 蟻慰蠀蠁慰蠉蟽蔚 伪谓伪蟺蠈未蟻伪蟽蟿伪 蟽蟿伪 蟿蟻委蟽尾伪胃维 蟿畏蟼, 未蔚谓 蟿慰蠀 维蠁畏谓蔚 蟺蔚蟻喂胃蠋蟻喂慰 魏喂 蔚蟺喂位慰纬萎 谓伪 伪蟻蟺维尉蔚喂 蟿畏谓 委未喂伪 蟿畏 味蠅萎. 螌位慰喂 蟺蟻慰蟽蟺伪胃慰蠉谓 谓伪 蟿慰谓 伪未蟻维尉慰蠀谓 魏伪喂 蟿慰蠀蟼 尉蔚蠁蔚蠉纬蔚喂 蠈蟺蠅蟼 蟿慰 谓蔚蟻蠈 尾蟻委蟽魏蔚喂 蔚蠉魏慰位伪 未委慰未慰 伪谓维渭蔚蟽伪 蟽蟿伪 尾蠈蟿蟽伪位伪 纬喂伪 谓伪 蠂伪胃蔚委 蟽蟿慰 蟽蟿慰渭维蠂喂 蟿畏蟼 纬畏蟼. 螚 纬蠀谓伪委魏伪 蟿慰蠀, 蟺慰蠀 渭蔚 蠁伪谓蟿维蟽蟿畏魏伪 蔚蠉魏慰位伪 蟽蟿畏 胃苇蟽畏 蟿畏蟼 - 胃伪 渭蟺慰蟻慰蠉蟽伪 谓伪 蟿慰谓 蔚委蠂伪 未喂伪位苇尉蔚喂 魏喂 蔚纬蠋 伪蠀蟿蠈谓 蟿慰谓 蟿蠉蟺慰 纬喂伪 蟿畏谓 蠈蠂喂 蟿蠈蟽慰 蟺蟻慰蠁伪谓萎 蟽蟿慰 蔚蠀蟻蠉 魏慰喂谓蠈 纬慰畏蟿蔚委伪 蟿慰蠀 - 蟿慰谓 谓蟿伪谓蟿蔚蠉蔚喂, 蟿慰谓 魏伪谓伪魏蔚蠉蔚喂 蠈蟺蠅蟼 胃伪 蠁蔚蟻蠈蟿伪谓 魏伪谓蔚委蟼 蟽蔚 苇谓伪 蟺伪喂未委, 渭蔚 蟿畏谓 蔚位蟺委未伪 谓伪 蟿慰谓 蟺蟻慰蟽蟿伪蟿蔚蠉蟽蔚喂 伪蟺蠈 蟿慰 渭慰喂蟻伪委慰 魏伪魏蠈 蟺慰蠀 蔚谓蟽伪蟻魏蠋谓蔚蟿伪喂 蟽蔚 渭喂伪 蟽魏伪魏喂苇蟻伪路 渭维蟿伪喂伪 蠈渭蠅蟼. 螚 渭蠀蟻渭畏纬魏喂维 蟺慰蠀 未畏渭喂慰蠀蟻纬萎胃畏魏蔚 蟽蟿慰 渭蠀伪位蠈 蟿慰蠀, 苇蠂蔚喂 伪蟺蠈 蠂蟻蠈谓喂伪 伪蟺位蠋蟽蔚喂 蟿伪 蟿蟻喂蠂慰蔚喂未萎 蟿畏蟼 伪纬纬蔚委伪 蟽蟿慰 蟽蠋渭伪 魏伪喂 蟿慰 谓慰蠀 蟿慰蠀, 蟺慰蠀 渭维蟿伪喂伪 蟺喂伪 伪谓伪味畏蟿维 谓伪 纬畏蟿蔚蠀蟿蔚委. 螚 蟽魏伪魏喂蟽蟿喂魏萎 未蔚尉喂慰蟿蔚蠂谓委伪 蟿慰蠀 螞慰蠉味喂谓 谓伪 蟽魏蔚蠁蟿蔚委 蟿喂蟼 蟺喂慰 蔚蠀蠁维谓蟿伪蟽蟿蔚蟼 魏伪喂 谓喂魏畏蠁蠈蟻蔚蟼 魏喂谓萎蟽蔚喂蟼 纬委谓蔚蟿伪喂 伪谓蟿喂蟽蟿蟻蠈蠁蠅蟼 伪谓维位慰纬畏 渭蔚 蟿畏谓 蔚蟺喂蟽蟿蟻维蟿蔚蠀蟽畏 蟿蠅谓 未蠀谓维渭蔚蠋谓 蟿慰蠀 谓伪 蟽蠋蟽蔚喂 蟿畏谓 蟺伪蟻蟿委未伪 蟿畏蟼 蠉蟺伪蟻尉萎蟼 蟿慰蠀.
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螆谓伪 蟺伪谓苇尉蠀蟺谓慰 魏伪喂 纬慰畏蟿蔚蠀蟿喂魏蠈 尾喂尾位委慰 蟺慰蠀 蔚纬魏伪喂谓喂维味蔚喂 蟿畏谓 蔚蟺伪蠁萎 渭慰蠀 渭蔚 蟿慰谓 螡伪渭蟺蠈魏慰蠁, 慰 慰蟺慰委慰蟼 渭蔚 魏苇蟻未喂蟽蔚 慰位慰魏位畏蟻蠅蟿喂魏维 渭蔚 蟿慰 尾维胃慰蟼, 蟿慰 蠉蠄慰蟼 魏伪喂 蟿慰 蟺位维蟿慰蟼 蟿蠅谓 蟽蔚谓伪蟻喂伪魏蠋谓 蟿慰蠀 蟽蠀位位萎蠄蔚蠅谓路 蟿慰 未喂维尾伪蟽伪 伪蟻纬维, 蟽伪谓 苇谓伪 魏伪位蠈 渭蟺蟻维谓蟿喂, 纬喂伪 谓伪 蟽蠀位位维尾蠅 蠈,蟿喂 蔚渭蟺蔚蟻喂苇蠂蔚蟿伪喂 伪谓维渭蔚蟽伪 蟽蟿喂蟼 纬蟻伪渭渭苇蟼, 魏伪喂 萎蟿伪谓 蟺慰位位维 伪蠀蟿维. 螘蠀蠂伪蟻喂蟽蟿蠋 苇谓伪谓 蠁委位慰 伪蟺蠈 未蠅 渭苇蟽伪 纬喂鈥� 伪蠀蟿萎 蟿畏谓 蟺蟻蠈蟿伪蟽畏.
螠苇蟽伪 蟽蔚 苇谓伪 谓蟿慰蠀渭维谓喂 魏伪蟺谓喂蟽渭苇谓蠅谓 魏伪喂 伪蟺蠅胃畏渭苇谓蠅谓 伪喂蟽胃畏渭维蟿蠅谓 魏伪喂 伪喂蟽胃萎蟽蔚蠅谓, 位伪渭尾维谓蔚喂 蠂蠋蟻伪 畏 维渭蠀谓伪 蟿慰蠀 蟺蟻蠅蟿伪纬蠅谓喂蟽蟿萎 螞慰蠉味喂谓, 蟺慰蠀 魏慰蟺喂维味蔚喂 魏伪喂 渭伪蟿蠋谓蔚喂 纬喂伪 谓伪 伪喂蠂渭伪位蠅蟿委蟽蔚喂 魏伪喂 谓伪 伪蟺慰渭慰谓蠋蟽蔚喂 蔚蟺喂蟿苇位慰蠀蟼 蔚魏蔚委谓畏 蟿畏 渭伪纬喂魏萎 魏委谓畏蟽畏-魏位蔚喂未委 蟺慰蠀 胃伪 苇位蠀谓蔚 蟿慰谓 渭蔚纬维位慰 纬蟻委蠁慰 蟿畏蟼 蠉蟺伪蟻尉萎蟼 蟿慰蠀. 螠蔚 蠁蠈谓蟿慰 蟿畏谓 伪蟽蟺蟻蠈渭伪蠀蟻畏 蟽魏伪魏喂苇蟻伪, 蟿畏谓 蟺蟻伪纬渭伪蟿喂魏萎 魏伪喂 蠁伪谓蟿伪蟽喂伪魏萎 蟽魏伪魏喂苇蟻伪 蟺慰蠀 渭喂伪 蟽伪谓 蟿蟻喂魏蠀渭委伪 蟽魏维蔚喂 蟿伪 蔚蟺喂胃蔚蟿喂魏维 蟿畏蟼 魏蠉渭伪蟿伪 蟽蟿慰 渭蠀伪位蠈 蟿慰蠀 螞慰蠉味喂谓 魏喂 苇蟺蔚喂蟿伪 蟿慰 纬伪位畏谓蔚蠉蔚喂 渭蔚 伪蟻渭慰谓委伪 蟽伪谓 渭喂伪 魏位伪蟽喂魏萎 渭慰蠀蟽喂魏萎 蟺慰蠀 蠂伪蠆未蔚蠉蔚喂 魏伪喂 魏伪蟿蔚蠀谓维味蔚喂 渭喂伪 蠄蠀蠂萎 蟺慰蠀 蠀蟺慰蠁苇蟻蔚喂 蟿伪 蟺喂慰 伪谓蠀蟺蠈蠁蔚蟻蟿伪 蟺维胃畏. 螚 蟽魏伪魏喂苇蟻伪, 渭喂伪 魏喂谓慰蠉渭蔚谓畏 维渭渭慰蟼 蟺慰蠀 蟿慰谓 蟻慰蠀蠁慰蠉蟽蔚 伪谓伪蟺蠈未蟻伪蟽蟿伪 蟽蟿伪 蟿蟻委蟽尾伪胃维 蟿畏蟼, 未蔚谓 蟿慰蠀 维蠁畏谓蔚 蟺蔚蟻喂胃蠋蟻喂慰 魏喂 蔚蟺喂位慰纬萎 谓伪 伪蟻蟺维尉蔚喂 蟿畏谓 委未喂伪 蟿畏 味蠅萎. 螌位慰喂 蟺蟻慰蟽蟺伪胃慰蠉谓 谓伪 蟿慰谓 伪未蟻维尉慰蠀谓 魏伪喂 蟿慰蠀蟼 尉蔚蠁蔚蠉纬蔚喂 蠈蟺蠅蟼 蟿慰 谓蔚蟻蠈 尾蟻委蟽魏蔚喂 蔚蠉魏慰位伪 未委慰未慰 伪谓维渭蔚蟽伪 蟽蟿伪 尾蠈蟿蟽伪位伪 纬喂伪 谓伪 蠂伪胃蔚委 蟽蟿慰 蟽蟿慰渭维蠂喂 蟿畏蟼 纬畏蟼. 螚 纬蠀谓伪委魏伪 蟿慰蠀, 蟺慰蠀 渭蔚 蠁伪谓蟿维蟽蟿畏魏伪 蔚蠉魏慰位伪 蟽蟿畏 胃苇蟽畏 蟿畏蟼 - 胃伪 渭蟺慰蟻慰蠉蟽伪 谓伪 蟿慰谓 蔚委蠂伪 未喂伪位苇尉蔚喂 魏喂 蔚纬蠋 伪蠀蟿蠈谓 蟿慰谓 蟿蠉蟺慰 纬喂伪 蟿畏谓 蠈蠂喂 蟿蠈蟽慰 蟺蟻慰蠁伪谓萎 蟽蟿慰 蔚蠀蟻蠉 魏慰喂谓蠈 纬慰畏蟿蔚委伪 蟿慰蠀 - 蟿慰谓 谓蟿伪谓蟿蔚蠉蔚喂, 蟿慰谓 魏伪谓伪魏蔚蠉蔚喂 蠈蟺蠅蟼 胃伪 蠁蔚蟻蠈蟿伪谓 魏伪谓蔚委蟼 蟽蔚 苇谓伪 蟺伪喂未委, 渭蔚 蟿畏谓 蔚位蟺委未伪 谓伪 蟿慰谓 蟺蟻慰蟽蟿伪蟿蔚蠉蟽蔚喂 伪蟺蠈 蟿慰 渭慰喂蟻伪委慰 魏伪魏蠈 蟺慰蠀 蔚谓蟽伪蟻魏蠋谓蔚蟿伪喂 蟽蔚 渭喂伪 蟽魏伪魏喂苇蟻伪路 渭维蟿伪喂伪 蠈渭蠅蟼. 螚 渭蠀蟻渭畏纬魏喂维 蟺慰蠀 未畏渭喂慰蠀蟻纬萎胃畏魏蔚 蟽蟿慰 渭蠀伪位蠈 蟿慰蠀, 苇蠂蔚喂 伪蟺蠈 蠂蟻蠈谓喂伪 伪蟺位蠋蟽蔚喂 蟿伪 蟿蟻喂蠂慰蔚喂未萎 蟿畏蟼 伪纬纬蔚委伪 蟽蟿慰 蟽蠋渭伪 魏伪喂 蟿慰 谓慰蠀 蟿慰蠀, 蟺慰蠀 渭维蟿伪喂伪 蟺喂伪 伪谓伪味畏蟿维 谓伪 纬畏蟿蔚蠀蟿蔚委. 螚 蟽魏伪魏喂蟽蟿喂魏萎 未蔚尉喂慰蟿蔚蠂谓委伪 蟿慰蠀 螞慰蠉味喂谓 谓伪 蟽魏蔚蠁蟿蔚委 蟿喂蟼 蟺喂慰 蔚蠀蠁维谓蟿伪蟽蟿蔚蟼 魏伪喂 谓喂魏畏蠁蠈蟻蔚蟼 魏喂谓萎蟽蔚喂蟼 纬委谓蔚蟿伪喂 伪谓蟿喂蟽蟿蟻蠈蠁蠅蟼 伪谓维位慰纬畏 渭蔚 蟿畏谓 蔚蟺喂蟽蟿蟻维蟿蔚蠀蟽畏 蟿蠅谓 未蠀谓维渭蔚蠋谓 蟿慰蠀 谓伪 蟽蠋蟽蔚喂 蟿畏谓 蟺伪蟻蟿委未伪 蟿畏蟼 蠉蟺伪蟻尉萎蟼 蟿慰蠀.
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螆谓伪 蟺伪谓苇尉蠀蟺谓慰 魏伪喂 纬慰畏蟿蔚蠀蟿喂魏蠈 尾喂尾位委慰 蟺慰蠀 蔚纬魏伪喂谓喂维味蔚喂 蟿畏谓 蔚蟺伪蠁萎 渭慰蠀 渭蔚 蟿慰谓 螡伪渭蟺蠈魏慰蠁, 慰 慰蟺慰委慰蟼 渭蔚 魏苇蟻未喂蟽蔚 慰位慰魏位畏蟻蠅蟿喂魏维 渭蔚 蟿慰 尾维胃慰蟼, 蟿慰 蠉蠄慰蟼 魏伪喂 蟿慰 蟺位维蟿慰蟼 蟿蠅谓 蟽蔚谓伪蟻喂伪魏蠋谓 蟿慰蠀 蟽蠀位位萎蠄蔚蠅谓路 蟿慰 未喂维尾伪蟽伪 伪蟻纬维, 蟽伪谓 苇谓伪 魏伪位蠈 渭蟺蟻维谓蟿喂, 纬喂伪 谓伪 蟽蠀位位维尾蠅 蠈,蟿喂 蔚渭蟺蔚蟻喂苇蠂蔚蟿伪喂 伪谓维渭蔚蟽伪 蟽蟿喂蟼 纬蟻伪渭渭苇蟼, 魏伪喂 萎蟿伪谓 蟺慰位位维 伪蠀蟿维. 螘蠀蠂伪蟻喂蟽蟿蠋 苇谓伪谓 蠁委位慰 伪蟺蠈 未蠅 渭苇蟽伪 纬喂鈥� 伪蠀蟿萎 蟿畏谓 蟺蟻蠈蟿伪蟽畏.
July 30, 2011
Hands-up: I read some of this at bullet-train speed because I had to return it to the library. Yes, I could have withdrawn it again, but there were only fifty-odd pages left and some new Foster Wallace was in that set my hands a-twitchin鈥� and my brain a-spinnin鈥�.
So I didn鈥檛 let the sumptuous prose slowly unfold, I didn鈥檛 delicately caress his sentences with the same narcissistic mania the author bestowed upon his own works. But there wasn鈥檛 much sumptuousness here, anyway. His third novel is a more straightforward work, plump with overlong descriptions and meandering scenes between unconvincing characters.
Mrs Luzhin in particular (Emily Watson in the film鈥攄elicious) doesn鈥檛 seem a convincing spouse, nor does her attraction to the 眉ber-tortured chess-whizz Luzhin (John Turturro in the film鈥攄elicious) seem particularly well-rationalised, outside his general weird-genius aura. Luzhin stumbles through the novel like Rain Man, driven mad by trying to solve an impossible chess problem and his general uselessness as a human being.
Surprising how people cite Luzhin as a 鈥榳armer鈥� Nabokov character: I couldn鈥檛 stand his drivelling idiocy, and the intrigue for me fell to the way he was going to crush Mrs Luzhin鈥檚 heart. The title also seems to refer to how Mrs L defends Luzhin in the eyes of her parents, how she keeps him in expensive mini-breaks with scenic greenery. Lucky for some.
If you happen to be a chess genius, however, this is probably the greatest book you鈥檒l ever read. (Chess memoirs excluded鈥攖hat鈥檚 cheating).
So I didn鈥檛 let the sumptuous prose slowly unfold, I didn鈥檛 delicately caress his sentences with the same narcissistic mania the author bestowed upon his own works. But there wasn鈥檛 much sumptuousness here, anyway. His third novel is a more straightforward work, plump with overlong descriptions and meandering scenes between unconvincing characters.
Mrs Luzhin in particular (Emily Watson in the film鈥攄elicious) doesn鈥檛 seem a convincing spouse, nor does her attraction to the 眉ber-tortured chess-whizz Luzhin (John Turturro in the film鈥攄elicious) seem particularly well-rationalised, outside his general weird-genius aura. Luzhin stumbles through the novel like Rain Man, driven mad by trying to solve an impossible chess problem and his general uselessness as a human being.
Surprising how people cite Luzhin as a 鈥榳armer鈥� Nabokov character: I couldn鈥檛 stand his drivelling idiocy, and the intrigue for me fell to the way he was going to crush Mrs Luzhin鈥檚 heart. The title also seems to refer to how Mrs L defends Luzhin in the eyes of her parents, how she keeps him in expensive mini-breaks with scenic greenery. Lucky for some.
If you happen to be a chess genius, however, this is probably the greatest book you鈥檒l ever read. (Chess memoirs excluded鈥攖hat鈥檚 cheating).
November 10, 2021
Di Nabokov conoscevo soltanto Lolita e lo giudicavo scrittore geniale, ma, chiss脿 perch茅, non avevo mai desiderato leggere altro. Poi mi 猫 capitato di vedere il film "La partita鈥�, e, delusa e insospettita, ho deciso di andare a leggermi il romanzo da cui 猫 tratto. Avevo ragione: la storia 猫 completamente diversa. Il film, nonostante la bravura di Turturro che interpreta Luzin, 猫 la solita volgare sciocchezza, la solita storiella d'amore in abiti eleganti, le solite patinate scene di sesso. Il romanzo 猫 molto pi霉 complesso e raffinato, la trama pi霉 verosimile e realistica, tutto 猫 pi霉 vero e di conseguenza pi霉 toccante. Ma soprattutto mi ha colpito lo stile di Nabokov, straordinariamente bello, limpido, fluente, ricco come un torrente di montagna in primavera. Amo esattamente questo stile di scrittura: non quello troppo nudo e scarno 'all'americana', dalle frasi brevi e denudate di ogni aggettivo e avverbio e perfino della punteggiatura: in fondo non ne ho mai capito veramente il senso. N茅, tantomeno, quello artificioso e barocco che definirei 'all'italiana', infarcito di metafore e di voli poetici e compiaciuti arcaicismi. No, questo, per me, 猫 precisamente saper scrivere, saper usare le parole, tutte le parole e tutte le forme, saperle orchestrare con tutte le punteggiature e saper costruire una prosa ricca ma equilibrata; e gi脿 non vedo l'ora di leggere altri Nabokov.
February 28, 2011
A young boy, a loner, indifferent to everything, discovers chess. Ensnared by this insanely addictive game, he becomes even more indifferent to everything--except chess. He grows up, becomes a champion, many of his games considered "immortals." In a championship game against the equally-brilliant Italian Grandmaster Turati, upon adjourning a very difficult position, he suffers a breakdown. He survives, but the doctors opine that further chess might be fatal to him. Enough of the plot.
I have been looking for a copy of the film adaptation of this novel at my favorite video pirate shop. No luck so far. Would love to watch this on screen.It reportedly stars John Turturro (presumably as the chess genius Luzhin) and Emily Watson (as his wife). Nabokov's Luzhin is supposed to be short and fat, and his wife not that attractive. Emily Watson is lovely, Turturro is lean and tall. But Turturro has THAT look. Who directed this film? How did he do with the mad, but very tender scenes, between Luzhin and his wife? How did he illuminate Nabokov's brilliant chess metaphors, through Luzhin, who saw his life, from his childhood onwards, as a long chess combination, the fatal end to which he foresaw, desperately tried to find a way to avert, by defending, by countering the enemy's plans, by thwarting the attacks, with all the tenacity and strength he could muster? How to put on screen Nabokov's unparallelled characterizations? The jarring dialogues (especially Luzhin's few) with their admirable uniqueness and unpredictability (how did Nabokov conceive all these?)?
I read the last three pages of this novel standing up. I was about to leave already, for a meeting, but my feet were glued to the floor and my eyes to the book. The Luzhin Defense (sounds like a chess opening) was being played out. The conclusion was near. Tic, toc, went the chess clock, only seconds remaining...
I have been looking for a copy of the film adaptation of this novel at my favorite video pirate shop. No luck so far. Would love to watch this on screen.It reportedly stars John Turturro (presumably as the chess genius Luzhin) and Emily Watson (as his wife). Nabokov's Luzhin is supposed to be short and fat, and his wife not that attractive. Emily Watson is lovely, Turturro is lean and tall. But Turturro has THAT look. Who directed this film? How did he do with the mad, but very tender scenes, between Luzhin and his wife? How did he illuminate Nabokov's brilliant chess metaphors, through Luzhin, who saw his life, from his childhood onwards, as a long chess combination, the fatal end to which he foresaw, desperately tried to find a way to avert, by defending, by countering the enemy's plans, by thwarting the attacks, with all the tenacity and strength he could muster? How to put on screen Nabokov's unparallelled characterizations? The jarring dialogues (especially Luzhin's few) with their admirable uniqueness and unpredictability (how did Nabokov conceive all these?)?
I read the last three pages of this novel standing up. I was about to leave already, for a meeting, but my feet were glued to the floor and my eyes to the book. The Luzhin Defense (sounds like a chess opening) was being played out. The conclusion was near. Tic, toc, went the chess clock, only seconds remaining...
October 20, 2011
Over the last few weeks I鈥檝e read The Luzhin Defense, followed by Bluebeard and then Do Androids Dream of Electric Sheep?
Originally I was going to write some stuff here about the central characters and compare them with the original Outsider. I was going to say things like this:
Maybe it is a contradiction in terms, to put 3 books about outsiders in the same review, but I can鈥檛 stop myself.
We have here a chess player, a doctor who might or might not have murdered a wife and a chickenhead. They all share a trait lacking in the original Outsider: they are all able to induce a sympathetic response from the reader. I don鈥檛 believe we have any capacity to understand Camus鈥檚 Outsider and without that, how can we have sympathy? It is easy to empathise with the others, however apart they may be from our own lives. It is impossible for Camus to put us in the shoes of his Outsider. It IS possible to become the crazy chess player, the murderous doctor, the mentally deficient chickenhead. Indeed it is Dick鈥檚 great strength that his characters slip into you; no matter that they are hypothetical consequences of a hypothetical world.
I can鈥檛 help wondering how I would have felt about Nabokov if I鈥檇 read him last instead of first. I thought he was getting away with being clever and ornate at the time. But to read the spare prose of Frisch next made me question this. And sharing with Dick the suffering of his characters meant I started wondering if Nabokov really had a clue what he was writing about. He says things that hit the mark for sure and his general thesis that chess saves the hero鈥檚 life until his dogooder wife-to-be starts interfering is completely faithful to the real world. I would scarcely be the only chess player to associate with Luzhin鈥檚 discovery of the game, a discovery that means life is suddenly tolerable. But something makes me distrust Nabokov鈥檚 potrayal of the Outsider, and I鈥檓 tired of trying to figure out what it is.
That鈥檚 the sort of thing I was going to say.
But I鈥檇 rather read. Consider me a goodreads outsider.
Originally I was going to write some stuff here about the central characters and compare them with the original Outsider. I was going to say things like this:
Maybe it is a contradiction in terms, to put 3 books about outsiders in the same review, but I can鈥檛 stop myself.
We have here a chess player, a doctor who might or might not have murdered a wife and a chickenhead. They all share a trait lacking in the original Outsider: they are all able to induce a sympathetic response from the reader. I don鈥檛 believe we have any capacity to understand Camus鈥檚 Outsider and without that, how can we have sympathy? It is easy to empathise with the others, however apart they may be from our own lives. It is impossible for Camus to put us in the shoes of his Outsider. It IS possible to become the crazy chess player, the murderous doctor, the mentally deficient chickenhead. Indeed it is Dick鈥檚 great strength that his characters slip into you; no matter that they are hypothetical consequences of a hypothetical world.
I can鈥檛 help wondering how I would have felt about Nabokov if I鈥檇 read him last instead of first. I thought he was getting away with being clever and ornate at the time. But to read the spare prose of Frisch next made me question this. And sharing with Dick the suffering of his characters meant I started wondering if Nabokov really had a clue what he was writing about. He says things that hit the mark for sure and his general thesis that chess saves the hero鈥檚 life until his dogooder wife-to-be starts interfering is completely faithful to the real world. I would scarcely be the only chess player to associate with Luzhin鈥檚 discovery of the game, a discovery that means life is suddenly tolerable. But something makes me distrust Nabokov鈥檚 potrayal of the Outsider, and I鈥檓 tired of trying to figure out what it is.
That鈥檚 the sort of thing I was going to say.
But I鈥檇 rather read. Consider me a goodreads outsider.
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