Product Description

From one of the 20th century's great writers comes one of the finest autobiographies of our time. Speak, Memory was first published by Vladimir Nabokov in 1951 as Conclusive Evidence and then assiduously revised and republished in 1966. The Everyman's Library edition includes, for the first time, the previously unpublished "Chapter 16"--the most significant unpublished piece of writing by the master, newly released by the Nabokov estate--which provided an extraordinary insight into Speak, Memory.

Nabokov's memoir is a moving account of a loving, civilized family, of adolescent awakenings, flight from Bolshevik terror, education in England, and émigré life in Paris and Berlin. The Nabokovs were eccentric, liberal aristocrats, who lived a life immersed in politics and literature on splendid country estates until their world was swept away by the Russian revolution when the author was eighteen years old. Speak, Memory vividly evokes a vanished past in the inimitable prose of Nabokov at his best.

---

Product Details

• Amazon Sales Rank: #32740 in Books
• Published on: 1999-03-23
• Released on: 1999-03-23
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 320 pages

Features

• ISBN13: 9780375405532
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

Amazon.com Review
Even if you already own Nabokov's earthy, otherworldly account of his astounding life, you must buy this 1999 edition. And if you've never read Speak, Memory, you must do so at once. This volume is essential because it includes the unpublished last chapter, a pseudo-review comparing Speak, Memory with another, nonexistent memoir called When Lilacs Last. (That title refers to Whitman's poem on Lincoln's assassination and to the lilacs of Nabokov's childhood home) Chapter 16 is a key to what the imaginary reviewer accurately calls a "unique freak as autobiographies go," revealing its novel-like nature and unifying themes and images (chess, puzzles, spirals, jewels, rainbows, exile, the stained-glass shadow patterns that the future casts on the present). Maybe Nabokov thought he gave too much away, and one sees the formal superiority of ending the book with chapter 15. But the added essay is a gem that dazzles and illuminates.

You have to consult biographies like Brian Boyd's for the full, remarkable facts of Nabokov's life. A millionaire at 17 (his sister danced in Diaghilev gowns with Fabergé gems at the Winter Palace), repeatedly exiled, forced to bust out of one chrysalis after another into new lives, the writer retained only the infinite wealth of his memory and art. This book is a mosaic shaped by a mind so metaphorical that, as a babe, Nabokov perceived letters as colors, the alphabet as a rainbow.

The loss of his father is at Speak, Memory's core. This memoir is worth owning for a single paragraph alone, about the sight of Nabokov senior being tossed aloft by grateful peasants he'd been generous to--a dozen or so with locked arms flinging him up in a hip-hip-hooray ritual.

There, for an instant, the figure of my father in his wind-rippled white summer suit would be displayed, gloriously sprawled in midair.... Thrice, to the mighty heave-ho of his invisible tossers, he would fly up ... and then there he would be, on his last and loftiest flight, reclining, as if for good, against the cobalt blue of the summer noon, like one of those paradisiac personages who comfortably soar, with such a wealth of folds in their garments, on the vaulted ceiling of a church while below, one by one, the wax tapers in mortal hands light up to make a swarm of minute flames in the mist of incense, and the priest chants of eternal repose, and funeral lilies conceal the face of whoever lies there, among the swimming lights, in the open coffin.

Nabokov recaptures the paradise of his youth, and acquits himself of the coldness of which some accuse him. He plays literary games, but he plays for keeps. --Tim Appelo

From Library Journal
Published as Conclusive Evidence in 1951 and later revised in 1966, Nabokov's title has been further updated with an additional, previously unseen chapter. Considering his profile in world literature, this is essential for public and academic libraries.
Copyright 1999 Reed Business Information, Inc.

Review
"[Nabokov] has fleshed the bare bones of historical data with hilarious anecdotes and with a felicity of style that makes Speak, Memory a constant pleasure to read. Confirmed Nabokovians will relish the further clues and references to his fictional works that shine like nuggets in the silver stream of his prose." --Harper

"Scintillating . . . One finds here amazing glimpses into the life of a world that has vanished forever." --The New York Times -- Review

---

Customer Reviews

The Greatest Autobiography of Twentieth Century
Speak, Memory is primarily concerned with Nabokov's life prior to his emigration to America in 1940. Unlike regular autobiographies it is not a traditional chronological sequence of dates and facts, but, rather, Nabokov's memory of certain events thematically linked to the creation of himself as an artist and as the person that he himself is, at present moment of time when he is writing the book. Basically, I think he must have asked himself the question - "Where did I come from and how did I become who I am?" as perhaps all of us have asked ourselves at some point in time and then set out to answer the question using the two rare tools he had at his disposal - memory and imagination. As he says somewhere in the book when he manages to link some event in the childhood to something that happened to him in later years - "The following of such thematic designs through one's life should be, I think, the true purpose of autobiography." This idea of defining the Self through a narrative, that is life, is the central aesthetic idea of the book. This also explains the structure of the book and for an autobiography, it's structure is quite complex. Perhaps that's why it is also called by critics the "most artistic of autobiographies". Nabokov starts off each chapter with a theme, generally with the help of some evocative image and pursues it through different phases of his life. And in this way he is able to delineate the various fragments of his personality and self in detail so that everything starts making sense as a whole.

Everything, of course, looks easy and effortless in Nabokov's hands. While reading the book, it seems, all the facts, images, feelings and evocations are concrete things stored at some place well known to the author and he simply picks them up as he pleases and serves them to the reader after dressing them up in his delicate prose. But of course it is not so easy. And anyone who has tried to remember and recreate his childhood and past time (as perhaps all of us have) and managed only hazy uncertainties will attest to it. I think that's why most of us, even those who are otherwise totally unsympathetic to Nabokov as a writer and person, will find in the book parallels to our own attempts to figure out where we came from and who we are. And for those of us who are cursed with defective or selective memories (or should I say blessed?) this book offers a poignant reminder of how much we have irretrievably lost and teaches us to see and notice things as if we are noticing own future recollection because that's the only way to regain all lost paradises (to use a Proustian phrase). I think the impulse to rediscover and reclaim childhood is deep in human nature and is present in all of us, and thus the chord "Speak, Memory" touches is truly universal and makes it a great book.

if you read no other Nabokov
I honestly don't consider myself competent to judge whether Nabokov is one of the century's greatest writers. Like many of his contemporaries, much of his work is so obscure as to defy my comprehension, but I do very much like what I understand in Pale Fire and Lolita, both of which made the Modern Library Top 100 Novels of the Century, and, of course, to read him is to be exposed to an English language and a prose style that one little knew existed. So I am more than willing to acknowledge that he was a singular and immense talent. It is altogether fitting then that his memoirs too should be unique.

For the most part, Nabokov's mission here is literally to let his memory speak. In so doing he recreates late czarist Russia in loving, painstaking detail. While to the best of my knowledge Nabokov was never particularly identified with the anti-Communist émigré movement, this book is its own kind of indictment of the USSR. The case it lays out is not the political or the economic one but the historical and cultural one. As he says:

My old (since 1917) quarrel with the Soviet dictatorship is wholly unrelated to any question of property. My contempt for the émigré who "hates the Reds" because they "stole" his money and land is complete. The nostalgia I have been cherishing all these years is a hypertrophied sense of lost childhood, not sorrow for lost banknotes.

And finally: I reserve for myself the right to yearn after an ecological niche:

...Beneath the sky Of my America to sigh For one locality in Russia.

The crimes of the commissars are without number and most are far greater than this, but this richly textured, impossibly specific and deeply moving memoir so brilliantly transports the reader to what seems to have been a wonderful and altogether innocent existence that to that list of crimes must be added the Bolsheviks utter destruction of this world. Even if you've never liked any of his other books, do yourself a favor and read this one. Even the passages that defy comprehension are beautiful.

GRADE: A

Beautiful, stunning, very, very irritating.
I have spent the summer drowning in Nabokovian puddles, but this autobiography is the least satisfactory yet. On the plus side it (naturally) contains some of the most beautiful sentences I've ever read. The seamless flow from concrete detail, scrupulous description, misty nostalgia to philosophical speculation is dizzying and inspired. The chapter on the author's mother is quite possibly the most gorgeous piece of writing in the language, but my favorite is the melancholy portrait of his uncle, a fascinating, loveable, moving character who might have enriched a novel. The battle between the natural and the human worlds are convincingly balanced, with history swooping in for final victory.

And yet Speak, Memory is fundamentally dislikeable. The tone grates: imagine a whole book written in the style of Nabokov's forewards - arrogant, didactic, humorless. That's what nearly kills it - the lack of Nabokovian playfulness. There are a couple of real-life events that are so shocking that they verge on farce, but in general the tone is reverent and uncritical, and the madness of Nabokov's greatest narrators has no place here.

The young Nabokov is thoroughly dislikeable (but then so is the Nab of the forewards), 'something of a bully' as he admits, but the episode with his brother was shameful, disgusting, and made me not want to read one of his books again. I'll get over that, but it's says something that one finds that monster Humbert more sympathetic than his creator. Of course, the narrator here isn't unadulterated Nab; he's as much a creation as any of his characters. He's just not a very interesting one, neither insane nor funny. As Michael Wood suggests, the absences in this very word-, idea-, people- and event-heavy book are some kind of a failure. What we're left with is literature's most stunning prose poem since Woolf's To The Lighthouse, with a big black hole in the centre.