I came to a strange realization while reading this book: that practically every instance I can think of where an author used an unreliable narrator, it's always the same character: he's an intelligent, introspective guy with a slight cynical mean streak, a man with a fairly high opinion of himself (which is constantly reaffirmed by the world around him)--he succeeds without trying too hard, usually in a number of fields, though the success never lasts (because where would the plot go if it did?), he gets into fights and scraps due to his pride, and always wins out in the end--and of course his life is full of a succession of lovely women who flit in and out, flirting, desiring him, ultimately discarded.

It's such an overt, laughably transparent fantasy of the life of a writer that it's simply not possible to take it seriously--which means of course that no serious author would condescend to write something so blatantly adolescent. But, if you take that concept as the base of the story, and then place a veneer of deniability over it, then you can suddenly claim complexity and depth without actually having to write a more unique and intriguing protagonist--you can have your cake, and eat it too.

And yet, I don't quite buy it--it's too convenient to simply say that anything in the book that is stupid or insulting should be taken as sarcasm, while all the good parts were on purpose. It can in a book like Flashman , where the character is so obviously execrable, and the story so obviously a farce--but the more subtle it becomes, the more it is mixed with realism and genuine sympathy, the more character thoughts and motivations become vague, the less pointed it is.

Just as with satire, in order to capture the unreliable narrator properly, you have to do the hard work of separating the subject from the object it is mocking or commenting on, otherwise, all you have done is recreated the object, nearly whole--creating a supposed satire that is hardly distinguishable from the original. Just because an author did something on purpose is not an excuse--they still have to do it well.

And it's not just the main character, Van, who feels like an escapist ideal of the intelligentsia, it's the whole structure--one that should be recognizeable to any fan of Wes Anderson movies. It's all so aspirational--but carefully calibrated so as not to trigger simple jealousy from the moderately sophisticated reader, who feels insulted at being openly pandered to, but will take all the slightly-obscured pandering he can get.

So, we have the wealthy family of good blood--but of course, they've fallen on hard times, they're a bit out of favor, a bit worn down. Money is never really a problem, but neither is their wealth outrageous. The children are all brilliant and charming, well-dressed and good-looking, knowledgeable and full of clever banter. They're good at everything, but they never really pursue any of it (like good idle aristos), and so just have the occasional success, here or there--the sort of thing the average literary person would kill for: a successfully published book, an appointment to a major academic post--but these are always downplayed by the characters as not really important to them, not really as great as you'd imagine. They have oodles of free time to waste in little projects, or bits of melodrama--can't be rushed, darling.

All these pretty people who are just fucked up enough to avoid being totally perfect--though even their flaws are desirable, the sorts of things romanticized in Victorian poetry: they don’t fit in, they are biting and cruel, they are careless, they take too many risks, they're prideful--any ostensibly negative trait that falls neatly under the auspices of being ‘cool’, and doesn't really end up being problematic. It's just so fucking precious I can hardly stand it.

The whole section about Van's supposedly transformative theory of time was just so dull and long-winded. Some authors are able to present a fascinating philosophical or scientific digression in their works, but the long pages outlining Van’s thoughts didn’t feel profound or intriguing, they didn’t confront assumptions, they just seemed vague and half-cooked. The whole final section, about how great the book is and how Van’s thoughts on time changed everything felt overly contrived. Clearly, this is Nabokov, so we’re supposed to assume that it’s ironic and tongue-in-cheek, but I simply don't see how that reading makes it any more interesting.

The fantastical elements were a fun twist, but used too sparingly--they weren’t pervasive as in a work of Borges, or Gogol, or Conrad and Ford’s mostly forgotten The Inheritors . I find such experiments are most effective when they are allowed to change the very texture of the book, to rush through it and alter its meaning and interpretation, as in Harrison’s Viriconium . Here, they ended up feeling too much like interludes, not really integrating with the downright quotidian everyday of the very light plot.

The plot really doesn’t move, aside from a few more frantic chapters, such as the picaresque series of failed duels a la Dumas père--indeed, even the inner lives of the character remain mostly static, so that they are the same people at the end, in their nineties, as they were in the beginning, in their young teens. Of course, this is all meant to relate to the ‘illusion of time’ as Van explores it, but since the theory itself isn't particularly interesting, it does do much to improve the experience of watching a few unchanging people pass through rather everyday events. Indeed, they don’t even same to be creating the sort of false melodrama that we all make of our lives, making coherent stories out of unconnected events and coincidences.

The unreliable narrator shtick also means that we we don’t really get Ada’s side of the romance. We’re constantly being given all the little things Van finds attractive, what excites him about her, physically, but we don’t get to see any of her attraction, how it progresses, what she sees in him, what excites her. It all becomes rather blandly male-gaze, where the charms of the woman are described over and over, yet the man’s physical presence is largely ignored. I mean, we do get Ada's voice peeking through, here and there in notes, but it's never quite enough to tear through Van's veil and let the reader inside the deeper story. Plus there’s the fact that Nabokov had already tackled that dynamic with greater ironic force in Lolita, so it’s rather unfortunate that a supposedly transgressive author like Nabokov would just end up revisiting the same territory over again.

Then there's the prose itself--the first thirty pages are famously overstylized--with the wit jangling and clanking along so conspicuously that it doesn’t leave much room for subtlety or naturalism, for genuine emotion and connection. It’s all such an obviously indulgent performance, like that of a precocious child who must be interrupted: ‘Yes yes, you’re very clever--now was there something you wanted to tell me?’.

After the initial bombast, it settles down and the style almost completely changes for the rest of the book. The change is jarring, and didn't seem to have any purpose, or reason behind it--though it's not as if Nabokov lays off the wordplay at that point, it just settles out a bit. Indeed, it started to make me tired of puns--which is odd, since I’ve been a longtime proponent. It began to feel like too much work for too little payoff, that puns simple work better in conversation than in books, because a book is so carefully crafted, one can afford to take one's time and perfect it, polish it up--while a rough pun's strength is in its suddenness, its extemporaneous quality. But then. with Nabokov, the sheer amount of work seems to be the point, that all the glitter and movement on the surface is worth all the trouble it takes, that we’re not meant to appreciate the joke itself, or the punchline, but all the circuitous labor the author went to to set it up in the first place.

I began to feel a funny parallel between Nabokov’s style and the chapter about the fellow who cheats at cards with mirrors, surrounding himself with all of these ostentatious, flashy bits that he’s constantly tweaking and nudging to get them to work--and we’re supposed to think of him as pitiful, watching as he’s easily dispatched by the ‘true’ sharpery of Van, who instead manipulates the cards without it ever being obvious, due to his sheer master (well, until he’s unable to hold it in and flashes one from his sleeve at the end)--yet one begins to think that if Nabokov were at the table, he wouldn't be able to resist flashing his sleeve every hand, and thereby ruining the effect from the outset.

And such a style can work for a farce, because it is so overblown, and the characters and plot aren't really central, but often act as set pieces for absurd situations and wry commentary on the nature of life. It can also be effective in works like Sartor Resartus , or Moby Dick , or Gormenghast , where the language is inextricable from the characters, where an almost overbearing style is used as a tool to delve deeply into their thoughts, their point of view, to force the reader into the thoughts and senses of a person that is completely different, a world with colors and textures and relationships that pierce through its very fabric, through the land itself, the characters' flesh and hearts and minds, then drag the reader back through that hole like a baited hook.

But Nabokov's voice is not pervasive enough, it spends its time flitting along the surface, and so fails to enmesh wholly with his world and characters. It begins to feel more like a compulsion for wordplay than a deliberate construction--a love of words just spilling out onto the page because Nabokov is fascinated with language. The fact that the book spends a chunk of time discussing how to play Scrabble should tell you all you need to know. After all, he was a man who grew up a multilinguist, suspended between various languages and dialects and forms of communication--who wrote the English version of Lolita himself.

Of course, it should be noted that my own skills in languages outside of English are fairly pathetic--my years of Italian and Latin were some time ago, and so I unquestionably missed innumerable little asides and jokes. Yet, the jokes I did get, even the more obscure ones, like a veiled reference to an old name for Tasmania which I only got because I happened to reference in my book, weren't especially amusing to begin with--and so it simply didn't seem worth the time to go through and decode the rest of it--just another case of more time spent for insufficient reward.

And yet conceptually, it has its strengths--it is an interesting and unusual book, clearly a case of an author throwing himself into a wild experiment, which certainly takes courage, and if he didn't always succeed, at least he was always moving, always probing and doing something. It wasn't an insulting work, it wasn't simplistic or flat, and that was what kept me reading through to the end, that even if I don't think all the pieces quite came together to make it work, it was something curious, something worth experiencing and rolling around in my mind.

 

This was really, really good. Much better than I was expecting it to be. Not only did this story have some plot, with well-thought out and explained pasts, good characters and a realistic development to the relationships, the sex at the end was definitely hot.





It's a fairly quick read and totally worth it. I love how Law and Declan are instantly attracted to each other and slowly open up to each other, Law offering Declan something he's never truly had before - safety and security - and Declan slowly taking the chance to follow his heart and trust Law and finally finding true happiness.

I'm really looking forward to seeing how Trace tries to woo Lachlan and be further introduced to both the characters in the sequel [b:The Beta's Beloved|21946379|The Beta's Beloved (Wolves of Flathead, #2)|Rebecca Brochu|https://d.gr-assets.com/books/1397797208s/21946379.jpg|41251102]. Even more than that, I would love it if the author decided to make a third story involving the fox Quinn who is briefly shown and what I assume to be his burgeoning relationship with Colby who is only discussed rather than introduced.

There's no "or" about this book: it's Ada and ardour, and it's genius.

 

All right, I'll admit that Mr Nabokov takes some getting into. Accessible he ain't. Delicious, however, delicious he is and this is like a perfect bread pudding: layers coming together to create something you don't know you'll love until you look down and there's your empty plate.

 

The Penguin edition I bought, with the cattleya on the cover, only enhances Ada's genius. By the time you read what will ultimately become the back cover blurb, Nabokov has already shattered the fourth wall and is proceeding to stomp on the pieces for good measure. It's a manuscript in the guise of a novel shaped like time, apropos for a novel with an entire section on the nature of time. Adolescence is long and sprawling, disillusionment shorter but sizable, the transition between one generation of Veens and the next shorter still. I admit Van's treatise on time (Part Four) feels long, but I haven't a head for hard science and you sort of should in order to properly appreciate it. Then it's Van and Ada in the twilight, implausibly long-lived given the rest of the family.

 

Indeed, on the back cover, there's the closing few paragraphs, the last few, I imagine, that Van and Ada were able to dictate to Violet Knox; oh, yes, this is the story of their lives as written by them, in their own hands at first and then given over to a secretary as they age into decrepitude.

 

I lived and loved with them. I hated anyone who tried to come between them at first, as young, hotheaded romantics will -- and I learned to appreciate various come-and-gos like Cordula, though never Andrey or Dasha. Demon certainly lives up to his name. Marina's a mother in the Eve Casson/Topaz Mortmain vein, without their redeeming qualities. Marina never feels quite there, oblivious to anything that doesn't stroke her ego.

 

Lucette's such a loving little creature that I couldn't help but love her, in the end. She always knows she'll come second to both Ada and Van, yet she suggests, in the face of their separation, that Ada would do best to come away from Andrey and live with herself and Van -- far preferable to seclusion in Arizona. Never mind that if Van married her, it would be a marriage of very little passion. Lucette loves Van. Lucette loves Ada. (For varying definitions of love throughout.) Therefore, if Lucette can bring them together, she will.

 

But if she could have, there would have been very little story. 

 

Somehow the incest isn't squicky. They keep it in one generation (Van/Ada with incidental Lucette). Demon, if anything, is appalled to see Ada wandering out of Van's bedroom. Bastards are nothing, adultery ditto, but he does draw the line at a brother and sister together. Mind you, he'd have been easier about it if they'd been the cousins they supposedly were. Ada is meant to be the daughter of Marina by Dan, Demon's cousin, and Demon Van's son by Aqua, Marina's twin.

 

I cannot mention this novel without heaping praise on the wordplay. I appreciated Ada all the more for its hodgepodge of languages. What's more, it's understood that the reader will be fine with all the French; only the Russian is interpreted for our benefit. I squealed when I saw "fûmes" in Cordula's letter. Dizzying, heady, like caffeinated champagne! Even within what we consider "our" languages, we're never far from the reality of this anti-reality. Is that really what the Russian means, or is Nabokov playing tricks? After all, he's managed to construct "muirninochka", Irish Gaelic with a Russian diminutive tacked to the end. It's an exclamation mark of a reminder that yes, we are Elsewhere, in a fantastic example of fantastic fiction.

 

You will pry my pretty Penguin edition out of my cold, dead hands.