Describing the death of his father (who perishes in a mysterious airplane disaster above the Pacific), Van Veen (the narrator and main character in VN’s novel Ada, 1969) compares himself to a sultan:
Furnished Space, l’espace meublé (known to us only as furnished and full even if its contents be ‘absence of substance’ — which seats the mind, too), is mostly watery so far as this globe is concerned. In that form it destroyed Lucette. Another variety, more or less atmospheric, but no less gravitational and loathsome, destroyed Demon.
Idly, one March morning, 1905, on the terrace of Villa Armina, where he sat on a rug, surrounded by four or five lazy nudes, like a sultan, Van opened an American daily paper published in Nice. In the fourth or fifth worst airplane disaster of the young century, a gigantic flying machine had inexplicably disintegrated at fifteen thousand feet above the Pacific between Lisiansky and Laysanov Islands in the Gavaille region. A list of ‘leading figures’ dead in the explosion comprised the advertising manager of a department store, the acting foreman in the sheet-metal division of a facsimile corporation, a recording firm executive, the senior partner of a law firm, an architect with heavy aviation background (a first misprint here, impossible to straighten out), the vice president of an insurance corporation, another vice president, this time of a board of adjustment whatever that might be —
‘I’m hongree,’ said a maussade Lebanese beauty of fifteen sultry summers.
‘Use bell,’ said Van, continuing in a state of odd fascination to go through the compilation of labeled lives:
— the president of a wholesale liquor-distributing firm, the manager of a turbine equipment company, a pencil manufacturer, two professors of philosophy, two newspaper reporters (with nothing more to report), the assistant controller of a wholesome liquor distribution bank (misprinted and misplaced), the assistant controller of a trust company, a president, the secretary of a printing agency —
The names of those big shots, as well as those of some eighty other men, women, and silent children who perished in blue air, were being withheld until all relatives had been reached; but the tabulatory preview of commonplace abstractions had been thought to be too imposing not to be given at once as an appetizer; and only on the following morning did Van learn that a bank president lost in the closing garble was his father.
‘The lost shafts of every man’s destiny remain scattered all around him,’ etc. (Reflections in Sidra). (3.7)
Sultan was a ruler of the Ottoman Empire. In Ilf and Petrov’s novel Dvenadtsat’ stuliev (“The Twelve Chairs,” 1928) Ostap Bender says that his father was a Turkish subject. In Ilf and Petrov’s novel Zolotoy telyonok (“The Golden Calf,” 1931) Bender tells Shura Balaganov that his father died a long time ago in terrible convulsions:
Балаганов почувствовал вдруг непреодолимое желание вытянуть руки по швам. Ему даже захотелось откашляться, как это бывает с людьми средней ответственности при разговоре с кем-либо из вышестоящих товарищей. И действительно, откашлявшись, он смущенно спросил:
– Зачем же вам так много денег… и сразу?
– Вообще-то мне нужно больше, – сказал Остап, – пятьсот тысяч – это мой минимум, пятьсот тысяч полновесных ориентировочных рублей. Я хочу уехать, товарищ Шура, уехать очень далеко, в Рио-де-Жанейро.
– У вас там родственники? – спросил Балаганов.
– А что, разве я похож на человека, у которого могут быть родственники?
– Нет, но мне…
– У меня нет родственников, товарищ Шура, – я один на всем свете. Был у меня папа, турецкий подданный, да и тот давно скончался в страшных судорогах. Не в этом дело. Я с детства хочу в Рио-де-Жанейро. Вы, конечно, не знаете о существовании этого города. Балаганов скорбно покачал головой. Из мировых очагов культуры он, кроме Москвы, знал только Киев, Мелитополь и Жмеринку. И вообще он был убежден, что земля плоская. Остап бросил на стол лист, вырванный из книги. – Это вырезка из «Малой советской энциклопедии». Вот тут что написано про Рио-де-Жанейро: «1360 тысяч жителей…» так… «значительное число мулатов… у обширной бухты Атлантического океана…» Вот, вот! «Главные улицы города по богатству магазинов и великолепию зданий не уступают первым городам мира». Представляете себе, Шура? Не уступают! Мулаты, бухта, экспорт кофе, так сказать, кофейный демпинг, чарльстон под названием «У моей девочки есть одна маленькая штучка» и… о чем говорить! Вы сами видите, что происходит. Полтора миллиона человек, и все поголовно в белых штанах. Я хочу отсюда уехать. У меня с советской властью возникли за последний год серьезнейшие разногласия. Она хочет строить социализм, а я не хочу. Мне скучно строить социализм. Теперь вам ясно, для чего мне нужно столько денег?
Balaganov suddenly felt an irresistible urge to stand at attention.
He even wanted to clear his throat, which is what happens to people in positions of moderate responsibility when they talk to a person of much higher standing.
He did indeed clear his throat and asked meekly:
“What do you need so much money for . . . and all at once?”
“Actually, I need more than that,” said Ostap, “Five hundred thousand is an absolute minimum. Five hundred thousand fully convertible rubles. I want to go away, Comrade Shura, far, far away. To Rio de Janeiro.”
“Do you have relatives down there?” asked Balaganov.
“Do you think I look like a man who could possibly have relatives?”
“No, but I thought . . .”
“I don’t have any relatives, Comrade Shura, I’m alone in this world. I had a father, a Turkish subject, but he died a long time ago in terrible convulsions. That’s not the point. I’ve wanted to go to Rio de Janeiro since I was a child. I’m sure you’ve never heard of that city.”
Balaganov shook his head apologetically.
The only centers of world culture he knew other than Moscow were Kiev, Melitopol, and Zhmerinka. Anyway, he was convinced that the earth was flat.
Ostap threw a page torn from a book onto the table.
“This is from The Concise Soviet Encyclopedia. Here’s what it says about Rio de Janeiro: ‘Population 1,360,000 . . .’ all right . . . ‘. . . substantial Mulatto population . . . on a large bay of the Atlantic Ocean . . .’ Ah, there! ‘Lined with lavish stores and stunning buildings, the city’s main streets rival those of the most important cities in the world.’ Can you imagine that, Shura? Rival! The mulattos, the bay, coffee export, coffee dumping, if you will, the charleston called ‘My Little Girl Got a Little Thing,’ and . . . Oh well, what can I say? You understand what’s going on here. A million and a half people, all of them wearing white pants, without exception. I want to get out of here. During the past year, I have developed very serious differences with the Soviet regime. The regime wants to build socialism, and I don’t. I find it boring. Do you understand now why I need so much money?” (Chapter 2 “The Thirty Sons of Lieutenant Schmidt”)
In Ilf and Petrov’s novel the Crow’s Nest (where Bender and the Antelopeans rent a room) burns down to the ground because it was set on fire by its inhabitants. Van and Ada make love for the first time in the Night of the Burning Barn. Vab does not realize that Ada (who wanted to spend the night with Van) has bribed Kim Beauharnais (a kitchen boy and photographer at Ardis) to set the barn on fire. Similarly, he never finds out that his father died because Ada (who could pardon Demon his forcing Van to give her up) managed to persuade the pilot to destroy his machine in midair. Ada was also afraid that Demon would tell Van that she and Andrey Vinelander (Ada’s husband) have at least two children. Because love is blind, Van fails to see that Ronald Oranger (old Van’s secretary, the editor of Ada) and Violet Knox (old Van’s typist whom Ada calls Fialochka, “little Violet,” and who marries Ronald Oranger after Van’s and Ada’s death) are Ada’s grandchildren. Ronald Oranger brings to mind Gruzite apel’siny bochkami (“Load oranges in barrels”), a telegram that in “The Golden Calf” Bender sends to Koreyko (a secret Soviet millionaire). Bender’s telegram is signed “Bothers Karamazov.” Bothers Karamazov (1880) is a novel by Dostoevski. During Van’s first tea party at Ardis Marina (Van’s, Ada’s and Lucette’s mother) mentions Dostoevski:
They now had tea in a prettily furnished corner of the otherwise very austere central hall from which rose the grand staircase. They sat on chairs upholstered in silk around a pretty table. Ada’s black jacket and a pink-yellow-blue nosegay she had composed of anemones, celandines and columbines lay on a stool of oak. The dog got more bits of cake than it did ordinarily. Price, the mournful old footman who brought the cream for the strawberries, resembled Van’s teacher of history, ‘Jeejee’ Jones.
‘He resembles my teacher of history,’ said Van when the man had gone.
‘I used to love history,’ said Marina, ‘I loved to identify myself with famous women. There’s a ladybird on your plate, Ivan. Especially with famous beauties — Lincoln’s second wife or Queen Josephine.’
‘Yes, I’ve noticed — it’s beautifully done. We’ve got a similar set at home.’
‘Slivok (some cream)? I hope you speak Russian?’ Marina asked Van, as she poured him a cup of tea.
‘Neohotno no sovershenno svobodno (reluctantly but quite fluently),’ replied Van, slegka ulïbnuvshis’ (with a slight smile). ‘Yes, lots of cream and three lumps of sugar.’
‘Ada and I share your extravagant tastes. Dostoevski liked it with raspberry syrup.’
‘Pah,’ uttered Ada. (1.5)
Darkbloom (‘Notes to Ada’): with a slight smile: a pet formula of Tolstoy’s denoting cool superiority, if not smugness, in a character’s manner of speech.
In “The Golden Calf” the inhabitants of The Crow’s Nest include nich’ya babushka (nobody’s grandma) who does not trust electricity and burns kerosene in her entresol lodgings. Kerosin is the word that Ada’s letters form at the beginning of a game of Flavita (the Russian Scrabble) that Van, Ada and Lucette play at Ardis:
A particular nuisance was the angry or disdainful looking up of dubious words in a number of lexicons, sitting, standing and sprawling around the girls, on the floor, under Lucette’s chair upon which she knelt, on the divan, on the big round table with the board and the blocks and on an adjacent chest of drawers. The rivalry between moronic Ozhegov (a big, blue, badly bound volume, containing 52,872 words) and a small but chippy Edmundson in Dr Gerschizhevsky’s reverent version, the taciturnity of abridged brutes and the unconventional magnanimity of a four-volume Dahl (‘My darling dahlia,’ moaned Ada as she obtained an obsolete cant word from the gentle long-bearded ethnographer) — all this would have been insupportably boring to Van had he not been stung as a scientist by the curious affinity between certain aspects of Scrabble and those of the planchette. He became aware of it one August evening in 1884 on the nursery balcony, under a sunset sky the last fire of which snaked across the corner of the reservoir, stimulated the last swifts, and intensified the hue of Lucette’s copper curls. The morocco board had been unfolded on a much inkstained, monogrammed and notched deal table. Pretty Blanche, also touched, on earlobe and thumbnail, with the evening’s pink — and redolent with the perfume called Miniver Musk by handmaids — had brought a still unneeded lamp. Lots had been cast, Ada had won the right to begin, and was in the act of collecting one by one, mechanically and unthinkingly, her seven ‘luckies’ from the open case where the blocks lay face down, showing nothing but their anonymous black backs, each in its own cell of flavid velvet. She was speaking at the same time, saying casually: ‘I would much prefer the Benten lamp here but it is out of kerosin. Pet (addressing Lucette), be a good scout, call her — Good Heavens!’
The seven letters she had taken, S,R,E,N,O,K,I, and was sorting out in her spektrik (the little trough of japanned wood each player had before him) now formed in quick and, as it were, self-impulsed rearrangement the key word of the chance sentence that had attended their random assemblage. (1.36)
Darkbloom (‘Notes to Ada’): Gerschizhevsky: a Slavist’s name gets mixed here with that of Chizhevki, another Slavist.
In the Night of the Burning Barn Ada mentions Grandma who gets the Xmas card:
Oh, Van, that night, that moment as we knelt side by side in the candlelight like Praying Children in a very bad picture, showing two pairs of soft-wrinkled, once arboreal-animal, soles — not to Grandma who gets the Xmas card but to the surprised and pleased Serpent, I remember wanting so badly to ask you for a bit of purely scientific information, because my sidelong glance —
Not now, it’s not a nice sight right now and it will be worse in a moment (or words to that effect).
Van could not decide whether she really was utterly ignorant and as pure as the night sky — now drained of its fire color — or whether total experience advised her to indulge in a cold game. It did not really matter. (1.13)
In the Night of the Burning Barn Ada (who is twelve) is not a vergin. Her first lover (whose photograph Van sees in Kim Beauharnais's album) was Dr Krolik's brother, Karol, or Karapars, Krolik, a Doctor of Philosophy, born in Turkey.
Ada's husband Andrey Vinelander dies of tuberculosis. In 1937 Ilya Ilf died of tuberculosis. In 1942 Ilf's coauthor Petrov died in an airplane catastrophe.
Cossacks write a letter to the Turkish sultan is a painting by Repin. Before jumping to her death into the Atlantic, Lucette (Van's and Ada's half-sister) drinks three 'Cossack ponies' of Klass Vodka in the bar of Admiral Tobakoff:
She drank a ‘Cossack pony’ of Klass vodka — hateful, vulgar, but potent stuff; had another; and was hardly able to down a third because her head had started to swim like hell. Swim like hell from sharks, Tobakovich!
She had no purse with her. She almost fell from her convex ridiculous seat as she fumbled in her shirt pocket for a stray bank note.
‘Beddydee,’ said Toby the barman with a fatherly smile, which she mistook for a leer. ‘Bedtime, miss,’ he repeated and patted her ungloved hand.
Lucette recoiled and forced herself to retort distinctly and haughtily:
‘Mr Veen, my cousin, will pay you tomorrow and bash your false teeth in.’
Six, seven — no, more than that, about ten steps up. Dix marches. Legs and arms. Dimanche. Déjeuner sur l’herbe. Tout le monde pue. Ma belle-mère avale son râtelier. Sa petite chienne, after too much exercise, gulps twice and quietly vomits, a pink pudding onto the picnic nappe. Après quoi she waddles off. These steps are something. (3.5)
Darkbloom (‘Notes to Ada’): Dimanche etc.: Sunday. Lunch on the grass. Everybody stinks. My mother-in-law swallows her dentures. Her little bitch, etc. After which, etc. (see p.375, a painter’s diary Lucette has been reading).
Tobakovich seems to blend Sobakevich, in Gogol's Myortvye dushi ("Dead Souls," 1841) the landowner whose name comes from sobaka (dog), with Fima Tobak, Ellochka Shchukin's friend in "The Twelve Chairs."
In Lucette's Tobakoff cabin there is a racehorse painting Pale Fire with Tom Cox Up. In Canto Four of Shade's poem Pale Fire (in VN's novel of the same title) "sharks" rhymes with Marx. Describing Lucette's visit to Kingston (Van's American University), Van mentions Marx père, the popular author of ‘historical’ plays:
Van spent the fall term of 1892 at Kingston University, Mayne, where there was a first-rate madhouse, as well as a famous Department of Terrapy, and where he now went back to one of his old projects, which turned on the Idea of Dimension & Dementia (‘You will "sturb," Van, with an alliteration on your lips,’ jested old Rattner, resident pessimist of genius, for whom life was only a ‘disturbance’ in the rattnerterological order of things — from ‘nertoros,’ not ‘terra’).
Van Veen [as also, in his small way, the editor of Ada] liked to change his abode at the end of a section or chapter or even paragraph, and he had almost finished a difficult bit dealing with the divorce between time and the contents of time (such as action on matter, in space, and the nature of space itself) and was contemplating moving to Manhattan (that kind of switch being a reflection of mental rubrication rather than a concession to some farcical ‘influence of environment’ endorsed by Marx père, the popular author of ‘historical’ plays), when he received an unexpected dorophone call which for a moment affected violently his entire pulmonary and systemic circulation.
Nobody, not even his father, knew that Van had recently bought Cordula’s penthouse apartment between Manhattan’s Library and Park. Besides its being the perfect place to work in, with that terrace of scholarly seclusion suspended in a celestial void, and that noisy but convenient city lapping below at the base of his mind’s invulnerable rock, it was, in fashionable parlance, a ‘bachelor’s folly’ where he could secretly entertain any girl or girls he pleased. (One of them dubbed it ‘your wing à terre’). But he was still in his rather dingy Chose-like rooms at Kingston when he consented to Lucette’s visiting him on that bright November afternoon. (2.5)
Darkbloom (‘Notes to Ada’): sturb: pun on Germ. sterben, to die.
Marx père seems to be a cross between Karl Marx and Shaxpere (as Shakespeare's name is sometimes spelled), the author of history plays. In "The Twelve Chairs" the vocabulary of Ellochka Shchukin is contrasted to that of William Shakespeare:
Словарь Вильяма Шекспира, по подсчету исследователей, составляет 12000 слов. Словарь негра из людоедского племени «Мумбо-Юмбо» составляет 300 слов.
Эллочка Щукина легко и свободно обходилась тридцатью.
William Shakespeare's vocabulary has been estimated by the experts at twelve thousand words. The vocabulary of a Negro from the Mumbo Jumbo tribe amounts to three hundred words.
Ellochka Shchukin managed easily and fluently on thirty. (Chapter XXII "Ellochka the Cannibal")