In VN’s novel Transparent Things (1972) Hugh Person meets Mr. R. (the writer who lives in his house at Diablonnet) in Versex, in a hotel (the venerable Versex Palace):
He did do something about it, despite all that fond criticism of himself. He wrote her a note from the venerable Versex Palace where he was to have cocktails in a few minutes with our most valuable author whose best book you did not like. Would you permit me to call on you, say Wednesday, the fourth? Because I shall be by then at the Ascot Hotel in your Witt, where I am told there is some excellent skiing even in summer. The main object of my stay here, on the other hand, is to find out when the old rascal's current book will be finished. It is queer to recall how keenly only the day before yesterday I had looked forward to seeing the great man at last in the flesh.
There was even more of it than our Person had expected on the strength of recent pictures. As he peeped through a vestibule window and watched him emerge from his car, no clarion of repute, no scream of glamour reverbed through his nervous system, which was wholly occupied with the bare-thighed girl in the sun-shot train. Yet what a grand sight R. presented - his handsome chauffeur helping the obese old boy on one side, his black-bearded secretary supporting him on the other, and two chasseurs from the hotel going through a mimicry of tentative assistance on the porch steps. The reporter in Person noted that Mr. R. wore Wallabees of a velvety cocoa shade, a lemon shirt with a lilac neck scarf, and a rumpled gray suit that seemed to have no distinction whatever - at least, to a plain American. Hullo, Person! They sat down in the lounge near the bar.
The illusory quality of the entire event was enhanced by the appearance and speech of the two characters. That monumental man with his clayey makeup and false grin, and Mr. Tamworth of the brigand's beard, seemed to be acting out a stiffly written scene for the benefit of an invisible audience from which Person, a dummy, kept turning away as if moved with his chair by Sherlock's concealed landlady, no matter how he sat or where he looked in the course of the brief but boozy interview. It was indeed all sham and waxworks as compared to the reality of Armande, whose image was stamped on the eye of his mind and shone through the show at various levels, sometimes upside down, sometimes on the teasing marge of his field of vision, but always there, always, true and thrilling. The commonplaces he and she had exchanged blazed with authenticity when placed for display against the forced guffaws in the bogus bar.
"Well, you certainly look remarkably fit," said Hugh with effusive mendacity after the drinks had been ordered.
Baron R. had coarse features, a sallow complexion, a lumpy nose with enlarged pores, shaggy bellicose eyebrows, an unerring stare, and a bulldog mouth full of bad teeth. The streak of nasty inventiveness so conspicuous in his writings also appeared in the prepared parts of his speech, as when he said, as he did now, that far from "looking fit" he felt more and more a creeping resemblance to the cinema star Reubenson who once played old gangsters in Florida-staged films; but no such actor existed.
"Anyway - how are you?" asked Hugh, pressing his disadvantage.
"To make a story quite short," replied Mr. R. (who had an exasperating way not only of trotting out hackneyed formulas in his would-be colloquial thickly accented English, but also. of getting them wrong), "I had not been feeling any too healthy, you know, during the winter. My liver, you know, was holding something against me."
He took a long sip of whiskey, and, rinsing his mouth with it in a manner Person had never yet witnessed, very slowly replaced his glass on the low table. Then, à deux with the muzzled stuff, he swallowed it and shifted to his second English style, the grand one of his most memorable characters:
"Insomnia and her sister Nocturia harry me, of course, but otherwise I am as hale as a pane of stamps. I don't think you met Mr. Tamworth. Person, pronounced Parson; and Tamworth: like the English breed of black-blotched swine."
"No," said Hugh, "it does not come from Parson, but rather from Peterson."
"O.K., son. And how's Phil?"
They discussed briefly R.'s publisher's vigor, charm, and acumen.
"Except that he wants me to write the wrong books. He wants - " assuming a coy throaty voice as he named the titles of a competitor's novels, also published by Phil - "he wants A Boy for Pleasure but would settle for The Slender Slut, and all I can offer him is not Tralala but the first and dullest tome of my Tralatitions."
"I assure you that he is waiting for the manuscript with utmost impatience. By the way - "
By the way, indeed! There ought to exist some rhetorical term for that twist of nonlogic. A unique view through a black weave ran by the way. By the way, I shall lose my mind if I do not get her.
" - by the way, I met a person yesterday who has just seen your stepdaughter - "
"Former stepdaughter," corrected Mr. R. "Quite a time no see, and I hope it remains so. Same stuff, son" (this to the barman).
"The occasion was rather remarkable. Here was this young woman, reading - "
"Excuse me," said the secretary warmly, and folding a note he had just scribbled, passed it to Hugh.
"Mr. R. resents all mention of Miss Moore and her mother."
And I don't blame him. But where was Hugh's famous tact? Giddy Hugh knew quite well the whole situation, having got it from Phil, not Julia, an impure but reticent little girl.
This part of our translucing is pretty boring, yet we must complete our report.
Mr. R. had discovered one day, with the help of a hired follower, that his wife Marion was having an affair with Christian Pines, son of the well-known cinema man who had directed the film Golden Windows (precariously based on the best of our author's novels). Mr. R. welcomed the situation since he was assiduously courting Julia Moore, his eighteen-year-old stepdaughter, and now had plans for the future, well worthy of a sentimental lecher whom three or four marriages had not sated yet. Very soon, however, he learned from the same sleuth, who is at present dying in a hot dirty hospital on Formosa, an island, that young Pines, a handsome frog-faced playboy, soon also to die, was the lover of both mother and daughter, whom he had serviced in Cavaliere, Cal., during two summers. Hence the separation acquired more pain and plenitude than R. had expected. In the midst of all this, our Person, in his discreet little way (though actually he was half an inch taller than big R.), had happened to nibble, too, at the corner of the crowded canvas. (Chapter 10)
On second thought, Versex blends Russian vershina (peak, summit) with French scex or sex (peak, rock). In his mock epic in octaves Domik v Kolomne (“A Small Cottage in Kolomna,” 1830) Pushkin says “We [the poets] have transferred our camp s klassicheskikh vershinok (from the classical heights) na tolkuchiy rynok (to a swap meet):”
Скажу, рысак! Парнасский иноходец
Его не обогнал бы. Но Пегас
Стар, зуб уж нет. Им вырытый колодец
Иссох. Порос крапивою Парнас;
В отставке Феб живет, а хороводец
Старушек муз уж не прельщает нас.
И табор свой с классических вершинок
Перенесли мы на толкучий рынок. (VIII)
In one of the next stanzas of his poem Pushkin says that he would have been glad if a fire engulfed the tall house that stands on the spot where a poor widow used to live with her daughter in a small cottage:
Мне стало грустно: на высокий дом
Глядел я косо. Если в эту пору
Пожар его бы охватил кругом,
То моему б озлобленному взору
Приятно было пламя. Странным сном
Бывает сердце полно; много вздору
Приходит нам на ум, когда бредем
Одни или с товарищем вдвоем. (XI)
At the end of VN’s novel Hugh Person dies in a hotel fire. In Parson (as some incorrectly pronounce the surname Person) there is arson. Hugh's hotel was set on fire by a temperamental waiter who had been accused of stealing a case of the hotel's Dôle and who punched the maître d'hôtel in the eye, black-buttering it gravely.
According to Hugh Person, his surname comes from Peterson. Peterson means “Peter’s son” and brings to mind Pushkin’s poem Mednyi vsadnik (“The Bronze Horseman,” 1833) whose hero is haunted by Falconet’s equestrian statue of Peter the First. In “The Bronze Horseman” poor Eugene goes mad after his bride Parasha and her mother perished in the disastrous Neva flood of 1824. Parasha (a diminutive of Praskovia) is also the name of the girl in “A Small Cottage in Kolomna.” With “A Small Cottage in Kolomna” and Uedinyonnyi domik na Vasilievskom (“The Remote House on Vasilievski Island,” 1829), a story that Pushkin told at the Karamzins and that was published, with Pushkin’s blessings, by Vladimir Titov (who wrote under the penname Tit Kosmokratov), “The Bronze Horseman” (subtitled Peterburgskaya povest’, a St. Petersburg Tale) forms a kind of triptych. The characters in Titov’s story include the devil in disguise of a mysterious rich man, a friend of Pavel (an inexperienced young man). When Vera (the girl with whom Pavel is in love) spurns the devil’s advances, a fire begins in her house. At the end of the story the author asks:
Откуда у чертей эта охота вмешиваться в людские дела, когда никто не просит их?
Why do the devils want to interfere in human affairs, when nobody asks them to do it?
The spectral narrators in Transparent Things seem to be the devils. A Boy for Pleasure, The Slender Slut and the first and dullest tome of Mr. R.'s Tralatitions are razroznennye tomy iz biblioteki chertey (odd volumes out of the devils' library) mentioned by Pushkin in Chapter Four (XXX: 1-2) of Eugene Onegin. Mr. R.'s novel Figures in a Golden Window brings to mind the window to Europe that was cut by Peter I. In the Introduction to "The Bronze Horseman" Peter I muses: "here by Nature we are destined to cut a window to Europe." In the first of the five notes that he appended to his poem Pushkin quotes Algarotti's words: ‘St Petersburg is the window through which Russia looks on to Europe.’
The Ascot Hotel (where Hugh Person perishes) hints at the English site of horse races. In the above quoted stanza of "A Small Cottage in Kolomna" Pushkin mentions rysak (a trotter) and parnasskiy inokhodets (the Parnassian ambler, i. e. Pegassus).