The action in VN's novel Ada (1969) takes place on Demonia, Earth's twin planet also known as Antiterra. Describing Victor Vitry's film Letters from Terra, Van Veen (the narrator and main character) mentions an unfortunate extra, who played one of the under-executioners and got accidentally decapitated while pulling the comedian Steller, who played a reluctant king, into a guillotinable position:
Ada, who resented the insufficiency of her brother’s fame, felt soothed and elated by the success of The Texture of Time (1924). That work, she said, always reminded her, in some odd, delicate way, of the sun-and-shade games she used to play as a child in the secluded avenues of Ardis Park. She said she had been somehow responsible for the metamorphoses of the lovely larvae that had woven the silk of ‘Veen’s Time’ (as the concept was now termed in one breath, one breeze, with ‘Bergson’s Duration,’ or ‘Whitehead’s Bright Fringe’). But a considerably earlier and weaker work, the poor little Letters from Terra, of which only half a dozen copies existed — two in Villa Armina and the rest in the stacks of university libraries — was even closer to her heart because of its nonliterary associations with their 1892-93 sojourn in Manhattan. Sixty-year-old Van crustily and contemptuously dismissed her meek suggestion to the effect that it should be republished, together with the Sidra reflections and a very amusing anti-Signy pamphlet on Time in Dreams. Seventy-year-old Van regretted his disdain when Victor Vitry, a brilliant French director, based a completely unauthorized picture on Letters from Terra written by ‘Voltemand’ half a century before.
Vitry dated Theresa’s visit to Antiterra as taking place in 1940, but 1940 by the Terranean calendar, and about 1890 by ours. The conceit allowed certain pleasing dips into the modes and manners of our past (did you remember that horses wore hats — yes, hats — when heat waves swept Manhattan?) and gave the impression — which physics-fiction literature had much exploited — of the capsulist traveling backward in terms of time. Philosophers asked nasty questions, but were ignored by the wishing-to-be-gulled moviegoers.
In contrast to the cloudless course of Demonian history in the twentieth century, with the Anglo-American coalition managing one hemisphere, and Tartary, behind her Golden Veil, mysteriously ruling the other, a succession of wars and revolutions were shown shaking loose the jigsaw puzzle of Terrestrial autonomies. In an impressive historical survey of Terra rigged up by Vitry — certainly the greatest cinematic genius ever to direct a picture of such scope or use such a vast number of extras (some said more than a million, others, half a million men and as many mirrors) — kingdoms fell and dictatordoms rose, and republics, half-sat, half-lay in various attitudes of discomfort. The conception was controversial, the execution flawless. Look at all those tiny soldiers scuttling along very fast across the trench-scarred wilderness, with explosions of mud and things going pouf-pouf in silent French now here, now there!
In 1905, Norway with a mighty heave and a long dorsal ripple unfastened herself from Sweden, her unwieldy co-giantess, while in a similar act of separation the French parliament, with parenthetical outbursts of vive émotion, voted a divorce between State and Church. Then, in 1911, Norwegian troops led by Amundsen reached the South Pole and simultaneously the Italians stormed into Turkey. In 1914 Germany invaded Belgium and the Americans tore up Panama. In 1918 they and the French defeated Germany while she was busily defeating Russia (who had defeated her own Tartars some time earlier). In Norway there was Siegrid Mitchel, in America Margaret Undset, and in France, Sidonie Colette. In 1926 Abdel-Krim surrendered, after yet another photogenic war, and the Golden Horde again subjugated Rus. In 1933, Athaulf Hindler (also known as Mittler — from ‘to mittle,’ mutilate) came to power in Germany, and a conflict on an even more spectacular scale than the 1914-1918 war was under way, when Vitry ran out of old documentaries and Theresa, played by his wife, left Terra in a cosmic capsule after having covered the Olympic Games held in Berlin (the Norwegians took most of the prizes, but the Americans won the fencing event, an outstanding achievement, and beat the Germans in the final football match by three goals to one).
Van and Ada saw the film nine times, in seven different languages, and eventually acquired a copy for home use. They found the historical background absurdly farfetched and considered starting legal proceedings against Vitry — not for having stolen the L.F.T. idea, but for having distorted Terrestrial politics as obtained by Van with such diligence and skill from extrasensorial sources and manic dreams. But fifty years had elapsed, and the novella had not been copyrighted; in fact, Van could not even prove that ‘Voltemand’ was he. Reporters, however, ferreted out his authorship, and in a magnanimous gesture, he allowed it to be publicized.
Three circumstances contributed to the picture’s exceptional success. One factor was, of course, that organized religion, disapproving of Terra’s appeal to sensation-avid sects, attempted to have the thing banned. A second attraction came from a little scene that canny Vitry had not cut out: in a flashback to a revolution in former France, an unfortunate extra, who played one of the under-executioners, got accidentally decapitated while pulling the comedian Steller, who played a reluctant king, into a guillotinable position. Finally, the third, and even more human reason, was that the lovely leading lady, Norwegian-born Gedda Vitry, after titillating the spectators with her skimpy skirts and sexy rags in the existential sequences, came out of her capsule on Antiterra stark naked, though, of course, in miniature, a millimeter of maddening femininity dancing in ‘the charmed circle of the microscope’ like some lewd elf, and revealing, in certain attitudes, I’ll be damned, a pinpoint glint of pubic floss, gold-powered! (5.5)
Steller's sea cow (Hydrodamalis gigas) is an extinct sirenian described by George Wilhelm Steller (a German botanist, zoologist, physician and explorer, 1709-46, who worked in Russia and is considered a pioneer of Alaskan natural history) in 1741. At that time, it was found only around the Commander Islands in the Bering Sea between Alaska and Russia. Steller's sea cow brings to mind other innumerable planets with cottages and cows mentioned by Van when he describes his novel Letters from Terra:
Ada’s letters breathed, writhed, lived; Van’s Letters from Terra, ‘a philosophical novel,’ showed no sign of life whatsoever.
(I disagree, it’s a nice, nice little book! Ada’s note.)
He had written it involuntarily, so to speak, not caring a dry fig for literary fame. Neither did pseudonymity tickle him in reverse — as it did when he danced on his hands. Though ‘Van Veen’s vanity’ often cropped up in the drawing-room prattle among fan-wafting ladies, this time his long blue pride feathers remained folded. What, then, moved him to contrive a romance around a subject that had been worried to extinction in all kinds of ‘Star Rats,’ and ‘Space Aces’? We — whoever ‘we’ are — might define the compulsion as a pleasurable urge to express through verbal imagery a compendium of certain inexplicably correlated vagaries observed by him in mental patients, on and off, since his first year at Chose. Van had a passion for the insane as some have for arachnids or orchids.
There were good reasons to disregard the technological details involved in delineating intercommunication between Terra the Fair and our terrible Antiterra. His knowledge of physics, mechanicalism and that sort of stuff had remained limited to the scratch of a prep-school blackboard. He consoled himself with the thought that no censor in America or Great Britain would pass the slightest reference to ‘magnetic’ gewgaws. Quietly, he borrowed what his greatest forerunners (Counterstone, for example) had imagined in the way of a manned capsule’s propulsion, including the clever idea of an initial speed of a few thousand miles per hour increasing, under the influence of a Counterstonian type of intermediate environment between sibling galaxies, to several trillions of light-years per second, before dwindling harmlessly to a parachute’s indolent descent. Elaborating anew, in irrational fabrications, all that Cyraniana and ‘physics fiction’ would have been not only a bore but an absurdity, for nobody knew how far Terra, or other innumerable planets with cottages and cows, might be situated in outer or inner space: ‘inner,’ because why not assume their microcosmic presence in the golden globules ascending quick-quick in this flute of Moët or in the corpuscles of my, Van Veen’s —
(or my, Ada Veen’s)
— bloodstream, or in the pus of a Mr Nekto’s ripe boil newly lanced in Nektor or Neckton. Moreover, although reference works existed on library shelves in available, and redundant, profusion, no direct access could be obtained to the banned, or burned, books of the three cosmologists, Xertigny, Yates and Zotov (pen names), who had recklessly started the whole business half a century earlier, causing, and endorsing, panic, demency and execrable romanchiks. All three scientists had vanished now: X had committed suicide; Y had been kidnapped by a laundryman and transported to Tartary; and Z, a ruddy, white-whiskered old sport, was driving his Yakima jailers crazy by means of incomprehensible crepitations, ceaseless invention of invisible inks, chameleonizations, nerve signals, spirals of out-going lights and feats of ventriloquism that imitated pistol shots and sirens. (2.2)
Darkbloom (‘Notes to Ada’): Cyraniana: allusion to Cyrano de Bergerac’s Histoire comique des Etats de la Lune.
Nekto: Russ., quidam.
romanchik: Russ., novelette.
Describing the difference between Terra and Antiterra, Van calls the Bering Strait "the ha-ha of a doubled ocean:"
The details of the L disaster (and I do not mean Elevated) in the beau milieu of last century, which had the singular effect of both causing and cursing the notion of ‘Terra,’ are too well-known historically, and too obscene spiritually, to be treated at length in a book addressed to young laymen and lemans — and not to grave men or gravemen.
Of course, today, after great anti-L years of reactionary delusion have gone by (more or less!) and our sleek little machines, Faragod bless them, hum again after a fashion, as they did in the first half of the nineteenth century, the mere geographic aspect of the affair possesses its redeeming comic side, like those patterns of brass marquetry, and bric-à-Braques, and the ormolu horrors that meant ‘art’ to our humorless forefathers. For, indeed, none can deny the presence of something highly ludicrous in the very configurations that were solemnly purported to represent a varicolored map of Terra. Ved’ (‘it is, isn’t it’) sidesplitting to imagine that ‘Russia,’ instead of being a quaint synonym of Estoty, the American province extending from the Arctic no longer vicious Circle to the United States proper, was on Terra the name of a country, transferred as if by some sleight of land across the ha-ha of a doubled ocean to the opposite hemisphere where it sprawled over all of today’s Tartary, from Kurland to the Kuriles! But (even more absurdly), if, in Terrestrial spatial terms, the Amerussia of Abraham Milton was split into its components, with tangible water and ice separating the political, rather than poetical, notions of ‘America’ and ‘Russia,’ a more complicated and even more preposterous discrepancy arose in regard to time — not only because the history of each part of the amalgam did not quite match the history of each counterpart in its discrete condition, but because a gap of up to a hundred years one way or another existed between the two earths; a gap marked by a bizarre confusion of directional signs at the crossroads of passing time with not all the no-longers of one world corresponding to the not-yets of the other. It was owing, among other things, to this ‘scientifically ungraspable’ concourse of divergences that minds bien rangés (not apt to unhobble hobgoblins) rejected Terra as a fad or a fantom, and deranged minds (ready to plunge into any abyss) accepted it in support and token of their own irrationality. (1.3)
Darkbloom (‘Notes to Ada’): beau milieu: right in the middle.
Faragod: apparently, the god of electricity.
braques: allusion to a bric-à-brac painter.
In his autobiography Speak, Memory (1951) VN describes his years in Hitler's Germany and mentions the heap of dead heads the seer Cagliostro glimpsed in the ha-ha of a royal garden (in Versailles):
Besides dreams of velocity, or in connection with them, there is in every child the essentially human urge to reshape the earth, to act upon a friable environment (unless he is a born Marxist or a corpse and meekly waits for the environment to fashion him). This explains a child’s delight in digging, in making roads and tunnels for his favorite toys. Our son had a tiny model of Sir Malcolm Campbell’s Bluebird, of painted steel and with detachable tires, and this he would play with endlessly on the ground, and the sun would make a kind of nimbus of his longish fair hair and turn to a toffee tint his bare back crisscrossed by the shoulder straps of his knitted navy-blue shorts (under which, when undressed, he was seen to be bottomed and haltered with natural white). Never in my life have I sat on so many benches and park chairs, stone slabs and stone steps, terrace parapets and brims of fountain basins as I did in those days. The popular pine barrens around the lake in Berlin’s Grunewald we visited but seldom. You questioned the right of a place to call itself a forest when it was so full of refuse, so much more littered with rubbish than the glossy, self-conscious streets of the adjoining town. Curious things turned up in this Grunewald. The sight of an iron bedstead exhibiting the anatomy of its springs in the middle of a glade or the presence of a dressmaker’s black dummy lying under a hawthorn bush in bloom made one wonder who, exactly, had troubled to carry these and other widely scattered articles to such remote points of a pathless forest. Once I came across a badly disfigured but still alert mirror, full of sylvan reflections—drunk, as it were, on a mixture of beer and chartreuse—leaning, with surrealistic jauntiness, against a tree trunk. Perhaps such intrusions on these burgherish pleasure grounds were a fragmentary vision of the mess to come, a prophetic bad dream of destructive explosions, something like the heap of dead heads the seer Cagliostro glimpsed in the ha-ha of a royal garden. And nearer to the lake, in summer, especially on Sundays, the place was infested with human bodies in various stages of nudity and solarization. Only the squirrels and certain caterpillars kept their coats on. Gray-footed goodwives sat on greasy gray sand in their slips; repulsive, seal-voiced males, in muddy swimming trunks, gamboled around; remarkably comely but poorly groomed girls, destined to bear a few years later—early in 1946, to be exact—a sudden crop of infants with Turkic or Mongol blood in their innocent veins, were chased and slapped on the rear (whereupon they would cry out, “Ow-wow!”); and the exhalations coming from these unfortunate frolickers, and their shed clothes (neatly spread out here and there on the ground) mingled with the stench of stagnant water to form an inferno of odors that, somehow, I have never found duplicated anywhere else. People in Berlin’s public gardens and city parks were not permitted to undress; but shirts might be unbuttoned, and rows of young men, of a pronounced Nordic type, sat with closed eyes on benches and exposed their frontal and pectoral pimples to the nationally approved action of the sun. The squeamish and possibly exaggerated shudder that obtains in these notes may be attributed, I suppose, to the constant fear we lived in of some contamination affecting our child. You always considered abominably trite, and not devoid of a peculiar Philistine flavor, the notion that small boys, in order to be delightful, should hate to wash and love to kill. (Chapter Fifteen, 3)
The Treaty of Versailles was a peace treaty signed on 28 June 1919. As the most important treaty of World War I, it ended the state of war between Germany and most of the Allied Powers. It was signed in the Palace of Versailles, exactly five years after the assassination of Archduke Franz Ferdinand, which led to the war.
Van's penname, Voltemand hints at a courtier in Shakespeare's Hamlet. In a letter of Dec. 18-20, 1839, to his wife (and first cousin) Natalia Alexandrovna A. I. Herzen (1812-70) describes a stage version of Shakespeare's play that he saw on the eve in the Alexandrine Theater in St. Petersburg (with Karatygin as Hamlet) and mentions a scene in which Hamlet demonstrates Yorick's skull on the tip of his sword and says: "Here hung his lips, and now ha-ha!..." (Herzen quotes Hamlet's words in Polevoy's translation):
Велик, необъятен Шекспир! Я сейчас возвратился с «Гамлета», и, поверишь ли, не токмо слезы лились из глаз моих; но я рыдал. Нет, не читать, это надобно видеть (voir c'est avoir) для того, чтобы усвоить себе. Сцена с Офелией и потом та, когда Гамлет хохочет, после того как король убежал с представления, были превосходно сыграны Каратыгиным; и безумная Офелия была хороша. Что это за сила гения так уловить жизнь во всей необъятности ее от Гамлета до могильщика! А сам Гамлет страшный и великий. Прав Гёте: Шекспир творит, как бог, тут ни дополнять, ни возражать нечего, его создание есть потому, что есть, его создание имеет непреложную реальность и истинность... Я воротился домой весь взволнованный... Теперь вижу темную ночь и бледный Гамлет показывает на конце шпаги череп и говорит: «Тут были губы, а теперь ха-ха!..» Ты сделаешься больна после этой пьесы. — Завтра в Эрмитаж.
In Staryi mir i Rossiya ("The Old World and Russia," 1854), the three letters to William Linton (the editor of The English Republic), Herzen speaks of politics and compares the United States and Russia to the two vast flatlands that, having bent Europe, touch each other with their napes:
Взгляните, например, на эти две огромные равнины, которые соприкасаются затылками, обогнув Европу. Зачем они так пространны, к чему они готовятся, что означает пожирающая их страсть к деятельности, к расширению? Эти два мира, столь противоположные и все же в чем-то схожие, — это Соединенные Штаты и Россия. Никто не сомневается, что Америка — продолжение европейского развития и не более как его продолжение. Лишенная всякой инициативы, всякой изобретательности, Америка готова принять у себя Европу, осуществить социальные идеи, но она не станет низвергать древнее здание... не покинет свои плодородные поля. (Letter One)
When Herzen wrote his letters to Linton, Alaska (known as Lyaska on Demonia) and Fort Ross in northern California were still a part of the Russian Empire. The United States purchased Alaska for a sum of $7.2 million (equivalent to $117 million in 2021) in 1867 (the year when Linton emigrated to the US).