Telling Van to stop his affair with Ada, Demon Veen (in VN’s novel Ada, 1969, Van’s and Ada’s father) says that he believes in Van and his common sense:
Demon regained his composure (if not his young looks) and said:
‘I believe in you and your common sense. You must not allow an old debaucher to disown an only son. If you love her, you wish her to be happy, and she will not be as happy as she could be once you gave her up. You may go. Tell her to come here on your way down.’
Down. My first is a vehicle that twists dead daisies around its spokes; my second is Oldmanhattan slang for ‘money’; and my whole makes a hole.
As he traversed the second-floor landing, he saw, through the archway of two rooms, Ada in her black dress standing, with her back to him, at the oval window in the boudoir. He told a footman to convey her father’s message to her and passed almost at a run through the familiar echoes of the stone-flagged vestibule.
My second is also the meeting place of two steep slopes. Right-hand lower drawer of my practically unused new desk — which is quite as big as Dad’s, with Sig’s compliments.
He judged it would take him as much time to find a taxi at this hour of the day as to walk, with his ordinary swift swing, the ten blocks to Alex Avenue. He was coatless, tieless, hatless; a strong sharp wind dimmed his sight with salty frost and played Medusaean havoc with his black locks. Upon letting himself in for the last time into his idiotically cheerful apartment, he forthwith sat down at that really magnificent desk and wrote the following note:
Do what he tells you. His logic sounds preposterous, prepsupposing [sic] a vague kind of ‘Victorian’ era, as they have on Terra according to ‘my mad’ [?], but in a paroxysm of [illegible] I suddenly realized he was right. Yes, right, here and there, not neither here, nor there, as most things are. You see, girl, how it is and must be. In the last window we shared we both saw a man painting [us?] but your second-floor level of vision probably prevented your seeing that he wore what looked like a butcher’s apron, badly smeared. Good-bye, girl.
Van sealed the letter, found his Thunderbolt pistol in the place he had visualized, introduced one cartridge into the magazine and translated it into its chamber. Then, standing before a closet mirror, he put the automatic to his head, at the point of the pterion, and pressed the comfortably concaved trigger. Nothing happened — or perhaps everything happened, and his destiny simply forked at that instant, as it probably does sometimes at night, especially in a strange bed, at stages of great happiness or great desolation, when we happen to die in our sleep, but continue our normal existence, with no perceptible break in the faked serialization, on the following, neatly prepared morning, with a spurious past discreetly but firmly attached behind. Anyway, what he held in his right hand was no longer a pistol but a pocket comb which he passed through his hair at the temples. It was to gray by the time that Ada, then in her thirties, said, when they spoke of their voluntary separation:
‘I would have killed myself too, had I found Rose wailing over your corpse. "Secondes pensées sont les bonnes," as your other, white, bonne used to say in her pretty patois. As to the apron, you are quite right. And what you did not make out was that the artist had about finished a large picture of your meek little palazzo standing between its two giant guards. Perhaps for the cover of a magazine, which rejected that picture. But, you know, there’s one thing I regret,’ she added: ‘Your use of an alpenstock to release a brute’s fury — not yours, not my Van’s. I should never have told you about the Ladore policeman. You should never have taken him into your confidence, never connived with him to burn those files — and most of Kalugano’s pine forest. Eto unizitel’no (it is humiliating).’
‘Amends have been made,’ replied fat Van with a fat man’s chuckle. ‘I’m keeping Kim safe and snug in a nice Home for Disabled Professional People, where he gets from me loads of nicely brailled books on new processes in chromophotography.’
There are other possible forkings and continuations that occur to the dream-mind, but these will do. (2.11)
Darkbloom (‘Notes to Ada’): secondes pensées etc.: second thoughts are the good ones.
bonne: housemaid.
In VN's story Time and Ebb (1944) the narrator mentions so-called common sense shrugging its broad shoulders:
Elementary allobiotic phenomena led their so-called spiritualists to the silliest forms of transcendental surmise and made so-called common sense shrug its broad shoulders in equally silly ignorance. Our denominations of time would have seemed to them "telephone" numbers. They played with electricity in various ways without having the slightest notion of what it really was -- and no wonder the chance revelation of its true nature came as a most hideous surprise (I was a man by that time and can well remember old Professor Andrews sobbing his heart out on the campus in the midst of a dumbfounded crowd). (1)
Describing the picnic on Ada's twelfth birthday, when he walks on his hands for the first time, Van mentions his adult incapacity to ‘shrug’ things off:
Van peeled off his polo shirt and took off his shoes and socks. The slenderness of his torso, matching in tint if not in texture, the tan of his tight shorts, contrasted with the handsome boy’s abnormally developed deltoids and sinewy forearms. Four years later Van could stun a man with one blow of either elbow.
His reversed body gracefully curved, his brown legs hoisted like a Tarentine sail, his joined ankles tacking, Van gripped with splayed hands the brow of gravity, and moved to and fro, veering and sidestepping, opening his mouth the wrong way, and blinking in the odd bilboquet fashion peculiar to eyelids in his abnormal position. Even more extraordinary than the variety and velocity of the movements he made in imitation of animal hind legs was the effortlessness of his stance; King Wing warned him that Vekchelo, a Yukon professional, lost it by the time he was twenty-two; but that summer afternoon, on the silky ground of the pineglade, in the magical heart of Ardis, under Lady Erminin’s blue eye, fourteen-year-old Van treated us to the greatest performance we have ever seen a brachiambulant give. Not the faintest flush showed on his face or neck! Now and then, when he detached his organs of locomotion from the lenient ground, and seemed actually to clap his hands in midair, in a miraculous parody of a ballet jump, one wondered if this dreamy indolence of levitation was not a result of the earth’s canceling its pull in a fit of absentminded benevolence. Incidentally, one curious consequence of certain muscular changes and osteal ‘reclicks’ caused by the special training with which Wing had racked him was Van’s inability in later years to shrug his shoulders.
Questions for study and discussion:
1. Did both palms leave the ground when Van, while reversed, seemed actually to ‘skip’ on his hands?
2. Was Van’s adult incapacity to ‘shrug’ things off only physical or did it ‘correspond’ to some archetypal character of his ‘undersoul’?
3. Why did Ada burst into tears at the height of Van’s performance? (1.13)
At the same picnic Marina (Van's, Ada's and Lucette's mother) shows Van and Lucette (Van's and Ada's half-sister) the exact pine and the exact spot on its rugged red trunk where in old, very old days a magnetic telephone nested, communicating with Ardis Hall:
Marina’s contribution was more modest, but it too had its charm. She showed Van and Lucette (the others knew all about it) the exact pine and the exact spot on its rugged red trunk where in old, very old days a magnetic telephone nested, communicating with Ardis Hall. After the banning of ‘currents and circuits,’ she said (rapidly but freely, with an actress’s désinvolture pronouncing those not quite proper words — while puzzled Lucette tugged at the sleeve of Van, of Vanichka, who could explain everything), her husband’s grandmother, an engineer of great genius, ‘tubed’ the Redmount rill (running just below the glade from a hill above Ardis). She made it carry vibrational vibgyors (prismatic pulsations) through a system of platinum segments. These produced, of course, only one-way messages, and the installation and upkeep of the ‘drums’ (cylinders) cost, she said, a Jew’s eye, so that the idea was dropped, however tempting the possibility of informing a picnicking Veen that his house was on fire. (ibid.)
Darkbloom (‘Notes to Ada’): désinvolture: uninhibitedness.
vibgyor: violet-indigo-blue-green-yellow-orange-red.
In Time and Ebb the narrator says: "Our denominations of time would have seemed to them "telephone" numbers." The Jewish narrator of VN's story mentions the savage vulgarity of Hitler or Alamillo:
But in spite of all the ridiculous customs and complications in which it was entangled, the world of my young days was a gallant and tough little world that countered adversity with a bit of dry humor and would calmly set out for remote battlefields in order to suppress the savage vulgarity of Hitler or Alamillo. And if I let myself go, many would be the bright, and kind, and dreamy, and lovely things which impassioned memory would find in the past-- and then woe to the present age, for there is no knowing what a still vigorous old man might do to it if he tucked up his sleeves. But enough of this. History is not my field, so perhaps I had better turn to the personal lest I be told, as Mr. Saskatchewanov is told by the most charming character in present-day fiction (corroborated by my great-granddaughter, who reads more than I do), that "ev'ry cricket ought keep to its picket" -- and not intrude on the rightful domain of other "gads and summersmiths." (1)
"Ev'ry cricket ought keep to its picket" hints at the Russian saying Kazhdyi sverchok znay svoy shestok. It is quoted by Rashevich (a country gentleman who calls himself "a Darwinist" but whom his neighbors and even his own daughters call zhaba, "the toad") in Chekhov's story V usad'be ("At a Country House," 1894):
— Подобно тому, как западные рыцари отразили нападение монголов, так и мы, пока ещё не поздно, должны сплотиться и ударить дружно на нашего врага, — продолжал Рашевич тоном проповедника, поднимая вверх правую руку. — Пусть я явлюсь перед чумазым не как Павел Ильич, а как грозный и сильный Ричард Львиное Сердце. Перестанем же деликатничать с ним, довольно! Давайте мы все сговоримся, что едва близко подойдет к нам чумазый, как мы бросим ему прямо в харю слова пренебрежения: «Руки прочь! Сверчок, знай свой шесток!» Прямо в харю! — продолжал Рашевич с восторгом, тыча перед собой согнутым пальцем. — В харю! В харю!
"Just as the knights of the west repelled the invasions of the Mongols, so we, before it is too late, ought to unite and strike together against our foe," Rashevich went on in the tone of a preacher, holding up his right hand. "May I appear to the riff-raff not as Pavel Ilyich, but as a mighty, menacing Richard Coeur-de-Lion. Let us give up sloppy sentimentality; enough of it! Let us all make a compact, that as soon as a plebeian comes near us we fling some careless phrase straight in his ugly face: 'Paws off! Ev'ry cricket ought keep to its picket!' straight in his ugly face," Rashevich went on gleefully, flicking his crooked finger in front of him. "In his ugly face!"
Richard Coeur-de-Lion brings to mind Richard Leonard Churchill, the British writer mentioned by Van when he describes the family dinner in "Ardis the Second:"
Alas, the bird had not survived ‘the honor one had made to it,’ and after a brief consultation with Bouteillan a somewhat incongruous but highly palatable bit of saucisson d’Arles added itself to the young lady’s fare of asperges en branches that everybody was now enjoying. It almost awed one to see the pleasure with which she and Demon distorted their shiny-lipped mouths in exactly the same way to introduce orally from some heavenly height the voluptuous ally of the prim lily of the valley, holding the shaft with an identical bunching of the fingers, not unlike the reformed ‘sign of the cross’ for protesting against which (a ridiculous little schism measuring an inch or so from thumb to index) so many Russians had been burnt by other Russians only two centuries earlier on the banks of the Great Lake of Slaves. Van remembered that his tutor’s great friend, the learned but prudish Semyon Afanasievich Vengerov, then a young associate professor but already a celebrated Pushkinist (1855-1954), used to say that the only vulgar passage in his author’s work was the cannibal joy of young gourmets tearing ‘plump and live’ oysters out of their ‘cloisters’ in an unfinished canto of Eugene Onegin. But then ‘everyone has his own taste,’ as the British writer Richard Leonard Churchill mistranslates a trite French phrase (chacun à son gout) twice in the course of his novel about a certain Crimean Khan once popular with reporters and politicians, ‘A Great Good Man’ — according, of course, to the cattish and prejudiced Guillaume Monparnasse about whose new celebrity Ada, while dipping the reversed corolla of one hand in a bowl, was now telling Demon, who was performing the same rite in the same graceful fashion. (1.38)
Darkbloom ('Notes to Ada'): Great good man: a phrase that Winston Churchill, the British politician, enthusiastically applied to Stalin.
At the end of his poem O pravitelyakh (“On Rulers,” 1944) VN says that, if his late namesake (V. V. Mayakovski, 1893-1930) were still alive, he would be now finding taut rhymes such as monumentalen and pereperchil:
Покойный мой тёзка,
писавший стихи и в полоску,
и в клетку, на самом восходе
всесоюзно-мещанского класса,
кабы дожил до полдня,
нынче бы рифмы натягивал
на "монументален",
на "переперчил"
и так далее.
If my late namesake,
who used to write verse, in rank
and in file, at the very dawn
of the Soviet Small-Bourgeois order,
had lived till its noon
he would be now finding taut rhymes
such as “praline”
or “air chill,”
and others of the same kind.
VN’s footnote: Lines 58–59/“praline” … “air chill.” In the original, monumentalen, meaning “[he is] monumental” rhymes pretty closely with Stalin; and pereperchil, meaning “[he] put in too much pepper,” offers an ingenuous correspondence with the name of the British politician in a slovenly Russian pronunciation (“chair-chill”).
Pereperchil brings to mind Chekhov’s story Peresolil (“Overdoing it,” 1885; literally peresolil means “[he] put in too much salt”).