Describing the difference between Terra and Antiterra (Earth's twin planet also known as Demonia), Van Veen (the narrator and main character in VN’s novel Ada, 1969) says that 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:
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.
As Van Veen himself was to find out, at the time of his passionate research in terrology (then a branch of psychiatry) even the deepest thinkers, the purest philosophers, Paar of Chose and Zapater of Aardvark, were emotionally divided in their attitude toward the possibility that there existed’ a distortive glass of our distorted glebe’ as a scholar who desires to remain unnamed has put it with such euphonic wit. (Hm! Kveree-kveree, as poor Mlle L. used to say to Gavronsky. In Ada’s hand.)
There were those who maintained that the discrepancies and ‘false overlappings’ between the two worlds were too numerous, and too deeply woven into the skein of successive events, not to taint with trite fancy the theory of essential sameness; and there were those who retorted that the dissimilarities only confirmed the live organic reality pertaining to the other world; that a perfect likeness would rather suggest a specular, and hence speculatory, phenomenon; and that two chess games with identical openings and identical end moves might ramify in an infinite number of variations, on one board and in two brains, at any middle stage of their irrevocably converging development. (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.
The crossroads of passing time bring to mind Van's book Compitalia (1921):
As Ada, Mr Oranger (a born catalyzer), and Van were discussing those matters one afternoon in 1957 (Van’s and Ada’s book Information and Form had just come out), it suddenly occurred to our old polemicist that all his published works — even the extremely abstruse and specialized Suicide and Sanity (1912), Compitalia (1921), and When an Alienist Cannot Sleep (1932), to cite only a few — were not epistemic tasks set to himself by a savant, but buoyant and bellicose exercises in literary style. He was asked why, then, did he not let himself go, why did he not choose a big playground for a match between Inspiration and Design; and with one thing leading to another it was resolved that he would write his memoirs — to be published posthumously.
He was a very slow writer. It took him six years to write the first draft and dictate it to Miss Knox, after which he revised the typescript, rewrote it entirely in long hand (1963-1965) and redictated the entire thing to indefatigable Violet, whose pretty fingers tapped out a final copy in 1967. E, p, i — why ‘y,’ my dear? (5.4)
Darkbloom (‘Notes to Ada’): Compitalia: Lat., crossroads.
E, p, i: referring to ‘epistemic’ (see above).
In ancient Roman religion, the Compitalia was a festival celebrated once a year in honor of the Lares Compitales, household deities of the crossroads, to whom sacrifices were offered at the places where two or more ways meet. In his book Orthodoxy (1908) G. K. Chesterton says that Nietzsche and Tolstoy stand at the crossroads:
This last attempt to evade intellectualism ends in intellectualism, and therefore in death. The sortie has failed. The wild worship of lawlessness and the materialist worship of law end in the same void. Nietzsche scales staggering mountains, but he turns up ultimately in Tibet. He sits down beside Tolstoy in the land of nothing and Nirvana. They are both helpless -- one because he must not grasp anything, and the other because he must not let go of anything. The Tolstoyan's will is frozen by a Buddhist instinct that all special actions are evil. But the Nietzscheite's will is quite equally frozen by his view that all special actions are good; for if all special actions are good, none of them are special. They stand at the crossroads, and one hates all the roads and the other likes all the roads. The result is -- well, some things are not hard to calculate. They stand at the cross-roads. (Chapter III. "The Suicide of Thought")
At the beginning of Ada’s last chapter Van mentions Nirvana:
Nirvana, Nevada, Vaniada. By the way, should I not add, my Ada, that only at the very last interview with poor dummy-mummy, soon after my premature — I mean, premonitory — nightmare about ‘You can, Sir,’ she employed mon petit nom, Vanya, Vanyusha — never had before, and it sounded so odd, so tend... (voice trailing off, radiators tinkling).
‘Dummy-mum’ — (laughing). ‘Angels, too, have brooms — to sweep one’s soul clear of horrible images. My black nurse was Swiss-laced with white whimsies.’
Sudden ice hurtling down the rain pipe: brokenhearted stalactite.
Recorded and replayed in their joint memory was their early preoccupation with the strange idea of death. There is one exchange that it would be nice to enact against the green moving backdrop of one of our Ardis sets. The talk about ‘double guarantee’ in eternity. Start just before that.
‘I know there’s a Van in Nirvana. I’ll be with him in the depths moego ada, of my Hades,’ said Ada.
‘True, true’ (bird-effects here, and acquiescing branches, and what you used to call ‘golden gouts’).
‘As lovers and siblings,’ she cried, ‘we have a double chance of being together in eternity, in terrarity. Four pairs of eyes in paradise!’
‘Neat, neat,’ said Van. (5.6)
According to Van, nothing in world literature, save maybe Count Tolstoy’s reminiscences, can vie in pure joyousness and Arcadian innocence with the ‘Ardis’ part of Ada:
Ardis Hall — the Ardors and Arbors of Ardis — this is the leitmotiv rippling through Ada, an ample and delightful chronicle, whose principal part is staged in a dream-bright America — for are not our childhood memories comparable to Vineland-born caravelles, indolently encircled by the white birds of dreams? The protagonist, a scion of one of our most illustrious and opulent families, is Dr Van Veen, son of Baron ‘Demon’ Veen, that memorable Manhattan and Reno figure. The end of an extraordinary epoch coincides with Van’s no less extraordinary boyhood. Nothing in world literature, save maybe Count Tolstoy’s reminiscences, can vie in pure joyousness and Arcadian innocence with the ‘Ardis’ part of the book. On the fabulous country estate of his art-collecting uncle, Daniel Veen, an ardent childhood romance develops in a series of fascinating scenes between Van and pretty Ada, a truly unusual gamine, daughter of Marina, Daniel’s stage-struck wife. That the relationship is not simply dangerous cousinage, but possesses an aspect prohibited by law, is hinted in the very first pages.
In spite of the many intricacies of plot and psychology, the story proceeds at a spanking pace. Before we can pause to take breath and quietly survey the new surroundings into which the writer’s magic carpet has, as it were, spilled us, another attractive girl, Lucette Veen, Marina’s younger daughter, has also been swept off her feet by Van, the irresistible rake. Her tragic destiny constitutes one of the highlights of this delightful book.
The rest of Van’s story turns frankly and colorfully upon his long love-affair with Ada. It is interrupted by her marriage to an Arizonian cattle-breeder whose fabulous ancestor discovered our country. After her husband’s death our lovers are reunited. They spend their old age traveling together and dwelling in the various villas, one lovelier than another, that Van has erected all over the Western Hemisphere.
Not the least adornment of the chronicle is the delicacy of pictorial detail: a latticed gallery; a painted ceiling; a pretty plaything stranded among the forget-me-nots of a brook; butterflies and butterfly orchids in the margin of the romance; a misty view descried from marble steps; a doe at gaze in the ancestral park; and much, much more. (ibid.)
Darkbloom (‘Notes to Ada’): gamine: lassie.
In the same chapter of Orthodoxy G. K. Chesterton mentions chairs:
Then there is the opposite attack on thought: that urged by Mr. H.G. Wells when he insists that every separate thing is "unique," and there are no categories at all. This also is merely destructive. Thinking means connecting things, and stops if they cannot be connected. It need hardly be said that this scepticism forbidding thought necessarily forbids speech; a man cannot open his mouth without contradicting it. Thus when Mr. Wells says (as he did somewhere), "All chairs are quite different," he utters not merely a misstatement, but a contradiction in terms. If all chairs were quite different, you could not call them "all chairs." (Chapter III. "The Suicide of Thought")
At the beginning of Part Five of Ada Van mentions his wonderful new Everyrest chair:
I, Van Veen, salute you, life, Ada Veen, Dr Lagosse, Stepan Nootkin, Violet Knox, Ronald Oranger. Today is my ninety-seventh birthday, and I hear from my wonderful new Everyrest chair a spade scrape and footsteps in the snow-sparkling garden, and my old Russian valet, who is deafer than he thinks, pullout and push in nose-ringed drawers in the dressing room. This Part Five is not meant as an epilogue; it is the true introduction of my ninety-seven percent true, and three percent likely, Ada or Ardor, a family chronicle.
Of all their many houses, in Europe and in the Tropics, the château recently built in Ex, in the Swiss Alps, with its pillared front and crenelated turrets, became their favorite, especially in midwinter, when the famous glittering air, le cristal d’Ex, ‘matches the highest forms of human thought — pure mathematics & decipherment’ (unpublished ad).
At least twice a year our happy couple indulged in fairly long travels. Ada did not breed or collect butterflies any more, but throughout her healthy and active old age loved to film them in their natural surroundings, at the bottom of her garden or the end of the world, flapping and flitting, settling on flowers or filth, gliding over grass or granite, fighting or mating. Van accompanied her on picture-shooting journeys to Brazil, the Congo, New Guinea, but secretly preferred a long drink under a tent to a long wait under a tree for some rarity to come down to the bait and be taken in color. One would need another book to describe Ada’s adventures in Adaland. The films — and the crucified actors (Identification Mounts) — can be seen by arrangement at the Lucinda Museum, 5, Park Lane, Manhattan. (5.1)