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) mentions the details of the L disaster that happened on Demonia in the beau milieu of the 19th century:
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.
The modest narrator has to remind the rereader of all this, because in April (my favorite month), 1869 (by no means a mirabilic year), on St George’s Day (according to Mlle Larivière’s maudlin memoirs) Demon Veen married Aqua Veen — out of spite and pity, a not unusual blend.
Was there some additional spice? Marina, with perverse vainglory, used to affirm in bed that Demon’s senses must have been influenced by a queer sort of ‘incestuous’ (whatever that term means) pleasure (in the sense of the French plaisir, which works up a lot of supplementary spinal vibrato), when he fondled, and savored, and delicately parted and defiled, in unmentionable but fascinating ways, flesh (une chair) that was both that of his wife and that of his mistress, the blended and brightened charms of twin peris, an Aquamarina both single and double, a mirage in an emirate, a germinate gem, an orgy of epithelial alliterations.
Actually, Aqua was less pretty, and far more dotty, than Marina. During her fourteen years of miserable marriage she spent a broken series of steadily increasing sojourns in sanatoriums. A small map of the European part of the British Commonwealth — say, from Scoto-Scandinavia to the Riviera, Altar and Palermontovia — as well as most of the U.S.A., from Estoty and Canady to Argentina, might be quite thickly prickled with enameled red-cross-flag pins, marking, in her War of the Worlds, Aqua’s bivouacs. She had plans at one time to seek a modicum of health (‘just a little grayishness, please, instead of the solid black’) in such Anglo-American protectorates as the Balkans and Indias, and might even have tried the two Southern Continents that thrive under our joint dominion. Of course, Tartary, an independent inferno, which at the time spread from the Baltic and Black seas to the Pacific Ocean, was touristically unavailable, though Yalta and Altyn Tagh sounded strangely attractive... But her real destination was Terra the Fair and thither she trusted she would fly on libellula long wings when she died. Her poor little letters from the homes of madness to her husband were sometimes signed: Madame Shchemyashchikh-Zvukov (‘Heart rending-Sounds’). (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.
Roman numeral L is equal to Arabic 50. Chronologically, the Antiterran L disaster in the beau milieu of the 19th century seems to correspond to the mock execution of Dostoevski and the Petrashevskians on Jan. 3, 1850 (NS), in our world. In Zhizn' Chernyshevskogo ("The Life of Chernyshevski"), Chapter Four of VN's novel Dar ("The Gift," 1937), Fyodor Konstantinovich Godunov-Cherdyntsev (the narrator and main character in The Gift) mentions Dostoevski and the Petrashevskians:
Духов день (28 мая 1862 г.), дует сильный ветер; пожар начался на Лиговке, а затем мазурики подожгли Апраксин Двор. Бежит Достоевский, мчатся пожарные, "и на окнах аптек в разноцветных шарах вверх ногами на миг отразились". А там, густой дым повалил через Фонтанку по направлению к Чернышеву переулку, откуда вскоре поднялся новый черный столб... Между тем Достоевский прибежал. Прибежал к сердцу черноты, к Чернышевскому, и стал истерически его умолять приостановить всё это. Тут занятны два момента: вера в адское могущество Николая Гавриловича и слухи о том, что поджоги велись по тому самому плану, который был составлен еще в 1849 году петрашевцами.
Whit Monday (May 28, 1862), a strong wind is blowing; a conflagration has begun on the Ligovka and then the desperadoes set fire to the Apraxin Market. Dostoevski is running, firemen are galloping "and in pharmacy windows, in gaudy glass globes, upside down are in passing reflected" (as seen by Nekrasov). And over there, thick smoke billows over the Fontanka canal in the direction of Chernyshyov Street, where presently a new, black column arises…. Meanwhile Dostoevski has arrived. He has arrived at the heart of the blackness, at Chernyshevski's place, and starts to beg him hysterically to put a stop to all this. Two aspects are interesting here: the belief in Nikolay Gavrilovich's satanic powers, and the rumors that the arson was being carried out according to the same plan which the Petrashevskians had drawn up as early as 1849. (Chapter Four)
In March 1861 Fyodor Dostoevski and his brother Mikhail began the publication of Vremya ("Time"), a literary magazine. In his humorous story Krokodil ("The Crocodile," 1865), a satire on Chernyshevski (who wrote What to Do? during his imprisonment in the St. Petersburg's Peter-and-Paul Fortress), Dostoevski mentions Volos ("The Hair"), an invented newspaper. Volos hints at Golos, a liberal newspaper that came out in St. Petersburg in 1863-83. In Ward Five of the Kalugano hospital (where hopeless cases are kept) male nurse Dorofey reads the Russian-language newspaper Golos (Logos):
For half a minute Van was sure that he still lay in the car, whereas actually he was in the general ward of Lakeview (Lakeview!) Hospital, between two series of variously bandaged, snoring, raving and moaning men. When he understood this, his first reaction was to demand indignantly that he be transferred to the best private palata in the place and that his suitcase and alpenstock be fetched from the Majestic. His next request was that he be told how seriously he was hurt and how long he was expected to remain incapacitated. His third action was to resume what constituted the sole reason of his having to visit Kalugano (visit Kalugano!). His new quarters, where heartbroken kings had tossed in transit, proved to be a replica in white of his hotel apartment — white furniture, white carpet, white sparver. Inset, so to speak, was Tatiana, a remarkably pretty and proud young nurse, with black hair and diaphanous skin (some of her attitudes and gestures, and that harmony between neck and eyes which is the special, scarcely yet investigated secret of feminine grace fantastically and agonizingly reminded him of Ada, and he sought escape from that image in a powerful response to the charms of Tatiana, a torturing angel in her own right. Enforced immobility forbade the chase and grab of common cartoons. He begged her to massage his legs but she tested him with one glance of her grave, dark eyes — and delegated the task to Dorofey, a beefy-handed male nurse, strong enough to lift him bodily out of bed. with the sick child clasping the massive nape. When Van managed once to twiddle her breasts, she warned him she would complain if he ever repeated what she dubbed more aptly than she thought ‘that soft dangle.’ An exhibition of his state with a humble appeal for a healing caress resulted in her drily remarking that distinguished gentlemen in public parks got quite lengthy prison terms for that sort of thing. However, much later, she wrote him a charming and melancholy letter in red ink on pink paper; but other emotions and events had intervened, and he never met her again). His suitcase promptly arrived from the hotel; the stick, however, could not be located (it must be climbing nowadays Wellington Mountain, or perhaps, helping a lady to go ‘brambling’ in Oregon); so the hospital supplied him with the Third Cane, a rather nice, knotty, cherry-dark thing with a crook and a solid black-rubber heel. Dr Fitzbishop congratulated him on having escaped with a superficial muscle wound, the bullet having lightly grooved or, if he might say so, grazed the greater serratus. Doc Fitz commented on Van’s wonderful recuperational power which was already in evidence, and promised to have him out of disinfectants and bandages in ten days or so if for the first three he remained as motionless as a felled tree-trunk. Did Van like music? Sportsmen usually did, didn’t they? Would he care to have a Sonorola by his bed? No, he disliked music, but did the doctor, being a concert-goer, know perhaps where a musician called Rack could be found? ‘Ward Five,’ answered the doctor promptly. Van misunderstood this as the title of some piece of music and repeated his question. Would he find Rack’s address at Harper’s music shop? Well, they used to rent a cottage way down Dorofey Road, near the forest, but now some other people had moved in. Ward Five was where hopeless cases were kept. The poor guy had always had a bad liver and a very indifferent heart, but on top of that a poison had seeped into his system; the local ‘lab’ could not identify it and they were now waiting for a report, on those curiously frog-green faeces, from the Luga people. If Rack had administered it to himself by his own hand, he kept ‘mum’; it was more likely the work of his wife who dabbled in Hindu-Andean voodoo stuff and had just had a complicated miscarriage in the maternity ward. Yes, triplets — how did he guess? Anyway, if Van was so eager to visit his old pal it would have to be as soon as he could be rolled to Ward Five in a wheelchair by Dorofey, so he’d better apply a bit of voodoo, ha-ha, on his own flesh and blood.
That day came soon enough. After a long journey down corridors where pretty little things tripped by, shaking thermometers, and first an ascent and then a descent in two different lifts, the second of which was very capacious with a metal-handled black lid propped against its wall and bits of holly or laurel here and there on the soap-smelling floor, Dorofey, like Onegin’s coachman, said priehali (‘we have arrived’) and gently propelled Van, past two screened beds, toward a third one near the window. There he left Van, while he seated himself at a small table in the door corner and leisurely unfolded the Russian-language newspaper Golos (Logos). (1.42)
Darkbloom ('Notes to Ada'): palata: Russ., ward.
Golos (Logos) brings to mind the Word, Logos in the Englsh version of VN's Dar:
По мере изучения предмета, он убеждался, что, для полного насыщения им, необходимо поле деятельности расширить на два десятилетия в каждую сторону. Таким образом ему открылась забавная черта -- по существу пустяшная, но оказавшаяся ценным руководством: за пятьдесят лет прогрессивной критики, от Белинского до Михайловского, не было ни одного властителя дум, который не произдевался бы над поэзией Фета. А какими метафизическими монстрами оборачивались иной раз самые тверезые суждения этих материалистов о том или другом предмете, точно слово мстило им за пренебрежение к нему! Белинский, этот симпатичный неуч, любивший лилии и олеандры, украшавший свое окно кактусами (как Эмма Бовари), хранивший в коробке из-под Гегеля пятак, пробку, да пуговицу и умерший с речью к русскому народу, на окровавленных чахоткой устах, поражал воображение Федора Константиновича такими перлами дельной мысли, как, например: "В природе всё прекрасно, исключая только те уродливые явления, которые сама природа оставила незаконченными и спрятала во мраке земли и воды (моллюски, черви, инфузории и т. п.)", -- точно так же, как у Михайловского легко отыскивалась брюхом вверх плавающая метафора вроде следующих слов (о Достоевском): "...бился, как рыба об лед, попадая временами в унизительнейшие положения"; из-за этой униженной рыбы стоило продираться сквозь все писания "докладчика по делам сегодняшнего дня". Отсюда был прямой переход к современному боевому лексикону, к стилю Стеклова ("...разночинец, ютившийся в порах русской жизни... тараном своей мысли клеймил рутинные взгляды"), к слогу Ленина, употреблявшему слова "сей субъект" отнюдь не в юридическом смысле, а "сей джентльмен" отнюдь не применительно к англичанину, и достигший в полемическом пылу высшего предела смешного: "...здесь нет фигового листочка... и идеалист прямо протягивает руку агностику". Русская проза, какие преступления совершаются во имя твое! "Лица -- уродливые гротески, характеры -- китайские тени, происшествия -- несбыточны и нелепы", писалось о Гоголе, и этому вполне соответствовало мнение Скабичевского и Михайловского о "г-не Чехове"; то и другое, как зажженный тогда шнур, ныне разрывало этих критиков на мелкие части.
As he studied his subject he saw that in order to completely soak himself in it he would have to extend his field of activity two decades in either direction. Thus an amusing feature of the age was revealed to him—essentially trifling, but proving to be a valuable guideline: during fifty years of utilitarian criticism, from Belinski to Mihailovski, there was not a single molder of opinion who did not take the opportunity to jeer at the poems of Fet. And into what metaphysical monsters turned sometimes the most sober judgments of these materialists on this or that subject, as if the Word, Logos, were avenging itself on them for being slighted! Belinski, that likable ignoramus, who loved lilies and oleanders, who decorated his window with cacti (as did Emma Bovary), who kept five kopecks, a cork and a button in the empty box discarded by Hegel and who died of consumption with a speech to the Russian people on his bloodstained lips, startled Fyodor’s imagination with such pearls of realistic thought as, for example: “In nature everything is beautful, excepting only those ugly phenomena which nature herself has left unfinished and hidden in the darkness of the earth or water (molluscs, worms, infusoria, and so on).” Similarly, in Mihailovski it was easy to discover a metaphor floating belly upwards as for example: “[Dostoevski] struggled like a fish against the ice, ending up at times in the most humiliating positions”; this humiliated fish rewarded one for working through all the writings of the “reporter on contemporary issues.” From here there was a direct transition to the fighting lexicon of the present day, to the style of Steklov speaking of Chernyshevski’s times (“The plebeian writer who nestled in the pores of Russian life… branded routine opinions with the battering ram of his ideas”), or to the idiom of Lenin who in his polemical heat attained the heights of absurdity: (“Here there is no fig leaf… and the idealist stretches out his hand directly to the agnostic”). Russian prose, what crimes are committed in thy name! A contemporary critic wrote about Gogol: “His people are deformed grotesques, his characters, Chinese-lantern shadows, the events he depicts, impossible and ridiculous,” and this fully corresponded to the opinions held by Skabichevski and Mihailovski about Chekhov—opinions that, like a fuse lit at the time, have now blown these critics to bits. (Chapter Three)
Logos = golos (voice)
volos (hair) = slovo (word)
kolos (a plant's ear) = sokol (falcon)
Logos brings to mind Log, the supreme being on Antiterra. Log differs only in the first letter from Bog (God in Russian).