The action in VN's novel Ada (1969) takes place on Demonia, Earth's twin planet also known as Antiterra. After the family dinner in "Ardis the Second" Ada mentions spies from Terra:
He kissed her half-closed lips, gently and ‘morally’ as they defined moments of depth to distinguish them from the despair of passion.
‘Anyway,’ he said, ‘it’s fun to be two secret agents in an alien country. Marina has gone upstairs. Your hair is wet.’
‘Spies from Terra? You believe, you believe in the existence of Terra? Oh, you do! You accept it. I know you!’
‘I accept it as a state of mind. That’s not quite the same thing.’
‘Yes, but you want to prove it is the same thing.’
He brushed her lips with another religious’ kiss. Its edge, however, was beginning to catch fire.
‘One of these days,’ he said, ‘I will ask you for a repeat performance. You will sit as you did four years ago, at the same table, in the same light, drawing the same flower, and I shall go through the same scene with such joy, such pride, such — I don’t know — gratitude! Look, all the windows are dark now. I, too, can translate when I simply have to. Listen to this:
Lights in the rooms were going out.
Breathed fragrantly the rozï.
We sat together in the shade
Of a wide-branched beryozï.’
‘Yes, "birch" is what leaves the translator in the "lurch," doesn’t it? That’s a terrible little poem by Konstantin Romanov, right? Just elected president of the Lyascan Academy of Literature, right? Wretched poet and happy husband. Happy husband!’
‘You know,’ said Van, ‘I really think you should wear something underneath on formal occasions.’
‘Your hands are cold. Why formal? You said yourself it was a family affair.’
‘Even so. You were in peril whenever you bent or sprawled.’
‘I never sprawl!’
‘I’m quite sure it’s not hygienic, or perhaps it’s a kind of jealousy on my part. Memoirs of a Happy Chair. Oh, my darling.’
‘At least,’ whispered Ada, ‘it pays off now, doesn’t it? Croquet room? Ou comme ça?’
‘Comme ça, for once,’ said Van. (1.38)
Darkbloom ('Notes to Ada'): rozï... beryozï: Russ., roses... birches.
ou comme ça?: or like that?
In Canto Three of his poem John Shade (the poet in VN's novel Pale Fire, 1962) describes IPH (a lay Institute of Preparation for the Hereafter) and mentions Terra the Fair, an orbicle of jasp:
While snubbing gods, including the big G,
Iph borrowed some peripheral debris
From mystic visions; and it offered tips
(The amber spectacles for life's eclipse) -
How not to panic when you're made a ghost:
Sidle and slide, choose a smooth surd, and coast,
Meet solid bodies and glissade right through,
Or let a person circulate through you.
How to locate in blackness, with a gasp,
Terra the Fair, an orbicle of jasp.
How to keep sane in spiral types of space. (ll. 549-559)
In Canto Three of his poem Shade mentions Hurricane Lolita that swept from Florida to Maine in 1958:
It was a year of Tempests: Hurricane
Lolita swept from Florida to Maine.
Mars glowed. Shahs married. Gloomy Russians spied.
Lang made your portrait. And one night I died. (ll. 679-682)
According to Humbert Humbert (the narrator and main character in VN's novel Lolita, 1955), as a boy he wanted to be a famous spy:
Annabel was, like the writer, of mixed parentage: half-English, half-Dutch, in her case. I remember her features far less distinctly today than I did a few years ago, before I knew Lolita. There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: “honey-colored skin,” “think arms,” “brown bobbed hair,” “long lashes,” “big bright mouth”); and the other when you instantly evoke, with shut eyes, on the dark inner side of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita).
Let me therefore primly limit myself, in describing Annabel, to saying she was a lovely child a few months my junior. Her parents were old friends of my aunt’s, and as stuffy as she. They had rented a villa not far from Hotel Mirana. Bald brown Mr. Leigh and fat, powdered Mrs. Leigh (born Vanessa van Ness). How I loathed them! At first, Annabel and I talked of peripheral affairs. She kept lifting handfuls of fine sand and letting it pour through her fingers. Our brains were turned the way those of intelligent European preadolescents were in our day and set, and I doubt if much individual genius should be assigned to our interest in the plurality of inhabited worlds, competitive tennis, infinity, solipsism and so on. The softness and fragility of baby animals caused us the same intense pain. She wanted to be a nurse in some famished Asiatic country; I wanted to be a famous spy.
All at once we were madly, clumsily, shamelessly, agonizingly in love with each other; hopelessly, I should add, because that frenzy of mutual possession might have been assuaged only by our actually imbibing and assimilating every particle of each other’s soul and flesh; but there we were, unable even to mate as slum children would have so easily found an opportunity to do. After one wild attempt we made to meet at night in her garden (of which more later), the only privacy we were allowed was to be out of earshot but not out of sight on the populous part of the plage. There, on the soft sand, a few feet away from our elders, we would sprawl all morning, in a petrified paroxysm of desire, and take advantage of every blessed quirk in space and time to touch each other: her hand, half-hidden in the sand, would creep toward me, its slender brown fingers sleepwalking nearer and nearer; then, her opalescent knee would start on a long cautious journey; sometimes a chance rampart built by younger children granted us sufficient concealment to graze each other’s salty lips; these incomplete contacts drove our healthy and inexperienced young bodies to such a state of exasperation that not even the cold blue water, under which we still clawed at each other, could bring relief.
Among some treasures I lost during the wanderings of my adult years, there was a snapshot taken by my aunt which showed Annabel, her parents and the staid, elderly, lame gentleman, a Dr. Cooper, who that same summer courted my aunt, grouped around a table in a sidewalk cafe. Annabel did not come out well, caught as she was in the act of bending over her chocolat glacé, and her thin bare shoulders and the parting in her hair were about all that could be identified (as I remember that picture) amid the sunny blur into which her lost loveliness graded; but I, sitting somewhat apart from the rest, came out with a kind of dramatic conspicuousness: a moody, beetle-browed boy in a dark sport shirt and well-tailored white shorts, his legs crossed, sitting in profile, looking away. That photograph was taken on the last day of our fatal summer and just a few minutes before we made our second and final attempt to thwart fate. Under the flimsiest of pretexts (this was our very last chance, and nothing really mattered) we escaped from the cafe to the beach, and found a desolate stretch of sand, and there, in the violet shadow of some red rocks forming a kind of cave, had a brief session of avid caresses, with somebody’s lost pair of sunglasses for only witness. I was on my knees, and on the point of possessing my darling, when two bearded bathers, the old man of the sea and his brother, came out of the sea with exclamations of ribald encouragement, and four months later she died of typhus in Corfu. (1.3)
Humbert and Annabel would sprawl all morning on the soft sand of the plage. Ada tells Van that she never sprawls. After he left the patio (the scene of the patio party in "Ardis the Second"), Van is sprawling supine under the great Lebanese cedar:
Van left the pool-side patio and strode away. He turned into a side gallery that led into a grovy part of the garden, grading insensibly into the park proper. Presently, he noticed that Ada had hastened to follow him. Lifting one elbow, revealing the black star of her armpit, she tore off her bathing cap and with a shake of her head liberated a torrent of hair. Lucette, in color, trotted behind her. Out of charity for the sisters’ bare feet, Van changed his course from gravel path to velvet lawn (reversing the action of Dr Ero, pursued by the Invisible Albino in one of the greatest novels of English literature). They caught up with him in the Second Coppice. Lucette, in passing, stopped to pick up her sister’s cap and sunglasses — the sunglasses of much-sung lasses, a shame to throw them away! My tidy little Lucette (I shall never forget you...) placed both objects on a tree stump near an empty beer bottle, trotted on, then went back to examine a bunch of pink mushrooms that clung to the stump, snoring. Double take, double exposure.
‘Are you furious, because —’ began Ada upon overtaking him (she had prepared a sentence about her having to be polite after all to a piano tuner, practically a servant, with an obscure heart ailment and a vulgar pathetic wife — but Van interrupted her).
‘I object,’ he said, expelling it like a rocket, ‘to two things. A brunette, even a sloppy brunette, should shave her groin before exposing it, and a well-bred girl does not allow a beastly lecher to poke her in the ribs even if she must wear a motheaten, smelly rag much too short for her charms.’ ‘Ach!’ he added, ‘why the hell did I return to Ardis!’
‘I promise, I promise to be more careful from now on and not let lousy Pedro come near,’ she said with happy rigorous nods — and an exhalation of glorious relief, the cause of which was to torture Van only much later.
‘Oh, wait for me!’ yelped Lucette.
(Torture, my poor love! Torture! Yes! But it’s all sunk and dead. Ada’s late note.)
The three of them formed a pretty Arcadian combination as they dropped on the turf under the great weeping cedar, whose aberrant limbs extended an oriental canopy (propped up here and there by crutches made of its own flesh like this book) above two black and one golden-red head as they had above you and me on dark warm nights when we were reckless, happy children.
Van, sprawling supine, sick with memories, put his hands behind his nape and slit his eyes at the Lebanese blue of the sky between the fascicles of the foliage. Lucette fondly admired his long lashes while pitying his tender skin for the inflamed blotches and prickles between neck and jaw where shaving caused the most trouble. Ada, her keepsake profile inclined, her mournful magdalene hair hanging down (in sympathy with the weeping shadows) along her pale arm, sat examining abstractly the yellow throat of a waxy-white helleborine she had picked. She hated him, she adored him. He was brutal, she was defenseless.
Lucette, always playing her part of the clinging, affectionately fussy lassy, placed both palms on Van’s hairy chest and wanted to know why he was cross.
‘I’m not cross with you,’ replied Van at last.
Lucette kissed his hand, then attacked him.
‘Cut it out!’ he said, as she wriggled against his bare thorax. ‘You’re unpleasantly cold, child.’
‘It’s not true, I’m hot,’ she retorted.
‘Cold as two halves of a canned peach. Now, roll off, please.’
‘Why two? Why?’
‘Yes, why,’ growled Ada with a shiver of pleasure, and, leaning over, kissed him on the mouth. He struggled to rise. The two girls were now kissing him alternatively, then kissing each other, then getting busy upon him again — Ada in perilous silence, Lucette with soft squeals of delight. I do not remember what Les Enfants Maudits did or said in Monparnasse’s novelette — they lived in Bryant’s château, I think, and it began with bats flying one by one out of a turret’s œil-de-bœuf into the sunset, but these children (whom the novelettist did not really know — a delicious point) might also have been filmed rather entertainingly had snoopy Kim, the kitchen photo-fiend, possessed the necessary apparatus. One hates to write about those matters, it all comes out so improper, esthetically speaking, in written description, but one cannot help recalling in this ultimate twilight (where minor artistic blunders are fainter than very fugitive bats in an insect-poor wilderness of orange air) that Lucette’s dewy little contributions augmented rather than dampened Van’s invariable reaction to the only and main girl’s lightest touch, actual or imagined. Ada, her silky mane sweeping over his nipples and navel, seemed to enjoy doing everything to jolt my present pencil and make, in that ridiculously remote past, her innocent little sister notice and register what Van could not control. The crushed flower was now being merrily crammed under the rubber belt of his black trunks by twenty tickly fingers. As an ornament it had not much value; as a game it was inept and dangerous. He shook off his pretty tormentors, and walked away on his hands, a black mask over his carnival nose. Just then, the governess, panting and shouting, arrived on the scene. ‘Mais qu’est-ce qu’il t’a fait, ton cousin?’ She kept anxiously asking, as Lucette, shedding the same completely unwarranted tears that Ada had once shed, rushed into the mauve-winged arms. (1.32)
Darkbloom ('Notes to Ada'): Ero: thus the h-dropping policeman in Wells’ Invisible Man defined the latter’s treacherous friend.
mais qu’est-ce etc.: but what did your cousin do to you.
The sunglasses of much-sung lasses bring to mind somebody’s lost pair of sunglasses mentioned in Lolita by Humbert. In Canto Four of his poem Shade describes shaving and mentions the sunglassers who tour Beirut (the capital of Lebanon):
And while the safety blade with scrape and screak
Travels across the country of my cheek;
Cars on the highway pass, and up the steep
Incline big trucks around my jawbone creep,
And now a silent liner docks, and now
Sunglassers tour Beirut, and now I plough
Old Zembla's fields where my gay stubble grows,
And slaves make hay between my mouth and nose. (ll. 931-938)
In his poem Zabludivshiysya tramvay (“The Lost Tram,” 1921) Gumilyov mentions the poor old man who had died in Beirut a year ago:
И, промелькнув у оконной рамы,
Бросил нам вслед пытливый взгляд
Нищий старик, - конечно, тот самый,
Что умер в Бейруте год назад.
And slipping by the window frame,
A poor old man threw us an inquisitive glance-
The very same old man, of course,
Who had died in Beirut a year ago.
In another stanza of his poem Gumilyov mentions people and shades who stand at the entrance to a zoological park of planets:
Понял теперь я: наша свобода
Только оттуда бьющий свет,
Люди и тени стоят у входа
В зоологический сад планет.
Now I understand: our freedom
Is only a light from the other world,
People and shades stand at the entrance
To a zoological park of planets.
Zoologicheskiy sad planet (a zoological park of planets) brings to mind Shklovsky’s Zoo ili Pis’ma ne o lyubvi (“Zoo, or Letters not about Love,” 1923). In his memoir essay Dom iskusstv (“The House of Arts,” 1925) G. Ivanov describes a banquet in Petrograd in honor of H. G. Wells (who visited the Soviet Russia at the end of 1920 and met Lenin in the Kremlin) and says that, addressing Amfiteatrov, H. G. Wells called him “Mr. Shklovski:”
Банкет был позорный. Уэллс с видимым усилием ел «роскошный завтрак», плохо слушал ораторов и изредка невпопад им отвечал. Ораторы... некоторые из них выказали большое гражданское мужество — например Амфитеатров, предложивший присутствующим, чтобы показать высокому гостю, «что они с нами сделали»,— расстегнуться и продемонстрировать ему свой «дессу».
Это смелое предложение принято не было. Но Амфитеатров был наказан: Уэллс, обратившись к нему, назвал его мистером Шкловским.
Amfiteatrov proposed that the writers at table demonstrate to Wells their dessous in order to show their high-ranking guest "what they have done to us." Van does not approve Ada's wearing nothing underneath during the family dinner.
In H. G. Wells' novel The War of the Worlds (1898) the Martians invade England. Describing the torments of poor mad Aqua (the twin sister of Van's, Ada's and Lucette's mother Marina), Van mentions Aqua's War of the Worlds:
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)
In his Commentary to Shade's poem Kinbote (Shade's mad commentator who imagines that he is Charles the Beloved, the last self-exiled king of Zembla) mentions Amfiteatricus, a not unkindly writer of fugitive poetry in the liberal gazettes who dubbed Onhava (the capital of Zembla) Uranograd:
Alfin the Vague (1873-1918; regnal dates 1900-1918, but 1900-1919 in most biographical dictionaries, a fumble due to the coincident calendar change from Old Style to New) was given his cognomen by Amphitheatricus, a not unkindly writer of fugitive poetry in the liberal gazettes (who was also responsible for dubbing my capital Uranograd!). (note to Line 71)
Alexander Amfiteatrov is the author of Gospoda Obmanovy ("The Obmanov Family," 1902), a satire on the Romanovs (the Russian Imperial family). Obman is Russian for "deception, deceit, fraud." The uncle of Nicholas II (the last Russian tsar), Konstantin Romanov (1858-1915) wrote poetry under the penname K. R. Van quotes the first four lines of his most famous poem:
Уж гасли в комнатах огни...
Благоухали розы...
Мы сели на скамью в тени
Развесистой березы.
Мы были молоды с тобой!
Так счастливы мы были
Нас окружавшею весной;
Так горячо любили!
Двурогий месяц наводил
На нас свое сиянье:
Я ничего не говорил,
Боясь прервать молчанье;
Безмолвно синих глаз твоих
Ты опускала взоры:
Красноречивей слов иных
Немые разговоры.
Чего не смел поверить я,
Что в сердце ты таила,
Все это песня соловья
За нас договорила.
007