Поиск по заголовкам произведений. Cлово "REVIEW". Классическая русская литература.

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Часть текста: on June 10, 1971, three weeks before coming to see me here in Montreux. My written answers were accurately reproduced in The New York Times Book Review, January 9, 1972. Their presentation would have been perfect had they not been interspersed with unnecessary embellishment (chitchat about living writers, for instance). What do you do to prepare yourself for the ordeals of life? Shave every morning before bath and breakfast so as to be ready to fly far at short notice. What are the literary virtues you seek to attain-- and how? Mustering the best words, with every available lexical, associative, and rhythmic assistance, to express as closely as possible what one wants to express. What are the literary sins for which you could be answerable some day-- and bow would you defend yourself? Of having spared in my books too many political fools and intellectual frauds among my acquaintances. Of having been too fastidious in choosing my targets. What is your position in the world of letters? Jolly good view from up here. What problems are posed for you by the existence of ego? A linguistic problem: the singular act of mimetic evolution to which we owe the fact that in Russian the word ego means "his," "him." What struggles these days for pride of place in your mind? Meadows. A meadow with Scarce Heath butterflies in North Russia, another with Grinnell's Blue in Southern California. That sort of thing. What are your views about man's upward climb from slime? A truly remarkable performance. Pity, though, that some of the slime still sticks to drugged brains. What should we think about death? "Leave me alone, says dreary Death" (bogus inscription on empty tomb). What kinds of power do you favor, and which do you oppose? To play safe, I prefer to accept only one type of power: the power of art over trash, the triumph of magic over...

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Часть текста: volume, though the care with which it has been assembled is an impressive testament to the deep devotion that Nabokov continues to inspire almost 25 years after his death. Apart from entomologists and Nabokov fans, it is difficult to imagine that many readers will last the enormous distance." - Simon Caterson, The Age "While few readers will want to study the scientific articles reprinted here, their presence in this striking miscellany operates in subtle ways to remind us that Nabokov (who referred to himself as VN), was also a student "of that other VN, Visible Nature"." - Jay Parini, The Guardian "Nabokovian humour shines through these writings, illustrated by a note he penned to Hugh Hefner pointing out how the carefully positioned wings and eyespot of a butterfly can be made to look like the Playboy bunny motif." - Steve Connor, The Independent "This book glistens like a rainforest: swarming with sap and colour, with love and death." - Robert Winder, New Statesman " Nabokov's Butterflies is a book trying to be many books (.....) The thematic anthology has its charms, but they are rather modest ones. (...) And it's hard to see what we gain from the frequent short flashes of administrative communciation from the letters." - Michael Wood, The New York Review of Books "Even Nabokov, however, might tire of a collection noting every time a moth flits by a lamp in Nabokov's writings. (...) Presumably, the prosaic poems bear the bruises of translation...

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Часть текста: Толстой Л. Н. - Редактору "British Health Review", 3 (16) ноября 1909 г. 244. Редактору «British Health Review» . Черновое . 1909 г. Ноября 3/16. Я. П. I thank for your journal. I never abandon[ed] vegetarian diet. Благодарю за ваш журнал. Я никогда не прекращал вегетарианского питания. Примечания Черновик-автограф, написанный на конверте письма адресата. Конспект для ответа О. К. Толстой. При письме от 8 ноября н. ст. 1909 г. Лили Ходкинсон (Lily Hodgkinson), редактор издававшегося в Лондоне вегетарианского журнала «The British Health Review», прислала Толстому несколько номеров журнала (в яснополянской библиотеке хранятся четыре номера за апрель — сентябрь 1909 г.). Просила дать хотя бы очень краткий отзыв о нем. Кроме текста, выше приведенного, Толстой написал на конверте: Оле. Пометка О. К. Толстой: «Письмо написано О. Т. 3/16 ноября 09 и подписано Л. H.». В какой редакции послано письмо, неизвестно.

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Часть текста: the questions sent to me by your London office. I have done so in a concise, stylish, printable form. Could I please ask you to have my answers appear in The New York Times Book Review the way they are prepared here? (Except that you may want to interrupt the longer answers by several inserted questions). That convenient method has been used to mutual satisfaction in interviews with Playboy, The Paris Review, Wisconsin Studies, Le Monde, La Tribune de Genève, etc. Furthermore, I like to see the proofs for checking last-minute misprints or possible little flaws of fact (dates, places). Being an unusually muddled speaker (a poor relative of the writer) I would like the stuff I prepared in typescript to be presented as direct speech on my part, whilst other statements which I may stammer out in the course of our chats, and the gist of which you might want to incorporate in The Profile, should be used, please, obliquely or paraphrastically, without any quotes. Naturally, it is for you to decide whether the background material should be kept separate in its published form from the question-and-answer section. I am leaving the attached material with the concierge because I think you might want to peruse it before we meet. I am very much looking forward to seeing you. Please give me a ring when you are ready." The text given below is that of the typescript. The interview appeared in The New York Times Book Review on May 12, 1968. How does VN live and relax? A very old Russian friend of ours, now dwelling in Paris, remarked recently when she was here, that one night, forty years ago, in the course of a little quiz at one of her literary parties in Berlin, I, being asked where I would like to live, answered, "In a large comfortable hotel." That is exactly what my wife and I are doing now....

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Часть текста: have no bearing on Lolita whatever. Humbert was fond of "little girls"-- not simply "young girls." Nymphets are girl-children, not starlets and "sex kittens." Lolita was twelve, not eighteen, when Humbert met her. You may remember that by the time she is fourteen, he refers to her as his "aging mistress." One critic has said about you that "his feelings are like no one else's. " Does this make sense to you? Or does it mean that you know your feelings better than others know theirs? Or that you have discovered yourself at other levels? Or simply that your history is unique? I do not recall that article; but if a critic makes such a statement, it must surely mean that he has explored the feelings of literally millions of people, in at least three countries, before reaching his conclusion. If so, lama rare fowl indeed. If, on the other hand, he has merely limited himself to quizzing members of his family or club, his statement cannot be discussed seriously. Another critic has written that your "worlds are static. They may become tense with obsession, but they do not break apart like the worlds of everyday reality. " Do you agree? Is there a static quality in your view of things? Whose "reality"? "Everyday" where? Let me suggest that the very term "everyday reality" is utterly static since it presupposes a situation that is permanently observable, essentially objective, and universally known. I suspect you...

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Часть текста: in Paris in 1938) should enjoy some success. It is hard to imagine (except in a farce) a dentist persistently pulling out the wrong tooth. Publishers and translators, however, seem to get away with something of that sort. Lack of space limits me to only these examples of Mr. Alexander's blunders. 1. The woman who "s'est offert, avec ses йconomies, un jeune homme" (has bought herself a young husband with her savings) is said by the translator (p. 20) to have "offered herself and her savings" to that young man. 2. The epithets in "Il a l'air souffreteux et mauvais" (he looks seedy and vicious) puzzled Mr. Alexander to such an extent that he apparently left out the end of the sentence for somebody else to fill in, but nobody did, which reduced the English text (p. 43) to "he looks." 3. A reference to "ce pauvre Ghehenno"' (French writer) is twisted (p. 163) into "Christ. . . this poor man of Gehenna." 4. The forкt de verges (forest of phalli) in the hero's nightmare is misunderstood as being some sort of birchwood. Whether, from the viewpoint of literature, La Nausйe was worth translating at all is another question. It belongs to that tense-looking but really very loose type of writing, which has been popularized by many second-raters-- Barbusse, Coline, and so forth. Somewhere behind looms Dostoevski at his worst, and still farther back there is old Eugene Sue, to whom the melodramatic Russian owed so much. The book...

Поиск по заголовкам произведенийCлово "REVIEW"

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Cлово "REVIEW"