Thinking: Vladimir Nabakov

His works and Writing Style

9 min readMay 27, 2024

Nabokov was a Russian-American novelist, poet, translator, and Literary genius when it comes to writing rich, layered, and complex narratives. Entomology was nothing of something I heard of until I read a little about Nabokov; it is the study of insects and their relationship to humans, the environment, and other organisms. Yes, he was also an Entomologist!

Reminding myself & the readers this article is not about the life and charm of Nabakov but more about the genius of his mind via which he penned classics of all time:

Lolita (1955)

The controversial story of Humbert Humbert, a middle-aged man obsessed with a twelve-year-old girl named Dolores Haze, whom he nicknames Lolita. The novel is celebrated for its lyrical prose, complex narrative, and the way it challenges readers’ perceptions of morality and obsession.

“Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita. Did she have a precursor? She did, indeed she did. In point of fact, there might have been no Lolita at all had I not loved, one summer, an initial girl-child. In a princedom by the sea. Oh when? About as many years before Lolita was born as my age was that summer. You can always count on a murderer for a fancy prose style. Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns.”

Pale Fire (1962)

A complex, layered work combining a 999-line poem by the fictional poet John Shade with an extensive commentary by Shade’s self-appointed editor, Charles Kinbote. The interplay between the poem and the commentary reveals a richly textured story about madness, delusion, and the nature of artistic creation.

The sun is a thief: she lures the sea
and robs it. The moon is a thief:
he steals his silvery light from the sun.
The sea is a thief: it dissolves the moon.

Ada, or Ardor: A Family Chronicle (1969)

A lengthy and intricate novel is a multi-generational love story that spans several centuries, exploring the themes of time, memory, and the fluidity of reality, set in an alternate universe that combines elements of the 19th and 20th centuries.

And yet I adore him. I think he’s quite crazy, and with no place or occupation in life, and far from happy, and philosophically irresponsible — and there is absolutely nobody like him.

The Gift (1938)

Originally written in Russian and titled “Dar,” is Nabokov’s final work in his native language. It is a semi-autobiographical story about a young Russian émigré writer in Berlin. The novel explores themes of artistic creation, the nature of genius, and the émigré experience.

Speak, Memory (1951, revised 1966)

An autobiographical memoir recounts Nabokov’s early life, his aristocratic upbringing in Russia, his years of exile in Europe, and his eventual move to the United States. It is celebrated for its vivid, poetic descriptions and its insightful reflections on memory and identity.

The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness

Despair (1934)

Originally written in Russian and later translated into English by Nabokov himself (perks of being a translator), this novel tells the story of Hermann, a man who plans to fake his death by murdering a man he believes to be his double. The novel is noted for its exploration of themes such as identity, madness, and the nature of reality.

To begin with, let us take the following motto…Literature is Love. Now we can continue.

Invitation to a Beheading (1936)

Another novel written in Russian and later translated into English, this Kafkaesque tale revolves around Cincinnatus C., who is imprisoned and sentenced to death for the ambiguous crime of “gnostical turpitude.” The novel explores themes of absurdity, alienation, and the struggle for individuality.

…in my dreams the world would come alive, becoming so captivatingly majestic, free and ethereal, that afterwards it would be oppressive to breathe the dust of this painted life.

The Real Life of Sebastian Knight (1941)

This was Nabokov’s first novel written in English. It tells the story of a man investigating the life of his half-brother, a writer named Sebastian Knight—the novel delves into themes of identity, artistic creation, and the elusiveness of truth.

The breaking of a wave cannot explain the whole sea.

Literature is invention. Fiction is fiction. To call a story a true story is an insult to both art and truth. Every great writer is a great deceiver, but so is that arch-cheat Nature. Nature always deceives. From the simple deception of propagation to the prodigiously sophisticated illusion of protective colors in butterflies or birds, there is in Nature a marvelous system of spells and wiles. The writer of fiction only follows Nature’s lead. [3]

Vladimir Nabokov’s writing style is distinctive and multifaceted, characterized by several key features:

He has an extraordinary command of the English language, employing a rich and playful use of words, and often indulges in elaborate descriptions, puns, wordplay, and intricate metaphors, showcasing his linguistic virtuosity. His prose is lush and precise, often reflecting his background as a poet and his deep love for language.

Nabokov writes prose the only way it should be written, that is, ecstatically — John Updike

Nabokov frequently experiments with narrative structure, employing unconventional formats, unreliable narrators, and non-linear timelines. This complexity often engages readers more deeply, encouraging them to piece together the story and to question the nature of reality and truth within the narrative (Nolan winking at the corner).

Curiously enough, one cannot read a book; one can only reread it. A good reader, a major reader, and active and creative reader is a rereader. [4]

His works often explore themes of identity, memory, art, and the nature of reality. Nabokov’s writing delves into the subjective nature of experience and perception, often blurring the lines between fiction and reality. This thematic depth is often conveyed through a combination of wit, irony, and emotional intensity.

His classics are filled with references to other literary works, as well as to art, history, and science.

Nabokov is meticulous in his attention to detail, whether describing a character’s physical appearance, a scene, or an emotion. His descriptions are vivid and precise, often contributing to the atmosphere and mood of the narrative.

His characters are often complex, multifaceted, and not easily categorized as good or bad. Nabokov excels in creating psychologically nuanced portraits, exploring their inner lives and moral ambiguities.

Nabokov places a high value on the beauty of the written word and the artistic elements of his narratives. He often emphasizes the importance of aesthetic pleasure in literature, both for the writer and the reader.

Real technicalities behind his process [5]

In his autobiography, Speak, Memory, Nabokov cared deeply for the sounds, colors, and shapes of words. He wrote:

“q as browner than k,” and how “the English word ‘childhood’… sounds mysterious”

Therefore his prose is often pleasing to read aloud, every word is carefully placed keeping in mind the audio qualities. He cares for how the words sound together, and which colors form when the integration happens.

He writes, “I am loathe to dwell so long on the poor fellow” (183). Except for “fellow,” every word is one-syllable, creating a quick pace to the phrase.

In addition, the two-word phrase, “so long,” is technically unnecessary, for he could have cut it and still made his point.

However, adding “so long” creates an iambic rhythm when combined with “to dwell” and adds alliteration as well.

Iambic rhythm, or iambic meter, is a type of metrical pattern in poetry where each metrical foot, known as an iamb, consists of an unstressed syllable followed by a stressed syllable. This pattern creates a da-DUM sound, where “da” is the unstressed syllable and “DUM” is the stressed syllable.
Iambic rhythm is one of the most common metrical patterns in English poetry, especially known for its use in iambic pentameter, which consists of five iambs per line. Here’s a breakdown:
Iamb: The basic unit, or foot, of iambic rhythm. It contains two syllables: the first is unstressed, and the second is stressed (da-DUM).
Example: “reTURN,” “aWAY,” “beLIEVE.”
Iambic Pentameter: A line of poetry with five iambs, totaling ten syllables (da-DUM da-DUM da-DUM da-DUM da-DUM).
Example: “Shall I comPARE thee TO a SUMmer’s DAY?” (from Shakespeare’s Sonnet 18).
Other Iambic Meters:
— Iambic Tetrameter: Four iambs per line (eight syllables).
Example: “I THINK that I shall NEver SEE.”
— Iambic Trimeter: Three iambs per line (six syllables).
— Example: “The WAY a CROW.”
The iambic rhythm is naturally aligned with the cadence of the English language, making it a favored choice for poets. It creates a rhythmic and flowing sound that is both pleasing to the ear and effective in conveying a range of emotions and ideas.

Thus, even Nabokov’s smallest phrases have been constructed carefully for the sounds, colors, and shapes they may create.

Stressing the audio and visual qualities of words is typically associated with poetry rather than prose. However, Nabokov blurred this distinction, infusing his prose with a poetic flair.

In his novel Pale Fire, while one section is indeed a poem, Nabokov employs poetic devices throughout the text. For instance, he writes: “It was this medley of metallic melodies which surrounded me”

The alliteration is clear, and the phrase “medley of metallic melodies” has a distinct rhythm. Saying it steadily and tapping every time the “me” sound appears creates a musical phrase — one-quarter note followed by two eighth notes.

Whether this rhythm was intentional or not, Nabokov’s attention to the oral qualities of his words is evident.

Just a few paragraphs later, he writes: “See the web of the world, and the warp and the weft of that web.” This phrase, with its obvious alliteration and repetition, appears in the prose commentary section of Pale Fire, not in the poem, highlighting Nabokov’s poetic touch in his prose.

Clearly, Vladimir Nabokov cared deeply not only about the content of his writing but also about its form. Every sound and punctuation mark is meticulously chosen for its auditory and humorous qualities, showcasing Nabokov’s precision. While some may criticize this approach, it is evident that such meticulous attention to his style elevates his work to a form of art in its own right.