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Readers familiar with Nabokov’s Lectures on Literature, Lectures on Russian Literature, and Lectures on Don Quixote, know that Nabokov had a very vivid way of reading the texts that he taught his students. A poor but passionate illustrator, Nabokov would sketch visual details from the various works he taught. Reproductions of his sketches appear in the published version of the lectures, and thus we see his drawing of Kafka’s Gregor Samsa in his metamorphosed state (whether “vermin” or “insect” or “cockroach” or Nabokov’s preferred “beetle” is another matter), a floor plan of the Samsa apartment, as well as the sort of skating costume that Kitty would have worn in Anna Karenina, or the sleeping car in which Anna rode from Moscow to St. Petersburg in same. The very useful and practical idea that one can get out of looking at Nabokov’s crude, charming illustrations of the text is that a work of literature is something to be looked at carefully, a thing one needs very much to learn, dedicatedly, how to see.
I suspect that Nabokov, first among many, would have found painter and writer Eric Karpeles‘s wonderful recent book Paintings in Proust: A Visual Companion to “In Search of Lost Time” something to be treasured. Karpeles takes as his very simple organizing principle the ambition to collect in one volume every painting Proust mentions in his large novel, a novel crammed with such references. “My book is a painting,” Proust wrote in a letter to Jean Cocteau, and Karpeles’s book is the first and only complete exhibition of those other painters upon whom Proust’s hungry eye came to feed.
A simple idea, but doubtless a cumbersome editorial task that Karpeles manages beautifully. He marches us through the novel’s seven parts and quotes the passages that mention each image or artist pairing them with the appropriate reproduction thereof (the text he uses is the Moncrieff/Kilmartin/Enright translation from Modern Library). Karpeles does a great service to readers in creating so practical and useful a book, one that enriches our appreciation and comprehension of the visual underpinnings of verbal art.
Paintings in Proust also happens to be one of the very prettiest examples of commercial publishing I’ve seen in a while. Produced (in China) with all the lavishness of a monograph, the book is sewn in signatures and printed on heavy glossy stock and lies open on a lap or a table. Fittingly, it will last forever.
More from Wyatt Mason:
Conversation — October 2, 2015, 8:26 am
“By committing to the great emotional extremes demanded by Greek tragedy,” says Bryan Doerries, author of The Theater of War, “the actors are in effect saying to the audience: ‘If you want to match our emotional intensity, that would be fine.’”
In Havana, the past year has been marked by a parade of bold-faced names from the north — John Kerry reopening the United States Embassy; Andrew Cuomo bringing a delegation of American business leaders; celebrities ranging from Joe Torre, traveling on behalf of Major League Baseball to oversee an exhibition game between the Tampa Bay Rays and the Cuban national team, to Jimmy Buffett, said to be considering opening one of his Margaritaville restaurants there. All this culminated with a three-day trip in March by Barack Obama, the first American president to visit Cuba since Calvin Coolidge in 1928. But to those who know the city well, perhaps nothing said as much about the transformation of political relations between the United States and Cuba that began in December 2014 as a concert in the Tribuna Antiimperialista.
Estimated portion of registered voters in Zimbabwe who are dead:
Honeybees can recognize individual human faces.
Pope Francis announced that nuns could use social media, and a priest flew a hot-air balloon around the world.
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“Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'”