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Arion Press of San Francisco has issued a new edition of Nabokov’s Eugene Onegin translation. It includes Pushkin’s Russian original, a transliteration, and Nabokov’s 1975 revised translation into English. It does not include Nabokov’s extensive editorial apparatus, his commentary, the appendices, or the index. The introduction is by Brian Boyd and the transliteration is by Stanislav Shvabrin. The frontispiece artwork is by Stan Washburn.

Nabokov’s English is presented along side the original in Cyrillic, accompanied by a transliteration. The paper is Italian mould-made Magnani, the types are Bembo for the English translation, 16 point; Modern 8A for the Cyrillic and transliteration, 12 point; and Ariston script for display in various sizes. The format is folio, 15-5/8 by 11 inches, 256 pages.

The book is sewn by hand with linen thread over linen tapes, with handsewn bands at the head and foot in three colors of silk thread. The cover has a brown goatskin spine with gold foil-stamped titling and tan cloth over boards. The book comes in a slipcase.

Each copy of the Arion edition is accompanied by the two-volume Princeton University Press edition of Eugene Onegin that provides additional material and commentaries by Nabokov.

The edition is limited to 300 numbered copies for sale and 26 lettered copies hors de commerce. The price is $1,650. There is an additional shipping charge.

Further information is on the Arion Press website. In 1994 Arion Press issued a multi-volume, limited edition of Pale Fire.

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The St. Petersburg scholar and bibliographer, Evgeniy Beladubrovskiy, has issued his second reprint of Nabokov’s second book, Два пути [Dva puti / Two paths]—“two paths” because of its two poets, Andrey Balashov (eight poems), a Tenishev schoolmate of Nabokov’s, and Nabokov (12 poems).

Dva puti, Renome, 2013

Dva puti, Renome, 2013

This edition is like Beladubrovskiy’s 2003 reprint (see A3.2 in the A-item draft pages) in that it attempts to reproduce the 1918 original edition. However, it has a larger page format, on each page of which appears one page of the 2003 edition and, bordering it, documents, newspaper clippings, photographs, manuscript and book pages, and other graphic material related to Nabokov, the Tenishev school, and the St. Petersburg of 1918. Also, Beladubrovskiy has written a 15-page introduction.

It is a very attractive volume that is essentially the only way the Nabokov collector, scholar, or librarian can acquire this rarest of Nabokov books. You can inquire about purchasing a copy by writing to Beladubrovskiy at profpnin@mail.ru. (I’ve never asked him why that particular mail handle. In his photos he looks very un-Pninian.) Beladubrovskiy’s English is about equal to my Russian, which is very little. But with a little help from Google translate, you can communicate adequately.

Альманах: Два пути [Al’manakh”: Dva puti / Almanac: Two paths], edited by Evgeniy Beladubrovskiy, St. Petersburg: Renome, 2013, in wrappers, ISBN 978-5-91918-303-7. 300 copies of which 100 are numbered.

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Brian Boyd and Martin Amis weren’t the only ones working the podium at “A Celebration of Vladimir Nabokov” at the 92nd St. Y in New York City on 16 November. The third one was Chip Kidd. Kidd (see his website at www.goodisdead.com) is a prolific designer—of, among other things, books and book covers—and a writer. The look of objects, two and three dimensional, obviously mean a lot to him. At the 92nd St. Y he wore striking glasses (from Walter Gropius?) and a jacket of black, white, and (I think; I’m terrible with colors) maroon vertical stripes that appeared to proceed him on the stage and, before he had even spoken a word, electrified his presence.

Kidd began his turn by reading excerpts from published letters in which VN excoriated publishers, editors, and their scuttling assistants with his reactions to their jacket and paperback cover submissions. Sometimes VN fired after his quarry had taken flight and was already sitting on store shelves. He hated, with good reason, the cover of the already published paperback Pnin (three bobby-soxed coeds in the foreground, a rumpled, diminished Pnin in the background) that Avon issued in 1959. Kidd went on to read VN’s remarks on other book covers. VN’s main points were, in so many words, “be biologically accurate”, “be textually accurate”, and, when inspiration or knowledge fails, use simple black type. I have to say that one publisher, Putnam, seemed to catch on.

VN would have enjoyed the edgy covers Kidd designed for the Portuguese publisher Companhia Das Letras. Kidd showed images of them as they were meant to be seen by the prospective book buyer: With their belly bands on and then with them off. The covers were witty, strongly graphic, in-your-face, often juxtaposed images causing us in the audience first to feel the neck snap of recognition and then to laugh. (I’ll show you some of those covers in another posting.) Kidd also participated in John Gall’s project to redesign almost all of the covers in the Vintage paperback issues of VN’s works (see The Nabokov Collection at The Design Observer Group). Kidd himself designed the Ada cover.

Kidd obviously relished getting the chance to design his first Nabokov first edition. And not just the jacket for Laura, but the whole book, with the need to solve the problem of how to present 138 pencil-written index cards. We have all seen it, an absolutely original, and memorable cover. (Isn’t that what Prof. Sorbeck of The Cheese Monkeys was after in his students?). Kidd spoke of how Sonny Mehta, the publisher and editor-in-chief of Knopf, called him into his office and presented him with the job. An early draft had a background-foreground gradient, a left-to-right fade of the text into the background, but with the text in black and the background in white. Some of the staff felt no one would be able to decipher a cover that said “Vladi | Nabo | The Ori | of Lau”. But Kidd pointed out that since a giant campaign was planned for the book, everyone would know what it was. Sonny liked it. But he suggested that Kidd try inverting the foreground and background. Kidd liked that.

As for the other elements of the book design, Kidd felt he had to avoid mating a separate container of cards somehow attached to the book. He didn’t want to create a kind of boxed gift set. The punch-out cards were inspired in part, he said, by an old set of superhero punch-outs he owned. In fact, Kidd pointed out that if you take Laura and “actually punch out all of the cards, you get a surprise”. He didn’t reveal what that surprise is. And, insane bibliomaniac that I am, I haven’t had the guts to desecrate my copy of the book and actually do the punching out. I’ve examined the book carefully and still can’t figure out what he meant. Kidd went on to point out other aspects of his book design, including his use of extra-heavy paper, of images of the first and last cards on the book’s binding, and of fading backgrounds and type on the flaps and endpapers.

When you look at your copy of the book, you quickly notice Kidd’s use of red for highlighting, dotted lines for outlining, an implied playing card-like design with Nabokov’s initials on the book’s last page, and the very quirky placement of the dust jacket’s “Printed in …” and copyright statement. You may also notice a mistake: The date on the title page is wrong.

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The first edition of VN’s first novel in English, The Real Life of Sebastian Knight, is a bibliographic hybrid in ways I wasn’t fully aware of in the 1980s when I was pulling my bibliography together. Published by New Directions in 1941, TRLoSK, I have determined, was issued in anywhere from five to eight possible combinations of bindings, labels, and dust jackets. (I say “five to eight” because there may be as many as three black swans in the forms of different binding/label/dust jacket combinations but which I haven’t yet found to exist.)

Publication Date

Before getting to those combinations, let’s look for a moment at the publication date.  A number of copies (I see three for sale right now on the internet; I have examined many others), all in the red, rough burlap cloth, have

PUBLICATION DATE
________________

stamped on the front free endpaper and always the one date of “DEC 12 1941” separately stamped on the underlining. (I can get very picky here. I’ve seen the date in two different stampings, one with the “12” in the same font as the “1941” and one with the “12” in a different font. All of the “DEC”’s and “1941”’s are the same. This implies that at least in some cases a single date consists of at least two separate physical stamping actions. But since it is not unusual for a review or pre-publication copy of a book to have been distributed in slightly or even subtly different forms, I’m going to ignore these differences here.)

The U.S. Copyright Office lists a publication date of 6 December 1941. Brian Boyd (Vladimir Nabokov: The American Years, p. 40) gives an 18 December date. (Boyd tells me that this is “less than robust”; it is the date of the novel’s first review, “by Nabokov’s friend Amy Kelly in the Wellesley College News”.) And one copy with the stamped publication date has, in addition, a handwritten “12/5/41”.

Of course, what really counts as a publication date is when the book is offered for sale before the public (as Carter points out in his clear-headed ABC for Book Collectors). I don’t yet know exactly when TRLoSK was placed on sale, probably sometime in the first half of December. Until I turn up clear evidence (ads, publisher’s records), I am going to stand consistent and stick with the date I used in my bibliography: 6 December 1941.

Bindings, Labels, and Dust Jackets

Back to bindings, labels, and dust jackets. They come in a triplet of pairs.

The Real Life of Sebastian Knight, short-line label

The Real Life of Sebastian Knight, rough cloth with short-line label

The Real Life of Sebastian Knight, long-line label

The Real Life of Sebastian Knight, smooth cloth with long-line label

BINDINGS: Rough cloth or smooth cloth. Well-known and very clear differences, here shown with labels and their measurements.

The Real Life of Sebastian Knight, short-line label

The Real Life of Sebastian Knight, detail of short-line (2.7 cm) label

The Real Life of Sebastian Knight, long-line label

The Real Life of Sebastian Knight, detail of long-line (3.0 cm) label

LABELS: Short line or long line. The two different front-cover labels are physically the same size, 6.1 X 5.8 cm. The leafy borders are also the same size, 5.0 X 4.5 cm. But the text lines are different lengths. One is about 2.7 cm. long, the other about 3.0 cm. In fact, a close examination shows that the fonts used on the two labels are slightly different. In particular, look at each “a”, “e”, “i”, “g”, “R”, and “s”.

The Real Life of Sebastian Knight, dust jacket, front, “Nabokov” variant

The Real Life of Sebastian Knight, dust jacket, front, “Nabokov” variant

The Real Life of Sebastian Knight, dust jacket, front, “Nabokoff” variant

The Real Life of Sebastian Knight, dust jacket, front, “Nabokoff” variant

DUST JACKETS: “Nabokov” spelling or “Nabokoff” spelling. One variant dust jacket has the author’s name spelled “Nabokov” throughout, his first name spelled “Vladimir” at the top of the front flap, and the small heading “Other New Directions Books” on the back flap. The other variant has “Nabokoff” throughout, his first name misspelled “Valdimir” on the front flap, and the small heading on the back flap is “NEW DIRECTIONS FICTION”.

We know from the publisher’s records that New Directions printed 1500 copies of TRLoSK in 1941, but bound only 749 for distribution at that time. The balance of the printing was put into a warehouse and only bound and issued for sale in 1945. That is why all binding variations of TRLoSK are exactly the same internally with VN’s name spelled “Nabokov” on the title page. All evidence points to the first issue being bound in the rough red cloth and the second being in the smooth red cloth.

I have found so far that all paper labels spell the author as “Nabokov”. But the short-line labels appear only on the first issue. A mixture of labels with the two different line lengths appears indiscriminately on the second issue. In addition, I have found that the initial binding in the rough cloth is always wrapped with a “Nabokov” dust jacket. But only in the second binding in smooth cloth does the spelling “Nabokoff” appear on some dust jackets.

What does this mean? The fact that Nabokov’s name is often spelled in English with an “ff” before the 1940s (on the 1936 John Long Camera Obscura and the 1937 John Long  Despair as “Nabokoff-Sirin”, on the 1938 Bobbs-Merrill Laughter in the Dark) and consistently with a “v” beginning sometime in the 1940s implies that the first designed and printed dust jacket was probably the one with the “ff” and the misspelled first name on the front flap. But the first issued dust jacket was the one with the “v”. Did the publisher first have the “ff” jacket printed, pick up on the mistake, put it aside, redesign and print the “v” jacket, and use it for the first issue? And then during the second issue four years later, did the publisher instruct the binder to use the “ff” and the “v” jackets indiscriminately? That’s one possibility.

In summary, these are the observed combinations:

  • Rough cloth, short-line labels, “Nabokov” author, ( with a stamped publication date on some copies).
  • Smooth cloth, short-line labels, “Nabokov” author.
  • Smooth cloth, short-line labels, “Nabokoff” author.
  • Smooth cloth, long-line labels, “Nabokov” author.
  • Smooth cloth, long-line labels, “Nabokoff” author.

These are the priorities of issuance:

  • Rough cloth over smooth.
  • Short-line labels over long.
  • “Nabokov” over “Nabokoff”.

And these are the conclusions:

  • Original printing: 1500 copies printed by the Walpole Printing Office, Mount Vernon, NY in November 1941.
  • First issue: December 1941.
    • Binding: 749 copies in red, rough burlap cloth.
    • Labels on cover and spine: short-line.
    • Dust jacket: author’s name spelled “Nabokov”.
    • (Publication date stamp on a small number of review copies.)
  • Second issue: April 1945. Binding: 751 copies in smooth red cloth.
    • First variant –
      • Labels on cover and spine: short-line.
      • Dust jacket: author’s name spelled “Nabokov”.
    • Second variant –
      • Labels on cover and spine: short-line.
      • Dust jacket: author’s name spelled “Nabokoff” (and the author’s first name on the front flap spelled “Valdimir”).
    • Third variant –
      • Labels on cover and spine: long-line.
      • Dust jacket: author’s name spelled “Nabokov”.
    • Fourth variant –
      • Labels on cover and spine: long-line.
      • Dust jacket: author’s name spelled “Nabokoff” (and the author’s first name on the front flap spelled “Valdimir”).

Copies of TRLoSK in both bindings are relatively easy to come by. But copies with either dust jacket are much harder to find and dearer to buy.

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Playboy wins. VN’s old stomping ground, the first serial-rights publisher of many of his works, has this time acquired the first serial rights to The Original of Laura. The news was detailed yesterday in The New York Observer.

Knopf will publish the full work in November, on either the 3rd or the 17th, depending on your source. The New Yorker, another magazine VN had a long relationship with, was expected to grab the rights. But, according to the Observer story, the magazine’s fiction department turned it down. I suspect that Andrew Wylie, Nabokov’s agent, was asking for too much money. Or they didn’t want to publish such a fragmentary work as TOoL certainly is. Remember that the novel is subtitled “A novel in fragments”.

The most interesting part of the Observer story is the fact that Playboy plans to run the excerpt in its December issue—which would hit the stands on 10 November, a week before Knopf issues its book—to the length of 5000 words. That’s a big chunk—half of the 10,000-word manuscript.

Mixed in with those 10,000 words are emendations in brackets by the transcribers of the cards, annotations by VN, and notes by his son Dmitri. Of the 138 cards on which VN composed the fragments of his novel, 63 are marked as the first five chapters (Ch. 1, cards 1-20; Ch. 2, 21-38; Ch. 3, 39-49; Ch.4, 50-53; Ch. 5, 54-63). Cards 64-78 and 79-87 are provisionally noted as chapters 6 and 7. Cards 88-92 are headed (by VN? by an editor?) “Medical Intermezzo”. And there is a “[Last Chapter]” comprising cards 93-138. However, after the first two cards of the “Medical Intermezzo” (88 and 89), a provisional ending, based on VN’s annotations, has been constructed from cards 93-94 and 112-114. Apparently because VN annotated cards 112-114 with the letter Z,  it is called chapter 26.

It is clear that TOoL is truly “a novel in fragments”. And the fragments contain only eight chapters (plus an intermezzo) of the supposed 26 chapters of the fully-imagined novel. This assumes, of course, that I haven’t missed the train that this project is travelling on and that the elements I describe haven’t been changed by the editors.

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The Original of Laura cover design

The Original of Laura cover design

Knopf has unveiled an outstanding cover for the forthcoming posthumous publication of VN’s The Original of Laura in November. The website doesn’t mention the designer.

Besides the hardcover version, there will a library edition with “nonremovable cards”. That means that the trade edition will include index cards of the printed text in the way VN wrote his later works, or the cards will be facsimiles of the originals. Knopf is also issuing an “eBook” version. Amazon.com says that the book is so far not available for its Kindle reader. I assume this means it will be available for the Sony Reader.

The Knopf website, possibly mistakenly, states that the the trade hardcover and the eBook will be issued on 17 November this year but that the library binding will be issued on 3 November, the date the publisher originally gave and the date that amazon.com still has.

The latest details:

  • Trade hardcover, 288 pages, on sale 17 November 2009, $35.00, ISBN 978-0-307-27189-1 (0-307-27189-7).
  • eBook, 288 pages, on sale 17 November 2009, $35.00, ISBN 978-0-307-27325-3 (0-307-27325-3).
  • Library edition with nonremovable cards, 288 pages, on sale 3 November 2009, ISBN 978-0-307-59275-0 (0-307-59275-8).

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To continue my 2008 bibliography, here are books written by VN in Russian and issued in Russian in 2008:

Lolita, Azbuka, 2008

Lolita, Azbuka, 2008, boards

Лолита [Lolita], Санкт-Петербург [Sankt-Peterburg]: Азбука-Классика [Azbuka-Klassika], 2008. In pictorial boards. ISBN 978-5-91181-560-8.

Lolita, Azbuka, 2008

Lolita, Azbuka, 2008, wrappers

Лолита [Lolita], Санкт-Петербург [Sankt-Peterburg]: Азбука-Классика [Azbuka-Klassika], 2008. In wrappers. ISBN 978-5-395-00016-3.
Image not yet available Лолита [Lolita], Москва [Moskva/Moscow]: Деич [Deich], 2008. In leather + box. ISBN 978-5-98691-042-0.

The eye, Azbuka, 2008

The Eye, Azbuka, 2008

Соглядатаи [Sogliadatai/The eye], Санкт-Петербург [Sankt-Peterburg]: Азбука-Классика [Azbuka-Klassika], 2008. In pictorial boards. ISBN 978-5-91181-715-2.

Tragediia gospodina Morna, Azbuka, 2009

The Tragedy of Mr. Morn, Azbuka, 2008

Трагедия господина Морна. Пьесы. Лектсии о драме [Tragediia gospodina Morna. P’esy. Lektsii o drame/The tragedy of Mr. Morn. Plays. Lectures on drama], Санкт-Петербург [Sankt-Peterburg]: Азбука-Классика [Azbuka-Klassika], 2008. In cloth + dj. ISBN 978-5-91181-768-8.

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To harken back to my very first posting on 15 March, “O Digital VN, Where Art Thou?”, here is a story from the Associated Press, “’Harry Potter’ Among Those Missing From E-Library”, about “e-books” and why many authors are not available in digital format. If you blink, you may miss the mention, in the seventh paragraph, of Lolita among the missing.

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At the request of a reader, I’m adding two other Ardis publications to my list from 14 April. I didn’t include them originally because they are not directly works by VN but translations by others.

Pnin
Пнин. First Russian translation by Genadii Barabtarlo with the participation of Véra Nabokov.
First printing, issue a, 1983. Trade wrappers in Russian.
First printing, issue b, 1983. Trade hardcover in Russian.

Pale Fire
Бледный огонь
. First Russian translation by Véra Nabokov.
First printing, issue a, 1983. Trade wrappers in Russian.
First printing, issue b, 1983. Trade hardcover in Russian.

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Gingko Press, the small publisher that issued Jean Holabird’s VN-inspired illustrations on synesthesia in Alphabet in Color (2006), is planning a new VN-related title. It is a so-called “facsimile” edition of John Shade’s note-card manuscript for Pale Fire, with introductory essays by R.S. Gwynn and Brian Boyd. (See NABOKV-L, 23 April.) “The book is currently in the design stage”, a Gingko representative says. He reports no title or tentative publication date yet.

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