Look at the Harlequins!

by Vladimir Nabokov

Book Overview

A dying man cautiously unravels the mysteries of memory and creation. Vadim is a Russian migr who, like Nabokov, is a novelist, poet and critic. There are threads linking the fictional hero with his... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 0679727280
• ISBN13: 9780679727286
• Release Date: June 1990
• Publisher: Knopf Doubleday Publishing Group
• Length: 272 Pages
• Weight: 0.45 lbs.
• Dimensions: 8.0" x 0.6" x 5.2"

Customer Reviews

Terrific Read

Most of the enjoyment with this book is the discovery of Nabokov's creation. Frankly, I suggest that you skip the reviews here, close your eyes for the moment and simply read the book - the same recommendation that I make for most of his books. Read the comments later. By the way, the novel has nothing to do with Harlequin romance novels - or maybe it does indirectly. Vladimir Nabokov (1899 to 1977) is a Russian born writer who went to Cambridge, then lived in western Europe, the US, and finally retired in Switzerland. He has a medium sized body of work with numerous novels, short works, and well known non-fiction. Most know him for his 1955 creation of Lolita, which he wrote and re-wrote for over twenty years before the final product. It was based on a real life French story, but set in America. He has 20 novels. Eleven of Nabokov's novels come from his early European period when he could write in many languages but he wrote his first 11 novels all in Russian. The present work is from his Swiss period, that is from his retirement years, written in English and one of his last novels. It was published in 1974. Without revealing too much about the plot, it is a story of a fictional Vadim Vadimovich who lived at the same time as the author and who has a life similar to the author including a love off butterflies, writing, and living in similar cities and towns. However, we must assume it is a work of fiction and leave if for the reader to discover the details. It is a very humorous and entertaining a book. I have read about half of his novels and thought it was excellent but a touch short of his best. It is a matter of taste, but I liked "King, Queen, Knave" and "Laughter in the Dark" as his best works, notwithstanding "Pale Fire" and "Lolita." It is an entertaining read but not his best work. Saying that, readers will be far from disappointed and there are many funny sections.

Metafictional Madness

Beginning with a list of the author's "other" books, which don't exist outside the distorted mirror world of what Nabakov calls "LATH" (as he acronymically pegs Look At The Harlequins! within that book's own text) is a wildly inventive metafiction in the bilingually verbose hyper-alliterative Nabokovian mold. We get splendid sentences here on the jeweled gift of selfhood giving reason to resist suicide from whatever facet, cranky meditations on the author's pederastic proclivities and ego, and, most brilliantly, strange slips down the semiotic slope into madness. In two or three places in this book we find ourselves in a meticulously rendered literary reality and then, through a process of what one might call overdescription as exquisite as it is subtle, we find that our narrator has lost contact with the very rich world he has created for us; there is also a (to me) fascinating motif of the author's self-analysis of a strange spatial or geographical malady: he cannot mentally reverse himself and return after picturing a scene in his mind's eye. (This perhaps is meant as a sly parallel to time's one-way flow: time, which via the magic of the book, as opposed to the temporal incarceration of life, can be reversed--a hint of a kind of "law of nature" that might apply to a "real" metafictional character.) And despite the hefty overlap of the life of the protagonist with that of Nabokov (e.g., he has English tutors, Russian aristocratic blood, contempt for psychoanalysts, and the like), this book is clearly metafiction. The protagonist here, as with the protagonists in Transparent Things and Lolita, is fascinated by butterflies but not an entomologist of Nabokov's caliber. What makes LATH different from the work of other authors of metafiction's alluringly magical, "self"-indulgent mode, depends on the previous richness Nabokov has built up in his fictions which, from the Russian-drafted Gift to Humbert Humbert in Lolita, *already* deal with a protagonist much like the author. Thus the slippage here is not dual, between the author and his protagonist, but "trial" (as one might say), between the author, his protagonist, and the lives of his other protagonists, memorably Humbert Humbert of Lolita. Nabokov is having sly taunts: not only at America's image of him as author of Lolita, but at himself for being too quick to disidentify from that potent catcher of words and nymphs,and finally perhas, at the ontological conceit of a fixed self that could be wholly either one or another. The protagonist here is a dialectical monster flitting between Nabokov and Humbert Humbert, a monster Nabokov himself capture's like a moth between LATH's pages. The last, and in some ways perhaps richest novel from a modern master.

Futility or triumph of fiction?

Nabokov can tear your brain apart with narrative. In nearly all of his works, and especially in Lolita and Pale Fire, he invites the reader to examine every word as a piece of the narrator, always insisting, "This is not me, and if you think it is, you're a dolt." What, then, are his determined doters supposed to think when finally confronted with Vadim Vadimovich, emigre-novelist, almost self-aware deranged fictional character, and butterfly-hater? God only knows. Obviously, he's not Vladimir Vladimirovich. He's something else. Maybe he is meant to be an inevitable distortion of Nabokov, but even that's questionable, as is everything in Nabokov's fiction.Here's a thought. Perhaps, as is (almost) evident in Transparent Things, Nabokov eventually became so intrigued by the idea of networks of perspectives in fiction (the perspective of the narrator interacting with that of the reader, and maybe just a tittle of his own), that he couldn't resist the idea of writing a novel from the perspective of a fictional fictional Nabokov. All fiction can be compared to the reflection of a painting in a puddle. Nabokov teaches us that the aesthetics of the puddle's ripples, manipulated by the right hands, can be as (nay, more!) breathtaking than those of the picture itself.

Look At the Harlequins! is an intricate house of mirrors.

Readers of much Nabokov should save this treat for last; this supposed autobiography by one "Vadim Vadimovich N." is a house of mirrors--is the main character really Nabokov? Or is he just someone with whom Nabokov is constantly embodied or misrepresented? Funny, witty, amazing--Look at the Harlequins! is material that plays with the jokes of Nabokov novels past, and rewards Nabokov fans with cameos by Lolita, Sebastian Knight, and many more. A must-read