Some people — and I am one of them — hate happy ends. We feel cheated. Harm is the norm. Doom should not jam. The avalanche stopping in its tracks a … - Vladimir Nabokov

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Engraved portrait of Vladimir Nabokov, facing left

Some people — and I am one of them — hate happy ends. We feel cheated. Harm is the norm. Doom should not jam. The avalanche stopping in its tracks a few feet above the cowering village behaves not only unnaturally but unethically.

English
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About Vladimir Nabokov

Vladimir Vladimirovich Nabokov (22 April (O.S. 10 April) 1899 – 2 July 1977) was a Russian-American writer. He wrote his first literary works in Russian, but gained international prominence as a masterly prose stylist for the novels he composed in English; his Lolita (1955) is frequently cited as one of the most important novels of the 20th century.

Biography information from Wikiquote · Portrait adapted from Wikimedia Commons, Walter Mori (Mondadori Publishers) (Public domain / CC0)

Also Known As

Pen Names: ვლადიმერ სირინი Vladimir Sirin Владимир Сирин
Native Name: Владимир Владимирович Набоков
Alternative Names: Vladimir Vladimirovich Nabokov Vl. Sirin Wladimir Nabokoff-Sirin V. Sirin Nabokov

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Additional quotes by Vladimir Nabokov

Speaking of novels,’ I said, ‘you remember we decided once, you, your husband and I, that Proust’s rough masterpiece was a huge, ghoulish fairy tale, an asparagus dream, totally unconnected with any possible people in any historical France, a sexual travestissement and a colossal farce, the vocabulary of genius and its poetry, but no more, impossibly rude hostesses, please let me speak, and even ruder guests, mechanical Dostoevskian rows and Tolstoian nuances of snobbishness repeated and expanded to an unsufferable length, adorable seascapes, melting avenues, no, do not interrupt me, light and shade effects rivaling those of the greatest English poets, a flora of metaphors, described — by Cocteau, I think — as “a mirage of suspended gardens,” and, I have not yet finished, an absurd, rubber-and-wire romance between a blond young blackguard (the fictitious Marcel), and an improbable jeune fille who has a pasted-on bosom, Vronski’s (and Lyovin’s) thick neck, and a cupid’s buttocks for cheeks; but — and now let me finish sweetly — we were wrong, Sybil, we were wrong in denying our little beau ténébreux the capacity of evoking “human interest”: it is there, it is there — maybe a rather eighteenth-centuryish, or even seventeenth-centuryish, brand, but it is there. Please, dip or redip, spider, into this book [offering it], you will find a pretty marker in it bought in France, I want John to keep it. Au revoir, Sybil, I must go now. I think my telephone is ringing.

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I looked and looked at her, and I knew, as clearly as I know that I will die, that I loved her more than anything I had ever seen or imagined on earth. She was only the dead-leaf echo of the nymphet from long ago - but I loved her, this Lolita, pale and polluted and big with another man's child. She could fade and wither - I didn't care. I would still go mad with tenderness at the mere sight of her face.

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