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This, and much more, she accepted - for after all living did mean accepting the loss of one joy after another, not even joys in her case - mere possi… - Vladimir Nabokov
" "This, and much more, she accepted - for after all living did mean accepting
the loss of one joy after another, not even joys in her case - mere
possibilities of improvement. She thought of the endless waves of pain
that for some reason or other she and her husband had to endure; of the
invisible giants hurting her boy in some unimaginable fashion; of the
incalculable amount of tenderness contained in the world; of the fate of
this tenderness, which is either crushed, or wasted, or transformed into
madness; of neglected children humming to themselves in unswept corners;
of beautiful weeds that cannot hide from the farmer and helplessly have to
watch the shadow of his simian stoop leave mangled flowers in its wake, as
the monstrous darkness approaches.
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
Also Known As
Native Name:
Владимир Владимирович Набоков
Alternative Names:
Vladimir Vladimirovich Nabokov
•
Vladimir Sirin
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Vl. Sirin
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Wladimir Nabokoff-Sirin
•
V. Sirin
•
Nabokov
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Shorter versions of this quote
She thought (...) of the incalculable amount of tenderness contained in the world; of the fate of this tenderness, which is either crushed, or wasted, or transformed into madness; of neglected children humming to themselves in unswept corners; of beautiful weeds that cannot hide from the farmer and helplessly have to watch the shadow of his simian stoop leave mangled flowers in its wake, as the monstrous darkness approaches.
Additional quotes by Vladimir Nabokov
IN ANSWER TO THE QUESTION: WHAT SCENES ONE WOULD LIKE TO HAVE FILMED
Shakespeare in the part of the King's Ghost.
The beheading of Louis the Sixteenth, the drums drowning his speech on the scaffold.
Herman Melville at breakfast, feeling a sardine to his cat.
Poe's wedding.
Lewis Carroll's picnics.
The Russians leaving Alaska, delighted with the deal.
Shot of a seal applauding.
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I got out of the car and slammed its door. How matter-of-fact, how square that slam sounded in the void of the sunless day! Woof, commented the dog perfunctorily. I pressed the bell button, it vibrated through my whole system. Personne. Je resonne. Repersonne. From what depth this re-nonsense? Woof, said the dog. A rush and a shuffle, and woosh-woosh went the door.
Couple of inches taller. Pink-rimmed glasses. New, heaped-up hairdo, new ears. How simple! The moment, the death that I had kept conjuring up for three years was as simple as a bit of dry wood. She was frankly and hugely pregnant. Her head looked smaller (only two seconds had passed really, but let me give them as much wooden duration as life can stand), and her pale-freckled cheeks were hollowed, and her bare shins and arms had lost all their tan, so that the little hairs showed. She wore a brown, sleeveless felt dress and sloppy felt slippers.
'We-e-ell!' she exhaled after a pause with all the emphasis of wonder and welcome.
'Husband at home?' I croaked, fist in pocket.
I could not kill her, of course, as some have thought. You see I loved her. It was love at first sight, at last sight, at ever and ever sight.
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