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Speak, Memory: An Autobiography Revisited (Penguin Modern Classics) by [Nabokov, Vladimir]
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Speak, Memory: An Autobiography Revisited (Penguin Modern Classics) Kindle Edition

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Kindle Edition, 6 Sep 2012
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Length: 403 pages Word Wise: Enabled Enhanced Typesetting: Enabled
Page Flip: Enabled Language: English

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Product Description

'Speak, memory', said Vladimir Nabokov. And immediately there came flooding back to him a host of enchanting recollections - of his comfortable childhood and adolescence, of his rich, liberal-minded father, his beautiful mother, an army of relations and family hangers-on and of grand old houses in St Petersburg and the surrounding countryside in pre-Revolutionary Russia. Young love, butterflies, tutors and a multitude of other themes thread together to weave an autobiography, which is itself a work of art.

Part of a major new series of the works of Vladimir Nabokov, author of Lolita and Pale Fire, in Penguin Classics.

Product details

  • Format: Kindle Edition
  • File Size: 3156 KB
  • Print Length: 403 pages
  • Page Numbers Source ISBN: 0375405534
  • Publisher: Penguin; New Ed edition (6 September 2012)
  • Sold by: Penguin UK
  • Language: English
  • ISBN-10: 0141183225
  • ISBN-13: 978-0141183220
  • ASIN: B008LUVO1A
  • Text-to-Speech: Enabled
  • X-Ray:
  • Word Wise: Enabled
  • Screen Reader: Supported
  • Enhanced Typesetting: Enabled
  • Average Customer Review: Be the first to review this item
  • Amazon Bestsellers Rank: #39,466 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

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Most Helpful Customer Reviews on (beta) (May include reviews from Early Reviewer Rewards Program) 4.3 out of 5 stars 127 reviews
4 of 4 people found the following review helpful
5.0 out of 5 stars Politically Incorrect with Underlying Humane Truths 12 January 2016
By David Warren - Published on
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Nabokov is a "genius." This book is his self-justification: charming, sly, impeccable without being sterile. One learns in it that the Russian aristocracy was both humane and quirky. The Revolution was a regrettable disaster. The victims did NOT have it coming to them. They were such delightful and eccentric characters that they could not have seriously oppressed anyone. And their tastes were also admirable. Of course, anyone's relatives deserve kid glove treatment. Nabokov provides it for his family. But there is so much underlying truth in this memoir that the blind spots are worth overlooking to enjoy the elegance and charm of the prose and of the writer.
1 of 1 people found the following review helpful
5.0 out of 5 stars God, could this guy write! 8 September 2016
By Stephen Smith - Published on
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The finest writing in English by an ESL writer that I have ever had the pleasure of reading (Nabokov learned to write in English before he learned to write in Russian). Kinda makes Joseph Conrad look like a kindergartner. Nabokov uses words I have never heard before (much less seen), and many phrases in Russian or French, but his writing is utterly unpretentious. His word choices are made with well-educated precision and his descriptions of life in pre-Bolshevik Russia are vivid and moving. (Makes me wonder what that country might have been like if it weren't for the heinous predations of Lenin, Stalin and the Soviets.) If you liked Clifton Webb's Waldo Lydecker ("Laura," 1944), you'll love Nabokov's voice here. Of course, there is no plot, per se; it's an autobiography. But if you thought "Lolita" was over-rated, give this slim volume a whirl.
3 of 3 people found the following review helpful
4.0 out of 5 stars An Annotated Review of the writing of Speak, Memory 14 September 2014
By Donovan - Published on
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An Annotation on the writing

Speak, Memory is a loose collection of correlated and somewhat chronological personal short story memoirs by Vladimir Nabokov. These cover approximately the first forty years of his life, though they mostly focus on his childhood years growing up in Russia and Europe. The fifteen chapters each stood on their own at one time or another, most published in popular magazines, including The Atlantic Monthly, The New Yorker, Partisan Review, and Harper’s Magazine, before they were brought together in this collection when he was in his late sixties. Many of these were translated and re-edited by Nabokov from stories he originally wrote in French or Russian and they were revisited again when published together in this format in 1967.

There were three areas that especially impacted me as a new writer. The memoir is rich in word choice and the images created in my head cemented his story in a memorable way. I loved the analogies Nabokov used to paint a picture of his early life. These original analogies brought his story to life in a fresh way. Finally, his use of leading comments to foreshadow future events was creative and impactful and I hope to replicate some of these techniques in my own stories.

The deep images where usually created with small powerful statements – demonstrating to me that with the right words you do not have to explain an entire backstory – the language itself will capture it without it the need for long descriptive paragraphs. One example was how he portrays his parents as having a deep love and respect for each other throughout the book. The sentence, “The double gleam on her fourth finger is two marriage rings – her own and my father’s, which, being too large for her, is fastened to hers by a bit of black thread” (50) speaks volumes, yet it is simple and powerful in its imagery. He does the same throughout the book when speaking of his father and their relationship of love and respect.

Nabokov’s use of original analogies is something I would love to do and it inspired me to begin thinking about analogies and writing them down, as I have a tendency to go to well-worn and overused analogies that have lost their original thought provoking power to native English speakers. One example in his introduction is when he informs us he will not be rehashing summaries of his novel in this book, stating, “I felt that the trouble of writing them had been enough and that they should remain in the first stomach.” (14); Other examples speak for themselves, “It was the primordial cave that lay behind the games I played when I was four.” (22); “To fix correctly, in terms of time, some of my childhood recollections, I have to go by comets and eclipses, as historians do when they tackle the fragments of a saga.” (25); “…by the time I was ten, nature had effaced with the thoroughness of a felt eraser wiping out a geometrical problem.” (40); “Not only were the kitchen and the servants’ hall never visited by my mother, but they stood as far removed from her consciousness as if they were the corresponding quarters in a hotel.” (45); “Apart from the lips, one of her chins, the smallest but true one, was the only mobile detail of her Buddha-like bulk.” (105); “The rain, which has been a mass of violently descending water wherein the trees writhed and rolled, was reduced all at once to oblique lines of silent gold breaking into short and long dashes against a background of subsiding vegetable agitation.” (216) “Seen through the carefully wiped lenses of time, the beauty of her face is as near and as glowing as ever.” (230); “Of the games I played at Cambridge, soccer has remained a wind-swept clearing in the middle of a rather muddled period.” (267); “Leftist groups of sparrows were holding loud morning sessions in lilacs and limes.” (295). His use of analogy is not exaggerated; instead it is simple and easy to follow and captures in a fresh way the moment he is trying to portray.

Lastly, I was impressed by his use of leading sentences foreshadowing events in a powerful and simple way. Some examples include; “But that was not yet the closest I got to feeding upon beauty.” (24); “The other police story involves a less dramatic masquerade.” (56); “…had I been a better crystal-gazer, I might have seen a room, people, lights, trees in the rain – a whole period of émigré life for which that ring was to pay.” (81) “…and ten years were to pass before a certain night in 1922, at a public lecture in Berlin, when my father shielded the lecturer from the bullets of two Russian Fascists...” (193)

As a memoirist, I took a number of other things from his writing, including the way he visualizes and describes events as young as four (31) and seven (53) without it feeling inauthentic to the reader; the way he jumps from memory to memory in each chapter and doesn’t follow a strict chronological sequence; and the way he goes deep when sharing his passions, including using the actual names of the butterflies he catches – give us detailed descriptions of the differences between an Oak Egger or Large Emerald butterfly or a Goat moth and a Silvius Skippe moth.

Lastly, his book is packed with memorable quotes and wisdom and I will end with some of those that jumped out at me.

“Our existence is but a brief crack of light between two eternities of darkness.” (19)
“To love with all one’s soul and leave the rest to fate, was the simple rule she heeded.” (40)
“One is always at home in one’s past…” (116)
“I discovered in nature the non-utilitarian delights that I sought in art. Both were a form of magic, both were a game of intricate enchantment and deception.” (125)
“…a person hoping to become a poet must have the capacity of thinking of several things at a time.” (218)
“I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. Let visitors trip. And the highest enjoyment of timelessness – in a landscape selected at random – is when I stand among rare butterflies…this is ecstasy, and behind the ecstasy is something else…It is like a momentary vacuum into which rushes all that I love. A sense of oneness with sun and stone. A thrill of gratitude to whom it may concern – to the contrapuntal genius of human fate or to tender ghosts humoring a lucky mortal.” (139)
2 of 2 people found the following review helpful
5.0 out of 5 stars Nabokov is more than Lolita 17 March 2015
By Nilla - Published on
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I mainly knew Nabokov through Lolita, a brilliant book, but came to realize that he was a much broader writer than just that book. This autobiography reads like a novel but with the kind of beautiful language you would expect from such an accomplished writer. HIs life is really interesting being of a wealthy Russian family going through the revolution and ending up pushed out and ruined. Still, his sense of beauty in life and human experience offers a lesson for all. This is a rich and detailed book with lovely writing, I highly recommend it, especially to those who appreciate Russian writers.
4 of 4 people found the following review helpful
5.0 out of 5 stars A masterpiece 10 May 2013
By Stebbo - Published on
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This is not only a prose masterpiece, it is a wise evocation of a lost world. Nabokov was not to know that the soviet system that destroyed that world would itself be destroyed by its own contradictions. But this is not an overtly political book, except in it's truly tragic portrayal of his own father's failures - a liberal awash in a sea of extremism who eventually died at the hands of an assassin.
Speak Memory is a stunning recreation of a very special childhood. But this book cannot be judged by its content, it is Nabokov's prose that elevates this work to the forefront of autobiographies.