From the contents: Memory and dream in Nabokov's short fiction (B. Wyllie). - Nabokov's approach to the supernatural in the early stories (J.W. Connoly). - Nabokov's Christmas stories (R.H.W. Dillard). - Art and marriage in Vladimir Nabokov's Music and in Lev Tolstoy's The Kreutzer sonata (N.W. Balestrini). - How they brought the bad news to Mints: Breaking the news (S.G. Kellman). - Alone in the void: Mademoiselle O (J.E. Rivers). - Nabokov's Vasily Shishkov: an author-text interpretation (M.D. Shrayer). - Ville scripts: games of double-crossing in Vladimir Nabokov's The assistant producer (C. Moraru).

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1973.

Since its first publication in 1948, one of Vladimir Nabokov's shortest short stories, "Signs and Symbols," has generated perhaps more interpretations and critical appraisal than any other that he wrote. It has been called "one of the greatest short stories ever written" and "a triumph of economy and force, minute realism and shimmering mystery" (Brian Boyd, Vladimir Nabokov: The American Years). Anatomy of a Short Story contains: • the full text of "Signs and Symbols," line numbered and referenced throughout • correspondence about the story, most of it never before published, between Nabokov and the editor of The New Yorker, where the story was first published • 33 essays of literary criticism, bringing together classic essays and new interpretations • a round-table discussion in which a screenwriter, a theater scholar, a mathematician, a psychiatrist, and a literary scholar bring their perspectives to bear on "Signs and Symbols" Anatomy of a Short Story illuminates the ways in which we interpret fiction, and the short story in particular.

Esteemed critic Blanche Gelfant's brilliant companion gathers together lucid essays on major writers and themes by some of the best literary critics in the United States. Part 1 is comprised of articles on stories that share a particular theme, such as "Working Class Stories" or "Gay and Lesbian Stories." The heart of the book, however, lies in Part 2, which contains more than one hundred pieces on individual writers and their work, including Fitzgerald, Hemingway, Richard Ford, Raymond Carver, Eudora Welty, Andre Debus, Zora Neal Hurston, Anne Beattie, Bharati Mukherjee, J. D. Salinger, and Jamaica Kincaid, as well as engaging pieces on the promising new writers to come on the scene.

Morris re-evaluates Nabokov's poetry and demonstrates that poetry was in fact central to his identity as an author and was the source of his distinctive authorial - lyric - voice.

Nabokov’s distinguished and unique position in American literature has always been indisputable, but paradoxical. There has always been an element of foreignness in his writing. Nabokov’s Palace, however, aims to discover those sub-texts and inter-textual patterns embedded in Nabokov’s American novels which undeniably contribute towards making these works an integral part of the Anglo-American literary tradition. Aware of this tradition, in some of his late novels Nabokov also provides a literary historical overview of particular themes, such as friendship, melancholy, madness and trance, as they surfaced in literary texts throughout the history of English and American literature. To Nabokov “aesthetic bliss” meant “a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm.” Most of Nabokov’s American novels express—through different elaborate literary structures, themes, motifs and metaphors—these “other states of being” where the “fantastic recurrence” of literary situations and communion with dead poets and writers (Poe, Shakespeare, Hawthorne and Melville, among many others) becomes possible. The American “reality” that some readers miss in his writings (with the exception of Lolita) and the absence of which questions whether Nabokov truly belongs to the Anglo-American tradition, is clearly to be found in the “wayside murmur” of the allusive sub-texts. Nabokov’s Palace is thus recommended for scholars, students and devotees of Nabokov’s fiction who wish to make further discoveries in the distinct “otherworld” of Art in Nabokov’s American novels.

San Antonio is often described as the “mother” of Texas cities—the oldest and, for two and a half centuries, the largest city in Texas. To many it is, as novelist Larry McMurtry once famously proclaimed, “the one truly lovely city in the state.” Long recognized as a cultural crossroads between two continents, writers in San Antonio, both native and visiting, have had a significant effect upon the city’s literary and cultural landscape. Novels were being written in the city by the late 1830s. Nineteenth century writers like Frederick Law Olmsted, Sydney Lanier, and O. Henry wrote effusively about San Antonio; Oscar Wilde found here “a thrill of strange pleasure.” Here the Mexican Revolution was called into being, and here were the political and literary origins of the Chicano Movement. Literary San Antonio provides dozens of examples of the interplay and cross-pollination of Anglo and Latino literary forms, ideas, and traditions that led to the creation of a unique borderlands or frontera literature. This city, with its winding, still-sleepy river and its story-shrouded springs; its ancient acequias and missions, now acknowledged as valued “world heritage” sites; its sacred battle grounds and historic military forts and bases; its several unique neighborhoods and barrios that have produced and been celebrated by generations of writers; its rich heritage of heroism and revolutionary passion; its endlessly celebratory ability to revel in its multiracial, multiethnic, multilingual roots and branches . . . this city is a good place to write, to write about, and to wander with a book in hand.

The Drowned Muse is a study of the extraordinary destiny, in the history of European culture, of an object which could seem, at first glance, quite ordinary in the history of European culture. It tells the story of a mask, the cast of a young girl's face entitled "L'Inconnue de la Seine" (the Unknown Woman of the Seine), and its subsequent metamorphoses as a cultural figure. Legend has it that the "Inconnue" drowned herself in Paris at the end of the nineteenth century. The forensic scientist tending to her unidentified corpse at the Paris Morgue was supposedly so struck by her allure that he captured in plaster the contours of her face. This unknown girl, also called "The Mona Lisa of Suicide," has since become the object of an obsessive interest that started in the late 1890s, reached its peak in the 1930s, and continues to reverberate today. Aby Warburg defines art history as "a ghost story for grown-ups." This study is simlarly "a ghost story for grown-ups," narrating the aura of a cultural object that crosses temporal, geographical, and linguistic frontiers. It views the "Inconnue" as a symptomatic expression of a modern world haunted by the earlier modernity of the nineteenth century. It also investigates how the mask's metamorphoses reflect major shifts in the cultural history of the last two centuries, approaching the "Iconnue" as an entry point to understand a phenomenon characteristic of 20th- and 21st-century modernity: the translatability of media. Doing so, this study mobilizes discourses surrounding the "Inconnue," casting them as points of negotiation through which we may consider the modern age.

Long recognized as a timeless comic masterpiece--it inspired a Mel Brooks film a half century after its publication--The Twelve Chairs appears now in a lively new translation by Anne O. Fisher. Fisher, the most gifted interpreter of Ilf and Petrov in the English language, balances fidelity to the text and the authors' characteristic, deeply resonant humor.