This is a very good biography indeed - thorough, compassionate, refreshingly unreverential. Is it, on the other hand, necessary? Any literary biographer must proceed on the assumption that the life gives us the work, yet Nabokov's scorn for this way of thinking was proverbial. The butterflies of his art were always flying free of the dingy Continental hotel rooms in which they happened to have had their pupation. So what exactly do we learn about the butterfly darting out of the window when we learn the name of the pension, the name of the landlady or the floor the window was on - the humdrum specimens that end up in the nets of the harmless drudges of biography? The best that a biographer can do is to demonstrate the unheroic reality - those mean Berlin rooms, the absurd, forgotten émigré cabals - that Nabokov's art managed to transcend.

LRB 20 December 1990 | PDF Download