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Bend Sinister (Vintage International) ペーパーバック – 1990/4/14

英語版 Vladimir Nabokov (著)
4.2 5つ星のうち4.2 133個の評価
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The first novel Nabokov wrote while living in America and the most overtly political novel he ever wrote, Bend Sinister is a modern classic.  While it is filled with veiled puns and characteristically delightful wordplay, it is, first and foremost, a haunting and compelling narrative about a civilized man caught in the tyranny of a police state.

Professor Adam Krug, the country's foremost philosopher, offers the only hope of resistance to Paduk, dictator and leader of the Party of the Average Man.  In a folly of bureaucratic bungling and ineptitude, the government attempts to co-opt Krug's support in order to validate the new regime.
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  1. ISBN-10
    0679727272
  2. ISBN-13
    978-0679727279
  3. 版
    Reissue
  4. 出版社
    Vintage
  5. 発売日
    1990/4/14
  6. 言語
    英語
  7. 寸法
    13 x 1.42 x 20.27 cm
  8. 本の長さ
    272ページ
  9. すべての詳細を表示
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著者について

VLADIMIR VLADIMIROVICH NABOKOV was born on April 23, 1899, in St. Petersburg, Russia. The Nabokovs were known for their high culture and commitment to public service, and the elder Nabokov was an outspoken opponent of antisemitism and one of the leaders of the opposition party, the Kadets. In 1919, following the Bolshevik revolution, he took his family into exile. Four years later he was shot and killed at a political rally in Berlin while trying to shield the speaker from right-wing assassins.

The Nabokov household was trilingual, and as a child Nabokov was already reading Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Tolstoy, and Chekhov, alongside the popular entertainments of Sir Arthur Conan Doyle and Jules Verne. As a young man, he studied Slavic and romance languages at Trinity College, Cambridge, taking his honors degree in 1922. For the next eighteen years he lived in Berlin and Paris, writing prolifically in Russian under the pseudonym Sirin and supporting himself through translations, lessons in English and tennis, and by composing the first crossword puzzles in Russian. In 1925 he married Vera Slonim, with whom he had one child, a son, Dmitri.

Having already fled Russia and Germany, Nabokov became a refugee once more in 1940, when he was forced to leave France for the United States. There he taught at Wellesley, Harvard, and Cornell. He also gave up writing in Russian and began composing fiction in English. In his afterword to Lolita he claimed: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian tongue for a second-rate brand of English, devoid of any of those apparatuses--the baffling mirror, the black velvet backdrop, the implied associations and traditions--which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way." [p. 317] Yet Nabokov's American period saw the creation of what are arguably his greatest works, Bend Sinister (1947), Lolita (1955), Pnin (1957), and Pale Fire (1962), as well as the translation of his earlier Russian novels into English. He also undertook English translations of works by Lermontov and Pushkin and wrote several books of criticism. Vladimir Nabokov died in Montreux, Switzerland, in 1977.

登録情報

  • 出版社 ‏ : ‎ Vintage; Reissue版 (1990/4/14)
  • 発売日 ‏ : ‎ 1990/4/14
  • 言語 ‏ : ‎ 英語
  • ペーパーバック ‏ : ‎ 272ページ
  • ISBN-10 ‏ : ‎ 0679727272
  • ISBN-13 ‏ : ‎ 978-0679727279
  • 寸法 ‏ : ‎ 13 x 1.42 x 20.27 cm
  • カスタマーレビュー:
    4.2 5つ星のうち4.2 133個の評価

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D. Morris
5つ星のうち5.0 A perfect portrait of the banality of evil
2020年9月6日に英国でレビュー済み
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You know when you're in the presence of genius, and Nabokov never disappoints. It's hard to say much about this without giving the game away, but let me see... The story concerns Adam Krug, whose wife dies just as a totalitarian party is taking charge of the state. Krug was at school with the new dictator, and they have a complex bully/victim relationship - at least, complex from the dictator's point of view. Distracted by grief, Krug sees the new regime as clearly absurd, and the black comedic tone may blind him and us to -

But there, you see I can't reveal more. This is a journey you have to take yourself. It's a perfect portrait of the banality of evil, it's beautifully written, the characters really matter (oh my, do they matter!) and Nabokov even manages to pull off a few metafictional passages that, in any other hands, would crack the whole edifice, but here they come across as essential rather than mere trickery. Read it to see what literature can be.
2人のお客様がこれが役に立ったと考えています
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Gio
5つ星のうち5.0 Curlicue Oblique
2008年9月7日にアメリカ合衆国でレビュー済み
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A more masterfully oblique narrative structure than what Nabokov accomplishes in Bend Sinister would be hard to imagine, short of James Joyce. Don't let that comparison scare you off, however! For all its complexity, Bend Sinister is thrillingly immediate and engrossing, a "page turner" rather than a foot-note finder.

Embedded in the wild allusions and tipsy imagery of Nabokov's hyper-English, there's a heart-stopping narrative, the story of Adam Krug, an intellectual grizzly of a man, whose wife has just died and who struggles to rescue himself from mental and his son from actual catastrophe. That personal drama unfolds within the larger struggle of Krug, the man of genius, to maintain his detachment from the tyranny of "mass man" established in his fictional country by his abominable former schoolmate, Paduk the Toad. Paduk's overweening urge is to suborn Krug to his will, and for a creature of the lowest cunning, Paduk has resources of nearly comic-book unreality. Krug's resistance, morally superior at every point, curlicues ever deeper into nightmarish negation.

It's inexplicable to me what a leap of levels of magnitude Nabokov's sheer stylistic mastery took, from his very fine novels in Russian to his incomparable novels in English. Bend Sinister was his first novel published in America after six years of residence. Shall we just proclaim that the wealth of literary resources of the English language offered Nabokov a richer medium? That sounds like chauvinism, but how else can such a transformation be explained?

The narration of Bend Sinister occurs in a "no one else's land" tilting between stream-of-consciousness and the Omniscient Narrator, with the changes of voice craftily muted until the very final chapter, when the 'author' reveals his omnipotence. Krug's streaming consciousness shifts without warning from wakeful planning to fateful dreaming, and within the surreality of Paduk's tyranny it's nearly impossible to delimit real horrors amid unimaginable villainies. Odd intrusions of Slavic and Germanic languages (in parentheses) intensify this obliquity of narrative, as if the "author" feels compelled to translate Krug's imagery back into his proper linguistic cognition. As the action-drama of Krug's struggle to save his son slithers into hideous sadism, the competing languages lose their boundaries in a parenthetical chaos. And then our "author" mercifully intervenes... from the sensory devastation of Krug's mind we slip into the polished poetry of the author's, at his writing table, playing with a moth.

Bend Sinister has been taken to be Nabokov's "most overtly political" novel, his expression of protest against the Soviet Communist ruination of the Russia from which he fled. And perhaps that is what Nabokov had in mind. The portrayal of the Toad's inept yet overwhelming misrule, however, isn't nearly as specific to Stalinist Russia as the details of the imaginary setting suggest. The actual conduct of the Toad's toadies reminds me more of Nero, Idi Amin, or Pinochet. or any mad demagogue that has the whole life of his people in his fists for whatever reason. There's an unsatisfactory tinge of superman-worship in Nabokov's political philosophy, reminiscent of Nietzsche, Ibsen, Ouspensky, GB Shaw, Ayn Rand - that is, the fear of the exceptional man being crushed by the mass man. Paduk's organ is his Party of the Average man, and Krug refuses to be average. Communist Russia's catastrophe, I submit, was not the crushing of the exceptional man by the average, but just the opposite, the crushing and cruel exploitation of the ordinary people by an elite of extraordinary b_st_rds, proclaiming hypocritical ideals. The 'Vanguard of the Proletariat" is surely the most elitist notion ever propounded.

Here's an interesting passage from Krug's self-imaginings:
"The trouble with Krug, thought Krug, was tha for long summer years and with enormous success he had delicately taken apart the systems of others and had acquired thereby a reputation for an impish sense of humour and delightful common sense whereas in fact he was a big sad hog of a man and the 'common sense' affair had turned out to be the gradual digging of a pit to accomodate pure smiling madness.... so that he finally began regarding himself (robust rude Krug) as an illusion or rather as a shareholder in an illusion which was highly appreciated by a great number of cultured people..."
Self and the illusion of self, the doubling of consciousness, the watcher watching himself being watched -- such recurrent themes in Nabokov's books. With the boundaries between Krug and his Imaginer so deftly smudged, shouldn't we be tempted to take this passage as a confession?

It's the language, the symphonic glory of imagery and allusion, that in the end makes everything Nabokov wrote so absorbing, despite any bizarre characterization and/or appalling subject matter. I've often puzzled over Nabokov's notorious inability to appreciate music, to hear music as anything more than annoying noise. I think it was because he was unable to stop the flow of words in his mind, to hear without thinking and feeling in words. Perhaps that was what made him the writer he was, that every perceptual cranny of his mind was stuffed with words. And perhaps the ability to hear without words or see without words makes some people musicians or painters.

Bend Sinister is a very great novel, not just because it opens the gate to Nabokov's literary estate, but in its own right. It's easier to love than Lolita, and easier to grasp than Pale Fire. If you haven't yet become an admirer, this might be the best possible book to read first. If you love later Nabokov, you'll be astonished at how fully developed his art was already in his first American novel.
1人のお客様がこれが役に立ったと考えています
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Amazon Customer
5つ星のうち4.0 Worth the read
2024年3月20日にアメリカ合衆国でレビュー済み
Amazonで購入
Worth the read - but not his best work
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Black Glove
5つ星のうち4.0 Bendy
2023年9月22日に英国でレビュー済み
Amazonで購入
Nabokov’s nuanced dystopian novel follows eminent philosopher Krug.
A classmate from his school days has risen to political power with the ‘Party of the Average Man’.
Krug wants nothing to do with this totalitarian/utopian regime, yet he is pursued by its leader. Basically it’s ‘side with us or else’.
Henchmen of the Party do something drastic which leads to a truly terrible outcome.
The Party of The Average Man is run by average men, average sinister men, and their ineptitude results in further appalling errors.
By the end, so overwhelmed with compassion for Krug and disdain for The Party, Nabokov almost flames the whole text.
A few times I nearly dropped out, but the darkly surreal overtones kept me in there.
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John Ledingham
5つ星のうち4.0 funny dystopia
2019年3月1日にカナダでレビュー済み
Amazonで購入
nabokov fears a majority of philosophical zombies redistributing his consciousness
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