they can beworked with extraordinary rapidity, especially if theyare combined with Dictation (see p. 69),

Russian-born American author Vladimir Nabokov (1899 - 1977) dictates from notecards while his wife Vera (nee Slonim, 1902 - 1991 types on a manual typewriter, Ithaca, New York, 1958. Carl Mydans / Getty Images

The New York Post took pains to observe that the author was accompanied to cocktails by “his wife, Véra, a slender, fair-skinned, white-haired woman in no way reminiscent of Lolita.” At that reception, as elsewhere, admirers told Véra that they had not expected Nabokov to show up with his wife of thirty-three years. “Yes,” she replied, smiling, unflappable. “It’s the main reason why I’m here.” At her side, her husband chuckled, joking that he had been tempted to hire a child escort for the occasion.

It was Graham Greene, naming “Lolita” among the three best books of 1955, in the London Sunday Times, who set the wheels in motion for American publication.

The timing was less than ideal. His previous works had all proved “dismal financial flops,” as he said in 1950. He had recently secured an appointment at Cornell University as an associate professor of Russian literature. For the first time in two decades, the couple found themselves in the neighborhood of financial security. If ever there had been a time when Mrs. Nabokov should have discouraged her husband from working on what seemed an unsellable manuscript, it was 1949.

(1962) Pale Fire

Pg… 61 Nabokov: Master of Versatility: The Author of Lolita is an Expert at Languages, Chess and Lepidoptera

Uladimir Nabokov Ithaca, New YorkDate taken:1958Photographer:Carl Mydans

Author Vladimir Nabokov's doodlings.Location:Ithaca, NY, USDate taken:September 1958Photographer:Carl Mydans

Author Vladimir Nabokov's researched materials on file cards for his book 'Lolita'.Location:Ithaca, NY, USDate taken:September 1958Photographer:Carl Mydans

Author Vladimir Nabokov at work, writing on index cards in his car.Location:Ithaca, NY, USDate taken:September 1958Photographer:Carl MydansSize:1280 x 889 pixels (17.8 x 12.3 inches)

Nabokov’s working notecards for “Lolita.”

You need structure. Index cards gave Nabokov a really powerful way to impose this structure because they created small, independent chunks of prose that he could bundle together into groups, like we saw in the box. This let him navigate his novel in progress quickly. He could just flip through those bundles, bundle by bundle, instead of card by card. He could also impose on and modify the structure of his novel just by shuffling those bundles around. So that's why Nabokov loved index cards for writing novels.

Pevear, especially, has read some of the theory about translation: Walter Benjamin, José Ortega y Gasset, Roman Jakobson, and, of course, Nabokov.

In a letter to the Times Book Review in November, 1971, Nabokov wrote, “I am aware that my former friend is in poor health but in the struggle between the dictates of compassion and those of personal honor the latter wins.”

Nabokov wrote his translation to inspire his reader to know the poem in Russian:It is hoped that my readers will be moved to learn Pushkin’s language and go through EO again without this crib. In art as in science there is no delight without the detail, and it is on details that I have tried to fix the reader’s attention. Let me repeat that unless these are thoroughly understood and remembered, all “general ideas” (so easily acquired, so profitably resold) must necessarily remain but worn passports allowing their bearers short cuts from one area of ignorance to another.

Pevear and Volokhonsky told me that they considered Nabokov’s “Onegin” one of the great triumphs of translation, even though it is nothing like their own work. Nabokov, who regarded “The Gift” and “Lolita” as his best novels, thought that his “Onegin” was perhaps the most important project of his life and, at the same time, like all translation, innately futile.

Dostoyevsky’s detractors have faulted him for erratic, even sloppy, prose and what Nabokov, the most famous of the un-fans, calls his “gothic rodomontade.”

On October 14, 1964, Vladimir Nabokov, a lifelong insomniac, began a curious experiment. Over the next eighty days, immediately upon waking, he wrote down his dreams, following the instructions he found in An Experiment with Time by the British philosopher John Dunne. The purpose was to test the theory that time may go in reverse, so that, paradoxically, a later event may generate an earlier dream. The result—published here for the first time—is a fascinating diary in which Nabokov recorded sixty-four dreams (and subsequent daytime episodes) on 118 index cards, which afford a rare glimpse of the artist at his most private.

Wordcraft shined the most as a brainstorming partner and source of inspiration. Writers found it particularly useful for coming up with novel ideas and elaborating on them. AI-powered creative tools seem particularly well suited to sparking creativity and addressing the dreaded writer's block.

MK said... Nabokov repurposed shoeboxes as card indexes.Manfred December 05, 2015 4:01 PM

I’m not sure how to explain the photograph — that might be a cardfile, not a shoebox. The number of blue lines per card in the Pale Fire passage suggests that John Shade used 6 x 4 cards. It looks like Nabokov in the car has 6 x 4s too.

After a leisurely lunch, prepared by the German cook who came with the house, I would spend another four-hour span in a lawn chair, among the roses and mockingbirds, using lined index cards and a Blackwing pencil, for copying and recopying, rubbing out and writing anew, the scenes I had imagined in the morning. Foreword to Lolita: A Screenplay (1973)

The manuscript, mostly a Fair Copy, from which the present text has been faithfully printed, consists of eighty medium-sized index cards, on each of which Shade reserved the pink upper line for headings (canto number, date) and used the fourteen light-blue lines for writing out with a fine nib in a minute, tidy, remarkably clear hand, the text of this poem, skipping a line to indicate double space, and always using a fresh card to begin a new canto. Pale Fire (1962) [From Charles Kinbote's foreword to his edition of John Shade's poem.]

Uladimir Nabokov Ithaca, New YorkDate taken:1958Photographer:Carl Mydans

Uladimir Nabokov Ithaca, New YorkDate taken:1958Photographer:Carl Mydans

When Vladimir Nabokov died in 1977, he left instructions for his heirs to burn the 138 handwritten index cards that made up the rough draft of his final and unfinished novel, The Original of Laura. But Nabokov’s wife, Vera, could not bear to destroy her husband’s last work, and when she died, the fate of the manuscript fell to her son. Dmitri Nabokov, now seventy-five—the Russian novelist’s only surviving heir, and translator of many of his books—has wrestled for three decades with the decision of whether to honor his father’s wish or preserve for posterity the last piece of writing of one of the greatest writers of the twentieth century.

Fiction 🖼 the past days I’ve been working on a branch about emptiness. Don’t ask me to explain i don’t grasp it. I’m deeply into it 1500 cards far but still fuzzy. I do know emptiness is empty of inherent existence if you denied that you should make a branch called nihilism 🖼1st pict added 🖼 growing

The term comes from Niklaus Luhmann, a German autodidact and famously prolific academic sociologist. Similar techniques were developed independently by Nabokov and Prisig, among others.

INTERVIEWER: Could you say something of your work habits?Do you write to a preplanned chart? Do you jump from onesection to another, or do you move from the beginning throughto the end?NABOKOV: The pattern of the thing precedes the thing. I fill inthe gaps of the crossword at any spot I happen to choose. Thesebits I write on index cards until the novel is done. My schedule

An old Rolls Royce is not always preferable toa plain jeep.

A first-rate college library with a comfortable cam-pus around it is a fine milieu for a writer.

Oh, they are welcome to my work. As a matter offact, the Editions Victor are bringing out my Jnvitation to aBeheading in a reprint of the original Russian of 1935, and a NewYork publisher (Phaedra) is printing my Russian translation ofLolita. 1 am sure the Soviet Government will be happy to admitofficially a novel that seems to contain a prophecy of Hitler’sregime, and a novel that condemns bitterly the American systemof motels.

I note incidentally thatprofessors of literature still assign these two poets to differentschools. There is only one school: that of talent.

NABOKOV: By “editor” I suppose you mean_proofreader.Among these I have known limpid creatures of limitless tact andtenderness who would discuss with me a semicolon as if it werea point of honor—which, indeed, a point of art often is. But Ihave also come across a few pompous avuncular brutes who wouldattempt to “make suggestions” which I countered with a thunder-ous “‘stet!”’

Derivative writers seem versa-tile because they imitate many others, past and present. Artisticoriginality has only its own self to copy.

My characters are galley slaves.

Nabokov arises early in the morning and works. He does hiswriting on filing cards, which are gradually copied, expanded, andrearranged until they become his novels.

Mr. Nabokov’s writing method is to compose his stories and novels on index cards,shuffling them as the work progresses since he does not write in consecutive order.Every card is rewritten many times. When the work is completed,the cards in final order, Nabokov dictates from them to his wifewho types it up in triplicate.

Reviewing The Original of Laura, Alexander Theroux describes the cards as a “portable strategy that allowed [Nabokov] to compose in the car while his wife drove the devoted lepidopterist on butterfly expeditions.”

Having died in 1977, Nabokov never completed the book, and so all Penguin had to publish decades later came to, as the subtitle indicates, A Novel in Fragments. These “fragments” he wrote on 138 cards, and the book as published includes full-color reproductions that you can actually tear out and organize — and re-organize — for yourself, “complete with smudges, cross-outs, words scrawled out in Russian and French (he was trilingual) and annotated notes to himself about titles of chapters and key points he wants to make about his characters.”

From Wikipedia I got the info about Nabokov. Jean Paul’s 1796 narration Leben des Quintus Fixlein is subtitled “aus funfzehn Zettelkästen gezogen; nebst einem Mustheil und einigen Jus de tablette” (literally: drawn from fifteen card indexes). Arno Schmidt’s so-called “book” Zettels Traum (roughly “index card’s dream”) looks like the collage it really is. You should just take a look at Zettels Traum and see for yourself!