THE EARLY YEARS.
607 pages. $25. Since Vladimir Nabokov died in 1977, it has become clear that he is one of the great word-shamans of the 20th century. Moreover, despite his ivory-tower reputation, the magic of Nabokov's novels seems both necessary and healing for the last wounded years of this century. With a kind of giddy, even tricky integrity, he shows us how to bring together the aching fragments of our experiments: science and poetry, the isolated self and the possibility of love, and even the cultures of Russia and America.
For all his suave slyness, Nabokov is in the long run our most persistent and outrageous spokesman for love -- which he sees at last as transcending death itself. And until very recently, his lifelong devotion to his brilliant and beautiful wife, Vera, seemed to be, for the author's fans, proof that the master's character was as perfect as his novel's craft.
For though Nabokov often wrote about our century's expertise in the way of hell, his style proclaimed the way to heaven -- a heaven to be found in the imagination and in devoted love. And strangely enough -- while Nabokov denied that there was any connection between life and art -- his own life seemed to follow the happier patterns of his more sun-blessed novels, like "The Gift."
He and his wonderful wife and child carried their invulnerable private bliss through the obnoxiousness of poverty and the terror of war until, living a true fairy tale, the success of "Lolita" restored the wealth of the family and returned the clan to an idyllic version of Europe called Switzerland. On the mild mountain peak of his fame, Nabokov boasted of his paradisal ordinariness: "My own life is fresh bread with country butter and Alpine honey."
At the same time, it was becoming obvious that Nabokov was a moralist in the Russian tradition as well as an untamed firebird. He prophesied the "triumph of magic over the brute" and insisted that the best that one can do is "to be kind, to be proud, to be fearless."
Already a classic that will be endlessly discussed, Brian Boyd's new biography of the first half of Nabokov's life (a second part is in preparation) does not impair the adoration of Nabokov addicts. But it is the first biography to make the master shaman seem fully and amazingly human. At the same time, Nabokov's life seems both more contradictory and more coherent than before.
"Nabokov: the Russian Years" is lucidly entertaining proof of the connection between Nabokov's philosophy, life and art. Who before now even knew that Nabokov had a philosophy? And the very private Nabokov family used to excoriate anyone daring enough to see a connection between their lives and the increasingly famous novels.
But although Mr. Boyd was given the incredible privilege of free access to family papers, he also was placed under little serious restraint. Perhaps impressed by the dedicated and graceful precision of his research and his prose, the family has refrained from umbrage. It seems to accept now what must be accepted: Even a good man can be a sinner. And yet, Nabokov still shines.
Mr. Boyd, better than anyone else, tracks the shining trajectory of Nabokov's life back to the pure burst of living light that was his childhood among the happiest and wealthiest of Russian families. Nabokov's father was a liberal aristocrat, a scholar, a moral hero and martyr to fascism. His mother was a woman with one simple rule that she needed: "to love with all one's soul and leave the rest to fate," as Nabokov says of her in his memoir "Speak, Memory."
They adoringly favored their son, and he adored them and LTC incorporated their strength. It may be the ultimate secret of Nabokov that his ingenious life involved combining the adventurous and realistic mind of his father with the sensuous "mysticism" of his mother. Thus, his wild imagination was a thing of palpable and lofty reality. Drawing from both admirable parents, he could believe in what he calls "the passion of science and the precision of poetry."
What make this biography an instant classic is that Mr. Boyd manages to follow Nabokov's precision, and thus he gives us the very texture and shape of his life in Russia, and thereafter in the exile of Berlin and Paris, ending just before the family miraculously found refuge from Hitler in merry America.
And the main point about Nabokov's life and art becomes the main point about Mr. Boyd's biography. If you caress the texture of life withpassionate precision, you will discover the magical pattern that is hidden inside supposed banality.