Invitation to a Beheading

NOVELS
Mary
King, Queen, Knave
The Defense
The Eye
Glory
Laughter in the Dark
Despair
Invitation to a Beheading
The Gift
The Real Life of Sebastian Knight
Bend Sinister
Lolita
Pnin
Pale Fire
Ada or Ardor: A Family Chronicle
Transparent Things
Look at the Harlequins!

SHORT FICTION
Nabokov’s Dozen
A Russian Beauty and Other Stories
Tyrants Destroyed and Other Stories
Details of a Sunset and Other Stories
The Enchanter
The Stories of Vladimir Nabokov

DRAMA
The Waltz Invention
Lolita: A Screenplay
The Man from the USSR and Other Plays

AUTOBIOGRAPHY AND INTERVIEWS
Speak, Memory: An Autobiography Revisited
Strong Opinions

BIOGRAPHY AND CRITICISM
Nikolai Gogol
Lectures on Literature
Lectures on Russian Literature
Lectures on Don Quixote

TRANSLATIONS
Three Russian Poets: Translations of Pushkin
,
Lermontov, and Tiutchev
A Hero of Our Time (Mikhail Lermontov)
The Song of Igor’s Campaign (Anon.)
Eugene Onegin (Alexander Pushkin)

LETTERS
Dear Bunny, Dear Volodya:
The Nabokov-Wilson Letters, 1940–1971
Vladimir Nabokov: Selected Letters, 1940–1977

MISCELLANEOUS
Poems and Problems
The Annotated Lolita

The Russian original of this novel is entitled
Priglashenie na kazn′
. Notwithstanding the unpleasant duplication of the suffix, I would have suggested rendering it as
Invitation to an Execution;
but, on the other hand,
Priglashenie na otsechenie golovï
(“Invitation to a Decapitation”) was what I really would have said in my mother tongue, had I not been stopped by a similar stutter.

I composed the Russian original exactly a quarter of a century ago in Berlin, some fifteen years after escaping from the Bolshevist regime, and just before the Nazi regime reached its full volume of welcome. The question whether or not my seeing both in terms of one dull beastly farce had any effect on this book, should concern the good reader as little as it does me.

Priglashenie na kazn′
came out serially in a Russian émigré magazine, the
Sovremennïya Zapiski
, appearing in Paris, and later, in 1938, was published in that city by the
Dom Knigi
. Emigré reviewers, who were puzzled but liked it, thought they distinguished in it a “Kafkaesque” strain, not knowing that I had no German, was completely ignorant of modern German literature, and had not yet read any French or English translations of Kafka’s works. No doubt, there do exist certain stylistic links between this book and, say, my earlier stories (or my later
Bend Sinister);
but there are none between it and
Le chateau
or
The Trial
. Spiritual affinities have no place in my concept of literary criticism, but if I did have to choose a kindred soul, it would certainly be that great artist rather than G. H. Orwell or other popular purveyors of illustrated ideas and publicistic fiction. Incidentally, I could never understand why every book of mine invariably sends reviewers scurrying in search of more or less celebrated names for the purpose of passionate comparison. During the last three decades they have hurled at me (to list but a few of these harmless missiles) Gogol, Tolstoevski, Joyce, Voltaire, Sade, Stendhal, Balzac, Byron, Bierbohm, Proust, Kleist, Makar Marinski, Mary McCarthy, Meredith (!), Cervantes, Charlie Chaplin, Baroness Murasaki, Pushkin, Ruskin, and even Sebastian Knight. One author, however, has never been mentioned in this connection—the only author whom I must gratefully recognize as an influence upon me at the time of writing this book; namely, the melancholy, extravagant, wise, witty, magical, and altogether delightful Pierre Delalande, whom I invented.

If some day I make a dictionary of definitions wanting
single words to head them, a cherished entry will be “To abridge, expand, or otherwise alter or cause to be altered, for the sake of belated improvement, one’s own writings in translation.” Generally speaking the urge to do this grows in proportion to the length of time separating the model from the mimic; but when my son gave me to check the translation of this book and when I, after many years, had to reread the Russian original, I found with relief that there was no devil of creative emendation for me to fight. My Russian idiom, in 1935, had embodied a certain vision in the precise terms that fitted it, and the only corrections which its transformation into English could profit by were routine ones, for the sake of that clarity which in English seems to require less elaborate electric fixtures than in Russian. My son proved to be a marvelously congenial translator, and it was settled between us that fidelity to one’s author comes first, no matter how bizarre the result.
Vive le pédant
, and down with the simpletons who think that all is well if the “spirit” is rendered (while the words go away by themselves on a naïve and vulgar spree—in the suburbs of Moscow for instance—and Shakespeare is again reduced to play the king’s ghost).

My favorite author (1768–1849) once said of a novel now utterly forgotten “
Il a tout pour tous. Il fait rire l’enfant et frissonner la femme. Il donne à l’homme du monde un vertige salutaire et fait rêver ceux qui ne rêvent jamais.” Invitation to a Beheading
can claim nothing of the kind. It is a violin in a void. The worldling will deem it a trick. Old men will hurriedly turn from it to regional romances and the lives of public figures. No clubwoman will thrill. The evil-minded will perceive in little Emmie a sister of
little Lolita, and the disciples of the Viennese witch-doctor will snigger over it in their grotesque world of communal guilt and
progresivnoe
education. But (as the author of
Discours sur les ombres
said in reference to another lamplight): I know
(je connais)
a few
(quelques)
readers who will jump up, ruffling their hair.

Oak Creek Canyon, Arizona
June 25, 1959

C
OMME UN FOU SE CROIT
D
IEU
,
NOUS NOUS CROYONS MORTELS
.
—Delaland:
Discours sur les ombres