Художественная литература

Владимир Набоков

Vladimir Nabokov. Lance

© 1952 Copyright by Vladimir Nabokov


The name of the planet, presuming it has already received one, is immaterial. At its most favorable opposition, it may very well be separated from the earth by only as many miles as there are years between last Friday and the rise of the Himalayas-- a million times the reader's average age. In the telescopic field of one's fancy, through the prism of one's tears, any particularities it presents should be no more striking than those of existing planets. A rosy globe, marbled with dusky blotches, it is one of the countless objects diligently revolving in the infinite and gratuitous awfulness of fluid space. My planet's maria (which are not seas) and its lacus (which are not lakes) have also, let us suppose, received names; some less jejune, perhaps, than those of garden roses; others, more pointless than the surnames of their observers (for, to take actual cases, that an astronomer should have been called Lampland is as marvelous as that an entomologist should have been called Krautwurm); but most of them of so antique a style as to vie in sonorous and corrupt enchantment with place names pertaining to romances of chivalry. Just as our Pinedales, down here, have often little to offer beyond a shoe factory on one side of the tracks and the rusty inferno of an automobile dump on the other, so those seductive Arcadias and Icarias and Zephyrias on planetary maps may quite likely turn out to be dead deserts lacking even the milkweed that graces our dumps. Selenographers will confirm this, but then, their lenses serve them better than ours do. In the present instance, the greater the magnification, the more the mottling of the planet's surface looks as if it were seen by a submerged swimmer peering up through semitranslucent water. And if certain connected markings resemble in a shadowy way the line-and-hole pattern of a Chinese-checkers board, let us consider them geometrical hallucinations. I not only debar a too definite planet from any role in my story-- from the role every dot and full stop should play in my story (which I see as a kind of celestial chart)-- 1 also refuse to have anything to do with those technical prophecies that scientists are reported to make to reporters. Not for me is the rocket racket. Not for me are the artificial little satellites that the earth is promised; landing starstrips for spaceships ("spacers")-- one, two, three, four, and then thousands of strong castles in the air each complete with cookhouse and keep, set up by terrestrial nations in a frenzy of competitive confusion, phony gravitation, and savagely flapping flags. Another thing I have not the slightest use for is the special-equipment business-- the airtight suit, the oxygen apparatus-- suchlike contraptions. Like old Mr. Boke, of whom we shall hear in a minute, I am eminently qualified to dismiss these practical matters (which anyway are doomed to seem absurdly impractical to future spaceshipmen, such as old Boke's only son), since the emotions that gadgets provoke in me range from dull distrust to morbid trepidation. Only by a heroic effort can I make myself unscrew a bulb that has died an inexplicable death and screw in another, which will light up in my face with the hideous instancy of a dragon's egg hatching in one's bare hand. Finally, I utterly spurn and reject so-called science fiction. I have looked into it, and found it as boring as the mystery-story magazines-- the same sort of dismally pedestrian writing with oodles of dialogue and loads of commutational humor. The clichиs are, of course, disguised; essentially, they are the same throughout all cheap reading matter, whether it spans the universe or the living room. They are like those "assorted" cookies that differ from one another only in shape and shade, whereby their shrewd makers ensnare the salivating consumer in a mad Pavlovian world where, at no extra cost, variations in simple visual values influence and gradually replace flavor, which thus goes the way of talent and truth, So the good guy grins, and the villain sneers, and a noble heart sports a slangy speech. Star tsars, directors of Galactic Unions, are practically replicas of those peppy, red-haired executives in earthy earth jobs, that illustrate with their little crinkles the human interest stories of the well-thumbed slicks in beauty parlors. Invaders of Denebola and Spica, Virgo's finest, bear names beginning with Mac; cold scientists are usually found under Steins; some of them share with the supergalactic gals such abstract labels as Biola or Vala. Inhabitants of foreign planets, "intelligent" beings, humanoid or of various mythic makes, have one remarkable trait in common: their intimate structure is never depicted. In a supreme concession to biped propriety, not only do centaurs wear loincloths; they wear them about their forelegs. This seems to complete the elimination-- unless anybody wants to discuss the question of time? Here again, in order to focalize young Emery L. Boke, that more or less remote descendant of mine who is to be a member of the first interplanetary expedition (which, after all, is the one humble postulate of my tale), I gladly leave the replacement by a pretentious "2" or "3" of the honest "1" in our "1900" to the capable paws of Starzan and other comics and atomics. Let it be 2145 A. D. or 200 A. A., it does not matter. I have no desire to barge into vested interests of any kind. This is strictly an amateur performance, with quite casual stage properties and a minimum of scenery, and the quilled remains of a dead porcupine in a corner of the old barn. We are here among friends, the Browns and the Bensons, the Whites and the Wilsons, and when somebody goes out for a smoke, he hears the crickets, and a distant farm dog (who waits, between barks, to listen to what we cannot hear). The summer night sky is a mess of stars. Emery Lancelot Boke, at twenty-one, knows immeasurably more about them than I, who am fifty and terrified.


Lance is tall and lean, with thick tendons and greenish veins on his suntanned forearms and a scar on his brow. When doing nothing-- when sitting all at ease as he sits now, leaning forward from the edge of a low armchair, his shoulders hunched up, his elbow's propped on his big knees-- he has a way of slowly clasping and unclasping his handsome hands, a gesture I borrow for him from one of his ancestors. An air of gravity, of uncomfortable concentration (all thought is uncomfortable, and young thought especially so), is his usual expression; at the moment, however, it is a manner of mask, concealing his furious desire to get rid of a long-drawn tension. As a rule, he does not smile often, and besides, "smile" is too smooth a word for the abrupt, bright contortion that now suddenly illumes his mouth and eyes as the shoulders hunch higher, the moving hands stop in a clasped position, and he lightly stamps the toe of one foot. His parents are in the room, and also a chance visitor, a fool and a bore, who is not aware of what is happening-- for this is an awkward moment in a gloomy house on the eve of a fabulous departure. An hour goes by. At last the visitor picks up his top hat from the carpet and leaves. Lance remains alone with his parents, which only serves to increase the tension. Mr. Boke I see plainly enough. But I cannot visualize Mrs. Boke with any degree of clarity, no matter how deep I sink into my difficult trance. I know that her cheerfulness-- small talk, quick beat of eyelashes-- is something she keeps up not so much for the sake of her son as for that of her husband, and his aging heart, and old Boke realizes this only too well and, on top of his own monstrous anguish, he has to cope with her feigned levity, which disturbs him more than would an utter and unconditional collapse. I am somewhat disappointed that I cannot make out her features. All I manage to glimpse is an effect of melting light on one side of her misty hair, and in this, I suspect, I am insidiously influenced by the standard artistry of modern photography and I feel how much easier writing must have been in former days when one's imagination was not hemmed in by innumerable visual aids, and a frontiersman looking at his first giant cactus or his first high snows was not necessarily reminded of a tire company's pictorial advertisement. In the case of Mr. Boke, I find myself operating with the features of an old professor of history, a brilliant medievalist, whose white whiskers, pink pate, and black suit are famous on a certain sunny campus in the Deep South, but whose sole asset in connection with this story (apart from a slight resemblance to a long-dead great-uncle of mine) is that his appearance is out of date. Now if one is perfectly honest with oneself, there is nothing extraordinary in the tendency to give to the manners and clothes of a distant day (which happens to be placed in the future) an old-fashioned tinge, a badly pressed, badly groomed, dusty something, since the terms "out of date," "not of our age," and so on are in the long run the only ones in which we are able to imagine and express a strangeness no amount of research can foresee. The future is but the obsolete in reverse. In that shabby room, in the tawny lamplight, Lance talks of some last things. He has recently brought from a desolate spot in the Andes, where he has been climbing some as yet unnamed peak, a couple of adolescent chinchillas-- cinder-gray, phenomenale furry, rabbit-sized rodents (Hystricomorpha), with long whiskers, round rumps, and petal-like ears. He keeps them indoors in a wire-screened pen and gives them peanuts, puffed rice, raisins to eat, and, as a special treat, a violet or an aster. He hopes they will breed in the fall. He now repeats to his mother a few emphatic instructions-- to keep his pets' food crisp and their pen dry, and never forget their daily dust bath (fine sand mixed with powdered chalk) in which they roll and kick most lustily. While this is being discussed, Mr. Boke lights and relights a pipe and finally puts it away. Every now and then, with a false air of benevolent absent-mindedness, the old man launches upon a series of sounds and motions that deceive nobody; he clears his throat and, with his hands behind his back, drifts toward a window; or he begins to produce a tight-lipped tuneless humming; and seemingly driven by that small nasal motor, he wanders out of the parlor. But no sooner has he left the stage than he throws off, with a dreadful shiver, the elaborate structure of his gentle, bumbling impersonation act. In a bedroom or bathroom, he stops as if to take, in abject solitude, a deep spasmodic draft from some secret flask, and presently staggers out again, drunk with grief. The stage has not changed when he quietly returns to it, buttoning his coat and resuming that little hum. It is now a matter of minutes. Lance inspects the pen before he goes, and leaves Chin and Chilla sitting on their haunches, each holding a flower. The only other thing that I know about these last moments is that any such talk as "Sure you haven't forgotten the silk shirt that came from the wash?" or "You remember where you put those new slippers?" is excluded. Whatever Lance takes with him is already collected at the mysterious and unmentionable and absolutely awful place of his zero-hour departure; he needs nothing of what we need; and he steps out of the house, empty-handed and hatless, with the casual lightness of one walking to the newsstand-- or to a glorious scaffold.


Terrestrial space loves concealment. The most it yields to the eye is a panoramic view. The horizon closes upon the receding traveler like a trap door in slow motion. For those who remain, any town a day's journey from here is invisible, whereas you can easily see such transcendencies as, say, a lunar amphitheater and the shadow cast by its circular ridge. The conjuror who displays the firmament has rolled up his sleeves and performs in full view of the little spectators. Planets may dip out of sight (just as objects are obliterated by the blurry curve of one's own cheekbone); but they are back when the earth turns its head. The nakedness of the night is appalling. Lance has left; the fragility of his young limbs grows in direct ratio to the distance he covers. From their balcony, the old Bokes look at the infinitely perilous night sky and wildly envy the lot of fishermen's wives. If Boke's sources are accurate, the name "Lanceioz del Lac" occurs for the first time in Verse 3676 of the twelfth-century Roman de la Charrette. Lance, Lancelin, Lancelotik-- diminutives murmured at the brimming, salty, moist stars. Young knights in their teens learning to harp, hawk, and hunt; the Forest Dangerous and the Dolorous Tower; Aldebaran, Betelgeuse-- the thunder of Saracenic war cries. Marvelous deeds of arms, marvelous warriors, sparkling within the awfill constellations above the Bokes' balcony: Sir Percard the Black Knight, and Sir Perimones the Red Knight, and Sir Pertolepe the Green Knight, and Sir Persant the Indigo Knight, and that bluff old party Sir Grummore Grummurslim, muttering northern oaths under his breath. The field glass is not much good, the chart is all crumpled and damp, and: "You do not hold the flashlight properly"-- this to Mrs. Boke. Draw a deep breath. Look again. Lancelot is gone; the hope of seeing him in life is about equal to the hope of seeing him in eternity. Lancelot is banished from the country of L'Eau Grise (as we might call the Great Lakes) and now rides up in the dust of the night sky almost as far as our local universe (with the balcony and the pitch-black, optically spotted garden) speeds toward King Arthur's Harp, where Vega burns and beckons-- one of the few objects that can be identified by the aid of this goddam diagram. The sidereal haze makes the Bokes dizzy-- gray incense, insanity, infinity-sickness. But they cannot tear themselves away from the nightmare of space, cannot go back to the lighted bedroom, a corner of which shows in the glass door. And presently the planet rises, like a tiny bonfire. There, to the right, is the Bridge of the Sword leading to the Otherworld ("dont nus estranges ne retorne"). Lancelot crawls over it in great pain, in ineffable anguish. "Thou shalt not pass a pass that is called the Pass Perilous." But another enchanter commands: "You shall. You shall even acquire a sense of humor that will tide you over the trying spots." The brave old Bokes think they can distinguish Lance scaling, on crampons, the verglased rock of the sky or silently breaking trail through the soft snows of nebulae. Bootes, somewhere between Camp X and XI, is a great glacier all rubble and icefall. We try to make out the serpentine route of ascent; seem to distinguish the light leanness of Lance among the several roped silhouettes. Gone! Was it he or Denny (a young biologist. Lance's best friend)? Waiting in the dark valley at the foot of the vertical sky, we recall (Mrs. Boke more clearly than her husband) those special names for crevasses and Gothic structures of ice that Lance used to mouth with such professional gusto in his alpine boyhood (he is several light-years older by now); the sиracs and the schrunds, the avalanche and its thud; French echoes and Germanic magic hobnailnobbing up there as they do in medieval romances. Ah, there he is again! Crossing through a notch between two stars; then, very slowly, attempting a traverse on a cliff face so sheer, and with such delicate holds that the mere evocation of those groping fingertips and scraping boots fills one with acrophobic nausea. And through streaming tears the old Bokes see Lance now marooned on a shelf of stone and now climbing again and now, dreadfully safe, with his ice axe and pack, on a peak above peaks, his eager profile rimmed with light. Or is he already on his way down? I assume that no news comes from the explorers and that the Bokes prolong their pathetic vigils. As they wait for their son to return, his every avenue of descent seems to run into the precipice of their despair. But perhaps he has swung over those high-angled wet slabs that fall away vertically into the abyss, has mastered the overhang, and is now blissfully glissading down steep celestial snows? As, however, the Bokes' doorbell does not ring at the logical culmination of an imagined series of footfalls (no matter how patiently we space them as they come nearer and nearer in our mind), we have to thrust him back and have him start his ascent all over again, and then put him even farther back, so that he is still at headquarters (where the tents are, and the open latrines, and the begging, black-footed children) long after we had pictured him bending under the tulip tree to walk up the lawn to the door and the doorbell. As if tired by the many appearances he has made in his parents' minds, Lance now plows wearily through mud puddles, then up a hillside, in the haggard landscape of a distant war, slipping and scrambling up the dead grass of the slope. There is some routine rock work ahead, and then the summit. The ridge is won. Our losses are heavy. How is one notified? By wire? By registered letter? And who is the executioner-- a special messenger or the regular plodding, florid-nosed postman, always a little high (he has troubles of his own)? Sign here. Big thumb. Small cross. Weak pencil. Its dull-violet wood. Return it. The illegible signature of teetering disaster. But nothing comes. A month passes. Chin and Chilla are in fine shape and seem very fond of each other-- sleep together in the nest box, cuddled up in a fluffy ball. After many tries, Lance had discovered a sound with definite chinchillan appeal, produced by pursing the lips and emitting in rapid succession several soft, moist surpths, as if taking sips from a straw when most of one's drink is finished and only its dregs are drained. But his parents cannot produce it-- the pitch is wrong or something. And there is such an intolerable silence in Lance's room, with its battered books, and the spotty white shelves, and the old shoes, and the relatively new tennis racquet in its preposterously secure press, and a penny on the closet floor-- and all this begins to undergo a prismatic dissolution, but then you tighten the screw and everything is again in focus. And presently the Bokes return to their balcony. Has he reached his goal-- and if so, does he see us?


The classical ex-mortal leans on his elbow from a flowered ledge to contemplate this earth, this toy, this teetotum gyrating on slow display in its model firmament, every feature so gay and clear-- the painted oceans, and the praying woman of the Baltic, and a still of the elegant Americas caught in their trapeze act, and Australia like a baby Africa lying on its side. There may be people among my coevals who half expect their spirits to look down from heaven with a shudder and a sigh at their native planet and see it girdled with latitudes, stayed with meridians, and marked, perhaps, with the fat, black, diabolically curving arrows of global wars; or, more pleasantly, spread out before their gaze like one of those picture maps of vacational Eldorados, with a reservation Indian beating a drum here, a girl clad in shorts there, conical conifers climbing the cones of mountains, and anglers all over the place. Actually, I suppose, my young descendant on his first night out, in the imagined silence of an inimaginable world, would have to view the surface features of our globe through the depth of its atmosphere; this would mean dust, scattered reflections, haze, and all kinds of optical pitfalls, so that continents, if they appeared at all through the varying clouds, would slip by in queer disguises, with inexplicable gleams of color and unrecognizable outlines. But all this is a minor point. The main problem is: Will the mind of the explorer survive the shock? One tries to perceive the nature of that shock as plainly as mental safety permits. And if the mere act of imagining the matter is fraught with hideous risks, how, then, will the real pang be endured and overcome? First of all, Lance will have to deal with the atavistic moment. Myths have become so firmly entrenched in the radiant sky that common sense is apt to shirk the task of getting at the uncommon sense behind them. Immortality must have a star to stand on if it wishes to branch and blossom and support thousands of blue-plumed angel birds all singing as sweetly as little eunuchs. Deep in the human mind, the concept of dying is synonymous with that of leaving the earth. To escape its gravity means to transcend the grave, and a man upon finding himself on another planet has really no way of proving to himself that he is not dead-- that the naive old myth has not come true. I am not concerned with the moron, the ordinary hairless ape, who takes everything in his stride; his only childhood memory is of a mule that bit him; his only consciousness of the future a vision of board and bed. What I am thinking of is the man of imagination and science, whose courage is infinite because his curiosity surpasses his courage. Nothing will keep him back. He is the ancient curieux, but of a hardier build, with a ruddier heart. When it comes to exploring a celestial body, his is the satisfaction of a passionate desire to feel with his own fingers, to stroke, and inspect, and smile at, and inhale, and stroke again-- with that same smile of nameless, moaning, melting pleasure-- the never-before-touched matter of which the celestial object is made. Any true scientist (not, of course, the fraudulent mediocrity, whose only treasure is the ignorance he hides like a bone) should be capable of experiencing that sensuous pleasure of direct and divine knowledge. He may be twenty and he may be eighty-five but without that tingle there is no science. And of that stuff Lance is made. Straining my fancy to the utmost, I see him surmounting the panic that the ape might not experience at all. No doubt Lance may have landed in an orange-colored dust cloud somewhere in the middle of the Tharsis desert (if it is a desert) or near some purple pool-- Phoenicis or Oti (if these are lakes after all). But on the other hand. . . You see, as things go in such matters, something is sure to be solved at once, terribly and irrevocably, while other things come up one by one and are puzzled out gradually. When I was a boy. . . When I was a boy of seven or eight, I used to dream a vaguely recurrent dream set in a certain environment, which I have never been able to recognize and identify in any rational manner, though I have seen many strange lands. I am inclined to make it serve now, in order to patch up a gaping hole, a raw wound in my story. There was nothing spectacular about that environment, nothing monstrous or even odd: just a bit of noncommittal stability represented by a bit of level ground and filmed over with a bit of neutral nebulosity; in other words, the indifferent back of a view rather than its face. The nuisance of that dream was that for some reason I could not walk around the view to meet it on equal terms. There lurked in the mist a mass of something-- mineral matter or the like-- oppressively and quite meaninglessly shaped, and, in the course of my dream, I kept filling some kind of receptacle (translated as "pail") with smaller shapes (translated as "pebbles"), and my nose was bleeding but I was too impatient and excited to do anything about it. And every time I had that dream, suddenly somebody would start screaming behind me, and I awoke screaming too, thus prolonging the initial anonymous shriek, with its initial note of rising exultation, but with no meaning attached to it any more-- if there had been a meaning. Speaking of Lance, I would like to submit that something on the lines of my dream-- But the funny thing is that as I reread what I have set down, its background, the factual memory vanishes-- has vanished altogether by now-- and I have no means of proving to myself that there is any personal experience behind its description. What I wanted to say was that perhaps Lance and his companions, when they reached their planet, felt something akin to my dream-- which is no longer mine.


And they were back! A horseman, clappity-clap, gallops up the cobbled street to the Bokes' house through the driving rain and shouts out the tremendous news as he stops short at the gate, near the dripping liriodendron, while the Bokes come tearing out of the house like two hystricomorphic rodents. They are back! The pilots, and the astrophysicists, and one of the naturalists, are back (the other, Denny, is dead and has been left in heaven, the old myth scoring a curious point there). On the sixth floor of a provincial hospital, carefully hidden from newspapermen, Mr. and Mrs. Boke are told that their boy is in a little waiting room, second to the right, ready to receive them; there is something, a kind of hushed deference, about the tone of this information, as if it referred to a fairy-tale king. They will enter quietly; a nurse, a Mrs. Coover, will be there all the time. Oh, he's all right, they are told-- can go home next week, as a matter of fact. However, they should not stay more than a couple of minutes, and no questions, please-- just chat about something or other. You know. And then say you will be coming again tomorrow or day after tomorrow. Lance, gray-robed, crop-haired, tan gone, changed, unchanged, changed, thin, nostrils stopped with absorbent cotton, sits on the edge of a couch, his hands clasped, a little embarrassed. Gets up wavily, with a beaming grimace, and sits down again. Mrs. Coover, the nurse, has blue eyes and no chin. A ripe silence. Then Lance: "It was wonderful. Perfectly wonderful. I am going back in November." Pause. "I think," says Mr. Boke, "that Chilla is with child." Quick smile, little bow of pleased acknowledgment. Then, in a narrative voice: "Je vais dire ca en franгais. Nous venions d'arriver-- " "Show them the President's letter," says Mrs. Coover. "We had just got there," Lance continues, "and Denny was still alive, and the first thing he and I saw-- " In a sudden flutter, Nurse Coover interrupts: "No, Lance, no. No, Madam, please. No contacts, doctor's orders, please" Warm temple, cold ear. Mr. and Mrs. Boke are ushered out. They walk swiftly-- although there is no hurry, no hurry whatever, down the corridor, along its shoddy, olive-and-ochre wall, the lower olive separated from the upper ochre by a continuous brown line leading to the venerable elevators. Going up (glimpse of patriarch in wheelchair). Going back in November (Lancelin). Going down (the old Bokes). There are, in that elevator, two smiling women and, the object of their bright sympathy, a girl with a baby, besides the gray-haired, bent, sullen elevator man, who stands with his back to everybody.

Владимир Набоков