When Van Veen (the narrator and main character in VN’s novel Ada, 1969) meets Greg Erminin in Paris (also known as Lute on Demonia, aka Antiterra, Earth’s twin planet on which Ada is set), Greg asks Van if Ada married Christopher Vinelander or his brother:
On a bleak morning between the spring and summer of 1901, in Paris, as Van, black-hatted, one hand playing with the warm loose change in his topcoat pocket and the other, fawn-gloved, upswinging a furled English umbrella, strode past a particularly unattractive sidewalk café among the many lining the Avenue Guillaume Pitt, a chubby bald man in a rumpled brown suit with a watch-chained waistcoat stood up and hailed him.
Van considered for a moment those red round cheeks, that black goatee.
‘Ne uznayosh’ (You don’t recognize me)?’
‘Greg! Grigoriy Akimovich!’ cried Van tearing off his glove.
‘I grew a regular vollbart last summer. You’d never have known me then. Beer? Wonder what you do to look so boyish, Van.’
‘Diet of champagne, not beer,’ said Professor Veen, putting on his spectacles and signaling to a waiter with the crook of his ‘umber.’ ‘Hardly stops one adding weight, but keeps the scrotum crisp.’
‘I’m also very fat, yes?’
‘What about Grace, I can’t imagine her getting fat?’
‘Once twins, always twins. My wife is pretty portly, too.’
‘Tak tï zhenat (so you are married)? Didn’t know it. How long?’
‘About two years.’
‘To whom?’
‘Maude Sween.’
‘The daughter of the poet?’
‘No, no, her mother is a Brougham.’
Might have replied ‘Ada Veen,’ had Mr Vinelander not been a quicker suitor. I think I met a Broom somewhere. Drop the subject. Probably a dreary union: hefty, high-handed wife, he more of a bore than ever.
‘I last saw you thirteen years ago, riding a black pony — no, a black Silentium. Bozhe moy!’
‘Yes — Bozhe moy, you can well say that. Those lovely, lovely agonies in lovely Ardis! Oh, I was absolyutno bezumno (madly) in love with your cousin!’
‘You mean Miss Veen? I did not know it. How long —’
‘Neither did she. I was terribly —’
‘How long are you staying —’
‘— terribly shy, because, of course, I realized that I could not compete with her numerous boy friends.’
Numerous? Two? Three? Is it possible he never heard about the main one? All the rose hedges knew, all the maids knew, in all three manors. The noble reticence of our bed makers.
‘How long will you be staying in Lute? No, Greg, I ordered it. You pay for the next bottle. Tell me —’
‘So odd to recall! It was frenzy, it was fantasy, it was reality in the x degree. I’d have consented to be beheaded by a Tartar, I declare, if in exchange I could have kissed her instep. You were her cousin, almost a brother, you can’t understand that obsession. Ah, those picnics! And Percy de Prey who boasted to me about her, and drove me crazy with envy and pity, and Dr Krolik, who, they said, also loved her, and Phil Rack, a composer of genius — dead, dead, all dead!’
‘I really know very little about music but it was a great pleasure to make your chum howl. I have an appointment in a few minutes, alas. Za tvoyo zdorovie, Grigoriy Akimovich.’
‘Arkadievich,’ said Greg, who had let it pass once but now mechanically corrected Van.
‘Ach yes! Stupid slip of the slovenly tongue. How is Arkadiy Grigorievich?’
‘He died. He died just before your aunt. I thought the papers paid a very handsome tribute to her talent. And where is Adelaida Danilovna? Did she marry Christopher Vinelander or his brother?’
‘In California or Arizona. Andrey’s the name, I gather. Perhaps I’m mistaken. In fact, I never knew my cousin very well: I visited Ardis only twice, after all, for a few weeks each time, years ago.’
‘Somebody told me she’s a movie actress.’
‘I’ve no idea, I’ve never seen her on the screen.’
‘Oh, that would be terrible, I declare — to switch on the dorotelly, and suddenly see her. Like a drowning man seeing his whole past, and the trees, and the flowers, and the wreathed dachshund. She must have been terribly affected by her mother’s terrible death.’
Likes the word ‘terrible,’ I declare. A terrible suit of clothes, a terrible tumor. Why must I stand it? Revolting — and yet fascinating in a weird way: my babbling shadow, my burlesque double.
Van was about to leave when a smartly uniformed chauffeur came up to inform’ my lord’ that his lady was parked at the corner of rue Saïgon and was summoning him to appear.
‘Aha,’ said Van, ‘I see you are using your British title. Your father preferred to pass for a Chekhovian colonel.’
‘Maude is Anglo-Scottish and, well, likes it that way. Thinks a title gets one better service abroad. By the way, somebody told me — yes, Tobak! — that Lucette is at the Alphonse Four. I haven’t asked you about your father? He’s in good health?’ (Van bowed,) ‘And how is the guvernantka belletristka?’
‘Her last novel is called L'ami Luc. She just got the Lebon Academy Prize for her copious rubbish.’
They parted laughing. (3.2)
Darkbloom (‘Notes to Ada’): So you are married, etc.: see Eugene Onegin, Eight: XVIII: 1-4.
za tvoyo etc.: Russ., your health.
guvernantka etc.: Russ., governess-novelist.
According to Van, the fabulous ancestor of Ada’s husband "discovered our country:"
Ardis Hall — the Ardors and Arbors of Ardis — this is the leitmotiv rippling through Ada, an ample and delightful chronicle, whose principal part is staged in a dream-bright America — for are not our childhood memories comparable to Vineland-born caravelles, indolently encircled by the white birds of dreams? The protagonist, a scion of one of our most illustrious and opulent families, is Dr Van Veen, son of Baron ‘Demon’ Veen, that memorable Manhattan and Reno figure. The end of an extraordinary epoch coincides with Van’s no less extraordinary boyhood. Nothing in world literature, save maybe Count Tolstoy’s reminiscences, can vie in pure joyousness and Arcadian innocence with the ‘Ardis’ part of the book. On the fabulous country estate of his art-collecting uncle, Daniel Veen, an ardent childhood romance develops in a series of fascinating scenes between Van and pretty Ada, a truly unusual gamine, daughter of Marina, Daniel’s stage-struck wife. That the relationship is not simply dangerous cousinage, but possesses an aspect prohibited by law, is hinted in the very first pages.
In spite of the many intricacies of plot and psychology, the story proceeds at a spanking pace. Before we can pause to take breath and quietly survey the new surroundings into which the writer’s magic carpet has, as it were, spilled us, another attractive girl, Lucette Veen, Marina’s younger daughter, has also been swept off her feet by Van, the irresistible rake. Her tragic destiny constitutes one of the highlights of this delightful book.
The rest of Van’s story turns frankly and colorfully upon his long love-affair with Ada. It is interrupted by her marriage to an Arizonian cattle-breeder whose fabulous ancestor discovered our country. After her husband’s death our lovers are reunited. They spend their old age traveling together and dwelling in the various villas, one lovelier than another, that Van has erected all over the Western Hemisphere.
Not the least adornment of the chronicle is the delicacy of pictorial detail: a latticed gallery; a painted ceiling; a pretty plaything stranded among the forget-me-nots of a brook; butterflies and butterfly orchids in the margin of the romance; a misty view descried from marble steps; a doe at gaze in the ancestral park; and much, much more. (5.6)
Kolumb prichalivaet k beregu (“Columbus’ Ship is Mooring,” 1936) is a humorous story (a satire on Hollywood) by Ilf and Petrov, the authors of Odnoetazhnaya Amerika (“One-Storied America,” 1937). In the Introduction to his poem Norway (translated into English by Henry Longfellow) Hjalmar Hjorth Boyesen (a Norwegian-American author, 1848-95) mentions those Vikings “who in Vineland's rivers moored dauntlessly their galleons.” Boyesen is the author of a memoir essay “A Visit to Turgenev” (1874). According to Boyesen, Turgenev told him (in Paris, in the summer of 1873) that he always wanted to visit America:
-- Это была моя всегдашняя idée fixe,-- продолжалъ онъ,-- посѣтить вашу страну... Въ юности, когда я учился въ Московскомъ университетѣ, мои демократическія тенденціи и мой энтузіазмъ по отношенію къ сѣверо-американской республикѣ вошли въ поговорку и товарищи студенты называли меня "американцемъ". Я и до сихъ поръ еще не потерялъ надежды -- пересѣчь Атлантическій океанъ и собственными глазами поглядѣть на страну, за развитіемъ которой я слѣдилъ лишь издали; но когда человѣку перевалитъ за пятьдесятъ, онъ начинаетъ чувствовать, что у него выросли корни подъ ногами и что онъ уже утратилъ способность -- двигаться съ прежней быстротой. Ему приходится сдѣлать большое усиліе, чтобы побѣдить эту vis inertiae...
Turgenev told Boyesen that his only daughter had married and that he recently became a grandfather:
-- Да, меня дѣйствительно постигло семейное лишеніе,-- сказалъ Тургеневъ,-- въ моему удивленію, съ веселой улыбкой.-- Моя единственная дочь вышла замужъ. Но все же это не такого рода лишеніе, чтобы ради него навсегда отказаться отъ литературной дѣятельности. Едва ли это даже можно назвать семейной скорбью; напротивъ, я испыталъ въ связи съ этимъ радость, ставъ недавно дѣдушкой.
Van does not suspect that that Mr. Ronald Oranger (old Van’s secretary, the editor of Ada) and Violet Knox (old Van’s typist whom Ada calls Fialochka, “little Violet,” and who marries Ronald Oranger after Van’s and Ada’s death) are Ada’s grandchildren.
Before the family dinner in “Ardis the Second” Marina (Van’s, Ada’s and Lucette’s mother) tells Demon (Van’s and Ada’s father) that, in comparison to the local girls, to Grace Erminin (Greg's twin sister), for example, or Cordula de Prey, Ada is a Turgenevian maiden:
‘She’s a jeune fille fatale, a pale, heart-breaking beauty,’ Demon confided to his former mistress without bothering to discover whether the subject of his praise could hear him (she did) from the other end of the room where she was helping Van to corner the dog — and showing much too much leg in the process. Our old friend, being quite as excited as the rest of the reunited family, had scampered in after Marina with an old miniver-furred slipper in his merry mouth. The slipper belonged to Blanche, who had been told to whisk Dack to her room but, as usual, had not incarcerated him properly. Both children experienced a chill of déjà-vu (a twofold déjà-vu, in fact, when contemplated in artistic retrospect).
‘Pozhalsta bez glupostey (please, no silly things), especially devant les gens,’ said deeply flattered Marina (sounding the final ‘s’ as her granddams had done); and when the slow fish-mouthed footman had gone carrying away, supine, high-chested Dack and his poor plaything, she continued: ‘Really, in comparison to the local girls, to Grace Erminin, for example, or Cordula de Prey, Ada is a Turgenevian maiden or even a Jane Austen miss.’
‘I’m Fanny Price, actually,’ commented Ada.
‘In the staircase scene,’ added Van.
‘Let’s not bother about their private jokes,’ said Marina to Demon. ‘I never can understand their games and little secrets. Mlle Larivière, however, has written a wonderful screenplay about mysterious children doing strange things in old parks — but don’t let her start talking of her literary successes tonight, that would be fatal.’
‘I hope your husband won’t be too late,’ said Demon. ‘He is not at his best after eight p.m., summertime, you know. By the way, how’s Lucette?’ (1.38)
Darkbloom (‘Notes to Ada’): devant les gens: in front of the servants.
Fanny Price: the heroine of Jane Austen’s Mansfield Park.
It is Lucette (Van’s and Ada’s half-sister) who tells Van the name of Ada’s future husband:
‘My dear,’ said Van, ‘do help me. She told me about her Valentian estanciero but now the name escapes me and I hate bothering her.’
‘Only she never told you,’ said loyal Lucette, ‘so nothing could escape. Nope. I can’t do that to your sweetheart and mine, because we know you could hit that keyhole with a pistol.’
‘Please, little vixen! I’ll reward you with a very special kiss.’
‘Oh, Van,’ she said over a deep sigh. ‘You promise you won’t tell her I told you?’
‘I promise. No, no, no,’ he went on, assuming a Russian accent, as she, with the abandon of mindless love, was about to press her abdomen to his. ‘Nikak-s net: no lips, no philtrum, no nosetip, no swimming eye. Little vixen’s axilla, just that — unless’ — (drawing back in mock uncertainty) — ‘you shave there?’
‘I stink worse when I do,’ confided simple Lucette and obediently bared one shoulder.
‘Arm up! Point at Paradise! Terra! Venus!’ commanded Van, and for a few synchronized heartbeats, fitted his working mouth to the hot, humid, perilous hollow.
She sat down with a bump on a chair, pressing one hand to her brow.
‘Turn off the footlights,’ said Van. ‘I want the name of that fellow.’
‘Vinelander,’ she answered. (2.8)
Darkbloom (‘Notes to Ada’): Nikak-s net: Russ., certainly not.
Ada’s letter to Van (that Lucette brings him to Kingston) ends in the words Tvoya, tvoya, tvoya (thine):
‘O dear Van, this is the last attempt I am making. You may call it a document in madness or the herb of repentance, but I wish to come and live with you, wherever you are, for ever and ever. If you scorn the maid at your window I will aerogram my immediate acceptance of a proposal of marriage that has been made to your poor Ada a month ago in Valentine State. He is an Arizonian Russian, decent and gentle, not overbright and not fashionable. The only thing we have in common is a keen interest in many military-looking desert plants especially various species of agave, hosts of the larvae of the most noble animals in America, the Giant Skippers (Krolik, you see, is burrowing again). He owns horses, and Cubistic pictures, and "oil wells" (whatever they are – our father in hell who has some too, does not tell me, getting away with off-color allusions as is his wont). I have told my patient Valentinian that I shall give him a definite answer after consulting the only man I have ever loved or shall ever love. Try to ring me up tonight. Something is very wrong with the Ladore line, but I am assured that the trouble will be grappled with and eliminated before rivertide. Tvoya, tvoya, tvoya (thine). A.’ (2.5)
In Turgenev’s novel Dym (“Smoke,” 1867) Irina’s letter to Litvinov also ends in the words Tvoya, tvoya, tvoya:
На другое утро Литвинов только что возвратился домой от банкира, с которым еще раз побеседовал об игривом непостоянстве нашего курса и лучшем способе высылать за границу деньги, как швейцар вручил ему письмо. Он узнал почерк Ирины и, не срывая печати, — недоброе предчувствие, бог знает почему, проснулись в нем, — ушел к себе в комнату. Вот что прочел он (письмо было написано по-французски):
«Милый мой! я всю ночь думала о твоем предложении… Я не стану с тобой лукавить. Ты был откровенен со мною, и я буду откровенна: я не могу бежать с тобою, я не в силах это сделать. Я чувствую, как я перед тобою виновата; вторая моя вина еще больше первой, — я презираю себя, свое малодушие, я осыпаю себя упреками, но я не могу себя переменить. Напрасно я доказываю самой себе, что я разрушила твое счастие, что ты теперь, точно, вправе видеть во мне одну легкомысленную кокетку, что я сама вызвалась, сама дала тебе торжественные обещания… Я ужасаюсь, я чувствую ненависть к себе, но я не могу поступать иначе, не могу, не могу. Я не хочу оправдыватъся, не стану говорить тебе, что я сама была увлечена… все это ничего не значит; но я хочу сказать тебе и повторить, и повторить еще раз: я твоя, твоя навсегда, располагай мною, как хочешь, когда хочешь, безответно и безотчетно, я твоя… Но бежать, все бросить… нет! нет! нет! Я умоляла тебя спасти меня, я сама надеялась все изгладить, сжечь все как в огне… Но, видно, мне нет спасения; видно, яд слишком глубоко проник в меня; видно, нельзя безнаказанно в течение многих лет дышать этим воздухом! Я долго колебалась, писать ли тебе это письмо, мне страшно подумать, какое ты примешь решение, я надеюсь только на любовь твою ко мне. Но я сочла, что было бы бесчестным с моей стороны не сказать тебе правды — тем более что ты, быть может, уже начал принимать первые меры к исполнению нашего замысла. Ах! он был прекрасен, но несбыточен. О мой друг, считай меня пустою, слабою женщиной, презирай меня, но не покидай меня, не покидай твоей Ирины!.. Оставить этот свет я не в силах, но и жить в нем без тебя не могу. Мы скоро вернемся в Петербург, приезжай туда, живи там, мы найдем тебе занятия, твои прошедшие труды не пропадут, ты найдешь для них полезное применение… Только живи в моей близости, только люби меня, какова я есть, со всеми моими слабостями и пороками, и знай, что ничье сердце никогда не будет так нежно тебе предано, как сердце твоей Ирины. Приходи скорее ко мне, я не буду иметь минуты спокойствия, пока я тебя не увижу. Твоя, твоя, твоя И.»
The next morning Litvinov had only just come home from seeing the banker, with whom he had had another conversation on the playful instability of our exchange, and the best means of sending money abroad, when the hotel porter handed him a letter. He recognised Irina's handwriting, and without breaking the seal—a presentiment of evil, Heaven knows why, was astir in him—he went into his room. This was what he read (the letter was in French):
'My dear one, I have been thinking all night of your plan. . . . I am not going to shuffle with you. You have been open with me, and I will be open with you; I cannot run away with you, I have not the strength to do it. I feel how I am wronging you; my second sin is greater than the first, I despise myself, my cowardice, I cover myself with reproaches, but I cannot change myself In vain I tell myself that I have destroyed your happiness, that you have the right now to regard me as a frivolous flirt, that I myself drew you on, that I have given you solemn promises. . . . I am full of horror, of hatred for myself, but I can't do otherwise, I can't, I can't. I don't want to justify myself, I won't tell you I was carried away myself . . . all that 's of no importance; but I want to tell you, and to say it again and yet again, I am yours, yours for ever, do with me as you will when you will, free from all obligation, from all responsibility! I am yours. . . . But run away, throw up everything . . . no! no! no! I besought you to save me, I hoped to wipe out everything, to burn up the past as in a fire . . . but I see there is no salvation for me; I see the poison has gone too deeply into me; I see one cannot breathe this atmosphere for years with impunity. I have long hesitated whether to write you this letter, I dread to think what decision you may come to, I trust only to your love for me. But I felt it would be dishonest on my part to hide the truth from you—especially as perhaps you have already begun to take the first steps for carrying out our project. Ah! it was lovely but impracticable. О my dear one, think me a weak, worthless woman, despise, but don't abandon me, don't abandon your Irina ! . . . To leave this life I have not the courage, but live it without you I cannot either. We soon go back to Petersburg, come there, live there, we will find occupation for you, your labours in the past shall not be thrown away, you shall find good use for them . . . only live near me, only love me; such as I am, with all my weaknesses and my vices, and believe me, no heart will ever be so tenderly devoted to you as the heart of your Irina. Come soon to me, I shall not have an instant's peace until I see you. — Yours, yours, yours, I.' (Chapter XXV)
In his memoir essay Boyesen praises Irene in Turgenev's "Smoke:"
-- Какое удивительно сложное существо ваша Irene въ "Дымѣ!" Не смотря на всѣ ея нарушенія общепринятой морали, вы не можете не восхищаться ею. Причемъ я не ограничиваюсь художественнымъ восхищеніемъ: въ моемъ сердцѣ таится симпатія къ ней. Чуется какое-то вѣяніе судьбы, въ древне-греческомъ смыслѣ, во всей картинѣ не находится осужденія ни Иринѣ, ни Литвинову; принимаемъ ихъ поступки и характеры, какъ нѣчто естественное и неизбѣжное. При томъ же, насколько она благороднѣе по сравненію, хотя бы, съ хитрой чувственной кокеткой Варварой Павловной въ "Дворянскомъ Гнѣздѣ!"
Характеръ Ирины,-- отвѣтилъ Тургеневъ,-- представляетъ странную исторію. Онъ былъ внушенъ мнѣ дѣйствительно существовавшей личностью, которую я знавалъ лично. Но Ирина въ романѣ и Ирина въ дѣйствительности не вполнѣ совпадаютъ. Это то-же и не то-же. Я не знаю, какъ объяснить вамъ самый процессъ развитіи характеровъ въ моемъ умѣ. Всякая написанная мной строчка вдохновлена чѣмъ-либо, или случившимся лично со иной, или же тѣмъ, что я наблюдалъ. Я не копирую дѣйствительные эпизоды или живыя личности, но эти сцены и личности даютъ мнѣ сырой матеріалъ для художественныхъ построеній. Мнѣ рѣдко пригодится выводить какое-либо знакомое мнѣ лицо, такъ какъ въ жизни рѣдко встрѣчаешь чистые, безпримѣсные типы. Я обыкновенно спрашиваю себя: для чего предназначила природа ту или иную личность? какъ проявится у нея извѣстная черта характера, если ее развить въ психологической послѣдовательности? Но я не беру единственную черту характера или какую-либо особенность, чтобы создать мужской или женскій образъ; напротивъ, я всячески стараюсь не выдѣлять особенностей; я стараюсь показать моихъ мужчинъ и женщинъ не только en face, но и en profile, въ такихъ положеніяхъ, которыя были бы естественными, и въ то-же время имѣли бы художественную цѣнность. Я не могу похвалиться особенно сильнымъ воображеніемъ и не умѣю строить зданій на воздухѣ.
Like Turgenev’s Irina, Pushkin’s Tatiana (who is a much more sympathetic girl than Irina or Ada) writes her letter to Onegin in French. In her letter she, too, says ya tvoya (“I am thine”):
Другой!.. Нет, никому на свете
Не отдала бы сердца я!
То в вышнем суждено совете…
То воля неба: я твоя;
Вся жизнь моя была залогом
Свиданья верного с тобой;
Я знаю, ты мне послан богом,
До гроба ты хранитель мой…
Ты в сновиденьях мне являлся,
Незримый, ты мне был уж мил,
Твой чудный взгляд меня томил,
В душе твой голос раздавался
Давно… нет, это был не сон!
Another!... No, to nobody on earth
would I have given my heart away!
That has been destined in a higher council,
that is the will of heaven: I am thine;
my entire life has been the gage
of a sure tryst with you;
I know that you are sent to me by God,
you are my guardian to the tomb....
You had appeared to me in dreams,
unseen, you were already dear to me,
your wondrous glance would trouble me,
your voice resounded in my soul
long since.... No, it was not a dream!
In the Kalugano hospital (where he recovers from the wound received in a pistol duel with Captain Tapper) Van meets Tatiana, a remarkably pretty and proud young nurse who later writes him a charming and melancholy letter in red ink on pink paper:
For half a minute Van was sure that he still lay in the car, whereas actually he was in the general ward of Lakeview (Lakeview!) Hospital, between two series of variously bandaged, snoring, raving and moaning men. When he understood this, his first reaction was to demand indignantly that he be transferred to the best private palata in the place and that his suitcase and alpenstock be fetched from the Majestic. His next request was that he be told how seriously he was hurt and how long he was expected to remain incapacitated. His third action was to resume what constituted the sole reason of his having to visit Kalugano (visit Kalugano!). His new quarters, where heartbroken kings had tossed in transit, proved to be a replica in white of his hotel apartment — white furniture, white carpet, white sparver. Inset, so to speak, was Tatiana, a remarkably pretty and proud young nurse, with black hair and diaphanous skin (some of her attitudes and gestures, and that harmony between neck and eyes which is the special, scarcely yet investigated secret of feminine grace fantastically and agonizingly reminded him of Ada, and he sought escape from that image in a powerful response to the charms of Tatiana, a torturing angel in her own right. Enforced immobility forbade the chase and grab of common cartoons. He begged her to massage his legs but she tested him with one glance of her grave, dark eyes — and delegated the task to Dorofey, a beefy-handed male nurse, strong enough to lift him bodily out of bed, with the sick child clasping the massive nape. When Van managed once to twiddle her breasts, she warned him she would complain if he ever repeated what she dubbed more aptly than she thought ‘that soft dangle.’ An exhibition of his state with a humble appeal for a healing caress resulted in her drily remarking that distinguished gentlemen in public parks got quite lengthy prison terms for that sort of thing. However, much later, she wrote him a charming and melancholy letter in red ink on pink paper; but other emotions and events had intervened, and he never met her again). His suitcase promptly arrived from the hotel; the stick, however, could not be located (it must be climbing nowadays Wellington Mountain, or perhaps, helping a lady to go ‘brambling’ in Oregon); so the hospital supplied him with the Third Cane, a rather nice, knotty, cherry-dark thing with a crook and a solid black-rubber heel. Dr Fitzbishop congratulated him on having escaped with a superficial muscle wound, the bullet having lightly grooved or, if he might say so, grazed the greater serratus. Doc Fitz commented on Van’s wonderful recuperational power which was already in evidence, and promised to have him out of disinfectants and bandages in ten days or so if for the first three he remained as motionless as a felled tree-trunk. Did Van like music? Sportsmen usually did, didn’t they? Would he care to have a Sonorola by his bed? No, he disliked music, but did the doctor, being a concert-goer, know perhaps where a musician called Rack could be found? ‘Ward Five,’ answered the doctor promptly. Van misunderstood this as the title of some piece of music and repeated his question. Would he find Rack’s address at Harper’s music shop? Well, they used to rent a cottage way down Dorofey Road, near the forest, but now some other people had moved in. Ward Five was where hopeless cases were kept. The poor guy had always had a bad liver and a very indifferent heart, but on top of that a poison had seeped into his system; the local ‘lab’ could not identify it and they were now waiting for a report, on those curiously frog-green faeces, from the Luga people. If Rack had administered it to himself by his own hand, he kept ‘mum’; it was more likely the work of his wife who dabbled in Hindu-Andean voodoo stuff and had just had a complicated miscarriage in the maternity ward. Yes, triplets — how did he guess? Anyway, if Van was so eager to visit his old pal it would have to be as soon as he could be rolled to Ward Five in a wheelchair by Dorofey, so he’d better apply a bit of voodoo, ha-ha, on his own flesh and blood. (1.42)
Poor Rack was poisoned by his jealous wife Elsie. According to Marina, she would have poisoned her governess with anti-roach borax if forbidden to read Turgenev’s Smoke:
Her intimacy with her cher, trop cher René, as she sometimes called Van in gentle jest, changed the reading situation entirely — whatever decrees still remained pinned up in mid-air. Soon upon his arrival at Ardis, Van warned his former governess (who had reasons to believe in his threats) that if he were not permitted to remove from the library at any time, for any length of time, and without any trace of ‘en lecture,’ any volume, collected works, boxed pamphlets or incunabulum that he might fancy, he would have Miss Vertograd, his father’s librarian, a completely servile and infinitely accommodative spinster of Verger’s format and presumable date of publication, post to Ardis Hall trunkfuls of eighteenth century libertines, German sexologists, and a whole circus of Shastras and Nefsawis in literal translation with apocryphal addenda. Puzzled Mlle Larivière would have consulted the Master of Ardis, but she never discussed with him anything serious since the day (in January, 1876) when he had made an unexpected (and rather halfhearted, really — let us be fair) pass at her. As to dear, frivolous Marina, she only remarked, when consulted, that at Van’s age she would have poisoned her governess with anti-roach borax if forbidden to read, for example, Turgenev’s Smoke. Thereafter, anything Ada wanted or might have wanted to want was placed by Van at her disposal in various safe nooks, and the only visible consequence of Verger’s perplexities and despair was an increase in the scatter of a curious snow-white dust that he always left here and there, on the dark carpet, in this or that spot of plodding occupation — such a cruel curse on such a neat little man! (1.21)