Carolyn/Jansy: I’m delighted you have triggered some serious, professional comments on VN’s diverse interactions with the wonderfully wide world of Chess. Especially the two links offered by Dave Haan, both dripping with goodies previously unknown to moi:My limited command of Italian, Dio sia lodato, is no impediment to following VN’s problems’ and annotated solutions. But, I’m sure many of us would welcome an English translation of those “non-technical literary” sections not found in “Speak, Memory.” Any offers? Also, I remain confused about which “Speak, Memory” problem* it was that VN claimed to have resisted solution?
The problem referred to (described) in Speak, Memory is the first of those listed in
http://www.italiascacchistica.com/a_nabokov.htm
(This is the only online reference I've found; for further discussion see
http://nnyhav.blogspot.com/2005/09/nabokovs-theme.html
* For the complex titular& publicational variants, see
http://en.wikipedia.org/wiki/Speak,_Memory
The nnyhav.blogspot deserves the highest Nabokovian praise, although its author’s name seems modestly concealed. Note the sweet pun: “going out on a LIMB/LIMN.”
Nabokov himself makes use of this cross-over potential in a variety of ways, some less obvious than others. It may be going out on a limn to assert the relevance of Poe and Carroll, two prime resources for Lolita, sharing not only a predeliction for too-young girls (asked what scenes he would have liked to seen filmed, Nabokov included: "Poe's wedding. Lewis Carroll's picnics."), but also for essaying chess (Poe in Maelzel's Chess-Player, Carroll in Wonderland); nevertheless, Humbert's relation to Quilty is much that of would-be solver to composer.
Less-well-known are Poe’s genuinely ORIGINAL solutions to long-standing ASTROPHYSICAL problems. E.g., OLBERS’ Paradox asks why the SKY gets DARK at NIGHT?! Edgar Allan Poe's essay Eureka (1848) cleverly anticipated some qualitative aspects of Kelvin's explanation:
Were the succession of stars endless, then the background of the sky would present us a uniform luminosity, like that displayed by the Galaxy – since there could be absolutely no point, in all that background, at which would not exist a star. The only mode, therefore, in which, under such a state of affairs, we could comprehend the voids which our telescopes find in innumerable directions, would be by supposing the distance of the invisible background so immense that no ray from it has yet been able to reach us at all.
See https://en.wikipedia.org/wiki/Olbers'_paradox#The_paradox
and
http://blogs.smithsonianmag.com/science/2011/01/edgar-allan-poe-and-the-world-of-astronomy/
Stan Kelly-Bootle, MA (Cantab), ACM, MAA, AMS, ASCAP.
------------Carolyn Kunin: "... it got me to thinking about Nabokov as a chess player.Google led me to an interview done with the author before fame struck, but in 1951, the latest book was .a volume called "Conclusive Evidence." It was an autobiography and yet it wasn't altogether so. Would Mr. Nabokov talk a bit about it? He would.[ ] The memoir became the meeting point of an impersonal art form and a very personal life story."[ ] "With me, Mr. Nabokov said, 'it is a kind of composition. I am a composer of chess problems. Nobody,' he said, 'has yet solved the chess problem in 'Conclusive Evidence' ." What about a professional, a Reuben Fine, a Reshevsky, or someone like that? 'I'm waiting for one to come along,' Mr. Nabokov said in a voice that could have been as ambivalent as Joyce's when people were starting to guess at the title of what turned out to be 'Finnegans Wake'."
Jansy Mello: You reminded me of two things. In the first place, that Nabokov wasn't as keen on playing chess as he was in devising chess problems.So, his invitation in "Conclusive Evidence" turns the reader into a chess player and this promotes a distancing distinction bt. him and those readers whose joy depends on solving the problem and winning the game, instead of following the malicious turns and clever devices of his mind (another kind of "discovery game").
Still stuck with Kinbote's mention of Proust's "flora of metaphors," I started to read again Beckett's essay, which was not a true academic work, filled with footnotes, references and quotes, although his work already carried the mark of his future writings (a variation of VN's Memoir that isn't just a Memoir, i.e, an Essay that's not an academic feat). Beckett became close to James Joyce during his stay in Paris. Joyce, noticing the young man's talent, invited him to join a collective travail evolving around what he'd been writing in 1922, namely, his "Work in Progress, published much later, in 1939, as Finnegans Wake (Beckett was in charge of researching Bruno, Vico and Dante and his results were published as a part of "Our Exagmination Round his Factification for Incamination of Work in Progress") ..
Factifications, indeed! And these carry me to the second association to your comment. It's a quote, from Mark Twain's Autobiography (which I haven't read) After all, if Clement's observation is true, he must have inadvertently transformed his "very personal life story" into literary fiction then and there. ( "When I was younger, I could remember anything, whether it had happened or not; but my faculties are decaying now and soon I shall be so I cannot remember any but the things that never happened.")
All private editorial communications are read by both co-editors.