Reading Lolita in Tehran_ A Memoir in Books - Azar Nafisi [11]
The truth was that upsilamba was one of Nabokov’s fanciful creations, possibly a word he invented out of upsilon, the twentieth letter in the Greek alphabet, and lambda, the eleventh. So that first day in our private class, we let our minds play again and invented new meanings of our own.
I said I associated upsilamba with the impossible joy of a suspended leap. Yassi, who seemed excited for no particular reason, cried out that she always thought it could be the name of a dance—you know, “C’mon, baby, do the Upsilamba with me.” I proposed that for the next time, they each write a sentence or two explaining what the word meant to them.
Manna suggested that upsilamba evoked the image of small silver fish leaping in and out of a moonlit lake. Nima added in parentheses, Just so you won’t forget me, although you have barred me from your class: an upsilamba to you too! For Azin it was a sound, a melody. Mahshid described an image of three girls jumping rope and shouting “Upsilamba!” with each leap. For Sanaz, the word was a small African boy’s secret magical name. Mitra wasn’t sure why the word reminded her of the paradox of a blissful sigh. And to Nassrin it was the magic code that opened the door to a secret cave filled with treasures.
Upsilamba become part of our increasing repository of coded words and expressions, a repository that grew over time until gradually we had created a secret language of our own. That word became a symbol, a sign of that vague sense of joy, the tingle in the spine Nabokov expected his readers to feel in the act of reading fiction; it was a sensation that separated the good readers, as he called them, from the ordinary ones. It also became the code word that opened the secret cave of remembrance.
6
In his foreword to the English edition of Invitation to a Beheading (1959), Nabokov reminds the reader that his novel does not offer “tout pour tous.” Nothing of the kind. “It is,” he claims, “a violin in the void.” And yet, he goes on to say, “I know . . . a few readers who will jump up, ruffling their hair.” Well, absolutely. The original version, Nabokov tells us, was published in installments in 1935. Almost six decades later, in a world unknown and presumably unknowable to Nabokov, in a forlorn living room with windows looking out towards distant white-capped mountains, time and again I would stand witness to the unlikeliest of readers as they lost themselves in a madness of hair-ruffling.
Invitation to a Beheading begins with the announcement that its fragile hero, Cincinnatus C., has been sentenced to death for the crime of “gnostic turpitude”: in a place where all citizens are required to be transparent, he is opaque. The principal characteristic of this world is its arbitrariness; the condemned man’s only privilege is to know the time of his death—but the executioners keep even this from him, turning every day into a day of execution. As the story unfolds, the reader discovers with increasing discomfort the artificial texture of this strange place. The moon from the window is fake; so is the spider in the corner, which, according to convention, must become the prisoner’s faithful companion. The director of the jail, the jailer and the defense lawyer are all the same man, and keep changing places. The most important character, the executioner, is first introduced to the prisoner under another name and as a fellow prisoner: M’sieur Pierre. The executioner and the condemned man must learn to love each other and cooperate in the act of execution, which will be celebrated in a gaudy feast. In this staged world, Cincinnatus’s only window to another universe is his writing.
The world of the novel is one of empty rituals. Every act is bereft of substance and significance, and even death becomes a spectacle for which the good citizens buy tickets. It is only through these empty rituals that brutality becomes possible. In another Nabokov novel, The Real Life of Sebastian Knight,