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FROM THE EDITOR Vladimir Nabokov, that most extraterritorial of authors, is one of the best known writers of the twentieth century. His work, which extends from the mid-teens to the mid-seventies, is firmly rooted in the cultural canon, both popular and professional. There are around fifty volumes devoted to his work and dozens of smaller critical studies appear annually . Apart from a scattering of reviews and essays in émigré publications, Nabokov studies started in the late 1960s. In the quarter of a century since, an impressive foundation has been laid. This is not the place to rehearse the history of the field, but a few landmarks must be noted. The Vladimir Nabokov Society, founded in 1978 by Stephen Jan Parker, was one such landmark. The Society has been instrumental in arranging a continuing series of forums devoted to Nabokov at regional and national scholarly conferences. These meetings have created a community of Nabokov scholars that in some senses is unique. As a writer of the first rank in two languages, Nabokov has attracted the attention of readers and critics in both English and Russian literature, as well as comparativists. Nabokov studies is one of the few fields in which Slavists and English literature specialists attend each other's professional meetings, present papers , and publish in each other's journals. This is abo true at the international level—at first extending to West European scholars and, now, including Russia and the countries of Eastern Europe. The first international Nabokov conference in Moscow and St. Petersburg in June 1990, and the second, held in Nice in June 1992, mark this advance. The Society's twice-yearly-publication, The Nabokovian, edited by Steven Parkeer, is an important element in linking members of our scholarly community. Its invaluable bibliographic listings, conference programs and reports, annotations , and news of the profession have made it nearly as indispensible to the Nabokov specialist as Brian Boyd's Vladimir Nabokov or Michael Juliar's Vladimir Nabokov: A Descriptive Bibliography. Such information shall continue to appear exclusively in The Nabokovian. NABOKOV STUDIES is intended to fill a particular niche in our field. There is no shortage of places to publish work on Nabokov—from annotations to books. There are, however, certain kinds of materials that are hard to place. Obvious cases are long articles and/or those that are highly specialized. Substantial amounts of Nabokov criticism exist in Russian, French, German, and other, less common, languages. Much of this remainss little known to Anglo-American scholars. NABOKOV STUDIES will give special attention to this work, both in the form of translated articles and detailed reviews. Dissertations are another underexplored area. Unlike many scholarly journals, NABOKOV STUDIES will publish graphics—both those illustraüng articles and those of more general interest, such as Gennady Barabtarlo's photographs in the present issue. This, the inaugural volume of NABOKOV STUDIES, offers examples of some of these under-represented categories—as well as a selection of more traditional scholarly fare. Jane Grayson's long, specialized study "Washington's Gift: Materials pertaining to Nabokov's Gift in the Library of Congress," examines manuscript materials that were composed for The Gift but not used, and also materials for a second volume that was never written. Both shed new light on The Gift and upon other Nabokov works. A second article, by Jonathan B. Sisson, originally part of a 1979 dissertation, draws upon much of Nabokov's work in its elegant definition of "cosmic synchronization " and "something else"—key Nabokovian concepts that have only recently begun to receive their due. Sisson also contributes a poem, "Nabokov in Minnesota. November 1941," alluding to an incident described by Brian Boyd in Vladimir Nabokov: The American Years, pp. 5152 . Joel Brattin's documentary essay 'The Intersection of McEwen and Wheaton: A Nabokovian Locus Identified" shares the geographic specificity of the Sisson poem. The photograph accompanying Brattin's essay depicts the site of an epic row between Humbert and Lolita. Charles Nicol's "Necessary Introduction or Fatal Fatuity: Nabokov's Introductions and Bend Sinister" develops a paradigm for Nabokov's "Introductions," as well as offering an elucidation of subtexts in Bend Sinister's "Foreword." Contributions by Susan Elisabeth...


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