Vladimir Nabokov - Speak, Memory

I explained to my brother a wicked plan and persuaded him to accept it. As soon as we came back from that walk, we left Mademoiselle puffing on the steps of the vestibule and dashed indoors, giving her the impression that we were about to conceal ourselves in some remote room. Actually, we trotted on till we reached the other side of the house, and then, through a veranda, emerged into the garden again. The above-mentioned Great Dane was in the act of fussily adjusting himself to a nearby snowdrift, but while deciding which hindleg to lift, he noticed us and at once joined us at a joyful gallop.

The three of us followed a fairly easy trail and after plodding through deeper snow, reached the road that led to the village. Meanwhile the sun had set. Dusk came with uncanny suddenness. My brother declared he was cold and tired, but I urged him on and finally made him ride the dog (the only member of the party to be still enjoying himself). We had gone more than two miles, and the moon was fantastically shiny, and my brother, in perfect silence, had begun to fall, every now and then, from his mount when Dmitri with a lantern overtook us and led us home. “Giddy-eh, giddy-eh?” Mademoiselle was frantically shouting from the porch. I brushed past her without a word. My brother burst into tears, and gave himself up. The Great Dane, whose name was Turka, returned to his interrupted affairs in connection with serviceable and informative snowdrifts around the house.

In our childhood we know a lot about hands since they live and hover at the level of our stature; Mademoiselle’s were unpleasant because of the froggy gloss on their tight skin besprinkled with brown ecchymotic spots. Before her time no stranger had ever stroked my face. Mademoiselle, as soon as she came, had taken me completely aback by patting my cheek in sign of spontaneous affection. All her mannerisms come back to me when I think of her hands. Her trick of peeling rather than sharpening a pencil, the point held toward her stupendous and sterile bosom swathed in green wool. The way she had of inserting her little finger into her ear and vibrating it very rapidly. The ritual observed every time she gave me a fresh copybook. Always panting a little, her mouth slightly open and emitting in quick succession a series of asthmatic puffs, she would open the copybook to make a margin in it; that is, she would sharply imprint a vertical line with her thumbnail, fold in the edge of the page, press, release, smooth it out with the heel of her hand, after which the book would be briskly twisted around and placed before me ready for use. A new pen followed; she would moisten the glistening nib with susurrous lips before dipping it into the baptismal ink font. Then, delighting in every limb of every limpid letter (especially so because the preceding copybook had ended in utter sloppiness), with exquisite care I would inscribe the word Dictée while Mademoiselle hunted through her collection of spelling tests for a good, hard passage.

Meanwhile the setting has changed. The berimed tree and the high snowdrift with its xanthic hole have been removed by a silent property man. The summer afternoon is alive with steep clouds breasting the blue. Eyed shadows move on the garden paths. Presently, lessons are over and Mademoiselle is reading to us on the veranda where the mats and plaited chairs develop a spicy, biscuity smell in the heat. On the white window ledges, on the long window seats covered with faded calico, the sun breaks into geometrical gems after passing through rhomboids and squares of stained glass. This is the time when Mademoiselle is at her very best.

What a number of volumes she read through to us on that veranda! Her slender voice sped on and on, never weakening, without the slightest hitch or hesitation, an admirable reading machine wholly independent of her sick bronchial tubes. We got it all: Les Malheurs de Sophie, Le Tour du Monde en Quatre Vingts Jours, Le Petit Chose, Les Misérables, Le Comte de Monte Cristo , many others. There she sat, distilling her reading voice from the still prison of her person. Apart from the lips, one of her chins, the smallest but true one, was the only mobile detail of her Buddha-like bulk. The black-rimmed pince-nez reflected eternity. Occasionally a fly would settle on her stern forehead and its three wrinkles would instantly leap up all together like three runners over three hurdles. But nothing whatever changed in the expression of her face—the face I so often tried to depict in my sketchbook, for its impassive and simple symmetry offered a far greater temptation to my stealthy pencil than the bowl of flowers or the decoy duck on the table before me, which I was supposedly drawing.

Presently my attention would wander still farther, and it was then, perhaps, that the rare purity of her rhythmic voice accomplished its true purpose. I looked at a tree and the stir of its leaves borrowed that rhythm. Egor was pottering among the peonies. A wagtail took a few steps, stopped as if it had remembered something—and then walked on, enacting its name. Coming from nowhere, a Comma butterfly settled on the threshold, basked in the sun with its angular fulvous wings spread, suddenly closed them just to show the tiny initial chalked on their dark underside, and as suddenly darted away. But the most constant source of enchantment during those readings came from the harlequin pattern of colored panes inset in a whitewashed framework on either side of the veranda. The garden when viewed through these magic glasses grew strangely still and aloof. If one looked through blue glass, the sand turned to cinders while inky trees swam in a tropical sky. The yellow created an amber world infused with an extra strong brew of sunshine. The red made the foliage drip ruby dark upon a pink footpath. The green soaked greenery in a greener green. And when, after such richness, one turned to a small square of normal, savorless glass, with its lone mosquito or lame daddy longlegs, it was like taking a draught of water when one is not thirsty, and one saw a matter-of-fact white bench under familiar trees. But of all the windows this is the pane through which in later years parched nostalgia longed to peer.

Mademoiselle never found out how potent had been the even flow of her voice. The subsequent claims she put forward were quite different. “Ah,” she sighed, “comme on s’aimait —didn’t we love each other! Those good old days in the château! The dead wax doll we once buried under the oak! [No—a wool-stuffed Golliwogg.] And that time you and Serge ran away and left me stumbling and howling in the depths of the forest! [Exaggerated.] Ah, la fessée que je vous ai flanquée —My, what a spanking I gave you! [She did try to slap me once but the attempt was never repeated.] Votre tante, la Princesse , whom you struck with your little fist because she had been rude to me! [Do not remember.] And the way you whispered to me your childish troubles! [Never!] And the nook in my room where you loved to snuggle because you felt so warm and secure!”

Mademoiselle’s room, both in the country and in town, was a weird place to me—a kind of hothouse sheltering a thick-leaved plant imbued with a heavy, enuretic odor. Although next to ours, when we were small, it did not seem to belong to our pleasant, well-aired home. In that sickening mist, reeking, among other woolier effluvia, of the brown smell of oxidized apple peel, the lamp burned low, and strange objects glimmered upon the writing desk: a lacquered box with licorice sticks, black segments of which she would hack off with her penknife and put to melt under her tongue; a picture postcard of a lake and a castle with mother-of-pearl spangles for windows; a bumpy ball of tightly rolled bits of silver paper that came from all those chocolates she used to consume at night; photographs of the nephew who had died, of his mother who had signed her picture Mater Dolorosa , and of a certain Monsieur de Marante who had been forced by his family to marry a rich widow.