This collection of essays focuses on a subject largely neglected in Nabokovian criticism-the importance and significance of the five senses in Vladimir Nabokov's work, poetics, politics and aesthetics. This text analyzes the crucial role of the author's synesthesia and multilingualism in relation to the five senses, as well as the sensual and erotic dimensions of sensoriality in his works. Each chapter provides a highly focused and sometimes provocative approach to the unique role that sensory perceptions play in the shaping and narrating of Nabokov's memories and in his creative process.

This collection of essays focuses on a subject largely neglected in Nabokovian criticism-the importance and significance of the five senses in Vladimir Nabokov's work, poetics, politics and aesthetics. This text analyzes the crucial role of the author's synesthesia and multilingualism in relation to the five senses, as well as the sensual and erotic dimensions of sensoriality in his works. Each chapter provides a highly focused and sometimes provocative approach to the unique role that sensory perceptions play in the shaping and narrating of Nabokov's memories and in his creative process.

Exploring the deeply translational and transnational nature of the writings of Vladimir Nabokov, this book argues that all his work is unified by the permanent presence of three cultures and languages: Russian, English and French. In particular, Julie Loison-Charles focusses on Nabokov's dual nature as both an author and a translator, and the ways in which translation permeates his fictional writing from his very first Russian works to his last novels in English. Although self-translation has received a lot of attention in Nabokov criticism, this book considers his work as an author-translator, drawing particular attention to his often underappreciated and underestimated, but no less crucial, third language; French. Looking at Nabokov's encounters with pseudotranslation, Julie Loison-Charles demonstrates the influence this had on his practice as both a translator and a writer, arguing that this experience was crucial to his ability to create bridges between the literary traditions of Europe, Russia and America. The book also triangulates his practice and theory of translation for Onegin with those of Chateaubriand and Venuti to illuminate Nabokov's transnational vision of literature and his ethics of translation before presenting a robust case for reconsidering his collaborative translations in French as mediated self-translations.