Nabokov's first writings were in Russian, but he came to his greatest distinction in the English language. For this achievement, he has been compared with Joseph Conrad; yet Nabokov viewed this as a dubious comparison, as Conrad composed in French and English. Nabokov disdained the comparison for aesthetic reasons, lamenting to the critic Edmund Wilson, "I am too old to change Conradically" ... which John Updike later called, "itself a jest of genius." Nabokov translated many of his own early works into English, sometimes in cooperation with his son Dmitri. His trilingual upbringing had a profound influence on his artistry. He has metaphorically described the transition from one language to another as the slow journey at night from one village to the next with only a candle for illumination. Nabokov himself translated into Russian two books that he had originally written in English,
Conclusive Evidence and
Lolita. The first "translation" was made because of Nabokov's feeling of imperfection in the English version. Writing the book, he noted that he needed to translate his own memories into English, and to spend a lot of time explaining things which are well-known in Russia; then he decided to re-write the book once again, in his first native language, and after that he made the final version,
Speak, Memory (Nabokov first wanted to name it "Speak, Mnemosyne"). Nabokov was a proponent of individualism, and rejected concepts and ideologies that curtailed individual freedom and expression, such as totalitarianism in its various forms as well as Freud's psychoanalysis. Poshlost, or as he transcribed it,
poshlust, is disdained and frequently mocked in his works.
Nabokov published under the pseudonym "Vladimir Sirin" in the 1920s to 1940s, occasionally to mask his identity from critics. He also makes cameo appearances in some of his novels, such as the character "Vivian Darkbloom" (an anagram of "Vladimir Nabokov") in
Lolita.
Nabokov is noted for his complex plots, clever word play, and use of alliteration. He gained both fame and notoriety with his novel
Lolita (1955), which tells of a grown man's devouring passion for a twelve-year-old girl. This and his other novels, particularly
Pale Fire (1962), won him a place among the greatest novelists of the 20th century. His longest novel, which met with a mixed response, is
Ada (1969). He devoted more time to the composition of this novel than any of his others. Nabokov's fiction is characterised by its linguistic playfulness. For example, his short story "The Vane Sisters" is famous in part for its acrostic final paragraph, in which the first letters of each word spell out a message from beyond the grave.
Nabokov's stature as a literary critic is founded largely on his four-volume translation of and commentary on Aleksandr Pushkin's epic of the Russian soul,
Eugene Onegin, published in 1964. That commentary ended with an appendix titled
Notes on Prosody which has developed a reputation of its own. It stemmed from his observation that while Pushkin's iambic tetrameters had been a part of Russian literature for a fairly short two centuries, they were clearly understood by the Russian prosodists. On the other hand, he viewed the much older English iambic tetrameters as muddled and poorly documented. In his own words:
- I have been forced to invent a simple little terminology of my own, explain its application to English verse forms, and indulge in certain rather copious details of classification before even tackling the limited object of these notes to my translation of Pushkin's Eugene Onegin, an object that boils down to very little...in comparison to the forced preliminaries ... namely, to a few things that the non-Russian student of Russian literature must know in regard to Russian prosody in general and to Eugene Onegin in particular.
He argued that all verse translations of ''Onegin'' fatally betrayed the author's use of language; critics replied that failure to make the translation as beautifully styled as the original was a much greater betrayal.
He firmly believed that novels should not aim to teach and that readers should not merely empathise with characters but that a 'higher' aesthetic enjoyment should be attained, partly by paying great attention to details of style and structure. He detested what he saw as 'general ideas' in novels, and so when teaching ''[[Ulysses (novel)|Ulysses]]'', for example, he would insist students keep an eye on where the characters were in Dublin (with the aid of a map) rather than teaching the complex Irish history that many critics see as being essential to an understanding of the novel.
During his ten years at Cornell, Nabokov introduced undergraduates to the delights of great fiction, including
Bleak House by Charles Dickens, in fifty-minute classroom lectures.
In 2010, Kitsch Magazine, a student publication at Cornell, published a piece that focused on student reflections on these lectures and also explored Nabokov's long relationship with Playboy Magazine.
In an interview in 2006 or 2007, United States Supreme Court Justice Ruth Bader Ginsburg cites Nabokov as a major influence of her writing style. (lawprose.org/interviews/supreme_court).
In his essay "Nabokov, or Nostalgia", [[Danilo Ki?]] wrote that Nabokov's is "a magnificent, complex, and sterile art." Russian poet [[Yevgeny Yevtushenko]] said in a Playboy interview that he could hear the clatter of surgical tools in Nabokov's prose.
Not until glasnost did Nabokov's work become officially available in his native country. Gorbachev authorised a five-volume edition of his writing in 1988.