By Vladimir Nabokov
Released weeks after his 70th birthday, Ada, or Ardor is considered one of Nabokov's maximum masterpieces, the wonderful end result of his occupation as a novelist. It tells a love tale stricken via incest. yet extra: it's also straight away a fairy story, epic, philosophical treatise at the nature of time, parody of the background of the radical, and erotic catalogue. Ada, or Ardor is not any lower than the excellent paintings of an mind's eye at white heat.
This is the 1st American version to incorporate the vast and ingeniously sardonic appendix by way of the writer, written below the anagrammatic pseudonym Vivian Darkbloom.
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Extra resources for Ada, or Ardor: A Family Chronicle
Divided Borders features an essay recounting the history of plena and another celebrating the composer Rafael Cortijo, published in 1988 and 1991 respectively. The essay “Living Borders/Buscando América: Languages of Latino Self-Formation,” first published in 1990, most explicitly articulates Flores’s transition from studying literature to music. In this post-Sixties context, he finds that “salsa, perhaps better than any other cultural form, expresses the Latino ethos of multiculturalism and crossing borders” (215).
Language is a cultural sign that can be easily naturalized to indicate such absolute differences in character as to become almost biological markers of belonging. The failures that Carmen Whalen describes of the Young Lords’ attempts to “return” to Puerto Rico to set up branches on the island in the 1970s are part of this history of Spanish- and Spanglish-speaking communities finding themselves unable to communicate across language differences (Whalen 118–19). At the same time, the emphasis on language is not necessarily exclusionary or chauvinistic.
True Boricua cultural expression embodies resistance, while this literature has become “reactionary and self-aggrandizing” (135). She clearly identifies the problem as one of capitalist co-optation: “Given this growing market and the industry’s profit motives, certain priorities that respond to industry readings of market potential determine which titles get published and promoted” (136). In response to the market, then, Santiago, Ortiz Cofer, and Monteflores produce narratives of uncomplicated upward mobility in which Puerto Rico “represents outgrown, retrograde communal and family values, while in the final instance ‘America’ (that is, any area of the mainland United States unpopulated by Boricuas) is celebrated as the utopia of the mature female protagonist’s liberatory exile” (141).