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A Guide to Berlin
"A Guide to Berlin" is a short story by Vladimir Nabokov, first published in 1925. It was later translated by him and his son, Dmitri Nabokov, into English and included in the collection Details of a Sunset and Other Stories (1976).
In the story the narrator recounts to a friend his visit to the Berlin zoo. In the short sections--"The Pipes," "The Streetcar," "Work," "Eden," and "The Pub"--he describes everyday aspects of life in the city in vivid, typically Nabokovian, detail. In "The Streetcar," he adumbrates his vision of the purpose of "literary creation":
"To portray ordinary objects as they will be reflected in the kindly mirrors of future times; to find in the objects around us the fragrant tenderness that only posterity will discern and appreciate in the far-off times when every trifle of our plain everyday life will become exquisite and festive in its own right: the times when a man who might put on the most ordinary jacket of today will be dressed up for an elegant masquerade."
His "pot companion" (drinking buddy) in the pub pronounces the guide to be poor one of a "boring, expensive city," and does not understand the narrator’s preoccupation with streetcars, tortoises, or the publican's young son’s view from the rear annex. The last aspect is the salient one; the narrator believes that the child will always have some manner of dim recollection of this childhood view and time, impregnated by details that will seem to him unique or special. This is exactly how the narrator feels about his own experiences around Berlin that day. He derives great pleasure from the aesthetics and social mechanisms, though others may not. It is the possibility of having experienced objects which might interest, entertain or mould others that so fascinates him.
In the story the narrator recounts to a friend his visit to the Berlin zoo. In the short sections--"The Pipes," "The Streetcar," "Work," "Eden," and "The Pub"--he describes everyday aspects of life in the city in vivid, typically Nabokovian, detail. In "The Streetcar," he adumbrates his vision of the purpose of "literary creation":
"To portray ordinary objects as they will be reflected in the kindly mirrors of future times; to find in the objects around us the fragrant tenderness that only posterity will discern and appreciate in the far-off times when every trifle of our plain everyday life will become exquisite and festive in its own right: the times when a man who might put on the most ordinary jacket of today will be dressed up for an elegant masquerade."
His "pot companion" (drinking buddy) in the pub pronounces the guide to be poor one of a "boring, expensive city," and does not understand the narrator’s preoccupation with streetcars, tortoises, or the publican's young son’s view from the rear annex. The last aspect is the salient one; the narrator believes that the child will always have some manner of dim recollection of this childhood view and time, impregnated by details that will seem to him unique or special. This is exactly how the narrator feels about his own experiences around Berlin that day. He derives great pleasure from the aesthetics and social mechanisms, though others may not. It is the possibility of having experienced objects which might interest, entertain or mould others that so fascinates him.
First published January 1, 1925
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About the author
Vladimir Nabokov
889 books14.9k followersVladimir Nabokov (Russian: Владимир Набоков) was a writer defined by a life of forced movement and extraordinary linguistic transformation. Born into a wealthy, liberal aristocratic family in St. Petersburg, Russia, he grew up trilingual, speaking Russian, English, and French in a household that nurtured his intellectual curiosities, including a lifelong passion for butterflies. This seemingly idyllic, privileged existence was abruptly shattered by the Bolshevik Revolution, which forced the family into permanent exile in 1919. This early, profound experience of displacement and the loss of a homeland became a central, enduring theme in his subsequent work, fueling his exploration of memory, nostalgia, and the irretrievable past.
The first phase of his literary life began in Europe, primarily in Berlin, where he established himself as a leading voice among the Russian émigré community under the pseudonym "Vladimir Sirin". During this prolific period, he penned nine novels in his native tongue, showcasing a precocious talent for intricate plotting and character study. Works like The Defense explored obsession through the extended metaphor of chess, while Invitation to a Beheading served as a potent, surreal critique of totalitarian absurdity. In 1925, he married Véra Slonim, an intellectual force in her own right, who would become his indispensable partner, editor, translator, and lifelong anchor.
The escalating shadow of Nazism necessitated another, urgent relocation in 1940, this time to the United States. It was here that Nabokov undertook an extraordinary linguistic metamorphosis, making the challenging yet resolute shift from Russian to English as his primary language of expression. He became a U.S. citizen in 1945, solidifying his new life in North America. To support his family, he took on academic positions, first founding the Russian department at Wellesley College, and later serving as a highly regarded professor of Russian and European literature at Cornell University from 1948 to 1959.
During this academic tenure, he also dedicated significant time to his other great passion: lepidoptery. He worked as an unpaid curator of butterflies at Harvard University's Museum of Comparative Zoology. His scientific work was far from amateurish; he developed novel taxonomic methods and a groundbreaking, highly debated theory on the migration patterns and phylogeny of the Polyommatus blue butterflies, a hypothesis that modern DNA analysis confirmed decades later.
Nabokov achieved widespread international fame and financial independence with the publication of Lolita in 1955, a novel that was initially met with controversy and censorship battles due to its provocative subject matter concerning a middle-aged literature professor and his obsession with a twelve-year-old girl. The novel's critical and commercial success finally allowed him to leave teaching and academia behind. In 1959, he and Véra moved permanently to the quiet luxury of the Montreux Palace Hotel in Switzerland, where he focused solely on writing, translating his earlier Russian works into meticulous English, and studying local butterflies.
His later English novels, such as Pale Fire (1962), a complex, postmodern narrative structured around a 999-line poem and its delusional commentator, cemented his reputation as a master stylist and a technical genius. His literary style is characterized by intricate wordplay, a profound use of allusion, structural complexity, and an insistence on the artist's total, almost tyrannical, control over their created world. Nabokov often expressed disdain for what he termed "topical trash" and the simplistic interpretations of Freudian psychoanalysis, preferring instead to focus on the power of individual consciousness, the mechanics of memory, and the intricate, often deceptive, interplay between art and perceived "reality". His unique body of work, straddling multiple cultures and languages, continues to
The first phase of his literary life began in Europe, primarily in Berlin, where he established himself as a leading voice among the Russian émigré community under the pseudonym "Vladimir Sirin". During this prolific period, he penned nine novels in his native tongue, showcasing a precocious talent for intricate plotting and character study. Works like The Defense explored obsession through the extended metaphor of chess, while Invitation to a Beheading served as a potent, surreal critique of totalitarian absurdity. In 1925, he married Véra Slonim, an intellectual force in her own right, who would become his indispensable partner, editor, translator, and lifelong anchor.
The escalating shadow of Nazism necessitated another, urgent relocation in 1940, this time to the United States. It was here that Nabokov undertook an extraordinary linguistic metamorphosis, making the challenging yet resolute shift from Russian to English as his primary language of expression. He became a U.S. citizen in 1945, solidifying his new life in North America. To support his family, he took on academic positions, first founding the Russian department at Wellesley College, and later serving as a highly regarded professor of Russian and European literature at Cornell University from 1948 to 1959.
During this academic tenure, he also dedicated significant time to his other great passion: lepidoptery. He worked as an unpaid curator of butterflies at Harvard University's Museum of Comparative Zoology. His scientific work was far from amateurish; he developed novel taxonomic methods and a groundbreaking, highly debated theory on the migration patterns and phylogeny of the Polyommatus blue butterflies, a hypothesis that modern DNA analysis confirmed decades later.
Nabokov achieved widespread international fame and financial independence with the publication of Lolita in 1955, a novel that was initially met with controversy and censorship battles due to its provocative subject matter concerning a middle-aged literature professor and his obsession with a twelve-year-old girl. The novel's critical and commercial success finally allowed him to leave teaching and academia behind. In 1959, he and Véra moved permanently to the quiet luxury of the Montreux Palace Hotel in Switzerland, where he focused solely on writing, translating his earlier Russian works into meticulous English, and studying local butterflies.
His later English novels, such as Pale Fire (1962), a complex, postmodern narrative structured around a 999-line poem and its delusional commentator, cemented his reputation as a master stylist and a technical genius. His literary style is characterized by intricate wordplay, a profound use of allusion, structural complexity, and an insistence on the artist's total, almost tyrannical, control over their created world. Nabokov often expressed disdain for what he termed "topical trash" and the simplistic interpretations of Freudian psychoanalysis, preferring instead to focus on the power of individual consciousness, the mechanics of memory, and the intricate, often deceptive, interplay between art and perceived "reality". His unique body of work, straddling multiple cultures and languages, continues to
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Displaying 1 - 5 of 5 reviews
December 23, 2024
Die ersten 3 Geschichten und die Einleitung waren mega gut, die letzten zwei Geschichten sooo komisch und langweilig.
January 20, 2025
die straßenbahnen sind immer noch da
September 22, 2021
My first Nabokov. I was really impressed with the writing and feel ready now to finally read Lolita. My favorite short story here was "Pilgram".
November 12, 2024
cute, read this in Berlin
October 16, 2016
Beautiful and moving in its minutiae.
Displaying 1 - 5 of 5 reviews