Literary Significance and Reception
A review of the German translation in the Frankfurter Allgemeine Zeitung compared the fragment to a "labyrinthine, overgrown garden without a gazebo in its center" and "a puzzle with too many missing pieces". Alexander Theroux's review of the book in The Wall Street Journal criticized the publication as an exemplar of a writer who has lost his literary powers except for a few hints and "witty Nabokovian moments", comparing the Nabokov of Laura to Lou Gehrig in 1939. Martin Amis echoed this sentiment somewhat more directly in his review in The Guardian, "When a writer starts to come off the rails, you expect skidmarks and broken glass; with Nabokov, naturally, the eruption is on the scale of a nuclear accident." Theroux concluded, "The last card of The Original of Laura is a poignant list of synonyms for 'efface'—expunge, erase, delete, rub out, wipe out, obliterate ... it is a pity that his instructions were ignored and the novel survived in such a form. English professors may assign The Original of Laura to their students someday, but it is really better suited to a college ethics class." He was not the only reviewer to suggest that the fragments should not have been published or should not be read.
However, a reviewer in New York Magazine was glad to have the book; he enjoyed reading it and enjoyed the opportunity to see Nabokov's work "rough". A reviewer in the Christian Science Monitor said the book was "filled with sly wit and memorable images" and considered the publication of it "a generous gift to readers". Writing for Literary Review, David Lodge asks, "Is it, as the blurb claims, Nabokov's 'final great book'? No. Does it contain brilliant, funny, astonishing sentences only Nabokov could have written? Yes. Should it have been preserved and published? Definitely."
Few reviewers commented on the introduction, but at least two criticized it harshly.
Read more about this topic: The Original Of Laura
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