Anja
in Wonderland or Does Asparagus Grow in the Pile of Manure?
: Nabokov's translation of Lewis Carroll's Alice in Wonderland
Julia
Trubikhina
My paper will focus on Nabokov's 1922 translation of Lewis
Carroll's Alice in Wonderland into Russian as Anja
in Wonderland, which launched Nabokov's literary career. In it
we are allowed to see a point of departure—a translation that
contradicts all of Nabokov's later, much publicized principles. Alice
becomes a russified Anja, and she comes to Wonderland directly from a
Moscow or Petersburg nursery. Trying to remember Watts's trivial
rhymes about a hard-working bee, Alice comes up with a distorted
Pu&shachek;kin poem; the Mouse tells the audience not of William the
Conqueror but of the Kievan Prince Vladimir Monomax; the interaction
of the Rabbit's servants can be traced directly to Nabokov's readings
of Gogol&soft;, the Dal&soft; dictionary of the Russian language, and
the archetypical peasant talk
of Russian
nineteenth-century literature, etc. I will read Nabokov's translation
against the preceding Russian (and russified) versions of
Alice: the first anonymous Russian version of 1874,
Sonja in the Land of Miracle; the 1909 translation of
Allegro (P. S. Solov&soft;eva); and Adventures of Anja in
Wonderworld, a 1908 version by M. D. Granstrem. The philosophy
of domestication
of foreign culture all these
translations share and the indebtedness Nabokov never acknowledged,
raise a wide range of issues concerning authorship, truth, and
plagiarism. Finally, I will argue that Nabokov's Anja can
be defined only conditionally as translation. It was a playground for
Nabokov's nascent prose (his first Russian novel,
Ma&shachek;en&soft;ka, was published in 1926), and by
replacing the idiosyncracies of Carroll's style with his own it went
beyond a mere attempt at russification. I will address translation as
deterritorialization
(Deleuze); that is as a discursive
strategy to escape cultural and social hierarchies of the target
language—a strategy Nabokov will continuously use in his
fiction. Investigating translation as a transformational rather than
mimetic experience contributes to an understanding of the strikingly
original end-result: in what emerges, the target
language sees hierarchies shifted, which forfeits the quest for and
the anxiety
of influences.