Vladimir Nabokov once said in an interview: “I don’t think that an artist should bother about his audience. His best audience is the person he sees in his shaving mirror every morning.” There are many ways to interpret this, especially when the artist writes in several languages, as Nabokov famously did, having switched to English in his early forties, but never completely abandoning his native Russian. Did Nabokov really only ever write for himself? The jury may still be out, but this much is clear: his one-man audience was more demanding than most.

Speak, Memory, Nabokov’s memoir covering the first four decades of his life, up to his emigration to the U.S. in 1940, was written in English and initially published in America as Conclusive Evidence. To his British publisher Nabokov suggested a different title, Speak, Mnemosyne, which was rejected on the grounds that “little old ladies would not want to ask for a book whose title they could not pronounce.” Yet another idea was The Anthemion, “but nobody liked it; so we finally settled for Speak, Memory.” Mnemosyne, the Greek goddess of memory, makes frequent appearances in all the book’s versions, including the authorial Russian one, produced under the title Другие берега (Other Shores). In his introduction to the Russian edition Nabokov explains his decision to rewrite the book significantly by the drawbacks he noticed when he first embarked on the “mad enterprise” of translating Conclusive Evidence—the drawbacks that would make an exact translation “a caricature of Mnemosyne.”

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