Nabokov’s story bears a passing resemblance to Chekhov’s in that it is about a man who meets a woman in a seaside resort, but this time the man reflects on an affair already over rather than one about to begin. In Fialta, a fictional Mediterranean town on the Riviera, the narrator bumps into Nina, a fellow Russian exile who moves in the same social circles, and the meeting prompts him to recount to us the previous eight or nine encounters between them over the past 15 years. What follows is a kaleidoscopic portrayal of a love affair that never quite happens and, reading very carefully between the lines, it soon becomes clear that, although the highly-unreliable narrator claims the attraction was mutual, Nina has obviously been trying to avoid the narrator’s attempts at ardour from day one. It’s a fabulous, ever-shifting mix of time past and time present with the usual Nabokovian linguistic acrobatics.
First published in 1936. In My Mistress’s Sparrow is Dead: Great Love Stories from Chekhov to Munro, ed. Jeffrey Eugenides, Harper Perennial, 2009. Also in Collected Stories, Penguin Modern Classics, 2001, and Nabokov’s Dozen, Penguin Modern Classics, 2017.