“It's a pity one can't imagine what one can't compare to anything. Genius is an African who dreams up snow. ”
In this quote, Vladimir Nabokov points out the limitations of human imagination - we can only imagine things based on our prior experiences or knowledge. By saying "Genius is an African who dreams up snow," Nabokov is suggesting that true creativity and genius lie in the ability to imagine the unimaginable, to come up with ideas that are radically different from anything we have seen or known before. This challenges us to expand our thinking and push the boundaries of our creativity.
In today's world, where creativity and innovation are highly valued, this quote by Vladimir Nabokov continues to hold significance. It highlights the power of imagination and the ability to think beyond societal norms and limitations. In a time when diversity and inclusivity are important, the idea of a genius being someone who can dream up something so seemingly impossible serves as a reminder of the limitless possibilities of the human mind. It inspires us to break free from conventional thinking and push the boundaries of what we believe is possible.
Vladimir Nabokov's quote highlights the creativity and imagination that can exist in unlikely places. This quote challenges us to think beyond our preconceived notions and consider the unexpected possibilities that can arise from the human mind.
Reflecting on the quote by Vladimir Nabokov, consider the limitations of imagination and the power of creativity. How does this quote challenge traditional notions of creativity and innovation? In what ways can individuals break free from existing frameworks and imagine the unimaginable? How can we cultivate a mindset that embraces the unknown and welcomes new and unconventional ideas?
“Genius is an African who dreams up snow.”
“What chatty Madam Shpolyanski mentioned had conjured up Mira's image with unusual force. This was disturbing. Only in the detachment of an incurable complaint, in the sanity of near death, could one cope with this for a moment. In order to exist rationally, Pnin had taught himself...never to remember Mira Belochkin - not because...the evocation of a youthful love affair, banal and brief, threatened his peace of mind...but because, if one were quite sincere with oneself, no conscience, and hence no consciousness, could be expected to subsist in a world where such things as Mira's death were possible. One had to forget - because one could not live with the thought that this graceful, fragile, tender young woman with those eyes, that smile, those gardens and snows in the background, had been brought in a cattle car and killed by an injection of phenol into the heart, into the gentle heart one had heard beating under one's lips in the dusk of the past.”
“The answer to all questions of life and death, "the absolute solution" was written all over the world he had known: it was like a traveller realising that the wild country he surveys is not an accidental assembly of natural phenomena, but the page in a book where these mountains and forests, and fields, and rivers are disposed in such a way as to form a coherent sentence; the vowel of a lake fusing with the consonant of a sibilant slope; the windings of a road writing its message in a round hand, as clear as that of one's father; trees conversing in dumb-show, making sense to one who has learnt the gestures of their language... Thus the traveller spells the landscape and its sense is disclosed, and likewise, the intricate pattern of human life turns out to be monogrammatic, now quite clear to the inner eye disentangling the interwoven letters. And the word, the meaning which appears is astounding in its simplicity: the greatest surprise being perhaps that in the course of one's earthly existence, with one's brain encompassed by an iron ring, by the close-fitting dream of one's own personality - one had not made by chance that simple mental jerk, which would have set free imprisoned thought and granted it the great understanding.”
“The kind of poem I produced in those days was hardly anything more than a sign I made of being alive, of passing or having passed, or hoping to pass, through certain intense human emotions. It was a phenomenon of orientation rather than of art, thus comparable to stripes of paint on a roadside rock or to a pillared heap of stones marking a mountain trail. But then, in a sense, all poetry is positional: to try to express one's position in regard to the universe embraced by consciousness, is an immemorial urge. Tentacles, not wings, are Apollo's natural members. Vivian Bloodmark, a philosophical friend of mine, in later years, used to say that while the scientist sees everything that happens in one point of space, the poet feels everything that happens in one point of time.”
“Our imagination flies -- we are its shadow on the earth.”
“...My taut heartlurches heavily, like a sack in a cart, clatteringdownhill, towards a cliff, towards an abyss!It can't be stopped!”