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"Russia will never fade," or forbidden topics in the prose of Nabokov

"… What I feel that the real world is the modern world the artist creates, his own mirage, which becomes a new mir ("world" in Russian) by the very act of generosity, as it were, the age living ". That response gave Nabokov once told an interviewer that he was interested in your views on the modern world and contemporary politics. The book contains this interview, as well as many others, is entitled Strong Opinions, and indeed, Nabokov is well known not only for his fiction for his brilliant but independent and uncompromising views on creativity, original art and the artist's place in the world. Every time we met, he avoided discussion of "ideas general, such as social, political and moral, and said that global concerns, lay outside the scope of art: "A work of art has no relevance to society. It is only important for the individual and only the individual reader is important to me. No it does not matter for the group, community, masses, and so on … There is no doubt that what makes a work of fiction safe from larvae and rust is not its social importance but its art, only art. A work of art, Nabokov, is a world in itself, brought to life by the creative imagination. Carries its own independent existence, unrelated to its historic surroundings and realities. In the introduction to his Lectures on Literature Nabokov explains once again: "… The real writer, the guy who sends planets spinning and models a man asleep and enthusiastically alter the sleeper's rib, that kind of author has no values given for you: you must create for himself. Art writing is an exercise in futility if it does not involve first the art of seeing the world as the potentiality of fiction. "This statement, visions of grandeur cosmic and an obvious reference to the story of Adam and Eve reflect a parallel between the creator, artist and creator of God. In one of his interviews Nabokov explicitly takes out this comparison: "A creative writer must study carefully the works of his rivals, including the Almighty. Must possess the innate ability of recombination only, but of re-creating the given world. "

Nabokov's position is to some extent a reaction to the situation in Soviet Russia, where demands of the state dominated the needs of a human being, where the government suppressed the individual by the collective and the details of the general. He reaffirms the power and independence of personal creativity, the ability of the imagination to build their own worlds, and makes a clear distinction between fiction and anything outside it, including the personality of its creator. "Literature is invention. Fiction is fiction. To call a story a true story is an insult to truth and art. "

Nabokov insisted on a specific approach to literature from them too. He resigned habitual tendencies to identify with characters of a book, looking for clues to the social and political realities of the time the work was written, or trying to be "general ideas" about a book without absorb all its specifics. Emotional involvement, he said, could also warn the reader an objective assessment of the work "… A intelligent reader reads the book of genius, not to the heart, not with his brain, but with his spine. This is where the burning occurs witness also must be maintained a bit distant, a little independent reading. "

Nabokov avoid formulating their ideas under the famous slogan "art for art ', and how to avoid the labels of all kinds, but this well-known phrase, no doubt, you can use to describe their views and attitudes toward literature. In this hierarchy of values, aesthetic concerns dominate all others, and the influence of a great work of art in your reader is limited to a lump "in the spine." However, remains to be seen, to what extent the ideas of Nabokov enter his own fiction, where his novels are entirely a product of his creative imagination or a result of the deep personal experience that saturates them with great intensity.

Nabokov changed countries and languages in his creative life, and it is interesting to examine whether these changes affected their books. The comparison of two of the novels of Nabokov, The Gift, written in Russian above all in Berlin of the 1930s, and Pale Fire, written in English in a much later date, may provide insight into these questions.

As Nabokov mentions in the foreword to The Gift ", the heroine main "of the novel is Russian literature, and the main character is a writer, an emigre author Fyodor Godunov-Cherdyntsev, which shares many autobiographical details with Nabokov. Like Nabokov in his later years at Cambridge, Fyodor lives in Berlin of the 1920s, writes poetry and makes a living by giving English lessons and French. He leads, for the most part, a solitary existence, devoting his time primarily to the literature. happy childhood in St. Petersburg, love of butterflies and chess problems, synesthesia, – all this Fedor has in common with Nabokov. Description of certain episodes mirrors incidents typical of Nabokov's life, represented much more later in his autobiography Speak, Memory - for example, the story of a childhood disease: high fever, an obsession with numbers and a huge pencil Faber, given by the mother.

Perhaps the most significant feature that shares with Nabokov Fedor is the passionate love of literary language, faith in the power of words written: "Since there are things he (Fedor) wanted to express as naturally as wildly as you want to expand the lungs, therefore, the right words for there must be breathing. "Fedor is reflected in his interest in the youth of rhyme and meter, the analysis of the same mechanisms by which the words interact and fit together like puzzle pieces to form a harmonious whole poem. Fyodor shares Nabokov's dislike generalities such as social issues, and psychiatry. When considered briefly the possibility of fulfilling their knowledge, Mme. Chernyshevski unvoiced application even to write about his son, explains his aversion to the idea of following way: "I have become involuntarily enmired a profound" social interest novel with an unpleasant smell Freudian. "

Clearly, (And his companion of Nabokov) views on literature are expressed in Fyodor (imaginary) conversations with Koncheyev – a fellow emigre poet, the one whose work admire and whose opinions you consider valuable. When Fedor and Koncheyev leave a literary collection and walk together down the street, a single dialogue, brilliant, full of allusions to many works of Russian literature, takes place between them. "… There are only two types of books at night and trash. O I love a writer with fervor, or pull him away everything," – Fedor says, and the two proceed to discuss what, in your opinion, is the best and the worst in the works of famous Russian writers. Both are completely uninterested in "general ideas" or the moral meaning of the scriptures speak of (aspects that always attracted critics in Russia and become more important in the Soviet period), and all they do is to draw conclusions purely artistic love this writer or that. Leskov Praise Jesus – "the ghost of Galileo, fresh and smooth with a coat color plum "or" brightness gray lady. Odintsev black silk "in Turgenev's Fathers and Sons. Speaking of fired Dostoyevsky, Fyodor notes: "In the Karamazov, is not somewhere a circular mark left by a wet wine glass on a table outdoors – and that for him, that's all that "worth saving." As several writers known for their beautiful representations of nature, Fyodor ruthlessly criticized for mistakes in his description natural phenomena: "My father used to find all sorts of nonsense in Turgenev and Tolstoy hunting scenes and descriptions of nature, and as for the Aksakov miserable, let's not even discuss their embarrassing mistakes in this field. "All these statements obviously echo Nabokov's own approach to literature, with love detail, his insistence on precise knowledge of the natural world and the dismissal of any other criteria for judging works of literature.

Nabokov belief in the power of deception and invention in the creation of fiction is often expressed in their attempts to mislead the reader, to establish this or that false move in the development of the plot, which, after a few pages, turns out to be an illusion, a figment of imagination of the character. The total trade between Fedor and proves Koncheyev as an illusion: "Whose business is really what we parted at the first corner and I have been reciting a fictional dialogue with the same provided by a Self-study manual of literary inspiration? "However, the importance of this conversation does not exist in the novel is not limited to expressing opinions about art and display devices on the mystification of Nabokov. It shows the extent of loneliness of Fedor, the absence of interlocutors with whom he shared his extensive knowledge literature and the love of language: the degree of detachment from the surrounding world. In his book, Speak, Memory Nabokov describes how native Europeans were perceived by Russian immigrants in Germany or France: "These Indians were of the mind's eye as flat and transparent as cutouts in cellophane, and although we use their gadgets, applauded his clowns, took his way plums and apples, no real communication, of the human species rich so widespread in our environment, between us and them ". The gift recreates the atmosphere of cultural and human isolation in which Fedor has to dwell. Stripped of its own cultural background, Fedor does not feel nothing but resentment of the German-speaking world is caught up in. "The conviction of Russia that German is common in small numbers and large quantities – was unbearably vulgar, she knew, a conviction worthy of an artist "- and still I can not help, since all their irrational hatred directed at a German pushing it on a bus (which, ironically, it's a Russian).

Like Nabokov, Fedor is trilingual, but his French and English in their situation now serve a purely utilitarian purposes, while Russia is still the language of his soul and his art. Riding the bus to one of his tedious teaching jobs, Fedor thinks of himself: "… there it is, a special variant, rare and have not been described as yet, nameless man, and he is busy with God knows what, running from lesson to lesson, losing her youth in a boring, empty, on the teaching of foreign languages mediocre – when you have your own language, of which can do anything you like – a mosquito, a mammoth, a thousand different clouds. "So there are few examples of puns and change the language on the gift.

On the way to a new lesson in hate Fedor becomes completely immersed in memories of Russia and his past life there – the memories "quick and senseless, visiting him as an attack by a deadly disease at any time, anywhere. "The warm, sunny vision of the Russian countryside after a short summer rain stands in stark contrast with the surrounding reality without color and close encounter with a student without hope, Fyodor jumping lesson ends and return home to his writings. This is another theme expressed in the gift with great emotional power – the theme of nostalgia, yearning for the lost homeland. Whenever faced with the question over Russia during their interviews, Nabokov answers such as "all of Russia I need is always with me" or "exile means to an artist only one thing – a ban on their books. "Sometimes, however, speaks Russian very differently:" In the first decade of this century the decline, when traveling with my family to Western Europe, I imagined in my dreams at bedtime, which would like to become an exile who wanted a remote control sad (right next epithet) unquenchable Russia, under the eucalyptus exotic stations. Lenin and his well-organized police conducting of that fantasy. "

The references to Russia in the novels of Nabokov, The special gift, have a footprint of a bitter and overwhelming sense of loss, that is, no doubt, by personal experience. Like Nabokov, Fyodor transforms your inner world in art, and poetry, born of memories of childhood, justified, as he says, last year in exile. But even the creative achievement in literature Fyodor can not completely relieve their nostalgia, which is sometimes to be almost a physical sensation: "He had long wanted to express somehow that it was in his feet that he felt Russia, which could touch and all of it with his plants, including palms feel blind. "Time and again, it is impossible to imagine a return to family and changed his country:" And when we will return to Russia? What an idiot sentimentality, a moan so innocent should raptors our hope to give people in Russia. But nostalgia is not historical – Only the man how can you explain this to them? "Immediately after these lines is one of the central thoughts expressed through Nabokov the words of his character and taking into account a somewhat ironic that ends: "It is easier for me, of course, for another to live outside Russia, I know for sure that back – first because I took the keys from her, and secondly because, no matter when, in a hundred, two hundred years, I live there in my books – or at least some research note. No, I hope you have a historical, literary-historical one … "

In this passage, there are two distinct perspectives on Russia, two different forms of perception – that of an artist and a simple human being, and is the independent, proud and aloof position Nabokov an artist chooses to present to the world. Always strongly protested against being identified with his characters, and, perhaps, was his way to hide that part of himself, which contained their own human feelings and dreams, often painful, often intractable impotence. However, as in one of the childhood memories of Fyodor colors leak in his vision of the letters and irrevocably affect your perception of language, this private world and banned from Nabokov, inevitably enters his fiction in various ways and by different characters. Besides the issue of nostalgia, there is another highly personal development of the plot in The Gift, and is related to his father Fyodor. Konstantin Godunov-Cherdyntsev is a browser that is also very absorbed in his occupation and uninterested in the great convulsions that occur in Russia. In 1917, despite the turbulent situation in Russia, that appears in one of his expeditions and never returns. It is another loss that haunts Fedor: although there is almost no hope to see her father, kept dreaming of his return, imagining that one day be reunited with his father in the street, or listening to a phone call … In one episode most poignant in the novel, the phone rings, after all, in the middle of the night, and Fedor runs to the house of his former patron through the streets of Berlin, which soon become in a beautiful and mysterious world that is reminiscent of St. Petersburg, in a white night. Fedor enters the room and sees his father. "With a groan and a sob Fyodor took a step toward him, and the collective feeling fleece jacket, big hands and the tickle of whiskers trimmed tender no heat ecstasy swelled happy, living, huge paradise where your heart of ice melted and dissolved. "And again, almost unbearably this time, the whole scene turns out to be a false turns Nabokov and Fedor is a new dream awakes one morning cold and empty.

Nabokov denied a work of art any kind of "truth", apart from an art but the episode with the father of Fedor is irradiated with human truth: the warmth, nostalgia, the vulnerable, the vacuum of crushed hopes … One has only to recall the tragic Nabokov's father died, to understand that this is coming.

In The Gift, covers are often transparent, and its hero is presented from multiple angles. Not only is a writer who "sail through life as a possibility of fiction, is a man who sees the world through the prism of his own experience, their joys and sorrows.

The gift was the last novel Nabokov wrote in Russian. In 1940, he emigrated to the United States and States, Since then, he wrote his most important works in English only. The change, as he said, was not easy: "My complete change of the Russian prose English prose was exceedingly painful – How to relearn how to handle things after losing seven or eight fingers in an explosion. "Pale Fire, one of Nabokov's English novels, was written in part at the end of their stay in the U.S., partly in Switzerland, where Nabokov spent his last years. The novel has important structural and thematic similarities to The Gift. Like The Gift, which is separately devoted an entire chapter to the biography Fedor Chernyshevsky, a book of her own, Pale Fire contains a work of literature within it – a long poem written by an American poet John Shade. The rest of the novel is a commentary, which mostly has nothing to do with the poem itself. It is an elaborate story away Zembla, whose king has been swept from the throne by the revolution and left the country. Gradually, it becomes clear that Charles Kinbote, a resident of shade and the author of the commentary, is itself the fugitive king. Therefore, as in the gift, not a theme of exile and a theme of creativity, but in Pale Fire takes a whole different development.

As explained Kinbote ", the name Zembla is a corruption of the Russian Zemlya, but Semblerland, a land of reflections," resemblers. "Resembles language Zembla to several European languages at the same time. There are visible signs of Russia in it, and some words are taken almost unchanged: for example, is a picture of bogtyr (Bogatyr 'in Russian) in a history book Zembla, and there are "stone face, square shoulders komizars" (Russian: curator) maintain order Zembla on the streets after the revolution. In addition, French and German can be vaguely discerned in other phrases. "Minnamin, Gut mag Alkan, dirstan Pern (my dear, God Hunger, thirst devil) "- a nurse tells Kinbote Zembla, and heard, in addition to the Russian" alkat "and possibly the English "pernicious", "mon amie", "Gott" and the first person from the German "möchten.

Nabokov in interviews emphasized that Zembla is not Russia, and indeed, there is another Russian in the novel, a totalitarian state that contributes to the revolution Zembla. Kinbote talks "The troops spotted and gold robot a powerful police state of his vantage point a mile away from the sea poured into the Zembla Revolution." constantly Kinbote Zembla speaking, but her memories of the same lack the depth of human feeling, which marks the nostalgia of Fedor. Although Kinbote repeated again and again "my" Zembla, "dazzling Zembla" sensibility that shines through the pages of the t best GIF, lack in their history. It is essentially a history of himself and his escape from the country. For a king, Kinbote shows a remarkable lack of interest in the revolution that affects this country and the possible causes that led to it. He is more concerned about the aesthetic and literary pleasures and asks the whole business of politics "a tiresome subject." As for the revolution all I can say about it is that it was "tedious and unnecessary. In Kinbote attitude, some of Nabokov's own indifference to the social and political issues. In general, the theme of exile is treated in the novel with a coolness and detachment, but there are passages that, for their warmth and deep lyricism can be compared to the present. For example, Kinbote comments about his roommate who gets up early in the morning and flowering plants with a curious name: Heliotropium turgenevi. "This is the flower whose scent evokes timeless intensity afternoon, and the garden bench and a wooden house in a distant land of the north ". Even apart from the reference to Turgenev, it is clear this land, for Nabokov, is none other than Russia, – not a monstrous police state in the vicinity of Zembla, but the real, immortal beloved Russia of Nabokov's memory. And this short passage more emotional retains the freshness and power that the descriptions of Zembla colors of the mountains that have no counterpart in childhood memories of the author.

It seems to Kinbote, being in exile does not mean a loss of the homeland as the loss of his name and title (which now has to hide), and partly because So the loss of their identity, and thus its isolation and separation is more complete than in the Gift Fedor. One critic of Pale fire behavior interpreted as follows: "… he is trying to get the poet John Shade to confirm your identity, to validate the reality Zembla it is the hope of salvation into a poem. "manic With persistence Kinbote is talking to the curtain on Zembla:" I hypnotized her, I saturated my view, click on it, with a drunk wild generosity, all I could do nothing to put into verse. "Kinbote calls his relationship with the poet "friendship", but in fact, can not care less about the shadow as a human being with their own hopes and disappointments. Commenting on the poem, completely parties cease shadow on the woman and daughter. Sybil Shade, to shield her husband from the intrusion of his neighbor, Kinbote, is just as annoying obstacle on the road, and he lines offer dedicated to the shadow his wife are not only "embarrassing intimacies." Kinbote pride is the issue of Shade's daughter, Hazel, suicide, obviously a very painful and personal to the poet, as if it were merely a stylistic device: "All this seems too laborious and long, especially since the timing device has worked since the death of Flaubert and Joyce. "When Kinbote feels lonely and scared in her empty house, you want the shade had a heart attack – only to get a excuse to come to escape the loneliness and fear. At the end of the novel, when the shadow was mistakenly shot by the murderer, his "friend" is in no hurry to call for help: instead, he hastens to hide the poem, which, he says, contains the story of his life.

Compared to Kinbote, John Shadow seems to be a much more attractive character, and it has some features that are more human warmth to his image: it can be lazy, he likes big meals, brandy and wine, he loves his wife and daughter, and is generally more tolerant towards people who are not as bright and talented as he. Nabokov gives his character some of its dearest thoughts. For example, shade, which is also a master of literature, express their views on education: "First, rule ideas, and social background, and get the first year to shake, to get drunk in the poetry of Hamlet or Lear to read with your spine and the skull. " However, since the shadow personality in the novel is only through Kinbote indifferent eyes, their inner world is more or less hidden from the reader. It is only through Shadow poem that one can glimpse the questions which concern the poet. The poem, on the whole is an arduous search, hard to sense an attempt to make sense of the puzzle of life and death, to find a way to transcend one's own mortality. No thought or emotion can help a human being caught in a world itself finite. Everything that is not, except the art: the art itself, the art inside a single reality, perfectly harmonized interior, which can be seen as a reflection of a larger pattern:

I feel that I understand

The existence, or at least part of minutes

Of my existence, only through my art

In terms of pleasure combined …

"Combinational Delight ', in fact, it is important not only in the shadow poem, but throughout the novel. As in The Gift, artistic detail is a focus of concentration in PF, but here attention focuses on a more subtle level, even when analyzing the language itself. Pale Fire is an example of very dense prose where individual words are more than carriers of meaning: they become, in a sense, itself a subject of the novel. One of the hottest of shadow images of her family together is a reminder of the nights, when he and his daughter Sybil helped to understand the words really dark of English textbook. A difference of one letter in the word "mountain" and "source" becomes crucial in the history of shadow attempt to penetrate the mystery of the hereafter. The book is full of examples of sets of words, often involving several languages, and references to numerous works of literature (some of which are likely to be Nabokov's own inventions.) In Shade's poem, there are combinations as peculiar as "Fra Karamazov, everything is permitted inept muttering," which is a mixture of Alyosha Karamazov, Raskol'nikov, and, perhaps, the painter Fra Angelico Italian religious art with its intensely spiritual. However, none of the novel is more involved in digging into the words that Kinbote. He is constantly concerned with deciphering the literary allusions, meditating on the interaction of words, meanings, rhymes and sounds. Nabokov mentions in his lectures that a dictionary must be a necessary attribute of a good reader, and, ironically, Kinbote, who can hardly be called a reader, obediently following the lines of the shadow masterpiece your dictionary. For the most part, it's obsessive search for references to Zembla and his own life story in the poem, but sometimes it simply takes aesthetic pleasure in some lines thereof:

Lines 131-132: I was the shadow of the waxwing slain for the feigned remoteness in the crystal.

The exquisite melody of the first two lines of the poem is repeated here. The repetition of this sustained note is saved from monotony by the subtle variation in the line 132 in the assonance between his second word and rhyme gives the ear a kind of languid pleasure like the half-forgotten echo of some sad song … "Shade commentator really enjoy the magic of words and so does Nabokov, whose multilingualism, incomparable artistic sense and mastery of language is fully expressed in the creation of the poem really wonderful, and other parts of the novel.

Perhaps the refined world of literature Kinbote allows an escape from reality of the person with problems, and does for shade, and to some extent, for Fedor in the gift, and, ultimately, by Nabokov. In his commentary, Kinbote narrates an episode when someone in the presence of the shadow tells the story of a railroad worker crazy, "thought he was God and began redirecting the trains." "That (" crazy ") is the right word, "- he (Shadow) said. -" One should not apply to a person who deliberately peels off a gray and sad past and replaces it with a brilliant invention. "However, the comparison of Nabokov's novels shows that the most" brilliant invention "becomes truly alive only if the light of our own human experience, however, "monotonous and sad, that illuminates from within. In Pale Fire wall private retreat Nabokov world of memory and the feeling is thicker than the gift, and the novel follows more closely Nabokov ideas of art as a hoax, stylish, completely invented world, that addresses aesthetic, rather than emotional reasons. This is the main difference between Pale Fire and The Gift.

The time is probably one of the factors behind this change: PF was written almost twenty years later than the gift, greater and greater distance and separated from his past Nabokov of Russia which had strong emotional link to last year abroad. Another important factor is probably the language. Nabokov was very proud of his English works and repeatedly called himself an American writer, but sometimes he provided his readers with unexpected revelations, such as: "My private tragedy, which can not, indeed should not concern anyone, I had to abandon my natural idiom, my natural idiom, my rich, infinitely rich and docile Russian tongue for a second-class brand "English. In another interview, when asked what language is considered the most beautiful, Nabokov answered: "My head says English, my heart, of Russia, my ear," French. It is possible that Russian transmitted to him the emotional power, while the English had more of an intellectual resource, and this is one of the reasons Pale Fire, written in English, appeals to the brain more than it does to the feelings.

One of the most surprising confessions bridges with his inner world Nabokov public itself exists in a poem. A night of Russian poetry, written in English in 1945, is a rhymed introduction of a public lecture given to Nabokov an audience of American students, predominantly female. Russian poetry is the theme of the conference, but Nabokov is about as typical for him: he does not speak schools, trends and periods. Again, speaking of letters, shapes, individual intricacies and hidden tenderness shines through his words, remaining invisible to their listeners. The doctor will ask about your favorite trees and stones, echoing the callous critic of The Gift, as "debate Koncheyev the book is reduced to its accounting for the author a kind of implicit guest (his favorite flower? hero? What more do under award?) "In the discussion of Nabokov's Pushkin and Nekrasov everything melts and fuses together: the sky and grass, the beauty of the verse and the human instinct – and the inevitable theme of exile. Nabokov speaks of memories, said openly: "I remember in conclusion that followed me everywhere and that space is" folded. Their private tragedy is lost in their young listeners, whose innocent question to ask what becomes the most notable end of a poem:

How do you say "nice talk" in Russian?

How do you say goodnight?

Oh, that would be:

Bessonnitza, Tvoya vzor oonyl i strashen;

Moya Lubov, prostee otstoopnika.

(Insomnia, your eyes are sad and gray,

my love, forgive this apostasy.)

All carefully hidden private world of Nabokov, he insists, "can not, indeed should not be any" The concern, he suddenly revealed moving on these lines: long nights, loneliness, guilt over the abandonment of a language and nostalgia for inaccessible, unforgettable, "Insatiable Russia."

Bibliography

1). Kernan, Alvin B. "Reading Zembla: the audience disappears in Nabokov's Pale Fire." Vladimir Nabokov (Modern critical views). Ed Harold Bloom. Chelsea House Publishers, 1987. 101-125.

2). Набоков, Владимир. Дар. Москва: Правда, 1990.

3). Nabokov, Vladimir. The Gift. New York: Capricorn Books, GP Putnam's Sons, 1970.

4). —. Lectures on literature. Harcourt Brace & Company, 1982.

5). —. Pale Fire. New York: Quality Paperback Club Books, 1993.

6). —. Poems and problems. McGraw-Hill International, Inc. 1970.

7). —. Speak, Memory. New York: Quality Paperback Book Club, 1993.

8). —. Strong Opinions. McGraw-Hill International, Inc. 1973.

About the Author

I was born and grew up in Russia. At the age of 20 I had to unexpectedly move to the USA where I spent 6 years. That was when I wrote this and other English-language articles. Now I’m living again in Russia. I teach English and also do web design. Here is my site: www.kotausi.com There you can see some of my works, photographs and other articles.

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Melissa and Doug Blossom Bright Kids’ Flashlight $7.99 Adventures continue after dark with this Blossom Bright flashlight to show the way! Decorated with beautiful flowers that remain in bloom day and night, this sturdy flashlight is ideal for flashlight tag or reading under the covers!

Melissa and Doug single wire puzzle rack $12.99 This sturdy wire rack is ideal for organizing and storing wooden puzzles. Comes preassembled and easily holds up to 12 standard 9″ x 12″ puzzles. (Case does not fit Chunky Puzzles or Jumbo Knob Puzzles.)

Melissa and Doug Blossom Bright Rake $9.99 Let the leaves fall so that your young helper can begin to rake up the fun! Child-size metal rake features beautifully painted wooden shaft and an easy-clean handle.

Melissa and Doug Blossom Bright Shovel $9.99 Get ready to dig up some fun with this colorful, child-size metal shovel. A beautifully painted wooden shaft and an easy-clean handle make gardening a delight!

Melissa and Doug Blossom Bright Cultivator $3.99 With its easy-clean handle and lovely colors, keeping the weeds away in style is easy with this durable metal cultivator.

Melissa and Doug Blossom Bright Trowel $3.99 Your garden will bloom when your young helper grabs hold of this sturdy metal trowel. This child-size tool features fashionable colors on its easy-clean handle.

Brain Bafflers Pocket Puzzles $11.39 No Synopsis Available

Melissa and Doug Natural Wood Puzzle Case $39.99 Cleaning up and organizing are fun with this durable wooden puzzle rack that neatly holds up to 12 standard 9″ x 12″ puzzles. Features sturdy interior racks for compact, space-saving storage! Fits all popular 9″ x 12″ puzzles. (Case does not fit Chunky Puzzles or Jumbo Knob Puzzles.)

Melissa and Doug Blossom Bright Kids’ Sprinkler $19.99 Fun will bloom in an instant when this beautiful bouquet of flowers is connected to your garden hose. It’s easy to keep cool when this sprinkler goes into action!

Melissa and Doug Blossom Bright Watering Can $12.99 This colorful, sturdy, child-size watering can will encourage your young gardener to tend the garden daily. Just add water and watch your child and garden blossom and grow!

Melissa and Doug Blossom Bright Gardening Tote Set $14.99 With this kid-friendly garden tote, complete with tools, getting help in the garden just got easier! The plastic tools are just right for little helpers and easy to keep organized in this durable fabric tote with sturdy woven handles.

Melissa and Doug Blossom Bright Bubble Wand Set $6.99 Three flying friends, Bella Butterfly, Bibi Bee and Bollie Ladybug, help fill the sky with bubbles! Simply dip the three character-themed wands into the included 8 oz bubble solution and watch the bubbles fly!