century; his first writings were in Russian, but he achieved his greatest fame with the novels he wrote in English. As a trilingual (also writing in French, see Mademoiselle O) master, he has been compared to Joseph Conrad, but Nabokov disliked both the comparison and Conrad's work. He lamented to the critic Edmund Wilson, "I am too old to change Conradically"—which John Updike later called "itself a jest of genius". This lament came in 1941, when Nabokov had been an apprentice American for less than one year. Later, in a November 1950 letter to Wilson, Nabokov offers a solid, non-comic appraisal: "Conrad knew how to handle readymade English better than I; but I know better the other kind. He never sinks to the depths of my solecisms, but neither does he scale my verbal peaks." Nabokov translated many of his own early works into English, sometimes in collaboration with his son, Dmitri. His trilingual upbringing had a profound influence on his art. Nabokov himself translated into Russian two books he originally wrote in English, Conclusive Evidence and Lolita. The "translation" of Conclusive Evidence was made because Nabokov felt that the English version was imperfect. Writing the book, he noted that he needed to translate his own memories into English and to spend time explaining things that are well known in Russia; he decided to rewrite the book in his native language before making the final version, Speak, Memory (Nabokov first wanted to name it "Speak, Mnemosyne"). Nabokov was a proponent of individualism, and rejected concepts and ideologies that curtailed individual freedom and expression, such as totalitarianism in its various forms, as well as Sigmund Freud's psychoanalysis. Poshlost, or as he transcribed it, poshlust, is disdained and frequently mocked in his works. On translating Lolita, Nabokov writes, "I imagined that in some distant future somebody might produce a Russian version of Lolita. I trained my inner telescope upon that particular point in the distant future and I saw that every paragraph, pock-marked as it is with pitfalls, could lend itself to hideous mistranslation. In the hands of a harmful drudge, the Russian version of Lolita would be entirely degraded and botched by vulgar paraphrases or blunders. So I decided to translate it myself." Nabokov's creative processes involved writing sections of text on hundreds of index cards, which he expanded into paragraphs and chapters and rearranged to form the structure of his