''Vladimir Nabokov's Comic Quest for Reality' - Nottingham eTheses

''Vladimir Nabokov's Comic Quest for Reality' - Nottingham eTheses ''Vladimir Nabokov's Comic Quest for Reality' - Nottingham eTheses

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- 283 - Sebastian Knight, for example, and Pale Fire, where the artist was seen to be capable of insights that the ordinary man does not have, the "closed circle of reliable land" is formed by art, and the novel the reader is holding in his hands is another demonstration and proof of this. It lays open the failings of the ordinary human mind but suggests ways of overcoming them. It poses questions and pursues them to a point where they seem unanswerable, but it has the answer ready and offers solutions where the ordinary mind might be overcome by doubts. The author creates a moment of the utmost uncertainty, but holds out a helping hand and offers insights that restore certainty. After almost pushing the reader over the brink of an abyss, he helps him regain the circle of reli- able land. It might be objected to all this that the whole is after all something invented, a novel, in which the author figures prominently as an omniscient person. The so-called insights might be considered as no more than the evidence of his omniscience, the result of a convention, and thus parts of his invention. The author's omniscience is of course apparent from the first. He knows all about Hugh, about his past, his thoughts, memories and dreams. He knows where Hugh's memories are erroneous and ie corrects them. He can explain and account for incidents that have only a very loose connection, or none at all, with Person's story. He comments on irrelevant matters just to show that he knows everything (13,25). At cer-

- 284 - tain moments he positively flaunts his omniscience. He explicitly draws the reader's attention to his own presence and his own doings and allows glimpses of his narrative tricks and techniques: "Now we have to bring into focus the main street of Witt... ", he opens one chapter and then proceeds to do just that (44). He leaves no doubt that he is the one to decide what is interesting and worth noting (42). The most conspicuous instances are those in which he frankly manipulates his main character. He selects the main character in the first sentence of the novel and gives him no chance to escape: "Here's the person I want" (1). At another moment he decides that Hugh should not recognize a certain letter because he might feel hurt if he did (38), and later on he even admits that it might not be impossible for him to influence Hugh so as to induce him to take or avoid a certain course of action (92). As so often before, then, Nabokov quite candidly exposes what he is telling as a piece of art and allows the reader many insights into the devices of his craft. Tranparent Things is certainly in part what Herbert Grabes sees in it: "... ein Buch über das Verhältnis des 'allwissenden' Autors zu seinen Ge- schöpfen. 13 But then Hugh's story could not have been invented and written if the author had not had the gifts and insights that he has been seen to have. The piece of art explains and exposes the gifts that made its creation possible, or, to put it in the inverted manner

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283<br />

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Sebastian Knight, <strong>for</strong> example, and Pale Fire, where<br />

the artist was seen to be capable of insights that the<br />

ordinary man does not have, the "closed circle of<br />

reliable land" is <strong>for</strong>med by art, and the novel the<br />

reader is holding in his hands is another demonstration<br />

and proof of this. It lays open the failings of<br />

the ordinary human mind but suggests ways of overcoming<br />

them. It poses questions and pursues them to<br />

a point where they seem unanswerable, but it has the<br />

answer ready and offers solutions where the ordinary<br />

mind might be overcome by doubts. The author creates<br />

a moment of the utmost uncertainty, but holds out a<br />

helping hand and offers insights that restore certainty.<br />

After almost pushing the reader over the brink<br />

of an abyss, he helps him regain the circle of reli-<br />

able<br />

land.<br />

It might be objected to all this that the whole is<br />

after all something invented, a novel, in which the<br />

author figures prominently as an omniscient person.<br />

The so-called insights might be considered as no more<br />

than the evidence of his omniscience, the result of<br />

a convention, and thus parts of his invention.<br />

The author's omniscience is of course apparent<br />

from the first. He knows all about Hugh, about his<br />

past, his thoughts, memories and dreams. He knows<br />

where Hugh's memories are erroneous and ie corrects<br />

them. He can explain and account <strong>for</strong> incidents that<br />

have only a very loose connection, or none at all,<br />

with Person's story. He comments on irrelevant matters<br />

just to show that he knows everything (13,25). At cer-

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