Subject
Sergei to MR (interplay between "real" and "imaginary")
From
Date
Body
Dear Matthew,
I believe I am not mistaken when I assume that you
(and Tiffany DeRewal) are
at the Messiah college. I want to use this as an illustration of my point
related to PF.
I speak about dramatic tension created by the clash of imaginary and real,
or, in this illustrative case, virtual (for example, our discussion) and
real – our “real-life” roles.
Of course, this is a very powerful instrument in literary work, to be used
with care, but I think that Nabokov used it masterly. When all becomes
imaginary (or all “real”) so much is lost!
I could develop in length how our “real-life” roles may influence our
judgment: does Messiah look a bit like New Wye? Do I give so much weight
to certain details related to emigrant life because of my experience? But
I think, you can easily extrapolate, and I will not do that.
I had a look at the fragment of Shade’s poem about text and texture –
and I think it rather speaks in favor of us – “non-integrationists”.
The difference between Shade and Kinbote is more in texture and style,
than can be derived from various “keys” planted here an there.
I want also use this short posting as a “frame” for a personal
recollection. I think, it is another illustration of the power of the
interplay between “real” and “imaginary”
or even “otherworldly”. In PF it is going not only in “clashes”
and “fits”, but also slowly winding and unwinding, for example, in
case of Hazel.
Once I had a dream – I was looking at very crude theatric decorations,
it seems that it should be for some play about Hell – badly painted
mountains, fires; I remember a horse with flames instead of its mane. And
I remember that at some moment (still inside the dream) I had an idea that
in spite of all this artistic misery it may represent something real.
Well... this was the point, at least in this dream.
When there is not enough reality, the tension disappears... When we
understand, that even the banal schema with two madmen and one poet may be
real, the effect of PF becomes only stronger.
Best regards,
Sergei Soloviev
Search the archive: http://listserv.ucsb.edu/archives/nabokv-l.html
Contact the Editors: mailto:nabokv-l@utk.edu,nabokv-l@holycross.edu
Visit Zembla: http://www.libraries.psu.edu/nabokov/zembla.htm
View Nabokv-L policies: http://web.utk.edu/~sblackwe/EDNote.htm
I believe I am not mistaken when I assume that you
(and Tiffany DeRewal) are
at the Messiah college. I want to use this as an illustration of my point
related to PF.
I speak about dramatic tension created by the clash of imaginary and real,
or, in this illustrative case, virtual (for example, our discussion) and
real – our “real-life” roles.
Of course, this is a very powerful instrument in literary work, to be used
with care, but I think that Nabokov used it masterly. When all becomes
imaginary (or all “real”) so much is lost!
I could develop in length how our “real-life” roles may influence our
judgment: does Messiah look a bit like New Wye? Do I give so much weight
to certain details related to emigrant life because of my experience? But
I think, you can easily extrapolate, and I will not do that.
I had a look at the fragment of Shade’s poem about text and texture –
and I think it rather speaks in favor of us – “non-integrationists”.
The difference between Shade and Kinbote is more in texture and style,
than can be derived from various “keys” planted here an there.
I want also use this short posting as a “frame” for a personal
recollection. I think, it is another illustration of the power of the
interplay between “real” and “imaginary”
or even “otherworldly”. In PF it is going not only in “clashes”
and “fits”, but also slowly winding and unwinding, for example, in
case of Hazel.
Once I had a dream – I was looking at very crude theatric decorations,
it seems that it should be for some play about Hell – badly painted
mountains, fires; I remember a horse with flames instead of its mane. And
I remember that at some moment (still inside the dream) I had an idea that
in spite of all this artistic misery it may represent something real.
Well... this was the point, at least in this dream.
When there is not enough reality, the tension disappears... When we
understand, that even the banal schema with two madmen and one poet may be
real, the effect of PF becomes only stronger.
Best regards,
Sergei Soloviev
Search the archive: http://listserv.ucsb.edu/archives/nabokv-l.html
Contact the Editors: mailto:nabokv-l@utk.edu,nabokv-l@holycross.edu
Visit Zembla: http://www.libraries.psu.edu/nabokov/zembla.htm
View Nabokv-L policies: http://web.utk.edu/~sblackwe/EDNote.htm