Simon,

I gave a lot of attention to this theory during my third reading of PF and ended up writing a paper investigating Nabokov's actual (duh) and inset (ahh) authorship. My initial rationale was that between the veiled but literal V. Botkin explanation, the ghostwriting Shadean & Kinbotean explanations, and even the ghostly Hazel explanation, we as readers could zoom out a meta-level and enjoy the question of authorship itself as a pluralistic authorship rather than a competition between individual explanations. The pluralstic view has one unified perspective, Nabokov's. On the surface this observation seems trivial (i.e. Nabokov is the author of PF so of course he has ultimate authorship, hence the aforementioned 'duh'), but Nabokov makes deliberate gestures that give this some weight.

The baldheaded suntanned professor in a Hawaiian shirt works particularly well as far as an explicit inclusion. I also had Hurricane Lolita and "a nymphet pirouetted" Here are some additional nuggets I cite in support of this view:

Nabokov's unabashed "Russianness"
Inclusions of Pnin

“’You do know Russian, though?’ said Pardon. ‘I think I heard you, the other day, talking to - what's his name - oh, my goodness’ [laboriously composing his lips].
Shade: ‘Sir, we all find it difficult to attack that name’ [laughing].
Professor Hurley: ‘Think of the French word for “tire”: punoo.’
Shade: ‘Why, Sir, I am afraid you have only punctured the difficulty’ [laughing uproariously].” (p. 268 l. 894)
End of the Commentary

“I may assume other disguises, other forms, but I shall try to exist. I may turn up yet, on another campus, as an old, happy, healthy, heterosexual Russian, a writer in exile, sans fame, sans future, sans audience, sans anything but his art. I may join forces with Odon in a new motion picture: Escape from Zembla (ball in the palace, bomb in the palace square). I may pander to the simple tastes of theatrical critics and cook up a stage play, an old-fashioned melodrama… History permitting, I may sail back to my recovered kingdom, and with a great sob greet the gray coastline and the gleam of a roof in the rain.” (p. 300-301 l. 1000)
I'd be curious if anybody else has notes on this topic. Thanks for reading my patchwork commentary.

-Nick

P.S. Dowling on Pale Fire, great!




On Wed, Apr 21, 2010 at 5:48 PM, NABOKV-L <NABOKV-L@holycross.edu> wrote:
Simon Rowberry writes:
 
 
Dear List,

I know there have been various arguments put forth for both Shade and
Kinbote having written the commentary to the poem 'Pale Fire', but has much
thought been put into the place of Nabokov in this fictional narrative?

Firstly, there is a precedent for this discussion given Nabokov's insertion
of 'Vivian Darkbloom', an anagram of Vladimir Nabokov and pseudonym used by
Nabokov on several occasions, as the biographer of Dolores Haze in John Ray
Jr.'s foreword to Lolita.

I believe that Nabokov has done a similar thing in Pale Fire, and even gone
as far as to imply that he may be the final editor of the edition of the
poem/commentary. This is partially due to the intertextual nods to his older
novels including Pnin in the notes to line 172 and 579, Lolita in the note
to line 680 (the reference to a 1958 hurricane perhaps being a response to
the reception to the publication of the novel in America that year) and the
variant to line 413 (if one considers a reference to a 'nymphet' as an
allusion to Lolita, since I believe he coined the term); and Kinbote's
suggestion of Solus Rex for the title of the poem, alluding to the title of
an unfinished Russian novel which formed the basis of Pale Fire. Are there
any more references to other novels/poems by Nabokov that present the
possibility that Nabokov is part of his own fictional world?

These allusions are complemented by two descriptions of a character who
might be Nabokov. Near the end of the novel, in the note to line 949, there
is a description of 'a baldheaded suntanned professor in a Hawaiian shirt
sat at a round table reading with an ironic expression on his face a Russian
book'. How accurate is this portrait to Nabokov around the time of the
novel's development. Perhaps more tellingly, is the reference in the
foreword, which states 'Professor So-and-so [one of the members of the Shade
committee] has consented to act as our adviser in editing the stuff'. Most
of the other professors in the novel are given at least initials but this
one remains anonymous. Perhaps Professor So-and-so got hold of Kinbote's
notes post-suicide, if one subscribes to this school of thought, and added a
few flourishes of his own. Kinbote admits in the index that he knows little
about lepidoptera, something Nabokov was also keen to emphasize about
Humbert Humbert, that he is the expert and not the character.

Thus, assuming the validity of the thesis that Shade wrote the poem, and
Kinbote/Botkin wrote a commentary thereof, it is perhaps Nabokov who has the
last word as editor? I believe it was mentioned on here previously that
bodkin can also mean 'a person wedged in between two others where there is
proper room for two only' (OED). Here, it is Nabokov who is squeezing in
between Shade and Kinbote in a final layer of Nabokovian deception.

Best,
Simon Rowberry
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Search the archive Contact the Editors Visit "Nabokov Online Journal"
Visit Zembla View Nabokv-L Policies Manage subscription options

All private editorial communications, without exception, are read by both co-editors.