There's something in common between Nabokov's worlds and the "real" world and that is absent from detective fiction and in traditional novels: it is the world's "pathological structure," and a general lack of closure (not that we ever stop looking for it in both cases).*
For years I've been interested in the Sherlock Holmes kind of mysteries, in all sorts of detective and crime stories and present day movies about them. I was amused by Vladimir Nabokov's parodies of Agatha Christie, and other detective-story writers, in his first English novel, "The Real Life of Sebastian Knight." and how she was nominally brought back in "Lolita" (thru "A Murder his Announced," kept in the prison library), whereas in "Pale Fire" the parody of detective novels acquires still another twist. Planned robberies and murders can be found as early as in "Laughter in the Dark" and "Desire." (but in these two we are offered a reassuring explanation and conclusion)  In the later "Ada, or Ardor" we find that its main characters, Ada and Van, constitute a murderous pair, at least in the eyes of some Listlers such as C.Kunin (one of the few who dwells in this crime dimension in "Ada" or when considering the life of John Shade). One even finds evil crazy crimes in TOoL.  
Today, while watching another CSI episode,. I got an interesting interpretation for the rhymes, also mentioned by V.N in RLSK, about  "Who killed Cock Robin?."**. It invited me to plan to reconsider the stories that V outlines in RLSK while quoting his brother's lines ***. I felt that SK's novels must have been connected by various disparate clues, independently from their having been authored by one Sebastian Knight ( "the dead man of the tale").
As in Hitchcock's 1951 "Strangers on a Train"#, when we are offered various distinct culprits (=emotions, memories, lies, ideas, society, author, reader), all of them claiming their sole guilt (=pertinence), it becomes very difficult to isolate the one who'll be the true "killer" (=reaching closure) from the bunch.
Contrary to Highsmith/Hitchcock's finale, in my eyes, there's no final solution leading to a "real" author in RLSK, nor in Lolita, PF, aso. .
V.'s own "real life of Sebastian Knight" ( "The Tragedy of Sebastian Knight") purports to correct "The farce of Mr.Goodman," but there's a curious alphabetic placement of their (?) novels in a shelf when V. writes: "As long as Sebastian Knight's name is remembered, there always will be some learned inquirer conscientiously climbing up a ladder to the The Tragedy of Sebastian Knight keeps half awake between Godfrey Goodman's Fall of Man and Samuel Goodrich's Recollections of a Lifetime." - and Mr. Goodman certainly isn't a Godfrey and Mr Goodman's biography is nowhere to be found among the books on these shelves.    
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On the side:  Could there be any deeper connection between the titles from VN's novels, Sebastian Knight's and V's that were mentioned in LATH? 
In LATH we get:
"Other books by the narrator 
In Russian:
     Tamara 1925
     Pawn Takes Queen 1927
     Plenilune 1929
     Camera Lucida (Slaughter in the Sun) 1931
     The Red Top Hat 1934
     The Dare 1950
In English:
     See under Real 1939
     Esmeralda and Her Parandrus 1941
     Dr. Olga Repnin 1946
     Exile from Mayda 1947
     A Kingdom by the Sea 1962
     Ardis 1970."
In RLSK: The Prismatic Bezel;
                The Funny Mountain;
                Albinos in Black;
                The Back of the Moon,
                Lost Propoerty 
                The Doubtful Asphodel.
* - In his excellent 1996 article "The Mirror you Break Your Nose Against: Lolita and the Conquest of Crime," William Dow distinguishes detective from crime novels, following Tony Hilfer, Jean Symon and PD James. For them, the detective novel "guarantees the orderliness of the world and a rational self, whereas the crime novel dramatically departs from this."  For him, "Nabokov's 'Lolita' takes advantage of crime fiction conventions to essentially 'destroy' the text, establish a certain 'hide and seek' with the reader, and create an ontologically puzzling world." He sees Nabokov as an author who "takes advantage of the crime novel convention and then, partly to renew the form, subverts it...He assimilates these conventions into a more contemporary acceptance of the nonlogical and the nonsolution." (Cf. Americana, n.13, 1996, Presses de l'Université de Paris-Sorbonne.)
** - In the internet we find the lines at:
*** - CSI: Crime Scene Investigation - 12.2: "Tell-Tale Hearts" (2012) The CSIs investigate the slaying of an entire family within their own homes and the case looks fairly cut and dry, until they're met with three identical confessions.DB (Ted Danson) arrives and takes over the CS.[   ]DB goes over their confessions and finds they're identical. "I did it.   I killed the Chambliss family."  Remindig him of "I killed Cock Robin," which Nick, Brass and Ecklie don't get.   So he clarifies with his explanation of the Alfred Hitchcock movie, Strangers on a Train. ..Catherine finds the  connection:.." ..
# - wiki: "based on the 1950 novel of the same name by Patricia Highsmith."
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