Nabokov's Pale Fire: The Magic of Artistic DiscoveryPrinceton University Press, 2001 M10 15 - 320 páginas Pale Fire is regarded by many as Vladimir Nabokov's masterpiece. The novel has been hailed as one of the most striking early examples of postmodernism and has become a famous test case for theories about reading because of the apparent impossibility of deciding between several radically different interpretations. Does the book have two narrators, as it first appears, or one? How much is fantasy and how much is reality? Whose fantasy and whose reality are they? Brian Boyd, Nabokov's biographer and hitherto the foremost proponent of the idea that Pale Fire has one narrator, John Shade, now rejects this position and presents a new and startlingly different solution that will permanently shift the nature of critical debate on the novel. Boyd argues that the book does indeed have two narrators, Shade and Charles Kinbote, but reveals that Kinbote had some strange and highly surprising help in writing his sections. In light of this interpretation, Pale Fire now looks distinctly less postmodern--and more interesting than ever. |
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... sense, and epic in its implications.”15 Magee sums up Popper's claims: ... that ... all philosophy and all science involving the pursuit of certainty must be abandoned, a pursuit which had dominated Western thinking from Descartes to ...
... sense a problem, to which we freely invent solutions that we then need to test against alternatives, by comparing their consistency, their consequences, their explanatory power. In Pale Fire Nabokov poses a whole series of problems ...
... sense, in the possibility that somehow human freedom might escape what he saw as the amazingly spacious but still unbreachable prison of time, personality, mortality. At the beginning of the chapter of his autobiography that ends with ...
... sense and the additional reward of the thrill of discovery. As Martin Amis observes, Nabokov, whatever else he may do, “spins a jolly good yarn, with believable characters, a strong story-line, and vivid, humorous prose. .. . He does ...
... sense of overload, even in Ulysses (“Ineluctable modality of the visible: at least that if no more, thought through my eyes .. .”), let alone in the nightslur and oneirobabble of Finnegans Wake. Writing for the professors he wanted to ...