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Vladimir Nabokov: The Real Life Of Sebastian Knight
- Thread starter Peder
- Start date
Peder
Well-Known Member
I've been slowly bringing up the rear here, rereading with my big huge Baker Street magnifying glass, absolutely determined that this time the Master is not going to slip any clues past me!
And Chapter 4 boggles my mind! Through two-and-a-half full pages -- count 'em two-and-a-half -- VN virtually shouts out that V is a doppelganger for Sebastian, while only half-heartedly hiding it in V's flummery that he was nowhere near his brother in talent, and in the midst of a comical commentary on writing teachers. And, then seriously, I wonder if he VN is expressing his own view of a mysterious inside-the-skin bond that brothers or sibling have for one another. But to me it at least says Doppelganger in blinking lights.
Do I hear doppelganger? Whether or not, it is a remarkably detailed and carefully thought out description of a psychological sibling relationship.
Peder
BTW: There then follows the paragraph about the litter of the workshop never being allowed to subsist, despite its sentimental or commercial value. A topic which has come up recently in connection with his unfinished novel, Laura.
And Chapter 4 boggles my mind! Through two-and-a-half full pages -- count 'em two-and-a-half -- VN virtually shouts out that V is a doppelganger for Sebastian, while only half-heartedly hiding it in V's flummery that he was nowhere near his brother in talent, and in the midst of a comical commentary on writing teachers. And, then seriously, I wonder if he VN is expressing his own view of a mysterious inside-the-skin bond that brothers or sibling have for one another. But to me it at least says Doppelganger in blinking lights.
Do I hear doppelganger? Whether or not, it is a remarkably detailed and carefully thought out description of a psychological sibling relationship.
Peder
BTW: There then follows the paragraph about the litter of the workshop never being allowed to subsist, despite its sentimental or commercial value. A topic which has come up recently in connection with his unfinished novel, Laura.
pontalba
Well-Known Member
Thats how I took it, granted I am an only child, but my father was one of four, and they were exceedingly close and shared that "inside-the-skin" bond you speak of.
But then I do tend to take things literally. Not always a good thing. Especially with VN. But some aspects do have to be taken literally. IMO.
I'm a bit fuzzy, no tea yet.
BTW Steffee, I've saved that article too and will read it later, parts look a bit familiar though. Very Interesting.
Peder
Well-Known Member
Now I am into Chapter 4 and the detection begins.
The one-story for a detective novel has to have only two parts, I would imagine: collect the clues; solve the puzzle. In fact, I don't imagine there are so many ways that these are done either in the detective genre.
Collect the clues: either by locking everybody in the big house (or railroad car, or whatever), with nobody in or out, until everyone has been interviewed; or else by traveling the country side indefatigably meeting person after person. I think of Agatha Christie and Ross MacDonald respectively.
But if one is going to travel the countryside to collect clues one by one, then one also needs a reason for going from one place to the next. A lucky detective will have a witness, say Carlos, who will say "Oh, but you must also speak to Mr. Desmond," who will in turn say "Oh but you must also speak to Mr. Eads," and so on. But without such helpful witnesses, the author of the detective story is on his own, by various inventive means, to get the detective from one witness to the next. Nabokov, for example, bequeaths V a key which will start him on his way. And so the story can proceed instead of being stuck at the outset.
However, I have to say I have never before come across a detective such as V, who will seek to undo his initial good luck by deciding to burn all the clues before he has looked at them! But fortunately for him, and us, a willful letter that refuses to burn quietly registers its protest by flipping open the corner of a page with the words, in Russian, "thy manner always to find." Lucky for V! Lucky for us, the first clue!
However, V soon runs dry after looking through other letters from the apartment that he has put aside, until
'
I mention all this by way of remarking that, though the story will follow the one-story for a detective novel (at least in large measure) Nabokov will still manage to surprise, with some of the more inventive transitions from witness to witness that I have seen, as well as some of the more individually colorful characters I have seen to offer clues.
In fact, sometimes I think VN lavishes extraordinary care on his minor characters in order to make them stand out as fully rounded (and sometimes slightly nutty and larger than life) individual characters in his stories. Here in this one-story detective story he gets to line up his colorful minor characters one right after the other. The Bulgarian is coming up, but first we must meet the "informant" at Trinity College who will tell us of Sebastian's friendship with one D. W. Gorget -- who sounds exactly to my ear like Darwin from Glory. This must be old Home Week at the College!
And a priceless Nabokovian joke is coming up, too,
Peder
The one-story for a detective novel has to have only two parts, I would imagine: collect the clues; solve the puzzle. In fact, I don't imagine there are so many ways that these are done either in the detective genre.
Collect the clues: either by locking everybody in the big house (or railroad car, or whatever), with nobody in or out, until everyone has been interviewed; or else by traveling the country side indefatigably meeting person after person. I think of Agatha Christie and Ross MacDonald respectively.
But if one is going to travel the countryside to collect clues one by one, then one also needs a reason for going from one place to the next. A lucky detective will have a witness, say Carlos, who will say "Oh, but you must also speak to Mr. Desmond," who will in turn say "Oh but you must also speak to Mr. Eads," and so on. But without such helpful witnesses, the author of the detective story is on his own, by various inventive means, to get the detective from one witness to the next. Nabokov, for example, bequeaths V a key which will start him on his way. And so the story can proceed instead of being stuck at the outset.
However, I have to say I have never before come across a detective such as V, who will seek to undo his initial good luck by deciding to burn all the clues before he has looked at them! But fortunately for him, and us, a willful letter that refuses to burn quietly registers its protest by flipping open the corner of a page with the words, in Russian, "thy manner always to find." Lucky for V! Lucky for us, the first clue!
However, V soon runs dry after looking through other letters from the apartment that he has put aside, until
'
I am glad he did, because I missed it! Score one for Nabokov right off the bat!
I mention all this by way of remarking that, though the story will follow the one-story for a detective novel (at least in large measure) Nabokov will still manage to surprise, with some of the more inventive transitions from witness to witness that I have seen, as well as some of the more individually colorful characters I have seen to offer clues.
In fact, sometimes I think VN lavishes extraordinary care on his minor characters in order to make them stand out as fully rounded (and sometimes slightly nutty and larger than life) individual characters in his stories. Here in this one-story detective story he gets to line up his colorful minor characters one right after the other. The Bulgarian is coming up, but first we must meet the "informant" at Trinity College who will tell us of Sebastian's friendship with one D. W. Gorget -- who sounds exactly to my ear like Darwin from Glory. This must be old Home Week at the College!
And a priceless Nabokovian joke is coming up, too,
Peder
pontalba
Well-Known Member
You know I noticed that even more in Glory so much so in fact that I started a list, so as to keep the characters straight, and poof, they disappeared, never to return!Peder said:
In Sebastian, for example we have the pair of vaudevillians that Sebastian runs off with for awhile.
But even they had a tragic end.
As far as V not knowing Sebastian, well, it seem as though no one really knew him, and he liked it that way. Shortly before V's mothers death she told him the story of above mentioned vaudevillians, and then added: (p.28)
I can't help but sorrow for Sebastian, surrounded by people that were not able to delve his core. He perferred it only superficially, but deep down I have to think that he simply wanted people to work to understand and therefore appreciate him. Everything in the above quote is a clue to his personality if they would have but looked.
Peder
Well-Known Member
Pontalba,pontalba said:
Chapter 5 seems to develop Sebastian's personality in even greater depth, as he discovers at Cambridge what he is to be all about. In re-reading that chapter just now I had the feeling I was reading a much more compassionate and unhurried development of a character than I recall in the novels we have read so far. Compared to Martin, who was self-absorbed in a different way, Sebastian comes across to me as a more understandable mellower character with more realistic real-world goals. It in fact feels to me like a different style of writing for Nabokov, although I am far from being able to prove that or put my finger on why or how. But I find myself sympathizing with Sebastian and wanting to know so much more about him and his life.
The Real Life of Sebastian Knight is so much more of a novel than a mystery/detective story! Which I suppose is an obvious statement given its exact title. Duh!
Peder
pontalba
Well-Known Member
He does seem to find his stride at the point you describe Peder. The parallells to Martin are uncanny though. Its as though Martin was an under developed Sebastian. I noticed that more than ever in said chapter, on p.42--
He broke the barrier to himself that Martin could not. Why? As you pointed out Sebastian had the same Darwinian friend in D.W. Gorget. A bit later the change that comes over Sebastian is decribed thusly--
He broke the barrier to himself that Martin could not. Why? As you pointed out Sebastian had the same Darwinian friend in D.W. Gorget. A bit later the change that comes over Sebastian is decribed thusly--
More inner strength? Stronger father figure?
Peder
Well-Known Member
Pontalba,pontalba said:
"An underdeveloped Sebastian!" Perfect! Toes! Pontalba Toes!
You continue to have an uncanny way of seeing characters in novels and explaining them. And yes, again, in breaking through the barrier to self-acceptance that Martin couldn't accomplish, and a serene focus that came from inner strength. I don't have enough toes to go around for your masterful analysis.
Brava!
Peder
Peder
Well-Known Member
Pontalba, and I think SIL also (earlier),pontalba said:Shucks Peder I was just following you.
But now, I think I must be obtuse, because the MASK of Mr. Goodman has me totally discombulated. Is he really wearing it, how does V get it, and when did Goodman give it to V?
Hah! Following me from way in front of me!
I take that mask to be an extremely metaphorical mask referring to V's complete distaste for Goodman's earlier deceitfulness in not mentioning the book he had written. Consider p54 (Vintage)
I would paraphrase that very last sentence as metaphorical for "He had his deceptive (or lying) face on." Much the same as one might say he put a bland face on. Or he put on an artificial smile. In the case of Mr. Goodman he had his lying face on. And at the end of the interview
At the end of the interview Mr. Goodman no longer needed a lying face and one supposed that his expression returned to normal. So, again metaphorically, the mask didn't just simply evaporate; it was a physical thing that V describes as changing hands, and since he attributed it to Goodman in the first place he got it back at the end and put it in his pocket.
It is a symbol of extreme deceitfulness. IMO.
And admittedly I couldn't decipher the words about what Sebastian could permit himself not being available to V. But the black mask might also be a metaphorical maneuver to permit V to not have to describe Goodman's face or hateful attitude, because he couldn't see it. Or a way of saying "I won't comment on the (contemptible) man. So I shall proceed as if i have placed a mask over his face and can't see it."
It sounds like a metaphor of a metaphor.
The original black mask is a metaphor for deceitfulness and, being a metaphor, has no reality. V however is taking that unreal metaphor and treating it metaphorically as if it had actual reality and could change hands and actually be worn. Hence applying a metaphor of realism to an orginally unreal metaphorical turn of phrase.
Maybe?
Peder
Peder
Well-Known Member
Pontalba,pontalba said:Yes! Yes! Yes! That fits exactly.
I do tend to be too literal, but that is a big mistake in this instance. You have it. Has to be. Look how V went on about not realizing the deception at the time. Perfect!
Just Perfect!
Well I wish I could be that perfect about some later things more directly connected with the ending. But I won't jump ahead. Suffice it to say that the story has so many intertwined story arcs and mysteries that I am extremely baffled in trying to do the reread. It may be too long since I did the first read for things to be fresh in my mind. But for mysteries that V is trying to straighten out, I count three: what his brother was like, especially in the last year of his life; where and how he died; and who the mystery woman was. All of which is taking place in the midst of truly extensive commentary on literary matters, writing and crativiity, and my wondering which are actually VN's ideas about the subjects and which not. I think the magic word is 'textured.'
as in "It is an extrmemely textured story," meaning confusing as all get out. Which is why I happen to like it, but it means I am going to be trying (once again) to get the story into a five-part dramatic structure to give it some sort of understandable organizational overview. Don't hold your breath.Peder
especially since right now I am going back to bed
steffee
Active Member
Guess what! I finished, I finished.
I was so excited during the last few chapters, because I worked out that...
SPOILER:
'V' was the Sevastian bit of Sebastian. They were the same, but V was the Russian Sebastian, whilst Sebastian was the one that was "out-England England" Sebastian. I figured this from the events of Chapter 20.
Then it told you. But wow, Peder, I agree, totally the best ending ever for a book.
Will write more later (I made notes, lol), as I have the worst headache of my entire life.
But the chess!!
I was so excited during the last few chapters, because I worked out that...
SPOILER:
'V' was the Sevastian bit of Sebastian. They were the same, but V was the Russian Sebastian, whilst Sebastian was the one that was "out-England England" Sebastian. I figured this from the events of Chapter 20.
Then it told you. But wow, Peder, I agree, totally the best ending ever for a book.
Will write more later (I made notes, lol), as I have the worst headache of my entire life.
But the chess!!
Peder
Well-Known Member
In the cool calm clear of the evening, here's how the novel breaks out for me:
Part I - Introduction - Chapters 1-4
Family recollections, letters
Part II - Development - Chapters 5-12
Interviews, conversations
Part III - Climax - Chapter 13
The inimitable, immortal, one and only Silbermann, all by himself!
Part IV - Resolution - Chapters 14-17
The Search
Part V - Conclusion - Chapters 18-20
Sebastian Knight. Calm and Repose.
A truly memorable novel!
About novels, authors, writing, people, life, death.
Nabokov never gives short change!
Peder
Part I - Introduction - Chapters 1-4
Family recollections, letters
Part II - Development - Chapters 5-12
Interviews, conversations
Part III - Climax - Chapter 13
The inimitable, immortal, one and only Silbermann, all by himself!
Part IV - Resolution - Chapters 14-17
The Search
Part V - Conclusion - Chapters 18-20
Sebastian Knight. Calm and Repose.
A truly memorable novel!
About novels, authors, writing, people, life, death.
Nabokov never gives short change!
Peder
Peder
Well-Known Member
Steffee,
I am resisting your spoiler until I work out some more of the puzzle myself, but it sounds like maybe you had the same overall reaction I had.
Would you say that the story wraps up more like a thundering locomotive, or a high-balling 20-wheeler truck, or perhaps a raging hurricane, or maybe a thunderous avalanche sweeping all before it. I've never read anyting like it! And I still have goose bumps.
Peder
I am resisting your spoiler until I work out some more of the puzzle myself, but it sounds like maybe you had the same overall reaction I had.
Would you say that the story wraps up more like a thundering locomotive, or a high-balling 20-wheeler truck, or perhaps a raging hurricane, or maybe a thunderous avalanche sweeping all before it. I've never read anyting like it! And I still have goose bumps.
Peder