Customer Reviews

Nabokov's Pale Fire: The Magic of Artistic Discovery.

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I started this book halfway expecting a dry, jargon-filled academic analysis, and was pleasantly surprised. The book reads like a series of brilliantly clear and thought-provoking lectures in a course on this remarkable book... the kind of lectures where the prof gets applauded at the end (I envy the students at the U. of Auckland who can take Prof. B's courses!) He starts with the simple puzzles of the book (the ones that most readers figure out on their own, such as who V. Botkin is) and then takes the reader through a series of rereadings, and re-rereadings, eventually presenting his solution to the central problem of the book (I won't spoil the suspense by saying what it is, but it made sense to me). Probably the best aspect of the book is the guidance it gives about what to look for when you re-reread Pale Fire on your own. An example of what literary criticism ought to be!

For Nabokov, nothing was ever as simple as it seemed. In fact, "simple" and "sincere" were two adjectives that he despised. While teaching at Wellesley College and later at Cornell, Nabokov would give a low mark to any student who used the words, "simple" and "sincere" in a paper.

Nabokov was a writer who celebrated the complexities in life. He looked for unexpected meanings in even the most banal details of existence and the test questions he set for his students were notoriously eccentric, e.g., Describe Madame Bovary's hairdo; What sort of paper covered the walls of Anna Karenina's bedroom? for Nabokov, God was a subtle being, but tremendously inventive and perhaps a little sly.

Nabokov believed that "the unraveling of a riddle is the purest and most basic act of the human mind." He probably would have loved this remarkable book, an attempt to unravel the riddles and hidden meanings Nabokov, himself, embedded in Pale Fire.

When Pale Fire first appeared in 1962, reviewers said, correctly, that it could be enjoyed without puzzling over its hidden meanings but that it obviously hid many levels of complexity. In a now-famous article, Mary McCarthy called Pale Fire "a jack-in-the-box, a Fabergé gem, a clockwork toy, a chess problem, an infernal machine, a trap to catch reviewers..." But she also thought it was a thing of perfect beauty, symmetry, strangeness, originality and moral truth.

Even on a first reading of Pale Fire, we understand that Nabokov is playing a most elaborate literary game. Kinbote is hilariously mad, and his efforts to interpret Shade's poem as a commentary on Zemblan events can be seen as a satire of imaginative academics.

But Nabokov also scattered less obvious clues throughout the book. McCarthy decided that the "real" author of the commentary was yet another Zemblan who is barely mentioned, V. Botkin. And there are those who believe that Nabokov is telling us that John Shade didn't die but simply wrote the commentary under the name of Kinbote as a way of disappearing.

Boyd now interprets Nabokov's intentions in yet another way. He believes that both the poem and the commentary were inspired from beyond the grave as well as by Shakespeare's many ghosts.

Nabokov's Pale Fire is a monument to a brilliant scholar's persistent love affair with a book and its author. For more than three decades now, Boyd has made Pale Fire, and Nabokov, his obsession, much in the way that Nabokov, himself, was obsessed with butterflies. In 1990 and 1991, Boyd published his excellent two-volume biography of Nabokov and established himself as the world's premier Nabokovian.

Pale Fire, however, remained central to this thinking. When Boyd was asked to discuss Pale Fire on the Electronic Nabokov Discussion Forum, he discovered that his own views about this remarkable and original book were changing. Those views form the heart and soul of his own vibrant and energetic work. Even if we do not agree with all of his theories (and anything, at this point, must remain only a theory) we have to admire his scrupulous intelligence and dedication.

Boyd does not disdain eccentric flights of imagination. Nor is he afraid of being thought of as obsessive. There was a sweet madness in Nabokov, and quite obviously, Boyd has assimilated some of it, all to the good.

Nabokov's Pale Fire is more than a wonderful book; it is also a labor of love of the highest order. It can only enhance your understanding and love of both Nabokov and Pale Fire, and perhaps give you some insight into Boyd, himself.

Amazing! When reading this insomnia-inducing book my head kept spinning with the mirror-like mirages of Pale Fire and I felt that everything I trusted and relied on when first I read that book were crumbling around me.

I have read Pale Fire twice and still only feel that I am barely familiar with how the common household objects in the place Kinbote is housesitting helped to create that zany land of the north, Zembla.

I dont want to spoil some of the surprises in this book (Boyd has gone back on his stance of Shade being the author of both poem and commmentary which he supports in his biography of Nabokov). But let me just say that these surprises provoked me in the middle of long nights to exclaim "What is goint ON? " and pace around frantically.

A haunting question (and by the way the ghostly aspects of Pale Fire which i had only felt in a vague way are exposed by Boyd to be something richer than i would have ever imagined) is not only how much control Hazel Shade had over the commentary but also how much control Nabokov's playful shade is exerting upon Boyd. The reviewer below me is onto something.

Boyd brings to Pale Fire his thorough knowledge of Nabokov's other works - for example his thesis - anti-thesis description of chess in Speak Memory or that bizarre short story The Vane Sisters - and illustrates how they help to see into the mystery of some of Nab's more complex works.

After reading Pale Fire twice, I naively thought that i understood it (yes that Bodkin in the University was suspicious, and yes the existence of internation thug Gradus i had previosly questioned) but i was only approaching the intitial layerings of this beatifully layered world. Im not saying that i am necessarily convinced with all Boyd has to say, but he has dazzled me with his insights and made me fully realize that I am far from understanding fully this work of art. It is to Nabokov's supreme credit that he could create a world that seems as immense, varied, and impossible to appreciate fully enough as the one we live in everyday.

Obviously I must not be as big a Nabokov groupie as other Pale Fire enthusiasts, because when I read Pale Fire in a college seminar, most of us spent weeks admiring Nabokov's academic satire and what we then thought was a purposefully horrible poem. Now I feel somewhat shamed because Boyd seems to think the poem itself is great poetry -- I cringe because our class read out loud particularly funny lines and laughed at what a good "bad" poem Nabokov wrote. Maybe Boyd does miss some of the humor, but that is all he misses. I don't think he leaves one line, joke, pun, or obscure reference unexplained. I enjoyed the first few chapters more because they stuck to many of the more obvious discoveries Nabokov intended his readers to make. By the middle, Boyd had my head spinning with some of the leaps of analysis -- I was too confused to agree or disagree. But by the end, his overall surprises and theories come together and make sense. No matter what you make of Boyd's theory, I applaud the book for its emphasis on close reading and for its obvious love of this great writer. Nabokov is one of this century's best and deserves this kind of in-depth reading. In the final chapter, Boyd answers some of the criticisms about his theory (by Michael Wood, for instance, a Princeton prof) and almost ends up sounding like Kinbote for a moment in his defensiveness. This book is a true discovery for a devout reader because it shows how to read better and more closely, how to link (bobo-link) seemingly unrelated bits together. Hats off to a great work of Nabokov scholarship -- Boyd brought in lots of information from Nabokov's other works that proved to be quite important.

It is clear that the spirit of Vladimir Nabokov, which departed his body some twenty years ago, has landed in New Zealand to take up residence, at least temporarily, in the write hand of Professor Brian Boyd. Pale Fire - that book of mirrors and riddles, the first to acknowledge that T.S. Eliot spelled backwards is "toilets" has finally met a brain'd boy clever enough to come up with many of the solutions to the most puzzling of novels and generous enough to share them in readable prose with others. It is not surprising that the professor from Achtland can guide us through the poetry of Shakespeare, Pope, Browning, and the platitudinous banker, or even that he can elucidate the meaning of the word "lemniscate", but only a spirit under the control of Nabokov's itself could guide the reader through the flying patterns of North American butterflies. Sure we knew that Hazel's last name pointed to the land of the dead -- hadeS -- but how were we to know that Disa's did as well? My rusty Russian fell short of picking up on the Gerald Emerald and hiding place references; why would the lovely Boy[d]'s be any sharper? The dedicatee of the book is surely a name considered and then rejected for a Zemblan, maybe the apprentice of Sudarg of Bokay. I hope Dimitri makes sure that his father's estate gets a cut of the royalties. An absolutely brillant book, which needs to be read and, in its Nabokovian manner, re-read.

This is a very nice companion to "Pale Fire", to be read only after finishing the novel.

Brian Boyd does a great job of infecting the reader with his enthusiasm for hunting down the many trap doors, false bottoms, and hidden literary Easter eggs which abound in Nabokov's follow-up novel to "Lolita."

One caution: the price you will pay for being so infected is to sometimes be bored with the religious fervor that Boyd brings to support his own particular interpretation of a book that is obviously meant to be read primarily as a mysterious work of art more than an artful mystery, and which thus need not be `solved' to be appreciated.

However I had absolutely no idea how much literary allusion there is in "Pale Fire", nor how well many of the apparently unrelated fragments point to each other and to a grand, subtle and beautiful subtext, until I started reading Boyd's analysis. There are many, many aspects of Nabokov's wonderful novel that (because it is so challenging and entertaining at face value) will be lost upon a 1st or even 2nd reading. Boyd has gone to great pains to illuminate these aspects and with great success, even if he seems to need a kind of certainty about Nabokov's intended story logic and internal consistency which are clearly not at the core of the greatness of "Pale Fire"; such a logic is at best convoluted to the point of obscurity if it even exists, and the apparent lack of it does little to diminish the wonder of the creation that is "Pale Fire." After all, as Harold Bloom has said, Nabokov's writing is more of a piece with that of Jorge Borges than with that of James Joyce.

The only literary allusion in "Pale Fire" which Boyd seems to gloss or even ignore and that I find worth noting is the connection between "Pale Fire" and Boswell's famous biography of Samuel Johnson. The similarities are so fundamental that I have to wonder why Boyd spends so much time chasing down story logic threads to be found in Nabokov's covert references to T.S. Eliot and Alexander Pope (real though they may be) so as to prove his ghostly story logic theory, while apparently ignoring that the fundamental hilarity, along with much of the profundity of "Pale Fire" is in it's more overt spoof of Boswell's (alternatingly obsequious and condescending) prattling on about Samuel Johnson. Nabokov absolutely nails this with satirical genius, and there are even specific parts of "Pale Fire", such as the dialogue between Kinbote and Shade about God and the afterlife, or Kinbote's confessing his fear of dying, which have direct antecedents in Boswell's book -- not to mention that the epigram from "Pale Fire" is a direct quote from it.

If you want to fully appreciate "Pale Fire", Boyd's guide is as good as any. Just be prepared to disagree with the motivation behind some of Boyd's enthusiastic wild-goose chases, which at their best open the door to the secrets of "Pale Fire", while at their worst sound all too much like Kinbote himself.

Right from the top I will state that I do not agree 100% with everything outlined in Professor Boyd's book on my favorite Nabokavian literary work. But I do share Professor Boyd's love for Pale Fire, and reading this book increased my enjoyment and appreciation of the work immensely. This was clearly a labor of love and it is an easy read (not dry and stale) for anyone who had the slightest enjoyment in reading Nabokov's book.

This book on Pale Fire is some of the best critical commentary on a great piece of literature I have ever read. Shattuck's study of Proust's novel and Stanely Fish's recent book on Milton also come to mind.

The readers who will benefit most from this book are those who love Pale Fire and are very familiar with it. The study is so good and so thorough, I worry about it spoiling the act of discovery in newcomers to the novel. I read Pale Fire only once before reading Boyd's study. Oddly enough, it almost made me ashamed because I DIDN'T follow my curiousity and see where the clues could lead me. Granted, I don't think I could have reached Browning from the "Papa pisses" reference in Pale Fire, but many other clues could have yielding satisfying discoveries.

Basically, I read Pale Fire as a "Level 1" reader: getting the jokes and appreciating the more obvious ironies about Charles Kinbote. But in this book, Boyd shows how Nabokov's novel can be seen as a super-complex, but coherent pattern of signs, signs blinking at us from the beyond.

I won't spoil any more for those readers who want to discover more about Pale Fire on their own. My only advise is to follow your curiousity!

It seems when Boyd opens a new door he slams all other doors closed. Such a big deal is made of Boyd's conversion from "Shadean" to "Kinbotean." This means that Boyd doesn't acknowledge the obvious, i.e. the poem "Pale Fire," by the fictional Shade, is "bad." Maybe he thinks it is too carefully composed to be called bad, but parts are undeniably(and purposefully) ugly. The fictional commentator Kinbote is equipped to recognize its ugliness, and that adds a comic element to the text, and entirely different interpretations that Boyd refuses to see. I was glad to read from Boyd all sorts of details that I could never figure out on my own. But its so frustrating that Boyd can't seem to see the "big picture!"