While searching for Nabokovian portraits, caricatures and maps,
google-magic presented me to a site on "Nabokov's Infernos"with
a quote in French from Roland Barthes, an epigraph on the Esthétique de l
'OULIPO and a promising many-authored initiative in its Flemish
hop-scotch mood.
It's not that I demand a plot for bud or corpse, miss a good
yarn, cry for a GPS..but because I revere an up-to-now ignored by
me - and thereby unnamed -quality in words that I found lacking in
these infernal texts, that the enterprise struck me to the heart.
The looks are so fashion so methinks the fault lies in myself,
not in these shining stars.
Nab-L comments will be appreciated. There's always time to
learn.
It's a year old sighting, almost to the dot and VN's birthday.
excerpts
(1): "The trio [or triptych or trilogy] Despair-Lolita-Pale
Fire represents a three-pronged frog-gig of a sort of burlesque underkill
(blue bolt of lightning reveals a green glistening body impaled and twitching on
black mud: and bright red streaks and puddles of pumping blood) of the Divine Comedy [...]
These three main threads would be supplemented by supporting filaments
detailing the heretofore unacknowledged “shame-seizure theme” in Nabokov’s
fiction—“A man having a lavish epileptic fit on the ground in Russian Gulch
State Park” (Lolita, part two, chapter
2); “There was a sudden sunburst in my head ... The wonder lingers and the shame
remains” (Pale Fire, lines 146 and 166);
“... when the dearest being I know in this world meets me in the next and the
arms I know stretch out to embrace me, I shall emit a yell of sheer horror, I
shall collapse on the paradisian turf, writhing ...” (Despair, chapter 6);...the heretofore
undiscovered importance of the “Pastoral Fallacy” (see Pale Fire, Commentary, note to line 137); the
heretofore unsung reliance Nabokov had on paintings for constructing certain
sequences, but not plots, in his fiction. "
(2) Roughly contemporaneous to the
dream-source of our project, the oneiric beginning-root (îbtîda
ra) of Nabokov’s Infernos,
three bifoliolate holographic specimens (graphite, ink, and coffee stains on 5/5
gridded papier velouté 90 g/m
2, Clairefontaine réf. 572/2, copies
doubles non perforées, 210 x 297 mm) extemporize a precipitate anyer irn of the
subject’s liminal forays into that tenuous decussation where the omnifarious
plexure of promiscuous textuality interpenetrates with around into onto on top
of below behind between etc.
Nabokov's Infernos: Îbtîda ra : 23 Apr
2010
...Schizomythology, promiscuous textuality, plagiary by
anticipation
« La mémoire de la littérature marche ainsi tout
naturellement à reculons, chaque texte venant s’éclairer de la lecture d’autres
qui lui sont pourtant postérieurs. » (H. Le Tellier, Esthétique de
L’Oulipo. Bordeaux, Le Castor Astral, 2006: 174.)nabokovsinfernos.blogspot.com/2010/04/ibtida-ra.html -