Nabokov's Women
The Silent Sisterhood of Textual Nomads
Contributions by Elena Sommers, Sofia Ahlberg Uppsala University, Marie Bouchet, Julian W. Connolly, University of Virginia, David Larmour Horn Professor of Classics, Texas Tech University, David Rampton University of Ottawa, Matthew Roth, Susan Elizabeth Sweeney Distinguished Professor of Arts and Humanities at the College of the Holy C, Lara Delage-Toriel, Olga Voronina, Alisa Zhulina Edited by Elena Rakhimova-Sommers
Publication date:
26 September 2017Length of book:
274 pagesPublisher
Lexington BooksDimensions:
238x158mm6x9"
ISBN-13: 9781498503303
Nabokov’s Women: The Silent Sisterhood of Textual Nomads is the first book-length study to focus on Nabokov’s relationship with his heroines. Essays by distinguished Nabokov scholars explore the multilayered and nomadic nature of Nabokov’s women: their voice and voicelessness, their absentness, the paradigm of power and sacrifice within which they are situated, the paradox of their unattainability, their complex relationship with textual borders, the travel narrative, with the author himself.
By design, Nabokov’s woman is often assigned a short-term tourist visa with a firm expiration date. Her departure is facilitated by death or involuntary absence, which watermarks her into the male protagonist’s narrative, granting him an artistic release or a gift of self-understanding. When she leaves the stage, her portrait remains ambiguous. She can be powerfully enigmatic, but not self-actualized enough to be dynamic or, for even where the terms of her existence are deeply considered or her image beheld reverently, her recognition seems to be limited to the “Works Cited” register of the male narrator’s personal life. As a result, Nabokov’s texts often feature a nomadic woman who seems to live without a narratorial homeland, papers of her own, or storytelling privileges.
This volume explores the “residency status” of Nabokov’s silent nomads—his fleeting lovers, witches, muses, mermaids, and nymphets. As Nabokov scholars analyze the power dynamic of the writer’s narrative of male desire, they ponder—are these female characters directionless wanderers or covert operatives in the terrain of Nabokov’s text? Whereas each essay addresses a different aspect of Nabokov’s artistic relationship with the feminine, together they explore the politics of representation, authorization, and voicelessness. This collection offers new ways of reading and teaching Nabokov and is poised to appeal to a wide range of student and scholarly audiences.
Chapter 4, "Nabokov's Mermaid: 'Spring in Fialta'" by Elena Rakhimova-Sommers, is not available in the ebook format due to digital rights restrictions. You can find the earlier version of the chapter in the journal Nabokov Studies.
By design, Nabokov’s woman is often assigned a short-term tourist visa with a firm expiration date. Her departure is facilitated by death or involuntary absence, which watermarks her into the male protagonist’s narrative, granting him an artistic release or a gift of self-understanding. When she leaves the stage, her portrait remains ambiguous. She can be powerfully enigmatic, but not self-actualized enough to be dynamic or, for even where the terms of her existence are deeply considered or her image beheld reverently, her recognition seems to be limited to the “Works Cited” register of the male narrator’s personal life. As a result, Nabokov’s texts often feature a nomadic woman who seems to live without a narratorial homeland, papers of her own, or storytelling privileges.
This volume explores the “residency status” of Nabokov’s silent nomads—his fleeting lovers, witches, muses, mermaids, and nymphets. As Nabokov scholars analyze the power dynamic of the writer’s narrative of male desire, they ponder—are these female characters directionless wanderers or covert operatives in the terrain of Nabokov’s text? Whereas each essay addresses a different aspect of Nabokov’s artistic relationship with the feminine, together they explore the politics of representation, authorization, and voicelessness. This collection offers new ways of reading and teaching Nabokov and is poised to appeal to a wide range of student and scholarly audiences.
Chapter 4, "Nabokov's Mermaid: 'Spring in Fialta'" by Elena Rakhimova-Sommers, is not available in the ebook format due to digital rights restrictions. You can find the earlier version of the chapter in the journal Nabokov Studies.
Rakhimova-Sommers (Russian/global literature, Rochester Institute of Technology) brings together 11 Nabokov scholars to study the thorny question of the role of women in his work. Her exemplary introduction succinctly describes not only the content but also the critical approaches most Nabokovians have used to assess the place and importance of women’s voices in the writer’s narration. She also provides an intelligent, enlightening, and concise survey of the way women in Nabokov’s works have, in the main, been categorized by Nabokov's critics: i.e., as passive participants in the male narrator’s active storytelling. The essays. . . fall into three categories—women as fugitive souls, women as figments of desire, and women as lost voices—and the editor arranges the volume accordingly. This collection is a most welcome—and timely—addition to Nabokov criticism. At last scholars are illuminating the fact that women play a more prominent role in narration and the narrative than previously suggested. Required reading for scholars and students interested in Nabokov or women’s studies.
Summing Up: Highly recommended. Upper-division undergraduates through faculty.
Summing Up: Highly recommended. Upper-division undergraduates through faculty.