A new conjecture that involves revisiting the issue of the Afterlife in Pale Fire, one that invokes communication from the dead, from the pale ghost of the girl who haunts Pale Fire. Boyd at his room at the Algonquin and he disclosed to me in an absolutely fascinating conversation the remarkable new conjecture he’d devised to replace the one he’d retracted. Boyd’s retraction, as I discovered the next morning when I reached Mr. It goes to the heart of the mystery within the fathomlessly refractive mirror-world of the novel, a question about the nature of its design, of the design of creation itself.Īnd there’s more to the story of Mr. It’s not a mere academic question, the narrator enigma in Pale Fire, it’s not a quibble. Boyd had just, like a bolt from the blue, retracted. It was a dreamlike moment, indeed almost a dream come true for me, since I’d written several columns in these pages disputing the conjecture about Pale Fire Mr. I, for one, couldn’t believe my ears until I replayed the tape I’d made. But I was surprised there weren’t some audible gasps from the audience. Boyd’s retraction, which he didn’t elaborate upon. Town Hall was packed that evening, packed to the rafters with Nabokov admirers, but I’m not sure how many caught the stunning significance of Mr. Boyd simply pulled the rug out from under. A conjecture that, on the evening of April 15, Mr. Boyd has it, but his most seductive, mesmerizing and maddening, one that can become, as it has for me, the pleasurable obsession of a lifetime. A conjecture which has had a profound influence in the past decade on the way subsequent scholars, critics and readers have looked at that radiant and luminescent novel–one that is, I would argue, not only his “most perfect,” as Mr. Wrong not about a detail, but about a fundamental conjecture he made, in this case a conjecture at the heart of his vision of Pale Fire. Wait a minute here! Stop the presses! This was the rare and beautiful moment: A scholar has had the courage and humility to admit he was wrong. He was speaking of “the exhilarating discoveries” one makes in rereading Pale Fire, “as we gradually detect a dozen concealed patterns … each pattern with its far-reaching implications that have nothing to do with what I wrongly proposed in the biography–that Shade invents Kinbote. Boyd was speaking of “Kinbote’s beautiful Zembla” and the 999-line poem that opens Pale Fire, a poem by a murdered poet, John Shade, whose final manuscript Kinbote has stolen. He was speaking of Pale Fire, which he called Nabokov’s “most perfect book,” and of Zembla, the imaginary Northern Kingdom apparently invented by the ostensible narrator of much of Pale Fire, Charles Kinbote, who claimed to have been King of Zembla before ending up a sad, mad dream-haunted exile in an American college town. Boyd, the author of the monumental two-volume literary biography of Nabokov. Actually, the whole evening was quite lovely for word lovers, a commemoration of the centenary of Nabokov’s birth (sponsored by PEN, The New Yorker and Vintage Books) with remarks by admirers such as Elizabeth Hardwick, Martin Amis and David Remnick, by Nabokov’s son Dmitri, and commentary by scholars such as Alfred Appel and Brian Boyd.īut the beautiful moment–actually, for those Nabokov aficionados who caught its significance, a stunning, world-altering moment–was a remark toward the close of the program by Mr.
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