Abstract
From the middle of the 1930s, Nabokov’s fiction became more overtly experimental, as he worked to find a form appropriate for the nightmare worlds he saw developing around him, and as he made the shift from Russian to English. His penultimate Russian novel, Invitation to a Beheading, and the first two novels in his new language, The Real Life of Sebastian Knight and Bend Sinister, show not only that Nabokov had the skill and the range to innovate in mid-career, but also that he could depict sensitivity and compassion as convincingly as he could cruelty and pain, and that the problematic ways in which language creates and presents a self continue to be his main subject.
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