Abstract
With the recent inclination toward reading for ideological aspects of his works, Nabokov, who had been pervasively regarded as a mere ingenious aesthete, both during his life and for a long time after his death, has proved more puzzling in interpretation than what scholars believed. In this research, in order to understand what concept of freedom Nabokov has developed in his Bend Sinister, we focus on the two of his salient concerns: reality and individuality. Consequently, our narratological reading of Bend Sinister is concentrated first on the interpretation of the whatness of reality and its contribution to realize freedom, and second on analyzing the significance of retaining individuality to procure freedom; ultimately, out of delving into these two issues, the concept of freedom that the narrative techniques of the novel render, in correspondence to the peculiarities of the mid-twentieth century, is found out. Regarding the notion of the reality, in this novel, the unremitting propaganda of the totalitarian system presented the materialistic world as the ultimate truth, confining citizens in the prison of a fake world and not permitting them to gain the slightest awareness of the endless freedom possible in eternity. As to the individuality, Krug’s attempts not to succumb to the desired system of padograph lead him to maintain his individuality and partly realize his freedom of mind. And finally, it is shown how totalitarianism has reached such absolute power that no thorough freedom of mind is now conceivable for humanity.
Highlights
In Bend Sinister, Nabokov’s deliberate violation of the border between real and fantastic makes it difficult for readers and critics to come into a conclusion whether to consider this narrative a serious critique of modern despotism or a mere play with literary conventions
The efforts to illustrate the interwoven relationship between reality, individuality and freedom through focusing on ‘freedom of mind’ become of primary importance as we note that no one has studied this interrelationship in Nabokov’s novel up to now
Focusing initially on the presented reality in the novel, we have discussed the sense of confinement that time and space imposed on Krug and his struggle, in the process of gaining knowledge of his state as a mere character, with his intermediary state between dream and reality
Summary
In Bend Sinister, Nabokov’s deliberate violation of the border between real and fantastic makes it difficult for readers and critics to come into a conclusion whether to consider this narrative a serious critique of modern despotism or a mere play with literary conventions. Adam is a mere character in a novel by Vladimir Nabokov, who recognizes his imaginary existence toward the end of the narrative, and yet this very same narrative presents his ideas, dreams, and pains in the most vivid way possible, as if there is a tinge of verisimilitude in this work of metafiction This issue has already been addressed by scholars such as Foster who states that the particular arrangements of this narrative does not satisfy the common inclination of readers toward granting characters independent existence and individuality, upon the antagonists in Bend Sinister, Paduk and his associates, and instead reduces them to mere puppets at the hand of the author. Dates Krug’s partial responsibility in the rise and dominance of the regime back to his childhood when he was absolutely careless, as a schoolmate of a future dictator, and due to his absolute absorption in his private occupation and emotion, as a philosopher and a father (“Nabokov’s Worldview” 244)
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