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With stories and verses by M. Hoyer, L.

Weedon, Lilian Gask and Clifton Bingham. Illustrated by CHarles Collins R. Dutton, circa Oblong quarto, chromolithograph boards, cloth spine, light edge wear, unpaginated, ten full page chromolithograph plates, a very good copy. Translation into French by Flore Gregorini. Melbourne : Macmillan, It is limited to 40 copies.

Each copy, consisting …. Group of 19 manuscript letters from London solicitors J. Bennett of Merton 17 and J. Bennett of Finsbury 2 to Mrs. Grace Carter, of Redcar, Yorkshire 4 , and Rev. Joseph Wilkinson, incumbent of Redcar 15 , on the payment of an annuity to Grace Carter from the estate of …. Kinbote's commentary takes the form of notes to various numbered lines of the poem.

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Here and in the rest of his critical apparatus , Kinbote explicates the poem very little. Focusing instead on his own concerns, he divulges what proves to be the plot piece by piece, some of which can be connected by following the many cross-references. Espen Aarseth noted that Pale Fire "can be read either unicursally, straight through, or multicursally, jumping between the comments and the poem. The novel's unusual structure has attracted much attention, and it is often cited as an important example of metafiction ; [5] [6] [7] it has also been called a poioumenon.

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The interaction between Kinbote and Shade takes place in the fictitious small college town of New Wye, Appalachia, where they live across a lane from each other, from February to July Kinbote writes his commentary from then to October in a tourist cabin in the equally fictitious western town of Cedarn, Utana.

Both authors recount many earlier events, Shade mostly in New Wye and Kinbote in New Wye and in Europe, especially the "distant northern land" of Zembla. Shade's poem digressively describes many aspects of his life. Canto 1 includes his early encounters with death and glimpses of what he takes to be the supernatural. Canto 2 is about his family and the apparent suicide of his daughter, Hazel Shade.

Canto 3 focuses on Shade's search for knowledge about an afterlife, culminating in a "faint hope" in higher powers "playing a game of worlds" as indicated by apparent coincidences. Canto 4 offers details on Shade's daily life and creative process, as well as thoughts on his poetry, which he finds to be a means of somehow understanding the universe. In Kinbote's editorial contributions he tells three stories intermixed with each other.

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One is his own story, notably including what he thinks of as his friendship with Shade. After Shade was murdered, Kinbote acquired the manuscript, including some variants, and has taken it upon himself to oversee the poem's publication, telling readers that it lacks only line King Charles escaped imprisonment by Soviet -backed revolutionaries, making use of a secret passage and brave adherents in disguise.

Kinbote repeatedly claims that he inspired Shade to write the poem by recounting King Charles's escape to him and that possible allusions to the king, and to Zembla, appear in Shade's poem, especially in rejected drafts. However, no explicit reference to King Charles is to be found in the poem. Kinbote's third story is that of Gradus, an assassin dispatched by the new rulers of Zembla to kill the exiled King Charles.

In the last note, to the missing line , Kinbote narrates how Gradus killed Shade by mistake. Towards the end of the narrative, Kinbote all but explicates that he is in fact the exiled King Charles, living incognito; however, enough details throughout the story, as well as direct statements of ambiguous sincerity by Kinbote towards the novel's end, suggest that King Charles and Zembla are both fictitious.

In the latter interpretation, Kinbote is delusional and has built an elaborate picture of Zembla complete with samples of a constructed language as a by-product of insanity; similarly, Gradus was simply an unhinged man trying to kill Shade, and his backstory as a revolutionary assassin is also made up. Nabokov said in an interview that Kinbote committed suicide after finishing the book. Kinbote quotes the passage but does not recognize it, as he says he has access only to an inaccurate Zemblan translation of the play "in his Timonian cave", and in a separate note he even rails against the common practice of using quotations as titles.

Some critics have noted a secondary reference in the book's title to Hamlet , where the Ghost remarks how the glow-worm "'gins to pale his uneffectual fire" Act I, scene 5. The title is first mentioned in the foreword: "I recall seeing him from my porch, on a brilliant morning, burning a whole stack of [index cards of drafts of the poem] in the pale fire of the incinerator Dwight Macdonald responded by saying the book was "unreadable" and both it and McCarthy's review were as pedantic as Kinbote.

Some other early reviews were less decided, [22] praising the book's satire and comedy but noting its difficulty and finding its subject slight [23] [24] or saying that its artistry offers "only a kibitzer 's pleasure". Some readers concentrate on the apparent story, focusing on traditional aspects of fiction such as the relationship among the characters. He expanded this essay into a book in which he also argues that, in order to trigger Shade's poem, Hazel Shade's ghost induced Kinbote to recount his Zemblan delusions to Shade.

Botkin, to whose delusions John Shade and the rest of the faculty of Wordsmith College generally condescend. Nabokov himself endorsed this reading, stating in an interview in the novel's year of publication that Pale Fire "is full of plums that I keep hoping somebody will find. For instance, the nasty commentator is not an ex-King of Zembla nor is he professor Kinbote. He is professor Botkin, or Botkine, a Russian and a madman.

The Index, supposedly created by Kinbote, features an entry for a "Botkin, V. In this interpretation, "Gradus" the murderer is an American named Jack Grey who wanted to kill Judge Goldsworth, whose house "Pale Fire's" commentator—whatever his "true" name is—is renting. Goldsworth had condemned Grey to an asylum from which he escaped shortly before mistakenly killing Shade, who resembled Goldsworth.

Other readers see a story quite different from the apparent narrative. According to Boyd, [36] Andrew Field invented the Shadean theory [40] and Julia Bader expanded it; [41] Boyd himself espoused the theory for a time. Boyd [36] credits the Kinbotean theory to Page Stegner [45] and adds that most of its adherents are newcomers to the book.

Some readers see the book as oscillating undecidably between these alternatives, like the Rubin vase a drawing that may be two profiles or a goblet. Though a minority of commentators believe or at least accept the possibility that Zembla is as "real" as New Wye, [1] most assume that Zembla, or at least the operetta-quaint and homosexually gratified palace life enjoyed by Charles Kinbote before he is overthrown, is imaginary in the context of the story.

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The name "Zembla" taken from "Nova Zembla", a former latinization of Novaya Zemlya [49] may evoke popular fantasy literature about royalty such as The Prisoner of Zenda. Still other readers de-emphasize any sort of "real story" and may doubt the existence of such a thing.

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In the interplay of allusions and thematic links, they find a multifaceted image of English literature, [52] criticism, [46] or glimpses of a higher world and an afterlife. The first two lines of John Shade's line poem, "Pale Fire", have become Nabokov's most quoted couplet:. I was the shadow of the waxwing slain By the false azure in the window pane.

Like many of Nabokov's fictions, Pale Fire alludes to others of his.

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The William was sold in and reopened in January under new ownership. Beers are in cask and keg: formerly they were also available bottle-conditioned. Its presence in London is sorely missed. It was great that they invested in traditional pubs, though, esp. Agree with all you say AP. Arfur — thanks for correction, have now changed the text, though Pontypool is the post town according to the Royal Mail.

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