The “Plexed Artistry” of Nabokov and Johnson
Carrie D Shanafelt’s “The ‘Plexed Artistry’ of Nabokov and Johnson” notes how in the 1962 experimental novel Pale Fire, Vladimir Nabokov invokes Samuel Johnson as the prototype for the poet John Shade. Shade is described as a rather old-fashioned but brilliant poet whose last poem interrogates his own subjective experience of meaning-making in a world that stubbornly refuses either to make sense or to be meaningless altogether. Nabokov’s affinity for Samuel Johnson, Shanafelt argues, operates in important ways as a recognition of the latter’s similar aesthetic resistance to the dominant secular empiricist models of linguistic meaning of his time. Exploring their epistemological contexts as well as literary productions, her chapter delineates parallels between Johnson and Nabokov with respect to their similar investment in the aesthetics of desire and trauma in relation to linguistic meaning.