Naiman’s book is premised on the idea that “the ‘good reader’ of Nabokov must be alert to the hidden meanings suggested by all sorts of seemingly chance or inconsequential details in the text; he must work to distort the normal meaning of language” 2. One of the most refreshing experiences of reading Naiman’s book is the feeling of being liberated from the enslaving attitude of genuflection so many critics of Nabokov have indulged in over the years. Naiman reads closely, carefully, and responsibly, but he also reads Nabokov’s instructions to us themselves as riddles and contradictions, rather than as orders we must follow blindly. Still, Naiman says that his book is about “loving Nabokov as he wanted to be loved. It is also about why it is difficult to do so” 14.
Nabokov invites us to read perversely, but also ridicules the too-close reader, placing our anticipation in a fearful and anxious place. Nabokov naturalizes “perverse” forms of reading. Lolita, for instance, is “a perverse book, if by ‘perverse’ we mean a book that induces readers to express symbolically and vicariously impulses they normally censor and suppress,” he quotes Sarah Herbold 10. Perversion in the Freudian sense is the lingering over intermediate objects or regions of the body that are not directly involved in genital sex – this is also, however, the erotic.
The chapters of Naiman’s book exploit the Shakespearean resonance of “nothing” as female genitalia in Lolita and moves on to queerness and aggression in reading Pale Fire and the use of con and chat in Pnin, an argument that has defined my reading of D.H. Lawrence’s Lady Chatterley’s Lover.