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the history of literature's forms and ambitions.
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And so, beginning that series we had O'Connor
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embodying a new critical craft of fiction that comes out of modernism,
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imagining nevertheless that the craft is
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reflective of a transcendental order in the world, a religious order.
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When we moved on to Nabokov, we had an author
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trying to imagine a work of art so autonomous from the world
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that it could be something like an autonomous form of life.
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That, of course, I argued in those lectures,
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opened it up for the threat of mortality.
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If you imagine your artwork is living, it can also die.
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It's a kind of hauntedness that surrounds Nabokov's vision of aesthetic bliss