Stylistic techniques are never sharply separated from the themes in Vladimir Nabokov’s work. “The Vane Sisters” is an excellent example of his interest in the playfulness of fiction for its own sake and his joy in the potential for deceitfulness in art. His main thematic and stylistic device here is the use of an unreliable narrator. The events of the story of the Vane sisters and D. probably occurred much as the professor says they do, but his interpretations of characters and events are not always fully accurate. In this regard, he resembles Charles Kinbote, in Nabokov’s Pale Fire (1962), who ostensibly is explaining a poem by John Shade but is actually writing about himself.
Nabokov presents his protagonist ironically because the narrator thinks he is far more capable of understanding than he truly is. At one point, he considers himself “in a state of raw awareness that seemed to transform the whole of my being into one big eyeball rolling in the world’s socket.” He feels that he must ridicule others to elevate himself. Thus he emphasizes how Sybil’s face was scarred by a skin disease and was heavily made up and how Cynthia’s skin had a “coarse texture” masked ineptly by cosmetics applied even more slovenly than her sister’s. He glories in calling attention to Cynthia’s body odor and to the fading looks of her female friends. At Cynthia’s parties, even though everyone is connected with the arts, “there was no inspired talk,” so he amuses himself by poking “a little Latin fun at some of her guests.” He will not accompany Cynthia to séances conducted by professional mediums because he “knew too much about that from other sources.” He does not need to experience something firsthand to be able to dismiss it.
The narrator will not consort with two of Cynthia’s friends until he is satisfied “that they possessed considerable wit and culture.” How he determines this sophistication is not explained; the reader must simply take his...
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