Pale Fire: A Magazine in 12 Projects Group Three | Page 64

Nabokov make this choice? write Pale Fire as a novel al-
In short, to give himself lows him to convey his ideas
more creative control. The all on his own, with no help
nature of drama is a lack of from others. In prose, the
control - at least, not among writer is the only one who
any one person. The ever- has an input. The writer di-
repeated phrase heard with- rects each and every mo-
in both the theatre and writ- ment of the audience’s at-
ing that tention. There are no dis-
“plays aren’t meant to be tracting chorus members,
read.” A writer and his work, doing silly gags while the
while being important for a leads try to keep the focus
story’s backbone, are not on them - at least, there
necessarily the most im- aren’t any that the author
portant creative force be- doesn’t
hind a play. People of this ploy. However, instead of
mindset emphasize the im- writing a normal novel, Nab-
portance of “experiencing” a okov uses a subtle hybrid of
play by taking in the work of the mediums to weave the
others, such as the actors, conventions of the stage in-
the technical designers, etc. to (careful, extremely pre-
In contrast, prose is com- cise) prose, creating a story
plete - that is, all the audi- that
ence (reader) needs are the changes, yet is completely
words. Nabokov’s choice to fluid in meaning.
communities
is
64
purposefully
never
em-
technically