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Nabokov's autobiography and the title of his first English novel suggests a distinction between autobiography and fiction. Speak, Memory: An Autobiography Revisited is an excruciatingly self-conscious and self-directed appellation for a book, for "^peak, Memory" is a mock-classical address from the author to his own memory, as if his recollections had unto themselves not only personality but also language; "An Autobiography Revisited" is Nabokov's extremely arch way of saying that the present text is the revised edition of Conclusive Evidence. But the comedy, as always with Nabokov, cuts considerably deeper. If autobiography is a physical place to which one can return, and if memory has words with which to communicate, then consciousness is tangible and the imagination is real. Into one titular phrase Nabokov has compressed the central motif of his memoir. The Real Life of Sebastian Knight is an equally "loaded" title, for "real life" implies that lived life, rather than remembered or imagined life, is real: that here?the naive novel-reader thinks?we're going to get the goods on a writer's "real life," as if the life of an artist were to be found anywhere except in his work. In a book about half-brothers, "Sebastian" must be taken as a reference to Viola's twin brother in Twelfth Night, and "Knight" is a triple pun on "night," "chess knight," and "dubbed knight." Note the differences: we interpret both titles, but the novel-title makes references to the world as well as to literature, whereas the autobiography-title is militantly hermetic. Furthermore, the novel-title assumes a sophistication beyond the reader and hence an implicit an tagonism toward us, for certainly the reader is deceived who approaches The Real Life of Sebastian Knight with the expectation that we're going to "get" the "real life" of Sebastian Knight. The autobiography-title, on the other hand, takes the reader into its confidence; explains the entire, ensu ing book in its five-words-and-a-colon; acknowledges and reveals, via its

Autobiographic Rapture and Fictive Irony in Speak, Memory and "The Real Life of Sebastian Knight"