@article {25681,
	title = {Literary Stereography: Nabokov Drawing and Reading Maps},
	journal = {Partial Answers},
	volume = {19},
	number = {2},
	year = {2021},
	pages = {361-369},
	abstract = {\&nbsp;According to Vladimir Nabokov, exactness of detail in the composition and the reading of literary texts can yield {\textquotedblleft}the sensual spark without which the book is dead{\textquotedblright}: one needs, for instance, to understand the topography of Mansfield Park in order to respond to Austen{\textquoteright}s {\textquotedblleft}stereographic charm.{\textquotedblright} Speaking after Stuart Gilbert{\textquoteright}s chart of the episodes of Joyce{\textquoteright}s Ulysses but before Gifford and Seidman{\textquoteright}s maps in Ulysses Annotated, Nabokov protested against {\textquotedblleft}the pretentious nonsense of Homeric, chromatic, and visceral chapter headings{\textquotedblright} and advised careful readers to {\textquotedblleft}prepare maps of Dublin with Bloom{\textquoteright}s and Stephen{\textquoteright}s intertwining itineraries clearly traced.{\textquotedblright} Nabokov himself draws maps in his (posthumously published) lecture notes of the 1950s. This paper comments on the {\textquotedblleft}stereographic{\textquotedblright} implications of his maps and then turns to Nabokov{\textquoteright}s biography of Pushkin{\textquoteright}s African great grandfather. Studying the possible origins of Abram Gannibal, Nabokov reads maps of Ethiopia. Though his essay is largely a matter of the critique of sources, the course of Ethiopian river-beds seems to give him {\textquotedblleft}the sensual spark{\textquotedblright} which, despite his vexed insistence on the literal in Ulysses, follows Joyce{\textquoteright}s novel in understated transmutation of stereographic detail into symbolism.\&nbsp;\&nbsp;},
	url = {https://muse.jhu.edu/article/794661/summary},
	author = {Leona Toker}
}
