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Cohen 63

reading of Ulysees (Boyd, American 179) by demanding they draw the "intertwining

itineraries" (Strong Opinions 157) of Leopold Bloom's and Stephan

Dedalus's

travels

through Dublin. As we have noted, Freud and Nabokov seduce us into being

paranoid readers even while acknowledging the seductive dangers of paranoia. It can

be said that the entirety of this thesis testifies to such a seduction, that it is a

delusional system generated from the paranoid conviction that Nabokov is constantly,

covertly, and knowingly allying himself with Freud, and that Freud is always on the

verge of revealing himself as a Nabokovian artist. There is certainly a kernel of truth

in such a critique. But to Freud and Nabokov, paranoia deludes at the same that it

precipitates creativity: to Freud, it is psychotic illness, but encourages one to explain

and explore; to Nabokov, it leads to selfishness and solipsism, but feeds the curiosity

necessary for the creation of art. Since the line between healthy and delusional

paranoia ends up being quite thin, we will, as Kinbote says, "stop, folks, right here"

(Pale Fire 300). David Carroll says that "the literary work is always to be

interpreted. . . . The moment when a text is fully grasped, the moment when it is fully

present and its sense fully understood, is the moment of the origin, the end of its

history" (527). It is also the moment when paranoia has fully taken hold.

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