2 (It is this latter Nabokov that is the focus of this article.) This conflation of various Nabokovs has led to the general critical consensus that the biblical and theological imaginary of the Christian tradition is for the totus Nabokov, as it were, a topos from which a mature stylist must necessarily graduate, an exclusively literary artefact whose religious, mystical or otherwise theological insight finds neither correlation nor corresponding expression in his art. With few exceptions, scholars continue to take for granted that the a-religious beliefs of Nabokov the historical person hold interpretative authority over the ‘particular clusters’ of ‘identifiable habits of writing and narrating’ which make up Nabokov the author-what Michael Wood calls the ‘performance on the sheets of paper’ bearing Nabokov’s authorial trace, his style and signature. 1 Notwithstanding his personal testimony, little critical attention has been paid to interrogating the form of ‘utter indifference’ and whether this rather personal confession of indifference may be univocally applied to Nabokov’s work. Dismantling the pervasive belief that Vladimir Nabokov’s stance towards ‘organized mysticism, religion, the church-any church’ was one of ‘utter indifference’ will take time, since it was Nabokov himself who attested to this ‘utter indifference’.

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