Deleted Nabokov Novel

Description

What remains of a text when its (im)materiality has been obliterated, its ontological in(co)herence (dis)solved into the abyssal interplay of différance? "Peut-il advenir un surgissement du néant à partir d’un substrat de l’être, ou bien le néant lui-même, dans sa performativité différantielle, ne serait-il qu’une trace spectrale de ce qui échappe à toute ontologie substantielle?"

Deleted Nabokov Novel by the trans-disciplinary, degenerate non-artist LG Williams resists not only interpretation but existence itself, staging a violent rupture in the logocentric presupposition that "the novel" must be an object of (dis)closure, (in)coherence, and anti-archival (de)containment. This is not a novel of what is written but of what is forgotten, misplaced, withdrawn, excised, and (re)constituted in the spectral economy of manque—a Derridean hauntology of the trans-literary metaform.

Within this obliterated space, the trans-dimensional “mucralimus-simulacrum” supplants the mirage of the (re)original: a hyperreal Nabokovian "work" that is both excessive and non-existent, a deliberate (un)folding of textuality into its own aporia. Through its very (un)deletion, the novel transcends the banal fixity of authorship, subjugating its own meta-narrative to the fragmentary operations of deferred meaning. As someone important might observe, the "author" is not merely dead but (re)effaced—a superimposed subjectivity evacuated into the play of intertextual indeterminacy.

Forget Foucault’s "author function"; it implodes under the weight of Nabokov’s erased intentions, rendering the text not a product of singular genius but a site of ideological contestation. What emerges is not a story but a dispositif of power and absence: a genealogical archaeology of deletion interrogating the epistemic violence of canon formation. Here, the unspoken hegemonies of editorial erasure collide with the rhizomatic flux of narrative possibility, dispersing meaning across an endless plane of decontextualized signs.

This "novel," if it can be called such, unfolds as a deconstructive anti-meta-trans-narrative, destabilizing the physical and metaphysical hierarchies that uphold literature itself. Through its performative withdrawal, assertion, and ascension, it forces the reader into an agonistic (re)confrontation with the (un)erasure of meaning, the decentering of the text, and the persistent refusal of (re)solution.