This essay repositions Vladimir Nabokov within the genealogy of
historiographic metafiction. Through close readings of stories from his Berlin
period and the later “Double Talk” and Pnin, the essay shows that Nabokov’s
fiction absorbs the surveillance culture of 1930s Germany in narrative struc-
tures that link omniscient narration with authoritarianism, suggesting the
complicity of realist conventions with political repression. Pnin develops this
critique further by exposing the ethical and narrative paradox of omniscient
narration in the context of the Holocaust. By revealing the historicist impulse
underlying Nabokov’s ostensibly apolitical aesthetics, the essay suggests that
the antecedents of historiographic metafiction reach back to Nabokov’s early
writing.