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Signs and Symbols

Signs and symbols are perceptual or conceptual entities that stand for other entities, ideas, or relations in processes of signification, forming the foundation of semiotics as the study of meaning production and interpretation.^[1] In Charles Sanders Peirce's influential trichotomy, signs divide into icons, which signify through resemblance or similarity to their objects (such as a portrait resembling its subject); indexes, which point to their objects via direct causal, spatial, or existential connections (like smoke indicating fire); and symbols, which represent through arbitrary conventions or habits established by social agreement (such as words in language).^[1]^[2] This classification highlights the causal realism underlying many signs—where resemblance or connection provides empirical grounding—contrasting with purely conventional symbols whose meanings rely on learned associations rather than inherent links.^[3] These representational forms permeate human communication, cognition, and culture, manifesting in verbal language, visual imagery, gestures, rituals, and artifacts to convey information, emotions, and abstract concepts.^[4] Symbols, in particular, enable complex thought by serving as mental tools that structure understanding of social and environmental realities, evolving from gestural origins in early human interaction to sophisticated systems in modern media and technology.^[5] While icons and indexes often exhibit cross-cultural stability due to their basis in observable resemblances or causal effects, symbols' reliance on convention introduces variability, leading to interpretive disputes in contexts like art, advertising, and political iconography—where meanings can shift through reinterpretation or propaganda without altering the sign itself.^[6] Semiotic analysis thus reveals how signs facilitate empirical knowledge transmission while cautioning against overreliance on arbitrary symbols detached from verifiable referents, a concern amplified in biased institutional narratives that prioritize subjective constructions over first-observed realities.

Publication History

Initial Publication and Context

"Signs and Symbols" first appeared in The New Yorker on May 15, 1948.^[7]^[8] Nabokov had submitted the story under the title "Symbols and Signs," but The New Yorker fiction editor Katharine White revised it to "Signs and Symbols" prior to publication, a change that Nabokov accepted with minimal further edits as indicated in correspondence proofs from 1948.^[8]^[9] This marked one of Nabokov's contributions to the magazine during a period when he was transitioning from Russian-language writing to English, following his emigration to the United States in May 1940 amid the advancing threat of World War II in Europe. By 1948, Nabokov had published several English works, including the novels The Real Life of Sebastian Knight (1941) and Bend Sinister (1947), and was supplementing his income through university lecturing—first at Wellesley College from 1941 to 1948—and lepidoptery research at Harvard's Museum of Comparative Zoology. The story's acceptance by The New Yorker reflected Nabokov's growing foothold in American literary circles, where he sought outlets for his émigré perspective on themes of exile, perception, and referential delusion, though the magazine's editorial process emphasized stylistic precision over expansive revisions. Post-publication, the piece was anthologized repeatedly, underscoring its immediate appeal amid Nabokov's shift toward longer fiction like Lolita (1955), but its debut occurred without significant promotional context beyond the periodical's standard fiction slots.^[10]

Title Changes and Editorial Revisions

The short story was submitted to The New Yorker in late 1947 with the title "Signs and Symbols," but editor Katharine White reversed the order to "Symbols and Signs" for its publication on May 15, 1948.^[11]^[12] This alteration, unexplained in surviving correspondence, reflected the magazine's stylistic preferences under editor-in-chief Harold Ross, though Nabokov expressed dissatisfaction with editorial interventions generally.^[13] During the submission and revision process, which involved exchanges between Nabokov and The New Yorker staff from 1946 to 1948, editors proposed multiple textual changes, including cuts and phrasing adjustments aimed at concision and house style. Nabokov, protective of his precise prose, resisted substantial modifications, arguing in letters that such edits compromised the story's artistic integrity and referential layers.^[13] He approved only minor tweaks, such as punctuation and word substitutions, but four unauthorized alterations—primarily involving simplified descriptions and omitted details—appeared in the printed version despite his objections.^[13] Nabokov restored his original title "Signs and Symbols" and reverted the contested textual changes for subsequent reprints, first in the 1958 collection Nabokov's Dozen and later in The Stories of Vladimir Nabokov (1995).^[12] These authorial editions, based on his manuscripts, eliminated the magazine's impositions, preserving elements like extended symbolic references that editors had deemed extraneous. No further title variations or major revisions occurred in Nabokov's lifetime, though posthumous analyses, such as those examining the New Yorker proofs, highlight how the initial edits subtly altered interpretive possibilities, such as emphases on referential ambiguity.^[13]

Background and Composition

Nabokov's Personal Experiences

Nabokov composed "Signs and Symbols" in May 1948, drawing from his prolonged immersion in the Russian émigré milieu of Berlin, where he lived from 1922 to 1937 amid a community of displaced aristocrats, intellectuals, and professionals, including numerous Jewish families grappling with penury and existential alienation.^[14] This environment, marked by shared narratives of loss following the 1917 Bolshevik Revolution and the attendant civil war, informed the story's depiction of the protagonists' faded gentility, linguistic disorientation, and futile attempts to reclaim normalcy in a hostile new world.^[15] His marriage to Véra Evseyevna Slonim, a Russian Jewish émigré, on May 15, 1925, in Berlin, exposed Nabokov to the specific vulnerabilities of Jewish exiles, such as bureaucratic hurdles, social ostracism, and the encroaching shadow of Nazism, elements echoed in the couple's wary navigation of urban America and their thwarted familial reconnection.^[16] The family's relocation to France in 1937 and then to the United States in May 1940, amid escalating European perils, paralleled the story's undertones of perpetual displacement and the erosion of personal agency.^[17] The son's affliction with referential mania, wherein innocuous phenomena are construed as malign portents, may obliquely capture the heightened vigilance and interpretive frenzy observed among émigrés, compounded by Nabokov's awareness of Holocaust atrocities—many Russian Jewish acquaintances perished, as did his brother Sergey Nabokov in a Nazi concentration camp in 1945.^[16] In a letter to New Yorker editor Katharine White, Nabokov characterized the tale as atypical, noting that while most of his stories were contrived, this one harbored a "genuine core," implying an anchoring in authentic emotional resonance derived from witnessed human fragility rather than invention alone.^[18] No direct familial mental illness is documented as inspiring the narrative, underscoring Nabokov's method of transmuting observed realities into patterned fiction.^[19]

Historical and Cultural Context

"Signs and Symbols" was composed and published in the immediate aftermath of World War II, a period marked by widespread displacement and trauma among European émigrés, including many Russian Jews who had fled pogroms, revolutions, and later Nazi persecution.^[20] The story appeared in The New Yorker on May 15, 1948, under the editorially altered title "Signs and Symbols"—Nabokov had submitted it as "Symbols and Signs"—amid a burgeoning American literary scene grappling with the human costs of totalitarianism and genocide.^[11]^[8] Vladimir Nabokov, who emigrated to the United States in May 1940 after years in Berlin and Paris, was immersed in academic life during this era, lecturing on literature at Wellesley College from 1941 to 1948 and pursuing entomological research alongside his writing.^[21] His own experiences as a White Russian exile informed the narrative's depiction of elderly immigrants navigating alienation in New York, though the protagonists' Jewish identity—evident in references to dietary customs, synagogue visits, and family losses—draws from the broader émigré milieu Nabokov observed, including his wife Véra's partial Jewish heritage and the plight of Holocaust survivors.^[22] The character's aunt, Rosa, perishes in a "specially furnished cell in a Nazi extermination camp," symbolizing the era's unprocessed horrors, as millions of Jews faced systematic murder between 1941 and 1945, with survivors often contending with familial disintegration and psychological scars.^[20] Culturally, the story engages mid-20th-century anxieties over referential mania—a delusion where neutral events are interpreted as personal omens—mirroring post-war existential dread, the onset of the Cold War, and debates in psychiatry about trauma-induced psychosis, as documented in early DSM classifications emerging in the 1950s.^[23] Nabokov's portrayal avoids romanticizing mental illness, instead grounding it in the immigrant parents' pragmatic despair, reflective of real 1940s institutional practices where patients with severe paranoia were institutionalized, often indefinitely, amid limited pharmacological options before the widespread use of antipsychotics like chlorpromazine in 1954.^[24] This context underscores the narrative's tension between cosmic fatalism and mundane resilience, set against America's selective absorption of European refugees, where over 200,000 displaced persons, including Jews, resettled by 1948 under the Displaced Persons Act.^[21]

Plot Overview

Key Events and Structure

The narrative structure of "Signs and Symbols" adheres to a linear chronology spanning a single day, from morning preparations to late evening, without formal divisions or chapters, while incorporating brief reflective digressions and flashbacks to illuminate backstory. This organization, rendered in third-person limited perspective chiefly through the mother's viewpoint, accumulates tension via incremental details of frustration and perceptual anomalies rather than overt plot escalation, paralleling the son's pathological fixation on signs.^[11]^[25] The story opens with the elderly couple—Russian émigrés residing in an American city—preparing to visit their adult son at a rural sanatorium on his birthday, selecting ten jars of multicolored fruit jellies as a gift after rejecting other options due to his allergies and fragile state. Their son is afflicted with referential mania, a form of psychosis wherein he interprets innocuous phenomena—such as cloud formations, tree branches, or department store displays—as deliberate messages targeting him, which has precipitated multiple suicide attempts and his indefinite confinement.^[11]^[21]^[25] En route, transportation mishaps compound their ordeal: the subway halts inexplicably between stations, followed by a tardy bus overcrowded with boisterous schoolchildren, delaying their arrival amid spring rain. At the sanatorium, staff inform them of the son's latest suicide attempt that morning, prohibiting the visit to prevent further distress; the parents depart empty-handed, the husband returning alone while the wife detours to purchase smoked fish for supper, leaving him to wait outdoors without house keys.^[11]^[21] Back home, the evening unfolds in subdued domesticity: the father scans the newspaper for mundane news, while the mother pores over family photographs, recollecting the son's early symptoms—such as terror at age eight over wallpaper patterns he deemed omens—and the family's broader tribulations, including emigration hardships and losses during the Russian Revolution and ensuing pogroms. Resolved to discharge him the next day and safeguard the home by sequestering knives and razors, their plans are interrupted by three successive telephone calls from an agitated girl inquiring for "Charlie," each rebuffed by the mother as a wrong number stemming from the caller's mistaking the letter O for the numeral zero in the dialed address.^[11]^[25]^[21] This culminating sequence of calls, occurring after midnight, terminates the narrative abruptly, preserving ambiguity regarding their import—potentially clerical error, as stated, or veiled communication from the son—while underscoring the story's structural reliance on unresolved perceptual cues to evoke interpretive uncertainty.^[11]^[21]

Characters

The Parents

The parents in Vladimir Nabokov's "Signs and Symbols" are an unnamed elderly couple, Russian émigrés residing in a cramped, dimly lit bungalow on the outskirts of New York City, emblematic of their diminished circumstances after fleeing Europe. Their lives revolve around their institutionalized son, who has endured multiple suicide attempts and suffers from "referential mania," a rare psychosis diagnosed by psychiatrist Herman Brink, wherein the patient perceives all phenomena—clouds, cracks in sidewalks, or dictionary entries—as deliberate allusions to his nonexistence.^[26]^[27] The couple's daily existence is marked by poverty and isolation; fellow émigrés shun them out of superstition regarding mental illness, leaving the parents to navigate their grief in solitude, sustained by meager routines like collecting jelly jars for preserves.^[26] The mother emerges as the more introspective and fragile figure, her advanced age and physical debility—evidenced by her slow, painful movements and reliance on a cane—mirroring her emotional fragility. She fixates on sentimental relics of her son's pre-illness youth, such as a photograph of him in a sailor suit taken twenty-five years prior, and interprets mundane events through a lens akin to her son's delusion, questioning whether a fallen nestling or persistent telephone interruptions signify cosmic indifference to their plight.^[26]^[21] Her narrative prominence underscores a perceptual vulnerability, where ordinary details like the "ten wet, over-ripe, reddish-brown pears" in the greengrocer's window evoke broader existential dread, blurring the boundary between rational observation and referential paranoia.^[26]^[28] This characterization highlights the story's exploration of how parental despair can engender subjective reinterpretations of reality, though Nabokov attributes no clinical mania to her, distinguishing her heightened awareness as a response to unrelenting loss rather than inherent delusion.^[29] The father, by comparison, embodies quiet pragmatism and emotional restraint, his role confined to practical actions such as purchasing three baskets of fruit jellies—selected for their kosher varieties and vivid colors—as birthday gifts for the son, whom they cannot visit due to inclement weather.^[26] He offers terse reassurances, like advising his wife to "forget" their troubles temporarily, yet his silence during her reminiscences reveals an underlying resignation to their inescapable hardship, forged by decades of displacement and the son's institutionalization since at least 1937.^[26] This dynamic between the parents—her effusive grief against his subdued endurance—illustrates the erosive impact of chronic familial trauma, where mutual dependence persists amid unspoken fractures, culminating in their thwarted phone call interrupted by a stranger's repeated wrong-number pleas for "Charlie."^[21]^[30] Collectively, the parents symbolize the human confrontation with inscrutable adversity, their failed outreach to the son underscoring themes of exile and the inadequacy of empathy against madness; literary critics note that their grounded perceptions contrast the son's solipsism, yet invite readers to question whether the story's ambient details—blackouts, birds, or jars—constitute objective reality or veiled portents of the son's implied suicide.^[27]^[8] As Jewish refugees implied by contextual cues like the kosher jellies and historical flight from pogroms, they further evoke the collective trauma of 20th-century displacement, rendering their personal narrative a microcosm of broader cultural dislocation without overt didacticism.^[28]

The Son and Supporting Figures

The unnamed son, aged twenty, central to the narrative's exploration of perceptual distortion, is afflicted with referential mania, a form of paranoia wherein he construes all ambient phenomena—ranging from natural elements like clouds and a hen's gait to man-made items such as overcoats and window sills—as encoded allusions to his own existence and shortcomings.^[31]^[32] This delusion manifests in his conviction that the world operates as a vast conspiracy of mockery directed solely at him, rendering ordinary objects into instruments of personal torment while sparing direct harm to others.^[31] His condition has necessitated confinement in a private sanatorium, where he perceives fellow patients and staff as covert observers decoding his life through these signs.^[32] Prior to institutionalization, his family attempted home care, but repeated suicide attempts, including one where he sought to hang himself from his room's doorknob only to be interrupted by another patient, compelled his transfer.^[31] Among supporting figures, the sanatorium nurse serves as a gatekeeper of access, brusquely denying the parents a visit on the pretext of understaffing and the son's recent malaise, implying a sleepless night potentially tied to his ongoing crises.^[31] Her clinical detachment underscores the institutional barriers between family and patient. Later, the narrative introduces the anonymous telephone caller—a young woman with a flat, persistent voice—who dials the parents' number thrice in the evening, each time inquiring for "Charlie" in evident error, her interruptions evoking themes of futile connection amid isolation.^[32] The neighboring Mrs. Sol, characterized by her garish makeup and banal sociability, embodies the superficial exchanges within the émigré enclave, briefly interacting with the mother upon her return home.^[31] Offstage but pivotal to the family's subsistence is Isaac, the father's brother and a naturalized U.S. citizen of forty years, whose remittances sustain the parents' meager existence, highlighting their economic precarity as Russian Jewish immigrants.^[31] These peripheral figures, through their fleeting roles, amplify the son's centrality by contrasting his inward torment with the external world's indifferent mechanics.^[32]

Literary Techniques

Narrative Style and Point of View

The narrative of "Signs and Symbols" is presented in third-person omniscient form, which provides a layered perspective that filters events through the limited knowledge and perceptions of the elderly couple while occasionally withdrawing to an external vantage.^[33] ^[34] This structure focalizes internally on the woman in particular, blending her subjective thoughts with the narrator's voice to evoke intimacy amid emotional opacity, as seen in passages where her anticipations, such as waiting for her husband to open his umbrella, cue shifts from external description to her implied mindset.^[33] The point of view thus restricts direct insight into the son's consciousness beyond clinical exposition of his referential mania, heightening the story's ambiguity by aligning reader uncertainty with the parents' thwarted understanding of his plight.^[28] Stylistically, the third-person mode relies on pronominal references without proper names—"she" appears 24 times, "he" distinguishes the husband (29 instances) from the son (15), and "they" links the couple (15 total)—to foreground anonymity and deictic outwardness, such as descriptions of "his old hands," which emphasize appearances over inner depths.^[33] This technique sustains a somber, ominous tone through lexical choices evoking threat and fragmentation, complemented by varied sentence structures that mix declarative simplicity with complex, tension-building clauses during dialogues and recollections.^[30] Free indirect discourse emerges in the seamless merger of narrated perceptions, as in the woman's reflections on past losses, amplifying themes of perceptual distortion without resolving interpretive limits.^[28] The overall style eschews overt omniscience for subtle uncanniness, using cohesive devices like conjunctions (85 instances) and figurative imagery—e.g., a train "los[ing] its life current"—to mirror the characters' mental instability and the elusive boundary between sign and reality.^[30]

Use of Symbols and Motifs

In Vladimir Nabokov's "Signs and Symbols," symbols such as the jelly jars and the recurring phone calls underscore the characters' futile attempts at connection amid isolation and perceptual distortion. The ten jelly jars, prepared by the parents as a gift for their institutionalized son, symbolize preserved domestic affection but are repeatedly misplaced, first mistaken for keys by the mother—leaving the father locked out—and later abandoned during a midnight tea, foreshadowing their irrelevance to the son's fate.^[35] Their labels, featuring a misspelling of "beach plum" as "beech plum," evoke miscommunication, with the term "mislaid" anagramming to "misdial" and linking to the story's telephonic errors.^[35] These jars, described as "luminous" yet trivial, reflect the parents' grief-stricken efforts to impose meaning on chaos, ultimately failing as the son remains unreachable.^[35] The three phone calls function as ambiguous symbols of intrusion and potential revelation, interrupting the parents' fragile routine and mirroring the son's referential mania, wherein ordinary events are construed as personal omens. Each call is a wrong number—the first seeking "Charlie," the second referencing a "crab apple" relative—culminating in a third that rings unanswered, inviting interpretations of the son's suicide as the unspoken message.^[36] This triad exploits reader expectation, transforming banal errors into harbingers of tragedy while critiquing overinterpretation.^[37] Birds appear as symbols of mocking surveillance in the son's delusions, where he perceives them as carriers of encoded threats, contrasting the parents' grounded reality and amplifying the motif of perceptual entrapment.^[38] Motifs of repetition and numerical patterning reinforce the story's exploration of referential delusion, with the number three recurring in the phone calls, the parents' three failed visit attempts, and structural echoes like the three cards in a solitaire game ending in an ace.^[37] This repetition evokes cyclical futility, as the parents' actions—preparing gifts, recalling losses—loop without resolution, paralleling the son's endless cipher-reading of the world.^[30] Referential mania itself emerges as a dominant motif, not merely the son's affliction but a lens for narrative ambiguity, where symbols like jars and calls blur coincidence and significance, challenging interpreters to distinguish signal from noise.^[39] Through these elements, Nabokov employs motifs to dismantle causal certainty, privileging empirical disconnection over imposed patterns.^[28]

Themes and Motifs

Referential Mania and Perception of Reality

In Vladimir Nabokov's short story "Signs and Symbols," published in The New Yorker on May 15, 1948, referential mania is portrayed as a rare delusional disorder afflicting the protagonists' son, characterized by the belief that "everything happening around him is a veiled reference to his personality and existence."^[40] This condition, fictitiously attributed to a psychiatrist named Herman Brink, manifests as an extreme solipsistic interpretation of the external world, where innocuous events—such as bird calls or media reports—are construed as personalized omens or threats directed solely at the individual.^[41] Clinically akin to paranoid schizophrenia's referential delusions, it erodes the boundary between self and environment, rendering objective reality subordinate to the patient's internal narrative.^[18] The son's referential mania fundamentally distorts his perception of reality, transforming neutral phenomena into a conspiratorial web of significance that isolates him from genuine human interaction and prompts repeated suicide attempts, as the parents note during their visit to the sanatorium. In this framework, causality is inverted: external signs do not merely occur but actively encode the patient's fate, leading to a hallucinatory solipsism where "the universe becomes a strict system of teleological signs" centered on the self.^[27] Nabokov illustrates this through the son's inability to receive a birthday gift jar of jelly, interpreting even familial gestures as encoded malice, which underscores how the delusion enforces a perceptual filter that rejects empirical disconnection between events and personal import.^[28] This theme extends beyond the son to interrogate broader epistemological limits in perceiving reality, as the parents' day unfolds amid ostensibly coincidental signs—cuckoo clock repetitions, interrupted phone calls, and a final wrong-number inquiry about "jelly jars"—that mimic referential patterns without confirmation of intent.^[37] Nabokov thereby induces a meta-referential effect on the reader, who, like the parents, grapples with whether these elements signify deeper causality or mere entropy, challenging the assumption of inherent meaning in symbols and highlighting how referential mania exemplifies a cognitive bias toward pattern-seeking that can fabricate reality from randomness.^[42] Scholarly analyses emphasize that this ambiguity critiques solipsistic over-interpretation, positing reality as ontologically independent yet vulnerable to perceptual distortion, where "the silence of madness" arises from unbridgeable gaps between observed signs and verifiable truth.

Isolation, Exile, and Human Connection

The elderly couple in Vladimir Nabokov's "Signs and Symbols," published in 1948, exemplifies isolation through their physical and social marginalization as Russian Jewish émigrés in post-World War II New York City. Having escaped antisemitic persecutions in Europe, including events in Berlin where their son was born, they inhabit a cramped, dimly lit apartment filled with relics of their lost homeland, such as a "clumsy samovar" and faded photographs, underscoring their detachment from both past and present American society.^[15] Their poverty, advanced age, and imperfect command of English further entrench this solitude, as seen in their laborious journey via multiple buses and a taxi to the sanatorium, only to be turned away without seeing their son.^[43] Exile manifests not merely as geographical displacement but as a profound emotional and cultural rupture, mirroring Nabokov's own trajectory from Russia to Europe and then America after the 1917 Revolution and subsequent upheavals. The parents' story reflects the broader émigré condition of irrecoverable loss, where familiar signs—once meaningful in their native context—become inert symbols in an indifferent host land, evoking a pervasive sense of alienation documented in Nabokov's recurrent portrayals of displaced Russians.^[44] This theme intensifies with the son's institutionalization; born amid their wanderings, he represents the failed transmission of heritage, his referential mania interpreting everyday phenomena as personal omens of doom, thus amplifying the family's collective estrangement from stability and identity.^[45] Human connection emerges as a thwarted aspiration, hindered by barriers of illness, misunderstanding, and existential disconnection. The couple's ritualistic preparation of a birthday basket for their son—filled with jelly jars, grapes, and cake—symbolizes a desperate bid for familial intimacy, yet the sanatorium's rejection and the ensuing wrong-number phone calls from a stranger seeking "Charlie" repeatedly interrupt any potential reconciliation, highlighting communication's fragility.^[38] The son's psychosis, characterized by a belief that "referential mania" encodes the universe's malice toward him, precludes empathetic bonds, rendering parental love impotent against his inward spiral toward suicide, as intimated in the story's directory of symptoms.^[28] Nabokov thereby illustrates connection's dependence on shared reality, absent in exile's disorientation and madness's solipsism, where gestures toward unity dissolve into silence.^[46]

Ambiguity and the Limits of Interpretation

In Vladimir Nabokov's "Signs and Symbols," published in The New Yorker on May 15, 1948, ambiguity permeates the narrative structure, as mundane details accumulate without resolving into clear causality or intent, thereby exposing the constraints of interpretive frameworks.^[11] The elderly couple's thwarted visit to their son, who suffers from "referential mania"—a condition defined by the sanatorium as the belief that "the gray drizzle of horror induced by the world around him was the actual expression of a universal conspiracy against his tormented soul"^[11]—presents events like the discovery of a "half-dead, half-fledged" bird in a puddle and the precise arrangement of ten jelly jars in three groups (seven, two, and one) that invite symbolic decoding yet resist it through their sheer factual density.^[21]^[11] This referential mania serves as a meta-commentary on the reader's propensity to impose patterns, as the story's motifs—recurrent telephone interruptions, avian imagery echoing the son's fragility, and numerical repetitions such as the third wrong-number call—mirror the delusion while questioning its validity in both the character's and interpreter's worlds.^[37] Critics note that Nabokov exploits causal ambiguity, where physical phenomena like the phone calls (two explicitly erroneous, the third inquiring for "Charlie" or "Charley") generate plausible but unverifiable hypotheses, such as the son's suicide or institutional notification, without textual confirmation.^[37]^[21] Such undecidability underscores the limits of perception, as empirical details (e.g., the bird's sodden state symbolizing aborted potential or mere urban detritus) yield to probabilistic reasoning rather than deterministic symbolism.^[21]^[10] The narrative's third-person perspective, focalized through the parents' limited awareness, further constrains interpretation by withholding omniscience, forcing reliance on surface-level signs that may signify exile's isolation or coincidental entropy.^[37] Scholarly examinations, such as those compiling over six decades of debate, reveal how attempts to resolve the ending—whether through decoding "Charlie" as a cipher for the son or dismissing it as randomness—replicate the mania, illustrating Nabokov's deliberate thwarting of closure to highlight interpretive overreach.^[47] This approach aligns with Nabokov's rejection of "the symbolism racket," prioritizing intricate, verifiable particulars over allegorical imposition, as evidenced by the story's resistance to unified motifs despite their proliferation.^[13]^[10] Ultimately, the text posits that while human cognition seeks coherence in ambiguity, the boundary lies in distinguishing causal reality from projected delusion, a limit amplified by the story's open-ended form.^[37]^[21]

Interpretations and Analyses

Core Debates on the Ending

The ending of Vladimir Nabokov's "Signs and Symbols," which concludes with a third telephone call from a girl asking for "Charlie" after two prior wrong numbers, centers on whether these interruptions signal the son's successful suicide or exemplify the story's resistance to imposed significance. Critics favoring the suicide interpretation argue that the calls' timing—occurring on the day of the thwarted parental visit and aligning with the son's history of two failed attempts—implies notification from the sanatorium, transforming apparent randomness into tragic inevitability.^[24] This reading draws on the narrative's accumulation of omens, such as the parents' foreboding and the son's "referential mania," where everyday phenomena portend personal doom, culminating in his escape through death.^[15] Opposing views contend that decoding the calls as suicide announcements perpetuates the son's pathology, as Nabokov deliberately frustrates pattern-seeking to underscore the limits of interpretation and the absurdity of referential delusion. Alexander Dolinin highlights how readers who "complete" the story's pattern by inferring death replicate the protagonist's error, mistaking coincidence for causation in an inherently entropic world.^[48] Scholarly forums reflect this divide, with some likening the ambiguity to Gothic horror's unresolved dread—where the call evokes suicide without confirmation—while others see it as Nabokov's humorous deflection, akin to modern spam, rejecting closure to affirm life's indifference to human constructs of meaning.^[49] These debates hinge on Nabokov's metafictional technique, where the ending's elision invites dual conceptual blends: a literal tragic resolution versus a meta-critique of readerly paranoia, with no empirical resolution favoring one over the other due to the text's self-conscious opacity.^[50] Pro-suicide readings, while narratively coherent, risk overinterpretation absent direct evidence, whereas ambiguity-aligned analyses align with Nabokov's broader oeuvre, which privileges perceptual multiplicity over deterministic closure.^[21]

Symbolic Readings and Nabokov's Intent

Critics have identified numerous symbolic elements in "Signs and Symbols," often linking them to the protagonist's referential mania, wherein ordinary phenomena are construed as deliberate messages directed at the individual. For instance, the recurrent motif of the number three—manifesting in the three phone calls, three attempts to visit the son, and three items in the mother's recalled list of benign objects—has been interpreted as signifying thwarted communication or cyclical failure in human connection.^[37] Similarly, the ten jars of jelly, prepared as gifts but deemed unsuitable for the son, evoke themes of aborted potential or failed nurturing, with scholar Alexander Dolinin associating them explicitly with birth and unfulfilled life cycles in the narrative.^[10] Other details, such as the caged bird glimpsed by the mother or the fledgling fallen from its nest, symbolize entrapment and vulnerability, mirroring the son's isolation in the sanatorium.^[51] These readings position the story as a meditation on the human propensity to derive transcendent meaning from arbitrary signs, blurring the boundary between delusion and genuine pattern recognition. Dolinin catalogs over a dozen such "signs and symbols" embedded in the text, arguing they form a deliberate network that invites interpretive mania akin to the son's affliction, yet cautions that Nabokov's construction resists reductive decoding.^[52] The narrative's ambiguity, particularly the unresolved third phone call, amplifies this, prompting readers to project referential significance onto what may be mere coincidence, thus enacting the theme of perceptual distortion.^[42] Nabokov, however, evinced skepticism toward what he termed the "symbolism racket" of conventional criticism, favoring instead the precise orchestration of sensory details to evoke an illusion of reality without allegorical overlay.^[37] In correspondence with The New Yorker editor Katharine White regarding the story's 1948 publication, Nabokov emphasized fidelity to concrete particulars, such as the wrong-number call from a girl inquiring about "Charlie" at the story's close, which he retained to affirm randomness over ominous portent—explicitly countering suicidal foreshadowing and underscoring the limits of imposed symbolism.^[10] This aligns with his broader aesthetic, articulated in essays and interviews, wherein symbols emerge organically from mimetic texture rather than authorial fiat, privileging the reader's discovery of pattern amid empirical chaos.^[34] Scholarly analyses, including those in Yuri Leving's edited volume, corroborate that Nabokov's revisions—restoring his preferred title "Signs and Symbols" in later collections—reinforced this intent, transforming potential allegory into a puzzle that exposes the interpretive impulse's pitfalls.^[13]

Alternative Viewpoints and Critiques

Some literary scholars contend that elaborate symbolic decodings of the story inadvertently mimic the protagonist's "referential mania," a pathological belief that innocuous details—such as numbers or birds—personally signify cosmic persecution, thereby undermining Nabokov's intent to expose the folly of such pattern-seeking. In Yuri Leving's edited volume, contributors like Alexander Dolinen dissect purported symbols (e.g., recurring threes or jelly jars) but warn that exhaustive hunts for codes devolve into solipsistic projection, echoing Nabokov's parody of overzealous interpretation rather than uncovering authorial truth.^[13]^[42] This critique posits the narrative's ambiguity, particularly the unresolved final telephone call, as a deliberate snare for readers prone to imposing false coherence on chaotic reality, with no empirical basis for deeming the "signs" supernatural or prophetic beyond the characters' despair.^[34] A contrasting realist perspective emphasizes the tale's grounding in verifiable émigré hardships, including the 1940s asylum conditions for Soviet refugees and the mundane cruelties of aging exile, arguing that symbolic overlays obscure the causal chain of parental neglect, institutional failure, and son's suicide ideation rooted in untreated mental illness. Critics in Leving's anthology, drawing on Nabokov's New Yorker correspondence from 1947–1948, highlight how editorial revisions stripped overt puzzles to prioritize emotional rawness over hermetic games, rendering hyper-symbolic analyses anachronistic impositions that neglect the story's first-hand depiction of post-revolutionary displacement affecting thousands of Russians by 1948.^[13]^[10] This view aligns with Nabokov's stated aversion to didacticism, favoring causal realism in portraying how incremental misfortunes—wrong numbers, caged birds, flooded gardens—accumulate into irreversible tragedy without metaphysical redemption.^[37] Psychoanalytic and structuralist readings face particular scrutiny for retrofitting Freudian motifs (e.g., the mother's repressed desires as symbolic drivers) onto a text where Nabokov explicitly derided such methodologies as reductive pseudoscience, lacking falsifiable evidence and ignoring his lepidopterist's precision for observable detail over subconscious conjecture. Leving's compilation includes essays applying cognitive blending theory to reframe readerly "mania" as a perceptual blend of narrative domains, critiquing earlier formalist approaches for conflating textual ambiguity with inherent meaning, and advocating empirical reader-response data showing varied, non-universal symbol detection rates among audiences tested post-2000.^[53] These alternatives underscore a meta-critique: institutional literary scholarship, often skewed toward deconstructive multiplicity, risks amplifying interpretive entropy at the expense of the story's sparse, verifiable anchors in 1940s American-Russian diaspora records.

Critical Reception

Initial Responses

"Signs and Symbols" appeared in The New Yorker on May 15, 1948, marking the fourth short story by Nabokov accepted for publication by the magazine, following earlier pieces sold since 1942.^[11]^[12] The editorial decision to feature the story in a leading literary periodical signaled its perceived merit amid Nabokov's efforts to establish himself in American publishing, though the magazine altered the title from Nabokov's preferred "Signs and Symbols" to "Symbols and Signs."^[51] Contemporary reactions were limited, with no prominent reviews in major literary outlets immediately following publication, consistent with the niche audience for Nabokov's émigré-themed short fiction during this period before his widespread recognition via Lolita in 1955.^[15] The story's acceptance by The New Yorker editors, including figures like Katharine White, reflected internal acclaim for its precise prose and thematic depth, positioning it as a subtle exploration of perceptual distortion and familial despair without drawing broad public discourse at the time.^[12] Early reader engagement, inferred from the magazine's subscriber base, likely appreciated the narrative's economy and atmospheric detail, though archival evidence of letters or direct feedback remains sparse.^[11] This muted initial footprint contrasted with the story's later elevation in anthologies and criticism, underscoring how Nabokov's pre-1950s works often garnered appreciation within select literary circles rather than mass acclaim.^[54]

Scholarly Developments and Evaluations

Since its 1948 publication in The New Yorker, "Signs and Symbols" has prompted sustained scholarly scrutiny, evolving from close readings of its formal elements to multifaceted evaluations incorporating biographical, historical, and cognitive frameworks. Early post-publication analyses emphasized the story's narrative puzzles and resistance to symbolic decoding, reflecting Nabokov's broader aesthetic that privileged precise detail over allegorical imposition. For instance, in 1986, John J. Ross examined the perceptual dichotomies in signs and symbols, positioning them between objective reality and subjective distortion. Similarly, that year, Patrick O'Donnell explored epistemological tensions, arguing the text interrogates modes of knowledge amid referential delusion. These works underscored the story's craftsmanship in mirroring the son's mania through subtle repetitions and ambiguities, without resolving into overt symbolism. A pivotal advancement occurred with Yuri Leving's 2012 edited volume Anatomy of a Short Story: Nabokov's Puzzles, Codes, "Signs and Symbols", which assembled peer-reviewed essays, line-by-line annotations, and archival correspondence—including Nabokov's revisions and publisher exchanges—offering a comprehensive evaluative toolkit. Contributors like Alexander Dolinin dissected intra-textual signs, such as the jelly jars' placement, as integral to thematic cohesion rather than external ciphers. Leona Toker's contributions, spanning her 1993 essay and 2012 chapter, advocated contextual expansions, evaluating the émigré parents' plight against Nabokov's Russian-Jewish heritage and the era's displacements. This anthology crystallized the consensus that the story's power lies in its emotional realism—the parents' futile gestures amid loss—over forced interpretive mania, echoing Nabokov's own dismissals of reductive symbol hunts in lectures and interviews. Later evaluations have diversified, applying interdisciplinary lenses while contending with the text's intentional opacity. In 2015, Zoran Kuzmanovich linked the narrative to Holocaust echoes, citing veiled references to Jewish suffering and institutional indifference, building on Toker's contextualism; however, such historicist readings face critique for retrofitting Nabokov's avowedly apolitical fiction, as he avoided direct engagements with genocide in his oeuvre. Cognitive approaches, including Michael Vergara's 2018 analysis of conceptual blending, assess the thrice-repeated wrong-number calls as generating unstable reader inferences—blending suicide hints with mundane error—thus perpetuating interpretive undecidability as a deliberate artistic effect. These developments affirm the story's scholarly longevity, with evaluations consistently lauding its 1,500-word economy for evoking profound isolation, though debates persist on whether ambiguity critiques paranoid reading or invites it. Peer-reviewed consensus holds the tale's verifiably true core in undocumented human grief, verifiable through Nabokov's biographical notes on similar émigré tragedies.

Legacy and Influence

Adaptations and Cultural References

"Signs and Symbols" has received limited adaptations beyond its literary form. A 2013 short drama film titled Symbols and Signs, featuring actors Françoise Pascal and Rodrig Andrisan, reinterprets the narrative of an elderly couple confronting their son's institutionalization due to referential mania and a prior suicide attempt.^[55] The story's motifs of misinterpretation and referential delusion have echoed in contemporary fiction. Lorrie Moore's 2012 short story "Referential," published in The New Yorker, explicitly draws from Nabokov's work, depicting parents navigating their son's similar psychological affliction amid everyday signs they scrutinize for meaning. Moore has acknowledged the influence, noting parallels in the parental visit to a troubled child and the pervasive theme of symbols.^[56] Scholarly collections have further referenced the tale's enigmatic structure. Yuri Leving's edited volume Anatomy of a Short Story: Nabokov's Puzzles, Codes, "Signs and Symbols" (2012) compiles essays dissecting its interpretive ambiguities, underscoring its enduring appeal in academic analysis of Nabokov's techniques.^[57] The story's inclusion in broader anthologies, such as Jeff and Ann VanderMeer's The Big Book of Modern Fantasy (2020), highlights its perceived crossover into speculative themes of perception and reality.^[58]

Impact on Later Works and Scholarship

Nabokov's "Signs and Symbols" (1948) has exerted considerable influence within Nabokov scholarship, becoming a focal point for examinations of ambiguity, reader participation, and encoded narrative structures. Scholars frequently dissect its open-ended conclusion—particularly the three telephone calls, interpreted variably as innocuous wrong numbers or harbingers of the son's suicide—highlighting Nabokov's resistance to definitive closure. Alexander Dolinin's 2001 analysis posits that the story's pervasive signs (e.g., the jelly jars, birdless sky) form a deliberate referential pattern culminating in tragedy, challenging critics to balance authorial design against solipsistic overreading. This debate has permeated broader Nabokov studies, as evidenced in Yuri Leving's 2012 anthology Anatomy of a Short Story: Nabokov's Puzzles, Codes, "Signs and Symbols", which compiles manuscript variants, editorial letters from The New Yorker, and essays underscoring the tale's metafictional layers and its role in Nabokov's evolving aesthetic of "second stories" hidden behind surface events. The story's conceptualization of "referential mania"—the protagonist's delusion that mundane phenomena encode personal significance—has extended into literary theory and adjacent fields, informing discussions on semiotics, perception, and the perils of pattern-seeking. In stylistics and narratology, it exemplifies third-person focalization's capacity to mimic psychological fragmentation, as analyzed in studies of Nabokov's person-marking techniques that blur objective reporting with subjective intrusion.^[59] This has influenced postmodern readings of fiction where signs proliferate without stable referents, echoing in critiques of interpretive excess in works by later authors preoccupied with solipsism and meaning-making. The term itself recurs in psychological literature; a 2023 Psyche essay invokes it to delineate apophenia, the cognitive bias toward fabricating connections in randomness, positioning Nabokov's fiction as prescient of empirical insights into delusional cognition.^[60] Direct adaptations remain rare, with no major cinematic or theatrical versions documented, limiting its permeation into popular culture compared to Nabokov's novels. Nonetheless, its motifs of veiled symbolism and interpretive paranoia surface in scholarly extensions to postmodern fiction, where authors like those exploring metafictional unreliability draw implicit parallels to Nabokov's compression of existential dread into quotidian signs. Within academia, it endures as a pedagogical staple for dissecting short-form ambiguity, spawning citations in overviews of 20th-century narrative innovation and sustaining annual forums, such as those hosted by the International Vladimir Nabokov Society.^[49]

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