Last week, I promised I would advance a new interpretation of one of VN’s short stories. As I mentioned, this may seem (or may in fact be) an act of interpretive hubris, given that the story, “The Visit to the Museum,” was first published more than 80 years ago and has received its fair share of critical attention over the years. Yet I can’t help thinking that interpreters, perhaps because of the fantastic elements of the story, have missed a subtle, yet essential detail in the story’s literal plotline.
The basic description of the plot, as it has been understood, goes something like this: the narrator, an exile from Russia now living in France, travels to a small village and, as a favor to a friend, attempts to purchase a painting displayed in a museum there (the painting’s subject is one of his friend’s ancestors). The museum director, M. Godard, first denies that the painting is in the museum’s collection, but then is shown its presence, just as narrator claimed. After deferring the sale of the painting, the director takes the narrator on a tour of the bizarre museum, a tour which quickly becomes a surreal, nightmarish journey through a seemingly endless succession of rooms containing a vast array of artifacts and landscapes, until at last the narrator finds himself outside, on a snow-covered street that turns out to be not France, but contemporary Soviet Russia. Realizing his predicament, the man strips off his clothes and all signs of identification, but he is arrested and, he tells us in summary, suffers greatly before he is able to escape once more abroad.