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Nabokov recalled his time at Cambridge University in "Speak, Remember" and portrayed the cultural dislocation and discomfort of exile through the "Teapot Incident". This event symbolizes Nabokov's lifelong fate of "mobility", including the continuous generation and innovation of literary style, rhetoric, and critical forms. Nabokov's real-life mobility is manifested as being forever in a state of "temporary residence" and "between", wandering between different cultures, forcing writers and their readers to make emotional and mental adjustments. Mobility is a key perspective for understanding Nabokov's narrative style and his understanding of visual arts and spatial structures. Nabokov's exile career was divided into three stages: in Europe from 1919 to 1940, in the United States from 1940 to 1960, and in Switzerland from 1961 to 1977. These three stages roughly correspond to the spiral upward structure of the main topic, the opposite topic, and the combined topic in its literary creation mode. Nabokov embedded the spiral cycle image into his philosophical metaphysical thinking, using it to understand the perception of time and viewing it as a gradually expanding sensation. The spiral imagery negates the linear progressive view and emphasizes the centrifugal movement of freedom, which is manifested in Nabokov's creations as a complex artistic installation of escaping and resisting totalitarianism. The spiral image is also an important silhouette of identity construction in a mobile society, summarizing the dynamic process of spatial displacement, temporal perception, and artistic representation in Nabokov's life of exile.

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After the Russian Revolution in 1917, Nabokov fled to Crimea and later left Russia to study at the University of Cambridge in England, eventually settling in Berlin, Germany. In Berlin, his works often reminisce about life in St. Petersburg and contrast it with his experiences in Berlin, emphasizing mobility. The four wheeled carriages and horse drawn trams in St. Petersburg and the trams in Berlin have become dual symbols of time and space, reflecting the identity of exiles and the paradox of modernity. Nabokov's' The Berlin Guide 'metaphorically depicts the cultural fragmentation and identity reshaping of exiles through the movement of trams. In his scattered literature, there is a distinction between mobility and the concept of "movement", with the former having socio-cultural significance and the latter being abstract movement. The characters of "dangerous elements" in Nabokov's works, such as Sinatra in "The Invitation to Beheading", Professor Puning in "Puning", and Humbert in "Lolita", all reflect the micro political science in his modernist diaspora literature. Nabokov's stranger attribute and multi-faceted association with mobility are reflected in his creative art. His writing experience reveals the dual consequences of mobility: the rupture of language and cultural bloodline and the acquisition of creative freedom. Nabokov relied on his literary reputation to gain spiritual support and financial aid through his recitation journey, ultimately arriving in New York, USA.

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In depth exploration of Nabokov's second stage of exile, particularly his life and creations after fleeing to the United States in 1940. Nabokov experienced great personal tragedies during his exile, including the death of his mother and brother in a concentration camp, which deepened his sense of exile and adaptation to his mobile state. In the United States, he constantly changed his residence, worried about losing his teaching position, and actively sought help from friends, starting to submit articles to magazines such as The New Yorker. Nabokov underwent a language migration from Russian to English writing, which had a profound impact on his creative process. His first English novel, "The Real Life of Sebastian Knight," was published in the United States, while his iconic works, "Lolita" and "The Dark Fire," incorporated the emotions and situations of "strangers," showcasing his unique literary style.

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Explored Nabokov's voluntary exile through the modern transportation of airplanes after leaving Cornell University in 1959, which marked a leap in his way of life. Nabokov gained financial freedom through the success of "Lolita," allowing him to move freely and maintain his favorite lifestyle habits. His exile career entered the stage of "integration", and at the same time, his "scientific Odyssey" reached its climax, especially in the field of butterfly research. Nabokov's research on butterflies not only reflects his interest in the dynamic process of increasing and improving form, color, and structure, but also echoes the spiral imagery in his works. His butterfly research and literary creation both reflect the pursuit of complexity, which transcends aesthetic taste and deeply attracts Nabokov. Nabokov opposed the symbolic interpretation of butterflies and emphasized the specificity, ambiguity, and fluidity of meaning. His exile writing reflects cross regional and cross-cultural life experiences, reproducing history through details and fragments of memory. During Nabokov's time in Switzerland, he reviewed, revised, and rewrote old works, and continued his butterfly research. He introduced the research methods of natural history into writing, expanding his experience of feeling unfamiliar things. Nabokov's narrative style underwent some changes during this stage, with language rhythm, plot development, and character actions seemingly synchronized with his outdoor trekking. It is also pointed out that the application of mobility theory in Nabokov's research has unique value, as it can reveal the aesthetic mechanisms of spatial transformation, cross-border narrative, and exile experience in his works, providing a new perspective for understanding the relationship between 20th century exile literature and modernity.