Playfully perverse in form as well as content, riddled with puns and literary allusions, Nabokov's 1955 novel is a hymn to the Russian-born author's delight in his adopted language. Indeed, readers who want to probe all of its allusive nooks and crannies will need to consult the annotated edition. Lolita is undoubtedly, brazenly erotic, but the eroticism springs less from the "frail honey-hued shoulders ... the silky supple bare back" of little Lo than it does from the wantonly gorgeous prose that Humbert uses to recount his forbidden passion:
She was musical and apple-sweet ... Lola the bobby-soxer, devouring her immemorial fruit, singing through its juice ... and every movement she made, every shuffle and ripple, helped me to conceal and to improve the secret system of tactile correspondence between beast and beauty--between my gagged, bursting beast and the beauty of her dimpled body in its innocent cotton frock.Much has been made of Lolita as metaphor, perhaps because the love affair at its heart is so troubling. Humbert represents the formal, educated Old World of Europe, while Lolita is America: ripening, beautiful, but not too bright and a little vulgar. Nabokov delights in exploring the intercourse between these cultures, and the passages where Humbert describes the suburbs and strip malls and motels of postwar America are filled with both attraction and repulsion, "those restaurants where the holy spirit of Huncan Dines had descended upon the cute paper napkins and cottage-cheese-crested salads." Yet however tempting the novel's symbolism may be, its chief delight--and power--lies in the character of Humbert Humbert. He, at least as he tells it, is no seedy skulker, no twisted destroyer of innocence. Instead, Nabokov's celebrated mouthpiece is erudite and witty, even at his most depraved. Humbert can't help it--linguistic jouissance is as important to him as the satisfaction of his arrested libido. --Simon Leake
From Library Journal
Copyright 1997 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
"Lolita blazes with a perversity of a most original kind. For Mr. Nabokov has distilled from his shocking material hundred-proof intellectual farce…Lolita seems an assertion of the power of the comic spirit to wrest delight and truth from the most outlandish materials. It is one of the funniest serious novels I have ever read; and the vision of its abominable hero, who never deludes or excuses himself, brings into grotesque relief the cant, the vulgarity, and the hypocritical conventions that pervade the human comedy." —Atlantic Monthly
"Intensely lyrical and wildly funny." —Time
"The conjunction of a sense of humor with a sense of horror [results in] satire of a very special kind, in which vice or folly is regarded not so much with scorn as with profound dismay and a measure of tragic sympathy…The reciprocal flow of irony gives to both the characters and their surroundings the peculiar intensity of significance that attends the highest art." —The New Yorker
"Lolita is an authentic work of art which compels our immediate response and serious reflection–a revealing and indispensable comedy of horrors." —San Francisco Chronicle
From the Hardcover edition.
From the Publisher
First published on audio March 26, 1997 (OK- I'm not obsessive, it was my birthday), we've never seen the type of press and review attention for and AudioBook as we did with Lolita.
I think the credit divides itself equally. Yes, Nabokov's Lolita is haunting, funny (yes, funny), and ultimately tragic. But Jeremy Irons's voice so perfectly matches Humbert Humbert, I have to believe that this had to be the voice in Nabokov's head as he wrote. The opening, the famous first chapter, is chilling.
It's impossible to count the number of times I've listened to this recording. But just as I will play Tom Waits in the office, I will also flip in a cassette of Irons's reading Lolita. This recording is music to me.
Even if you're not a fan of audio - I urge you to listen to this recording. Engrossing, enraging, titillating, disturbing, fascinating, Jeremy Irons's performance of Lolita, unabridged, is nothing short of brilliant.
-Carrie, Random House AudioBooks Publicity --This text refers to an out of print or unavailable edition of this title.
From the Back Cover
"Lolita blazes with a perversity of a most original kind. For Mr. Nabokov has distilled from his shocking material hundred-proof intellectual farce . . . Lolita seems an assertion of the power of the comic spirit to wrest delight and truth from the most outlandish materials. It is one of the funniest serious novels I have ever read; and the vision of its abominable hero, who never deludes or excuses himself, brings into grotesque relief the cant, the vulgarity, and the hypocritical conventions that pervade the human comedy." --Atlantic Monthly
"Intensely lyrical and wildly funny." --Time
"The conjunction of a sense of humor with a sense of horror [results in] satire of a very special kind, in which vice or folly is regarded not so much with scorn as with profound dismay and a measure of tragic sympathy . . . The reciprocal flow of irony gives to both the characters and their surroundings the peculiar intensity of significance that attends the highest art." --The New Yorker
"Lolita is an authentic work of art which compels our immediate response and serious reflection--a revealing and indispensable comedy of horrors." --San Francisco Chronicle
From the Hardcover edition.
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta.
She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita.
Did she have a precursor? She did, indeed she did. In point of fact, there might have been no Lolita at all had I not loved, one summer, a certain initial girl-child. In a princedom by the sea. Oh when? About as many years before Lolita was born as my age was that summer. You can always count on a murderer for a fancy prose style.
Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns.
I was born in 1910, in Paris. My father was a gentle, easy-going person, a salad of racial genes: a Swiss citizen, of mixed French and Austrian descent, with a dash of the Danube in his veins. I am going to pass around in a minute some lovely, glossy-blue picture-postcards. He owned a luxurious hotel on the Riviera. His father and two grandfathers had sold wine, jewels and silk, respectively. At thirty he married an English girl, daughter of Jerome Dunn, the alpinist, and granddaughter of two Dorset parsons, experts in obscure subjects-paleopedology and Aeolian harps, respectively. My very photogenic mother died in a freak accident (picnic, lightning) when I was three, and, save for a pocket of warmth in the darkest past, nothing of her subsists within the hollows and dells of memory, over which, if you can still stand my style (I am writing under observation), the sun of my infancy had set: surely, you all know those redolent remnants of day suspended, with the midges, about some hedge in bloom or suddenly entered and traversed by the rambler, at the bottom of a hill, in the summer dusk; a furry warmth, golden midges.
My mother's elder sister, Sybil, whom a cousin of my father's had married and then neglected, served in my immediate family as a kind of unpaid governess and housekeeper. Somebody told me later that she had been in love with my father, and that he had lightheartedly taken advantage of it one rainy day and forgotten it by the time the weather cleared. I was extremely fond of her, despite the rigidity-the fatal rigidity-of some of her rules. Perhaps she wanted to make of me, in the fullness of time, a better widower than my father. Aunt Sybil had pink-rimmed azure eyes and a waxen complexion. She wrote poetry. She was poetically superstitious. She said she knew she would die soon after my sixteenth birthday, and did. Her husband, a great traveler in perfumes, spent most of his time in America, where eventually he founded a firm and acquired a bit of real estate.
I grew, a happy, healthy child in a bright world of illustrated books, clean sand, orange trees, friendly dogs, sea vistas and smiling faces. Around me the splendid Hotel Mirana revolved as a kind of private universe, a whitewashed cosmos within the blue greater one that blazed outside. From the aproned pot-scrubber to the flanneled potentate, everybody liked me, everybody petted me. Elderly American ladies leaning on their canes listed toward me like towers of Pisa. Ruined Russian princesses who could not pay my father, bought me expensive bonbons. He, mon cher petit papa, took me out boating and biking, taught me to swim and dive and water-ski, read to me Don Quixote and Les Mis?rables, and I adored and respected him and felt glad for him whenever I overheard the servants discuss his various lady-friends, beautiful and kind beings who made much of me and cooed and shed precious tears over my cheerful motherlessness.
I attended an English day school a few miles from home, and there I played rackets and fives, and got excellent marks, and was on perfect terms with schoolmates and teachers alike. The only definite sexual events that I can remember as having occurred before my thirteenth birthday (that is, before I first saw my little Annabel) were: a solemn, decorous and purely theoretical talk about pubertal surprises in the rose garden of the school with an American kid, the son of a then celebrated motion-picture actress whom he seldom saw in the three-dimensional world; and some interesting reactions on the part of my organism to certain photographs, pearl and umbra, with infinitely soft partings, in Pichon's sumptuous La Beaut? Humaine that I had filched from under a mountain of marble-bound Graphics in the hotel library. Later, in his delightful debonair manner, my father gave me all the information he thought I needed about sex; this was just before sending me, in the autumn of 1923, to a lyc?e in Lyon (where we were to spend three winters); but alas, in the summer of that year, he was touring Italy with Mme de R. and her daughter, and I had nobody to complain to, nobody to consult.
Annabel was, like the writer, of mixed parentage: half-English, half-Dutch, in her case. I remember her features far less distinctly today than I did a few years ago, before I knew Lolita. There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: "honey-colored skin," "thin arms," "brown bobbed hair," "long lashes," "big bright mouth"); and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita).
Let me therefore primly limit myself, in describing Annabel, to saying she was a lovely child a few months my junior. Her parents were old friends of my aunt's, and as stuffy as she. They had rented a villa not far from Hotel Mirana. Bald brown Mr. Leigh and fat, powdered Mrs. Leigh (born Vanessa van Ness). How I loathed them! At first, Annabel and I talked of peripheral affairs. She kept lifting handfuls of fine sand and letting it pour through her fingers. Our brains were turned the way those of intelligent European preadolescents were in our day and set, and I doubt if much individual genius should be assigned to our interest in the plurality of inhabited worlds, competitive tennis, infinity, solipsism and so on. The softness and fragility of baby animals caused us the same intense pain. She wanted to be a nurse in some famished Asiatic country; I wanted to be a famous spy.
All at once we were madly, clumsily, shamelessly, agonizingly in love with each other; hopelessly, I should add, because that frenzy of mutual possession might have been assuaged only by our actually imbibing and assimilating every particle of each other's soul and flesh; but there we were, unable even to mate as slum children would have so easily found an opportunity to do. After one wild attempt we made to meet at night in her garden (of which more later), the only privacy we were allowed was to be out of earshot but not out of sight on the populous part of the plage. There, on the soft sand, a few feet away from our elders, we would sprawl all morning, in a petrified paroxysm of desire, and take advantage of every blessed quirk in space and time to touch each other: her hand, half-hidden in the sand, would creep toward me, its slender brown fingers sleepwalking nearer and nearer; then, her opalescent knee would start on a long cautious journey; sometimes a chance rampart built by younger children granted us sufficient concealment to graze each other's salty lips; these incomplete contacts drove our healthy and inexperienced young bodies to such a state of exasperation that not even the cold blue water, under which we still clawed at each other, could bring relief.
Among some treasures I lost during the wanderings of my adult years, there was a snapshot taken by my aunt which showed Annabel, her parents and the staid, elderly, lame gentleman, a Dr. Cooper, who that same summer courted my aunt, grouped around a table in a sidewalk caf?. Annabel did not come out well, caught as she was in the act of bending over her chocolat glac?, and her thin bare shoulders and the parting in her hair were about all that could be identified (as I remember that picture) amid the sunny blur into which her lost loveliness graded; but I, sitting somewhat apart from the rest, came out with a kind of dramatic conspicuousness: a moody, beetle-browed boy in a dark sport shirt and well-tailored white shorts, his legs crossed, sitting in profile, looking away. That photograph was taken on the last day of our fatal summer and just a few minutes before we made our second and final attempt to thwart fate. Under the flimsiest of pretexts (this was our very last chance, and nothing really mattered) we escaped from the caf? to the beach, and found a desolate stretch of sand, and there, in the violet shadow of some red rocks forming a kind of cave, had a brief session of avid caresses, with somebody's lost pair of sunglasses for only witness. I was on my knees, and on the point of possessing my darling, when two bearded bathers, the old man of the sea and his brother, came out of the sea with exclamations of ribald encouragement, and four months later she died of typhus in Corfu.
I leaf again and again through these miserable memories, and keep asking myself, was it then, in the glitter of that remote summer, that the rift in my life began; or was my excessive desire for that child only the first evidence of an inherent singularity? When I try to analyze my own cravings, motives, actions and so forth, I surrender to a sort of retrospective imagination which feeds the analytic faculty with boundless alternatives and which causes each visualized route to fork and re-fork without end in the maddeningly complex prospect of my past. I am convinced, however, that in a certain magic and fateful way Lolita began with Annabel.
I also know that the shock of...