Stella_Omega
No Gentleman
- Joined
- Jul 14, 2005
- Posts
- 39,700
No one seems to remember that the subtitle of the book is The Confessions of a White Widowed Male.Yes, she is.
Another helluva writer, Nabokov, set the standard for portraying the sexually aware nymphette. At first, Lolita was eager for sexual adventure with her step-father, Humbert Humbert. But once they became lovers, she lacked the emotional maturity and chronological age needed to deal with the ramifications.
Rumple Foreskin![]()
This subtitle is pretty important if you're going to reference the book at all-- Humbert's nymphettes are sexually desirable pre-pubescent girls. In no way does he ever say that they are sexually aware. In fact he's shocked (and hurt) when he discovers that Lolita has lost her virginity at that summer's camp.
Lolita was willing to seduce Humbert the first time, because she was terrified and alone. Her mother had just died. Humbert presented himself to her as her only lifeline. But the only other time she initiated sex was at the end, when she wanted to leave him.
The wikipedia sums it up pretty well;
(NOT Lolita's obsession with Humbert, which doesn't even exist)The novel is a tragicomedy narrated by Humbert, who riddles the narrative with wordplay and his wry observations of American culture. His humor provides an effective counterpoint to the pathos of the tragic plot. The novel's flamboyant style is characterized by word play, double entendres, multilingual puns, anagrams, and coinages such as nymphet, a word that has since had a life of its own and can be found in most dictionaries, and the lesser used "faunlet". Nabokov's Lolita is far from an endorsement of pedophilia, since it dramatizes the tragic consequences of Humbert's obsession with the young heroine.
I find this astonishing, I thought Davies was smarter than that-- but doesn't it sound like some other people we know?Nabokov himself described Humbert as "a vain and cruel wretch" and "a hateful person" (quoted in Levine, 1967).
Humbert is a well-educated, multilingual, literary-minded European émigré, as is Nabokov. But Humbert is also extraordinarily handsome, and he asks the reader to bear that fact in mind. He fancies himself a great artist, but lacks the curiosity that Nabokov considers essential. Humbert tells the story of a Lolita that he creates in his mind because he is unable and unwilling to listen to the actual girl and accept her on her own terms. In the words of Richard Rorty, from his famous interpretation of Lolita in Contingency, Irony, and Solidarity, Humbert is a "monster of incuriosity".
Some critics have accepted Humbert's version of events at face value. In 1959, novelist Robertson Davies excused the narrator entirely, writing that the theme of Lolita is "not the corruption of an innocent child by a cunning adult, but the exploitation of a weak adult by a corrupt child".
When I read the book, at about sixteen and well after my own sexual activity had begun, I thought Humbert was quite obviously deceiving himself. It seemed obvious to me that Lola was fucking around and not even 'on the sly'-- he was so wrapped up in his fantasy world that the real person didn't even exist in his mind.Most writers, however, have given less credit to Humbert and more to Nabokov's powers as an ironist. Martin Amis, in his essay on Stalinism, Koba the Dread, proposes that Lolita is an elaborate metaphor for the totalitarianism that destroyed the Russia of Nabokov's childhood (though Nabokov states in his Afterword that he "[detests] symbols and allegories"). Amis interprets it as a story of tyranny told from the point of view of the tyrant. "All of Nabokov's books are about tyranny," he says, "even Lolita. Perhaps Lolita most of all".
In 2003, Iranian expatriate Azar Nafisi published the memoir Reading Lolita in Tehran about a covert women's reading group. In this book the psychological and political interpretations of Lolita are united, since as female intellectuals in Iran, Nafisi and her students were denied both public liberty and private sexual selfhood. Although rejecting a too-easy identification of Lolita's captivity with that of her students ("...we were not Lolita, the Ayatollah was not Humbert...") Nafisi writes of her students' strong emotional connection with the book: "what linked us so closely was this perverse intimacy of victim and jailer" and "like Lolita we tried to escape and create our own little pockets of freedom".
For Nafisi, the essence of the novel is Humbert's solipsism and his erasure of Lolita's independent identity. She writes: "Lolita was given to us as Humbert's creature [...] To reinvent her, Humbert must take from Lolita her own real history and replace it with his own [...] Yet she does have a past. Despite Humbert's attempts to orphan Lolita by robbing her of her history, that past is still given to us in glimpses".
One of the novel's early champions, Lionel Trilling, warned in 1958 of the moral difficulty in interpreting a book with so eloquent and so self-deceived a narrator: "we find ourselves the more shocked when we realize that, in the course of reading the novel, we have come virtually to condone the violation it presents [...] we have been seduced into conniving in the violation, because we have permitted our fantasies to accept what we know to be revolting". ( http://en.wikipedia.org/wiki/Lolita#Style_and_interpretation )
I'd also like to point out that Humbert was NOT her father.