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Lolita (Everyman's Library Classics) Hardcover – 17 Dec 1992

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Product details

  • Hardcover: 329 pages
  • Publisher: Everyman; New Ed edition (17 Dec. 1992)
  • Language: English
  • ISBN-10: 185715133X
  • ISBN-13: 978-1857151336
  • Product Dimensions: 2.6 x 13.2 x 21 cm
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (204 customer reviews)
  • Amazon Bestsellers Rank: 94,022 in Books (See Top 100 in Books)

More About the Author

Vladimir Vladimirovich Nabokov was born on April 23, 1899, in St. Petersburg, Russia. The Nabokov household was trilingual, and as a young man, he studied Slavic and romance languages at Trinity College, Cambridge, taking his honors degree in 1922. For the next eighteen years he lived in Berlin and Paris, writing prolifically in Russian under the pseudonym Sirin and supporting himself through translations, lessons in English and tennis, and by composing the first crossword puzzles in Russian. In 1925 he married Vera Slonim, with whom he had one child, a son, Dmitri. Having already fled Russia and Germany, Nabokov became a refugee once more in 1940, when he was forced to leave France for the United States. There he taught at Wellesley, Harvard, and Cornell. He also gave up writing in Russian and began composing fiction in English. Yet Nabokov's American period saw the creation of what are arguably his greatest works, Bend Sinister (1947), Lolita (1955), Pnin (1957), and Pale Fire (1962), as well as the translation of his earlier Russian novels into English. He also undertook English translations of works by Lermontov and Pushkin and wrote several books of criticism. Vladimir Nabokov died in Montreux, Switzerland, in 1977.

Product Description

Amazon Review

Despite its lascivious reputation, the pleasures of Lolita are as much intellectual as erogenous. It is a love story with the power to raise both chuckles and eyebrows. Humbert Humbert is a European intellectual adrift in America, haunted by memories of a lost adolescent love. When he meets his ideal nymphet in the shape of 12-year-old Dolores Haze, he constructs an elaborate plot to seduce her, but first he must get rid of her mother. In spite of his diabolical wit, reality proves to be more slippery than Humbert's feverish fantasies and Lolita refuses to conform to his image of the perfect lover. 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 post-war 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 --This text refers to an out of print or unavailable edition of this title.

Review

He did us all an honour by electing to use, and transform, our language. (Anthony Burgess)

Nabokov can move you to laughter in the way that masters can - to laughter that is near to tears. (The Guardian)

There's no funnier monster in modern literature than poor, doomed Humbert Humbert. (The Independent) --This text refers to an alternate Hardcover edition.

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Customer Reviews

4.2 out of 5 stars

Most Helpful Customer Reviews

106 of 117 people found the following review helpful By Tom on 21 Feb. 2003
Format: Paperback
Lolita is in many ways an extraordinary book. Not only in its choice of subject matter which is perhaps more controversial today then it was in the 1950s but also in the style of writing. It is perhaps the best written book that I have ever read. Nabokov's writing style has a richness that is even more remarkable given that it is not his native tongue. The expert use of allusion, extended metaphor and generously evocative imagery makes this a book to savour slowly and one that is closer at times to poetry than prose.
But what a poem. Humbert Humbert is perhaps the very model of the antihero but as he is also the narrator everything is seen through the prism of his own monstrous and predatory lusts. Lolita herself, as Humbert admits, remains something of an enigma throughout. The narrator is unable to see her as an individual and she is portrayed as the archetypal 'nymphet,' who serves merely to serve his own needs. Any deviation from this role is regarded as betrayal. But then the book is entitled Lolita not Delores Hayes and 'Lolita' is no more than the perfect nymphet lurking inside Humbert's diseased brain never a girl of blood and flesh.
Humbert does not in fact offer much in the way of self justification beyond the occasional admission of insanity and his sickening claims to truly love the girl. He also seems to grow in awareness of his perversion as the novel goes on but never seems to regret it. He starts by offering various justifications of child brides from history but his final allusion is to Sade's Justine which is surely an admission of guilt. But the prose is so tender and so darkly comic that all this is repeatedly obscured and Nabokov manages to win you a twisted sympathy for his protagonist even, almost, for his predicament.
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125 of 142 people found the following review helpful By Depressaholic on 21 Jun. 2006
Format: Paperback
I was interested to see how `Lolita' would read, given the current climate, and was worried that Nabokov, writing in the 1950s, would somehow see paedophilia as being less serious than we would view it today. `Lolita' is undoubtedly an uncomfortable read. It is related from the perspective of a relatively unrepentant paedophile, Humbert Humbert. He documents the origins of his obsession with `nymphets' - pre-pubescent girls - and his pursuit of them. Eventually he meets Lolita, his landlady's daughter, and recounts his (eventually successful) plot to run away with her and take her for his lover while pretending to be father and daughter. Humbert's dual roles, as father and abuser, leads him to obsessive jealousy, and Lolita's accelerated adolescence leave her as a precocious adult in a child's body, scarred and cynical. Both lead to tragic consequences, and wasted lives in more ways than one.

Although Humbert is both the villain and narrator, he doesn't hide the sordidness of his crime, and the effects of abuse on Lolita are acknowledged. Nabokov brilliantly treads a fine line between making Humbert human (and seeing the world through his eyes) and recognising the reality of his crimes. Despite Nabokov's choice of making a paedophile his narrator and central character, there is little sympathy for Humbert throughout the book, and paedophilia is presented as being every bit as repugnant as it is generally viewed today. Where Humbert makes excuses for himself, it is clear that they are Humbert's, not Nabokov's, excuses, and we are not expected to sympathise. Humbert's actions are also not presented as being in any way erotic. There are no graphic descriptions either, the suggestion is enough.

Because Nabokov treats his subject so skilfully, `Lolita' was a fantastic book.
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45 of 51 people found the following review helpful By Ellie Jones on 21 Aug. 2004
Format: Paperback
I read this book expecting to be sickened. The story of a 40-year-old's obsession with very young girls (or "nymphets") as said 40-year-old calls them) and in particular the beautiful Dolores "Lolita" Haze, there is certainly plenty of material in this book for controversy. However, as soon as I had read the first page I know that this was no deliberately shocking novel, but instead a subtle, enchanting story of enrapture and lust. Everyone can relate to the longing Humbert feels for someone he knows will never lust after him, and the agony and ecstasy of his forced yet somehow tender affair with 12-year-old Dolores is described in absolutely stunning detail. I finished the novel enchanted but also subtly disturbed, as you have to keep reminding yourself that this man is obviously a ruthless paedophile. Read this and prepare to be both symapthetic and disgusted towards your narrator. A beautiful, daring and subversive work of almost-genius.
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1 of 1 people found the following review helpful By Toreados on 29 Mar. 2015
Format: Paperback
A star rating seems so unhelpful with a book like Lolita, so inappropriate somehow: it's like reviewing snow, or purple, or Tuesday. This is a book everyone thinks they know; a book which anyone with a standard liberal arts education will confidently engage in a discussion about, regardless of having read it themselves or not. Its fame takes it beyond the words arranged in such merciless order on its pages and into the realm of nebulous cultural understanding; people know Lolita like they know the assassination of JFK or the moon landings.

Which, like I say, makes it tough to simply pick up, read and appreciate in the same way you might something more obscure: it is easy to see this as beyond dispute.

But it's not.

Lolita is a long clever puzzle which the reader will, at times, feel they are solving quite brilliantly and, at others, feel they are not. Rarely have I resented an author so much as I did Nabokov so frequently in these pages. So many words, so many meanings and clues and tricks and puns and references near and wide. In it's word-by-word construction, the book is miraculous; that one man could have assembled a work of such relentless intricacy is hard to take in. It's like admiring a beautifully made Swiss watch and realising, with a slow dawning of awe, that this Swiss watch is made from thousands of other tiny Swiss watches, all crafted with the same exquisite precision and working in tandem to power the whole. It is an overwhelming read, in every way.

The problem, as I see it, is that the book cannot be simply picked up and read, enjoyed as straightforward tale running from start to finish.
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