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Sign up todayLolita
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Learn moreThe most famous and controversial novel from one of the greatest writers of the twentieth century tells the story of Humbert Humbert’s obsessive, devouring, and doomed passion for the nymphet Dolores Haze.
“The conjunction of a sense of humor with a sense of horror [results in] satire of a very special kind.”—The New Yorker
One of The Atlantic’s Great American Novels of the Past 100 Years
Awe and exhilaration—along with heartbreak and mordant wit—abound in Lolita, which tells the story of the aging Humbert Humbert's obsession for the nymphet Dolores Haze. Lolita is also the story of a hypercivilized European colliding with the cheerful barbarism of postwar America.
Most of all, it is a meditation on love—love as outrage and hallucination, madness and transformation.
Vladimir Vladimirovich Nabokov was born on April 23, 1899, in St. Petersburg, Russia. The Nabokovs were known for their high culture and commitment to public service, and the elder Nabokov was an outspoken opponent of antisemitism and one of the leaders of the opposition party, the Kadets. In 1919, following the Bolshevik revolution, he took his family into exile. Four years later he was shot and killed at a political rally in Berlin while trying to shield the speaker from right-wing assassins.
The Nabokov household was trilingual, and as a child Nabokov was already reading Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Tolstoy, and Chekhov, alongside the popular entertainments of Sir Arthur Conan Doyle and Jules Verne. 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. In his afterword to Lolita he claimed: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian tongue for a second-rate brand of English, devoid of any of those apparatuses–the baffling mirror, the black velvet backdrop, the implied associations and traditions–which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way." [p. 317] 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.
Reviews
One of TIME Magazine's All-Time 100 Novels"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." —The Atlantic Monthly
"Intensely lyrical and wildly funny." —Time
"The only convincing love story of our century." —Vanity Fair
"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
"A revealing and indispensable comedy of horrors." —San Francisco Chronicle Expand reviews