Research First Draft

Vanessa Hernandez

1 December 2010

Eric Olson

Intro to Writing/Lit

If one were to research Vladimir Nabokov’s Lolita, they would come upon countless definitions of the text. This is because many critics attempt to dissect the story as if it were a rare species of animal; picking and tearing at chunks of the content in order to try and find a solid theme. (An example is how Jennifer L.Jenkins in her critical essay, “Searching high and Lo: uholy quest for Lolita“ bluntly states that, “…the central motif of Lolita can only be travel.”#) Nabokov shows readers through queer clues and hints that the plot of Lolita is not to be taken literal as many critics do, but instead should looked upon as a game; a game in which, “the traps are baited with tempting ‘false scents’…”# Within this essay, I will try to address some methods in which the author, and Humbert attempt to distract players from the game.

In order to play a game, one must know how. Nabokov gives willing players instructions within the first paragraph. “You can always count on a murderer for a fancy prose style.”# Here, the author is warning readers of Humbert’s alluring tales and capability to distract readers from the truth. Humbert himself mentions that he is writing “…under observation”# from a jail cell. He also addresses readers as jury members, challenging us to look upon his character and upcoming tales with a critical eye.

Right after players are informed of the rules, they are given their first challenge; Humbert’s

explanation of his pedophilia. Readers can either choose to submerge themselves in the flowery and sappy explanation (like I initially had) or catch onto his trickery and realize that his explanation parodies man’s urge to understand the misunderstood. “I discovered there was an endless source of robust enjoyment in trifling with physiatrists: cunningly leading them on; never letting them see that you know all tricks of the trade; inventing for them elaborate dreams, pure classics in style…”#

Humbert continually uses his flowery words throughout Lolita to play with reader’s expectations. At the very end of the novel, he apologizes for depriving Lolita of her childhood. “I loved you. I was a pentapod monster, but I loved you. I was despicable and turpid, and everything mais je t’aimais, je t’aimais!”# At first glance, Humbert’s apology would appear sincere, but the “and everything” tagged onto the end insinuates something more sinister; Humbert is only apologizing to give into readers expectations

and further deviate them from the real plot hidden below his fabricated one.

Nabokov tries to help players by reminding them that Humbert isn’t to be trusted. He does so by directly speaking or having Humbert talk through the third person. “There was particularly one pink texture, sleazy, torn , with a faintly acrid odor in the seam. I wrapped in it Humbert’s huge engorges heart.”# Nabokov’s clues help pull readers back into the game if they find themselves slipping into Humbert’s persuasion. Often I would find myself entangled in Humbert’s story instead of playing the game.

As Carl Proffer mentions in his writing, “Keys to Lolita”, “There are many phrases and sentences which I am sure are illusions, but I have been unable to identify them. And there must be many I do not even recognize as being allusions.” The many allusions within Lolita add to Nabokov’s trickery. Proffer mentioned to have found sixty-three authors named or alluded to in the text.#

One aspect that repeats itself throughout the text is the concealment of robes/masks and the exposure of mirrors. ( I plan on researching some more on this for I just came upon this idea. The only quote I have is; “For a while, purple-robed, heel dangling, I sat on the edge of one of the rude tables, under the wooshing pines.” pg84) So far this is all I have, I haven't yet fully come upon my conclusion, or fully developed my thesis, but by writing this, I have verbalized my ideas, and of course plan on doing some major editing.