WEBVTT - 2: Volodya Takes America

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<v Speaker 1>Trigger warning. This podcast is about the book Lolita and

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<v Speaker 1>discusses themes of pedophilia. Listener discretion is advised. December sixth,

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<v Speaker 1>nineteen fifty three, finished Lolita, which was begun exactly five

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<v Speaker 1>years ago. Vladimir Nabukov wrote to a friend that he

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<v Speaker 1>had finished Lolita, a novel he had been working on

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<v Speaker 1>for five years and when he was certain would be

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<v Speaker 1>even more challenging to publish than it was to write.

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<v Speaker 1>The book detailed the memoir of European pedophile Humbert. Humbert Hu,

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<v Speaker 1>Nabukov referred to in later interviews as quote, a vain

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<v Speaker 1>and cruel wretch who manages to appear touching and Dolores

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<v Speaker 1>Lolita Hayes, a twelve year old American girl. He becomes

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<v Speaker 1>obsessed with, abducts and rapes hundreds of times over the

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<v Speaker 1>course of several years. The novel takes the perspective of Humbert,

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<v Speaker 1>who is trying to convince you, the reader and his jury,

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<v Speaker 1>that this is a love story. Nabokov would later say

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<v Speaker 1>that the humbrid character was inspired by an ape who

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<v Speaker 1>learned to draw. Nabokov says this the initial shiver of

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<v Speaker 1>inspiration was somehow prompted by a newspaper story about an

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<v Speaker 1>ape in the Jardin de Plance, who, after months of

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<v Speaker 1>coaxing by a scientist, produced the first drawing every charcoal

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<v Speaker 1>by an animal. This sketch showed the bars of the

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<v Speaker 1>poor creature's cage. Nabokov constructed Humbard's drawing of his own

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<v Speaker 1>cage on index cards in the summers between teaching at

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<v Speaker 1>Cornell University. He right in the back seat of the

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<v Speaker 1>car after long days of his wife Vera, driving them

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<v Speaker 1>from the east to west coast of the United States,

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<v Speaker 1>stopping in motels that Nabokov used as inspiration on where

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<v Speaker 1>Humbert brings Lalita after kidnapping her, trailing the quote sinuous

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<v Speaker 1>trail of slime unquote, as Nabokov describes. A legend has

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<v Speaker 1>it that Vera once caught him trying to destroy the

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<v Speaker 1>manuscript and stopped him right in time. Not to mention,

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<v Speaker 1>this wasn't even the first time he'd attempted to write

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<v Speaker 1>about this theme or destroyed that attempt. Nabokov had written

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<v Speaker 1>a novella called The Enchanter while living in the Russian

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<v Speaker 1>emigrant community in Berlin nine very similar storyline, but Nabulkov

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<v Speaker 1>destroys all copies of the story he thinks, before it's

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<v Speaker 1>ever published. But now it's the end of ninety three

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<v Speaker 1>and the Bookov's work is complete. He wants to publish

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<v Speaker 1>it under a pseudonym. At first, worried that the themes

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<v Speaker 1>of the book would lose him his teaching job at Cornell,

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<v Speaker 1>whose income he was still very dependent on at this time,

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<v Speaker 1>but he's advised that this would make it even less

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<v Speaker 1>likely that Lolita would be published at all, and in fact,

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<v Speaker 1>could be used to make him look guilty in a

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<v Speaker 1>court of law if things went that far. Because this

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<v Speaker 1>is still towards the end of the McCarthy era in

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<v Speaker 1>the US, Nabokov wasn't the untouchable writer he's regarded as

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<v Speaker 1>today at this time. In fact, Lolita's success would turn

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<v Speaker 1>him into that. And it's not like there's no established

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<v Speaker 1>precedent for books landing authors and publishers in court, no

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<v Speaker 1>matter how well regarded the work is. James Joyce's Ulysses

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<v Speaker 1>ran into censorship issues back in the twenties during its

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<v Speaker 1>pre publication serialization in the US, leading to the United

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<v Speaker 1>States Versus One book called Ulysses case of three very

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<v Speaker 1>dramatic case name. The book went out, but not before

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<v Speaker 1>a lot of money was spent on both sides, and

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<v Speaker 1>similar situations had befallen erotic novel Forever Amber by Kathleen Windsor,

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<v Speaker 1>as well as to Nabokov's friend, American writer Edmund Wilson's

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<v Speaker 1>Memoirs of Heckate County in the fifties. All of these

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<v Speaker 1>books end up prevailing in the courts, but the process

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<v Speaker 1>was arduous and expensive on publishers, and many didn't want

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<v Speaker 1>to take the financial and reputational risk, even on a

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<v Speaker 1>writer they really liked. So Lolita is sent to American publishers,

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<v Speaker 1>to Viking, to Simon and Schuster, to New Directions Double Day,

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<v Speaker 1>and it's a resounding now across the board. Simon and

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<v Speaker 1>Schuster says it's sheer pornography. Nabokov writes to his longtime

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<v Speaker 1>editor Katherine White at The New Yorker, who also has

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<v Speaker 1>rejected Lowlit to at this point, saying the following, I

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<v Speaker 1>had to write that book for artistic reasons, and I

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<v Speaker 1>don't really care much what happens to it next. But

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<v Speaker 1>it turns out he does care because then it's on

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<v Speaker 1>to the British publishers, but still no luck. In early

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<v Speaker 1>nineteen fifty five, still searching, he writes this to Edmund Wilson,

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<v Speaker 1>I suppose it will be published by some shady firm

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<v Speaker 1>with a Viennese dream name e g. Silo, And in

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<v Speaker 1>April nineteen fifty five it reaches Olympia Press in Paris,

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<v Speaker 1>run by Mario Gerodius. Olympia was famous for two things,

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<v Speaker 1>publishing controversial scraps by famous writers like Miller, Beckett and

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<v Speaker 1>Boroughs that they couldn't release elsewhere, and erotica porn book porn.

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<v Speaker 1>It was book porn, and Gerodius accepted the title of Mr.

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<v Speaker 1>Book porn with quote joy and pride end quote, and hey,

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<v Speaker 1>there's nothing wrong with a little bit of book porn.

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<v Speaker 1>That's not how I would classify Lolita the book at all,

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<v Speaker 1>but the genre of erotica itself. I mean, who cares.

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<v Speaker 1>I'll tell you who cares. It's Vladimir Nabokov. Reflecting on

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<v Speaker 1>this time later, he says this, I had not been

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<v Speaker 1>in Europe since nineteen forty, was not interested in pointo

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<v Speaker 1>graphic books, and thus knew nothing about the obscene novelettes,

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<v Speaker 1>would Mr Gerodius was hiring hacks to confect with assistants.

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<v Speaker 1>I have pondered the painful question whether I would have

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<v Speaker 1>agreed so cheerfully to his publishing Lolita had I been

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<v Speaker 1>a wearer in May nineteen fifty five of what formed

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<v Speaker 1>the supple backbone of his production. Alas, I probably would

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<v Speaker 1>the less cheerfully. And he's right. Gerodius, in spite of

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<v Speaker 1>giving Lolita the first of its many breaks that would

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<v Speaker 1>turn it into a classic, did not get it and

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<v Speaker 1>was quoted as saying it quote might bring about a

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<v Speaker 1>change in social attitudes towards the kind of love described unquote,

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<v Speaker 1>which was, as you know, definitely not the point of

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<v Speaker 1>the book. To put it generously, The book of American

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<v Speaker 1>academic friends advise him not to publish, thinking it will

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<v Speaker 1>damage his reputation. There's a little bit of drama with

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<v Speaker 1>copyright between the author and Olympia, and in September nineteen

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<v Speaker 1>fifty five, Lolita's first edition is published and everyone loves it.

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<v Speaker 1>No notes the end, just kidding. This is Lolita Podcast.

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<v Speaker 1>Welcome back. I'm Jamie Loftus. Nice to paras socially interact

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<v Speaker 1>with you again. Here on Lolita Podcast. Last week in

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<v Speaker 1>our first episode, we talked about some of the current

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<v Speaker 1>prevalent schools of thought on Vladimir Nabokov's Lolita and took

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<v Speaker 1>an in depth look at the events of the book itself,

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<v Speaker 1>because there's no use in knowing what happens in the

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<v Speaker 1>adaptations if you don't know what you're comparing it against.

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<v Speaker 1>And it goes without saying that. We have a lot

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<v Speaker 1>to talk about. But today we're going to take it

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<v Speaker 1>back in time a little bit to talk about nabokof

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<v Speaker 1>to talk to several of the scholars in the Nabokov community,

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<v Speaker 1>to talk about some of the finer points of the book,

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<v Speaker 1>and to trace the journey of the book's first publication

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<v Speaker 1>in nineteen fifty five, through the long battle of Lolita

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<v Speaker 1>as a band book, all the way up to the

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<v Speaker 1>first film adaptation attempt in the early nineteen sixties. Brian Boyd,

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<v Speaker 1>who has written the definitive two volume of Nabokov biography

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<v Speaker 1>that I've been using, and we're also going to be

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<v Speaker 1>talking to Brian in this episode as well. So, my friends,

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<v Speaker 1>the time has come to ask who is Vladimir Nabokov.

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<v Speaker 1>He is born on April twenty second, eighteen ninety nine

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<v Speaker 1>in St. Petersburg to a very wealthy Russian noble family.

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<v Speaker 1>But his family does require some explaining, so we're going

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<v Speaker 1>to take it back a little bit before that. Nabokov's grandfather,

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<v Speaker 1>Dmitri Nabokov is high up in the pre revolutionary government.

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<v Speaker 1>He's the Minister of Justice under the liberal Ish Czar's

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<v Speaker 1>Alexander's two and three. He is a bureaucratic liberal. But

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<v Speaker 1>even this was enough to get labeled as a radical

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<v Speaker 1>every once in a while. Think of how people called

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<v Speaker 1>Joe Biden a radical when he was running, and it's like, honey,

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<v Speaker 1>I wish uh sorry for getting political. Moving on, Dmitri

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<v Speaker 1>is considered radical for saying wild things like there should

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<v Speaker 1>be fair trials for all. His writer grandson would actually

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<v Speaker 1>continue this line of thought later in his life, saying

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<v Speaker 1>that he pitied both JFK and Lee Harvey Oswald after

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<v Speaker 1>watching media coverage of the president's assassination in the US

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<v Speaker 1>in the nineteen sixties. Dmitri Nabokov is prominent in pre

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<v Speaker 1>revolutionary Russia and then a buck Offs have a number

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<v Speaker 1>of brushes, but literary fame before the famous novelist in

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<v Speaker 1>the family is born. Dmitri encounters writer and founder of

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<v Speaker 1>socialist realism Nikolai Schernishevski, who under Alexander was intimidated by

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<v Speaker 1>being mock executed but then told just kidding, You're not

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<v Speaker 1>being executed, but get out, and then he was exiled.

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<v Speaker 1>And there's a bunch of this in pre revolutionary Russia. Anyways,

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<v Speaker 1>Dmitri has an affair with an older woman and then

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<v Speaker 1>marries her daughter to keep things above board. And the

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<v Speaker 1>woman he marries is Vladimir Nabokov's grandmother, but she's also

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<v Speaker 1>Vladimir Nabokov's mother because Vladimir Nabokov and his father have

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<v Speaker 1>the exact same name, which becomes messy for the author

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<v Speaker 1>and for me right now. So to differentiate, I am

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<v Speaker 1>going to call the father of Lowlit to author Vladimir Nabakov,

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<v Speaker 1>Daddy Vlad to make things easier, thank you. That is

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<v Speaker 1>a very elegant solution. I was in mensa, so Daddy

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<v Speaker 1>Vlad pretty cool guy born in eighteen seventy. His politics

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<v Speaker 1>are pretty far to the left of his father, Dmitri.

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<v Speaker 1>He's arrested as a student protester he was outspoken against

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<v Speaker 1>anti Semitism and went on to be a successful defender

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<v Speaker 1>of Russian Jews. During his legal career. He also defended

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<v Speaker 1>queer people, ex convicts, and political insurgents from legal oppression. Overall,

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<v Speaker 1>I would have dated him, but he was still from

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<v Speaker 1>a bougie family, and he marries accordingly. Daddy Vlad marries

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<v Speaker 1>Elena rukov Shnakova, daughter of landowners so rich her dad

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<v Speaker 1>opened a school for only his kids. Elena is very

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<v Speaker 1>intelligent and is educated in the natural sciences. They're married

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<v Speaker 1>and have five kids, the oldest of whom is Vladimir Nabokov,

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<v Speaker 1>or Volodia as he's known as a kid. Daddy Vlad

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<v Speaker 1>starts working as an editor at Provo, a left leaning journal,

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<v Speaker 1>and Volodia is pretty uninterested in politics as a young person.

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<v Speaker 1>He has another brush with literary fame. A young Volodia

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<v Speaker 1>and Daddy Vlad meat writer Leo Tolstoy, Hello in passing

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<v Speaker 1>when Volodia is only ten, and here I'll be honest,

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<v Speaker 1>Vladimir Nabokov sounds like an absolute braddy rich kid while

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<v Speaker 1>he's growing up, and Nabokov scholars will defend this, but Yeah,

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<v Speaker 1>he's very bright, but he seems like kind of a jerk.

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<v Speaker 1>He had like valet Is driving him to school. It's

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<v Speaker 1>not for me. Very spoiled by his parents, Volodia had

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<v Speaker 1>nanny's and private tutors and literally teethed on his mother's

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<v Speaker 1>jewels growing up. For reference, he's about the same age

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<v Speaker 1>as the Romanov Children's Anastasia to all those so he

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<v Speaker 1>wasn't royalty, but that same time and that same vibe

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<v Speaker 1>like teething on jewels, A cocky, rich kid. Nabokov speaks Russian,

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<v Speaker 1>English and French from a young age, and later says

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<v Speaker 1>this of himself in his autobiography, speak memory. I think

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<v Speaker 1>I was born like that. A precocious genius and humble too.

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<v Speaker 1>Volodia is also diagnosed with synesthesia as a kid, a

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<v Speaker 1>condition where letters and numbers are associated with colors, and

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<v Speaker 1>that's something that his eventual wife, Vera will share Daddy.

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<v Speaker 1>Vlad is elected into the first Duma Council in nineteen

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<v Speaker 1>o six, but then is sent to prison and solitary

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<v Speaker 1>confinement in nineteen o eight for his association with the

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<v Speaker 1>Provo Journal. He comes back find but Volodia remembers this

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<v Speaker 1>time very clearly. Nabokov has four younger siblings, one of

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<v Speaker 1>whom is a childhood friend to iron Rand, which I

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<v Speaker 1>don't want to talk about at all, and one of

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<v Speaker 1>which is his brother Sergei, which I do as Volodia

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<v Speaker 1>does something both pretty unforgivable and very of his time

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<v Speaker 1>and outs his brother as a gay man to their parents,

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<v Speaker 1>which results in Sergey's being sent away to a boarding school.

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<v Speaker 1>The relationship doesn't completely heal for some time, and Sergey,

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<v Speaker 1>after many happy years with his lover, dies in a

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<v Speaker 1>concentration camp in nineteen forty five after speaking out against Hitler.

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<v Speaker 1>Back in nineteen sixteen, Volodia falls in love with a

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<v Speaker 1>girl named Valentina, who later dumps him. He self publishes

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<v Speaker 1>a poetry collection as a teen Emo king, then inherits

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<v Speaker 1>two million pounds in nineteen seventeen, money from his uncle,

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<v Speaker 1>who Brian Boyd mentions in his biography of Nabokov molested

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<v Speaker 1>him as a child. One of his experiences seems to

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<v Speaker 1>be replicated in pretty close detail later in Lolita, in

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<v Speaker 1>a scene where Humbert Humbert bounces Dolores on his lap

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<v Speaker 1>in order to pleasure himself. In nineteen seventeen, the February

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<v Speaker 1>Revolution happens in Russia and Daddy Vlad is made secretary

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<v Speaker 1>to the provisional government, but is forced to flee with

0:12:59.440 --> 0:13:03.120
<v Speaker 1>the family when the Bolshevik Revolution starts. He then serves

0:13:03.200 --> 0:13:05.920
<v Speaker 1>as the Minister of Justice in nineteen eighteen in the

0:13:06.000 --> 0:13:10.439
<v Speaker 1>Crimean regional government, and the Nabokov family finally settles in Berlin,

0:13:10.520 --> 0:13:14.760
<v Speaker 1>Germany permanently in nineteen nineteen, and at this point they

0:13:14.800 --> 0:13:18.360
<v Speaker 1>are entirely stripped of their court titles and all of

0:13:18.400 --> 0:13:22.120
<v Speaker 1>their money, and in fact, a necklace of pearls that

0:13:22.240 --> 0:13:26.000
<v Speaker 1>Nabokov Tethon as a baby are sold so they can

0:13:26.040 --> 0:13:29.120
<v Speaker 1>make rent in Germany. This is a huge shift in

0:13:29.240 --> 0:13:32.840
<v Speaker 1>Nabokov's life. He goes on to attend Cambridge University in

0:13:32.920 --> 0:13:36.240
<v Speaker 1>England with his brother Sergei, while Daddy Flad begins editing

0:13:36.360 --> 0:13:40.960
<v Speaker 1>Russian immigrant newspaper rule Back in Berlin, Nabokov begins publishing

0:13:40.960 --> 0:13:45.120
<v Speaker 1>poetry in his dad's paper, so no nepotism there, and

0:13:45.160 --> 0:13:47.720
<v Speaker 1>he uses a pen name, Vladimir Syrian, which is a

0:13:47.720 --> 0:13:51.040
<v Speaker 1>pseudonym meant to distance him and prevent confusion with his

0:13:51.160 --> 0:13:54.280
<v Speaker 1>dad in a way that kind of evokes Nick Cage's

0:13:54.320 --> 0:13:57.160
<v Speaker 1>relationship to the Coppola's for me, like he just kind

0:13:57.160 --> 0:13:59.000
<v Speaker 1>of got rid of the name and hopes that no

0:13:59.000 --> 0:14:01.360
<v Speaker 1>one would notice. I get it. You don't want to

0:14:01.360 --> 0:14:04.440
<v Speaker 1>seem like nepotism, but like you are, and we know

0:14:04.559 --> 0:14:07.600
<v Speaker 1>that anyways. Like Nick Cage, this ends up being kind

0:14:07.600 --> 0:14:10.600
<v Speaker 1>of a wash because Syrian is a legitimately talented writer

0:14:10.800 --> 0:14:16.360
<v Speaker 1>and becomes popular locally. Then in Daddy Vlad is suddenly murdered,

0:14:16.600 --> 0:14:20.600
<v Speaker 1>completely altering the direction of the family's life. He attends

0:14:20.640 --> 0:14:23.880
<v Speaker 1>a former colleagues speaking engagement in the hope of repairing

0:14:23.920 --> 0:14:27.640
<v Speaker 1>their lapsed friendship. A gunman shoots at the speaker. Daddy

0:14:27.680 --> 0:14:31.320
<v Speaker 1>Vlad tries to interfere, and he's hit and killed. Nabokov's

0:14:31.360 --> 0:14:35.280
<v Speaker 1>journals from this night are devastating. What has happened? Tell

0:14:35.320 --> 0:14:38.360
<v Speaker 1>me what's happened, she asks, Seizing him by the sleeves,

0:14:38.400 --> 0:14:42.040
<v Speaker 1>he spreads out his hands, something terrible. He sobs, cannot finish,

0:14:42.440 --> 0:14:46.000
<v Speaker 1>so it's all over, He says nothing. Hessen too says nothing.

0:14:46.320 --> 0:14:49.920
<v Speaker 1>Their teeth chatter, their eyes dart a lot, and mother understood.

0:14:50.080 --> 0:14:53.400
<v Speaker 1>I thought she would faint. So that's it, she repeated, quietly.

0:14:53.680 --> 0:14:56.360
<v Speaker 1>She seemed to reason it out with herself, how can

0:14:56.360 --> 0:15:01.720
<v Speaker 1>it be? And then, lad do you understand? In ninety three,

0:15:02.040 --> 0:15:05.040
<v Speaker 1>Nabokov meets his future wife Vera, a Russian Jew from

0:15:05.040 --> 0:15:07.800
<v Speaker 1>the upper class who I absolutely love, and there's a

0:15:07.880 --> 0:15:11.200
<v Speaker 1>very beautiful biography written about her by Stacy Schiff that

0:15:11.280 --> 0:15:15.240
<v Speaker 1>I highly recommend. They're married in nine in Berlin, and

0:15:15.360 --> 0:15:19.880
<v Speaker 1>Nabokov as Syrian, continues to write again, occasionally benefiting from

0:15:19.920 --> 0:15:24.320
<v Speaker 1>nepotism due to the tragically killed daddy Vlatt. Now firmly

0:15:24.360 --> 0:15:26.800
<v Speaker 1>a member of the middle class, he begins working to

0:15:26.840 --> 0:15:29.960
<v Speaker 1>support the family and speaking to his early work, I

0:15:30.000 --> 0:15:32.480
<v Speaker 1>think this is really interesting and encouraging for those of

0:15:32.560 --> 0:15:35.080
<v Speaker 1>us that are also writers in our twenties. A lot

0:15:35.080 --> 0:15:39.560
<v Speaker 1>of his early stories are just okay. As he continues

0:15:39.640 --> 0:15:43.440
<v Speaker 1>to thrive in the emigrade writing communities, he writes stories

0:15:43.600 --> 0:15:47.840
<v Speaker 1>like the Potato Elf. He was not a great writer immediately,

0:15:47.920 --> 0:15:50.680
<v Speaker 1>which I find to be cool and realistic and comforting

0:15:50.800 --> 0:15:54.360
<v Speaker 1>and never is really discussed about the great writer canon.

0:15:54.640 --> 0:15:58.480
<v Speaker 1>Vladimir and Vera were very active in the Russian emigrane community.

0:15:58.520 --> 0:16:02.120
<v Speaker 1>They tutored and did setitary work, respectively to make ends

0:16:02.160 --> 0:16:04.240
<v Speaker 1>meet while they were living there. They end up living

0:16:04.240 --> 0:16:07.960
<v Speaker 1>in Berlin for twenty years, and Vladimir publishes early novels,

0:16:08.000 --> 0:16:10.920
<v Speaker 1>including ones that I really like, like The Defense and

0:16:11.040 --> 0:16:14.360
<v Speaker 1>The Gift, but he never really likes Germany and only

0:16:14.560 --> 0:16:17.760
<v Speaker 1>has a basic grasp on the language. In nineteen thirty six,

0:16:17.880 --> 0:16:20.520
<v Speaker 1>when their son Dmitri is only two years old, Vera

0:16:20.640 --> 0:16:24.360
<v Speaker 1>loses her job because of the increasing anti Semitism in Berlin.

0:16:24.640 --> 0:16:27.280
<v Speaker 1>And that same year, and I still cannot wrap my

0:16:27.320 --> 0:16:30.080
<v Speaker 1>head around this, but that same year, the man who

0:16:30.120 --> 0:16:34.520
<v Speaker 1>had murdered Daddy, vlad In, is promoted to be second

0:16:34.560 --> 0:16:37.640
<v Speaker 1>in command of the Russian emigrade group in Berlin, and

0:16:37.680 --> 0:16:41.160
<v Speaker 1>so the Nabokov's get the funk out of there. They

0:16:41.200 --> 0:16:43.880
<v Speaker 1>then spent some time in Paris, where Nabokov has a

0:16:43.920 --> 0:16:47.080
<v Speaker 1>brief affair. Vera finds out it ends, although there's enough

0:16:47.160 --> 0:16:49.440
<v Speaker 1>drama in there alone for a decent indie movie. He

0:16:49.480 --> 0:16:52.960
<v Speaker 1>writes his first English language novel, and mere weeks before

0:16:53.000 --> 0:16:56.880
<v Speaker 1>the Germans bomb Paris, Vladimir, Vira and Dmitri managed to

0:16:56.920 --> 0:17:00.320
<v Speaker 1>get to the US. To get there, they have half

0:17:00.320 --> 0:17:03.280
<v Speaker 1>of their ticket paid for by a Jewish rescue organization

0:17:03.560 --> 0:17:05.920
<v Speaker 1>that was arranged due to all of the great work

0:17:05.960 --> 0:17:08.199
<v Speaker 1>that Daddy Flatt had done back in the day, and

0:17:08.240 --> 0:17:10.960
<v Speaker 1>they crowdfund the rest from their rich friends. And in

0:17:11.040 --> 0:17:13.640
<v Speaker 1>nineteen forty they get to New York and I mean,

0:17:13.680 --> 0:17:17.560
<v Speaker 1>it's all a pretty amazing story. They get to the US,

0:17:17.720 --> 0:17:20.880
<v Speaker 1>and Nibulkov loves it. They're vowing to become, for all

0:17:20.920 --> 0:17:24.680
<v Speaker 1>intents and purposes, a fully American writer, although he remains

0:17:24.720 --> 0:17:28.160
<v Speaker 1>extremely nostalgic for Russia, both in memory and in language.

0:17:28.200 --> 0:17:30.720
<v Speaker 1>For the rest of his career, he volunteers at the

0:17:30.720 --> 0:17:35.320
<v Speaker 1>American Museum of Natural History and expands his studies on lepidoptery.

0:17:35.359 --> 0:17:37.440
<v Speaker 1>And this is a good point to mention that Nabokov

0:17:37.600 --> 0:17:42.120
<v Speaker 1>was also a full on butterfly scientist. That's what lepidoptery is,

0:17:42.240 --> 0:17:45.080
<v Speaker 1>stemming from a boyhood interest and ultimately taking up quite

0:17:45.119 --> 0:17:47.400
<v Speaker 1>a bit of his time in the nineteen forties while

0:17:47.440 --> 0:17:51.520
<v Speaker 1>teaching classes in Russian and literature at Wellesley College in Massachusetts.

0:17:51.560 --> 0:17:54.560
<v Speaker 1>He also worked as the curator of lepidoptery at Harvard

0:17:54.680 --> 0:17:58.080
<v Speaker 1>University and ultimately contributed work to that field that remains

0:17:58.119 --> 0:18:02.199
<v Speaker 1>relevant today. Wild Stuff. In nine he first has the

0:18:02.240 --> 0:18:05.199
<v Speaker 1>idea for Lolita although at this time he calls the

0:18:05.240 --> 0:18:08.720
<v Speaker 1>book The Kingdom by the Sea, referencing Poe, and Lolita

0:18:08.960 --> 0:18:13.040
<v Speaker 1>is called Juanita Dark. Sure, he gains a reputation as

0:18:13.080 --> 0:18:16.560
<v Speaker 1>an American writer, publishing story after story with The New Yorker.

0:18:16.720 --> 0:18:19.200
<v Speaker 1>He starts teaching at Cornell in Upstate New York in

0:18:19.280 --> 0:18:24.000
<v Speaker 1>ninety eight, and Lolita comes out in nineteen and this

0:18:24.480 --> 0:18:29.520
<v Speaker 1>changes his life forever. So once Lolita comes out and

0:18:29.600 --> 0:18:32.440
<v Speaker 1>all of this publication stuff is settled, the bulk off

0:18:32.440 --> 0:18:36.160
<v Speaker 1>was left with the impressions of the public. And oh

0:18:36.440 --> 0:18:44.160
<v Speaker 1>did the public respond. Lolita blazes, however, with a perversity

0:18:44.320 --> 0:18:50.000
<v Speaker 1>of a most original kind. A fine book, a distinguished book,

0:18:50.640 --> 0:18:54.760
<v Speaker 1>all right, then a great book without a doubt. It

0:18:55.040 --> 0:19:01.320
<v Speaker 1>is the fifthiest book I've ever read share unrestrained pornography.

0:19:01.400 --> 0:19:05.720
<v Speaker 1>The first is that it is dull, dull, dull in

0:19:05.760 --> 0:19:12.280
<v Speaker 1>a pretentious, florid and archly fatuous fashion. The second is

0:19:12.320 --> 0:19:17.800
<v Speaker 1>that it is repulsive. What makes the book flame, I think,

0:19:18.359 --> 0:19:20.800
<v Speaker 1>is first of all, a love affair with the real

0:19:20.920 --> 0:19:26.840
<v Speaker 1>America three d pages of sex in the head. The

0:19:26.880 --> 0:19:29.120
<v Speaker 1>first time I read Lolita, I thought it was one

0:19:29.119 --> 0:19:32.560
<v Speaker 1>of the funniest books I'd ever come on. The second

0:19:32.560 --> 0:19:35.120
<v Speaker 1>time I read it uncut, I thought it was one

0:19:35.160 --> 0:19:39.560
<v Speaker 1>of the saddest humbert is all of us. Lolita is

0:19:39.720 --> 0:19:53.119
<v Speaker 1>undeniably news, unfortunately bad news, highbrow pornography. Thank you so

0:19:53.200 --> 0:19:56.760
<v Speaker 1>much to my friends for some truly career defining performances.

0:19:56.800 --> 0:20:01.000
<v Speaker 1>They're good stuff. So Lolita is public in Paris and

0:20:01.080 --> 0:20:04.359
<v Speaker 1>early win is when well regarded English critic Graham Green

0:20:04.440 --> 0:20:07.159
<v Speaker 1>declares Lolita as one of his favorite books of nineteen

0:20:07.160 --> 0:20:09.840
<v Speaker 1>fifty five, which gets people curious. And then it's a

0:20:09.920 --> 0:20:12.280
<v Speaker 1>year's long battle for Lolita to see the light of

0:20:12.359 --> 0:20:15.800
<v Speaker 1>day in the United States and in England. There's hushed

0:20:15.840 --> 0:20:20.160
<v Speaker 1>talks of potential court cases, constantly changing obscenity laws, faulty

0:20:20.160 --> 0:20:25.159
<v Speaker 1>translations into foreign languages, people literally smuggling Olympia Press copies

0:20:25.200 --> 0:20:29.800
<v Speaker 1>in their suitcases overseas, then having Lolita seized in customs.

0:20:29.840 --> 0:20:33.000
<v Speaker 1>It was a big dramatic thing. Eventually, once the hype

0:20:33.040 --> 0:20:35.600
<v Speaker 1>grew big enough in the US, the same publishers that

0:20:35.600 --> 0:20:38.240
<v Speaker 1>were once turning the bulk off away were now banging

0:20:38.280 --> 0:20:40.480
<v Speaker 1>down his door trying to get the publishing rights to

0:20:40.560 --> 0:20:43.880
<v Speaker 1>the book. So all in all, Lolita was banned as

0:20:43.920 --> 0:20:47.800
<v Speaker 1>obscene in France from nineteen fifty six to nineteen fifty nine,

0:20:48.119 --> 0:20:50.520
<v Speaker 1>even though that was the country where it was first published.

0:20:50.880 --> 0:20:53.600
<v Speaker 1>Like with that math, it was banned in England from

0:20:53.680 --> 0:20:57.800
<v Speaker 1>nineteen fifty five to fifty nine, Argentina in nineteen fifty nine,

0:20:57.960 --> 0:21:00.880
<v Speaker 1>and in New Zealand in nineteen sixty. And it wasn't

0:21:00.880 --> 0:21:05.280
<v Speaker 1>even unbanned in South Africa until two for God's sake,

0:21:05.600 --> 0:21:08.879
<v Speaker 1>But in nineteen fifty nine what Nabukov has been waiting

0:21:08.920 --> 0:21:12.399
<v Speaker 1>for happens. Not only is his book finally published in

0:21:12.440 --> 0:21:16.160
<v Speaker 1>the US four years later by Walter Minton at Putnam's,

0:21:16.280 --> 0:21:19.359
<v Speaker 1>it's a massive hit, staying on the bestseller lists for

0:21:19.480 --> 0:21:23.119
<v Speaker 1>months and selling a hundred thousand copies in its first

0:21:23.160 --> 0:21:28.000
<v Speaker 1>three weeks. Quick fund sidebar an American show girl named

0:21:28.080 --> 0:21:31.399
<v Speaker 1>Rosemary Ridgwell was the one to get Lolita published. She

0:21:31.600 --> 0:21:34.560
<v Speaker 1>was an avid reader and aspiring opera singer who was

0:21:34.640 --> 0:21:38.719
<v Speaker 1>actually having an affair with the Putnam publisher, Walter Minton,

0:21:39.200 --> 0:21:42.919
<v Speaker 1>and she ends up getting credit for this after some negotiating.

0:21:43.160 --> 0:21:46.960
<v Speaker 1>She makes twenty two thousand dollars in nineteen sixties money

0:21:47.000 --> 0:21:50.560
<v Speaker 1>for her trouble. That's a hundred ninety thousand dollars today,

0:21:50.720 --> 0:21:55.040
<v Speaker 1>Go Rosemary. But in the US, Lda never gets a

0:21:55.119 --> 0:21:58.640
<v Speaker 1>formal blanket ban. And in nineteen fifty nine, not only

0:21:58.720 --> 0:22:01.640
<v Speaker 1>is his book finally public in the US four years later,

0:22:02.000 --> 0:22:04.200
<v Speaker 1>it's a massive hit and it stays on the best

0:22:04.240 --> 0:22:08.040
<v Speaker 1>seller list for months. Once Lolita is published in the States.

0:22:08.080 --> 0:22:11.960
<v Speaker 1>For your scorecard, about one out of every three reviews

0:22:12.080 --> 0:22:14.159
<v Speaker 1>is bad. The other two were good. And while it

0:22:14.280 --> 0:22:18.000
<v Speaker 1>is true that certain American public libraries banned Lolita from

0:22:18.000 --> 0:22:20.960
<v Speaker 1>their shelves, nothing lasted, and the public learning of these

0:22:21.000 --> 0:22:24.359
<v Speaker 1>bands usually just served to increase the book sales again,

0:22:24.440 --> 0:22:27.600
<v Speaker 1>And that's the story of most banned books. And what

0:22:27.680 --> 0:22:30.760
<v Speaker 1>I think is most noteworthy here is that America ended

0:22:30.840 --> 0:22:34.560
<v Speaker 1>up becoming perhaps more receptive to Lolita than almost any

0:22:34.560 --> 0:22:38.080
<v Speaker 1>other country, which Nabokov was thrilled about. But what he

0:22:38.119 --> 0:22:41.040
<v Speaker 1>couldn't have known is that America was going to take

0:22:41.119 --> 0:22:44.880
<v Speaker 1>this story wildly out of context for decades to come.

0:22:44.960 --> 0:22:48.040
<v Speaker 1>I'm talking a parents sending their daughter and a Lolita

0:22:48.119 --> 0:22:51.320
<v Speaker 1>constom to Nabulkov's door. Weird, And to get a little

0:22:51.320 --> 0:22:53.960
<v Speaker 1>more into Nabokov's head at this point in his career,

0:22:54.040 --> 0:22:56.879
<v Speaker 1>I was lucky enough to speak to Dana Dragonoyu, an

0:22:56.920 --> 0:23:00.560
<v Speaker 1>associate professor of English at Carlton University and Ottawa and

0:23:00.680 --> 0:23:04.879
<v Speaker 1>a noted Nabokovian. And that's what scholars who specialize in

0:23:04.880 --> 0:23:06.760
<v Speaker 1>the bulk of are called. They're like twi Hearts or

0:23:06.800 --> 0:23:10.040
<v Speaker 1>the BTS Army, but they're adults and probably ones who

0:23:10.080 --> 0:23:13.240
<v Speaker 1>would resent that comparison. They are the bulk of super

0:23:13.280 --> 0:23:17.720
<v Speaker 1>fans with credentials. She's written Vladimir Nabukof and the Poetics

0:23:17.760 --> 0:23:22.520
<v Speaker 1>of Liberalism, Lolita, Law, ethics and politics and more, and

0:23:22.560 --> 0:23:25.159
<v Speaker 1>she's genuinely the coolest. So here's a little bit of

0:23:25.160 --> 0:23:29.200
<v Speaker 1>our discussion. So he's writing Lolita, just in the little

0:23:29.240 --> 0:23:33.760
<v Speaker 1>interlude between other big projects, and then as she's writing it,

0:23:33.840 --> 0:23:36.159
<v Speaker 1>he knows that he's got a ticking time bomb on

0:23:36.240 --> 0:23:38.919
<v Speaker 1>his hands. He knows that, um, he's putting all of

0:23:38.960 --> 0:23:42.520
<v Speaker 1>this time into this novel that might actually never be published.

0:23:42.960 --> 0:23:46.280
<v Speaker 1>Edmund Wilson actually hates it. He thinks it's not a

0:23:46.320 --> 0:23:53.880
<v Speaker 1>great book. Um, Catherine White doesn't want to doesn't want

0:23:53.880 --> 0:23:56.679
<v Speaker 1>to cut it. Yeah, so um, he sends it to

0:23:56.760 --> 0:23:59.920
<v Speaker 1>a few publishers and they all say that they can't

0:24:00.080 --> 0:24:03.480
<v Speaker 1>under risk of landing in jail themselves or having their

0:24:03.920 --> 0:24:08.840
<v Speaker 1>UM their publication houses prosecuted. And so then it comes

0:24:08.880 --> 0:24:13.359
<v Speaker 1>to the attention of other literati, and they pick up

0:24:13.400 --> 0:24:16.600
<v Speaker 1>the book, and some love it something that it's a

0:24:16.680 --> 0:24:21.160
<v Speaker 1>resplendent book, and others think that it's pornographic. So UM,

0:24:22.000 --> 0:24:25.200
<v Speaker 1>somebody by the name of Warden Brown, I think he

0:24:25.320 --> 0:24:29.080
<v Speaker 1>writes in a British sensationalist publication that this book is

0:24:29.119 --> 0:24:33.320
<v Speaker 1>offensive and it ought to be suppressed. And then somebody

0:24:33.359 --> 0:24:37.040
<v Speaker 1>picks up this story in the New York Times Review

0:24:37.080 --> 0:24:42.320
<v Speaker 1>of Books, and UM articulates its own opinion, and so

0:24:42.560 --> 0:24:46.600
<v Speaker 1>a scandal begins to slowly bubble up. With a book

0:24:46.640 --> 0:24:51.000
<v Speaker 1>off help, they publish a section of the book with

0:24:51.280 --> 0:24:54.880
<v Speaker 1>his afterward that the afterward which becomes on a book

0:24:55.000 --> 0:24:58.360
<v Speaker 1>entitled Alita, and that gets published in the Anchor Review

0:24:58.840 --> 0:25:02.320
<v Speaker 1>as a kind of testing round. So then so so

0:25:02.480 --> 0:25:07.240
<v Speaker 1>after that, when UM American publishers realize that there's rama

0:25:07.280 --> 0:25:10.680
<v Speaker 1>surrounding this novel, they're starting to think that this could

0:25:10.720 --> 0:25:14.480
<v Speaker 1>be a moneymaker. But I also have found that even

0:25:14.680 --> 0:25:17.439
<v Speaker 1>Nabokov seemed to be a little back and forth on

0:25:18.280 --> 0:25:20.479
<v Speaker 1>you know, he he definitely said this is not a

0:25:20.480 --> 0:25:25.040
<v Speaker 1>moral story. He has mentioned aesthetics in regards to this book,

0:25:25.080 --> 0:25:28.919
<v Speaker 1>but then he also does seem to get frustrated in

0:25:29.080 --> 0:25:32.119
<v Speaker 1>some of his at least you know, personal writings when

0:25:32.400 --> 0:25:36.640
<v Speaker 1>people seem to miss the point. So yeah, so so

0:25:37.000 --> 0:25:42.000
<v Speaker 1>what he says on the pedagogical nature of books can

0:25:42.160 --> 0:25:45.919
<v Speaker 1>sometimes see contradictory. But if you put them all together, So,

0:25:46.000 --> 0:25:49.720
<v Speaker 1>if you collate them all together and read them together,

0:25:50.640 --> 0:25:55.320
<v Speaker 1>the contradiction, uh disappears. Because what he's what he's ultimately

0:25:55.359 --> 0:26:01.480
<v Speaker 1>always saying, is that he doesn't approve of writings which

0:26:01.480 --> 0:26:06.600
<v Speaker 1>are exclusively pedagogical, which subordinate everything to the cautionary tale

0:26:06.920 --> 0:26:10.560
<v Speaker 1>or story, such as fables where the moral lesson is

0:26:10.600 --> 0:26:14.600
<v Speaker 1>so conspicuously obvious, and part of that so so so,

0:26:14.680 --> 0:26:18.639
<v Speaker 1>part of this hostility which he has towards pedagogical like

0:26:18.760 --> 0:26:23.200
<v Speaker 1>straight up pedagogical literature, is personal. He was chased out

0:26:23.200 --> 0:26:28.439
<v Speaker 1>of Soviet Russia right during Lennon's push Lenon's seizure of power,

0:26:29.040 --> 0:26:34.320
<v Speaker 1>and after Nabokov luckily was able to escape, Lennon very

0:26:34.359 --> 0:26:39.520
<v Speaker 1>quickly clamped down on um all art and made socialist

0:26:39.680 --> 0:26:42.800
<v Speaker 1>realists are to be the only acceptable way to write

0:26:42.840 --> 0:26:45.760
<v Speaker 1>in the Soviet Union. Thank you so much to Dana

0:26:45.840 --> 0:26:48.200
<v Speaker 1>Dragonoio for her time, and we'll be hearing more from

0:26:48.200 --> 0:26:52.160
<v Speaker 1>her later in the episode. So, after Lalita, the Bulk

0:26:52.200 --> 0:26:55.520
<v Speaker 1>of finally gets the literary success he's been chasing for

0:26:55.640 --> 0:26:59.240
<v Speaker 1>over three decades, he makes enough money to retire from teaching,

0:26:59.280 --> 0:27:02.040
<v Speaker 1>and rightful to time, he leaves the US and moves

0:27:02.040 --> 0:27:05.840
<v Speaker 1>into Montro Palace hotel in Switzerland. He writes the screenplay

0:27:05.880 --> 0:27:09.400
<v Speaker 1>to the nineteen sixty two Lolita movie directed by Stanley Kubrick.

0:27:09.840 --> 0:27:14.680
<v Speaker 1>Kind of, that's another episode, And most importantly, Nabuko finally

0:27:14.720 --> 0:27:16.919
<v Speaker 1>has time to turn out some more hits in the

0:27:16.960 --> 0:27:21.240
<v Speaker 1>novel space. He releases Pale Fire and Ada, the closest

0:27:21.240 --> 0:27:24.439
<v Speaker 1>cousin of Lolita and Nabukov's catalog because it deals with

0:27:24.480 --> 0:27:29.000
<v Speaker 1>another huge cultural taboo incest and that story, which is

0:27:29.040 --> 0:27:31.600
<v Speaker 1>a whole other podcast. A brother and sister, Atta and

0:27:31.680 --> 0:27:35.320
<v Speaker 1>Van carry on a lifelong ancestral affair without shame. It's

0:27:35.400 --> 0:27:39.720
<v Speaker 1>very intense, and in ninety seven Nabokov dies surrounded by

0:27:39.800 --> 0:27:42.800
<v Speaker 1>his family, and that's his life. We'll be right back

0:27:44.160 --> 0:27:55.639
<v Speaker 1>ye now. When it comes to his personal politics, Nabukov

0:27:55.720 --> 0:28:01.240
<v Speaker 1>definitely falls under the category of problematic face favorite term

0:28:01.280 --> 0:28:04.160
<v Speaker 1>I hate but feels appropriate. Here he states more than

0:28:04.200 --> 0:28:07.119
<v Speaker 1>once that he considers women writers to be inferior and

0:28:07.160 --> 0:28:09.640
<v Speaker 1>didn't want to work with female translators. Here's a quote

0:28:09.640 --> 0:28:13.480
<v Speaker 1>on that, referencing Jane Austin. I dislike Jane and m

0:28:13.480 --> 0:28:16.560
<v Speaker 1>prejudiced in fact against all women writers. They are in

0:28:16.680 --> 0:28:22.879
<v Speaker 1>another class, okay, king disappointing. Nabokov makes similar comments about

0:28:22.880 --> 0:28:27.680
<v Speaker 1>working with female translators as well, And it's always interesting

0:28:27.720 --> 0:28:31.520
<v Speaker 1>to note that Vera Nabokov, his wife, is his closest

0:28:31.520 --> 0:28:35.840
<v Speaker 1>collaborator throughout his entire career, typing up everything he ever wrote,

0:28:36.119 --> 0:28:39.080
<v Speaker 1>giving him notes, managing his image, and so on and

0:28:39.120 --> 0:28:41.920
<v Speaker 1>so on, and he knew how integral her work and

0:28:41.960 --> 0:28:45.560
<v Speaker 1>support was to his success. When asked by the publication

0:28:45.640 --> 0:28:48.680
<v Speaker 1>The Listener in nineteen sixty nine, could you say how

0:28:48.720 --> 0:28:51.560
<v Speaker 1>important your wife has been as a collaborator in your work,

0:28:51.840 --> 0:28:56.800
<v Speaker 1>Nabokov cleverly replies I could not, and Vera was firm,

0:28:56.920 --> 0:28:59.920
<v Speaker 1>as we learn in Stacy Shifts Puliser, winning by our

0:29:00.000 --> 0:29:03.080
<v Speaker 1>graphy of her in remaining on the sidelines of her

0:29:03.120 --> 0:29:07.880
<v Speaker 1>husband's career. So it's complicated, but Nabukov definitely comes up

0:29:07.920 --> 0:29:10.720
<v Speaker 1>short in giving women their due, and I wouldn't really

0:29:10.760 --> 0:29:14.120
<v Speaker 1>call him a feminist writer, but then on other issues

0:29:14.280 --> 0:29:17.440
<v Speaker 1>he's extremely progressive. Some of the other things that stood

0:29:17.440 --> 0:29:20.560
<v Speaker 1>out to me just as interesting when researching his life

0:29:20.640 --> 0:29:23.960
<v Speaker 1>were things like this, his devoted study of butterflies, his

0:29:24.000 --> 0:29:27.280
<v Speaker 1>deep love and partnership with his wife vera uh story

0:29:27.320 --> 0:29:29.800
<v Speaker 1>about when he was a kid when he had a

0:29:29.840 --> 0:29:32.600
<v Speaker 1>French tutor, and he wrote a mean poem about his

0:29:32.800 --> 0:29:35.520
<v Speaker 1>how his French male tutor had a big gass, and

0:29:35.520 --> 0:29:37.320
<v Speaker 1>then the tutor was mad at first, but then he

0:29:37.360 --> 0:29:39.280
<v Speaker 1>thought it was kind of funny, and then they were friends.

0:29:39.400 --> 0:29:41.440
<v Speaker 1>He was also a great dad. There's a lot of

0:29:41.440 --> 0:29:44.680
<v Speaker 1>great stories about him and his son Dmitri. I really

0:29:44.720 --> 0:29:47.360
<v Speaker 1>like how loyal he is to his Russian roots. Um

0:29:47.440 --> 0:29:49.800
<v Speaker 1>In addition to all of his fiction, he did this

0:29:49.960 --> 0:29:55.200
<v Speaker 1>seminal translation of Russia's great poet Alexander Pushkin's magnum Opus,

0:29:55.240 --> 0:29:58.080
<v Speaker 1>which is called Eugene on Agen. He translated it into

0:29:58.120 --> 0:30:01.960
<v Speaker 1>English and considered that work and Lolita to be his

0:30:02.040 --> 0:30:06.240
<v Speaker 1>biggest contributions to society. Nabokov wasn't active in politics in

0:30:06.280 --> 0:30:08.720
<v Speaker 1>a day to day sense most speculate because of how

0:30:08.760 --> 0:30:12.240
<v Speaker 1>political careers had torn his family apart and killed his father,

0:30:12.400 --> 0:30:15.480
<v Speaker 1>But he spoke out against anti Semitism at every phase

0:30:15.520 --> 0:30:18.720
<v Speaker 1>of his life and was pretty strongly anti racist as well.

0:30:18.840 --> 0:30:22.320
<v Speaker 1>He lectured at Spellman College and American Liberal Arts College

0:30:22.320 --> 0:30:24.600
<v Speaker 1>for Black women, and he formed a friendship with the

0:30:24.600 --> 0:30:28.160
<v Speaker 1>college's president, Florence Read that lasted for years. This is

0:30:28.200 --> 0:30:31.640
<v Speaker 1>further expanded on in Nabokov's short essay on a book

0:30:31.800 --> 0:30:35.120
<v Speaker 1>entitled Lolita, included at the end of most editions of

0:30:35.160 --> 0:30:38.000
<v Speaker 1>the book. Referencing how the subject matter of Lolita put

0:30:38.000 --> 0:30:42.240
<v Speaker 1>off publishers at first, he says this the refusal to

0:30:42.280 --> 0:30:44.280
<v Speaker 1>buy the book was based not on my treatment of

0:30:44.320 --> 0:30:46.720
<v Speaker 1>the theme, but on the theme itself. For there are

0:30:46.800 --> 0:30:49.800
<v Speaker 1>at least three themes which are utterly taboo as far

0:30:49.840 --> 0:30:53.280
<v Speaker 1>as most American publishers are concerned. The two others are

0:30:53.640 --> 0:30:56.880
<v Speaker 1>a Negro white marriage which is a complete and glorious success,

0:30:56.920 --> 0:31:00.400
<v Speaker 1>resulting in lots of children and grandchildren. And the total

0:31:00.440 --> 0:31:03.280
<v Speaker 1>atheist who lives a happy and useful life and dies

0:31:03.320 --> 0:31:05.280
<v Speaker 1>in his sleep at the age of a hundred and six.

0:31:07.160 --> 0:31:10.320
<v Speaker 1>And finally, what I love about Nabokov is that he

0:31:10.640 --> 0:31:15.800
<v Speaker 1>was so judge, at least in the literary criticism sense,

0:31:16.040 --> 0:31:18.719
<v Speaker 1>the way that you and me gossip about like people

0:31:18.760 --> 0:31:22.800
<v Speaker 1>in our lives. Nibukov would just completely go off about authors,

0:31:22.880 --> 0:31:26.160
<v Speaker 1>like really aggressively, and it's kind of funny, like he

0:31:26.160 --> 0:31:30.640
<v Speaker 1>he likes James Joyce sometimes, and he likes Alexander Pushkin

0:31:30.840 --> 0:31:33.920
<v Speaker 1>who was obviously dead, and Shakespeare who was super dead,

0:31:34.160 --> 0:31:37.640
<v Speaker 1>and Charles Dickens super super dead. But everyone else, ever,

0:31:38.040 --> 0:31:41.080
<v Speaker 1>he would just say they were trash, like he couldn't relax.

0:31:41.120 --> 0:31:43.640
<v Speaker 1>I lost count of examples of him just being judge

0:31:43.880 --> 0:31:49.160
<v Speaker 1>about other authors. F Scott Fitzgerald, Nabokov says trash. Boris

0:31:49.200 --> 0:31:52.360
<v Speaker 1>Pastor Nak, who was a Russian writer who wrote Doctor Javago,

0:31:52.800 --> 0:31:57.160
<v Speaker 1>was literally afraid of Nabokov. When they were translating Javago

0:31:57.240 --> 0:32:00.840
<v Speaker 1>into English, someone suggested that Nabokov should be the translator,

0:32:00.880 --> 0:32:03.760
<v Speaker 1>and Pastor n was like, no, I don't think he

0:32:03.800 --> 0:32:06.560
<v Speaker 1>would want to, And then Nabako was asked and was like, no,

0:32:06.800 --> 0:32:09.920
<v Speaker 1>I absolutely don't want to. That book is trash. Henry

0:32:10.000 --> 0:32:14.640
<v Speaker 1>James garbage, Miguel Cervantes gag. But he did teach Don

0:32:14.720 --> 0:32:18.720
<v Speaker 1>Quixote in his class. Jane Austen also taught her hated

0:32:18.720 --> 0:32:22.720
<v Speaker 1>her work, thought she was born Virginia Woolf. No thank you.

0:32:22.960 --> 0:32:26.360
<v Speaker 1>These two examples are arguably also him being sexist freud

0:32:26.640 --> 0:32:32.320
<v Speaker 1>Kinsey grow up and her famously he hated Dostoyevsky, possibly

0:32:32.520 --> 0:32:35.680
<v Speaker 1>one of the most famous Russian authors of all time.

0:32:36.240 --> 0:32:39.360
<v Speaker 1>Put him in the trash can, says Nabokov. So he

0:32:39.400 --> 0:32:42.360
<v Speaker 1>would hate my writing. He would hate your writing. It's

0:32:42.360 --> 0:32:44.840
<v Speaker 1>all very dramatic, and I love how judge he was.

0:32:44.880 --> 0:32:48.840
<v Speaker 1>It's very funny. So that's Nabokov, definitely a strange and

0:32:48.840 --> 0:32:53.600
<v Speaker 1>complicated literary figure. But you'll notice, unlike the post Carrol's

0:32:53.680 --> 0:32:57.560
<v Speaker 1>and Dante's that Humbert Humbert harps on in Lolita, Nabokov

0:32:58.160 --> 0:33:02.280
<v Speaker 1>was not a Humbert Humbert type. So how does he

0:33:02.320 --> 0:33:06.040
<v Speaker 1>write as Humbert and why. It's also important to note

0:33:06.040 --> 0:33:09.520
<v Speaker 1>that Lolita was not Nabokov's first attempt to address the

0:33:09.520 --> 0:33:12.959
<v Speaker 1>theme of pedophilia by a long shot. He outlines Humberd's

0:33:12.960 --> 0:33:15.800
<v Speaker 1>approach to marrying a woman to get sexual access to

0:33:15.880 --> 0:33:18.920
<v Speaker 1>her child in the Russian language novel The Gift in

0:33:18.960 --> 0:33:21.480
<v Speaker 1>the mid nineteen thirties, then tries his hand at writing

0:33:21.480 --> 0:33:25.120
<v Speaker 1>the account of a pedophile again in the nine Russian

0:33:25.200 --> 0:33:28.400
<v Speaker 1>language novella The Enchanter, written in Paris the year before

0:33:28.480 --> 0:33:31.760
<v Speaker 1>Nabukhov moves to the US. For a long time, Nbako

0:33:31.840 --> 0:33:35.560
<v Speaker 1>thought that The Enchanter had been destroyed entirely, but in

0:33:35.600 --> 0:33:38.480
<v Speaker 1>the sixties a copy resurfaced in his papers, and that

0:33:38.600 --> 0:33:42.720
<v Speaker 1>was later translated from Russian to English by his son Dmitri, who,

0:33:42.720 --> 0:33:45.560
<v Speaker 1>by the way, is a bachelor king piece of work

0:33:45.600 --> 0:33:47.840
<v Speaker 1>all his own. He was like an opera singer, a

0:33:47.920 --> 0:33:50.920
<v Speaker 1>legacy keeper. He once got into huge trouble with his

0:33:51.040 --> 0:33:54.400
<v Speaker 1>dad for judging a lolita contest in Italy while he

0:33:54.440 --> 0:33:57.280
<v Speaker 1>was in his twenties, which was exactly as problematic as

0:33:57.360 --> 0:34:01.000
<v Speaker 1>it sounded. The Enchanter oscillates between first and third person

0:34:01.080 --> 0:34:04.640
<v Speaker 1>narration and follows a nameless protagonist to Nabakov calls Arthur

0:34:04.840 --> 0:34:08.040
<v Speaker 1>later in life, who, like Humbert, is attracted to young girls.

0:34:08.280 --> 0:34:10.960
<v Speaker 1>He runs into a nameless girl in the park marries

0:34:11.000 --> 0:34:13.279
<v Speaker 1>her mother to gain access to her. The mother dies

0:34:13.360 --> 0:34:16.000
<v Speaker 1>soon after. In this story, she is sick and close

0:34:16.040 --> 0:34:18.360
<v Speaker 1>to death when he marries her instead of running in

0:34:18.400 --> 0:34:21.320
<v Speaker 1>front of a car like Charlotte. The protagonist then abducts

0:34:21.360 --> 0:34:23.960
<v Speaker 1>the daughter under the guise of being her guardian, intending

0:34:24.000 --> 0:34:26.200
<v Speaker 1>to take her on a long road trip. Their first

0:34:26.280 --> 0:34:29.000
<v Speaker 1>night away, while she's sleeping, he attempts to rape her,

0:34:29.200 --> 0:34:32.560
<v Speaker 1>but she wakes up, screams, and the protagonist panics and

0:34:32.719 --> 0:34:36.120
<v Speaker 1>full of shame, runs into traffic and is killed. It's

0:34:36.160 --> 0:34:38.920
<v Speaker 1>not his best and the similarities are mainly in the

0:34:38.960 --> 0:34:41.759
<v Speaker 1>outline of the story, but this does prove that Lolita

0:34:42.080 --> 0:34:45.239
<v Speaker 1>wasn't a passing lark. Thematically, Nabokov had an interest in

0:34:45.280 --> 0:34:49.040
<v Speaker 1>telling a story with a pedophile protagonist deceiving everyone around them,

0:34:49.120 --> 0:34:51.880
<v Speaker 1>the devil in plain sight. And that's a pretty heavy

0:34:51.920 --> 0:34:54.879
<v Speaker 1>theme for a writer that never swore, but there it is.

0:34:55.160 --> 0:34:57.920
<v Speaker 1>And it's even more interesting that Nabokov claims to have

0:34:57.960 --> 0:35:00.680
<v Speaker 1>destroyed this story. But fifteen whole year years later, we

0:35:00.760 --> 0:35:03.320
<v Speaker 1>find a lot of the ideas in the Enchanter still

0:35:03.400 --> 0:35:06.640
<v Speaker 1>intact in Lolita. I'm going to kick it over to

0:35:06.680 --> 0:35:10.960
<v Speaker 1>another expert here, maybe the expert. Brian Boyd wrote the

0:35:11.000 --> 0:35:15.239
<v Speaker 1>seminal biography of Nabokov, working directly with Vladimir Nabokov's wife

0:35:15.320 --> 0:35:19.000
<v Speaker 1>Vera and his son Dmitry Nabokov for over ten years

0:35:19.040 --> 0:35:23.080
<v Speaker 1>to get it done. He is the Nebukovian. He first

0:35:23.080 --> 0:35:25.799
<v Speaker 1>found Lolita at a bookstand his parents owned in New

0:35:25.880 --> 0:35:28.120
<v Speaker 1>Zealand as a young teen and sort of snuck it

0:35:28.160 --> 0:35:31.040
<v Speaker 1>out as a literary contraband it was then then later

0:35:31.080 --> 0:35:34.239
<v Speaker 1>on he discovered Nabokov's novel Pale Fire and really fell

0:35:34.280 --> 0:35:36.719
<v Speaker 1>in love with all of Nabokov's work. And I've got

0:35:36.719 --> 0:35:38.960
<v Speaker 1>to say I was afraid the Nabokovians were going to

0:35:39.000 --> 0:35:41.800
<v Speaker 1>be really intimidating, but they have been nothing but kind

0:35:41.920 --> 0:35:44.200
<v Speaker 1>and shared a ton of resources with me that were

0:35:44.239 --> 0:35:47.800
<v Speaker 1>extremely helpful in realizing this series. And they're really excited

0:35:47.840 --> 0:35:51.440
<v Speaker 1>about new perspectives and active criticism of Nabokov's work. So

0:35:51.480 --> 0:35:54.399
<v Speaker 1>here's some of Brian Boyd and my discussion about The

0:35:54.480 --> 0:35:59.640
<v Speaker 1>Enchanter and Lolita. I mean, he did he. I guess

0:35:59.640 --> 0:36:02.600
<v Speaker 1>he so passionate about freedom that he liked to break restrictions.

0:36:03.000 --> 0:36:06.360
<v Speaker 1>That was part of it, I think um and especially

0:36:06.440 --> 0:36:10.360
<v Speaker 1>that artistic freedom. And well, I did a review of

0:36:10.400 --> 0:36:13.280
<v Speaker 1>The Enchanted, which was probably the harshest that's appeared anywhere.

0:36:13.280 --> 0:36:16.960
<v Speaker 1>It was appeared with the title that I suggested pre

0:36:17.080 --> 0:36:22.600
<v Speaker 1>hash fair enough. Yeah, yeah, yeah, I mean I think

0:36:22.600 --> 0:36:27.879
<v Speaker 1>it's a terrible little story. Really, Dmitri Nabokov's translation does

0:36:27.880 --> 0:36:30.799
<v Speaker 1>it much of a service. Would have been much better

0:36:30.840 --> 0:36:33.120
<v Speaker 1>if if it had been translated while in the Boca

0:36:33.320 --> 0:36:36.200
<v Speaker 1>was alive and could revise to me to his translation.

0:36:36.320 --> 0:36:41.320
<v Speaker 1>But it isn't that very clogged late Norbakov Russian pro style.

0:36:42.040 --> 0:36:46.720
<v Speaker 1>So there was that, and the fact that really nobody

0:36:46.800 --> 0:36:49.760
<v Speaker 1>was realized in the character in the characterization, the setting

0:36:49.840 --> 0:36:54.960
<v Speaker 1>wasn't realized very well. Um, it's also different from Lolita,

0:36:55.040 --> 0:36:57.920
<v Speaker 1>which is so funny. You alone, My students found out

0:36:58.000 --> 0:37:01.520
<v Speaker 1>had to a lot of them have found that increasingly

0:37:01.560 --> 0:37:07.439
<v Speaker 1>hard to see. Um, beautifully detailed about America, and it's

0:37:07.520 --> 0:37:09.880
<v Speaker 1>just got so many strands going in it, with the

0:37:09.960 --> 0:37:14.120
<v Speaker 1>relationship between Humbled and Charlotte and Humbled and cruelty, and

0:37:14.840 --> 0:37:17.320
<v Speaker 1>the l term cruelty and so on. The blography like

0:37:17.800 --> 0:37:21.840
<v Speaker 1>posing challenges for his readers, and and here one of

0:37:21.840 --> 0:37:26.960
<v Speaker 1>the great challenges is to read it independently of Humbled

0:37:27.320 --> 0:37:31.640
<v Speaker 1>to see, and so many people fail that test. I

0:37:31.680 --> 0:37:35.120
<v Speaker 1>don't know if he kind of figured out what what

0:37:35.160 --> 0:37:37.880
<v Speaker 1>a high percentage of readers would fail it. But you

0:37:37.960 --> 0:37:41.640
<v Speaker 1>take those early readers like Lionel Trilling and Robertson Davies

0:37:41.880 --> 0:37:45.360
<v Speaker 1>and the things they say about you know, Trilling is

0:37:45.400 --> 0:37:48.279
<v Speaker 1>saying it's it's a book about love, and Davey is

0:37:48.320 --> 0:37:53.239
<v Speaker 1>saying he thinks it's a seduction of a man by

0:37:53.480 --> 0:37:57.760
<v Speaker 1>a corrupt girl. And you know, it's just snaggering that

0:37:57.880 --> 0:38:02.800
<v Speaker 1>these highly literate, highly educate did highly imagine the readers

0:38:02.880 --> 0:38:06.520
<v Speaker 1>could read it so badly on it does I think

0:38:06.760 --> 0:38:11.640
<v Speaker 1>did show a lot of the kind of predatory assumptance

0:38:11.640 --> 0:38:15.120
<v Speaker 1>in the male psyche time. Absolutely, I and I and

0:38:15.160 --> 0:38:19.279
<v Speaker 1>I found it really interesting. And again just with like

0:38:19.360 --> 0:38:23.240
<v Speaker 1>there's right off the bat kind of this bizarre misinterpretation

0:38:23.320 --> 0:38:26.200
<v Speaker 1>that is not the author's fault. Well, I used to

0:38:26.200 --> 0:38:29.200
<v Speaker 1>tell my students paying a picture of Nbakov and then

0:38:29.239 --> 0:38:38.000
<v Speaker 1>contrast with Humbert So say that, yeah, there's this famous

0:38:38.080 --> 0:38:41.839
<v Speaker 1>rugby player who's was six ft five and I said

0:38:41.840 --> 0:38:46.200
<v Speaker 1>that Dmitri Nebakov was was six five years as tall

0:38:46.200 --> 0:38:51.120
<v Speaker 1>as as journal learner. Um, Dmitri is not the leader

0:38:51.200 --> 0:38:56.439
<v Speaker 1>and the back was not humbuged, and just just emphasizing that,

0:38:56.640 --> 0:39:02.040
<v Speaker 1>and and then inviting them to stressing how much the

0:39:02.120 --> 0:39:05.760
<v Speaker 1>bak of his on Lolita's side, and trying to read

0:39:05.880 --> 0:39:12.680
<v Speaker 1>the novel from the angle. Yeah, the challenge of not

0:39:12.800 --> 0:39:17.360
<v Speaker 1>being seduced by Humbert's rhetoric. Thank you so much to Brian,

0:39:17.440 --> 0:39:19.640
<v Speaker 1>and we're gonna be talking to him a lot throughout

0:39:19.640 --> 0:39:23.000
<v Speaker 1>the series. So Lolita is, of course far more nuanced

0:39:23.040 --> 0:39:25.480
<v Speaker 1>than the Enchanter, and that's great news. We talked a

0:39:25.480 --> 0:39:28.120
<v Speaker 1>little bit analytically about the book in the last episode,

0:39:28.160 --> 0:39:29.719
<v Speaker 1>but I have a few more things that I'd like

0:39:29.760 --> 0:39:31.799
<v Speaker 1>to hit on here. Now. If you're in a Book

0:39:31.800 --> 0:39:34.080
<v Speaker 1>of fan that loves his use of language, we could

0:39:34.080 --> 0:39:35.880
<v Speaker 1>be here all day. So I'm going to try to

0:39:35.920 --> 0:39:38.439
<v Speaker 1>stay focused thematically, but I will mention a few uses

0:39:38.480 --> 0:39:42.160
<v Speaker 1>of language that are especially fun to me. Protagonist Humbert.

0:39:42.200 --> 0:39:46.000
<v Speaker 1>Humbert writes Lolita under observation and a sanatorium and later

0:39:46.040 --> 0:39:48.480
<v Speaker 1>in a jail cell, which the Book of would explain

0:39:48.719 --> 0:39:51.759
<v Speaker 1>is the animal drawing its own cage. Stylistically, Lolita is

0:39:51.840 --> 0:39:54.560
<v Speaker 1>kind of a whole of mirrors language wise. We see

0:39:54.600 --> 0:39:57.480
<v Speaker 1>the same phrases pop up over and over while humbered

0:39:57.520 --> 0:40:00.120
<v Speaker 1>plays with language to lure the readers in their a

0:40:00.160 --> 0:40:03.400
<v Speaker 1>great essay on this in the collection The Magician's Doubts

0:40:03.400 --> 0:40:06.360
<v Speaker 1>by Michael Wood. The hotel where Humbert first rapes Dolores

0:40:06.480 --> 0:40:09.400
<v Speaker 1>is called The Enchanted Hunters. Later on, Dolores isn't a

0:40:09.400 --> 0:40:12.440
<v Speaker 1>clare quiality play. That's the writer that eventually abducts her

0:40:12.480 --> 0:40:14.920
<v Speaker 1>out of humbert subduction, and the play is called The

0:40:15.000 --> 0:40:18.400
<v Speaker 1>Hunted Enchanters. And when Dolores sees Humbert again, pregnant and

0:40:18.440 --> 0:40:21.600
<v Speaker 1>poor at seventeen, she lives on Hunter Road. There's a

0:40:21.680 --> 0:40:24.320
<v Speaker 1>character who co writes qualities plays with him named Vivian

0:40:24.400 --> 0:40:28.239
<v Speaker 1>dark Bloom. Mix those letters around and yes it's an

0:40:28.280 --> 0:40:30.920
<v Speaker 1>anagram for Vladimir and a Bukoff. There's all of the

0:40:30.960 --> 0:40:33.719
<v Speaker 1>po references, and a Buckov manages to insert some of

0:40:33.760 --> 0:40:37.799
<v Speaker 1>his opinions on pop psychologists like Kinsey and Freud. Through

0:40:37.880 --> 0:40:41.560
<v Speaker 1>Humbert's telling psychiatrists at the sanatoriums. He stays at some

0:40:41.680 --> 0:40:44.600
<v Speaker 1>of the popular theories of his day instead of what

0:40:44.680 --> 0:40:48.000
<v Speaker 1>he was actually going through, making the psychologists feel accomplished

0:40:48.160 --> 0:40:51.000
<v Speaker 1>and Humbert feel like he's deceived them. And let's hit

0:40:51.040 --> 0:40:53.040
<v Speaker 1>on that for a moment. Why did in a book

0:40:53.040 --> 0:40:56.000
<v Speaker 1>off he Freud so much. We're going to really unpack

0:40:56.120 --> 0:40:58.920
<v Speaker 1>this in a future episode, but I wanted to quickly

0:40:58.960 --> 0:41:02.200
<v Speaker 1>share this insight for Lucia Williams, who will be talking

0:41:02.239 --> 0:41:05.759
<v Speaker 1>with throughout this show. She's a former professor of psychology

0:41:05.800 --> 0:41:09.920
<v Speaker 1>at the Universidad Federal Day Sal Carlos in Brazil, where

0:41:09.920 --> 0:41:15.239
<v Speaker 1>she coordinated LAPREV, the Laboratory of Violence Analysis and Protection.

0:41:16.160 --> 0:41:18.240
<v Speaker 1>The paper of hers I am siting here is called

0:41:18.360 --> 0:41:22.480
<v Speaker 1>reading Lolita to Understand Child Sexual Abuse, and the reasoning

0:41:22.680 --> 0:41:26.719
<v Speaker 1>is this quote. Nabokov was intuitively right, even in his

0:41:26.760 --> 0:41:29.960
<v Speaker 1>antipathy for Sigmund Freud, who could have advanced knowledge on

0:41:30.000 --> 0:41:33.319
<v Speaker 1>the impact of child sexual abuse in human development and

0:41:33.400 --> 0:41:36.360
<v Speaker 1>did not for it. Came back from Paris shocked with

0:41:36.440 --> 0:41:40.080
<v Speaker 1>the maltreated children he saw examined by child abuse pioneer

0:41:40.200 --> 0:41:44.520
<v Speaker 1>Ambrosia Tardieu, a French pathologist and expert in forensic medicine.

0:41:44.719 --> 0:41:48.440
<v Speaker 1>In his Assault on Truth, Jeffrey M. Masson describes how

0:41:48.520 --> 0:41:52.320
<v Speaker 1>Freud was forced by Viennese society to abandon his proposed

0:41:52.480 --> 0:41:56.600
<v Speaker 1>seduction theory, in which hysteria occurred as a result of

0:41:56.719 --> 0:42:00.319
<v Speaker 1>premature sexual experiences, as no one could believe that so

0:42:00.400 --> 0:42:05.040
<v Speaker 1>many respectable gentlemen could indeed sexually abuse their own daughters.

0:42:05.640 --> 0:42:09.239
<v Speaker 1>As a result, Freud abandoned his theory and started defending

0:42:09.280 --> 0:42:12.840
<v Speaker 1>that the patient's report was a mere fabrication based on

0:42:13.000 --> 0:42:17.759
<v Speaker 1>underlying repressed sexual urges unquote. There's a ton more. But

0:42:17.840 --> 0:42:21.800
<v Speaker 1>something Nbakov struggled with after Lalita became popular was critics

0:42:21.800 --> 0:42:25.640
<v Speaker 1>and readers conflating Humbert's attitudes with his own. Now, well,

0:42:25.680 --> 0:42:28.680
<v Speaker 1>I personally don't hate all of the fictional John Ray

0:42:28.760 --> 0:42:31.880
<v Speaker 1>juniors forward warning the reader that Humbert is a pedophile

0:42:31.920 --> 0:42:34.880
<v Speaker 1>who's not to be trusted. Nabakov thought that John Ray Jr.

0:42:35.040 --> 0:42:37.160
<v Speaker 1>Was a little bit over the top, and his moralizing

0:42:37.320 --> 0:42:39.560
<v Speaker 1>something I would guess he would feel about a lot

0:42:39.600 --> 0:42:43.719
<v Speaker 1>of culture today. I politely disagree. But speaking to this point.

0:42:43.920 --> 0:42:47.200
<v Speaker 1>In conversation with Russian Jewish American author Herbert Gould the

0:42:47.280 --> 0:42:51.000
<v Speaker 1>following exchange, Gold says that his quote sense of the

0:42:51.000 --> 0:42:54.440
<v Speaker 1>immorality of the relationship between Humbert, Humbert and Lalita is

0:42:54.600 --> 0:42:59.279
<v Speaker 1>very strong unquote. Nabakov replies, no, it is not my

0:42:59.480 --> 0:43:03.080
<v Speaker 1>sense of morality of the Humbered Humbered Lolita relationship that

0:43:03.239 --> 0:43:07.000
<v Speaker 1>is strong. It is humbled since he cares I do not.

0:43:07.480 --> 0:43:10.000
<v Speaker 1>Herbert says later on that some might find Humbered to

0:43:10.040 --> 0:43:13.959
<v Speaker 1>be quote touching, to which Nabokov says this, I would

0:43:13.960 --> 0:43:17.240
<v Speaker 1>put it differently. Humbered Humbert is a vain and cruel

0:43:17.280 --> 0:43:21.040
<v Speaker 1>wretch who manages to appear touching that epithet. And it's

0:43:21.120 --> 0:43:24.600
<v Speaker 1>true tear erudized sense can only apply to my poor

0:43:24.640 --> 0:43:28.319
<v Speaker 1>little girl. And let's talk about that girl, Dolores the

0:43:28.520 --> 0:43:32.400
<v Speaker 1>book Dolores, because Humberts descriptions of her very often obscure

0:43:32.480 --> 0:43:34.759
<v Speaker 1>the resilient young girl who never should have been put

0:43:34.760 --> 0:43:38.360
<v Speaker 1>in these circumstances to begin with. Dolores, in being declared

0:43:38.400 --> 0:43:41.200
<v Speaker 1>the Lada by Humbert, suffers the fate that many of

0:43:41.320 --> 0:43:45.760
<v Speaker 1>Nabokov's female characters do. She's fixated on, misunderstood and lusted

0:43:45.840 --> 0:43:49.160
<v Speaker 1>after by a male protagonist that doesn't actually care who

0:43:49.239 --> 0:43:51.799
<v Speaker 1>she is or how she feels. And there's a lot

0:43:51.800 --> 0:43:54.760
<v Speaker 1>of reasons why readers often complate the actions and opinions

0:43:54.760 --> 0:43:57.480
<v Speaker 1>of character with their authors. And again, we could talk

0:43:57.520 --> 0:43:59.840
<v Speaker 1>about death of the author theory all day, but I

0:44:00.040 --> 0:44:03.239
<v Speaker 1>have an idea of why this might happen to Nibakov specifically,

0:44:03.360 --> 0:44:06.719
<v Speaker 1>and that is because virtually all of Nabakov's protagonists and

0:44:06.880 --> 0:44:10.000
<v Speaker 1>narrators are men, with the exception of one short story.

0:44:10.280 --> 0:44:13.840
<v Speaker 1>Many of them are Russian emigres or new to a country,

0:44:13.920 --> 0:44:16.880
<v Speaker 1>like Nabakov was in Germany and then in America, and

0:44:16.920 --> 0:44:21.520
<v Speaker 1>they're often also academics like Professor Nabakov. Like any writer,

0:44:21.719 --> 0:44:24.320
<v Speaker 1>Nabakov pulled from what he knew in order to write,

0:44:24.400 --> 0:44:27.600
<v Speaker 1>and like any good writer, his characters are not him.

0:44:27.640 --> 0:44:30.280
<v Speaker 1>It's interesting reading interviews with him from this time because

0:44:30.280 --> 0:44:33.759
<v Speaker 1>it often seems like people come into a discussion with

0:44:33.840 --> 0:44:40.920
<v Speaker 1>the assumption that writing about Humbert is automatically condoning it. Ye.

0:44:48.680 --> 0:44:52.080
<v Speaker 1>When asked why he named his criminal protagonist Humbert Humbert,

0:44:52.120 --> 0:44:57.960
<v Speaker 1>Nabokov told Playboy in that it's quote very nasty, very suggestive.

0:44:58.320 --> 0:45:01.200
<v Speaker 1>It is a hateful name for a hateful person. But

0:45:01.280 --> 0:45:04.120
<v Speaker 1>let's get back to Nabokov's women. Also the name of

0:45:04.120 --> 0:45:08.080
<v Speaker 1>an incredible essay collection recommended to me by Dana. Here's

0:45:08.080 --> 0:45:11.160
<v Speaker 1>a little bit more of our discussion there is, like

0:45:11.200 --> 0:45:14.000
<v Speaker 1>you're saying, a lot of focus in his work on

0:45:14.239 --> 0:45:20.520
<v Speaker 1>children suffering and then also women suffering, even the references

0:45:20.640 --> 0:45:23.840
<v Speaker 1>to you know, his feelings on anti Semitism. You know,

0:45:23.840 --> 0:45:26.880
<v Speaker 1>it's like all the people that Humbert doesn't want us

0:45:26.920 --> 0:45:30.640
<v Speaker 1>to like, um make an anti Semitic comment at some point.

0:45:30.920 --> 0:45:34.279
<v Speaker 1>So you mentioned that, yes, the misogyny. He was very

0:45:34.320 --> 0:45:38.440
<v Speaker 1>progressive on race for a man is of his time,

0:45:38.640 --> 0:45:43.600
<v Speaker 1>like exceptionally so and um in part he inherited that

0:45:43.640 --> 0:45:47.799
<v Speaker 1>from his father. Uh. So Nabokov himself comes from a

0:45:48.040 --> 0:45:54.680
<v Speaker 1>very kind of Caucasian aristocratic, upper middle class UM background.

0:45:55.400 --> 0:45:57.799
<v Speaker 1>So I I think that would be true that that

0:45:58.000 --> 0:46:01.640
<v Speaker 1>women typically suffer in his fiction. Um, and for a

0:46:01.719 --> 0:46:07.560
<v Speaker 1>vast array of reason. So ums many commits suicide. Uh,

0:46:07.680 --> 0:46:11.719
<v Speaker 1>some are killed in freak accidents caused by men. So

0:46:11.800 --> 0:46:14.239
<v Speaker 1>the fact that Charlotte dies in the car accident, there's

0:46:14.239 --> 0:46:16.960
<v Speaker 1>no reason why she should have died in that car accident,

0:46:17.040 --> 0:46:23.040
<v Speaker 1>had um had humbered, humbled, not placed, all those other

0:46:23.239 --> 0:46:28.520
<v Speaker 1>things which led to that outcome. So Um, he doesn't, Um,

0:46:28.640 --> 0:46:33.600
<v Speaker 1>he doesn't acknowledge his contribution to her grizzly faith. But

0:46:33.680 --> 0:46:40.680
<v Speaker 1>it's there, right, it's all of those variables he put there. Um. Now,

0:46:40.800 --> 0:46:43.719
<v Speaker 1>why why is there this? Why is there kind of

0:46:43.840 --> 0:46:49.400
<v Speaker 1>proliferation of angelic women who perish and suffer in the

0:46:49.440 --> 0:46:55.000
<v Speaker 1>book of and kind of shallow viragos who are opportunists

0:46:55.040 --> 0:47:01.080
<v Speaker 1>and destroy men, because there are many of those as well. Um, well,

0:47:01.120 --> 0:47:03.520
<v Speaker 1>it's it's I would argue, and this is my argument,

0:47:03.719 --> 0:47:07.080
<v Speaker 1>but it's not imprint yet. That um that that Nabokov

0:47:07.239 --> 0:47:11.000
<v Speaker 1>was born and raised in a kind of culture of

0:47:11.160 --> 0:47:17.160
<v Speaker 1>honor and courtesy. That is a legacy of of medievalism,

0:47:17.400 --> 0:47:21.960
<v Speaker 1>the medieval literature which he studied at Cambridge. His tripos

0:47:22.000 --> 0:47:25.560
<v Speaker 1>at Cambridge was in the Romance languages, so uh, the

0:47:25.640 --> 0:47:29.799
<v Speaker 1>literature of France in the Middle Ages. Um. And Nabokov

0:47:29.960 --> 0:47:34.960
<v Speaker 1>grew up in an aristocratic family and Russia, where Um,

0:47:34.960 --> 0:47:40.440
<v Speaker 1>honor and gender ethics were very important. Men did certain things,

0:47:40.480 --> 0:47:45.879
<v Speaker 1>women did certain other things. If a woman's honor was impugned,

0:47:46.080 --> 0:47:49.840
<v Speaker 1>a man was expected to rise to her defense. His

0:47:50.000 --> 0:47:53.480
<v Speaker 1>father almost fought in a duel in the bakov himself

0:47:53.520 --> 0:47:57.719
<v Speaker 1>almost fought in a couple of duels. Uh. There's an anecdote,

0:47:57.760 --> 0:48:00.000
<v Speaker 1>for instance, that that Brian Boyd tells when a bok

0:48:00.040 --> 0:48:04.680
<v Speaker 1>I was very young living in Berlin. Um, a violinist

0:48:04.760 --> 0:48:08.840
<v Speaker 1>of Romanian extraction was well known to be a wife abuser,

0:48:09.680 --> 0:48:12.960
<v Speaker 1>and then his wife died and she was full of bruises,

0:48:13.280 --> 0:48:17.279
<v Speaker 1>and the suspicion was that either he killed her or

0:48:17.320 --> 0:48:20.560
<v Speaker 1>that she committed suicide because she couldn't stand you abuse anymore.

0:48:20.920 --> 0:48:24.480
<v Speaker 1>So Nibakov goes to the club where the violinist is

0:48:24.600 --> 0:48:28.080
<v Speaker 1>still playing and he beats them up. So so this

0:48:28.200 --> 0:48:34.319
<v Speaker 1>act of vigilante justice right. But um, More broadly, I

0:48:34.360 --> 0:48:40.000
<v Speaker 1>think your question UM can be answered very productively because Nabokov,

0:48:40.160 --> 0:48:47.160
<v Speaker 1>like many Russian writers, was fascinated with with childhood, but

0:48:47.480 --> 0:48:51.440
<v Speaker 1>not not in a sexual way, but as a kind

0:48:51.480 --> 0:48:57.200
<v Speaker 1>of test case for innocence and vulnerability. So in Nabokov's

0:48:57.280 --> 0:49:02.360
<v Speaker 1>own work, UH children um figure very frequently in his fiction,

0:49:03.080 --> 0:49:07.759
<v Speaker 1>and most frequently as victims. So the figure of the

0:49:07.800 --> 0:49:14.200
<v Speaker 1>suffering child haunts Nabokov's imagination from the well, I I

0:49:14.560 --> 0:49:19.919
<v Speaker 1>would say, from the moment that uh Nazism begins, and

0:49:19.920 --> 0:49:22.800
<v Speaker 1>and and and his mind is haunted by children being

0:49:22.840 --> 0:49:26.520
<v Speaker 1>burned in gas ovens, and so from then on to

0:49:27.160 --> 0:49:29.840
<v Speaker 1>the end of Vada. So that's like the entirety of

0:49:29.960 --> 0:49:34.920
<v Speaker 1>his greatest career, the child becomes iconic in his imagination.

0:49:36.160 --> 0:49:39.680
<v Speaker 1>Brian Boyd also points out the narrative significance that children

0:49:39.760 --> 0:49:43.960
<v Speaker 1>have within Nabokov's work, Well, I think really it was

0:49:44.040 --> 0:49:47.280
<v Speaker 1>because for him the innocence of childhood was so important.

0:49:48.120 --> 0:49:52.400
<v Speaker 1>I think he was drist out almost by by the

0:49:52.440 --> 0:49:57.440
<v Speaker 1>way child was sexualized too early in America, and he

0:49:57.520 --> 0:50:02.560
<v Speaker 1>felt uneasy about Dmitri being off at at summer camps

0:50:02.560 --> 0:50:08.319
<v Speaker 1>and so on, the corruption with young young children. I'm

0:50:08.360 --> 0:50:11.800
<v Speaker 1>interested in in your thoughts on the female characters, that

0:50:11.920 --> 0:50:15.040
<v Speaker 1>doomed women there are, There are a lot of doomed

0:50:15.040 --> 0:50:20.440
<v Speaker 1>men in you think you think of the illusion defense

0:50:20.480 --> 0:50:23.200
<v Speaker 1>and the suicide that that that whole book leads to

0:50:23.400 --> 0:50:29.800
<v Speaker 1>so painfully inexorably, or or Field's father and the gift

0:50:29.880 --> 0:50:34.360
<v Speaker 1>to you know, presum only has been killed or killed

0:50:34.400 --> 0:50:38.920
<v Speaker 1>summer in Central Asia, or Martin in Glory, who presumably

0:50:38.960 --> 0:50:41.480
<v Speaker 1>has been killed with trying to cross the border into Russia.

0:50:41.880 --> 0:50:46.560
<v Speaker 1>Or David the boy who has tortured in that ghastly

0:50:46.600 --> 0:50:49.080
<v Speaker 1>Wayne in Ben Sinister and then his father who goes

0:50:49.120 --> 0:50:52.759
<v Speaker 1>mad and runs towards people in the shot you know, uh,

0:50:52.800 --> 0:50:56.719
<v Speaker 1>and the bok of knew he had the best friend

0:50:56.719 --> 0:51:00.279
<v Speaker 1>of his childhood, his cousin jury shot with his head

0:51:00.360 --> 0:51:04.960
<v Speaker 1>ripped off by machine guns in nine and then his

0:51:04.960 --> 0:51:12.759
<v Speaker 1>his father's murder Ino you know, Edmund White complains that

0:51:12.760 --> 0:51:15.680
<v Speaker 1>that there's too much violent death in the Baca. The

0:51:15.760 --> 0:51:18.879
<v Speaker 1>Baka head lived it. And of course as Shade gets

0:51:18.920 --> 0:51:23.480
<v Speaker 1>shot and in pale fire and there's a huge person

0:51:23.520 --> 0:51:27.200
<v Speaker 1>gets burnt in transparent thing. So okay, there are doomed women,

0:51:27.239 --> 0:51:31.560
<v Speaker 1>but there are doomed people of every kind. Thank you

0:51:31.600 --> 0:51:34.800
<v Speaker 1>so much again to Brian Boyd and to Dina Dragonaiu

0:51:35.000 --> 0:51:38.160
<v Speaker 1>for all of that wonderful insight. So, as many have

0:51:38.280 --> 0:51:41.719
<v Speaker 1>noted in the past, Dolores is not completely absent in

0:51:41.760 --> 0:51:45.080
<v Speaker 1>the text of Lolita, but she is absolutely sidelined by

0:51:45.160 --> 0:51:48.319
<v Speaker 1>Humbert in order to better serve his own narrative. There

0:51:48.400 --> 0:51:51.160
<v Speaker 1>is far more said by Humbert about what he fixates

0:51:51.200 --> 0:51:55.440
<v Speaker 1>and projects onto her, his physical desire, extremely specific details

0:51:55.480 --> 0:51:58.759
<v Speaker 1>about her appearance, his paranoia, and his blame when she's

0:51:58.760 --> 0:52:02.399
<v Speaker 1>physically absent, than about Dolores herself. That is to say,

0:52:02.520 --> 0:52:05.160
<v Speaker 1>we hear a lot about Lolita, who was a fantasy,

0:52:05.520 --> 0:52:09.680
<v Speaker 1>not Dolores, who is very real in enduring a personal tragedy.

0:52:10.160 --> 0:52:12.840
<v Speaker 1>Where we do find Lores is in some of her dialogue.

0:52:12.880 --> 0:52:15.680
<v Speaker 1>She says stuff like I must go now, kiddo, beaute

0:52:15.719 --> 0:52:19.719
<v Speaker 1>swankswell peach sab stinker, jerk, super luscious, goon, drip you

0:52:19.920 --> 0:52:23.080
<v Speaker 1>dull bulb a lot of stuff, as well as descriptions

0:52:23.120 --> 0:52:27.200
<v Speaker 1>of what she likes. However, when Humpert describes Dolores's interest

0:52:27.400 --> 0:52:31.160
<v Speaker 1>to us, it's mostly just to call them annoying, a

0:52:31.160 --> 0:52:35.520
<v Speaker 1>combination of naivete and deception, of charm and vulgarity, of

0:52:35.560 --> 0:52:39.239
<v Speaker 1>blue sulks and rosy mirth. Lolita, when she chose could

0:52:39.280 --> 0:52:42.560
<v Speaker 1>be a most exasperating brat, I was not really quite

0:52:42.600 --> 0:52:46.880
<v Speaker 1>prepared for her fits of disorganized boredom, intense and vehement gripping,

0:52:47.280 --> 0:52:50.680
<v Speaker 1>her sprawling, droopy, dopey eyed style, and what is called

0:52:51.000 --> 0:52:55.080
<v Speaker 1>goofing off, a kind of diffused clowning which she thought

0:52:55.120 --> 0:52:59.160
<v Speaker 1>was tough in a boyish hoodlum way. Mentally, I found

0:52:59.160 --> 0:53:02.719
<v Speaker 1>her to be a disgustingly conventional way. What Humbert is

0:53:02.760 --> 0:53:06.960
<v Speaker 1>so snobbishly describing here is a regular kid. I mean,

0:53:07.040 --> 0:53:09.319
<v Speaker 1>if you needed any more evidence that this isn't a

0:53:09.320 --> 0:53:12.239
<v Speaker 1>love story. He does not like the parts of Dolores

0:53:12.280 --> 0:53:15.520
<v Speaker 1>that he cannot sexualize or control, and there are a

0:53:15.520 --> 0:53:19.520
<v Speaker 1>few references to the extremely deep despair that Dolores, who

0:53:19.560 --> 0:53:23.040
<v Speaker 1>again is just a kid, is feeling about her situation.

0:53:23.320 --> 0:53:26.840
<v Speaker 1>There's references to the Knights, she spends crying, a few

0:53:27.040 --> 0:53:30.880
<v Speaker 1>moments with her friends, and this really devastating scene that

0:53:30.960 --> 0:53:33.319
<v Speaker 1>Humbert reflects on at the end of the book, when

0:53:33.360 --> 0:53:37.960
<v Speaker 1>Dolores sees her friend Avis have an innocuous, affectionate interaction

0:53:38.000 --> 0:53:41.880
<v Speaker 1>with her dad while Dolores is holding a kitchen knife. Suddenly,

0:53:42.320 --> 0:53:44.680
<v Speaker 1>as Avis clung to her father's neck and ear while

0:53:44.800 --> 0:53:47.279
<v Speaker 1>with a casual arm, the man enveloped his lumpy and

0:53:47.360 --> 0:53:51.080
<v Speaker 1>large offspring. I saw Lolita's smile lose all its light

0:53:51.160 --> 0:53:54.520
<v Speaker 1>and become a frozen little shadow of itself. And the

0:53:54.560 --> 0:53:56.600
<v Speaker 1>fruit knife slipped off the table and struck her with

0:53:56.640 --> 0:53:59.880
<v Speaker 1>a silver handle, a freak blow on the ankle. And

0:54:00.000 --> 0:54:03.040
<v Speaker 1>while you do need to look for these passages, there's

0:54:03.120 --> 0:54:06.840
<v Speaker 1>so much here. There's a reminder of how unhappy do

0:54:06.840 --> 0:54:11.640
<v Speaker 1>loris is, that she's also experiencing grief from losing her parents,

0:54:11.640 --> 0:54:14.800
<v Speaker 1>her inability to communicate with the people in her life

0:54:14.840 --> 0:54:18.520
<v Speaker 1>about this despair out of fear and trauma. There's a

0:54:18.560 --> 0:54:22.160
<v Speaker 1>lot and then a buck offs themselves grew protective of Lolita.

0:54:22.239 --> 0:54:25.279
<v Speaker 1>I already showed you this quote from Vera last episode,

0:54:25.400 --> 0:54:28.200
<v Speaker 1>but here it is in a bit longer form. I

0:54:28.320 --> 0:54:32.560
<v Speaker 1>wish someone would notice the tender description of the child's helplessness,

0:54:32.560 --> 0:54:35.879
<v Speaker 1>her pathetic dependence on the monstrous h h and her

0:54:35.920 --> 0:54:40.560
<v Speaker 1>heartrending courage, all along culminating in that squalid but essentially

0:54:40.600 --> 0:54:44.360
<v Speaker 1>pure and healthy marriage and her dog. They all missed

0:54:44.360 --> 0:54:47.360
<v Speaker 1>the fact that the horrid little brat Lolita is essentially

0:54:47.520 --> 0:54:50.680
<v Speaker 1>very good. Indeed, or she would not have straightened out

0:54:50.680 --> 0:54:53.960
<v Speaker 1>after being crushed so terribly and found a decent life

0:54:54.000 --> 0:54:56.960
<v Speaker 1>with poor Dick more to her liking than the other kind.

0:54:58.239 --> 0:55:00.480
<v Speaker 1>I also want to take another opportunity here to give

0:55:00.600 --> 0:55:05.120
<v Speaker 1>Charlotte Hayes her due. While she's portrayed as flighty, selfish

0:55:05.160 --> 0:55:08.400
<v Speaker 1>and cruel to her daughter, a degree of which definitely

0:55:08.400 --> 0:55:13.719
<v Speaker 1>appears true, try and look through Humbert's language here. Charlotte

0:55:13.920 --> 0:55:16.799
<v Speaker 1>is a single parent at a time where this was

0:55:17.000 --> 0:55:20.480
<v Speaker 1>not made easy in the late nineteen forties. She's still

0:55:20.760 --> 0:55:24.600
<v Speaker 1>mourning her husband, as well as something that's only mentioned once,

0:55:24.880 --> 0:55:27.120
<v Speaker 1>the death of a two year old boy who had

0:55:27.160 --> 0:55:31.920
<v Speaker 1>been Dolores's baby brother, and Dolores likely had unresolved issues

0:55:31.960 --> 0:55:35.440
<v Speaker 1>around a trauma like this as well. So while Charlotte

0:55:35.480 --> 0:55:39.520
<v Speaker 1>does seem unkind and distant to her daughter, relatable even

0:55:39.600 --> 0:55:43.759
<v Speaker 1>considering all that, there's a context to this all its own,

0:55:44.160 --> 0:55:46.560
<v Speaker 1>and so whether you like her or not, she is

0:55:46.680 --> 0:55:49.680
<v Speaker 1>far more complicated and going through a lot more than

0:55:49.760 --> 0:55:53.680
<v Speaker 1>Humbert is comfortable with or interested in acknowledging, And the

0:55:53.760 --> 0:55:56.040
<v Speaker 1>book of himself found for the first time in his

0:55:56.160 --> 0:55:59.359
<v Speaker 1>career a character he had written was being taken out

0:55:59.440 --> 0:56:02.680
<v Speaker 1>of his authorial control. He says the following to the

0:56:02.719 --> 0:56:06.680
<v Speaker 1>writer Graham Green in n before Lolita had even been

0:56:06.719 --> 0:56:10.480
<v Speaker 1>published in the United States. My poor Lolita is having

0:56:10.520 --> 0:56:13.800
<v Speaker 1>a rough time, Nabokov wrote to Green. The pity is

0:56:13.840 --> 0:56:15.799
<v Speaker 1>that if I had made her a boy, or a

0:56:15.840 --> 0:56:19.799
<v Speaker 1>cow or a bicycle, Philistines might never have flinched. Where

0:56:19.800 --> 0:56:23.080
<v Speaker 1>there's this exchange from the Paris Review. Humbert was fond

0:56:23.160 --> 0:56:27.080
<v Speaker 1>of little girls, not simply young girls, nymphets our girl children,

0:56:27.239 --> 0:56:31.120
<v Speaker 1>not starlets and sex kittens. Lolita was twelve, not eighteen,

0:56:31.160 --> 0:56:33.600
<v Speaker 1>when Humbert met her. You may remember that by the

0:56:33.600 --> 0:56:35.920
<v Speaker 1>time she is fourteen, he refers to her as his

0:56:36.239 --> 0:56:39.560
<v Speaker 1>aging mistress, and it is understandable that the press and

0:56:39.640 --> 0:56:42.799
<v Speaker 1>people in the Bokov circle had a difficult time understanding

0:56:42.800 --> 0:56:45.719
<v Speaker 1>how a writer who was by all accounts nothing like

0:56:45.840 --> 0:56:49.439
<v Speaker 1>Humbert in his criminality, plugged himself into such a sick

0:56:49.480 --> 0:56:52.520
<v Speaker 1>protagonist mind. And in fact, there were even parents of

0:56:52.560 --> 0:56:55.239
<v Speaker 1>students at Cornell who were nervous to let their kids

0:56:55.280 --> 0:56:59.000
<v Speaker 1>take classes from Nabokov. What we know about Nubukov's ability

0:56:59.120 --> 0:57:02.640
<v Speaker 1>to create hu Bert comes down to his research. He

0:57:02.680 --> 0:57:05.560
<v Speaker 1>looked at a number of case studies of American pedophiles,

0:57:05.560 --> 0:57:08.200
<v Speaker 1>some of which will discuss in a future episode, and

0:57:08.320 --> 0:57:10.920
<v Speaker 1>also later said that he had listened to how girls

0:57:10.920 --> 0:57:14.000
<v Speaker 1>spoke to each other on buses and in public parks,

0:57:14.040 --> 0:57:17.920
<v Speaker 1>and he wrote a character early into Lolita's publication history.

0:57:18.040 --> 0:57:21.480
<v Speaker 1>Nabokov also attempted to control what appeared on the cover

0:57:21.600 --> 0:57:26.000
<v Speaker 1>of his book, saying this, I want pure colors, melting clouds,

0:57:26.040 --> 0:57:29.480
<v Speaker 1>accurately drawn details, a sunburst above a receding road with

0:57:29.520 --> 0:57:33.080
<v Speaker 1>a light reflected in furrows and ruts, after rain, and

0:57:33.440 --> 0:57:36.880
<v Speaker 1>no girls. If you've ever seen a cover of Lolita,

0:57:37.160 --> 0:57:40.680
<v Speaker 1>you will know that this wish was definitely not respected,

0:57:41.000 --> 0:57:44.280
<v Speaker 1>and that there's been a wide variety of We will

0:57:44.320 --> 0:57:46.800
<v Speaker 1>will get to that in a future episode. Even later

0:57:46.800 --> 0:57:49.360
<v Speaker 1>in his career, Nabokov would go on to take public

0:57:49.440 --> 0:57:52.880
<v Speaker 1>issue with how the Dictionary defined the word nymphete, a

0:57:52.960 --> 0:57:56.760
<v Speaker 1>word that he invented, whose definition he was still ultimately

0:57:56.880 --> 0:58:01.960
<v Speaker 1>unable to control. Lolita had grown too big, and so eventually,

0:58:02.120 --> 0:58:05.200
<v Speaker 1>as time went on, Nabakov kind of stopped trying and

0:58:05.400 --> 0:58:08.600
<v Speaker 1>moved on to write other work. Lolita had secured for

0:58:08.680 --> 0:58:11.400
<v Speaker 1>him the life he had always wanted. He could write

0:58:11.440 --> 0:58:14.720
<v Speaker 1>full time. He was acclaimed as a great American writer.

0:58:15.160 --> 0:58:18.240
<v Speaker 1>So when Stanley Kubrick and James Harris bought the rights

0:58:18.320 --> 0:58:21.400
<v Speaker 1>to the movie in ninety eight and invited Nabokov to

0:58:21.440 --> 0:58:25.640
<v Speaker 1>write the screenplay, after a while he said yes. And

0:58:25.720 --> 0:58:28.960
<v Speaker 1>it's about here that we're going to say goodbye to

0:58:29.120 --> 0:58:32.760
<v Speaker 1>Dolores for now. As far as I'm concerned, she exists

0:58:32.960 --> 0:58:35.800
<v Speaker 1>solely in the book. What we find and what global

0:58:35.840 --> 0:58:38.440
<v Speaker 1>culture takes away from this book, at least in the

0:58:38.480 --> 0:58:42.720
<v Speaker 1>general sense, is just Lolita, the fantasy that a pedophile

0:58:42.760 --> 0:58:44.960
<v Speaker 1>is trying to sell us, not the girl that is

0:58:44.960 --> 0:58:49.400
<v Speaker 1>suffering behind it. I really love Dolores. Justice for Dolores,

0:58:49.560 --> 0:58:51.800
<v Speaker 1>and and I'm very attached to her. She is a

0:58:51.880 --> 0:58:54.919
<v Speaker 1>kid that is able to find these moments of joy

0:58:55.000 --> 0:58:58.960
<v Speaker 1>for herself during an inhuman experience. And even inside of

0:58:58.960 --> 0:59:02.240
<v Speaker 1>this horrifying account by a pedophile with a vested interest

0:59:02.280 --> 0:59:06.600
<v Speaker 1>in winning your sympathy, Dolores still shines through in these moments.

0:59:08.120 --> 0:59:11.360
<v Speaker 1>Nabokov has his flaws and we should not ignore them.

0:59:11.880 --> 0:59:14.360
<v Speaker 1>But close readers of the book and the scholars who

0:59:14.400 --> 0:59:18.440
<v Speaker 1>have been discussing, guarding, and cataloging the entirety of Nabokov's

0:59:18.440 --> 0:59:21.919
<v Speaker 1>work over the years, the Nabokovians, I love to say

0:59:21.920 --> 0:59:25.440
<v Speaker 1>that have not found a shred of pro pedophilia within

0:59:25.480 --> 0:59:28.640
<v Speaker 1>the text itself. There really is no good faith interpretation

0:59:28.680 --> 0:59:31.160
<v Speaker 1>of the work that will say so, although there's plenty

0:59:31.200 --> 0:59:34.240
<v Speaker 1>of bad faith interpreters out there, the discussion academically has

0:59:34.240 --> 0:59:38.240
<v Speaker 1>actually begun to actively encourage a feminist reading and teaching

0:59:38.320 --> 0:59:41.600
<v Speaker 1>of the text. Dana Dragonoio with the mic drop here

0:59:42.600 --> 0:59:47.880
<v Speaker 1>the novel Um and even Humbert. Humbert does led through

0:59:47.920 --> 0:59:53.880
<v Speaker 1>the cracks uh knowledge about her actions and activities, which

0:59:54.320 --> 0:59:58.840
<v Speaker 1>Um really tell us beyond any reasonable doubt that she

0:59:59.040 --> 1:00:02.720
<v Speaker 1>was trying to make an escape from him. So we're

1:00:02.760 --> 1:00:06.160
<v Speaker 1>told that she's squirreling money away that he gives her

1:00:06.200 --> 1:00:09.280
<v Speaker 1>for the various sexual acts that he imposes upon her.

1:00:10.160 --> 1:00:13.560
<v Speaker 1>She squirrels away money not to buy confectionery, but to

1:00:13.640 --> 1:00:17.040
<v Speaker 1>run away. She's trying to get away from him, and

1:00:17.080 --> 1:00:20.520
<v Speaker 1>then he takes away that money like the depths of

1:00:20.680 --> 1:00:25.560
<v Speaker 1>his villainies kind of uh. He makes promises which she

1:00:26.280 --> 1:00:30.760
<v Speaker 1>uh he which he breaks the moment that she has

1:00:30.880 --> 1:00:34.400
<v Speaker 1>uh you know, had had had sex with him, So

1:00:34.440 --> 1:00:37.560
<v Speaker 1>he makes promises that he retracts um and the minute

1:00:37.600 --> 1:00:40.880
<v Speaker 1>that she can get away from him, she leaves him.

1:00:40.960 --> 1:00:44.120
<v Speaker 1>So so we see a a we know because he

1:00:44.200 --> 1:00:48.040
<v Speaker 1>admits it that she's crying every night. Um. He tells

1:00:48.120 --> 1:00:52.160
<v Speaker 1>us that he had trained himself to ignore her sobs

1:00:52.200 --> 1:00:57.280
<v Speaker 1>in the night every night. Um uh. He admits that

1:00:57.520 --> 1:01:00.600
<v Speaker 1>she only gets reconciled to him only because had nowhere

1:01:00.600 --> 1:01:05.800
<v Speaker 1>else to go. So um. There's not a single moment

1:01:05.920 --> 1:01:09.560
<v Speaker 1>in the novel which suggests to us that Lolita was

1:01:09.640 --> 1:01:14.840
<v Speaker 1>actually um enjoying her life with him. It was totally

1:01:16.960 --> 1:01:20.520
<v Speaker 1>a condition of imprisonment. Um. We do. We don't even

1:01:20.560 --> 1:01:24.400
<v Speaker 1>have the Stockholm syndrome. She she doesn't even suffer from

1:01:24.480 --> 1:01:28.600
<v Speaker 1>the Stockholm syndrome. Right, she never she never worns something

1:01:28.600 --> 1:01:31.560
<v Speaker 1>to him. Yeah, she never wants to be there. She

1:01:31.680 --> 1:01:34.200
<v Speaker 1>she never wants to be there. And and the irony

1:01:34.200 --> 1:01:36.640
<v Speaker 1>of irony is the kind of tragic irony that that

1:01:36.720 --> 1:01:41.680
<v Speaker 1>she makes her escape with somebody who's even worse than Humbered.

1:01:41.920 --> 1:01:44.960
<v Speaker 1>So how to teach Lolita? What can you teach us?

1:01:45.520 --> 1:01:48.640
<v Speaker 1>A debate that hasn't been put to rest, and it

1:01:50.000 --> 1:01:56.800
<v Speaker 1>relates to um. The question of how uh Lolita suppressed

1:01:56.880 --> 1:02:00.480
<v Speaker 1>in the novel Uh isn't is a debate that is

1:02:00.520 --> 1:02:04.000
<v Speaker 1>now of several decades standing, and it began with a

1:02:04.080 --> 1:02:07.720
<v Speaker 1>number of feminist scholars who noticed that there is a

1:02:07.840 --> 1:02:13.640
<v Speaker 1>temporal discrepancy in Humbert's account. There's three days missing, Um,

1:02:13.840 --> 1:02:17.240
<v Speaker 1>three days missing in the chronology that he gives us.

1:02:17.280 --> 1:02:20.440
<v Speaker 1>And if those three days that are missing is not

1:02:20.560 --> 1:02:25.800
<v Speaker 1>simply a typo, but Nabokov intentionally put it there, that

1:02:25.920 --> 1:02:31.040
<v Speaker 1>means that Humbert never receives a letter from Dolly, never

1:02:31.120 --> 1:02:34.560
<v Speaker 1>goes to Colmont to meet her in her pregnant state,

1:02:35.000 --> 1:02:38.160
<v Speaker 1>and never marries Quilty. And there was never an equality

1:02:38.240 --> 1:02:45.120
<v Speaker 1>to begin with. So that flow to the possibility that

1:02:45.200 --> 1:02:49.040
<v Speaker 1>Dolly got away from him much earlier. We don't know

1:02:49.120 --> 1:02:51.680
<v Speaker 1>really what happens to her. Even if she's dead, she

1:02:51.800 --> 1:02:56.880
<v Speaker 1>might even be alive and well. And um. This this

1:02:57.120 --> 1:03:02.000
<v Speaker 1>argument has its sympathizers and it's the tractors. Brian Boyd

1:03:02.120 --> 1:03:06.800
<v Speaker 1>has showed that it's almost certainly a typo. Nabokov was

1:03:06.920 --> 1:03:11.280
<v Speaker 1>very careless with his dates. Um. But those who are

1:03:11.280 --> 1:03:14.160
<v Speaker 1>in favor of this theory will point out that when

1:03:14.160 --> 1:03:17.720
<v Speaker 1>when the book was translated into Russian, uh and the

1:03:17.840 --> 1:03:21.200
<v Speaker 1>Book of Uh does not in the Book of does

1:03:21.240 --> 1:03:25.880
<v Speaker 1>not correct the error, but in fact underscores it, leaves

1:03:25.880 --> 1:03:30.000
<v Speaker 1>the air in place and draws attention to it. So

1:03:30.160 --> 1:03:36.160
<v Speaker 1>if it's intentional, if it's intentional, the destiny of Dolly

1:03:36.640 --> 1:03:40.360
<v Speaker 1>could be something very different than the tragic destiny that

1:03:40.680 --> 1:03:43.600
<v Speaker 1>Humbert inscribed in the book. So, if you are an

1:03:43.600 --> 1:03:46.640
<v Speaker 1>adult still out here saying this is a love story,

1:03:47.320 --> 1:03:49.880
<v Speaker 1>let me be perfectly clear how I feel about it.

1:03:50.400 --> 1:03:53.960
<v Speaker 1>You missed the fucking point. But hey, you are certainly

1:03:53.960 --> 1:03:57.480
<v Speaker 1>not alone there. So in the early nineteen sixties, then

1:03:57.480 --> 1:04:00.000
<v Speaker 1>a book of come back to the US from Swiss

1:04:00.000 --> 1:04:03.360
<v Speaker 1>Island so that Vladimir can write the screenplay for Stanley

1:04:03.400 --> 1:04:09.720
<v Speaker 1>Kubrick's Lolita. What was about to happen was well, yeah,

1:04:09.840 --> 1:04:12.960
<v Speaker 1>next week on Lolita Podcast. This has been a production

1:04:13.040 --> 1:04:15.840
<v Speaker 1>of I Heart Radio. My name's Jamie Loftus, I right

1:04:15.920 --> 1:04:19.360
<v Speaker 1>and host the show. My producers are the wonderful Sophie Lifterman,

1:04:19.520 --> 1:04:23.600
<v Speaker 1>Miles Gray, Beth and Macaluso and Jack O'Brien. My editor

1:04:23.760 --> 1:04:27.680
<v Speaker 1>is the amazing Isaac Taylor. Additional research and transcription work

1:04:27.720 --> 1:04:31.000
<v Speaker 1>from Ben Loftus. Music is by Zoe Blade and her

1:04:31.120 --> 1:04:34.120
<v Speaker 1>theme is from Brad Dicker. Thank you so much to

1:04:34.160 --> 1:04:37.000
<v Speaker 1>my guest voices on this episode, as well as Ziz

1:04:37.080 --> 1:04:40.920
<v Speaker 1>Vora as Humbert Humbert, Robert Evans as Vladimir in the

1:04:40.960 --> 1:04:45.560
<v Speaker 1>bukup Anna Hostia Sharene, Lani Unis, Grace Thomas, and Miles Gray.

1:04:46.080 --> 1:04:47.000
<v Speaker 1>We'll see you next week.