At 50, Nabokov’s ‘Lolita’ still seduced — and disturbs
Leland de la Durantaye , Boston Globe
Stated somewhat differently, the most brilliant American novel of the 20th century, now a round and ripe 50 years old, tells us that the artist cannot live in the world as he lives in the world of words–and that this is a lesson worthy of expressing in the world of words.
IN THE SPRING OF 1940, on the last crossing of a French ocean liner that would be sunk by German U-boats on its return voyage, Vladimir Nabokov, his wife, and his young son arrived in New York. The family’s first, precarious years in America brought many changes, but one element remained constant. Every summer, Nabokov and his wife would drive cross country to the Rocky Mountains, which offered the country’s best butterfly hunting.
On those trips, during sudden rainstorms, bouts of insomnia, long drives, and flashes of impromptu inspiration in this or that alpine meadow, the Russian emigre Nabokov began to jot down on three-by-five-inch cards a singular story. This story was to become the greatest and most controversial American novel of the 20th century: ”Lolita.”
The summer over, Nabokov continued work on the scandalous tale of the middle-aged Humbert Humbert’s love for 12-year-old Dolores Haze. He spent long hours in the libraries of Cornell University–where he had become a professor of Russian literature–reading psychological case studies so as to more effectively impersonate the tones and torments of a madman. He rode around in schoolbuses in order to get the feel of American children’s slang. Despite his efforts, the diabolically difficult task he had set himself frustrated Nabokov so much that one day in 1950 he decided to put an end to his suffering and took the unfinished manuscript and note cards to the incinerator behind his house. His wife caught him just in time.
When the 54-year-old Nabokov at last finished ”Lolita” in 1953, it was his 12th novel and his third in English. He presented it to a publisher and was told that the book was excellent, but that if he published it they would both go to jail. He remained tight-lipped on the subject of his new work, and decided to publish it under a pseudonym. With time, however, it became clear to him that nothing was more likely to attract the attention of the censors than anonymous publication, and agreed to publish the work under his own name.
”Lolita” appeared in two pale green volumes from the Paris-based Olympia Press in September 1955. Few readers took notice of the foreign publication until December, when Graham Greene, writing in the London Sunday Times, included the book by the virtually unknown Nabokov in his list of the three best he had read that year. John Gordon, a conservative Scottish editor, examined the unexpected entry in Graham’s list and shortly thereafter denounced it in the Sunday Express as ”the filthiest book I have ever read,” adding that it was ”sheer unrestrained pornography.” Sales soared, interest increased, and when, after much fearful hesitation on the part of publishers, the work was published in an American edition in 1958, it spent six months as No. 1 on the bestseller charts.
”Lolita” was a disturbing book–both in its manner and its matter. Its matter is the relationship–sexual and other–of a European professor and his pubescent American stepdaughter, who he calls by the pet-name Lolita. The book’s manner is more difficult to describe. Its form is a faux first-person memoir written, in the words of the dubious European in question, ”first in the psychopathic ward for observation, and then in this well-heated, albeit tombal, seclusion.” Nabokov’s narrator composes the text in 56 days, at a feverishly brilliant pace. He takes personal, narrative, and linguistic liberties (his native language is French) which are as surprising as they are amusing. He shows brilliance in virtually every respect. The name he elects to write under is Humbert Humbert.
. . .
In 1958, ”L’Affaire Lolita,” as the French had christened it, was just beginning its long career. The following year, Nabokov wrote a screenplay based on his novel for Stanley Kubrick and James Harris. The 1962 film propelled Kubrick’s career and its success allowed the Nabokovs to retire to Switzerland.
But stranger forms of reception were already underway. As Kubrick was beginning to film, an Israeli guard in a Jerusalem prison gave a copy of ”Lolita” to Adolf Eichmann, who was awaiting trial. An indignant Eichmann returned the book two days later, calling it ”a very unwholesome book.” The sulphurous halo of Nabokov’s novel was still burning brightly in the popular consciousness of 1960 and it seems that Eichmann’s guard gave the book to him as an experiment–a sort of litmus test for radical evil: to see whether the real-life villain, he who impassively organized the transport towards certain death of countless innocents, would coldly, or even gleefully, approve the various and vile machinations of Nabokov’s creation…