Russian Novels

"Oh, my Lolita, I have only words to play with!"

"Overtly, I had so-called normal relationships with a number of terrestrial women having pumpkins or pears for breasts; inly, I was consumed by a hell furnace of localized lust for every passing nymphet whom as a law-abiding poltroon I never dared approach. The human females I was allowed to wield were but palliative agents. I am ready to believe that the sensations I derived from natural fornication were much the same as those known to normal big males consorting with their normal big mates in that routine rhythm which shakes the world. The trouble was that those gentlemen had not, and I had, caught glimpses of an incomparably more poignant bliss. The dimmest of my pollutive dreams was a thousand times more dazzling than all the adultery the most virile writer of genius or the most talented impotent might imagine."

"Now I wish to introduce the following idea. Between the age limits of nine and fourteen there occur maidens who, to certain bewitched travelers, twice or many times older than they, reveal their true nature which is not human, but nymphic (that is, demoniac); and these chosen creatures I propose to designate as "nymphets.""

"All at once we were madly, clumsily, shamelessly, agonizingly in love with each other; hopelessly, I should add, because that frenzy of mutual possession might have been assuaged only by our actually imbibing and assimilating every particle of each other's soul and flesh; but there we were, unable even to mate as slum children would have so easily found an opportunity to do so."

"I have reserved for the conclusion of my "Annabel" phase the account of our unsuccessful first tryst. One night, she managed to deceive the vicious vigilance of her family. In a nervous and slender-leaved mimosa grove at the back of their villa we found a perch on the ruins of a low stone wall. Through the darkness and the tender trees we could see the arabesques of lighted windows which, touched up by the colored inks of sensitive memory, appear to me now like playing cards-presumably because a bridge game was keeping the enemy busy. She trembled and twitched as I kissed the corner of her parted lips and the hot lobe of her ear. A cluster of stars palely glowed above us, between the silhouettes of long thin leaves; that vibrant sky seemed as naked as she was under her light frock. I saw her face in the sky, strangely distinct as if it emitted a faint radiance of its own. Her legs, her lovely live legs, were not too close together, and when my hand located what it sought, a dreamy and eerie expression, half pleasure, half-pain, came over those childish features. She sat a little higher than I, and whenever in her solitary ecstasy she was led to kiss me, her head would bend with a sleepy, soft, drooping movement that was almost woeful, and her bare knees caught and compressed my wrist, and slackened again and her quivering mouth, distorted by the acridity of some mysterious potion, with a sibilant intake of breath came near to my face. She would try to relieve the pain of love by first roughly rubbing her dry lips against mine; then my darling would draw away with a nervous toss of her hair, and then again come darkly near and let me feed on her open mouth, while with a generosity that was ready to offer her everything, my heart, my throat, my entrails, I gave her to hold in her awkward fist the scepter of my passion."

"I also know that the shock of Annabel's death consolidated the frustration of that nightmare summer, made of it a permanent obstacle to any further romance throughout the cold years of my youth. The spiritual and the physical had been blended in us with a perfection that must remain incomprehensible to the matter-of-fact, crude, standard-brained youngsters of today. Long after her death I felt her thoughts floating through mine. Long before we met we had had the same dreams. We compared notes. We found strange affinities. The same June of the same year (1919) a stray canary had fluttered into her house and mine, in two widely separated countries. Oh, Lolita, had you loved me thus!"

"There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: "honey-colored skin," "thin arms," "brown bobbed hair," "long lashes," "big bright mouth"); and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita)."

"My very photogenic mother died in a freak accident (picnic, lightning) when I was three, and, save for a pocket of warmth in the darkest past, nothing of her subsists within the hollows and dells of memory, over which, if you can still stand my style (I am writing under observation), the sun of my infancy had set..."

"You have to be an artist and a madman, a creature of infinite melancholy, with a bubble of hot poison in your loins and a super-voluptuous flame permanently aglow in your subtle spine (oh, how you have to cringe and hide!), in order to discern at once, by ineffable signs—the slightly feline outline of a cheekbone, the slenderness of a downy limb, and other indices which despair and shame and tears of tenderness forbid me to tabulate—the deadly little demon among the wholesome children; she stands unrecognized by them and unconscious herself of her fantastic power."

"Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta. She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita. Did she have a precursor? She did, indeed she did. In point of fact, there might have been no Lolita at all had I not loved, one summer, an initial girl-child. In a princedom by the sea. Oh when? About as many years before Lolita was born as my age was that summer. You can always count on a murderer for a fancy prose style. Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns."

"This commentator may be excused for repeating what he has stressed in his own books and lectures, namely that "offensive" is frequently but a synonym for "unusual"; and a great work of art is of course always original, and thus by its very nature should come as a more or less shocking surprise. I have no intention to glorify H.H.. No doubt, he is horrible, he is abject, he is a shining example of moral leprosy, a mixture of ferocity and jocularity that betrays supreme misery perhaps, but is not conducive to attractiveness. He is ponderously capricious. Many of his casual opinions on the people and scenery of this country are ludicrous. A desperate honesty that throbs through his confession does not absolve him from sins of diabolical cunning. He is abnormal. He is not a gentleman. But how magically his singing violin can conjure up a tendresse, a compassion for Lolita that makes us entranced with the book while abhorring its author! As a case history, Lolita will become, no doubt, a classic in psychiatric circles. As a work of art, it transcends its expiatory aspects; and still more important to us than scientific significance and literary worth, is the ethical impact the book should have on the serious reader; for in this poignant personal study there lurks a general lesson; the wayward child, the egotistic mother, the panting maniac — these are not only vivid characters in a unique story: they warn us of dangerous trends; they point out potent evils. Lolita should make all of us — parents, social workers, educators — apply ourselves with still greater vigilance and vision to the task of bringing up a better generation in a safer world."

"Its author's bizarre cognomen is his own invention; and, of course, this mask — through which two hypnotic eyes seem to glow — had to remain unlifted in accordance with its wearer's wish. While Haze only rhymes with the heroine's real surname, her first name is too closely interwound with the inmost fiber of the book to allow one to alter it; nor (as the reader will perceive for himself) is there any practical necessity to do so."

""Lolita, or the Confession of a White Widowed Male", such were the two titles under which the writer of the present note received the strange pages it preambulates. Humbert Humbert, their author, had died in legal captivity, of coronary thrombosis, on November 16, 1952, a few days before his trial was scheduled to start."

"But what can I tell you? I have known Rodion for a year and a half; he is moody, melancholy, proud, and haughty; recently (and perhaps for much longer than I know) he has been morbidly depressed and over-anxious about his health. He is kind and generous. He doesn't like to display his feelings, and would rather seem heartless than talk about them. Sometimes, however, he is not hypochondriacal at all, but simply inhumanly cold and unfeeling. Really, it is as if he had two separate personalities, each dominating him alternately."

"What do you think?" shouted Razumikhin, louder than ever, "you think I am attacking them for talking nonsense? Not a bit! I like them to talk nonsense. That's man's one privilege over all creation. Through error you come to the truth! I am a man because I err! You never reach any truth without making fourteen mistakes and very likely a hundred and fourteen. And a fine thing, too, in its way; but we can't even make mistakes on our own account! Talk nonsense, but talk your own nonsense, and I'll kiss you for it. To go wrong in one's own way is better than to go right in someone else's. In the first case you are a man, in the second you're no better than a bird. Truth won't escape you, but life can be cramped."

"The lodgers, one after another, squeezed back into the doorway with that strange inner feeling of satisfaction which may be observed in the presence of a sudden accident, even in those nearest and dearest to the victim, from which no living man is exempt, even in spite of the sincerest sympathy and compassion."

"I like it when people lie! Lying is man's only privilege over all other organisms. If you lie—you get to the truth! Lying is what makes me a man."

""Where is it?" thought Raskolnikov. "Where is it I've read that someone condemned to death says or thinks, an hour before his death, that if he had to live on some high rock, on such a narrow ledge that he'd only room to stand, and the ocean, everlasting darkness, everlasting solitude, everlasting tempest around him, if he had to remain standing on a square yard of space all his life, a thousand years, eternity, it were better to live so than to die at once! Only to live, to live and live! Life, whatever it may be!...How true it is! Good God, how true! Man is a vile creature!...And vile is he who calls him vile for that," he added a moment later."

"So he lay a very long while. Now and then he seemed to wake up, and at such moments he noticed that it was far into the night, but it did not occur to him to get up. At last he noticed that it was beginning to get light. He was lying on his back, still dazed from his recent oblivion. Fearful, despairing cries rose shrilly from the street, sounds which he heard every night, indeed, under his window after two o’clock. They woke him up now."

"He suddenly heard steps in the room where the old woman lay. He stopped short and was still as death. But all was quiet, so it must have been his fancy. All at once he heard distinctly a faint cry, as though some one had uttered a low broken moan. Then again dead silence for a minute or two. He sat squatting on his heels by the box and waited, holding his breath. Suddenly he jumped up, seized the axe and ran out of the bedroom."

"He ran beside the mare, ran in front of her, saw her being whipped across the eyes, right in the eyes! He was crying, he felt choking, his tears were streaming. One of the men gave him a cut with the whip across the face, he did not feel it. Wringing his hands and screaming, he rushed up to the grey-headed old man with the grey beard, who was shaking his head in disapproval. One woman seized him by the hand and would have taken him away, but he tore himself from her and ran back to the mare. She was almost at the last gasp, but began kicking once more."

"All is in a man's hands and he lets it all slip from cowardice, that's an axiom. It would be interesting to know what it is men are most afraid of. Taking a new step, uttering a new word is what they fear most."

"(When asked for her all-time favorite book:) I would say Dostoyevsky's Crime and Punishment, which had an enormous effect on me. I think young people today might not realize how readable that novel is."

"(You never felt a violent impact from a book?) CL: A bit, sometimes. I felt it with “Crime and Punishment,” by Dostoyevsky, which gave me a real fever."

"Seven years, only seven years! At the beginning of their happiness at some moments they were both ready to look on those seven years as though they were seven days. He did not know that the new life would not be given him for nothing, that he would have to pay dearly for it, that it would cost him great striving, great suffering. But that is the beginning of a new story – the story of the gradual renewal of a man, the story of his gradual regeneration, of his passing from one world into another, of his initiation into a new unknown life. That might be the subject of a new story, but our present story is ended."

"They were both pale and thin; but those sick pale faces were bright with the dawn of a new future, of a full resurrection into a new life. They were renewed by love. The heart of each held infinite sources of life for the heart of the other."

"How it happened he did not know. But all at once something seemed to seize him and fling him at her feet. He wept and threw his arms round her knees. For the first instant she was terribly frightened and she turned pale. She jumped up and looked at him trembling. But at the same moment she understood, and a light of infinite happiness came into her eyes. She knew and had no doubt that he loved her beyond everything and that at last the moment had come..."

"Mere existence had always been too little for him; he had always wanted more. Perhaps it was just because of the strength of his desires that he had thought himself a man to whom more was permissible than to others."

"Raskolnikov refused the water with his hand, and softly and brokenly, but distinctly said: "It was I who killed the old pawnbroker woman and her sister Lizaveta with an axe and robbed them.""

"Ah, it's not picturesque, not aesthetically attractive! I fail to understand why it is more honourable to shell some besieged town than to destroy by the blows of an axe."

"Brother, brother, what are you saying? Why, you have shed blood?" cried Dunia in despair. "Which all men shed," he put in almost frantically, "which flows and has always flowed in streams, which is spilt like champagne, and for which men are crowned in the Capitol and are called afterwards benefactors of mankind... If I had succeeded I should have been crowned with glory, but now I'm trapped."

"Nothing in the world is harder than speaking the truth and nothing easier than flattery. If there’s the hundredth part of a false note in speaking the truth, it leads to a discord, and that leads to trouble. But if all, to the last note, is false in flattery, it is just as agreeable, and is heard not without satisfaction. It may be a coarse satisfaction, but still a satisfaction. And however coarse the flattery, at least half will be sure to seem true. That’s so for all stages of development and classes of society."

"You ought to thank God, perhaps. How do you know? Perhaps God is saving you for something. But keep a good heart and have less fear! Are you afraid of the great expiation before you? No, it would be shameful to be afraid of it. Since you have taken such a step, you must harden your heart. There is justice in it. You must fulfill the demands of justice. I know that you don’t believe it, but indeed, life will bring you through. You will live it down in time. What you need now is fresh air, fresh air, fresh air!"

"Destitution, my dear sir, destitution – that is a sin."

"It was dark in the corridor, they were standing near the lamp. For a minute they were looking at one another in silence. Razumikhin remembered that minute all his life. Raskolnikov’s burning and intent eyes grew more penetrating every moment, piercing into his soul, into his consciousness. Suddenly Razumikhin started. Something strange, as it were passed between them... Some idea, some hint as it were, slipped, something awful, hideous, and suddenly understood on both sides... Razumikhin turned pale."

""Murderer!" he said suddenly in a quiet but clear and distinct voice. Raskolnikov went on walking beside him. His legs felt suddenly weak, a cold shiver ran down his spine, and his heart seemed to stand still for a moment, then suddenly began throbbing as though it were set free. So they walked for about a hundred paces, side by side in silence. The man did not look at him. "What do you mean... what is... Who is a murderer?" muttered Raskolnikov hardly audibly. "You are a murderer," the man answered still more articulately and emphatically, with a smile of triumphant hatred, and again he looked straight into Raskolnikov’s pale face and stricken eyes."

"It began with the socialist doctrine. You know their doctrine; crime is a protest against the abnormality of the social organization and nothing more, and nothing more; no other causes admitted!..."

"...Time is a fluid medium for the culture of metaphors."

"Here a heckler asked, with the arrogant air of one wanting to see a gentleman’s driving license, how did the “Prof” reconcile his refusal to grant the future the status of Time with the fact that it, the future, could hardly be considered nonexistent, since “it possessed at least one future, I mean, feature, involving such an important idea as that of absolute necessity.” Throw him out. Who said **I** shall die?"

"Man, in that sense, will never die, because there may never be a taxonomical point in his evolutionary progress that can be determined as the last stage of man in the cline turning him into Neohomo, or some horrible throbbing slime."

"Oh, come, art cannot hurt. It can and how!"

"Life, love, libraries, have no future."

"Remembrance, embers and membranes of beauty make artists and morons lose all self-control."

"Tropes are the dreams of speech."

"" 'All our old loves are corpses or wives.' All our sorrows are virgins or whores." (See Algernon Charles Swinburne: "Time turns the old days to derision, / Our loves into corpses or wives; / And marriage and death and division / Make barren our lives.")"

"But we are not 'different'! Think and dream are the same in French."

"...if people remembered the same they would not be different people."

"All bright kids are depraved."

"What (Ada asks) are eyes anyway? Two holes in the mask of life. What (she asks) would they mean to a creature from another corpuscle or milk bubble whose organ of sight was (say) an internal parasite resembling the written word 'deified'? What, indeed, would a pair of beautiful (human, lemurian, owlish) eyes mean to anybody if found lying on the seat of a taxi?"

"Remembrance, like Rembrandt, is dark but festive. Remembered ones dress up for the occasion and sit still. Memory is a photo-studio de luxe on an infinite Fifth Power Avenue."