Lolita by Vladimir Nabokov. LOLITAThis review contains SPOILERS, but if you've been living on this planet, you probably knew about them already.. Daddy, are we there yet? Are we there YET? Daddy, how much longer still? I want to go home!

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Hush little one, now Say your prayers Don't forget my little nymph To include everyone I tuck you in Warm within Keep you free from sin 'Til the sandman he comes Sleep with one eye open Gripping your pillow tight Exit light Enter night Take my hand We're off to never never- land Something's wrong, shut the light Heavy thoughts tonight And they aren't of snow white Dreams of war Dreams of lies Dreams of dragons fire And of things that will bite, yeah Sleep with one eye open Grippin' your pillow tight Exit light Enter night Take my hand We're off to never never- land Now I lay me down to sleep Pray the lord my soul to keep And if I die before I wake Pray the lord my soul to take Hush little baby don't say a word And never mind that noise you heard It's just the beast under your bed In your closet in your head SOUNDTRACK AND VIDEO: http: //www. CD- E- L.. Vladimir Nabokov slyly catches the reader in plenty of traps with his twisting perspectives in this wrenching tale of brokenness, passion, insanity, obsession, and, .. VERY SHORT PLOT DESCRIPTION: A broken, sociopathic middle- aged man with strong pedophilic tendencies, plots, lies and connives his way into gaining control over a pubescent 1. Well, this is where the plot thickens, and where the novel's real punch lies. CHARACTERIZATION IN THE NOVELThe characterization, these shimmering, phantasmagorical mirages that are Humbert Humbert and Lolita, this is where Nabokov has exhibited pure genius. We initially see Lolita only through the eyes of Humbert, our typical unreliable narrator, so the reader has to constantly "read between the lines" to try and figure out what is really going on with the girl, and Nabokov does a beautiful job of creating a sympathetic portrait of the trajectory of a painfully tragic young life. As for Humbert, from the outset one gets the impression that Nabokov is toying with the reader, when he introduces us to Humbert, creating the perfect unreliable narrator who even, right from the start, mentions that he has been institutionalized for bouts of insanity, also showing his sociopathic side by mentioning the games he likes to play with psychiatrists and therapists.

He also makes no bones about the fact that he is a raging pedophile who can barely restrain his lust at the sight of 9- 1. So, definitely not a sympathetic character. Plus there is ample reason to distrust him and to watch out carefully for inconsistencies in his version of events. Indeed, inconsistencies in what Humbert tells us, are rife.

Watch carefully what he tells us at the start of the novel, and see how what he says tends to be contradicted later on either by himself, or by what the other characters tell us. Nabokov lays it on so thick, that Humbert, who finds 1. Humbert nurtures a fantasy that a large amount of pubescent and pre- pubescent girls are dangerous demonic little seductresses just ripe and waiting to be picked, whom he dubs "nymphets". There is a lot not to like about this character for most of the novel: In the first sections of the narrative, one learns that he sees women (and actually all humans, for that matter) merely as vehicles to further his own pleasure, to be disposed of if they don't serve his personal interests in some way. He is uncommonly uncharitable towards his first wife, as a start.

He sees all little girls purely in terms of how sensually appealing and therefore potentially sexually satisfying they may be for him. He often fantasizes about visiting violence and even death upon those that get in the way of his needs.

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You think to yourself what a misogynistic, uncharitable, selfish, violent, conniving, sociopathic freak this narrator is. How much more hateful can a writer make a character? Quite a bit more, it would appear, as one reads on. Humbert marries the hapless Charlotte, being in her thirties much too old for his tastes, for the sole and only reason to get to her "nymphet" daughter of twelve, and here enters an interesting ingredient of the novel, being Nabokov's use of irony. IRONYHumbert plots to kill Charlotte to get her out of the way, at which point Nabokov's bits of ironic black humor in the form of fate's role, humorously referred to by Humbert as "Mc. Fate", comes to the fore. It turns out that if Humbert had followed through with drowning his wife as planned, he would have been spotted by the local landscape painter, and therefore he was "saved by the bell" of his own inaction.

Fate then "rewards" him when his wife, blinded by tears when she finds out about his secret passion for her daughter after reading his diary, runs in front of a car and is conveniently killed. After spinning a web of lies and connivances, Humbert is now finally free to fetch his stepdaughter from summer camp in order to "enjoy" her.

He plans to feed her nightly doses of sleeping pills in order to rape her in her sleep, but once again Mc Fate intervenes, and after finding that the sleeping pills don't work, Humbert is delighted when Lolita willingly submits to him. Throughout the novel, Nabokov spins a shimmery web of illusion. How much of what Humbert says is true?

After all, we already know that he is a lying, conniving sociopath, right? Mc Fate keeps intervening in interesting ways, but fate is not the only source of irony in the novel. Another source of irony, for instance, is the way that Humbert views himself. One of the tongue- in- cheek aspects of Humbert's character is his narcissism. Right from the start, Humbert keeps referring to his own "good looks" but Nabokov cleverly makes the reader aware that he is actually a huge, thick- fingered, hairy dark beetlebrowed creature resembling an ape. He also constantly speaks of his: "polite European way" while we realize that he is actually just a dork. AMBIGUITY AND DOUBTWhen Lolita, who had apparently already lost her virginity to some young boy before Humbert has intercourse with her the first time, says, later on, that Humbert had raped her on that first day, is she merely being playful, or is this a clue towards what had really happened?

Why does Lolita have to be bribed into every caress, bullied into every act of intercourse- - into "doing her duty" as Humbert sees it, just as if she were his little medieval wife and owed him a wifely duty. A 'right' which he claims very often, to the poor girl's chagrin.) Why, if she was really happy to go along with things, does Humbert have to keep threatening her, why does he refer to her as his captive? Through his genius, Nabokov does not immediately reveal these clues, he sows increasing seeds of doubt throughout the text as one progresses with the plot. Only in increments, does one see the damage that is being done to Lolita.

The first thing one realizes, is that Humbert is robbing her of a sizable portion of her education, as he keeps her out of school for at least a year on road trips designed to camouflage the fact that what he was actually after, was to have sexual relations with the girl as much as was practically possible. As their life together progresses, Nabokov shows how she is being deprived of the normal social development so crucial to humans in this early phase of life, as Lolita starves for young company, and eventually for *any* company outside that of Humbert's oppressive presence.

Toward the end, Humbert relents regarding his descriptions of Lolita as an evil seductress when he admits that Lolita is actually a "conservative" person, deeply damaged by the incestuous nature of their relationship.