The Annotated Lolita: Revised and Updated Read Online Free PDF Page B

too, over their sense of what the vigorous performance had meant to me; but they saw how easily they could be tricked and their trust belied, and the shrillness of their laughter finally suggested that they recognized the frightening implications of what had happened, and that only laughter could steel them in their new awareness.
    When in 1966 I visited Vladimir Nabokov for four days in Montreux, to interview him for
Wisconsin Studies
and in regard to my critical study of his work, I told him about this incident, and how for me it defined literary involution and the response which he hoped to elicit from his readers at “the end” of a novel. “Exactly, exactly,” he said as I finished. “You must put that in your book.”
    In parodying the reader’s complete, self-indulgent identification with a character, which in its mindlessness limits consciousness, Nabokov is able to create the detachment necessary for a multiform, spatial view of his novels. The “two plots” in Nabokov’s puppet show are thus made plainly visible as a description of the total design of his work, which reveals that in novel after novel his characters try to escape from Nabokov’s prison of mirrors, struggling toward a self-awareness that only their creator has achieved by creating them—an involuted process which connects Nabokov’s art with his life, and clearly indicates that the author himself is not in this prison. He is its creator, and is
above
it, in control of a book, as in one of those Saul Steinberg drawings (greatly admired by Nabokov) that show a man drawing the very line that gives him “life,” in the fullest sense. But the process of Nabokov’s involution, the global perspective which he invites us to share with him, is best described in
Speak, Memory
, Chapter Fifteen, when he comments on the disinclination of
     … physicists to discuss the outside of the inside, the whereabouts of the curvature; for every dimension presupposes a medium within which it can act, and if, in the spiral unwinding of things, space warps into something akin to time, and time, in its turn, warps into something akin to thought, then, surely, another dimension follows—a special Space maybe, not the old one, we trust, unless spirals become vicious circles again.
     
    The ultimate detachment of an “outside” view of a novel inspires our wonder and enlarges our potential for compassion because, “in the spiral unwinding of things,” such compassion is extended to include the mind of an author whose deeply humanistic art affirms man’s ability to confront and order chaos.

2. BACKGROUNDS OF
LOLITA
     
    Critics too often treat Nabokov’s twelfth novel as a special case quite apart from the rest of his work, when actually it concerns, profoundly and in their darkest and yet most comic form, the themes which have always occupied him. Although
Lolita
may still be a shocking novel to several aging non-readers, the exact circumstances of its troubled publication and reception may not be familiar to younger readers. After four American publishers refused it, Madame Ergaz, of Bureau Littéraire Clairouin, Paris, submitted
Lolita
to Maurice Girodias’ Olympia Press in Paris. 10 Although Girodias must be credited with the publication of several estimable if controversial works by writers such as Jean Genet, his main fare was the infamous Travellers Companion series, the green-backed books once so familiar and dear to the eagle-eyed inspectors of the U.S. Customs. But Nabokov did not know this and, because of one of Girodias’ previous publishing ventures, the “Editions du Chěne,” thought him a publisher of “fine editions.” Cast in two volumes and bound in the requisite green,
Lolita
was quietly published in Paris in September 1955.
    Because it seemed to confirm the judgment of those nervous American publishers, the Girodias imprimatur became one more obstacle for
Lolita
to overcome, though the problem of its alleged pornography indeed