Lolita (Penguin Modern Classics)

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en Limba Engleză Carte Paperback – 02 Feb 2000
One of the most controversial novels of the twentieth century, Vladimir Nabokov's Lolita is a strange, troubling love story told by the one of the most unreliable narrators in literature. This Penguin Modern Classics edition includes an afterword by Craig Raine.
Poet and pervert, Humbert Humbert becomes obsessed by twelve-year-old Lolita and seeks to possess her, first carnally and then artistically, out of love, 'to fix once for all the perilous magic of nymphets'. Is he in love or insane? A silver-tongued poet or a pervert? A tortured soul or a monster? Or is he all of these? Humbert Humbert's seduction is one of many dimensions in Nabokov's dizzying masterpiece, which is suffused with a savage humour and rich, elaborate verbal textures. Filmed by Stanley Kubrick in 1962 starring James Mason and Peter Sellers, and again in 1997 by Adrian Lyne starring Jeremy Irons and Melanie Griffith, Lolita has lost none of its power to shock and awe.
'Lolita is comedy, subversive yet divine ... You read Lolita sprawling limply in your chair, ravished, overcome, nodding scandalized assent'
Martin Amis, Observer
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ISBN-13: 9780141182537
ISBN-10: 0141182539
Pagini: 336
Dimensiuni: 129 x 198 x 15 mm
Greutate: 0.24 kg
Editura: Penguin Books
Colecția Penguin Classics
Seria Penguin Modern Classics

Locul publicării: London, United Kingdom


He did us all an honour by electing to use, and transform, our language.
Nabokov can move you to laughter in the way that masters can - to laughter that is near to tears.
There's no funnier monster in modern literature than poor, doomed Humbert Humbert.

Notă biografică

Vladimir Vladimirovich Nabokov was born on April 23, 1899, in St. Petersburg, Russia. The Nabokovs were known for their high culture and commitment to public service, and the elder Nabokov was an outspoken opponent of antisemitism and one of the leaders of the opposition party, the Kadets. In 1919, following the Bolshevik revolution, he took his family into exile. Four years later he was shot and killed at a political rally in Berlin while trying to shield the speaker from right-wing assassins.

The Nabokov household was trilingual, and as a child Nabokov was already reading Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Tolstoy, and Chekhov, alongside the popular entertainments of Sir Arthur Conan Doyle and Jules Verne. As a young man, he studied Slavic and romance languages at Trinity College, Cambridge, taking his honors degree in 1922. For the next eighteen years he lived in Berlin and Paris, writing prolifically in Russian under the pseudonym Sirin and supporting himself through translations, lessons in English and tennis, and by composing the first crossword puzzles in Russian. In 1925 he married Vera Slonim, with whom he had one child, a son, Dmitri.

Having already fled Russia and Germany, Nabokov became a refugee once more in 1940, when he was forced to leave France for the United States. There he taught at Wellesley, Harvard, and Cornell. He also gave up writing in Russian and began composing fiction in English. In his afterword to Lolita he claimed: "My private tragedy, which cannot, and indeed should not, be anybody's concern, is that I had to abandon my natural idiom, my untrammeled, rich, and infinitely docile Russian tongue for a second-rate brand of English, devoid of any of those apparatuses–the baffling mirror, the black velvet backdrop, the implied associations and traditions–which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way." [p. 317] Yet Nabokov's American period saw the creation of what are arguably his greatest works, Bend Sinister (1947), Lolita (1955), Pnin (1957), and Pale Fire (1962), as well as the translation of his earlier Russian novels into English. He also undertook English translations of works by Lermontov and Pushkin and wrote several books of criticism. Vladimir Nabokov died in Montreux, Switzerland, in 1977.

Textul de pe ultima copertă

As it charts the hypnotized progress of Humbert Humbert, a hypercivilized and amoral European emigre, into the orbit of a treacherously lovely and utterly unimpressionable preteen, Lolita: A Screenplay gleefully demolishes a host of stereotypes - sexual, moral, and aesthetic. Not least among the casualties is the notion that cinema and literature are two separate spheres. For in his screenplay, Nabokov married the structural and narrative felicities of great cinema to prose as sensuously entrancing as any he had ever written, resulting in a work that will delight cineasts and Nabokovians alike.