Lolita Descriptive Quotes

I recall certain moments, let us call them icebergs in paradise, when after having had my fill of her –after fabulous, insane exertions that left me limp and azure-barred–I would gather her in my arms with, at last, a mute moan of human tenderness (her skin glistening in the neon light coming from the paved court through the slits in the blind, her soot-black lashes matted, her grave gray eyes more vacant than ever–for all the world a little patient still in the confusion of a drug after a major operation)–and the tenderness would deepen to shame and despair, and I would lull and rock my lone light Lolita in my marble arms, and moan in her warm hair, and caress her at random and mutely ask her blessing, and at the peak of this human agonized selfless tenderness (with my soul actually hanging around her naked body and ready to repent), all at once, ironically, horribly, lust would swell again–and 'oh, no,' Lolita would say with a sigh to heaven, and the next moment the tenderness and the azure–all would be shattered.

The only way to leave the circle, to stop dancing with the jailer, is to find a way to preserve one's individuality, that unique which evades description but differentiates one human being from the other.

The only way to leave the circle, to stop dancing with the jailer, is to find a way to preserve one's individuality, that unique quality which evades description but differentiates one human being from the other.

There is seldom a physical description of a character or scene in Pride and Prejudice and yet we feel that we have seen each of these characters and their intimate worlds; we feel we know them, and sense their surroundings. We can see Elizabeth's reaction to Darcy's denunciation of her beauty, Mrs. Bennet chattering at the dinner table or Elizabeth and Darcy walking in and out of the shadows of the Pemberley estate. The amazing thing is that all of this is created mainly through tone—different tones of voice, words that become haughty and naughty, soft, harsh, coaxing, insinuating, insensible, vain. The sense of touch that is missing from Austen's novels is replaced by a tension, an erotic texture of sounds and silences. She manages to create a feeling of longing by setting characters who want each other at odds.

The worst crime committed by totalitarian mind-sets is that they force their citizens, including their victims, to become complicit in their crimes. Dancing with your jailer, participating in your own execution, that is an act of utmost brutality. My students witnessed it in show trials on television and enacted it every time they went out into the streets dressed as they were told to dress. They had not become part of the crowd who watched the executions, but they did not have the power to protest them, either. The only way to leave the circle, to stop dancing with the jailer, is to find a way to preserve one's individuality, that unique quality which evades description but differentiates one human being from the other. That is why, in their world, rituals—empty rituals—become so central.

After class, I tell Strane that I see Lolita in the Wyeth painting and try to explain why—because the woman looks so beaten down with her skinny ankles, because the impassable distance between her and the house reminds me of the description of Lo at the end, pale, pregnant, and destined to die. Strane shakes his head and says for the millionth time that I assign too much significance to that novel. “We need to get you a new favorite book,” he says.

They had not become part of the crowd who watched the executions, but they did not have the power to protest them, either. The only way to leave the circle, to stop dancing with the jailer, is to find a way to preserve one’s individuality, that unique quality which evades description but differentiates one human being from the other.