Best 76 quotes in «lolita quotes» category

—we were bristling at each other as if she were still mine.

While you took a dull doll to pieces and threw its head away.

Why did I hope we would be happy abroad? A change of environment is that traditional fallacy upon which doomed loves, and lungs, rely.

With your little claws, Lolita.

wut good lo l

What I've always taken away from his words is the sense that we all have something that confines us, that seeks to define us, label us, belittling us in the process, shortchanging our potential. Can it be that that is our sanctuary, our refuge, our way to liberty?

You talk like a book.

Alas, I was unable to transcend the simple human fact that whatever spiritual solace I might find, whatever lithophanic eternities might be provided for me, nothing could make my Lolita forget the foul lust I had inflicted upon her. Unless it can be proven to me -to me as I am now, today, with my heart and my beard, and my putrefaction- that in the infinitue run it does not matter a jot that a North American girl-child names Dolores Haze had been deprived of her childhood by a maniac, unless this can be proven (and if it can, then life is a joke), I see nothing for the treatment of my misery but the melancholy and very local palliative of articulate art. To quote an old poet: The moral sense in mortals is the duty We have to pay on mortal sense of beauty.

All I ever wanted, nira I expected: Nonette, upon whom my life pivots. The name I give my fire when I lay down, defenseless before its majestic awfulness. A little no, a little negation. A French girly pout, the syllables for which have been found at last. All my hurt dug up, exposed for dissection in the glaring light, and finally melted away by the loving caresses of her yielding thighs. And the girl who took such simple job in this terrible duty. Nonette.

A moment later I heard my sweetheart running up the stairs. My heart expanded with such force that it almost blotted me out. I hitched up the pants of my pajamas, flung the door open: and simultaneously Lolita arrived, in her Sunday frock, stamping, panting, and the she was in my arms, her innocent mouth melting under the ferocious pressure of dark male jaws, my palpitating darling!

And I catch myself thinking today that our long journey had only been defiled with a sinuous trail of slime the lovely, trustful, dreamy, enormous country that by then, in retrospect, was no more to us than a collection of dog-eared maps, ruined tour books, old tires, and her sobs in the night - every night, every night - the moment I feigned sleep.

Because her name is not Lolita; her real name is Dolores, which as you know in Latin means `dolor.' So her real name is associated with sorrow and with anguish and with innocence. While Lolita becomes a sort of lightheaded, seductive and airy name, the Lolita of our novel is both of these at the same time. And in our culture here today, we only associate it with one aspect of that little girl, and the crassest interpretation of her.

And I still have other smothered memories, now unfolding themselves into limbless monsters of pain.

And I thought to myself how those fast little articles forget everything, everything, while we, old lovers, treasure every inch of their nymphancy

As palavras sem a experiência não teriam qualquer significado.

Él me destrozó el corazón. Tú destrozaste mi vida.

Aurora, you're a child, live like one, don't act like one. Enjoy the innocence, dump the immaturity.

Every fairy tale offers the potential to surpass present limits, so in a sense the fairy tale offers you freedoms that reality denies. In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance. The affirmation lies in the way the author takes control of reality by retelling it in his own way, thus creating a new world. Every great work of art, I would declare pompously, is a celebration, an act of insubordination against the betrayals, horrors and infidelities of life. The perfection and beauty of form rebels against the ugliness and shabiness of the subject matter. This is why we love "Madame Bovary" and cry for Emma, why we greedily read "Lolita" as our heart breaks for its small, vulgar, poetic and defiant orphaned heroine.

for did it not mean I was losing my darling, just when I had secretly made her mine?

Enchia-me o peito uma tempestade de soluços.

For me a work of fiction exists only insofar as it affords me what I shall bluntly call aesthetic bliss, that is a sense of being somehow, somewhere, connected with other states of being where art (curiosity, tenderness, kindness, ecstasy) is the norm. There are not many such books. All the rest is either topical trash or what some call the Literature of Ideas, which very often is topical trash coming in huge blocks of plaster that are carefully transmitted from age to age until somebody comes along with a hammer and takes a good crack at Balzac, at Gorki, at Mann.

For some reason, I kept seeing it—it trembled and silkily glowed on my damp retina—a radiant child of twelve, sitting on a threshold, "pinging" pebbles at an empty can.

For my nymphet I needed a diminutive with a lyrical lilt to it. One of the most limpid and luminous letters is "L". The suffix "-ita" has a lot of Latin tenderness, and this I required too. Hence: Lolita. However, it should not be pronounced as you and most Americans pronounce it: Low-lee-ta, with a heavy, clammy "L" and a long "o". No, the first syllable should be as in "lollipop", the "L" liquid and delicate, the "lee" not too sharp. Spaniards and Italians pronounce it, of course, with exactly the necessary note of archness and caress. Another consideration was the welcome murmur of its source name, the fountain name: those roses and tears in "Dolores." My little girl's heartrending fate had to be taken into account together with the cuteness and limpidity. Dolores also provided her with another, plainer, more familiar and infantile diminutive: Dolly, which went nicely with the surname "Haze," where Irish mists blend with a German bunny—I mean, a small German hare.

Good by-aye!" she chanted, my American sweet immortal dead love; for she is dead and immortal if you are reading this.

Heart-Shaped Glasses (When the Heart Guides the Hand), the first single from Eat Me, Drink Me, features a video filmed by Titanic director James Cameron. In it, Manson croons to Wood, who – with bobbed hair, gloves and a demure frock – blankly masturbates in an audience of writhing lesbians, Manson’s image reflected in her heart-shaped glasses. I wanted to like the song, but found Manson’s threadbare voice and overdubbed music annoying, and the chorus - 'Don’t break my heart/and I won’t break your heart-shaped glasses' – suggested a pugilistic retribution ('Dump me, and I’ll punch your lights out!') more in keeping with Norman Mailer than Nabokov.

He wrote to his father every day. His platoon called his dad a girlfriend.

I could not kill her, of course, as some have thought. You see, I loved her. It was love at first sight, at last sight, at ever and ever sight.

If you can get to be you, why can't I get to be me?

I have often noticed that we are inclined to endow our friends with the stability of type that literary characters acquire in the reader's mind. No matter how many times we reopen 'King Lear,' never shall we find the good king banging his tankard in high revelry, all woes forgotten, at a jolly reunion with all three daughters and their lapdogs. Never will Emma rally, revived by the sympathetic salts in Flaubert's father's timely tear. Whatever evolution this or that popular character has gone through between the book covers, his fate is fixed in our minds, and, similarly, we expect our friends to follow this or that logical and conventional pattern we have fixed for them.

Lolita is famous, not I. I am an obscure, doubly obscure, novelist with an unpronounceable name.

I often reread passages of "Lolita" for its exquisite language. To me, "Lolita" has no message, no purpose, other than to exist as a marvel of literary creation. It has wit, intelligence and style. It pointedly makes no attempt to serve a higher moral purpose, and previous attempts by critics to find one have proven ludicrous. The annotated edition is accompanied by a brilliant afterword by Nabokov that is a lucid reminder of the pure joy of writing, its interplay with life.

I saw the last piece of innocence unfurl inside of her. -Nick Plato (from the story Platonick)

I want pure colors, melting clouds, accurately drawn details, a sunburst above a receding road with the light reflected in furrows and ruts, after rain. And no girls ... There is one subject which I am emphatically opposed to: any kind of representation of a little girl.

Even in death, her mother was winning.

Gaston Godin, [...], had me gewaarschuwd dat het wel eens zo'n instelling zou kunnen blijken waar meisjes wordt geleerd, [...] 'lekker te ruiken in plaats van hun hersens te gebruiken'.

He also knew the language of The Klingons, but the army had no use for it.

Humbert Humbert: You know, I've missed you terribly. Lolita Haze: I haven't missed you. In fact, I've been revoltingly unfaithful to you. Humbert Humbert: Oh? Lolita Haze: But it doesn't matter a bit, because you've stopped caring anyway. Humbert Humbert: What makes you say I've stopped caring for you? Lolita Haze: Well, you haven't even kissed me yet, have you?

I appealed to her stale flesh very seldom, only in cases of great urgency and despair.

I ask you, what would you do if you could erase one bad memory and retain all that was beautiful in your life? Would you not move heaven and earth - and get loads of therapy - to have that?

I had ceased to be Humbert the Hound, the sad-eyed degenerate cur clasping the boot that would presently kick him away. I was above the tribulations of ridicule, beyond the possibilities of retribution. In my self-made seraglio, I was a radiant and robust Turk, deliberately, in the full consciousness of his freedom, postponing the moment of actually enjoying the youngest and frailest of his slaves.

I’ll put off reading Lolita for six more years until she turns 18.

I'm thinking of aurochs and angels, the secret of durable pigments, prophetic sonnets, the refuge of art, And this is the only immortality that you and I may share, my Lolita.

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. 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 now warn the reader not to mock me and my mental daze. It is easy for him and me to decipher now a past destiny; but a destiny in the making is, believe me, not one of those honest mystery stories where all you have to do is keep an eye on the clues. In my youth I once read a French detective tale where the clues were actually in italics; but that is not McFate's way—even if one does learn to recognize certain obscure indications.

I should have known (by the signs made to me by something in Lolita -- the real child Lolita or some haggard angel behind her back) that nothing but pain and horror would result form the expected rapture. Oh, winged gentleman of the jury!

It was something quite special, that feeling: an oppressive, hideous constraint as if I were sitting with the small ghost of somebody I had just killed.

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.

I was a daisy fresh girl and look what you've done to me.

Music is a form that tends to give shape to rules, social mores, social attitudes, feelings—it does this in a very beautiful, fluid way. To me the issue of form and formlessness is most strong in the theme of mortality versus a human wish for immortality of a sort. Take, for example, the definition of beauty in fashion. Remember what Alison says at the beginning? She says when she was young she didn’t know what beautiful was. She looked at this woman who everyone was saying was beautiful and she didn’t even know what they were talking about. I experienced that when I was a child. If I loved someone I thought they were really beautiful. And then eventually, I began to get it, the social concept of beauty. Not that I think beautiful is completely imaginary, but beauty is so wide ranging and fluid. Yet there’s a need to say: “This is what it is, and it’s not changing; we’re taking a picture of it to hold it still.” It’s like an impulse to put up a building meant to last forever. An urge to grab and hold something in place when nothing human can be grabbed and held in place. We come into these physical bodies . . . whatever we are takes this shape that is so particular and distinct—eyes, nose, mouth—and then it gradually begins to disintegrate. Eventually it’s going to dissolve completely. It’s a huge problem for people; we can understand it, but it breaks our hearts. And so we’re constantly trying to pin something down or leave a trace that will last forever. “And this is the only immortality you and I may share, my Lolita . . .” What other immortality will anyone share?

My heart seemed everywhere at once.