Vladimir Nabokov Quotes

Lolita: Oh my Carmen, my little Carmen…
Humbert: Charmin’ Carmen. Started garglin’
Lolita: I remember those sultry nights
Humbert: Those pre-raphaelites
Lolita: No, come on. And the stars and the cars and the bars and the barmen.
Humbert: And the bars that sparkled and the cars that parkled…And the curs that barkled and the birds that larkled.
Lolita: And oh my charmin, our dreadful fights
Humbert: Such dreadful blights
Lolita: And the something town where arm in…arm, we went, and our final row, and the gun I killed you with, o my Carmen…the gun I am holding now

I think she always nursed a small mad hope.

And she was mine, she was mine, the key was in my fist, my fist was in my pocket, she was mine.

Why our poet chose to give his 1958 hurricane a little-used Spanish name sometimes given to parrots) instead of Linda or Lois, is not clear.

No writer in a free country should be expected to bother about the exact demarcation between the sensuous and the sensual; this is preposterous; I can only admire but cannot emulate the accuracy of judgment of those who pose the fair young mammals photographed in magazines where the general neckline is just low enough to provoke a past master's chuckle and just high enough not to make a postmaster frown.

I cannot conceive how anybody in his right mind should go to a psychoanalyst.

We all have such fateful objects — it may be a recurrent landscape in one case, a number in another — carefully chosen by the gods to attract events of specific significance for us: here shall John always stumble; there shall Jane's heart always break.

Time is but memory in the making.

"My own ultraviolet darling. " Lolita

I need you, the reader, to imagine us, for we don't really exist if you don't.

She was only the faint violet whiff and dead leaf echo of the nymphet I had rolled myself upon with such cries in the past; an echo on the brink of a russet ravine, with a far wood under a white sky, and brown leaves choking the brook, and one last cricket in the crisp weeds.

But no aorta could report regret.

The cradle rocks above an abyss, and common sense tells us that our existence is but a brief crack of light between two eternities of darkness. Although the two are identical twins, man, as a rule, views the prenatal abyss with more calm than the one he is heading for (at some forty-five hundred heartbeats an hour). I know, however, of a young chronophobiac who experienced something like panic when looking for the first time at homemade movies that had been taken a few weeks before his birth. He saw a world that was practically unchanged-the same house, the same people- and then realized that he did not exist there at all and that nobody mourned his absence. He caught a glimpse of his mother waving from an upstairs window, and that unfamiliar gesture disturbed him, as if it were some mysterious farewell. But what particularly frightened him was the sight of a brand-new baby carriage standing there on the porch, with the smug, encroaching air of a coffin; even that was empty, as if, in the reverse course of events, his very bones had disintegrated.

What chatty Madam Shpolyanski mentioned had conjured up Mira's image with unusual force. This was disturbing. Only in the detachment of an incurable complaint, in the sanity of near death, could one cope with this for a moment. In order to exist rationally, Pnin had taught himself...never to remember Mira Belochkin - not because...the evocation of a youthful love affair, banal and brief, threatened his peace of mind...but because, if one were quite sincere with oneself, no conscience, and hence no consciousness, could be expected to subsist in a world where such things as Mira's death were possible. One had to forget - because one could not live with the thought that this graceful, fragile, tender young woman with those eyes, that smile, those gardens and snows in the background, had been brought in a cattle car and killed by an injection of phenol into the heart, into the gentle heart one had heard beating under one's lips in the dusk of the past.

Measure me while I live - after it will be too late.