Russian-American novelist, lepidopterist, professor (1899–1977)
Vladimir Vladimirovich Nabokov (22 April (O.S. 10 April) 1899 – 2 July 1977) was a Russian-American writer. He wrote his first literary works in Russian, but gained international prominence as a masterly prose stylist for the novels he composed in English; his Lolita (1955) is frequently cited as one of the most important novels of the 20th century.
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Your voice, through the beelike hum, was remote and anxious. It kept sliding into the distance and vanishing. I spoke to you with tightly shut eyes, and felt like crying. My love for you was the throbbing, welling warmth of tears. That is exactly how I imagined paradise: silence and tears, and the warm silk of your knees. This you could not comprehend.
Where is the happiness, the sunshine, where are those thick skittles of wood which crashed and bounced so nicely, where is my bicycle with the low handlebars and the big gear? It seems there's a law which says that nothing ever vanishes, that matter is indestructible; therefore the chips from my skittles and the spokes of my bicycle still exist somewhere to this day. The pity of it is that I'll never find them again - never.
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.
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IN ANSWER TO THE QUESTION: WHAT SCENES ONE WOULD LIKE TO HAVE FILMED
Shakespeare in the part of the King's Ghost.
The beheading of Louis the Sixteenth, the drums drowning his speech on the scaffold.
Herman Melville at breakfast, feeling a sardine to his cat.
Poe's wedding.
Lewis Carroll's picnics.
The Russians leaving Alaska, delighted with the deal.
Shot of a seal applauding.
We are absurdly accustomed to the miracle of a few written signs being able to contain immortal imagery, involutions of thought, new worlds with live people, speaking, weeping, laughing. We take it for granted so simply that in a sense, by the very act of brutish routine acceptance, we undo the work of the ages, the history of the gradual elaboration of poetical description and construction, from the treeman to Browning, from the caveman to Keats. What if we awake one day, all of us, and find ourselves utterly unable to read? I wish you to gasp not only at what you read but at the miracle of its being readable.