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For other uses, see Lolita (disambiguation).

LOLITA is a natural language processing system developed by Durham University. The name is an acronym for "Large-scale, Object-based, Linguistic Interactor, Translator and Analyzer.

LOLITA was developed by Roberto Garigliano and colleagues between 1986 and 2000. It was designed as a general-purpose tool for processing unrestricted text that could be the basis of a wide variety of applications. At its core was a semantic network containing some 90,000 interlinked concepts. Text could be parsed and analysed then incorporated into the semantic net, where it could be reasoned about (Long and Garigliano, 1993). Fragments of the semantic net could also be rendered back to English or Spanish.

Several applications were built using the system, including financial information analysers and information extraction tools for Darpa’s “Message Understanding Conference Competitions” (MUC-6 and MUC-7). The latter involved processing original Wall Street Journal articles, to perform tasks such as identifying key job changes in businesses and summarising articles. LOLITA was one of a small number of systems worldwide to compete in all sections of the tasks. A system description and an analysis of the MUC-6 results were written by Callaghan (Callaghan, 1998).

LOLITA was an early example of a substantial application written in a functional language: it consisted of around 50,000 lines of Haskell, with around 6000 lines of C. It is also a complex and demanding application, in which many aspects of Haskell were invaluable in development.

LOLITA was designed to handle unrestricted text, so that ambiguity at various levels was unavoidable and significant. Laziness was essential in handling the explosion of syntactic ambiguity resulting from a large grammar, and it was much used with semantic ambiguity too. The system used multiple "domain specific embedded languages" for semantic and pragmatic processing and for generation of natural language text from the semantic net. Also important was the ability to work with complex abstractions and to prototype new analysis algorithms quickly.^[1]

See also

• Computational linguistics

References

External links

• Lolita Progress Report #1 1992
• http://www-fp.dcs.st-and.ac.uk/~kh/papers/ABSTRACTS.html A collection of papers on parallelism in Haskell, Lolita frequently being one of or the primary test cases
• Belief Modeling for Discourse Plans -(Garagani 1997)

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For other uses, see Lolita (disambiguation).

Lolita

Cover of the first British edition Cover art of the first British edition
Author	Vladimir Nabokov
Country	Russia/USA
Language	English, Russian
Genre(s)	Tragicomedy, novel
Publisher	Olympia Press, G. P. Putnam's, Weidenfeld & Nicolson, Fawcett, Transworld (Corgi), Phaedra
Publication date	1955
Media type	Print (hardback & paperback)
Pages	368 pp (recent paperback edition)
ISBN	ISBN 1-85715-133-X (recent paperback edition)

Lolita (1955) is a novel by Vladimir Nabokov. The novel was first written in English and published in 1955 in Paris, later translated by the author into Russian and published in 1967 in New York. The novel is both internationally famous for its innovative style and infamous for its controversial subject: the book's narrator and protagonist Humbert Humbert becoming sexually obsessed with a twelve-year-old girl named Dolores Haze.

After its publication, the novel attained a classic status, becoming one of the best known and most controversial examples of 20th century literature. The name "Lolita" has entered pop culture to describe a sexually precocious young girl.

The novel has been adapted to film twice, once in 1962 by Stanley Kubrick starring James Mason as Humbert Humbert, and again in 1997 by Adrian Lyne, starring Jeremy Irons.

Plot summary

Lolita is a prison memoir, narrated by Humbert Humbert (a pseudonym), a Swiss "salad of racial genes". Humbert was a scholar of French literature, born in 1910 in Paris, and raised in his father's Riviera hotel after his young mother is killed in a way the narrator describes in an offhand, parenthetical manner: "(picnic, lightning)". Humbert is tormented by a passion for what he calls 'nymphets' (sexually desirable but very young girls), which he postulates was set in motion by his failure to consummate an affair with a childhood seaside sweetheart, Annabel Leigh, before her premature death from typhus. After a ridiculously failed marriage with the lumpen Valeria (Valechka), who leaves him for a White Russian emigre, Humbert leaves Paris for New York shortly before the start of World War II, during which he writes a textbook of French literature. In 1947, he moves to Ramsdale, a small New England town, to write. He rents a room in the home of Charlotte Haze, a widow, but only after first seeing her twelve-year-old daughter Dolores (Dolly, Lolita, Lola, Lo, L) sunbathing in the garden. Humbert is instantly besotted by her, and does anything to be near her, including putting up with her mother, whom he dislikes.

Charlotte becomes his unwitting pawn in his quest to make Lolita a part of his living fantasy. When Mrs. Haze drives Lolita off to summer camp, she leaves an ultimatum for Humbert, saying that he must marry her (for she has fallen madly in love with him) or move out. Humbert chooses the former for the sole reason of making Lolita his stepdaughter, intending to use heavy sedatives on both her and her mother so he can molest Lolita in her sleep, although we never learn specifically what he plans to do.

Humbert starts to write a diary recording his life in Ramsdale, and more specifically his relationship with Lolita. He locks the diary in a drawer. While Humbert is in town and Lolita is away at camp, Charlotte (who expresses a morbid jealousy of, and interest in, her new husband's past love life) manages to open the drawer and finds his diary, which details his lack of interest in Charlotte and impassioned lust for her daughter. Horrified and humiliated, Charlotte decides to flee with her daughter. Before doing so, she writes three letters—to Humbert, Lolita, and a strict boarding school for young ladies to which she apparently intended to send her daughter. Charlotte confronts Humbert when he returns home. Retreating to the kitchen, he tells her that the diary entries are just notes for a novel. But Charlotte has already bolted from the house to post the letters. Crossing the street, she is struck and killed by a passing motorist. A child retrieves the letters and gives them to Humbert, who destroys them.

Humbert picks Lolita up from camp, telling her that her mother is desperately ill in hospital, and takes her to The Enchanted Hunters, a hotel of regional repute, intending to use the sleeping pills on her. They have little effect on her, however. She instead seduces Humbert (the first of only two times she is recorded as doing so) —and he discovers that he isn't her first lover, as she had a sexual affair at summer camp with the camp mistress' son. After leaving the hotel, Humbert tells the now-troublesome Lolita that her mother is dead. Alone and frightened, Lolita has no choice but to accept Humbert into her life on his terms. Driving Lolita around the country in Charlotte's car, moving from state to state and motel to motel, Humbert bribes Lolita for sexual favours. Eventually they settle down in another New England town, with Humbert posing as Lolita's father and Lolita enrolled in a private girls' school where the headmistress sees Humbert's possessive supervision as that of a strict old-world European parent.

Humbert nevertheless is persuaded to allow Lolita to take part in a school theatrical club (extracting additional sexual favours from her in exchange for his permission). Ominously, the title of the play — The Hunted Enchanters - is similar to the name of the hotel where they technically became lovers. Lolita is enthusiastic about the play and is said to have impressed the playwright, who attended a rehearsal, but before opening night she and Humbert have a ferocious argument and she bolts from the house. Found by Humbert a few minutes later, Lolita declares that she wants to immediately leave town and resume their travels. Humbert is delighted, but increasingly guarded as they again drive westward, nagged by a feeling that they are being followed and that Lolita knows who the follower is. He is right: Clare Quilty, an acquaintance of Charlotte's, nephew to the local dentist in Ramsdale, and the author of the play being performed at Lolita's school, himself a pedophile and amateur pornographer, is tailing the couple in accordance with a secret plan of escape devised together with Lolita. While Humbert becomes increasingly paranoid about being tailed, Lolita becomes ill and recuperates in a nearby hospital. One night she checks out with her "uncle", who has paid the hospital bill. Humbert, still clueless as to the identity of Lolita's abductor, makes farcical and frantic attempts to find them by inspecting various motel-register aliases, laced by Quilty with insults and jokes flavored with literary allusions.

During this period Humbert has a chaotic, two-year love-affair with a petite alcoholic named Rita, who at thirty is ten years younger than himself and a passable physical substitute for Lolita. By 1952 Humbert has settled down as a scholar at a small academic institute. One day he receives a letter from Lolita, now 17, who tells him that she is married, pregnant, and in desperate need of funds. Armed with a gun, Humbert, still driving Charlotte's car, sees Lolita again. She tells him that her husband, a nearly deaf war-veteran and the father of her unborn child, was not her abductor. Humbert offers to give Lolita his entire financial worth if she will reveal his identity. Lolita complies, saying that she really loved Quilty but the affair ended when he threw her out after she refused to perform fellatio on Quilty's young boyfriends.

Leaving Lolita forever, Humbert surprises Quilty at his mansion. Quilty begins to go insane when he sees Humbert's gun. After a mutually exhausting struggle for it, Quilty, now fully mad with fear, merely responds politely as Humbert shoots him repeatedly. He finally dies with comical disinterest. Humbert is exhausted and disoriented. Arrested for murder, he writes the book he entitles Lolita, or The Confessions of a White Widowed Male, while awaiting trial. Upon finishing, he dies of coronary thrombosis. He is thus unaware that Lolita leaves with her husband to the remote Northwest where she too dies, during childbirth, on Christmas Day, 1952.

Style and interpretation

The novel is a tragicomedy narrated by Humbert, who riddles the narrative with wordplay and his wry observations of American culture. His humor provides an effective counterpoint to the pathos of the tragic plot. The novel's flamboyant style is characterized by word play, double entendres, multilingual puns, anagrams, and coinages such as nymphet, a word that has since had a life of its own and can be found in most dictionaries, and the lesser used "faunlet". Nabokov's Lolita is far from an endorsement of pedophilia, since it dramatizes the tragic consequences of Humbert's obsession with the young heroine. Nabokov himself described Humbert as "a vain and cruel wretch" and "a hateful person" (quoted in Levine, 1967).

Humbert is a well-educated, multilingual, literary-minded European émigré, as is Nabokov. But Humbert is also extraordinarily handsome, and he asks the reader to bear that fact in mind. He fancies himself a great artist, but lacks the curiosity that Nabokov considers essential. Humbert tells the story of a Lolita that he creates in his mind because he is unable and unwilling to listen to the actual girl and accept her on her own terms. In the words of Richard Rorty, from his famous interpretation of Lolita in Contingency, Irony, and Solidarity, Humbert is a "monster of incuriosity".

Some critics have accepted Humbert's version of events at face value. In 1959, novelist Robertson Davies excused the narrator entirely, writing that the theme of Lolita is "not the corruption of an innocent child by a cunning adult, but the exploitation of a weak adult by a corrupt child".

Most writers, however, have given less credit to Humbert and more to Nabokov's powers as an ironist. Martin Amis, in his essay on Stalinism, Koba the Dread, proposes that Lolita is an elaborate metaphor for the totalitarianism that destroyed the Russia of Nabokov's childhood (though Nabokov states in his Afterword that he "[detests] symbols and allegories"). Amis interprets it as a story of tyranny told from the point of view of the tyrant. "All of Nabokov's books are about tyranny," he says, "even Lolita. Perhaps Lolita most of all".

In 2003, Iranian expatriate Azar Nafisi published the memoir Reading Lolita in Tehran about a covert women's reading group. In this book the psychological and political interpretations of Lolita are united, since as female intellectuals in Iran, Nafisi and her students were denied both public liberty and private sexual selfhood. Although rejecting a too-easy identification of Lolita's captivity with that of her students ("...we were not Lolita, the Ayatollah was not Humbert...") Nafisi writes of her students' strong emotional connection with the book: "what linked us so closely was this perverse intimacy of victim and jailer" and "like Lolita we tried to escape and create our own little pockets of freedom".

For Nafisi, the essence of the novel is Humbert's solipsism and his erasure of Lolita's independent identity. She writes: "Lolita was given to us as Humbert's creature [...] To reinvent her, Humbert must take from Lolita her own real history and replace it with his own [...] Yet she does have a past. Despite Humbert's attempts to orphan Lolita by robbing her of her history, that past is still given to us in glimpses".

One of the novel's early champions, Lionel Trilling, warned in 1958 of the moral difficulty in interpreting a book with so eloquent and so self-deceived a narrator: "we find ourselves the more shocked when we realize that, in the course of reading the novel, we have come virtually to condone the violation it presents [...] we have been seduced into conniving in the violation, because we have permitted our fantasies to accept what we know to be revolting".

Publication and reception

Due to its subject matter, Nabokov was unable to find an American publisher for Lolita. After four refused, he finally resorted to the Olympia Press in Paris. Although the first printing of 5,000 copies sold out, there were no substantial reviews. Eventually, at the end of 1954, Graham Greene, in an interview with the (London) Times, called it one of the best novels of 1954. This statement provoked a response from the (London) Sunday Express whose editor called it "the filthiest book I have ever read" and "sheer unrestrained pornography." British Customs officers were then instructed by a panicked Home Office to seize all copies entering the United Kingdom. In December 1956 the French followed suit and the Minister of the Interior banned Lolita (the ban lasted for two years). Its eventual British publication by Weidenfeld & Nicolson caused a scandal which contributed to the end of the political career of one of the publishers, Nigel Nicolson. ^[2]

By complete contrast, American officials were initially nervous, but the first American edition was issued without problems by G.P. Putnam's Sons in 1958, and was a bestseller, the first book since Gone with the Wind to sell 100,000 copies in the first three weeks of publication.

Today, it is considered by many one of the finest novels written in the 20th century. In 1998, it was named the fourth greatest English language novel of the 20th century by the Modern Library. Nabokov rated the book highly himself. In an interview for BBC Television in 1962 he said,

Lolita is a special favourite of mine. It was my most difficult book—the book that treated of a theme which was so distant, so remote, from my own emotional life that it gave me a special pleasure to use my combinational talent to make it real.

Two years later, in 1964's interview for Playboy he said,

I shall never regret Lolita. She was like the composition of a beautiful puzzle—its composition and its solution at the same time, since one is a mirror view of the other, depending on the way you look. Of course she completely eclipsed my other works—at least those I wrote in English: The Real Life of Sebastian Knight, Bend Sinister, my short stories, my book of recollections; but I cannot grudge her this. There is a queer, tender charm about that mythical nymphet.

At the same year, in the interview for Life Nabokov was asked, "Which of your writings has pleased you most?". He answered,

I would say that of all my books Lolita has left me with the most pleasurable afterglow—perhaps because it is the purest of all, the most abstract and carefully contrived. I am probably responsible for the odd fact that people don't seem to name their daughters Lolita any more. I have heard of young female poodles being given that name since 1956, but of no human beings.

The Enchanter and other precursors

In 1985, The Enchanter, an English translation of a Nabokov novella originally titled Volshebnik (Волшебник) was published posthumously. Volshebnik was written in Russian, while Nabokov was living in France in 1939. It can be seen as an early version of Lolita but with significant differences: the action takes place in central Europe, and the protagonist is unable to consummate his passion with his stepdaughter, leading to his suicide.

In chapter 3 of earlier novel The Gift (written in Russian in 1935-1937) the similar gist of Lolita's first chapter is outlined to the protagonist Fyodor Cherdyntsev by Zina's obnoxious father-in-law named Schegolev as an idea of novel he would like to write. According to Schegolev the episode took place "in reality" and involved one of his acquaintances.

In early April of 1947 Nabokov has written to Edmund Wilson: "I am writing ... a short novel about a man who liked little girls - and it's going to be called The Kingdom by the Sea ...". The latter work eventually was expanded into Lolita in course of eight following years.

Allusions/references to other works

• Humbert Humbert's first love, Annabel Leigh, is named after the woman in the poem "Annabel Lee" by Edgar Allan Poe. In fact, their young love is described in phrases borrowed from Poe's poem. Nabokov originally intended Lolita to be called The Kingdom by the Sea,^[3] drawing on the rhyme with Annabel Lee that was used in the first verse of Poe's work. The conclusion of the first chapter – "Ladies and gentlemen of the jury, exhibit number one is what the seraphs, the misinformed, simple, noble-winged seraphs, envied. Look at this tangle of thorns." – is also a reference to the poem. ("With a love that the winged seraphs in heaven / Coveted her and me.")
• Humbert Humbert's double name recalls Poe's "William Wilson", a tale in which the main character is haunted by his doppelgänger, paralleling to the presence of Humbert's own doppelgänger, Clare Quilty. Humbert is not, however, his real name, but a chosen pseudonym (and perhaps a reference to binomial nomenclature).
• Humbert Humbert's field of expertise is French literature (one of his jobs is writing a series of educational works that compare French writers to English writers), and as such there are several references to French literature, including the authors Gustave Flaubert, Marcel Proust, François Rabelais, Charles Baudelaire, Prosper Mérimée and Pierre de Ronsard.
• In chapter 13, Humbert Humbert quotes "to hold thee lightly on a gentle knee and print on thy soft cheek a parent's kiss" from Lord Byron's Childe Harold's Pilgrimage.
• In chapter 35, Humbert's "death sentence" on Clare Quilty parodies the rhythm and use of anaphora in T. S. Eliot's poem Ash Wednesday.
• The line "I cannot get out, said the starling" from Humbert's poem is taken from a passage in Laurence Sterne's A Sentimental Journey Through France and Italy, "The Passport, the Hotel De Paris."

Possible real-life prototype

According to Alexander Dolinin,^[4] the prototype of Lolita was 11-year-old Florence Horner, kidnapped in 1948 by a 50-year-old pedophile mechanic, Frank La Salle, who had caught her stealing a five-cent notebook. La Salle travelled with her over various states for 21 months and is believed to have had sex with her. He claimed that he was an FBI agent and threatened to “turn her in” for the theft and to send her to "a place for girls like you." The Horner case was not widely reported, but Dolinin adduces various similarities in events and descriptions.

The problem with this suggestion is that Nabokov had already used the same basic idea – that of a child molester and his victim booking into a hotel as man and daughter – in his then unpublished 1939 work Volshebnik (Волшебник). This not to say, however, that Nabokov could not have drawn on some details of the Florence Horner case in writing Lolita, and the La Salle case is mentioned explicitly in Chapter 33 of Part II:

"(Had I done to Dolly, perhaps, what Frank Lasalle, a fifty-year-old mechanic, had done to eleven-year-old Sally Horner in 1948?)"

Heinz von Eschwege's "Lolita"

German academic Michael Maar's book The Two Lolitas (ISBN 1-84467-038-4) describes his recent discovery of a 1916 German short story titled "Lolita" about a middle-aged man travelling abroad who takes a room as a lodger and instantly becomes obsessed with the preteen girl (also named Lolita) who lives in the same house. Maar has speculated that Nabokov may have had cryptomnesia (a "hidden memory" of the story that Nabokov was unaware of) while he was composing Lolita during the 1950s. Maar says that until 1937 Nabokov lived in the same section of Berlin as the author, Heinz von Eschwege (pen name: Heinz von Lichberg), and was most likely familiar with his work, which was widely available in Germany during Nabokov's time there.^[5][6] The Philadelphia Inquirer, in the article "Lolita at 50: Did Nabokov take literary liberties?" says that, according to Maar, accusations of plagiarism should not apply and quotes him as saying: "Literature has always been a huge crucible in which familiar themes are continually recast... Nothing of what we admire in Lolita is already to be found in the tale; the former is in no way deducible from the latter." See also Jonathan Lethem in Harper's on this story. [6]

Nabokov's afterword

In 1956, Nabokov penned an afterword to Lolita ("On a Book Entitled Lolita") that was included in every subsequent edition of the book.

In the afterword, Nabokov wrote that "the initial shiver of inspiration" for Lolita "was somehow prompted by a newspaper story about an ape in the Jardin des Plantes who, after months of coaxing by a scientist, produced the first drawing ever charcoaled by an animal: this sketch showed the bars of the poor creature's cage.” Neither the article nor the drawing has been recovered.

In response to an American critic who characterized Lolita as the record of Nabokov's "love affair with the romantic novel", Nabokov wrote that "the substitution of 'English language' for 'romantic novel' would make this elegant formula more correct.”

Nabokov concluded the afterword with a reference to his beloved first language, which he abandoned as a writer once he moved to the United States in 1940: "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."

Russian translation

Nabokov translated Lolita into Russian; the translation was published by Phaedra in New York in 1967.

Film, TV or theatrical adaptations

• Lolita has been filmed twice: the first adaptation was made in 1962 by Stanley Kubrick, and starred James Mason, Shelley Winters, Peter Sellers and, as Lolita, Sue Lyon; and a second adaptation in 1997 by Adrian Lyne, starring Jeremy Irons, Dominique Swain, and Melanie Griffith. Nabokov was nominated for an Academy Award for his work on the earlier film's adapted screenplay, although little of this work reached the screen. The more recent version was given mixed reviews by critics. It was delayed for over a year because of its controversiality, and also was not released in Australia until 1999.
• Nabokov's own version of the screenplay (dated Summer 1960 and revised December 1973) for Kubrick's film was published by McGraw-Hill in 1974.
• The book was adapted into a musical in 1971 by librettist/lyricist Alan Jay Lerner and composer John Barry under the title Lolita, My Love. Critics were surprised at how sensitively the story was translated to the stage, but the show nonetheless closed on the road before it opened in New York.
• In 1982, Edward Albee adapted the book into a nonmusical play. It was savaged by critics, Frank Rich notably attributing the temporary death of Albee's career to it.

Influence on language and popular culture

The term lolita has come to be used to refer to an adolescent girl considered to be very seductive, especially one younger than the age of consent. This meaning of the word is somewhat ironic in that the Lolita of the novel is described by both her mother and by Humbert as lacking conventional beauty. In Strong Opinions, Nabokov opines that he is "probably responsible" for parents not naming their children "Lolita" anymore. Indeed, the town of Lolita, Texas nearly changed its name after the novel gained notoriety.

The Police song "Don't Stand So Close To Me" has the lyrics "It's no use, he sees her, he starts to shake and cough, just like the old man in that book by Nabokov."

In the book itself, "Lolita" is specifically Humbert's nickname for Dolores, and "nymphet" is the general term for the type of young girl to whom Humbert is attracted.

References

• Nabokov Library
• Appel, Alfred Jr. (1991). The Annotated Lolita (revised ed.). New York: Vintage Books. ISBN 0-679-72729-9.

:One of the best guides to the complexities of Lolita. First published by McGraw-Hill in 1970. (Nabokov was able to comment on Appel's earliest annotations, creating a situation which Appel described as being like John Shade revising Charles Kinbote's comments on Shade's poem Pale Fire. Oddly enough, this is exactly the situation Nabokov scholar Brian Boyd proposed to resolve the literary complexities of Nabokov's Pale Fire.)

• Levine, Peter (1967) "Lolita and Aristotle's Ethics" in Philosophy and Literature Volume 19, Number 1, April 1995, pp. 32-47
• Nabokov, Vladimir (1955). Lolita. New York: Vintage International. ISBN 0-679-72316-1.

:The original novel.

• "Zembla"

:A resource of the Arts & Humanities Library of the Pennsylvania State University Libraries, home of the International Vladimir Nabokov Society and its publication The Nabokovian.

See also

• Pedophilia and child sexual abuse in fiction
• Pedophilia and child sexual abuse in films
• Florence Sally Horner

External links

• NPR: 50 Years Later, Lolita Still Seduces Readers
• "The Lolita Question" (Stanford Magazine)
• Slate (magazine): Lolita at 50 - Is Nabokov's masterpiece still shocking?
• Photos of the first edition of Lolita
• Lolita USA: The itineraries of Humbert's and Lolita's two voyages across the U.S.A. 1947–1949, with maps and pictures
• Lolita Calendar - A detailed and referenced inner chronology of Nabokov's novel

•  • [ e] The works of Vladimir Nabokov
Novels :	Mary • King, Queen, Knave • The Defense • The Eye • Glory • Laughter in the Dark • Despair • Invitation to a Beheading • The Gift • The Enchanter • The Real Life of Sebastian Knight • Bend Sinister • Lolita • Pnin • Pale Fire • • Transparent Things • Look at the Harlequins! • The Original of Laura
Short stories :	The Wood-Sprite • Russian Spoken Here • Sounds • Wingstroke • Gods • A Matter of Chance • The Seaport • Revenge • Beneficence • Details of a Sunset • The Thunderstorm • La Veneziana • Bachmann • The Dragon • Christmas • A Letter That Never Reached Russia • The Fight • The Return of Chorb • A Guide to Berlin • A Nursery Tale • Terror • Razor • The Passenger • The Doorbell • An Affair of Honor • The Christmas Story • The Potato Elf • The Aurelian • A Dashing Fellow • A Bad Day • The Visit to the Museum • A Busy Man • Terra Incognita • The Reunion • Lips to Lips • Orache • Music • Perfection • The Admiralty Spire • The Leonardo • In Memory of L. I. Shigaev • The Circle • A Russian Beauty • Breaking the News • Torpid Smoke • Recruiting • A Slice of Life • Spring in Fialta • Cloud, Castle, Lake • Tyrants Destroyed • Lik • Vasiliy Shishkov • Ultima Thule • Solus Rex • Mademoiselle O • The Assistant Producer • "That in Aleppo Once..." • A Forgotten Poet • Time and Ebb • Conversation Piece, 1945 • Signs and Symbols • First Love • Scenes from the Life of a Double Monster • The Vane Sisters • Lance • Easter Rain
Drama :	Death • The Grandfather • The North Pole • The Tragedy of Mr. Morn • The Man from the USSR • The Event • The Waltz Invention
Non-fiction :	Speak, Memory • Strong Opinions • Nikolai Gogol • Lectures on Literature • Lectures on Russian Literature • Lectures on Don Quixote • The Nabokov-Wilson letters • Selected Letters, 1940-1977
Miscellaneous :	Poems and Problems • Lolita: A Screenplay • The Annotated Lolita • Carrousel

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