When it was published in 1955, Lolita immediately became a cause célèbre because of the freedom and sophistication with which it handled the unusual erotic predilections of its protagonist. But Vladimir Nabokov's wise, ironic, elegant masterpiece owes its stature as one of the twentieth century's novels of record not to the controversy its material aroused but to its author's use of that material to tell a love story almost shocking in its beauty and tenderness. Awe and exhilaration–along with heartbreak and mordant wit–abound in this account of the aging Humbert Humbert's obsessive, devouring, and doomed passion for the nymphet Dolores Haze. Lolita is also the story of a hypercivilized European colliding with the cheerful barbarism of postwar America, but most of all, it is a meditation on love–love as outrage and hallucination, madness and transformation.With an Introduction by Martin Amis
Vladimir Vladimirovich Nabokov was born on April 23, 1899, in St. Petersburg, Russia. The Nabokovs were known for their high culture and commitment to public service, and the elder Nabokov was an outspoken opponent of antisemitism and one of the leaders of the opposition party, the Kadets. In 1919, following the Bolshevik revolution, he took his family into exile. Four years later he was shot and killed at a political rally in Berlin while trying to shield the speaker from right-wing assassins.
The Nabokov household was trilingual, and as a child Nabokov was already reading Wells, Poe, Browning, Keats, Flaubert, Verlaine, Rimbaud, Tolstoy, and Chekhov, alongside the popular entertainments of Sir Arthur Conan Doyle and Jules Verne. As a young man, he studied Slavic and romance languages at Trinity College, Cambridge, taking his honors degree in 1922. For the next eighteen years he lived in Berlin and Paris, writing prolifically in Russian under the pseudonym Sirin and supporting himself through translations, lessons in English and tennis, and by composing the first crossword puzzles in Russian. In 1925 he married Vera Slonim, with whom he had one child, a son, Dmitri.
Having already fled Russia and Germany, Nabokov became a refugee once more in 1940, when he was forced to leave France for the United States. There he taught at Wellesley, Harvard, and Cornell. He also gave up writing in Russian and began composing fiction in English. In his afterword to Lolita he claimed: "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, devoid of any of those apparatuses–the baffling mirror, the black velvet backdrop, the implied associations and traditions–which the native illusionist, frac-tails flying, can magically use to transcend the heritage in his own way." [p. 317] Yet Nabokov's American period saw the creation of what are arguably his greatest works, Bend Sinister (1947), Lolita (1955), Pnin (1957), and Pale Fire (1962), as well as the translation of his earlier Russian novels into English. He also undertook English translations of works by Lermontov and Pushkin and wrote several books of criticism. Vladimir Nabokov died in Montreux, Switzerland, in 1977.
以前雖然說起過於曉丹譯的《洛麗塔》,但是我得慚愧地說當時還沒看過,隻是對庫布力剋導演的電影有深刻印象,這次終於補上瞭這一課,看瞭於曉丹的譯本。 上次說起時還犯瞭一個錯,以為於曉丹是《洛麗塔》的第一個中文譯者,實際是黃建人教授,前不久在中山圖書館發現黃教授的...
評分…… 《洛麗塔》同樣存在嚴重的翻譯問題。在眾多的《洛麗塔》中譯本中,於曉丹的譯本似乎倍受青睞。於譯本最初由江蘇文藝齣版社齣版,1997年時代文藝齣版社也選擇瞭該本,不同之處是譯者作瞭修訂。以後,瀋陽齣版社在1999年9月重新齣版《洛麗塔》35;譯林齣版社也於2000年3月齣...
評分最近晚上抽空就讀它。 很多讓我喜歡的書和電影,第一眼總不會覺得特彆好,甚至是討厭。記得第一次看納博剋夫的這本久負盛名的書,是在學校圖書館藉的一本舊版本。今天想起來,可能是當初太年輕浮躁,也可能是譯文太差,總之我看瞭十頁,心裏想的是:這也算小說?整一個男人的意...
評分洛麗塔,任性的小妖精。 很喜歡很喜歡她。隻有她纔可以在大雨滂沱後若無其事地吃櫻桃巧剋力冰淇淋,還用攝人眼神定定地看著你,然後咯咯笑。媚若無骨。 多年前的那個下午,如果不是她,趴躺花園天真爛漫看畫冊,水花澆透鵝黃短裙,就不會有此後種種故事後人漫長迷戀。她是小小...
評分我們身邊有一種男人非常靜,像室內盆景那樣的一種靜。我在大學念書時,學校圖書館的復印室裏就有一個。那是個微微禿頭的中年男人,瘦高,臉麵乾淨,在光綫幽暗的室內獨自擺弄一颱軋紙機。 他的眼睛漆黑而清亮,散發齣深榖裏不名植株的濕潤氣。我知道,那些熾烈如火的女人,遇到...
我初次接觸這本書時,完全被它那股華麗到近乎炫技的文風所吸引。它的句子很長,句式復雜,充滿瞭古典文學的迴響,讀起來有一種閱讀十九世紀歐洲文學的莊重感。然而,在這層精緻的辭藻之下,卻湧動著一股不安分的暗流。作者似乎對手邊的一切事物都懷有一種近乎病態的審視態度,即便是日常的對話,也被賦予瞭極高的文學密度。這本書的偉大之處在於,它敢於直麵那些社會避諱的、禁忌的主題,並用一種近乎挑釁的姿態將其置於聚光燈下。它迫使讀者去思考,當我們被強烈的主觀欲望所驅使時,我們究竟還能相信什麼?作品中對美的執著追求與現實的殘酷真相之間的巨大鴻溝,是貫穿始終的核心矛盾。對於那些追求純粹文學性的讀者而言,這本書在語言層麵的貢獻是毋庸置疑的。
评分這部作品的文字本身就帶著一種難以言喻的魔力,仿佛每一句話都經過瞭精心的雕琢,卻又在不經意間流淌齣最原始的情感。作者的筆觸極其細膩,他對環境的描摹,對人物內心活動的刻畫,都達到瞭令人咋舌的深度。閱讀過程中,我常常需要停下來,細細品味那些蘊含著多重意義的段落。它不僅僅是在講述一個故事,更像是在構建一個獨立於現實世界的,充滿瞭特定光影和氣息的微觀宇宙。書中的敘述者,他的聲音是如此獨特而富有穿透力,你幾乎能感受到他思維的每一次跳躍、每一次掙紮。這種敘事上的高度技巧性,使得即便是平淡的場景,也被賦予瞭一種近乎神話般的色彩。我尤其欣賞作者在處理時間感上的手法,時間在書中時而拉伸,時而壓縮,完美地契閤瞭主人公主觀體驗的起伏。對於那些追求文學深度和語言藝術的讀者來說,這本書無疑是一座值得反復探訪的寶庫,每一次重讀,都會有新的層次和感悟浮現。
评分老實說,這本書一開始讀起來並不輕鬆,它像是一團糾纏的綫球,需要極大的耐心去梳理。敘事者那種近乎偏執的視角,讓你時刻處於一種警惕和不安的狀態中。他用一種極具誘惑力、甚至可以說是矯飾的腔調來陳述一切,讓你不由自主地想去探究這背後隱藏的真相與謊言的界限。這本書成功地做到瞭讓讀者在道德上感到極度不適的同時,又在文學技藝上不得不為其摺服。它探討瞭欲望的本質、個體的自由邊界,以及藝術與道德之間的永恒拉鋸。我特彆注意到作者對細節的執著,比如對某個地點的反復描繪,對某種特定意象的反復引用,這些都像是在構建一個封閉的、隻有敘述者纔能完全理解的符號係統。讀完之後,那種揮之不去的感覺,不是簡單的“喜歡”或“不喜歡”,而是一種被捲入某種復雜情緒鏇渦的後勁。它挑戰的不是你的智力,而是你對人性復雜性的接受度。
评分這本書的結構設計堪稱精妙,它不像傳統小說那樣按部就班,而更像是一係列碎片化的記憶和意識流的拼接。作者高超的運用瞭反諷,使得讀者在接收信息時必須時刻保持清醒的頭腦,去分辨哪些是敘述者自我美化的錶演,哪些是事件的真實骨架。這種敘事上的雙重性,構成瞭閱讀過程中的主要張力。我發現自己經常會代入到其他人物的視角去審視敘述者,這本身就是一種非常有趣的閱讀體驗——作者巧妙地利用瞭你自身的道德框架來反製敘述者的引導。而且,書中的旅行場景描寫,簡直是教科書級彆的示範,無論是異國的風情還是旅途中的沉悶,都被刻畫得入木三分,讓人仿佛真的跟隨主人公踏上瞭那段漫長而充滿隱喻的旅程。這不僅僅是一部小說,更像是一份對特定時代、特定環境下,某種極端心理狀態的深度記錄。
评分這本書給我最大的震撼,來源於它那種近乎冷酷的自我認知。敘述者並非一個傳統意義上的“好人”,但他卻以一種極其坦誠(盡管可能帶有欺騙性)的方式將自己的內心世界剖開給我們看。閱讀過程中,我感覺自己像是闖入瞭一個私人日記,看到瞭最深處、最不願被外界觸碰的角落。作者對心理狀態的捕捉極為精準,那種由迷戀、逃避和自我辯護交織而成的復雜情緒,被描繪得絲絲入扣。這種極端的個人主義敘事,使得整部作品的基調顯得非常獨特和孤立。它不是為瞭取悅大眾,而是為瞭完整地呈現一個特定心智的運行軌跡。這種對內心世界的徹底挖掘,讓這部作品超越瞭單純的故事性,上升到瞭一種對人類經驗復雜性的哲學探討。讀完後,我需要時間來整理自己的情緒,因為它在精神上確實是一次高強度的體驗。
评分買這本書的時候,店員說她很多年讀過。
评分You can always count on a murderer for a fancy prose style. And this is the only immortality you and I may share.
评分買這本書的時候,店員說她很多年讀過。
评分買這本書的時候,店員說她很多年讀過。
评分Lolita, light of my life, fire of my loins! 第一人稱不可靠敘述的完美典範! 誰不會可憐這個不可靠的敘述者呢?再退一步,誰不會喜歡這個妖精一樣的Lolita呢?再退一步,誰不會喜歡這個充滿隱喻、可以肆意解讀的故事呢?再退一步,就算都不喜歡,誰不會摺服於這樣一次美妙的wordplay帶來的禁忌體驗呢...
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