Podcast appearances and mentions of humbert humbert

In this Fully-Booked podcast episode, hosted by Meghan and Shereen, delves into Vladimir Nabokov's controversial 1955 novel Lolita. This discussion is part of their "selfish December" series, where they explore topics of personal and cultural interest. Meghan’s recurring fascination with Lolita drives this deep dive into the novel’s complex themes, mischaracterizations, and its impact on modern media. Lolita portrays disturbing subject matter through the fictional memoir of Humbert Humbert, an unreliable narrator obsessed with a very young Dolores Hayes. Nabokov’s narrative critiques Humbert’s delusions and reprehensible behavior, emphasizing Dolores’ victimization. Despite its controversial premise, the novel’s strength lies in exposing power dynamics and manipulation rather than romanticizing them. The Novel’s Legacy and Misuse Nabokov’s literary approach, which deconstructs Humbert’s psyche, contrasts sharply with how adaptations have altered its essence. Film versions, such as Stanley Kubrick’s 1962 adaptation and Adrian Lyne’s 1997 film, misrepresent Lolita by aging up Dolores or portraying her as complicit, thus softening the novel’s critical stance. These changes often shift sympathy towards Humbert and dilute the focus on Dolores’ suffering. Moreover, Lolita has been co-opted into a cultural aesthetic, epitomized by the term “Lolita aesthetic.” This phenomenon romanticizes the image of a precocious seductress, perpetuating misconceptions about the novel’s intent and overlooking its critique of exploitation and manipulation. Cultural Tropes and Media Representations The podcast parallels Lolita and modern media, such as Pretty Little Liars, which similarly romanticizes inappropriate relationships. These portrayals often frame young female characters as active participants, normalizing harmful dynamics. Meghan and Shereen also critique the hypersexualization of teenage girls in shows like The O.C., which blur moral boundaries and reflect societal discomfort in addressing abuse. Additionally, the hosts explore the broader implications of Lolita's themes in media, highlighting films like Miller’s Girl that perpetuate narratives framing men as victims of young girls’ supposed provocations. Such portrayals reinforce harmful stereotypes and obscure the true dynamics of abuse and exploitation. Nabokov’s Perspective and Modern Relevance While Nabokov’s widow expressed regret over the novel’s misinterpretation, the hosts emphasize that the original text critiques Humbert’s behavior and underscores Dolores’ victimization. The enduring relevance of Lolita lies in its exploration of uncomfortable truths about power and control. However, its legacy is often overshadowed by adaptations and cultural appropriations that misrepresent its core message. In Closing Meghan and Shereen conclude by urging audiences to engage critically with Lolita and resist reductive narratives perpetuated by adaptations. By centering Dolores’ perspective and recognizing Humbert’s unreliability, readers can better appreciate the novel’s critique of power dynamics and exploitation. The discussion highlights the broader cultural impact of Lolita, advocating for responsible storytelling that challenges harmful narratives and amplifies marginalized voices in literature and media. See omnystudio.com/listener for privacy information.

En el Teatro Luis del Olmo Sergio del Molino entrevista a Lolita, personaje de Vladimir Nabokov. Ella nos cuenta cómo Nabokov escribió el libro que le hizo famoso y que tiene como protagonistas a Humbert Humbert y su amada, la niña Dolores Haze. En esta entrevista, Dolores se queja de haber sido utilizada por infinidad de críticos literarios como "la niñita abusada de la literatura universal" y cuenta su propia versión de la historia. 

En el Teatro Luis del Olmo Sergio del Molino entrevista a Lolita, personaje de Vladimir Nabokov. Ella nos cuenta cómo Nabokov escribió el libro que le hizo famoso y que tiene como protagonistas a Humbert Humbert y su amada, la niña Dolores Haze. En esta entrevista, Dolores se queja de haber sido utilizada por infinidad de críticos literarios como "la niñita abusada de la literatura universal" y cuenta su propia versión de la historia. 

Bereits vier Jahre nachdem in den USA die ungekürzte Fassung von »Lolita« erschien, kam die Verfilmung von Stanley Kubrick in die Kinos. Vladimir Nabokov hatte sogar das Drehbuch geschrieben, das jedoch nicht verfilmbar war und den Film über sechs Stunden lang gemacht hätte. Kubrick schrieb daher das Drehbuch selbst, vereinbarte jedoch, dass Nabokov weiterhin im Vorspann als Drehbuchautor genannt wird. Kubrick ging in keiner Weise auf das Thema der Pädophilie ein, sondern machte aus dem Roman einen Film noir mit Anteilen einer schwarzen Komödie. In der Rolle des Humbert Humbert ist James Mason zu sehen, die Lolita verkörperte Sue Lyon. Die Rolle des Qulity übernahm Peter Sellers. Fünfunddreißig Jahre später wurde der Roman erneut von Adrian Lyne verfilmt, der zuvor mit Werken wie »Flashdance« und »9 ½ Wochen« bekannt wurde. Hier spielt Jeremy Irons den Humbert Humbert und Dominique Swain ist in der Rolle der Lolita zu sehen. Obwohl realistischer angelegt, wirkt dieser Film heute unfreiwillig komisch bis peinlich. »Lolita« ist hier die Klischeefigur der verführerischen Göre. Beim Literaricum in Lech stellte die Kultur- und Literaturwissenschaftlerin Elisabeth Bronfen beide Filme vor und erläuterte auch die Referenzen zu Filmen von Fritz Lang oder Hitchcock, die Kubrick einbaute. Im Podcast des literaturcafe.de fasst Elisabeth Bronfen nochmals ihr Urteil zusammen. Allerdings auch mit dem Resümee, dass es eigentlich keine der beiden Verfilmungen benötigt hätte. Hören Sie das Gespräch mit Elisabeth Bronfen in dieser Podcast-Folge vom Literaricum 2024 in Lech am Arlberg. Abonnieren Sie den Podcast des literaturcafe.de überall, wo es Podcasts gibt, um keine Folge zu verpassen,

Wo fängt man an und wo setzt man an, wenn man eine Rede über »Lolita« von Vladimir Nabokov halten soll? Ein Bezug zu aktuellen Missbrauchsberichten und #MeToo war für Nora Bossong fast schon zu naheliegend, sodass sie sich auf einen anderen Aspekt und ein einzelnes Wort konzentriert hat. »Die Bekenntnisse eines Witwers weißer Rasse« lautet der fiktive Untertitel des Berichts von Humbert Humbert, dem Ich-Erzähler aus Nabokovs Roman. Es gehört zum literarischen Spiel, dass den Bekenntnissen des pädophilen Vergewaltigers Humbert Humbert ein Vorwort eines Psychiaters vorangestellt ist, der betont, wie wichtig es sei, dass dieser Text veröffentlicht wird. Doch »confession« heißt im englischen Original nicht nur Bekenntnis, es kann auch das Geständnis oder gar die Beichte sein. Bossong weist in ihrer Rede darauf hin, dass damals in den 50er- und 60er-Jahren des letzten Jahrhunderts literarische Bekenntnisse sehr populär waren, von Stiller über Oskar Matzerath bis hin zu – natürlich – Felix Krull. Bossong richtet ihren Blick jedoch auf die religiösen Motive in Nabokovs Roman, die gleich am Anfang auftauchen: die Seraphim, das Licht und das Dornengestrüpp. Und plötzlich ist der Weg zu einem der wichtigsten religiösen Bekenntnisse nicht mehr weit: den Confessiones des Kirchenvaters Augustinus. Im Podcast-Gespräch in den Lechwelten nach ihrer Rede erläutert Nora Bossong diese Referenz, und sie berichtet, welche Rolle der Roman »Lolita« in ihrem Leben spielte und spielt und warum man ihn unbedingt lesen sollte. Natürlich ist Lolita der Roman über eine schreckliche Tat. Aber warum sollte man das nicht lesen? Literatur über Wohlfühlthemen, so Bossong, interessiere sie wenig. Abonnieren Sie den Podcast des literaturcafe.de überall, wo es Podcasts gibt, um keine Folge zu verpassen

Welcome to the Instant Trivia podcast episode 1139, where we ask the best trivia on the Internet. Round 1. Category: Hard Wood 1: Ted Turner said these have no future because there aren't enough trees left to keep making wood pulp. newspapers. 2: This eating utensil's name is from Old English for a "chip of wood". spoon. 3: Only National Hockey League with a type of tree mentioned in their name. (Toronto) Maple Leafs. 4: The power ring of the 1940s version of this super hero was useless against wood. Green Lantern. 5: If God had taken this day off in creating the world we wouldn't have wood today. 3rd day. Round 2. Category: Literary Characters' Ads 1: Paralyzed British landowner seeks gamekeeper for Wragby estate. Sir Chatterley (Lady Chatterley's husband). 2: Swiss student seeks companion for scavenger hunts in graveyards and dissecting rooms. Victor Frankenstein. 3: Young Russian count wanted for affair with married woman; open to pregnancy and train travel. Anna Karenina. 4: Seeking nymphet to be light of my life, fire of my loins. Must answer to "Lolita". Humbert Humbert. 5: Seeking governess for ward Adele at Thornfield; must not snoop in the attic. Rochester. Round 3. Category: Let'S Go Camping! 1: This type of small, 2-man tent sounds like it's designed for your young dog. pup tent. 2: These soft feathers from geese or ducks are a lightweight insulating material for camping clothes. down. 3: Be careful hiking through the woods and avoid brushing up against this itchy 3-leafed plant, Rhus radicans. poison ivy. 4: The mummy variety of this camping equipment is perfect for cold weather. sleeping bag. 5: Small cans of this trademarked flammable hydrocarbon jelly are used as a heat source for camp cooking. Sterno. Round 4. Category: We Have A New State Capital 1: Replacing Wheeling. Charleston. 2: Replacing Tuscaloosa. Montgomery. 3: Replacing Williamsburg. Richmond. 4: Replacing New Castle. Dover. 5: Replacing Portland, in 1832. Augusta. Round 5. Category: Squid 1: The squid is better at hugging than the octopus, as it has this many appendages. ten. 2: A squid has teeth on its tongue, but its main weapon is this, which it uses to dismember prey. its beak. 3: Squids have sacs full of this used for distraction and yum! It's edible. ink. 4: Loligo opalescens is this 6-letter squid, a word that also follows "stock" or "farmers". market. 5: Though boneless, squids have a rudimentary type of this substance that serves as a sort of backbone. cartilage. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

In this episode of Books for Men, Douglas Vigliotti expresses his gratitude to listeners and encourages them to continue supporting the show. He also announces that interviews with other writers will be returning in 2024, then provides a summary of the books discussed in the month of October 2023, which included Chronicles by Bob Dylan, I Remember Nothing by Nora Ephron, Ham on Rye by Charles Bukowski, and Lolita by Vladimir Nabokov. He highlights the themes and significance of each book and encourages listeners to listen to the corresponding episodes for more in-depth discussions. Douglas concludes by reminding listeners to share the podcast and offers additional resources such as full transcripts and a monthly newsletter at BooksforMen.org.If you enjoyed this episode, please consider supporting the podcast. Any of the three things below will help provide awareness for the initiative—inspiring (more) men to read and bringing together men who do. (Ladies, of course, you're always welcome!)Share with a friend or on social mediaSubscribe or follow on your favorite podcast platformLeave a rating or reviewVisit BooksforMen.org to sign up for the Books for Men newsletter, a monthly round-up of every episode with full book and author info, all the best quotes, and newsletter-only book recommendations!

This episode of Books for Men features Lolita by Vladimir Nabokov. A classic novel about a middle-aged man's perverted obsession with a young girl. It's a book that will challenge you in many ways, but perhaps, there's no better stylist (ever) than Nabokov. Listen for more!If you enjoyed this episode, please consider supporting the podcast. Any of the three things below will help provide awareness for the initiative—inspiring (more) men to read and bringing together men who do. (Ladies, of course, you're always welcome!)Share with a friend or on social mediaSubscribe or follow on your favorite podcast platformLeave a rating or reviewVisit BooksforMen.org to sign up for the Books for Men newsletter, a monthly round-up of every episode with full book and author info, all the best quotes, and newsletter-only book recommendations!

Det finns flera kopplingar till verkligheten i Vladimir Nabokovs "Lolita". Romanen och fallet Sally Horner får kritikern Hanna Johansson att reflektera över att bli sedd och se sig själv utifrån. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes första gången 2019.På det mest kända fotografiet av Sally Horner sitter hon på en gunga vars rep hon håller i sina båda händer. Hon har en ljus kortärmad klänning, vita tjocka sockor och lackskor. Hon ler, hon är solbränd, hon har några fräknar. Hon är elva men ser ut att vara äldre, nästan som en tonåring eller som en vuxen kvinna som har spökats ut till ett barn.Fotografiet är taget i Atlantic City sommaren 1948. Bakom kameran stod Frank Lasalle, hennes kidnappare och våldtäktsman som skulle komma att hålla henne fången i ytterligare tjugo månader efter att bilden togs, på en färd som skulle ta dem kors och tvärs genom USA med stopp på otaliga motell och husvagnsområden.Om historien känns bekant från Vladimir Nabokovs roman ”Lolita” från 1955 är det inte en slump. Där drabbas den tolvåriga amerikanska flickan Dolores Haze av den högutbildade europén Humbert Humberts pedofila besatthet. Efter att han har gift sig med Dolores mamma – som praktiskt nog strax därefter omkommer i en bilolycka – tar han med sig henne på en febrig resa genom landet, kantad av övergrepp. Lolita är det smeknamn han ger sitt unga offer, sin nya styvdotter – nymfetten, som han kallar henne – och namnet har kommit att bli synonymt med det sexualiserade barnet.”Hade jag gjort samma sak med Dolly”, tänker Humbert Humbert mot romanens slut, ”som Frank Lasalle, en femtioårig mekaniker, gjort med elvaåriga Sally Horner 1948?”Inspirerades alltså Nabokov av Sally Horners historia, är det hon som är Lolita? Denna lite grovhuggna fråga försökte författaren Sarah Weinman besvara i en bok från 2018, och bokens titel ger kanske en ledtråd om hennes syn på saken: den heter ”The Real Lolita”.Relationen mellan verklighet och fiktion i ”Lolita” är omskriven sedan tidigare. Dels i förhållande till romanens opålitlige berättare, dels med hänsyn till de verkliga händelser som då och då bryter igenom berättelsen.Kritikern Alexander Dolinin har diskuterat hur Nabokov använde sig av den sanna historien om Sally Horner, hur han placerade ut ledtrådar i texten innan denna mening dyker upp och bekräftar sambandet.Till exempel låter han Dick Schiller, den man Dolores gifter sig med efter att hon har flytt Humbert Humberts våld, vara mekaniker. Och i Humbert Humberts mun lägger han formuleringar i stort sett direkt kapade ur de tidningsnotiser om Sally och Lasalle som Nabokov läste medan han skrev sin roman.Dessutom, spekulerar Dolinin, måste särskilt en författare som Nabokov, så förtjust i anspelningar och allitterationer som han var, ha blivit överlycklig av duons likartat klingande namn Sally och Lasalle – som ju påminner om sale, det franska ordet för smutsig.Men någon större gåta är det egentligen inte, förhållandet mellan den verkliga Sally Horner och den fiktiva Dolores Haze. Sally Horner var varken den första eller den sista att drabbas av ett öde som liknar Lolitas.När jag pratar om ”Lolita” med andra kvinnor visar det sig nästan alltid att vi någon gång under läsningen har frågat oss själva: var jag som hon? Frestade jag någon när jag var i hennes ålder, med den förpubertala kropp jag avskydde så mycket, en kropp som varken tillhörde ett barn eller en kvinna, som kändes som en asymmetrisk hög av ben och fett?Det verkade otänkbart, och ändå visste vi ju att det inte alls var det. Jag minns när jag som sexåring fick höra talas om hur en flicka som hette Natasha Kampusch hade försvunnit i Österrike, och när jag som fjortonåring läste i tidningen att hon hade rymt efter åtta års fångenskap. Jag växte upp med en skräck för vita skåpbilar och främmande män.Men i den frågan – frestade jag någon? – ligger också en dold önskan. Att bli sedd av en man, att göra män galna, såldes in som existensens högsta syfte och finaste pris. Frestelsen framstod som så mystisk för att den var något att både befara och begära.I en av låtarna på Lana Del Reys första skiva, ”Off to the races” lånar hon de berömda öppningsorden från ”Lolita”: ”light of my life, fire of my loins”. Eller i Aris Fioretos svenska översättning: ljuset i mitt liv, elden i mina länder. Den dubbla betydelsen i ”länder” blir som en illustration av denna brända jordens kärlekshistoria, där det enda som får Dolores att stanna hos sin styvfar är att han förstör hennes möjligheter till ett annat liv.Lana Del Reys låt är, som så många av hennes låtar, en berättelse om att vara galen, att vara förälskad, om att vara snygg, om att bli iakttagen; låtens jag beskriver sig själv sedd utifrån, i en vit bikini i en ljusblå simbassäng, i en röd klänning i ett rum av glas. Det är en berättelse om frestelsens frestelse.Jag tänker ofta på Sara Stridsberg när jag lyssnar på Lana Del Rey, fascinationen inför en särskild version av Amerika som de delar, som de delar också med Nabokov. I romanen ”Darling River”, med undertiteln ”Doloresvariationer”, bearbetar hon Nabokovs nymfettgestalt och låter den ta olika skepnader: där finns Dolores Haze, där finns Lo som är döpt efter henne, där finns en aphona som utsätts för vetenskapliga experiment. Vid ett tillfälle talar Lo såhär: ”Jag stod borta vid jukeboxen och valde musik.””Jag stod borta”; till och med när det är hennes egen röst vi hör är det som om hon såg sig själv från ett avstånd, precis som Lana Del Rey i den där låten.En vanlig reaktion hos den som blir utsatt för ett övergrepp är att avskärma sig från sin egen upplevelse, lämna kroppen; så kan man förstå det avståndet. Men kanske ringar det in något långt mer grundläggande än så: den komplexa, skräckblandade förtjusningen inför att bli betraktad.Det var genom Sarah Weinmans bok som jag lärde mig att Frank Lasalle tog den mest kända bilden av Sally Horner, och jag har inte kunnat sluta tänka på det. Jag hade utgått från att fotografiet var taget av en familjemedlem, ett möjligen iscensatt lyckligt barndomsminne, men ändå ett slags lyckligt barndomsminne, och inte en bild av konstruerad barnslighet regisserad av en besatt och våldsam man.Fotografiet är inte alls explicit. Det är inte som bilderna jag ofrivilligt har kommit att förknippa med Lolitas namn: bilderna av henne som en ung fresterska, bilden av Sue Lyon i Stanley Kubricks filmatisering som på filmaffischen suger förföriskt på en rubinröd klubba bakom hjärtformade solglasögon. I sitt arkiv hade paret Nabokov ett nummer av magasinet Cosmopolitan från 1960, där en fyrtiotreårig Zsa Zsa Gabor är utklädd till en Lolitafigur med nattlinne och ett äpple i handen. Lolitas namn och idén om det sexiga barnet är oskiljaktiga. Lolita är någon som vuxna kvinnor kan spökas ut till.Det är som om Sally Horner, också i detta avseende, har drabbats av Lolitas öde. Den fiktiva Dolores Haze är hågkommen för det smeknamn hon fick av en man som våldtog och rövade bort henne. Sally Horners namn kommer aldrig att nämnas utan Frank Lasalles. Och på den mest kända bilden av henne, den som vid första anblick tycks uttrycka sorgfri barndom, är det honom hon ser – och han som ser henne.Hanna Johansson, kritikerLitteraturSarah Weinman: The Real Lolita – The Kidnapping of Sally Horner and the Novel That Scandalized the World. Harper Collins, 2018.

"Lolita" is a controversial and thought-provoking film directed by Stanley Kubrick, based on the novel of the same name by Vladimir Nabokov. Released in 1962, the film tells the story of a middle-aged literature professor named Humbert Humbert (played by James Mason) who becomes infatuated with a teenage girl named Dolores Haze, also known as Lolita (played by Sue Lyon).

*TRIGGER WARNING*: In deze aflevering wordt gepraat over seksueel misbruik tijdens de bespreking van Lolita.Het eerste deel van de aflevering bevat onze eindejaarslijstjes, op 22:13 start de bespreking van Lolita.Lieve luisteraars, het einde van 2022 is daar! En dat betekent: eindejaarslijstjes en een special over de omstreden roman Lolita van Vladimir Nabokov. In drie weken tijd werden er in Amerika 100.000 exemplaren van verkocht (dat was niet meer gebeurd sinds de enorme bestseller Gone with the Wind van Margaret Mitchell). Lolita is een boek waar iedereen waarschijnlijk zo een eigen idee en vooroordeel over heeft zonder er ook maar een alinea van te hebben gelezen. Ellen, Charlotte en Joost vertellen in wat voor traditie we Lolita moeten lezen, hoe het met de geschiedenis van het boek zit en hoe het werd ontvangen. Waarom is er een grote kans dat je als lezer sympathie opvat voor pedofiel Humbert Humbert? En wat voor effect had de verfilming van Lolita op het originele verhaal? Ook bespreken de panelleden hun favoriete boeken, films, series en toneelstukken die ze in 2022 tot zich namen.Eindejaarslijstjes 2022BoekenCharlotte: Torrey Peters - Detransitie, baby (Detransition, baby) / Peter Terrin - De gebeurtenisJoost: Peter Terrin - De gebeurtenis / Shirley Hazzard - De overgang van VenusEllen: Toni Morrison - Beminde (Beloved) / Anne Louïse van den Dool - Wij zijn uitgewekenMuziek Ellen: Ex-Vöid - Bigger than before / Taylor Swift - Midnights17 januari - Taylor Swift-avond in de Balie - Taylor Swift: een diepteanalyse FilmsJoost: Top Gun: Maverick / Licorice PizzaEllen: Everything Everywhere All at Once / Turning RedCharlotte: CloseSeries Ellen: House of the Dragon / Hacks / The DropoutCharlotte: Het jaar van FortuynJoost: Andor / Lord of the Rings - Rings of Power / Industry / Babylon Berlin / The BearToneelEllen: Indisch interieur (Bo Tarenskeen)Joost: De Jaren (Eline Arbo) / De dokter (Robert Icke)Charlotte: Mann Mann Mann (Florian Myjer, Kim Marssen en Ludwig Bindervoet, Jip Vuik)MeToo-beweging documentairetip van Ellen: Phoenix RisingEllens nieuwe podcast: Poëzie Vandaag Muziek: R. Kelly - Bump 'n GrindZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Deniz Yüce Başarır, Ben Okurum'un yeni bölümünde yazar Şebnem İşigüzel'i konuk ediyor. Dünya edebiyatının en önemli ve en tartışmalı romanlarından biri olan Lolita hakkındaki sohbette elbette eseri yaratan Rus asıllı Amerikalı yazar Vladimir Nabokov'un hayatı, edebiyat anlayışı ve diğer eserleri de yer buluyor. Romanın sınırlarını aşan, bir popüler kültür ikonu haline gelen Lolita karakteri kadar hatta belki de daha çok, sapkın tutkusuyla hatırlanan anlatıcımız Humbert Humbert'ın da irdelendiği bu sohbeti ve Başarır'ın sesinden Nabokov'un edebi lezzeti çok yüksek cümlelerini kaçırmayın deriz. 

We take on one of the most controversial novels ever put to print this month, Nabokov's "Lolita." It's the novel you've always thought you should read, but for understandable reasons you've avoided it until now. In this episode we go into detail on the author (who he was and why he wrote this) and touch on some of the literary craft on display. A work of genius or a troubling tale of immorality? Perhaps both.We also answer the age old question: What do Snoop Dogg and Humbert Humbert have in common? (A: they love gin and juice)

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"Lolita" Vladimir Nabokov Słuchowisko na żywo z Big Book Cafe Pomysł i adaptacja: Anna Król. Występują: Magdalena Koleśnik i Marek Kalita Muzyka na żywo: Fabian Włodarek [akordeon]. Pierwsze z improwizowanych słuchowisk Big Book Cafe na bazie literatury klasycznej. Zapraszamy do słuchania interpretowanych na żywo książek wszech czasów. Big Book Cafe, najważniejsza scena literacka, zaprasza do współpracy znakomitych aktorów oraz muzyków, by wraz z nimi stworzyć klimat książek, które trzeba znać. Jako pierwszą prezentujemy "Lolitę". Trzy sceny ze słynnej powieści, nastoletnia Dolores i podstarzały Humbert Humbert. Oraz grana na żywo przejmująca muzyka akordeonisty Fabiana Włodarka. Powieść Nabokova zelektryzowała czytelników i krytykę, gdy ukazała się w roku 1955. Dziś także poraża. Opowieść o dorosłym mężczyźnie, który uwodzi i rozkochuje w sobie trzynastolatkę jest także alegorią męskocentrycznego świata, w którym opresja i przemoc są codziennością. To także historia miłosna, która nigdy nie powinna się wydarzyć. Nabokov opisał niejednoznaczną relację, jaka powstaje między oprawcą i ofiarą. Podcasty w serii LITERATURA NA ŻYWO z Big Book Cafe usłyszycie co tydzień, w soboty o 10.00. A w każdą środę nowe odcinek podcastu KSIĄŻKA W PIĘĆ MINUT - opowiadamy o tytułach sprawdzonych w czytaniu. Więcej o nas: https://bigbookcafe.pl/ Nasz księgarnia: https://ksiegarnia.bigbookcafe.pl/ Przyjdź na 10. Big Book Festval 24-26 czerwca 2022 https://bigbookfestival.pl/

The Great American Novel podcast is an ongoing discussion about the novels we hold up as significant achievements in our American literary culture.  Additionally, we sometimes suggest novels who should break into the sometimes problematical canon and at other times we'll suggest books which can be dropped from such lofty consideration.  Your hosts are Kirk Curnutt and Scott Yarbrough, professors with little time and less sense who nonetheless enjoy a good book banter.  In Episode 12 our intrepid profcasters lay into the most controversial novel of the 20th Century, Vladimir Nabokov's LOLITA.  Is it Great?  Is it American?  What do we make of the controversies, the films?  We tackle the book and try to search for the real Dolores Haze within the text, and consider the best way to read Humbert Humbert, much less how we should pronounce his name (not to mention the author's). Film trailer clips are from the Kubrick 1962 film and the 1997 film by Adrian Lyne.  All show music is by Lobo Loco.  The intro song is “Old Ralley”; the intermission is “The First Moment,” and the outro is “Inspector Invisible.”  For more information visit: https://locolobomusic.com/.We may be contacted at greatamericannovelpodcast (@) gmail.com.

Avui celebrem Sant Jordi amb una quinzena de personatges i autors que s'apoderen de l'antena de "Ciutat Maragda": figures com Humbert Humbert, Rask

Avui celebrem Sant Jordi amb una quinzena de personatges i autors que s'apoderen de l'antena de "Ciutat Maragda": figures com Humbert Humbert, Rask

Avui celebrem Sant Jordi amb una quinzena de personatges i autors que s'apoderen de l'antena de "Ciutat Maragda": figures com Humbert Humbert, Rask

Welcome to High Theory! High Theory is a podcast in which we get high on the substance of theory. And we ask the three standard questions, to each other, and our guests. We invite you to listen and learn, and think critically! This podcast comes at difficult ideas from the academy with irreverence. Wikipedia says that “critical theory” is “the reflective assessment and critique of society and culture in order to reveal and challenge power structures,” which suggests a rather serious subject, but we think theory is hardly dense and somber and sober. In these times, we need to love, and finding the buzz of curiosity and delight in critical thinking, we want to bring that joy to you. We aim to distill some solid points from our ramblings. We are looking at theory differently, and making pretty wild connections. Like maybe having and loving a dog will make you a better activist. Or hating on Humbert Humbert might help you sift through fake news. If you have an idea you would like us to talk about, let us know! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Welcome to High Theory! High Theory is a podcast in which we get high on the substance of theory. And we ask the three standard questions, to each other, and our guests. We invite you to listen and learn, and think critically! This podcast comes at difficult ideas from the academy with irreverence. Wikipedia says that “critical theory” is “the reflective assessment and critique of society and culture in order to reveal and challenge power structures,” which suggests a rather serious subject, but we think theory is hardly dense and somber and sober. In these times, we need to love, and finding the buzz of curiosity and delight in critical thinking, we want to bring that joy to you. We aim to distill some solid points from our ramblings. We are looking at theory differently, and making pretty wild connections. Like maybe having and loving a dog will make you a better activist. Or hating on Humbert Humbert might help you sift through fake news. If you have an idea you would like us to talk about, let us know! Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to High Theory! High Theory is a podcast in which we get high on the substance of theory. And we ask the three standard questions, to each other, and our guests. We invite you to listen and learn, and think critically! This podcast comes at difficult ideas from the academy with irreverence. Wikipedia says that “critical theory” is “the reflective assessment and critique of society and culture in order to reveal and challenge power structures,” which suggests a rather serious subject, but we think theory is hardly dense and somber and sober. In these times, we need to love, and finding the buzz of curiosity and delight in critical thinking, we want to bring that joy to you. We aim to distill some solid points from our ramblings. We are looking at theory differently, and making pretty wild connections. Like maybe having and loving a dog will make you a better activist. Or hating on Humbert Humbert might help you sift through fake news. If you have an idea you would like us to talk about, let us know! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Welcome to High Theory! High Theory is a podcast in which we get high on the substance of theory. And we ask the three standard questions, to each other, and our guests. We invite you to listen and learn, and think critically! This podcast comes at difficult ideas from the academy with irreverence. Wikipedia says that “critical theory” is “the reflective assessment and critique of society and culture in order to reveal and challenge power structures,” which suggests a rather serious subject, but we think theory is hardly dense and somber and sober. In these times, we need to love, and finding the buzz of curiosity and delight in critical thinking, we want to bring that joy to you. We aim to distill some solid points from our ramblings. We are looking at theory differently, and making pretty wild connections. Like maybe having and loving a dog will make you a better activist. Or hating on Humbert Humbert might help you sift through fake news. If you have an idea you would like us to talk about, let us know! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Welcome to High Theory! High Theory is a podcast in which we get high on the substance of theory. And we ask the three standard questions, to each other, and our guests. We invite you to listen and learn, and think critically! This podcast comes at difficult ideas from the academy with irreverence. Wikipedia says that “critical theory” is “the reflective assessment and critique of society and culture in order to reveal and challenge power structures,” which suggests a rather serious subject, but we think theory is hardly dense and somber and sober. In these times, we need to love, and finding the buzz of curiosity and delight in critical thinking, we want to bring that joy to you. We aim to distill some solid points from our ramblings. We are looking at theory differently, and making pretty wild connections. Like maybe having and loving a dog will make you a better activist. Or hating on Humbert Humbert might help you sift through fake news. If you have an idea you would like us to talk about, let us know! Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Jacke plays a clip from Nabokov discussing his famous novel Lolita, in which the frantic narrator Humbert Humbert recounts his passionate (and illegal, immoral, and illicit) love for a young girl. After hearing from the author, Jacke plays clips from three History of Literature Podcast interviews: Jenny Minton Quigley, Jim Shepard,, and Joshua Ferris. Additional listening: Episode 318 - Lolita (with Jenny Minton Quigley) Episode 96 - Dracula, Lolita, and the Power of Volcanoes (with Jim Shepard) Episode 112 - The Novelist and the Witch-Doctor: Unpacking Nabokov's Case Against Freud (with Joshua Ferris) Help support the show at patreon.com/literature or historyofliterature.com/shop. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at www.thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to this Valentine's Day edition of Tell Me About Your Father, where Erin and Elizabeth are applying the same razor-sharp critical analysis they've given to television shows like Mad Men and The Sopranos to an extraordinarily horny 30-year-old movie called Damage. It's the story of a family torn apart by a father's affair with his son's girlfriend and is based on the sensational 1991 novel by British author Josephine Hart and directed by Louis Malle, known for films like The Lovers, My Dinner with Andre, and Pretty Baby. This hot, psychosexual trauma romp stars Juliette Binoche, Miranda Richardson, and as the father, EGOT-winner Jeremy Irons currently playing the patriarch, Rodolfo Gucci, in House of Gucci, but also known for such classics as the French Lieutenant's Woman, Reversal of Fortune, and of course for playing Humbert Humbert in the Adrian Lyne version of Lolita. We also discuss the sad childhood of Hart, who died in 2011, Malle's relationship with two of his children, and Irons' idiotic comments about father-and-son relationships in relation to gay marriage. If you liked our episodes dedicated to season six of The Sopranos, you're going to love this feel-bad movie of a father, unwilling and unable to stop destroying his family in the name of sexual obsession. This episode includes audio of sex scenes, a truly insane orgasm from Irons that will haunt you, and mentions disturbing topics like incest and suicide. If those are things you don't want to hear, we totally understand and we'll see you for our next episode. We love you. Happy Valentine's Day. --- Support this podcast: https://anchor.fm/tell-me-about-your-father/support

每年春节的传统保留节目必有生肖故事，今年轮到了“虎年说虎”，也许是十二生肖之中最讨喜的属相之一。 为了向传统致敬，本期节目收录了一组与“虎”有关的音乐作品。有的借用了“虎年”的意象，有的以虎为喻，有的则是专辑封面上出现了有趣的老虎；风格则从可人的民谣、冷峻的独立摇滚一路穿越到抽象的合成器电子与亚热带律动。 来自东亚的日韩邻居也带来了有趣的几首作品，至于华语音乐中的“虎”，则留给各位自行回味了——下次到 KTV 的时候，不妨来一个虎年拼盘：小虎队，虎啸春，《虎口脱险》，《龙虎人丹》，两只老虎两只老虎跑得快……想推荐哪首，不妨留在评论区喔~ 曲目单： (00:47) St. Vincent - Year of the Tiger (05:09) Belle & Sebastian - My Wandering Days Are Over (10:32) Kent - Sundance Kid (16:07) Superette - Ugly Things (19:56) Emilie Zoe - Tiger Song (24:41) Myles Kennedy - The Great Beyond (31:01) KT Tunstall - Tiger Suit (34:36) Sufjan Stevens - Year of the Tiger (39:45) Humbert Humbert - 虎 (43:57) Faust - Petits sons appétissants (48:09) YIN YIN - One Inch Punch (54:05) BimBamBoom - Hush Hush (58:11) LEENALCHI - Tiger is Coming (01:04:51) Hollie Cook - Tiger Balm → 选曲/配音/制作/包装：方舟 → Key Change 主题音乐：Yu Su → 题图作者：Bisakha Datta, 来自 Unsplash → 题图版式：六花 → 私信/合作联络： 微博/网易云/小宇宙/汽水儿 @线性方舟 → 《周末变奏》WX听友群敲门群主：aharddaysnight

PrefaceI 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 . . . . 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. Thus X will never compose the immortal music that would clash with the second-rate symphonies he has accustomed us to. Y will never commit murder. Under no circumstances can Z ever betray us.Humbert Humbert, in Vladimir Nabokov's LolitaBLUSHING plays an important part in the pages that follow. I do some of it myself, perhaps too much, but I should probably do some blushing here as well, because I have described Veronica McCall inaccurately. I have described her as she appears in my mind's eye: I have let myself be seduced by the image that remains there, and I have presented it as if it were accurate, have even claimed that the image was recorded and preserved with particular precision, although logic tells me that it can't be accurate at all.     In my mind's eye, Veronica is wearing—on the occasion of our first meeting—a beige knit dress made of thin, soft wool. It has long sleeves, and the neckline is a wide scoop, so wide that the dress falls off one smooth shoulder. Surely my memory can't be correct about this dress, about the fullness of Veronica's hips in it, or about the way the dress clings to her. All that must be part of a much later memory, since I met Veronica in the fourth grade.Peter LeroySmall's IslandDecember 28, 1983Have you missed an episode or two or several?You can begin reading at the beginning or you can catch up by visiting the archive or consulting the index to the Topical Guide.You can listen to the episodes on the Personal History podcast. Begin at the beginning or scroll through the episodes to find what you've missed.You can ensure that you never miss a future issue by getting a free subscription. (You can help support the work by choosing a paid subscription instead.)At Apple Books you can download free eBooks of “My Mother Takes a Tumble,” “Do Clams Bite?,” “Life on the Bolotomy,” “The Static of the Spheres,” “The Fox and the Clam,” “The Girl with the White Fur Muff,” and “Take the Long Way Home,” the first seven novellas in Little Follies.You'll find an overview of the entire work in  An Introduction to The Personal History, Adventures, Experiences & Observations of Peter Leroy. It's a pdf document. Get full access to The Personal History, Adventures, Experiences & Observations of Peter Leroy at peterleroy.substack.com/subscribe

Det finns flera kopplingar till verkligheten i Vladimir Nabokovs "Lolita". Romanen och fallet Sally Horner får kritikern Hanna Johansson att reflektera över att bli sedd och se sig själv utifrån. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes första gången 2019.På det mest kända fotografiet av Sally Horner sitter hon på en gunga vars rep hon håller i sina båda händer. Hon har en ljus kortärmad klänning, vita tjocka sockor och lackskor. Hon ler, hon är solbränd, hon har några fräknar. Hon är elva men ser ut att vara äldre, nästan som en tonåring eller som en vuxen kvinna som har spökats ut till ett barn.Fotografiet är taget i Atlantic City sommaren 1948. Bakom kameran stod Frank Lasalle, hennes kidnappare och våldtäktsman som skulle komma att hålla henne fången i ytterligare tjugo månader efter att bilden togs, på en färd som skulle ta dem kors och tvärs genom USA med stopp på otaliga motell och husvagnsområden.Om historien känns bekant från Vladimir Nabokovs roman Lolita från 1955 är det inte en slump. Där drabbas den tolvåriga amerikanska flickan Dolores Haze av den högutbildade europén Humbert Humberts pedofila besatthet. Efter att han har gift sig med Dolores mamma som praktiskt nog strax därefter omkommer i en bilolycka tar han med sig henne på en febrig resa genom landet, kantad av övergrepp. Lolita är det smeknamn han ger sitt unga offer, sin nya styvdotter nymfetten, som han kallar henne och namnet har kommit att bli synonymt med det sexualiserade barnet.Hade jag gjort samma sak med Dolly, tänker Humbert Humbert mot romanens slut, som Frank Lasalle, en femtioårig mekaniker, gjort med elvaåriga Sally Horner 1948?Inspirerades alltså Nabokov av Sally Horners historia, är det hon som är Lolita? Denna lite grovhuggna fråga försökte författaren Sarah Weinman besvara i en bok från 2018, och bokens titel ger kanske en ledtråd om hennes syn på saken: den heter The Real Lolita.Relationen mellan verklighet och fiktion i Lolita är omskriven sedan tidigare. Dels i förhållande till romanens opålitlige berättare, dels med hänsyn till de verkliga händelser som då och då bryter igenom berättelsen.Kritikern Alexander Dolinin har diskuterat hur Nabokov använde sig av den sanna historien om Sally Horner, hur han placerade ut ledtrådar i texten innan denna mening dyker upp och bekräftar sambandet.Till exempel låter han Dick Schiller, den man Dolores gifter sig med efter att hon har flytt Humbert Humberts våld, vara mekaniker. Och i Humbert Humberts mun lägger han formuleringar i stort sett direkt kapade ur de tidningsnotiser om Sally och Lasalle som Nabokov läste medan han skrev sin roman.Dessutom, spekulerar Dolinin, måste särskilt en författare som Nabokov, så förtjust i anspelningar och allitterationer som han var, ha blivit överlycklig av duons likartat klingande namn Sally och Lasalle som ju påminner om sale, det franska ordet för smutsig.Men någon större gåta är det egentligen inte, förhållandet mellan den verkliga Sally Horner och den fiktiva Dolores Haze. Sally Horner var varken den första eller den sista att drabbas av ett öde som liknar Lolitas.När jag pratar om Lolita med andra kvinnor visar det sig nästan alltid att vi någon gång under läsningen har frågat oss själva: var jag som hon? Frestade jag någon när jag var i hennes ålder, med den förpubertala kropp jag avskydde så mycket, en kropp som varken tillhörde ett barn eller en kvinna, som kändes som en asymmetrisk hög av ben och fett?Det verkade otänkbart, och ändå visste vi ju att det inte alls var det. Jag minns när jag som sexåring fick höra talas om hur en flicka som hette Natasha Kampusch hade försvunnit i Österrike, och när jag som fjortonåring läste i tidningen att hon hade rymt efter åtta års fångenskap. Jag växte upp med en skräck för vita skåpbilar och främmande män.Men i den frågan frestade jag någon? ligger också en dold önskan. Att bli sedd av en man, att göra män galna, såldes in som existensens högsta syfte och finaste pris. Frestelsen framstod som så mystisk för att den var något att både befara och begära.I en av låtarna på Lana Del Reys första skiva, Off to the races lånar hon de berömda öppningsorden från Lolita: light of my life, fire of my loins. Eller i Aris Fioretos svenska översättning: ljuset i mitt liv, elden i mina länder. Den dubbla betydelsen i länder blir som en illustration av denna brända jordens kärlekshistoria, där det enda som får Dolores att stanna hos sin styvfar är att han förstör hennes möjligheter till ett annat liv.Lana Del Reys låt är, som så många av hennes låtar, en berättelse om att vara galen, att vara förälskad, om att vara snygg, om att bli iakttagen; låtens jag beskriver sig själv sedd utifrån, i en vit bikini i en ljusblå simbassäng, i en röd klänning i ett rum av glas. Det är en berättelse om frestelsens frestelse.Jag tänker ofta på Sara Stridsberg när jag lyssnar på Lana Del Rey, fascinationen inför en särskild version av Amerika som de delar, som de delar också med Nabokov. I romanen Darling River, med undertiteln Doloresvariationer, bearbetar hon Nabokovs nymfettgestalt och låter den ta olika skepnader: där finns Dolores Haze, där finns Lo som är döpt efter henne, där finns en aphona som utsätts för vetenskapliga experiment. Vid ett tillfälle talar Lo såhär: Jag stod borta vid jukeboxen och valde musik.Jag stod borta; till och med när det är hennes egen röst vi hör är det som om hon såg sig själv från ett avstånd, precis som Lana Del Rey i den där låten.En vanlig reaktion hos den som blir utsatt för ett övergrepp är att avskärma sig från sin egen upplevelse, lämna kroppen; så kan man förstå det avståndet. Men kanske ringar det in något långt mer grundläggande än så: den komplexa, skräckblandade förtjusningen inför att bli betraktad.Det var genom Sarah Weinmans bok som jag lärde mig att Frank Lasalle tog den mest kända bilden av Sally Horner, och jag har inte kunnat sluta tänka på det. Jag hade utgått från att fotografiet var taget av en familjemedlem, ett möjligen iscensatt lyckligt barndomsminne, men ändå ett slags lyckligt barndomsminne, och inte en bild av konstruerad barnslighet regisserad av en besatt och våldsam man.Fotografiet är inte alls explicit. Det är inte som bilderna jag ofrivilligt har kommit att förknippa med Lolitas namn: bilderna av henne som en ung fresterska, bilden av Sue Lyon i Stanley Kubricks filmatisering som på filmaffischen suger förföriskt på en rubinröd klubba bakom hjärtformade solglasögon. I sitt arkiv hade paret Nabokov ett nummer av magasinet Cosmopolitan från 1960, där en fyrtiotreårig Zsa Zsa Gabor är utklädd till en Lolitafigur med nattlinne och ett äpple i handen. Lolitas namn och idén om det sexiga barnet är oskiljaktiga. Lolita är någon som vuxna kvinnor kan spökas ut till.Det är som om Sally Horner, också i detta avseende, har drabbats av Lolitas öde. Den fiktiva Dolores Haze är hågkommen för det smeknamn hon fick av en man som våldtog och rövade bort henne. Sally Horners namn kommer aldrig att nämnas utan Frank Lasalles. Och på den mest kända bilden av henne, den som vid första anblick tycks uttrycka sorgfri barndom, är det honom hon ser och han som ser henne.Hanna Johansson, kritikerLitteraturSarah Weinman: The Real Lolita The Kidnapping of Sally Horner and the Novel That Scandalized the World. Harper Collins, 2018.

Delusion, obsession and dubious ethical choices swirl around in the head of this unreliable narrator.'Lolita' by Vladimir Nabokov details the disturbed account of Humbert Humbert's (the narrator) fantasy with the young Dolores Haze (Lolita). Humbert lusts after 'nymphets' and begins a semi-consensual sexual relationship with the underage Lolita. However the relationship is perhaps not all it seems as the delirium and bizarre behaviour of Humbert become more apparent.I summarised the book as follows. "Don't be fooled by the general controversy surrounding the book, I found it be rather mild. It barely hints at a consensual relationship and overall is rather condemning of Humbert's actions. It's cleverly written as your initial impressions of Humbert and Lolita will likely change as the twisted narration becomes hazier. The prose, plot line and style are all fantastic."I hope you have a fantastic day wherever you are in the world. Kyrin out!Timeline:(0:00) - Intro(1:00) - Synopsis(6:03) - Nymphets: Sex meets controversy(12:30) - Obsession: The breeding ground for delusion(18:59) - Personal Observations/Takeaways(27:13) - SummaryConnect with Mere Mortals:Website: https://www.meremortalspodcast.com/Discord: https://discord.gg/jjfq9eGReUInstagram: https://www.instagram.com/meremortalspodcast/

Delusion, obsession and dubious ethical choices swirl around in the head of this unreliable narrator.'Lolita' by Vladimir Nabokov details the disturbed account of Humbert Humbert's (the narrator) fantasy with the young Dolores Haze (Lolita). Humbert lusts after 'nymphets' and begins a semi-consensual sexual relationship with the underage Lolita. However the relationship is perhaps not all it seems as the delirium and bizarre behaviour of Humbert become more apparent.I summarised the book as follows. "Don't be fooled by the general controversy surrounding the book, I found it be rather mild. It barely hints at a consensual relationship and overall is rather condemning of Humbert's actions. It's cleverly written as your initial impressions of Humbert and Lolita will likely change as the twisted narration becomes hazier. The prose, plot line and style are all fantastic."I hope you have a fantastic day wherever you are in the world. Kyrin out!Timeline:(0:00) - Intro(1:00) - Synopsis(6:03) - Nymphets: Sex meets controversy(12:30) - Obsession: The breeding ground for delusion(18:59) - Personal Observations/Takeaways(27:13) - SummaryConnect with Mere Mortals:Website: https://www.meremortalspodcast.com/Discord: https://discord.gg/jjfq9eGReUInstagram: https://www.instagram.com/meremortalspodcast/Support the show

Degen is back for another classic "doesn't really hit the topic until minute 40" banger. Artistic appreciation and analysis bumps up against materialist politics, the messiness of interpretation, Ramones vs. Beatles, Eagles (band) vs. Eagles (football), and how much of an idiot you have to think Humbert Humbert is smart.Support this podcast at — https://redcircle.com/no-cartridge-audio/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Romanlarının anlatısıyla oyun oynayan, roman yazmayı da anlatı kurmayı da eğlenceli bir uğraş olarak algılayan Nabokov'un Lolita'sı okuru için adeta bir meydan okumadır. İşte Sinek'te bugün bir endüstri hâline gelmiş bu erotizm yolculuğunda Humbert Humbert'ın kulağından beynine bir yolculuk yapma derdinde!

Romanlarının anlatısıyla oyun oynayan, roman yazmayı da anlatı kurmayı da eğlenceli bir uğraş olarak algılayan Nabokov'un Lolita'sı okuru için adeta bir meydan okumadır. İşte Sinek'te bugün bir endüstri hâline gelmiş bu erotizm yolculuğunda Humbert Humbert'ın kulağından beynine bir yolculuk yapma derdinde!

Get "Lolita" by clicking the link bellow and support local book stores.https://bookshop.org/a/57229/9780679723165In this episode, we cover Vladimir Nabokov's infamous novel “Lolita”. According to Vanity Fair, this book is considered to be “the only convincing love story of this century.” The novel is famous for its controversial subject: pedophilia. Humbert Humbert, the novel's unreliable narrator and protagonist is obsessed with nymphets - specifically 12-year-old Dolores Haze, whom he nicknames Lolita. Join us as we discuss the importance of this novel and why you shouldn't turn your nose up at it just because of its delicate plot.If you liked or didn't like this episode, let us know.Leave us a review and subscribe to this podcast!*GEAR* (affiliate links)Cameras: https://amzn.to/3bvmrIoRodecaster Pro: https://amzn.to/2XJcdR9Microphones: https://amzn.to/3kpkZLMHeadphones: https://amzn.to/2Wj3hBmBannedBookClubPodcast.comSubscribe to our Youtube Channel hereFollow us on Instagram: @bannedbookclubpodFollow us on Facebook: @bannedbookclubpodEmail us at info@bannedbookclubpodcast.comSupport the show (https://www.buymeacoffee.com/bannedbookclub)

Lolita, obra do escritor russo Vladimir Nabokov é daquelas que mesmo sem você ter lido, sabe do que se trata. Ela trouxe para a conversa cotidiana a palavra ninfeta, não é que ela não existisse, mas passa a representar as jovens adolescentes até 14 anos que enfeitiçam marmanjos com mais de 40. A palavra Lolita passa a ser também um adjetivo que qualifica essas meninas. Mas o que lemos em todo o romance são as atividades de um pedófilo, nos arranjos para chegar a sua presa. Nas mãos de um escritor menor, Lolita seria apenas um livro de apelo sexual, não é à toa que foi lançado na França pela editora Olympia Press conhecida por publicar uma mistura de ficção erótica, e ficção literária de vanguarda, isso depois de ter sido recusado por todas as editoras nos Estados Unidos. Mas é aí que entra a genialidade de Nabokov, que muitos o colocam no Olimpo da literatura russa, ao lado de Dostoiévski, Tolstói e Tchekhóv, que vai nos revelando sua trama, e nos convencendo se não a perdoar seu personagem: Humbert Humbert, pelo menos, a escutá-lo, porque o romance é um relato genialmente escrito em nome do personagem, que da prisão escreve para seus julgadores, que em último analise somos nós, os leitores. Se você gosta de nosso podcast não esqueça de curtir o episódio e compartilhar com os amigos. Obg!

No dia 18 de agosto de 1958, o polêmico romance de Vladimir Nabokov Lolita é publicado nos Estados Unidos. A trama é narrada em primeira pessoa pelo protagonista, o professor de poesia francesa Humbert Humbert, que se apaixona por Dolores Haze, sua enteada de doze anos apelidada de Lolita. O professor, bem mais velho, desde o início se define como um pervertido e aponta como causa para isso um romance traumático em sua juventude.----Quer contribuir com Opera Mundi via PIX? Nossa chave é apoie@operamundi.com.br (Razão Social: Última Instancia Editorial Ltda.). Desde já agradecemos!Assinatura solidária: www.operamundi.com.br/apoio★ Support this podcast ★

Welcome to the Instant Trivia podcast episode 104, where we ask the best trivia on the Internet. Round 1. Category: What'cha Got Cookin'? 1: This clear meat soup will be finished in a jiffy; actually, "finished" is what its name means. a consommé. 2: I'm sauteeing this organ meat in butter and lemon juice, as you'd know, if you had any. brains. 3: I'm making passover breakfast fun by using this unleavened bread in a version of French toast. matzah. 4: I'm boiling these to mix with red cabbage; it's too darn hot to roast them on an open fire. chestnuts. 5: Don't be intimidated by the skewers; I'll use them on the marinated lamb to make this. shish kabob. Round 2. Category: Oh "Mi" 1: This city's Herald was founded in 1910. Miami. 2: 2 Samuel 1:25 proclaims "How" have they "fallen in the midst of the battle!". The mighty. 3: Muscovite is a white type of this rock that splits into thin leaves. mica. 4: Math sign that looks like a hyphen. Minus sign. 5: The process of a cell with 46 chromosomes spilitting into 2 cells, each also with 46 chromosomes. Mitosis. Round 3. Category: Dough 1: Chile uses this basic unit of currency. a peso. 2: Italy has issued Euro coins with part of this painter's "Birth of Venus" on the reverse. Botticelli. 3: The name of this unit of currency used in Libya is from the Latin for "ten". Dinar. 4: Cherry blossoms are featured on the back of the coin worth 100 of these. Yen. 5: No peeking! This building is portrayed on the back of the $20 bill. the White House. Round 4. Category: By, The Book 1: The first book by this "Chocolate Factory" guy was "The Gremlins" in 1943, written for Walt Disney. Roald Dahl. 2: False advertising alert! In 1933 she penned "The Autobiography of Alice B. Toklas". Gertrude Stein. 3: He wrote "Redburn", "Omoo" and a seafaring novel of some repute. (Herman) Melville. 4: In addition to "The Hitchhiker's Guide to the Galaxy", he penned "Dirk Gently's Holistic Detective Agency". Douglas Adams. 5: The second part of his "The Sound and the Fury" is told by a neurotic on the day of his suicide. Faulkner. Round 5. Category: Plays And Playwrights 1: David Henry Hwang wrote his first play, "F.O.B.", while studying at this school near Palo Alto, California. Stanford. 2: Edward Albee's adaptation of this Nabokov novel starred Donald Sutherland as Humbert Humbert. "Lolita". 3: In 1941 her "Watch on the Rhine" was named best American play by the New York Drama Critics' Circle. Lillian Hellman. 4: He worked as a stagehand in Prague before writing plays such as "Temptation" and before becoming a president. Vaclav Havel. 5: In 1991 Nigel Hawthorne won a Tony for his role as this author in William Nicholson's play "Shadowlands". C.S. Lewis. Thanks for listening! Come back tomorrow for more exciting trivia!

This week, authors Kurt Baumeister and Leland Cheuk are on the show to talk about Literary Protagonists. We dive into Hiro Protagonist, Patrick Bateman, Billy Pilgrim and more. And this week's games include Recast: Rewrite Edition, and the Thunderdome! Are you the hero of your own story? Find out!Check out Kurt's excellent writing via his website: https://kurtbaumeister.com/And Leland is also a prolific writer, so check his work out: https://lelandcheuk.com/You can support their press, 7.13 Books, too: https://713books.com/If you like our theme song, check out Michael J. O'Connor's music. He's prolific: https://michaeljoconnor.bandcamp.com/And heck, try to be not just the protagonist of your own story, but of everyone's. :D

“Lolita, luz de mi vida, fuego de mis entrañas. Pecado mío, alma mía. Lo-li-ta: la punta de la lengua emprende un viaje de tres pasos desde el borde del paladar para apoyarse, en el tercero, en el borde de los dientes. Lo. Li. Ta. Era Lo, sencillamente Lo, por la mañana, un metro cuarenta y ocho de estatura con pies descalzos. Era Lola con pantalones. Era Dolly en la escuela. Era Dolores cuando firmaba. Pero en mis brazos era siempre Lolita.” -Fragmento de 'Lolita'- Vladimir Nabokov nació en 1.899 en el seno de una familia aristocrática de San Petersburgo. Pasó su niñez en Rusia y recibió educación trilingüe en francés, inglés y ruso. Tras la Revolución rusa de 1.917, su familia se exilió en Gran Bretaña, y estudió en el Trinity College de Cambridge. Tras un nuevo traslado a Berlín, su padre, periodista y político, fue asesinado durante un mitin. Mientras vivía en Berlín y París, Nabokov escribió novelas, relatos y poemas en ruso, a la vez que trabajaba como instructor de tenis y tutor. En 1.925 se casó con Vera Slonim con la que tuvo un hijo, Dimitri. Después de huir a los Estados Unidos durante la II Guerra Mundial, continuó escribiendo en inglés. Enseñó en la Universidad de Cornell y, como autoridad en entomología, ocupó un cargo en el Museo de Zoología Comparada de Harvard. Falleció en Montreux, Suiza, en 1.977. Entre las novelas más destacadas del autor están “La dádiva” de 1.937, “Lolita” de 1.955, “Pálido fuego” de 1.962 y “Ada o el ardor” de 1.967. La historia de la literatura está salpicada de obras que fueron prohibidas o censuradas considerando que corrompían la moral pública o que atentaban contra la política o la religión. En la primera mitad del siglo XX, la experimentación literaria forzó los límites del gusto y escandalizó al público conservador. En respuesta, los censores rastrearon obras como “Ulises” de Joice para detectar obscenidades, o eliminaron referencias sexuales de novelas como “El amante de Lady Chatterley” de D.H. Lawrence. Ya en 1.960, la versión íntegra de esta obra fue juzgada por obscenidad, aunque fue absuelta. Desde entonces, la censura literaria se ha relajado en todo el mundo, si bien no ha desaparecido por completo. Ejemplos de libros prohibidos no faltan en todas las épocas: en 1.532 “Gargantúa y Pantagruel” de Rabelais, fue condenado por obscenidad por la Sorbona; en 1.759, aunque fue prohibido por el gobierno y las autoridades religiosas, el “Candido” de Voltaire se convirtió en un “best seller”; “Trópico de Cáncer”, el relato de Henry Miller de su vida como escritor en París, publicado en 1.934, fue prohibido en los Estados Unidos por su contenido sexual; “El desayuno desnudo” de William Burroughs, de 1.959, novela narrada por un yonqui, fue prohibida en Boston en 1.962 y la decisión fue revocada en 1.966; “Los versos satánicos” de Salman Rushdie, publicado en 1.988, continúa estando prohibido en más de diez países al ser considerado blasfemo contra el islam. Podríamos seguir “ad infinitum” Hoy pocos se ofenderían por libros que en el pasado fueron censurados; y aún así, la controvertida “Lolita” de Vladimir Nabokov conserva tanto su magnetismo como su poder perturbador. Prohibida tras ser publicada en 1.955 en Francia, y vuelta a publicar en Londres en 1.959, a novela gira en torno a la obsesión del narrador, Humbert Humbert, con cierto tipo de menores de edad: las , esbeltas niñas pubescentes de piel sedosa, entre los nueve y catorce años de edad. El título de la novela ha adquirido el significado de adolescente seductora y provocativa. La lectura de “Lolita” produce un estado de confusión mental a medida que nos familiarizamos con un narrador que subvierte todas las reacciones normales a su atroz relato. En la claustrofóbica fantasía de Humbert, el lector pierde la perspectiva, seducido por un cosmopolita profesor europeo provisto de una bien preparada defensa sazonada con apologías, alusiones literarias, juegos de palabras y un insidioso ingenio. En su adolescencia, Humbert se enamoró en la Riviera francesa de la joven Annabel: el modelo para su obsesión. Años después, en Estados Unidos, rompió el hechizo encarnándola en otra: Dolores Haze, Lolita, la hija de doce años de su casera. Las devastadoras consecuencias de la obsesión se materializarán cuando Humbert se case con la madre para tener acceso a la niña objeto de su fantasía. Un vago plan para asesinar a su reciente esposa se vuelve innecesario cuando esta es atropellada mortalmente por un coche; el falsamente afligido padrastro recoge a Dolores del campamento de verano donde se encuentra e inicia su intento de realizar su sueño. Podríamos decir que se trata de una novela erótica que no ofrece casi nada obsceno; la segunda parte es una continuación de la auténtica aventura amorosa del autor, pero con el lenguaje. Con una prosa sumamente elaborada, ornamentada y lírica, Humbert reconstruye su viaje de un año a través del continente con Dolores como dice >. Detalles de su despótico enamoramiento tales como riñas, situaciones comprometidas y sobornos, afloran de forma intermitente en un relato surrealista y cinematográfico que recorre sardónicamente la cultura estadounidense. Al cabo del año, de regreso a la Costa Este, Humbert inscribe a Dolores en la escuela y el tejido de su fantasía empieza a deshacerse En los libros pornográficos no hay estilo, estructura ni imágenes, como nos recuerda Nabokov en el defensivo epílogo a una novela que sobresale en los tres aspectos. Humbert Humbert es un narrador poco fiable, que necesita ser protegido por el autor ficticio de un prólogo que ata los cabos sueltos antes incluso de empezar la historia. No hay relatos alternativos: solo la voz póstuma de Humbert, defendiendo lo indefendible ante sus lectores.

In 1961 bracht Vladimir Nabokov “Lolita” uit, waarin verteller Humbert Humbert in geuren en kleuren uitweidt over zijn obsessie met jonge meisjes. Zo luid als de stem van deze dader klinkt, zo stil blijft het langs de kant van zijn “nimfijn”. In 2020 schreef Kate Elizabeth Russell “Mijn Duistere Vanessa”, waarin deze keer de Humbert zwijgt, maar het slachtoffer spreekt en vecht met de pijnlijke waarheid rond wat zij als tiener had met haar leraar. In onze eerste van 2021 duiken we in het thema van de erg boeiende edoch gevoelige Me Too-literatuur.

Lolita (1955) je román Vladimira Nabokova. Román je mezinárodně uznáván díky inovativnímu slohu. Kvůli svému obsahu je považován za velmi kontroverzní, jeho protagonista Humbert Humbert je totiž sexuálně přitahován dvanáctiletou dívkou jménem Dolores Haze. Po svém vydání se toto dílo stalo klasikou, je jedním z nejznámějších a nejkontroverznějších románů literatury 20. století. Jméno Lolita se stalo součástí jazyka jako označení sexuálně přitažlivé nezletilé dívky.

Vladimir Nabokov is your favorite author? Name five of his short stories written in Berlin in the 1930s. This week we look into how the author of Lolita's attempts at writing around the book's themes pre-dated his masterwork by several decades, the endless saga of getting Lolita published, some of the story’s earliest critical misinterpretations and the life of one of the 20th century’s best-regarded authors. Jamie speaks with Nabokovian Dana Dragunoiu and Nabokov's all-time biographer Brian Boyd. Featuring the voices of Aziz Vora as Humbert Humbert, Robert Evans as Vladimir Nabokov, additional voice work from Anna Hossnieh, Shereen Lani-Younes, Grace Thomas, Isaac Taylor, and Miles Gray. Produced by Sophie Lichterman, Miles Gray, Beth-Anne Macaluso and Jack O'Brien. Editing by Isaac Taylor, additional editing by Ben Loftus. Written and hosted by Jamie Loftus. Join our Discord for more discussion! https://discord.com/invite/TrXc6BkfpN In this episode we talked about: Lolita by Vladimir Nabokov Nabokov in Russia by Brian Boyd Nabokov in America by Brian Boyd The Magician's Doubts by Michael Wood Nabokov’s Women: The Silent Sisterhood of textual Nomads, edited by Elena Rakhimova-Sommers Maurice Girodias (we didn't have time to cover him in depth here but the man is a piece of WORK): https://evergreenreview.com/read/lolita-and-mr-girodias/ Early reviews of Lolita: https://bookmarks.reviews/sick-scandalous-spectaular-the-first-reviews-of-lolita/ The Showgirl Who Discovered Lolita by Sarah Weinman: https://lithub.com/the-showgirl-who-discovered-lolita/ Vladimir Nabokov and the Poetics of Liberalism by Dana Dragunoiu: https://nupress.northwestern.edu/content/vladimir-nabokov-and-poetics-liberalism The Enchanter by Vladimir Sirin (Nabokov) Still Intrigued with Lolita: Nabokov's Visionary Work on Child Sexual Abuse by Lucia Williams: https://thenabokovian.org/sites/default/files/2018-06/NABOKV-L-0027757___Williams_2016_StillIntriguedWithLol_Lolita.pdf Nabokov's Playboy Interview from 1964: http://reprints.longform.org/playboy-interview-vladimir-nabokov Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Who is Dolores Haze? Since Lolita by Vladimir Nabokov was published in 1955, readers have formed strong opinions on the story’s narrator and his framing of the titular character. But Lolita and Dolores Haze are far from the same person. Jamie Loftus gets into her history with the book, and dives into the events of the book. Join our Discord for more discussion! https://discord.gg/Xkp2Yav7 Featuring the voices of Aziz Vora as Humbert Humbert, Robert Evans as Vladimir Nabokov, additional voice work from Anna Hossnieh, Shereen Lani-Younes, Grace Thomas, Isaac Taylor, and Miles Gray. Produced by Sophie Lichterman, Miles Gray, Beth-Anne Macaluso and Jack O'Brien. Editing by Isaac Taylor, additional editing by Ben Loftus. Written and hosted by Jamie Loftus. In this episode we talked about: Lolita by Vladimir Nabokov The Bad Beginning by Lemony Snicket Lewis Carroll: https://www.smithsonianmag.com/arts-culture/lewis-carrolls-shifting-reputation-9432378/ The Mann Act: https://www.history.com/news/white-slave-mann-act-jack-johnson-pardon The Enchanted Hunters and the Hunted Enchanters: https://thenabokovian.org/node/50399 This interview with Nabokov from the Paris Review: https://www.theparisreview.org/interviews/4310/the-art-of-fiction-no-40-vladimir-nabokov Men Explain Lolita to Me: https://lithub.com/men-explain-lolita-to-me/  Reading Lolita in Tehran: https://azarnafisi.com/book/reading-lolita-in-tehran/  Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Warning: This episode does contain difficult subject matter, specifically child abuse, pedophilia and grooming behaviors. While this episode is used to start hard conversations, we do not believe this is suitable for younger listeners. Listener discretion is advised.Awe and exhilaration--along with heartbreak and mordant wit--abound in Lolita , Nabokov's most famous and controversial novel, which tells the story of the aging Humbert Humbert's obsessive, devouring, and doomed passion for the nymphet Dolores Haze. Lolita is also the story of a hyper-civilized European colliding with the cheerful barbarism of postwar America. Most of all, it is a meditation on love--love as outrage and hallucination, madness and transformation.If you would like to purchase the book, please use this link here:https://amzn.to/35RE2IPBe sure to follow us, download our episode, drop a comment, send a message, send a dove, whatever you want!twitter @2BluestockingsInstagram two.blue.stockingsfacebook two blue stockings podcastGmail two.blue.stockings.books@gmail.comSupport the show (https://www.patreon.com/twobluestockings)

Some of our best poets have the greatest range: think of Shakespeare, in all his wild permutations, or Edna St. Vincent Millay boomeranging from heartbreak to revelry. Or T. S. Eliot, who captured our bruised souls in “The Waste Land,” itemized the neuroses of unrequited love in “Prufrock,” and then turned around and set to verse the antics of cats like Growltiger and Rumpleteazer. You could say that the same range exists in the best of actors—like Jeremy Irons, who’s played everyone from starry-eyed Charles Ryder to Humbert Humbert himself. Irons’s iconic voice has lent itself to animated lions and audiobooks before, but now, he joins us to talk about perhaps his most ambitious project yet: narrating the poems of T. S. Eliot. This episode originally aired in 2018.Go beyond the episode:Jeremy Irons reads The Poems of T. S. Eliot from Faber & Faber and BBC Radio 4Read more about T. S. Eliot’s life at the Poetry FoundationMay we suggest Juliet Stevenson’s portfolio of Jane Austen’s novels for your next road trip?Listen for yourself: T. S. Eliot reads “The Love Song of J. Alfred Prufrock”and “The Waste Land”On the other hand, we love W. H. Auden’s reading of “As I Walked Out One Evening” (and his collaboration on the Night Mail documentary)Tune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes!Our theme music was composed by Nathan Prillaman. Excerpt of “The Rum Tum Tugger” used courtesy the BBC, which owns the production copyright. See acast.com/privacy for privacy and opt-out information.

Some of our best poets have the greatest range: think of Shakespeare, in all his wild permutations, or Edna St. Vincent Millay boomeranging from heartbreak to revelry. Or T. S. Eliot, who captured our bruised souls in “The Waste Land,” itemized the neuroses of unrequited love in “Prufrock,” and then turned around and set to verse the antics of cats like Growltiger and Rumpleteazer. You could say that the same range exists in the best of actors—like Jeremy Irons, who’s played everyone from starry-eyed Charles Ryder to Humbert Humbert himself. Irons’s iconic voice has lent itself to animated lions and audiobooks before, but now, he joins us to talk about perhaps his most ambitious project yet: narrating the poems of T. S. Eliot. This episode originally aired in 2018.Go beyond the episode:Jeremy Irons reads The Poems of T. S. Eliot from Faber & Faber and BBC Radio 4Read more about T. S. Eliot’s life at the Poetry FoundationMay we suggest Juliet Stevenson’s portfolio of Jane Austen’s novels for your next road trip?Listen for yourself: T. S. Eliot reads “The Love Song of J. Alfred Prufrock”and “The Waste Land”On the other hand, we love W. H. Auden’s reading of “As I Walked Out One Evening” (and his collaboration on the Night Mail documentary)Tune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes!Our theme music was composed by Nathan Prillaman. Excerpt of “The Rum Tum Tugger” used courtesy the BBC, which owns the production copyright. See acast.com/privacy for privacy and opt-out information.

Craig and Scott talk about the publication of Lolita.

Jackson Bliss is an assistant professor of creative writing at BGSU. His genre-bending fiction focuses on being mixed-race in a global world. This episode features a conversation about exploring identity through writing and a reading from his forthcoming novel, The Amnesia of June Bugs.   Transcript: Intro: This podcast features instances of explicit language. If you are listening with children, you may want to save this conversation for later. Intro: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas. Musical Intro: I'm going to show you this. It's a wonderful experiment. Jolie Sheffer: Welcome to the Big Ideas Podcast, brought to you by the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Dr. Jolie Sheffer, associate professor of English and American culture studies and the director of ICS. Jolie Sheffer: Today I'm joined by Dr. Jackson Kanahashi Bliss. Bliss is an assistant professor in the creative writing program here at BGSU. He's published in The New York Times, The Boston Review, Ploughshares, Tin House, and many other publications. He earned his MFA from the University of Notre Dame and his PhD in literature and creative writing from the University of Southern California. Today we have the pleasure of hearing him read from his new work, Amnesia of Junebugs. Thanks for joining me today, Jackson. Jackson  Bliss: Happy to be here. Jolie Sheffer: You are both a creative writer and a literary scholar. How do you think of your creative writing as being shaped by scholarship on Asian American literature? Are there other ways in which you see your work as interdisciplinary? Jackson  Bliss: Yeah, it's a funny marriage, actually, and I think it's an accidental one, because, in the beginning, I wrote most experimentally, and then when I started studying Asian American studies, I realized there was a sort of strong bent towards experimentalism and activism and how it connects to ethnic nationalism, ethnic studies, academic studies, and academic centers and universities. So this was completely accidental. I didn't intentionally sort of imitate the preferred genre of activist-minded APIA literature. It just sort of happened that way. But the more I studied Asian American studies, particularly works like Immigrant Acts by Lisa ... What's her last name? Jolie Sheffer: Lowe. Jackson  Bliss: Lisa Lowe. Yeah. It sort of made me realize there's a strong sort of push against the stylistics of the empire, which tends to be connected to linear narratives and coming-of-age stories. That made me want to write that story, particularly because I found it a little bit both historically informed, but also generically arbitrary that a particular sub-genre of fiction would supposedly work so well, right, in something that we are actively trying to deconstruct. Jackson  Bliss: I feel like writers like Viet Thanh Nguyen are perfect examples of people who said, "No, you can have a narrative arc and do a lot of important work instead of deconstructing standardized, sort of imposed European models of narrative." Jackson  Bliss: So I think all of those things appealed to me a lot. So it became much more conscious the more I wrote fiction, I think. Yeah. But in the beginning, it was totally accidental and organic. Jolie Sheffer: Your peace Dukkha, My Love is an experimental hypertext novella, created for the web. Can you describe our audience, what that term means? What is an electronic novella, and what can people expect when encountering a text like that? What were you hoping to explore, both formally and thematically? Jackson  Bliss: I think part of it is that there is a very tiny archive of electronic writing, just in general. If you go to the standard places that catalog experimental writing, for example, they're really small. They're highly limited. A lot of writers that write experimentally or create online hypertext don't even publish through them. They just publish on their website. So it's highly decentralized in a way that can be really frustrating for, for example, scholars in new media, because there is no clearinghouse for someone to find all the works. Jackson  Bliss: I think the thing that new readers of hypertext, which is online experimental writing, have to sort of keep in mind is a lot of it is about the ability to create your own narrative, sort of on your own terms. This is sort of the burden, but the beauty of reading. In Dukkha, My Love, essentially, readers click on hypertext, not knowing where it takes them. So they have control, but they're doing it blindly, right? So there's a lot of that going on. It's highly immersive, but it's also indeterminate in terms of where your freedom and control as a reader will take you. Jackson  Bliss: Eventually, as readers start reading more and more, they sort of participate in the cyclicity of the three intersecting narratives, which is absolutely part of the point of reading it, which is the ways in which there is a historical cycle that would repeat, the ways in which we repeat sort of certain cultural modalities of xenophobia and fear against the other, the ways in which our own understanding of reality sort of goes in these continuous cycles of knowledge and awareness and denial, and the proof of this as well is on the first page, when readers click on one of the destinations, where you can basically pick where you want the story to go. It'll even say, "My life is a circle," right, sort of reinscribing this idea in the reader that they are participating in it, but they are not necessarily aware of where they're going, which I think is kind of a fitting cultural analogy of sort of our own conceptualization of history, right? So we sort of have an idea of where it's going, but we're sort of blind as to where exactly it lands. Jackson  Bliss: So yeah, it took me about probably four years of doing research and writing the excerpts and about four months of teaching myself how to code enough to learn how to strip audio files off of YouTube videos and then basically take my own music and sort of record it and then time it and cut it in such a way where it worked with the videos, which I basically ripped off from the Learning Channel and someone else. God bless all of you. Thank you for your fine work. Jackson  Bliss: Yeah. But I was learning as I was creating. That particular genre was something I had never done before, and that's why I wanted to contribute to the discourse, because I felt like it's pretty emaciated, in terms of a genre, right, but also highly accessible. Those two things really appealed to me. Jolie Sheffer: That project in particular, you set yourself a set of hurdles that were challenges you had to then work within, right? So you make something that is, by nature, through coding, deeply linear and kind of limit certain pathways. It is not an endlessly, right? You have to create a set of possibilities, which means foreclosing others, and yet your work itself and the things that interest you are all about the chaotic, the unpredictable, the messy. So how did you kind of respond to the challenge that you set for yourself? Did you feel like you'd handcuffed yourself, or was it liberating, in some sense, to have to work within these limitations? Jackson  Bliss: To be honest, I thought the limitations were there to keep me sane, because I think I would have lost my (beep) mind if I had literally created a work of infinity, because, originally, the idea was I was going to create [inaudible 00:06:50] Book of Sand, right? You could almost make that argument, but if you read Dukkha, My Love enough, you will eventually hit the same narrative strand. So you do sort of touch on finitude at some point. It's impossible to avoid that textual finitude. Jackson  Bliss: But the constraints ended up being lifesavers for me, because this project otherwise could have gone on forever. Let me give you an example. When I was trying to keep track of all the three separate narrative strands and then create a separate stub for each one on my website, this required a level of organization that, frankly, I don't like to have in my art. That goes against my entire ethos as a multimodal, mixed-race, experimentalist-leaning, voice-driven, stylized writer. Yet here we were, where I basically had to control my choices, one, so that I could finish this product before the next semester started and, two, to sort of create a bottleneck, I guess, a narrative bottleneck, where, at some point, everything does have to go through certain sort of narrative choices. Jackson  Bliss: That's both because of the limitation in my coding skills, frankly, but also because there are certain sort of narrative strands I want readers to go through, and I don't want them to necessarily be negotiable. So, for that reason, the index page is, in and of itself, a sort of delimitation of the narrative choices, right? Readers only have basically 10 to 15 places to choose, and then they only have 4 to 10 actionable links on that page. So it sort of starts and ends with finitude. Jackson  Bliss: There is, believe it or not, those of you that have read this, a goodbye page, an acknowledgement page, but, as it turns out, it's incredibly (beep) difficult to find. I mean, I can't even find it, and there's other details that I put that I think were just a little too [inaudible 00:08:41] for themselves. There was an asterisk next to certain narrative strands, letting readers know, "Hey, this is it. This is about to take you to the final page," and I hope that readers would note that this was connected to the theme of the star colonies. That's why the asterisk's there. But you have to scroll down, and if you don't scroll down, you don't see it, and then it doesn't take you to the final page. Jackson  Bliss: But I'm not upset about this. I don't hate myself. I have accepted that there are limitations to reading, and you really can't predict, unless you're into analytics, what your readers are going to do. To me, that's the beauty of it, is that it gives readers, essentially, some blind power to decide how the story is told, which, frankly, isn't done very often in speculative fiction. So that's why it appealed to me. Jolie Sheffer: Much of your work deals with being hapa, or mixed race. How do you see your identity playing a role in your creative work, or, conversely, how has your fiction played a role in your understanding of your own identity? Jackson  Bliss: It's interesting you ask me that, because, in the beginning, when I look back to my earliest fiction, all my characters were white, and this is for a couple of reasons. One, because, at that point, I was definitely passing as white. Two, it's just simply easier for me and my mom, who's hapa as well, my brother, who's also hapa, to just not push the mixed-race button. I was born in Northern Michigan. I didn't live in a community where we celebrated, right, sort of any sort of multicultural, multiracial identity. Jackson  Bliss: There was a lot of survival going on. I mean, even my obachan would not speak to me in Japanese unless I begged her. This was partially because she had a sort of assimilationist paradigm, when it came to living in America. So she thought she was helping me by just making me only speak English. Jackson  Bliss: So, ironically, as I got older and started realizing I have two very different racial and cultural modalities, I mean, I'm literally the son of Japanese immigrants on my mom's side, and that's how close that side of the genealogy is. It's insane I'm never writing about that. It's bizarre that I don't talk about that. I think part of it's because I didn't know how to. There's a lot of things I love about growing up in the Midwest, but it's culturally not the most progressive place to examine your racial hybridity, and I think if I had grown up in SF or New York City, a place where there are strong multicultural identities as the centering of the urban ethos, I probably would have found myself a lot earlier. So it took me a long time. Jackson  Bliss: So I realized at one point that my racial hybridity, in a lot of ways, sort of mimicked my generic hybridity, right, where I like to write in a lot of different genres. I sort of pick and choose. I don't feel like I should be pigeonholed. I sort of embrace this idea that I can almost pick the concept of the neutral, in terms of what it means and [inaudible 00:11:35]'s notion of you don't have to pick one side or other. You can choose to not pick between two options, especially when they're highly binary and deeply delimiting, existentially. Jackson  Bliss: So these things sort of coincided. My desire to sort of subvert genre conventions and just find whatever's the right genre and voice for me coincided with my realization that I had a lot I wanted to understand and investigate about my own mixed-race identity, as someone who's French, British, and Japanese. So it's really my PhD years where I really started fully embracing this and really interrogating it. Jolie Sheffer: What kinds of research do you do for your creative work? You alluded to some of that. What scholars or authors have shaped your work and worldview? Jackson  Bliss: The first people to influence my voice, Junot Diaz and then JD Salinger, and the third one is Zadie Smith. These three writers really informed my whole conception of voice and textual and racial hybridity. So the thing I liked about JD Salinger as a teenage boy was the authenticity of someone questioning authenticity, right? That sort of self blindness, I found really compelling, right? Jolie Sheffer: All his talk of phoneys, right? Jackson  Bliss: Yeah, phoneys. Right. Jolie Sheffer: Yeah. Jackson  Bliss: In many ways, he's [Salinger] the phoniest of all. But, on the other hand, there's a tender side to him that often gets ignored, where he's deeply concerned about preventing trauma to people, because he himself appears to be traumatized, in a way that Holden Caulfield was incapable of sort of working out. So that was powerful to me, and the stylization of the voice was really powerful. Jackson  Bliss: But then when I read White Teeth by Zadie Smith and then Drown by Junot Diaz, I suddenly realized that there was space for my voice, this sort of multicultural urban realism combining with almost sort of Creole sort of language, patois, right, in English. I didn't know that you could do that. I didn't know we were allowed to put the language of our other identity into English. It sounds really crazy when I hear it, but yeah, it was sort of a revelation to me that we could have a stylized voice that sort of embraced and sort of interrogated and was a product of a multicultural identity. Jackson  Bliss: With White Teeth, I think I was just so invested in the ways in which she sort of did these portraitures of different racial and historical and cultural communities and gave each of them a sort of majesty and humanity and an interrogation that I found really amazing and actually rare and then combine it with a sort of these moments of maximization, where the language just explodes off the page, right? Jackson  Bliss: I realized these writers were doing a lot of important work that I myself wanted to do, that I needed to understand better and also, at the same time, that they were giving me permission to sort of figure out my own narrative modality, my own stylized voice, because it's easy to feel like you have to basically come off as neutral, which is code for sounding white. A lot of writers of color I'm friends with feel the same way. They feel this invisible constraint all the time to write in a way where Ivy League-educated, East Coast white readers will understand and connect with. Jackson  Bliss: The problem is there's things that that demographic cannot connect with, and if we write for this imagined, embodied, universal voice, we can give up a lot of the most vital parts of our own sort of unique lyricism and our own techniques for storytelling. So that was a huge revelation for me. Jolie Sheffer: You recently published an essay in TriQuarterly called The Cult of Likability, or Why You Should Kill Your Literary Friendships. In it, you talk about how readers frequently criticize characters for their likeability, or lack thereof. Do you see this as a racialized or gendered criticism, and what qualities do you think are important to make characters compelling? Jackson  Bliss: I do think it's heavily racialized, and I think it's heavily gendered. I think it works in a really sort of sinister, unconscious way for a lot of people. There's still this notion of universal literary merit. When something's amazing, it has this broad appeal. But universality in literature, at least in the 21st century, is mostly code for literature that appeals to a massive white readership. What I've noticed in my workshops, but also in a lot of book reviews, is that works that are written with characters of color or by authors of color or both, especially when they're women, are much more heavily criticized than when they are, for example, white narrators or white female narrators, right? Jolie Sheffer: Yeah. You don't hear people complaining that Humbert Humbert wasn't likable enough in Lolita. Jackson  Bliss: Right. Exactly. Yeah. Jolie Sheffer: That's not the criticism, or that Rabbit Angstrom isn't likable. Jackson  Bliss: Right. That's right. So one of the arguments I made in this essay is, first of all, some of the most important works that I think have shaped, in a positive way, a sort of expanding sort of foundational text canon in America comes from books that weren't necessarily fun to read, with characters who we didn't necessarily like at all, who are important. I mean, Native Son has Bigger Thomas, I think his name is, and that's a crucial character, right? To say, "I don't like this, because I didn't get him" or "I didn't like him" or "He didn't appeal to me" is so essentially irrelevant to the importance, both culturally and historically and racially, that that voice sort of incarnates. Jackson  Bliss: I'm noticing a tendency now where liter agents and now MFA students and a lot of readers are using love and infatuation as this sort of literary metric for determining the value of something. "I didn't love it. I didn't love the voice. I didn't love the character," as if we are now given permission to not consider the literary value of the work, the importance of the marginalized voice, for example, because we realize we don't like the character. Jackson  Bliss: I think it's connected, partially, to cancel culture. But I also think it's partially connected to reality TV, because, with reality television, when we saw a character we didn't like, we would vote them off. So, essentially, likability had consequences, right? Jackson  Bliss: What I think is happening now is people are reading texts that decenter them or ask them to do work or research. Suddenly, they will just decide, "I don't like this character," and that's the end of it. Jolie Sheffer: It also seems to me, though, related to what you were talking about before, which is that if you don't recognize, if you're encountering a new voice, a new perspective, that is not one that you have been taught to recognize because of literature and because of established kind of genres of reading, that first impulse might be, "I don't like this person," and it takes time to actually get used to new voices. Jackson  Bliss: That's right. Yeah, and I think that sort of discomfort maybe at being de-centered is a completely understandable, very normal one. Everyone feels that way. The problem is communities of color and marginalized communities have felt this their entire lives. They go into any room, they go into any white space, and they are always de-centered, all the time. I think this is something that, in general, white readers are a lot less capable and patient and willing to deal with, in part because they've never had to, right? Jackson  Bliss: So for this to happen in the sort of sacred American pastime of reading I think rubs people the wrong way, but I feel there is a silver lining, which is these readers can sit in that lack of comfort and know, at the end of the day, that it's going to be okay and that they will work it out and they will start to slowly understand these characters and potentially empathize with them. But that takes time, and if we don't learn to learn about people and sort of enter into their space, we will never get there. Jackson  Bliss: That's actually one of the arguments I make in this essay, which is not only would we erase some of the greatest literature written by writers of color if we decide we don't like the characters, but, more importantly, we lose our critical thinking skills and our empathetic ones, because this requires us to learn from the other, whoever the other is for us. Jackson  Bliss: I think that's my issue with likability, is it's become this eroticized literary metric, as if infatuation is actually a legitimate metric to analyze the literary value of a work. Frankly, I don't give a (beep) whether someone loves a book of mine or not. What I care about is if they can enter into it, if they can learn from it, if they can go someplace new, from the end of the book to when they started. To me, that's, in some ways, almost more important. Jackson  Bliss: Whether I'm friends with a character, whether we're besties or not is ... I could give two (beep) about that. But it's becoming a sort of standard comment to make in workshop, and I do my best to sort of interrogate that a little bit. But I feel like we have now reached a point in our culture where not liking something, in our eyes, gives us permission to essentially dismiss it. Jolie Sheffer: We're going to take a quick break. Thanks for listening to the Big Ideas Podcast. Intro: If you are passionate about big ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu. Jolie Sheffer: Hello, and welcome back to the Big Ideas Podcast. Today I'm talking to Dr. Jackson Bliss about fiction, form, and mixed-race identity. You prepared a reading for us called The Amnesia of Junebugs. Can you tell us a bit about the piece you're going to read and where it fits into the work as a whole? Jackson  Bliss: Sure. So this is a tiny excerpt from one of four principal characters. This character's name is Winnie Yu, and he's essentially a culture jammer. So he creates political graffiti, and/or he takes ads from companies and essentially turns the ads against themselves by adding different color, texture to essentially make the ad self-indict itself. It's a very sort of critical novel, as a whole, on capitalism and sort of begs for the role that public art plays in a sort of taking back of streets that are essentially corporatized, in a lot of ways. Jackson  Bliss: So this tiny part here is just a tiny sort of backstory of Winnie describing the first time he realized he did not live in Asia, but that he actually lived in New York City, a tiny secret he didn't realize at the time because he had never taken a train to another borough. So that's sort of like the context for this work. Jackson  Bliss: Winnie had lived off of the Bowery his whole life. Didn't even know that New York was in America until he was six. His parents spoke Cantonese, Taiwanese. Everyone in his fam did. The market signs on Grand Street, where his mom bought her groceries, were written in simplified Chinese characters. His neighbors watched Cantonese soap operas in the afternoon. Old men hung out at Mr. Chang's corner store at night, playing dominoes and drinking ginseng tea and Viper Whiskey, cracking jokes in Wu. His super was Fujian, the cheapest mother (beep) he'd ever seen, who tried to fix everything with duct tape, tinfoil, and DAP. Jackson  Bliss: For the longest time, Winnie believed he lived in Asia. He thought white people were the tourists. But in one day, Mama changed the rules of his storytelling. By taking the subway together for the first time to Brooklyn, she thought it would be cool for them to go over the Manhattan Bridge, and it kind of was. He'd never ridden over a bridge before, didn't understand that New York City had islands or that they were connected together by bridges, the vertebrae of the urban body. It took him a long time to see that subway lines are veins; the major subways, arteries; the streets, capillaries. Jackson  Bliss: Until that fateful and transformative day, Winnie didn't know he lived in a fractal world, in a city of billboards, insects, damaged vascular systems and wandering spirits. He didn't know that New York is an ethnographic sponge, silently absorbing the screenplay of immigration. He didn't know that New York is a megapolis, its streets, highways, and bridges resembling the human nervous system. NYC is an urban hive imploding with refugee stories, diasporic longing, bustling multiculturalism, and inherited fortune, a collapsing urban space where culture dances between neighborhoods and history intersects ethnicity, creating abstract forms that interact, but don't touch each other, like a kaleidoscope. Jackson  Bliss: Until that day, Winnie thought New York was only ten blocks, from Mr. Chang's bodega all the way to Good Times Dry Cleaners. He thought New York was the unofficial capital of Taiwan, a nation and an island and a freaky global village. He was half right, actually. Jackson  Bliss: The straight (beep) is that the day they took the train over the Manhattan Bridge, Mama was showing him the way to St. Ursula's School, were Asian, Latino, and black kids wore unforgiving white polo shirts with stiff colors that dug into their necks like plow yokes and old man pants with creases running down their legs like highway meetings that resisted wrinkles and clumps and refused to be rolled up at the ankles at a school were Asian, Latino, and black girls were forced to wear skimpy plaid skirts, even in the spring, where poor students of color pretended they were rich, rich white students pretended they were gangsta, and all the teachers spoke Midtown English. It was an academy of impersonations and a theater of the restless mind. Jackson  Bliss: The day Mama enrolled Winnie in Catholic school and filled out the paperwork for a St. Martin de Porres Scholarship for Immigrant Students, a detail and a reference he wouldn't even understand until he was in high school, when he realized his mom had accidentally taken away his fixed identity and shoved him into a chrysalis of his own making. As they passed over the Manhattan Bridge again, he didn't understand how the whole world he'd seen that day could all be one city, didn't understand why all the Asian people disappeared, or so it seemed, why no one spoke his family's languages anymore. Jackson  Bliss: Even now, as a 30 something, he still couldn't figure out how his parents had managed to sequester him from the class struggle, the racial conflict, and the spatial tension of inner-city life for as long as they did. What he did know is that after Mama had enrolled him for classes, smoothed his hair back for a school ID, bribed him with feng li su cakes from a Taiwanese Baker he'd never seen before to celebrate his enrollment, and then led his (beep) back to their apartment, pineapple paste caramelized in his teeth, Winnie realized that he didn't know (beep) about his American life anymore, except he wasn't living in Asia, and he certainly wasn't Catholic. Jackson  Bliss: As far as birthdays went, turning six (beep) sucked, the worst thing to happen to him, at least until explosive acne in 10th grade, at least until his Ba peaced out of his life for good too soon. Jolie Sheffer: You really set the scene of this world within a world, where a child could grow up in New York's Chinatown without realizing they were even in the US. You've lived in the Midwest, on the West Coast, in Japan, Argentina, and Burkina Faso. How do you approach the idea of setting a sense of place, in this story in particular and generally in your work? Jackson  Bliss: One thing is that I think places are characters. I have felt this way pretty much ever since, I think, I watched my first Bertolucci film. It's something I learned very early on, and I feel, as a writer who considers himself to be a sort of stylized urban maximalist, it's impossible for me to define or construct characters without understanding the sort of cultural context in which they grew up and evolve, because that's true for me, and that tends to be true for them. So, for me, setting and place are interconnected with voice and identity. Jolie Sheffer: What kind of research did you do for that piece? Jackson  Bliss: Mostly just walked around Chinatown a million times. I wrote a lot of this novel when I had an editorial internship at Hachette Books in New York City. I also visited in the fall of 2006. So I spent a lot of time just walking around New York City, taking the subway, looking for sort of famous graffiti that people were talking about. I spent a lot of time eating vegan dim sum in Chinatown. I feel like sometimes the best way to do research for cities is simply live in the city and see how it breathes. So a lot of it, yeah, was simply walking around, observing, taking notes, talking to my New York friends, asking them questions, asking my Chinese American friends questions. But most of it was just walking, breathing, living, eating in those places. Jolie Sheffer: Your characters always have very distinctive voices. You were just talking about character, but in the characters in your stories, how do you think about approaching developing their particular patterns of speech? Jackson  Bliss: I feel like, a lot of times, the verbal tics, they take time, because who I think a character is in the beginning when I write them is almost never who they are at the end, and then it's sort of up to me to go back and sort of reconcile the voice, so to speak, because there's this implicit rule in fiction where a character's voice has to actually be more consistent than people's voices in real life, right? Because in real life, we, for example, especially people I know who work in different sort of social, professional, racial, and cultural spheres, they code switch all the time, and this can seem inauthentic to people, but it's very normal. But in fiction, you actually have to have a more sort of reconciled voice that readers won't see as too contradictory. Otherwise, they won't think it's the same person. Jackson  Bliss: So this is one of those sort of secret constraints that most fiction writers I know struggle with. How do I keep a voice? How do I construct it, and then how do I maintain it? So I think a lot of times, I will read my dialogue out loud, and I'll just basically understand the character through their orality first, right? How do they sound? How do they feel? Jackson  Bliss: Then, I think, from there, I make modifications, especially when these characters make important sort of plot decisions that might alter their voice or their modulation in some way. For example, I once wrote a character, and then I realized halfway through, "Oh, this character isn't going to be Portuguese-Japanese. They're going to be" ... I don't know. I don't know what I decided, French-Japanese or something, and that changed some of the vocabulary, right? That changed some of the sort of place names and cultural references. Jackson  Bliss: I have another novella that's actually interconnected with this novel, and, for the longest time, it was written from a Senegalese American point of view, because I had spent a decent amount of time in West Africa. Then I realized I was interested to see what would happen if I changed the character and made him mixed-race and made him Japanese Senegalese American. I did that, and it suddenly transformed his voice. There were certain beats that didn't work anymore, right? There's certain slang that doesn't make sense anymore, and there are other things that had to sort of have a presence. Otherwise, it was just a whitewashed mixed-race character. Jackson  Bliss: I think that's the general process, but it always begins and, I think, ends with me simply speaking, because I need to literally hear the voice to understand it on the page. Jolie Sheffer: Lots of creative writers read their work in public, right? That is a kind of professional part of the job. You have a very particular kind of performative approach. How do you think about preparing what you're going to read, how you read, and how do you think that shapes your readers' or listeners' perception of the work? Jackson  Bliss: Yeah, I'll confess right now I'm a speech and debate geek, so in high school and even college, I was a debater, and I was one of those extemporaneous speakers. So I have a long history of sort of seeing the value that public speaking makes. Jackson  Bliss: But I also think that most of my important characters, the ones I'm really invested in emotionally, almost always have some level of identification with their language. So that's where the voice will end up being so sort of important and sort of fleshed out, and I've noticed in the past couple of years that when I give readings, I tend to read either the character or passages from a longer work that allows me to sort of take a very performative, language-driven sort of role in my reading. Jackson  Bliss: For that reason, if I've written a really difficult extemporaneous-feeling work that's actually highly edited and revised, that is really prolix, I guess, and heavily language-driven, I may not read it, especially if, for example, I can't find space to breathe. I have certain work that was pretty much meant to be read, even though I didn't realize it. Jackson  Bliss: So, for me, I think a lot about reading as performance, I think a lot about performance as text, and I think one of my big complaints with a lot of readings I go to is they tend to fall in a couple camps, which is, one, either they just read in this really monotone voice and they have this kind of arrogant idea that work should speak for itself. But the problem with that is what if you suck? What if you're awful? What if everyone's falling asleep? In that case, shouldn't they just stay home and read the book? Why did they waste their time to go out to this reading, where you became the greatest American sleep aid? But on the flip side, I've also seen people who sort of take it really far, and they act like they're basically unpaid beatniks. Jackson  Bliss: So I feel like every writer who ends up becoming a sort of social public figure on some level, which is inevitable once you start publishing, they have to negotiate the sort of reading ethos. For me, it's always been really important. I want readers and listeners to hear the rhythm, because musicality informs a lot of my writing, and that's from my music days. But I also want them to be transported, on some level, by my reading. I want them to feel the language and the cadence and the emotion. Jackson  Bliss: I used to get shamed when I was younger for my performances. People would be like, "Yeah, that was really something." Then you would go to their reading, and half the people were on their iPhones, fiddling away. So, for me, I see my readings as a performance, and I think that to ignore the audience is to be incredibly deceitful and to be delusional. You aren't reading to yourself. You're not reading to your partner. You're not reading to your little Shitzu. You're reading to people, and their experience should be something you think about, because that process is dialectical. It's not just about you, and it's not just about them, but there's an interplay that I honor and that I love. Jackson  Bliss: So yeah, I think a lot about how to read, when to read, and I always practice my readings because of that. Jolie Sheffer: Thank you so much, Jackson, for joining me today and sharing your work. Jackson  Bliss: Oh, it was my pleasure. Jolie Sheffer: You can find Dukkha, My Love and more of Jackson's work at his website, jacksonbliss.com. Jolie Sheffer: Our producers for this podcast are Chris Cavera and Marco Mendoza, with sound engineering by Jackson Williams. Research assistance for this podcast was provided by ICS intern Taylor Stagner, with editing by Stevie Scheurich. This conversation was recorded in the Stanton Audio Recording Studio in the Michael and Sara Kuhlin Center at Bowling Green State University.  

Det finns flera kopplingar till verkligheten i Vladimir Nabokovs "Lolita". Romanen och fallet Sally Horner får kritikern Hanna Johansson att reflektera över att bli sedd och se sig själv utifrån. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes första gången i mars 2019. På det mest kända fotografiet av Sally Horner sitter hon på en gunga vars rep hon håller i sina båda händer. Hon har en ljus kortärmad klänning, vita tjocka sockor och lackskor. Hon ler, hon är solbränd, hon har några fräknar. Hon är elva men ser ut att vara äldre, nästan som en tonåring eller som en vuxen kvinna som har spökats ut till ett barn. Fotografiet är taget i Atlantic City sommaren 1948. Bakom kameran stod Frank Lasalle, hennes kidnappare och våldtäktsman som skulle komma att hålla henne fången i ytterligare tjugo månader efter att bilden togs, på en färd som skulle ta dem kors och tvärs genom USA med stopp på otaliga motell och husvagnsområden. Om historien känns bekant från Vladimir Nabokovs roman Lolita från 1955 är det inte en slump. Där drabbas den tolvåriga amerikanska flickan Dolores Haze av den högutbildade europén Humbert Humberts pedofila besatthet. Efter att han har gift sig med Dolores mamma som praktiskt nog strax därefter omkommer i en bilolycka tar han med sig henne på en febrig resa genom landet, kantad av övergrepp. Lolita är det smeknamn han ger sitt unga offer, sin nya styvdotter nymfetten, som han kallar henne och namnet har kommit att bli synonymt med det sexualiserade barnet. Hade jag gjort samma sak med Dolly, tänker Humbert Humbert mot romanens slut, som Frank Lasalle, en femtioårig mekaniker, gjort med elvaåriga Sally Horner 1948? Inspirerades alltså Nabokov av Sally Horners historia, är det hon som är Lolita? Denna lite grovhuggna fråga försökte författaren Sarah Weinman besvara i en bok från 2018, och bokens titel ger kanske en ledtråd om hennes syn på saken: den heter The Real Lolita. Relationen mellan verklighet och fiktion i Lolita är omskriven sedan tidigare. Dels i förhållande till romanens opålitlige berättare, dels med hänsyn till de verkliga händelser som då och då bryter igenom berättelsen. Kritikern Alexander Dolinin har diskuterat hur Nabokov använde sig av den sanna historien om Sally Horner, hur han placerade ut ledtrådar i texten innan denna mening dyker upp och bekräftar sambandet. Till exempel låter han Dick Schiller, den man Dolores gifter sig med efter att hon har flytt Humbert Humberts våld, vara mekaniker. Och i Humbert Humberts mun lägger han formuleringar i stort sett direkt kapade ur de tidningsnotiser om Sally och Lasalle som Nabokov läste medan han skrev sin roman. Dessutom, spekulerar Dolinin, måste särskilt en författare som Nabokov, så förtjust i anspelningar och allitterationer som han var, ha blivit överlycklig av duons likartat klingande namn Sally och Lasalle som ju påminner om sale, det franska ordet för smutsig. Men någon större gåta är det egentligen inte, förhållandet mellan den verkliga Sally Horner och den fiktiva Dolores Haze. Sally Horner var varken den första eller den sista att drabbas av ett öde som liknar Lolitas. När jag pratar om Lolita med andra kvinnor visar det sig nästan alltid att vi någon gång under läsningen har frågat oss själva: var jag som hon? Frestade jag någon när jag var i hennes ålder, med den förpubertala kropp jag avskydde så mycket, en kropp som varken tillhörde ett barn eller en kvinna, som kändes som en asymmetrisk hög av ben och fett? Det verkade otänkbart, och ändå visste vi ju att det inte alls var det. Jag minns när jag som sexåring fick höra talas om hur en flicka som hette Natasha Kampusch hade försvunnit i Österrike, och när jag som fjortonåring läste i tidningen att hon hade rymt efter åtta års fångenskap. Jag växte upp med en skräck för vita skåpbilar och främmande män. Men i den frågan frestade jag någon? ligger också en dold önskan. Att bli sedd av en man, att göra män galna, såldes in som existensens högsta syfte och finaste pris. Frestelsen framstod som så mystisk för att den var något att både befara och begära. I en av låtarna på Lana Del Reys första skiva, Off to the races lånar hon de berömda öppningsorden från Lolita: light of my life, fire of my loins. Eller i Aris Fioretos svenska översättning: ljuset i mitt liv, elden i mina länder. Den dubbla betydelsen i länder blir som en illustration av denna brända jordens kärlekshistoria, där det enda som får Dolores att stanna hos sin styvfar är att han förstör hennes möjligheter till ett annat liv. Lana Del Reys låt är, som så många av hennes låtar, en berättelse om att vara galen, att vara förälskad, om att vara snygg, om att bli iakttagen; låtens jag beskriver sig själv sedd utifrån, i en vit bikini i en ljusblå simbassäng, i en röd klänning i ett rum av glas. Det är en berättelse om frestelsens frestelse. Jag tänker ofta på Sara Stridsberg när jag lyssnar på Lana Del Rey, fascinationen inför en särskild version av Amerika som de delar, som de delar också med Nabokov. I romanen Darling River, med undertiteln Doloresvariationer, bearbetar hon Nabokovs nymfettgestalt och låter den ta olika skepnader: där finns Dolores Haze, där finns Lo som är döpt efter henne, där finns en aphona som utsätts för vetenskapliga experiment. Vid ett tillfälle talar Lo såhär: Jag stod borta vid jukeboxen och valde musik. Jag stod borta; till och med när det är hennes egen röst vi hör är det som om hon såg sig själv från ett avstånd, precis som Lana Del Rey i den där låten. En vanlig reaktion hos den som blir utsatt för ett övergrepp är att avskärma sig från sin egen upplevelse, lämna kroppen; så kan man förstå det avståndet. Men kanske ringar det in något långt mer grundläggande än så: den komplexa, skräckblandade förtjusningen inför att bli betraktad. Det var genom Sarah Weinmans bok som jag lärde mig att Frank Lasalle tog den mest kända bilden av Sally Horner, och jag har inte kunnat sluta tänka på det. Jag hade utgått från att fotografiet var taget av en familjemedlem, ett möjligen iscensatt lyckligt barndomsminne, men ändå ett slags lyckligt barndomsminne, och inte en bild av konstruerad barnslighet regisserad av en besatt och våldsam man. Fotografiet är inte alls explicit. Det är inte som bilderna jag ofrivilligt har kommit att förknippa med Lolitas namn: bilderna av henne som en ung fresterska, bilden av Sue Lyon i Stanley Kubricks filmatisering som på filmaffischen suger förföriskt på en rubinröd klubba bakom hjärtformade solglasögon. I sitt arkiv hade paret Nabokov ett nummer av magasinet Cosmopolitan från 1960, där en fyrtiotreårig Zsa Zsa Gabor är utklädd till en Lolitafigur med nattlinne och ett äpple i handen. Lolitas namn och idén om det sexiga barnet är oskiljaktiga. Lolita är någon som vuxna kvinnor kan spökas ut till. Det är som om Sally Horner, också i detta avseende, har drabbats av Lolitas öde. Den fiktiva Dolores Haze är hågkommen för det smeknamn hon fick av en man som våldtog och rövade bort henne. Sally Horners namn kommer aldrig att nämnas utan Frank Lasalles. Och på den mest kända bilden av henne, den som vid första anblick tycks uttrycka sorgfri barndom, är det honom hon ser och han som ser henne. Hanna Johansson, kritiker Litteratur Sarah Weinman: The Real Lolita The Kidnapping of Sally Horner and the Novel That Scandalized the World. Harper Collins, 2018.

I år er det 60 år siden Vladimir Nabokovs beryktede roman "Lolita" kom ut på norsk, da den første norske utgaven ble utgitt på Cappelen forlag, oversatt av Odd Bang-Hansen, filmskaper og filmanmelder Pål Bang-Hansens far. Nabokovs samtidig plettfrie og dypt urovekkende mesterverk om den middelaldrende Humbert Humbert og hans tragiske kjærlighetsaffære med sin tolv år gamle stedatter Dolores “Lolita” Haze har engasjert og provosert lesere i seks tiår. Hvordan lese den i vår tid? Foredrag ved forfatter og oversetter Trude Marstein.

Is Lolita more than just a classic tale of a child rapist? Is it, at its core, just a novel about the Great American Road Trip? One thing we can tell for sure, Humbert Humbert was a real asshole. Enjoy this conversation with my good friend Tess about Lolita by Vladimir Nabokov.

En esta continuación de la genial obra de Nabokov, Agus Recomienda y Gonza Eche siguen analizando todo lo que tiene que ver con la segunda parte: doppelgangers, culpa, abandono, ¿redención? y reflexión final para la historia entre Humbert Humbert y Lolita . ¡Escuchalos!

En este episodio, Agus Recomienda y Gonza Eche analizan la gran novela del autor ruso Vladimir Nabokov. La fascinación pedofílica de Humbert Humbert por una niña de doce años, una construcción literaria perfecta que despertó críticas y elogios y que se convirtió en una de las obras más importantes del siglo XX. ¡Escuchalos!

Linea Maja Ernst var bange for at blive forført af den dekadente superskurk Humbert Humbert. Han er nemlig så god til at skildre sit pædofile begær efter »smånymfen«, at det nærmest smitter.

Episode 45Join Johnny, Frances, and Dennis as they discuss Ripple: A Predilection for Tina, by Dave Cooper. The book was originally published in 2004 but is now published by Fantagraphics Books. Ripple is the tumultuous story of Martin and Tina, who come together at first as artist and model, but later begin a confusing and antagonistic sexual relationship.In this episode the gang discusses what separates art from pornography; the comparisons that can be made between Martin and Humbert Humbert; why one does not want to read this book on Ash Wednesday; why this is the worse mea culpa of all time if that's what it is; and last but not least, the storytelling and art of Ripple: A Predilection for Tina.We bring season 3 of the podcast to an end with this episode but we'll be back in a few weeks with our Summer Special series. We hope you have a good summer!--- Send in a voice message: https://anchor.fm/graphicnovelexplorersclub/message See acast.com/privacy for privacy and opt-out information.

If you listened to our last episode you know that, while we knew ol’ Humbert Humbert was a horrible human being, we still found him humorous and quite sharp. Well friends, in part two H.H. has lost his charm. We see him for what he is, an incredibly cruel, horribly narcissistic pedophile. Of course, one of the best death scenes ever written occurs at the end of this book. It alone makes part two worth the read. Join us as we wrap up Lolita, and let us know if you felt the way we felt about the second half of this book!

This book is timely, given the release of the Leaving Neverland documentary and the Me Too movement. It’s the story of a middle aged literature professor / poet named Humbert Humbert, who is obsessed with a 12-year-old girl whom he calls Lolita, and with whom he becomes sexually involved after the death of her mother, once he is her guardian. For such a hard subject to stomach, we actually found Nabokov’s writing to be quite beautiful. At the end of part one of the book, we found Humbert to be clever and funny, even though he is despicable. And we found Lolita to be somewhat annoying, even though she is the victim. Struggling with these dichotomies, we press on to part two (which is covered in our next episode), and the dichotomies melt away. But let’s save that for later. For now, please enjoy our conflicting emotions as we discuss of part one of Lolita.

Det finns flera kopplingar till verkligheten i Vladimir Nabokovs "Lolita". Romanen och fallet Sally Horner får kritikern Hanna Johansson att reflektera över att bli sedd och se sig själv utifrån. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. På det mest kända fotografiet av Sally Horner sitter hon på en gunga vars rep hon håller i sina båda händer. Hon har en ljus kortärmad klänning, vita tjocka sockor och lackskor. Hon ler, hon är solbränd, hon har några fräknar. Hon är elva men ser ut att vara äldre, nästan som en tonåring eller som en vuxen kvinna som har spökats ut till ett barn. Fotografiet är taget i Atlantic City sommaren 1948. Bakom kameran stod Frank Lasalle, hennes kidnappare och våldtäktsman som skulle komma att hålla henne fången i ytterligare tjugo månader efter att bilden togs, på en färd som skulle ta dem kors och tvärs genom USA med stopp på otaliga motell och husvagnsområden. i Humbert Humberts mun lägger han formuleringar i stort sett direkt kapade ur de tidningsnotiser om Sally och Lasalle som Nabokov läste medan han skrev sin roman Om historien känns bekant från Vladimir Nabokovs roman Lolita från 1955 är det inte en slump. Där drabbas den tolvåriga amerikanska flickan Dolores Haze av den högutbildade europén Humbert Humberts pedofila besatthet. Efter att han har gift sig med Dolores mamma som praktiskt nog strax därefter omkommer i en bilolycka tar han med sig henne på en febrig resa genom landet, kantad av övergrepp. Lolita är det smeknamn han ger sitt unga offer, sin nya styvdotter nymfetten, som han kallar henne och namnet har kommit att bli synonymt med det sexualiserade barnet. Hade jag gjort samma sak med Dolly, tänker Humbert Humbert mot romanens slut, som Frank Lasalle, en femtioårig mekaniker, gjort med elvaåriga Sally Horner 1948? Inspirerades alltså Nabokov av Sally Horners historia, är det hon som är Lolita? Denna lite grovhuggna fråga försökte författaren Sarah Weinman besvara i en bok från 2018, och bokens titel ger kanske en ledtråd om hennes syn på saken: den heter The Real Lolita. Relationen mellan verklighet och fiktion i Lolita är omskriven sedan tidigare. Dels i förhållande till romanens opålitlige berättare, dels med hänsyn till de verkliga händelser som då och då bryter igenom berättelsen. Kritikern Alexander Dolinin har diskuterat hur Nabokov använde sig av den sanna historien om Sally Horner, hur han placerade ut ledtrådar i texten innan denna mening dyker upp och bekräftar sambandet. Till exempel låter han Dick Schiller, den man Dolores gifter sig med efter att hon har flytt Humbert Humberts våld, vara mekaniker. Och i Humbert Humberts mun lägger han formuleringar i stort sett direkt kapade ur de tidningsnotiser om Sally och Lasalle som Nabokov läste medan han skrev sin roman. Dessutom, spekulerar Dolinin, måste särskilt en författare som Nabokov, så förtjust i anspelningar och allitterationer som han var, ha blivit överlycklig av duons likartat klingande namn Sally och Lasalle som ju påminner om sale, det franska ordet för smutsig. Men någon större gåta är det egentligen inte, förhållandet mellan den verkliga Sally Horner och den fiktiva Dolores Haze. Sally Horner var varken den första eller den sista att drabbas av ett öde som liknar Lolitas. När jag pratar om Lolita med andra kvinnor visar det sig nästan alltid att vi någon gång under läsningen har frågat oss själva: var jag som hon? Frestade jag någon när jag var i hennes ålder, med den förpubertala kropp jag avskydde så mycket, en kropp som varken tillhörde ett barn eller en kvinna, som kändes som en asymmetrisk hög av ben och fett? Det verkade otänkbart, och ändå visste vi ju att det inte alls var det. Jag minns när jag som sexåring fick höra talas om hur en flicka som hette Natasha Kampusch hade försvunnit i Österrike, och när jag som fjortonåring läste i tidningen att hon hade rymt efter åtta års fångenskap. Jag växte upp med en skräck för vita skåpbilar och främmande män. Men i den frågan frestade jag någon? ligger också en dold önskan. Att bli sedd av en man, att göra män galna, såldes in som existensens högsta syfte och finaste pris. Frestelsen framstod som så mystisk för att den var något att både befara och begära. I en av låtarna på Lana Del Reys första skiva, Off to the races lånar hon de berömda öppningsorden från Lolita: light of my life, fire of my loins. Eller i Aris Fioretos svenska översättning: ljuset i mitt liv, elden i mina länder. Den dubbla betydelsen i länder blir som en illustration av denna brända jordens kärlekshistoria, där det enda som får Dolores att stanna hos sin styvfar är att han förstör hennes möjligheter till ett annat liv. Lana Del Reys låt är, som så många av hennes låtar, en berättelse om att vara galen, att vara förälskad, om att vara snygg, om att bli iakttagen; låtens jag beskriver sig själv sedd utifrån, i en vit bikini i en ljusblå simbassäng, i en röd klänning i ett rum av glas. Det är en berättelse om frestelsens frestelse. den komplexa, skräckblandade förtjusningen inför att bli betraktad Jag tänker ofta på Sara Stridsberg när jag lyssnar på Lana Del Rey, fascinationen inför en särskild version av Amerika som de delar, som de delar också med Nabokov. I romanen Darling River, med undertiteln Doloresvariationer, bearbetar hon Nabokovs nymfettgestalt och låter den ta olika skepnader: där finns Dolores Haze, där finns Lo som är döpt efter henne, där finns en aphona som utsätts för vetenskapliga experiment. Vid ett tillfälle talar Lo såhär: Jag stod borta vid jukeboxen och valde musik. Jag stod borta; till och med när det är hennes egen röst vi hör är det som om hon såg sig själv från ett avstånd, precis som Lana Del Rey i den där låten. En vanlig reaktion hos den som blir utsatt för ett övergrepp är att avskärma sig från sin egen upplevelse, lämna kroppen; så kan man förstå det avståndet. Men kanske ringar det in något långt mer grundläggande än så: den komplexa, skräckblandade förtjusningen inför att bli betraktad. Det var genom Sarah Weinmans bok som jag lärde mig att Frank Lasalle tog den mest kända bilden av Sally Horner, och jag har inte kunnat sluta tänka på det. Jag hade utgått från att fotografiet var taget av en familjemedlem, ett möjligen iscensatt lyckligt barndomsminne, men ändå ett slags lyckligt barndomsminne, och inte en bild av konstruerad barnslighet regisserad av en besatt och våldsam man. Fotografiet är inte alls explicit. Det är inte som bilderna jag ofrivilligt har kommit att förknippa med Lolitas namn: bilderna av henne som en ung fresterska, bilden av Sue Lyon i Stanley Kubricks filmatisering som på filmaffischen suger förföriskt på en rubinröd klubba bakom hjärtformade solglasögon. I sitt arkiv hade paret Nabokov ett nummer av magasinet Cosmopolitan från 1960, där en fyrtiotreårig Zsa Zsa Gabor är utklädd till en Lolitafigur med nattlinne och ett äpple i handen. Lolitas namn och idén om det sexiga barnet är oskiljaktiga. Lolita är någon som vuxna kvinnor kan spökas ut till. Det är som om Sally Horner, också i detta avseende, har drabbats av Lolitas öde. Den fiktiva Dolores Haze är hågkommen för det smeknamn hon fick av en man som våldtog och rövade bort henne. Sally Horners namn kommer aldrig att nämnas utan Frank Lasalles. Och på den mest kända bilden av henne, den som vid första anblick tycks uttrycka sorgfri barndom, är det honom hon ser och han som ser henne. Hanna Johansson, kritiker   Litteratur Sarah Weinman: The Real Lolita The Kidnapping of Sally Horner and the Novel That Scandalized the World. Harper Collins, 2018.

"Sinful" isn't just a kitschy dessert descriptor: it's a literary genre! Transgressive fiction introduced the world to Patrick Bateman, Humbert Humbert, and Tyler Durden: misanthropic avatars of disaffected masculinity. Do these bad boys protest too much, or do their cautionary tales speak to us? I am Jack's unbridled anticipation. --- Support this podcast: https://anchor.fm/unboxing-story/support

Some of our best poets have the greatest range: think of Shakespeare, in all his wild permutations, or Edna St. Vincent Millay boomeranging from heartbreak to revelry. Or, quintessentially, T. S. Eliot, who captured our bruised souls in “The Wasteland,” itemized the neuroses of unrequited love in Prufrock, and then turned around and set to verse the antics of cats like Growltiger and Rumpleteazer. You could say that the same range exists in the best of actors—like Jeremy Irons, say, who’s played everyone from starry-eyed Charles Ryder to Humbert Humbert himself. Irons’s iconic voice has lent itself to animated lions and audiobooks before, but now, he joins us to talk about perhaps his most ambitious project yet: narrating the poems of T. S. Eliot.Go beyond the episode:Jeremy Irons reads The Poems of T. S. Eliot from Faber & Faber and BBC Radio 4Read more about T. S. Eliot’s life at the Poetry FoundationMay we suggest Juliet Stevenson’s portfolio of Jane Austen’s novels for your next road trip?Listen for yourself: T. S. Eliot reads “The Love Song of J. Alfred Prufrock”and “The Waste Land”On the other hand, we love W. H. Auden’s reading of “As I Walked Out One Evening” (and his collaboration on the Night Mail documentary)Tune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! Our theme music was composed by Nathan Prillaman. Excerpt of “The Rum Tum Tugger” used courtesy the BBC, which owns the production copyright. See acast.com/privacy for privacy and opt-out information.

Some of our best poets have the greatest range: think of Shakespeare, in all his wild permutations, or Edna St. Vincent Millay boomeranging from heartbreak to revelry. Or, quintessentially, T. S. Eliot, who captured our bruised souls in “The Wasteland,” itemized the neuroses of unrequited love in Prufrock, and then turned around and set to verse the antics of cats like Growltiger and Rumpleteazer. You could say that the same range exists in the best of actors—like Jeremy Irons, say, who’s played everyone from starry-eyed Charles Ryder to Humbert Humbert himself. Irons’s iconic voice has lent itself to animated lions and audiobooks before, but now, he joins us to talk about perhaps his most ambitious project yet: narrating the poems of T. S. Eliot.Go beyond the episode:Jeremy Irons reads The Poems of T. S. Eliot from Faber & Faber and BBC Radio 4Read more about T. S. Eliot’s life at the Poetry FoundationMay we suggest Juliet Stevenson’s portfolio of Jane Austen’s novels for your next road trip?Listen for yourself: T. S. Eliot reads “The Love Song of J. Alfred Prufrock”and “The Waste Land”On the other hand, we love W. H. Auden’s reading of “As I Walked Out One Evening” (and his collaboration on the Night Mail documentary)Tune in every week to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek.Subscribe: iTunes • Feedburner • Stitcher • Google Play • AcastHave suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. And rate us on iTunes! Our theme music was composed by Nathan Prillaman. Excerpt of “The Rum Tum Tugger” used courtesy the BBC, which owns the production copyright.  See acast.com/privacy for privacy and opt-out information.

Everybody Dax! Jadzia undergoes a Trill ritual and all her friends on Deep Space Nine get to try out their best funny voices. Even Leeta, who of course has been a close friend for a long time, is a top choice to take on the memories of past slug hosts. OH, and Curzon Odo is a Humbert Humbert. We're still very confused by Trill logistics. It's like they're just made up as needed or something. But hey, that Nog B plot is pretty great! At around 42:20, we dive into the Great Link and commune with a few of you. Kristin notices an item from Explorers that doesn't really make sense in space. Jeffrey also has a thought and a criticism for Explorers. and Franklyn "goes deep" to chastise James on some Family Business. Give us a call at 917 408 3898 and be featured on the show. We couldn't do it without you!

Za'chary and Ariane are taking a creepy road trip with the world's most famous pedophile: Humbert Humbert. It's 1997's 'Lolita' from the director of such iconic erotic thrillers as 'Fatal Attraction', '9 1/2 Weeks' and 'Indecent Proposal'. With a $62m budget and a $1m gross, this is the bomb that sank Adrian Lyne's career; but was it a bad movie or just bad luck?

One of the 20th century's most scandalous books was published in 1955. Lolita, by Russian émigré Vladimir Nabokov, tells the story of the relationship between middle-aged Humbert Humbert and teenager Dolores Haze - known as Lolita. (Photo: Visitors look over a poster of Lolita by Stanley Kubrick during the 'Palazzo delle Esposizioni' exhibition in Rome, 2004. Credit: Vincenzo Pinton/AFP/Getty Images)

Lolita - Vladimir Nabokov La storia di Humbert Humbert e della giovane Lolita. Una storia d'amore o di perversa ossessione? Humbert Humbert è il protagonista di questa storia: ormai adulto è rimasto con il pensiero e con il cuore all'età di tredici anni, su una spiaggia provenzale con il suo piccolo amore, morto poco dopo. In ogni ninfetta, così definisce le bambine oggetto della sua ossessione, rivede la sua prima innamorata. tralerighe_01x07.mp3 leggi tutto

"Lolita" de Vladimir Nabokov (1955) es uno de los libros más célebres y controvertidos escritos en el siglo XX. Adentrémonos en la mente de Humbert Humbert, su obsesión con Lolita, una niña de 12 años y las consecuencias que esta fijación tiene. Como música de fondo, extractos de "Cannonball Adderley and the Poll-Winners" de Cannonball Adderley (1961).    Contactowww.alaaventura.net/contactofacebook.com/alaaventurapodcastTwitter: @alaaventurajboscomendoza@gmail.com

Zuenir Ventura escolheu como personagem o veterano do mar Ismael, em sua obsessiva relação com a baleia Moby Dick, do romance de Herman Melville. Luis Fernando Verissimo falou de outra obsessão, a de Humbert Humbert pela ninfeta Lolita, do livro de Vladimir Nabokov.

先週に引き続き、今回の放送ではスペインの漫画についてトークを行いました。スペインからナターシャ・ブストスさん（『チェルノブイリ〜家族の帰る場所』）に遠隔出演して頂き、主に現在のマンガ家の事情を紹介しました！ 番組内の紹介曲： 【曲名】Sell out　【アーティスト】Humbert Humbert

Movie Meltdown - Episode 110.1 Our first entry in the new series...The Caffeinated Movie Geek. Here we get hopped up on coffee, talk movies and lose all track of time. Like you do. Among our coffee-induced diatribes…The Orphan, Jared Leto, an ugly-fest, Malkovich as Humbert Humbert, Girl boners?, Dwight Yoakum just doesn’t care, Blood Simple, sub-titles switching languages back and forth, Jesse Eisenberg, digging to China, visual impressions on the podcast, Peter Sarsgaard, Monster, Lolita - The Musical, The Parking Lot Movie, Being Human, a Mecca of hot dudes, the Coen Brothers, nature bringing you down, we all get one murder pass, The Texas Chainsaw Musical, the Swedish Chef, old Harvard, the Fred Movie, Miley Cyrus, whiny werewolves, hideous 70’s interior design, The Vanishing, Arn, Mark Zuckerberg, Fred Durst, The Social Network, studying to be an English butler, Rosemary's Baby, and the cautionary tale of Victoria’s Secret. Spoiler Alert: Extensive “Dear Zachary” spoilers are included in this episode. "We've just started the show."

Sue Lawley's castaway this week is the actor Jeremy Irons.He made his name playing Charles Ryder in Brideshead Revisited in 1981 and became known for his quintessentially English roles. It was an image he later sought to discard and he certainly did so in the film Lolita, where his portrayal of Humbert Humbert reopened the controversy about the desires of a middle-aged man for a 14-year old girl. In the film The Mission he played a gentle Jesuit missionary and went on to act as his own stuntman, climbing a perilous waterfall. It was his performance in Reversal of Fortune that won him an Oscar for Best Actor as the real-life character Claus Von Bulow, accused and acquitted of the attempted murder of his wife. Later this month, he returns to the West End stage after almost 20 years to star in the play Embers, a story of friendship and betrayal. [Taken from the original programme material for this archive edition of Desert Island Discs]Favourite track: One step at a Time by Clifton Chenier Book: Ashley Books of Knots by Clifford Ashley Luxury: Rizla liquorice papers

Sue Lawley's castaway this week is the actor Jeremy Irons. He made his name playing Charles Ryder in Brideshead Revisited in 1981 and became known for his quintessentially English roles. It was an image he later sought to discard and he certainly did so in the film Lolita, where his portrayal of Humbert Humbert reopened the controversy about the desires of a middle-aged man for a 14-year old girl. In the film The Mission he played a gentle Jesuit missionary and went on to act as his own stuntman, climbing a perilous waterfall. It was his performance in Reversal of Fortune that won him an Oscar for Best Actor as the real-life character Claus Von Bulow, accused and acquitted of the attempted murder of his wife. Later this month, he returns to the West End stage after almost 20 years to star in the play Embers, a story of friendship and betrayal. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: One step at a Time by Clifton Chenier Book: Ashley Books of Knots by Clifford Ashley Luxury: Rizla liquorice papers