Azar Nafisi Quote

Then there is the butterfly-or is it a moth? Humbert's inability to differentiate between the two,his indifference, implies a moral carelessness. This blind indifference echoes his callous attitude towards Lolita's nightly sobs. Those who tell us Lolita is a little vixen who deserved what she got should remember her nightly sobs in the arms of her rapist and jailer, because you see, as Humbert reminds us with a mixture of relish and pathos,she had absolutely nowhere else to go.This came to mind when we were discussing in our class Humbert's confiscation of Lolita's life.The first thing that struck us in reading Lolita-in fact it was on the very first page-was how Lolitawas given to us as Humbert's creature. We only see her in passing glimpses. What I had madlypossessed, he informs us, was not she, but my own creation, another fanciful Lolita-perhaps,more real than Lolita . . . having no will, no consciousness-indeed no real life of her own.Humbert pins Lolita by first naming her, a name that becomes the echo of his desires. To reinvent her, Humbert must take from Lolita her own real history and replace it with his own,turning Lolita into a reincarnation of his lost, unfulfilled young love. Humbert's solipsization of Lolita.Yet she does have a past. Despite Humbert's attempts to orphan Lolita by robbing her of herhistory. Lolita has a tragic past, with a dead father and a dead two-year-old brother. And now also a dead mother. Like my students, Lolita's past comes to her not so much as a loss but as a lack, and like my students, she becomes a figment in someone else's dream.When I think of Lolita, I think of that half-alive butterfly pinned to the wall. The butterfly is notan obvious symbol, but it does suggest that Humbert fixes Lolita in the same manner that thebutterfly is fixed; he wants her, a living breathing human being, to become stationary, to give upher life for the still life he offers her in return. Lolita's image is forever associated in the minds of her readers with that of her jailer. Lolita on her own has no meaning; she can only come to lifethrough her prison bars.This is how I read Lolita. Again and again as we discussed Lolita in that class. And more and more I thought of that butterfly; what linked us so closely was this perverse intimacy of victimand jailer.

Azar Nafisi

Then there is the butterfly-or is it a moth? Humbert's inability to differentiate between the two,his indifference, implies a moral carelessness. This blind indifference echoes his callous attitude towards Lolita's nightly sobs. Those who tell us Lolita is a little vixen who deserved what she got should remember her nightly sobs in the arms of her rapist and jailer, because you see, as Humbert reminds us with a mixture of relish and pathos,she had absolutely nowhere else to go.This came to mind when we were discussing in our class Humbert's confiscation of Lolita's life.The first thing that struck us in reading Lolita-in fact it was on the very first page-was how Lolitawas given to us as Humbert's creature. We only see her in passing glimpses. What I had madlypossessed, he informs us, was not she, but my own creation, another fanciful Lolita-perhaps,more real than Lolita . . . having no will, no consciousness-indeed no real life of her own.Humbert pins Lolita by first naming her, a name that becomes the echo of his desires. To reinvent her, Humbert must take from Lolita her own real history and replace it with his own,turning Lolita into a reincarnation of his lost, unfulfilled young love. Humbert's solipsization of Lolita.Yet she does have a past. Despite Humbert's attempts to orphan Lolita by robbing her of herhistory. Lolita has a tragic past, with a dead father and a dead two-year-old brother. And now also a dead mother. Like my students, Lolita's past comes to her not so much as a loss but as a lack, and like my students, she becomes a figment in someone else's dream.When I think of Lolita, I think of that half-alive butterfly pinned to the wall. The butterfly is notan obvious symbol, but it does suggest that Humbert fixes Lolita in the same manner that thebutterfly is fixed; he wants her, a living breathing human being, to become stationary, to give upher life for the still life he offers her in return. Lolita's image is forever associated in the minds of her readers with that of her jailer. Lolita on her own has no meaning; she can only come to lifethrough her prison bars.This is how I read Lolita. Again and again as we discussed Lolita in that class. And more and more I thought of that butterfly; what linked us so closely was this perverse intimacy of victimand jailer.

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About Azar Nafisi

Azar Nafisi (Persian: آذر نفیسی; born 1948) is an Iranian-American writer and professor of English literature. Born in Tehran, Iran, she has resided in the United States since 1997 and became a U.S. citizen in 2008.
Nafisi has held several academic leadership roles, including director of the Johns Hopkins University's School of Advanced International Studies (SAIS) Dialogue Project and Cultural Conversations, a Georgetown Walsh School of Foreign Service, Centennial Fellow, and a fellow at Oxford University.
She is the niece of a famous Iranian scholar, fiction writer and poet Saeed Nafisi. Azar Nafisi is best known for her 2003 book Reading Lolita in Tehran: A Memoir in Books, which remained on The New York Times Best Seller list for 117 weeks, and has won several literary awards, including the 2004 Non-fiction Book of the Year Award from Booksense.
In addition to Reading Lolita in Tehran, Nafisi has authored, Things I've Been Silent About: Memories of a Prodigal Daughter, The Republic of Imagination: America in Three Books and That Other World: Nabokov and the Puzzle of Exile. Her newest book, Read Dangerously: The Subversive Power of Literature in Troubled Times was published March 8, 2022.