Lolita Through a Marxist-Feminist Lens
After looking past its controversial sexual nature, Vladimir Nabokov’s Lolita can be read as a criticism of the capitalist system. Nabokov uses the relationship between the novel's narrator, Humbert Humbert, and the novel's namesake, Lolita, as an extended metaphor to showcase the system's inherent exploitive nature in a way that shocks the reader out of their false consciousness, by making the former a man in the position of power - a repulsive, manipulative pedophile — and the latter a young female victim — as well as a spoiled, vapid, unruly child. Each is to the other nothing more than a commodity — Lolita being the perfect consumer and Humbert Humbert being a man of privilege who views others only as objects to be used, or consumed.
Humbert Humbert is the ultimate representation of a privileged, capitalist individual. Primarily, as the narrator of the novel, he has complete power over the audience’s perspective of the story. He grew up submerged in the upper-class: his father owned a resort hotel on the Riviera, and he was constantly surrounded by its rich patrons. He was educated in an English day school as a boy, then a French secondary school in Lyon, before attending college in both London and Paris. He studied English literature, and is a master of language. Language is an important tool in his manipulation of both those around him and the reader using clever wordplay and randomly inserting French, German, and sometimes Latin into his speech. After Lolita's mother, Charlotte,
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dies, Humbert Humbert tells the story of an affair with her to her two closest friends, John and Jean Farlow. By the end of it, Jean is convinced that Humbert Humbert is Lolita's real father (101...
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...ution or revolution. Lolita ends up working in various restaurants for two years, before marrying and moving into a "clapboard shack" (269).
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Humbert Humbert, with a guilty conscience and the awareness that he's going to jail for murder, gives her, her husband, and her unborn child four thousand dollars, though she dies while giving birth and never gets to enjoy it. This could be read as a symbol of the fruitlessness of the capitalist system. However, the reader's eyes have been opened to the corruptive and exploitive nature of capitalism, to their own consumer habits and how they add to the problem while only furthering their own repression. What one does with this new enlightenment is up to them, but the more of this knowledge that can be passed through literature, the more likely we are to move toward an equal society.
Coming from an “unconventional” background, George Saunders is readily able to relate to the circumstances the everyday working laborer goes through (Wylie). However, Saunders has an advantage to spread out his ideas and concerns about life in the U.S. via his short stories and novellas. Because of neoliberalism and capitalism and its correlation to the huge wealth gap in the U.S. Saunders focuses his protagonists’ view from a proletariat standpoint, allowing the reader to see the life of consumerism has impacted our society. Saunders does not use conventional methods to portray this reality. Instead, Saunders emphasizes on the “absence” of certain moral human characteristics in order to take the reader away from viewing into a hero’s looking glass— to set a foundation of a world where our morals become lost to our materialistic and inherent need of money (Wylie).
In this novel, the society is centered around dichotomies; “youth and dotage” (Balzac 67), “the young man who has possessions and the young man that has nothing” and “the young man who thinks and the young man who spends” (87). Any person who falls outside of either box is called a “[child] who learn[s]… too late” or can “never appear in polite society” (87), essentially meaning they are undesirable in a formal society because they cannot follow expectations. The titular character, Paquita, is an “oriental” foreigner, from Havana, domesticated in Paris when she was sold to a wealthy woman who desired her. She fits into no culture entirely, as she is “part Asian houri on her mother’s side, part European through education, and part tropical by birth” (122). She is bisexual, choosing neither men nor women over the other. She is controlling, dressing Henri in women’s clothing (119), but controlled as she is reduced to a possession. However, there are ways in which a person can still be desired even if they are not easily pigeonholed. With her golden eyes and sensuality, Paquita fulfills both of the main pursuits of this society, “gold and pleasure” (68). Consequently, unlike the Marquis and his irrelevance in society, Paquita is highly sought after, thus making her a valuable commodity. Her desirability is not because of who she is as a human, but instead what
Lolita, by Vladamir Nabokov is a controversial book that elaborately represents and forces the reader to deal with a pedophiles obsession with his 12-year-old stepdaughter. As the reader finishes reading Lolita, he must establish a meaning for the novel which hinges heavily upon whether or not he should forgive Humbert for his rape of Lolita and for stealing her childhood away from her. This rape is legally referred to as a statutory rape because Humbert is having sex with Lolita who is under the age of consent. Humbert also figuratively rapes Lolita of her childhood and a normal teenage life. This decision to forgive Humbert will rely upon Humbert's words as he realizes what he has done to Lolita. In order for the reader to be able to forgive Humbert he must determine if Humbert is truly sorry for his actions.
Growing up within a household full of women, writer Kate Chopin could attest to the extreme difference it is to be considered independent vs dependent, as a woman. Accordingly, a theme of feminism and independence was apparent within her writings. However, in her short story, Desiree’s baby, she chooses to do something different. Instead of using independence as a theme, in the favor of women, Kate Chopin greets readers with a socioeconomic difference between main characters, Desiree and Armand. When considering this short story, with the Marxist criticism, a reader may even notice that Kate Chopin’s characters demonstrate economical differences (i.e. class and status) to overall argue how ones social status and economic class leads to mental illness of the lowly and the elite.
Swift begins his argument by stating his view on the situation and displaying his annoyance. He states, "It is a melancholy object to those who walk through this great town or travel in the country when they see the streets, roads, and cabin doors crowded with beggars of the female sex, followed by three, four, or six children, all in rags, and importuning every passenger for an alms" (Swift 1). He uses melancholic imagery for the readers to sympathize with the suffering children and to understand their situation. Similarly, Swift displays his disgust for the wealthy by stating that "There is likewise another great advantage in my scheme, that it will prevent those voluntary abortions, and that horrid practice of women murdering their bastard children… which would move tears in the most savage and inhumane beast" (1). He talks about abortion and shows how ghastly and disheartening the practice is. Clearly, Swift makes use of pathos to slowly gain the reader’s confidence in preparation for his appalling proposal. He knows that many will be emotionally affected by his proposal because no one would want their own c...
In conclusion, by incorporating such rich detail and full imagery through scholarly grammar and vocabulary, Humbert Humbert participates in the act of manipulating his audience through his clever use of wordplay, confrontation, and delusions in order to escape fault for his immoral acts against an innocent girl. Although he is writing a memoir, Humbert does not hold back when it comes to his choice of words. Through his beautiful writing and poetic prose, H.H. is successful in influencing the horror of the true events in Lolita – concluding that through art, beauty can be found even in the most tragic occurrences.
While Herman Melville’s “Bartleby, the scrivener” and Franz Kafka’s “The Metamorphosis” have unrelated plots, they both contain Marxist undertones that address alienation in the workplace as a result of capitalism. The protagonists, Gregor and Bartleby, are examples of how the working class is treated when they do not conform to the conventions of capitalism. Gregor and Bartleby alike are working class men who, through some turn of events, stop working and are deemed useless to those around them. Both of these stories end in the death of the protagonists, as these men are seen as unproductive and discarded by their capitalistic societies.
When it comes to post-colonial literature, most initially think about the colonization of other countries and how it has affected the natives. Though it is the most well known form of post-colonial literature, it is not the most wide-spread. By slightly altering the framing in which one looks at it, the idea that feminist literature by women from a patriarchal society is post-colonial literature begins to make sense.
The Modernist movement took place in a time of happiness, a time of sadness, a time of objects, a time of saving, a time of prosperity, a time of poverty and in a time of greed. Two novels, written by Steinbeck and Fitzgerald, portray this underlying greed and envy better than most novels of that period. These novels, The Great Gatsby and The Grapes of Wrath, show that despite the difference between the 1920s and the 1930s, greed remained a part of human life, whether superficially or necessarily, and that many people used their greed to damage themselves and others. In both of these novels, greed as a whole is negative, corrosive, abrasive, destructive, and apocalyptic. As an example, in Gatsby the namesake, Gatsby’s, desire for Daisy forces him to become a jester to the rich through many parties, who inevitably fabricate stories about him, destroying his credibility, in order to impress Daisy.
One of the saddest aspects of Franz Kafka's novella, The Metamorphosis, concerns the fact that young Gregor Samsa genuinely cares about this family, working hard to support them, even though they do little for themselves. On the surface, Kafka's 1916 novella, seems to be just a tale of Gregor morphing into a cockroach, but a closer reading with Marx and Engels' economic theories , unveils an impressive metaphor that gives the improbable story a great deal of relevance to the structure of Marxist society. Gregor, the protagonist, denotes the proletariat, or the working class, and his unnamed manager represents the bourgeoisie. The conflict, that arises between the two after Gregor's metamorphosis, contributes to his inability to work. This expresses the impersonal and dehumanizing structure of class relations. Kafka's prose emphasizes the economic effects on human relationships, therefore, by analyzing the images of Gregor, we can gain insight into many of the ideas the writer is trying to convey.
Anna Karenina is a novel by the prominent Russian author Leo Tolstoy. It was published in serial installments between 1873 and 1877. Tolstoy himself claimed that Anna Karenina was his first novel. Despite criticism that the novel was indeed two separate novels, there was much acclaim. Fellow Russian author Dostoevsky hailed it as “a flawless work of art” (En8848.com.cn).
Clarice Lispector, a Brazilian female writer of Jewish descent, tied her writing with her very life, for her writing reflects her viewpoint on many aspects of her life. She was well-known for her existentialist writing involving themes revolving around women’s roles. Through the characters and their interactions in her works, Lispector explores the societal status of women. The male subjugation of women influences many of the themes found in her works and a better understanding of women’s social status ultimately leads to a better understanding of the relationship between the characters in her works and actions by those characters. Thus, the evaluation of women in the society contemporary to the era Lispector lived in influences the overall existentialist ideas and the motif of women’s roles in her work.
Literary critic and the novel’s annotator Alfred Appel Jr. claims “what is extraordinary about Lolita is the way in which Nabokov enlists us, against our will, on Humbert’s side… Humbert has figuratively made the reader his accomplice in both statutory rape and murder” (Durantaye, Style Is Matter: the Moral Art of Vladimir Nabokov 8). Nabokov employs various literary devices such as direct second reader address, metaphor, and allusions through Humbert Humbert as a means to conjure up feelings of empathy. The reader comes to find that . It is clear that Humbert Humbert uses second person address as a way to control how the reader perceives him. Through the use of this narrative mode, he aims to convince the reader that his sexual violence is artistically justifiable and that the art he creates is a remedy for mortality. I will argue is that art is not a remedy for mortality because in Humbert Humbert’s creation of Lolita, t...
In Vladimir Nabokov's Lolita, the overruling drive of the narrator, Humbert Humbert, is his want to attest himself master of all, whether man or woman, his prime cravings, all-powerful destiny, or even something as broad as language. Through the novel the reader begins to see Humbert’s most extreme engagements and feelings, from his marriage to his imprisonment, not as a consequence of his sensual, raw desires but rather his mental want to triumph, to own, and to control. To Humbert, human interaction becomes, or is, very unassuming for him: his reality is that females are to be possessed, and men ought to contest for the ownership of them. They, the women, become the very definition of superiority and dominance. But it isn’t so barbaric of Humbert, for he designates his sexuality as of exceptionally polished taste, a penchant loftier than the typical man’s. His relationship with Valerie and Charlotte; his infatuation with Lolita; and his murdering of Quilty are all definite examples of his yearning for power. It is so that throughout the novel, and especially by its conclusion, the reader sees that Humbert’s desire for superiority subjugates the odd particularities of his wants and is the actual reason of his anguish.
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own” (Swift). Such beholders, as Jonathan Swift astutely emphasizes, are intended, through guidance of satiric narrative, to recognize social or political plights. In some satires, as in Swift’s own A Modest Proposal, the use of absurd, blatant exaggeration is intended to capture an indolent audience’s attention regarding the social state of the poor. Yet even in such a direct satire, there exists another layer of meaning. In regards to A Modest Proposal, the interchange between the voice of the proposer and Swift’s voice introduces another medium of criticism, as well as the opportunity for readers to reflect on how well they may fit the proposer’s persona. In such as case, the satire exists on multiple levels of meaning—not only offering conclusions about moral problems, but also allowing the audience to an interpretation of their place among the criticism.