Dolores Haze (in VN's novel Lolita, 1955, Lolita's full name) was born on January 1, 1935, in Pisky (an invented small town in Midwest whose name seems to hint at the zodiac constellation Pisces):
As greater authors than I have put it: “Let readers imagine” etc. On second thought, I may as well give those imaginations a kick in the pants. I knew I had fallen in love with Lolita forever; but I also knew she would not be forever Lolita. She would be thirteen on January 1. In two years or so she would cease being a nymphet and would turn into a “young girl,” and then, into a “college girl”that horror of horrors. The word “forever” referred only to my own passion, to the eternal Lolita as reflected in my blood. The Lolita whose iliac crests had not yet flared, the Lolita that today I could touch and smell and hear and see, the Lolita of the strident voice and rich brown hairof the bangs and the swirls and the sides and the curls at the back, and the sticky hot neck, and the vulgar vocabulary”revolting,” “super,” “luscious,” “goon,” “drip” - that Lolita, my Lolita, poor Catullus would lose forever. So how could I afford not to see her for two months of summer insomnias? Two whole months out of the two years of her remaining nymphage! Should I disguise myself as a somber old-fashioned girl, gawky Mlle Humbert, and put up my tent on the outskirts of Camp Q, in the hope that its russet nymphets would clamor: “Let us adopt that deep-voiced D. P.,” and drag the said, shyly smiling Berthe au Grand Pied to their rustic hearth. Berthe will sleep with Dolores Haze! (1.15)
Oh, she simply hated her daughter! What I thought especially vicious was that she had gone out of her way to answer with great diligence the questionnaires in a fool’s book she had (A guide to Your Child’s Development), published in Chicago. The rigmarole went year by year, and Mom was supposed to fill out a kind of inventory at each of her child’s birthdays. On Lo’s twelfth, January 1, 1947, Charlotte Haze, née Becker, had underlined the following epithets, ten out of forty, under “Your Child’s Personality”: aggressive, boisterous, critical, distrustful, impatient, irritable, inquisitive, listless, negativistic (underlined twice) and obstinate. She had ignored the thirty remaining adjectives, among which were cheerful, co-operative, energetic, and so forth. It was really maddening. With a brutality that otherwise never appeared in my loving wife’s mild nature, she attacked and routed such of Lo’s little belongings that had wandered to various parts of the house to freeze there like so many hypnotized bunnies. Little did the good lady dream that one morning when an upset stomach (the result of my trying to improve on her sauces) had prevented me from accompanying her to church, I deceived her with one of Lolita’s anklets. And then, her attitude toward my saporous darling’s letters!
“Dear Mummy and Hummy,
Hope you are fine. Thank you very much for the candy. I [crossed out and re-written again] I lost my new sweater in the woods. It has been cold here for the last few days. I’m having a time. Love,
Dolly.”
“The dumb child,” said Mrs. Humbert, “has left out a word before ‘time.’ That sweater was all-wool, and I wish you would not send her candy without consulting me.” (1.19)
Among the famous people whose birthday falls on January 1 is Lorenzo de' Medici (1 January 1449 – 9 April 1492), known as Lorenzo the Magnificent, an Italian statesman, the de facto ruler of the Florentine Republic, and the most powerful patron of Renaissance culture in Italy. Lorenzo died in 1492, the year of Columbus's discovery of America. Thirty-seven-year-old Humbert comes to Ramsdale (an invented small town in New England whose name seems to hint at the zodiac constellation Aries, also known as the Ram), meets twelve-year-old Dolores Haze and falls in love with her at the end of May, 1947. According to Humbert, if the year were 1447 instead of 1947 he might have hoodwinked his gentle nature by administering his wife Charlotte (Lolita's mother) some classical poison from a hollow agate, some tender philter of death:
The short white-sand strip of “our” beach – from which by now we had gone a little way to reach deep water – was empty on weekday mornings. There was nobody around except those two tiny very busy figures on the opposite side, and a dark-red private plane that droned overhead, and then disappeared in the blue. The setting was really perfect for a brisk bubbling murder, and here was the subtle point: the man of law and the man of water were just near enough to witness an accident and just far enough not to observe a crime. They were near enough to hear a distracted bather thrashing about and bellowing for somebody to come and help him save his drowning wife; and they were too far to distinguish (if they happened to look too soon) that the anything but distracted swimmer was finishing to tread his wife underfoot. I was not yet at that stage; I merely want to convey the ease of the act, the nicety of the setting! So there was Charlotte swimming on with dutiful awkwardness (she was a very mediocre mermaid), but not without a certain solemn pleasure (for was not her merman by her side?); and as I watched, with the stark lucidity of a future recollection (you know – trying to see things as you will remember having seen them), the glossy whiteness of her wet face so little tanned despite all her endeavors, and her pale lips, and her naked convex forehead, and the tight black cap, and the plump wet neck, I knew that all I had to do was to drop back, take a deep breath, then grab her by the ankle and rapidly dive with my captive corpse. I say corpse because surprise, panic and inexperience would cause her to inhale at once a lethal gallon of lake, while I would be able to hold on for at least a full minute, open-eyed under water. The fatal gesture passed like the tail of a falling star across the blackness of the contemplated crime. It was like some dreadful silent ballet, the male dancer holding the ballerina by her foot and streaking down through watery twilight. I might come up for a mouthful of air while still holding her down, and then would dive again as many times as would be necessary, and only when the curtain came down on her for good, would I permit myself to yell for help. And when some twenty minutes later the two puppets steadily growing arrived in a rowboat, one half newly painted, poor Mrs. Humbert Humbert, the victim of a cramp or coronary occlusion, or both, would be standing on her head in the inky ooze, some thirty feet below the smiling surface of Hourglass Lake.
Simple, was it not? But what d’ye know, folks - I just could not make myself do it!
She swam beside me, a trustful and clumsy seal, and all the logic of passion screamed in my ear: Now is the time! And, folks, I just couldn’t! In silence I turned shoreward and gravely, dutifully, she also turned, and still hell screamed its counsel, and still I could not make myself drown the poor, slippery, big-bodied creature. The scream grew more and more remote as I realized the melancholy fact that neither tomorrow, nor Friday, nor any other day or night, could I make myself put her to death. Oh, I could visualize myself slapping Valeria’s breasts out of alignment, or otherwise hurting herand I could see myself, no less clearly, shooting her lover in the underbelly and making him say “akh!” and sit down. But I could not kill Charlotte - especially when things were on the whole not quite as hopeless, perhaps, as they seemed at first wince on that miserable morning. Were I to catch her by her strong kicking foot; were I to see her amazed look, hear her awful voice; were I still to go through with the ordeal, her ghost would haunt me all my life. Perhaps if the year were 1447 instead of 1947 I might have hoodwinked my gentle nature by administering her some classical poison from a hollow agate, some tender philter of death. But in our middle-class nosy era it would not have come off the way it used to in the brocaded palaces of the past. Nowadays you have to be a scientist if you want to be a killer. No, no, I was neither. Ladies and gentlemen of the jury, the majority of sex offenders that hanker for some throbbing, sweet-moaning, physical but not necessarily coital, relation with a girl-child, are innocuous, inadequate, passive, timid strangers who merely ask the community to allow them to pursue their practically harmless, so-called aberrant behavior, their little hot wet private acts of sexual deviation without the police and society cracking down upon them. We are not sex fiends! We do not rape as good soldiers do. We are unhappy, mild, dog-eyed gentlemen, sufficiently well integrated to control our urge in the presence of adults, but ready to give years and years of life for one chance to touch a nymphet. Emphatically, no killers are we. Poets never kill. Oh, my poor Charlotte, do not hate me in your eternal heaven among an eternal alchemy of asphalt and rubber and metal and stone - but thank God, not water, not water!
Nonetheless it was a very close shave, speaking quite objectively. And now comes the point of my perfect-crime parable.
We sat down on our towels in the thirsty sun. She looked around, loosened her bra, and turned over on her stomach to give her back a chance to be feasted upon. She said she loved me. She sighed deeply. She extended one arm and groped in the pocket of her robe for her cigarettes. She sat up and smoked. She examined her right shoulder. She kissed me heavily with open smoky mouth. Suddenly, down the sand bank behind us, from under the bushes and pines, a stone rolled, then another.
“Those disgusting prying kids,” said Charlotte, holding up her big bra to her breast and turning prone again. “I shall have to speak about that to Peter Krestovski.”
From the debouchment of the trail came a rustle, a footfall, and Jean Farlow marched down with her easel and things.
“You scared us,” said Charlotte.
Jean said she had been up there, in a place of green concealment, spying on nature (spies are generally shot), trying to finish a lakescape, but it was no good, she had no talent whatever (which was quite true). "And have you ever tried painting, Humbert?” Charlotte, who was a little jealous of Jean, wanted to know if John was coming.
He was. He was coming home for lunch today. He had dropped her on the way to Parkington and should be picking her up any time now. It was a grand morning. She always felt a traitor to Cavall and Melampus for leaving them roped on such gorgeous days. She sat down on the white sand between Charlotte and me. She wore shorts. Her long brown legs were about as attractive to me as those of a chestnut mare. She showed her gums when she smiled.
“I almost put both of you into my lake,” she said. “I even noticed something you overlooked. You [addressing Humbert] had your wrist watch on in, yes, sir, you had.”
“Waterproof,” said Charlotte softly, making a fish mouth.
Jean took my wrist upon her knee and examined Charlotte’s gift, then put back Humbert’s hand on the sand, palm up.
“You could see anything that way,” remarked Charlotte coquettishly.
Jean sighed. “I once saw,” she said, “two children, male and female, at sunset, right here, making love. Their shadows were giants. And I told you about Mr. Tomson at daybreak. Next time I expect to see fat old Ivor in the ivory. He is really a freak, that man. Last time he told me a completely indecent story about his nephew. It appears - ”
“Hullo there,” said John’s voice. (1.20)
In 1947 Mark Aldanov's story Astrolog ("The Astrologist") appeared in No. 16 of Novyi Zhurnal ("The New Review," a New York-based Russian-language quarterly). The action in it takes place in April 1945, in Berlin, on the eve of the collapse of the Third Reich. The story's main character, "Professor" (who is in his late sixties) is asked by several people to write a horoscope of the man whose name they refuse to tell but who, as Professor soon realizes, is Adolf Hitler. Hitlers „Mein Kampf". Dichtung und Wahrheit (Paris, 1936) is a book by Manuel Humbert (pseudonym of Kurt Michael Caro, a German publicist, 1905-79). The Preface to Manuel Humbert's book was written by Heinrich Mann (1871-1950), the author of Professor Unrat (Professor Filth), a novel (1905). In Der blaue Engel (The Blue Angel), a 1930 German musical comedy-drama film directed by Joseph von Sternberg and based on Heinrich Mann's novel Professor Unrat, Marlene Dietrich played Lola Lola, the headliner at the cabaret called The Blue Angel. Lolita was Lola in slacks:
She was Lo, plain Lo, in the morning, standing four feet ten in one sock. She was Lola in slacks. She was Dolly at school. She was Dolores on the dotted line. But in my arms she was always Lolita. (1.1)
Humbert describes Lolita's mother as "a weak solution of Marlene Dietrich:"
The front hall was graced with door chimes, a white-eyed wooden thingamabob of commercial Mexican origin, and that banal darling of the arty middle class, van Gogh’s “Arlsienne.” A door ajar to the right afforded a glimpse of a living room, with some more Mexican trash in a corner cabinet and a striped sofa along the wall. There was a staircase at the end of the hallway, and as I stood mopping my brow (only now did I realize how hot it had been out-of-doors) and staring, to stare at something, at an old gray tennis ball that lay on an oak chest, there came from the upper landing the contralto voice of Mrs. Haze, who leaning over the banisters inquired melodiously, “Is that Monsieur Humbert?” A bit of cigarette ash dropped from there in addition. Presently, the lady herselfsandals, maroon slacks, yellow silk blouse, squarish face, in that ordercame down the steps, her index finger still tapping upon her cigarette.
I think I had better describe her right away, to get it over with. The poor lady was in her middle thirties, she had a shiny forehead, plucked eyebrows and quite simple but not unattractive features of a type that may be defined as a weak solution of Marlene Dietrich. Patting her bronze-brown bun, she led me into the parlor and we talked for a minute about the McCoo fire and the privilege of living in Ramsdale. Her very wide-set sea-green eyes had a funny way of traveling all over you, carefully avoiding your own eyes. Her smile was but a quizzical jerk of one eyebrow; and uncoiling herself from the sofa as she talked, she kept making spasmodic dashes at three ashtrays and the near fender (where lay the brown core of an apple); whereupon she would sink back again, one leg folded under her. She was, obviously, one of those women whose polished words may reflect a book club or bridge club, or any other deadly conventionality, but never her soul; women who are completely devoid of humor; women utterly indifferent at heart to the dozen or so possible subjects of a parlor conversation, but very particular about the rules of such conversations, through the sunny cellophane of which not very appetizing frustrations can be readily distinguished. I was perfectly aware that if by any wild chance I became her lodger, she would methodically proceed to do in regard to me what taking a lodger probably meant to her all along, and I would again be enmeshed in one of those tedious affairs I knew so well. (1.10)
According to John Ray, Jr. (the author of the Foreword to Humbert's manuscript), Mrs. Richard F. Schiller (Lolita's married name) died in childbed, giving birth to a stillborn girl, on Christmas Day 1952 [a week before her eighteenth birthday], in Gray Star, a settlement in the remotest Northwest. The Soviet leader, Joseph Stalin (1878-1953) died in March of the next year. The composer Sergey Prokofiev (1891-1953) who shares with VN his birthday (April 23) died on March 5, 1953, the same day as Stalin. Like VN, Prokofiev composed chess problems.
In VN's novel Priglashenie na kazn' ("Invitation to a Beheading," 1935) there is Emmie's photohoroscope put together by the resourceful M'sieur Pierre (the executioner):
Другим останком вчерашнего дня был крокодиловый, с массивной темно-серебряной монограммой, альбом, который он взял с собой в смиренном рассеянии: альбом особенный, а именно -- фотогороскоп, составленный изобретательным м-сье Пьером, то есть серия фотографий, с естественной постепенностью представляющих всю дальнейшую жизнь данной персоны. Как это делалось? А вот как. Сильно подправленные снимки с сегодняшнего лица Эммочки дополнялись частями снимков чужих -- ради туалетов, обстановки, ландшафтов, -- так что получалась вся бутафория ее будущего. По порядку вставленные в многоугольные оконца каменно-плотного, с золотым обрезом, картона и снабженные мелко написанными датами, эти отчетливые и на полувзгляд неподдельные фотографии демонстрировали Эммочку сначала, какой она была сегодня, затем -- по окончании школы, то есть спустя три года, скромницей, с чемоданчиком балерины в руке, затем -- шестнадцати лет, в пачках, с газовыми крыльцами за спиной, вольно сидящей на столе, с поднятым бокалом, среди бледных гуляк, затем -- лет восемнадцати, в фатальном трауре, у перил над каскадом, затем... ах, во многих еще видах и позах, вплоть до самой последней -- лежачей.
Another vestige of the previous day was the alligator album with its massive dark silver monogram that he had taken along in a fit of meek abstraction: that singular photohoroscope put together by the resourceful M’sieur Pierre, that is, a series of photographs depicting the natural progression of a given person’s entire life. How was this done? Thus: extensively retouched snapshots of Emmie’s present face were supplemented by shots of other people — for the sake of costume, furniture and surroundings — so as to create the entire decor and stage properties of her future life. Consecutively stuck into the polygonal little windows of the solid, gilt-edged cardboard, and supplied with finely in- scribed dates, these sharp and, at first sight, genuine photographs pictured Emmie first as she was at present; then at fourteen, an attache case in her hand; then at sixteen, in tights and tutu, with gaseous wings growing from her back, seated relaxed on a table, and lifting a goblet of wine amid rakes; then, at eighteen, in femme-fatak weeds, at a railing above a waterfall; then ... oh, in many more aspects and poses, even to the very last, horizontal. (Chapter XVI)