A Lolitigation Lament: Nabokov on Censorship and Solidarity
“Could you visualize LOLITA as a little paperback being offered for sale on the newstands?”
By Maria Popova
Vladimir Nabokov (April 22, 1899–July 2, 1977) was a man of strong opinions — whether about the necessary qualities of a great storyteller or the nature of inspiration or the attributes of a good reader — but nowhere more so than when it came to defending his greatest work against censorship.
When Lolita was first published in Europe in September of 1955, its first printing of 5,000 copies flew off the shelves, but the book remained largely under the radar of the literary establishment. It wasn’t until December of that year that Graham Greene catapulted it into public attention by declaring it one of the year’s three best books in a piece for London’s Sunday Times. And because rivaling publications thrive on provocation and at the heart of all cultural controversy is a powerfully charged battery of approval and disapproval, the editor of London’s Sunday Express went vocally against Greene, calling the novel “sheer unrestrained pornography” and “the filthiest book I have ever read.” The controversy stirred frantic alarm at the UK Home Office, which instructed customs agents to begin confiscating all copies of the book entering the United Kingdom. A few months later, France’s Minister of the Interior banned novel. The original publisher, Maurice Girodias of Olympia Press, who had convinced Nabokov not to publish the book under a pseudonym, faced legal trouble on account of the book. Nabokov responded with equal parts concern and indignation.
In a letter to Girodias from early March of 1957, found in the unfailingly absorbing Vladimir Nabokov: Selected Letters 1940–1977 (public library), Nabokov wryly scoffs at what he called the “lolitigation” surrounding his book:
My moral defense of the book is the book itself. I do not feel under any obligation to do more… On the ethical plane, it is of supreme indifference to me what opinion French, British or any other courts, magistrates, or philistine readers in general, may have of my book. However, I appreciate your difficulties.
But Nabokov knew such idealism bordering on moral arrogance would hurt the book’s odds of reaching commercial success in the long run. Burned by Lolita‘s European reception, he was determined to protect it from a similar fate in America. (A few months later, he would write in another letter to Girodias: “I am positive that LOLITA is the best thing I have written so far.”) This required a highly strategic approach to timing, allegiances, and literary ideals.
Nabokov had his eye set on Doubleday as the best American publisher for the book he took such pride in. “Nothing in the world would please me better than to have Doubleday bring out LOLITA,” he wrote to Doubleday editor and publisher Jason Epstein earlier the same day, before sending his “lolitigation” lament to Girodias.
Meanwhile, Nabokov was being courted by McDowell, the New York publishing firm founded by the prominent financial analyst Prince Ivan Sergeyevich Obolensky. When he saw that Doubleday was dragging its feet, Nabokov wrote to Epstein — whether as political goading or in earnest, or some combination of the two — of Obolensky’s competing offer:
My reaction to it is not a matter of principle but a matter of money. I am not particularly impressed by his firm but I cannot afford to miss the opportunity of not missing the opportunity to sell the book.
And yet ten days later, he sent Obolensky a polite rejection, along with a lengthy justification for declining his offer:
I have given much thought to the plans you suggested for LOLITA and have consulted several friends whose opinion I value. I have also been in touch with my publisher in Paris. The unanimous opinion is that this is not the right moment to publish LOLITA in the United States. I am terribly sorry to disappoint you. Here are a few reasons against publication:
- Everybody seems convinced that LOLITA would be banned if it were to be published now, without further preparation. Even if you are willing to assume the costs of a legal fight which may run into 50.000 or 60.000 dollars, you may eventually lose the case, and then LOLITA would be lost irretrievably.
- Should the book get into trouble, the NY. Times would at once refuse to advertise it, and every important publication in the country would follow suit. Nor would the Post Office let you announce the book directly through the mails if the legal action were begun under a federal statute.
- When you suggested that you would get in touch with a reprint house it became clear to me that you did not realize all the implications of this case. Could you visualize LOLITA as a little paperback being offered for sale on the newstands? [sic]
Let me repeat that I am terribly sorry that this will be a disappointment to you. But I have become convinced that the publication has to be put off at least until I see how the Anchor Review fares, how the Paris litigation is settled, and what decision the Supreme Court takes in some similar cases now before it.
To make matters even more complicated, Girodias kept pressing to publish the book in America under his own European imprint. Nabokov, determined to land at Doubleday, wrote to Girodias on May 14, weighing the many factors at play regarding potential censorship in America:
Dear Mr. Girodias,
You know as well as I do that publishing LOLITA in the US under your own imprint would mean asking for trouble. Nor can you fail to realize that a second-rate publisher would be no use since he would not be able to defend the book. Some ten years ago Doubleday spent more than $60000 on the defense of HECATE COUNTY by Edmund Wilson. Costs have gone up since then and are beyond the means of a second-rate publisher.
Since you know all this, and also know that we have here all sorts of Watch and Ward Societies, Catholic Legions of Decency, etc., and that, moreover, every post master in the country can start censorship trouble, I feel sure that you do not seriously contemplate the course of action you suggest in your letter.
But Nabokov’s most poignant point, from the same letter to Girodias, has to do with the question of solidarity against censorship — the idea that a publisher must not only be an author’s commercial vendor, but also his or her greatest champion and unconditional comrade in creative idealism. Nabokov writes:
Whoever publishes LOLITA here will have to agree to defend it, at his own expense, and to carry this defense through the courts as far as the Supreme Court, if necessary.
By August, the situation worsens and the Nabokov’s evocation of the Supreme Court suddenly stops seeming like bombast. He writes again to Girodias:
The situation here is extremely delicate. Doubleday have chosen the passages from LOLITA for the Anchor Review with the help of their lawyers, who in two instances made them change their choice of text. These lawyers have now been consulted as to the prospects of a complete edition; they have advised against it for the present. As you probably know, the Supreme Court has just handed down some very disappointing decisions. Although the cases judged were far removed from LOLITA’s case, the important thing is that the Court did not bother with the definition of the term “obscenity”, and did not take any measures against local censorship. This means that any small-town postmaster can set in motion the machine of censorship, starting the case on its way from Court to Court, until it reached the Supreme Court, which probably (though by no means certainly) would exonerate my book.
If Nabokov’s mention of the postmaster-censor sounds like a throwaway remark of exaggeration, it is anything but. Local censorship would go on to plague America for decades, the most famous example perhaps being the story of Ursula Nordstrom’s brilliantly feisty letter to a school librarian, who had decided to burn Maurice Sendak’s In the Night Kitchen as an act of censorship merely because it depicted a little boy without pants.
He goes on to reject Girodias’s offer, revisiting the notion of solidarity in the face of censorship and citing it as a major reason for his decision:
An important consideration is, too, that Doubleday think of me as of one of “their” authors. They have acquired two more books from me, and will do more than any other publisher to “push” LOLITA, which would be as much to your advantage as to mine (or theirs). For all these reasons I am sorry that you so resolutely rejected their offer.
Urging Girodias to consider an agreement with Doubleday, he adds:
I am positive that LOLITA is the best thing I have written so far; I shall be always grateful to you for having published it. It would be an awful shame if some false move prevented you and me from enjoying some profit from it.
At the end, Doubleday didn’t come through — likely in large part out of fear of what the kind of solidarity Nabokov demanded would cost them if an obscenity lawsuit indeed resulted from the publication. The publisher willing to offer such solidarity was ultimately G.P. Putnam’s Sons, currently owned by Penguin Group, who published the American edition of Lolita in August of 1958. Already into its third printing within days, it became the first book since Gone with the Wind to sell 100,000 copies in its initial three weeks on the market. Despite Nabokov’s fears of censorship, or perhaps precisely because of his elaborate strategizing to prevent it, there were no official government sanctions.
Then again, such is the nature of capitalism — commercial success automatically grants moral approval.
Complement the always opinionated, always pleasurable Vladimir Nabokov: Selected Letters with the celebrated author on literature and life in a rare 1969 BBC interview and his recommendation for the six short stories everyone must read, then revisit other literary icons on censorship.
Published September 24, 2014