I promised in the post ‘Harry Potter and Lolita: J. K. Rowling’s Relationship with Vladimir Nabokov‘ to discuss the structure of Lolita in relationship to Harry Potter’s story scaffolding. I deferred it from that first JKR/VVN post because it was already over-crowded with discussion of names, alchemy, politics, and, most important, parody. As I hope you’ll agree after reading this piece below, the ‘parallelism parallel’ between the two authors is significant, fascinating, and even a revelation of sorts of the alchemical aim of their artistry.
Rowling may have drawn her ring writing artistry from a variety of sources: her training in Classics, reading in Scripture, familiarity with Inkling literature, even a close study of Robert Louis Stevenson or Jules Verne’s popular adventures. Today I will argue that, though these sources are possibilities, the most likely single source of Rowling’s structural wizardy is the work of Vladimir Nabokov.
Nabokov wrote eighteen novels. The only one Rowling has mentioned specifically in interviews is Lolita so today I will confine my discussion to Nabokov’s most famous work. This will involve, of course, discussion of what happens in that story, which is as close as I’m coming to a ‘spoiler alert’ for a book published sixty years ago and considered Western canon for half a century.
We’ll test whether Nabokov was a ring writer in five steps derived from the qualities Mary Douglas tells us to look for in a ‘ring composition': first, the latch of beginning and end, second, a story-turn, third, parallels side to side, fourth, rings inside the rings and other self-referencing, and last, a comparison with Rowling’s story and series structures. That ‘last’ will include my conclusions about why Nabokov worked-in the mirroring he has into Lolita and if Rowling’s meaning is similarly buttressed by her own ring work.
The Latch: Lolita’s Prologue and Part 2, Chapter 36
A look at Lolita’s table of contents reveals that it is made up of a foreword written by psychologist John Ray, Jr., a Part 1 of thirty-three chapters, and a Part 2 of thirty-six chapters, both of which are first person narratives that were written by Humbert Humbert in fifty-six days while awaiting his trial for murder. There is no epilogue or afterword, if every edition published since the early sixties does include Nabokov’s short essay ‘On a Book Called Lolita’ after the novel’s close.
The first tell-tale sign of a traditionally crafted story is how well the beginning and end match up. Lolita’s foreword and chapter 36 have six points of correspondence that latch the story’s circle tightly together at the close. [Read more…]