There was no Lo to behold.

You have to be an artist and a madman, a creature of infinite melancholy, with a bubble of hot poison in your loins and a super-voluptuous flame permanently aglow in your subtle spine (oh, how you have to cringe and hide!), in order to discern at once, by ineffable signs―the slightly feline outline of a cheekbone, the slenderness of a downy limbs, and other indices which despair and shame and tears of tenderness forbid me to tabulate―the little deadly demon among the wholesome children; she stands unrecognized by them and unconscious herself of her fantastic power.

I think like a genius, I write like a distinguished author, and I speak like a child.

Genius is an African who dreams up snow.

Nostalgia in reverse, the longing for yet another strange land, grew especially strong in spring.

My Carmen," I said (I used to call her that sometimes) "we shall leave this raw sore town as soon as you get out of bed." "... Because, really," I continued, "there is no point in staying here." "There is no point in staying anywhere," said Lolita.

There are two kinds of visual memory: one when you skillfully recreate an image in the laboratory of your mind, with your eyes open (and then I see Annabel in such general terms as: "honey-colored skin," "thin arms," "brown bobbed hair," "long lashes," "big bright mouth"); and the other when you instantly evoke, with shut eyes, on the dark innerside of your eyelids, the objective, absolutely optical replica of a beloved face, a little ghost in natural colors (and this is how I see Lolita).