Certainly most of the below covers run contrary to Nabokov’s original wishes.īelow, you’ll find 60 cover treatments of Lolita from all over the world, organized into wide, baggy categories of “best” and “worst.” For my own personal taste I can make no excuses. In the 60 years since its American publication (and 63 since its original appearance), many of tried, and almost all of them have failed. As many have pointed out, Lolita is an exceptionally difficult book to design for. In the end, he sort of got that-with green instead of white, and he was satisfied well enough. If we cannot find that kind of artistic and virile painting, let us settle for an immaculate white jacket (rough texture paper instead of the usual glossy kind), with LOLITA in bold black lettering.” “I want pure colors, melting clouds, accurately drawn details, a sunburst above a receding road with the light reflected in furrows and ruts, after rain. “I have just received the five designs and I quite agree with you that none of them is satisfactory,” he wrote. Minton sent Nabokov some sent him some drafts. Do you think it could be possible to find today in New York an artist who would not be influenced in his work by the general cartoonesque and primitivist style jacket illustration? Who would be capable of creating a romantic, delicately drawn, non-Freudian and non-juvenile, picture for LOLITA (a dissolving remoteness, a soft American landscape, a nostalgic highway-that sort of thing)? There is one subject which I am emphatically opposed to: any kind of representation of a little girl. “What about the jacket?” he wrote.Īfter thinking it over, I would rather not involve butterflies. Minton at Putnam, about the cover for his forthcoming novel, Lolita. In 1958, Nabokov wrote to his new American publisher, Walter J.
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