{"id":1658,"date":"2015-01-12T17:00:40","date_gmt":"2015-01-12T16:00:40","guid":{"rendered":"http:\/\/culturedallroundman.com\/?p=1658"},"modified":"2021-12-16T23:44:45","modified_gmt":"2021-12-16T22:44:45","slug":"joyce-nabokov-dirty-books-publications-ulysses-haveth-childers-everywhere-lolita","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/joyce-nabokov-dirty-books-publications-ulysses-haveth-childers-everywhere-lolita\/","title":{"rendered":"Joyce, Nabokov, and Dirty Books: The Publications of Ulysses, Haveth Childers Everywhere, and Lolita"},"content":{"rendered":"

\"Joyce1922\"<\/a><\/p>\n

With Ezra\u00a0Pound acting as intermediary, from the spring of 1918 until the close of 1920, James Joyce published the emerging episodes of Ulysses<\/em> in\u00a0The Little Review<\/em> \u2013 the American avant-garde literary magazine founded by Margaret Anderson in 1914, and edited by Anderson and Jane Heap. Having made The Little Review<\/em> his outlet of choice across 1917, becoming its foreign editor, and determining the magazine as suitable for the serialisation of Joyce\u2019s new work, Pound presented the \u2018Telemachiad\u2019 \u2013 the first three episodes of Ulysses<\/em> \u2013 to\u00a0The Little Review<\/em> in February 1918. \u2018Telemachus\u2019, the first episode, appeared in the magazine in March, \u2018Nestor\u2019 in April, \u2018Proteus\u2019 in May, \u2018Calypso\u2019 followed in June, \u2018Lotus Eaters\u2019 in July, and then \u2018Hades\u2019 in September and \u2018Aeolus\u2019 in October; before the pace shifted, with publication caught up to composition,\u00a0and Joyce\u2019s episodes growing ever longer.<\/p>\n

From the eighth episode, \u2018Lestrygonians\u2019, episodes began to be published across several issues of The Little Review<\/em>. \u2018Lestrygonians\u2019 was published between January and March 1919; \u2018Scylla and Charybdis\u2019 between April and May; \u2018Wandering Rocks\u2019 between June and July; \u2018Sirens\u2019 between August and September; \u2018Cyclops\u2019 all the way from November through until the following March; \u2018Nausicaa\u2019 between April and August; and finally the first part of \u2018Oxen of the Sun\u2019 appeared between September and December 1920, before serial publication\u00a0was brought to a halt.<\/p>\n

Margaret Anderson and Jane Heap had been immediately convinced of the value of Joyce\u2019s work. Upon reading the first lines of \u2018Proteus\u2019 in early 1918, Anderson had exclaimed, \u2018This is the most beautiful thing we\u2019ll ever have. We\u2019ll print it if it\u2019s the last effort of our lives\u2019. Ulysses<\/em> would not cost the pair their lives; but despite Pound deleting certain lines prior to publication \u2013 particularly from \u2018Calypso\u2019, the cloacal ending to which he deemed excessively vulgar \u2013 the serialisation of the novel had been attracting the censorious attention of the United States Post Office.<\/p>\n

\"04-jj_circle2\"<\/a>
From left to right: James Joyce, Ezra Pound, John Quinn, Ford Madox Ford<\/figcaption><\/figure>\n

The January and May 1919 and January 1920 issues of The Little Review<\/em> were confiscated and burnt. Fearing that the United States government would prosecute The Little Review<\/em> for obscenity, and that this would effectively prevent the completed novel from finding a publisher in the United States, Pound and John Quinn \u2013 a lawyer connected to\u00a0The Little Review<\/em>, and a patron of the arts, who had been purchasing Joyce\u2019s\u00a0Ulysses<\/em>\u00a0autograph\u00a0manuscript \u2013 urged the editors to withdraw future\u00a0Ulysses<\/em> episodes from publication. Then in September 1920, their fears were realised\u00a0as an official complaint against the magazine was launched by the New York Society for the Prevention of Vice. The complaint related specifically to the magazine\u2019s publication of \u2018Nausicaa\u2019, in which the novel\u2019s protagonist, Leopold Bloom, masturbates while peering at Gerty MacDowell, climaxing in rhythm\u00a0with the firework display on Sandymount strand.<\/p>\n

Anderson and Heap were summoned to court, with Quinn acting as their defence, and the trial of The Little Review<\/em> began on 14 February, 1921. Quinn questioned the court\u2019s competence to judge matters of art, and he argued that while \u2018Nausicaa\u2019 might be disgusting, it was not indecent and did not \u2018corrupt or fill people full of lascivious thoughts\u2019; but, as he had expected at the outset, Anderson and Heap were convicted of publishing obscenity. They escaped jail terms, but were fined $50 each; and the serialisation of Ulysses<\/em> was forced to cease.<\/p>\n

The cessation of the publication of Ulysses<\/em> in The Little Review<\/em> had ramifications for the composition of Joyce\u2019s novel, because without any deadlines to adhere to, Joyce\u2019s later episodes became longer still, and much more elaborate and involved. These later elaborations would, in turn, filter back to the earlier episodes through an extensive process of revision. Another effect of Anderson and Heap\u2019s conviction was that publication of the finished novel did become impossible in the United States: no publisher was willing to accept the work and face prosecution. Joyce had hoped that B. W. Huebsch, who had published A Portrait of the Artist as a Young Man<\/em> in the States, would publish Ulysses<\/em>; but the publishing house formally declined Joyce\u2019s manuscript in the immediate aftermath of the court decision. So Ulysses<\/em> was eventually published in Paris, on 2 February, 1922 \u2013 Joyce\u2019s birthday \u2013 by Sylvia Beach\u2019s Shakespeare and Company.<\/p>\n

\"Little_Review\"<\/a>
The first episode of Ulysses<\/em> published in the March 1918 issue of The Little Review<\/em><\/figcaption><\/figure>\n

While Ulysses<\/em> was\u00a0never officially banned in the United States, it was ten years before its publication in the country would be properly considered. Believing that the legal and cultural outlook had changed, in March 1932 Joyce signed a contract for publication with Bennett Cerf of Random House. The novel had to undergo a trial for obscenity before publication could commence, and so United States v. One Book Called Ulysses began in the autumn of 1933. Delivering his verdict on 6 December, judge John. M. Woolsey praised Joyce\u2019s writing as a \u2018powerful commentary on the inner lives of men and women\u2019, and concluded that \u2018whilst in many places the effect of \u2018Ulysses\u2019 on the reader undoubtedly is somewhat emetic, nowhere does it tend to be aphrodisiac. \u2018Ulysses\u2019 may, therefore, be admitted into the United States\u2019. Bennett Cerf set his typesetters to work at once, and the first, error-strewn Random House edition of Ulysses<\/em> began appearing in January 1934.<\/p>\n

Of course in the intervening ten years Ulysses<\/em> had been read in the country, as Shakespeare and Company editions were smuggled in privately or imported on the black market, and as pirated versions of the novel appeared. The nascent publisher Samuel Roth founded several magazines of varying merit in the States in the middle of the 1920s, and his literary effort\u00a0Two Worlds Monthly<\/em> began in the middle of 1926 to publish illicitly excerpts from Joyce\u2019s novel. Upon discovering this, Joyce immediately contacted a lawyer and initiated legal proceedings; but in the meantime, he arranged for a statement of international protest, with 167 signatories from across the arts and sciences, including such figures as Albert Einstein, Benedetto Croce, T. S. Eliot, H. G. Wells, Ernest Hemingway, W. B. Yeats, and Virginia Woolf.<\/p>\n

The protest \u2013 issued to the press 2 February, 1927 \u2013 brought Roth to disrepute, but copyright law at the time meant that he was only, in December 1928, ordered by the Supreme Court of the State of New York to stop utilising Joyce\u2019s name. He had continued publishing episodes of Ulysses<\/em>, up to the end of \u2018Oxen of the Sun\u2019, throughout 1927; and in 1929 he would publish an edition of the full book, forged based on a Shakespeare and Company printing of two years earlier. The text of this forgery was corrupt. Alas, this was the version mistakenly used by the Random House typesetters for the first authorised edition of 1934. Roth would be imprisoned for several months later in 1929 for distributing pornography. With his reputation as a literary pirate and pornographer entrenched,\u00a0occasional spells in prison became characteristic of Roth\u2019s later years; although his conviction for distributing obscene material in 1957 did propel a landmark legal case, Roth v. United States, which redefined the legal interpretation of obscenity, stating that material did not only need to deprave and corrupt to be considered obscene, but that depravity had to be the material\u2019s dominant interest and endeavour.<\/p>\n

\"814\"<\/a>
The first episode of Ulysses<\/em> published illicitly in the first issue of Samuel Roth\u2019s Two Worlds Monthly<\/em><\/figcaption><\/figure>\n

Meanwhile, Joyce spent the remainder of the 1920s at work on what would become Finnegans Wake<\/em>, but was at the time time operating under the name\u00a0Work in Progress<\/em>. Extracts of Work in Progress<\/em> had appeared in a variety of literary journals and magazines from as early as 1924. Most notably, the journal transition<\/em> published a sequence of thirteen extracts from its first number in April 1927, until its eighteenth number in November 1929. In October 1928, Joyce published Anna Livia Plurabelle<\/em> as a small book, with Crosby Gaige in New York. At the time he was prepared to \u2018stake everything\u2019 on this section of his work, which he considered the most melodious he had written, and had cost him \u2018twelve hundred hours and an enormous expense of spirit\u2019. In August 1929, he published Tales Told of Shem and Shaun<\/em> with Harry and Caresse Crosby\u2019s Paris-based Black Sun Press. This was a collection of three excerpts from Work in Progress<\/em> which had previously appeared in transition<\/em>: \u2018The Mookse and the Gripes\u2019, \u2018The Muddest Thick that Ever was Dumped\u2019, and \u2018The Ondt and the Gracehopper\u2019. Then in June 1930, he published Haveth Childers Everywhere<\/em> with Jack Kahane and Henry Babou. Faber & Faber would reprint Anna Livia Plurabelle<\/em> in 1930,\u00a0Haveth Childers Everywhere<\/em> in 1931, and Two Tales of Shem and Shaun<\/em> in 1932, and the publication of extracts of Work in Progress<\/em>\u00a0in transition<\/em>\u00a0resumed, before Finnegans Wake<\/em>\u00a0at last appeared on 4 May, 1939.<\/p>\n

Haveth Childers Everywhere<\/em> had been offered first to the Fountain Press, which had taken over\u00a0Crosby Gaige\u2019s publication programme in the United States; but when they declined Joyce\u2019s asking price, he turned to Jack Kahane and his partner Henry Babou. Kahane, born in Manchester, was himself a novelist, and had founded the Obelisk Press in Paris in 1929 after his publisher, Grant Richards, went bankrupt. It had been Richards who finally published Dubliners<\/em> in June 1914 \u2013 having initially accepted Joyce\u2019s collection of stories all the way back in 1905, before rejecting them in September 1906 after difficulties arose with his printer. The printer had refused to print\u2019 Two Gallants\u2019, and had objected to several other passages in Joyce\u2019s work.<\/p>\n

The Obelisk Press dealt in serious literature alongside \u2018dirty books\u2019, or \u2018d.b.\u2019s\u2019. It was able to bypass censorship laws by publishing contentious English-language fiction in France. In 1934, it would publish Henry Miller\u2019s Tropic of Cancer<\/em>,\u00a0which was subsequently banned in the United States and would not be published successfully in the country until the early 1960s. When Kahane died in 1939, just as the Second World War was beginning, the Obelisk Press passed into the hands of his son, Maurice Kahane, better known as Maurice Girodias. Taking \u2018Girodias\u2019 from his mother\u2019s birth name in an attempt to hide his Jewish descent from the Nazis, Maurice and the Obelisk Press survived the war, and continued to publish briefly after it, including volumes of Georges Bataille\u2019s literary review Critique<\/em>. However, finding that works under the Obelisk Press signature had developed a reputation and were struggling to sell, Maurice Girodias dropped the name and founded the Olympia Press in 1953.<\/p>\n

The Olympia Press followed the Obelisk Press in publishing both\u00a0experimental serious literature and erotic works \u2013 a number of these latter written by fledgling authors who would later attain literary prestige. Watt<\/em>, Samuel Beckett\u2019s second published novel, appeared in 1953 under the Olympia Press\u2019s Collection Merlin imprint. Soon, Girodias established the Traveller\u2019s Companion series to publish the Olympia Press\u2019s more estimable texts. It was under this imprint that Vladimir Nabokov\u2019s Lolita<\/em>\u00a0emerged in September 1955.<\/p>\n

\"obelisk5\"<\/a>
Haveth Childers Everywhere<\/em>, published by Henry Babou and Jack Kahane in Paris, 1930<\/figcaption><\/figure>\n

Haveth Childers Everywhere<\/em> was a fragment from Work in Progress<\/em>\u00a0which ran to seventy-two printed pages; and as soon as it was published, in Paris in April, by Kahane and Babou, the Fountain Press bought up the stock and began distributing the text from New York. The following year, Joyce expressed his reservations about further involving himself with Kahane in a letter to Adrienne Monnier, the partner of Sylvia Beach and a poet, bookseller and publisher in her own right. Monnier responded to Joyce\u2019s letter, which had broached the subject of royalties, fairly and with a forthrightness to which Joyce was not accustomed:<\/p>\n

You wish others also to go to the limit; you lead them by rough stages to some Dublingrad or other which they\u2019re not interested in, or rather, you try to lead them [\u2026] My personal opinion is that you know perfectly well what you are doing <\/em>in literature, and that you are quite right to do it, especially if it entertains you, life isn\u2019t so funny in this vale of tears, as Mrs Bloom says, but it\u2019s folly to wish to make money at any cost with your new work [\u2026] We haven\u2019t the slightest desire, Sylvia and I, to become associated with Kahane. Times are hard, and the worst isn\u2019t over. We\u2019re travelling now third class and soon we\u2019ll be riding the rods.<\/em><\/p>\n

There was to be no collaborative enterprise between Joyce, Beach and Monnier, and Kahane. Nabokov, however, would enter into a bitter and protracted struggle for determining to publish with Girodias what\u00a0would become his most famous and celebrated work.<\/p>\n

Nabokov only turned to Girodias once Lolita<\/em> had been rejected by the mass of American publishers. Having finished writing the novel in early December 1953, Nabokov at once handed his manuscript to the Viking Press, who praised its art but turned it down for publication early in the new year. Sending it on to Simon & Schuster, it was not until July that Nabokov received a decision: a rejection, with the publisher calling the work \u2018sheer pornography\u2019. Nabokov then tried and failed with New Directions, Farrar, Straus, and Doubleday. His options in the United States spent by the year\u2019s end, he looked to Doussia Ergaz of the Bureau Litt\u00e9raire Clairouin in Paris, who had helped to arrange French versions of some of his earlier works. Nabokov initially thought of enquiring after Sylvia Beach; but she was out of the business of publishing, and in April 1955, Ergaz met with Girodias. Though neither she nor Nabokov knew much of the publisher,\u00a0Nabokov was by now so eager to see his novel published that, on 6 June, agreeing to a contract which offered meagre royalties, he signed a deal with the Olympia Press.<\/p>\n

Nabokov also agreed, after some hesitation, to publish Lolita<\/em> under his own name rather than a pseudonym. The novel was quickly put through the proof stages, and was published in September. When Nabokov received the two Traveller\u2019s Companion volumes comprising Lolita<\/em> in October, he admired their design but found the print full of errors. He also noted that copyright had been attributed not only to him, but also to the Olympia Press.<\/p>\n

\"tumblr_m5go6qk3me1qabm59o1_500\"<\/a>
The two volumes comprising Lolita<\/em>\u00a0which were published in September 1955 by Maurice Girodias\u2019s Olympia Press<\/figcaption><\/figure>\n

A handful of reviews and notices followed. Most notably, Graham Greene selected Lolita<\/em> as one of the three books of the year in the Christmas issue of the Sunday Times<\/em>. This brought a vociferous response from the editor of the Sunday Express<\/em>, John Gordon, who in January called Lolita<\/em> \u2018the filthiest book I have ever read [\u2026] Anyone who published it or sold it here would certainly go to prison. I am sure the Sunday Times<\/em> would approve, even though it abhors censorship as much as I do\u2019. A brief flurry of activity ensued; but it was months before scandal truly broke. Meanwhile prospects emerged for a French translation of Lolita<\/em>, which was to appear in extract in\u00a0La Nouvelle Revue Fran\u00e7aise<\/em> before being published by the esteemed publishing house Gallimard;\u00a0and Doubleday appeared ready to commit to publication in the United States \u2013 though this prospect was halted when Girodias demanded excessive royalties, then threatened to distribute within the country the 1,500 copies\u00a0which would result in both author and publisher losing their copyright.<\/p>\n

By late 1956, United States Customs had seized then released two Olympia Press copies of Lolita<\/em>, suggesting that the novel would be sanctioned in the country if a publishing deal could be finalised. The Anchor Review<\/em> had also agreed to publish significant excerpts of the text across forthcoming issues, which was intended to smooth the novel\u2019s course. However, in Europe in December \u2013 under pressure from the Home Office of the United Kingdom,\u00a0which had been confiscating copies as they crossed the Channel \u2013 the French Ministry of the Interior banned the book, along with twenty-four other Olympia Press titles. This ban in France on the Olympia Press edition of Lolita<\/em> would persist, on and off, until September 1959.<\/p>\n

Girodias\u2019s demands had put off Doubleday, and he continued to prove an obstacle to any publication of Lolita<\/em> in the United States. Though Nabokov had unilaterally declared his contract with Girodias void, owing to the latter\u2019s repeated failure to pay Nabokov\u2019s royalties on time, the contract still stood in the eyes of the law, and\u00a0publication in the United States would have to receive Girodias\u2019s approval. This finally came at the beginning of March 1958, when Walter Minton of G. P. Putnam\u2019s Sons offered both parties an equal divide of fifteen percent of the book\u2019s\u00a0American royalties.<\/p>\n

\"nabgir\"<\/a>
Nabokov writing in repose; Maurice Girodias with a drink<\/figcaption><\/figure>\n

Lolita<\/em> was published by G. P. Putnam\u2019s Sons in the United States on 18 August, 1958. There was no challenge from the courts. Reviews were largely positive, and the few that expressed outrage only enhanced the novel\u2019s popular appeal. Within a few days, it was into its third large printing; soon,\u00a0Lolita<\/em> was declared the first book since Gone with the Wind<\/em> to sell 100,00 copies in its first three weeks. Also by early September, the novel\u2019s film rights were sold to Harris-Kubrick Productions, for $150,000 plus fifteen percent of the producers\u2019 profits. Nabokov \u2013\u00a0who had lost\u00a0his inheritance when he left Russia upon the October Revolution of 1917<\/a>; who lived impoverished in Berlin as he embarked on a writing career, and in Paris worked on his first English novel, The Real Life of Sebastian Knight<\/em>, in the bathroom of his family\u2019s one-room apartment, using the bidet for a desk; and who had continued in the USA to supplement his writing with teaching work at Wellesley and Cornell \u2013 was now wealthy.<\/p>\n

The French translation of Lolita<\/em> \u2013 translated by Maurice Girodias\u2019s brother, Eric Kahane, with revisions by Nabokov \u2013 was published by Gallimard in April 1959. In May, an Italian translation was published by Mondadori. Despite an initial preference for Bodley Head, back in November Nabokov had signed with Weidenfeld and Nicolson for the British edition of Lolita<\/em>. Britain still endured strict obscenity laws, and amid the furor over the impending publication of the novel, Nigel Nicolson lost his seat as Conservative MP for Bournemouth. Eventually \u2013 after a long campaign of positive\u00a0notices, an open letter signed by twenty-one prominent British authors which cited Ulysses<\/em> as a precedent, and interviews and lectures meant to ease its passage \u2013 the Weidenfeld and Nicolson edition of Lolita<\/em> was published on 6 November, 1959. During a party that evening at the Ritz in London, Nabokov and his publishers were informed by the Home Office \u2013 by virtue of an otherwise anonymous telephone call \u2013 that the novel would not be prosecuted.<\/p>\n

\"1959-fr-gallimard-nrf-du-monde-entier-paris\"<\/a>
The French edition of Lolita<\/em>, translated by Eric Kahane with revisions by Nabokov, and published by Gallimard<\/figcaption><\/figure>\n

Girodias would continue to publish serious and innovative fiction \u2013 including William Burroughs\u2019 Naked Lunch<\/em>, published under the Traveller\u2019s Companion imprint\u00a0in 1959 \u2013 alongside pornographic works. In March 1964, he\u00a0was prosecuted for obscenity after producing a play by the Marquis de Sade, and briefly imprisoned.\u00a0His difficulties in France would impel a move to New York towards the end of the decade; but he marked 1965 with an article in the September issue of the Evergreen Review<\/em>, entitled \u2018Lolita<\/em>, Nabokov and I\u2019 (later collected as \u2018A Sad, Ungraceful History of Lolita<\/em>\u2018), and suggesting that the difficult relationship between him and Nabokov owed largely to the author\u2019s greed.<\/p>\n

Nabokov found time to write a response early the following year \u2013 although his article, \u2018Lolita and Mr. Girodias\u2019, would not appear until the February 1967 issue of the Evergreen Review<\/em>. In his piece, he outlined the \u2019tissue of haggling manoeuvers and abstruse prevarications\u2019 which defined his interactions with Girodias from the beginning of their business relationship; recounted his numerous concerns over royalties and issues of copyright; and dismissed Girodias\u2019s account of a meeting the pair apparently shared in the autumn of 1959, at a reception to celebrate the Gallimard edition of Lolita<\/em>. Summarising the relationship, Nabokov wrote:<\/p>\n

I had not been in Europe since 1940, was not interested in pornographic books, and thus knew nothing about the obscene novelettes which Mr. Girodias was hiring hacks to confect with his assistance [\u2026] I have pondered the painful question whether I would have agreed so cheerfully to his publishing Lolita had I been aware in May, 1955, of what formed the supple backbone of his production. Alas, I probably would, though less cheerfully.<\/em><\/p>\n

\u2014\u2014\u2014\u2014\u2014\u2014<\/p>\n

Boyd, B. Vladimir Nabokov: The American Years<\/em> (London: Vintage, 1993)<\/p>\n

Ellmann, R. James Joyce<\/i> (New York: Oxford University Press, 1983)<\/p>\n

Groden, M. Ulysses in Progress<\/i> (New Jersey: Princeton University Press, 1977)<\/p>\n

Joyce, J. Selected Letters of James Joyce<\/i> ed. Ellmann, R. (London: Faber and Faber, 1992)<\/p>\n

Nabokov, V. \u2018Lolita and Mr. Girodias\u2019 Evergreen Review<\/em>, February (1967)<\/a><\/p>\n

Pound, E. & Joyce, J. Pound\/Joyce: The Letters of Ezra Pound to James Joyce, with Pound\u2019s Essays on Joyce<\/i> ed. Read, F. (New York: New Directions, 1967)<\/p>\n

Smoke Signals Interview with Maurice Girodias (1989)<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

With Ezra\u00a0Pound acting as intermediary, from the spring of 1918 until the close of 1920, James Joyce published the emerging episodes of Ulysses in\u00a0The Little Review \u2013 the American avant-garde literary magazine founded by Margaret Anderson in 1914, and edited by Anderson and Jane Heap. Having made The Little Review his outlet of choice across […]<\/p>\n","protected":false},"author":1,"featured_media":4275,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[4013,3878,3879,6394],"tags":[1649,1899,3719,3367,3495],"class_list":{"0":"post-1658","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-james-joyce","8":"category-literature","9":"category-long-reads","10":"category-modernism-modernity","11":"tag-james-joyce","12":"tag-literary-history","13":"tag-long-reads","14":"tag-ulysses","15":"tag-vladimir-nabokov"},"jetpack_publicize_connections":[],"yoast_head":"\nJoyce, Nabokov, and Dirty Books: Ulysses and Lolita<\/title>\n<meta name=\"description\" content=\"A history of the publications of Ulysses, Haveth Childers Everywhere, and Lolita, showing Joyce and Nabokov's dealings with publishers of pornography.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/culturedarm.com\/joyce-nabokov-dirty-books-publications-ulysses-haveth-childers-everywhere-lolita\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Joyce, Nabokov, and Dirty Books: Ulysses and Lolita\" \/>\n<meta property=\"og:description\" content=\"A history of the publications of Ulysses, Haveth Childers Everywhere, and Lolita, showing Joyce and Nabokov's dealings with publishers of pornography.\" \/>\n<meta property=\"og:url\" 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