Lola's Taboo

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Lola's Taboo
Kelly Ripa and Mark Consuelos's daughter, Lola, showed off a strapless, white ribbed bikini on her Instagram Story. The teen posed for the photo in what appears to be her bedroom.
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The host messaged them several times after.
Republican Rep. Lauren Boebert took to Twitter to criticize Democrat Alexandria Ocasio-Cortez, after the New Yorker was heckled at her own town hall this week.

Watch : Kelly Ripa's Daughter Heckled Her TikTok Dancing
All the Times Lola Consuelos Called Out Parents Kelly Ripa and Mark Consuelos
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Perhaps the must-have fall accessory is a birthday suit. 
Over the weekend, Gwyneth Paltrow celebrated her special day by posing nude on Instagram. "In nothing but my birthday suit today..." she shared with her followers on Sept. 27. "Thank you all so much for the birthday wishes and thank you to @goop ‘s insanely amazing brand new body butter for making me think I can still get my kit off. #goopgenes." 
While many familiar faces like Courteney Cox , Vanessa Hudgens and Katy Perry were quick to praise the businesswoman, one daughter was not impressed.
Apple Martin , 16, would comment with one word: "MOM."
Kelly Ripa , who is turning 50 on Oct. 2, saw the post and decided to pass along the details to her 19-year-old daughter Lola Consuelos . The conversation that came next will make any parent—or kid—laugh out loud.
"You've been warned," the talk-show host wrote just days before her big celebration.
Lola replied, "Oh lord. Honey. Do u what u want. Just know. That I have a birthday also. And an Instagram."
Is that a threat or a promise? LOL!
Mark Consuelos saw the conversation on Instagram and simply commented "lord." As for Kelly's trainer Isaac Calpito , he's ready to do his part to make the birthday post possible.
"Let the games begin," he wrote in the comments section. Kelly replied, "Let's get to work." 
Recently, the Live With Kelly and Ryan co-host opened up about her Instagram page to People . During the chat , her daughter revealed she doesn't always like when her mom responds to the haters. 
"These people are sitting at home wishing they were you," Lola argued. "We don't need any clapbacks. Irrelevant people should stay out of our lives."
Kelly added, "I think my haters and I have a healthy relationship with each other. I think that it's a give-and-take. Because I think that the people that I clap back to are very clever; they're usually very funny; I usually get a good chuckle out of it. Then, they deserve the little pepper."
And for those wondering what Kelly has in store for her birthday, your guess is as good as ours. Close friend Anderson Cooper and Kathie Lee Gifford , however, are scheduled to appear on Live this Friday. Stay tuned!
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Preview — Lolita
by Vladimir Nabokov




Librarian's note: Alternate cover edition of ISBN 9780141182537 . Humbert Humbert - scholar, aesthete and romantic - has fallen completely and utterly in love with Dolores Haze, his landlady's gum-snapping, silky skinned twelve-year-old daughter. Reluctantly agreeing to marry Mrs Haze just to be close to Lolita, Humbert suffers greatly in the pursuit of romance; but when Lo
Librarian's note: Alternate cover edition of ISBN 9780141182537 . Humbert Humbert - scholar, aesthete and romantic - has fallen completely and utterly in love with Dolores Haze, his landlady's gum-snapping, silky skinned twelve-year-old daughter. Reluctantly agreeing to marry Mrs Haze just to be close to Lolita, Humbert suffers greatly in the pursuit of romance; but when Lo herself starts looking for attention elsewhere, he will carry her off on a desperate cross-country misadventure, all in the name of Love. Hilarious, flamboyant, heart-breaking and full of ingenious word play, Lolita is an immaculate, unforgettable masterpiece of obsession, delusion and lust.
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Paperback , New Edition, Penguin Modern Classics , 331 pages

Published
1995
by Penguin


(first published September 1955)



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raquel (taylor's version)


I'm 16 and I have read it a lot of times. You can read whatever you want and nobody can tells you 'you can't read this'. …more I'm 16 and I have read it a lot of times. You can read whatever you want and nobody can tells you 'you can't read this'. (less)




Cam Hoff


What's disturbing is how Nabokov is able to write a disturbed pedophile main character as one that isn't entirely revolting...but rather someone with …more What's disturbing is how Nabokov is able to write a disturbed pedophile main character as one that isn't entirely revolting...but rather someone with charm and wit that you can almost relate to. Fantastically creepy. (less)



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Between the Covers After re-reading "Lolita", I asked my local bookseller if she'd ever read it. She replied firmly, “No…and I’m not going to either. He’s a paedophile.” A bit taken aback, I enquired further, “Who? The author or the character?” Fortunately, she replied, “The character.” For me, this exchange showed how much “Lolita” can still sharply divide opinion, even within lovers of fiction. This wasn’t the conversation I had been hoping for. I had read “Lolita” in a couple of days, less time than
Between the Covers After re-reading "Lolita", I asked my local bookseller if she'd ever read it. She replied firmly, “No…and I’m not going to either. He’s a paedophile.” A bit taken aback, I enquired further, “Who? The author or the character?” Fortunately, she replied, “The character.” For me, this exchange showed how much “Lolita” can still sharply divide opinion, even within lovers of fiction. This wasn’t the conversation I had been hoping for. I had read “Lolita” in a couple of days, less time than my work commitments normally allow me, but I found it incredibly easy to read. Even though I was taking notes, even though I was conscious that Nabokov was playing games (even if I didn’t always know what game), even though there were unfamiliar words I should have looked up, I was constantly drawn towards the conclusion. I wanted to talk to someone about my experience straight away. My cheeks were still flushed, my nerve endings were still tingling, I had experienced the “spine thrill of delight”, I felt like I had just had sex with a book. Now, not being a smoker, all I needed was some post-coital conversation. And there was no one around to converse with. And the book wasn’t giving away any more of its secrets than it already had. Nor was it going to tell me I had been a Good Reader or that it had appreciated my attentiveness. It was back between the covers, challenging me to start again. Three Act Word Play At a superficial level, “Lolita” is a relatively straight-forward novel. Once you know that it concerns sexual relations between 37 year old Humbert Humbert and 12 year old Dolores “Lolita” Hayes, you just about know the plot. There’s a beginning, a middle and an end. A grooming, a consummation, an aftermath. Nabokov makes of his material a three act play. And he does so playfully, seductively, lyrically, charmingly, amusingly, dangerously. To this day, I cannot look at Humbert’s initials “H.H.” without pronouncing them in German, “Ha Ha”, and wondering whether the joke is on us. Beneath the skin of the novel, there is much more. There is a whole complex living organism. You can lose yourself within its arms for days, weeks, months, a lifetime. As long as your love of wordplay, your love of words and play, will permit you. Again, at a superficial level, there is an almighty conflict between morality and aesthetics happening between the pages. Whether or not Nabokov deliberately put the conflict there, he put the subject matter there. We, the readers, can supply our own conflict in the way we read his novel. Nabokov knew the subject matter would inflame us, if not our desires, then at least our morals, our sense of righteousness. Morality and aesthetics are intertwined within the fabric of the novel. They embrace each other in one long death roll, just like Humbert Humbert and Clare Quilty. We watch their interaction, open-mouthed, open-minded, but ultimately they have to be pulled apart or separated. When they are together, they are one. When they are apart, they are each other’s double. The Morality of the Story There is no doubt that sexual relations between an adult and a minor are not just immoral, but criminal as well. That is an unquestionable fact. From a legal point of view, the motive of the adult is irrelevant to the proof of the crime. The consent of the minor is irrelevant to the proof of the crime. If Humbert had been charged with an offence of sexual relations with a minor, he would have had no legal defence. Any question as to whether Lolita really seduced Humbert would have been irrelevant. In fact, the evidence might not even have been admissible, except potentially as part of the determination of the penalty. In other words, even if it was relevant to penalty, it was not relevant to guilt. Because morality is a social construct that depends on collective endorsement, he had no moral defence either. The personal views of the individual are not really that relevant to society’s determination that an act is immoral. The choice of the individual is to comply or offend. Of Traps and Cages Humbert offended not just once, but untold numerous times over two years. He carefully planned his seduction, he set his trap, he caught his prey, even if someone might want to argue that this 12 year old seductress walked voluntarily into the trap. Having freed Lolita from the trap, he imprisoned her in a cage, and repeated his crime. Again, someone could argue that she had plenty of opportunities to flee the cage (which she eventually did). But Humbert surrounded Lolita with an elaborate system of self-doubt that convinced her that she would become a ward of the state if they were found out. The Legality of the Confession “Lolita” is written from Humbert’s point of view. It is not just a recollection in his mind, it is a formal, written document. He sat down and wrote it in 56 days between his capture in 1952 (charged only with the crime of murdering Clare Quilty) and his death in prison before his trial could occur. For me, the written document is a fascinating choice of literary device to tell the story. The document becomes a book within a book. While Nabokov obviously wrote it, all that he purports to do is sandwich it between a Foreword and a (much later) Afterword. This device sets up an interesting relationship between Humbert and the reader. For Humbert, it is akin to a confession or a witness statement. To this extent, what he confesses to is clearly enough to convict him of the crime of murder. However, in it, he also sets out details of crimes that, for whatever reason, he was never charged with. If his lawyer had read the document while he was still alive, he would probably have excised all of the other confessions, because they would have prejudiced his client’s case (at least with respect to penalty). The Role of the Jury For the reader, the confession defines our relationship to the events that are described. We are cast in the role of a member of the Jury. This device allows heinous moral and criminal acts to be described and read and examined within a legal and therefore legitimate framework. In a sense, the book becomes a report of sorts on legal proceedings. We become legitimate observers and listeners to something that might otherwise have been prurient and offensive and illegal. Yet, we have to do our duty and participate in the legal process, because it is an important part of the justice system. Even though we have a legitimate interest in participating, I wonder whether we are still voyeuristic. Nabokov has trapped us in a game that persuades us that it is serious, but ends up being just as playful and perverse as the subject matter of the crime. In a way, Nabokov makes us complicit in a crime, if not Humbert’s crime, then perhaps our own thought crime. It is also material that, by the time Humbert’s confession is read, both Humbert and Lolita have died of natural causes. Humbert speaks from the other side of death. Nobody is alive, nobody can be hurt any more than they already have. The Confessions of an Unreliable Narrator (The Fox and the Peacock) I explored these issues, because I wanted to understand Humbert’s motivation for his confession. He is effectively pleading guilty. I don’t see any prospect for an insanity defence, even though he seemed to have been in and out of sanatoria at times of crisis. Equally, I don’t think that anything he reveals would reduce the penalty for the murder. To do so, he only needed to focus on his concern that Quilty had wronged Lolita in some way even worse than his own actions. But to confess all of these other crimes seems to be counter-productive. Similarly, I don’t think he was lying about the detail, I think that he was telling the truth, and that he was telling the truth, so that he could be understood, no more, no less. Humbert’s confession is not just the fiction of a dirty old man, it is not false or fabricated, it is not a mirage. No matter how immoral, no matter how deluded, no matter how selfish and narcissistic, it is his fact, his reality, his truth, his burden, his shame. His actions were the pursuit of a rational man, not an insane one. He was film-star handsome, educated, intellectual, talented, witty, charming, calculating, calculated, dangerous. There is no doubt that he was a talented performer, an exceptional player. However, Humbert is not an actor wearing a mask, performing some other fictional character or version of himself. I believe that we are seeing him for what he really is. He is as cunning, tricky, sly as a fox and as refined, elaborate, attractive as a peacock. His decoration, his ornamentation is part of him, his life, his loins, his sin, his soul. In pursuit of Lolita, he was prepared to lie and deceive in order to achieve his goal. I don’t believe that he was prepared to lie to us, if only because there was no point in lying. When occasionally he questions the veracity of his own account, it is solely to question the accuracy of his memory. However, he didn’t need to tell lies to achieve leniency, he didn’t need to tell the truth for some ulterior motive. By confessing to anything, he would only be found guilty of crimes he hadn’t been charged with in addition to the charge of murder he had been accused of. There was no point in confessing to anything extra, other than to tell the truth as he saw it. It wasn’t going to get him any sympathy or reduce his penalty, if anything, his disclosures would aggravate his penalty. To this extent, I don’t consider Humbert an “unreliable narrator”. I realise that some might respond that paedophiles are habitual liars and can’t help themselves. That might well be the case, but I think it is our horror at his crime, our moral judgment affecting our assessment of the whole of the person and shaping our (aesthetic) response to the book and the character. Perhaps naively, I want to find
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