The Seanaimseartha Dualism that Pervades in the Realms of Twin Peaks and Lolita
"Once upon a time there was a place of great goodness called the White Lodge. Gentle fawns gamboled there amongst happy laughing spirits. The sounds of innocence and joy filled the air. And when it rained, it rained sweet nectar that infused one’s heart with a desire to live life in truth and beauty. Generally speaking a ghastly place. Reeking of virtue’s sour smell and gorged with the whispered prayers of newlying mothers, mulling newborns, and fools young and old compelled to do good with out reason. But I’m happy to point out that our story does not end in this wretched place of sacrilific sense. For there’s another place, it’s opposite, a place of unimaginable power chalk full of dark forces and vicious secrets. No prayers dare enter this frightful maw. The spirits there care not for good deeds or priestly implications. They’re as like to rip the flesh from your bone as greet you with a happy good day. And if harnessed these spirits in this hidden land of unmuffled screams and broken hearts would offer up a power so vast that its bearer might reorder the Earth itself to his liking. This place I speak of is known as the Black Lodge, and I intend to find it," (episode 2026). Thus the fable spoken by the Mephistophelian gascon Windom Earle, a creature who roams the plains of the world of Twin Peaks. His oration described the dualism permeating throughout the lives of its inhabitants. This dualism, black and white flanks of an eternal clash of arms, also exists in the world Humbert Humbert and the suzerain create.
The idea of incest with one’s own daughter appears in the parody of the American soap opera created by David Lynch, Twin Peaks, and the novel by Nabokov called Lolita. In Twin Peaks Leland Palmer defiles his daughter as he has done since she had approached the age of twelve. Leland, or rather his doppleganger infected with a spirit from the Black Lodge called Bob, routinely takes the lass on excursions of masochistic delight that cause the downfall of the youthful soubrette. Now the nymphette in Lolita does not represent the same kind of individual as in Twin Peaks. The father, Humbert Humbert, makes Lolita, or Dolores, out as to enjoy the molesting that he wages against her body; a foreshadowed fate that Dolores might have recognized later on. Unfortunately for Humbert this exemplifies a ruse on his part, much like Hermann’s deception about Felix Wohlfarht. Dolores Haze does not act like the tramp Humbert the Narrator (evoking one to think of such names as Ivan the Terrible or Vasilisa the Wise) portrays her as behaving. Humbert in his defense to the critical jury must lacquer immature Dolores as a nymphette titled Lolita; Dolores might have a split cousin in Vertigo. Laura Palmer, Leland’s daughter and sex meal, represents a wench that Humbert might have liked better before she had attained the age of fourteen. The incest relates directly to the dualism found in both ethereal spheres that masquerade as territories; in both incest causes parts of the splitting of both heroines.
The symbol of chess plays an important part in the universes that Nabokov sculpts. The idea of an overpowering game amongst black and white forces controlling the fates of the characters emanates throughout the various stories assembled by Nabokov. This eternal game of chess has a place in Lolita with Humbert the Narrator engaging in a struggle with the paramount ruler. Twin Peaks demonstrates this perpetual game correspondingly, with both Lodges inhabited by demigods playing a match using the characters as pieces. One piece, Windom Earle, tries to imitate the demigods in their tourney of chess, but becomes snared by one side and removed off the board in the end. The melee between the demigods, bestowed power by the supreme god, reveals the duality breaking through the ranks of Twin Peaks which one could likewise apply to Lolita.
In the sphere created by Lynch a dualistic sense represents the overlying theme of the tales, and an aspect of this dualism does exist in Nabokov’s Lolita. Two striking examples of the split realities found in Twin Peaks concern the idea of love and the catalyst which sparked this battle of the timeless crusade for the never-ending bagatelle, Laura Palmer. In Lolita the pabulum for Humbert’s desire also exemplifies the dualism much like that found for Laura Palmer however one would have to look into a speculum to see a resemblance.
The idea of love tends to have split into dimensions occupying each of the opposite fields of a pole. On one end there lies the vulgar sado-masochistic love that really only involves satisfying the wanton pleasures of mankind. In Twin Peaks: Fire Walk with Me a scene between Laura and a Trucker, a potential John, demonstrates this kind of love. The Trucker asks "You do go all the way, don’t you little girl?" (Lynch and Engels, 77), then Laura explains " Sooner or later" (Lynch and Engels, 77). Laura the grabs the Trucker by the genitalia, or balls, and proclaims "You willing to go all the way? Huh? You wanna do it for me. All the way for me means all the way- DEAD," (Lynch and Engels, 77). This shows almost a necrophiliac aspect to hedonistic love; the love taught to Laura by Bob. From this one may extract the notion that Laura almost wishes to die.
Another scene showing this poshlostest type of love involves Benjamin Horne, the stereotypical man who owns half the town, and an encounter with the new strumpet at his brothel called One-Eyed Jacks (episode 2008). Ben stalks his reluctant prey voraciously not giving up until he unfortunately became called away. This young trollop clad in a negligee of purest alabaster with a sad mask concealing her face prospered by not becoming discovered. The tiger prowling her would have vociferated in horror over finding his own daughter employed in his maison close. The scene almost reflects the greater amount of incest that occurred before between Laura and her father. Ben Horne, whom Laura had slept with and also worked as a courtesan at One-Eyed Jacks, almost became the victim of his own crime; he danced with the devil and almost got scorched.
Residing on the positive pole concerns a more innocent love that exudes throughout Twin Peaks. The love parallels the cliched type of love one finds portrayed on television in the 1950’s. When Agent Cooper first asks Annie Blackbourn, who had recently given up a nasty habit, out on a date he does not request her presence directly but rather in an indirect manner. Agent Cooper asks Annie "I’d like to take this opportunity to ask you if you’d like to accompany me on a nature study this afternoon," (episode 2026). With light virtuous music playing in the background Annie accepts validating this innocent kind of love. One that dances around the actual subject matter without stating bluntly what either lovers hunger for.
Another paragon of this division of love occurs in a scene in episode "2027". The sequence starts out in a diner with a woman with cherry-stained fingers having her right arm vibrate rapidly. Bobby Briggs then proclaims his everlasting love to a waitress named Shelley Johnson. Bobby had strayed from his love, but upon viewing another man kissing and fawning over her, he came back like a good little pup. His saccharin appeal for forgiveness ended with the formulated kiss. The significance of the scene lies more in the vibrating arm than in the proclamation of love. A man who once roamed throughout the caverns of the Black Lodge decided one day that he wanted to leave. The only way to do so entailed the amputation of his left arm which when completed became the Man from Another Place. The left arm demonstrates a symbol of the Black Lodge and diametrical to this appendage hangs the right arm. When the right arm vibrated something pure had to occur, an event inspired by the White Lodge. It would seem that neither love gravitates towards the center, but remains confined to the extreme positive and negative fields of the magnetic force around the domain.
In Laura Palmer two Lauras really exist, and each, like love, living at two extremes. One Laura, the good Laura, acts almost like a saint. She delivers food to the elderly, teaches English to foreigners, and works with a man who views the world in a different light. The good Laura unfortunately represents a ruse on her part or maybe others. Laura presents herself to the outside world as unsullied and decent person so as to mask the evil Laura, one diametrical in nature. The other Laura, the more nefarious one, has been shaped by Bob, who has taken her on a disgustingly libidinous journey since the age of twelve. This Laura has a taste for the nose candy, wild times, and erotically sadistic sex.
When Laura, her friend Donna, and two Johns went to a hidden bar and engaged themselves on an amatory rollercoaster of epic proportions, one sees the sinful Laura in action (Lynch and Engels, 80-85). Laura and another Lorelei, Ronette, a girl from the cathouse both worked at, find themselves face to face while men ravish their bodies from behind1 (Lynch and Engels, 83). The scene exemplifies "the muffin’s" craving for the kind of attention that has been given to her by Bob for so many years. She becomes swept up in the eroticism found all around her. The Hell metal band creates a seductive rhythm that Laura drowns ever deeper into an infernal abyss. The sanguine lighting with strobe flashes all around reflect her eventual sojourn into the Black Lodge containing the continually metamorphisizing Red Room.
In another instance of this hedonistic Laura, she wrote in her diary "By the time I left Blackie, she was on the floor, naked except for her jewelry, and was humiliated because I had been able to take total control and show her things she had never thought possible. I took her into a very dark erotic place... but I left her there alone," (Lynch, 174). Thus Laura has been corrupted by Bob, he wants to become her, and now she has become like him, feeding on fear and suffering. She begins to take charge of her sexual interludes, and her expertise in sensual treks has surpassed even the master jade.
Regrettably not many scenes of the pious Laura exist. The audience really only learns of this Laura in the beginning of the television series just after her slaying and subsequent ascendance to the Black Lodge. Laura attempted to balance her pernicious side with involving herself with as many charities as would take up all of her time. Although even some of these events wound up returning her to the immoral side of her existence. On June 4, 1989 she wrote in her diary, in relation to her English lessons with Josie Packard, "She’s treating our sessions more like poorly executed seductions and the more she comes on to me the less I respect her," (Lynch, 172). Then Laura writes in the postscript "It makes me sick how every time I do something good I always end up- pardon the pun- getting fucked," (Lynch, 172). Evil tends to follow Laura where ever she goes. It has become her destiny to dwell with the other malevolent creatures in the Black Lodge.
This dualism found in Twin Peaks also endures in Nabokov’s Lolita. Here, like Laura Palmer, Miss Dolores Haze, as narrated by the dipsomaniac Humbert, has a portrayal that becomes split. On one side of the board there exists Dolores Haze, the real individual that succeeds in the end despite what that debaucher did to her. On the virtual image field of the board lies the pieces of the cocotte named Lolita. A mantrap for the poor Humbert Humbert who spins a web and entangles him like a helpless Drosophila; or so the portrayal goes by the jackanapes called Humbert.
An exemplar of Dolores comes from after when Humbert the sJant\ir has defiled her. When Humbert wrote "..and I had the odious feeling that little Dolores was wide awake and would explode in screams if I touched her with any part of my wretchedness" (Nabokov, 129). This showing that Dolores probably did not enjoy being raped by the repugnant older pedifile. Also this provides clues to the notion that Humbert the Narrator does not act in the manner of a genius he thinks he does because he slips in letting the readers know what Dolores really thought of him. Humbert the Narrator also allows the readers to see one of his genuine characteristics, his wretchedness.
When Dolores queried "What was the name of that hotel you know [nose puckered], come on, you know- with those white columns and the marble swan in the lobby? Oh you know [noisy exhalation of breath]- the hotel where you raped me," (Nabokov, 202) Humbert the Narrator, or maybe someone else like John Ray, discloses a look at the real Dolores. Someone permits the readers to view momentarily what really happened between them. Dolores did not seduce Humbert the Character rather Humbert the Narrator viciously pillaged the innocent Dolores. The passage also contains a connection Dolores makes in her wind with the place where she lost her uncorrupted soul.
After Humbert the Character first deflowered Dolores, before her time of fructescence, she explained to Humbert the Character "‘You chump,’ she said, sweetly smiling at me. ‘You revolting creature. I was a daisy-fresh girl, and look what you’ve done to me. I ought to call the police and tell them you raped me. Oh you dirty, dirty old man,’" (Nabokov, 141). This obviously shows Dolores’s true feeling towards Humbert. The passage also reveals Humbert the Narrator’s fallibility, broaching he does not belong in a category of masters. Humbert the Narrator glosses over this charivari by Dolores, not digging below the surface of the matter which also suggests his imperfection as a champion of prose.
On the black side of the playing field rests the evil Dolores, or Lolita. This individual represents a hazy reflection of the perfect image that resides above The Cave. The ichneumon called Humbert in his defense to the world must depict this Lolita as a maenad that lured a poor vulnerable, yet dashing European into her lair of fornication. An obvious specimen of this occurs when the seanchrRonna young Lolita said " ‘ The Girl Scout motto,’ said Lo rhapsodically, ‘is also mine. I fill my life with worthwhile deeds such as-well, never mind what. My duty is- to be useful. I am a friend to male animals. I obey orders. I am cheerful. That was another police car. I am thrifty and I am absolutely filthy in thought, word and deed,’"(Nabokov, 114). The words invented by Humbert the Narrator exhibits his desire to make Lolita to want and crave men. She utters the words Humbert yearned to hear from the archetype of a nymphette. He also makes her out as a filthy person so that the jury would despise her and maybe condone the actions of a malignant spirit.
Humbert the macerator, in another paragon, explains "I am going to tell you something very strange: it was she who seduced me," (Nabokov, 132) showing the trick the chronicler attempts to play on the readers. The narrator then proceeds to describe all of Lolita’s sexual knowledge and how she obtained this enlightenment. How she engaged in a lesbianic affair and first became introduced to mammalian copulation by a bacchanalia with a friend and a stripling from summer camp. The quoted passage and the paragraphs that follow reveal the ruse that Humbert the Narrator wishes to pull on the readers and the jury. Painting Lolita as a slut makes it easier for one to not support her and rather take pity upon Humbert the Character, or so Humbert the Narrator would like.
Humbert the Narrator, further on in his fairy tale, explains to the jury about the further decline in Lolita’s ethics. Humbert explicated that " I am now faced with the distasteful task of recording a definite drop in Lolita’s morals. If her share in the ardors she kindled had never amounted to much, neither had pure lucre ever come to the fore. But I was weak, I was not wise, my schoolgirl nymphet had me in thrall. With the human element dwindling, the passion, the tenderness, and the torture only increased; and of this she took advantage," (Nabokov, 183). Once again Humbert the Narrator strives to convince the jury that Lolita the lioness had ambushed the hapless Humbert the Character and took advantage of him. This also shows that Lolita has somewhat of control over Humbert. Later on in the chapter Humbert the Narrator made the remark "- although of course, I might fondly demand an additional kiss, or even a whole collection of assorted caresses, when I knew she coveted very badly some item of juvenile amusement," (Nabokov, 184). The quotation also reveals that Lolita has gained control because Humbert the Character had to buy her love; her love had a price confirming that Dolores did not love the pepsin-like Humbert.
Chess as a symbol of dualism pervades throughout Twin Peaks with the real match occurring between the demigod-like spirits lodging in both Lodges. The spirits play a never-ending game with the residents of Twin Peaks. The White Lodge tends to assist a few denizens against the evils of the Black Lodge. The Black Lodge devours some and takes others and creates monsters. One member of the White Lodge, The Giant tends to assist and give clues to Agent Cooper at key times. When Annie Blackbourn told Agent Cooper that she had decided to enter the "Miss Twin Peaks" contest, The Giant appeared only to Agent Cooper in a white spotlight, and waved his hands back and forth, and mouthed the word "no" repeatedly (episode 2027). This foreshadows Annie’s capture by Windom Earle after she triumphed in the contest. Earle needed her because she provided the key to allow passage into the Black Lodge; the key being fear. The Giant appeared to Agent Cooper earlier before when Bob ravaged and killed Maddy Ferguson, Laura’s cousin who has an uncanny resemblance to her. The Giant said "It is happening again. It is happening again," (episode 2014). Unfortunately the time had passed and Maddy ended up in the same place where Laura now dwelled.
The Black Lodge enjoys corrupting innocent young souls and lures them to their side of existence, like Bob accomplished with Laura. In the scene where Laura and Donna went to the hidden bar mentioned before, Donna became corrupted just like Laura. When Laura realized this occurred, Bob’s voice came out of nowhere and said "See what we can do to Donna," (Lynch and Engels, 84). Thus displaying that the spirits of the Black Lodge can infect anyone with their disease. Later on when Laura returned home Bob’s voice once again emanated through the air. He said "I want to kill thru you," then Laura said "No" (Lynch and Engels, 107). Bob next exclaimed "I want you to kill for me" and Laura responded with " No. Never. You’ll have to kill me," (Lynch and Engels, 107). Bob repeated with "I want you to kill for me" (Lynch and Engels, 107)2. The conversation attests to the manipulation that the creatures of the Black Lodge play upon unwilling pieces. Bob wants Laura to join in the demonic escapades of the Black Lodge, regrettably she already has.
Roaring throughout Lolita storms the eternal war of chess representing a dualism like that found in Twin Peaks. The participants consist of the supreme ruler himself, Nabokov, and the incubus ordained Humbert Humbert, the Narrator in this manifestation. Both wage war against each other, with Humbert’s pieces merely penumbras of the reality dwelling at Nabokov’s end of the board. Humbert has Lolita as his Queen, and he reveals this when speaking of Gaston’s unaware senses and explained "... as if confusing those distant thuds with the awful stabs of my formidable Queen," (Nabokov, 182). His formidable Queen being Lolita, his sex toy and temptress. Gaston represents a pawn of lesser value than Humbert, cut from the same cloth but liking the opposite sex. The King in his game depicted as Humbert the Character and Clare Quilty both. When Humbert the Character killed himself, or Clare Quilty, the color black pervaded throughout the episode. When the Narrator recounted " like some old nightmare of mine, to a phenomenal altitude, or so it seemed, as he rent the air- still shaking with black music," (Nabokov, 302) he showed his true colors. The whole episode also proves that the King defeated himself by putting himself in check. Humbert the Character shooting and killing Clare Quilty actually destroyed the negative aspect of himself, check-mate.
Nabokov’s white pieces prove more difficult to discern because of Humbert the Narrator’s hazing of the characters as if he used M’sieur Pierre’s distorted speculum and reflected it towards the readers. His Queen of course manifests herself in the form of Dolores, the real individual that Humbert corrupts. The King may be John Ray, a mask Nabokov hides behind. Dolores’s mother, Charlotte Haze, could stand for a Knight that protects Dolores. Humbert the Narrator describes Charlotte as with having "... the glossy whiteness of her wet face so little tanned despite all her endeavors, and her pale lips, and her naked convex forehead, and the tight black capital structure, and the plump wet neck," (Nabokov, 86). This suggests her whiteness of being a piece on the white side of the board; Humbert would have despised Charlotte for this. Humbert the Narrator took Charlotte with Humbert the Character, a pawn. In the end Nabokov sacrificed his Queen so that both Humberts would go mad and destroy themselves. Thus the self-christened master of chess defeated himself, and in doing so he showed his true colors.
The dualistic war wages it’s many scrimmages among both Twin Peaks and Lolita. Of the casualties include Dolores Haze and Laura Palmer both transformed by the sinister forces that bend around them and eventually engulf them. Dolores and Laura represent virtual images of each other, for Dolores reality exists on the right side and for Laura on the left side. Both have been despoiled by a villainous cur who in the end lead then to their death. Although for Dolores and Laura death meant the only way each could have freedom and their defilers could lose the game. They symbolize innocent people that became swept into a maelstrom that regarded them as only pieces. Dolores to Humbert only represented an imperfect shadow that he wrenched and altered into Lolita. The evil side of Laura did help become created by Bob however she performed a great deal of the work herself. Laura created the good side as not to worry those around her. The good side of Laura protected others from becoming immersed into what she became submerged into; although this act did not work too well for some of the pieces.
The incest inflicted upon Laura and Dolores by their limaceous lechers caused the splitting of each young demoiselle. For Laura she became corrupted by Bob before the age of twelve and this caused her eventual downfall. Near the end of her laconic life she began to enjoy bringing other pieces all with her on a ride of malevolent ecstasy. Bob shaped the evil Laura, and Laura likewise had to put on a ruse with the good Laura so other people would not become infected with her plague. Callow Dolores became twisted by the kalologist labeled Humbert Humbert that resulted in her inevitable rescue from the board by the messiah of the monad. His desire of incest of her untainted child-soul forced him to create Lolita so to exonerate himself from the indictment by the righteous barrister of common sense. Humbert the pariah had to smother the real essence of Dolores so as to dupe the jury into thinking Dolores attacked him like a Jezebel, and thus the quean named Lolita became born. Nevertheless in the end Dolores did receive her redemption and the destruction of her debaucher.
Dolores may have recognized her foreshadowed fate when she attempted to recollect the Enchanted Hunters and said "... with those white columns and the marble swan in the lobby?" (Nabokov, 202). A Russian fairy tale called "The Swan Princess" (Ransome, 26-34) may have a connection with the marble swan in the lobby. In the tale a swan becomes captured by a Prince when he tears a strip of gold cloth, effectively removing her wings and feathers. The swan-maiden bore the Prince a son, and when spring came the swan-maiden grew restless for the wild. When her swan sweetheart flew overhead, the swan-maiden called out for him to give her wings so she could fly away with him. Just as she almost flew away, the Prince caught her and prevented her from leaving. Humbert, probably the half-brother of Baba Yaga, also prevented Dolores from leaving. Dolores like the swan became captured by Humbert, a prince in his own mind, and had her wings tore off. She then changed into the creature Lolita, and Humbert too thwarted all efforts of leaving for Dolores. Although differing from the swan-maiden, Dolores became liberated in the end from her abductor Humbert the diptych.
The symbol of chess relates equally in both of sovereignties devised by each of the ultimate rulers. Dualism pervades throughout each of the chess matches conducting on each of the boards. In Twin Peaks the real game occurs amongst the demigods, seana of seanda good and evil, and this game has been going on for eons with no clear winner; a giant stale mate occurs in the trenches here. One piece, Windom Earle, endeavors to emulate the flagitious specters by playing his own game with his former partner Agent Cooper. He finds the key to the Black Lodge, fear, and manages to enter. When desires procuring Agent Cooper’s soul, Bob says he can not then Bob takes Windom’s soul. Thus when one dances with the devil they will probably get charred. At the end of tale the game has not come to a conclusion so one may speculate that the match still persists today.
The competition in Lolita, as opposed to Twin Peaks does come to a decisive victory. Humbert the Narrator first takes Charlotte off the board early in the game. Moves later he advances his Queen, Lolita all over the board, probably to try to beguile his opponent. Nabokov, in a brilliant move, sacrifices his Queen, Dolores, effectively taking Humbert the Narrator’s Queen with him. Humbert the Narrator then goes mad placing himself in check, and surrounded by his lies results in his eventual check-mate. Thus Nabokov, the preeminent master and ruler, defeats one of his own marionettes.
For both domains, chess mirrors the dualism permeating throughout the lives of everything. Especially in Twin Peaks, chess represents the overarching premise of the story, the dualistic nature of the inhabitants who have secrets that reveal a dark side to their nature. The black and white checkered board lies at the parterre of both kingdoms supportng the kinetic energy of the existence of the pieces.
A cinematic excursion by Hitchcock may also show the dualism of a heroine found in the character Dolores Haze. Appel (126-127) noted that in Hitchcock’s Vertigo the Madeleine/Judy character may have a relation to Dolores/Lolita. Madeleine first becomes rescued by a character played by James Stewart who falls in love with her. After Madeleine’s suicide, the character played by James Stewart falls for a girl Judy, who bares an uncanny resemblance to Madeleine. Like Humbert trying to shape Lolita into the form of Annabel, the character played by James Stewart molds Judy into Madeleine. Appel (127-128) notes that "Stewart’s transformation of Judy’s common but sensual vitality into a vision of his dead love (a glamorous but illusory being) telescopes and comments upon the psychology of audience fantasizing the process through which women become ‘Kim Novak’ (or whatever) by virtue of cosmetics and/or their partners’ cranial cinema, producing a dead love indeed." This same idea occurs with Humbert and his transformation of Dolores into Lolita, a creature he thinks resembles his Annabel. Humbert produced a dead love in Lolita, one that only existed in his egotistical mind.
The dual nature of Lolita, or rather Dolores, has been noticed before. Pifer (316) noticed that of Dolores "... the child is an independent being possessed of a rich inner kingdom of her own- a private universe of thought and dreams, of ideas, feelings, and flights of fancy having nothing whatsoever to do with him," him being Humbert and he took Dolores’s independence away from her upon his defilement in the Enchanted Hunters lodge on that first morning. Pifer (317) further remarks that " in striving to attain his ideal world or paradise, he selfishly deprives Lolita of her rightful childhood- and betrays the principles of romantic faith and freedom." So in denying Dolores to act in her own manner Humbert creates a situation where love does not exist only the imperfect fornication that Humbert has with a lifeless body; the only love here occurs between Humbert and himself. Pifer (318) makes another observation that "the fact that she lives not only as a nymphet but as a victimized child in his painful confession testifies, in a much more telling way, to the degree of his enlightenment as well as his guilt." So in creating the nymphette named Lolita, Humbert sealed his fate to the critical jury that he seeks to win over.
Sitting in the Red Room of the Black Lodge, where all the birds sing a pretty song, one may find Bob, The Man from Another Place, the evil Laura Palmer, and maybe even Humbert Humbert. One could even say Hermann might have joined them too because he has a strong relation with Humbert (provoking one to derive the formula [(Humbert2/(Lolita - Dolores)) + (Hermann + i)](does not equal) - i). Both Hermann and Humbert fashion themselves as masters that others do not have the ability to understand. They both also construct in their minds a projection of an image upon an individual. For Hermann the individual represents an image of himself, while for Humbert he projects the image of a lost love.
In one world the war wages on and in other it has ended. The dualism found in both Lolita and Twin Peaks reflects the very nature of the tales let go by their respective overlords. Dolores has been sacrificed to save herself and to defeat Humbert, and Laura unfortunately became captured in a place where she did not wish to go. Thus in the end Humbert may have an eternal imprisonment in a hedonistic place like the Black Lodge, and may only have permission to leave but for a moment.
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