The narrative voice in Vladimir Nabokov’s Lolita must be approached in two ways. First, as the narrative voice of Humbert Humbert, as he tells the story of his trysts with the young Dolores Haze. Secondly, the authorial voice of Nabokov himself, who inserts himself into the narrative and weaves aspects of his life into parts of the description such as the linguistics. The problem of distinction between the two has been attempted to be reconciled by splitting analysis of the text into that of both Nabokov and his protagonist, as they are treated as separate from each other in terms of narrative, in the hopes of achieving greater clarity. This is to be further fleshed out in discussing the postmodern plot and why uniquely this problem arises in analysing such texts: often narrators within the genre lack the omniscient foresight and moral compass of earlier texts, which is taken to its natural conclusion insofar as Nabokov selects the paedophile himself, Humbert, to narrate his own tale. The second problem when approaching Lolita is another of semantics: where possible the character Dolores Haze will be called as such; when discussing aspects depicted by Humbert, she will take the titular name of ‘Lolita’. This follows the convention of critics such as Sweeney, who manages the struggle of whether Dolores exists as a character in her own right, as she never would have used ‘Lolita’ as a name for herself, or whether she is only a character as seen through the prism of Humbert’s writing, identifying that ‘“Lolita” comes to represent not the novel’s heroine, but rather her construction as a nymphet within Humbert’s imagination’. Again, this essay attempts to explore both of these possibilities, including the concept that Dolores cannot exist as a fully formed character due to this viewpoint, further supporting>