One of the pervasive philosophies behind many postmodern forms of art and literature is the idea that human identities are defined more by their social circumstances than by any universal truths. The human is not a self-sufficient entity, but is built through social conventions. This notion reveals itself in the transitional postmodern works by Samuel Beckett and Vladimir Nabokov-specifically, in Lolita and Waiting for Godot. Humbert Humbert is continually attempting to reconcile his life as a suave intellectual with his hidden life as a pedophilic rapist. One way in which he does this is to call himself a "therapist"; which is an acceptable label for one of his faces, but also identifies him more subtly as "the rapist." This duel nature reflects the social limitations imposed upon his freedom, and the consequences they have for both his identity and his actions. Vladimir and Estragon encounter a different aspect of this philosophy: they find that they are forced to define their existence only with reference to their actions, and these actions can only be adequately justified by social circumstances. The pair grapples with the meaninglessness of their lives, debates ending them, but continues because of an abstract social convention-they are waiting for Godot. This is a powerful demonstration of the emptiness of human action; the most concrete aspect of our existence is the social constraints that define us. Both works exhibit bits of this postmodern philosophy, but refrain from offering any conclusive answers regarding what human life might fundamentally be.

             Nabokov seems to take a more psychological approach to the topic of human identity than does Beckett. This is precisely why Humbert is both "the rapist" and the "therapist," and additionally, why the novel is divided into two sections. In this respect, the human being, to Nabokov, is a complex conglomeration between innate drives and intellectual morality.