So I got to jail. Okay. I go to jail. But what happens to you, my orphan? Well, you are luckier. You become the ward of the Department of Public Welfare — which I am afraid sounds a little bleak. A nice grim matron of the Miss Phalen type, but more rigid and not a drinking woman, will take away your lipstick and fancy clothes. ...While I stand gripping the bars, you, happy neglected child, will be given a choice of various dwelling places, all more or less the same, the correctional school, the reformatory, the juvenile detention home, or one of those admirable girls’ protectories where you knit things, and sing hymns, and have rancid pancakes on Sundays. ...This is the situation, this is the choice. Don’t you think that under the circumstances Dolores Haze had better stick to her old man?” How does Lolita function as social criticism, exploring the tension between a hypersexual consumer society and the concept of childhood? With Michel Foucault’s History of Sexuality, Volume 1 in mind, how does our perspective on the seduction scene at the end of Part One change, depending on whether we view the concept of sexual innocence as necessary and integral, or artificial and constricting? Finally, comment on Lolita ’s central tension: on one hand, the vision of a “postmodern” or “neoliberal” sexual economy; on the other hand, a recognition of the beneficial functions of the modern welfare state and its institutions.