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= D._H._Lawrence =
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Introduction
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David Herbert Lawrence (11 September 1885 - 2 March 1930) was an
English novelist, short story writer, poet, playwright, literary
critic, travel writer, essayist, and painter. His modernist works
reflect on modernity, social alienation and industrialisation, while
championing sexuality, vitality and instinct. Four of his most famous
novels - 'Sons and Lovers'
(1913), 'The Rainbow' (1915), 'Women in Love' (1920), and 'Lady
Chatterley's Lover' (1928) - were the subject of censorship trials
for their radical portrayals of romance, sexuality and use of explicit
language.
Lawrence's opinions and artistic preferences earned him a
controversial reputation; he endured persecution and the
misrepresentation of his creative work throughout his life, much of
which he spent in a voluntary exile that he described as a "savage
enough pilgrimage". At the time of his death, he had been variously
scorned as tasteless, avant-garde, and a pornographer who had only
garnered success for erotica; however, the English novelist and critic
E. M. Forster, in an obituary notice, challenged this widely held
view, describing him as "the greatest imaginative novelist of our
generation". Later, the English literary critic F. R. Leavis also
championed both his artistic integrity and his moral seriousness.
Early life and education
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Lawrence was born on 11 September 1885, in Eastwood, Nottinghamshire,
England, the fourth child of Arthur John Lawrence, a barely literate
miner at Brinsley Colliery, and Lydia Lawrence (née Beardsall), a
former pupil-teacher who had been obliged to perform manual work in a
lace factory due to her family's financial difficulties. He spent his
formative years in the coal mining town of Eastwood, Nottinghamshire.
The house in which he was born, 8a Victoria Street, is now the D. H.
Lawrence Birthplace Museum. His working class background and the
tensions between his parents provided the raw material for some of his
early works. Lawrence roamed out from an early age in the patches of
open, hilly country and remaining fragments of Sherwood Forest in
Felley woods to the north of Eastwood, beginning a lifelong
appreciation of the natural world, and he often wrote about "the
country of my heart" as a setting for much of his fiction. Although
Lawrence's father wanted his sons "to go down pit", his mother "was
bitterly determined that her children should not earn their livings by
any kind of manual labor", and she prevailed, at least as to Lawrence.
Lawrence attended Beauvale Board School (now renamed Greasley Beauvale
D. H. Lawrence Primary School in his honour) from 1891 until 1898,
becoming the first local pupil to win a county council scholarship to
Nottingham High School in nearby Nottingham. He left in 1901, working
for three months as a junior clerk at Haywood's surgical appliances
factory, but a severe bout of pneumonia ended this career. During his
convalescence he often visited Hagg's Farm, the home of the Chambers
family, and began a friendship with one of the daughters, Jessie
Chambers, who would inspire characters he created in his writing. An
important aspect of his relationship with Chambers and other
adolescent acquaintances was a shared love of books, an interest that
lasted throughout Lawrence's life.
In a private letter written in 1908, Lawrence voiced support for
eugenics by the method of a "lethal chamber" to dispose of "all the
sick, the halt, the maimed".
Career
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From 1902 until 1906, Lawrence was a pupil-teacher at the British
School in Eastwood. He went on to become a full-time student and
received a teaching certificate from University College, Nottingham
(then an external college of University of London), in 1908. During
these early years he was working on his first poems, some short
stories, and a draft of a novel, 'Laetitia', which was eventually to
become 'The White Peacock.' At the end of 1907, he won a short story
competition in the 'Nottinghamshire Guardian', the first time that he
had gained any wider recognition for his literary talents.
Early career
==============
In the autumn of 1908, the newly qualified Lawrence left his childhood
home for London. While teaching in Davidson Road School, Croydon, he
continued writing. Jessie Chambers submitted some of Lawrence's early
poetry to Ford Madox Ford (then known as Ford Hermann Hueffer), editor
of the influential 'The English Review'. Hueffer then commissioned the
story 'Odour of Chrysanthemums' which, when published in that
magazine, encouraged Heinemann, a London publisher, to ask Lawrence
for more work. His career as a professional author now began in
earnest, although he taught for another year.
Shortly after the final proofs of his first published novel, 'The
White Peacock', appeared in 1910, Lawrence's mother died of cancer,
leaving him devastated. He described the following few months as his
"sick year". Due to Lawrence's close relationship with his mother, his
grief became a major turning point in his life. Essentially concerned
with the emotional battle for Lawrence's love between his mother and
"Miriam" (based on Jessie Chambers), the novel also documents
Lawrence's (through his protagonist, Paul) brief intimate relationship
with Chambers that Lawrence had finally initiated in the Christmas of
1909, ending it in August 1910. The hurt this caused Chambers and,
finally, her portrayal in the novel, ended their friendship; after it
was published, they never spoke again.
In 1911, Lawrence was introduced to Edward Garnett, a publisher's
reader, who acted as a mentor and became a valued friend, as did his
son David. Throughout these months, the young author revised 'Paul
Morel', the first draft of what became 'Sons and Lovers'. In addition,
a teaching colleague, Helen Corke, gave him access to her intimate
diaries about an unhappy love affair, which formed the basis of 'The
Trespasser', his second novel. In November 1911, Lawrence came down
with a pneumonia again; once recovered, he abandoned teaching in order
to become a full-time writer. In February 1912, he broke off an
engagement to Louie Burrows, an old friend from his days in Nottingham
and Eastwood.
In March 1912, Lawrence met Frieda Weekley (née von Richthofen), with
whom he was to share the rest of his life. Six years his senior, she
was married to Ernest Weekley, his former modern languages professor
at University College, Nottingham, and had three young children.
However, she and Lawrence eloped and left England for Frieda's
parents' home in Metz, a garrison town (then in Germany) near the
disputed border with France. Lawrence experienced his first encounter
with tensions between Germany and France when he was arrested and
accused of being a British spy, before being released following an
intervention from Frieda's father. After this incident, Lawrence left
for a small hamlet to the south of Munich where he was joined by
Frieda for their "honeymoon", later memorialised in the series of love
poems titled 'Look! We Have Come Through' (1917).
In 1912, Lawrence wrote the first of his so-called "mining plays",
'The Daughter-in-Law', written in Nottingham dialect. The play was not
performed or even published in Lawrence's lifetime.
From Germany, they walked southwards across the Alps to Italy, a
journey that was recorded in the first of his travel books, a
collection of linked essays titled 'Twilight in Italy' and the
unfinished novel, 'Mr Noon'.
During his stay in Italy, Lawrence completed the final version of
'Sons and Lovers'. Having become tired of the manuscript, he allowed
Edward Garnett to cut roughly 100 pages from the text. The novel was
published in 1913 and hailed as a vivid portrait of the realities of
working class provincial life.
Lawrence and Frieda returned to Britain in 1913 for a short visit,
during which they encountered and befriended critic John Middleton
Murry and New Zealand-born short story writer Katherine Mansfield.
Also during that year, on 28 July, Lawrence met the Welsh tramp poet
W. H. Davies, whose nature poetry he initially admired. Davies
collected autographs, and was keen to have Lawrence's. Georgian poetry
publisher Edward Marsh secured this for Davies, probably as part of a
signed poem, and also arranged a meeting between the poet and Lawrence
and his wife. Despite his early enthusiasm for Davies' work,
Lawrence's view cooled after reading 'Foliage'; whilst in Italy, he
also disparaged 'Nature Poems', calling them "so thin, one can hardly
feel them".
After the couple returned to Italy, staying in a cottage in
Fiascherino on the Gulf of Spezia Lawrence wrote the first draft of
what would later be transformed into two of his best-known novels,
'The Rainbow' and 'Women in Love', in which unconventional female
characters take centre stage. Both novels were highly controversial
and were banned on publication in the UK for obscenity, although
'Women in Love' was banned only temporarily.
'The Rainbow' follows three generations of a Nottinghamshire farming
family from the pre-industrial to the industrial age, focusing
particularly on a daughter, Ursula, and her aspiration for a more
fulfilling life than that of becoming a housebound wife. 'Women in
Love' delves into the complex relationships between four major
characters, including Ursula of 'The Rainbow' and her sister Gudrun.
Both novels explore grand themes and ideas that challenged
conventional thought on the arts, politics, economic growth, gender,
sexual experience, friendship, and marriage. Lawrence's views as
expressed in the novels are now thought to be far ahead of his time.
The frank and relatively straightforward manner in which he wrote
about sexual attraction was ostensibly why the books were initially
banned, in particular the mention of same-sex attraction; Ursula has
an affair with a woman in 'The Rainbow', and there is an undercurrent
of attraction between the two principal male characters in 'Women in
Love'.
While working on 'Women in Love' in Cornwall during 1916-17, Lawrence
developed a strong relationship with a Cornish farmer named William
Henry Hocking, which some scholars believe was possibly romantic,
especially considering Lawrence's fascination with the theme of
homosexuality in 'Women in Love'. Although Lawrence never made it
clear whether their relationship was sexual, Frieda believed it was.
In a 1913 letter, he writes, "I should like to know why nearly every
man that approaches greatness tends to homosexuality, whether he
admits it or not...." He is also quoted as saying, "I believe the
nearest I've come to perfect love was with a young coal-miner when I
was about 16." However, given his enduring and robust relationship
with Frieda, it is likely that he was primarily what might be termed
today bi-curious, and whether he actually ever had homosexual
relations remains an open question.
Frieda obtained her divorce from Ernest Weekley. Lawrence and Frieda
returned to Britain shortly before the outbreak of World War I and
were married on 13 July 1914. During this time, Lawrence worked with
London intellectuals and writers such as Dora Marsden, T. S. Eliot,
Ezra Pound, and others connected with 'The Egoist', an important
Modernist literary magazine that published some of his work. Lawrence
also worked on adapting Filippo Tommaso Marinetti's 'Manifesto of
Futurism' into English. He also met the young Jewish artist Mark
Gertler, with whom he became good friends for a time; Lawrence would
later express his admiration for Gertler's 1916 anti-war painting,
'Merry-Go-Round' as "the best 'modern' picture I have seen.... it is
great and true." Gertler would inspire the character Loerke (a
sculptor) in 'Women in Love'.
Frieda's German parentage and Lawrence's open contempt for militarism
caused them to be viewed with suspicion and live in near-destitution
in wartime Britain; this may have contributed to 'The Rainbow' being
suppressed and investigated in 1915 for its alleged obscenity. Later,
the couple were accused of spying and signalling to German submarines
off the coast of Cornwall, where they lived at Zennor. During this
period, Lawrence finished his final draft of 'Women in Love'. Not
published until 1920, it is now widely recognised as a novel of great
dramatic force and intellectual subtlety.
In late 1917, after constant harassment by the armed forces and other
authorities, Lawrence was forced to leave Cornwall on three days'
notice under the terms of the Defence of the Realm Act. He described
this persecution in an autobiographical chapter of his novel
'Kangaroo' (1923). Lawrence spent a few months of early 1918 in the
small, rural village of Hermitage near Newbury, Berkshire.
Subsequently, he lived for just under a year (mid-1918 to early 1919)
at Mountain Cottage, Middleton-by-Wirksworth, Derbyshire, where he
wrote one of his most poetic short stories, 'Wintry Peacock'. Until
1919, poverty compelled him to shift from address to address.
During the 1918 influenza pandemic, he barely survived a severe attack
of influenza.
Exile
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After the wartime years, Lawrence began what he termed his "savage
pilgrimage", a time of voluntary exile from his native country. He
escaped from Britain at the earliest practical opportunity and
returned only twice for brief visits, spending the remainder of his
life travelling with Frieda. This wanderlust took him to Australia,
Italy, Ceylon (Sri Lanka), the United States, Mexico and the south of
France. Abandoning Britain in November 1919, they headed south, first
to the Abruzzo region in central Italy and then onwards to Capri and
the Fontana Vecchia in Taormina, Sicily. From Sicily they made brief
excursions to Sardinia, Monte Cassino, Malta, Northern Italy, Austria
and Southern Germany.
Many of these places appear in Lawrence's writings, including 'The
Lost Girl' (for which he won the James Tait Black Memorial Prize for
fiction), 'Aaron's Rod' and the fragment titled 'Mr Noon' (the first
part of which was published in the Phoenix anthology of his works, and
the entirety in 1984). He wrote novellas such as 'The Captain's Doll',
'The Fox' and 'The Ladybird'. In addition, some of his short stories
were issued in the collection 'England, My England and Other Stories'.
During these years Lawrence also wrote poems about the natural world
in 'Birds, Beasts and Flowers'.
Lawrence is often considered one of the finest travel writers in
English. His travel books include 'Twilight in Italy', 'Etruscan
Places', 'Mornings in Mexico', and 'Sea and Sardinia', which describes
a brief journey he undertook in January 1921 and focuses on the life
of Sardinia's people. Less well known is his eighty-four page
introduction to Maurice Magnus's 1924 'Memoirs of the Foreign Legion',
in which Lawrence recalls his visit to the monastery of Monte Cassino.
Lawrence told his friend Catherine Carswell that his introduction to
Magnus's 'Memoirs' was "the best single piece of writing, as
'writing', that he had ever done".
His other nonfiction books include two responses to Freudian
psychoanalysis, 'Psychoanalysis and the Unconscious' and 'Fantasia of
the Unconscious'; 'Apocalypse and Other Writings on Revelation'; and
'Movements in European History', a school textbook published under a
pseudonym, because of Lawrence's blighted reputation in Britain.
Later life and career
=======================
In late February 1922, the Lawrences left Europe intending to migrate
to the United States. They sailed in an easterly direction, however,
first to Ceylon and then on to Australia. During a short residence in
Darlington, Western Australia, Lawrence met local writer Mollie
Skinner, with whom he coauthored the novel 'The Boy in the Bush'. This
stay was followed by a brief stop in the small coastal town of
Thirroul, New South Wales, during which Lawrence completed 'Kangaroo',
a novel about local fringe politics that also explored his wartime
experiences in Cornwall.
The Lawrences finally arrived in the United States in September 1922.
Lawrence had several times discussed the idea of setting up a utopian
community with several of his friends, having written in 1915 to
Willie Hopkin, his old socialist friend from Eastwood: I want to
gather together about twenty souls and sail away from this world of
war and squalor and found a little colony where there shall be no
money but a sort of communism as far as necessaries of life go, and
some real decency … a place where one can live simply, apart from this
civilisation … [with] a few other people who are also at peace and
happy and live, and understand and be free.… It was with this in mind
that they made for Taos, New Mexico, a Pueblo town where many white
"bohemians" had settled, including Mabel Dodge Luhan, a prominent
socialite. Here they eventually acquired the 160-acre (0.65 km2) Kiowa
Ranch, now called the D. H. Lawrence Ranch, in 1924 from Dodge Luhan
in exchange for the manuscript of 'Sons and Lovers'. The couple stayed
in New Mexico for two years, with extended visits to Lake Chapala and
Oaxaca in Mexico. While Lawrence was in New Mexico, he was visited by
Aldous Huxley.
Editor and book designer Merle Armitage wrote a book about D. H.
Lawrence in New Mexico. 'Taos Quartet in Three Movements' was
originally to appear in Flair Magazine, but the magazine folded before
its publication. This short work describes the tumultuous relationship
of D. H. Lawrence, his wife Frieda, artist Dorothy Brett, and Mabel
Dodge Sterne Luhan. Armitage took it upon himself to print 16
hardcover copies of this work for his friends. Richard Pousette-Dart
executed the drawings for 'Taos Quartet', published in 1950.
While in the US, Lawrence rewrote and published 'Studies in Classic
American Literature', a set of critical essays begun in 1917 and
described by Edmund Wilson as "one of the few first-rate books that
have ever been written on the subject". These interpretations, with
their insights into symbolism, New England Transcendentalism and the
Puritan sensibility, were a significant factor in the revival of the
reputation of Herman Melville during the early 1920s. In addition,
Lawrence completed new fictional works, including 'The Boy in the
Bush', 'The Plumed Serpent', 'St Mawr', 'The Woman who Rode Away',
'The Princess' and other short stories. He also produced the
collection of linked travel essays that became 'Mornings in Mexico'.
A brief voyage to England at the end of 1923 was a failure and
Lawrence soon returned to Taos, convinced his life as an author now
lay in the United States. However, in March 1925 he suffered a near
fatal attack of malaria and tuberculosis while on a third visit to
Mexico. Although he eventually recovered, the diagnosis of his
condition obliged him to return once again to Europe. He was
dangerously ill and poor health limited his ability to travel for the
remainder of his life. The Lawrences made their home in a villa in
Northern Italy near Florence, where he wrote 'The Virgin and the
Gipsy' and the various versions of 'Lady Chatterley's Lover' (1928).
The latter book, his last major novel, was initially published in
private editions in Florence and Paris and reinforced his notoriety. A
story set once more in Nottinghamshire about a cross-class
relationship between a Lady and her gamekeeper, it broke new ground in
describing their sexual relationship in explicit yet literary
language. Lawrence hoped to challenge the British taboos around sex:
to enable men and women "to think sex, fully, completely, honestly,
and cleanly." Lawrence responded robustly to those who took offence,
even publishing satirical poems ('Pansies' and 'Nettles') as well as a
tract on 'Pornography and Obscenity'.
The return to Italy allowed him to renew old friendships; during these
years he was particularly close to Aldous Huxley, who was to edit the
first collection of Lawrence's letters after his death, along with a
memoir. After Lawrence visited local archaeological sites
(particularly old tombs) with artist Earl Brewster in April 1927, his
collected essays inspired by the excursions were published as
'Sketches of Etruscan Places', a book that contrasts the lively past
with Benito Mussolini's fascism.
Lawrence continued to produce short stories and other works of fiction
such as 'The Escaped Cock' (also published as 'The Man Who Died'), an
unorthodox reworking of the story of Jesus Christ's Resurrection.
During his final years, Lawrence renewed his serious interest in oil
painting. Official harassment persisted; an exhibition of his
paintings at the Warren Gallery in London was raided by the police in
mid-1929, and several works were confiscated.
Death
=======
Lawrence continued to write despite his failing health. In his last
months he wrote numerous poems, reviews, and essays, as well as a
robust defence of his last novel against those who sought to suppress
it. His last significant works were 'Apocalypse', a reflection on the
Book of Revelation, and 'Are Men of Today a Success?', a posthumous
contribution on the feminisation of modern society.
After being discharged from a sanatorium, Lawrence died on 2 March
1930 at the Villa Robermond in Vence, France, from complications of
tuberculosis. Frieda commissioned an elaborate headstone for his grave
bearing a mosaic of his adopted emblem of the phoenix. After
Lawrence's death, Frieda lived with the couple's friend Angelo Ravagli
on a ranch in the mountains of Taos, New Mexico and eventually married
him in 1950. In 1935, Ravagli arranged, on Frieda's behalf, to have
Lawrence's body exhumed and cremated. However, upon boarding the ship
he learned he would have to pay taxes on the ashes, so he instead
scattered them in the Mediterranean, a preferable resting place, in
his opinion, to a concrete block in a chapel. Dust and earth were
interred in a small chapel on the Taos ranch, where they remain.
Novels
========
Lawrence is best known for his novels 'Sons and Lovers', 'The
Rainbow', 'Women in Love' and 'Lady Chatterley's Lover'. In these
books, Lawrence explores the possibilities for life within an
industrial setting, particularly the nature of relationships that can
be had within such a setting. Though often classed as a realist,
Lawrence in fact uses his characters to give form to his personal
philosophy. His depiction of sexuality, seen as shocking when his work
was first published in the early 20th century, has its roots in this
highly personal way of thinking and being.
Lawrence was very interested in the sense of touch, and his focus on
physical intimacy has its roots in a desire to restore an emphasis on
the body and rebalance it with what he perceived to be Western
civilisation's overemphasis on the mind; in a 1929 essay, "Men Must
Work and Women As Well", he wrote: "Now then we see the trend of our
civilization, in terms of human feeling and human relation. It is, and
there is no denying it, towards a greater and greater abstraction from
the physical, towards a further and further physical separateness
between men and women, and between individual and individual.... It
only remains for some men and women, individuals, to try to get back
their bodies and preserve the other flow of warmth, affection and
physical unison. There is nothing else to do." 'Phoenix II:
Uncollected, Unpublished, and Other Prose Works by D.H. Lawrence', ed.
Warren Roberts and Harry T. Moore (New York: The Viking Press, 1968),
pp. 589, 591. In his later years, Lawrence wrote the novellas 'St
Mawr', 'The Virgin and the Gypsy' and 'The Escaped Cock'.
*'The White Peacock' (1911)
*'The Trespasser' (1912)
*'Sons and Lovers' (1913)
*'The Rainbow' (1915)
*'Women in Love' (1920)
*'The Lost Girl' (1920)
*'Aaron's Rod' (1922)
*'Kangaroo' (1923)
*'The Boy in the Bush' (1924), coauthored with M.L. (Mollie or Molly)
Skinner
*'The Plumed Serpent' (1926)
*'Lady Chatterley's Lover' (1928)
*'The Escaped Cock' (1929), republished as 'The Man Who Died'
Short stories
===============
Lawrence's best-known short stories include "The Captain's Doll", "The
Fox", "The Ladybird", "Odour of Chrysanthemums", "The Princess", "The
Rocking-Horse Winner", "St Mawr", "The Virgin and the Gypsy" and "The
Woman who Rode Away". ('The Virgin and the Gypsy' was published as a
novella after he died.) Among his most praised collections is 'The
Prussian Officer and Other Stories', published in 1914. His collection
'The Woman Who Rode Away and Other Stories', published in 1928,
develops the theme of leadership that Lawrence also explored in novels
such as 'Kangaroo' and 'The Plumed Serpent' and the story 'Fanny and
Annie'.
Poetry
========
Lawrence wrote almost 800 poems, most of them relatively short. His
first poems were written in 1904 and two of his poems, "Dreams Old"
and "Dreams Nascent", were among his earliest published works in 'The
English Review'. It has been claimed that his early works clearly
place him in the school of Georgian poets, and indeed some of his
poems appear in the 'Georgian Poetry' anthologies. However, James
Reeves in his book on Georgian Poetry, notes that Lawrence was never
really a Georgian poet. Indeed, later critics contrast Lawrence's
energy and dynamism with the complacency of Georgian poetry.
Just as the First World War dramatically changed the work of many of
the poets who saw service in the trenches, Lawrence's own work
dramatically changed, during his years in Cornwall. During this time,
he wrote free verse influenced by Walt Whitman. He set forth his
manifesto for much of his later verse in the introduction to 'New
Poems'. "We can get rid of the stereotyped movements and the old
hackneyed associations of sound or sense. We can break down those
artificial conduits and canals through which we do so love to force
our utterance. We can break the stiff neck of habit […] But we cannot
positively prescribe any motion, any rhythm."
Lawrence rewrote some of his early poems when they were collected in
1928. This was in part to fictionalise them, but also to remove some
of the artifice of his first works. As he put it himself: "A young man
is afraid of his demon and puts his hand over the demon's mouth
sometimes and speaks for him." His best-known poems are probably those
dealing with nature such as those in the collection 'Birds, Beasts and
Flowers', including the Tortoise poems, and "Snake", one of his most
frequently anthologised, displays some of his most frequent concerns:
those of man's modern distance from nature and subtle hints at
religious themes.
In the deep, strange-scented shade of the great dark carob tree
I came down the steps with my pitcher
And must wait, must stand and wait, for there he was at the trough
before me.
(From "Snake")
'Look! We have come through!' is his other work from the period of the
end of the war and it reveals another important element common to much
of his writings; his inclination to lay himself bare in his writings.
Ezra Pound in his 'Literary Essays' complained of Lawrence's interest
in his own "disagreeable sensations" but praised him for his "low-life
narrative". This is a reference to Lawrence's dialect poems akin to
the Scots poems of Robert Burns, in which he reproduced the language
and concerns of the people of Nottinghamshire from his youth.
Tha thought tha wanted ter be rid o' me.
'Appen tha did, an' a'.
Tha thought tha wanted ter marry an' se
If ter couldna be master an' th' woman's boss,
Tha'd need a woman different from me,
An' tha knowed it; ay, yet tha comes across
Ter say goodbye! an' a'.
(From "The Drained Cup")
Although Lawrence's works after his Georgian period are clearly in the
modernist tradition, they were often very different from those of many
other modernist writers, such as Pound. Pound's poems were often
austere, with every word carefully worked on. Lawrence felt all poems
had to be personal sentiments, and that a sense of spontaneity was
vital. He called one collection of poems 'Pansies', partly for the
simple ephemeral nature of the verse, but also as a pun on the French
word 'panser', to dress or bandage a wound. "Pansies", as he made
explicit in the introduction to 'New Poems', is also a pun on Blaise
Pascal's 'Pensées'. "The Noble Englishman" and "Don't Look at Me" were
removed from the official edition of 'Pansies' on the grounds of
obscenity, which wounded him. Even though he lived most of the last
ten years of his life abroad, his thoughts were often still on
England. Published in 1930, just eleven days after his death, his last
work 'Nettles' was a series of bitter, nettling but often wry attacks
on the moral climate of England.
O the stale old dogs who pretend to guard
the morals of the masses,
how smelly they make the great back-yard
wetting after everyone that passes.
(From "The Young and Their Moral Guardians")
Two notebooks of Lawrence's unprinted verse were posthumously
published as 'Last Poems' and 'More Pansies'. These contain two of
Lawrence's most famous poems about death, "Bavarian Gentians" and "The
Ship of Death".
Literary criticism
====================
Lawrence's criticism of other authors often provides insight into his
own thinking and writing. Of particular note is his 'Study of Thomas
Hardy and Other Essays'. In 'Studies in Classic American Literature'
Lawrence's responses to writers like Walt Whitman, Herman Melville and
Edgar Allan Poe also shed light on his craft.
*Keith Alldritt (1971) 'The Visual Imagination of D.H. Lawrence',
London: Edward Arnold
*Michael Bell (1992) 'D.H. Lawrence: Language and Being', Cambridge:
Cambridge University Press
*Richard Beynon, ed. (1997) 'D.H. Lawrence: The Rainbow and Women in
Love', Cambridge: Icon Books
*Michael Black (1986) 'D.H. Lawrence: The Early Fiction', London:
Palgrave MacMillan
*Michael Black (1991)' D.H. Lawrence: The Early Philosophical Works: A
Commentary', London and Basingstoke: Macmillan
*Michael Black (1992) 'Sons and Lovers', Cambridge: Cambridge
University Press
*Michael Black (2001) 'Lawrence's England: The Major Fiction,
1913-1920', London: Palgrave-MacMillan
*Keith Brown, ed. (1990) 'Rethinking Lawrence', Milton Keynes: Open
University Press
*Anthony Burgess (1985) 'Flame into Being: The Life And Work Of D.H.
Lawrence', London: William Heinemann
*Aidan Burns (1980) 'Nature and Culture in D.H. Lawrence', London and
Basingstoke: Macmillan
*L. D. Clark (1980) ' The Minoan Distance: The Symbolism of Travel in
D.H. Lawrence', Tucson: University of Arizona Press
*Colin Clarke (1969) 'River of Dissolution: D.H. Lawrence and English
Romanticism', London: Routledge and Kegan Paul
*Carol Dix (1980) 'D.H. Lawrence and Women', London: Macmillan
*R.P. Draper (1970)' D.H. Lawrence: The Critical Heritage', London:
Routledge and Kegan Paul
*David Ellis and Howard Mills (1988) 'D. H. Lawrence's Non-Fiction:
Art, Thought and Genre' (Cambridge University Press)
*David Ellis (2015) 'Love and Sex in D. H. Lawrence' (Clemson
University Press)
*Anne Fernihough (1993) 'D.H. Lawrence: Aesthetics and Ideology',
Oxford: Clarendon Press
*Anne Fernihough, ed. (2001) 'The Cambridge Companion to D.H.
Lawrence', Cambridge, Cambridge University Press
*Peter Fjågesund (1991) 'The Apocalyptic World of D. H. Lawrence',
Norwegian University Press
*Andrew Harrison, ed. (2018) 'D. H. Lawrence in Context', Cambridge
University Press
*John R. Harrison (1966) 'The Reactionaries: Yeats, Lewis, Pound,
Eliot, Lawrence: A Study of the Anti-Democratic Intelligentsia',
London: Schocken Books
*Frederick J. Hoffman and Harry T. Moore, eds. (1953), 'The
Achievement of D.H. Lawrence', Norman: University of Oklahoma Press
*Graham Holderness (1982) 'D. H. Lawrence: History, Ideology and
Fiction', Dublin: Gill and Macmillan
*Graham Hough (1956) 'The Dark Sun: A Study of D.H. Lawrence', London:
Duckworth
*John Humma (1990) 'Metaphor and Meaning in D.H. Lawrence's Later
Novels,' University of Missouri Press
*Virginia Hyde (1992), 'The Risen Adam: D.H. Lawrence's Revisionist
Typology', Pennsylvania State University Press
*Virginia Hyde and Earl Ingersoll, eds. (2010), '"Terra Incognita":
D.H. Lawrence at the Frontiers', Fairleigh Dickinson University Press
*Earl Ingersoll and Virginia Hyde, eds. (2009), 'Windows to the Sun:
D.H. Lawrence's "Thought-Adventures"', Fairleigh Dickinson University
Press
*Frank Kermode (1973) 'Lawrence', London: Fontana
*Mark Kinkead-Weekes (1968) 'The Marble and the Statue: The
Exploratory Imagination of D.H. Lawrence', pp. 371-418, in Maynard
Mack and Ian Gregor (eds.), 'Imagined Worlds: Essays on Some English
Novels and Novelists in Honour of John Butt' (London: Methuen and Co.)
*F.R. Leavis (1955) 'D.H. Lawrence: Novelist' (London, Chatto and
Windus)
*F.R. Leavis (1976) 'Thought, Words and Creativity: Art and Thought in
D. H. Lawrence', London, Chatto and Windus
*Sheila MacLeod (1985) 'Lawrence's Men and Women' (London: Heinemann)
*Barbara Mensch (1991) ' D.H. Lawrence and the Authoritarian
Personality' (London and Basingstoke: Macmillan)
*Kate Millett (1970) 'Sexual Politics' (Garden City, NY: Doubleday)
*Colin Milton (1987) 'Lawrence and Nietzsche: A Study in Influence'
(Aberdeen: Aberdeen University Press)
*Robert E Montgomery (1994) 'The Visionary D.H. Lawrence: Beyond
Philosophy and Art' (Cambridge: Cambridge University Press)
*Harry T. Moore, ed., 'A D.H. Lawrence Miscellany', Southern Illinois
University Press (1959) and William Heinemann Ltd (1961)
*Alastair Niven (1978) 'D.H. Lawrence: The Novels' (Cambridge:
Cambridge University Press)
*Cornelia Nixon (1986) 'Lawrence's Leadership Politics and the Turn
Against Women' (Berkeley: University of California Press)
*Joyce Carol Oates (1972-1982)
[
http://celestialtimepiece.com/2015/12/08/joyce-carol-oates-on-d-h-lawrence/
"Joyce Carol Oates on D.H. Lawrence"] .
*Tony Pinkney (1990) 'D.H. Lawrence' (London and New York: Harvester
Wheatsheaf)
*Stephen Potter (1930) 'D.H. Lawrence: A First Study' (London and New
York: Jonathan Cape)
*Charles L. Ross (1991) 'Women in Love: A Novel of Mythic Realism'
(Boston, Mass.: Twayne)
*Keith Sagar (1966) 'The Art of D.H. Lawrence' (Cambridge: Cambridge
University Press)
*Keith Sagar (1985) 'D.H. Lawrence: Life into Art' (Athens, Georgia:
University of Georgia Press)
*Keith Sagar (2008) 'D.H. Lawrence: Poet' (Penrith, UK:
Humanities-Ebooks)
*Daniel J. Schneider (1986) 'The Consciousness of D.H. Lawrence: An
Intellectual Biography' (Lawrence, Kansas: University Press of Kansas)
*Herbert J. Seligmann (1924)
[
https://babel.hathitrust.org/cgi/pt?id=uc1.b4091367&view=1up&seq=6&skin=2021
'D.H. Lawrence: An American Interpretation']
*Michael Squires and Keith Cushman (1990) 'The Challenge of D.H.
Lawrence' (Madison, Wisconsin: University of Wisconsin Press)
*Berend Klaas van der Veen (1983) 'The Development of D.H. Lawrence's
Prose Themes, 1906-1915' (Oldenzaal: Offsetdruk)
*Peter Widdowson, ed. (1992) 'D.H. Lawrence' (London and New York:
Longman)
*Michael Wilding (1980) 'Political Fictions' (London: Routledge &
Kegan Paul)
*John Worthen (1979) 'D.H. Lawrence and the Idea of the Novel' (London
and Basingstoke: Macmillan).
*T.R. Wright (2000) 'D.H. Lawrence and the Bible' (Cambridge:
Cambridge University Press)
Plays
=======
Lawrence wrote 'A Collier's Friday Night' about 1906-1909, though it
was not published until 1939 and not performed until 1965. He wrote
'The Daughter-in-Law' in 1913, though it was not staged until 1967,
when it was well received. In 1911 he wrote 'The Widowing of Mrs.
Holroyd', which he revised in 1914; it was staged in the US in 1916
and in the UK in 1920, in an amateur production. It was filmed in
1976; an adaptation was shown on television (BBC 2) in 1995. He also
wrote 'Touch and Go' towards the end of World War I, and his last
play, 'David', in 1925.
*'The Daughter-in-Law' (1913)
*'The Widowing of Mrs. Holroyd' (1914)
*'Touch and Go' (1920)
*'David' (1926)
*'The Fight for Barbara' (1933)
*'A Collier's Friday Night' (1934)
*'The Married Man' (1940)
*'The Merry-Go-Round' (1941)
*'The Complete Plays of D.H. Lawrence' (1965)
*'The Plays', edited by Hans-Wilhelm Schwarze and John Worthen,
Cambridge University Press, 1999,
Painting
======================================================================
D. H. Lawrence had a lifelong interest in painting, which became one
of his main forms of expression in his last years. His paintings were
exhibited at the Warren Gallery in London's Mayfair in 1929. The
exhibition was extremely controversial, with many of the 13,000 people
visiting mainly to gawk. The 'Daily Express' claimed, "'Fight with an
Amazon' represents a hideous, bearded man holding a fair-haired woman
in his lascivious grip while wolves with dripping jaws look on
expectantly, [this] is frankly indecent". However, several artists and
art experts praised the paintings. Gwen John, reviewing the exhibition
in 'Everyman', spoke of Lawrence's "stupendous gift of
self-expression" and singled out 'The Finding of Moses', 'Red Willow
Trees' and 'Boccaccio Story' as "pictures of real beauty and great
vitality". Others singled out 'Contadini' for special praise. After a
complaint, the police seized thirteen of the twenty-five paintings,
including 'Boccaccio Story' and 'Contadini'. Despite declarations of
support from many writers, artists, and members of Parliament,
Lawrence was able to recover his paintings only by agreeing never to
exhibit them in England again. Years after his death, his widow Frieda
asked artist and friend Joseph Glasco to arrange an exhibition of
Lawrence's paintings, which he discussed with his gallerist Catherine
Viviano. The largest collection of the paintings is now at La Fonda de
Taos hotel in Taos, New Mexico. Several others, including 'Boccaccio
Story' and 'Resurrection', are at the Humanities Research Centre of
the University of Texas at Austin.
''Lady Chatterley'' trial
======================================================================
A heavily censored abridgement of 'Lady Chatterley's Lover' was
published in the United States by Alfred A. Knopf in 1928. This
edition was posthumously reissued in paperback in the United States by
both Signet Books and Penguin Books in 1946. The first unexpurgated
edition of 'Lady Chatterley's Lover' was printed in July 1928 in
Florence by a small publisher, Giuseppe Orioli: 1000 copies in a very
good print, according D. H. Lawrence, who wrote a thank-you poem to
Orioli. When the unexpurgated edition of 'Lady Chatterley's Lover' was
published by Penguin Books in Britain in 1960, the trial of Penguin
under the Obscene Publications Act of 1959 became a major public event
and a test of the new obscenity law. The 1959 act (introduced by Roy
Jenkins) had made it possible for publishers to escape conviction if
they could show that a work was of literary merit. One of the
objections was to the frequent use of the word "fuck" and its
derivatives and the word "cunt".
Various academic critics and experts of diverse kinds, including E. M.
Forster, Helen Gardner, Richard Hoggart, Raymond Williams and Norman
St John-Stevas, were called as witnesses, and the verdict, delivered
on 2 November 1960, was "not guilty". This resulted in a far greater
degree of freedom for publishing explicit material in the UK. The
prosecution was ridiculed for being out of touch with changing social
norms when the chief prosecutor, Mervyn Griffith-Jones, asked if it
were the kind of book "you would wish your wife or servants to read".
The Penguin second edition, published in 1961, contains a publisher's
dedication, which reads: "For having published this book, Penguin
Books were prosecuted under the Obscene Publications Act, 1959 at the
Old Bailey in London from 20 October to 2 November 1960. This edition
is therefore dedicated to the twelve jurors, three women and nine men,
who returned a verdict of 'Not Guilty' and thus made D. H. Lawrence's
last novel available for the first time to the public in the United
Kingdom."
Philosophy and politics
======================================================================
Despite often writing about political, spiritual and philosophical
matters, Lawrence was essentially contrary by nature and hated to be
pigeonholed. Critics such as Terry Eagleton have argued that Lawrence
was right-wing due to his lukewarm attitude to democracy, which he
intimated would tend towards the levelling down of society and the
subordination of the individual to the sensibilities of the "average"
man. In his letters to Bertrand Russell around 1915, Lawrence voiced
his opposition to enfranchising the working class and his hostility to
the burgeoning labour movements, and disparaged the French Revolution,
referring to "Liberty, Equality, and Fraternity" as the "three-fanged
serpent". Rather than a republic, Lawrence called for an absolute
dictator and equivalent dictatrix to lord over the lower peoples. In
1953, recalling his relationship with Lawrence in the First World War,
Russell characterised Lawrence as a "proto-German Fascist", saying "I
was a firm believer in democracy, whereas he had developed the whole
philosophy of Fascism before the politicians had thought of it."
Russell felt Lawrence to be a 'positive force for evil'. However, in
1924 Lawrence wrote an epilogue to 'Movements in European History' (a
textbook he wrote, originally published in 1921) in which he denounced
fascism and Soviet-style socialism as bullying and "a mere worship of
Force". Further, he declared "I believe a good form of socialism, if
it could be brought about, would be the best form of government." In
the late 1920s, he told his sister he would vote Labour if he was
living back in England. In general, though, Lawrence disliked any
organised groupings, and in his essay 'Democracy', written in the late
twenties, he argued for a new kind of democracy in which
each man shall be spontaneously himself - each man himself, each
woman herself, without any question of equality or inequality entering
in at all; and that no man shall try to determine the being of any
other man, or of any other woman.
Lawrence held seemingly contradictory views on feminism. The evidence
of his written works, particularly his earlier novels, indicates a
commitment to representing women as strong, independent, and complex;
he produced major works in which young, self-directing female
characters were central. In his youth he supported extending the vote
to women, and he once wrote, "All women in their natures are like
giantesses. They will break through everything and go on with their
own lives." However, some feminist critics, notably Kate Millett, have
criticised, indeed ridiculed, Lawrence's sexual politics, Millett
claiming that he uses his female characters as mouthpieces to promote
his creed of male supremacy and that his story 'The Woman Who Rode
Away' showed Lawrence as a pornographic sadist with its portrayal of
"human sacrifice performed upon the woman to the greater glory and
potency of the male." Brenda Maddox further highlights this story and
two others written around the same time, 'St. Mawr' and 'The
Princess', as "masterworks of misogyny".
Despite the inconsistency and at times inscrutability of his
philosophical writings, Lawrence continues to find an audience, and
the publication of a new scholarly edition of his letters and writings
has demonstrated the range of his achievement. Philosophers like
Gilles Deleuze and Félix Guattari found in Lawrence's critique of
Sigmund Freud an important precursor of anti-Oedipal accounts of the
unconscious that has been much influential.
Posthumous reputation
======================================================================
The obituaries shortly after Lawrence's death were, with the exception
of the one by E. M. Forster, unsympathetic or hostile. However, there
were those who articulated a more favourable recognition of the
significance of this author's life and works. For example, his
long-time friend Catherine Carswell summed up his life in a letter to
the periodical 'Time and Tide' published on 16 March 1930. In response
to his critics, she wrote: In the face of formidable initial
disadvantages and lifelong delicacy, poverty that lasted for three
quarters of his life and hostility that survives his death, he did
nothing that he did not really want to do, and all that he most wanted
to do he did. He went all over the world, he owned a ranch, he lived
in the most beautiful corners of Europe, and met whom he wanted to
meet and told them that they were wrong and he was right. He painted
and made things, and sang, and rode. He wrote something like three
dozen books, of which even the worst page dances with life that could
be mistaken for no other man's, while the best are admitted, even by
those who hate him, to be unsurpassed. Without vices, with most human
virtues, the husband of one wife, scrupulously honest, this estimable
citizen yet managed to keep free from the shackles of civilisation and
the cant of literary cliques. He would have laughed lightly and cursed
venomously in passing at the solemn owls--each one secretly chained by
the leg--who now conduct his inquest. To do his work and lead his life
in spite of them took some doing, but he did it, and long after they
are forgotten, sensitive and innocent people--if any are left--will
turn Lawrence's pages and will know from them what sort of a rare man
Lawrence was. Aldous Huxley also defended Lawrence in his introduction
to a collection of letters published in 1932. However, the most
influential advocate of Lawrence's literary reputation was Cambridge
literary critic F. R. Leavis, who asserted that the author had made an
important contribution to the tradition of English fiction. Leavis
stressed that 'The Rainbow', 'Women in Love', and the short stories
and tales were major works of art. Later, the obscenity trials over
the unexpurgated edition of 'Lady Chatterley's Lover' in America in
1959, and in Britain in 1960, and subsequent publication of the full
text, ensured Lawrence's popularity (and notoriety) with a wider
public.
Since 2008, an annual D. H. Lawrence Festival has been organised in
Eastwood to celebrate Lawrence's life and works; in September 2016,
events were held in Cornwall to celebrate the centenary of Lawrence's
connection with Zennor.
Selected film and fictional depictions of Lawrence's life
======================================================================
*'Priest of Love': a 1981 film based on the non-fiction biography of
Lawrence with the same title. It stars Ian McKellen as Lawrence. The
film is mostly focused on Lawrence's time in Taos, New Mexico, and
Italy, although the source biography covers most of his life.
*'Coming Through': a 1985 film about Lawrence and Weekley, portrayed
by Kenneth Branagh and Helen Mirren respectively.
*'Zennor in Darkness': a 1993 novel by Helen Dunmore in which Lawrence
and his wife feature prominently.
*'On the Rocks': a 2008 stage play by Amy Rosenthal showing Lawrence,
his wife Frieda Lawrence, short-story writer Katherine Mansfield and
critic and editor John Middleton Murry in Cornwall in 1916-17.
*'Lawrence - Scandalous! Censored! Banned!': A musical based on the
life of Lawrence. Winner of the 2009 Marquee Theatre Award for Best
Original Musical. Received its London premiere in October 2013 at the
Bridewell Theatre.
*'Husbands and Sons': A stage play adapted by Ben Power from three of
Lawrence's plays, 'The Daughter-in-Law', 'A Collier's Friday Night',
and 'The Widowing of Mrs Holroyd', which were each based on Lawrence's
formative years in the mining community of Eastwood, Nottinghamshire.
'Husbands and Sons' was co-produced by the National Theater and the
Royal Exchange Theater and directed by Marianne Elliott in London in
2015.
*'Frieda: The Original Lady Chatterley' (Hodder & Stoughton,
2019): a novel by Annabel Abbs.
*'Point Counter Point', a novel by Aldous Huxley, features a character
named Mark Rampion, who is based on Lawrence.
Short-story collections
=========================
*'The Prussian Officer and Other Stories' (1914)
*'England, My England and Other Stories' (1922)
*'The Complete Short Stories' (1922) Three volumes, reissued in 1961
by The Viking Press, Inc.
*'The Fox, The Captain's Doll, The Ladybird' (1923)
*'St Mawr and Other Stories' (1925)
*'The Woman who Rode Away and Other Stories' (1928)
*'The Virgin and the Gipsy and Other Stories' (1930)
*'Love Among the Haystacks and Other Pieces' (1930)
*'The Lovely Lady and Other Tales' (1932)
*'The Tales of D.H. Lawrence' (1934) - Heinemann
*'Collected Stories' (1994) - Everyman's Library
Collected letters
===================
*'The Letters of D. H. Lawrence, Volume I, September 1901 - May 1913',
ed. James T. Boulton, Cambridge University Press, 1979,
*'The Letters of D. H. Lawrence, Volume II, June 1913 - October 1916',
ed. George J. Zytaruk and James T. Boulton, Cambridge University
Press, 1981,
*'The Letters of D. H. Lawrence, Volume III, October 1916 - June
1921', ed. James T. Boulton and Andrew Robertson, Cambridge University
Press, 1984,
*'The Letters of D. H. Lawrence, Volume IV, June 1921 - March 1924 ',
ed. Warren Roberts, James T. Boulton and Elizabeth Mansfield,
Cambridge University Press, 1987,
*'The Letters of D. H. Lawrence, Volume V, March 1924 - March 1927',
ed. James T. Boulton and Lindeth Vasey, Cambridge University Press,
1989,
*'The Letters of D. H. Lawrence, Volume VI, March 1927 - November 1928
', ed. James T. Boulton and Margaret Boulton with Gerald M. Lacy,
Cambridge University Press, 1991,
*'The Letters of D. H. Lawrence, Volume VII, November 1928 - February
1930', ed. Keith Sagar and James T. Boulton, Cambridge University
Press, 1993,
*'The Letters of D. H. Lawrence, with index, Volume VIII', ed. James
T. Boulton, Cambridge University Press, 2001,
*'The Selected Letters of D. H. Lawrence', Compiled and edited by
James T. Boulton, Cambridge University Press, 1997,
*'D. H. Lawrence's Letters to Bertrand Russell', edited by Harry T.
Moore, New York: Gotham Book Mart, 1948.
Poetry collections
====================
*'Love Poems and others' (1913)
*'Amores' (1916)
*'Look! We have come through!' (1917)
*'New Poems' (1918)
*'Bay: a book of poems' (1919)
*'Tortoises' (1921)
*'Birds, Beasts and Flowers' (1923)
*'The Collected Poems of D H Lawrence' (1928)
*'Pansies' (1929)
*'Nettles' (1930)
*'The Triumph of the Machine' (1930; one of Faber and Faber's Ariel
Poems series, illustrated by Althea Willoughby)
*'Last Poems' (1932)
*'Fire and other poems' (1940)
*'The Complete Poems of D.H. Lawrence' (1964), ed. Vivian de Sola
Pinto and F. Warren Roberts
*'The White Horse' (1964)
*'D.H. Lawrence: Selected Poems' (1972), ed. Keith Sagar.
*'Snake and Other Poems'
Non-fiction books and pamphlets
=================================
*'Study of Thomas Hardy and Other Essays' (1914), edited by Bruce
Steele, Cambridge University Press, 1985, , Literary criticism and
metaphysics
*'Movements in European History' (1921), edited by Philip Crumpton,
Cambridge University Press, 1989, , Originally published under the
name of Lawrence H. Davison
*'Psychoanalysis and the Unconscious' and 'Fantasia of the
Unconscious' (1921/1922), edited by Bruce Steele, Cambridge University
Press, 2004
*'Studies in Classic American Literature' (1923), edited by Ezra
Greenspan, Lindeth Vasey and John Worthen, Cambridge University Press,
2003,
*'Reflections on the Death of a Porcupine and Other Essays' (1925),
edited by Michael Herbert, Cambridge University Press, 1988,
*'A Propos of Lady Chatterley's Lover' (1929) - Lawrence wrote this
pamphlet to explain his novel.
*'My Skirmish With Jolly Roger' (1929), Random House - expanded into
'A Propos of Lady Chatterley's Lover'
*'Apocalypse and the Writings on Revelation' (1931), edited by Mara
Kalnins, Cambridge University Press, 1980,
*'Phoenix: The Posthumous Papers of D. H. Lawrence' (1936)
*'Phoenix II: Uncollected, Unpublished, and Other Prose Works by D. H.
Lawrence' (1968)
*'Introductions and Reviews', edited by N. H. Reeve and John Worthen,
Cambridge University Press, 2004,
*'Late Essays and Articles', edited by James T. Boulton, Cambridge
University Press, 2004,
*'Selected Letters', Oneworld Classics, 2008. Edited by James T.
Boulton.
*'The New Adelphi', June-August 1930 issue, edited by John Middleton
Murry. Includes, by Lawrence, ″Nottingham and the Mining Countryside,″
Nine Letters (1918-1919) to Katherine Mansfield, and Selected Passages
from non-fiction works. Also includes essays on Lawrence by John
Middleton Murry, Rebecca West, Max Plowman, Waldo Frank, and others.
* Memoir of Maurice Magnus, Keith Cushman, ed. 1 December 1987, Black
Sparrow Press. This book includes the unexpurgated version of
Lawrence's introduction to Magnus's 'Memoirs of the Foreign Legion'
and related material.
Travel books
==============
*'Twilight in Italy and Other Essays' (1916), edited by Paul Eggert,
Cambridge University Press, 1994, . 'Twilight in Italy' paperback
reissue, I.B. Tauris, 2015,
*'Sea and Sardinia' (1921), edited by Mara Kalnins, Cambridge
University Press, 1997,
*'Mornings in Mexico and Other Essays' (1927), edited by Virginia
Crosswhite Hyde, Cambridge University Press, 2009, .
*'Sketches of Etruscan Places and Other Italian Essays' (1932), edited
by Simonetta de Filippis, Cambridge University Press, 1992, ;
'Etruscan Places', New York: The Viking Press (1932).
Works translated by Lawrence
==============================
*Lev Isaakovich Shestov, 'All Things are Possible' (1920)
*Ivan Alekseyevich Bunin, 'The Gentleman from San Francisco' (1922),
tr. with S. S. Koteliansky
*Giovanni Verga, 'Mastro-don Gesualdo' (1923)
*Giovanni Verga, 'Little Novels of Sicily' (1925)
*Giovanni Verga, 'Cavalleria Rusticana and other stories' (1928)
*Antonio Francesco Grazzini (Lasca), 'The Story of Doctor Manente'
(1929)
Manuscripts and early drafts of works
=======================================
*'Paul Morel' (1911-12), edited by Helen Baron, Cambridge University
Press, 2003 (first publication), , an early manuscript version of
'Sons and Lovers'
*'The First Women in Love' (1916-17) edited by John Worthen and
Lindeth Vasey, Cambridge University Press, 1998,
*'Mr Noon' (unfinished novel) Parts I and II, edited by Lindeth Vasey,
Cambridge University Press, 1984,
*'The Symbolic Meaning: The Uncollected Versions of Studies in Classic
American Literature', edited by Armin Arnold, Centaur Press, 1962
*'Quetzalcoatl' (1925), edited by Louis L Martz, W W Norton Edition,
1998, , Early draft of 'The Plumed Serpent'
*'The First and Second Lady Chatterley Novels', edited by Dieter Mehl
and Christa Jansohn, Cambridge University Press, 1999, .
Paintings
===========
*'The Paintings of D. H. Lawrence', London: Mandrake Press, 1929.
*'D. H. Lawrence's Paintings', ed. Keith Sagar, London: Chaucer Press,
2003.
*'The Collected Art Works of D. H. Lawrence', ed. Tetsuji Kohno,
Tokyo: Sogensha, 2004.
Bibliographic resources
=========================
*Paul Poplawski (1995) 'The Works of D.H. Lawrence: A Chronological
Checklist' (Nottingham, D H Lawrence Society)
*Paul Poplawski (1996) 'D.H. Lawrence: A Reference Companion'
(Westport, Conn., and London: Greenwood Press)
*
*W. Roberts and P. Poplawski (2001) 'A Bibliography of D.H. Lawrence'.
3rd ed. (Cambridge, Cambridge University Press)
*Charles L. Ross and Dennis Jackson, eds. (1995) 'Editing D.H.
Lawrence: New Versions of a Modern Author' (Ann Arbor, Michigan:
University of Michigan Press)
*Keith Sagar (1979) 'D.H. Lawrence: A Calendar of His Works'
(Manchester, Manchester University Press)
*Keith Sagar (1982) 'D.H. Lawrence Handbook' (Manchester, Manchester
University Press)
Biographical studies
======================
*Richard Aldington (1950) 'Portrait of a Genius, But ... (The Life of
D. H. Lawrence, 1885-1930)' (London: Heinemann)
*Arthur J. Bachrach 'D. H. Lawrence in New Mexico: "The Time is
Different There"', Albuquerque: University of New Mexico Press, 2006.
*Dorothy Brett (1933). 'Lawrence and Brett: A Friendship'
(Philadelphia: J.B. Lippincott Company)
*Witter Bynner (1951) 'Journey with Genius: Recollections and
Reflections Concerning the D. H. Lawrences' (John Day Company)
*Raymond T. Caffrey (1985) 'Lady Chatterley's Lover: The Grove Press
Publication of the Unexpurgated Text' (Syracuse University Library
Associates Courier Volume XX)
*Catherine Carswell (1932) 'The Savage Pilgrimage' (Cambridge:
Cambridge University Press, reissued 1981)
*James C. Cowan (1970) 'D. H. Lawrence's American Journey: A Study in
Literature and Myth' (Cleveland: The Press of Case Western Reserve
University)
*Joseph Davis (1989) 'D. H. Lawrence at Thirroul' (Sydney, Australia:
Collins)
*Joseph Davis (2022) 'D. H. Lawrence at Thirroul: One Hundred Years
On' (Thirroul, Australia: Wyewurry)
*Paul Delany (1979) 'D. H. Lawrence's Nightmare: The Writer and his
Circle in the Years of the Great War' (Hassocks: Harvester Press)
*Emile Delavenay (1972) 'D. H. Lawrence: The Man and his Work: The
Formative Years, 1885-1919', trans. Katherine M. Delavenay (London:
Heinemann)
*Geoff Dyer (1999) 'Out of Sheer Rage: Wrestling with D. H. Lawrence'
(New York: North Point Press)
*David Ellis (1998) 'D. H. Lawrence: Dying Game, 1922-1930'
(Cambridge: Cambridge University Press)
*David Ellis (2008) 'Death and the Author: How D. H. Lawrence Died,
and Was Remembered' (Oxford University Press)
*E. T. (Jessie Chambers Wood) (1935) 'D. H. Lawrence: A Personal
Record' (Jonathan Cape)
*Elaine Feinstein (1994) 'Lawrence's Women: The Intimate Life of D.H.
Lawrence' (London: HarperCollins Publishers); (1993) 'Lawrence and the
Women: The Intimate Life of D.H. Lawrence' (New York: HarperCollins
Publishers)
*Joseph Foster (1972) 'D. H. Lawrence in Taos' (Albuquerque:
University of New Mexico Press)
* Paul Fussell (1980). "The Places of D. H. Lawrence", in 'Abroad:
British Literary Travelling Between the Wars'. Oxford University
Press, pp. 141-164.
*Mark Kinkead-Weekes (1996) 'D. H. Lawrence: Triumph to Exile,
1912-1922' (Cambridge: Cambridge University Press)
*Frieda Lawrence (1934) 'Not I, But The Wind' (Santa Fe: Rydal Press)
*Mabel Dodge Luhan (1932) 'Lorenzo in Taos: D.H. Lawrence and Mabel
Dodge Luhan' (Sunstone Press, 2007 facsimile ed.)
*Brenda Maddox (1994) 'D. H. Lawrence: The Story of a Marriage' (New
York: Simon & Schuster). UK edition 'The Married Man: A Life of D.
H. Lawrence', London: Sinclair-Stevenson, 1994.
*Knud Merrild (1938) 'A Poet and Two Painters: A Memoir of D. H.
Lawrence' (London: G. Routledge)
*Harry T. Moore (1974) 'The Priest of Love: A Life of D. H. Lawrence'
(London: Heinemann)
*Harry T. Moore and Warren Roberts (1966) 'D. H. Lawrence and His
World' (New York: The Viking Press), largely photographs
*Harry T. Moore (1951, revised ed. 1964) 'D. H. Lawrence: His Life and
Works' (New York: Twayne Publishers, Inc.)
*Edward Nehls (1957-59) 'D. H. Lawrence: A Composite Biography,
Volumes I-III' (Madison: University of Wisconsin Press)
*G. H. Neville (1981) 'A Memoir of D. H. Lawrence: The Betrayal'
(Cambridge: Cambridge University Press)
*Anaïs Nin (1963) 'D. H. Lawrence: An Unprofessional Study' (Athens:
Swallow Press)
*Richard Owen (2014) 'Lady Chatterley's Villa: DH Lawrence on the
Italian Riviera' (London: The Armchair Traveller)
*Norman Page, ed. (1981) 'D. H. Lawrence: Interviews and
Recollections' (two volumes) (Totowa, NJ: Barnes & Noble)
*Keith Sagar (1980) 'The Life of D. H. Lawrence' (New York: Pantheon)
*Keith Sagar (2003) 'The Life of D. H. Lawrence: An Illustrated
Biography' (London: Chaucer Press)
*Xavier F. Salomon.
[
https://apollo-magazine.com/d-h-lawrence-among-the-etruscans/ "D. H.
Lawrence among the Etruscans"] . 'Apollo', 5 August 2017.
*Stephen Spender, ed. (1973) 'D. H. Lawrence: Novelist, Poet, Prophet'
(New York: Harper & Row; London: Weidenfeld and Nicolson)
*Michael Squires (2008) 'D. H. Lawrence and Frieda: A Portrait of Love
and Loyalty' (London: Carlton Publishing Group)
*C. J. Stevens 'The Cornish Nightmare (D. H. Lawrence in Cornwall)',
Whitston Pub. Co., 1988, , D. H. Lawrence and the War Years
*C. J. Stevens 'Lawrence at Tregerthen (D. H. Lawrence)', Whitston
Pub. Co., 1988,
*Geoffrey Trease (1973) 'D. H. Lawrence: The Phoenix and the Flame'
(London: Macmillan)
*Michael W. Weithmann: Lawrence of Bavaria. The English Writer D. H.
Lawrence in Bavaria and Beyond. Collected Essays. Reisen David Herbert
Lawrences in Bayern und in die Alpenländer. Passau 2003
urn:nbn:de:bvb:739-opus-596
*Frances Wilson (2021) 'Burning Man: The Ascent of D. H. Lawrence'
(London: Bloomsbury Circus); 'Burning Man: The Trials of D. H.
Lawrence' (New York: Farrar, Straus and Giroux)
*John Worthen (1991) 'D. H. Lawrence: The Early Years, 1885-1912'
(Cambridge: Cambridge University Press)
*John Worthen (2005) 'D. H. Lawrence: The Life of an Outsider'
(London: Penguin/Allen Lane)
*
External links
======================================================================
*
*
*[
http://gutenberg.net.au/pages/lawrence.html Works by D. H. Lawrence]
at Project Gutenberg Australia (includes content not in the public
domain in some jurisdictions)
*
*
*[
https://www.theguardian.com/world/2014/aug/18/first-world-war-dh-lawrence-1914-with-the-guns
'With the Guns' article by Lawrence. 'Guardian' 18 August 1914] .
Accessed 2010-09-15
*[
https://web.archive.org/web/20171025220108/http://www.feedbooks.com/search?query=david+herbert+lawrence
D. H. Lawrence free downloadable books including kindle editions at
feedbooks]
*Nickolas Muray's portrait sittings of D. H. Lawrence;
[
https://web.archive.org/web/20110614075736/http://www.geh.org/ar/strip88/htmlsrc/m197701881680_ful.html#topofimage
photo #1],
[
https://web.archive.org/web/20110614075745/http://www.geh.org/ar/strip88/htmlsrc/m197701881682_ful.html#topofimage
photo#2],
[
https://web.archive.org/web/20110614075817/http://www.geh.org/ar/strip88/htmlsrc/m197701881683A_ful.html#topofimage
photo #3]
*[
https://web.archive.org/web/20181110044907/http://dhlawrencereview.org/
The D. H. Lawrence Review], scholarly journal
Lawrence archives
===================
*[
http://www.oac.cdlib.org/findaid/ark:/13030/tf9g5007kq/ D. H.
Lawrence Collection] at the Bancroft Library
*[
https://norman.hrc.utexas.edu/fasearch/findingAid.cfm?eadID=00071 D.
H. Lawrence Collection] and
[
https://norman.hrc.utexas.edu/fasearch/findingAid.cfm?eadid=00072
Frieda Lawrence Collection] at the Harry Ransom Center
*[
https://nmarchives.unm.edu/repositories/22/resources/1968 D. H.
Lawrence Papers] ,
[
https://nmarchives.unm.edu/repositories/22/resources/2330
Correspondence] and
[
https://nmarchives.unm.edu/repositories/22/resources/2003 Photography
Collection] at the University of New Mexico
*[
https://www.nottingham.ac.uk/ManuscriptsandSpecialCollections/CollectionsInDepth/Lawrence/Introduction.aspx
D. H. Lawrence Collection] at the University of Nottingham
*[
https://clio.columbia.edu/catalog/4078881 Alfred M. and Clarisse B.
Hellman's D.H. Lawrence collection] at Columbia University
*
License
=========
All content on Gopherpedia comes from Wikipedia, and is licensed under CC-BY-SA
License URL:
http://creativecommons.org/licenses/by-sa/3.0/
Original Article:
http://en.wikipedia.org/wiki/D._H._Lawrence
