You could describe D.H. Lawrence as the great multi-instrumentalist among the great writers of the twentieth century. He was a brilliant, endlessly controversial novelist who transformed, for better and for worse, the way we write about sex and emotions; he was a wonderful poet; he was an essayist of burning curiosity, expansive lyricism, odd humor, and radical intelligence, equaled, perhaps, only by Virginia Woolf. Here Geoff Dyer, one of the finest essayists of our day, draws on the whole range of Lawrence’s published essays to reintroduce him to a new generation of readers for whom the essay has become an important genre. We get Lawrence the book reviewer, writing about Death in Venice and welcoming Ernest Hemingway; Lawrence the travel writer, in Mexico and New Mexico and Italy; Lawrence the memoirist, depicting his strange sometime-friend Maurice Magnus; Lawrence the restless inquirer into the possibilities of the novel, writing about the novel and morality and addressing the question of why the novel matters; and, finally, the Lawrence who meditates on birdsong or the death of a porcupine in the Rocky Mountains. Dyer’s selection of Lawrence’s essays is a wonderful introduction to a fundamental, dazzling writer.
Complete with fresh perspectives, and drawing on the latest scholarship and biographical sources, The Life of D. H. Lawrence spans the full range of his intellectual interests and creative output to offer new insights into Lawrence’s life, work, and legacy. Addresses his major works, but also lesser-known writings in different genres and his late paintings, in order to reassess the innovative, challenging, and subversive aspects of Lawrence’s personality and writing Incorporates newly-discovered sources, including correspondence, a manuscript written in 1923-4, new evidence for important influences on his major novels and two previously unpublished images of the author Emphasizes Lawrence’s gregarious nature, his desire to collaborate with others, and his adaptability to different social situations Pays particular attention to the many interactions with literary advisors, editors, agents, publishers, and printers that were required for him to work as a professional writer Combines new material with astute commentary to provide a nuanced understanding of one of the most prolific and controversial authors of the twentieth century
First published in 1998. This reference guide is designed for those who would be knowledge able readers of major short stories by D.H. Lawrence when the store of scholarship, investigation, and appraisal is far too vast for all but the expert. An inclusive examination of what has been written about these short stories, each chapter deals with a different short story and consists of five distinct sections: (1) the complete publication history, including all revisions and variants; (2) a thorough examination of recognized and hitherto unrecognized sources, as well as the influences at work on Lawrence in the creation of the story; (3) the story’s relationship to Lawrence’s other writings; (4) acknowledgement and summary of all extant critical studies; and (5) a bibliography of works cited. This study concentrates on six short stories culled from Lawrence’s more than fifty works of short fiction.
This Is Probably The First Instance Of Lawrence`S Poetry Being Discussed In The Light Of Recent Theoretical Developments. It Is Also Certainly The First Time A Leading Postcolonial Writer Of His Generation Has Taken As His Subject A Major Canonical English Writer, And Through Him, Remapped The English Canon As A Site Of `Difference`.
I stood watching the shadowy fish slide through the gloom of the mill-pond. They were grey, descendants of the silvery things that had darted away from the monks, in the young days when the valley was lusty. The whole place was gathered in the musing of old age. The thick-piled trees on the far shore were too dark and sober to dally with the sun; the weeds stood crowded and motionless. Not even a little wind flickered the willows of the islets. The water lay softly, intensely still. Only the thin stream falling through the mill-race murmured to itself of the tumult of life which had once quickened the valley.I was almost startled into the water from my perch on the alder roots by a voice saying: "Well, what is there to look at?" My friend was a young farmer, stoutly built, brown eyed, with a naturally fair skin burned dark and freckled in patches. He laughed, seeing me start, and looked down at me with lazy curiosity."I was thinking the place seemed old, brooding over its past."He looked at me with a lazy indulgent smile, and lay down on his back on the bank, saying: "It's all right for a doss-here.