This is the first critical study of Sons and Lovers to engage with the new Cambridge edition, which prints for the first time the whole text that Lawrence wrote, restoring the sustantial cuts made by the first editor. Michael Black gives special attention to the genesis of the book--the writing and editing processes, where Jessie Chambers and then Edward Garnett made decisive interventions. He analyzes Sons and Lovers in detail, relates it to Lawrence's other works, and traces the history of its reception. Historical context and a guide to further reading are also provided.
D. H. Lawrence (1885-1930) made a contribution to poetry that, in the words of Louise Bogan, "can now be recognized as one of the most important, in any language, of our time." Birds, Beasts and Flowers, his first great experiment in free verse, was published when he was thirty-eight. This Black Sparrow edition reprints the first edition (New York: Thomas Seltzer, 1923) with a few corrections of typographical errors and the restoration of a number of lines considered indecent in 1923. The cover reproduces D. H. Lawrence's design for the dust jacket of the first edition. Many of these individual poems are popular in anthologies. However, they are best read in the context and continuum of the whole book. In preparing the original collection for publication, Lawrence grouped the poems in a purposeful sequence. For a later printing he prefaced many of the sub-sections with brief quotations from the third edition of John Burnet's Early Greek Philosophy.
'A critic must be able to feel the impact of a work of art in all its complexity and force. To do so, he must be a man of force and complexity himself...' 'A critic must be emotionally alive in every fibre, intellectually capable and skilful in essential logic, and then morally very honest.' These comments by D. H. Lawrence are as close a description as any of himself as a critic. They come from his essay on fellow novelist John Galsworthy, and there are many other pieces on novels and novelists in this selection. But Lawrence's range of genres extends to poetry and plays and paintings, and his critical writing encompasses an enormous variety of subjects, from Aeschylus and the Apocalypse to symbolism and syphilis, for his nterests are philosophical , psychological, religious, moral, sociological, historical and cultural as well as literary and artistic. This selection is a treasure-trove of `thought adventures' by one of literature's liveliest critical spirits.
First published in 1923, this anthology provides a cross-section of Lawrence's writing on American literature. It includes landmark essays on Benjamin Franklin, Fenimore Cooper, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville and Walt Whitman. The volume offers the final 1923 version of the text in a newly corrected and uncensored form, and earlier (often very different) versions of many of the essays, and other materials (including four versions of Lawrence's pioneering essay on Whitman).
Introduction by Kathryn Harrison Inspired by the long-standing affair between D. H. Lawrence’s German wife and an Italian peasant, Lady Chatterley’s Lover follows the intense passions of Constance Chatterley. Trapped in an unhappy marriage to an aristocratic mine owner whose war wounds have left him paralyzed and impotent, Constance enters into a liaison with the gamekeeper Mellors. Frank Kermode called the book D. H. Lawrence’s “great achievement,” Anaïs Nin described it as “his best novel,” and Archibald MacLeish hailed it as “one of the most important works of fiction of the century.” Along with an incisive Introduction by Kathryn Harrison, this Modern Library edition includes the transcript of the judge’s decision in the famous 1959 obscenity trial that allowed Lady Chatterley’s Lover to be published in the United States.
The works of British author D.H. Lawrence were often considered to be shocking because of their frank treatment of subjects such as sexuality and desire, and novels such as Sons and Lovers, Women in Love and Lady Chatterley's Lover were often censored or confiscated due to their graphic content. The Rainbow, another of Lawrence's best-known novels, certainly doesn't shy away from its depiction of human intimacy in all of its forms.