Preface (D.H.Lawrence The Fictionist)

Keith Cushman note that while Joyce and Woolf remain primary modernist writers among literary critics and theorists, Lawrence appears somehow less central than he did only a few decades ago. In a similar vein, Keith Brown observes in Rethinking Lawrence that "most 'classics' of Lawrence criticism are products of a mental world which intelligent twenty-year-olds today simply do not recognize as their own, and which even the middle-aged are beginning to find somewhat remote." For whatever reason, contemporary literary theorists have been far less likely to apply their ideas to Lawrence's fiction than to the work of more radically experimental modernist practitioners of fiction in English. Given the iconoclastic stance of many of his works as well as the notoriously maverick quality of Lawrence himself, there is more than a little irony involved here. Thanks to the traditional scholarly methods deployed exhaustively in the the recently completed Cambridge University Press Edition of the Works of D. H. Lawrence, that irony has only been exacerbated. Published soon after the centenary of Lawrence's birth, the three volumes under review represent quite different responses to this state of affairs.

A factual account of the novelist's career, tracing his remarkable rise from humble origins as the son of a semiliterate coal miner to his emergence as one of the most important English novelists of the twentieth century and his death from tuberculosis at the age of forty-four

Philosophy and Literature, 2019

We first clarify that what D. H. Lawrence means by truth is moral truth, and that the novel is for him the best vehicle to communicate with the "subtle interrelatedness" without which morality is merely moralism. We then examine his view that "art-speech is the only truth" and his distinction between the artist and the man. We make this distinction with the help of F. R. Leavis's understanding of the artist as great psychologist whose suppression of ego allows the power of reality-soaked language to guide the creative flow. This, according to both, is where art reclaims truth.

D.H. Lawrence Review, 2003

In compiling this bibliography, we note several interesting trends regarding Lawrence studies. Internationally, study of Lawrenceʼs work is on the increase as scholars worldwide not only turn their attention to Lawrence, but also develop their publishing venues apart from those provided by the United States and Britain. At a moment when many older U.S. scholars lament the waining popularity of Lawrence, such findings are refreshing. As continuing technological advancements allow for an improving academic network of information, we can only expect this trend to continue.

This volume of JDHLS is a special issue on the influence of Lawrence's time in Cornwall (1916-1917) on his life and writing. It is available to members of the D. H. Lawrence Society of Great Britain. Back numbers of JDHLS are posted on the Society's website at https://dhlawrencesociety.com/the-journal-of-d-h-lawrence-studies/

2000

Research Journal of Aleppo University, 1994

ABSTRACT This paper offers a critical analysis of D.H. Lawrence's famous collection of essays on Classic American Literature. It is divided into thirteen parts. In "the Spirit of Place" Lawrence studies the relationship between American literature and Europe and the attempts of American artists to flee the old European parenthood. In part II, he looks at Benjamin Franklin's belief in the perfectibility of man and his list of virtues. In part III, he takes into analysis St. John de Crevecoeur's Letters from an American Farmer in which he gives a picture of the American farmer with his amiable spouse and infant son cooperating with the gentle purpose of nature. In part IV, Lawrence studies Fenimore Cooper's society novels called "White Novels" and in part V he looks at his other collection of novels called "Leatherstocking Novels" focusing on The Deerslayer, The Pioneer, The Last of the Mohicans. In part VI, he looks at the works of Edgar Allen Poe and he focuses on Ligeia and The Fall of the House of Usher. In part VII, he looks at The Scarlet Letter and in part VIII he focuses on Hawthorne's other famous novel Blithedale. In part IX, he studies Richard Henry Dana's Two Years Before the Mast and in part X he looks at the works of Herman Melville's Typee and Omoo. In part XI, he focuses on Melville's famous novel Moby Dick and in part XII he looks at the works of Walt Whitman. The final part gives an assessment of Lawrence's literary views and critical opinions and it shows the reception that he had among writers and critics of his time.This paper offers a critical analysis of D.H.

A description and assessment of the definitive 8-volume collection of D. H. Lawrence's letters, published by Cambridge University Press

The Journal of British Studies, 2009

D.H. Lawrence was a major literary figure of the twentieth century, who put descriptions of sexuality in print which had not been written about before. He was banned like James Joyce. He had a personality which was abnormal, (Fitzgerald, 2018) and which was emotionally immature, complex and extremely contradictory-the kind of personality not uncommonly associated with artistic personality. He shows many features from DSM 5, (APA, 2013). He had sexual identity diffusion, (bisexuality), but expressing heterosexual side physically. Wilson (2021), stated that he was, ̔ a self-wrestling human document ̕. Certainly, issues of self were central. He was a hyperkinetic writer and wanderer or as Nietzsche put it, ̔ but nowhere have I found a home: I am unsettled in every city and depart from every gate̕. He was too close to his mother who denigrated his father. Henry Miller's description of himself could also apply to Lawrence where Miller, (Wilson, 2008), said to Anais Nin, ̔ I am at core a writer … and not a human being". While Lawrence's works are much less read today, Lawrence himself remains one of the most fascinating characters on the literary circuit. He was callous and engaged in domestic violence. His wife, Frieda Lawrence told E.M. Forster in 1915 that, ̔ God knows he is a fool, and undeveloped, but he is so genuine, a genuine force, inhuman-and such a strain̕ , (Maddox, 1998). His wife gets to the core of Lawrence with words like, ̔ genuine̕ and, ̔ inhuman̕ , totally contradictory in personality. He experimented with every form of sexuality with his wife. He had one of the most complex married lives of any literary figure-indeed marriage to Frieda was unique and Lawrence put it best in a letter to Edward Garnett in 1912, when he wrote, ̔ we are fearfully fond of one another, all the more, perhaps, when it doesn't show. We want remarkably the same thing in life-sort of freedom, nakedness of intimacy, free-breathing space between us. You don't know how fine it is between us-whatever either of us says̕ , (Maddox, 1998). They were both novelty-seekers and sensation-seekers, (Fitzgerald, 2008) and transgressors, (Fitzgerald, 2021) with perverse features, you often see in great literary writers. Wilson, (2021), said that he developed T.B. as a teenager and Maddox, (1998), said he developed it when he was a teacher. He wrote therefore, under the threat of death all his life. The T.B. was largely denied. Lawrence was a misogynist and could be seen as anti-family when he wrote, ̔ Fatherhood's a myth … the average man with a family is nothing but a cart-horse, dragging the family behind him for the best part of his life̕ , (Maddox, 1998). His misogynism was partly due to his fear of females and probably to memory of his psychologicaly, ̔ suffocating̕ , mother.