Books with author David Herbert Lawrence

How is this book unique? Illustrations includedOriginal & Unabridged EditionOne of the best books to readClassic historical fiction booksExtremely well formattedThe Prussian Officer is a collection of stories by David Herbert Lawrence. Plot Summary: The first narrative in the collection is "The Prussian Officer", which tells of a Captain and his orderly. Having wasted his youth gambling, the captain has been left with only his military career, and though he has taken on mistresses throughout his life, he remains single. His young orderly is involved in a relationship with a young woman, and the captain, feeling sexual tension towards the young man, prevents the orderly from engaging in the relationship by taking up his evenings. These evenings lead to the captain abusing his orderly and leaving large, painful bruises on his thighs, making it hard for the orderly to walk. Whilst isolated in a forest during manoeuvres, the orderly takes out murderous revenge on the captain, but finds himself in a daze seemingly due both to the pain of the bruises and thirst. The orderly eventually collapses and dies in the hospital shortly there after. The corpses of the two men lay side by side.

David Herbert Lawrence (11 September 1885 - 2 March 1930) was an important and controversial English writer of the 20th century, whose prolific and diverse output included novels, short stories, poems, plays, essays, travel books, paintings, translations, literary criticism and personal letters. His collected works represent an extended reflection upon the dehumanizing effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, sexuality, and instinctive behaviour. Lawrence's unsettling opinions earned him many enemies and he endured hardships, official persecution, censorship and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his "savage pilgrimage." At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as "the greatest imaginative novelist of our generation." Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical "great tradition" of the English novel. He is now generally valued as a visionary thinker and a significant representative of modernism in English literature, although some feminists object to the attitudes toward women and sexuality found in his works.Lawrence only became really famous after his death. His reputation lapsed in the 1930s: he had written too unconventionally and made too many enemies. By the 1960s he was widely seen as one of the great novelists of the twentieth century. By the 1990s his reputation was again in decline; neither a modernist revolutionary like Joyce, nor – like Virginia Woolf – reacting as a woman against the social and literary world which confined her, Lawrence occupied a problematic position in the writing history of the century: and he was unthinkingly branded both fascist and sexist. The republication of his work in a scholarly edition – and in particular the publication in full of the letters which are one of his greatest achievements – ensures that he will be seen differently in future. He was a writer far more concerned with the careful revision and linguistic precision of his work than his early reputation as an uneducated and unthinking genius suggested; he was ahead of his time in many of his attitudes to the individual and society; and he was a writer who explored an extraordinary range of subjects, in particular the need for a language of relationship which does not depend upon love. He was also precise about what he saw as the malign influence of Freud, and strikingly modern in his expression of man's need to be ecologically aware. He never believed in right-wing governments and hated the fascism he saw in Italy and Germany, though he always believed in human beings' need for authority; his writing certainly concentrated on female sexuality, but that was his particular (and in his period a strikingly original) focus. He was a writer who constantly struggled to find and to articulate the experience, not of a body or mind or spirit, but of the whole person. This was what he wrote about most tellingly, and what he himself insisted on remaining, to the end of his life.

"The Rainbow" (1915) is one of DH Lawrence’s most controversial works. It was banned in Great Britain when it was first published. "The Rainbow" introduced sexual life into a family-based novel.The story line traces three generations of the Brangwen family in the Midlands of England from 1840 to 1905. The marriage of farmer Tom Brangwen and foreigner Lydia Lensky eventually breaks down. Likewise, the marriage of Lydia’s daughter Anna to Tom’s nephew Will gradually fails. The novel is largely devoted to Will and Anna’s oldest child, the schoolteacher Ursula, who stops short of marriage when she is unsatisfied by her love affair with the conventional soldier Anton Skrebensky. The appearance of a rainbow at the end of the novel is a sign of hope for Ursula, whose story is continued in Lawrence’s "Women in Love", also published by E-Bookarama Editions.

The imperial road to Italy goes from Munich across the Tyrol, through Innsbruck and Bozen to Verona, over the mountains. Here the great processions passed as the emperors went South, or came home again from rosy Italy to their own Germany.And how much has that old imperial vanity clung to the German soul? Did not the German kings inherit the empire of bygone Rome? It was not a very real empire, perhaps, but the sound was high and splendid.

Set during the First World War, “The Fox” is the story of Banford and March, two women who live and work together on a farm. Unmarried and in their late twenties, the two expect to remain spinsters and thus have settled into a routine life of farm-work. When a wily fox begins to make trouble on their farm, the pair set out to do away with it, but when March comes face-to-face with the fox, she finds she cannot harm it. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.

David Herbert Lawrence (11 September 1885 - 2 March 1930) was an important and controversial English writer of the 20th century, whose prolific and diverse output included novels, short stories, poems, plays, essays, travel books, paintings, translations, literary criticism and personal letters. His collected works represent an extended reflection upon the dehumanizing effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, sexuality, and instinctive behaviour. Lawrence's unsettling opinions earned him many enemies and he endured hardships, official persecution, censorship and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his "savage pilgrimage." At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as "the greatest imaginative novelist of our generation." Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical "great tradition" of the English novel. He is now generally valued as a visionary thinker and a significant representative of modernism in English literature, although some feminists object to the attitudes toward women and sexuality found in his works.Lawrence only became really famous after his death. His reputation lapsed in the 1930s: he had written too unconventionally and made too many enemies. By the 1960s he was widely seen as one of the great novelists of the twentieth century. By the 1990s his reputation was again in decline; neither a modernist revolutionary like Joyce, nor – like Virginia Woolf – reacting as a woman against the social and literary world which confined her, Lawrence occupied a problematic position in the writing history of the century: and he was unthinkingly branded both fascist and sexist. The republication of his work in a scholarly edition – and in particular the publication in full of the letters which are one of his greatest achievements – ensures that he will be seen differently in future. He was a writer far more concerned with the careful revision and linguistic precision of his work than his early reputation as an uneducated and unthinking genius suggested; he was ahead of his time in many of his attitudes to the individual and society; and he was a writer who explored an extraordinary range of subjects, in particular the need for a language of relationship which does not depend upon love. He was also precise about what he saw as the malign influence of Freud, and strikingly modern in his expression of man's need to be ecologically aware. He never believed in right-wing governments and hated the fascism he saw in Italy and Germany, though he always believed in human beings' need for authority; his writing certainly concentrated on female sexuality, but that was his particular (and in his period a strikingly original) focus. He was a writer who constantly struggled to find and to articulate the experience, not of a body or mind or spirit, but of the whole person. This was what he wrote about most tellingly, and what he himself insisted on remaining, to the end of his life.

Kangaroo is an account of a visit to New South Wales by an English writer named Richard Lovat Somers, and his German wife Harriet, in the early 1920s. This appears to be semi-autobiographical, based on a three-month visit to Australia by Lawrence and his wife Frieda, in 1922. The novel includes a chapter ("Nightmare") describing the Somers' experiences in wartime Cornwall (St Columb Major), vivid descriptions of the Australian landscape, and Richard Somers' sceptical reflections on fringe politics in Sydney. Australian journalist Robert Darroch - in several articles in the late 1970s, and a 1981 book entitled D.H. Lawrence in Australia - claimed that Lawrence based Kangaroo on real people and events he witnessed in Australia. The extent to which this is true remains a matter of controversy - particularly by Joseph Davis in his 1989 "D.H. Lawrence at Thirroul"(Collins, Sydney). Davis is sympathetic to the view that "Kangaroo" may be based on real events but argues that it is impossible that Lawrence had time to meet clandestine political leaders in Sydney when he was too busy writing his novel in Thirroul. Davis feels it is more likely to have been a local south coast identity associated with Thirroul who would have provided some of the details of Lawrence's political plot. "Kangaroo" is the fictional nickname of one of Lawrence's characters, Benjamin Cooley, a prominent ex-soldier and lawyer, who is also the leader of a secretive, fascist paramilitary organisation, the "Diggers Club". Cooley fascinates Somers, but he maintains his distance from the movement itself. It has been suggested by Darroch and others that Cooley was based on Major General Charles Rosenthal, a notable World War I leader and right wing activist. It has also been alleged that Rosenthal was involved with the Old Guard, a secret anti-communist militia, set up by the Bruce government. Similarly, according to Darroch, the character of Jack Calcott - who is the Somers' neighbour in Sydney and introduces Richard Somers to Cooley - may have been based on a controversial Australian military figure, Major John Scott, who was both an associate of Rosenthal, and an Old Guard official. Another central character is Willie Struthers, a left wing activist reputed to have been based partly on Willem Siebenhaar, who made Lawrence's acquaintance in Western Australia. Kangaroo's movement, and the "great general emotion" of Kangaroo himself, do not appeal to Somers, and in this the novel begins to reflect Lawrence's own experiences during World War I. Somers also rejects the socialism of Struthers, which emphasises "generalised love". The novel is sometimes cited as an influence on the Jindyworobak movement, an Australian nationalist literary group, which emerged about a decade later. Gideon Haigh saw fit to dub it "one of the sharpest fictional visions of the country and its people". It was adapted as a film, also called Kangaroo in 1986, featuring Colin Friels as Somers, Judy Davis as Harriet and Hugh Keays-Byrne as "Kangaroo".

Aaron Sisson, is a union official in the coal mines of the English Midlands, trapped in a stale marriage. He is also an amateur, but talented, flautist. At the start of the story he walks out on his wife and two children and decides on impulse to visit Italy. His dream is to become recognised as a professional musician. During his travels he encounters and befriends Rawdon Lilly, who nurses Aaron back to health when he is taken ill in post-war London.

David Herbert Lawrence (11 September 1885 - 2 March 1930) was an important and controversial English writer of the 20th century, whose prolific and diverse output included novels, short stories, poems, plays, essays, travel books, paintings, translations, literary criticism and personal letters. His collected works represent an extended reflection upon the dehumanizing effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, sexuality, and instinctive behaviour. Lawrence's unsettling opinions earned him many enemies and he endured hardships, official persecution, censorship and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his "savage pilgrimage." At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as "the greatest imaginative novelist of our generation." Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical "great tradition" of the English novel. He is now generally valued as a visionary thinker and a significant representative of modernism in English literature, although some feminists object to the attitudes toward women and sexuality found in his works.Lawrence only became really famous after his death. His reputation lapsed in the 1930s: he had written too unconventionally and made too many enemies. By the 1960s he was widely seen as one of the great novelists of the twentieth century. By the 1990s his reputation was again in decline; neither a modernist revolutionary like Joyce, nor – like Virginia Woolf – reacting as a woman against the social and literary world which confined her, Lawrence occupied a problematic position in the writing history of the century: and he was unthinkingly branded both fascist and sexist. The republication of his work in a scholarly edition – and in particular the publication in full of the letters which are one of his greatest achievements – ensures that he will be seen differently in future. He was a writer far more concerned with the careful revision and linguistic precision of his work than his early reputation as an uneducated and unthinking genius suggested; he was ahead of his time in many of his attitudes to the individual and society; and he was a writer who explored an extraordinary range of subjects, in particular the need for a language of relationship which does not depend upon love. He was also precise about what he saw as the malign influence of Freud, and strikingly modern in his expression of man's need to be ecologically aware. He never believed in right-wing governments and hated the fascism he saw in Italy and Germany, though he always believed in human beings' need for authority; his writing certainly concentrated on female sexuality, but that was his particular (and in his period a strikingly original) focus. He was a writer who constantly struggled to find and to articulate the experience, not of a body or mind or spirit, but of the whole person. This was what he wrote about most tellingly, and what he himself insisted on remaining, to the end of his life.

David Herbert Lawrence (11 September 1885 - 2 March 1930) was an important and controversial English writer of the 20th century, whose prolific and diverse output included novels, short stories, poems, plays, essays, travel books, paintings, translations, literary criticism and personal letters. His collected works represent an extended reflection upon the dehumanizing effects of modernity and industrialisation. In them, Lawrence confronts issues relating to emotional health and vitality, spontaneity, sexuality, and instinctive behaviour. Lawrence's unsettling opinions earned him many enemies and he endured hardships, official persecution, censorship and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his "savage pilgrimage." At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as "the greatest imaginative novelist of our generation." Later, the influential Cambridge critic F. R. Leavis championed both his artistic integrity and his moral seriousness, placing much of Lawrence's fiction within the canonical "great tradition" of the English novel. He is now generally valued as a visionary thinker and a significant representative of modernism in English literature, although some feminists object to the attitudes toward women and sexuality found in his works.Lawrence only became really famous after his death. His reputation lapsed in the 1930s: he had written too unconventionally and made too many enemies. By the 1960s he was widely seen as one of the great novelists of the twentieth century. By the 1990s his reputation was again in decline; neither a modernist revolutionary like Joyce, nor – like Virginia Woolf – reacting as a woman against the social and literary world which confined her, Lawrence occupied a problematic position in the writing history of the century: and he was unthinkingly branded both fascist and sexist. The republication of his work in a scholarly edition – and in particular the publication in full of the letters which are one of his greatest achievements – ensures that he will be seen differently in future. He was a writer far more concerned with the careful revision and linguistic precision of his work than his early reputation as an uneducated and unthinking genius suggested; he was ahead of his time in many of his attitudes to the individual and society; and he was a writer who explored an extraordinary range of subjects, in particular the need for a language of relationship which does not depend upon love. He was also precise about what he saw as the malign influence of Freud, and strikingly modern in his expression of man's need to be ecologically aware. He never believed in right-wing governments and hated the fascism he saw in Italy and Germany, though he always believed in human beings' need for authority; his writing certainly concentrated on female sexuality, but that was his particular (and in his period a strikingly original) focus. He was a writer who constantly struggled to find and to articulate the experience, not of a body or mind or spirit, but of the whole person. This was what he wrote about most tellingly, and what he himself insisted on remaining, to the end of his life.

The Rainbow is a 1915 novel by British author D. H. Lawrence. It follows three generations of the Brangwen family, particularly focusing on the sexual dynamics of, and relations between, the characters.Lawrence's frank treatment of sexual desire and the power plays within relationships as a natural and even spiritual force of life, though perhaps tame by modern standards, caused The Rainbow to be prosecuted in an obscenity trial in late 1915, as a result of which all copies were seized and burnt. After this ban it was unavailable in Britain for 11 years, although editions were available in the USA.The Rainbow was followed by a sequel in 1920, Women in Love. Although Lawrence conceived of the two novels as one, considering the titles The Sisters and The Wedding Ring for the work, they were published as two separate novels at the urging of his publisher. However, after the negative public reception of The Rainbow, Lawrence's publisher opted out of publishing the sequel. This is the cause of the delay in the publishing of the sequel.

The Rainbow tells the story of three generations of the Brangwen family, a dynasty of farmers and craftsmen who live in the east Midlands of England, on the borders of Nottinghamshire and Derbyshire. The book spans a period of roughly 65 years from the 1840s to 1905, and shows how the love relationships of the Brangwens change against the backdrop of the increasing industrialisation of Britain. The first central character, Tom Brangwen, is a farmer whose experience of the world does not stretch beyond these two counties; while the last, Ursula, his granddaughter, studies at University and becomes a teacher in the progressively urbanised, capitalist and industrial world that would become our modern experience.The book starts with a description of the Brangwen dynasty, then deals with how Tom Brangwen, one of several brothers, fell in love with a Polish refugee and widow, Lydia. The next part of the book deals with Lydia's daughter by her first husband, Anna, and her destructive, battle-riven relationship with her husband, Will, the son of one of Tom's brothers. The last and most extended part of the book, and also probably the most famous, then deals with Will and Anna's daughter, Ursula, and her struggle to find fulfilment for her passionate, spiritual and sensual nature against the confines of the increasingly materialist and conformist society around her. She experiences a same-sex relationship with a teacher, and a passionate but ultimately doomed love affair with Anton Skrebensky, a British soldier of Polish ancestry. At the end of the book, having failed to find her fulfilment in Skrebensky, she has a vision of a rainbow towering over the Earth, promising a new dawn for humanity:"She saw in the rainbow the earth's new architecture, the old, brittle corruption of houses and factories swept away, the world built up in a living fabric of Truth, fitting to the over-arching heaven."