Lady Chatterley's lover


Book Description







The World Broke in Two


Book Description

A Lambda Literary Awards Finalist Named one of the best books of 2017 by NPR's Book Concierge A revelatory narrative of the intersecting lives and works of revered authors Virginia Woolf, T. S. Eliot, E. M. Forster and D. H. Lawrence during 1922, the birth year of modernism The World Broke in Two tells the fascinating story of the intellectual and personal journeys four legendary writers, Virginia Woolf, T. S. Eliot, E. M. Forster, and D. H. Lawrence, make over the course of one pivotal year. As 1922 begins, all four are literally at a loss for words, confronting an uncertain creative future despite success in the past. The literary ground is shifting, as Ulysses is published in February and Proust’s In Search of Lost Time begins to be published in England in the autumn. Yet, dismal as their prospects seemed in January, by the end of the year Woolf has started Mrs. Dalloway, Forster has, for the first time in nearly a decade, returned to work on the novel that will become A Passage to India, Lawrence has written Kangaroo, his unjustly neglected and most autobiographical novel, and Eliot has finished—and published to acclaim—“The Waste Land." As Willa Cather put it, “The world broke in two in 1922 or thereabouts,” and what these writers were struggling with that year was in fact the invention of modernism. Based on original research, Bill Goldstein's The World Broke in Two captures both the literary breakthroughs and the intense personal dramas of these beloved writers as they strive for greatness.




D.H. Lawrence and Italian Futurism


Book Description

The significance of D. H. Lawrence's reading of two Italian Futurist volumes in the summer of 1914 is widely acknowledged, but the nature of its significance has not been more closely examined, nor traced through his major fictional and discursive writings of the Great War and its aftermath. D. H. Lawrence and Italian Futurism addresses the oversight, firstly by examining the context to Lawrence's now famous June 1914 letters concerning Futurism; secondly, by placing Futurism - and Lawrence's interest in Futurism - in the light of the movement's intellectual indebtedness to nineteenth-century Naturalism; and, thirdly, by providing new readings of The Rainbow, Women in Love and Studies in Classic American Literature which draw on these contextual materials. The book's form will make it attractive to scholars and students of European modernism as well as to those interested in the works of D. H. Lawrence.




The Bad Side of Books


Book Description

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.




Studies in Classic American Literature


Book Description

Landmark volume of D. H. Lawrence's writings on American literature including major essays on Poe, Hawthorne, Melville and Whitman.




Sons and Lovers


Book Description




Why Read Moby-Dick?


Book Description

A “brilliant and provocative” (The New Yorker) celebration of Melville’s masterpiece—from the bestselling author of In the Heart of the Sea, Valiant Ambition, and In the Hurricane's Eye One of the greatest American novels finds its perfect contemporary champion in Why Read Moby-Dick?, Nathaniel Philbrick’s enlightening and entertaining tour through Melville’s classic. As he did in his National Book Award–winning bestseller In the Heart of the Sea, Philbrick brings a sailor’s eye and an adventurer’s passion to unfolding the story behind an epic American journey. He skillfully navigates Melville’s world and illuminates the book’s humor and unforgettable characters—finding the thread that binds Ishmael and Ahab to our own time and, indeed, to all times. An ideal match between author and subject, Why Read Moby-Dick? will start conversations, inspire arguments, and make a powerful case that this classic tale waits to be discovered anew. “Gracefully written [with an] infectious enthusiasm…”—New York Times Book Review




D. H. Lawrence


Book Description




Books Are Made Out of Books


Book Description

Cormac McCarthy told an interviewer for the New York Times Magazine that "books are made out of books," but he has been famously unwilling to discuss how his own writing draws on the works of other writers. Yet his novels and plays masterfully appropriate and allude to an extensive range of literary works, demonstrating that McCarthy is well aware of literary tradition, respectful of the canon, and deliberately situating himself in a knowing relationship to precursors. The Wittliff Collection at Texas State University acquired McCarthy's literary archive in 2007. In Books Are Made Out of Books, Michael Lynn Crews thoroughly mines the archive to identify nearly 150 writers and thinkers that McCarthy himself references in early drafts, marginalia, notes, and correspondence. Crews organizes the references into chapters devoted to McCarthy's published works, the unpublished screenplay Whales and Men, and McCarthy's correspondence. For each work, Crews identifies the authors, artists, or other cultural figures that McCarthy references; gives the source of the reference in McCarthy's papers; provides context for the reference as it appears in the archives; and explains the significance of the reference to the novel or play that McCarthy was working on. This groundbreaking exploration of McCarthy's literary influences—impossible to undertake before the opening of the archive—vastly expands our understanding of how one of America's foremost authors has engaged with the ideas, images, metaphors, and language of other thinkers and made them his own.