'Ursula,' said Gudrun, 'don't you REALLY WANT to get married?' Ursula laid her embroidery in her lap and looked up. Her face was calm and considerate.
'I don't know,' she replied. 'It depends how you mean.'
Gudrun was slightly taken aback. She watched her sister for some moments.
'Well,' she said, ironically, 'it usually means one thing! But don't you think anyhow, you'd be—' she darkened slightly—'in a better position than you are in now.'
A shadow came over Ursula's face.
'I might,' she said. 'But I'm not sure.'
Again Gudrun paused, slightly irritated. She wanted to be quite definite.
'You don't think one needs the EXPERIENCE of having been married?' she asked.
'Do you think it need BE an experience?' replied Ursula.
'Bound to be, in some way or other,' said Gudrun, coolly. 'Possibly undesirable, but bound to be an experience of some sort.'
'Not really,' said Ursula. 'More likely to be the end of experience.'
Gudrun sat very still, to attend to this.
'Of course,' she said, 'there's THAT to consider.' This brought the conversation to a close. Gudrun, almost angrily, took up her rubber and began to rub out part of her drawing. Ursula stitched absorbedly.
'You wouldn't consider a good offer?' asked Gudrun.
'I think I've rejected several,' said Ursula.
'REALLY!' Gudrun flushed dark—'But anything really worth while? Have you REALLY?'
'A thousand a year, and an awfully nice man. I liked him awfully,' said Ursula.
'Really! But weren't you fearfully tempted?'
'In the abstract but not in the concrete,' said Ursula. 'When it comes to the point, one isn't even tempted—oh, if I were tempted, I'd marry like a shot. I'm only tempted NOT to.' The faces of both sisters suddenly lit up with amusement.
LADY CHATTERLEY’S LOVER was banned on its publication in 1928, creating a storm of controversy. Lawrence tells the story of Constance Chatterley’s marriage to Sir Clifford, an aristocratic and an intellectual who is paralyzed from the waist down after the First World War. Desperate for an heir and embarrassed by his inability to satisfy his wife, Clifford suggests that she have an affair. Constance, troubled by her husband’s words, finds herself involved in a passionate relationship with their gamekeeper, Oliver Mellors. Lawrence’s vitriolic denunciations of industrialism and class division come together in his vivid depiction of the profound emotional and physical connection between a couple otherwise divided by station and society.
Please note: due to US copyright restrictions, post-1922 works cannot appear in this edition. When new texts become available in your public domain, they will be added to the eBook as a free update.
* Beautifully illustrated with images relating to Lawrence’s life and works
* Concise introductions to the novels and other texts
* Seven novels, with individual contents tables
* Images of how the books were first published, giving your eReader a taste of the original texts
* Excellent formatting of the texts
* Three novellas and all 68 short stories, with many rare stories appearing in digital print for the first time
* Special chronological and alphabetical contents tables for the poetry and the short stories
* Easily locate the poems or short stories you want to read
* Almost all the plays, with separate contents tables
* Two travel writing books
* Rare poetry collections
* Includes many rare non-fiction essays
* Also includes “A STUDY OF THOMAS HARDY” – explore Lawrence’s critique of the famous author
* The rare school textbook Lawrence wrote when struggling financially
* UPDATED with corrections and more images
* Scholarly ordering of texts into chronological order and literary genres
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THE WHITE PEACOCK
SONS AND LOVERS
WOMEN IN LOVE
THE LOST GIRL
THE CAPTAIN’S DOLL
The Short Stories
LIST OF SHORT STORIES IN CHRONOLOGICAL ORDER
LIST OF SHORT STORIES IN ALPHABETICAL ORDER
THE MARRIED MAN
THE FIGHT FOR BARBARA
THE WIDOWING OF MRS HOLROYD
A COLLIER’S FRIDAY NIGHT
The Poetry Collections
D .H. LAWRENCE’S POETRY: A BRIEF INTRODUCTION
LOVE POEMS AND OTHERS
LOOK! WE HAVE COME THROUGH!
BAY: A BOOK OF POEMS
LIST OF POEMS IN CHRONOLOGICAL ORDER
LIST OF POEMS IN ALPHABETICAL ORDER
The Travel Writing
TWILIGHT IN ITALY
SEA AND SARDINIA
A STUDY OF THOMAS HARDY
MOVEMENTS IN EUROPEAN HISTORY
PSYCHOANALYSIS AND THE UNCONSCIOUS
FANTASIA OF THE UNCONSCIOUS
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The explosive passion of Connie and Mellors’ relationship – and the searing candour with which it is described – marked a watershed in twentieth-century fiction, garnering Lady Chatterley’s Lover a wide and enduring readership and lasting notoriety.
The text is taken from the privately published Author’s Unabridged Popular Edition of 1930, the last to be supervised in D. H. Lawrence’s lifetime. It also includes his witty essay, My Skirmish with Jolly Roger, describing the pirating of this infamous novel.
This Macmillan Collector’s Library edition of Lady Chatterley’s Lover features an afterword by editor and publisher, Anna South.
Designed to appeal to the booklover, the Macmillan Collector’s Library is a series of beautiful gift editions of much loved classic titles. Macmillan Collector’s Library are books to love and treasure.
It is the early twentieth century, and the Brangwen sisters, Gudrun and Ursula, live in a coal-mining town in the Midlands of England.
Ursula, a teacher, and Gudrun, an artist, are on a quest for happiness and intellectual fulfillment when they meet Rupert and Gerald. Rupert is decidedly attractive, and Ursula gravitates toward him immediately; Gerald is good looking and wealthy, and his friendship with Gudrun soon becomes something more. The four bond deeply through life’s tragedies and joys, and periods of alternating intense passion and strife. They move in and out of one another’s minds, lives, and beds in unexpected ways.
Suffused with a sense of deep and compelling humanity, Women in Love is widely considered to be Lawrence’s greatest achievement—an exploration of love and sexuality in all its varied, beautiful, and devastating forms.
This ebook has been professionally proofread to ensure accuracy and readability on all devices.
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.
'There was one place in the world that stood solid and did not melt into unreality: the place where his mother was. Everybody else could grow shadowy, almost non-existent to him, but she could not.'
In his quest to find his emotional and independent self, Paul Morel is torn between the strong, Oedipal bond he has with his mother and the relationships he forges as a young adult, with chaste Miriam and the provocative Clara. As Paul matures and struggles with his own and his mother's feelings towards the other women in his life, Lawrence expertly crafts a timeless and universal story of family, love and the relationships that define us.
When you have experienced Sons and Lovers you have lived through the agonies of the young Lawrence striving to win free from his old life'. Generally, it is not only considered as an evocative portrayal of working-class life in a mining community, but also an intense study of family, class and early sexual relationships.
A well established society in Woodhouse, full of fine shades, ranging from the dark of coal-dust to grit of stone-mason and sawdust of timber-merchant, through the lustre of lard and butter and meat, to the perfume of the chemist and the disinfectant of the doctor, on to the serene gold-tarnish of bank-managers, cashiers for the firm, clergymen and such-like, as far as the automobile refulgence of the general-manager of all the collieries. Here the ne plus ultra. The general manager lives in the shrubberied seclusion of the so-called Manor. The genuine Hall, abandoned by the "County," has been taken over as offices by the firm.
Here we are then: a vast substratum of colliers; a thick sprinkling of tradespeople intermingled with small employers of labour and diversified by elementary schoolmasters and nonconformist clergy; a higher layer of bank-managers, rich millers and well-to-do ironmasters, episcopal clergy and the managers of collieries, then the rich and sticky cherry of the local coal-owner glistening over all.
Such the complicated social system of a small industrial town in the Midlands of England, in this year of grace 1920. But let us go back a little. Such it was in the last calm year of plenty, 1913.
A calm year of plenty. But one chronic and dreary malady: that of the odd women. Why, in the name of all prosperity, should every class but the lowest in such a society hang overburdened with Dead Sea fruit of odd women, unmarried, unmarriageable women, called old maids? Why is it that every tradesman, every school-master, every bank-manager, and every clergyman produces one, two, three or more old maids? Do the middle-classes, particularly the lower middle-classes, give birth to more girls than boys? Or do the lower middle-class men assiduously climb up or down, in marriage, thus leaving their true partners stranded? Or are middle-class women very squeamish in their choice of husbands?
However it be, it is a tragedy. Or perhaps it is not.
'Take off that mute, do!' cried Louisa, snatching her fingers from the piano keys, and turning abruptly to the violinist.
Helena looked slowly from her music.
'My dear Louisa,' she replied, 'it would be simply unendurable.' She stood tapping her white skirt with her bow in a kind of a pathetic forbearance.
'But I can't understand it,' cried Louisa, bouncing on her chair with the exaggeration of one who is indignant with a beloved. 'It is only lately you would even submit to muting your violin. At one time you would have refused flatly, and no doubt about it.'
'I have only lately submitted to many things,' replied Helena, who seemed weary and stupefied, but still sententious. Louisa drooped from her bristling defiance.
'At any rate,' she said, scolding in tones too naked with love, I don't like it.'
'Go on from Allegro,' said Helena, pointing with her bow to the place on Louisa's score of the Mozart sonata. Louisa obediently took the chords, and the music continued.
A young man, reclining in one of the wicker arm-chairs by the fire, turned luxuriously from the girls to watch the flames poise and dance with the music. He was evidently at his ease, yet he seemed a stranger in the room.