Excerpt from D. H. Lawrence's Letters to Bertrand Russell Meanwhile, here is another contribution to Lawrence litera ture, one of the last important collections of Lawrenciana. This book is the idea of Miss Frances Steloff of the Gotham Book Mart, who owns these letters. I am' grateful to her for assigning me this pleasantest of editorial tasks. She and I are in turn grate ful to Mrs. Frieda Lawrence and to Mr. Bertrand Russell for making publication of these letters possible. And my wife Beatrice Reynolds Moore deserves my special thanks for her encouragement and practical assistance. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

No detailed description available for "Boarding the Ship of Death".

Study of Lawrence's fiction, non-fiction, poetry, and paintings.

This book is a study of D. H. Lawrence's view of nature, his ecological consciousness contributes to his unique place within modern aesthetics. An affinity has been examined between Lawrence's ideology of man-nature relationship and the classic oriental philosophies concerning nature, particularly the ancient Taoism. In Lawrence's novels and essays one finds that virtually all aspects of his religious vision are anticipated in Eastern literature. His almighty Holy Ghost, for example, who is responsible for the sacred underlying unity, is named Brahman by Hindus, Dharmakaya by Buddhists, and Tao by Taoists. His duality, with its stress on the dynamic balance between complementary life-principles, is fully worked out in the Yin-Yang philosophy of Taoism.

On the 15th of June 1921, during his stay in Baden-Baden, Germany, British novelist D. H. Lawrence (1885-1930) encountered the German physicist Albert Einstein (1879-1955). Lawrence read an English translation of Relativity: The Special and General Theory, which had been published in the previous year. The very next day he wrote: “Einstein isn’t so metaphysically marvellous, but I like him for taking out the pin which fixed down our fluttering little physical universe” (4L 37). Lawrence’s first response to Einstein is ambivalent, for his reading of works by Victorian relativists such as Charles Darwin, T. H. Huxley, William James, Herbert Spencer and Ernst Haeckel had helped him foster his own concept of relativity, while his representations of relativity had interacted with modern artists including Pablo Picasso, Marcel Duchamp and Umberto Boccioni. This book shows Lawrence’s exploration of relativity in the late nineteenth- and early twentieth-century European cultural climate of Modernism and examines his representation of relativity in Women in Love (1920), The Lost Girl (1920), Aaron’s Rod (1922) and The Fox (original version, 1920; revised version, 1922).

This critical study on mutual and cross references and interferences in Lawrence's literary production aims to trace the influence of Lawrence's works in contemporary literature in English, after an analysis of how much he inherited from previous authors, as well as from different cultures and myths and how much he contributed in divulgating his cultural background. Lawrence's approach to nature, his desperate refusal of industrialization, his example of travel-writing became a source of inspiration or a sort of legacy. But Lawrence's legacy create the effect of a permanent quarrel because of the controversial responses to his works: censorship, accusations of obscenity, ambiguity aroused by the fact of being stereotyped as the prophet of sex, as well as of being at the centre of the feminist and misogynist disputes.

This Anthology Offers A Broad Spectrum Of The Major Critical Responses Of 1980S To The Works Of D.H. Lawrence. Without Dustjacket.