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The Cambridge edition of Lady Chatterley's Lover (and A Propos of 'Lady Chatterley's Lover') is the first ever to restore to Lawrence's most famous novel the words that he wrote. It removes typists' corruptions and compositors' errors, which have marred the text for over sixty years, and includes hundreds of new words, phrases and sentences - and thousands of changes in punctuation. This text projects the sound of Lawrence's voice, embodies the precision of his mature style and reveals the force of his rhetorical power. The introduction establishes an accurate history of composition, typing, printing, publication and reception; the notes freshly identify dozens of difficult allusions; and the appendix, an original essay, explains how Lawrence imaginatively weaves real places and people into the fictional tapestry that he creates. For students and scholars alike, the Cambridge text is the only text of the novel that can be read or quoted with confidence.
Widely regarded as D. H. Lawrence's greatest novel, Women in Love is both a lucid account of English society before the First World War, and a brilliant evocation of the inexorable power of human desire.Women in Love continues where The Rainbow left off, with the third generation of Brangwens: Ursula Brangwen, now a teacher at Beldover, a mining town in the Midlands, and her sister Gudrun, who has returned from art school in London. The focus of the novel is primarily on their relationships, Ursula's with Rupert Birkin, a school inspector, and Gudrun's with industrialist Gerald Crich, and later with a sculptor, Loerke. Quintessentially modernist, Women in Love is one of Lawrence's most extraordinary, innovative and unsettling works
A collection of D.H. Lawrence of sex and love including novels, novellas, short stories, poetry and essays.
Remember the wonderfully romantic book of love letters that Carrie reads aloud to Big in the recent blockbuster film, Sex and the City? Fans raced to buy copies of their own, only to find out that the beautiful book didn't actually exist. However, since all of the letters referenced in the film did exist, we decided to publish this gorgeous keepsake ourselves. Love Letters of Great Men follows hot on the heels of the film and collects together some of history's most romantic letters from the private papers of Beethoven, Mark Twain, Mozart, and Lord Byron. For some of these great men, love is "a delicious poison" (William Congreve); for others, "a nice soft wife on a sofa with good fire, & books & music" (Charles Darwin). Love can scorch like the heat of the sun (Henry VIII), or penetrate the depths of one's heart like a cooling rain (Flaubert). Every shade of love is here, from the exquisite eloquence of Oscar Wilde and the simple devotion of Robert Browning, to the wonderfully modern misery of the Roman Pliny the Younger, losing himself in work to forget how much he misses his beloved wife, Calpurnia. Taken together, these letters show that perhaps men haven't changed all that much over the last 2,000 years--passion, jealousy, hope and longing still rule their hearts and minds. In an age of e-mail and texted "i luv u"s, this timeless and unique collection reminds us that nothing can compare to the simple joy of sitting down to read a letter from the one you love.
In an original and provocative reading of Vladimir Nabokov's work and the pleasures and perils to which its readers are subjected, Eric Naiman explores the significance and consequences of Nabokov's insistence on bringing the issue of art's essential perversity to the fore. Nabokov's fiction is notorious for the interpretive panic it occasions in its readers, the sense that no matter how hard he or she tries, the reader has not gotten Nabokov "right." At the same time, the fictions abound with characters who might be labeled perverts, and questions of sexuality lurk everywhere. Naiman argues that the sexual and the interpretive are so bound together in Nabokov's stories and novels that the reader confronts the fear that there is no stable line between good reading and overreading, and that reading Nabokov well is beset by the exhilaration and performance anxiety more frequently associated with questions of sexuality than of literature. Nabokov's fictions pervert their readers, obligingly training them to twist and turn the text in order to puzzle out its meanings, so that they become not better people but closer readers, assuming all the impudence and potential for shame that sexually oriented close-looking entails. In Nabokov, Perversely, Naiman traces the connections between sex and interpretation in Lolita (which he reads as a perverse work of Shakespeare scholarship), Pnin, Bend Sinister, and Ada. He examines the roots of perverse reading in The Defense and charts the enhanced attention to the connection between sex and metafiction in works translated from the Russian. He also takes on books by other authors—such as Reading Lolita in Tehran—that misguidedly incorporate Nabokov's writing within frameworks of moral usefulness. In a final, extraordinary chapter, Naiman reads Dostoevsky's The Double with Nabokov-trained eyes, making clear the power a strong writer can exert on readers.