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D. H. Lawrence's 'Study of Thomas Hardy', written in the early months of World War I, was originally intended to be a short critical work on Hardy's characters, but developed into a major statement of Lawrence's philosophy of art. The introduction to this work shows its relation to Lawrence's final rewriting of The Rainbow and its place among his continual attempts to express his philosophy in a definitive form. Previously published posthumously from a corrupt typescript, the 'Study' is now more firmly based on Koteliansky's typescript - Lawrence having destroyed the manuscript. The other essays in this volume span virtually the whole of Lawrence's writing career, from 'Art and the Individual' (1908) to his last essay 'John Galsworthy', written in 1927. The introduction sets these essays in the context of Lawrence's life and work. The textual apparatus gives variant readings, and explanatory notes identify references and quotations, and offer background information.
When Thomas Hardy’s Jude the Obscure appeared in 1895, it immediately caused scandal and controversy. Its frank treatment of Jude’s sexual relationships with Arabella and Sue, its scathing criticisms of late-Victorian hypocrisy, its depiction of the “New Woman,” and its attacks on “holy wedlock” and religious bigotry outraged numerous reviewers; one called the book “Jude the Obscene.” Others saw it as brilliantly progressive in its ideas and techniques. Vivid and complex, satiric and harrowing, this novel marked the culmination of Hardy’s development as a leading novelist of the cultural transition from the Victorian to the Modernist era. The Broadview edition restores the original, controversial 1895 text.
This forty-year-old Christian classic and bestseller is a study group favorite; this book challenges readers’ conventional views about God and encourages them to search for a meaningful redefinition of a higher power that is relevant to contemporary existence. Your God is Too Small is a groundbreaking work of faith, which challenges the constraints of traditional religion. In his discussion of God, author J.B. Phillips encourages Christians to redefine their understanding of a creator without labels or earthly constraints and instead search for a meaningful concept of God. Phillips explains that the trouble facing many of us today is that we have not found a God big enough for our modern needs. In a world where our experience of life has grown in myriad directions and our mental horizons have been expanded to the point of bewilderment by world events and scientific discoveries, our ideas of God have remained largely static. This inspirational work tackles tough topics and inspires readers to reevaluate and connect more deeply with a God that is relevant to current experience and big enough to command respect and admiration.
Father Brown, an ordinary priest whose unremarkable exterior conceals extraordinary crime-solving ability, is celebrated for his solutions to metaphysical mysteries, a genre perfected by his creator, G. K. Chesterton. More than lighthearted comedies built around puzzling crimes, these superbly written tales contain deeply perceptive philosophical reflections. The Innocence of Father Brown (1911) was the first collection of stories featuring the ecclesiastical sleuth and is widely considered the best. In this annotated edition of the collection, the Chesterton scholar Martin Gardner provides detailed notes and background information on various aspects of such stories as "The Blue Cross," "The Secret Garden," "The Invisible Man," "The Hammer of God," "The Eye of Apollo," and seven more, as well as an informative introduction and an extensive bibliography. Included also are eight illustrations reproduced from the first edition. The result is an indispensable companion for all Chesterton enthusiasts and a perfect introduction for anyone who has yet to meet the incomparable Father Brown.
'A critic must be able to feel the impact of a work of art in all its complexity and force. To do so, he must be a man of force and complexity himself...' 'A critic must be emotionally alive in every fibre, intellectually capable and skilful in essential logic, and then morally very honest.' These comments by D. H. Lawrence are as close a description as any of himself as a critic. They come from his essay on fellow novelist John Galsworthy, and there are many other pieces on novels and novelists in this selection. But Lawrence's range of genres extends to poetry and plays andpaintings, and his critical writing encompasses an enormous variety of subjects, from Aeschylus and the Apocalypse to symbolism and syphilis, for his nterests are philosophical , psychological, religious, moral, sociological, historical and cultural as well as literary and artistic. This selectionis a treasure-trove of 'thought adventures' by one of literature's liveliest critical spirits.
These essays are arranged progressively to indicate Hardy's development as a writer and thinker, and to present the major aspects of his work as a whole, linking the poetry and the prose at all appropriate stages. They suggest that 'his formative thought, the product of a period of conflict between new scientific philosophy and humanism on the one hand, and traditional Christian theology combined with Victorian restraints on the other, developed when England was not as intellectually provincial as Matthew Arnold had affirmed. Above all, they illustrate the extent to which the creative imagination and the style of Hardy the writer were stimulated and strengthened by literary influences...'. Important references are made throughout to his Life and Collected Letters.