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The small locomotive engine, Number 4, came clanking, stumbling down from Selston-with seven full waggons. It appeared round the corner with loud threats of speed, but the colt that it startled from among the gorse, which still flickered indistinctly in the raw afternoon, outdistanced it at a canter. A woman, walking up the railway line to Underwood, drew back into the hedge, held her basket aside, and watched the footplate of the engine advancing. The trucks thumped heavily past, one by one, with slow inevitable movement, as she stood insignificantly trapped between the jolting black waggons and the hedge; then they curved away towards the coppice where the withered oak leaves dropped noiselessly, while the birds, pulling at the scarlet hips beside the track, made off into the dusk that had already crept into the spinney. In the open, the smoke from the engine sank and cleaved to the rough grass. The fields were dreary and forsaken, and in the marshy strip that led to the whimsey, a reedy pit-pond, the fowls had already abandoned their run among the alders, to roost in the tarred fowl-house.
Set in pre-World War I England, the story centers on the conflict between a coarse, blustering coal miner and his refined, working-class wife.
This book looks beyond fidelity to emphasize how each adaptation of D.H. Lawrence’s short stories functions as a creative response to a text, foregrounding the significance of its fluidity, transtextuality, and genre. The adaptations analysed range from the first to the most recent and draw attention to the fluidity of textual sources, the significance of generic conventions and space in film, the generic potentialities latent within Lawrence’s tales, and the evolving nature of adaptation. By engaging with recent advances in adaptation theory to discuss the evolving critical reception of the author’s work and the role of the reader, this book provides a fresh, forward-looking approach to Lawrence studies.
A set of 50 fascinating, disturbing, moving or funny short books published in an appealing new format to celebrate the 50th anniversary of Penguin Modern Classics
He thought his life couldn't get any worse... Wesley Gates is down on his luck. He's drowning in debt. His demanding career isn't letting up. And, to top it all off, after years of ignoring their failing marriage, his wife has had enough. Heartbroken and in desperate need of a place to stay while he gives his wife the space she's asked for, Wes is shocked when he runs into a familiar face from his past. As they catch up, Wes quickly learns his old classmate has an extra room and a non-existent social life. He can't help feeling grateful to spend time with someone who remembers who he was during their glory days, long before his life fell apart. So, when Elias offers to rent out his spare bedroom, it seems like the answer to all Wes's problems. Wes takes his old friend up on the offer without hesitation. Living with someone you barely know is better than living with a stranger... Isn't it? But soon, Wes realizes moving in with Elias may have been a mistake. Between the wild mood swings, strange occurrences, and total disregard for his new roommate's privacy, Wes begins to wonder if Elias will be his savior or his worst nightmare. When his wife reveals devastating news that destroys the final bit of shaky ground Wes was standing on, his new roommate may be all he has left. Maybe that's what Elias wanted in the first place... Or maybe it's all in Wes's head. Elias invited him in... Will Wes ever be able to leave?
The Rainbow by D. H. Lawrence follows three generations of the Brangwen family, focusing on the sexual dynamics of, and relations between, the characters. Lawrence's frank treatment of sexual desire and the power plays within relationships as a natural and even spiritual force of life caused The Rainbow to be prosecuted in an obscenity trial in late 1915, as a result of which all copies were seized and burnt. After this ban it was unavailable in Britain for 11 years. Women in Love is a sequel to The Rainbow. Ursula and Gudrun Brangwen are two sisters living in the Midlands of England in the 1910s. Ursula is a teacher, Gudrun an artist. They meet two men who live nearby, Rupert Birkin and Gerald Crich. The four become friends. Ursula and Birkin become involved and Gudrun eventually begins a love affair with Gerald. All four are deeply concerned with questions of society, politics, and the relationship between men and women. Birkin asks Ursula to marry him, and she agrees. Gerald and Gudrun's relationship, however, becomes stormy.
Indeholder analyser af novellerne: Odour of Chrysanthemums ; The shadow in the rose garden ; England, my England ; The blind man ; Wintry peacock ; You touched me ; Two blue birds ; The rocking-horse winner ; The woman who rode away.
'Well, Mabel, and what are you going to do with yourself?' asked Joe, with foolish flippancy. He felt quite safe himself. Without listening for an answer, he turned aside, worked a grain of tobacco to the tip of his tongue, and spat it out. He did not care about anything, since he felt safe himself.The three brothers and the sister sat round the desolate breakfast table, attempting some sort of desultory consultation. The morning's post had given the final tap to the family fortunes, and all was over. The dreary dining-room itself, with its heavy mahogany furniture, looked as if it were waiting to be done away with.But the consultation amounted to nothing. There was a strange air of ineffectuality about the three men, as they sprawled at table, smoking and reflecting vaguely on their own condition. The girl was alone, a rather short, sullen-looking young woman of twenty-seven. She did not share the same life as her brothers. She would have been good-looking, save for the impassive fixity of her face, 'bull-dog', as her brothers called it.There was a confused tramping of horses' feet outside. The three men all sprawled round in their chairs to watch. Beyond the dark holly-bushes that separated the strip of lawn from the highroad, they could see a cavalcade of shire horses swinging out of their own yard, being taken for exercise. This was the last time. These were the last horses that would go through their hands. The young men watched with critical, callous look. They were all frightened at the collapse of their lives, and the sense of disaster in which they were involved left them no inner freedom.