This second volume of the acclaimed Cambridge Biography of D. H. Lawrence covers the years 1912–22, the period in which Lawrence forged his reputation as one of the greatest and most controversial writers of the twentieth century. During this period Lawrence produced the trio of novels with which he was to revolutionise English fiction over the next decade. It was a painful process: Sons and Lovers was crudely cut by its publisher; The Rainbow was destroyed by court order; and Women in Love took almost three years to find a publisher. This 1996 biography tells the writing life too, tracing the illuminating relations between man and manuscript, without confusing life and art. Drawing on previously unseen information from the Cambridge Editions of the Letters and Works, and original research, fresh light is shed on questions of Lawrence's sexuality, health, quarrels and friendships, which have been more often gossiped or theorised about than scrupulously examined.
This book explores the tension between the conservatism and the imaginative process across the entirety of Rudyard Kipling’s fiction. It shows how Kipling the conservative thinker explores problematic aspects of Empire and the English class-system, both because it is unavoidable and because his art requires it. This tension is evident in the Indian and ‘Imperial’ Kipling and in his later ‘English’ stories. Situating Kipling’s fiction within changing social and political contexts, Mark Paffard shows the anxieties Kipling as a conservative responds to in the early Indian stories to be very different from those caused by the economic and technological upheaval of the ‘Belle Epoque’, and those arising from the First World War. Paffard reveals how Kipling’s development as a writer is shaped by his need to respond differently to a changing world: imperialist ideology and conservatism dictate the stories that he sets out to write, and his imagination and sympathy shape the stories that are finally written.
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.
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