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“... for the first time, as a volume in the Cambridge Edition of the Letters and Works of D.H. Lawrence.* It is an unfinished novel of 292 pages, of which only the first 93 have previously been printed. Lawrence wrote the book between May 1920, when he had just finished The Lost Girl, and some time in 1921. He gave up ...”

“... In 1932,​ Aldous Huxley published The Collected Letters of D.H. Lawrence, a large brown volume, printed in a curiously elaborate type, which has no doubt become something of a special item in booksellers’ catalogues. It contained 889 pages. Exactly 30 years later Harry T. Moore edited The Collected Letters of D ...”

“... That E.M. Forster gave only two cheers for democracy, but three for D.H. Lawrence, on the occasion of Lawrence’s death, is well-known. Forster was upset that the lowbrows Lawrence scandalised had joined forces with the highbrows he bored to denigrate ‘the greatest imaginative novelist’ of his generation ...”

“... When Willie Hopkin first caught sight of D.H. Lawrence in his pram, he thought him a ‘puny, fragile little specimen’. Forty-four years later the fragile specimen died, reduced by tuberculosis to a weight of 90 pounds. It is understandable, then, that Jeffrey Meyers should make much of Lawrence’s ‘lifelong invalidism’, and conclude his biography with an appendix called ‘A History of Illness ...”

“... the same, despite Svevo’s rule, there have been a few people – Tolstoy, Wittgenstein and D.H. Lawrence come to mind – who not only went on expecting to be transformed, but managed to be so – and this without much reference to age. I come fresh from reading Ray Monk’s enthralling biography of Wittgenstein, a man who lived for change and through ...”

“... raw material, anxious to tell the world about their cook. George Neville went to school with D.H. Lawrence and supposed himself the ‘original’ of George Saxton in The White Peacock: in his memoir he congratulates himself upon his useful contribution to Lawrence’s conception of true manliness. Witter Bynner met ...”

“... of early fame after Sons and Lovers, and of the publication of The Rainbow and its banning, and of Lawrence’s violent and despairing reactions to the war. He was already a fully recognised writer, a probable genius, and his more intimate correspondents include Cynthia Asquith, Ottoline Morrell, Bertrand Russell, Edward Marsh, Middleton Murry and Katherine ...”

“... Visiting Perth in May 1922, D.H. Lawrence struck one May Gawlor, who met him at a literary picnic, as a cross between ‘a reddish bearded able-bodied seaman and a handyman at the backdoor’, so that she wondered ‘how this rather shabby, slightly coarse, far from spruce and tidy little man could possibly have caused such a flutter, apart from his books ...”

“... This, the third of seven volumes in the Cambridge collection, contains 942 letters written by Lawrence in something under five years. Harry T. Moore’s Collected Letters of 1962 did the whole job in less than twice as many pages, though it’s true he didn’t print quite everything; and many more letters have turned up over the last twenty years ...”

“... socially and sexually, from his contemporaries; and many of them seized the opportunity, D.H. Lawrence no less than Jane Austen. That establishing and disengaging of the self became in the 19th century more and more a part of the classic writer’s instinct, and merges with the novel’s own unique form of self-therapy. Dickens explores himself through it ...”

“... spilt and this was just a metaphor of the poets you’ll have read before: The Waste Land and D.H. Lawrence express symbolic abhorrence – linking fruitless sexual practices with decadence and cactuses; they say we can’t now ripen our oats (this isn’t literal – see the ‘Notes’). But notions so Weston sound all wrong from that burned and foreign ...”

“... with the activities of his dynamic father. On Capri he was to see himself as Byron, D.H. Lawrence as Shelley and Francis Brett Young as a more retiring kind of Keats. And Lawrence was fascinated by him, found him sympathetic and good company, and made him the model in his story called ‘The man who loved ...”

“... Lawrence’s maxim ‘we shed our sicknesses in books’ is usually applied to Sons and Lovers, where he disposed of his nearly fatal over-attachment to his mother. But Women in Love is a cathartic novel too, though here the sickness is less easy to cure. The sickness itself is obvious enough: it is misanthropy, a continuous rage at almost everyone around ...”

“... In 1916, D.H. Lawrence wrote to Lady Cynthia Asquith of his abiding ‘sadness’: ‘for my country, for this great wave of civilisation, 2000 years, which is now collapsing’. Driving to Garsington, Ottoline Morrell’s country seat, he was overwhelmed with a sense of so much beauty and pathos of old things passing away and no new things coming ...”