“... since, for ten years from 1921 onwards, he never exhibited; Pound demoralised and, like D.H. Lawrence, abandoning the England on which he had centred his hopes for a new age; Pound in Italy swallowing Mussolini whole. These were the sad facts of the Twenties. Looking at a passage like that, we can more easily understand why Tomlinson has been ...”

“... Yet even here George Eliot makes us experience the erotic nature of the scene. Anticipating D.H. Lawrence, she gives us sexual passion in terms borrowed from non-human nature: ‘Such young unfurrowed souls roll to meet each other like two velvet peaches that touch softly and are at rest; they mingle as easily as two brooklets that ask for nothing but to ...”

“... of energy and his paranoia – Campbell resembled two other, more important contemporaries, D.H. Lawrence and Wyndham Lewis. And like them at their least controlled, he demonstrated in his life and work two basic points: that energy alone, taken as a human value, leads to something very like fascism; and that paranoia is fatal to even the most gifted artist ...”

“... was too gutsily realistic to be like Virginia Woolf, and too elegantly mannered to be like D.H. Lawrence. As always, he was somewhere in between. This was his natural terrain. When there were two things to be had, he wanted both. He wanted to be old-fashinoned. He also wanted to be up to date. He preened himself as a high-grade connoisseur of bygone ...”

“... a nicely understated twist of self-reference) short stories by Katherine Mansfield and D.H. Lawrence. Sonje has lost her job at the library because she’s suspected of ‘Communism’. There is an honourable tradition in English language fiction – in women’s fiction particularly – of narrative engagement with characters who don’t fit ...”

“... artist and consumptive cannot afford to get too involved with life.’ He continues: D.H. Lawrence, fellow artist and consumptive, would have acrimoniously disagreed with him. Malice and revenge were a natural tonic and inspiration to Lawrence, although some of his best stories, particularly the early ones, have a ...”

“... Given the choice, I’m with Rilke, but I still want to understand what Beckett meant. Or D.H. Lawrence: When [Cézanne] said to his models: ‘Be an apple! Be an apple!’ he was uttering the foreword to the fall not only of Jesuits and Christian idealists [it was important to Lawrence that Cézanne ended life in the ...”

“... cogency here is as true of elaborations and recedings of a philosophical nature. The death of D.H. Lawrence in 1930 moved E.M. Forster ‘to say straight out that he was the greatest imaginative novelist of our generation.’ Whereupon T.S. Eliot’s philosophical proclivities notoriously encouraged him to speak in a certain way: ‘The virtue of speaking out ...”

“... is a tremendous biographical document with flashes of power. It has a striking portrait of D.H. Lawrence being foxy while Frieda gets on with her knitting. But as fiction it’s inert: tendril-waving and clumpingly spelled out. All psychologies underlined. Things said twice. What happened to the poet’s ear for tautology when she talks of someone as having ...”

“... getting on very well indeed. Laugh the Betjeman way and the best people will laugh with you. D.H. Lawrence had a comparable power, the jester’s vitality that attracts the upper crust, and the social ‘feel’ in his verse has odd affinities with Betjeman’s: both are obviously – in their works and out of them – the life and soul of a ‘set’. There ...”

“... of Modern French Art. Their snooty irreverence had made postwar England feel young again, so D.H. Lawrence is said to have said (although in making Osbert the model for Lord Chatterley, Lawrence may have been seeking to modify his celebration). In the social climate of the late Thirties, it was convenient to forget ...”

“... her reliably sympathetic: ‘I dont think she cares a fig realy – she is like me.’ His cousin Lawrence also proved like-minded; the pair of them took to calling themselves Gladys and Phyllis Dilly. Edward as Gladys doubled once as Widow Twankey. The Dilly sisters were imagined belles of Rye, the cobbled and gabled ‘Tinkerbell Towne’, as Burra dubbed ...”

“... in pencil and rewritten again. The few sentences that remain reveal the baleful influence of D.H. Lawrence, whom Coleman never met but whose work she was inevitably drawn to (‘every expository word he writes about his beliefs makes him dear to me, in the deepest way’). Her heroine is even called Frieda Laurenzi. ‘Thinking nothing, believing nothing, she ...”

“... in their own region. As if all this were not ambiguous enough, they were also stranded like D.H. Lawrence between country and city, full of a Romantic yearning for the moors and likely to have witnessed a good deal of urban destitution. According to Christine Alexander, the erudite, meticulous editor of this volume, there were 18 small textile mills in ...”

“... and accepted it in a much less philosophical spirit. One of the paradoxes of emancipation, as D.H. Lawrence perceived, was that the bright new world did not include sex, except in bogus romantic form. But Daff was gay and witty, with the Pekinese flower face for which the cloche hat was designed (see Shepard’s illustration to ‘James James Morrison ...”