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“... attribute quotations and the book has no notes. He compares her early work vaguely to that of D.H. Lawrence, and taking his cue from Kavan’s own comments, sees the influence of Alain Robbe-Girllet in the later. He maintains that ‘the sensibility of an addict permeates and informs the work of Anna Kavan’ but shows no understanding of what this ...”

“... 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 ...”

“... University Press, which long ago set a standard for editing novelists with its multi-volumed D.H. Lawrence. The extent and minuteness of the labours of Todd and Bree, both in this volume and throughout the series, are almost painful to contemplate. It used to be taken as obvious that the aim of an editor was to represent as far as possible the final wishes of ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... 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 ...”

“... wide interests, who wrote poems in French as well as fantasies in English; he was a friend of D.H. Lawrence, and of course his Bloomsbury connection was hereditary. Warner was in touch with that world yet independent of it; she knew Virginia Woolf but condescended to what she regarded as the over-self-conscious Mrs Dalloway, and indeed one suspects that she ...”

“... he would rather be a free spirit than a son of the ancient gods. Unlike the fiction of a D.H. Lawrence, there is no hint here of the primitivist belief that the Aztecs could return or that a post-Columbian age might be at hand. Instead, Fuentes prints a few lines of dialogue (incomprehensible to the reader) in an Indian, possibly an Aztec language. It is ...”