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“... with the end of copyright protection. Heinemann were very happy to churn out their collected D.H. Lawrence, and sub-lease the texts to Penguin for forty-odd years. Then, on the brink of those works entering the public domain, the public whose domain it is was informed by Michael Black of Cambridge University Press that the standard ...”

“... that you had gone.’ He can’t write enough poetry to make anyone happy. To the publisher John Rodker, who wants to issue a volume of new poems, he confesses sheepishly: ‘I am sorry for the misunderstanding. I don’t think there is enough new stuff for more than 25 pages, but perhaps I shall have more by the end of June. I hope so.’ Elementary ...”

“... during the darkest period of his mourning. The volume includes letters to Joseph Priestley, Thomas Lawrence, John Thelwall, Samuel Parr (‘the Whig Dr Johnson’), the great liberal advocate Thomas Erskine, R.B. Sheridan, Charles James Fox, the novelists and dramatists Elizabeth Inchbald, Thomas Holcroft, Amelia ...”

“... Lawrence on the Revelation which was vouchsafed to the biblical John of Patmos? Those who know both writers can only fear the worst. Woozy metaphysics. Wild history. Blood-stained theology. Vituperation galore. Promises of chaos to come. Even more dismaying glimpses of redemption to follow ...”

“... 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 ...”

“... 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 ...”

“... Taking the clapper out of the bell makes no sense, but this is what we do too often with D.H. Lawrence. The writer who seemed to believe in dualisms – blindness over sight, blood over mind, pagan over modern, and so on – gets broken into two like a stable door. Readers, critics and biographers insist on splitting Lawrence into writer or preacher, dogmatist or poet ...”

“... on Eliot’s poetry given at the Cheltenham Literature Festival in 1968 and another on Eliot and Lawrence from the early 1970s. Admittedly he was by then in his seventies and these performances can hardly represent him at his most potent. Any listener now will be struck by the peculiar voice: reedy, nasal, lisping. He reads in an incantatory monotone. In ...”

“... In his lifetime his reputation was high, but Sir Thomas Lawrence was scarcely buried – with great pomp in the crypt of St Paul’s – before the feeling spread that his work had more brilliance than substance. Victorians, who disliked the morals and manners of the leaders of Regency society, found them reflected in Lawrence’s frequently showy pictures of the men, their wives, their mistresses and their children – legitimate and otherwise ...”

“... Leslie Mitchell) is put forward as his country’s great 20th-century novelist: the Scottish D.H. Lawrence. Gibbon’s reputation substantially rests on A Scots Quair (‘quire’ – or ‘gathering of sheets’), also called ‘The Mearns Trilogy’, Mearns being an ancient name for Kincardineshire, now itself an ancient name after the county reorganisation ...”

“... 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 ...”

“... this time in a more objectively historical context. Hamilton offers 22 case studies, from John Donne – the first properly biographed English author – to Philip Larkin of last month’s Observer fame. Hamilton could not, if he tried, write an unreadable book. Keepers of the Flame is that rarest of modern things, lit crit with laughs. Hamilton has ...”

“... staining the magical purity of those early performances. In The Passion of Montgomery Clift, Amy Lawrence idiosyncratically prefers those neglected post-accident films, resistant to their mood of dejection, but alive to Clift’s quieter genius. It’s a preference that fits her method. We all know about Clift; but ...”

“... United Kingdom, the so-called Diplock Courts in Northern Ireland. In their study of those courts, John Jackson and Sean Doran suggest that the arrangement leads to an ‘adversarial deficit’ – the judge’s increased inquisitorial role changes the nature of the proceedings. Pressure is placed on defendants to refrain from contesting the prosecution case ...”