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Welcome to the May bulletin... and it's on time!!

 



Your editor was reminded of Lorenzo’s poem ‘When I went to the circus’ after he was duffed up in a recent post by Stephen Alexander. The poem starts:
 
'When I went to the circus that had pitched on the waste lot
it was full of uneasy people
frightened of the bare earth and the temporary canvas
and the smell of horses and other beasts
instead of merely the smell of rain.’
 
Stephen has erected a digital canvas for himself via his blog whereby he is the philosophical ringmaster, taunting and teasing those uneasy visitors to his circus. But it is the smell of his words that left me feeling queasy. His blogs are provocative and tongue-in-cheek, and a delight to read – although not much more fun when you are the subject of fanciful accusations. But as he wrote in a previous post, “that's the beauty (and the danger) of Lawrence's text; it invites anyone and everyone to play within the space that it opens up and to invest it with their own forces”. To all scholars and bloggers out there: May the force be with you.  
 
Stephen consistently raises interesting issues regarding Lawrence and challenges us to question both his words and our own opinions, and this is exactly what makes any literary organisation thrive. Take this bulletin, it was originally created to collate a couple of links and events rather than spamming your inbox. But like many of us during lockdown, it keeps putting on weight.
 
In The Death of the Author Roland Barthes questions the authenticity of the authorial voice, arguing 'the text is a tissue of quotations drawn from the innumerable centres of culture'. Between the various events we have lined up this month to the blogging and the bulletin, there are various centres that are helping us to maintain and pull apart the legacy of Eastwood’s most famous strop on legs.    
  
We have readers and scholars from all over the globe and from a variety of backgrounds and disciplines who we try to bring to your attention via out ‘Lawrence and Me’ feature – so please do get in contact to be included. Together we assemble and reassemble Lorenzo’s work, agreeing to disagree on meaning, all for the love of reading. With this in mind, we hope you can join us for our virtual Poetry Day where you can squabble over meaning until you can’t stand the sight of each other. And then press mute when you’ve had enough debate.  
 
Finally, it was on May 15 1922 that Lawrence wrote to Earl Brewster from Darlington, West Australia and shared his travel plans.
 
“We go east, to Sidney. And there, no doubt, I shall cable at once for more money, to cross the Pacific. – But I find we can take a boat stopping at Fiji, Pego, Honolulu – or another one stopping at Tahiti and somewhere else. I’m determined to try the South Sea Isles. Don’t expect to catch on there either. But I love trying things and discovering how I hate them”
 
Earl Brewster’s former home is up for sale as you will see further down this bulletin and that gorgeously wicked line about trying things is now the title of our events feature.

But enough of this clat-farting. There's a load of Lawrence-related news to get through below.    

If you want anything included in the bulletin, lob it over to me (james.walker@ntu.ac.uk) or Brenda (brenda.sumner@gmail.com)      .  


Home (Eastwood)

Lawrence Poetry Day: Love and Nature in Lawrence’s Poems

Saturday 8 May 2021
10 am till noon - lunch - 2 pm till 4.
Everyone welcome - we will send out a zoom link nearer the date.

Malcolm Gray: 'Look! We Have Come Through!' Theme:  Love and Loss.

Isobel Dixon: Love and fear in:  'Birds, Beasts and Flowers'.

Malcolm Pittock: The poet articulating his experience more fully, and his 'demon' more faithfully, by altering some earlier poems.

Bob Hayward: Theme:  Living with his Love of Nature to the end.
'Last Poems'.




 
'The Burrows Family’
Dudley Nichols
Wednesday 12 May 2021
7pm – 8.30pm


Meeting ID: 849 4042 1574 Zoom link
Away 


Sons and Mothers: Lawrence, Larkin and the Maternal Muse 
26th May 2021
7pm - 8pm
£4
We were recently contacted by the Elizabeth Gaskell House about a talk featuring Lawrence and Philip Larkin. They said: 

“Join Philip Watts for a fascinating look at how each writer’s relationship with his mother influenced their work. Find out how D H Lawrence, regarded as the ‘greatest imaginative novelist of our generation’, affected Larkin’s poetry so many years later. Enjoy readings of several complete poems and see why Larkin’s work was once described as ‘a poetry from which even people who distrust poetry, most people, can take comfort and delight’.”
 
You can book your ticket here
You can follow them on at @GaskellsHouse (Twitter); Elizabeth Gaskell's House (Facebook); elizabeth_gaskells_house (instagram)



Lawrence’s Representations of Ancient Italy and the Rise of European Totalitarian Regimes’ (London Group)
Stefania Michelucci
Friday 28th May (date subject to amendment)
6.30pm - 8pm
 
 
 
 
Who lives in a house like this?

I remember discussing with a group of students how Lorenzo lived large chunks of his life in poverty, and one of them chirped up: ‘I wish I was as poor as him’. Her point being that Lorenzo’s temporary homes tended to have stunning views, be that high up in the mountains of New Mexico or overlooking the sea. Likewise, when his friends put him up it was never in a shabby back-to-back in Rotherham (no offence to any members from South Yorkshire). Earl Brewster, the Buddhist who made Lorenzo crave meat, was one such friend, accommodating Lorenzo in his villa on Capri with its spectacular views of the Gulf of Salerno and the Bay of Naples. It’s currently up for sale.
 
Now, before you get all excited about emptying your 0.6% Cash ISA’s, allow me to use a metaphor. You know when you go into a shop and see something lovely and fumble about for a price tag and realise there isn’t one, what do you do? You quietly put down the garment and leave the shop with haste to avoid getting rinsed. It’s the same here I’m afraid. This gaff is so expensive, they haven’t even bothered to list the asking price. That’s proper posh (rather than John Lewis posh, to use our PM’s parlance). The fact that Lorenzo penned some of Lady C here will no doubt have helped bump up the cost.
 
Read more about the sale here
PS: Il s'agit d'un site Web français mais vous pouvez passer à la version anglaise.



 
Lawrence and Academia 


 

D. H. LAWRENCE, DISTANCE AND PROXIMITY
AN INTERNATIONAL VIRTUAL SYMPOSIUM
10‒14 JULY 2021
 
“What a pity that distance remains distance, so absolutely”
 

At a time when we need to maintain our social distance, eighty emerging and established scholars from around the world will convene on Zoom to present and discuss their current research on all aspects of Lawrence’s work. The full programme will be posted soon at www.dhlawrencesociety.com/symposium ‒ meanwhile I am delighted to announce the following events, to which members are very warmly invited.
 
Our virtual symposium will open at 7pm on Saturday 10 July with a roundtable discussion of ‘Lawrence in the 1920s / Lawrence in the 2020s: crisis and “after”’, with Howard J. Booth in the chair and guest speakers Fiona Becket, Rachel Murray, and Vincent Sherry. Our second roundtable titled ‘Getting closer to Lawrence’ on Tuesday 13 July at 7pm, chaired by Andrew Harrison, will feature Philip Davis, Benjamin Hagen, Nancy Paxton, and John Turner.
 
Eleven workshops, running from 11 to 14 July, will each present 5‒6 short papers on topics from demos, disabilities, ecocriticism, gender, and modernity to the literary forms of fiction, poetry, and the short story. The emphasis throughout will be on new approaches, including a showcase of postgraduate research and of creative non-fiction responses to Lawrence.
 
The symposium will close with a lunchtime celebration of Lawrence in his own words on Wednesday 14 July – so please feel free to bring your sandwiches or something more festive (at any time during the proceedings)!
 
We look forward to seeing you at some or all events – they are all are free and open to non-speakers. Further announcements will follow, but please hold these dates in your diaries and contact me with any questions at dhlsymposium2021@gmail.com
 
Susan Reid, on behalf of the symposium committee: Kate Foster, David Game, Andrew Harrison, Holly Laird, Stefania Michelucci, Nanette Norris, Doo-Sun Ryu, Joseph Shafer.

 

On the Box
 
 


In our previous bulletin Jim Phelps provided a review of the Lawrence documentary on Sky Arts (4 March). Here, Keith Alldritt shares his views.  
  
Within the limitations imposed by a sixty-minute television programme, this is an excellent survey of Lawrence’s life and achievement.
The method employed is a conventional one.  A voice over telling Lawrence’s story is accompanied by a fast-moving sequence of images. There is contemporary filming of Lawrence locations, still photographs from the past, excerpts from films of Lawrence’s novels and clips from television interviews with people who knew Lawrence. The interview with Aldous Huxley, who, with his first wife Maria, was present at the time of Lawrence’s death was especially moving.
 

The account of Lawrence’s career is also admirably supported by the several contemporary critics and scholars who comment illuminatingly on various episodes in his development. The programme also has a pleasingly tactful musical score which reinforces the overall tone of sympathy and admiration which characterises the approach to the subject.
 
To attempt to describe in an hour a life as rich in incident and achievement as Lawrence’s is necessarily to leave a great deal out. There are two omissions which I found especially regrettable:
There is no mention of Lawrence’s plays. Unquestionably he was a fine dramatist and his plays have a place in the history of English theatre. Drama was a genre to which he devoted himself assiduously in the years prior to his first departure from England with Frieda. And it was a form to which he returned much later in life with his play David which was produced in London in 1927.
 
The multifacetedness of Lawrence’s activity as a writer, together with the sheer amount and quality of the work produced in a career of just twenty years are an important aspect of his genius. His works for the theatres are a very considerable part of that multifacetedness.
 
And there is scant mention in the programme of Lawrence’s time in Mexico. Furthermore, the novel about Mexico to which he devoted himself so passionately, The Plumed Serpent, is not discussed at all.  It is of course a problematic text for admirers of Lawrence because it raises the question about Lawrence’s alleged elitism and antidemocratic attitudes for which some critics have condemned him. The novel and the difficult issues which it raises surely must merit some acknowledgement.
But we cannot have everything in just one TV show.
 
And what we do have is very fine. The programme is extremely well edited and moves along at a pace that is invariably compelling. It never drags. Both for newcomers to Lawrence and to those more acquainted with his work, the programme offers a richly informative and insightful account of one of the greatest writers of the twentieth century.


 

 


Last month on Stephen Alexander's Torpedo the Ark there were several new posts on Lawrence and his work:
 
1. Cum Play With Mellors: On The Sexual Politics of Ejaculation
Here, we examine this conservative model of human sexuality which remains tied to reproduction, rather than pleasure.
Read here 

2. Above all Things Encourage a Straight Backbone
For Deleuze, as for Kafka, the spinal column is nothing but a sword slipped into the body by an assassin. And there are many others who, for philosophical and political reasons, object to bone. But Lawrence, however, says we should encourage a straight backbone in the young above all things.
Read here 

3. On Private Language and Post-Truth (Or How D. H. Lawrence Opens the Way for Donald Trump)
In this post we interrogate what is perhaps the most intellectually vacuous and politically irresponsible line in Lawrence's Fantasia of the Unconscious (1922): 'If it be not true to me, what care I how true it be?'
Read here 

4. As for Lawrence ... A Reply to James Walker
James Walker argues that Lawrence is a 'mass of contradictions' and that we shouldn't always take everything he says too seriously. Here, I examine this remark and challenge the idea that Lawrence is essentially now just a figure of fun.
Read here 

5. As for Lawrence ... He's a Moral Conservative
Perhaps the idea of Lawrence as revolutionary outsider who advocates a revaluation of all values should be reconsidered; perhaps Lawrence is first and foremost a moral conservative rather than a Nietzschean immoralist ...
Read here 

6. On D. H. Lawrence and Oscar Wilde
Lawrence makes very few references to Oscar Wilde and his circle and when he does they tend to be negative. Here, we suggest why that might be.

Read here
 

 


Ken Fisher on the Giovanni Verga stamp

 
Ken Fisher is the President and greeter of the English Library in Puerto de la Cruz, Tenerife. During lockdown he’s investigated the people featured on 130 stamps. Here he discusses one with a close link to Lawrence.
 
D.H. Lawrence’s interest in Verga, which dates back to 1916 seems to be due to a sort of empathy he felt for the Sicilian author. As Susan Bassnett has suggested, empathy is a major force driving an author to translation; writers translate other people’s works because those are the works they would have liked to write themselves. For many writers translating serves as a way of continuing to write and to shape language creatively, it can even Lawrence’s act as a regenerating force. This may be Lawrence’s case, particularly as regards the second half of Mastro-don Gesualdo and Novelle rusticane, which he translated while travelling eastward and, as he wrote in his letters, the Orient was for him an uncomfortable place where he felt he could not write creatively.

Lawrence’s travel books were all written in what were emotionally very intense periods in his life; the author’s emotions, ideas, convictions, and philosophical reasoning, therefore, emerge from these pages; it is as if Lawrence were translating himself for his readers, letting them enter his consciousness and discover his position and his ideas. Even the passages dealing with the artistic heritage of the places visited are far from being objective descriptions, rather they express the author’s subjective response to what he saw. Lawrence himself makes it clear that his intention is not to describe monuments when, in Sea and Sardinia, he abruptly interrupts his description of the cathedral of Cagliari, saying “for the rest I am not Baedeker”

But Sea and Sardinia is the book that is most revealing of Lawrence’s emotions. It also portrays the author facing all those practical difficulties that travel usually entails, and a voyage to Sardinia in January and in the early 1920s was a hard experience even for the most experienced traveller. His emotional reactions, therefore, are often vehement and violent as when, on his arrival in Sorgono, he finds that the only inn is dirty and uncomfortable, and says: “‘Dirty, disgusting swines!’ said I, and I was in a rage. I could have forgiven him [the innkeeper] anything, I think, but his horrible shirt-breast, his personal shamelessness”  And, when Frieda tells him to “take it as it comes,” he comments “my rage is black, black, black” and concludes “I cursed the degenerate aborigines”

Reviled as a crude and pornographic writer for much of the latter part of his life, D.H. Lawrence is now widely considered—alongside James Joyce and Virginia Woolf—as one of the great modernist English-language writers. His linguistic precision, mastery of a wide range of subject matters and genres, psychological complexity and exploration of female sexuality distinguish him as one of the most refined and revolutionary English writers of the early 20th century.

 
From the JDHLS Archives
Jonathan Long
 


There are various stimuli that have kept my interest in Lawrence going for all my adult life and more. These include the challenges of his writing and the skills that he deployed in his poetry and prose, often so beautifully. In addition, he had a fascinating and inspiring life, the people that he met often being very absorbing as well. Furthermore, I have been inspired by the quality of some of the scholars who have helped to keep Lawrence’s reputation alive. Several of these points are illustrated by Keith Sagar’s essay ‘The Wilkinsons Revisited’, which appeared in JDHLS 2006 here
 
The appearance of an article by John Turner in the D. H. Lawrence Review in 2002 relating to diaries kept by Arthur and Lillian Gair Wilkinson (quoting all the entries with a Lawrence interest) had prompted Sagar to tell his own story of how he first came across those diaries. This followed his visits to ‘D. H. Lawrence After Thirty Years’, the exhibition of Lawrence materials at Nottingham University in 1960, which included some items that the Wilkinsons’ daughter Frances had loaned. The diaries are significant as the Wilkinsons lived next door to the Lawrences when they were at the Villa Mirenda, from 1926 to 1928, a period of extraordinary productivity for Lawrence. The two couples met well over a hundred times during that period and the diaries provide a resource unique in its detail of the Lawrences’ ordinary everyday lives, almost to the extent of giving the impression that Lawrence produced nothing at all during that time!
 
Sagar visited the Wilkinsons’ daughter and, before the days of mobile photocopiers, diligently transcribed Lawrence’s letters and postcards to the Wilkinsons, together with extracts from the diaries, which were previously not known of. He used this material for the first piece of his work on Lawrence ever published, which came out in 1962. That essay is reproduced in Sagar’s book ‘Art for Life’s Sake’: Essays on D. H. Lawrence (2011). His JDHLS essay was evidently used as the basis for the part of the introduction to the book which deals with Sagar’s finding the diaries, although the introduction is generally more focused on the progress of Sagar’s career. I vividly recall reading David Ellis’s D. H. Lawrence Dying Game (1998) and being most concerned to see that the diaries had ‘unfortunately now been destroyed’ (672). Fortunately that is not the case and I thoroughly recommend reading all the excerpts from the diaries in the Turner article. It quotes approximately six times more material from the Wilkinson diaries than Keith Sagar did.
 
Although the Wilkinsons and the Lawrences were very different people (in a typical piece of Lawrence hapax legomenon he described them as ‘village-arty people’ (5L 453)) they shared a love of the countryside. Arthur Gair Wilkinson was a talented water-colourist. He painted several pictures of the Villa Mirenda area, two different ones reproduced in the two editions of Sagar‘s The Life of D. H. Lawrence: An Illustrated Biography (1980 and 2003). I have chosen another to illustrate this note. From my experience of the area it beautifully captures the tranquillity that the Lawrences and the Wilkinsons so appreciated. It is wonderful that it is still to be found there.
 
Gair Wilkinson was also a photographer, and six photos of Lawrence that he took were available to Sagar. The sixth to be published appears on the front cover of JDHLS 2006, Sagar evidently having taken copies from the originals in the possession of the Gair Wilkinsons’ daughter.
 
This is only one among many articles dating back to 1988 on the new website of the Journal of D. H. Lawrence Studies, which is fully searchable: https://journalofdhlawrencestudies.com/ Please free to write in about your own finds to the editor: sue@niallc.co.uk.
 

 
Elizabeth Doxey and Mountain Cottage - Part II

 

In our April bulletin Derek Aram wrote about Lawrence's stay at Mountain Cottage. Ruth Hall continues the conversation with her own bit of detective work to uncover more about the Doxley family. This is an abridged article from 2004. I
 
It is always exciting to find a living link, however tenuous, to a great writer like Lawrence, so I was very interested when the opportunity came my way in 2004. After giving a botanical art workshop in Chislehurst, Kent, and mentioning to my students that I was looking for a bolthole in the Peak District, one of them, Jean Doxey, mentioned that she had been to scatter her father-in-law, Frank’s, ashes outside his childhood home ‘Woodlands’ at Middleton-by-Wirksworth. On mentioning that D. H. Lawrence had lived there briefly, Jean told me she already knew, and that Woodlands was in fact opposite Lawrence’s Mountain Cottage, and that he had written about her husband’s great-grandmother, Elizabeth – ‘something about cakes or bread’ she thought. I was immediately intrigued and determined to find the reference. I had already read some of his letters from Middleton, although a trawl through a copy of ‘The Selected Letters’ revealed nothing (except some lovely descriptions of the area). Later I found what I had been looking for. In a letter written to Catherine Carswell on June 3rd, 1918. Lawrence talks about returning to Middleton from London:
‘…and so away into the night, through a rustle of waters. I found Mrs. Doxey here – a fire with a full half cwt. of coal, a great red furnace – but no bread to be had for love or money…’
Followed by a postscript the next day;
‘…Bless my soul, the sun is shining – and Mrs. Doxey has just brought me a patriarchal cake of bread cooked in a frying pan.’

I was still curious and so visited Frank’s widow Mary at a nursing home in South London. During the course of a couple of very pleasant meetings this serene, bright, blue-eyed 89-year old painted a vivid picture of her early life in Matlock and Middleton, and of her husband’s family. The redoubtable Elizabeth (or ‘grandma’ as she was known) had indeed ‘done’ for the Lawrences as she had for several other neighbours.

Apparently, Lawrence used to sit on a bench against the wall outside his cottage, as the Doxeys no doubt did outside their own. They knew he was a writer but not much more than that, and it made no difference.

Grandma Doxey’s husband Alfred was a lead miner who had bought and worked the optimistically-named ‘Good Luck’ mine on the Via Gellia nearby. Mary ventured that he seemed to have been a good husband. Although a frequenter of ‘The Nelson’ in Middleton (but never drunk), he took his wife (religiously!) to church every Sunday evening. However, he did abandon her on her wedding night to go off to America to look at a mine there – perhaps sowing the seeds of her redoubtability, evident in the photograph and by Mary’s recollections. Any strangers passing by Woodlands were encouraged to eat or drink something, preferably some of Grandma’s home-made rhubarb wine. Not a drinker herself, it nevertheless gave her endless amusement to watch the effects of it on unsuspecting imbibers as they staggered off down the path later. They both smoked, although only herbs which Alfred gathered from the surrounding woods. Grandad Doxey also prepared all sorts of herbal remedies as did Lawrence’s own father.

So, my search for Mrs. Doxey had resulted in finding not one but three, and my only wonder now is why Lawrence didn’t write more about this remarkable family, and can only conclude that his stay in this lovely part of England had been, for lots of reasons, a troubled one – more’s the pity.



 

The recent blocking of the Suez Canal caused a right tiz, bringing global trade to a grinding halt and $1 billion in compensation claims from angry exporters. But 101 years ago life was a bit slower. Therefore, I've created a short film that narrates Lawrence's slow plod along the Suez in 1922. Back when life was very different and it was ok to stand and stare. 

The film was made in collaboration with John McCarthy, a student at Nottingham Trent University and is based on Lawrence's letter to Rosalind Baynes from March 1922 (which was featured in our March bulletin). John is a media student and not familiar with Lawrence's work. Now he's keen to learn more and so we will be working on another film in June. It's another example of how Lawrence's work can reach new audiences and how his writing can provide context to contemporary issues.

Read article about the letter/film on the Digital Pilgrimage website here
Watch the YouTube video here 

 
D.H. Lawrence and Dialect


Dialect is the second artefact in the D.H. Lawrence Memory Theatre. We have now uploaded the accompanying essays for this artefact from linguist Natalie Braber and mesen. They are:


1. The D.H. Lawrence Dialect Alphabet - read it here
2. Thar't a Mard Arse - read it here
3. Nottingham Dialect Words: Mardy and Ducks - read it here
4. What is the Nottingham Dialect and Where Does it Come From - read it here
5. Lawrence Dialect - read it here


We will continue to release the dialect alphabet via our Twitter and Instagram channels before we move onto our third artefact in July. 

Source: D.H. Lawrence Memory Theatre
 


The latest blog on the D.H. Lawrence Society website features two books given to Lawrence as prizes when he was at Nottingham High School. Kate Foster discusses their significance. Read the blog here
 
Kate said: “Our website is a treasure trove of information with all bulletins now handily stored for your perusal when Line of Duty isn’t on. You will also find recordings of our monthly meetings, the September 2020 festival including ‘The Lawrence Birthday Lecture’ by Judith Ruderman, and Alan Wilson’s musical podcasts. You can also find these archived on our DH Lawrence Society Soundcloud page”
 
You can read the write-up to the London meeting of 26 March, at which Trevor Norris spoke to us about Lawrence in Taos, ecological attunement, and Extinction Rebellion,
here
 
Following discussion at a recent meeting about whether the Lawrence family owned a piano, a bit of research led to a receipt in the Manuscripts and Special Collections Department: 1 November 1899
Receipt for £6, paid by Mrs Lawrence to William Needham, Music Warehouse, 53 Mansfield Road, Nottingham for a second hand pianette. There you have it.
 
Trevor Norris has suggested checking out Rachel Cusk’s latest novel, Second Place, which 'riffs off Mable Luhan’s memoir of Lawrence’s visits to Taos but displaces the story and characters to rural England now’. Second Place is published on 4 May.

Get a signed copy from Waterstones here

 


Lawrence and Me: Derek Aram

My dalliance – maybe skirmish - with DHL falls into two distinct phases, separated by 30 years behind bars [prisons not pubs!]. 

Phase 1 is composed of snippets of memory from age 8 in 1950 in a tiny terrace house in Cotmanhay; Dad  reading the novels – a great reader my Dad – loaned to him by ‘old Mrs Lawrence’ [never discovered who she was]; A third-form poem submitted to Ilkeston Grammar School Magazine, rejected as being ‘too reminiscent of Lawrence’; mercifully the text is lost but I recall a phrase something like: ‘the glaring incandescence of the pit top lamps’ – good call Mr Jacobs!  My delight in a sixth form tutorial being guided through Piano by the senior French tutor, instead of the set text, starting my exploration of the poems and the earlier novels.   

A-level French and Scholarship level German results took me in 1960 to read French with German at Queen Mary College London.  Studies left no time for English literature, but I followed the Lady Chatterley Trial that year closely and in 1961 attended the exhibition at Nottingham University Art Gallery: ‘D H Lawrence After 30 Years: 1930-1960; enchanted by the artefacts on display, I treasure the Guide to this day.

Joining H M Prison Service in 1963, marrying in 1964 [unrelated facts], pursuing a career and raising a family created a 30 year hiatus, where literature became a rare luxury.  But my final posting in 1993 to HQ in London saw me joining the ranks of railway commuters with the magical gift of an hour and a half reading time daily.  My chance to catch up on all that English literature I had neglected; I returned to DHL’s poems, The Rainbow and C H Rolph’s The Trial of Lady Chatterley Penguin paperback, bought in 1961.  I was hooked.  Hooked on D H L’s work and life, hooked on the story of the Trial and hooked [to obsession level] on collecting works by and about the great man.  My modest 3 or 4 paperbacks bought in the 60s turned into more than 300 volumes!   So why hooked?  I like to approach DHL’s work in a mood of simple enjoyment at his unique power of immediacy: of place; he writes, you are there: of character; he writes, you know that person: of emotional maturity; he writes, you relate intimately with that feeling.

 

From the Archives

This extract is from the Autumn 1975 issue of the newsletter and includes some wonderful local humour and dialect. 

Lawrence had large bouts of poverty during his life and modern writers face equally challenging times. An annual survey carried out by University of Glasgow tracked author earnings over the past 15 years and found the average income had dropped from £18,013 in 2006 to £10,497 in 2018. However, professional writers average around £81,000 per year. I'm not entirely sure what distinguishes a 'professional' writer from a writer, but irrespective of which category you may fall into, you still can't afford that lovely home in Capri currently up for sale...   



 
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