D. H. Lawrence expected The Rainbow to have 'a bit of a fight' before it was accepted, but 'The fight will have to be made, that is all'. It was suppressed, just over a month after publication, in November 1915. The American publisher would make thirteen further cuts and 'dribble out' the book quietly. In 1930 the British government would again consider suppressing a new printing of The Rainbow. Professor Mark Kinkead-Weekes gives the composition history and collates the surviving states of the text to assess the damage done to Lawrence's novel, and to provide a text as close to that which the author wrote as is now possible. The final manuscript, revisions in the typescript and the first edition are recorded in full in the textual apparatus so the reader can follow the novel's development and evaluate what outside interference may have done to it. Also included are explanatory notes to historical references and allusions, and an interior chronology of the book itself.

Lady Chatterley's Lover is both one of the most beautiful and notorious love stories in modern fiction. The summation of D.H. Lawrence's artistic achievement, it sharply illustrates his belief that tenderness and passion were the only weapons that could save man from self-destruction.

A sensation upon its publication in 1970, Sexual Politics documents the subjugation of women in great literature and art. Kate Millett's analysis targets four revered authors―D. H. Lawrence, Henry Miller, Norman Mailer, and Jean Genet―and builds a damning profile of literature's patriarchal myths and their extension into psychology, philosophy, and politics. Her eloquence and popular examples taught a generation to recognize inequities masquerading as nature and proved the value of feminist critique in all facets of life. This new edition features the scholar Catharine A. MacKinnon and the New Yorker correspondent Rebecca Mead on the importance of Millett's work to challenging the complacency that sidelines feminism.

Set in the rural midlands of England, The Rainbow revolves around three generations of the Brangwen family over a period of more than sixty years, setting them against the emergence of modern England. When Tom Brangwen marries a Polish widow and adopts her daughter as his own, he is unprepared for the conflict and passion that erupt. Suffused with biblical imagery, The Rainbow addresses searching human issues in a setting of precise and vivid detail.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

From one of the 20th century's preeminent novelists and poets comes this passionate tale of romance amid the chaos of modern life. D. H. Lawrence's compelling account of two couples' search for romantic fulfillment is steeped in an edgy eroticism bordering on violence. The literary world reacted with shock upon its 1921 publication: nearly a century later, the novel's psychological penetration continues to captivate readers.Women in Love reintroduces two sisters, Ursula and Gudrun Brangwen, who initially appeared in Lawrence's previous novel, The Rainbow (1915). Ursula's relationship with Rupert Birkin, an introspective and misanthropic school inspector, is contrasted with that of Gudrun and Gerald Crich, an overbearing industrialist. Set in a coal-mining town in the English Midlands, their stories explore the disastrous effects of industrialization on the psyche and suggest that rebirth can be achieved only through emotional intensity.Composed at the height of the author's powers, Women in Love is the novel that Lawrence considered his masterpiece (the characters of Rupert and Ursula are widely regarded as Lawrence's depiction of himself and his wife, Frieda). Rich in symbolism and lyric prose, it offers a complex meditation on the meaning of love in a changing world.

You could describe D.H. Lawrence as the great multi-instrumentalist among the great writers of the twentieth century. He was a brilliant, endlessly controversial novelist who transformed, for better and for worse, the way we write about sex and emotions; he was a wonderful poet; he was an essayist of burning curiosity, expansive lyricism, odd humor, and radical intelligence, equaled, perhaps, only by Virginia Woolf. Here Geoff Dyer, one of the finest essayists of our day, draws on the whole range of Lawrence’s published essays to reintroduce him to a new generation of readers for whom the essay has become an important genre. We get Lawrence the book reviewer, writing about Death in Venice and welcoming Ernest Hemingway; Lawrence the travel writer, in Mexico and New Mexico and Italy; Lawrence the memoirist, depicting his strange sometime-friend Maurice Magnus; Lawrence the restless inquirer into the possibilities of the novel, writing about the novel and morality and addressing the question of why the novel matters; and, finally, the Lawrence who meditates on birdsong or the death of a porcupine in the Rocky Mountains. Dyer’s selection of Lawrence’s essays is a wonderful introduction to a fundamental, dazzling writer.

Written at the height of D.H. Lawrence's creative energies, TWILIGHT IN ITALY (1916) is composed of seven short pieces that sparkle with the humor and lively sensory images for which he is known. Features an Introduction by Anthony Burgess.

National Book Critics Circle Award, Biographers International Organization Plutarch Award and Los Angeles Times Book Prize Finalist\nNew York Times Book Review, Times Literary Supplement and The Guardian Best Books of 2016\nThomas De Quincey was an obsessive. He was obsessed with Wordsworth and Coleridge, whose Lyrical Ballads provided the script to his life, and by the idea of sudden death. Running away from school to pursue the two poets, De Quincey insinuated himself into their world. Basing his sensibility on Wordsworth’s and his character on Coleridge’s, he forged a triangle of unusual psychological complexity.\nAged twenty-four, De Quincey replaced Wordsworth as the tenant of Dove Cottage, the poet’s former residence in Grasmere. In this idyllic spot he followed the reports of the notorious Ratcliffe Highway murders of 1811, when two families, including a baby, were butchered in their own homes. In his opium-soaked imagination the murderer became a poet while the poet became a murderer. Embedded in On Murder as One of the Fine Arts, De Quincey’s brilliant series of essays, Frances Wilson finds the startling story of his relationships with Wordsworth and Coleridge.\nOpium was the making of De Quincey, allowing him to dissolve self-conflict, eliminate self-recrimination, and divest himself of guilt. Opium also allowed him to write, and under the pseudonym “The Opium-Eater” De Quincey emerged as the strangest and most original journalist of his age. His influence has been considerable. Poe became his double; Dostoevsky went into exile with Confessions of an English Opium-Eater in his pocket; and Charles Dickens, Oscar Wilde, George Orwell, Alfred Hitchcock, and Vladimir Nabokov were all De Quincey devotees. \nThere have been other biographies of Thomas De Quincey, but Guilty Thing is the first to be animated by the spirit of De Quincey himself. Following the growth of his obsessions from seed to full flowering and tracing the ways they intertwined, Frances Wilson finds the master key to De Quincey’s vast Piranesian mind. Unraveling a tale of hero worship and revenge, Guilty Thing brings the last of the Romantics roaring back to life and firmly establishes Wilson as one of our foremost contemporary biographers.

An electrifying, revelatory new biography of D. H. Lawrence, with a focus on his difficult middle years "Never trust the teller," wrote D. H. Lawrence, "trust the tale." Everyone who knew him told stories about Lawrence, and Lawrence told stories about everyone he knew. He also told stories about himself, again and again: a pioneer of autofiction, no writer before Lawrence had made so permeable the border between life and literature. InBurning Man: The Trials of D. H. Lawrence, acclaimed biographer Frances Wilson tells a new story about the author, focusing on his decade of superhuman writing and travel between 1915, whenThe Rainbowwas suppressed following an obscenity trial, and 1925, when he was diagnosed with tuberculosis. Taking after Lawrence's own literary model, Dante, and adopting the structure ofTheDivine Comedy, Burning Man is a distinctly Lawrentian book, one that pursues Lawrence around the globe and reflects his life of wild allegory. Eschewing the confines of traditional biography, it offers a triptych of lesser-known episodes drawn from lesser-known sources, including tales of Lawrence as told by his friends in letters, memoirs, and diaries. Focusing on three turning points in Lawrence's pilgrimage (his crises in Cornwall, Italy, and New Mexico) and three central adversaries--his wife, Frieda; the writer Maurice Magnus; and his patron, Mabel Dodge Luhan--Wilson uncovers a lesser-known Lawrence, both as a writer and as a man. Strikingly original, superbly researched, and always revelatory,Burning Man is a marvel of iconoclastic biography. With flair and focus, Wilson unleashes a distinct perspective on one of history's most beloved and infamous writers.