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Sample text
To Edward Garnett, 30 December 1913) This page intentionally left blank “A Restrained, Somewhat Impersonal Novel” MICHAEL BELL J J T J h e r e c u r r e n t p r o b l e m raised by Sons and Lovers is whether it should be seen as the last novel of Lawrence’s apprenticeship or the first of his maturity. I put it in this way to suggest that disagreements on this novel will frequently involve differing perceptions of ‘mature’ Lawrence as much as differing judgements of the work itself. It is not my intention to rehearse the history of criticism with respect to Sons and Lovers, but its peculiar critical elusiveness and the related difficulty of placing it within Lawrence’s œuvre, are in themselves a significant clue to the reading of Lawrence more generally.
But one sheds ones sicknesses in books—repeats and presents again ones emotions, to be master of them. (To Arthur McLeod, 26 October 1913) In a few days time I shall send you the first half of the Sisters— which I should rather call The Wedding Ring [an early version of a project which produced The Rainbow and Women in Love]—to Duckworths. It is very different from Sons and Lovers: written in another language almost. —I shan’t write in the same manner as Sons and Lovers again, I think: in that hard, violent style full of sensation and presentation.
G. Wells]. And I am so sure that only through a re-adjustment between men and women, and a making free and healthy of the sex, will she get out of her present atrophy. Oh Lord, and if I don’t ‘subdue my art to a metaphysic’, as somebody very beautifully said of Hardy, I do write because I want folk—English folk—to alter, and have more sense. (To Arthur McLeod, 23 April 1913) You must continue to believe in me—I don’t mean in my talent only—because I depend on you a bit. —I felt you had gone off from me a bit, because of Sons and Lovers.
Gravity's Rainbow Companion by haci66
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