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“... prime, who happen to be good writers – witness the posthumous celebrations of Shelley and D.H. Lawrence. Mark Boxer was famous at Cambridge; he was even famous for the manner of his leaving it; and then, without serious intermission, he became and remained famous in London. And so, throughout his life, he was unwittingly acquiring eulogists. The blurb of ...”

“... 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 ...”

“... 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 ...”

“... the true exploits of the pilot Douglas Bader, the spy-master Colonel Oreste Pinto and, of course, Lawrence of Arabia. Although I was reluctant to lose my heroes, I was not very much older before I gathered that there was something not quite right about T.E. Lawrence. Richard Aldington’s ...”

“... outing to the races at Longchamps; ‘black-eyed Susan’, the New Mexican cow beloved by D.H. Lawrence: these are the things that stay in the mind when diagnoses and depreciations are forgotten. Jeffrey Meyers, who has done solid biographies of Lawrence and Hemingway and has now done one for Conrad, is particularly good ...”

“... view both of life and of art. Where is the actual eroticism in the work of Emily Brontë and D.H. Lawrence? Where is the heaven of Milton, Wordsworth and Blake? Where is Dickens’s hell? Where is the social realism in Crabbe’s ‘Tales’ or Mrs Gaskell’s or Arnold Bennett’s novels? In men and women and angels and demons? No, in places. We move about ...”

“... of Cheltenham or Harrogate might have responded to the younger generation. When he met D.H. Lawrence he wrote in his diary: ‘Lunched with Pinker to meet D.H. Lawrence, that provincial genius. Interesting, but a type I could not get on with. Obsessed with self. Dead eyes, and a red beard, long narrow pale face. A ...”

“... Philosophy, religion, science,’ wrote D.H. Lawrence, ‘they are all of them busy nailing things down ... But the novel, no ... If you try to nail anything down, in the novel, it either kills the novel, or the novel gets up and walks away with the nail!’ Hence Lawrence’s conclusion that only the novel can now do for us what philosophy once aspired to do: Plato’s Dialogues were queer little novels ...”

“... I admit​ that the advert announcing this authoritative critical edition of D.H. Lawrence’s poems made me snort. The painstaking collation of every textual variant seems an odd aim in the case of a writer like Lawrence, who wrote of ‘mutation, swifter than iridescence, haste, not rest, come-and-go, not fixity, inconclusiveness, immediacy ...”

“... sort of social attitudes. Modernism also saw them in the mass, and disliked or ignored it: D.H. Lawrence, like Wyndham Lewis, made a principle out of such generalised contempt. As an ordinary person one would perhaps rather be despised by Modernism than recruited into the socialist pantheon, for there are at least two great writers, usually counted as ...”

“... Never trust the artist,’ D.H. Lawrence wrote, ‘trust the tale.’ It must be his most famous aphorism – David Lodge even called it ‘a cardinal principle of modern hermeneutics’. It has proved especially popular with critics who want to deny authors the last word on their work. ‘What if a reader construes a poem in a way you felt you didn’t mean?’ an interviewer once asked Larkin ...”

“... ten in progress. Apart from the full-life biographies there are books covering short periods of Lawrence’s life: his wartime adventures and agonies, his years in Italy, in Australia, in New Mexico and Mexico, and so on. There are also numerous memoirs by people such as Jessie Chambers, Helen Corke, Catherine Carswell, Dorothy Brett, Mabel Dodge, a pair of ...”

“... by telling us that, ever since he was a young man, he has wanted to write a critical study of D.H. Lawrence. But, as he demonstrates in the course of Out of Sheer Rage, this has never been possible; in spite of his best efforts, he has never been able to get down to serious work on the subject. Out of Sheer Rage, in other words, is the story of the writing of ...”

“... came to recognise in the course of writing the Oxford doctoral thesis on which this study of D.H. Lawrence’s poetry is based. Chaudhuri, who has written here a work of both theory and close reading, finds Derrida’s theories congenial not in spite of being a distinguished fiction writer and poet himself, but because of it. Derrida’s notion of discourse ...”

“... the Plot, and John Updike’s Hugging the Shore. There are also essays on Ring Lardner, on D.H. Lawrence, and on Structuralism, which Lodge as late as 1980 regarded as ‘the most significant intellectual movement of our time’. Such a collection is bound to be of uneven quality. Lodge is capable of writing a routine sentence – ‘In the meantime, the ...”