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“... oddly says all this will sound strange to western ears, though it was gospel to Blake and D.H. Lawrence and a lot of other people. Somebody should find out why is was so fashionable in those days – for it was also important to the ideologues of the Third Reich. And this is what angers Wiedmann, who hates Expressionist art, not only because he thinks it ...”

“... of the stories and poems called in to excuse or justify such a life has also been questioned. D.H. Lawrence called ‘The Fall of the House of Usher’ an overdone and vulgar fantasy. Yvor Winters said Poe’s was an art for servant girls. Both Henry James and T.S. Eliot used the deadly word ‘provincial’. Auden condemned a sentence from ‘William ...”

“... world of Wilde and Beardsley is revisited in ‘Salome’. The decadent 1890s, which D.H. Lawrence described as full of ‘crop-haired chemicalised women of indeterminate sex, and wimbly-wambly young men of sex still more indeterminate’, are here reimagined in glorious sexual assertiveness, hard and sensual and deadly. Salome is a hungover ...”

“... and also that it indicates a limitation. It is significant that it was this quality that D.H. Lawrence, who was very conscious of the fineness of Tono-Bungay, ultimately resented. He wrote to Blanche Jennings in March 1909: you must, must read Tono-Bungay. Now knock down my perky beak by calmly replying that you have read Tono-Bungay ... it is the best ...”

“... becomes a ‘cosmopolitan lisping no-good’; Yeats turns into ‘old gyre-and-grumble’. Only Lawrence, Larkin’s earliest ‘touchstone against the false’, survives more or less intact. It would be easy enough, then, to argue that – fun and games aside – the really important revelation of these letters is that Larkin, the above-it-all curmudgeon ...”

“... descriptions in the diaries of meetings with Forster – but he never recovered from reading D.H. Lawrence (who is talked of with some reverence in the diaries: one of Isherwood’s treasured possessions is a candlestick made by Lawrence in Taos). And what Isherwood got from Lawrence, and ...”

“... seriousness, in the depressing sense it has acquired today, is almost as profound as that of D.H. Lawrence; and many of her letters have the same absoluteness of being that his do. As with Larkin or Lawrence, the test is how quickly and completely the reader becomes absorbed, not so much in the gossip or the people ...”

“... not been opened for many years; it is rusty, difficult to open and overgrown with weeds.’ D.H. Lawrence could offer little assistance when it came to opening that weedy door. His general effect on the young Miller was to exacerbate his ‘morbid melancholies’. And Lawrence took a hard line on self-abuse – as Miller ...”

“... male self-indulgence, however different in purpose the two drives may be. Not for nothing did D.H. Lawrence begin Women in Love with that uniquely memorable conversation between Ursula and Gudrun, although it is of course orientated to their feeling about men. Significantly, Lawrence does not ‘dream’ about women, but ...”

“... An easy moralism animates this worldview. Picasso was a pig; Edmund Gosse was ‘a bore’; D.H. Lawrence hit Frieda and wanted to exterm-inate whole races; Virginia Woolf was a pretentious snob who said horrible things about the plebeian Joyce, and about the girls who worked at Woolworths; James Kelman acted like a barbarian at the Booker dinner, and so ...”

“... Those who are allergic to such Parisian formulas as the Death of the Author might prefer D.H. Lawrence’s more traditional dictum: never trust the teller, trust the tale. Literary works have intentions of their own, of which their producers may know little or nothing. It would be impossible to deduce from Sean O’Casey’s anti-political The Plough and ...”

“... he mused later, ‘I might just as well have cut everything out.’ But he was never caught, as Lawrence was to be, in the trap of a readership that supposed sex to be his special thing. Openness about it was so happily equivocal with him that it became a kind of privacy: ‘shy and unseen’ indeed, but shedding a great glow of animation on everything the ...”

“... readiness to accept criticism from people he respected. His enthusiastic admiration for D.H. Lawrence is another instance of these qualities. The initial enthusiasm waned as they planned to work together, but Russell was remarkably patient when Lawrence used the same privilege of plain speaking as Wittgenstein, though ...”

“... continues after his death. This occurs in a very obvious sense in relation to an artist like D.H. Lawrence, but in a much more subtle and peculiar sense it is true of a great poet-artist like Pasternak. The tradition in English is different: the greatness in poetry of a Yeats or an Eliot, however complex a matter, does not depend directly on their ...”

“... R.L. Stevenson (‘Epic (and Chivalric) America’), H.G. Wells (‘Futuristic America’), D.H. Lawrence (‘Primitive America’), W.H. Auden (‘Theological America’), Aldous Huxley (Psychedelic America’), and Christopher Isherwood (‘Mystical America’). As the chapter titles suggest, each of these writers is supposed to see America as if it were ...”