These thirteen short stories were written between 1924 and 1928. Eleven were collected in The Woman Who Rode Away (1928), though 'The Man Who Loved Islands' appeared in the American edition only and the other two in The Lovely Lady (1933). An unpublished fragment 'A Pure Witch' is also included.
David Holbrook has spent many years teaching D. H. Lawrence's works to students, while Lawrence has been a primary influence in Holbrook's novels and poetry. By degrees, however, he came to be suspicious of Lawrence's attempts to "teach us to be men and women," especially in the field of sex. So, Holbrook set out on a detailed analysis of Lawrence's whole oeuvre. What he found was startling. From the beginning he found Lawrence haunted by a deep fear of woman, and by a hostility toward her, even in The White Peacock. In the great tragic novel Sons and Lovers, there are many clues to Lawrence's intense relationship with his mother. This predicament is illuminated by recent studies of gender from a psychoanalytic point of view. Holbrook finds that Lawrence's mother, in the absence of a real love relationship, and in her grief for her dead child, made Lawrence into her "idolised phallus." This phallus stalks through the short stories and especially through the versions of Lady Chatterly's Lover. This element is to be found in the longer novels, in which Lawrence develops a personal myth in which his alter ego is depicted as the "man from the Infinite," who has a special role: to raise woman from the dead--in fact, to resurrect the dead mother. The reasons for this need are expressed with amazing clarity in Kangaroo, in which the Lawrence-like hero is haunted by a menacing mother in his dreams--the threat being that unless he gives her a meaningful life, she will blight his. Lawrence's male characters are nearly all tormented by this kind of ghost, and his solution is to seek to exercise control over women. She may be put to death, as in The Fox and The Woman Who Rode Away. She may be sodomized and taken in contemptuous anger, as in Lady Chatterly's Lover, and is depicted as enjoying this. The enthusiasm for the sodomizing of woman is quite clearly there in The Rainbow, Women in Love, and Mr. Noon. Some critics have spoken of this as a "holy communion," but Holbrook sees it as a denial of woman, an avoidance of the matrix where the ghost of the dead mother lurks. In the end, in The Plumed Serpent, an intelligent American woman submits herself to the fascistic domination of two murderers who are running a new religious-political campaign, while forfeiting even her capacity for orgasm. Everything in Lawrence's work leads to this false solution. Yet such critics as F. R. Leavis commend Lawrence for his concepts of "manhood"--and even endorse such stories as The Virgin and the Gypsy, in which a duplicitous traveler seduces a young girl in vengeance on the middle class. Yet the politics behind this kind of propaganda are those of Otto Gross, the insane German sex revolutionary who was a sometime lover of Lawrence's wife, Frieda, and her sister. Mr. Noon reveals the confusion in Lawrence between the novelist squarely in the Anglo-Saxon tradition and the husband of Frieda. No one who reads this book can ever again consider Lawrence's position "normative" or "celebratory" but will find it full of hate and death--despite his achievements--in his best work.
"Contributing to the debate about D. H. Lawrence's relationship with and fictional portrayal of women, this book discusses how the dynamic tensions of his art dramatically reenact the competing forces of psychic and relational life. In her examination of Sons and Lovers, The Rainbow, Women in Love, and various short stories, Schapiro discusses how Lawrence's best works reveal a continual struggle to recognize and be recognized by the other as an independent subject. Drawing on Jessica Benjamin's psychoanalytic theory of intersubjectivity, she also demonstrates how a breakdown of balanced subject-subject relations in his texts gives rise to defensive polarities of gender and of domination and submission."--BOOK JACKET.
The Woman who Rode Away Short story by D. H. Lawrence Overview More By Author Summary Get book Reviews Share Main Results Featured snippet from the web "The Woman who Rode Away" is a short story by D. H. Lawrence. It was written in New Mexico during the summer of 1924 and first published in The Dial in two installments in 1925. ... The story was inspired by Lawrence's association with Mabel Dodge Luhan (1879-1962).
Research Paper (postgraduate) from the year 2015 in the subject English Language and Literature Studies - Literature, , language: English, abstract: Departing from the belief that humanity has been perverted by idealism, Lawrence engages in a lifelong struggle in order to save modern society from decay and madness. Throughout his work, he tries to draw our attention to empirical experience as opposed to abstract theorising, and awaken our sensuous mode of being in distinct polarisation with our mental consciousness. He likes to point out the many marvels of the living world. For Lawrence, humanity’s salvation depends on, among other things, the healthy, physical relationship between man and woman. In “The Woman Who Rode Away” Lawrence dramatises the relation between two diametrically opposed cultures: the Western and the Amerindian. The story of the woman who escaped from her ranch at once highlights and subverts the preconceived ideas about the Red Indians’ “savage” (48) culture and cult. Yet, in filigree, the narrator of the story subtly arouses the reader’s “willing suspension of disbelief” and awe by conferring respectability on the white woman’s self-sacrifice for the sake of the Red Indians’ sun. In a masterly “tour de force,” Lawrence uses this highly dramatised narrative to serve his own overarching assertion that Western civilisation, as a universal ideal, has no future. The White Man’s Burden as an imperialist predicament has turned the world into a nightmarish place prone to global warfare and strife. The only escape from this deadly situation seems to lie in the dialectical interchange with other different cultures, different but not inferior, which might vitally contaminate and even rejuvenate decadent Western civilisation.
Although D. H. Lawrence's later novels have been the subject of much discussion by critics, few scholars have recognized or dealt with his sense of craft. By examining Lawrence's careful and finely orchestrated strategies with language, especially metaphor, Humma argues that a number of the longer works—from Aaron's Rod on and including the posthumously published The Virgin and the Gipsy—are small masterpieces. Different in kind from Women in Love or The Rainbow, these fictions are very important in their own way. Humma maintains that the early and middle novels work largely through powerful symbols. Those of the last decade, though, develop through an intricate interlacing of metaphor and symbolic detail. Humma devotes a chapter to each to Aaron's Rod, The Ladybird, Kangaroo, St.Mawr, The Plumed Serpent, The Virgin and the Gipsy, Lady Chatterley's Lover and The Escaped Cock. Aaron's Rod, as a transitional work, reveals much about Lawrence's narrative method and its dependence upon combinations of images. The Plumed Serpent, Humma suggests, is Lawrence's most ambitious failure. Other critics have faulted plot, character, and meaning, but Humma sees incoherent metaphors as the basis for those other problems. Because Lawrence's metaphors shape myths essential to central actions and meanings, the reader cannot fully appreciate the strategic function of metaphor in them. When Lawrence's method is successful, as it is in Lady Chatterley's Lover, for example, figures of speech overlap each other, crossing boundaries in a web of “interpenetrating metaphors” that provide both structural integrity and thematic resonance. Paying close attention to the texts, Metaphor and Meaning in D. H. Lawrence's Later Novels shows that Lawrence was far from the indifferent craftsman in his later fiction that he has frequently been considered. In fact, Lawrence was acutely aware that language and meaning are inseparable, that technique, as Mark Schorer said, is discovery. John Humma's fresh perspective upon the art and meaning of Lawrence's later work provides a major revaluation of this last phase in the writer's career.
In this new reading, Williams examines Lawrence's life in the context of his struggles with the dominant discourses of the day, and locates Lawrence's work as a site upon which debates around class, race and sexual identity should be discussed.
"In his introduction, James Lasdun discusses the theme of liberation and the ways in which it is conveyed in these works. Using the restored texts of the Cambridge edition, this volume includes further reading, a new chronology and notes by Paul Poplawski."--BOOK JACKET.
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.
The question of gender roles has intrigued novelists for ages. The general drama of the universe revolves around the battle of sexes for determining gender roles and dominance of power. Not many novelists of the twentieth century dared to voice so passionately, the problems of relationship between the sexes in a changing world that saw urbanization, industrialization and the World War eroding the age-old foundation of the society, as D.H. Lawrence did. The new age demanded a revision and reconstruction of gender roles, and Lawrence, the first English working-class novelist, boldly disrupted the rigid boundary of the beings. He navigated his way from self-observed chronicles of his adolescence to the sophisticated assessor of women and understood the importance of their role in the regeneration of man. Lawrence often quarreled and contradicted himself before proposing a prophetic ideal man-woman relationship for the society. That is why, he is hailed as a priest of love and a prophet against mechanized existence. His purpose was so big that his novels still make such nerve-racking readings and have not escaped the critical gaze of many. This book attempts to explore the causes of failure of relationship between man and woman in the modern age through the study of some of his best novels . It investigates the new kind of relationship based on gender balance, proposed by him, that believes in the necessity to revive the vitality in sexuality to reform the human race. In attempting to discuss his novels, the book approaches the psychoanalytical method and analyses what psychology operates behind his characters that perform different roles.
Representations of Indian economic life have played an integral role in discourses about poverty, social policy, and cultural difference but have received surprisingly little attention. Daniel Usner dismantles ideological characterizations of Indian livelihood to reveal the intricacy of economic adaptations in American Indian history.
The author uses unpublished letters and interviews to shed light on one of the most interesting love affairs in literary history, chronicling the often tempestuous, always sexually vital marriage between D. H. Lawrence and his wife Frieda von Richtofen.
This study of Lawrence's travel writings is the first book-length study to approach the subject with reference to contemporary post-colonial theory. Focusing on the writings of 1921-25, the period when Lawrence was most intensely engaged in travel, it includes chapters on Sea and Sardinia, Kangaroo, The Plumed Serpent and the essays and stories inspired by Lawrence's experience of the New World.
D. H. Lawrence wrote in 1914, 'Primarily I am a passionately religious man, and my novels must be written from the depths of my religious experience.' Although he had broken with the Congregationalist faith of his childhood by his early twenties, Lawrence remained throughout his writing life a passionately religious man. There have been studies in the last twenty years of certain aspects of Lawrence's religious writing, but we lack a survey of the history of his developing religious thought and of his expressions of that thought in his literary works. This book provides that survey, from 1915 to the end of Lawrence's life. Covering the war years, Lawrence's American works, his time in Australia and Mexico, and the works of the last years of his life, this book provides readers with a complete analysis, during this period, of Lawrence as a religious man, thinker and artist.
Originally published in Italian as L’orizzonte mobile: spazio e luoghi nella narrativa di D.H. Lawrence in 1998, this critical study analyzes the work of D.H. Lawrence in light of new theories about space and location, or place and community. This approach is especially useful in examining Lawrence, as place and space are central aspects of all of his work. The introductory chapter explains the theoretical premises, drawing extensively from anthropology especially insofar as the relationship between culture and nature or community and place are concerned. This chapter also offers theories based on semiotics, sociological concerns and recent research in human geography and environmentalism. Succeeding chapters analyze functional aspects of place and space in D.H. Lawrence’s work. Lawrence’s major novels and stories provide the main focus of this book, but attention is also paid to lesser-known texts, both fiction and nonfiction. This work provides a new approach to studies on D.H. Lawrence, opening up new insights for both scholars and students alike.