The Cambridge Edition of the Works of D. H. Lawrence – serie

Sketches of Etruscan Places contains seven essays D. H. Lawrence wrote in 1927 after visiting several Etruscan cities in central Italy. Six were published posthumously in 1932 as Etruscan Places; 'The Florence Museum' is published for the first time here. Some appeared in magazines in Lawrence's lifetime, but he expressed a wish that they be published in a volume with the photographs he had collected; in fact, only twenty of the forty-five illustrations here reproduced with Lawrence's own captions were included in 1932. Eight essays about Florence and the Tuscan countryside form the second part of this volume. The texts have been established by checking manuscripts, typescripts, proofs and periodical and book publications. The introduction gives the genesis, publication, textual history and reception of the essays.

Movements in European History was written by D. H. Lawrence during 1918 and 1919 in response to Oxford University Press's invitation to prepare a textbook for schools. It is a vivid sketch of European history from ancient Rome to the early twentieth century, remaining significant in the canon of Lawrence's work as the only school textbook he ever wrote. Crumpton's introduction describes the genesis, publication and reception of the book, gives an account of the little-known Irish edition of 1926 which suffered much censorship, and identifies and analyses Lawrence's methods of using the source-books on which his writing was based. This edition uses the surviving manuscript to present a text as close to that which Lawrence wrote and corrected in proof as is now possible.

Apocalypse is D. H. Lawrence's last book, written during the winter of 1929-30 when he was dying. It is a radical criticism of our civilisation and a statement of Lawrence's unwavering belief in man's power to create 'a new heaven and a new earth'. Ranging over the entire system of his thought on God and man, on religion, art, psychology and politics, this book is Lawrence's final attempt to convey his vision of man and the universe. Apocalypse was published after Lawrence's death, and in a highly inaccurate text. This edition is the first to reproduce accurately Lawrence's final corrected text on the basis of a thorough examination of the surviving manuscript and typescript. In the introduction the editor has discussed the writing of Apocalypse and its place in Lawrence's works, its publication and reception, and the significance of Lawrence's other writings on the Book of Revelation.

D. H. Lawrence wrote these three 'novelettes' between November 1920 and December 1921; they were enthusiastically received by his English publisher and his readers. The ending of the first version of 'The Fox', written in December 1918, is given in an appendix; Lawrence added a 'long tail' two years later, expanding the story to about three times its original length. 'The Ladybird' also started out as a short story, but was completely rewritten; two manuscript pages omitted by the typist are here included for the first time. The characters and the setting of 'The Captain's Doll' arose out of Lawrence's visit to Austria in summer 1920. Dieter Mehl gives all three composition histories including Lawrence's wish to have them published together, problems with typists and in publication. There is also an appendix on the models for the two main characters and the setting of 'The Fox'.

The First 'Women in Love' is one of Lawrence's greatest works, and is the only full length work of fiction which he completed between The Rainbow and the extensively revised Women in Love. It is a piece of fiction generated in the England, and the Europe, of the First World War. Publishers were alarmed by the fate of his previous novel The Rainbow and The First 'Women in Love' was rejected by every publisher who saw it. As a result it is a novel whose very existence as an independent text has been ignored, and which has not been published until now. The First 'Women in Love' shares much of its material with Women in Love, but its central relationships are dissimilar, and the ending radically different.

Kangaroo is D. H. Lawrence's eighth novel, set in Australia. He wrote the first draft in just forty-five days while living south of Sydney, in 1922, and revised it three months later in New Mexico. The descriptions of the country are vivid and sympathetic and the book fuses lightly disguised autobiography with an exploration of political ideas at an immensely personal level. Based on a collation of the manuscript, typescripts and first editions, this text of Kangaroo is closest to what Lawrence would have expected to see in print. There is a full textual apparatus of variants, a comprehensive introduction giving the background and history of composition and publication and a summary of contemporary reviewers' opinions. Explanatory notes elucidate the many geographical, political and literary allusions in the text; there are three maps and an appendix detailing Australian locations.

D. H. Lawrence left England for the first time in May 1912, and began almost immediately to record his reactions to foreign cultures. He wrote a series of travel articles intended for newspapers, two of which are published here for the first time after having been rejected as too anti-German in the tense pre-war atmosphere. In 1915 he amplified some of these essays and wrote others for Twilight in Italy (1916), his first travel book. Profoundly charged by the disorienting anxieties of the War, these essays evince a confidence and intellectual daring which take them well beyond the bounds of the conventional travel sketch. All are published in this first critical edition of his 1912-16 essays, together with his eerily prophetic article, 'With the Guns', written upon the outbreak of war in 1914.

This is the first critical edition of The Boy in the Bush, a novel whose unlikely genesis has been surrounded in mystery and the subject of claim and counter-claim. A systematic study of all the extant textual documents has revealed a process of composition and revision which qualifies the novel to be treated unequivocally as part of the Lawrence canon. At Lawrence's suggestion an Australian nurse and part-time author, Mollie Skinner (whom he had met in 1922), wrote a tale set in late nineteenth-century Western Australia about a newly-arrived young Englishman's reactions to Perth and the outback. Lawrence's complete rewriting converted her production into an ambitious, powerful novel. The reading text here established eliminates all such instances of censorship and strips away the thousands of regularisings and miscopyings introduced by typists and typesetters. Based on Lawrence's autograph manuscript the text meticulously incorporates his subsequent revisions in the typescripts and proofs.

D. H. Lawrence wrote his last novel, Lady Chatterley's Lover, three times in 1926-7, and it is the third version that has become famous. The three versions are in fact three different novels, varying greatly in length, a significant number of episodes, and even some of the main characters. This 1999 book contains a critical edition of the two early versions of the novel: the first in some ways the most realistic and spontaneous version, the second the longest and to many readers and critics the most successful version. The text is printed from its manuscript source, including numerous, sometimes extensive deletions and variations from the first printed editions. An introduction traces the genesis of the novel and gives an account of its publication and reception. There are also notes, explaining literary, historical and geographical names and allusions, and particular problems of manuscript transmission.

The Cambridge edition of Lady Chatterley's Lover (and A Propos of 'Lady Chatterley's Lover') is the first ever to restore to Lawrence's most famous novel the words that he wrote. It removes typists' corruptions and compositors' errors, which have marred the text for over sixty years, and includes hundreds of new words, phrases and sentences - and thousands of changes in punctuation. This text projects the sound of Lawrence's voice, embodies the precision of his mature style and reveals the force of his rhetorical power. The introduction establishes an accurate history of composition, typing, printing, publication and reception; the notes freshly identify dozens of difficult allusions; and the appendix, an original essay, explains how Lawrence imaginatively weaves real places and people into the fictional tapestry that he creates. For students and scholars alike, the Cambridge text is the only text of the novel that can be read or quoted with confidence.

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.

D. H. Lawrence's Women in Love - 'the beginning of a new world', as he called it - suffered in the course of its revision, transcription, and publication some of the most spectacular damage ever inflicted upon one of his books. Until now no text of Women in Love has ever been published which is faithful to all of Lawrence's revisions. This edition, edited by scholars in England and America, clears the text of literally thousands of accumulated errors allowing its readers to read and understand the novelist's work as he himself created it. The edition includes the 'Foreword' Lawrence wrote in 1919 and two preliminary and discarded chapters which have attracted widespread critical and biographical discussion. The introduction gives a full history of the novel's composition, revision, publication and reception, and notes explain allusions and references; the textual apparatus records all variants between the base-text and the first printed editions.

Written after the First World War when he was living in Sicily, Sea and Sardinia records Lawrence's journey to Sardinia and back in January 1921. It reveals his response to a new landscape and people and his ability to transmute the spirit of place into literary art. Like his other travel writings the book is also a shrewd inquiry into the political and social values of an era which saw the rise of communism and fascism. On one level an indictment of contemporary materialism, Sea and Sardinia is nevertheless an optimistic book, celebrating the creativity of the human spirit and seeking in the fundamental laws which governed human nature in the past fresh inspiration for the present. This 1997 edition restores censored passages and corrects corrupt textual readings to reveal for the first time the book Lawrence himself called 'a marvel of veracity'.

Lawrence called Aaron's Rod 'the last of my serious English novels - the end of The Rainbow, Women in Love line.' Written in the years following the First World War, Aaron's Rod questions many of the accepted social and political institutions of Lawrence's own generation and raises issues still important in our time. Aaron's Rod, completed in 1921,was censored by both Lawrence's American and English publishers. The Cambridge Edition of the novel, based on the only authoritative surviving typescript, restores these cut passages and eliminates the errors and house-styling of previous editions. The volume contains an introduction setting out the genesis of the novel, its transmission, publishing history and reception, as well as explanatory notes and a textual apparatus. The appendix contains some early cancelled passages from the novel, here published for the first time, which reveal the kinds of conceptual and stylistic changes that often occurred in Lawrence's revisions.

Mr Noon is a sardonic tale about the amorous adventures of Gilbert Noon, a young schoolmaster in Lawrence's home county of Nottinghamshire who gets entangled with a girl, loses his job, and decides to leave the country to escape the narrow provincial middle-class morality. It was first known as a long story posthumously published in A Modern Lover (1934) and collected in the volume called Phoenix II (1968). Lawrence in fact wrote a long continuation of the novel, but the manuscript disappeared for many years. The Cambridge edition brought the two parts together for the first time. It is like a sequel to Sons and Lovers, but much more straightforwardly autobiographical. The publication of the complete work added a new work of major importance to the canon of a great writer, and was widely hailed as a major literary event.

D. H. Lawrence's 'Study of Thomas Hardy', written in the early months of World War I, was originally intended to be a short critical work on Hardy's characters, but developed into a major statement of Lawrence's philosophy of art. The introduction to this work shows its relation to Lawrence's final rewriting of The Rainbow and its place among his continual attempts to express his philosophy in a definitive form. Previously published posthumously from a corrupt typescript, the 'Study' is now more firmly based on Koteliansky's typescript - Lawrence having destroyed the manuscript. The other essays in this volume span virtually the whole of Lawrence's writing career, from 'Art and the Individual' (1908) to his last essay 'John Galsworthy', written in 1927. The introduction sets these essays in the context of Lawrence's life and work. The textual apparatus gives variant readings, and explanatory notes identify references and quotations, and offer background information.

D. H. Lawrence's Women in Love - 'the beginning of a new world', as he called it - suffered in the course of its revision, transcription, and publication some of the most spectacular damage ever inflicted upon one of his books. Until now no text of Women in Love has ever been published which is faithful to all of Lawrence's revisions. This edition, edited by scholars in England and America, clears the text of literally thousands of accumulated errors allowing its readers to read and understand the novelist's work as he himself created it. The edition includes the 'Foreword' Lawrence wrote in 1919 and two preliminary and discarded chapters which have attracted widespread critical and biographical discussion. The introduction gives a full history of the novel's composition, revision, publication and reception, and notes explain allusions and references; the textual apparatus records all variants between the base-text and the first printed editions.

Written after the First World War when he was living in Sicily, Sea and Sardinia records Lawrence's journey to Sardinia and back in January 1921. It reveals his response to a new landscape and people and his ability to transmute the spirit of place into literary art. Like his other travel writings the book is also a shrewd inquiry into the political and social values of an era which saw the rise of communism and fascism. On one level an indictment of contemporary materialism, Sea and Sardinia is nevertheless an optimistic book, celebrating the creativity of the human spirit and seeking in the fundamental laws which governed human nature in the past fresh inspiration for the present. This 1997 edition restores censored passages and corrects corrupt textual readings to reveal for the first time the book Lawrence himself called 'a marvel of veracity'.

The Prussian Officer and Other Stories, Lawrence's first collection of short stories, was published in England in 1914 and in the USA in 1916. It contains some of the greatest stories he ever wrote: 'Odour of Chrysanthemums', 'Daughters of the Vicar', 'The Prussian Officer', and 'The White Stocking', with settings ranging from the mining community of Eastwood to Germany before the First World War. The text of this new edition is based on Lawrence's manuscripts, typescripts and corrected proofs, and is the first to remove the corruptions introduced by copyists, typists and printers. The introduction sets out the history of each story and of the collection itself. There is a textual apparatus recording variant readings and full notes explain historical references and other allusions, dialect forms and foreign words. Two important appendixes print the earliest surviving fragment of 'Odour of Chrysanthemums' and the 1911 version of 'Daughters of the Vicar'.

The Plumed Serpent is set in Mexico in the 1920s, an era of political turmoil, and centres on a revolutionary movement to revive the religion of the ancient Aztecs. The brilliant vision of place, the violent action and the rituals and myth for the new religion all combine to make it one of Lawrence's most vivid novels. The Cambridge edition establishes for the first time a meticulously edited text based on the manuscript, typescript and proof material, nearly all of which survives. Several lengthy passages rejected in the course of composition and here included in the textual apparatus offer a close look at the intricacies of Lawrence's progress toward a final conception of the novel. Full annotation and appendixes on Mexican politics and Aztec religion are also provided to assist in comprehending the often arcane concepts to which Lawrence applied his imaginative power.

The Cambridge edition of The Lost Girl uses the manuscript which D. H. Lawrence wrote in Sicily in 1920 to recapture his direct relationship with the text, and in particular to recover the characteristically fluent punctuation which the novel's original printers obscured or ignored. The edition prints all four of the passages which the publisher censored without Lawrence's full knowledge and the hero's name is correctly spelled for the first time in an English edition. The novel is set mainly in the Eastwood of Lawrence's youth, the full annotation identifies a great many real-life characters and settings. John Worthen's introduction gives an accurate account of The Lost Girl's development, composition and publication, and the influence upon the book of Lawrence's desire to write a commercially successful novel. The textual apparatus records all variant readings.

D. H. Lawrence's second novel The Trespasser is based on the tragic love affair of his friend Helen Corke and her violin teacher. After reading Miss Corke's diary, Lawrence first urged her to write her story and then received her permission to do it himself. Between his rapid composition of the first draft in the spring and summer of 1910 and his final revisions in early 1912, Lawrence's view of Helen Corke, and consequently of her story, changed. The manuscript survives, and this edition presents the text for the first time as Lawrence wrote it, restoring his sentence-structure and punctuation and correcting numerous typesetters' errors. In her substantial introduction Elizabeth Mansfield explores the background of the novel, presents the complications of the publishing history and the novel's reception. A full textual apparatus records the history of the text and the editor annotates topical and other references.

St Mawr and Other Stories consists of the long novella St Mawr, two short stories 'The Overtone' and 'The Princess', and two unfinished stories 'The Wilful Woman' and 'The Flying Fish', all written during D. H. Lawrence's stay on the American continent between 1922 and 1925. The texts are newly edited from Lawrence's original manuscripts and typescripts, eliminating mistranscriptions and unauthorised alterations made by publishers and printers for reasons of housestyling, fear of prosecution or moral censoriousness. In some cases whole lines of text, which have been omitted in the first and subsequent editions, have been restored. The textual apparatus records all variants. The introduction uses unpublished material to trace the genesis and reception of each work. The notes give the translation of foreign words, the explanation of classical, biblical, literary and historical references and the reasoning behind some of the more involved textual cruces.

Lawrence's first novel The White Peacock was begun in 1906, rewritten three times, and published in 1911. The Cambridge edition uses the final manuscript as base-text, and faithfully recovers Lawrence's words and punctuation from the layers of publishers' house-styling and their errors; original passages, changed for censorship reasons, are reinstated. Andrew Robertson's introduction sets out the history of Lawrence's writing and revision, and the generally favourable reception by friends and reviewers. Lawrence incorporated much of his own experience and reading on to the novel which is set just north-east of Eastwood, and modelled characters on his friends and family. The notes identify real-life places and people, explain dialect forms, literary allusions, and historical references, and include sensitive passages deleted before publication. The textual apparatus records all the variant readings and the appendix prints the two surviving fragments from the earliest manuscripts of the novel, then entitled 'Laetitia'.

The thirteen short stories in this volume were written between 1924 and 1928, and are set in Europe and America. 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 here. The stories reflect Lawrence's experiences in New Mexico, Mexico, Italy, Germany and England in the post-war period. Many were considerably revised by Lawrence after he first wrote them; some were completely rewritten and subsequently published in different versions. The editors give composition histories and discuss publication difficulties, including Compton Mackenzie's objections to 'The Man Who Loved Islands'. Appendices record manuscript revisions for three stories and give complete, unpublished early versions of four. Explanatory notes elucidate literary allusions and give topographical and biographical information.

Written in D. H. Lawrence's most productive period, 'Psychoanalysis and the Unconscious' (1921) and 'Fantasia of the Unconscious' (1922) were undertaken initially in response to psychoanalytic criticism of his novel Sons and Lovers. They soon developed more generally to propose an alternative to what Lawrence perceived as the Freudian psychoanalytic theory of the unconscious and the incest motive. The essays also develop his ideas about the upbringing and education of children, about marriage, and about social and even political action. Lawrence described them as 'this pseudo-philosophy of mine which was deduced from the novels and poems, not the reverse. The absolute need one has for some sort of satisfactory mental attitude towards oneself and things in general makes one try to abstract some definite conclusions from one's experiences as a writer and as a man'. These conclusions form an illuminating guide to his works and therein lies their peculiar value.

Love Among the Haystacks and Other Stories gathers together all of Lawrence's short stories not collected in the Prussian Officer volume. It offers a range of work from Lawrence's earliest surviving published story, 'A Prelude', to 'New Eve and Old Adam' written at the height of his early maturity in 1913. Each story in this edition appears in a new, authoritative text based on the manuscripts, typescripts, corrected proofs and early printings drawn from libraries and private collections in England, Italy and America. All the stories have thus been stripped of the layers of errors introduced by typists, editors and printers in their previous publication. John Worthen's introduction sets out the composition and publication history of each story, and gives a full account of the context in which it was created. A textual apparatus records all variant readings and explanatory notes explain allusions, dialect forms and foreign words.

The fourteen stories collected in this volume were written between 1913 and 1921, most of them against the background of the 1914-1918 War. All but one were published in slightly different versions by magazines and periodicals on both sides of the Atlantic. Ten were selected and revised by Lawrence for his collection England, My England. The texts aim to recover Lawrence's own intentions, which editors and publishers all too frequently ignored or altered. Where possible manuscripts and corrected typescripts are used as base-texts. The introduction traces the composition and revision of the stories, setting them in the context of Lawrence's life and work. The textual apparatus gives variant readings, and explanatory notes identify sources, references and quotations. The 1915 version of 'England, My England' is given as an appendix.

Reflections on the Death of a Porcupine and Other Essays contains what Lawrence himself called the 'philosophicalish' essays written in the decade 1915-1925. The essays range from short pieces like 'Love' and 'Life' to the lengthy 'Education of the People'; from the light-hearted 'Climbing Down Pisgah' to the serious meditation 'Resurrection'; from political pieces like 'Democracy' and 'Aristocracy' to poetical essays on nature such as 'Whistling of Birds'. This edition restores what Lawrence himself wrote before typists, editors and compositors made the extensive alterations which have been followed in all previous versions of the texts. Sometimes entire passages, removed by mistake or for reasons of censorship, have been recovered. The introduction describes the genesis, textual history, and reception of the essays; the textual apparatus records variant readings; and the explanatory notes offer help with allusions and other points of difficulty in the texts.