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Informationen zum Autor David Ellis is the author of Lawrence's Non-Fiction: Art, Thought and Genre and Wordsworth, Freud and the Spots of Time. He has been commissioned to write Volume HI of the New Cambridge biography of Lawrence. Klappentext Selected by the Modern Library as one of the 100 best novels of all time With an Introduction by Joyce Carol Oates foreword by the author Commentary by Carl van Doren, Rebecca West, Aldous Huxley, and Henry Miller It is . . . the world of the poets and the preponderance of the poet in [Lawrence] that is the key to his work. He magnified and deepened experience in the manner of a poet," wrote Anaïs Nin in 1934. Privately printed in 1920 and published commercially in 1921, Women in Love is the novel Lawrence himself considered his masterpiece. Set in the English Midlands, the novel traces the lives of two sisters, Ursula and Gudrun, and the men with whom they fall in love. All four yearn for fufillment in their romantic lives, yet struggle in a world that is increasingly violent and destructive. Commenting on the novel, which was composed in the midst of the First World War in 1916, Lawrence wrote, "The bitterness of the war may be taken for granted in the characters." Rich in symbolism and lyrical prose, Women in Love is a complex meditation on the meaning of love in the modern world. To the critic Alfred Kazin, "No other writer of [Lawrence's] imaginative standing has in our time written books that are so open to life." D. H. LAWRENCE (1885-1930), the son of a coal miner and a lace worker, completed his formal studies at University College, Nottingham, in 1908 and began teaching at a boys' school. By 1912, he had abandoned teaching to write full-time. His novels include The White Peacock (1911), The Trespasser (1912), Sons and Lovers (1913), The Rainbow (1915), Women in Love (1920), The Plumed Serpent (1926), and Lady Chatterley's Lover (1928), which was banned as pornographic in England until 1960.Sisters Ursula and Gudrun Brangwen sat one morning in the window-bay of their father's house in Beldover, working and talking. Ursula was stitching a piece of brightly-coloured embroidery, and Gudrun was drawing upon a board which she held on her knee. They were mostly silent, talking as their thoughts strayed through their minds. "Ursula," said Gudrun, "don't you really want to get married?" Ursula laid her embroidery in her lap and looked up. Her face was calm and considerate. "I don't know," she replied. "It depends how you mean." Gudrun was slightly taken aback. She watched her sister for some moments. "Well," she said, ironically, "it usually means one thing! But don't you think anyhow, you'd be--" she darkened slightly--"in a better position than you are in now?" A shadow came over Ursula's face. "I might," she said. "But I'm not sure." Again Gudrun paused, slightly irritated. She wanted to be quite definite. "You don't think one needs the experience of having been married?" she asked. "Do you think it need be an experience?" replied Ursula. "Bound to be, in some way or other," said Gudrun, coolly. "Possibly undesirable, but bound to be an experience of some sort." "Not really," said Ursula. "More likely to be the end of experience." Gudrun sat very still, to attend to this. "Of course," she said, "there's that to consider." This brought the conversation to a close. Gudrun, almost angrily, took up her rubber and began to rub out part of her drawing. Ursula stitched absorbedly. "You wouldn't consider a good offer?" asked Gudrun. "I think I've rejected several," said Ursula. "Really!" Gudrun flushed dark-- "But anything really worth while? Have you really?" "A thousand a year, and an awfully nice man. I liked him awfully," said Ursula. "Really! But weren't you fearfully tempted?" "In the abstract but not in the concrete," said Ursula...
