Introduction to JavaScript Object Notation

Volume I of the Letters, edited by James T. Boulton, gives the first 580 letters in the series, covering the period September 1901 to May 1913. This is the time of Lawrence's youth in Eastwood, his first year out of England - in Italy with Frieda - to the publication of Sons and Lovers. There are letters to his early loves, Jessie Chambers, Louie Burrows and Helen Corke. He writes The White Peacock, The Trespasser, Sons and Lovers, the early stories and poems. He is welcomed into the literary world by editors such as Ford and Garnett; he meets Pound and other writers; he reads widely. His mother dies; he grows away from the younger women; he meets Frieda and elopes with her. Professor Boulton's discreet annotation conceals an enormous labour of patient detection. There are over thirty photographs of his friends and correspondents and a newly discovered portrait miniature of Lawrence.

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'.

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 pr

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"THE BOTTOMS" succeeded to "Hell Row". Hell Row was a block of thatched, bulging cottages that stood by the brookside on Greenhill Lane. There lived the colliers who worked in the

Lady Chatterley’s Lover was originally printed privately in Florence, Italy. It wasn’t printed openly in the U.K until 1960, when Penguin published it, were taken to the High Court for obscenity, and

"THE BOTTOMS" succeeded to "Hell Row". Hell Row was a block of thatched, bulging cottages that stood by the brookside on Greenhill Lane. There lived the colliers who worked in the little gin-pits two