Abstract
It could be argued that Sons and Lovers is a horror novel in the sense that any detectable pretences of rationality are so interwoven within the fabric of the text that the forms of pretence uncovered, almost encourage the readiness of sanity and madness to metamorphose before our very eyes. If this statement is correct, what becomes of those sites in the novel which are seemingly devoid of all pretence? In short, what is the nature of the discourse which we are actually reading?
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Notes
D. H. Lawrence, Sons and Lovers (Harmondsworth: Penguin, 1977) p. 78.
J-P. Peter and J. Favret, ‘The Animal, the Madman, and Death’, in M. Foucault, I, Pierre Rivière (Harmondsworth: Peregrine, 1978) p. 190.
S. Rowbotham, Hidden from History (London: Pluto Press, 1977) p. 49.
J. Mitchell, Woman’s Estate (Harmondsworth: Penguin, 1976) p. 154.
D. Hobson, ‘Housewives: isolation as oppression’ in Women Take Issue (London: Hutchinson, 1978) p. 85.
J. Donzelot, The Policing of Families (London: Hutchinson, 1980) p. 36.
A. V. John, Coalmining Women (Cambridge: Cambridge University Press, 1984) pp. 23–5.
M. Spilka, The Love Ethic of D. H. Lawrence (London: Dobson Books, 1958) p. 66.
D. Edgar, Mary Barnes (London: Methuen, 1984) p. 61.
T. Eagleton, The Rape of Clarissa (Oxford: Basil Blackwell, 1982) p. 93.
L. Iragaray, ‘Women’s Exile’, in Ideology and Consciousness No. 1 (London: 1977) p. 65.
Cf., M. Bakhtin, Problems of Dostoevsky’s Poetics (Manchester: Manchester University Press, 1984) pp. 212–15.
B. Campbell, ‘A Feminist Sexual Politics’, in Feminist Review No.5 (London: 1980) p. 6.
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© 1991 Nigel Kelsey
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Kelsey, N. (1991). Sons and Lovers. In: D. H. Lawrence: Sexual Crisis. Macmillan Studies in Twentieth-Century Literature. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-21749-6_3
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