Abstract
In late October 1926, two weeks after telling Frieda he would “never write another novel,” Lawrence began writing Lady Chatterley’s Lover.1 He finished the third and final version in January 1928. His letters from that period indicate he powerfully identified with the novel and considered it as precious and frail as his self. Fearing public outcry and government censorship, he initially had no desire to publish the manuscript. Only after considering private publication did he resolve to rewrite and publish the work. While some critics have considered the novel one of the worst of his major fictions, he thought it a consummation of his creative efforts:
It’s what the world would call very improper. But you know it’s not really improper—I always labour at the same thing, to make the sex relation valid and precious, instead of shameful. And this novel is the furthest I’ve gone. To me it is beautiful and tender and frail as the naked self is, and I shrink very much even from having it typed. Probably the typist would interfere.2
In contrast to this positive self-assessment, even so extreme an advocate as E R. Leavis considers the novel overly “deliberate” and “calculated.”3 And Michael Squires, who has studied the novel’s composition, deems it “schematic” (168).
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Chapter One The Destruction Phase of Lady Chatterley’s Lover
E R. Leavis, D. H. Lawrence: Novelist (Chicago: University of Chicago Press, 1955) 74.
See Joan D. Peters, “The Living and the Dead: Lawrence’s Theory of the Novel and the Structure of Lady Chatterley’s Lover,” D. H. Lawrence Review 20.1 (Spring 1988) 5–20. Her analysis mostly underscores differences in concreteness in the metaphors in the two halves.
See Richard Ellmann, The Identity of Yeats (NewYork: Oxford University Press, 1964) 151–64.
See Kate Millett, Sexual Politics (New York: Simon and Schuster, 1969) 237–45.
D. H. Lawrence and Jacques Lacan, The D. H. Lawrence Review 21.1 (Spring 1989) 15.
See Mary Daly, Beyond God the Father:Toward a Philosophy of Women’s Liberation (Boston: Beacon, 1973)
Rosemary R. Ruether, Sexism and God-Talk: Toward a Feminist Theology (Boston: Beacon, 1983).
See Laura Mulvey, “Visual Pleasure and Narrative Cinema” (1975), Visual and Other Pleasures (Bloomington: Indiana University Press, 1989) 14–26.
See Elaine Showalter, A Literature of Their Own: British Women Novelists from Bronte to Lessing (Princeton: Princeton University Press, 1977)
Sandra M. Gilbert and Susan Gubar, Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (New Haven and London: Yale University Press, 1979).
See Michel Foucault, The History of Sexuality: An Introduction (New York: Random House, 1978).
Lydia Blanchard, “Lawrence, Foucault, and the Language of Sexuality,” D. H. Lawrence’s “Lady”, ed. Michael Squires and Dennis Jackson (Athens: University of Georgia Press, 1985) 17–35.
See Philip Rieff, Freud: The Mind of the Moralist (Chicago: University of Chicago Press, 1959) 5–6.
Fiona Becket, D. H. Lawrence: The Thinker as Poet (New York: St. Martin’s, 1997) 49–69.
P. D. Ouspensky, Tertium Organum: A Key to the Enigmas of the World, trans. E. Kadloubovsky and P. D. Ouspensky (New York: Knopf, 1981 [1920]) 197.
Dorrit Cohn, Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction (Princeton: Princeton University Press, 1978) 26–33.
William James, The Varieties of Religious Experience: A Study in Human Nature (New York: New American Library, 1958 [1902]) 123–4.
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© 2005 Charles Michael Burack
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Burack, C.M. (2005). The Destruction Phase of Lady Chatterley’s Lover. In: D. H. Lawrence’s Language of Sacred Experience. Palgrave Macmillan, New York. https://doi.org/10.1057/9781403978240_2
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DOI: https://doi.org/10.1057/9781403978240_2
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