The Cambridge Edition of The Letters and Works of D. H. Lawrence - Novels

Novels

  • The White Peacock (1911), edited by Andrew Robertson, Cambridge University Press, 1983, ISBN 0-521-22267-2
  • The Trespasser (1912), edited by Elizabeth Mansfield, Cambridge University Press,1981, ISBN 0-521-22264-8
  • Sons and Lovers (1913), edited by Helen Baron and Carl Baron, Cambridge University Press, 1992, ISBN 0-521-24276-2
  • The Rainbow (1915), edited by Mark Kinkead-Weekes, Cambridge University Press, 1989, ISBN 0-521-00944-8
  • Women in Love (1920), edited by David Farmer, Lindeth Vasey and John Worthen, Cambridge University Press, 1987, ISBN 0-521-23565-0
  • The Lost Girl (1920), edited by John Worthen, Cambridge University Press, 1981, ISBN 0-521-22263-X
  • Aaron's Rod (1922) edited by Mara Kalnins, Cambridge University Press, 1988,ISBN 0-521-25250-4
  • Kangaroo (1923) edited by Bruce Steele, Cambridge University Press, 1994, ISBN 0-521-38455-9
  • The Boy in the Bush (1924), edited by Paul Eggert, Cambridge University Press, 1990, ISBN 0-521-30704-X
  • The Plumed Serpent (1926), edited by L. D. Clark, Cambridge University Press, 1987, ISBN 0-521-22262-1
  • Lady Chatterley's Lover(1928), edited by Michael Squires, Cambridge University Press, 1993, ISBN 0-521-22266-4

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Famous quotes containing the word novels:

    “An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
    —George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)

    “Compare the history of the novel to that of rock ‘n’ roll. Both started out a minority taste, became a mass taste, and then splintered into several subgenres. Both have been the typical cultural expressions of classes and epochs. Both started out aggressively fighting for their share of attention, novels attacking the drama, the tract, and the poem, rock attacking jazz and pop and rolling over classical music.”
    —W. T. Lhamon, U.S. educator, critic. “Material Differences,” Deliberate Speed: The Origins of a Cultural Style in the American 1950s, Smithsonian (1990)

    “I have just opened Bacon’s “Advancement of Learning” for the first time, which I read with great delight. It is more like what Scott’s novels were than anything.”
    —Henry David Thoreau (1817–1862)