User:JovanRad/sandbox: Difference between revisions

dying. She looked at the outside, and then at the title page, and then at me

with darkening eyes. And though she loved me so much, I thought she

as a stark indication of their understandably different perspectives on life, as

the coal-miner reacts to the revelation of how much money his son received

for the book: “’Fifty pounds!’ He was dumbfounded, and looked at me with

shrewd eyes, as if I were a swindler. ‘Fifty pounds! An ‘tha’s never done a

was filled with tension and frustration that often exhausted him physically

and emotionally. Yet as he also reveals in such relevant essays as “Return to

failures and his own: “Oh my dear and virtuous mother, who believed in a

Utopia of goodness,so that your own people were never quite good enough

and Lovers, has long dissipated, and in “Nottingham and the Mining Countryside” he contemplates him with knowledgeable empathy and a powerful

metaphor:

A major reason for the success of this eclectic volume resides in Dyer’s decision to forgo the customary organization of an anthology by thematic categories. The essays are arranged in a straight-line chronological order, so

and organically absorbs the repeating preoccupations and stylistic signposts

of Lawrence. Subjects and metaphors reappear with meaningful variations

precisely Lawrence’s lines (quoted below) anticipate Mailer’s words in The

Deer Park about the “law of life” which insists “that one must grow or else

extent of Lawrence’s influence on his own work and outlook. Here is

Lawrence exactly thirty years before Mailer’s novel, as he conceptualizes his

quality that, in effect, insists that one can merely apply established pattern

and easy repetition to the rhythms and demands of relationships and circumstances. Thus Lawrence’s prescient review of Hemingway’s first major

sentimentalist’s primary flaw, a failure, that—as Hemingway demonstrates

explicitly about his own father in “Fathers and Sons”—can be destructive

it with an unembroidered economy of style that even sounds like Papa: “It

is really honest. And it explains a great deal of sentimentality. When a thing

Within this context of sentimentalism and its inherent opposition to

primacy and its ultimate connection to what he variously calls “the fourthdimension,” involving a transcendent perception of “tremulations on the ether” (“Why the Novel Matters,”254). In a critical section of that essay, he privileges the genre of the novel for its intrinsic ability to embody such relevant synthesis of immanence and transcendence, and thus the novel for him is “the one bright book of life,” for only “the novel as a tremulation can make the whole man alive tremble” (255). Lawrence’s commitment to his visionary emphasis on the “gleam” in life extends even to inanimate objects. The following passage remains too easy to caricature, but it represents Lawrence’s unqualified adherence to the perceptions of instinct and the messages of tremulation:

It is a short distance from the God-flame of immanence radiating from inanimate objects to Lawrence’s instinctual imperative. The following words are from “The Novel and the Feelings” (1925), and again they conspicuously prefigure Mailer’s own existential perspectives: “We’ve managed to keep clear of the darkest Africa inside us, for a long time. . . . But there it is, a strange dark

the personal and the scenic with the mythical nuances of literary history. I

urge you to read through the essays to find more of the same:

===Works Cited===