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Lady Chatterley's Lover: By D. H. Lawrence : Illustrated & Unabridged (Free Bonus Audiobook)

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Lady Chatterley's Lover by D. H. Lawrence How is this book unique? Illustrations Included Free Audiobook Lady Chatterley's Lover is a novel by D. H. Lawrence, first published in 1928. The first edition was printed privately in Florence, Italy, with assistance from Pino Orioli; an unexpurgated edition could not be published openly in the United Kingdom until 196 Lady Chatterley's Lover by D. H. Lawrence How is this book unique? Illustrations Included Free Audiobook Lady Chatterley's Lover is a novel by D. H. Lawrence, first published in 1928. The first edition was printed privately in Florence, Italy, with assistance from Pino Orioli; an unexpurgated edition could not be published openly in the United Kingdom until 1960. (A private edition was issued by Inky Stephensen's Mandrake Press in 1929.) The book soon became notorious for its story of the physical (and emotional) relationship between a working class man and an upper class woman, its explicit descriptions of sex, and its use of then-unprintable words. The story is said to have originated from events in Lawrence's own unhappy domestic life, and he took inspiration for the settings of the book from Eastwood, Nottinghamshire, where he grew up. According to some critics, the fling of Lady Ottoline Morrell with "Tiger", a young stonemason who came to carve plinths for her garden statues, also influenced the story. Lawrence at one time considered calling the novel Tenderness and made significant alterations to the text and story in the process of its composition. It has been published in three versions.


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Lady Chatterley's Lover by D. H. Lawrence How is this book unique? Illustrations Included Free Audiobook Lady Chatterley's Lover is a novel by D. H. Lawrence, first published in 1928. The first edition was printed privately in Florence, Italy, with assistance from Pino Orioli; an unexpurgated edition could not be published openly in the United Kingdom until 196 Lady Chatterley's Lover by D. H. Lawrence How is this book unique? Illustrations Included Free Audiobook Lady Chatterley's Lover is a novel by D. H. Lawrence, first published in 1928. The first edition was printed privately in Florence, Italy, with assistance from Pino Orioli; an unexpurgated edition could not be published openly in the United Kingdom until 1960. (A private edition was issued by Inky Stephensen's Mandrake Press in 1929.) The book soon became notorious for its story of the physical (and emotional) relationship between a working class man and an upper class woman, its explicit descriptions of sex, and its use of then-unprintable words. The story is said to have originated from events in Lawrence's own unhappy domestic life, and he took inspiration for the settings of the book from Eastwood, Nottinghamshire, where he grew up. According to some critics, the fling of Lady Ottoline Morrell with "Tiger", a young stonemason who came to carve plinths for her garden statues, also influenced the story. Lawrence at one time considered calling the novel Tenderness and made significant alterations to the text and story in the process of its composition. It has been published in three versions.

30 review for Lady Chatterley's Lover: By D. H. Lawrence : Illustrated & Unabridged (Free Bonus Audiobook)

  1. 5 out of 5

    Brad

    WARNING: This review contains a discussion of the c-word, and I plan to use it. Please don't read this if you do not want to see the word spelled out. Thanks. This is less a review than an homage to my crazy mother (now I have you really intrigued, don't I?) It was 1983, and I was in my first Catholic school. I'd spent my first six years of school in a public school, but my "behavioral issues" coupled with my lack of growth made me a target for bullies, so my parents were advised to move me to ano WARNING: This review contains a discussion of the c-word, and I plan to use it. Please don't read this if you do not want to see the word spelled out. Thanks. This is less a review than an homage to my crazy mother (now I have you really intrigued, don't I?) It was 1983, and I was in my first Catholic school. I'd spent my first six years of school in a public school, but my "behavioral issues" coupled with my lack of growth made me a target for bullies, so my parents were advised to move me to another school where no one knew me. So off I went to the home room of a fallen nun, who'd given up her habit for a family. She wasn't much of a teacher. She was an old school Catholic educator who practiced punitive teaching, which included kicks to the shins, yanking of ears, pulling of hair, and screaming from close range. I kept my head down and tried to blend in with my new surroundings, but my Mother made that difficult from the get go. I was a voracious reader, and she passed on the disease to me. From grade two on she had been recommending great books to me. I was reading everything before most everyone else, but my Mom's recommendation of Lady Chatterly's Lover in my first month of Catholic school was probably her most outrageous and unforgettable recommendation. She bought me a copy at the book store in the mall, and that's where I met one of my favourite words of all time -- cunt. Back in 1983, cunt was not a word in your average child's vocabulary. Sure we'd heard it, and maybe even seen it, but it was not something that was regularly used by kids, and its usage was pretty vague to every 13 year old I knew. But there it was in Lady Chatterly's Lover. It was all over the place. So as I read the story and absorbed the way Lawrence used cunt, his usage became my usage. Lawrence used cunt beautifully; it was not a term of denigration; it was not used to belittle; it was not an insult nor something to be ashamed of; cunt was lyrical, romantic, caring, intimate. And I came to believe that cunt was meant to be used in all these ways. That the poetic use of cunt was the accepted use of cunt, the correct use of cunt, and suddenly cunt was part of my vocabulary. I was thirteen. Now I didn't just start running around using cunt at every opportunity. I did what I always did with new words that I came to know and love. I added them to my vocabulary and used them when I thought it was appropriate. And when I whispered it to Tammy, the girl I had a crush on, a few weeks later, thinking that it was the sort of romantic, poetic language that made women fall in love with their men (I can't remember what I said with it, but I know it was something very much like what Mellors would have said to Constance), she turned around with a deep blush, a raised eyebrow and a "That's disgusting" that rang through the class (I can still see the red of autumn leaves that colored her perfectly alabaster skin under a shock of curly black hair, aaaah...Tammy. Apparently she had a better sense of cunt's societal taboos than I did). Mrs. C--- was on her feet and standing parallel to the two of us in a second, demanding to know what was going on. To her credit, Tammy tried to save me -- sort of. She said "Nothing." Then Mrs. C--- turned on me; I was completely mortified (I'd obviously blown it with the first girl I loved in junior high school), and while I was in this shrinking state, Mrs. C--- demanded to know what was happening and what I had said. I tried to avoid repeating what I had said. I admitted I shouldn't have been talking. I admitted that I should have been working. I tried to divert her attention. But she was a scary lady, and I couldn't help myself. I repeated what I had said -- as quietly as I could -- but as soon as Mrs. C--- heard "cunt" I was finished. That was the moment I knew "cunt" was the catalyst for the whole debacle. Now...I'd known before that the word was taboo, but I didn't think it would generate the response it did. I really thought that Tammy would be flattered. And I certainly didn't expect that I would be dragged to the office by an angry ex-nun. Silly me. I got the strap. It was the first time (although there would be another). Three lashes to the palm of the hand. I didn't use "cunt" in public or private for a long time after that, but my punishment couldn't diminish my love for the word. Lawrence made such and impression on my young mind that neither humiliation nor physical pain could overcome my appreciation of cunt's poetic qualities. To me the word is and always will be a beautiful and, yes, gentle thing. Every time that event was recounted at the dinner table over the years, whether it was amongst family, or with my girlfriends or my future wife, my Mom always got this sly little grin on her face and indulged in a mischievous giggle before refusing to take the blame for me getting the strap. After all, "Who was the one who was stupid enough to use the word, Brad? Not me." I love her response as much as I love the word. And in case you were wondering, my Mom never stopped recommending books to me. She was an absolute kook. I miss her. I can't wait to pass on Lady Chatterly's Lover to my kids...but I think it's going to have to be in grade three if it's going to have the same effect it had on me...hmmm...I wonder how that will go over.

  2. 4 out of 5

    Madeline

    I honestly think that if this book hadn't been banned for obscene content, no one would have ever read it. Yes, there are lots of sex scenes (omg scandalous) but all the stuff in between is, for the most part, ungodly boring. The book gets points for having some very intellectual discussions of class and the differences between men and women, and Lawrence's characters talk about sex with more honesty than any other book I've ever read, but that's about all it has going for it. I was about fifty I honestly think that if this book hadn't been banned for obscene content, no one would have ever read it. Yes, there are lots of sex scenes (omg scandalous) but all the stuff in between is, for the most part, ungodly boring. The book gets points for having some very intellectual discussions of class and the differences between men and women, and Lawrence's characters talk about sex with more honesty than any other book I've ever read, but that's about all it has going for it. I was about fifty pages into the book when I realized that I really didn't like either of the title characters (Lady Chatterley and her Lovah), and it didn't get much better from there. Mellors started to grow on me towards the end, when he discovered sarcasm, but Lady Chatterley (aka Connie) was one of the most boring protagonists ever. She was almost completely personality-deficient, and Lawrence worked hard at the beginning to convince us that she was intelligent, a task at which he fails miserably. Example? At one point in the book, when Connie and Mellors have just finished having hot sex and are in bed together, he starts a rant about the class system. Connie's response? She observes that Mellors' chest hair and pubic hair are different colors. Fascinating. Basically, the book can be summed up like this: Blah blah SEX blah blah class blah SEX SEX blah blah class England's economy SEX SEX SEX SCANDAL arguement arguement SCANDAL Vacation time! blah blah blah SEX arguement SCANDAL blah blah the end.

  3. 4 out of 5

    Paul Bryant

    "Afternoon, m'lady - do ye fancy a quick one over yon five barred gate?" "Oh you earthy gamekeepers, well I don't know... oh alright... but only if you mention my private parts in a rough yet tender manner and clasp them enthusiastically betwixt your craggy extremities." Lord Chatterley, from a mullioned window: "Grr, if I wasn't just a symbol of the impotent yet deadening power of the English aristocracy I'd whip that bounder to within an inch of an orgasm." 40 years later : Barrister in full periw "Afternoon, m'lady - do ye fancy a quick one over yon five barred gate?" "Oh you earthy gamekeepers, well I don't know... oh alright... but only if you mention my private parts in a rough yet tender manner and clasp them enthusiastically betwixt your craggy extremities." Lord Chatterley, from a mullioned window: "Grr, if I wasn't just a symbol of the impotent yet deadening power of the English aristocracy I'd whip that bounder to within an inch of an orgasm." 40 years later : Barrister in full periwig : "Is this a book you would want your wife or your servant to read?" Jury : "Well, it's not one of his best, that's for sure, but it isn't bad, crudely propagandistic but it does trenchantly place its finger on a particular moment in the shift of class consciousness in Britain." Judge : "Cut the crap, guilty or not guilty?" Jury : "Guilty pleasure!"

  4. 5 out of 5

    Ahmad Sharabiani

    Lady Chatterley's Lover, David Herbert Richards = (D.H.) Lawrence Lady Chatterley's Lover is a novel by D. H. Lawrence, first published privately in 1928 in Italy, and in 1929 in France and Australia. An unexpurgated edition was not published openly in the United Kingdom until 1960. The story concerns a young married woman, the former Constance Reid (Lady Chatterley), whose upper class husband, Sir Clifford Chatterley, described as a handsome, well-built man, has been paralysed from the waist down Lady Chatterley's Lover, David Herbert Richards = (D.H.) Lawrence Lady Chatterley's Lover is a novel by D. H. Lawrence, first published privately in 1928 in Italy, and in 1929 in France and Australia. An unexpurgated edition was not published openly in the United Kingdom until 1960. The story concerns a young married woman, the former Constance Reid (Lady Chatterley), whose upper class husband, Sir Clifford Chatterley, described as a handsome, well-built man, has been paralysed from the waist down due to a Great War injury. In addition to Clifford's physical limitations, his emotional neglect of Constance forces distance between the couple. Her emotional frustration leads her into an affair with the gamekeeper, Oliver Mellors. The class difference between the couple highlights a major motif of the novel which is the unfair dominance of intellectuals over the working class. The novel is about Constance's realization that she cannot live with the mind alone; she must also be alive physically. ... عنوانهای چاپ شده در ایران: «فاسق خانم چترلی»؛ «فاسق لیدی چترلی»؛ «عاشق خانم چترلی»؛ «عاشق بانو چترلی»؛ «معشوق لیدی چترلی»؛ نویسنده: دیوید هربرت (دی.اچ.) لارنس؛ تاریخ نخستین خوانش روز سی و یکم ماه ژانویه سال1972میلادی عنوان: معشوق لیدی چترلی؛ دیویدهربرت لارنس؛ مترجمها ناهید و افسانه قادری؛ تهران، نشر متیس، سال1398؛ در570ص؛ شابک9786008928447؛ موضوع داستانهای نویسندگان بریتانیا - سده20م رمان «عاشق لیدی چترلی»، اثری از «دی.اچ لارنس» است، که چاپ نخستینش به سال1928میلادی برمی‌گردد؛ نسخه ی نخست رمان، به طور پنهانی و زیرزمینی، با یاری «جوزپه اوریولی»، در «فلورانس ایتالیا» به چاپ رسید؛ هم‌چنین در سال1929میلادی، نسخه‌ ای دیگر از این رمان باز هم پنهانی توسط نشر «ماندارکِ اینکی استفنسن»؛ در دسترس خوانشگران قرار گرفت؛ انتشار نسخه ی کامل و بدون سانسور این رمان، تا سال1960میلادی در «ایالات متحدهٔ آمریکا» و «بریتانیا» قدغن بود؛ عاشق «لیدی چترلی» که یک اثر کلاسیک است، بسیار زود به دلیل محتوای داستان، که بیان روابط جسمی میان مردی از طبقه کارگر، و زنی از رده های بالا و مرفه است، توصیف صریح و بی‌پردهٔ صحنه‌ های جنسی، و استفاده از واژگان قبیح و مبتذل، به شهرتی جنجال‌ برانگیز رسید؛ گفته می‌شود داستان برگرفته از رخ‌دادهای زندگی شخصی «لارنس» است، و مضامین کتاب را ایشان از زادگاهشان «ایستوود ناتینگهام‌ شایرر» الهام گرفته‌ اند؛ برخی از منتقدان بر این باورند، که الهام‌بخش «لارنس» برای آفرینش قهرمان رمان «لیدی چترلی»، «لیدی اوتولاین مرل» بوده‌ اند؛ عاشق «لیدی چترلی» که در سه نسخه ی گوناگون چاپ شده‌ است، آخرین و مشهورترین رمان «لارنس» است؛ داستان «عاشق لیدی چترلی» روایت زندگی زنی جوان، و متأهل به نام «کنستانس (لیدی چترلی)» است، که همسر اشراف‌زاده‌ اش «کلیفورد چترلی»، در اثر جنگ، قطع نخاع می‌شود؛ ناتوانی جنسی، و سردی احساس «کلیفورد» نسبت به «کنستانس (کانی)»، دیوار فاصله میان این زوج را بالا می‌برد؛ «کانی» که امیال جنسی اش را سرکوب شده می‌بیند، دلباختهٔ شکاربان شوهرش «الیور ملورز»، که مردی از طبقات پایین است، می‌شود؛ در انتهای رمان، «کنستانس» همسرش را ترک می‌کند، تا روابط عاشقانه ی تازه ای را با «ملورز» از سر گیرد؛ تفاوت سطح اجتماعی میان «کنستانس» و «ملورز»، که بن‌مایه ی اصلی رمان است، در واقع نمود سلطه ی نابرابر طبقه ی نخبه و بالادست، بر طبقه ی کارگر در جامعه را بازگو میکند تاریخ بهنگام رسانی 03/10/1399هجری خورشیدی؛ 09/08/1400هجری خورشیدی؛ ا. شربیانی

  5. 5 out of 5

    ~Jo~

    D.H Lawrence, what have you done to me? This book was so much more than I thought it was going to be. This was an experience that I wanted to devour quickly, but that would mean not being able to soak up and bathe in Lawrence's every word, so I realised I needed to take my time. I found this book in a used bookstore, and even when I picked it up, my Dad raised an eyebrow at me. I said "Oh come on Dad, I'm thirty-three" I thought it was just going to be a book with countless sex scenes and not mu D.H Lawrence, what have you done to me? This book was so much more than I thought it was going to be. This was an experience that I wanted to devour quickly, but that would mean not being able to soak up and bathe in Lawrence's every word, so I realised I needed to take my time. I found this book in a used bookstore, and even when I picked it up, my Dad raised an eyebrow at me. I said "Oh come on Dad, I'm thirty-three" I thought it was just going to be a book with countless sex scenes and not much else. I was wrong, as although the sex was heavy, it intertwined perfectly with the plot. "My soul softly flaps in the little Pentecost flame with you, like the peace of fucking. We fucked a flame into being" I just love that quote: "We fucked a flame into being" It's just so raw and honest, and that is what I love and appreciate about Lawrence's writing style. He is confident in his style, and hell it shows. He is writing completely from a woman's perspective too, which is a challenge for any male author, and I have great respect for that. The two main characters, Lady Chatterley and Mellors, are very frank about their sexual experiences, and I think this is what makes the book so desirable. The words "Fuck" and "cunt" are used countless times, but these words fit in beautifully with the scenes. They are both for the most part, very believable, apart from when Lady Chatterley remarks about her womb rather a lot, and possibly some of the sexist remarks that come from Mellors. The sexual scenes were beautifully written, long and drawn out, and to me, they were even a little sad. I did laugh a little at Lawrence's grand effort to describe the female orgasm. It really was excellently done, though. I think what I love most about this book, is the way sex is openly talked of, without absolutely no shame. This is how sex ought to be discussed. It's natural, beautiful and we all have needs and desires, and this book shows us just that in the most erotic and incredible way possible.

  6. 5 out of 5

    Jason Koivu

    Oh man, I wanted to like this soooo bad! So many people complained about it, but I misconstrued their complaints for prudishness or lord knows what. (NOTE TO SELF: Stop judging people's judgements until you can judge for yourself!) But the fact is, two-thirds of the way in I was done with this. I absolutely trudged through to the end. Why? It's not because this is basically porn. I luuuuvs me the sex! Apparently this caused quite a scandal and I can see why. The language is sexually explicit, unn Oh man, I wanted to like this soooo bad! So many people complained about it, but I misconstrued their complaints for prudishness or lord knows what. (NOTE TO SELF: Stop judging people's judgements until you can judge for yourself!) But the fact is, two-thirds of the way in I was done with this. I absolutely trudged through to the end. Why? It's not because this is basically porn. I luuuuvs me the sex! Apparently this caused quite a scandal and I can see why. The language is sexually explicit, unnecessarily so...or well, maybe not. I suppose it needed to be said at the time or at least some time. However, a person can only take so many fucks before they no longer give one. And I wasn't turned off by the lengthy asides Lawrence takes while grinding his ax against the industrialization of England's Midlands. Like Melville's treatise on whales in the midst of his adventure novel, Lawrence had an agenda in writing Lady Chatterley's Lover and he often takes the reader out of the main story in order to linger upon his pet project. That can be distracting, but in this case it's not enough to make me hate the thing, not on the whole. No, my main issue is with the writing, which is a big problem since there's so much of it in books. Lawrence is quite a capable writer, but he does get adverb-lazy now and then, and often repeats words for emphasis. That last point can be effective, say when trying to instill a sense of forward motion when describing something that's going faster and faster. Occasionally the technique works for him. Usually it does not work for me. Some call it a poetic style. I call it bullshit...what do I mean? Well, allow me to Lawrence-ify it: The technique is bullshit in the most bullshitty sense, by which I mean, it is bullshit. As you see, it looks like I've explained myself, yet I've said nothing. Done with flair, it can sound lyrical, even powerful. To me, it sounds like so much hot air. And what does hot air sound like? It sounds like

  7. 4 out of 5

    Fergus

    I read two famous novels in the Summer of 1971: this, and Thomas Wolfe’s Look Homeward Angel. Both were passionately written novels written by angst-driven, poor lost souls. The first one I completed was Chatterley. A darkly impassioned, brooding work, one wishes repeatedly, during its endlessly extended panegyrics to the brute force of nature, for a breath of fresh air - a moment of unconsidered spontaneity, an escape to cooler and less feverish climes. It’s as if Lawrence, and his dark antihero I read two famous novels in the Summer of 1971: this, and Thomas Wolfe’s Look Homeward Angel. Both were passionately written novels written by angst-driven, poor lost souls. The first one I completed was Chatterley. A darkly impassioned, brooding work, one wishes repeatedly, during its endlessly extended panegyrics to the brute force of nature, for a breath of fresh air - a moment of unconsidered spontaneity, an escape to cooler and less feverish climes. It’s as if Lawrence, and his dark antihero Mellors, are trying to punch their futile way out of a huge dark paper bag, but are so lost and weakened by their lonely self-centredness that the task has become Olympian and thus unattainable. Lawrence, like so many we know, made his name - like Shakespeare - by playing to the Pit of the Fallen. A sure panacea for a Loner’s Angst. Shakespeare, though, later changed his ways with the restless questioning of his Middle Plays. And found Lasting Peace and Reconciliation with the Late Plays, like The Tempest. And you know what else? I keep getting the feeling that Lawrence is trying to ground his Life in Passion. To find a foundation in it. You can’t do that. For, as ancient Heraklitos said, “you can’t step into the same river twice.” In fact, you’ll be swept away by the wintry Void in old age - if you get there… For “ash on an old man’s sleeve/ Is all the ash the burnt roses leave!” It’s a losing game that leaves the bitter taste of burnt ash in one’s mouth. Give it up! Open your windows! Let in the fresh air and sunlight! I had two maiden aunts when I read Chatterley - at, of all places, their forever home in Victoria - Auntie Carmen & Auntie Crisp (as Dad wryly called the latter!). Aunt Carmen, the dreamer, was aghast at my reading Chatterley, outré cause célèbre of her youth. Her sister, Aunt Crisp, was not. She had quite possibly read it in her youth. And I? Ever the Aspie Dreamer, I ended up loathing it, like Aunt Carmen. Better days will always await the man that faces each new day with a smile on his face.. Quite unlike the perennial loner - grim, dour Mellors. Maybe Mellors just needed a woman to clean up after him? I had yet to learn that ugly fact about myself - yes, me, Fergus. It’s just too bad Mellors and I hadn’t learned to stand up straight. And you just have to wonder what good girls like the noble Lady Chatterley saw in his type! Probably common unbridled lust.

  8. 4 out of 5

    Paula

    Ah, D.H. Lawrence, why are you so awesome? I think Lawrence is one of those writers you either love or hate, and this is possibly even more true of Lady Chatterley's Lover, his last novel. The author's confidence speaks on every page: firstly, Lawrence has no qualms about interjecting his opinion in the narration throughout. Secondly, the book is from the perspective of a woman, a challenge for any male author, and thirdly (and possibly most famously), the book makes liberal use of "fuck" and "cu Ah, D.H. Lawrence, why are you so awesome? I think Lawrence is one of those writers you either love or hate, and this is possibly even more true of Lady Chatterley's Lover, his last novel. The author's confidence speaks on every page: firstly, Lawrence has no qualms about interjecting his opinion in the narration throughout. Secondly, the book is from the perspective of a woman, a challenge for any male author, and thirdly (and possibly most famously), the book makes liberal use of "fuck" and "cunt." It's not just that the book is about sexual awakening, it's really about how frank the book's two central characters are about their sexual experiences. Lawrence succeeds more often than not in creating a believable female pscyhe in the figure of Lady Constance Chatterly, and though, as some have pointed out, some moments ring less true than others (as when she refers insistently to her womb), overall she's quite believable. Mellors, the game-keeper she has an affair with, is also quite believable, whether or not you agree with some of his more sexist attitudes towards women. As for the sex bits, I laughed several times at the sheer effort Lawrence goes through to try to describe what a female orgasm might feel like. Really, a bravura performance! As a woman, I can say that to my mind he gets it pretty right. Even where the language is stilted or embarassing, I could see what Lawrence was trying at: a totally frank, unashamed look at sex. His book is a big cry against all those who would rather not talk about it, and maybe that's triumph enough. But the book is engaging, frequently funny, and finally, as a last novel, a beautiful piece of hopefulness from a notoriously cynical author.

  9. 4 out of 5

    Piyangie

    Lady Chatterley's Lover has been one of the most controversial books of 20th-century classical literature. Branded as pornography and called "the foulest book in English literature", the book has faced severe censure as no other written piece of British literature, and its copies were hunted down. It is true that the book didn't conform to the accepted standard of morality of English literature, but it is by no means "pornography". If you go by the 21st-century standard, you can laugh at the d Lady Chatterley's Lover has been one of the most controversial books of 20th-century classical literature. Branded as pornography and called "the foulest book in English literature", the book has faced severe censure as no other written piece of British literature, and its copies were hunted down. It is true that the book didn't conform to the accepted standard of morality of English literature, but it is by no means "pornography". If you go by the 21st-century standard, you can laugh at the description, for this is no Fifty Shade of Grey. There is nothing erotic in the book, although Lawrence's expression on sex and sensuality is quite bold, perhaps, too bold, for the time it was written. In criticizing the book for its choice of subject matter and its blunt language, however, those who were responsible for stigmatizing the book have totally failed to appreciate the sensitive themes Lawrence wanted to explore and expose. There is a lot Lawrence says in this comparatively short book, but among all, I would like to see the book foremost as one written about a woman's loneliness, a woman's awakening to sexuality, and a woman's yearning for motherhood. Constance Reid is stuck in a marriage in which she feels physically and mentally isolated. Her woman's idea of intimacy is constantly thwarted by Clifford, her crippled husband, with his philosophical ideas of intimacy. Constance is affectionate, but this is returned only in half degrees, and in his pursuance of a life for his own, success and money, what tenderness and affection remain in them dies a slow death. Constance is aware of a void in her life, and a strong need to fill it. She yearns for affection, tenderness, and real intimacy, both physical and mental; she yearns for the fulfillment of herself as a woman; she yearns for motherhood. And she chooses one man, not in her status, not even in her class, to fill her womanly desires, womanly needs. She defies convention and compromises dignity for happiness. Judged by the strict British moral standards, Constance Reid was in the wrong. She had no business to feel the way she did and desert her husband. Women were seldom seen as having an identity of their own, so their needs, their wants were considered unimportant. In a society, where the woman was defined by the standards set by men, it is not surprising that Constance Reid and her story is chastised. Lawrence's portrayal of Constance Reid (Lady Chatterley) is strong. Her inner feelings are exposed to the minutest detail. We feel her struggle as it was our own, and can both sympathize and empathize with her. In contrast to the strong female character, Lawrence's men are weak. Both Clifford and Oliver Mellors are in a sense impotent and need Constance to define them. But Lawrence has a reason for making his men weak, for he truly believes they are weak because they are dehumanized by industrialization. When men pursue success (bitch goddess in Lawrences's words) and prostitute them to reap their reward of money, they become inhuman, with no capacity to feel affection for others, let alone for a woman. Accordingly, human intimacy is killed. This is what happens to Clifford. But, Oliver, on the other hand, is one who swims against the tide, and severely battered for daring to pursue such a path. He needs an anchor to tie him to the ground to prevent him from being washed away by the tide, and Constance is that anchor, the strength that helps him to hold on to the ground. As I've said earlier, Lawrence talks of many issues through this book, and class distinction plays a key role. Lawrence chooses Lady Chatterley's lover from the working class, to show how severe this distinction operated. If Constance wanted a man, she should have done better to choose one equal in class. This seems to be the general unspoken opinion. The unbelievable hypocrisy of it all was what Lawrence was driving at. The book is quite expressive on sex and sensuality, and Lawrence's language is, perhaps, indelicate for early 20th-century British literature, but were those the real reasons for censure? Didn't the story bring out the nakedness and hypocrisy of the society? Wasn't the very social and political core of Britain subtly attacked? It is said that none other than the then Home Secretary himself, who carried out a "moral crusade" against the distribution of the book on English soil. And why does a man of such power takes it upon himself to suppress and censure a piece of literature on sex and sensuality? There is certainly more to the censure than meet the eye, for I think, if the book is controversial, it is truly controversial for all the political, economic, and social truths that it exposes.

  10. 5 out of 5

    Carol

    3.5 Stars Well.........I can certainly see why LADY CHATTERLEY'S LOVER was banned soon after publication back in 1928. So okay, you already know or anticipate that this particular classic is going to contain vulgarity and erotic situations, but for the life of me, I never thought it would be a combination of tedium and humor.The story is rather unremarkable in itself, and pretty much given away in the book summary, so no spoiler here......Aristocratic (and highly superior in his own mind) uppe 3.5 Stars Well.........I can certainly see why LADY CHATTERLEY'S LOVER was banned soon after publication back in 1928. So okay, you already know or anticipate that this particular classic is going to contain vulgarity and erotic situations, but for the life of me, I never thought it would be a combination of tedium and humor.The story is rather unremarkable in itself, and pretty much given away in the book summary, so no spoiler here......Aristocratic (and highly superior in his own mind) upperclass man marries well-to-do spoiled and free-spirited daddies girl. He goes off to war, comes back injured and impotent. Fickle, bored and depressed young wife finds comfort elsewhere.........What will stick in my mind is not the plot or actual sexual encounters, but the many priceless conversations from 'the boys' point of view on morality, distinctions between social classes and ridiculous beliefs about intimate relationships. (Lady Chatterley's opinion of the uninspiring male physique is pretty memorable too)Check out this quote: "I can't see I do a woman any more harm by sleeping with her than by dancing with her.....or even talking to her about the weather."......and that's just one example, but worst of all......the one exclamation that really stands out......is lover #1's exasperating ranting and raving about Lady C's prolonged mode of sexual exertions that inconvenienced him. Oh. My. God!Anyway, my first D. H. Lawrence novel was indeed entertaining, but slow going and repetitive with not much of a storyline. Glad I finally read it though and love my Penguin Classics book cover!

  11. 4 out of 5

    Steven Godin

    Though this maybe looked at as the book that bought sex writing to the masses, 'Lady Chatterley’s Lover' delivers more than just the oohs and aahs of an elicit love affair, it can also be seen as a parable of post-war England, and the steady rise in modernism. It even features a dog called Flossie. Why is this significant to me? Because I once had a childhood dog with the same name, bless her soul. Slammed and banned for being pornograpic back in the day, this caused a storm. Now it's just a smal Though this maybe looked at as the book that bought sex writing to the masses, 'Lady Chatterley’s Lover' delivers more than just the oohs and aahs of an elicit love affair, it can also be seen as a parable of post-war England, and the steady rise in modernism. It even features a dog called Flossie. Why is this significant to me? Because I once had a childhood dog with the same name, bless her soul. Slammed and banned for being pornograpic back in the day, this caused a storm. Now it's just a small ripple in a teacup. As compared to the work of today it's sexual nature barely raises the eyebrows. It does contain many a rude word that I can image would have left folk back then with rosy red blushed cheeks. But today, I am sure even a nun wouldn't be overly shocked by it's naughty bits. Lady Chatterley (Constance, Connie) is the bored wife of Sir Clifford, a war cripple who returns to his family estate, amid the decay and unemployment of the industrial towns in middle England. He takes to books as a way to withdraw, and applies himself feverishly to an attempt to retrieve his coal mines by the application of different methods. He is clearly an unhappy man, who suffers inner turmoil that he can't take to pleasuring his wife. She in turn is unfulfilled, and one fine day bumps into the gamekeeper, Oliver Mellors, and feelings start to bubble up inside towards this man, whom she knows little about. Surrounded by woodland, where it's easy to wander off undetected, Connie slowly is drawn sexually to Mellors, who has his way with her, opening her to an awakening that Sir Clifford simply could not provide. Mellors, a child of the collieries and whom also served in the forces, slips into disillusion away from his wife and leads a solitary existence with just his dog for company. Sir Clifford, who since he is unable to give Connie a child himself, accepts the fact an illegitimate child is an option. But the last person on his mind would have been Mellors, he has no inkling of his wife's affair, but is open to the idea of another man having sex with her. Does he truly love her? or is this just a ploy so he can proudly gain his heir. Does Mellors love her? or just after the sex. For Connie, difficult decisions would arise. And with her sister, takes a break to Venice to ponder on her future. Lawrence’s treatment of his subject's is done with a manner of intelligence, and compared to the likes of an E. M. Forster, does a good job of presenting his characters as flawed and believable. The story is raw with power, yes, but also brings to the table the age old problem of melodrama. It's not huge, but for me, did affect the overall feel for the story. Each in their own way on a more positive note, the three main characters do carry a certain heroic dignity, a symbolical importance that's difficult to ignore. Lawrence utilizes the self-affirmation and triumph of life in the teeth of all the destructive powers that be, industrialism, physical depletion, dissipation, careerism and cynicism—of modern England, and in general, he has given a noble account of it. There is more like two stories in one going on here, the mixture of romance and sexually explicit details and the double background of the collieries and the English forests, possesses both solid reality and poetic grandeur. This is so much more than a novel with fruity bits, it is a work which explores how the naturalness of love and sexual attraction is distorted and perverted by society. It has me pondering a lot on the non-sexual aspects of the story. There's a lot of insight here, and plenty of social commentary, so reading this purely because of the smutty reputation it gained then prepare be disappointed. Beautifully written for the most part, although Mellors is a hard nut to crack with his use of dialogue at times, and some aspects of the story seemed waffley and unnecessary, but just glad to have now finally read it, to see what all the fuss was about.

  12. 4 out of 5

    Amber

    I bought this book in high school because it was cheap and I thought that because I was going to be a big, bad Enlglish major in college, I should probably expand my literary repertoire. I also thought it might be a little racy, given the title, which piqued my interest. Fast forward seven and a half years and I am now a big, bad graduate of American Studies (Chaucer killed me on the spot, and I changed majors immediately), and I had yet to read this book. I picked it up off my shelf about 2 wee I bought this book in high school because it was cheap and I thought that because I was going to be a big, bad Enlglish major in college, I should probably expand my literary repertoire. I also thought it might be a little racy, given the title, which piqued my interest. Fast forward seven and a half years and I am now a big, bad graduate of American Studies (Chaucer killed me on the spot, and I changed majors immediately), and I had yet to read this book. I picked it up off my shelf about 2 weeks ago, and had trouble putting it down until I was finished. I love this book for its philsophical interrogation of the class system, which even 80 years later is still quite relevant, and because it questions what true love really is. Is it physical? Is it mental? Can you have one without the other? It's not perfectly written, and some parts are a little too stream of consciousness for my liking, but overall, it really moved me in a weird way. And, yes, it's quite racy, even by today's standards. No wonder it was banned until 1960!

  13. 5 out of 5

    Kelly

    Okay, DH, so I was sort of with you at the beginning. I was amused by or interested in watching you create a tale that seemed to be a love child of the Lost Gen and existentialist authors that instead turned out a rebelliously nostalgic Romantic, a perverted Wordsworth in a Bacchanalian temple. I rolled my eyes at, yet went along with, the endless repetition, of "everything is nothing," by your twit of a main character, Connie, or at poor Sir Clifford who builds endless castles of theories in th Okay, DH, so I was sort of with you at the beginning. I was amused by or interested in watching you create a tale that seemed to be a love child of the Lost Gen and existentialist authors that instead turned out a rebelliously nostalgic Romantic, a perverted Wordsworth in a Bacchanalian temple. I rolled my eyes at, yet went along with, the endless repetition, of "everything is nothing," by your twit of a main character, Connie, or at poor Sir Clifford who builds endless castles of theories in the air to escape every basic feeling in his life, or even at first the brooding, fighting "hero," in Oliver Mellors. I excused it as Lost Gen disillusionment, a depiction of people afraid to feel after the masses' passion overflowed in the horror that was WWI. I was even sort of rooting for you against the cold, cold people who can't let go enough to feel something. The one thing I did like was the way you could conjure up ecstatic joy in earthiness. I'm on board with that. But unfortunately, after the love scene/pagan naming ceremony of which we shall not speak, and the comments about how women with "too much will" are lesbians and/or invalid women somehow, you made the ecstatic love you celebrated absolutely ridiculous by the end. I can't even bring myself to discuss that last scene in the book, but if you've read it you know what our payoff was. Really? Really? The obscenity trials are the best thing that ever happened to this book.

  14. 4 out of 5

    Dem

    Book Club Read for November for Sit in Book Club. I finished this book only because it was a bookclub read and in order to discuss a book at meetings I really feel I need the full story. I thought this book was crap and I will try to explain my reasons why. The Novel was banned and I do think that if it hadn't been banned this book would have had no impact what so ever and very few people would have bothered to pick it up to read. The book was written back in the 1920s and I really do think that D Book Club Read for November for Sit in Book Club. I finished this book only because it was a bookclub read and in order to discuss a book at meetings I really feel I need the full story. I thought this book was crap and I will try to explain my reasons why. The Novel was banned and I do think that if it hadn't been banned this book would have had no impact what so ever and very few people would have bothered to pick it up to read. The book was written back in the 1920s and I really do think that D H Lawerence set out to shock his readers and I can imagine for a book of its time he succeeded in doing so. The Novel really doesn't have any of the qualities of what I have come to expect a classic to have, The language is coarse, the characters boring and dull and the plot is poor. I never got a sense of time or place that a classic normally delivers. It was extremely repetitive. I don't think the book has stood the test of time for the right reasons and I cant see much of a discussion in this Novel. This is only my opinion and time will tell how the group rates the book. A boring and dull read and didn't compare with any of the other classics I have read previously.

  15. 5 out of 5

    Daniel Clausen

    Before I can say anything about the novel, I have to talk about the novel's first paragraph. I love novel openings sometimes more than I love novels themselves. This novel has one of the best first paragraphs ever, to be ranked with "A Tale of Two Cities". "Ours is essentially a tragic age, so we refuse to take it tragically. The cataclysm has happened, we are among the ruins, we start to build up new little habitats, to have new little hopes. It is rather hard work: there is now no smooth road Before I can say anything about the novel, I have to talk about the novel's first paragraph. I love novel openings sometimes more than I love novels themselves. This novel has one of the best first paragraphs ever, to be ranked with "A Tale of Two Cities". "Ours is essentially a tragic age, so we refuse to take it tragically. The cataclysm has happened, we are among the ruins, we start to build up new little habitats, to have new little hopes. It is rather hard work: there is now no smooth road into the future: but we go round, or scramble over the obstacles. We've got to live, no matter how many skies have fallen." It almost seems like this is a first paragraph for another novel entirely -- certainly not a novel about bored housewives and sexual affairs. The first paragraph, of course, is a reference to the end of WWI, but it could speak to any of a number of times...the end of the French Revolution, the end of the Second World War, or even our own times. It is certainly not a paragraph about ennui. But in the wake of that first paragraph, I do need to think about the novel as a complete novel...and in this way, I feel like the first paragraph is an obstacle, because this is a novel about ennui, sexual desire, married life...and at times, also about class antagonisms and the relentlessness of progress. This latter themes -- class antagonism and the relentlessness of modernity -- clearly put the book in its late 1920s milieu. Presumably, the book was finished before the start of the Great Depression. But you can see the anxieties about the onset of the industrial world. You can see the intellectual class's mixed feelings toward Bolshevism. These themes come out in rich -- and often moralizing -- language. "This is history. One England blots out another. The mines had made the halls wealthy. Now they were blotting them out as they had already blotted out the cottages. The industrial England blots out the agricultural England. One meaning blots out another. The new England blots out the old England. And the continuity is not organic, but mechanical." How would we write this passage today? "This is (e)history (as seen from an updated Wikipedia post, which may or may not have been written by a hack). One world (digital) blots out another (analog). Now the anonymous "they" were posting their messages over truth. Now data wrangling was used to make truth anolog, disposable. The digital was blotting out the world. Fake, truth, digital, analog...in the great tide of (e)history, everyone's worlds were becoming private, mobile, cellular, applications to consume, worlds were becoming endlessly self-referential. There was no continuity, only the endless stream of streaming data that refused to flow in any kind of logic the (analog) world had known." Is that how D.H. Lawrence would have written about our times. LOL :) #D.H. Lawrence Deletes his Facebook Account ;) And, even in the shadow of the book's great first paragraph, I feel like the book is a great one. It is, however, excessively ponderous in its word choice...it is full of internal monologue, narration (telling not showing), romantic language...it is a modern book written in Victorian language. ...for me, this is fine. Because modern writing, which frowns on the excessive and unnecessary often leaves me unfulfilled (not unlike Lady Chatterley). A book about dirty, sordid sex, shouldn't be too modern...it should smack of the Victorian. A final word about D.H. Lawrence -- I wonder how women feel about this book. If he does succeed at writing the character of Lady Chatterley, if women think he pulls this off as good as or better than female writers, then he has really done something marvelous as a writer -- something I'm not sure I'd be able to pull off myself.

  16. 4 out of 5

    Luís

    It is a novel as we like them with a heroine who wants to live her life physically and morally, but the early twentieth century in England did not allow this kind of situation. Moral values concerning marriage did not let people have extra-marital relations despite the worst that could have happened to one of the two spouses. The author knew how to go beyond these values and rightly wrote us a magnificent novel with the most exciting descriptions of human relations, whether moral or physical.

  17. 5 out of 5

    Χαρά Ζ.

    _Lady Chatterley's Lover_ There are no words to describe how much i love this book. I mean, i really, really, really do love this book, even if it became vulgar and indelicate at some point, even when i thought it was too much. I couldn't put it down, i had to keep reading, i had to keep reading D. H. Lawrence's words and sentences and paragraphs. I had the need to keep reading. This man did something amazing in the begining of this book. Nobody has ever understood a female's temperament and ment _Lady Chatterley's Lover_ There are no words to describe how much i love this book. I mean, i really, really, really do love this book, even if it became vulgar and indelicate at some point, even when i thought it was too much. I couldn't put it down, i had to keep reading, i had to keep reading D. H. Lawrence's words and sentences and paragraphs. I had the need to keep reading. This man did something amazing in the begining of this book. Nobody has ever understood a female's temperament and mentality like he did. "Yes, this is exactly how a woman feels". And he was dead for so many years and i wish i lived in his era or he lived in mine but then i thought he was the way he was bcz he lived at that era. And i am the way i am cz i live in this era. And this couldn't have worked otherwise. It's amazing how a person is dead for about a century but leaves pieces of himself behind and here i am, picking them up. "I can feel what you feel." And this happens with Greek authors a lot but not with authors from different countries. He is the exception. This is a masterpiece, a great book, an amazing, truly emotional, truly raw, truly authentic love story. The characters feel and i feel with them. And it will make you angry and sad and happy. This book gave me so much love and so much to love. God.. I adore it.

  18. 4 out of 5

    Cheryl

    Oh D.H., you eccentric one. You’ve outdone yourself. (Here’s to my fourth Lawrence read, and counting…) This is not your read if you cringe when faced with numerous sexual scenes that depict various sex positions, language that doesn’t shy away from using the four letter words that start with c and f, and insane sexual stream of thought. I suppose if one could wrap up Lawrence’s reasoning about his work, this would be a good summary phrase: Sex is really only touch, the closest of all touch. And it Oh D.H., you eccentric one. You’ve outdone yourself. (Here’s to my fourth Lawrence read, and counting…) This is not your read if you cringe when faced with numerous sexual scenes that depict various sex positions, language that doesn’t shy away from using the four letter words that start with c and f, and insane sexual stream of thought. I suppose if one could wrap up Lawrence’s reasoning about his work, this would be a good summary phrase: Sex is really only touch, the closest of all touch. And it’s touch we’re afraid of. We’re only half conscious, and half alive. We’ve got to come alive and aware. Especially the English have got to get into touch with one another, a bit delicate and a bit tender. It’s our crying need. In other words, get over yourself. I’ll admit I’ve been drawn to Lawrence’s novels because of his disdain of alienation from the body and senses, and his remorse of his society’s attempt at ignoring female sexual consciousness. I’ve appreciated his depiction of the brutal lines between sexual love and class conflict and his rebuttal of what is forbidden. (And oh yes, I forgot to add how amusing the ridiculousness of his sublime language can be). In some way, I thought this book would be a continuation of the acute discussions in Women in Love, for example. In fact, the opening paragraph is alluring: Ours is essentially a tragic age, so we refuse to take it tragically. The cataclysm has happened, we are among the ruins, we start to build up new little habits, to have new little hopes. It is rather hard work: there is now no smooth road into the future: but we go round, or scramble over the obstacles. We’ve got to live, no matter how many skies have fallen. One thing is certain when reading this novel, the first half, with its honest, provocative ideas, refined story setup and character portraits, is much different than the second half, with its overblown and somewhat repetitive sexual scenes, blunt, abrupt language, misunderstanding of the female orgasmic context, and lack of plot development. At times, the novel seems to lack cohesiveness. Lady Chatterley, or Connie, initially resembles Ursula in Women in Love, but she slowly morphs into something stereotypical and unappealing. She is raised by parents who want her to have the individual and intellectual liberties their society shuns for women. She marries an arrogant fool who at first seems to afford her the freedom to be his partner in thought, but after the war, he is paralyzed from the waist down. She soon finds herself the Lady of Wragby Hall, but one who is bereft of sexual liberation. So once Connie is faced with sex of a different form than what she’s known, it’s as if the intellectual parts of her slowly melt away. Yet this seems antithetical to a Lawrencian scheme. So the more sexual a woman gets, the less intelligent she appears? Or perhaps intelligent women are prudes? It’s not clear what to make of this meander. The layered motives, however, are clear: here is a broken woman faced with choices forced upon her by society and at some point she finds some form of self-assurance in sexual nonconformity: Shame, which is fear: the deep organic shame, the old, old physical fear which crouches in the bodily roots of us, and can only be chased away by the sensual fire, at last it was roused up and routed by the phallic hunt of the man, and she came to the very heart of the jungle of herself. She felt, now, she had come to the real bedrock of her nature, and was essentially shameless. She was her sensual self, naked and unashamed. Lawrence wrote this novel after his last visit to England, where he was furious at the treatment of miners, and as usual, vexed about the entitlement of the upper class; hence it’s missing some of the subtleties usually found in some of his depictive scenes. He imagined economic stability could only be achieved with some class upheaval and it’s clear that Mellors, the lover, is Lawrence’s symbol of freedom from the institutional bondage he detested. The novel may lack the scintillating story structure of The Rainbow, the evocative thematic of Women in Love, and the provocative plot of Sons and Lovers, but it is unique in its portrayal of transformation. In some sense, this book marked the end for Lawrence, literally and figuratively. After its publication, his paintings and some of his work were confiscated by British police because he dared encourage adultery and most importantly, adultery that crossed class lines. A year later, he died of tuberculosis. One can appreciate the art of a writer whose works have been ostracized and banned (as was Rainbow) and this is why I return to his words each year. One thing’s for sure: his novels won’t be banned from my shelves.

  19. 5 out of 5

    Vanessa

    Lawrence has in recent times fallen out of fashion in the literary world, which is a shame because despite his reputation (often well-deserved) as a misogynist, the themes he explores in this novel go well beyond its sexual reputation. This is a novel about living versus existing. The conversations between the upper class friends proves witty, but ultimately dry, lifeless, as is shown by Tommy Dukes' reasoning as to why he is asexual. Moreso, the novel is about class restrictions, about a dying Lawrence has in recent times fallen out of fashion in the literary world, which is a shame because despite his reputation (often well-deserved) as a misogynist, the themes he explores in this novel go well beyond its sexual reputation. This is a novel about living versus existing. The conversations between the upper class friends proves witty, but ultimately dry, lifeless, as is shown by Tommy Dukes' reasoning as to why he is asexual. Moreso, the novel is about class restrictions, about a dying breed of aristocratic dinosaurs; it's about the call of money and the lifelessness that becoming a slave to the wage creates. Lawrence broke not only sexual boundaries (after all, to give the man his due, he did offer Connie sexual fulfillment, while managing to not make her a wanton whore), but also those of class, and he did so in a provocative, entertaining, and lush read.

  20. 4 out of 5

    J

    “I've not taken ten minutes on Lady Chatterley's Lover, outside of looking at its opening pages. It is most damnable! It is written by a man with a diseased mind and a soul so black that he would obscure even the darkness of hell!" Utah’s Reed Smoot was speaking to the 1930 Senate. To demonstrate just how filthy they were, he’d threatened to read from Lawrence’s Lady Chatterley’s Lover, Honore de Balzac's Droll Tales, the poetry of Robert Burns, the Kama Sutra… The place was packed. Unfortunately “I've not taken ten minutes on Lady Chatterley's Lover, outside of looking at its opening pages. It is most damnable! It is written by a man with a diseased mind and a soul so black that he would obscure even the darkness of hell!" Utah’s Reed Smoot was speaking to the 1930 Senate. To demonstrate just how filthy they were, he’d threatened to read from Lawrence’s Lady Chatterley’s Lover, Honore de Balzac's Droll Tales, the poetry of Robert Burns, the Kama Sutra… The place was packed. Unfortunately, he was bluffing. “I'd rather have a child of mine use opium than read these books.” Opium? Really? So I sat myself down to read. And it was dull. I tried to make myself concentrate on the ideas, consider the times, you know, act my age. But it was so… so… wordy. That seems a strange complaint to make of a book, but seriously – where was the sex? As it turns out, this book isn’t about sex. Well, it is and it isn’t. To me it spoke of wholeness. Lawrence originally titled it Tenderness and that’s what Lady Chatterley’s lover, Mellors, struggles with. Against war, against the endless pursuit of money, against the hardness of life, he strives to protect the tenderness within. He wants to be whole. But hiding from the world – from living – doesn’t satisfy. Constance Chatterley values the mental over the physical in relationships until that’s all she has. And then it’s not enough. As her own father remarks to her husband, it doesn’t suit her to be a demi-vierge. “She’s not the pilchard sort of little slip of a girl, she’s a bonny Scotch trout.” Being a soft, ruddy, country-looking girl, inclined to freckles, with big blue eyes, and curling, brown hair, and a soft voice and rather strong, female loins she was considered a little old-fashioned and “womanly”. She was not a “little pilchard sort of fish,” like a boy. She was too feminine to be quite smart. Constance and Mellors are throw-backs, more fully female and male than their acquaintances. They don’t fit in modern society. Being more trout than pilchard in appearance myself, I think this is lovely. But Lawrence is getting at something else here. (Why? Where is the SEX??) We’re back to that old theme of metrosexuals ruining the world. Or Man versus Machine. Or agrarian values beset by… Ah, but here it is! “I love that I can go into thee,” Mellors tells her (This is it! The sex!) but he means more than that. (Of course he does. Good God. Does the man ever stop thinking? It’s annoying and I kind of like it and that annoys me all the more.) What he means is that he can lose himself in her. He can stop thinking about what it all means and worrying where it’s taking them. There’s just female reveling in male and man exulting in woman. In sex, by giving themselves up wholly to one another they become whole. Finally! The sex! Okay, I can see why Senator Smoot might not want this lying out where his kids could find it. There are words. Not just that wordy nonsense in the beginning that so perfectly proved to me Lawrence’s point that the mind is not enough. Other words. Shocking words that Lawrence batters you with until they seem ordinary and natural. Yes, there’s sex. Not the forthright, anatomically descriptive eroti… okay, well maybe there… and here, on page 224… and, um… yeah. It's pretty blatant. There’s also the gibberish about Lady Jane and John Thomas and at least one paragraph of conversation with John Thomas. But. For the most part I thought it fairly moving. The expressions may be outdated, but the emotions are not. Constance is trapped in a world where she doesn’t belong, a world where she can not truly live. Afraid of losing that essential part of him, which is not the testosterone driven manliness we imagine, but a more tender one, Mellors has refused to live. Time went on. Whatever happened, nothing happened, because she was so beautifully out of contact. She and Clifford lived in their ideas and his books. She entertained… there were always people in the house. Time went on as the clock does, half-past eight instead of half-past seven. And then it began again. Life. And this is what will save us from the coldness of the world: life. Blood coursing in our veins, tenderness and feeling for others, “warm-hearted fucking”. There, Mr Smoot. I've said it.

  21. 4 out of 5

    Duane

    Very explicit for it's time. One of Lawrence's 3 love novels, as I call them; Sons and Lovers, Women in Love, and Lady Chatterley's Lover. Very explicit for it's time. One of Lawrence's 3 love novels, as I call them; Sons and Lovers, Women in Love, and Lady Chatterley's Lover.

  22. 5 out of 5

    Amalia Gkavea

    “It's no good trying to get rid of your own aloneness. You've got to stick to it all your life. Only at times, at times, the gap will be filled in. At times! But you have to wait for the times. Accept your own aloneness and stick to it, all your life. And then accept the times when the gap is filled in, when they come. But they've got to come. You can't force them.” “It's no good trying to get rid of your own aloneness. You've got to stick to it all your life. Only at times, at times, the gap will be filled in. At times! But you have to wait for the times. Accept your own aloneness and stick to it, all your life. And then accept the times when the gap is filled in, when they come. But they've got to come. You can't force them.”

  23. 4 out of 5

    Paul Sánchez Keighley

    This book is: a warning of the dangers living in an industrialised society poses to the human soul, a study of the disintegration of post-war British aristocracy, and a manifesto for the recovery of the long-lost art of just chilling the fuck out and shamelessly enjoying sex. (Or, as Lawrence rather off-puttingly puts it, ‘the sex-thing'.) More specifically, it’s about how sex has been perverted (no pun intended) and adulterated (still no pun intended) by dogma, decorum and, this being an early 20 This book is: a warning of the dangers living in an industrialised society poses to the human soul, a study of the disintegration of post-war British aristocracy, and a manifesto for the recovery of the long-lost art of just chilling the fuck out and shamelessly enjoying sex. (Or, as Lawrence rather off-puttingly puts it, ‘the sex-thing'.) More specifically, it’s about how sex has been perverted (no pun intended) and adulterated (still no pun intended) by dogma, decorum and, this being an early 20th-century British novel, class, to the point where no parties derive any enjoyment from it. Men see it as a means to an end, and women’s sexual needs take a back-row seat to the more transcendent task being carried out by the man. Lawrence uses this celebration of primaeval ur-sex to attack, on the one hand, the prudish, old-fashioned British propriety governing class relations, and on the other hand the post-war industrialised world, which Oliver Mellors, the jaded titular lover, sees as seeping the manhood out of men, reducing them to mere 'labour-insects' without spunk. As scandalous as Lawrence’s ideas might have been in the roaring twenties, a lot of it will sound old-fashioned and, alas, heteropatriarchal to modern readers. Just as it’s genuinely exciting to see him proclaim sex should be enjoyed without shame and our bodies admired in all their raw accidental beauty, it’s also disappointing to realise the ideal sex he triumphantly touts is one in which the woman is hopelessly submissive to the man. To say nothing of the occasional racist, homophobic or anti-Semitic comment that slithers its way into the prose. Lawrence is a lyrical, flowery writer, and I can see how his style is not for everyone. He has moments of brilliance - especially when describing nature, Lady Chatterley's introspections or even the industrial smokescape surrounding the estate. But then he also has a slightly irksome tendency to repeat himself. And I don’t just mean repeat the same idea in different words, but literally repeat the exact same sentence two or three times in a single paragraph. But overall, it’s a fascinating psychological novel. Lawrence doesn’t write sex scenes just to provoke; far from it, his long-winded portrayals of sex are so unabashedly honest, he takes the reader on a roller coaster ride of emotions, making you feel aroused, profoundly awkward, slightly ashamed and madly in love with life all within the course of a page. The complexity and nuance with which he approaches sex is an extension of his meticulous treatment of his character’s personalities. All characters are at a time sympathetic and irritating. There are no good guys or bad guys, just a bunch of victims of society and circumstance. The slow deterioration of Connie and Clifford’s marriage, brought about by his sexual impotence, is wonderfully done; both characters have arcs so long and fine one barely appreciates their curvature. I see a lot of fellow goodreaders saying this isn’t one of Lawrence’s best novels. If this is the case, I guess I’ll have no choice but to read more of his stuff.

  24. 5 out of 5

    Roman Clodia

    3.5 stars If you're new to Lawrence then this isn't the place to start, I'd say, even if it's his most infamous and easily recognised title due to *that* court case. It's actually pretty uneven and tends to polemic. That said, there are some lovely tender passages between Connie and Mellors (the flower scene) though one does have to be in the right mood - at the wrong time, all those 'quivering' 'loins' (apparently two of Lawrence's favourite words when writing this) just bring on the giggles! Wit 3.5 stars If you're new to Lawrence then this isn't the place to start, I'd say, even if it's his most infamous and easily recognised title due to *that* court case. It's actually pretty uneven and tends to polemic. That said, there are some lovely tender passages between Connie and Mellors (the flower scene) though one does have to be in the right mood - at the wrong time, all those 'quivering' 'loins' (apparently two of Lawrence's favourite words when writing this) just bring on the giggles! With less complex characterisation and less 'story' than, say, The Rainbow and Women in Love, even less emotion than I remember from Sons and Lovers (which, admittedly, I read as a teenager), this is all about a kind of working out of Lawrence's contradictory philosophies: that industrialisation leads to the dehumanisation of men (and I think he really does mean men as men not a catch-all for people), that the aristocracy is effete and ineffective (witness Clifford's literal impotence). For all that, he doesn't have much time for the 'working classes' either, and notoriously hated the idea of democracies as too levelling. His attitudes to women are especially inscrutable: he created the self-directing Brangwen sisters in The Rainbow and Women in Love, but Connie Chatterley is little more than a symbol for femininity who just wants to be mastered by Mellors. The diatribe put into Mellors' mouth about 'lesbian' women (even if they're having sex with men) is both old-fashioned and laughable. What is interesting is the way Lawrence tries to recalibrate sexual terms, most notably 'cunt' which he tries to imbue with a kind of spirituality of the body. The sex scenes aren't in the slightest 'pornographic', in my view, as they don't aim to stimulate the reader, rather to capture the temper of sex. So the gender essentialism that underpins Lawrence's views of men and women is decidedly unmodern - but it's striking to see how this book sits alongside contemporary concerns about the human where technology takes over the role of Lawrence's early C20th indistrialisation. And, in places, this captures physical intimacy and tenderness beautifully.

  25. 5 out of 5

    Dave Schaafsma

    “There's a bad time coming, boys, there's a bad time coming! If things go on as they are, there's nothing lies in the future but death and destruction, for these industrial masses.” I first read Lady Chatterley’s Lover when I was 14, in 1967. I felt I had to hide it well from my mother, so kept it between my mattresses. It was the first book I read with explicit sexual passages, and the first time I had read words no one in my house or neighborhood yet used, words used proudly and unashamedly to “There's a bad time coming, boys, there's a bad time coming! If things go on as they are, there's nothing lies in the future but death and destruction, for these industrial masses.” I first read Lady Chatterley’s Lover when I was 14, in 1967. I felt I had to hide it well from my mother, so kept it between my mattresses. It was the first book I read with explicit sexual passages, and the first time I had read words no one in my house or neighborhood yet used, words used proudly and unashamedly to describe what were for Lawrence holy acts and body parts. But the first third of it is not focused sex; much of it describes conversations among characters about politics, art, class, and sure, sex. First published privately in 1928, it was banned in many countries. In 1960 there was an obscenity trial with this book at the center, and the publisher, Penguin, won their case, after which it sold 3 million copies in the first year. Sexual intercourse began In nineteen sixty-three (which was rather late for me) - Between the end of the "Chatterley" ban And the Beatles’ first LP—Philip Larkin Lady Chatterley was born Connie Reid, raised as an upper-middle class bohemian, familiar early on with free love/affairs and a generally liberal approach to politics and social ideas. In 1917 (with WWI still on), she marries Clifford Chatterley, an aristocrat who goes to war one month after they are married, and is paralyzed from the waist down, impotent. He becomes a successful writer, he becomes a coal baron, and drifts apart from Connie, who hates her husband’s writing, and the coal industry, especially what owners do to workers. She has a short, unsatisfying affair with Michaelis, a playwright, but finds her ideal physical and spiritual man in Oliver Mellors, the gamekeeper on Chatterley's estate, also newly returned from serving in the army. Mellors was well-educated, but he came back from the war to separate from an unsatisfactory relationship with his wife Bertha, and live alone—without women, but also outside of society and its empty materialism, He chooses to live as a working class man, and to speak in the manner of his Darby upbringing and to be honest about his preference for the body and nature over the life of the mind and society. He and Connie choose each other, and begin an affair that is still well known in literary fiction for good reason. Sexual healing! And in a hut, not a mansion! Better?! Obviously! Roughly 100 years later we are aware of some of his ideas as not quite up to contemporary feminist standards, but Connie chooses him because he is tender-hearted as lover and generally as a man. The original title of the book was Tenderness, and this is the central theme of the novel for relationships and society, the feeling of complete yielding and sensitivity to each other that can happen in a tender-hearted relationship. So what does the roughly cynical and somewhat callous Mellors believe, finally? “I believe in that little flame between us.” This “flame” was created by mutually satisfying sex and nurtured through “tenderness.” Mellors is initially skeptical that a woman with as much money as Connie could ultimately give it all up for him, but in time they both see that their passionate relationship can set them apart from society and feed each other’s needs. Sexual is seen as pure creativity, as a kind of sacrament. Some other themes that are familiar in Lawrence here: Body is better than mind; nature is better than machines; materialism, money, and the greed of the upper classes are destroying the planet. How to regenerate? Good democratic relationships, integrity, wholeness. Anarchism, socialism, communism as alternatives to capitalism. Class issues are addressed throughout. Lawrence sides with the working class, for sure. “Their whole life depends on spending money, and now they’ve got none to spend. That’s our civilization and our education: bring up the masses to depend entirely on spending money, and then the money gives out.” “If you could only tell them that living and spending isn't the same thing! But it's no good. If only they were educated to live instead of earn and spend, they could manage very happily. . .” Obscenity? Two, to my mind even better Lawrence books, The Rainbow and Women in Love also were seen as pornographic, so at one point Mellors says in this book: “Obscenity only comes in when the mind despises and fears the body, and the body hates and resists the mind.” After being accused of writing pornography in those earlier books, Lawrence defiantly makes his most explicit book. Lady Chatterley’s Lover was inspired by Frieda von Richthofen, who left her husband to marry D.H. Lawrence. But it’s less romance than a commentary on contemporary society: “There, in the world of the mechanical greedy, greedy mechanism and mechanized greed, sparkling with lights and gushing hot metal and roaring with traffic, there lay the vast evil thing, ready to destroy whatever did not conform. Soon it would destroy the wood, and the bluebells would spring no more. All vulnerable things must perish under the rolling and running of iron.” I think The Rainbow and Women in Love are better books, but I still think this is a great book. Make love, not war, was the sixties cry, and this book was an anthem to that cry. Love one another? Lawrence saw it would save us all from the results of war and the alienation of civilization. Huh! Maybe he had something, there.

  26. 5 out of 5

    Matthew Ted

    [19th book of 2021. Artist for this review is English painter William Etty, who was the first significant British painter of nudes.] As a warning: there will be foul language, sex and nudity (portraits) in this review. This is a messy, clumsy, heavy-handed novel with, credit to Lawrence (if credit is due), quite vulgar exchanges and explicit sex scenes for the time. Of course, this novel is infamous for its trial and its banning and the uproar it caused. With writers like Bret Easton Ellis in the [19th book of 2021. Artist for this review is English painter William Etty, who was the first significant British painter of nudes.] As a warning: there will be foul language, sex and nudity (portraits) in this review. This is a messy, clumsy, heavy-handed novel with, credit to Lawrence (if credit is due), quite vulgar exchanges and explicit sex scenes for the time. Of course, this novel is infamous for its trial and its banning and the uproar it caused. With writers like Bret Easton Ellis in the world, the sex is nothing in the 21st century, but I have no doubt that in 1923 it would have caused some problems. “Study of a Male Nude Figure” Lady Chatterley’s Lover is not just an erotic novel, in fact, a vast majority of the novel is so dull, I was praying for another sex scene just to avoid the boring and frivolous conversations had by characters. When they were speaking on topics of value, it simply felt out of place; and that is the problem I have with this novel. At once, this novel has oddly crude and erotic scenes, beautiful, pastoral, 19th century-esque descriptions of landscape, and even post-war themes littered throughout. In a way it felt like Lawrence was writing two or three novels and just melded them all together. As a post-war novel, I would have been interested and some of the ruminations on the war and the men who suffered in it were good. The writing, in landscape descriptions, was beautiful, and poor elsewhere. I can’t comment on the erotic parts really: I didn’t care for them, but as said, they were more interesting than the bland discussions from bland characters. I don’t want to say much on the characters, but none of them were particularly engaging; Mellors was bland and his Derbyshire accent was nugatory; Lady Chatterley herself was mildly interesting but in the end her character boiled down to her desire to get away from her husband, beyond that, she was one-dimensional; Chatterley had a certain promise, crippled, with a woman who didn’t love him, or desire him, but somehow he also became tiresome. “Female Nude” What I do want to do is record some of the sexual portrayals in the book for they are quite surprising for the time. There is some pretty foul language used and they aren’t overly pleasant, so you’ve been warned again. 'Only to my experience the mass of women are like this: most of them want a man, but don’t want the sex, but they put up with it as part of the bargain. The more old-fashioned sort just like there like nothing and let you go ahead. They don’t mind afterwards: then they like you. But the actual thing itself is nothing to them, a bit distasteful. And most men like it that way. I hate it. But the sly sort of women who are like that pretend they’re not. They pretend they’re passionate and have thrills. But it’s all cockaloopy. They make it up.—Then there’s the ones that love everything, every kind of feeling and cuddling and going off, every kind except the nature one. They always make you go off when you’re not in the only place you should be, when you go off.—Then there’s the sort, that are the devil to bring off at all, and bring themselves off, like my wife. They want to be the active party.—Then there’s the sort that puts you out before you really “come”, and go on writhing their loins till they bring themselves off against your thighs. But they’re mostly the Lesbian sort. It’s astonishing how Lesbian woman are, consciously or unconsciously. Seems to me they’re nearly all Lesbian.’ ‘And do you mind?’ asked Connie. ‘I could kill them. When I’m with a woman who’s really Lesbian, I fairly howl in my soul, wanting to kill her.’ And as his seed sprang in her, his soul sprang towards her too, in the creative act that is far more than procreative. ‘Th’art good cunt, though, aren’t ter? Best bit o’ cunt left on earth. When ter likes! When tha’rt willing!’ ‘What is cunt?’ she said. ‘An’ doesn’t ter know? Cunt! It’s thee down there; an’ what I get when I’m i’side thee, and what tha gets when I’m i’side thee; it’s a’ as it is, all on’t.’ ‘All on’t,’ she teased. ‘Cunt! It’s like fuck then.’ ‘Nay nay! Fuck’s only what you do. Animals fuck. But cunt’s a lot more than that. It’s thee, dost see: an’ tha’rt a lot besides an animal, aren’t ter?—even ter fuck? Cunt! Eh, that’s the beauty o’ thee, lass!’ “Reclining Nude” All in all, I can see why it caused an uproar in 1923, but today, it hardly startles; and by hardly startling us, all we are left with is a jumble of a novel that is both boring and messy.

  27. 5 out of 5

    Kirk

    I see a lot of my GR friends are currently reading this, so I'll be interested to see what they think of it. I understand the importance of this one--free speech, yo---but honestly, I wasn't blown away. I prefer Ginny Woolf, in fact. Part of it is that Lawrence is too damn Freudian for me. And all the stuff about women needing civilization fucked out of them by virile treetrimmers seems a little misogynistic. I know the historical context out of which Lawrence is writing, what with industrializa I see a lot of my GR friends are currently reading this, so I'll be interested to see what they think of it. I understand the importance of this one--free speech, yo---but honestly, I wasn't blown away. I prefer Ginny Woolf, in fact. Part of it is that Lawrence is too damn Freudian for me. And all the stuff about women needing civilization fucked out of them by virile treetrimmers seems a little misogynistic. I know the historical context out of which Lawrence is writing, what with industrialization and war sapping the natural semen-spewing strength of all us who can grow hair on chests (trust me, I value all three of mine; they're insured by Lloyd's of London). Still, that only dates LLCoolLady more for me. Finally there's the sex. Shocking in its day, but 80 years later, it has all the poetry of your average Penthouse Forum entry. Seriously, dudes, don't name your peen. Especially don't name it John Thomas. It makes your reader think of The Waltons (i.e. John Boy, portrayed by Richard Thomas). And if you feel the need to write about anal, try not to justify it saying you're ridding your lady of "shame, which is fear: the deep organic shame, the old, old physical fear which crouches in the bodily roots of us, and can only be chased away by the sensual fire, at last it was roused up and routed by the phallic hunt of the man.” In my (admittedly limited) experience, chicks don't go for that ole "phallic hunt" line. In the end (no pun intended), I think this book is most interesting to read alongside the history of 1920s’ and 30s' sexology. To wit, a line from Theodoor van de Velde's Ideal Marriage, one of the most popular (and controversial) sex manuals of the era: “What both man and woman, driven by obscure primitive urges, wish to feel in the sexual act ... is the essential force of maleness, which expresses itself in a sort of violent and absolute possession of the woman. And so both of them can and do exult in a certain degree of male aggression and dominance—whether actual or apparent—which proclaims this essential force.” Like I said, a tough sell these days. Still, looking forward to seeing other folks' reviews. Get on the stick, RA (not literally, of course).

  28. 5 out of 5

    Apatt

    Idle: Is, uh,...Is your wife a goer, eh? Know whatahmean, know whatahmean, nudge nudge, know whatahmean, say no more? Jones: I, uh, I beg your pardon? Idle: Your, uh, your wife, does she go, eh, does she go, eh? Jones: Well, she sometimes 'goes', yes. Idle: I bet she does, I bet she does, say no more, say no more, know whatahmean, nudge nudge? - Monty Python’s “Nudge Nudge” sketch Why did I just quote that? I don’t know, it seems oddly appropriate somehow (but probably isn’t!) From its reputation, I w Idle: Is, uh,...Is your wife a goer, eh? Know whatahmean, know whatahmean, nudge nudge, know whatahmean, say no more? Jones: I, uh, I beg your pardon? Idle: Your, uh, your wife, does she go, eh, does she go, eh? Jones: Well, she sometimes 'goes', yes. Idle: I bet she does, I bet she does, say no more, say no more, know whatahmean, nudge nudge? - Monty Python’s “Nudge Nudge” sketch Why did I just quote that? I don’t know, it seems oddly appropriate somehow (but probably isn’t!) From its reputation, I was half expecting Lady Chatterley's Lover to be wall-to-wall sex. As it happened this is not the case, floors and beds are sometimes included in the configuration—nudge nudge! Well, OK, not really, if you are looking for “porn-fic” from this novel you had better look elsewhere*. I would not know where to direct you, though. As always, Google is your friend! D. H. Lawrence was a serious novelist, I am not even sure he had a sense of humour**. The last thing he would do is write a salacious novel to titillate the masses. My only other experience of his fiction is the beautiful and moving Sons and Lovers, a moving portrayal of a mother and son relationship, with myriad relatable themes. Lady Chatterley's Lover is equally serious, packed to the gills with Lawrence’s ideological messages. The basic plot is very straight forward, Constance is married to invalid aristocrat Clifford Chatterley, who was injured and became paralyzed during the Great War. Unfortunately, the paralysis seems to have spread to his humanity also. This is very depressing for Lady Constance Chatterley who finds her married life entirely devoid of warmth or happiness. She has a brief fling with a German boy whose wurst turns out to be unsatisfactory and also dies unexpectedly, then she has an affair with Michaelis, an Irish playwright, and an aristocrat wannabe. This ends when Connie finds that she can not love him. Eventually, she meets the real love of her life, gamekeeper Oliver Mellors who is rather plebian but has a heart of gold. So begins their affairs and several scenes of these two famously having it off. Of course, one day the cat gets out of the bag… Unlike Sons and Lovers, Lady Chatterley's Lover does not resonate much with me. I cannot relate to any of the characters. Connie—when fully clothed— spends most of the time fretting, feeling sorry for herself. Sir Clifford is entirely unsympathetic and unfeeling, and Oliver Mellors, like Connie, is always moping when he is in a vertical position. The sex is portrayed as something rather silly and awkward. As for the aforementioned ideological messages, Lawrence has plenty to say about the class system, intellectuality vs. passion and the battle of the sexes, but I cannot relate to the characters and their plight so I don’t have a feel for the nuances. For me, Lady Chatterley's Lover is readable but a little bit of a chore to get through. I don’t care for the characters and the plot is just not interesting enough, it seems the nuances are more important than the plot. There are a lot of rambling narration and dialogue which is only made more bearable by the audio format (easier to zone out or just doze off until something interesting happen). I can’t exactly recommend the book but if you are particularly curious about it, it is not too hard to get through. Of course, you may like it a lot more than I do, it just is not up my street, not even in the same time zone. ______________________________ * I was expecting to write “More like Lady Shaggerty, nudge nudge!” Alas, no. ** I think Sons and Lovers may have some funny bits but I don’t really remember! Notes: • Free Audiobook read by Jan McLaughlin. Quite nicely read on the whole, some strange pauses during the first couple of chapters but she seems to settle down after a while. Anyway, I am very grateful for her effort. The whole audiobook in one ZIP file can be downloaded here. • I am not really into Lady Chatterley's Lover but I am interested to read more from D.H. Lawrence, he does write very nice prose. Next time I’ll check out the synopsis first. Quotes: “It would be wonderful to be intelligent: then one would be alive in all the parts mentioned and unmentionable. The penis rouses his head and says: How do you do?--to any really intelligent person. Renoir said he painted his pictures with his penis...he did too, lovely pictures!” 'All the darned women are like that,' he said. 'Either they don't go off at all, as if they were dead in there...or else they wait till a chap's really done, and then they start in to bring themselves off, and a chap's got to hang on. I never had a woman yet who went off just at the same moment as I did.' “A woman wants you to like her and talk to her, and at the same time love her and desire her; and it seems to me the two things are mutually exclusive.”

  29. 4 out of 5

    Andrea

    I really tried to read this classic, but when Lady Chatterly's lover appeared and fit the description of Groundskeeper Willie from the Simpsons, I just couldn't do it. I mean, D.H. Lawerence has written in Willie's accent phonetically, and Lady Chatterly was having an affair with a cartoon! I just couldn't read anymore from that moment on... I really tried to read this classic, but when Lady Chatterly's lover appeared and fit the description of Groundskeeper Willie from the Simpsons, I just couldn't do it. I mean, D.H. Lawerence has written in Willie's accent phonetically, and Lady Chatterly was having an affair with a cartoon! I just couldn't read anymore from that moment on...

  30. 5 out of 5

    Rowena

    D.H. Lawrence is a writer I'm growing more fond of. He really does have a way with words. Connie Chatterley, in my opinion, was a rather insipid character. She marries Clifford Chatterley, who gets injured in the war and comes back paralyzed. Consequently, she begins an affair with the gameskeeper, Oliver Mellors and discovers who she is as a woman.Lawrence definitely pushed the boundaries for 1920s standards. I did sympathize with Connie's feelings of restlessness, aggravated by the fact that he D.H. Lawrence is a writer I'm growing more fond of. He really does have a way with words. Connie Chatterley, in my opinion, was a rather insipid character. She marries Clifford Chatterley, who gets injured in the war and comes back paralyzed. Consequently, she begins an affair with the gameskeeper, Oliver Mellors and discovers who she is as a woman.Lawrence definitely pushed the boundaries for 1920s standards. I did sympathize with Connie's feelings of restlessness, aggravated by the fact that her invalid husband was so insensitive and selfish. "Connie was aware, however, of a growing restlessness. Out of her disconnexion, a growing restlessness was taking possession of her like madness." "...deep inside herself, a sense of injustice, of being degraded, began to bloom in Connie," However, overall I felt Connie was rather vapid and boring. I also like Lawrence for his descriptions of nature, especially when he anthropomorphizes it: " And they were there, the short-stemmed flowers, rustling and fluttering and shivering, so bright and alive, but with nowhere to hide their faces, as they turned them away from the wind." Bravo, Lawrence!

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