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Introduction Lejfrey Meyers 1. "A Genius Pain-Obsessed," Manchester Guardian, March 4, 1930, P. 12. 2. Alastair Niven

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Introduction Lejfrey Meyers 1. Notes Introduction leJfrey Meyers 1. "A Genius Pain-obsessed," Manchester Guardian, March 4, 1930, p. 12. 2. Alastair Niven, "D. H. Lawrence: Literary Criticism and Recent Publications," British Book News, September 1985, p.516. 3. Aldous Huxley, Introduction to D. H. Lawrence, Letters (London, 1932),p.xxx. 4. K. L. Godwin, The Influence of Ezra Pound (London, 1966), p.219. 5. Anthony Burgess, Flame into Being: The Lift and Work of D. H. Lawrence (New York, 1985), p. 5. 6. W. H. Auden, The Orators (New York, 1967), pp. vii, 17, 63; W. H. Auden, "D. H. Lawrence as a Critic," The Griffin, 5 (September 1956),4. 7. Interview with Stephen Spender, Boulder, Colorado, April 4, 1985. 8. Interview with Christopher Isherwood, March 11, 1985. 9. D. H. Lawrence, Letters: Volume 1/, 191~1916, ed. George Zytaruk and James Boulton (Cambridge, England, 1981), p.218. 10. Karl Shapiro, "Dylan Thomas," In Deftnse of Ignorance (New York, 1955), p. 184. Dylan Thomas, Selected Letters, ed. Constantine FitzGibbon (London, 1966), p. 195, acknowledges his debt to the poems about animals and poems in The Plumed Serpent. 11. Keith Sagar, "Beyond D. H. Lawrence," D. H. Lawrence: The Man Who Lived, ed. Robert Partlow, Jr. and Harry Moore (Carbondale, Illinois, 1980), pp. 264-265. 12. Letter from Seamus Heaney to Jeffrey Meyers, November 12,1985. Lawrence's "Poetry ofthe Present" (1919) appears in Complete Poems, ed. Vivian de Sola Pinto and Warren Roberts (New York, 1964), pp. 181-186. 175 176 Notes to pages ~9 13. D. H. Lawrence, Letters: Volume I, 1901-1913, ed. James Boulton (Cambridge, England, 1979), p. 544. 14. George Orwell, Collected Essays, Joumalism and Letters, ed. Sonia Orwell and Ian Angus (New York, 1968), 1:507, 2:202. 15. Ibid., 4:33. 16. See George Orwell, The Road to Wigan Pier (London, 1937), pp. 195, 198-200. 17. Alan Sillitoe, "D. H. Lawrence and His District," D. H. Lawrence: Novelist, Poet, Prophet, ed. Stephen Spender (London, 1973), p.46. See also Alan Sillitoe, "Lawrence's Republic," Time and Tide, 42 (October 19, 1961), 1756, on Fantasia of the Unconscious. 18. D. H. Lawrence, Collected Letters, ed. Harry Moore (New York, 1962), p. 952. 19. Letter from Alan Sillitoe to Jeffrey Meyers, January 20, 1985. 20. Letter from David Storey toJeffrey Meyers, March 3, 1985. See also David Storey, "Slabs of Slate," New Statesman, 68 (October 30, 1964),654---655, on Lawrence's paintings. 21. Letter from Melvyn Bragg to Jeffrey Meyers, March 15, 1985. 22. The Letters of D. H. Lawrence and Amy Lowell, 1914-1925, ed. Claire Healey and Keith Cushman (Santa Barbara, 1985), p.104. 23. Lawrence, "Poetry of the Present," 1.183. See William Car10s Williams, "An E1egy for D. H. Lawrence," Selected Poems (New York, 1969), pp. 64---67; and Karl Shapiro, "D. H. L.," V-Letter (New York, 1944), p. 47. 24. Letter from Karl Shapiro to J effrey Meyers, April 21, 1985. 25. Louis Martz, "A Greenhouse Eden," Theodore Roethke: Essays on the Poetry, ed. Amold Stein (Seattle, 1965), p. 25. 26. Neal Bowers, "Theodore Roethke Speaks," New Letters, 49 (1982), 11-12. 27. Theodore Roethke, Selected Letters, ed. Ralph Mills, Jr. (Seattle, 1968), pp. 116, 104. 28. Theodore Roethke, "Some Remarks on Rhythm," On the Poet and His CraJt, ed. Ralph Mills, Jr. (Seattle, 1965), p.83. 29. Letter from Robert Bly to Jeffrey Meyers, October 24, 1985. Notes to pages ](}....]] 177 30. Galway Kinnell, Walking Down the Stairs (Ann Arbor, 1978), p.54. 31. Interview with Allen Ginsberg, Boulder, Colorado, April 13, 1985. 32. Quoted in Allen Ginsberg, Allen Verbatim, ed. Gordon Ball (New York, 1974), p. 150. 33. Quoted in Wyndham Lewis, Rude Assignment (London, 1950), p. 203. See Irving Howe, "In the Lawrencian Orbit," Sherwood Anderson (New York, 1951), pp. 179-196. 34. Lawrence, Leiters: Volume II, ed. Zytaruk and Boulton, p. 90; Ernest Hemingway, "Fathers and Sons," Short Stories (New York, 1953), p. 491. 35. Donald Spoto, The Kindness of Strangers (Boston, 1985), p.74. 36. Ibid., p. 271. See also Norman Fedder, The Injluence of D. H. Lawrence on Tennessee Williams (The Hague, 1966). 37. Letter from Norman Mailer toJeffrey Meyers, February 6, 1985. Bernard Malamud has described his fictional use of Lawrence in Dubin's Lives (1979): "Lawrence has had little influence on my work, except as Dubin relates to hirn at his time of life. Dubin ultimately wrote the biography, not I. Lawrence's purpose in the book was to entice Dubin to participate in a fiction that related hirn sexually to Fanny Beck. .. I used a handful of his books to help Dubin achieve a relationship with Fanny." Letter from Bernard Malamud toJeffrey Meyers, November 5, 1985. For Lawrence's influence on other American writers, see: C. E. Baron, "Lawrence's Influence on Eliot," Cambridge Quarterly, 5 (1971),235-248; RobinsonJeffers, Selected Leiters, 1897-1962, ed. Ann Ridgeway (Baltimore, 1968), pp. 208, 218, 230, 246; Reloy Garcia, Steinbeck and D. H. Lawrence: Fictive Voices and the Ethical Imperative (Muncie, Indiana, 1962); Ekbert Faas, "Charles Olson and D. H. Lawrence: Aesthetics of the 'Primitive Abstract,'" Boundary, 2 (1973- 74), 113-126; and Virginia Carr, The Lonely Hunter: A Biography of Carson McCullers (Garden City, N. Y., 1975), pp. 33, 39. Lawrence's influence on foreign writers has never been fully explored. But he clearly influenced the passionate, visceral, homoerotic, authoritarian and extremist elements 178 Notes to page 12 in the novels of Yukio Mishima. Joseph Sommers, After the Storm: Landmarks of the Modem Mexican Novel (Albuquerque, 1968), pp. 128-132, discusses the influence of The Plumed Serpent on Carlos Fuentes' Where the Air Is Clear (1958). And Bengt Altenberg, "A Checklist of D. H. Lawrence Scholarship in Scandinavia, 1934-1968," D. H. Lawrence Review, 2 (1969), 275-277, states that Lawrence influenced the primitivist movement which "became a strong force in Swedish literature" in the 1930s. 38. Lawrence, Letters: Volume I, ed. Boulton, p. 478. 39. See John Berryman, "Of Suicide," Love & Fame, 2nd ed. (New York, 1972), p. 62: I still plan to go to Mexico this summer. The Olmec images! Chichen Itza.! D. H. Lawrence has a wild dream ofit. Richard Eberhart's "Throwing the Apple," Collected Poems, 1930-1976 (New York, 1976), p. 202, is based on a painting by Lawrence. 40. The first trade editions of Tropic of Cancer (1961), Memoirs of a Woman of Pleasure (FanTlJ' Hill) (1963) and the Kama Sutra (1963), a sort of Lady Chatterjee's Lover, indirectly owed their appearance to Lawrence. His novel also inspired a number of parodies, including Lady Loverley's Chatter and Sadie Catterley's Cover. According to The Times (London), August 6, 1985, p. 10, the censorship issue is still alive: "Father Patrick O'Grady, the Catholic priest, has banned Lady Chatterley's Lover from being performed in his church hall during the Edinburgh Festival. ... The organizers of Lady Chatterley's Lover offered to withdraw all the nude scenes from the play, but Fr. O'Grady refused to compromise." 41. Lawrence, Letters: Volume I, ed. Boulton, p.99. Lawrence also reached a mass audience through the eight films that were based on his work and his life: The Rocking-Horse Winner (1949), L'Amant de Lady Chatterley (1959), Sons and Lovers (1960), The Fox (1968), Women in Love (1969), The Virgin and the Gypsy (1970), Lady Chatterley's Lover (1981) and The Priest of Love (1981). An interesting book could be written on Lawrence and film. Notes to pages 12-55 179 42. Philip Larkin, "Annus Mirabilis," High Windows (New York, 1974), p. 34. 43. William Boyd, A Good Man in Africa (New York, 1982), p. 142. Lawrence also appears in a number of other novels. Kay Boyle's "Rest Cure," The Best Short Stories of 1931, ed. Edmund O'Brien (New York, 1931), pp. 47-54, describes the dying Lawrence. Helen Corke's Neutral Ground (London, 1933) portrays her friendship with Lawrence and the events that inspired The Trespasser. Osbert SitweH's Miracle on Sinai (London, 1933) caricatures Lawrence as a bearded, working-class novelist who praises the dark gods but is always accompanied by a maiden aunt. Keith Winter's Impassioned Pygmies (New York, 1936) satirizes Lawrence and his circle. Compton Mackenzie's The South Wind of Love (London, 1937) and The West Wind of Love (New York, 1940) portray his friendship with Lawrence as weH as Lawrence's re action to the war and attack on religion. In Amanda Cross's In the Last Anarysis (New York, 1964), the murderer is exposed when he cannot identifY a passage in The Rainbow. In David Lodge's The British Museum Is Falling Down (London, 1965), the frustrated comic hero never manages to read the huge pile of Lawrenciana that awaits hirn in the Reading Room. And Neal Metcalf's The Pure Gamble (Menlo Park, California, 1974) concerns a disciple of Lawrence who founds a commune like Rananim. 44. Quoted in Oriana FaHaci, "Hugh Hefner," The Egotists (Chicago, 1968), p. 114. 45. Huxley, Introduction to Lawrence, Letters, p. xiii. Chapter Three. Lawrence and English Poetry William M. Chace 1. D. H. Lawrence, Momings in Mexico and Etruscan Places (London, 1974), pp. 146-147. 2. D. H. Lawrence, Letters: Volume I, 1901-1913, ed. James Boulton (Cambridge, England, 1979), p. 503. 3. D. H. Lawrence, "Poetry of the Present" [Introduction to the American edition of New Poems (1919)], in Complete Poems, ed. Vivian de Sola Pinto and Warren Roberts (New York, 1964), pp. 182-183. 180 Notes to pages 56-02 4. Friedrich von Schiller, Naive and Sentimental Poetry and On the Sublime, trans.
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