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001			218212
003			IT-RoAPU
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007			cr || ||||||||
008			220426t20211965txu fo d z eng d
020			_a9781477300763 _qPDF
024	7		_a10.7560/732070 _2doi
035			_a(DE-B1597)9781477300763
035			_a(DE-B1597)587873
035			_a(OCoLC)1286808234
040			_aDE-B1597 _beng _cDE-B1597 _erda
072		7	_aLIT000000 _2bisacsh
082	0	4	_a823.912
084			_aonline - DeGruyter
100	1		_aCorke, Helen _eautore
245	1	0	_aD. H. Lawrence : _bThe Croydon Years / _cHelen Corke.
264		1	_aAustin : _bUniversity of Texas Press, _c[2021]
264		4	_c©1965
300			_a1 online resource (172 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tINTRODUCTION -- _tPreface -- _tAcknowledgments -- _tCONTENTS -- _tList of Illustrations -- _tPortrait of D.H.Lawrence, 1909-1910 -- _tD. H. Lawrence's "Princess": A Memory of Jessie Chambers -- _tConcerning The White Peacock -- _tLawrence & Apocalypse -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aCroydon, England, was the setting of the famous three-way friendship of D. H. Lawrence, Jessie Chambers, and Helen Corke, all of whom made literary records of their association, and all of whom appeared as characters in Lawrence novels. Perhaps the most objective of these records were Helen Corke’s, which became difficult to acquire. Their scarcity and their continuing usefulness were the stimulus for publication of this volume, which contains in four statements Helen Corke’s “major comment on Lawrence the man and Lawrence the artist.” The “Portrait of D. H. Lawrence, 1909–1910,” a section from Corke’s unpublished autobiography, gives the reader glimpses into the earliest stages of the Lawrence-Corke friendship, when Lawrence worked to bring meaning back into Corke’s life after she had suffered a tragic loss. The “Portrait” tells of conversations before a log fire, German lessons, the reading of poetry, and sessions over Lawrence’s manuscript “Nethermere,” which the publishers renamed The White Peacock. In “Portrait,” Corke tells of working with Lawrence on revising the proofs of this book, of Lawrence’s encouragement of her own literary efforts, of their wandering together in the Kentish hill country, and of her first meeting with Jessie Chambers. “Lawrence’s ‘Princess’” continues the narrative of the triple friendship, carrying it to its sad ending, but with the focus on Jessie Chambers. Perceptively and sympathetically written, it throws a clarifying light on the psychology of Lawrence and presents with literary charm another human being—Jessie, the Miriam of Sons and Lovers. In combined narrative-critique method, Corke, in the essay “Concerning The White Peacock,” relates Lawrence’s problems in writing this novel and gives an analysis of its literary quality. Lawrence and Apocalypse is cast in the form of a “deferred conversation” in which Lawrence and Corke discuss his philosophical ideas as presented in his Apocalypse. Although the book was written to present Lawrence’s ideas, its significance reposes equally in Corke’s reaction to his thought. As a succinct statement of Lawrence’s teachings about the nature of humanity, it has unique value.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650		0	_aLawrence, D. H.-(David Herbert),-1885-1930.
650		7	_aLITERARY CRITICISM / General. _2bisacsh
700	1		_aRoberts, Warren _eautore
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7560/732070
856	4	0	_uhttps://www.degruyter.com/isbn/9781477300763
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9781477300763/original
942			_cEB
999			_c218212 _d218212