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D.H. Lawrence ist bekannt für Erzählungen, die um das Thema Liebe und das Verhältnis zwischen Frau und Mann kreisen, umso überraschender ist diese klassische Geschichte über einen Mann, der Inseln liebt und sich auf immer kleinere Inseln zurückzieht, bis er schließlich nur den Elementen gegenübersteht.

La obra prohibida por revelar hipocresias. Cuando Lawrence publico en 1928 su ultima novela, desato la furia de quienes se sentian aludidos por ella y que se apresuraron a declarar la obra como inmoral y a prohibirla. La verdad es que Lawrence en esta novela simbolizo en Lord Chatterley a todo el imperio britanico, paralizado e impotente, mientras que su esposa, ante la incapacidad del marido encontraba en un hombre de la clase media una alternativa.

It is hay-making time on the Wookey farm. Two brothers are building the haystack, but thinking about other things – about young women, and love. There are angry words, and then a fight between the brothers. But the work goes on, visitors come and go, and the long hot summer day slowly turns to evening. Then the sun goes down, covering the world with a carpet of darkness. From the hedges around the hayfield comes the rich, sweet smell of wild flowers, and the hay will make a fine, soft bed.

Sons and Lovers, Lawrence’s third published novel, was written by the author at the height of his literary powers. The story of class differences (the relationship between a woman of middle-class family and a miner) in the tough world of coal mining, it brought a refreshing realism to literature. It remains a challenging text (and is studied widely). It is particularly effective as an audiobook in the hands of reader Paul Slack, who comes from Nottinghamshire.

Lady Chatterley's Lover is D. H. Lawrence's last novel. First published privately in 1928, Lady Chatterley's Lover was banned from wider publication in the UK until 1960 and was the subject of censorship and book banning in the United States and elsewhere. Its erotic subject material, colorful language, and discussion of interclass relations were deemed obscene.

Some of the greatest poets and lovers in the English language speak of their love in this seductive and romantic collection. Here are the voices of Romeo, Robert Burns, Lord Byron and many others.

In post-war East Midlands, in a home dominated by their difficult grandmother and aunt, Yvette and Lucille are two sisters struggling to bring joy into their lives. Their mother, having run off in a scandal, leaves the two to suffer a dysfunctional family life and oppressive domesticity. But one day, Yvette meets a free-spirited gypsy and his family, awakening her sexual desires and compounding her disenchantment.

Sons and Lovers, Lawrence's third published novel, was written by the author at the height of his literary powers. The story of class differences (the relationship between a middle-class woman and a miner) in the tough world of coal mining brought a refreshing realism to literature. It remains a challenging text and is studied widely. It is particularly effective on audiobook in the hands of Nottinghamshire reader Paul Slack.

Sons and Lovers was the first of Lawrence's major works, and is still considered to be one of his best. The 1913 novel, partly autobiographical and set in the coalmining village of Bestwood, is notable for being the first English novel to be genuinely working-class in origin and focus.

The story of the physical relationship between the aristocratic protagonist Constance Chatterley and gamekeeper Oliver Mellors - which occurs right under the nose of her wheelchair-bound husband, Clifford. In exploring the class system of the early 20th century, the novel also touches upon the declining coal mining industry, its effect on the workers, and the politics which surrounded it. Yet possibly the most important theme is the individual’s need for physical as well as intellectual satisfaction.

Lawrence explores love, sex, passion, and marriage through the eyes of two sisters, Gudrun and Ursula Brangwen. Intelligent, incisive, and observant, the two very different sisters pursue thrilling, torrid affairs with their lovers, Rupert and Gerald, while searching for more mature emotional relationships. Against a haunting World War I backdrop of coal mines, factories, and a beleaguered working class, Gudrun and Ursula's temperamental differences spark an ongoing debate regarding their society and their inner lives.

Under-appreciated until now, The Lost Girl is perhaps D.H. Lawrence's most beautiful, thoroughly contemporary, love story. This captivating novel charts the journey of a woman caught between two worlds and two lives, one mired in dreary, industrial England and a life of convention, the other set in the vibrant Italian landscape holding the promise of sensual liberation.

Set near the Nottinghamshire coalfields where his father was a miner, Lawrence's autobiographical novel explores Paul Morel's relationship with his mother and his passion for two other women. It is a conflict which pits love against possessiveness.

The Trespasser, first published in 1912, was Lawrence's second novel and foreshadowed the passion of Lady Chatterley's Lover. Helena Verden, a young woman in her late 20s, and Siegmund MacNair, her violin teacher, are in love. But there is more than one obstacle to their happiness. Siegmund is a married man with children and Helena is full of inhibitions. They spend a week together on the Isle of Wight, their passion remaining unrequited. When they return to London, Siegmund faces a deadlock. Tormented by his family's bitter reproaches, he is nonetheless unable to desert them for Helena. His solution to his dilemma turns a woman's longing for love into tragedy. Lawrence based his novel on the true-life experiences of his friend Helen Corke, as revealed in her diaries.

The inevitable is understood by each and every one of us who faces the final calling. So too are the effects on those left behind. The memories are there but the empty space, the void can never be refilled. It remains a dark, unreliable pit of loneliness. The sadness and often depression, the lack of will to continue may swamp us all. Unquenchable, undeniable. But loss can, after mourning, give the opportunity to reappraise the lost and how we can each move forward. In the literary world an accessible balance can be given.

Loss in any form seems to burden us with more weight than anything that can possibly be gained or learnt from. The loss of a person, a loved one, is often overwhelming. Lives so interwoven that the severing or loss of one life leaves the other weakened, unable to function for some time. Recovery comes in a myriad of forms but is usually debilitating, slow and, in the end, we are not as whole as we once were.It is a subject that authors return to again and again.

When D.H. Lawrence's Lady Chatterley's Lover first appeared in print in the late 1920s, it was an immediate sensation. A vivid—often graphic—exploration of infidelity, sexual awakening, intimacy and free thinking, Chatterley was banned in Britain, America and dozens of other countries for its frank depiction of the sexual act, explicit descriptions of physical love and the liberal use of once-prohibited four-letter words.

Lawrence wrote The Plumed Serpent between 1923 to 1924, a time when he was in ill health, living in Mexico, and becoming dependent on his wife Frieda. The plot revolves around a movement to replace the Christian God with the old pre-conquest gods, such as Quetzalcoatl, the plumed serpent of the title.

David Herbert Lawrence was born on the 11th September 1885 in Eastwood, Nottinghamshire, a coal mining town where the reality of a harsh life was only useful as experiences for future literary works. Lawrence’s first efforts were poems, short stories and a draft of ‘The White Peacock’. Moving to London and a teaching position in Croydon his writing attracted the attention of Ford Madox Ford, editor of The English Review, and he commissioned him to write ‘Odour of Chrysanthemums’.

Gerald Crich, son of a wealthy colliery owner, captures the heart of Gudrun, while Ursula becomes enamored with Rupert Birkin, a school inspector - their complex relationship likely modelled on that between Lawrence, his wife Frieda, and John Middleton Murry and Katherine Mansfield. Things are far from harmonious, and the discord and conflict leads to many heated and elaborate philosophical discussions about modern society and the nature of love, while tragedy looms large.