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Lady Chatterley’s Lover 89 one primary lie;” for example “the monstrous lie of money . . . Kill the purity lie, and the money-lie will be defenceless” (Phoenix, 185). So once again sexual reform is the key to cultural and economic reform. Lawrence here has the consistency that a fully developed metaphysic affords. And as usual in the midst of death he finds some hope of rebirth; there is a minority, he ends, which “hates the lie . . . and which has its own dynamic ideas about pornography and obscenity” (186–87). One may doubt that the achievement of that minority—the Obscenity Act of 1959 and its successors, the successful defense of Lady Chatterley’s Lover but also of other books which Lawrence would probably have wanted to censor—would have gratified him. But this is part of the general truth that the revolution which has occurred in our handling of the “dirty little secret” is hardly at all the revolution Lawrence wanted. Our literary sex, like the pill and the modern commune, would have had him once more prophesying the last days and the need for rebirth. He always thought of the movies as a masturbatory medium; he castigated them in The Lost Girl, in the late poem “When I Went to the Film,” in which the audience is “moaning from close-up kisses, black-and-white kisses that could not be felt” (Collected Poems, 444) and in Pornography and Obscenity. It is not conceivable that the sex-in-color of our cinema would have pleased him more. The reason why he is so often called a Puritan is that he thought that sex was the key to life and spiritual regeneration, and also that these were solemn matters. NOTES 1. Earl H. Brewster, in Edward H. Nehls, ed. D. H. Lawrence: A Composite Biography, III, 135. 2. Edward H. Nehls, op. cit., I, 62. 3. See George W. Knight, “Lawrence, Joyce and Powys,” Essays in Criticism, XI (1961) , and in Neglected Powers: Essays on Nineteenth and Twentieth Century Literature (New York, 1971) ; J. Sparrow, “Regina vs. Penguin Books,” Encounter, 101 (1962), pp. 35–43; F. Kermode, “Spenser and the Allegorists,” British Academy Warton Lecture, 1962, reprinted in Shakespeare, Spenser, Donne: Renaissance Essays (New York, 1971); George Ford, Double Measure ; Colin Clarke, River of Dissolution; Mark Spilka, “Lawrence Up-Tight,” Novel, IV (1971), pp. 252–67;
90 D.H. Lawrence Ford, Kermode, Clarke, Spilka, “Critical Exchange,” Novel, V (1971), pp. 54–70. 4. Conveniently gathered in Harry T. Moore’s collection, D.H. Lawrence: Sex, Literature, and Censorship (New York, 1953). This book has a useful introduction recounting Lawrence’s dealing with censorship from the prosecution of The Rainbow to the suppression of Lady Chatterley’s Lover and Pansies, and the seizure of his paintings at the Warren Gallery in 1929. 5. Harry T. Moore, The Intelligent Heart, p. 94.
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Bloom's Literary Themes f Alienatio
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Bloom’s Literary Themes THE TABOO
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, Contents . Series Introduction by
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Contents ix The Satanic Verses (Sal
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xii Series Introduction by Harold B
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, Volume Introduction by Harold Blo
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Confessions of an English Opium Eat
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24 Bram Stoker published perceive D
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26 Bram Stoker Arthur placed the po
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28 Bram Stoker Van Helsing to Lucy
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30 Bram Stoker how spontaneous and
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32 Bram Stoker they are avoiding se
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34 Bram Stoker of castration to all
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36 Bram Stoker 15. Richardson, p. 4
Page 55 and 56: 38 Allen Ginsberg exuberant tone, l
Page 57 and 58: 40 Allen Ginsberg Most people who c
Page 59 and 60: 42 Allen Ginsberg “negro streets
Page 61 and 62: 44 Allen Ginsberg Loafe with me on
Page 63 and 64: 46 Allen Ginsberg Following the cha
Page 65 and 66: 48 Allen Ginsberg in music and lite
Page 68 and 69: JULIUS CAESAR (WILLIAM SHAKESPEARE)
Page 70 and 71: Julius Caesar 53 suggest how his ex
Page 72 and 73: Julius Caesar 55 not, Cassius; yet
Page 74 and 75: Julius Caesar 57 Caesar: Thou, too,
Page 76 and 77: Julius Caesar 59 attach crucial imp
Page 78 and 79: Julius Caesar 61 called up in our m
Page 80 and 81: Julius Caesar 63 III Peter Gay note
Page 82 and 83: Julius Caesar 65 labour” (96). On
Page 84 and 85: Julius Caesar 67 effect suggestive
Page 86 and 87: Julius Caesar 69 “the phenomenon
Page 88 and 89: Julius Caesar 71 NOTES 1. In Moses
Page 90 and 91: Julius Caesar 73 17. I am suggestin
Page 92: Julius Caesar 75 Lacan, Jacques. É
Page 95 and 96: 78 D.H. Lawrence In letters written
Page 97 and 98: 80 D.H. Lawrence as the only means
Page 99 and 100: 82 D.H. Lawrence what is left of th
Page 101 and 102: 84 D.H. Lawrence Chapter XVI of Lad
Page 103 and 104: 86 D.H. Lawrence the oppressive Sir
Page 105: 88 D.H. Lawrence grew increasingly
Page 109 and 110: 92 Vladimir Nabokov upon subject ma
Page 111 and 112: 94 Vladimir Nabokov and discrete wh
Page 113 and 114: 96 Vladimir Nabokov imagination. Wh
Page 115 and 116: 98 Vladimir Nabokov that the point
Page 117 and 118: 100 William Golding show how an aut
Page 119 and 120: 102 William Golding wavers between
Page 121 and 122: 104 William Golding was the protect
Page 123 and 124: 106 William Golding Already he has
Page 125 and 126: 108 William Golding or intuition of
Page 127 and 128: 110 William Golding Jack keeps his
Page 129 and 130: 112 William Golding 3. Ibid. 4. Joh
Page 131 and 132: 114 Geoffrey Chaucer Chaucer himsel
Page 133 and 134: 116 Geoffrey Chaucer is indeed a
Page 135 and 136: 118 Geoffrey Chaucer [B&G 510]. The
Page 137 and 138: 120 Geoffrey Chaucer fashionable dr
Page 139 and 140: 122 Geoffrey Chaucer the three male
Page 141 and 142: 124 Gwendolyn Brooks baby tears and
Page 143 and 144: 126 Gwendolyn Brooks mother-eye”
Page 145 and 146: 128 Gwendolyn Brooks corner “tave
Page 147 and 148: 130 Gwendolyn Brooks of the aborted
Page 149 and 150: 132 Gwendolyn Brooks Johnson, Barba
Page 151 and 152: 134 Eugene O’Neill Sophocles’ O
Page 153 and 154: 136 Eugene O’Neill are themselves
Page 155 and 156: 138 Eugene O’Neill even extending
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140 Eugene O’Neill to provoke cha
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142 Eugene O’Neill to defeat the
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144 Sophocles the dialogue is a cop
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146 Sophocles in himself. “The sh
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148 Oscar Wilde breaking out it sho
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150 Oscar Wilde Dorian is described
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152 Oscar Wilde death: “So I have
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154 Oscar Wilde disillusionment, an
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156 Oscar Wilde WORKS CITED Behrend
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158 The Poetry and Prose of Sylvia
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166 William Faulkner on the grounds
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168 William Faulkner imprecation an
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170 William Faulkner life-long remi
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172 William Faulkner degree of accu
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174 William Faulkner an equally pha
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176 William Faulkner [It] abounded
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178 Philip Roth and possible death
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180 Philip Roth of one conversation
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182 Philip Roth physically. At one
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184 Philip Roth for many years, see
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186 Philip Roth many ways, the irri
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THE SATANIC VERSES (SALMAN RUSHDIE)
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The Satanic Verses 191 himself desc
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The Satanic Verses 193 a meditation
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The Satanic Verses 195 It is easy t
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The Satanic Verses 197 WORKS CITED
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200 The Poetry of Anne Sexton himse
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202 The Poetry of Anne Sexton proph
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204 The Poetry of Anne Sexton ANNE
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206 The Poetry of Anne Sexton home.
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208 The Poetry of Anne Sexton to be
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210 The Poetry of Anne Sexton The s
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212 The Poetry of Anne Sexton “ad
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214 The Poetry of Anne Sexton comin
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THE PROSE WORKS OF JONATHAN SWIFT ,
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The Prose Works of Jonathan Swift 2
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228 Thomas Hardy ‘Woman is truly
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230 Thomas Hardy Appearing in 1895,
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232 Thomas Hardy all, ‘quite a Ma
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234 Thomas Hardy * * * Tess, then,
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236 Thomas Hardy Tess Durbeyfield g
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238 Thomas Hardy the ground, the mo
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240 Thomas Hardy not only intensity
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242 Thomas Hardy which the matrons
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244 Thomas Hardy the marriage consu
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246 Thomas Hardy translation of two
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248 Thomas Hardy true lovers of thi
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250 Thomas Hardy 24. Viola Klein, T
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252 James Joyce adores the Most Ble
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254 James Joyce character. However,
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256 James Joyce The idea that Irish
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258 James Joyce Gibbons, Luke. “
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260 Acknowledgments Wagner, Geoffre
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262 Index Beauvoir, Simone de, 227
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264 Index Evans, Robert C. on “Th
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266 Index Huizinga, Johan Homo Lude
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268 Index in “A Rose for Emily,
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270 Index patricide and Freud, xvi,
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272 Index Norman Cowan in, 179-180,
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274 Index Angel Clare in, 228-231,
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