Stories deal with the relationship of an officer and his aide, a young soldier, a country vicar, an amateur archaeologist, two rivals, young sisters, and death

Connie Chatterley è moglie di sir Clifford, un aristocratico che in seguito a una ferita di guerra è diventato impotente (metafora della sterilità intellettualistica della sua cultura e della sua classe). Connie desidera la maternità e la sua carica vitale la spinge verso il guardiacaccia Mellors. Nasce tra i due una passione e quando Connie si accorge di aspettare un bambino, lascia il marito e va a vivere insieme a Mellors.

E' un racconto lungo che appartiene alla prima produzione di Lawrence. E' ambientato in un villaggio di minatori nelle Midlands e mostra i difficili rapporti tra quelli che lavorano in miniera e la classe piccolo borghese. Le figlie del vicario seguono due strade divergenti: la prima, Mary, difende la propria spiritualità e razionalità rispondendo al richiamo della sua cultura e della sua educazione e scegliendo la via della mente; la seconda, Louisa, attende pazientemente il momento in cui verrà richiamata 'verso il centro pulsante della sua femminilità', nella classica formulazione dell'autore. Louisa sarà quindi costretta dalla sua natura e dalla sua volontà ad attraversare la barriera fra due classi e a sposare, lei figlia di un vicario, un minatore.

Spanning the second half of the nineteenth century and the beginning of the twentieth, D. H. Lawrence’s provocative novel traces the lives of three generations of one family on their Nottinghamshire farm. Rooted in an agrarian past, Tom and Lydia Brangwen and their descendants find themselves navigating a rapidly changing world—a world of unprecedented individualism, alienation, and liberation. Banned after an obscenity trial in 1915 for its frankness about sexuality, THE RAINBOW was most remarkable for the pathbreaking journeys of its female characters, particularly that of Ursula Brangwen, whose destiny Lawrence explored further in his next novel, Women in Love.

In its surface drama, in its capacious and expansive rhythms that so resemble the rhythms of nature itself, THE RAINBOW is one of the world’s great examples of the multi-generational family saga. But the large claim that Lawrence’s masterpiece has made on the attention of readers and critics stems less from this fact than from the deeper parallel history he provides for the Brangwens—a history of the growth of their souls, moving in a great arc from sensuality to self-awareness and freedom.

This book responds to a long-standing need in the field of psychotherapy created by the gradual demise of the medical model. If we are not to define people by their deficits, how can we organize our understanding of them?
The concept of competence provides a conceptual replacement for the medical model. It is based on a systematic search for the strengths and resources that people bring to life but often do not recognize or use fully. Beginning with the idea that most symptoms represent adaptive attempts gone awry, a competence approach develops the healthy urges that reside within symptoms and helps clients organize around those instead of around the problems themselves.
Most thinking about proactive, positive approaches to people's problems avoids the problems and symptoms entirely. The competence approach takes the problems and symptoms as very real and uses them as a guide to what the person really wanted to begin with. Instead of eschewing psychopathology, it embraces it and tries to learn from it. The best proactive map for change is based on a new understanding and use of the 'pathology.'
Using numerous case illustrations, this book delineates the why and how of this way of building therapy around hidden strengths, based on a strong partnership with families. Courage, hope, vision, and other concepts not usually treated in psychotherapy are taken seriously and developed as important aspects of treatment. Ultimately, this approach offers people a direct, positive challenge to find and develop the best that is in them.

In questo racconto del 1924 che narra il viaggio 'iniziatico' di una giovane e bella donna sulle Montagne Rocciose emergono, con forza, alcune fra le tematiche più rilevanti del pensiero lawrenciano quali la ricerca di uno spazio non contaminato dalla civiltà, il desiderio di incontro e di contatto con un soggetto 'diverso', l'ansia di appaganti unioni sessuali. Così l'avventura della Principessa con Domingo Romero, la guida messicana, diviene per lo scrittore inglese occasione d'analisi, momento di profonda riflessione sul soggetto femminile.

(Book Jacket Status: Not Jacketed)

Women In Love, the book Lawrence considered his best, was written during World War I, and while that conflict is never mentioned in the novel, a sense of background danger, of lurking catastrophe, continually informs its drama of two couples dynamically engaged in a struggle with themselves, with each other, and with life's intractable limitations. Lawrence was a powerful, prophetic writer, but in addition he brought such delicacy to his treatment of the human and natural worlds that E. M. Forster's claim that he was the greatest imaginative novelist of our generation does him too little justice rather than too much.

The Virgin and the Gipsy was discovered in France after D. H. Lawrence's death in 1930. Immediately recognized as a masterpiece in which Lawrence had distilled and purified his ideas about sexuality and morality, The Virgin and the Gipsy has become a classic and is one of Lawrence's most electrifying short novels.

Set in a small village in the English countryside, this is the story of a secluded, sensitive rector's daughter who yearns for meaning beyond the life to which she seems doomed. When she meets a handsome young gipsy whose life appears different from hers in every way, she is immediately smitten and yet still paralyzed by her own fear and social convention. Not until a natural catastrophe suddenly, miraculously sweeps away the world as she knew it does a new world of passion open for her. Lawrence's spirit is infused by all his tenderness, passion, and knowledge of the human soul.

The story of a European woman's self-annihilating plunge into the intrigues, passions, and pagan rituals of Mexico. Lawrence's mesmerizing and unsettling 1926 novel is his great work of the political imagination.

D. H. Lawrence (1885-1930) made a contribution to poetry that, in the words of Louise Bogan, 'can now be recognized as one of the most important, in any language, of our time.' Birds, Beasts and Flowers, his first great experiment in free verse, was published when he was thirty-eight. This Black Sparrow edition reprints the first edition (New York: Thomas Seltzer, 1923) with a few corrections of typographical errors and the restoration of a number of lines considered indecent in 1923. The cover reproduces D. H. Lawrence's design for the dust jacket of the first edition.
Many of these individual poems are popular in anthologies. However, they are best read in the context and continuum of the whole book. In preparing the original collection for publication, Lawrence grouped the poems in a purposeful sequence. For a later printing he prefaced many of the sub-sections with brief quotations from the third edition of John Burnet's Early Greek Philosophy.

(Book Jacket Status: Jacketed)

Introduction by David Ellis

The struggle for power at the heart of a family in conflict, the mysteries of sexual initiation, and the pain of irretrievable loss are the universal motifs with which D. H. Lawrence fashions one of the world’s most original autobiographical novels.

Gertrude Morel is a refined woman who married beneath her and has come to loathe her brutal, working-class husband. She focuses her passion instead on her two sons, who return her love and despise their father. Trouble begins when Paul Morel, a budding artist, falls in love with a young woman who seems capable of rivaling his mother for possession of his soul. In the ensuing battle, he finds his path to adulthood tragically impeded by the enduring power of his mother’s grasp. Published on the eve of World War I, SONS AND LOVERS confirmed Lawrence’s genius and inaugurated the controversy over his explicit writing about sexuality and human relationships that would follow him to the end of his career.

Lawrence asserted that 'the proper function of a critic is to save the tale from the artist who created it'. In these highly individual, penetrating essays he has exposed 'the American whole soul' within some of that continent's major works of literature. In seeking to establish the status of writings by such authors as Poe, Melville, Fenimore Cooper and Whitman, Lawrence himself has created a classic work. Studies in Classic American Literature is valuable not only for the light it sheds on eighteenth- and nineteenth-century American consciousness, telling 'the truth of the day', but also as a prime example of Lawrence's learning, passion and integrity of judgement.

Connie Chatterley è moglie di sir Clifford, un aristocratico che in seguito a una ferita di guerra è diventato impotente (metafora della sterilità intellettualistica della sua cultura e della sua classe). Connie desidera la maternità e la sua carica vitale la spinge verso il guardiacaccia Mellors. Nasce tra i due una passione e quando Connie si accorge di aspettare un bambino, lascia il marito e va a vivere insieme a Mellors.

Gerald-Gudrun e Birkin-Ursula sono due coppie che passano dall'amicizia all'amore e dall'amore alla passione. Ma solo Birkin e Ursula riescono a farlo felicemente. In ognuno di loro pulsano in modo quasi animalesco vita e amore in un contatto intimistico con la natura che li circonda. Ed è proprio su questo sfondo che Lawrence dà il meglio di sé, riuscendo a rivestire di poesia anche le situazioni più scabrose e raccontando i moti più nascosti dell'animo umano. Pubblicato nel 1920 a New York, 'Donne innamorate' è molto più di un semplice spaccato della vita inglese dell'epoca, è un romanzo di taglio moderno quanto l'Ulisse di Joyce. Questa edizione è completata da una bibliografia curata da Stefania Michelucci.

L'interesse di D. H. Lawrence per il mondo etrusco non si esaurisce in una visione puramente archeologica: anzi, al contrario, l'universo etrusco costituisce per lui una sorta di mitico luogo di elezione. Del misterioso popolo, lo affascina innanzitutto la gioia di vivere, la genuinità naturale, l'istintualità non ancora viziata dall'intellettualismo, tutte qualità che egli contrappone polemicamente alla viziata volontà di potenza romana ed al vuoto estetismo greco, compiendo così, all'interno del mondo classico, una scelta di campo che riflette pienamente la sua poetica.