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Sons and Lovers by D. H. Lawrence
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Sons and lovers (original 1913; edition 1913)

by D. H. Lawrence

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5,93455631 (3.61)1 / 194
Member:sidewaysstation
Title:Sons and lovers
Authors:D. H. Lawrence
Info:Harmondsworth : Penguin, 1948, c1913
Collections:Your library
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Tags:vc5

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Sons and Lovers by D. H. Lawrence (1913)

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English (52)  Dutch (1)  German (1)  Danish (1)  All languages (55)
Showing 1-5 of 52 (next | show all)
This book seems the forerunner of all endless soap operas. It was torturous.

Granted, the book centers around a permanent state of frustration, both physical and spiritual, but about three quarters through the book, I thought I would have strangled each and every character for their wishy-washiness and ineffectual decisions. If D.H. Lawrence had meant the reader to feel the anger from accumulated sexual frustration by building the story up but avoiding satisfying conclusions again and again, well, he certainly succeeded!

I will credit him for incredible insight into the minds and motives of introverts and his intertwining of the simple beauty of flowers (the birds and the bees, as it were) vs the complexity of self-conscious civilized people trying to connect. However, I think I need something to actually happen to fully enjoy a story. ( )
  anguinea | Apr 4, 2013 |
Fairly interesting, although I admit a tad dry at times. ( )
  HadriantheBlind | Mar 30, 2013 |
Rated: C+
The New Lifetime Reading Plan: Number 113 ( )
  jmcdbooks | Jan 28, 2013 |
Published in 1913, this was surely schocking to society, describing an affair between a married woman and a younger man, as part of a larger saga of a working family in the outskirts of Nottingham, England, before the first world war. The novel coalesces around the loves of Paul Morel, an aspiring artist, who loves his mother most of all, and finds his adoring girlfriend from his youth too stifling, but her friend, an older married woman living apart from her husband, enticing. His story is told at length, beginning with his mother’s story, his father’s rough ways as a coal miner, and his childhood. At the end, his married lover returns to her husband, who hd been befriended by Paul after an accident, and Paul rejects the desparate plea of Miriam, his girlfriend, to end on a very existentialist note, with Paul feeling as though he is nothing, longing for his mother, but vowing to go on after her death. The landscape and society evoked in the descriptions is beautiful, and now foreign and lost, with the local towns connected by trains, and dispersed among walking paths and fields. I was slow in reading this, not interested in parts, but I had to see how the relationships would end. ( )
  neurodrew | Nov 18, 2012 |
eBook

Quite simply, this is a gorgeous book, and I'm more than a little ashamed that it's taken me this long to get around to reading it. Although, honestly, I never really bought into all the oedipal stuff, which seems to be the aspect of the book for which it is most revered.

It's a simple story, really, of a woman, her son, and the two women he pursues and rejects (often simultaneously), but it's the characters, rather than the plot (of which there isn't much), that are truly compelling. I found myself bookmarking so many pages, less because of what they were saying than the fact that so much of what they said sounded like an echo of things I've said or thought.

I'm always confused by books wherein I have such a strong sense of personal identification with the characters. Am I responding to the book or to some sick mixture of egotism and self-loathing. I suppose it doesn't much matter, nor do the two have to be mutually exclusive.

Anyway, Paul is such a great character. His struggles to navigate the murky and treacherous waters of his own conflicted desires are profoundly epic, despite their small scale, and in his treatment of Miriam, especially, Lawrence has painted the definitive portrait of the atrocities a profoundly self-involved douchebag can commit, even when he's fighting futilely to do what he sees as "the right thing." ( )
  jawalter | Nov 18, 2012 |
Showing 1-5 of 52 (next | show all)
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Amazon.com Amazon.com Review (ISBN 0375753737, Paperback)

Sons and Lovers was the first modern portrayal of a phenomenon that later, thanks to Freud, became easily recognizable as the Oedipus complex. Never was a son more indentured to his mother's love and full of hatred for his father than Paul Morel, D.H. Lawrence's young protagonist. Never, that is, except perhaps Lawrence himself. In his 1913 novel he grappled with the discordant loves that haunted him all his life--for his spiritual childhood sweetheart, here called Miriam, and for his mother, whom he transformed into Mrs. Morel. It is, by Lawrence's own account, a book aimed at depicting this woman's grasp: "as her sons grow up she selects them as lovers--first the eldest, then the second. These sons are urged into life by their reciprocal love of their mother--urged on and on. But when they come to manhood, they can't love, because their mother is the strongest power in their lives."

Of course, Mrs. Morel takes neither of her two elder sons (the first of whom dies early, which further intensifies her grip on Paul) as a literal lover, but nonetheless her psychological snare is immense. She loathes Paul's Miriam from the start, understanding that the girl's deep love of her son will oust her: "She's not like an ordinary woman, who can leave me my share in him. She wants to absorb him." Meanwhile, Paul plays his part with equal fervor, incapable of committing himself in either direction: "Why did his mother sit at home and suffer?... And why did he hate Miriam, and feel so cruel towards her, at the thought of his mother. If Miriam caused his mother suffering, then he hated her--and he easily hated her." Soon thereafter he even confesses to his mother: "I really don't love her. I talk to her, but I want to come home to you."

The result of all this is that Paul throws Miriam over for a married suffragette, Clara Dawes, who fulfills the sexual component of his ascent to manhood but leaves him, as ever, without a complete relationship to challenge his love for his mother. As Paul voyages from the working-class mining world to the spheres of commerce and art (he has fair success as a painter), he accepts that his own achievements must be equally his mother's. "There was so much to come out of him. Life for her was rich with promise. She was to see herself fulfilled... All his work was hers."

The cycles of Paul's relationships with these three women are terrifying at times, and Lawrence does nothing to dim their intensity. Nor does he shirk in his vivid, sensuous descriptions of the landscape that offers up its blossoms and beasts and "shimmeriness" to Paul's sensitive spirit. Sons and Lovers lays fully bare the souls of men and earth. Few books tell such whole, complicated truths about the permutations of love as resolutely without resolution. It's nothing short of searing to be brushed by humanity in this manner. --Melanie Rehak

(retrieved from Amazon Fri, 10 Sep 2010 16:13:52 -0400)

(see all 7 descriptions)

"Sons and Lovers is one of the landmark novels of the twentieth century. When it appeared in 1913, it was immediately recognized as the first great modern restatement of the oedipal drama, and it is now widely considered the major work of D.H. Lawrence's early period. This intensely autobiographical novel recounts the story of Paul Morel, a young artist growing to manhood in a British working-class family rife with conflict. The author's vivid evocation of the all-consuming nature of possessive love and sexual attraction makes this one of his most powerful novels."--Jacket.… (more)

(summary from another edition)

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Penguin Australia

Two editions of this book were published by Penguin Australia.

Editions: 0141441445, 0141199857

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