This definitive collection of Lawrence’s poems, with appendices containing juvenilia, variants, and early drafts, and Lawrence’s own critical introductions to his poems, also includes full textual and explanatory notes, glossary, and index for the work of one of the greatest poets of the twentieth century.

A Jane Addam's Children's Book Award Honor Book for Younger Children Dolores is a teacher, a mother, and a friend. She wants to know why her students are too hungry to listen, why they don't have shoes to wear to school. Dolores is a warrior, an organizer, and a peacemaker. When she finds out that the farm workers in her community are poorly paid and working under dangerous conditions, she stands up for their rights. This is the story of Dolores Huerta and the extraordinary battle she waged to ensure fair and safe work places for migrant workers. The powerful text, paired with Robert Casilla's vibrant watercolor-and-pastel illustrations, brings Dolores's amazing journey to life. A timeline, additional reading, articles, websites, and resources for teachers are included. The author will donate a portion of the proceeds from sales of the book to an organization that benefits migrant workers.

Warren Roberts' Bibliography has long been established as the pre-eminent research tool for students and scholars of Lawrence, and an indispensable reference guide for book collectors and booksellers worldwide. This third edition, initially prepared by Warren Roberts before his death in 1998, was extensively revised and expanded by Paul Poplawski for publication in 2001. It is organised into five main sections, providing full details of Lawrence's publishing career and critical reception; his first editions; first editions of books containing previously unpublished contributions by him; his first periodical publications; translations of his works around the world; and his known manuscripts with their current locations. An important sixth section provides an extensive bibliography of over 600 secondary books and pamphlets. Overall, the volume offers comprehensive coverage of bibliographical information for one of the greatest writers of the twentieth century.

This volume contains 848 letters from the period June 1921 to March 1924. Lawrence decides to leave the old world - ‘my heart - and my soul are broken in Europe’ - to live in Taos, New Mexico. This period is characterised by the travelling he and Frieda do, from Australia to New York, via Mexico, back to England and finally to New York again. Lawrence’s writings of the period reflect his restlessness. The action of Aaron’s Rod shifts from a coal-mining town in England to Florence and Kangaroo conveys Lawrence’s perceptions of Australia. By 1924, Lawrence is returning to Taos to write his Mexican novel, ‘Quetzacoatl’, published as The Plumed Serpent. His difficulties with agents and publishers continue to appear in the letters. New correspondences are started with Australians, including Mollie Skinner, the co-author of The Boy in the Bush, and Americans, such as Mabel Luhan, Idella Purnell and Witter Bynner.

Warren Roberts's Bibliography has long been established as the preeminent research tool for students and scholars of Lawrence, as well as an indispensable reference guide for book collectors and booksellers worldwide. This third edition, initially prepared by Warren Roberts before his death in 1998, has been extensively revised, updated and expanded by Paul Poplawski. Overall the volume, which also includes twelve color pictures of dust-jackets of early Lawrence editions, offers up-to-date and comprehensive coverage of bibliographical information for one of the greatest writers of the twentieth century.

Croydon, 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.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

In this book, Warren Roberts argues that Jane Austen was very much aware of the French Revolution and its Reign of Terror, of the Revolution's impact on British society, and of England's long and bitter military struggle with France. She not only knew about, but was profoundly affected by, the events of her day, in both her thinking and writing. Raised in the collective security of the 18th century, she tried to remain aloof from the new forces that disrupted the contours of her world, but when revising "Sense and Sensibility" and "Pride and Prejudice", and even more when writing "Mansfield Park", she became involved in the most pressing of contemporary issues. In addressing herself to those issues, she revealed her own stand on such areas of British life as politics, war, religion and feminism, all of which were deeply influenced by the French Revolution. Her novels show her attitude to many key issues, and they provide a record of the Revolutionary experience. The author previous publications include: "Morality and Social Class in Eighteenth-Century French Literature and Painting" (1974) and "Jacques-Louis David, Revolutionary Artist" (1989).

The lifetime of Jacques-Louis David (1748-1825) coincides with the most tumultuous period in the history of France and much of the Western world. And David's life was closely bound up with the changes that were taking place in French politics, society, and culture. Although most other scholars have focused either on David's artistic activity or on his political career, Warren Roberts examines the connections between these two aspects of his life. Using a historical approach, Roberts provides an interpretation of David's art that illuminates David the man.
Roberts presents David's art as a personal record that is an extension of his inner life and a product of historical conditions. David's art, like his character and his actions, cannot be fully understood without understanding the changes that led to and then flowed from the French Revolution. Roberts here considers these changes and their impact on David from the perspectives of the historian and the art historian, and he comes to conclusions that are important for both.