"Sons and Lovers" – The refined daughter of a "good old burgher family," Gertrude Coppard meets a rough-hewn miner, Walter Morel, at a Christmas dance and falls into a whirlwind romance characterized by physical passion. But soon after her marriage to Walter, she realizes the difficulties of living off his meager salary in a rented house. The couple fights and drifts apart and Walter retreats to the pub after work each day. Gradually, Mrs. Morel's affections shift to her sons beginning with the oldest, William, and later with her second son, Paul. "Lady Chatterley's Lover" – The story concerns a young married woman, the former Constance Reid (Lady Chatterley), whose upper class husband, Sir Clifford Chatterley, described as a handsome, well-built man, has been paralysed from the waist down due to a Great War injury. In addition to Clifford's physical limitations, his emotional neglect of Constance forces distance between the couple. Her emotional frustration leads her into an affair with the gamekeeper, Oliver Mellors. The class difference between the couple highlights a major motif of the novel which is the unfair dominance of intellectuals over the working class. The novel is about Constance's realization that she cannot live with the mind alone; she must also be alive physically. This realization stems from a heightened sexual experience Constance has only felt with Mellors, suggesting that love can only happen with the element of the body, not the mind.

The Fox David Herbert Lawrence - Relationship between Ellen and Jill, the lesbian partners, complicates after Paul, a young man, enters their lives. His attraction towards Ellen arouses jealousy in Jill.

"Odour of Chrysanthemums" is a short story by D. H. Lawrence. It was written in the autumn of 1909 and after revision, was published in The English Review in July 1911. David Herbert Lawrence (11 September 1885 - 2 March 1930) was an important and controversial English writer of the 20th century, whose prolific and diverse output included novels, short stories, poems, plays, essays, travel books, paintings, translations, literary criticism and personal letters.

In Greater America, with sleep under siege, this lucid and prophetic novel of ideas depicts the end of human reverie. An unnamed, unemployed, dream-prone narrator finds himself following Chevauchet, diplomat of Onirica, a foreign republic of dreams, to resist a prohibition on sleep in near-future Greater America. On a mission to combat the state-sponsored drugging of citizens with uppers for greater productivity, they traverse an eerie landscape in an everlasting autumn, able to see inside other people’s nightmares and dreams. As Comprehensive Illusion – a social media-like entity that hijacks creativity – overtakes the masses, Chevauchet, the old radical, weakens and disappears, leaving our narrator to take up Chevauchet's dictum that "daydreaming is directly subversive” and forge ahead on his own. In slippery, exhilarating, and erudite prose, The Eyelid revels in the camaraderie of free thinking that can only happen on the lam, aiming to rescue a species that can no longer dream. "A slight but quick-witted and thoughtful philosophical parable that falls somewhere between Camus and Gaiman’s Sandman universe." —Kirkus Reviews "S. D. Chrostowska's The Eyelid is a brilliant, visionary satire on the digital mindscape of twenty-first-century late capitalism embodied in the new global state of Greater America. Insomnia is in; dreams are seditious; sleep is outlawed. Lulled by false fantasies projected by Artificial Intelligence (CI in the book), video games, and media collaborators, humans drug themselves to stay awake so they can slave through the now standard twenty-hour work days. Witty, oracular, Surreal, trenchant, politically astute, and often hilarious, The Eyelid is a throwback to the classics of the genre, Jonathan Swift's Gulliver's Travels and Samuel Butler's Erewhon. We are turning into a race of sleep-deprived automatons, Chrostowska warns, increasingly unable to mount political opposition or even dream a different future." —Douglas Glover

This early version of Sons and Lovers, Lawrence's highly popular autobiographical novel, has never been published before. It is less polished than the finished novel but has different dramatic power. The volume also contains remarkable documents written by Jessie Chambers (Lawrence's girlfriend) in which she presents Lawrence with very hostile criticism and writes her own versions of some of his episodes. In addition, it features a fragment of a novel about his mother's childhood, facsimiles of manuscript pages, maps, and full scholarly notes.

You could describe D.H. Lawrence as the great multi-instrumentalist among the great writers of the twentieth century. He was a brilliant, endlessly controversial novelist who transformed, for better and for worse, the way we write about sex and emotions; he was a wonderful poet; he was an essayist of burning curiosity, expansive lyricism, odd humor, and radical intelligence, equaled, perhaps, only by Virginia Woolf. Here Geoff Dyer, one of the finest essayists of our day, draws on the whole range of Lawrence’s published essays to reintroduce him to a new generation of readers for whom the essay has become an important genre. We get Lawrence the book reviewer, writing about Death in Venice and welcoming Ernest Hemingway; Lawrence the travel writer, in Mexico and New Mexico and Italy; Lawrence the memoirist, depicting his strange sometime-friend Maurice Magnus; Lawrence the restless inquirer into the possibilities of the novel, writing about the novel and morality and addressing the question of why the novel matters; and, finally, the Lawrence who meditates on birdsong or the death of a porcupine in the Rocky Mountains. Dyer’s selection of Lawrence’s essays is a wonderful introduction to a fundamental, dazzling writer.