'Well, Mabel, and what are you going to do with yourself?' asked Joe, with foolish flippancy. He felt quite safe himself. Without listening for an answer, he turned aside, worked a grain of tobacco to the tip of his tongue, and spat it out. He did not care about anything, since he felt safe himself.The three brothers and the sister sat round the desolate breakfast table, attempting some sort of desultory consultation. The morning's post had given the final tap to the family fortunes, and all was over. The dreary dining-room itself, with its heavy mahogany furniture, looked as if it were waiting to be done away with.But the consultation amounted to nothing. There was a strange air of ineffectuality about the three men, as they sprawled at table, smoking and reflecting vaguely on their own condition. The girl was alone, a rather short, sullen-looking young woman of twenty-seven. She did not share the same life as her brothers. She would have been good-looking, save for the impassive fixity of her face, 'bull-dog', as her brothers called it.There was a confused tramping of horses' feet outside. The three men all sprawled round in their chairs to watch. Beyond the dark holly-bushes that separated the strip of lawn from the highroad, they could see a cavalcade of shire horses swinging out of their own yard, being taken for exercise. This was the last time. These were the last horses that would go through their hands. The young men watched with critical, callous look. They were all frightened at the collapse of their lives, and the sense of disaster in which they were involved left them no inner freedom.

D.H. Lawrence's 'The Horse Dealer's Daughter' could be described as a story in which boy meets girl. Its plot, on the surface, resembles that of any number of traditionally romantic pastorals: a country boy saves a country girl from drowning, sees something in her that he never saw before, and, at the end of the story, proposes marriage. But, as we soon see, there is nothing typical about Lawrence's story, because the psychological workings of its characters, particularly that of the rescuer, defy all our expectations of how such a story should work. Lawrence cuts through the romanticism inherent in such a plot line to reflect the dark and conflicting feelings of the so-called lovers.

England, My England is a collection of short stories by D. H. Lawrence. Individual items were originally written between 1913 and 1921, many of them against the background of World War I. Most of these versions were placed in magazines or periodicals. Ten were later selected and extensively revised by Lawrence for the England, My England volume. This was published on 24 October 1922 by Thomas Seltzer in the US. The first UK edition was published by Martin Secker in 1924.

Soon to be a TV show! Rights to develop Wild Cards for TV have been acquired by Universal Cable Productions, the team that brought you The Magicians and Mr. Robot, with the co-editor of Wild Cards, Melinda Snodgrass as executive producer. After too many disastrous raids and military embarrassments, the Nats order a full-out, no-holds-barred blitzkrieg against Bloat and his genetic outcasts. The mission is clear: destroy Ellis Island, no survivors. As the final battle rages, the Turtle throws in the towel, Modular Man switches sides, Reflector faces defeat, Legion “dies”—and assassins reach Bloat’s chamber. This is it, folks. The final days of the Rox. The Wild Cards series explodes into apocalyptic battle action, edited by #1 New York Times bestselling author George R. R. Martin and Melinda M. Snodgrass, featuring the writing talents of Edward W. Bryant, Stephen Leigh, John Jos. Miller, George R. R. Martin and Walter Jon Williams. The Wild Cards Universe The Original Triad #1 Wild Cards #2 Aces High #3 Jokers Wild The Puppetman Quartet #4: Aces Abroad #5: Down and Dirty #6: Ace in the Hole #7: Dead Man’s Hand The Rox Triad #8: One-Eyed Jacks #9: Jokertown Shuffle #10: Double Solitaire #11: Dealer's Choice #12: Turn of the Cards The Card Sharks Triad #13: Card Sharks #14: Marked Cards #15: Black Trump #16: Deuces Down #17: Death Draws Five The Committee Triad #18: Inside Straight #19: Busted Flush #20: Suicide Kings American Hero (ebook original) The Fort Freak Triad #21: Fort Freak #22: Lowball #23: High Stakes The American Triad #24: Mississippi Roll #25: Low Chicago #26: Texas Hold 'Em #27: Knaves Over Queens At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

This book looks beyond fidelity to emphasize how each adaptation of D.H. Lawrence’s short stories functions as a creative response to a text, foregrounding the significance of its fluidity, transtextuality, and genre. The adaptations analysed range from the first to the most recent and draw attention to the fluidity of textual sources, the significance of generic conventions and space in film, the generic potentialities latent within Lawrence’s tales, and the evolving nature of adaptation. By engaging with recent advances in adaptation theory to discuss the evolving critical reception of the author’s work and the role of the reader, this book provides a fresh, forward-looking approach to Lawrence studies.

Hester appears to have it all - marriage, a nice home, three children and a stimulating job. But it is not enough. For no matter how much she and her husband earn, she spends more. Driven by a desire to be loved by his mother, young Paul starts betting on the horses with the family's gardener. He wins, wins and just keeps winning. But, as quickly as he hands her the money, Hester has splurged it away. Then, as Derby day approaches, the spooky secret of Paul's endless run of luck is revealed. As tragedy beckons, will Paul win his mother's love? This book is perfect for fans of Edgar Allan Poe and Ernest Hemingway. It was made into the 1949 fantasy film 'The Rocking Horse Winner', starring John Howard Davies, Valerie Hobson and John Mills. DH Lawrence (1885-1930) was an English writer and poet. He was at the centre of a great deal of controversy during and after his life, with the explicit nature of some of his novels leading to censorship and protests. Many critics admired his imaginative and deeply descriptive style, though. Among his best-known novels are 'Sons and Lovers', 'Lady Chatterley's Lover', 'The Rainbow' and 'Women in Love'.

The small locomotive engine, Number 4, came clanking, stumbling down from Selston-with seven full waggons. It appeared round the corner with loud threats of speed, but the colt that it startled from among the gorse, which still flickered indistinctly in the raw afternoon, outdistanced it at a canter. A woman, walking up the railway line to Underwood, drew back into the hedge, held her basket aside, and watched the footplate of the engine advancing. The trucks thumped heavily past, one by one, with slow inevitable movement, as she stood insignificantly trapped between the jolting black waggons and the hedge; then they curved away towards the coppice where the withered oak leaves dropped noiselessly, while the birds, pulling at the scarlet hips beside the track, made off into the dusk that had already crept into the spinney. In the open, the smoke from the engine sank and cleaved to the rough grass. The fields were dreary and forsaken, and in the marshy strip that led to the whimsey, a reedy pit-pond, the fowls had already abandoned their run among the alders, to roost in the tarred fowl-house.