Lady Chatterley’s Lover is a novel by D. H. Lawrence, first published privately in 1928 in Italy, and in 1929 in France and Australia. An unexpurgated edition was not published openly in the United Kingdom until 1960, when it was the subject of a watershed obscenity trial against the publisher Penguin Books. Penguin won the case, and quickly sold 3 million copies. The book was also banned for obscenity in the United States, Canada, Australia, India and Japan. The book soon became notorious for its story of the physical (and emotional) relationship between a working class man and an upper class woman, its explicit descriptions of sex, and its use of then-unprintable words.
The story is said to have originated from events in Lawrence’s own unhappy domestic life, and he took inspiration for the settings of the book from Nottinghamshire, where he grew up. According to some critics, the fling of Lady Ottoline Morrell with “Tiger”, a young stonemason who came to carve plinths for her garden statues, also influenced the story. Lawrence at one time considered calling the novel Tenderness and made significant alterations to the text and story in the process of its composition. It has been published in three versions.
ABOUT THE AUTHOR
David Herbert Lawrence (11 September 1885 – 2 March 1930) was an English writer and poet. His collected works represent, among other things, an extended reflection upon the dehumanising effects of modernity and industrialisation. Some of the issues Lawrence explores are sexuality, emotional health, vitality, spontaneity, and instinct.
Lawrence’s opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative work throughout the second half of his life, much of which he spent in a voluntary exile he called his “savage pilgrimage”. At the time of his death, his public reputation was that of a pornographer who had wasted his considerable talents. E. M. Forster, in an obituary notice, challenged this widely held view, describing him as “the greatest imaginative novelist of our generation.” Later, the literary critic F. R. Leavis championed both his artistic integrity and his moral seriousness.