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  • The Lost Girl
  • Written by D.H. Lawrence
    Introduction by Lee Siegel
  • Format: Trade Paperback | ISBN: 9780812969979
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  • The Lost Girl
  • Written by D.H. Lawrence
    Introduction by Lee Siegel
  • Format: eBook | ISBN: 9780307432407
  • Our Price: $9.99
  • Quantity:
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The Lost Girl

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A Novel

Written by D.H. LawrenceAuthor Alerts:  Random House will alert you to new works by D.H. Lawrence
Introduction by Lee SiegelAuthor Alerts:  Random House will alert you to new works by Lee Siegel

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List Price: $9.99

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On Sale: December 18, 2007
Pages: 400 | ISBN: 978-0-307-43240-7
Published by : Modern Library Random House Group
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Synopsis|Excerpt

Synopsis

The Lost Girl, D. H. Lawrence’s forgotten novel, is a passionate tale of longing and sexual defiance, of devastation and destitution.

Alvina Houghton, the daughter of a widowed Midlands draper, comes of age just as her father’s business is failing. In a desperate attempt to regain his fortune and secure his daughter’s proper upbringing, James Houghton buys a theater. Among the traveling performers he employs is Ciccio, a sensual Italian who immediately captures Alvina’s attention. Fleeing with him to Naples, she leaves her safe world behind and enters one of sexual awakening, desire, and fleeting freedom.


From the Trade Paperback edition.

Excerpt

CHAPTER I

The Decline of Manchester House


Take a mining townlet like Woodhouse, with a population of ten thousand people, and three generations behind it. This space of three generations argues a certain well-established society. The old “County”1 has fled from the sight of so much disembowelled coal, to flourish on mineral rights in regions still idyllic. Remains one great and inaccessible magnate, the local coal owner: three generations old, and clambering on the bottom step of the “County,” kicking off the mass below. Rule him out.

A well established society in Woodhouse, full of fine shades, ranging from the dark of coal-dust to grit of stone-mason and sawdust of timber-merchant, through the lustre of lard and butter and meat, to the perfume of the chemist and the disinfectant of the doctor, on to the serene gold-tarnish of bank-managers, cashiers for the firm, clergymen and such-like, as far as the automobile refulgence of the general-manager of all the collieries. Here the ne plus ultra. The general manager lives in the shrubberied seclusion of the so-called Manor. The genuine Hall, abandoned by the “County,” has been taken over as offices by the firm.

Here we are then: a vast substratum of colliers; a thick sprinkling of tradespeople intermingled with small employers of labour and diversified by elementary schoolmasters and nonconformist clergy; a higher layer of bank-managers, rich millers and well-to-do ironmasters, episcopal clergy and the managers of collieries, then the rich and sticky cherry of the local coal-owner glistening over all.

Such the complicated social system of a small industrial town in the Midlands of England, in this year of grace 1920. But let us go back a little. Such it was in the last calm year of plenty, 1913.

A calm year of plenty. But one chronic and dreary malady: that of the odd women.2 Why, in the name of all prosperity, should every class but the lowest in such a society hang overburdened with Dead Sea fruit of odd women, unmarried, unmarriageable women, called old maids? Why is it that every tradesman, every school-master, every bank-manager, and every clergyman produces one, two, three or more old maids? Do the middle-classes, particularly the lower middle-classes, give birth to more girls than boys? Or do the lower middle-class men assiduously climb up or down, in marriage, thus leaving their true partners stranded? Or are middle-class women very squeamish in their choice of husbands?

However it be, it is a tragedy. Or perhaps it is not.

Perhaps these unmarried women of the middle-classes are the famous sexless-workers of our ant-industrial society, of which we hear so much. Perhaps all they lack is an occupation: in short, a job. But perhaps we might hear their own opinion, before we lay the law down.

In Woodhouse, there was a terrible crop of old maids among the “nobs,” the tradespeople and the clergy. The whole town of women, colliers’ wives and all, held its breath as it saw a chance of one of these daughters of comfort and woe getting off. They flocked to the well-to-do weddings with an intoxication of relief. For let class-jealousy be what it may, a woman hates to see another woman left stalely on the shelf, without a chance. They all wanted the middle-class girls to find husbands. Every one wanted it, including the girls themselves. Hence the dismalness.

Now James Houghton3 had only one child: his daughter Alvina.4 Surely Alvina Houghton——

But let us retreat to the early eighties, when Alvina was a baby: or even further back, to the palmy days of James Houghton. In his palmy days, James Houghton was crême de la crême of Woodhouse society. The house of Houghton had always been well-to-do: tradespeople, we must admit; but after a few generations of affluence, tradespeople acquire a distinct cachet. Now James Houghton, at the age of twenty-eight, inherited a splendid business in Manchester goods,5 in Woodhouse. He was a tall, thin, elegant young man with side-whiskers, genuinely refined, somewhat in the Bulwer style.6 He had a taste for elegant conversation and elegant literature and elegant Christianity: a tall, thin, brittle young man, rather fluttering in his manner, full of facile ideas, and with a beautiful speaking voice: most beautiful. Withal, of course, a tradesman. He courted a small, dark woman, older than himself, daughter of a Derbyshire squire. He expected to get at least ten thousand pounds with her. In which he was disappointed, for he got only eight hundred. Being of a romantic-commercial nature, he never forgave her, but always treated her with the most elegant courtesy. To see him peel and prepare an apple for her was an exquisite sight. But that peeled and quartered apple was her portion. This elegant Adam of commerce gave Eve her own back, nicely cored, and had no more to do with her. Meanwhile Alvina was born.

Before all this, however, before his marriage, James Houghton had built Manchester House. It was a vast square building—vast, that is, for Woodhouse—standing on the main street and highroad of the small but growing town. The lower front consisted of two fine shops, one for Manchester goods, one for silk and woollens. This was James Hough- ton’s commercial poem.

For James Houghton was a dreamer, and something of a poet: commercial, be it understood. He liked the novels of George Macdonald,7 and the fantasies of that author, extremely. He wove one continual fantasy for himself, a fantasy of commerce. He dreamed of silks and poplins, luscious in texture and of unforeseen exquisiteness: he dreamed of carriages of the “County” arrested before his windows, of exquisite women ruffling charmed, entranced to his counter. And charming, entrancing, he served them his lovely fabrics, which only he and they could sufficiently appreciate. His fame spread, until Alexandra, Princess of Wales, and Elizabeth, Empress of Austria,8 the two best-dressed women in Europe, floated down from heaven to the shop in Woodhouse, and sallied forth to show what could be done by purchasing from James Houghton.

We cannot say why James Houghton failed to become the Liberty or the Snelgrove of his day.9 Perhaps he had too much imagination. Be that as it may, in those early days when he brought his wife to her new home, his window on the Manchester side was a foam and a mayblossom of muslins and prints, his window on the London side was an autumn evening of silks and rich fabrics. What wife could fail to be dazzled! But she, poor darling, from her stone hall in stony Derbyshire, was a little bit repulsed by the man’s dancing in front of his stock, like David before the ark.

The home to which he brought her was a monument. In the great bedroom over the shop he had his furniture built: built of solid mahogany: oh too, too solid. No doubt he hopped or skipped himself with satisfaction into the monstrous matrimonial bed: it could only be mounted by means of a stool and chair. But the poor, secluded little woman, older than he, must have climbed up with a heavy heart, to lie and face the gloomy Bastille of mahogany, the great cupboard opposite, or to turn wearily sideways to the great cheval mirror, which performed a perpetual and hideous bow before her grace. Such furniture! It could never be removed from the room.

The little child was born in the second year. And then James Houghton decamped to a small, half-furnished bedroom at the other end of the house, where he slept on a rough board and played the anchorite for the rest of his days. His wife was left alone with her baby and the built-in furniture. She developed heart disease, as a result of nervous repressions.

But like a butterfly James fluttered over his fabrics. He was a tyrant to his shop-girls. No French marquis in a Dickens’ novel could have been more elegant and raffiné10 and heartless. The girls detested him. And yet, his curious refinement and enthusiasm bore them away. They submitted to him. The shop attracted much curiosity. But the poor-spirited Woodhouse people were weak buyers. They wearied James Houghton with their demand for common zephyrs, for red flannel which they would scallop with black worsted, for black alpacas and bombazines and merinos. He fluffed out his silk-striped muslins, his India cotton-prints. But the natives shied off as if he had offered them the poisoned robes of Herakles.11

There was a sale. These sales contributed a good deal to Mrs. Houghton’s nervous heart-disease. They brought the first signs of wear and tear into the face of James Houghton. At first, of course, he merely marked down, with discretion, his less-expensive stock of prints and muslins, nuns-veilings and muslin delaines, with a few fancy braidings and trimmings in guimp or bronze to enliven the affair. And Woodhouse bought cautiously.

After the sale, however, James Houghton felt himself at liberty to plunge into an orgy of new stock. He flitted, with a tense look on his face, to Manchester. After which huge bundles, bales and boxes arrived in Woodhouse, and were dumped on the pavement of the shop. Friday evening came, and with it a revelation in Houghton’s window: the first piqués, the first strangely-woven and honey-combed toilet covers12 and bed quilts, the first frill-caps and aprons for maid-servants: a wonder in white. That was how James advertised it. “A Wonder in White.” Who knows but that he had been reading Wilkie Collins’ famous novel!13

As the nine days of the wonder-in-white passed and receded, James disappeared in the direction of London. A few Fridays later he came out with his Winter Touch. Weird and wonderful winter coats, for ladies—everything James handled was for ladies, he scorned the coarser sex—: weird and wonderful winter coats for ladies, of thick, black, pock-marked cloth, stood and flourished their bear-fur cuffs in the back-ground, while tippets, boas, muffs and winter-fancies coquetted in front of the window-space. Friday-night crowds gathered outside: the gas-lamps shone their brightest: James Houghton hovered in the back-ground like an author on his first night in the theatre. The result was a sensation. Ten villages stared and crushed round the plate glass. It was a sensation: but what sensation! In the breasts of the crowd, wonder, admiration, fear, and ridicule. Let us stress the word fear. The inhabitants of Woodhouse were afraid lest James Houghton should impose his standards upon them. His goods were in excellent taste: but his customers were in as bad taste as possible. They stood outside and pointed, giggled, and jeered. Poor James, like an author on his first night, saw his work fall more than flat.

But still he believed in his own excellence: and quite justly. What he failed to perceive was that the crowd hated excellence. Woodhouse wanted a gently graduated progress in mediocrity, a mediocrity so stale and flat that it fell outside the imagination of any sensitive mortal. Woodhouse wanted a series of vulgar little thrills, as one tawdry mediocrity was imported from Nottingham or Birmingham to take the place of some tawdry mediocrity which Nottingham and Birmingham had already discarded. That Woodhouse, as a very condition of its own being, hated any approach to originality or real taste, this James Houghton could never learn. He thought he had not been clever enough, when he had been far, far too clever already. He always thought that Dame Fortune was a capricious and fastidious dame, a sort of Elizabeth of Austria or Alexandra, Princess of Wales, elegant beyond his grasp. Whereas Dame Fortune, even in London or Vienna, let alone in Woodhouse, was a vulgar woman of the middle and lower middle-class, ready to put her heavy foot on anything that was not vulgar, machine-made, and appropriate to the herd. When he saw his delicate originalities, as well as his faint flourishes of draper’s fantasy, squashed flat under the calm and solid foot of vulgar Dame Fortune, he fell into fits of depression bordering on mysticism, and talked to his wife in a vague way of higher influences and the angel Israfel.14 She, poor lady, was thoroughly scared by Israfel, and completely unhooked by the vagaries of James.

At last—we hurry down the slope of James’ misfortunes—the real days of Houghton’s Great Sales began. Houghton’s Great Bargain Events were really events. After some years of hanging on, he let go splendidly. He marked down his prints, his chintzes, his dimities and his veilings with a grand and lavish hand. Bang went his blue pencil through 3/11, and nobly he subscribed 1/03?4. Prices fell like nuts.15 A lofty one-and-eleven rolled down to six-three, 1/6 magically shrank into 43?4d, whilst good solid prints exposed themselves at 33?4d per yard.

Now this was really an opportunity. Moreover the goods, having become a little stale during their years of ineffectuality, were beginning to approximate to the public taste. And besides, good sound stuff it was, no matter what the pattern. And so the little Woodhouse girls went to school in petties16 and drawers made of material which James had destined for fair summer dresses: petties and drawers of which the little Woodhouse girls were ashamed, for all that. For if they should chance to turn up their little skirts, be sure they would raise a chorus among their companions: “Yah-h-h, yer’ve got Houghton’s threp’ny draws on!”

All this time James Houghton walked on air. He still saw the Fata Morgana17 snatching his fabrics round her lovely form, and pointing him to wealth untold. True, he became also Superintendent of the Sunday School. But whether this was an act of vanity, or whether it was an attempt to establish an Entente Cordiale18 with higher powers, who shall judge.

Meanwhile his wife became more and more an invalid; the little Alvina was a pretty, growing child. Woodhouse was really impressed by the sight of Mrs. Houghton, small, pale and withheld, taking a walk with her dainty little girl, so fresh in an ermine tippet and a muff. Mrs. Houghton in shiny black bear’s-fur, the child in the white and spotted ermine, passing silent and shadowy down the street, made an impression which the people did not forget.
D.H. Lawrence|Lee Siegel

About D.H. Lawrence

D.H. Lawrence - The Lost Girl
David Herbert (D. H.) Lawrence, whose fiction has had a profound influence on twentieth-century literature, was born on September 11, 1885, in a mining village in Nottinghamshire, England. His father was an illiterate coal miner, his mother a genteel schoolteacher determined to lift her children out of the working class. His parents' unhappy marriage and his mother's strong emotional claims on her son later became the basis for Lawrence's Sons and Lovers (1913), one of the most important autobiographical novels of this century.

In 1915, his masterpiece, The Rainbow, which like it's companion novel Women In Love (1920) dealt frankly with sex, was suppressed as indecent a month after its publication. Aaron's Road (1922); Kangaroo (1923), set in Australia; and The Plumed Serpent (1926), set in Mexico, were all written during Lawrence's travels in search of political and emotional refuge and healthful climate. In 1928, already desperately ill, Lawrence wrote Lady Chatterly's Lover. Banned as pornographic, the unexpurgated edition was not allowed legal circulation in Britain until 1960. D. H. Lawrence called his life, marked by struggle, frustration, and despair "a savage enough pilgrimage." He died on March 2, 1930, at the age of forty-four, in Vence, France.

About Lee Siegel

Lee Siegel - The Lost Girl

Photo © Jill Krementz

Lee Siegel is a senior editor at The New Republic, author of the essay collection Falling Upwards, and winner of the 2002 National Magazine Award for Reviews and Criticism. He lives in New York City.
Praise

Praise

“[Lawrence was] a writer with an extraordinary sense of the physical world, of the colour and texture and shape of things, for whom the body was alive and the problems of the body insistent and important.” —Virginia Woolf
Discussion Questions

Discussion Guides

1. Consider Alvina’s life before she met Ciccio. Why do you think she felt the need to follow him? What opportunities would a woman of Alvina’s age and class have had in the nineteenth century?

2. How does Alvina’s life change once she reaches Italy? Is this all due to Ciccio? How is life in Italy different from life in England? What is Lawrence saying about the opportunities and limitations for women in England? In Italy?

3. V. S. Pritchett once wrote of Lawrence, “He is responsible for the fact that no living writer has any idea how to write about sexual love.” What do you think he means by this?

4. Critics say Lawrence’s earlier novels ponder the ideas of identity within the community, while his later novels explore notions of individualism and isolation. Identify isolation. How do you think The Lost Girl fits in with this argument?

5. Scholars believe that the first half of The Lost Girl was written before World War I, while the second half was written after the war. How could this have affected Lawrence’s themes? Consider Alvina’s journeys abroad–could Lawrence’s choice of these settings be a result of his disillusionment with society?

6. In the book’s last scene Alvina tells Ciccio, “We have our fate in our hands.” Is this Lawrence’s theme of the book? Do you think the author himself believed this?


  • The Lost Girl by D. H. Lawrence
  • October 21, 2003
  • Fiction; Fiction - Classics
  • Modern Library
  • $13.95
  • 9780812969979

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