A bibliography of the writings of D. H. Lawrence — Background and Themes

A Bibliographer's Method

McDonald's entries follow a consistent pattern: title, publication date, collation (page counts, signatures, printers' imprints), and physical description (size, binding, lettering). For England, My England, he notes the brown cloth, blind-stamped borders, and gilt lettering, and observes that the book is "uniform with The Lost Girl." He also remarks on the interval between Lawrence's first and second short story collections, calling the title story "a Lawrence item of great importance." Such judgments are rare; McDonald mostly lets the physical facts speak.

The entry for The Ladybird includes the American edition's alternate title, The Captain's Doll, and notes the different story order. McDonald calls the book "beyond all question one of the most distinguished books of contemporary fiction," a rare evaluative comment that hints at his admiration for Lawrence's work.

Lawrence's Own Voice in the Foreword

Lawrence's foreword, "The Bad Side of Books," provides a striking contrast to McDonald's dry cataloging. Lawrence writes from a specific setting—"under a little cedar tree at the foot of the Rockies"—describing the "pale desert disappearing westward" and the stillness of autumn. He characterizes books as "incorporate things," suggesting a physical, almost organic connection between writer and work. This personal, lyrical opening is the only extended passage by Lawrence in the volume.

The foreword does not engage with the bibliography's content; instead, it reflects on the nature of books and authorship. Lawrence's presence here adds a layer of intimacy to what might otherwise be a purely mechanical list. Readers interested in Lawrence's own attitudes toward his published output will find this preface revealing.

Cataloging Contributions and Studies

Beyond first editions, McDonald catalogs Lawrence's contributions to books and periodicals, dividing them into poetry and prose. The section "Contributions to Periodicals" lists poems and essays published in magazines, often with dates and titles. The "Studies and Reviews" section gathers critical responses to Lawrence's work, both in books and periodicals, providing a snapshot of his early reception.

These sections are less detailed than the first-edition entries—they lack collations and physical descriptions—but they serve as a finding aid for scholars tracing Lawrence's periodical publications. The bibliography thus functions as a comprehensive guide to Lawrence's printed output up to 1925, including works in progress like St. Mawr (listed as "In preparation").

This bibliography is best used as a reference tool alongside Lawrence's actual works. Readers should note that the catalog subject "Fantasy & Juvenile Worlds" is a misclassification; the content is strictly bibliographic. For those studying Lawrence's publication history, McDonald's meticulous collations and notes on variant editions remain valuable, though digital editions may lack the physical details he prized.

Years ago, I shelved Edward McDonald’s careful Lawrence bibliography beside a stranger—Ten Thousand Wonderful Things Comprising whatever is marvellous and rare, curious, eccentric and extraordinary in all ages and nations — Background and Themes. One tracks a single restless genius; the other collects wonders from every era. Both are quietly obsessive, catalogs of what the world has kept hidden. They seem to nod to one another, old friends across my shelf.