“Jack Stewart makes a good case for Lawrence’s adoption of myriad expressive forms. His study explores the vital visual element in Lawrence’s work and his empathy with the prevalent artistic movements of his time. . . . Stewart’s approach is compelling. He places Lawrence in a rich cultural and intellectual mileu, and his close reading of the fiction for reverberations with the visual arts yields fresh insights.”—D. H. Lawrence Review

“Stewart focuses on Lawrence’s attraction to nineteenth-century aestheticism and decadence (particularly Aubrey Beardsley’s drawings for Oscar Wilde’s Salome), futurism, realism, symbolism, primitivism, African and Japanese art, as well as the work of  such painters as Van Gogh, Cézanne, Gauguin. [He] offers sensitive discussions of The White Peacock, Sons and Lovers, Women in Love, and The Plumed Serpent, which provide evidence of Lawrence’s crucial role in the development of modernism.”—Choice

“Jack Stewart’s book will prove stimulating to Lawrence scholars and critics, advanced students, and sophisticated general readers. Exploring the boundaries shared by literature and painting, his book seeks to uncover the ‘hinterlands of the soul’ that lie behind expression. He compels new awareness of the baffling complexity of Lawrence’s mature work, frequently using but also transcending the work of earlier commentators. Indeed, his prose style is among the most intelligible I have encountered in academic discourse.”—Michael Squires, Virginia Polytechnic Institute and State University