“The Bottoms” succeeded to “Hell Row”. Hell Row was a block of thatched, bulging cottages that stood by the brookside on Greenhill Lane. There lived the colliers who worked in the little gin-pits two fields away. The brook ran under the alder trees, scarcely soiled by these small mines, whose coal was drawn to the surface by donkeys that plodded wearily in a circle round a gin. And all over the countryside were these same pits, some of which had been worked in the time of Charles Ii, the few colliers and the donkeys burrowing down like ants into the earth, making queer mounds and little black places among the corn-fields and the meadows. And the cottages of these coal-miners, in blocks and pairs here and there, together with odd farms and homes of the stockingers, straying over the parish, formed the village of Bestwood.
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The third published novel of D. H. Lawrence, taken by many to be his earliest masterpiece, tells the story of Paul Morel, a young man and budding artist. Richard Aldington explains the semi-autobiographical nature of his masterpiece: When you have experienced Sons and Lovers you have lived through the agonies of the young Lawrence striving to win free from his old life'. Generally, it is not only considered as an evocative portrayal of working-class life in a mining community, but also an intense study of family, class and early sexual relationships.
David Herbert Lawrence (11 September 1885 – 2 March 1930) was an English novelist, poet, playwright, essayist, literary critic and painter. 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
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