Bob Marshall-Andrews’s latest novel ‘Camille: And the Lost Diaries of Samuel Pepys’ shows again what Marshall-Andrews can do in the way of historical thriller and farcical comedy – unerringly on the side of cakes, ale, and life.
- Home
- About
- Academic
- Articles
- D. H. Lawrence: Icon
- Introduction to ‘The Edinburgh Companion to D. H. Lawrence and the Arts’
- D.H. Lawrence and the Avoidance of Darwinian Tragedy
- Introduction to 2019 edn of the Journal of D. H. Lawrence Studies:
- ‘The Young Russian’: D.H. Lawrence, London’s Russians, and the First World War
- George Eliot as Prophet
- Resisting Tragedy: A Report on the International D.H. Lawrence Conference, Paris, 2018
- Lawrence, Dostoevsky, and the Last Temptation by Christ
- Lawrence’s Hampstead: A Walking Tour
- Abstracts for 14th International D.H. Lawrence Conference ‘London Calling: Lawrence & the Metropolis’
- Lawrence’s Bloomsbury: Two Walking Tours
- ‘The Merry-Go-Round’ and ‘The Night of the Zeppelins’
- London in D.H. Lawrence’s Words
- Climbing Down the Alpine Pisgah: Lawrence and the Alps
- The Alps in D.H. Lawrence’s Thought and Theology
- Paint, Pain, and Fiction: Beryl Bainbridge’s ‘Master Georgie’ and Michael Frayn’s ‘Headlong’
- Henry James and Ivan Turgenev: Cosmopolitanism and Croquet
- What is ‘Comparative’ Literature?
- The Russian Soul Englished
- Commentaries on Shakespeare’s Sonnets 88-93
- ‘The Mill on the Floss’ in the Nineteen-Seventies
- The Unconscious Good Life in ‘Women in Love’ and ‘Anna Karenina’
- Scapegoating, Double-Plotting, and the Justice of ‘Anna Karenina’
- War and Peace in Ian McEwan’s ‘Atonement’
- Why does Daniel Deronda’s Mother live in Russia?
- ‘Daniel Deronda’ as Tragi-Comedy
- Books
- Lectures
- Finding ‘God’ in DH Lawrence’s Poetry
- DH Lawrence and Brexit
- DH Lawrence and the Anticipation of a Vegan World
- Revisiting Tolstoy’s ‘On Shakespeare and on Drama’
- Lawrence, Darwin and Genre
- How is Studying English Transformational?
- The Torture Debate, ’24’, and ‘Zero Dark Thirty’
- Are DH Lawrence’s ‘Pansies’ Poetry?
- D.H. Lawrence and Ivan Karamazov’s Grand Inquisitor’s Christ
- Screening ‘Lady Chatterley’s Lover’ in 2015
- Russia in Twenty-First Century Fiction
- Anglo-German Relations and D.H. Lawrence’s ‘All of Us’
- Howard Jacobson and Anti-Semitism
- Describing the Unobserved: Literature and the World without Humans
- Reviews
- Review of the International D. H. Lawrence Conference at the University of Nanterre April 2019
- Review of ‘The Daughter-in-Law’, Arcola Theatre, London, January 2019
- Review of ‘The Theatre of D.H. Lawrence’ by James Moran
- Review of the Belknap Press ‘Annotated Wuthering Heights’
- LAWRENCE: Scandalous! Censored! Banned!
- D.H. Lawrence Homo Religiosus
- Rosa Newmarch: Russophile and Poet
- Lawrence’s ‘Women in Love’ on the Small Screen
- Modernism in our Time: Review of Roger Griffin’s ‘Fascism and Modernism’
- Articles
- Podcasts
- NCH
- Why Study English?
- Victorians All Around Us
- Approaching the Victorians
- The Narrator Part 2
- The Narrator Part 1
- Sex in Victorian Literature
- Sex in Literature
- The Ethics of Torture and ‘Zero Dark Thirty’
- Samuel Beckett’s ‘Breath’
- Pat Barker’s ‘Regeneration’
- Ian McEwan’s ‘Atonement’
- Julian Barnes’s ‘A History of the World in 10 1/2 Chapters’
- Sebastian Faulks’s ‘A Week in December’
- A.D. Miller’s ‘Snowdrops’
- Shakespeare’s ‘Sonnet 88’
- Reading
- Chapters
- Unreliable Narrators
- OXFORD
- What is ‘Comparative Literature’?
- Multiple Plotting
- Chapters: Why Writers Have Them, and How To Read Them
- Unreliable Narrators
- D.H. Lawrence 7: Reception History
- D.H. Lawrence 6: Birds, Beasts and Children
- D.H. Lawrence 5: The Alps
- D.H. Lawrence 4: The World at Large
- D.H. Lawrence 3: Christianity
- D.H. Lawrence 2: Humour
- D.H. Lawrence 1: Consciousness
- George Eliot Introduction – A Very Large Brain
- George Eliot 3: Reception History
- George Eliot 2: Genre and Justice
- George Eliot 1: Intellect and Consciousness
- Realism
- Walcott and Naipaul: History and Myth
- Blog
- Media
- The Ethics and Politics of ‘Killing Eve’
- Novels that Shaped Our World, BBC2
- Le procès de lady Chatterley: Orgasme et lutte des classes dans un jardin anglais, ARTE
- Old and New Testament Ethics in Two Lloyd Webber Musicals
- Review of ‘Mud and Stars’, a Russian Literary Travel Book by Sara Wheeler
- Literary Bad Sex
- Review of Geoff Dyer’s selection of DH Lawrence’s Essays ‘Life with a Capital L’
- Review of ‘Teffi: A Life of Letters and of Laughter’
- Radio 4 ‘The Art of Intimacy’ interview
- Radio 4 ‘Front Row’ Interview about DH Lawrence’s ‘The Daughter-in-Law’
- Review of ‘Kolyma Stories’, Varlam Shamalov
- Tribute to Tolstoy
- World War II and Memory
- Loving Fictions: Why Do We Fall in Love with Fictional Characters?
- Carnivore: Dorian Gray Meets Trainspotting
- Review of ‘Jonathan Swift: The Reluctant Rebel’
- Anglo-Greek Arcadia and Me
- Is there a distortion in the perception of Russian literature in the English-speaking cultures?
- Five Books by D.H. Lawrence
- Teffi from Odessa to Paris
- An Orgy of Revenge in a Man’s World
- Marriage a la Mode
- Reader, I married him
- The Unintended Consequences of ‘Lady Chatterley’s Lover’
- On Script Consulting for BBC1’s Lady Chatterley’s Lover
- Review of Nabokov’s Letters to His Wife
- D.H. Lawrencians in Gargnano 2014
- Why to – and how to – read Anna Karenina today
- Review of ‘Behind the Mask: the Life of Vita Sackville-West’ by Matthew Dennison
- Review of ‘Subtly Worded’ by Teffi
- Review of ‘The Kreutzer Sonata Variations’, trans. and ed. Michael R. Katz
- Review of ‘The Dog’ by Joseph O’Neill
- Review of Rosamund Bartlett’s translation of ‘Anna Karenina’
- Review of CUP’s DH Lawrence Poems, and Richard Owen’s Lady Chatterley’s Villa
- ‘Broad range of GCSE literature choices are essential for a full education’
- Mountains of the Mind: How Russian Writers Saw the Caucasus
- Summits and Lovers: Retracing the Footsteps of DH Lawrence in the Alps
- BBC 1 Lady Chatterley’s Lover, 2015
- Journey Without Shame
- Site map
- D.H. Lawrence Group
Allow adaptations of my work to be shared so long as others share alike, and do not allow commercial uses of my work. | 