The Lost Girl

ISBN: 0742631435
ISBN 13: 9780742631434
By: D.H. Lawrence

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Reader's Thoughts

EB Fitzsimons

DH Lawrence, hipster writer. Full of sullen, handsome young circus men on bicycles.

David Freeland

A fascinating, lesser-known Lawrence novel that uses vaudeville as its backdrop and features a really terrific female protagonist. Well worth reading!


This book was a slow in my opinion. Also, I never really felt close to any of the characters. It was also a bit repetitive.


It was ok


Considerat cel mai accesibil roman al lui Lawrence, Fata pierdută este o excelentă ilustrare a teoriilor autorului cu privire la întâietatea simţurilor asupra raţiunii, la dragostea ca element primordial al naturii, la distrugerea miturilor filistine şi rigide de constrângere a iubirii libere. Povestea Alvinei Houghton, o tânără onorabilă, dintr-un orăşel de provincie englez, este un exemplu de răsturnare, împotriva tuturor piedicilor, a tiparelor unei vieţi conformiste. Acţiunea romanului se ţese în jurul deciziei Alvinei de a-şi urma iubitul, un tânăr actor italian dintr-o trupă ambulantă, refuzând câteva propuneri profitabile de căsă la sursă: Fata pierdută de D.H. Lawrence – SemneBune


So far its pretty interesting. I will give a full report when I am done


Just when it got good, it ended!!


quite feisty for the time I´d say....

Elif Ozge

The first chapters are really good but then everything is in slow motion. I was expecting some thing more exciting.

Rena Searles

A little slow going at first, but worth the perseverance. I read Lady Chatterly's Lover while in college and had forgotten the skill of D. H. Lawrence to draw the reader into a story and force them to feel. Really enjoyed this book, but felt the ending was a little vague - almost as if he could not figure out how it should finish. Amazing how the heroine seemed to be able to live several lives. Loved the word pictures of the Italian countryside - made me want to go!


A powerful, if meandering read, well in keeping with D.H. Lawrence's sympathetic themes of female sexual repression and desire vs. cold English morality.


I am near the end, and I am only finishing it for the sake of finishing it and not because I am interested in the events happening in this book.


Iubitorii de literatură clasică se pot bucura de apariția volumului Fata pierdută, poate cel mai accesibil roman al lui D.H. Lawrence. Pasiunea lui Lawrence pentru psihanaliză și teoria lui potrivit căreia simțurile au întâietate și omenirea a ajuns în punctul în care trebuie să se reîntoarcă spre atavism pentru a se revitaliza sunt două dintre cele mai puternic conturate teme ale cărții. Ca și în celelalte romane ale sale, și aici Lawrence reușește să facă praf, cu ironie și foarte mult umor, teoriile referitoare la moralitatea castă și la absoluta nevoie de interzicere a iubirii libere.Pornind de la descrierea vieții în orășelul minier în care se naște eroina romanului, viață care poate fi clasată sub calificativele castității și înălțimii morale, naratorul identifică una dintre problemele majore ale societății închistate în dogmele creștine: numărul din ce în ce mai mare de fete bătrâne.Ironia cu care naratorul judecă acest tip de viață este savuroasă, cu atât mai mult cu cât este făcută în stilul romanelor victoriene, iar rezultatul este că acestea ies destul de ciufulite din conflict. (cronică:


This book was made even more enjoyable as an audiobook. I highly recommend the audio version.


In a very famous context, D. H. Lawrence is himself famous for using a word beginning with ‘f’, a word that is infamous rather than famous. Mentioning this word and then repeating it got the author into some serious trouble that was not resolved until decades after his death. In this book, The Lost Girl, Lawrence is clearly preoccupied with the word and the novel is very much focused on it and its associated act. Its anticipation, achievement, consequences and perceived implications seem to be the very stuff of the heroine’s life, but in this book the word never actually appears. So, like Lawrence, let’s use a euphemism, but let’s also be more direct than the writer. Let’s use ‘fabrication’, an activity that is central to the work of any author.The Lost Girl is Alvina Houghton. The surname is pronounced with an ‘f’ sound in the middle, not an ‘o’, so its first syllable rhymes with ‘fluff’, not ‘now’. She is the daughter of James, a shopkeeper in a small Derbyshire town called Woodhouse, in the north English midlands. James has a shop selling Manchester goods, the mass produced textiles of the late nineteenth century. He is not the best businessman, however, and his activities shrink over time. His daughter, Alvina - that’s with a ‘y’ sound in the middle, not an ‘e’ - is rather plain-looking and apparently not too interesting either. She thinks quite a lot about fabrication from quite an early age, but she is a determined spectator when it comes to relationships. Her counsel, especially after her mother dies, is from older women, some of them determined spinsters.After some prevarication, Alvina eventually trains as a midwife. The skill offers her a chance of independence, but she chooses to revert to her preferred state of familial dependence. After all, Alvina will probably inherit her father’s business. Thus she continues her arm’s length relation with life.There is a short affair with a local man, a rather goofy figure who goes on to Oxford University and probably lives long enough to make a packet. But clearly the safe option is not for Alvina, who equally seems utterly afraid of risk in any form. She clearly cannot bring herself to the fabrication she privately craves and so the affair, surely destined for marriage in the eyes of the locals, comes to nought.Women close to The Lost Girl die. Others remain like perched birds watching over events. And, when James decides to leave the shop and sell off the little coal mine he also owns there is much consternation. There is even more to chirp about when he announces he is going into the entertainment business by opening up a little music hall, especially when Alvina declares that she will play the piano. Until this point, she had not mentioned being a musician. It is worthwhile remembering that we are in age when playing the instrument was almost part of any single woman’s trousseau.And so the music hall presents its act, a motley crew of Red Indian impersonators, including a German called Max and an Italian called Cicio. Initially, the show packs them in, but the passing of time sees interest start to dwindle. But suddenly new opportunities arise for Alvina to think of fabrication, and fabrication with foreigners involved to boot!And so the story of Lawrence’s The Lost Girl eventually fabricates its way from Derbyshire, and we leave Alvina in what looks like a new - though very old fashioned - life in changed circumstances. She seems now completely enslaved in her chosen womanly role, but we are at the start of the First World War and surely the role of women in society is about to change for ever.The Lost Girl deals with many of Lawrence’s recurring themes, but its fabrication is often rather clumsy and its style often less than comfortable. It is, however, worth seeing through, if only to realise just how much both Lawrence and his fabricated characters - especially the women - are still locked in a soon to be changed mind-set about gender roles and social class.

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