This intimate portrait of a coal-miner’s family fastens on each member in turn: Walter Morel, the collier; Gertrude, his wife; and the children: William, Annie, Arthur, and Paul. When Mrs. Morel begins to be estranged from her husband because of his poor financial sense and his drinking habits, she comes to inhabit the lives of her children – most particularly, her sons. She is determined that they will grow to be something more than men that come home blackened with coal dust every day and roaring with drink every night. As each grows up and moves away, she must release him. But Paul, she holds; they have a bond that defies time and the attractions of young women.

Lawrence originally intended the book’s title to be “Paul Morel” and it is on this son – and his lovers – that he spends the bulk of his tale. The strong mother can make a success of her son, but if he cannot learn to leave his mother’s apron strings, will he really be a better man than his father?

First Page:

"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... Continue reading book >>