ke E.M. Forster, one of the few to appeal in Lawrence’s behalf on the matter of banning his books. Yet, other than his wife, Lawrence may have been good at forming social relationships, but, compared to his art, these would only ever achieve an acquaintance status. To his first and true passion, all other pursuits were artificial or trivial, “Myself, I suffer badly from being so cut off…At times one is forced to be essentially a hermit. But anything else is either a personal tussle, or a money tussle; sickening: except, of course, just for ordinary acquaintance, which remains acquaintance. One has no real human relations-that is so devastating.’ The artist’s first duty is to his genius, his daimon; he cannot serve two masters,” (Aldington 20). This devotion to the development of the genius within him allowed Lawrence to contribute some of the greatest works of 20th century fiction that give us his vision of the natural, whole human being, especially in contrast to the artifice of
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