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D. H. Lawrence: Self and Sexuality is a psychoanalytic study of D. H. Lawrence’s life and writings. James Cowan relies most notably the methods of Heinz Kohut, psychoanalytic “self psychology,” and employs as well the object relation theories of D. W. Winnicott and others. This work also examines sexual issues in Lawrence’s work from a literary and critical perspective, employing authoritative medical and psychoanalytic sources in human sexuality. Lawrence’s work, which was early read in traditional Freudian terms, has only recently been considered from other psychoanalytic perspectives. In this self psychological study, Cowan provides a new and path-breaking analysis of Lawrence.

Turning to several problematic issues of sexuality in Lawrence, the author first discusses a number of Lawrence’s sexual fallacies, and personal and cultural issues. Cowan also considers contrasting idealized and negative presentations of Mellors and Sir Clifford Chatterley in Lady Chatterley’s Lover, and the theme of the “loss of desire” sequence of poems in Pansies.

Dostoevsky was hostile to the notion of individual autonomy, and yet, throughout his life and work, he vigorously advocated the freedom and inviolability of the self. This ambivalence has animated his diverse and often self-contradictory legacy: as precursor of psychoanalysis, forefather of existentialism, postmodernist avant la lettre, religious traditionalist, and Romantic mystic. 

Dostoevsky and the Riddle of the Self charts a unifying path through Dostoevsky's artistic journey to solve the “mystery” of the human being. Starting from the unusual forms of intimacy shown by characters seeking to lose themselves within larger collective selves, Yuri Corrigan approaches the fictional works as a continuous experimental canvas on which Dostoevsky explored the problem of selfhood through recurring symbolic and narrative paradigms. Presenting new readings of such works as The Idiot, Demons, and The Brothers Karamazov, Corrigan tells the story of Dostoevsky’s career-long journey to overcome the pathology of collectivism by discovering a passage into the wounded, embattled, forbidding, revelatory landscape of the psyche.

Corrigan’s argument offers a fundamental shift in theories about Dostoevsky's work and will be of great interest to scholars of Russian literature, as well as to readers interested in the prehistory of psychoanalysis and trauma studies and in theories of selfhood and their cultural sources.