Lost Girl cover

Lost Girl

D. H. Lawrence (1885-1930)

1. Chapter I - THE DECLINE OF MANCHESTER HOUSE
2. Chapter II - THE RISE OF ALVINA HOUGHTON
3. Chapter III - THE MATERNITY NURSE
4. Chapter IV - TWO WOMEN DIE
5. Chapter V (Part 1) - THE BEAU
6. Chapter V (Part 2) - THE BEAU
7. Chapter VI (Part 1) - HOUGHTON'S LAST ENDEAVOUR
8. Chapter VI (Part 2) - HOUGHTON'S LAST ENDEAVOUR
9. Chapter VII (Part 1) - NATCHA-KEE-TAWARA
10. Chapter VII (Part 2) - NATCHA-KEE-TAWARA
11. Chapter VIII (Part 1) - CICCIO
12. Chapter VIII (Part 2) - CICCIO
13. Chapter IX (Part 1) - ALVINA BECOMES ALLAYE
14. Chapter IX (Part 2) - ALVINA BECOMES ALLAYE
15. Chapter X - (Part 1) - THE FALL OF MANCHESTER HOUSE
16. Chapter X - (Part 2) - THE FALL OF MANCHESTER HOUSE
17. Chapter XI (Part 1) - HONOURABLE ENGAGEMENT
18. Chapter XI (Part 2) - HONOURABLE ENGAGEMENT
19. Chapter XII - ALLAYE ALSO IS ENGAGED
20. Chapter XIII - THE WEDDED WIFE
21. Chapter XIV - THE JOURNEY ACROSS
22. Chapter XV - THE PLACE CALLED CALIFANO
23. Chapter XVI - SUSPENSE

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Genres

Summary

"There is no mistake about it, Alvina was a lost girl. She was cut off from everything she belonged to." In this most under-valued of his novels, Lawrence once again presents us with a young woman hemmed in by her middle-class upbringing and (like Ursula Brangwen in The Rainbow) longing for escape. Alvina Houghton's plight, however, is given a rather comic and even picaresque treatment. Losing first her mother, a perpetual invalid, and later her cross-dressing father, a woefully ineffectual small-scale entrepreneur, Alvina feels doomed to merge with the tribe of eternal spinsters who surround her in the dreary mining community of Woodhouse. Into this drab environment enter the Natcha-Kee-Tawara: a polyglot, poly-amorous troupe of travelling players united, on- and off-stage, in a fantasy of Native American nomadism. Enter Ciccio, the surly dark-eyed horseman. The Italian's potent and threatening physicality overwhelms Alvina and soon will propel her into - what? Perdition, or the paradoxical freedom of a girl who 'like(s) being lost'?