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Welcome to the November 2022 bulletin.
By November 1922, Lawrence's correspondence with Mabel Dodge Sterne was so strained it was reduced to lists of points, the first three of which begin ‘I don’t believe' (L2649). Your editor mentions this as John Worthen has used a series of bullet points for his profile at the end of the bulletin. Is he trying to tell us something...
Mabel Dodge Sterne (Luhan) was a bit too overbearing for Lawrence's liking which gave him the perfect excuse to pack up the bags once more and begin thinking about moving along. Perhaps this is the key to happiness? To be in a continual huff with the world to avoid a cosy rut of convenience.
In July, The London Group of the D.H. Lawrence Society arranged a trip to The Cearne to visit the former home of Edward Garnett. Your editor was stunned at what a hotbed of revolution and excitement Limpsfield Chart turned out to be. Alan Wilson, who was also on this trip, was so moved by the intersection of Fabians, Russian exiles and intellectuals that he came straight home and wrote 'Muses on the Chart' - more details of which further down.
Finally, your editor has just returned from a trip to Ireland where he is happy to report that it rains more than it does in England. He travelled back on the Irish Ferry 'Ulysses' while reading Lawrence's letters for November, the month when Lawrence received his copy of the modernist masterpiece from Thomas Seltzer.
The ferry has various nods to James Joyce's novel, though your editor suspects the generic flavoured ice creams in the Leopard Bloom bar would have been more interesting if they had reflected that famous meal in Dublin...
"Bloom ate with relish the inner organs of beasts and fowls. He liked thick giblet soup, nutty gizzards, a stuffed roast heart, liverslices fried with crustcrumbs, fried hencods' roes. Most of all he liked grilled mutton kidneys which gave to his palate a fine tang of faintly scented urine."
If you want anything included in the bulletin, lob it over to either
james.walker@ntu.ac.uk or brenda.sumner@gmail.com
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Home
Wednesday 9 November (7pm)
Kathleen Vella
‘D. H. Lawrence, Casa Cuseni, Taormina and New Shapes of Consciousness’
Away
Saturday 12 November (7pm -)
Alan Wilson
Muses on the Chart
St. Andrews, Limpsfield Chart (RH8 0TB)
Tickets, priced £10, can be reserved and payment arranged (in advance or later at the door) by contacting Mary, by phoning 07525 186305 or by email mary.mcgregor48@btinternet.com
See further down the bulletin for more information.
Friday 18 November (6.30-8.30pm)
Natasha de Chroustchoff
My father, Women in Love’s ‘Young Russian’: the daughter of Boris de Chroustchoff in conversation with Catherine Brown
More info here
Friday 26 November (6pm)
Women in D.H. Lawrence, The Rainbow
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On the Box: The Horse Dealer's Daughter (1983)
A young woman named Mabel discovers that after the death of her parents, her family has lost all of its money. With no help from her brothers, Mabel is left to fend for herself. Only after meeting Jack Ferguson, a local doctor, does she finally regain a sense of self-worth. The Horse Dealer's Daughter is a tale of love and turmoil, based on the short story by D.H. Lawrence, and directed by Robert Burgos in 1983.
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Homage to D.H. Lawrence at Sothebys.
In our bulletin last week, Kate Foster explored the history of some paintings of Lawrence. This month we turn once more to the art world, via Piraji Sagara, to explore his life and legacy. The above artwork is currently for sale with an estimate of £3,000 - £5,000.
Sotheby's lot 60 comes with the following description: "Piraji Sagara was born in 1931 in Ahmedabad. His family hailed from Rajasthan’s Sagara community, known for their skill in cutting and shaping objects out of wood. He trained at the Sir J.J. School of Art, Bombay, and taught at the School of Architecture in Ahmedabad, on the invitation of architect B. V. Doshi. Sagara’s work has been exhibited in Europe, Japan and India, and at the 1971 Sao Paulo Biennale. Throughout his career, Sagara’s artistic practice has remained tied to the woodwork of his forebears. His initial experiments with ornamental scrap, metal and wood developed into his distinctive ‘wood collages’. These works have served to raise the craft traditions of his ancestors to the level of high art.
The present lot, Homage to D.H. Lawrence, pays tribute to the celebrated English novelist and poet. Lawrence (1885 – 1930) was one of the most influential writers of the 20th century, and his novels Sons and Lovers (1913), The Rainbow (1915) and Women in Love (1920) endure as some of the most important works from the period. Perhaps his most well-known work is the infamous novel Lady Chatterley’s Lover (1928), notorious for its explicit sexual descriptions. The book was banned in numerous countries around the world, including the United Kingdom and United States. In India in 1964, a bookseller was prosecuted for its sale. The eventual full publication of Lawrence’s novel marked an important event in the sexual revolution of the 1960s.
Homage to D.H. Lawrence (1970) nods to the social impact of the author and his depiction of free-spirited, forbidden women. Through the richly sculptural work, with moon and allusion to the female anatomy, Sagara applauds the revolutionary force of Lawrence, whose books continued to sparked intense debate decades after the writer’s death."
Sotheby's website.
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Lawrence and Academia
Encoded Confessions: D. H. Lawrence’s Secretive Fruits
Hugh Stevens
Critical readings of D. H. Lawrence’s Birds, Beasts and Flowers (1923) have regarded this collection of poems as about, well, birds, beasts, and flowers, rather than about the poet himself. Whereas Lawrence’s 1917 collection, Look! We Have Come Through!, was explicitly and directly autobiographical, in Birds, Beasts and Flowers—as W. H. Auden put it in an influential essay—Lawrence does not write about “men and women with proper names” but “describes the anonymous life of stones, waters, forests, animals, flowers,” making him “the most enchanting companion imaginable, tender, intelligent, funny and, above all, happy.” This article argues, however, that the five opening poems of the collection, poems collectively entitled “Fruits,” are profoundly autobiographical poems in which Lawrence teasingly fails to reveal himself transparently, by transmuting the autobiographical material on which they are based into encoded, paradoxical, learned humor, and that the poems draw attention to this very process by lecturing the reader on the symbolical nature of the fruits described. This knowing symbolism, the article suggests, echoes the representation of fruits in Italian Renaissance poetry and painting; the autobiographical context of the poems is an adulterous affair that the poems could not represent directly. Rosalind Baynes, the woman who inspired the poems, does not appear in the poems as a woman with a proper name, but her name recurs throughout the sequence as a series of puns on Rosalind, figured as the rose and as Rosaceae.
Read it here (if you have institutional access).
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The Michael Collins House is a museum dedicated to the Irish revolutionary hero and the history of the fight for Irish independence. Like the D.H. Lawrence Birthplace Museum, it's accessed through guided tours, interactive displays, audio visuals, and artefacts. However, Collins wasn't born here.
Your editor is unaware of Lawrence commenting on Collins who was murdered on 22 August, 1922. However, he did correspond with Capt Jack White (1879-1946), co-founder of the Irish Citizen Army, who once punched Lawrence!
"Ironically, they had been arguing over love and how it was manifested in the teachings of Christ," writes Leo Keohan in the Irish Times on 27 July, 2017. "Never one to waste an experience, Lawrence featured the incident in his novel Aaron's Rod where White is represented as the character Jim Bricknell, an incorrigible Irishman. In fairness to Lawrence, he doesn't spare himself either; his character Rawdon Lilly, behaves in a provocative manner and fully deserves to be punched (or kicked in the arse, as the novelist Cowper Powys, more satisfyingly describes it)."
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In November 1922, Lawrence finally got his hands on a copy of Ulysses thanks to Thomas Seltzer. He presumed the book was a loan and was offended when he discovered Seltzer had bought it for him. ‘Please charge them to me, or I feel uneasy’.
A week later, Lawrence confides ‘I am one of those people who can’t read Ulysses. Only bits. But I am glad I have seen the book, since in Europe they usually mention us together – James Joyce and D.H. Lawrence – and I feel I ought to know in what company I creep to immortality.’
Lawrence enjoys an uncharacteristic splurge on clothing, all detailed meticulously: ‘I actually wildly bought a pair of Justin’s Cowboy boots – 20 dollars – but very nice. You should see me – cowboy hat, good one, $5: sheepskin coat - $12.50 – corduroy riding-breeches, very nice, $5.’ And finally finds an escape route out of ‘Mabel Sterne territory’ via Alfred Decker Hawk (1862 – 1950) who offers him a place on his 1000-acre ranch.
The Hawk’s had about 100 cattle and the Lawrence’s would have access to three or four horses. He would get to put his cowboy boots to good use…
For more information on Lawrence in November 1922, watch the 5 minute YouTube video here.
https://www.youtube.com/watch?v=84W0CmYrRC8
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Absorbing the cultural richness of this area, composer and organist Alan Wilson has assembled a programme of poems and biographical quotations, together with connected music, bringing back to life the immense importance the Chart has played in the muses of some great names during the first half of the last century. One main focus is on the life and witness of publisher and entrepreneur Edward Garnett, who lived at and owned ‘The Cearne’, a famous meeting point for many of the leading authors of the time including Conrad, Galsworthy, Hudson, Thomas, H.G.Wells to name but a few. Perhaps most significant were the visits and subsequent deep friendship with D.H.Lawrence, marked in this half by a premiere performance of a newly composed song cycle based on Lawrence’s poems about trees, a subject which will provide a motive thread throughout the evening.
There were other communities in the area: the Olivier family and their cultural outreach, especially with Rupert Brooke; the Pease’s linking the Fabian Society; Harold Hobson and Ford Maddox Ford - to name but a few. Edward Garnett’s wife Constance was the first translator of many of the great Russian novels and their son David became a household known author too.
In Limpsfield village itself, in the churchyard of neighbouring St Peter’s, composer Fredrick Delius is buried, along with other famous musicians. On another musical thread, following the dynasty of the Garnett family, the Cearne was occupied by the lyrical composer Pamela Harrison and her husband BBC leading cellist Harvey Phillips, immensely active during the middle part of the 20th century, but sadly now virtually forgotten names.
This all forms the first half. For the second half, being the eve of Remembrance Sunday, Alan has assembled a sequence of related poems and music, including some of the profound First World War poetry, plus a new one reflecting the savage conflict in Ukraine, all underpinned by some of Alan’s own compositions outpouring this grief stricken act of Remembrance.
The concert is being performed by his group, Holy Trinity Eltham Schola Ensemble, consisting of singers, instrumentalists, and of course his own keyboard playing on organ and piano. Enjoying the beauty of this church, surrounded by the woodlands forming this historic Chart land, it promises to be an atmospheric evening not to be missed.
Tickets, priced £10, can be reserved and payment arranged (in advance or later at the door) by contacting Mary, by phoning 07525 186305 or by E mail mary.mcgregor48@btinternet.com
If you would like to learn more about literary Limpsfild, see Catherine Brown's website here.
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Here are the TTA posts from October...
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The Art of Writing Short Stories for Audio and Visual Performance
Lawrence was a prolific writer but the rest of us might need a helping hand. If this is of interest read on...
‘Short stories are tiny windows into other worlds and other minds and other dreams. They are journeys you can make to the far side of the universe and still be back in time for dinner.'
― Neil Gaiman
The aim of the course is to enable students to learn the art of writing and developing short stories for ‘physically’ bringing to life from the written page, for both audio and visual performance. Varied exercises and uses of stimuli will be used to aid the creative process, helping students to build on and share their ideas in the group, whilst discovering new approaches to developing their short story writing skills. The course will also include looking at a number of leading short story writers whose work has been performed, considering what makes their work so engaging and also creatively effective for successfully sharing with an audience/viewer, as well as a reader.
Week 1 - Whose story do you want to tell?
Looking at the central idea/themes for your story, and ‘who’ will be the lead character or characters within it? Considering the importance of creating the most effective ‘person’ and ‘tense’ for conveying the story, ensuring the maximum dramatic impact for bringing the characters to life both on the ‘written page’, and in ‘performance’.
Week – 2 - Choosing and Creating the ‘Backdrop’
How selecting the right ‘backdrop’ for your story is crucially important in ensuring the most effective opportunity to convey the storyline of the lead character (s), and to help convey the conflict and tension within their situation.
Week 3– Making Short Stories into Short Plays for the stage
How a short story can effectively evolve into a play, and looking at stories and scripts from a range of writers. Considering how descriptive information in the story can be successfully developed into dialogue, without losing the central premise and dramatic content originally intended in the narrative.
Week 4 - Making Short Stories into TV/Film Scripts
Considering how a short story/novella book can also effectively evolve into a TV/Film script. Looking at examples across the industry, including the work of authors such as Stephen King (The Body/Shawshank Redemption), and Annie Proulx (Brokeback Mountain). Looking at how the strength of a well-written and developed short story can provide a powerful literary blueprint for a TV/Film script.
Week 5 - Making Short Stories into Radio Drama
How the short story can prove to be a powerful basis for a full-length Radio Drama. Comparing the differences of writing for a visual and audio medium, and the extended possibilities and freedom a radio performance provides, with ‘sound only’ leaving more openings for the listener’s own imagination and for ‘painting their own picture’.
Week 6 - The Power of the Monologue
Looking at the art of effectively transferring a story written in the ‘first person’ into a powerful ‘stage’ monologue - either fully performed or as a reading - with small adaptations to the presentation of the narrative. Considering the need for other characters to be effectively and naturally brought to life within the story, through the sole voice of the narrator.
Week 7 - Short Stories and Audiobooks
With the increasing sales and high popular interest in audiobooks, looking at how a collection of short stories can also effectively be recorded for an audiobook, to be released simultaneously, and the opportunities for self-publishing.
Week 8 - Workshopping and Constructive Feedback
The final session will involve considering the most effective form of audio and visual performance, for bringing your story to life. Members of the group will have the opportunity to workshop their developed short stories, with constructive helpful feedback both from the tutor and other group members.
Email:- gill.kincaid-dugen@derby-college.ac.uk
Courses start 3 November. More info here.
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Discuss... coming to Netflix
You would think the latest remake of Lady C would fall on 2 November, to mark a certain court battle from 1960, but they've gone for 2 December instead. Get ready to be offended (and probably not in a good way...)
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D.H. Lawrence Dialect Alphabet
There's nowt better than a tantaflin to help you get through the autumnal months.
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A Neglected Tour de Force: D. H. Lawrence’s “The Captain’s Doll” at thornfieldhall.blog.
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Sons and Lovers is the bookgroup choice of Chelmarsh Parish Hall for November.
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The Tales of D.H. Lawrence (Martin Secker, 1934) is up for sale with Abe Books. The description reads: "Good copy in the original gilt-blocked brown cloth. Slightest suggestion only of dust-dulling to the spine bands and panel edges. Remains particularly well-preserved overall; tight, bright, clean and strong.; 8vo 8" - 9" tall; 1138 pages; Physical description. : 1138 p. 1 l. ; 22 cm. Notes: "This volume contains the whole of Lawrence's shorter fiction from The Prussian officer, published in 1914, to The man who died, posthumously published in 1931." Summary: "Contains the whole of Lawrence's shorter fiction from 'The Prussian officer' . To 'The man who died'" -- p. [5] More info here.
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We've not been asked to help flog a house for a while, so your editor was delighted to stumble upon this windmill in the hamlet of Braziers End going for a mere £1.65 million. It was once painted by Mark Gertler and has had numerous literary visitors including Katherine Mansfield and Lawrence. If you'd like to know more about how people can afford to buy properties like this while half the country is too scared to put on their heating, see CountryLife here.
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Lawrence and me: John Worthen
Lawrence biographer John Worthen (and our guest speaker last month) presents his life with Lawrence in the third person.
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Was born in North London in 1943; has lived in Canterbury, Swansea, Nottingham, Oberhausen, Mülheim a d Ruhr and Cambridge; was once an academic (Professor of English), is now a full-time biographer.
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His early biographical writing includes D. H. Lawrence: The Early Years 1885-1912 (1991); more recently he has published D. H. Lawrence: The Life of an Outsider (2005), the biography of a composer (Robert Schumann: Life and Death of a Musician, 2007) and the speculative biography of a poet (T. S. Eliot: A Short Biography, 2009).
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For a while he specialised in writers of the English Romantic period, first in an experimental group biography The Gang: Coleridge, the Hutchinsons & the Wordsworths in 1802 (2001), later in An Introduction to Samuel Taylor Coleridge (2013), later in the full-length biographies William Wordsworth: A Critical Biography (2014) and Percy Bysshe Shelley: A Critical Biography (2019).
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He now writes shorter books, often biographical in nature; see Young Frieda (novel, 2018), Shelley Drowns (2019) and his forthcoming Regicide: The Trials of Henry Marten (2022), the biography of a seventeenth-century politician, soldier and wit who should be far better known.
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His interest in Lawrence started simply because he read him, originally in the small white and orange paperbacks which Penguin books published in the 1950s and 1960s. He was given a copy of Sons and Lovers for his sixteenth birthday, and simply read his way through everything he could get hold of; at Cambridge he was taught by F. R. Leavis, which confirmed and extended his interest; he was an early member of the D. H. Lawrence Society of Great Britain, served for some years on its Council and eventually became its President. He researched Lawrence’s early life, in particular, was invited to join the team of scholars editing Lawrence for Cambridge University Press, published and collaborated on a number of editions, and wrote the first volume of the Cambridge biography of Lawrence; he ended up as Professor of D. H. Lawrence Studies at the University of Nottingham. Since 2005, however, he has mostly attended to other things and other interests, and makes only occasional appearances at Lawrence conferences and colloquia. But he has many friends still in the world of Lawrence, and together with Dr Andrew Harrison researches and publishes each year the feature ‘Further Letters of D. H. Lawrence’ in the Journal of D. H. Lawrence Studies.
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From the Archives
In 'The D.H. Lawrence Society of North America Newsletter' (Vol 27. Winter 1997-98) we are informed of the 28th meeting of the Japanese D.H. Lawrence Society.
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To be included in the newsletter contact james.walker@ntu.ac.uk or brenda.sumner@gmail.com
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