Copy
 

Welcome to the June 2022 bulletin.

 

D.H. Lawrence may not have been a fan of Nottingham Forest, but your editor is. After 23 years of mediocrity in the Championship and beyond, they were finally promoted back to the Premier League (Division One in old money) on 29 May. Your editor celebrated by consuming more alcohol than is humanely possible and so it is somewhat of a miracle that he's managed to get this bulletin out in time. Lawrence has featured at the City Ground numerous times this season thanks to campaign by support group Forza Garibaldi. You can read more about why here.

Nottingham City Council have recently put the price of council tax up while reducing their services. This has infuriated many people, apart from members of the D.H. Lawrence Society. This is because the Council are poised to buy what is believed to be the last painted portrait of Lawrence from a private collector in the USA.  A council spokesman said:

"It was painted by Dutch artist, Joep Nicolas (1897-1972), better known as a stained glass painter of some repute. Nicolas was the brother-in-law to the novelist Aldous Huxley (1894 - 1963), the iconic author of Brave New World (1932), who was a close friend of Lawrence.

Late in 1929, while travelling from Spain to Germany, the Lawrences called on the Huxleys in Suresnes, France, where Nicolas also happened to be staying, and so the chance arose for Nicolas to paint Lawrence's portrait. This resulted in one of the few portraits of Lawrence painted during the writer's lifetime and - almost certainly - the final one."

You can read more about this in our clat farting section.

Elsewhere, Lawrence’s oeuvre has inspired an online crossword which you can complete here, he’s been added as an entry in the kids Britannica, and is the topic of the play, On the Rocks. Based on his time in Cornwall, the play is written by Amy Rosenthal and performed by the Robin Hood Theatre company.  
 
Lastly, Richard Keeble, who is Professor of Journalism at the University of Lincoln and Honorary Professor at Liverpool Hope University, is our guest speaker this month on 8 June. Richard will explore Lawrence’s newspaper and magazine articles written during the last two years of his life – and the reasons why they have been largely ignored by the academy. He will highlight their various literary journalistic aspects and the reasons why Lawrence enjoyed writing them so much.

If you have any news for the bulletin or would like to write something for it, lob it over to either james.walker@ntu.ac.uk or brenda.sumner@gmail.com. 

 

 


 

HOME 


Wednesday 8 June (7pm)
D.H.L Society talk: What Fun! D. H. Lawrence as Popular Newspaper Journalist
Richard Keeble
Brenda to send out link.
 
14 to 18 June 2022 (7.30pm)
On the Rocks
Robin Hood Theatre, Averham, Church Ln NG23 5RB
Book tickets here £12 or call the box office: 07733 179986


Away

 

Thursday 25 June (tbc)
D.H. Lawrence Society London Group: Visit to the Cearne
Jane and Dudley Nichols       
See Catherine Brown’s website for more details


 

Alison Moore’s novel Missing follows the life of Jessie Noon. As a translator, Jessie is consumed with finding the right words. She understands how structures and syntax create meaning. But her own life is harder to categorise and define – particularly when seemingly solid structures around her begin to disintegrate. We learn that a child has gone missing, a boy is in a coma, and then there’s the unborn baby…

There are both implicit and explicit references to D.H. Lawrence in this short novel. The most obvious is that Jesse is reading her third biography of Lawrence, despite knowing she will have to endure him die all over again. She informs us that Lawrence is always 'poised between worlds' - new and old, rural v industry and that characters from his books are always 'torn between staying and leaving, torn between this world, this life, and another.'
 
Moore uses the biography of Lawrence as a narrative device to mirror events in Jesse’s life. For example, when her husband leaves her, it’s at the point she's reading about Lawrence eloping with Frieda. There are lots of implicit references to Lawrence as well. To find out what these are either read the book or see this review on The Digital Pilgrimage.
 

 

Alison Moore's website



 
36th INTERNATIONAL D. H. LAWRENCE CONFERENCE
13-15 April 2023
 
HOME, HOMES AND HOMELAND
 
     
CALL FOR PAPERS
This is our own still valley / Our Eden, our home” 
                              Renascence
 
“And I’m a pale-face like a homeless dog
That has followed the sun from the dawn through the east”
The Red Wolf
 
As a writer who spent the last ten years of his life travelling around the world in search of the freedom and creativity he felt his homeland could not give him, the least that can be said about Lawrence’s relationship to his home is that it was complex and shifting.
 
Lawrence’s early stories, set in his native Midlands, offer a historical and sociological testimony of life in the colliers’ and farmers’ homes – complete with details of the rent, furniture and architecture of their houses – and invite us to think about the duality of the home as both one’s parents’ home and a place of one’s own. Thus, nostalgia for the childhood home as a place of “irresponsibility and security” (Rainbow 76) recalls past feelings of belonging and comfort: “the heart of me weeps to belong / To the old Sunday evenings at home, with winter outside / And hymns in the cosy parlour” (Piano). The parental home provides protection against the hostility of the outside world, yet it may also be perceived by young men and women as a place of oppression to be escaped.
 
We will therefore study how Lawrencian characters are induced to leave home and the shielding influence of mothers – a necessary step towards adulthood: “the long voyage in the quiet home was over; we had crossed the bright sea of our youth” (The White Peacock 237). Some relinquish the notion of a traditional physical home, finding a home instead in the body of the beloved, like the poet-narrator of Song of a Man Who is Loved: “Between her breasts is my home”; others still, are compelled to leave the homeland, as Lawrence himself did in 1919, after many conflicts with the Home Office, involving the prosecution and destruction of The Rainbow in 1915, or his disgust with England’s government policies during the war. His fiction, letters and poems of that period show him to be unequivocally at odds with the politics and public feeling of his home country, which he openly criticised in the likes of the poem Songs I learnt at School, justifying his flight abroad.
 
Thus “home” becomes a denomination for England or Europe in Kangaroo, The Boy in the Bush and The Plumed Serpent, as Lawrence unearths traces of “home” in Australian cities, analyses how the “Old Country” is considered by the Australians, and ponders his own relationship to the now distant “home” country and the pull “homewards”. The Rananim project was of course one of the ideals Lawrence pursued around the world and in his writing, as his travelling protagonists seek to recreate a home for themselves abroad: Harriett Somers’s yearning for the safety and rootedness of a home manifests itself in contrast to Richard Somers’s rejection of homeliness, as Birkin did before him. Jack, in The Boy in the Bush, also asserts his homelessness, the word “home” having lost its meaning: “There are words like home, Wandoo, England, mother, father, sister, but they don’t carry very well” (230).
 
Feeling at home neither in one’s native country nor abroad, with no lasting home, one may become a “wandering Jew,” as Lawrence referred to himself in letters, subjected to bouts of homesickness, like Kate Leslie longing for spring or Christmas in Britain. Yet Lawrence invariably seems to imagine homecoming as an experience of estrangement and disappointment. Is there no permanent home then, for Lawrence and his characters, besides the eternal home behind the sun or in the moon, in The Plumed Serpent? But even that is the mystic home of the gods, to which Quetzalcoatl, Jesus and Mary retire. There remains the psychological home, feeling “at home in ourselves” (Woe), or the “home” of the Morning Star, in which men and women become their true selves.



Possible paths of reflection:

  • Home as a paradoxical space and polysemic concept

  • Home as a personal, physical or metaphysical space

  • Domesticity

  • Women’s and men’s roles at home 

  • Home as the mother-country

  • The metaphorical uses of the word home

  • From nostalgia to emancipation

  • Home and identity formation

  • Privacy and community

  • Homelessness and homecoming

  • The typology of dwellings (sociological implications, narrative function of these descriptions)

  • Comfort, furniture, decoration, possessions

  • The Lawrences’ homes in England and abroad

  • Foreigners who made England their home

 
Organisers: Elise Brault-Dreux, Fiona Fleming
Scientific Committee: Cornelius Crowley, Ginette Roy
 
The deadline for proposals is 7 November 2022. Priority will be given to proposals received before the deadline, but we will continue to accept proposals until 14 November 2022.
Please send a 300-word abstract to
Fiona Fleming, fiona.fleming@parisnanterre.fr
 
Conference fee: 85 euros
Link to our journal Etudes Lawrencienneshttps://journals.openedition.org/lawrence/
 

Lawrence and Academia 

The D.H. Lawrence Memory Theatre: Rethinking Literary Heritage and the Traditional Dissertation | Paper

 

Makings: A Journal Researching the Creative Industries 


James Walker


D.H. Lawrence was a writer who Dyer (2001) describes as ‘nomadic to the point of frenzy’. He never lived in the same place for more than two years and he never owned any property. He was constantly on the move, driven by ill health and a desire to find Rananim. This paper argues that any literary heritage which celebrates his life needs to reflect this restlessness in the design. My solution is a ‘moveseum’ called the D.H. Lawrence Memory Theatre, whereby Lawrence’s life is curated through artefacts, much like the Cabinets of Curiosities and Wunderkammers of the 16 to 18th centuries.
 
The D.H. Lawrence Memory Theatre will have a physical existence – a work of art in its own right - retracing Lawrence’s ‘savage pilgrimage’ across the globe, as well as a digital existence, whereby it can be accessed across multiple platforms, devices and networks and in varying formats and lengths. It is being built and designed in collaboration with English dissertations students at Nottingham Trent University, thereby disrupting not only the structure and format of the traditional dissertation – the ways in which we test knowledge - but also encouraging them/us to think about the most appropriate way to celebrate literary heritage.

 

2500 words. You can read it here

JDHLS Online:
Lawrence’s self-reflections in America.


 


As the newspapers fill with headlines about the USA – another school shooting, legal threats to women’s rights, forest fires blazing – we might wonder what has gone wrong in America, and whether it can be fixed. A century ago, Lawrence arrived in a country he condemned for being mechanistic and materialistic while yet hoping to find a new world there. Although he grew to realise that he had fled from an imperfect Europe only to discover an imperfect America, movement was essential for his writing and his imagination was stirred by a religious sense of the life of the Native Americans and their land: ‘The moment I saw the brilliant, proud morning shine high up over the deserts of Santa Fe, something stood still in my soul, and I started to attend’ (‘New Mexico’).
 
Much has been written about Lawrence and ‘spirit of place’ – the title of the first essay in Studies in Classic American Literature, drafted long before he set foot in America – but much less has been written about Lawrence and the landscape of New Mexico per se, and so I was delighted to discover an article by Eva Yi Chen, in the archives of JDHLS Online, which suggestively posits that because Lawrence was ‘the type of travel writer with a focus on writing not on travel [,] landscape gives way to mindscape as the focus’ (p. 81). See link here.
 
Chen notices that Lawrence read into New Mexico what he had already described in Fantasia of the Unconscious and argues that his New Mexico essays are not simply mimetic or descriptive, but a continuation of his dialogue with the self. She builds on Jane Tompkins’s view that for Lawrence the desert is ‘a tabula rasa on which man can write, as if the first time, the story he wants to live’ (quoted on p.80 from Tompkins’s 1992 study West of Everything: The Inner Life of the Westerner). More troublingly, though, he projects a ‘nothingness’ on to Native Americans too, which, for all his unprecedented sensitivity to otherness, is a reflection of Western ideas of ‘primitivism’. It is regrettable but not surprising, Chen concludes in a nuanced discussion that ranges from Montaigne to Marinetti, that enlightened as Lawrence was for his time, he ultimately could not transcend the culture of which he was a leading product.
 
Since Chen’s essay was published in 2000, Lawrence’s travel writing and attitudes to Native Americans have received further scrutiny by Neil Roberts, Lee M. Jenkins, Judith Ruderman and Julianne Newmark, among others, yet her nuanced and engaging close readings of the New Mexico essays shine a light on Lawrence’s discourse with himself and how travel ultimately enhanced his sense of being British and European. ‘One may be sick of certain aspects of European civilisation’, he wrote in September 1925, ‘But they’re in ourselves, rather than in Europe’. And so he returned to Europe and addressed its sicknesses in his final novel Lady Chatterley’s Lover.
 
Please do read this thought-provoking article in full or browse the searchable archive for items that suit your own interests:
https://journalofdhlawrencestudies.com/ Then tune in again next month when Buxi Duan will introduce himself as the new editor of JDHLS Online.
 
Susan Reid, JDHLS editor
Email: sue@niallc.co.uk
 

On the Box
 

Josh Short explores Lawrence's views on comfort, human nature, working-class identity, and dehumanisation in his short stories 'The Primrose Path' and 'The Daughters of the Vicar'.

 

You can watch it here


 

Carol Mills has been in contact in search of volunteers to show visitors around Breach House in Eastwood from 11am until 3pm on Saturday 10 September and Sunday 11 September.

If you can help, please email Carol Mills at carolmills05@gmail.com

Full Nettle Jacket


 

Jim Phelps recently attended the Lawrence Poetry Day and suggests Lawrence’s Nettle poems would make an interesting topic for a future event.


During the successful and engaging poetry day on Pansies there was comment too on DHL’s Nettles, and even the suggestion that the Nettles poems might be given a run.  With this in mind, I was intrigued to see this report on the nettle plant in the online Guardian, referring to a BBC report. 

Knowing as we do how much of a botanist Lawrence was, and his knowledge and love of England’s wild flowers, which appear in his novels and other works, and how “Flowers” and “Pansies” were given in titles to poetry collections, it is fitting that “Nettles” should also be recognised for their botanical metaphorical significance.  Taking this into account we might consider how Lawrence’s Nettles poems have, metaphorically, a health-giving and nutritionally beneficial aspect as well as giving us a sting.

Of course, there is a large relevance in Lawrence’s works of plants as vital elements of our consciousness and relationship to nature, not only in his English life, but wherever he went in the world.

 

 

Here are the most recent TTA posts for May 2022.


Here are links to recent posts on Torpedo the Ark with a Lawrentian subject, theme, or point of reference...
1. May Day With D. H. Lawrence (1911 - 1917)
http://torpedotheark.blogspot.com/2022/05/may-day-with-d-h-lawrence-1911-1917.html
2. May Day With D. H. Lawrence (1921 - 1929)
http://torpedotheark.blogspot.com/2022/05/may-day-with-d-h-lawrence-1921-1929.html Using Lawrence's letters we examine how and where Lawrence spent his May Days.
3. Between Thy Moon-Lit, Milk-White Thighs
http://torpedotheark.blogspot.com/2022/05/between-thy-moon-lit-milk-white-thighs.html A reading of the extended version of the poem 'Gipsy' that Lawrence sent to Harry Crosby in 1928. 4. Little Weed Vs Havering Council
http://torpedotheark.blogspot.com/2022/05/little-weed-vs-havering-council.html Lawrence liked wild plants. I like wild plants. But my local council think they need to be poisoned in order to lessen their visual impact on an area.
5. Guards! D. H. Lawrence and the Potency of Men
http://torpedotheark.blogspot.com/2022/05/guards-d-h-lawrence-and-potency-of-men.html All the nice girls love a sailor - but it was soldiers marching stiffly in red tunics that best caught the eye of D. H. Lawrence. 6. Notes on Crosby and Crane: Pin-Up Boys of the Lost Generation
http://torpedotheark.blogspot.com/2022/05/notes-on-crosby-and-crane-pin-up-boys.html Two young American poets sharing the initials HC - Harry Crosby and Hart Crane - both of whom would commit suicide; the ultimate form of cocktail excitement, as Lawrence describes it. 
7. Lady Chatterley's Lover Visits Harold Hill
http://torpedotheark.blogspot.com/2022/05/lady-chatterleys-lover-visits-harold.html If Oliver Mellors were alive now and happened to visit the London Borough of Havering, what would he make of Harold Hill?
8. Wood You Believe It? Another Post on Dendrophilia (With Reference to the Case of Humphrey Mackevoy)
http://torpedotheark.blogspot.com/2022/05/wood-you-believe-it-another-post-on.html Fifty years after Rupert Birkin romped naked in the woods, Humphrey Mackevoy was up to the same kind of thing in the novel A Melon For Ecstasy (1971). Here, we argue that Lawrence's serious consideration of dendrophilia is preferable to the comic treatment given us by Mssrs. Fortune & Wells.
9: On Chthonic Vitalism 1: In the Etruscan Tombs With D. H. Lawrence
http://torpedotheark.blogspot.com/2022/05/on-chthonic-vitalism-1-in-etruscan.html For Lawrence, the Etruscans conceived of all things - including death - in terms of life. But was their chthonic vitalism darker than he imagines ...?
(Readers interested in this post might also like 'Chthonic Vitalism 2: In the Etruscan Tombs With Giorgio Agamben': click here.)

D.H. Lawrence Dialect Alphabet

 

 

Source: D.H. Lawrence Memory Theatre




Cathy Grindrod led 14 writers from the Writer Highway group to create responses to the recent Editing DH Lawrence exhibition. You can read their prose responses here and the poetic responses here.

‘Portrait of famed writer DH Lawrence to be bought by Nottingham City Council and put on display’ Nottingham Post, 21 May.

A review of Lorenzo in Taos from 1932 has been made available on the New York Times website

James Reich discusses Lawrence in his Substack essay ‘On Whales: Watching Memory, Watching the Future’. You can read it here

There have been no Lawrence references in Coronation Street this month...



 

Lawrence and Me: Janet Perry
 

Janet Perry is interested in the biography of writers and wishes she had known Lawrence as an adolescent.  

I had read Sons and Lovers as a teenager. It appeared again on a postgraduate
Psychodynamic training course for Psychiatric Social Workers which l completed in 1971. In that same year my then husband, a town planner, and I moved to Nottingham. I discovered the busy WEA centre and among other things did an evening class on D. H. Lawrence. 

The tutor was interested in how Lawrence would have been influenced by Frieda‘s knowledge of Psychodynamic theories, known more in Germany than England at the time. My husband John was one of the pioneers in renewal strategy in planning, and in 1974 worked for Broxtowe Council. He was involved in buying the Birthplace Museum which was fortunately saved along with the rest of Victoria Street from demolition due to the new emphasis on renewal.

I grew up in a working class strongly non-conformist family in Lancashire. Like lots of other working class children after WWII, I benefitted from the expansion of educational opportunities. For me there is something of the clever late adolescent about Lawrence that l recognise from my own experience; that discovering of intellectual experiences for ourselves - often in groups of stimulating and argumentative young people. I find that so evocative about him. I would love to have met him as a young adult. I would appreciate his bolshy sense of humour which reminds me of Lancashire working class humour.

My working life has been spent working therapeutically with individuals, couples and groups, so perhaps it is not surprising that my main interest in writers is in their biography, personality and social history, more perhaps than the writing. The times Lawrence lived in l find fascinating. For me he is a way into working class culture and history, a time of suffrage expansion, a time of Biblical criticism that impacted so hard on Non Conformist denominations and no doubt more.

I value considerably Lawrence’s poems and sometimes use them when working therapeutically. This is particularly the case in working with bereavement or end of life issues. I also use them as a member of the Society of Friends and an Anglican Spiritual Director when exploring the spiritual life with others.


What riches. 

 

From the Archives

The Spring 1985 issue of Lawrence Country News was firmly focused on the centenary since Lawrence's death. Sadly, this also coincided with the death of a very important visitor. On a more positive note, there is excitement about a new Cambridge Edition publication...




 

 

Learn more about Lawrence
To be included in the newsletter contact james.walker@ntu.ac.uk or brenda.sumner@gmail.com
Facebook
Twitter
Link
Website
Copyright © 2022 D.H. Lawrence Society, All rights reserved.


Want to change how you receive these emails?
You can update your preferences or unsubscribe from this list.

Email Marketing Powered by Mailchimp