Welcome to the February 2022 bulletin.


Your editor has enjoyed two months off from the bulletin and now feels suitably invigorated to plough through the internet in search of Lawrence-related goodies. One of these is a new feature from Adam Parkes who will be providing us with a monthly update on life across the pond via The D.H. Lawrence Society of North America. You can learn more about Adam here. We also have a reason to leave the house again with the launch of the Editing D.H. Lawrence exhibition at the Weston Gallery, University Park. More info on events below, including a literary walk, screening, and talks. 
On 2 February 1920, Sylvia Beach published James Joyce’s Ulysses, just before Joyce turned 40. It took your editor nearly 20 years to finish it but finish it he did. This would not have been possible without Frank Delaney’s superb podcast ‘Re: Joyce’ which goes through the book, one sentence at a time. Unfortunately, Delaney passed away before completing his series, but it is well worth a listen to appreciate the level of detail and thought that Joyce put into each reference.    
Malcolm Matthews has stepped down from the Council and so we would like to take this opportunity to thank him for his hard work and commitment over the years. Many a Council meeting was spent discussing pressing issues, such as how to change his name on Zoom which was always wrong. We felt the best way to show our respect was to present him with a bottle of vino to help him get through the last cold months of winter. Malcolm’s contribution and time was acknowledged by Chair Alan Wilson during the 4 Jan Council meeting.
Lastly, we would like to dedicate this bulletin to Clive Leivers, president of the Haggs Farm Preservation Society, who passed away on 12 January aged 83. Kate Foster and Isobel Hamilton commemorate his life.       
Finally, this bulletin is just a space to share information. If you have anything that you'd like to contribute please do send it over to either or 



Thursday 3 February - Sunday 29 May

12pm – 4pm (Tuesday – Sunday)
Editing D.H. Lawrence

Western Gallery, Lakeside Arts, University Park, Nottingham. NG7 2RD

Tuesday 8 February
10am – 11am
Behind the Scenes of Editing D.H. Lawrence
Visit the Manuscripts and Special Collections for an exclusive tour of the department.
Manuscripts and Special Collections department, King’s Meadow Campus, Lenton Lane, Nottingham, NG7 2NR
Book via
Wednesday 9 February (£3)
1pm – 2pm
What Do I Care For First or Last Editions?
Dr Andrew Harrison addresses Lawrence's interactions with editors, printers and publishers.
Djanogly Theatre, Lakeside Arts

Book tickets here
 Wednesday 9 February
Contemporary Fiction after Lawrence: Rachel Cusk, Alison MacLeod and the Lawrentian Imperative.
Sean Matthews
Zoom link or meeting details to be emailed closer to the event.

Thursday 10 February
11am - 12
Gallery Tour: Editing D.H. Lawrence
Western Gallery, Lakeside Arts
Booking advised. Link here
Wednesday 23 February
7pm (£3)
Film screening of Sons and Lovers
Djanogly Theatre, Lakeside Arts
Screening of the 1960 adaptation of D.H. Lawrence’s early masterpiece, Sons and Lovers

Book tickets here


Saturday 26 February

Guided Walk 

Nottingham City Centre, corner of Station St and Carrington St

Join Dr. Andrew Harrison on a short literary walk through Nottingham as he traces the footsteps of Paul Morel from Sons and Lovers as well as some of Lawrence’s experiences in Nottingham.

Contact Lakeside Arts on 0115 846 7777




Friday 4 February

1.30pm - 4pm
Literature in the Mines 
Working Class Movement Library, 51, The Crescent. Salford. M5 4WX

This is a pop-up exhibition created by Piston, Pen & Press, which aims to understand how industrial workers in Scotland and the North of England, from the 1840s to the 1910s, engaged with literary culture through writing, reading, and participation in wider cultural activities. 

Visit the website here

In Outline, Rachel Cusk sketches the life of a divorced creative writing tutor via her conversations with students and strangers. One of the writing students, Sylvia, teaches English literature at a school in the suburbs of Athens. We learn she’s a big fan of Lawrence – as is Cusk – and sets her students an essay on Sons and Lovers, ‘the book that has inspired me more than anything else in my life’ but when she checks her emails she discovers ‘none of them had a single word to say about it’. Sylvia, herself, is undergoing a bit of writer’s block and is unable to start the short story she’s been assigned. To find inspiration, she turns to her bookshelf and takes down a copy of short stories by Lawrence. You’ll have to read the book to find out what happens...

Outline is the first in Rachel Cusk’s autofictional trilogy featuring the largely hidden narrator, Faye, who meets people and then listens to them. She is one of the authors discussed in Sean Matthews' talk to the Society on 9 Feb.


Read a longer review of Rachel Cusk’s Outline at The Digital Pilgrimage blog

Across the Pond with Adam Parkes
President, D.H. Lawrence Society of North America

The D.H. Lawrence Society of North America is delighted to open a new correspondence with our friends in the UK, and I am very grateful for the opportunity to pen a few lines for your monthly bulletin. In our covid-stricken times, it has been essential to find new ways of staying in contact with others who share our interests and enthusiasms -- and our love of D.H. Lawrence.  While we remain very hopeful that the International D.H. Lawrence conference at Taos, New Mexico will go ahead as planned in July, we have been relying for some time -- like everyone else -- on online platforms for our Lawrentian activities.  And this has been a real boon.  Our members have enjoyed participating in online conferences, such as the summertime symposium hosted by Sue Reid and her colleagues in the UK Lawrence Society last summer.  We will host our own annual online conference for graduate students on Saturday 23 April, and hope very much to have strong British participation as we did last year.  We welcome papers on any topic in Lawrence studies and are especially interested in papers relating to the topic of relationships: love, hate, friendship, family, courtship and marriage.  Anyone interested in submitting an abstract should email President Elect Ron Granofksy at -- and please spread the word!  

Lawrence and Academia 

Parkes, Adam. "DH Lawrence and Federico Beltrán Massés: Censorship, Obscenity, and Class." The DH Lawrence Review 29.1 (2000): 7-18.

The story of the 1929 trial of DH Lawrence's paintings is well known. On 5 July the police raided the Warren Gallery in London, where an exhibition of Lawrence's paintings was being held, and seized thirteen pictures and four books of reproductions; on 8 August Judge Frederick Mead ordered the withdrawal of the seized pictures from public view and the destruction of the reproductions. Less well known is another censorship controversy that occurred in London at the same time... 

You can read it here

Clive Leivers
by Isobel Hamilton

It was my pleasure, and privilege, to know Clive for 17 years.  I stumbled upon the Haggs Farm Preservation Society in 2003, when I visited an exhibition they had mounted at Durban House, to attract new members.  I already knew another Founder Member, Ann Howard, (a niece of Jessie Chambers), and it was through her that I met Clive, and became involved with the Society.

Modest, calm and unassuming, Clive just basically “got on with it” – and fulfilled all the tasks required when the Society did not have a full complement of Officers.  He got on with correspondence, organizing the annual programme, including speakers, and, most of all, producing excellent newsletters throughout each year, which, happily, are still accessible in the Society’s archive.  Basically, he kept the Society going, in his usual quiet, efficient manner.  Members enjoyed organized visits to historic houses, lectures, (Professor John Worthen being a staunch supporter, and speaker), talks, and ‘guided walks’ around Lawrence’s ‘Country of my Heart’, embroidered with apposite readings from Lawrence along the way.  Sadly, these events became fewer, as we lost several Founder Members, and walks became more of a ‘challenge’ to some of us!  Clive remained a stalwart leader, despite suffering from poor health, and several operations – his talks were unmissable, I am so grateful I was able to hear them.

Besides their obvious love of Lawrence, and his childhood surroundings, the Founder Members of the Society considered that the main aim of the Society should be to preserve, and if possible, restore, the old Haggs Farm to its former state.  They also played an active role in preserving the surrounding countryside from inappropriate developments. In fact, at one time, the Leivers family were tenants of The Haggs, and it is thought that this is where Lawrence borrowed the name from for the character of Miriam Leivers in Sons & Lovers.  It is very fitting that Clive’s last project, “Lawrence’s Muse – in her own words” – is about Jessie Chambers, her correspondence with Dorothy and Max Plowman on ‘Pacifism’, plus correspondence with her sister May (Holbrook), who emigrated to Canada, and some sketches and a short story, due to be launched shortly. It will be a very fitting tribute to Clive, who has left a legacy of diligently researched, and superbly written books and articles on many aspects of Lawrence and Eastwood.  I hope he derived as much pleasure from researching this material, as did we, from reading/listening to them. He has left a rich legacy, and, hopefully, ensured the protection of Haggs Farm for future generations.

On the Box

Having read Sea and Sardinia numerous times, not least to mark the centenary of its publication, your editor created the above video which references Lawrence’s comical raging. There are eleven references to rage in the book, most of which are triggered by impudence – which gets fourteen references.

You can watch the video here or read about it here

Clive Leivers
By Kate Foster


Clive became chairman of the Haggs Farm Preservation Society soon after its foundation by Ann Howard, Jessie Chambers’ niece, in 1986. His affinity to the Haggs went back to his childhood, he was born and brought up in Underwood and his grandad was born at Haggs Farm. He was a miner all his life but was determined that none of his sons would go down the pit, so Clive’s father, although he worked for Barber and Walker, was a clerk. Clive credited his upbringing in the rural environment of Underwood for his love of the countryside, love of music and love of literature. His mum was an avid reader and the family historian, and it was she who made him aware of the family link with D.H. Lawrence, the Chambers family and Haggs Farm, where Lawrence found his ‘first incentive to write’.

As chair of the society, Clive worked tirelessly to raise awareness of Haggs Farm and remind people of its literary significance, never wavering in his aim of ensuring its conservation and maybe one day its restoration. He gave many talks over the years, produced over sixty society newsletters and eventually wrote Miriam’s Farm, which became a definitive read for anyone wanting to find out more about the history of the Haggs, D.H. Lawrence and Jessie Chambers. In recent years when ill health prevented him from being as publicly active, he became president of the society. Even through his illness, he worked on a new collection of Jessie Chambers’ writing which we hope to publish this year.

If you would like to find out more about the Haggs Farm Preservation Society or to buy a copy of Miriam’s Farm, please visit our website:

Clive Leivers was interviewed for the September 2020 DH Lawrence festival. If you would like to listen to this recording, click on the link: Clive Leivers interview


Here are the TTA posts from Dec 2021 and Jan 2022

1: On Human Nakedness as Seen by Animals
D. H. Lawrence suspected his favourite brown hen would, if she could, address him as Mr. Skinflappy (with reference to his baggy shirt and trousers). But do animals understand that we are wearing clothes? Or, to put it another way, do they know when we are naked?

2: On Smoothness
D. H. Lawrence famously contrasted the shape and surface of a peach with that of a billiard ball; privileging the former, velvety and wrinkled with secrets, over that of the latter, so round and finished but lacking in voluptuous beauty for all its smooth perfection. But just what is the problem with smoothness?

3: Might as Well Jump (Jump!)
We are witnessing the development of a kind of photography that is free of remembrance and history; one is even tempted to call it (à la D. H. Lawrence) the photography of the immediate present ... Here, we discuss the merits of such, with reference to the work of German philosopher and cultural theorist Byung-Chul Han. 

4: Look Don't Touch (Notes on Art and Haptic Compulsion)
Touching objects is surely a vital activity. But just as green grocers don't like you handling the fruit and veg, so gallery owners seem to have a real problem with people touching works of art on display. Here we discuss why that's so, with reference to the work of D. H. Lawrence and Byung-Chul Han.

5: Don't Touch Me!
Whilst it's true that the term touch, along with tenderness, has a privileged role to play within Lawrence's phallic vocabulary, that doesn't mean that he was always comfortable with people putting their paws on him, particularly in an intimate manner that violates his animal integrity.

6: Chastity (Or the Peace That Comes of Fucking)
One of the most surprising things about Lady Chatterley's Lover (1928), is that it closes with an affirmation of chastity. Here, we discuss this with reference to Nietzsche's concept of chastity in Thus Spoke Zarathustra.

7: Silent Night Vs Non-Time (A Christmas Message)
What, more than anything, do we need to rediscover this Christmas to release us from the anxiety, the noise, the frenzy, and the coarseness of life in 2021? The answer is the kind of life hinted at within the popular Christmas carol Silent Night ...

8: Fox Tales
Human interaction with foxes is often marred by violence and extreme cruelty; as in the case reported over Xmas involving a man in Essex. However, this needn't be the case; the fox can also inspire poets like Ted Hughes and enchant Lawrentian farmgirls like Nelie March.                     

9: Kiss Me Deadly: Thoughts Inspired by J. G. Ballard's 'Track 12'
Read with reference to D. H. Lawrence's thoughts on the obscenity of the close-up kiss ...

10: Invocation of Death
Lawrence's positive view of death in 'The Reality of Peace' ...

11: Advance Australia (Into Darkness)
As Australia skates on thin ice over dark waters due to Covid-mania, we are reminded of what Lawrence wrote in Kangaroo re: the Australian character.

12: Richard Lovatt Somers: Notes Towards a Character Study (Part 1)

13: Richard Lovatt Somers: Notes Towards a Character Study (Part 2)

14: The Covid Nightmare (After D. H. Lawrence)
A contemporary reimagining of one of the most famous chapters of Lawrence's novel Kangaroo ...

15: When the Cat Lies Down With the Rat
A post on Lawrence's notion of polarity (or antagonistic opposition) in 'The Reality of Peace' ...

16: Chase Me - Catch Me - Kill Me - Eat Me!
How Lawrence not only eroticises the natural fact of predation, but elevates it (as Michael Black says) to the level of a mystical principle.

Glyn Bailey
Composer, Lyricist and co-bookwriter

for ‘Censored’ the musical

On July 30th of last year, and at the kind invitation of Dr Catherine Brown - Keith Thomas, Stephen Duckham and I were delighted to present an online talk to members of the London D.H. Lawrence Group. The talk featured many slides, music samples and developmental reflections on the musical which is now called Censored. This, I am relieved to say, is its forever title, but the show has gone under several other names in the  past – the most notable being Scandalous!  
The musical was first premiered in Eastwood and starred West End and Broadway notables, Garth Bardsley and Tony nominee, Christiane Noll. Then, after a production mounted by the Guildford School of Acting and a concert version at the Nottingham Playhouse, it received its US premiere in New Orleans, winning the Marquee Theatre Award for Best New Musical - as well as other nominations. It then received a limited run at the Bridewell Theatre in London and a concert presentation at the 2017 D.H. Lawrence Conference. Censored continues to attract interest and this October, an exciting new 5-person version of the musical will be presented by Playmakers Theatre in Louisiana. 
Over the years of its development, the show has been professionally presented as a full-blown musical with a 21-person cast and a 14-piece orchestra, as well as with smaller cast sizes. However, this new 5-person chamber version is extremely exciting because it captures the essence of the story in a much more intimate way without compromising the integrity of the music or Lawrence’s story. It also makes the show much more financially viable for potential producers. Trimming off some of the fat, both in cast size and content, has produced the best version of the show so far and the creative team look forward to many more productions of this new version of the show in the future.
From all the creative team, many thanks to those in the society who have shown an interest in this project over the years. Your support has been greatly appreciated.
As a footnote, my new musical based on the exploits of the 1920’s Everest Climber, George Mallory, is scheduled for its US premiere next year. I was inspired to write this show after my own trip to Everest – where I had to be rescued by helicopter because of illness. Trust me to go for the dramatic!

If you join Dr. Andrew Harrison on his literary walk through Nottingham on the 26 Feb, could this be one of the locations you visit? Please do take pictures or send us through a review. 

Carol Mills shares some research into Thomas Herring Bingham and how his death may have inspired Lawrence...

Tom Bingham may not be a familiar name to most Lawrence fans but his character is immortalised in Women in Love. He is the young boy, aged 15, who lost his life attempting to save Cecily  Barber from drowning in 1892, an event portrayed so dramatically in the book. This newspaper article from 1894 mentions his memorial window in Alfreton Church. At the time of his death he was a pupil at St. Peter's College in York where his older brothers Sydney  & Frank had also studied. The latter sibling trained as a doctor at St Thomas's Hospital, London & worked as a practitioner in Lancaster before being killed at Ypres in 1915.

Jessie Chambers has written about an Easter excursion to Derbyshire with DHL, his sister & some friends during which they visited Alfreton Church. Perhaps Lawrence noticed the window & being reminded of the tragedy, stored it in his memory for future use.
These pretty lines are not for decoration. I am unable to delete them because the 'trash can' icon has disappeared and I can't figure it out. Consequently, I have been swearing so much that the GF has stormed out of the house because she can't take it anymore. I'm starting to wonder if doing the bulletin is a bit like method acting, whereby I am inadvertently taking on the identity of my subject. I don't want Lawrence's rage, I want his ability to write novels and poems. Enough! This bulletin needs to go out. Accept defeat.    

D.H. Lawrence Dialect Alphabet

Source: D.H. Lawrence Memory Theatre


On the DHLS website, the latest blog is the text of Malcolm Gray’s January talk to the Lunar Society, D.H. Lawrence, a man on the run – link here.

Ulysses at 100: why Joyce was so obsessed with the perfect blue cover? " explains in The Conversation that "He was so particular about this aesthetic feature that he got his painter friend, Myron Nutting, to mix up the precise tint."
Read the full article here

"James Joyce’s Ulysses was notorious well before its publication on February 2nd, 1922. Its advance serialisation had already caused shockwaves and led to a much-covered New York court case – the first of three in which it would be involved in the US. That first case resulted in February 1921 in the conviction for publishing obscene matter and the fining of the editors of the small magazine the Little Review (two women, by the way)."
Ulysses at 100: When Joyce’s novel languished in publishing limbo in The Irish Times.


We need your help! 

We were approached by Gareth Morgan via Twitter with the above question. If any of you know of another viaduct reference other than this one from Sons and Lovers, please get in contact with him on Twitter or let me and Brenda know. 'There was a faint rattling noise. Away to the right, the train, like a luminous caterpillar, was threading across the night. The rattling ceased. 'She's over the viaduct. You'll just do it.'


Lawrence and Me:  Lee Jenkins

I became interested in Lawrence as a teacher of American Literature (I am a Professor of English at University College Cork in Ireland and a scholar of modernist poetry). I used, and still use, essays from Studies in Classic American Literature as a teaching aid: these spiky pieces provoke students into debating with Lawrence, with me, and with each other. I became intrigued as to why the English Lawrence had written a book about the American classics, and that started me on the project that would become my book, The American Lawrence, published by the University Press of Florida in 2015. I travelled to Taos in New Mexico twice in the course of writing the book, wanting to see the place that informs so much of Lawrence’s ‘American’ writing. As a greenhorn Lawrentian, I was warmly welcomed by Lawrence societies at conferences on both sides of the Atlantic and in France and I have continued to publish journal articles and book chapters on Lawrence. I am presently writing a new book for Bloomsbury on Lawrence, H.D. and Richard Aldington in 1917.


From the Archives

This month we feature the first Haggs Farm Preservation Society Newsletter from January 1987 to remember the contribution of Clive Leivers to literary heritage. The newsletter included these words from John Worthen, then a senior lecturer at Swansea University, about the importance of preserving the Haggs.



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