Rough sex gives way to romance in the 2015 adaptation of Lady Chatterley

Just another pair of traditional romantics.  BBC Pictures/Hartswood Films

The following article was published on 7 September 2015 in The Conversation. Here Andrew Harrison of University of Nottingham asks viewers to be cautious of Jed Mercurio’s adaptation of Lawrence’s iconic novel Lady Chatterley’s Lover as it “reinforces precisely the traditional values that Lawrence was trying to unpick”.The Conversation

The latest adaptation of D H Lawrence’s Lady Chatterley’s Lover has predictably prompted significant media interest. Strong and contradictory reactions appeared in the newspapers weeks before it aired (on September 6). The Sun called the BBC film “so steamy it borders on porn”, while the Telegraph noted that the sex scenes are “soft-focus” and expressed surprise at the omission of the novel’s infamous four-letter words.

Its writer and director, Jed Mercurio, must have anticipated such responses. In producing another adaptation of this iconic novel he knew that he stood either to outrage viewers by the inclusion of sex scenes and four-letter words, or to disappoint them by their omission. The Guardian cited his own reaction to the issues at stake:

It did not feel that today we would be breaking new ground if we were to use those [four-letter] words. If you want to use certain words you have to justify them, and it did not seem relevant … The idea was to tell this as a love story, a love triangle – to concentrate on the emotions of the characters.

On one level, Mercurio’s assertion of his right to focus on those aspects of the novel which seem to him most “relevant” is wholly justifiable. Lawrence wrote three versions of the novel between 1926 and 1928, and viewers are arguably more likely to be familiar with previous adaptations by Just Jaeckin (1981), Ken Russell (1993) and Pascale Ferran (2006) than the written source. Perhaps an adaptation should be judged on its originality.

But this adaptation not only departs from the original text, but also reinforces precisely the traditional values that Lawrence was trying to unpick.

Constance Chatterley (HOLLIDAY GRAINGER), Clifford Chatterley (JAMES NORTON)
BBC Pictures/Hartswood Films

Soft edges

As ever, it comes down to sex. In the novel, Lawrence’s unflinching depiction of the life of the body – and the fragility and tenderness of sex – is presented as a counterblast to the damaging abstractions of industrialism and modernity. But Mercurio’s film resolutely sidesteps this in order to tell the straightforward story of Constance Chatterley’s choice between her crippled aristocratic husband (Sir Clifford) and his virile gamekeeper (Oliver Mellors). To make that choice a tad more interesting, Sir Clifford is depicted in a much more sympathetic light than in the novel and Oliver Mellors is made far less complex and compelling.

Lawrence’s novel examines in great detail the difficulties Connie faces in reaching out to Mellors, an educated man in his late 30s disgruntled by his past sexual experiences, who has moved among the officer classes during the War but deliberately chooses to speak the Derbyshire dialect and take up an isolated working-class life. Mercurio passes over Mellors’ estrangement from his wife in a flash and class is dealt with in very 21st century terms: as something rather irksome which can be overcome if only you set your mind to it.

In the novel, Mellors is initially reluctant to involve himself in an affair with Connie, and he uses his dialect to distance himself from her: he has been hurt in the past, and he is sensitive to being patronised or used by his employer’s wife. In this film, any doubts the very young gamekeeper has are quickly overcome and his righteous anger at the ruling classes does not unduly affect his relationship with Connie.

Oliver Mellors (RICHARD MADDEN)
BBC Pictures/Hartswood Films

Into the sunset

But perhaps the most striking thing about the adaptation is the way it champions romantic love. Lawrence was constantly trying to redefine the terms of marriage and relationship. In Lady Chatterley’s Lover he shows two damaged individuals finding a connection in spite of themselves – through their physical tenderness for each other. Mellors dislikes mouth kisses and Connie comes to share his hatred of masturbation. They bond through their conflictual and shifting desire for each other and through their dogged opposition to the world as it is. There is no happy ending – only some blessed hope that they will be able to make a life together despite all the practical barriers they must overcome.

D H Lawrence.

In contrast, Mercurio’s film gives its audience exactly what it wants on a Sunday evening: romance, straight and simple. His Mellors is quite happy to kiss Connie on the mouth, and is not averse to giving her oral sex too. Flames dance around the screen when they first have intercourse. If Lawrence’s stated intention in writing the novel was to enable “men and women to … think sex, fully, completely, honestly, and cleanly”, Mercurio seems content to provide romantic escapism.

By taking all the rough edges off the sex scenes and omitting the four-letter words, Mercurio has effectively removed those features of the novel which have made it so challenging, memorable and influential since its publication in 1928. Lawrence’s novel was addressed squarely and combatively to the England of his day. Mercurio’s film unashamedly passes over the battles it fought, finding them no longer relevant.

This is fair enough, I suppose: the film is quite effective and inoffensive as a conventional romantic costume drama. But as Mellors and Connie drive off together at the end of this adaptation, with Sir Clifford’s blessing for their new-found love still ringing in their ears, it is hard to erase from one’s mind Lawrence’s constant warnings against the bland prescriptions of a neutered and castrated modern consciousness.The Conversation

Andrew Harrison, Assistant Professor in English Literature, University of Nottingham

This article is republished from The Conversation under a Creative Commons license. Read the original article.

dhl-trunk garter

In the DH Lawrence Memory Theatre we want to address various aspects of Lawrence’s life through artefacts to try to understand this complex writer. How do we represent the relationship between Mellors and Lady Chatterley? In 2019 we begin building our Memory Theatre and retracing Lawrence’s savage pilgrimage both physically and digitally. If you have an idea for an artefact, get involved and submit ideas here

 

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Student essay – D.H. Lawrence: A Lifestyle Guide

The above visual essay was created by Will Ryan as part of his final dissertation at Nottingham Trent University. Will and other students on the module have also been helping us to design and create our memory theatre.  

D.H. Lawrence, like many 20th century authors, produced a large amount of literature during his writing career.  Permeating through many of these works is a spiritual life philosophy concerned with living life to the fullest, and utilising individual uniqueness to live a life for and only for themselves.

Through looking at Lawrence’s poetry it becomes clear there is a recurring theme of energy, best described in his poem Dreams Old and Nascent in which the men are described as ‘vibrating in ecstasy’ and there is ‘an impulse of life.’  I assume that he also speaks of this energy in his poem Non-Existence with the line ‘We don’t exist unless we are deeply and sensually in touch with that which can be touched but not known,’ and to Lawrence this energy is an essential ingredient for fully experiencing life.  What this energy is could initially be seen as a mixture of happiness and enthusiasm but after reading the poem We Are Transmitters I noticed that to Lawrence this energy is something spiritual, describing sex as ‘A flow onwards,’ and saying ‘Sexless people transmit nothing.’  So far, it seems that harnessing this energy is the key to living a fulfilling life, but simply hearing this information is useless without knowing how to do so.

The methodology for getting in touch with a person’s internal energy can be found again through Lawrence’s poetry, and can be summarised with two words: discipline and individuality.  Ironically in the poem Discipline I will demonstrate Lawrence’s emphasis on the latter.  He states ‘the fight is not for existence, the fight is to burn at last into blossom of being, each one his own flower outflung,’ and this burning desire to seize and accept one’s true personality is what Lawrence sees as the proper way of living and experiencing life’s energy.  Challenging this viewpoint would lead Lawrence to respond very defensively, as displayed by the line ‘whoever would pluck apart my flower would burn their hands,’ and this emphasises the importance he places on individuality.

After first dealing with the inward self Lawrence then demonstrates how to interact with the outside world, believing that to discipline oneself into consistent maximum effort in all aspects of life allows for a rewarding flow of energy that maintains spirit ‘if, as we work. we can transmit life into our work […] we ripple with life throughout the day,’ and this method of thoroughness is an invaluable element of character to Lawrence, avoiding the wasting of days ‘I never saw a wild thing feel sorry for itself,’ and embracing one’s full potential.

Unfortunately, many of the great writers had a fatal flaw. Ezra Pound was a fascist, H.P Lovecraft a racist. Lawrence, too, divides critics as to his true intentions.  His religious upbringing, and the culture of the time, meant he believed strongly in gender roles, a belief steeped in control which can easily blur over into misogyny.  In the poem Figs Lawrence lays out rules for women and how they use their bodies ‘The female should always be secret,’ and by  metaphorically comparing sexually active females to ripe fruit ‘They forget, ripe figs won’t keep,’ he patronisingly segments this pursuit of energy displayed in his works as a gendered journey; men should embrace everything unique about them without any stated restraints yet women should realise their predetermined place in society. But Lawrence is difficult to pin down as one type of person, and later in the poem is critical of society as ‘they have saved you from yourself, from your own body, saved you from living your own life.’

In Dreams Nascent Lawrence touches on various themes such as modernisation and identity, and these themes are explored through the concept of dreams.  Within the poem’s first stanza, Lawrence speaks of ‘old, ineffectual lives linger[ing] blurred and warm,’ and this depicts a world of aged people living life at an unsatisfactory pace.  The word ‘blurred,’ signifies a light grip on life, a lack of control almost and in the previous line he describes his world as ‘a painted fresco,’ the combination of the two lines implying we are all part of one orchestrated painting.  Again, this signifies missing autonomy, and in the next line, Lawrence speaks of the past weaving a tapestry that is ‘compelling his soul to conform.’  This is reminiscent of Henry David Thoreau’s Walden, in which Thoreau attempts to distance himself from societally imposed frameworks and instead think independently.  Lawrence speaks of the past having ‘woven drapes/ [in] The halls of [his] life,’ and this evokes a claustrophobic trapping of himself within society’s routines and rules, emphasising the need to escape this and live for himself.  In the fourth stanza, Lawrence introduces a conflict in thought; depicting the men as ‘vibrating in ecstasy,’ as they work, implying a positive flow of energy that can be seen to permeate his works.  However, at the end of this line he describes the men’s flesh as ‘rounded,’ as if it has been mechanically altered by their labour.  This reference is Lawrence’s commentary on the effects of modernisation, it can almost be seen as turning man into machine, and the poem concludes with the line ‘fall back exhausted into the unconscious molten life,’ a double entendré that speaks of natural death but also in relation to the mechanical content of the text, an unnatural one; the men are almost swallowed up by the machines they create.  This point can be further emphasised by the line ‘old dreams reflected on the molten metal of dreams,’ the natural dreams personal to individuals are contrasted with the unnatural, the dreams of money earned through labour.  Lawrence also uses language to subvert traditional descriptions of a creator: ‘The power of the melting, fusing Force – heat, light, all in one,’ using mechanical lexis to speak how modernisation is akin to a false idol, worshipped, compared blasphemously to God in order to demonstrate what he believes is an unhealthy focus on modernisation in his contemporary era.

In this poem Lawrence sees society as detrimental to the process of following individual dreams.  The past holds constricting frameworks and the presents holds labour that ultimately cripples dreams.  Analysing this poem in relation to his other literature, these societal binds can be broken through what can best be described in Non-Existence, with the line ‘We don’t exist unless we are deeply and sensually in touch with that which can be touched but not known.’  A deeper spiritual connection with one’s true self is to Lawrence liberating and a way to enforce both happiness and autonomy.

dhl-trunk energyTo see more visual essays and other interpretations of Lawrence’s work, please see our YouTube channel: D.H.Lawrence: A Digital Pilgrimage  We also post one minute films of Lawrence’s writing on our instagram account: dhldigitalpilgrimage In 2019 we will be begin building our memory theatre. You can submit artefacts here

Student Essay: D.H. Lawrence – Pornographic pervert or libertarian?

In this visual essay, Josh Whitehead explores Lawrence’s reputation as a controversial author and his fascination with blood and mental consciousness. This was created as part of his English literature dissertation at Nottingham Trent University in the module ENGL30512.

“My great religion is a belief in the blood, as the flesh being wiser than the intellect. We can go wrong in our minds but what our blood feels and believes and says, is always true.”

The sexual energy of D H Lawrence’s works, from Lady Chatterley’s Lover to his controversial nude paintings, were inspired by his belief in the equal importance of body and mind. This caused controversy, which matched his personal life.

Lawrence convinced German aristocrat Frieda Weekley to leave her husband and three children to become his wife. They married in 1914, just before the outbreak of World War 1. They attempted to settle down in Cornwall but were forced to leave due to suspicions that they were German spies due to Frieda’s heritage and their reclusive lifestyle. Angered and frustrated, they left Britain and traveled together to Italy, New Mexico and Australia, never staying anywhere for more than two years.

Lawrence believed in the primal connection of energies between two people, effectively displayed in monogamy. Frieda had other ideas and was frequently unfaithful. Her affair with Angelo Ravagli, the man she would marry after Lawrence died, inspired his final major novel Lady Chatterley’s Lover. At the time, critics were disgusted by the sexual acts detailed in the novel, such as sodomy. Although they were equally disgusted to read that a Lady of wealth might be attracted to someone of from the lower order.

In writing freely about sexual relationships was Lawrence attempting to free the chains of censorship? Was he a pornographic pervert? Or was he a free-thinking libertarian who helped usher in the permissive society?

Similar to Freud, Lawrence is commonly accused of finding the sexual in practically everything. However, this common misconception is due to Lawrence’s focus on the primal self, similar to the Romantics belief of having a natural connection to all living things. This living transmission, although occasionally expressed through sexual action, is more to do with the connection of two people as opposed to the pleasures associated with sexual intercourse.

In reference to the Biblical fall of man, Lawrence asks: “Do you imagine Adam had never had intercourse with Eve before that apple episode? Many a time. As a wild animal with his mate. It didn’t become ‘sin’ till the Knowledge-poison entered. That apple of Sodom. We are divided in ourselves, against ourselves.”

The apple is frequently used as an image of temptation and sin, Lawrence used it metaphorically to depict the imbalance between the mental consciousness and the primal; splitting both the mind and the body from one another. This separation, according to Lawrence, becomes the blood and mental consciousness; the view of blood being a sensual connection with the environment and against following the herd; Mechanical thinking leads to war.

Lady Chatterley’s Lover was published privately in Florence in 1928 to avoid the censor.  The story consists of a cross-class relationship involving a Lady and her gamekeeper; challenging the establishment “to think of sex fully, completely, honestly, and cleanly”. Lawrence wrote three versions of the novel, the second was called Tenderness, suggesting there was more to their relationship than lust. In the novel, Lady Chatterley is prepared to give up wealth and status to pursue a relationship with her true love.

Lawrence experienced censorship throughout his life but he refused to be silenced. When the critics banned his novels or seized his paintings, he simply ridiculed their prudishness in pithy poems, such as ‘13,000 people’ that I decided to read aloud on the D.H. Lawrence tram in Nottingham as part of my visual essay.

13,000 people

Thirteen thousand people came to see
my pictures, eager as the honey bee

for the flowers; and I’ll tell you what
all eyes sought the same old spot

in every picture, every time,
and gazed and gloated without rhyme

or reason, where the leaf should be
the fig-leaf that was not, woe is me!

And they blushed, they giggled, they sniggered, they leered,
or they boiled and they fumed, in fury they sneered

and said: Oh boy! I tell you what,
look at that one there, that’s pretty hot! —

And they stared and they stared, the half-witted lot
at the spot where the fig-leaf just was not!

But why, I ask you? Oh tell me why?
Aren’t they made quite the same, then, as you and I?

Can it be they’ve been trimmed, so they’ve never seen
the innocent member that a fig-leaf will screen?

What’s the matter with them? aren’t they women and men?
or is something missing? or what’s wrong with them then?

that they stared and leered at the single spot
where a fig-leaf might have been, and was not.

I thought it was a commonplace
that a man or a woman in a state of grace

in puris naturalibus, don’t you see,
had normal pudenda, like you and me.

But it can’t be so, for they behaved
like lunatics looking, they bubbled and raved

or gloated or peeped at the simple spot
where a fig-leaf might have been, but was not.

I tell you, there must be something wrong
with my fellow-countrymen; or else I don’t belong.

dhl-trunk garterTo see more visual essays and other interpretations of Lawrence’s work please see our YouTube channel: D.H.Lawrence: A Digital Pilgrimage.  We also post one minute films of Lawrence’s writing on our instagram account: dhldigitalpilgrimage In 2019 we will be begin building our memory theatre. You can submit artefacts here.  

Student essay: The Rocking Horse Winner

In this visual essay, created by Sophie Thompson as part of her dissertation at Nottingham Trent University, she applies a psychoanalytic reading to Lawrence’s short story ‘The Rocking Horse Winner’.

D.H. Lawrence’s ‘The Rocking Horse Winner’ is an exploration of the effect that money has upon the lives of those who allow it to control the way they live one’s life. The protagonist, Paul, lives in a house that is haunted by the phrase “There must be more money!”, despite nobody speaking it. This can be understood as a metaphor for the desire for wealth in his mother being so loud that it echoes throughout the entire home. When Paul decides to ask his mother why they don’t have money, she assigns blame to Paul’s father on account of the fact he “has no luck”; to which Paul is quick to insist upon the opposite, asserting, “I’m a lucky person”, and thereby indicating to his mother that he possesses something his father does not.

In this way a Freudian psychoanalytic reading can be applied, specifically with regard to the Oedipus complex. This is with irony as Lawrence himself spoke negatively of psychoanalysis, describing Freud in Psychoanalysis and the Unconscious as “the psychiatric quack who vehemently demonstrated the serpent of sex coiled round the root of all our actions”. The Oedipus Complex is first introduced by Freud within his 1899 text The Interpretation of Dreams, and is said to occur during the latency stage of psychosexual development which spans age six through to puberty. Freud recognises the complex as the experience of an unconscious sexual desire for the parent of the opposite sex, which in turn causes us to compete for the affection of this desired parent with the parent of the same sex; deriving from an unexpected observation of the “part played by [the] father in the earliest sexual impulses of female patients”. The oedipal undertones in this scene in particular are enhanced by Lawrence admitting that “He didn’t even know why he had said it”, reflecting the unconscious desires voicing themselves without Paul being able to account for them.

As the narrative progresses, the oedipal complex within Paul grows more evident. After the interaction with his mother, Paul mounts his rocking horse and orders: “Now! […] Now take me to where there is luck! Now take me!” The mounting of the horse itself possesses an inherently sexual innuendo, but his commands can both be seen as asserting control over something to compensate for the lack of control he has in achieving the sexual interest he desires from his mother; but also the repeating of the word ‘now’ accentuates how desperate he is to obtain it. It is perhaps noteworthy that we do not meet the father within the narrative, and this desire for ‘now’ may therefore be Paul’s anxiety that at any moment his father may return, the prospect of which carries the castration complex. This complex, according to Freud, refers to the fear within the child that they face castration at the hands of the father in response to learning of their desires for the opposing parent, in order to prevent the child from pursuing their sexual interest. In this context, then, Paul is desperate to acquire the luck that his father does not have in order to win the affection of the mother whilst he is out of the picture.

rock
‘The Rocking Horse Winner’ was broadcast as a film in 1949.

When uncle Oscar learns of Paul’s success, Paul tells him: “I shouldn’t like mother to know I was lucky”, explaining that she’d stop him if she knew. One might apply a Freudian reading to this and infer that Paul’s belief that his mother would stop his luck derives from his unconscious recognition that he must ‘become’ his father in order to win the sexual affection of his mother. To achieve this, he would have to adopt his father’s unluckiness, also. In this way we see these supposedly unconscious human desires conflict with Lawrence’s attitude toward money: Paul’s complex once a domineering force in his life is now secondary to the obsession he has developed to winning money.

This attitude is made even more explicit within the end of the narrative, which sees Paul die after becoming overwhelmed at the news of winning eighty thousand pounds. Leading up to which Paul, who was once haunted by house’s cries for money, is incredibly reluctant to leave. His mother asks: “Why, you curious child, what makes you care about this house so much, suddenly? I never knew you loved it”, illustrating that he now understands the desire to earn money and is, so to speak, ‘deaf’ to the voices, as the ones in his head that now utter the same phrase are far louder.

dhl-trunkTo see more visual essays and other interpretations of Lawrence’s work please see our YouTube channel: D.H.Lawrence: A Digital Pilgrimage.  We also post one minute films of Lawrence’s writing on our instagram account: dhldigitalpilgrimage In 2019 we will be begin building our memory theatre. You can submit artefacts here.  

 

Student Essay: Lawrence as an eco-critical writer.

Tayla-Sam Malyon is an English student at Nottingham Trent University. As part of her dissertation she was asked to create a visual essay that explored one aspect of Lawrence’s work. She decided to explore Lawrence as an ecocritical writer through the poem Snake. You can see this and other visual essays created by students at our YouTube channel: D.H.Lawrence: A Digital Pilgrimage.  

Written whilst Lawrence was in Sicily in 1923, Birds Beast and Flowers is a collection of poems that encapsulates not only Lawrence’s adoration for nature but his growing consciousness of the implications of humans on wildlife. Snake is probably the most famous poem in the collection and captures the moment a man encounters a snake at a water trough.

The narrator is in two minds about the snake, in some parts of the poem he seems to be admiring the snake referring to him as a “king” and “god”, and in others “the voice of [his] education [is saying to him] He must be killed”. In Reversing The Fall: The sense of place in D.H Lawrence, John Middleton Murray claims, “man has two distinct fields of consciousness, two living minds” he likens one to our human nature, a primary mind and one as the secondary mind, which is all that we are taught by society. We can see Lawrence representing both these ‘minds’ or states of consciousness through the admiration yet fear of the snake. According to Lawrence Buell, a pioneer of ecocriticism, the four characteristics that make a text environmentally aware are as follows:

  1. The nonhuman environment is present not merely as a framing device but as a presence that begins to suggest that human history is implicated in natural history.
  2. The human interest is not understood to be the only legitimate interest.
  3. Human accountability to the environment is part of the [preferred] text’s ethical orientation.
  4. Some sense of the environment as a process rather than as a constant or a given is at least implicit in the text.

There is a sense of the above-mentioned biocentrism here as Lawrence genders the snake ‘him’ while also referring to it as ‘someone’. When he waits for it to finish drinking, it gives the impression there’s an equality between them. At first he shows the snake respect, “someone was before me at my water trough, And I, like a second-comer, waiting”. However, as the poem progresses, seemingly out of nowhere, the narrator becomes aggressive and throws a log to scare the snake away. He goes on to scorn his “human education” for making him commit such a “mean act”. This shows the human accountability Buell mentions when characterising environmental texts. Furthermore, we get a sense that Lawrence is aware the cracks in the earth serve as a home for the snake and not a known place he can describe as a ‘framing device’, “out the dark door of the secret earth”.

Poorani claims “The ecocritical interpretation manifests the destructive tendency and loss of humanitarianism towards the benevolent nature”. Looking at Snake through an eco-critical lens, Lawrence appears to be highlighting the disturbed balance between nature and humans, condemning how we have come into their habitat yet are taught to scare them out of it instead of living harmoniously.

dhl-trunk GREENTo see more visual essays and other interpretations of Lawrence’s work please see our YouTube channel: D.H.Lawrence: A Digital Pilgrimage.  We also post one minute films of Lawrence’s writing on our instagram account: dhldigitalpilgrimage In 2019 we will be begin building our memory theatre. You can submit artefacts here.  

Indecision from an ‘island no bigger than a back garden’

It’s fair to say that British culture is defined by indecision. Presently, this is most evident with Brexit. On June 23, 2016 17.4 million voters (51.9 percent of the votes cast), backed leaving the EU while 16.1 million voters (48.1 percent of votes cast), favoured staying. The referendum proved one thing: the country was completely split. Nobody was entirely sure what they wanted. And so that split continues now, with talk of a second referendum and the countless permutations of possible exits. This has led the Tory party to implode as they squabble over who should be the next non-elected PM. We shouldn’t be surprised, though. This indecision was prevalent during the Civil War. In 1649 we executed Charles I for treason; had a very puritanical republic for eleven years under Oliver Cromwell; then restored Charles II to the throne in 1660.

As a nation, we oscillate with ease between seemingly binary opposites. We switch positions like musical chairs, and when the chairs have gone, we sit on the floor. I mention this because English PEN have launched a crowdfunding campaign to keep an annotated copy of Lady Chatterley’s Lover in the UK. The copy was annotated by Lady Dorothy Byrne, wife of the Hon. Sir Laurence Byrne, the presiding judge of the 1960 obscenity trial against Penguin books.

The Arts minister, Michael Ellis, has determined that the book should stay in the UK and not be exported abroad. It is now deemed a national treasure, part of our literary heritage. The irony is not wasted on Lawrence scholars, given that the British government did everything it could to keep the novel out of print for so long. Lawrence was of regular interest to the censor. Other novels, poetry collections and a set of thirteen painting were all deemed unfit for public purpose, with copies of The Rainbow burned and the paintings locked up in a prison cell. It is little wonder that Lawrence dedicated so much energy towards getting out of England as quickly as he could and as far away as he could – travelling across Europe, Australia, and the Americas.

Philippe Sands QC, President of English PEN, said:

“DH Lawrence was an active member of English PEN and unique in the annals of English literary history. Lady Chatterley’s Lover was at the heart of the struggle for freedom of expression, in the courts and beyond. This rare copy of the book, used and marked up by the judge, must remain in the UK, accessible to the British public to help understand what is lost without freedom of expression. This unique text belongs here, a symbol of the continuing struggle to protect the rights of writers and readers at home and abroad.”

The copy was recently sold at auction to an overseas bidder for £56,250. English PEN have created a ‘Go Fund Me’ page to match the bid and keep it in Blightly. It is with this in mind that we have produced another short film for you that addresses parochialism and Lawrence’s views of the British. Written in 1924, Lawrence was infuriated that “an island no bigger than a back garden” should have such an inflated sense of grandeur. How true that sentiment remains today.

Lady C

dhl-trunkIn the DH Lawrence Memory Theatre we want to address various aspects of Lawrence’s life through artefacts to try to understand this complex writer. How do we represent the Lady Chatterley Trial? How do we determine what is obscene and what should be censored?  In 2019 we begin building our Memory Theatre and retracing Lawrence’s savage pilgrimage both physically and digitally. If you have an idea for an artefact get involved and submit ideas here

D.H. Lawrence and the Phoenix of Regeneration

In our second guest blog exploring the relevance of the Phoenix, David Brock takes a broader look at representations of the Phoenix in Lawrence’s work and asks why he believed it was important to be “erased, cancelled, made nothing”. 

It is almost central to a satisfactory understanding of D.H. Lawrence to be aware that his life and creative output are packed with symbolic meaning. One has only to consider such works as The Rainbow, The Plumed Serpent, The Thimble, The Ladybird, The Fox, The Captain’s Doll, or the powerful novella, St Mawr, where the titular fiery Welsh stallion is an almost phoenix-like messenger from a lost world, representing the instinctive life which man has lost, to realise how vitally important symbols are in Lawrence’s writing.

In fact, in St Mawr, it is significant that there is a character, named Phoenix, who understands the horse, and helps lead the heroine of the story to the possibility of a new life. But, more about that another time.

Plumed Serpent
Artwork from www.dawnoftheunread.com

The Plumed Serpent, is the Mexican God, Quetzalcoatl – which is the title Lawrence chose for the novel, prior to interference from his publisher. As Lawrence scholar Keith Sagar points out, Quetzalcoatl “is a phoenix, for he threw himself into a volcano… there to sleep the great sleep of regeneration until his cycle should come round”.

There are many quite fabulous references to Lawrence’s cherished symbol, that fabled bird, the phoenix, in his amazing, large-scale, post-war symbolic essay, The Crown. Here the phoenix is “like an over-sumptuous eagle” which “passes into flame above the golden palpable fire of the desert”. We glimpse “the young phoenix within the nest, with curved beak growing hard and crystal, like a scimitar, and talons hardening into pure jewels”. Lawrence wills that our souls should come “into being in the midst of life, just as the phoenix in her maturity becomes immortal in flame”.

In Aaron’s Rod – where the “Rod”, which is Aaron’s flute, is a symbol itself, at the point where Aaron’s desire returns, Lawrence writes, “The phoenix had risen in fire again, out of the ashes”.

Phoenix by D.H. Lawrence

Are you willing to be sponged out, erased, cancelled,
made nothing?
Are you willing to be made nothing?
dipped into oblivion?

If not, you will never really change.

The phoenix renews her youth
only when she is burnt, burnt alive, burnt down
to hot and flocculent ash.
Then the small stirring of a new small bub in the nest
with strands of down like floating ash
shows that she is renewing her youth like the eagle,
immortal bird.

It should go without saying that Lawrence’s headstone in Vence, where he died, depicted a phoenix (now displayed at the Birthplace Museum, Eastwood), or that one appears on his memorial plaque at his ranch, in Taos, in New Mexico. Or there being a play by Tennessee Williams, a playwright who adored Lawrence, which is called I Rise in Flame, Cried the Phoenix. And here on this digital screen, hosting this guest blog, Lawrence is reborn once more, this time for 21st century audiences, soon to transform into a series of artefacts in James Walker and Paul Fillingham’s Memory Theatre.

Lawrence defiantly designed and drew the phoenix which appeared on the privately printed, signed, limited edition of 1,000 copies of Lady Chatterley’s Lover, published in Florence, in 1928, when the novel was banned in England. And, in 1929, the year before his death, Lawrence wrote a challenging, yet affirmatory, short poem, called Phoenix, in which he interrogates his reader, asking “Are you willing to be sponged out, erased, cancelled, made nothing?. . .If not you will never really change”, explaining that the phoenix can only renew her youth when she is “burnt down to hot and flocculent ash”.

It is only then that “the small stirring of a new bub in the nest with strands of down like floating ash shows that she is renewing her youth like the eagle, immortal bird”.

David organises a D.H. Lawrence reading, study and performance group, The Lawrence Players, which meets fortnightly, between 5 and 7 pm in Chapel-en-le-Frith library (16th, 30th May and so on). Any enquiries, please contact David at vegan.lawrentian@gmail.com

dhl-trunk redIn the DH Lawrence Memory Theatre we want to address various aspects of Lawrence’s life through artefacts to try to understand this complex writer. How do we represent the phoenix or encourage our audience to render themselves “sponged out, erased, cancelled, made nothing”?  In 2019 we begin building our Memory Theatre and retracing Lawrence’s savage pilgrimage both physically and digitally. If you have an idea for an artefact get involved and submit ideas here

D.H. Lawrence and his Immortal Bird, the Phoenix

Badger with phoenix
David Brock with the Phoenix tapestry. Photo: James Walker

In this guest blog, David Brock explains how the phoenix became an iconic symbol of Lawrence’s intellectual and spiritual struggles, as well as being a familiar sign used by local businesses close to his birthplace of Eastwood. David also discusses how he came to become the owner of a phoenix tapestry created by Lawrence and Frieda during their troubled stay in Cornwall.   

The phoenix was a frequently employed symbol in D. H. Lawrence’s day. Insurance companies, in particular, favoured it. There were Phoenix Cottages in Eastwood, and a Phoenix Coffee Tavern. The famous mythical bird featured in the catalogue produced by Haywoods, the surgical goods factory in Nottingham, where Lawrence worked as a clerk for a few months, in 1901, before leaving due to illness.

Owing to its association with Lawrence, the phoenix is still a familiar sight to Eastwood residents and visitors, clearly visible on canopies, set as metal studs into the pavement and as the name of the local snooker hall. And many companies large and small throughout the country employ it, even those as seemingly mundane as Phoenix Mould Tools Ltd. or Phoenix Damp Proofing!

Pheonix_stuff eastwood

But, Lawrence was first seriously struck by this ancient symbol, and drawn to adopt it as his life-long and dearly-held symbol of regeneration, on being given a book containing Christian iconography. From being connected to the sun-god in Egyptian, Greek and Roman civilisations, the pagan phoenix becomes an image of resurrection used by Christianity, representing the triumph of life over death, as in the Easter story.

It became D.H. Lawrence’s own great religion of life that man must die away from the disastrous living-death of mass industialism in order to be reborn into a more complete existence, and the phoenix represented his hope for this regeneration of humanity splendidly. In Lawrence’s fiction, many of his characters break down and lose their former consciousness before achieving individual renewal. The central character and eponymous hero of Aaron’s Rod, for instance, must undergo the phoenix experience, having “to go to destruction to find his way through from the lowest depths”.

A century ago, in order to distance himself from horrendous critical attacks – his great novel, The Rainbow, had been prosecuted, banned and burned in the streets of London, outside the courthouse, by the Public Hangman, rather deterring publishers from taking on any other of his works – Lawrence moved to that most pagan part of the country, Cornwall. While living near Zennor, and helping on the farm at Higher Tregerthen, Lawrence embroidered a tapestry of a phoenix. It represented his deep desire to found a new community, leading to a new civilisation, from what he regarded as the ashes of the old. He gave this phoenix to his young farmer friend, William Henry Hocking, who was very much impressed by Lawrence and Frieda, never having previously come across such lively free spirits. I am now the proud owner of the tapestry phoenix, as you can see in the picture, which I purchased from an auction a long time ago.

David organises a D.H. Lawrence reading, study and performance group, The Lawrence Players, which meets fortnightly, between 5 and 7 pm in Chapel-en-le-Frith library (16th, 30th May and so on). Any enquiries, please contact David at vegan.lawrentian@gmail.com

dhl-trunk redIn the DH Lawrence Memory Theatre we want to address various aspects of Lawrence’s life through artefacts to try to understand this complex writer. How do we represent the phoenix or Lawrence’s ideas on community and creating a new civilisation?  In 2019 we begin building our Memory Theatre and retracing Lawrence’s savage pilgrimage both physically and digitally. If you have an idea for an artefact get involved and submit ideas here

 

D.H. Lawrence and the Risen Lord in All of Us.

DHL Easter Egg image

To celebrate Easter, David Brock takes a look at Lawrence’s controversial take on the Crucifixion in the essay ‘Resurrection’ and how Easter eggs led to the novel The Man Who Died.  

In our so-called ‘Christian country’, we’re told fewer couples choose to marry in church. But let’s welcome this greater honesty. And while Easter is a commercial bonanza now. . .the stores stacked with machine-laid eggs – Easter is symbolic of Oestrus, and the Pagan origin of our great spring festival.

Unsurprisingly, D.H. Lawrence – who was brought up steeped in the Bible and Christian mythology, and has been depicted as a Christ-like figure himself, even described by some as ‘messianic’ – offers some challenging, alternative suggestions when it comes to the Church, the Easter Story and the Resurrection. What he says can help us all to rise up again, achieving fuller being, at this most regenerative time of year.

Inspired by the sight of eggs at Easter, and at first called The Escaped Cock, the subsequent title of Lawrence’s controversial fictional version of Christ coming back to life, and emerging from the tomb, The Man Who Died, tells us quite a lot. This is a mortal ‘Man’, rather than a Saviour, King of Kings or Son of God. This ‘Man’ has died the death of his old self, and his new, individual, flesh and blood self, has returned to life. He is taking the first hesitant steps away from a past he now repudiates, towards his difficult but vital human resurrection. He is becoming ‘The Man Who Lived’, rather than ‘The Christ Who Died’.

In a short essay, ‘Resurrection’, Lawrence berates fellow writer, Tolstoy, for wanting Christ to go on ‘being crucified everlastingly’, and urges all of that ilk to ‘Put away the Cross; it is obsolete.’ For the ‘stigmata’ are ‘healed up’. And ‘The Lord is risen,’

The Cross has become the ‘Tree of Life’ again, Lawrence insists. It has taken root and is issuing buds. However, the multitudes are mistakenly putting their Lord on the Cross again.

Whereas those who are prepared to rise along with the Risen Lord can do so as lords themselves. Facing inwards towards the ‘Whole God’ – which is, our central living integrity, the hub of our being – on the ‘Wheel of fire’, we can all be lit up with ‘bright and brighter and brightest and most-bright faces’, Lawrence believes.

In his poem, ‘The Risen Lord’ Lawrence’s Jesus opens his eyes ‘afresh’, seeing for the first time ‘people of flesh’. Having conquered the fear of death, he must now ‘conquer the fear of life’ – living as a ‘man among men’. He rejects the old denial of substance and physical desires – ‘never can denial deny them again.’

This vision in Lawrence of us all as Lords of Life is infectious. The last of his Pansies, ‘Prayer’, written as his health declined, expresses an extraordinary wish. . .one we might share – ‘Give me the moon at my feet / Put my feet upon the crescent, like a Lord!”

David organises a D.H. Lawrence reading, study and performance group, The Lawrence Players, which meets fortnightly, between 5 and 7 pm in Chapel-en-le-Frith library (18th April, 2nd, 16th, 30th May and so on). The ultimate aim of the group is to raise the profile of this radical exciting author by performing his work on stage.
Any enquiries, please contact David at vegan.lawrentian@gmail.com

dhl-trunkIn the DH Lawrence Memory Theatre we want to address various aspects of Lawrence’s life through artefacts to try to understand this complex writer. How do we get across Lawrence’s indifferent relationship with religion or the self-deification of his later works? Will chocolate eggs melt inside our memory theatre or hatch and rise from the flames? In 2019 we begin building our Memory Theatre and retracing Lawrence’s savage pilgrimage both physically and digitally. If you have an idea for an artefact get involved and submit ideas here

 

Lawrence and Sillitoe celebrated as rebel writers by Forza Garibaldi at the City Ground.

D.H. Lawrence made an unlikely appearance at the City Ground on 26 February as Forest hosted arch rivals Derby County. Lawrence was one of five local ‘rebels’ celebrated in large banners alongside suffragette Helen Watts, fictitious leader of the luddites Ned Ludd, author Alan Sillitoe, Eric Irons – the first Black magistrate, and ode Big Head, Brian Clough. The banners were organised by Forest supporters’ group Forza Garibaldi. In the previous outing with Derby, Forza organised a large flag depicting Guiseppe Garibaldi as well as opening the previous season with a ‘Rise of the Garibaldi’ banner. The spectacles have caused great excitement for fans as well as evoking a sense of civic pride, and it’s had an impact on the players with some of them coughing up to fund the banners.

Forza banner
Image from http://www.forzagaribaldi.com

After years of mouthing off at the rest of the world, Nottingham has slowly started to stand up for itself and think about its own identity. There’s been a bit of a rebranding exercise of late, with the idea of the ‘Rebel City’ starting to take shape, creating more pride than the £120,000 spent on the ‘Slanty N’ in 2005. Part of the ‘Rebel City’ idea is coming from the £29.4 million investment into the Castle which is using the Hood legend to link out to wider examples of rebellion within the city. Rebellion (or to use the more UNESCO friendly alternative – ‘contrarian’) was a feature of the Nottingham UNESCO City of Literature bid. Rebel writers were also featured in our previous project Dawn of the Unread, as well as a large banner on Station Street organised by Rob Howie Smith and others.

rebel-writers-1
Photograph by David Sillitoe from sillitoe.com

Writing on their blog, Forza explained: “The city’s rebel heritage runs deep; it has passed through the centuries and across various forms. While certainly not an exclusive trait of Nottingham it has developed a reputation for being a place where the locals will stand up for what they believe and support each other. It is that underdog spirit that has been a bedrock of Nottingham and one that has seeped into the consciousness of many of its residents.”

I think the Forza campaign is superb as it’s got fans discussing things they would perhaps not have discussed otherwise. Hearing people say, ‘Who’s she?’ and ‘I’ve heard of him, didn’t he write that dotteh book?’ is a great way of capturing the imagination of the city and creating a sense of identity and place. Forest are in the top 20 of best attended clubs in the UK so these messages are reaching a large audience.

rebels
Image from http://www.forzagaribaldi.com

However, if Lawrence or Sillitoe had ever attended a football match it would most likely be at Meadow Lane. Arthur Seaton wears a Notts County scarf in Saturday Night and Sunday Morning and the pit strikers in Lawrence’s short story ‘Strike Pay’ have just returned from a match between County and Villa.

As far as I am aware, neither author was a fan of football. I wrote to Sillitoe many years ago asking him what he thought would have happened to Arthur Seaton if his father had been Brian Clough (at the time I had been asked to write a book about Clough, spent three years researching it, then decided not to go ahead with it because there were so many being churned out I felt like I was capitalising on his death). Sillitoe wrote back and said he didn’t have much interest in football.

Sillitoe’s only story to feature football is ‘The Match’ which appears in the short story collection The Loneliness of the Long Distance Runner. It opens with a game between County and Bristol City on a cold winter’s day, a game which County lose. The match is watched by forty year-old Lennox, a mechanic who knew County would lose ‘because he himself, a spectator, hadn’t been feeling in top form’ and Fred, recently married and much younger, who wears his ‘best sports coat’ rather than the tribal colours of his team. After seeing his team defeated, Lennox returns home and takes it out on his wife, she eventually leaves him. Fred, who lives next door, overhears the argument. His 19 year-old wife is “plump like a pear, not round like a pudding, already pregnant though they’d only been married a month”. They are young and full of hope, but a couple of decades down the line…

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Image from http://www.forzagaribaldi.com

Lawrence wrote three strike-inspired stories, ‘Strike Pay’, ‘The Miner at Home’ and ‘Her Turn’ during March 1912. This was a reaction to the first National coal strike which aimed to secure a minimum wage. It started at the end of February in Alfreton, Derbyshire and spread nationally. It ended on 6 April after 37 days and resulted in over one million striking miners. Strike Pay (I and II) was published in the Westminster Gazette on 6 and 13 September 1913.

Like Sillitoe’s ‘The Match’, Lawrence’s reference to football acts as a backdrop to wider social issues. At eleven o’clock, a gang of striking miners set off on a nine mile walk to Nottingham.

“The road was crowded with colliers travelling on foot to see the match between Notts and Aston Villa… It was a good match between Notts and Villa — no goals at half-time, two-none for Notts at the finish. The colliers were hugely delighted, especially as Flint, the forward for Notts, who was an Underwood man well known to the four comrades, did some handsome work, putting the two goals through.”

W FlintInterestingly, Lawrence does reference a real footballer and a real match. Notts County played Aston Villa on Wednesday March 13, 1912. According to the Gottfried Fuchs blogging site Billy Flint, who went on to represent County 408 times (1908-26), is credited as scoring both goals but this is factually incorrect. He scored one, the other was by Billy Matthews.

Lawrence’s short story was turned into an ITV Play of the Week and was aired on 6 June 1967 staring Angela Morant, John Ronane and Bill Kenwright. The director was Richard Everitt.

Forza Garibaldi have done a fantastic job in creating a real sense of civic pride through football. On their website they explain that Lawrence’s inclusion on their banners isn’t for all of the usual reasons we might associate with Lawrence but because he spoke out on behalf of black writers and that he was ’… a rebel and unrelenting enemy of oppression and repression in whatever form he encountered them.’’ Their source was a 1990 article by Leo Hamalian in the Journal of Modern Literature. I’d never heard about this before myself, and now, thanks to a banner at a football match, have tracked down the article and am about to learn more. Molto buona, Forza. Grazie.

dhl-trunk redIn the DH Lawrence Memory Theatre we want to address various aspects of Lawrence’s life through artefacts to try to understand this complex writer. How do we get across Lawrence’s short stories about the miners strike of 1912? Is there space for one of the banners by Forza Garibaldi? In 2019 we begin building our Memory Theatre and retracing Lawrence’s savage pilgrimage both physically and digitally. If you have an idea for an artefact get involved and submit ideas here

‘Upside Down at the Bottom of the World’ with David Faulkner

Upside Down at bottom of world.

Upside Down at the Bottom of the World was originally performed in 1980 and won David Allen the Australian Writers’ Guild Award for Best Play. Set in 1922, the play explores Lawrence’s brief time in Australia where he wrote Kangaroo. The controversial novel includes ‘The Nightmare’ chapter that details Lawrence’s experiences of living in Cornwall during World War One. The play has particular resonance for David Faulkner as he has played the part of Lawrence and is now directing the latest production at Lane Theatre, Newquay.  

Tell us a little bit about yourself…
When I was a kid my father introduced me to the world of theatre and film. Acting from the age of twelve the smell of the greasepaint has never left me. But like so many other aspiring actors I was persuaded to get ‘a proper job’ with greater security than treating the professional boards. Even so, I continued my theatrical course as an actor and later as a director in both amateur and semi-professional theatre.

Chichester Festival Theatre played an important role in helping develop your career, as did a relationship breakup…  
In Chichester I became involved with the Festival and made many helpful contacts that opened for me a number of otherwise closed doors, most importantly an agent. When my first wife and I parted company, I decided to fulfil my dream and ran away to the metaphorical circus so to speak.

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David Faulkner. Photograph Carolyn Oakley

Frieda once said that what she loved most about Lawrence was his saying ‘yes’ to life, known as ‘Bejahung’ in German. You’ve taken some risks that have helped share your career…
One day, while on the London tube, I happened to see an advert in Time Out which read, ‘English Speaking Actors wanted for the Cafe Theatre Frankfurt’. Rather than send my CV, photograph and covering letter, I bought a £17.50 Magic Bus Ticket, packed an overnight bag and the next thing I knew I was in Frankfurt looking for The Cafe Theatre. Probably due to bare faced cheek rather than my chosen audition pieces I was offered the job. Eighteen months later I was still working at the Cafe theatre as both an actor and director, doing three monthly rep.

It was here that you first encountered Davis Allen’s play… 
Whilst there I saw Upside Down at the Bottom of the World performed by ESTA (English Speaking Theatre of Amsterdam) and when they needed a replacement for the role of Lawrence, due to illness of the previous actor playing the role, I was fortunately their first choice. As director, I had just previewed Samuel Becket’s Happy Days, and was happy to leave the run in the capable hands of the stage manager, and made the trip to Amsterdam to take over the role of Lawrence. No time for research as I had just ten days to learn the lines and replicate the role in preparation for a continued three-month tour of Holland and Germany. I remember so little of that production but often returned to the script with the thought that one day I would revive it.

And now you’re directing the play at Lane Theatre… 
Now retired and living in Cornwall I run a small touring company as well as guest directing for several local community groups. In this role I have met many talented actors and when I discovered that two of these talented actors bore more than a passing resemblance to Lawrence and Frieda I decided the time was right to revive the play, this time with sufficient time to research the characters in depth and put my own spin on the text.

Lighting is very important in the play… 
The text specifies that there should be no elaborate sets and that the actors create the character roles with minimal costume changes and in full view of the audience. Flash back scenes to – Cornwall – Eastwood – Bavaria etc – are marked by lighting effects and projected images and pre-recorded voices. As a director this approach to staging a play has always fascinated me and the creativity of the acting/technical team allow us to take what is, after all, no more than words on a page to an exciting and thought- provoking piece of pure theatre.

You’ve introduced some fascinating extra detail, such as Lawrence knitting bloomers…
Both Stuart Ellison and Jean Lenton who play Lawrence and Frieda respectively have done a great deal of homework in preparation for their roles and their research have identified aspects of the Lawrence’s relationship which is not found in the play yet together we have given a gentle nod in that direction. For example, Frieda liked wearing French knickers yet Lawrence preferred her to wear bloomers, which he often made for her. Therefore, at the beginning of the play we see Lawrence sewing a pair of bloomers which Frieda puts on in front of him. We see this sexual game playing is indeed a significant part of their relationship.

DHL 3
Photograph Carolyn Oakley

They had quite a turbulent relationship. Is this addressed in the play? 
The turbulence and violence between the Lawrence’s is a known fact, therefore, it forms an important aspect of the play. My attitude is that as it is historically true is must be approached as real as possible. Unfortunately, as we live in a nanny state, with so many subjects that are deemed too sensitive to explore, there will always be some audience members who will feel uncomfortable with certain subjects. Theatre has always been there to challenge the status quo and I like to challenge.  I can’t be side tracked by what someone else might think. My job is to present the play as honestly and as truthfully as I can and if it upsets those with a sensitive bent then so be it.

Presumably your audience will be aware of Lawrence’s reputation… 
I am sure that the majority of people who come to see the play will be aware of Lawrence, whether in book or film, and will understand that it would be impossible to present a play about Lawrence without it dealing with sex, love and turbulent relationships.

Who else features in the play? 
Gary Smith plays not only Jack Calcott but also the Doctor who rejected Lawrence from active service, the Cornish policeman who gave them the order to leave the county and a German Policeman who caught Lawrence and Frieda bonking in the Bavarian woods and arrests Lawrence for spying. Rachel Bailey plays Victoria Calcott and Jessie Chambers. Rachel bears a striking resemblance to Jessie.

Do you address Lawrence’s sexual ambiguity in the play? 
There is no mention in the text to indicate Lawrence’s sexual ambiguity yet I have explored this aspect of Lawrence’s life in the scenes between Lawrence and Jack, during their political discussions. A look – A hand on a shoulder or knee – A long pause as they stare into each other’s eyes – directorial licence perhaps but I think it worth referencing in the play.

Cornwall had a profound effect on Lawrence, in particular the granite coastline which he wrote ‘had its own life force’. Was he on to something?
There is indeed a something about Cornwall that seeps from rocks and very much felt by the blood-conscious and not necessarily by the mind-conscious. Whether Lawrence was ‘on to something’ I don’t know but Cornwall has in my experience always attracted free thinkers and aging hippies and those creative types are not necessarily adverse to expanding their minds in whatever forms take their fancy.

How important is Lawrence’s literary legacy to the South West?  
There is a DH Lawrence society in St Ives and Zennor and when we approached Zennor Hall with the idea of performing the play there they were very interested in everything connected with Lawrence in Cornwall and were able to give us lots of information about the couple when they lived there, and what they might have got up to. Sadly, Zennor Hall is too small for our production.

Why have you decided to stage the play now? 
Sometimes a play comes along that has particular relevance at a certain time. Upside Down at the Bottom of the World is one of those plays. The political turmoil of the Diggers, the right/left struggle, the influence of the Unions in conflict with the capitalists is almost a mirror to what we are experiencing here and now.

Would Lawrence have voted ‘leave’ or ‘remain’?   
Which way would Lawrence have voted in the referendum? Now that’s a hard one. Married to a German, he may have voted Remain. Then again having no truck with a capitalist world order, and being the son of a miner, perhaps, Leave.  Now that would make a great play, haha.

Lane Theatre

Upside Down at the Bottom of the World is at Lane Theatre, Newquay, Cornwall, TR8 4PX from 14-16 March and 21 – 23 March 2019. Tickets £11 (£10 concessions)

dhl-trunk vibration noiseIn the DH Lawrence Memory Theatre we want to address various aspects of Lawrence’s life through artefacts to try to understand this complex writer. How do we get across Lawrence’s time spect in Cornwall and Australia? Is there room to show various plays that explore his life? In 2019 we begin building our Memory Theatre and retracing Lawrence’s savage pilgrimage both physically and digitally. If you have an idea for an artefact get involved and submit ideas here

Promo video: Dreams

Dreams

All people dream, but not equally.
Those who dream by night in the dusty recesses of their mind,
Wake in the morning to find that it was vanity.

But the dreamers of the day are dangerous people,
For they dream their dreams with open eyes,
And make them come true.

According to D.H. Lawrence we all dream, but some dreamers are more unequal than others. There are those who dream at night with their eyes shut, and those who dream in the sun with their eyes wide open. Before we examine this a little deeper, let’s take a moment to reflect on the purpose of sleep given that it has become such a hot topic of late.

Lack of sleep can make us fat. It can increase the risk of a stroke. It can cause depression, etc – you get the picture. Whereas plenty of shuteye can improve concentration and productivity. Sleep functions as a kind of housekeeper that removes toxins in your brain that build up while you are awake. According to neuroscientist Matthew Walker (no relation), lack of suboptimal shut-eye levels can also have an effect on your testicles, and whether you live into your mid 60s. All of this got me thinking about my dad who proudly got by on 4-5 hours a sleep a night. For him, sleeping was an affront to life. You made the most of everyday and maximised the hours. He was overweight, had a stroke and died at 67. But he never suffered from depression and there was nothing wrong with his testicles – he had eight children. He was incredibly productive – running his own business because he hated people telling him what to do. His downfall wasn’t lack of sleep. It was a love of cigars, Mars bars and quadruple whiskies.

I don’t care much for the latest lifestyle tip. I’m old enough to have read that drinking wine is good for your health only for it to be reinvented as middle-class smack. Woe betide anyone taking more than two glugs on a school night. Lawrence would certainly scoff at such advice having lived his entire life in denial at his own poor health. The mere mention of a doctor sent him into a rage. So I doubt he would care to be told how many hours kip he needed to sleep each night.

Dreams, on the other hand, are more complex. They are either a weird by-product of sleep – like plastic is to oil, or some kind of clever programming that functions to preserve the brain, a bit like how a screensaver protects computer monitors from phosphor burn-in when not being used.

Our brains digest so much information throughout the day that it has to be processed somehow.  Take this blog. As I type my brain is also observing a messy desk with coffee stains, the picture of a dinosaur pinned to the wall behind the monitor, tuning into overheard Brexit debates in the office. This irrelevant data has to be classified, ordered and expunged. Dreams, then, are a bit like C Cleaner. They defrag. They take all of this collected information and mash it together into a surreal narrative. In this respect, dreams are incredibly democratic as all of the non-essential data gets a more prominent role when we hit the pillow. Tonight I’ll be dreaming of being chased by a coffee slurping dinosaur screaming ‘remain and you’ll die. Leave and you’ll be free’.

Lawrence wasn’t a fan of democracy, believing, like Nietzsche, that levelling down dimmed the light of those destined to lead. As abhorrent as that might sound to modern ears – and clearly it does have its problems – it needs to be seen in context. Lawrence’s work was censored, banned and vilified for daring to offer alternative ways of living on Planet E. The nation as a democratic ideal was responsible for an ugly passivity that brought about harm to the environment and stifled spiritual growth. Modernity claimed to bring about progress but all this meant was the destruction of the natural landscape, as well as producing bullets and bombs that would kill millions of people in the trenches.

Lawrence had no time for resting his head on a pillow and taking refuge in sleep. There were too many battles to be fought in daylight. We see this in his restlessness, making his way across the globe in search of Rananim, settling nowhere for more than two years, refusing to own property because he knew possessions ended up possessing you. We see it time and again in his novels, not least in Kangaroo where Richard Somers outlines ‘a new religious idea’ that ‘must gradually spring up and ripen before there could be any constructive change. And yet he felt that preaching and teaching were both no good, at the world’s present juncture. There must be action, brave, faithful action: and in the action the new spirit would arise.’

This is why Lawrence remains relevant today. He was a dangerous person in a peaceful sense. He dared to dream with his eyes wide open.

dhl-trunkIn the DH Lawrence Memory Theatre we want to address various aspects of Lawrence’s life through artefacts to try to understand this complex writer. How do we convey Lawrence’s ideas about dreaming with your eyes wide open when it’s a lot easier to keep them shut? In 2019 we begin building our Memory Theatre and retracing Lawrence’s savage pilgrimage both physically and digitally. If you have an idea for an artefact get involved and submit ideas here

Other promo videos