For the last five years, Paul Fillingham and I have been working on a digital project to celebrate the life of D.H. Lawrence. We’ve done this without any funding (because we haven’t had time to apply) filling up every spare second of our evenings after a hard slog through the day job. Our intention is simple, to bring Lawrence (kicking and screaming) into the 21st century. We don’t claim to be Lawrencian experts and fully expect some of our suggestions to be ripped apart. So please do tell us when and where we have got something wrong and we will consider revisions (although not biases). Our memory theatre will contain the good, the bad and the ugly: the complexities and contradictions of a human life.
It’s taken five years because this is how long we’ve needed to immerse ourselves in Lawrence’s phenomenal literary output – and we still haven’t touched the surface. Lawrence once chided Mabel Dodge Luhan that, ‘You don’t know your floor until you have scrubbed it on your hands and knee’. We’ve taken this attitude with the memory theatre. We don’t know Lawrence until we’ve read every word written by him or about him.
Representation of any author’s work is a challenge because there are so many interpretations of their work. This is particularly true for Lawrence who has been reviled and loved across the decades. We understand how important it is to get things right. This means reading, reading, reading. Lawrence is a complex beast who can easily be misinterpreted. He can be infuriating and unbearable. Then profound and evocative. One thing he is not is mediocre.
To help challenge and cement ideas, the Memory Theatre project has been a dissertation option at Nottingham Trent University for the past four years. This has given me time to select and curate various aspects of Lawrence’s work, to identify recurring themes, and, more importantly, to understand what these themes mean to younger, digitally literate audiences. His ideas on money, industrialization, rananim, and the environment seem increasingly more relevant.
Paul has been constructing the website and coding for the project, thinking about the way the Memory Theatre can be accessed via different devices, developing the logo and branding, and visualising how the artefacts will appear. Due to Coronavirus, the memory theatre will have to be digital for now and so we need this to look right. This takes time.
Our intention was to launch the memory theatre in 2019 to mark the centenary of his self-imposed exile. But instead we are doing this today, on his 135th birthday, where we have our first artefact: Mr. Muscles. This is in recognition of his incredible work ethic, and the good spirit in which he approached life. Juliette Huxley said Lawrence cooked ‘as he did most things, with a radiating creativeness which was contagious. Even washing-up had its own charm, enriched with the satisfaction of putting everything back in its chosen place, glowing with fresh cleanliness.’
Lawrence constantly reminds us that we are transmitters of life and what we transmit has an impact on the way we perceive the world as well as the way we make others feel. Paul and I have given the memory project every ounce of our being. We hope it ‘radiates creativity,’ by pushing the boundaries of digital literary criticism and as an alternative to the linear biography.
You can visit the project website here and read the opening artefact essays using the links below.
Frustrated with modernity and the literary establishment, D.H. Lawrence travelled the globe in search of Rananim. He believed a new way of being was possible, making this the philosophical focus of his novels. Can his ideas on community help us during these difficult times? Expect a few tantrums on the way…
Although he would have enjoyed the solitude, D.H. Lawrence wouldn’t have coped very well with lockdown. Not because he was rubbish at following rules, but because he was a proper fidget. After leaving Britain in 1919 he travelled the globe, never settling in one place for more than two years. He refused to own property, making home in disused cabins at the top of mountains or being put up by friends. There were numerous reasons for his peripatetic lifestyle, but here we’ll focus on one: Rananim.
It’s believed that Lawrence first came across the concept of Ranamim when his friend S.S. Koteliansky sung the Hebrew chant Ranani Zadikim l’Adonoi to him. The two met in 1914 and were together in Barrow-in-Furness when WWI was declared. This was a significant time to bond as it marked a very difficult period for Lawrence as he suffered from poverty, political persecution – his wife was German, and frustrations with the censor that would plague his entire career. This is best captured in a letter to Edward Garnett in June 1912, when Lawrence really let rip:
“Curse the blasted, jelly-boned swines, the slimy, the belly-wriggling invertebrates, the miserable sodding rotters, the flaming sods, the snivelling, dribbling, dithering palsied pulse-less lot that make up England today. They’ve got white of egg in their veins, and their spunk is that watery it’s a marvel they can breed. They can but frog-spawn — the gibberers! God, how I hate them! God curse them, funkers. God blast them, wish-wash. Exterminate them, slime.”
This letter was in response to publisher William Heinemann who had rejected the first draft of his third novel, Sons and Lovers. This was eventually published in 1913 but it didn’t take long for it to be banned from libraries. His next novel, The Rainbow (1915) was seized under the Obscene Publications Act and burned. Although it didn’t contain any naughty words, it was deemed anti-British for daring to question everyday fundamentals such as work, religion, and relationships.
Lawrence was as frustrated with the publishing industry as he was with modernity. Industry dehumanized community and destroyed the natural landscape, whereas war demanded blind conformity to the flag and a further loss of individuality. He felt like he was the only one who could see this ‘Ugliness. Ugliness. Ugliness’ and so began to develop a philosophy for life through his novels. To do this he had to get away from Britain sharpish, and so embarked on a ‘savage pilgrimage’ of self-imposed exile.
“I shall say goodbye to England, forever, and set off in quest of our Rananim” he wrote to Koteliansky, on 12 January 1917. Rananim was the concept of a utopian community, a place where humanity could rise from the ashes of the past and old values, and purged of evil, be reborn in peace and love. Away from modernity and consumerism, it would be possible to find “a good peace and a good silence, and a freedom to love and to create new life.” The phoenix became his personal emblem, as he too was rising out of the flames and being reborn.
It would be a mistake to interpret this as the desire to create some kind of hippy commune or scribal gathering. This is evident from Lawrence’s time in Taos, New Mexico. Mabel Dodge Luhan, a wealthy patron of the arts, invited the Lawrence’s to stay with her in 1921. She wanted him to capture the spirit of Taos in the same way that he had done with Sea and Sardinia (1921). She too was trying to escape modernity and believed that bringing the greatest thinkers and artists together in one place would help build a better world than the one currently being destroyed by war and industry.
Lawrence was apprehensive at first, asking whether he’d encounter “a colony of rather dreadful sub-arty people”. He wasn’t a fan of literary crowds who he described as “smoking, steaming shits”. He was also cautious of “meeting the awful ‘cultured’ Americans with their limited self-righteous ideals and their mechanical love-motion and their bullying, detestable negative creed of liberty and democracy.” But he eventually turned up a year later after taking a detour via Australia and Ceylon.
There was an immediate clash of personalities and they quickly fell out. He hadn’t travelled halfway across the world to further her status. So, he headed off to the hills to live in a cabin. It was here, away from the crowds, that he was truly happy, embarking on a series of DIY projects – carpentry, glazing and putting up shelves, living simply and writing under a tree.
We are being asked to self-distance at the moment and many of us our finding it difficult. But Lawrence chose to get as far away from people as he could, writing, “I only want one thing of men and that is that they should leave me alone”. What he really meant was anybody who banned his books or didn’t share his world view.
His search for kindred spirits took him to many countries, but it never quite worked out. At his most desperate he considered ploughing his savings into a boat, “I would like to buy a sailing ship and sail among the Greek islands and be free…free! Just to be free for a little while of it all…with a captain and a couple of sailors, we could do the rest.”
Lawrence teaches us to seek out Rananim in our lives. We may not have the freedom to replicate his nomadic lifestyle, but we are starting to think about what community means, or, at the very least, have introduced ourselves to the neighbours for the first time.
Rananim doesn’t exist in a single place or location, location, location – so don’t expect Kirstie Allsop to source it out for you. Rather it’s a state of mind shared with likeminded people. So, don’t expect to find it too soon. In a letter to Catherine Carswell he explains, “I think people ought to fulfil sacredly their desires. And this means fulfilling the deepest desire, which is a desire to live unhampered by things which are extraneous, a desire for pure relationships and living truth”.
Lawrence lived through the Spanish Flu outbreak of 1918 which killed 50 million people – more than died in WWI. He had terrible health throughout his life and eventually succumbed to tuberculosis at the age of 44. He was not happy with the world he was born into, or perhaps more accurately, unhappy with the way that world was being destroyed by industry, pollution and greed. Sound familiar?
It seems fitting, then, that during lockdown, where everything “extraneous” has been removed, the rainbow, the title of Lawrence’s 1915 novel, has become the symbol of hope during these difficult times. This once banned book which dared to demand a different way of being holds a message in the final paragraph that we can all relate to.
“She saw in the rainbow the earth’s new architecture, the old, brittle corruption of houses and factories swept away, the world built up in a living fabric of Truth, fitting to the over-arching heaven.”
In the D.H. Lawrence Memory Theatre we are exploring Lawrence life through artefacts. We officially set sail in November 2019 to mark the centenary of his self-imposed exile. You can submit artefacts here, or join in the conversation on Instagram or leave a comment below.
In October 2016 a major cyber-attack took down high profile websites such as Paypal, Twitter and Spotify. It also took down 4 lesser known websites: Being Arthur, the Sillitoe Trail, Dawn of the Unread and Memory Theatre. These websites were all hosting digital literature projects by Paul Fillingham and I and are slowly being resuscitated.
The attacks raised an important issue regarding the future of the digital public sphere. Unless you’re a large corporation with a wealth of expert staff at your disposal, or, at the very least, a very competent and computer savvy programmer, such attacks are devastating and can completely wipe out your online presence within seconds. So much for online utopianism. So much for democracy. The more things change, the more they stay the same…
This is why this first blog post is inaccurately dated 18 February 2017. The first blog post for this D.H. Lawrence project was back around September 2015, but now we’re having to start all over again. On our official website I’m reliant on Paul Fillingham to magically restore the website so I can start blogging about our project. But as a freelancer, this is not high on his priority list. There’s the clients and the paid work. But I can’t wait any longer. Like Lawrence I’m impatient, restless, and desperate to move. So restless in fact I’m tempted to start each sentence of this blog with a verb, as Lawrence does in Sea and Sardinia. “Comes over one an absolute necessity to move. And what is more, to move in some particular direction.”
Moving we are then. At last. Not South West, as was Lawrence’s preferred direction in Twilight in Italy, nor East, when he embarked on the RMS Osterley on 26 Feb 1922 for Ceylon and the hope of “a new start.” But into the murky depths of the digital void where there is no sense of direction, no sense of beginning or end, just a kind of digital limbo. Although, technically speaking, this blog is completely fixed in time and space. It has an IPS address and so this is the first call out for visitors (or attackers) to come along.
I wonder what Lawrence would make of the hack. He was, after all, a man who preferred to throw a hand grenade into a room to see what would happen than sit down quietly in the corner. I don’t think he would appreciate the pointlessness of the hack. It would have to serve a purpose and there was no purpose served in bringing down our websites. It was too random. Undirected. But as a writer who despised the dehumanising effects of industrialisation, I think he would be appalled at our digital lives, particularly how complicit we’ve become in giving up our freedom for convenience.
The hack was successful because of our increasing reliance on the Internet of Things. Very simply this is computing devices embedded in everyday objects that are able to send and receive data via the internet. These ‘smart’ devices typically include baby monitors and thermostats, both of which can be controlled via your smartphone, down to the computer maintenance chip in your car that flashes up to tell you when you need a service. With everything increasingly being hooked up to the internet, there are more access points than ever, meaning you only need to leave one window open and boom! Game over.
No, Lawrence would have no sympathy for our plight or for anyone sucked into the glittering lights of the internet. He’d want to get as far away from the digital world as possible. “I’d wipe the machines off the face of the earth again, and end the industrial epoch absolutely, like a black mistake” he famously raged.
I hope he may forgive our “black mistake” in digitising his journey, and instead see it as another voyage of discovery, an attempt to charter unknown waters, a quest to find Rananim somewhere in the digital void before some benign force comes along and wipes us out for good.