Showing posts with label catherine brown. Show all posts
Showing posts with label catherine brown. Show all posts

13 May 2017

D. H. Lawrence: The Reluctant Londoner

Unused design for the 14th International 
D. H. Lawrence Conference (London, 3-8 July 2017) 
by Stephen Alexander 
(Based on a 1929 film poster by the Stenberg Brothers)


Asked to name places associated with D. H. Lawrence and his fiction, many readers will say Italy, whilst others immediately mention Mexico. Those familiar with the novel Kangaroo often fondly recall his descriptions of the Australian bush. Mostly, however, they think back to the dreary coal mining district in the East Midlands from out of which Lawrence rather miraculously extracted himself. 

One thing's for sure: not many readers will say London - even though he and a surprising number of his characters have interesting connections to the capital. In fact, according to Lawrence scholar Catherine Brown, Lawrence visited the city around fifty times between October 1908 and September 1926 and not only did he live and work there at certain periods, he even married Frieda at a registry office in Kensington. 

Of course, given his aggressive anti-urbanism, it's not surprising to discover that Lawrence didn't much like being in the Smoke and that many of his comments and fictional portrayals of the city tend to be negative - although he does admit in a newspaper article written in 1928 to having found it exhilarating upon arrival as a young man:

"Twenty years ago, London was to me thrilling, thrilling, thrilling, the vast and roaring heart of all adventure. It was not only the heart of the world, it was the heart of the world’s living adventure. How wonderful the Strand, the Bank, Charing Cross at night, Hyde Park in the morning!"

But today, says Lawrence in the same article, all the excitement seems crushed out of the city - not least by the sheer weight of traffic, massively rolling nowhere.

Thus, I suppose Lawrence might at best be described as a reluctant Londoner; one who quickly grew tired of its charms - including the West End girls who had at one time fascinated the Eastwood boy as they paraded along Piccadilly, displaying their non-provincial beauty. Not because he was tired of life, as Samuel Johnson would have it, but, on the contrary, because he found it lacking in vitality and full of deathly dullness and the noise of endless chatter ...

And speaking of endless chatter - though hopefully it won't be deathly dull in character - the 14th International D. H. Lawrence Conference will be held in London this summer (3-8 July). Readers interested in finding out more can click here.


Notes

See: D. H. Lawrence, 'Why I Don't Like Living in London', in Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004), pp. 119-22. 

See also Catherine Brown, 'London in D. H. Lawrence's Words', which can be found as an article on her website - catherinebrown.org - or accessed directly by clicking here

Readers interested in a related post to this one might like to click here.

7 Jun 2016

On the Dog's Bollocks and the Loss of a Penile Bone in Human Males



One of the things my friend Catherine loves most about her new puppy dog is the soft, subterranean nature of his penis, which she characterizes rather nicely as rhizomatic.

"It runs parallel to and just under the surface of the skin (you can see the bulge), with just the very end of it projecting out into the world, like a lipstick."

She adds: "The balls are also mainly under the surface, just at the far end of the semi-submerged penis", though I think she may have mistaken the spherical knot of erectile tissue known as the bulbis glandis for the dog's testicles (not that I'm an expert in canine genitalia).

Catherine concludes with a confession of aesthetico-sexual preference: "I think it so much nicer to have a secret, shy little organ hidden away, rather than a perpendicular penis."

Were I female, I suspect I might very well feel likewise; there is something displeasing about a large dangling dick. But, being male, what really fascinates me about a dog's penis is the fact that it contains a bone (the baculum); a feature common to many placental mammals which provides sufficient stiffness to enable non-erect penetration and allow for an extended period of coition.

Unfortunately, the so-called os penis is absent in man, although present in other primates including chimpanzees and gorillas. Thanks to a malevolent and mocking God removing such from Adam in order to make Eve, human males have never known the joy and reassurance of a true boner and have had to rely on haemodynamics and the vagaries of desire for hardness.


Note; I am grateful to Catherine Brown for suggesting the subject of this post and for allowing me to quote from her correspondence in which we discussed it. Readers interested in Catherine's further views on man and dog should click here


11 May 2016

Of Man and Dog - A Guest Post by Catherine Brown

Penguin, 2012

I have recently read In Defence of Dogs by John Bradshaw, biologist and founder-director of the Anthrozoology Institute at the University of Bristol. The font is academically-small and intimidating. The book is good.

I will pass on its arguments as though they are true. For Bradshaw has done a great deal of research into canine behaviour and, though his findings and inferences are controversial, I have no independent reason to doubt them. In any case, whether they are true or not, they have prompted some interesting reflections in me about pooches and people.

I.

Bradshaw describes the generic mutt; for example, the village dog that one finds all over Africa. They all look roughly alike and share a common evolutionary history that made them perfectly fit for purpose. Selective breeding, however, at the hands of man over millennia, has necessarily produced dogs which are rather less fit. Unfortunately for them, dogs no longer get to choose their own sexual partners and the characteristics for which they're selected, such as utility or good looks, often don't have anything to do with ensuring their survival or improving their health.

It's little wonder therefore that veterinary science is now needed to bridge the fitness-gap that's been opened up and that animal trainers and psychologists are required to deal with dogs that are deemed suboptimal companions. Given that we don't breed certain types of dog primarily for fellowship, it's a bit rich when we complain of aggression or anxiety in our animals, as though these traits were not entirely of our own creation.

Fortunately, we humans, by contrast, resemble village dogs. Except in aristocracies, which have their own problems with fitness, we breed more or less at will, in order to be all-round, well-adapted men and women. Ease of long-distance travel has broadened our gene pools still further. Huxley's Brave New World gives us one vision as to what would happen were it otherwise. Dogs give us another. Were we to be bred by a scientific elite or an alien master race, it's perfectly feasible (and amusing to imagine) that we too might become subdivided into human equivalents of Schnauzers, Dobermans, Bichon Frises, Golden Retrievers, Boxers, Borzois and the rest.

So, in short, most dogs in the Western world are now more pedigree than mongrel; even what is called a mongrel is likely to have at least one pedigree parent or grandparent. By contrast we are for the most part comfortably and healthily mongrel. We don’t need annual vaccinations and monthly worming, as our dogs do, and we are all the better off for it.

II.

Dogs are wolves at arrested stages of development. Even the skull of a little Pekingese resembles that of the wolf foetus; it just doesn’t keep growing into the long, narrow skull of the wolf. Unlike wolves, however, dogs continue to play when they are adults, and are dependent on humans throughout their lives. They therefore never become psychologically mature and independent, as wolves do. Because of the consistency of food supply throughout the year, they are fertile all the year round, unlike wolves, which mate in winter in order to give birth in spring. But because the food that humans can spare for dogs is limited, they are smaller than wolves. They are less fussy about sexual partners than are wolves, which pair-bond, whereas dogs are promiscuous.

And so we, people, are more dog than wolf. We are smaller than earliest man because of our more herbivorous diet (we are only now re-approaching the size of early humans). We are fertile all the year round, and, although we pair-bond to a degree, we are more promiscuous than wolves are. We play, with our child toys or our adult toys, at our child games or our adult games, throughout our lives. Of course, this dogginess is unsurprising, given that we bred dogs in our own image.

Yet the wolves from which we created dogs are not today’s wolves. Since we have persecuted wolves almost to extinction, we have negatively selected those which are most distrustful of us to be the survivors. It is likely that dogs descended from wolves living around 20,000 years ago which had a mutation which enabled them to form relationships with more than one species - our own as well as their own. This mutation served them well; their numbers now dwarf those of wolves.

But, especially in the twentieth century, dog psychology has misleadingly tried to understand dogs with reference to a) modern wild wolves, which are a distrustful, persecuted minority, and b) captive wolves, which, not being able to form and dissolve their own packs, are far more agonistic and violently hierarchical than are the internally-peaceful nuclear family packs of the wild. These false reference points, combined with the false assumption that dogs are essentially wolves in dogs’ clothing, has led to the stress on dominance in dog training.

The assumptions are: every dog wants to be top dog; dogs treat humans as members of their pack; every attempt at dog dominance must be thwarted, and so on. In fact, dogs relate very differently to humans as compared to others of their own kind, and tend to be far more dependent on the former, even in households of multiple dogs. At our own best, we are dog-like in our sociability with all other members of our species, not just within our nuclear families. Where we become wolf-like, in our rivalry with and violent hostility towards other packs, is at the level of the nation. Best to keep dogs within our sights.

Finally, one of the things that makes us human (and dog-like) is our ability to interact with, and nurture, multiple species. This is apparent in the story of the evolution of dogs from wolves. The explanation that wolves were initially tolerated as scavengers in villages is not sufficient by way of explanation of the beginnings of domestication - why would wolves prefer human scraps to the far better and more plentiful food that they can hunt for themselves? Nor is the idea that humans consciously took wolves to train them for various useful purposes, such as those for which working dogs are used today, sufficient as an explanation.

The evidence is that hunter-gatherers, past and present, adopt a variety of baby animals to bring up alongside their own young, simply for the joy of the process, a delight in their cuteness, a delight in play, and, in some cases, the status that accrues from having pets. Amongst today’s Penan of Borneo, and the Huaorani of the Amazon rainforst, parrots, toucans, wild ducks, raccoons, small deer, rodents, opossums, and monkeys are all adopted. Indigenous Australians foster dingo puppies, which, when they become unmanageable adults, are simply driven away to reproduce in the wild. It is likely that the same happened with wolf puppies - and that, eventually, a few of the puppies became domesticated as well as tame, so that they consented to reproduce in a human environment, and thus were set on their course to become dogs.

This is one of the most charming things about humans that I know - that we care about the survival of species other than our own, for reasons other than utility. We delight in nurturing, cuteness, and play, will spend our limited resources on these things, and have done so for as long as we have been human.



Catherine Brown is an English literature academic who also blogs, tweets, and writes for the media. Her literary interests centre on novels and plays of the nineteenth and twentieth centuries and the wider cultural histories of England and Russia. Her tweets tend to be about D.H. Lawrence; her blog posts are mostly reviews of books, films, plays, and exhibitions, or reflections on politics and religion. 

Catherine appears here as part of the Torpedo the Ark Gastautoren Programm and I am very grateful for her kind permission to reproduce, revise and edit this text, which originally appeared on her own blog. 


21 Dec 2014

Merry Christmas Mr Lawrence



December 1929: Lawrence and Frieda are staying at the Villa Beau-Soleil in the South of France; nothing too grand, just a little house with six rooms and a bath, but with central-heating and overlooking the sea. 

It will be Lawrence's last Christmas. His sisters have kindly sent a plum pudding, a cake, and some mincemeat, but he's not in the festive spirit: "Why make merry when one doesn't feel merry?"

Besides, the cat has attacked the goldfish and the madness of the world is "worse than ever".  

By the 23rd, the weather is "grey and sulky" following a great storm and Lawrence has taken to his sick bed. His bronchials have been "behaving very badly" all winter making him tired and irritable. 

Although Frieda is determined to enjoy "a certain amount of Christmas fun", Lawrence insists he wants nothing to do with it. In fact, he wishes the baby Jesus had been born a turnip and eaten by one of the animals standing by the manager. 

Besides, "there is nothing new in the world", so what's to celebrate. 

In one letter, written just before this, his final Christmas, Lawrence sadly informs Aldous Huxley that the cat has now killed and eaten the goldfish, leaving nothing but a few scales floating in the bowl. It is, says Lawrence, "nothing less than a tragedy".

On that note, all that remains for me to do is send warm seasonal greetings to Catherine Brown and David Brock. And, despite all his mock-tragic humbuggery, I'd also like to say ... Merry Christmas Mr. Lawrence!


Note: Quotations are from The Letters of D. H. Lawrence, vol. VII, edited by Keith Sagar and James T. Boulton (Cambridge University Press, 1993). 
       

15 Mar 2014

Lady Chatterley's Body

Photo of Kate Moss by Tim Walker for
Love Magazine, issue 9 (S/S, 2013)

According to a recent tweet from Lawrence scholar Catherine Brown, Wetherspoon's are opening a new pub in Eastwood to be called The Lady Chatterley Arms. I've no objection to this, but think it ironic that the pub is to be named after the one part of her anatomy that Lawrence didn't detail (or fetishize) in his descriptions of Connie. 

We know, for example, she had a ruddy complexion, with soft brown hair, big blue eyes (often full of tears) and a slow, soft voice with an underlying wilfulness. We know too she was golden-skinned and if her navel was rather withdrawn and sad-looking, nevertheless her waist retained its flexibility and her loins their voluptuous curve. 

We also know that whilst Connie wasn't tall and had a somewhat stocky build, she nevertheless had a good figure: she wasn't fat, as Lawrence non-too-subtly puts it. That said, neither was her physique quite fashionable. 

Further, despite having a certain fluid proportion, her body had somehow failed to ripen; her breasts were rather small and drooping pear-shaped, her belly somewhat slack and meaningless. Her thighs, meanwhile, were heavy and inert, whilst her back, her hips and buttocks had lost their distinction and were no longer so gay-looking or sensitive in outline as in her Dresden days (i.e. before her marriage to Clifford).

Nevertheless, these were still the parts of her that seemed most alive; the beautiful, long-sloping hips and the buttocks with their round, heavy contour so full of female energy. It was just the front of her body that made her feel miserable, as it seemed to be making the leap straight from girlhood to old age, without ever knowing its mature perfection. Depressed by this realisation, Connie dramatically loses her appetite and briefly becomes as thin as a rail, with dark shadows under her eyes.

Her affair with Mellors, however, restores her body to its full health and vitality. For he finds her body lovely to touch and to marvel at and this makes her feel beautiful and desirable. Her thighs and belly and hips all perk up and she feels a sort of dawn come into her flesh; even her breasts begin to tip and to stir once more.

Mellors particularly likes her soft, golden-brown pubic hair (in which he ties forget-me-nots) and her silky inner-thighs. And, if he is to be believed, not only does she have the nicest of all arses, but she's also the best bit o' cunt left on earth. 

We know then a good deal about Lady Chatterley's body - perhaps even more than we know about her character. But, as I said earlier, we know nothing about her arms ...


9 Jan 2014

In Praise of Invisible Artworks

Tom Friedman: Untitled (A Curse), 1992


One of the nice things about having English-Lit scholar and TV star Dr Catherine Brown as a friend is that she raises so many interesting topics for discussion: such as invisible artworks, which, until two nights ago, I was completely unaware of, but am now a little obsessed by having seen them (or, rather, not seen them) for myself.

In particular, I'm fascinated with an untitled piece by Tom Friedman in which he commissioned a witch to place a curse in the space above an empty pedestal, thereby creating an enchanted work that makes us think not merely about that old chestnut of what does and does not constitute art and what roles imagination and belief might play in our understanding and appreciation of an object, but also about how sacred or - as in this case - accursed space is divided off from the secular and commercial space which surrounds it.

But what I really like about Friedman's piece is that, like other invisible works, it lends itself to crime: for one could arguably steal it without anyone knowing; or, more amusingly, one could employ a witch of one's own to cast a spell that would lift the curse, thereby destroying the work in an act of magical vandalism.