Lawrence doesn't like bats, but this doesn't stop him writing about them in his poetry in a manner of real philosophical interest. For rather than anticipate Thomas Nagel's question and attempt to say what it's like to be a bat, Lawrence allows a proto-Derridean play of différance to infuse his writing, constructing a dummy creature with a mask-like face which parodies and subverts the very notion of an essential batness.
In the short poem, 'Bat', for example, Lawrence first confuses them for swallows flying late in the Italian twilight and sewing the shadows together. But then he realises his mistake:
Swallows?
Dark air-life looping
Yet missing the pure loop ...
A twitch, a twitter, an elastic shudder in the flight
And serrated wings against the sky,
Like a glove, a black glove thrown up at the light,
And falling back.
Never swallows!
Bats!The swallows are gone.
This realisation that he's watching bats and not birds flitting about the Ponte Vecchio and flying overhead, gives Lawrence an uneasy creeping in his scalp. He thinks of them as little clots of darkness with wings like bits of umbrella:
Creatures that hang themselves up like an old rag, to sleep;They may very well be symbols of happiness and good fortune in China, but not so for this former resident of Eastwood.
And disgustingly upside down.
Hanging upside down like rows of disgusting old rags
And grinning in their sleep.
Bats!
In the much longer and more amusing poem 'Man and Bat', Lawrence develops his chiroptophobia whilst again doing something of philosophical and literary import. The impure frenzy with which a bat flies round and round his room in mad circles of delirium disgusts and disconcerts him, but it also allows Lawrence to demonstrate not merely how experience might be transfigured into art and given poetic expression, but how writing is inseparable from a process of becoming.
Lawrence, that is to say, establishes what Deleuze terms a zone of proximity with the bat, just as he does elsewhere with various other birds, beasts and flowers. He becomes-bat as the bat in turn becomes-rag or old umbrella. This is not something which is easy to accomplish. But to affect a becoming of this kind is something which all great writers must achieve. Indeed, this is the very mark of literary greatness.
Notes
For an excellent reading of Lawrence's poetry in terms of différance and intertextuality, see Amit Chaudhuri's study, D H. Lawrence and 'Difference', (Oxford University Press, 2003). I am grateful to Chaudhuri for showing how - contrary to the conventional view - Lawrence is not a simple-minded nature lover concerned with understanding the beauty and essence of real animals, but, rather, in artificially constructing creatures in and on his own terms.
'Bat' and 'Man and Bat' may be found in Volume I of the Cambridge Edition of Lawrence's poems, ed. Christopher Pollnitz, (CUP, 2013), pp. 294-300.
