Desperate Farmwives

The Farmer's Wife (SA/2023)

 

 

As the Little Greek poses at the gate of a nearby farm, I'm reminded that the (often sentimentalised) figure of the farmer's wife is a popular trope in art, literature, and cinema. 

 

I suppose some might even insist she's a figure with archetypal significance; an embodiment of the Earth Mother, representing ancient ideals of fertility and homestead, etc. Early rising, hardworking, resiliant and reliable, she is the kind of woman who loves her chickens and her vegetables almost as much as her husband and children.   

 

D. H. Lawrence famously provides a description of such women in whom the past (and perhaps the future) unfolds, in what many regard as his greatest novel, The Rainbow (1915). 

 

However, Lawrence subverts the conventional stereotype of 19th-century farmwives by suggesting that, in crucial contradistinction to their heavy-blooded, slow-witted menfolk, they are increasingly tempted by the life afforded by the encroaching world of modernity. 

 

Thus, whilst the men were content to put their very being into farming, the women were different:

"On them too was the drowse of blood-intimacy [...] But the women looked out from the heated, blind intercourse of farm-life, to the spoken world beyond. They were aware of the lips and the mind of the world speaking and giving utterance, they heard the sound in the distance, and they strained to listen.

      It was enough for the men, that the earth heaved and opened its furrow to them, that the wind blew to dry the wet wheat, and set the young ears of corn wheeling freshly about; it was enough that they helped the cow in labour, or ferreted the rats from under the barn, or broke the back of a rabbit with a sharp knock of the hand. So much warmth and generating and pain and death did they know in their blood, earth and sky and beast and green plants, so much exchange and interchange they had with these, that they lived full and surcharged [...]

      But the women wanted another form of life than this, something that was not blood-intimacy." [1]

  

What is it, then, that these women wanted exactly? Ultimately, it's the same thing that so beguiled Eve: knowledge. 

 

For despite occupying the supreme position in her own home - her husband deferring to her on almost all points - the Lawrentian farmer's wife is desperate to know "the far-off world of cities [...] where secrets were made known and desires fulfilled" [2]. 

 

She craved to know more and experience more; to have greater freedom and achieve a superior (more spiritual, less bestial) level of being. And if she couldn't achieve this, then she determined that at least her children would be educated and encouraged to aspire towards a different life - a bigger, better, finer life. 

 

Sadly, we know where all this leads: today, farmers are increasingly prone to mental ill health and suicidal tendencies, and often have to resort to online dating services in order to find a woman willing to marry them [3]. To paraphrase Nietzsche, all meaning has gone out of modern farming; yet that is no objection to farming, but to modernity [4].

 

However, like Lawrence, I can't quite bring myself to condemn those desperate farmwives. For whilst I might not wish for the triumph of the mind and the machine, I'm not sure I would be happy living a rural pre-modern life on the farm, rooted in blood, soil, and agrarian bullshit.  

 

 

Notes

 

[1] D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989), pp. 10-11.

 

[2] Ibid., p. 11.

[3] Whilst the quality of data is an issue, research has suggested that farmers are at higher than average risk of mental illness and suicide and the UK Government acknowledges this is an issue of concern. 

      For example, whilst 64% of farmers recently surveyed by Farmer's Weekly were happy with their physical wellbeing, only 55% felt positive about their mental health and in 2019, there were 102 registered suicides in England and Wales by individuals working in the agricultural sector in England and Wales (this accounts for over 2% of suicides that year, whilst agricultural workers only make up around 1% of the workforce). 

      As for farmers having trouble finding wives, the magazine Country Living launched a unique dating service decades ago, based on the simple premise that if you live and work on the land it can be especially hard to find a partner. This grew into an online service and even spawned an award-winning TV series in more than twenty countries. If you are a farmer and wish to sign up, then click here. 

 

[4] I'm paraphrasing what Nietzsche writes in Twilight of the Idols of modern marriage; see 'Expeditions of an Untimely Man', §39.

 

 

For a related post to this one on the farmer's daughter, click here.   

 

Maiesiophilia

A pregnant Demi Moore photographed by 

Annie Liebovitz for Vanity Fair (1991) [1]

 

 

I. 

 

One of the most famous - and, at the time, most scandalous - scenes in D. H. Lawrence's 1915 novel The Rainbow, features newly wed Anna Brangwen dancing naked before the Unknown, whilst heavily pregnant:

 

"Big with child as she was, she danced there in the bedroom by herself, lifting her hands and her body to the Unseen Creator [...] to whom she belonged.

      She would not have had anyone know. She danced in secret, and her soul rose in bliss. She danced in secret before the Creator, she took off her clothes and danced in the pride of her bigness." [2]      

 

One Saturday afternoon, alone in her bedroom before the fire, she again "took off her things and danced, lifting her knees and her hands in a slow, rhythmic exulting" [3]. When her husband Will enters and finds her naked in the shadows, he is somewhat startled, and advises that, if she's not careful, she'll catch a cold. 

 

Irritated by this stupid, sexless remark, Anna lifted her hands and began to dance once more, the firelight illuminating her body:

 

"He stood away near the door in blackness of shadow, watching transfixed. And with slow, heavy movements, she swayed backwards and forwards [...] pale in the dusky afternoon [...]

      He watched, and his soul burned in him. He turned aside, he could not look [...] Her fine limbs lifted and lifted, her hair was sticking out all fierce, and her belly, big, strange, terrifying [...] Her face was rapt and beautiful [...] [4]    

 

Will is unable to ever forget this vision of his pregnant young wife; if it aroused him at all, so too did it terrify him; for at that moment she was, in all her femaleness, beyond him. 

 

This is certainly an interesting scene to do with womanhood, sex and pregnancy - albeit one that Lawrence cannot help dressing up in religious language (just as, on the other hand, this self-professed priest of love cannot help eroticising his own metaphysics). 

 

One assumes that Lawrence's publishers (Methuen & Co.) must have known that this scene - along with several others - would cause them problems with the censors ...? 

 

And, sure enough, The Rainbow was prosecuted for obscenity, as a result of which around a thousand copies of the novel were seized and burnt and the book remained unavailable in Britain for the next eleven years (although editions were published in the United States). 

 

As one critic wrote in high moral outrage, when art refuses to 'conform to the ordered laws that govern human society [...] it must pay the penalty' [5].

 

 

II.   

 

In a letter written to Martin Secker in 1920, Lawrence reflects on the fate of The Rainbow, suggesting that the magistrates had acted in response to the hostile reviews the book received. He also informs Secker: "The scene to which exception was particularly taken was the one where Anna dances naked, when she is with child." [6] 

 

Thus, Lawrence was certainly aware that this scene was probematic - and I'm sure he knew why. For whilst Christianity has never taught that coition during pregnancy is a sin, many Church Fathers - including St. Augustine and Clement of Alexandria - seem, like Anna's husband Will, to be freaked out by the erotic aspects of pregnancy and the idea of fucking an expectant mother. 

 

The former, for example, spoke harshly about those husbands who approach their wives for sexual intercourse whilst they are with child, seeing this as a shameful lack of self-control [7]. As for the latter, he was more concerned about potential harms that might result, believing that it was necessary to protect the uterus once it had received the semen it desires and began the process of child formation. 

 

According to Clement, the womb closes itself up during pregnancy and no longer craves semen. Thus, any further act of coition at the man's insistence - and any new delivery of semen - is an excessive act of violence [8]. 

 

Beliefs such as these have continued to shape the thinking of many people, even whilst modern medical professionals insist that sex during pregnancy is normal, healthy, and perfectly safe for all parties concerned; including the unborn child, which is protected by the amniotic fluid in the womb and by the cervical mucus plug that forms shortly after conception.         

 

 

III. 

 

In conclusion ...

 

Whilst some women may experience a decrease in their sex drive whilst pregnant, others - like Anna Brangwen - never feel more sexually attractive and empowered than when big with child. 

 

Similary, whilst some men - like Will Brangwen - have a tokophobic aversion to seeing their pregnant wives dance round naked and ecstatically delighting in their womanhood and fertility, others veer towards maiesiophilia and are turned on by lactating breasts and an enlarged abdomen [9].      

 

Personally, I'm with Will on this one. It's not that I feel humiliated or nullified in my maleness by the site of a pregnant nude woman. Rather, I just find it slightly irritating when women like Anna (or Demi) get too full of themseves and believe that pregnancy - a biological function shared with all other mammals - is a miraculous state that gives them meaning or brings them closer to God. 

I would remind such women of this crucial couple of lines from Lawrence:

 

"That she bear children is not a woman's significance. But that she bear herself, that is her supreme and risky fate: that she drive on to the edge of the unknown, and beyond." [10]

 

      

Notes

 

[1] This nude photograph by Annie Liebovitz of 28-year old actress Demi Moore, who was seven months pregnant at the time, certainly got people talking when it appeared on the cover of the August 1991 issue of Vanity Fair. 

      Many critics deemed it inappropriate; some even described it as indecent (despite the fact that Moore discreetly covers her breasts with her hand). Some retail outlets would only sell the issue once it was wrapped in plain paper, as if a pornographic magazine, much to Moore's bemusement. It has since been named as one of the most influential images of the 20th-century, although, interestingly, Liebovitz herself doesn't think it a particularly good picture.    

 

[2] D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989), pp. 169-170. 

 

[3] Ibid., p. 170.    

[4] Ibid., pp. 170-171.

[5] James Douglas, writing in the Star (22 October, 1915), quoted by Mark Kinkead-Weekes in his Introduction to The Rainbow, p. xlvi.

[6] D. H. Lawrence, letter to Martin Secker (16 January 1920), in The Letters of D. H. Lawrence, Vol. III, ed. James T. Boulton and Andrew Robertson, (Cambridge University Press, 1984), pp. 458-460. The line quoted is on p. 459.

 

[7] See Augustine, On the Good of Marriage, V.   

 

[8] See Clement of Alexandria, Paedagogus, II. X.

 

[9] Pregnancy porn may still be a rather niche interest, but internet searches for such have steadily increased during the last few years according to stats released by Pornhub, in 2017. Not all of this traffic comes from out-and-out pregnancy fetishisists, however; it also includes, for example, those men who simply like to fantasise about their own virility and gain arousal or gratification from the possibility (or risk) of impregnating a woman. 

      Somewhat surprisingly, Pornhub's data also reveals that women are significantly more interested in pregnancy-related porn than men; indeed, women in the 25-34 year old age group are the most likely to search online for such. See Lenyon Whitaker, 'Pornhub data reveals "pregnancy porn" searches are on the rise', Metro (15 May, 2017): click here.   

 

[10] D. H. Lawrence, 'Study of Thomas Hardy', in Study of Thomas Hardy and Other Essays, ed. Bruce Steele, (Cambridge University Press, 1985), p. 52. 

      In this same passage, Lawrence explicity denies that the purpose of sex is for the depositing of seed. Procreation, he says, is "merely a preservative measure" and the continuance of life in the flesh "only a minor function". 

 

 

The Flood is Never Over

Utnapishtim preparing for the flood

 

 

I. 

 

The story of a great flood or deluge, usually sent by a deity of some kind in order to punish humanity and cleanse the earth, is found within many cultures, not just the Judeo-Christian, whose famous flood narrative in Genesis featuring Noah and his ark was almost certainly adapted from an earlier Mesopotamian myth, a version of which can be found in the Epic of Gilgamesh (c. 1800 BC). [1]     

 

In the Gilgamesh flood myth, the supreme god Enlil decides to destroy the world not because human beings have become violent and corrupt, but because they are simply too noisy. However, the god Ea, who created mankind out of clay and divine blood, secretly warns the culture hero Utnapishtim of the impending flood and gives him instructions for building a huge boat so that he and others may survive. 

 

Of course, thanks to the fossil record etc., we know that a global flood such as the one described in these and other similar myths is incompatible with our modern understanding of the world and its natural history. Nevertheless, it remains a fascinating story and is one that clearly interests German philosopher Peter Sloterdijk ...

 

 

II.

 

In an interview with Manfed Osten [2], Sloterdijk discusses the libretto he wrote for the opera Babylon (2012), composed by Jörg Widmann. In the course of discussion, he says that one of the aims of the work was to appeal against traditional misunderstandings of the flood myth:

 

"We establish the fact that the Babylonian gods had nothing to do with the Flood at all. In the old accounts we read that they fled shivering to the mountaintops to await the end of the catastrophe. First and foremost, the God of Israel had no connection with the Flood - he was only associated with this Mesopotamian story later, in the post-exile period. It follows that he didn't send the Flood and that he had no powers to promise it would never return. In fact, he is completely outside the story - even though people might have perpetuated the false version of it for the past 2,500 years. The real point is that neither the gods of the Babylonians nor the God of Judaism were involved in causing the Flood. The Flood, with all its awe-inspiring astral drama, was an external cosmological event that was later internalized by means of religion and translated into the language of guilt and sacrificial duty."    

 

If Sloterdijk is right, that means that there is no real need to torpedo the ark - for this act no longer signifies that we refuse the judgement of God. Similarly, there is no need for any act of sacrifice:

 

"If the gods weren't involved in the great disaster at all they couldn't have any interest in sacrifices being made to avoid a repetition. The heavens - as understood in cosmological and meteorological terms - constitute a factor beyond divine power. Because God and gods didn't cause the Flood, we don't need to beg them to protect us from another flood. The gods have nothing to do with the cosmic disaster. Consequently, after the end of the Flood there was no need for a new covenant between God and human beings. [...] The rainbow in the sky after the Flood does not mean that God, after venting his wrath on the sinful mob, returned to calm reflection, as the biblical narrative suggests. If we want to make a symbol out of the rainbow, it stands for people finding the courage to carry on after the worst has happened. It inspires them to unite with each other against blind fate."

 

In fact, it arguably does more than this: it inspires them to love fate and acknowledge that life always faces some kind of existential threat (be it a natural disaster or a man-made catastrophe) and that the only way we can live is to live with an awareness of ever-present danger; not to creep about in a state of semi-permanent lockdown wearing masks, but to realise, as Sloterdijk says, that the flood is never over ...

 

 

Notes

 

[1] Just before any Babylonian readers get too carried away and pride themselves on being the authors of this story, it should be noted that the Epic of Gilgamesh is thought to to have originated in an even earlier Sumerian myth. 

[2] Peter Sloterdijk, 'With the Babble of Babylon in the Background', interview with Manfred Osten, in Selected Exaggerations, ed. Bernhard Klein, trans. Karen Margolis, (Polity Press, 2016), pp. 313-22. The lines quoted here can be found on pp. 317-19. 

Believe in the Ruins: Reflections of a Gargoyle on the Great Fire of Notre-Dame de Paris

croire aux ruines ...

I.

It's a shame that the fire at Notre-Dame only destroyed the roof and spire, leaving the towers and most of the building still standing. It would have been better for the people of France - better for all of us - if the whole thing had been razed to the ground.

I say this not as some kind of cultural barbarian or iconoclast, nor simply to be provocative; but, rather, as someone in agreement with D. H. Lawrence, who writes in one of his Etruscan sketches:

"We have reached the stage where we are weary of huge stone erections, and we begin to realise that it is  better to keep life fluid and changing, than try to hold it fast down in heavy monuments. Burdens on the face of the earth, are man's ponderous erections."

Like Lawrence, I love to see small wooden temples, that are unimposing and evanescent as flowers. Buildings - particularly religious buildings - should aim to be modest and charming rather than grand and impressive, preserving the natural humour of life: "And that is a task surely more worthy, and even much more difficult in the long run, than conquering the world or sacrificing the self or saving the immortal soul."   

Lawrence continues:

"Why has mankind such a craving to be imposed upon! Why this lust after imposing creeds, imposing deeds, imposing buildings, imposing language, imposing works of art? The thing becomes an imposition and a weariness at last. Give us things that are alive and flexible, which won't last too long and become an obstruction and a weariness."

Even Notre-Dame, if we're honest, standing in Paris for centuries on end, had become a colossal dead weight - stuffed full of priceless treasures and cultural artefacts, but dead treasures and dead artefacts, belonging to another time, another people.

And one suspects that those who claim to revere the past and seek to preserve it - along with those billionaires and politicians who are now pledging obscene sums of cash to rebuild the cathedral (whilst continuing to ignore the deprivation in many parts of the city and its suburbs) - do so simply because they are unable ultimately to face up to the challenge of modernity to make it new.   

II.

Lawrence, of course, was ambiguous (at best) on the question of cathedrals - from Lincoln to Milan - long before his trip to see the Etruscan tombs in 1927.

In The Rainbow, for example, his novel of 1915, Lawrence stages an amusing conflict between Anna Brangwen and her husband Will, in which she destroys his passion for Lincoln Cathedral with her own gargoyle philosophy ...

Will is physically excited by the cathedral and willingly allows himself to be transported by it to another world. But to Anna, it's merely a thing of the past and she rather resented his ecstasy, wishing he might curb his enthusiasm.

Lawrence writes:

"The cathedral roused her too. But she would never consent to the knitting of all the leaping stone in a great roof that closed her in [...] it was the ultimate confine [...] She claimed the right to freedom above her, higher than the roof. [...]
      So that she caught at little things, which saved her from being swept forward headlong in the tide of passion that leaps on into the Infinite [...] the wicked, odd little faces carved in stone, and she stood before them arrested.
      These sly little faces peeped out of the grand tide of the cathedral like something that knew better. They knew quite well, these little imps that retorted on man's own illusion, that the cathedral was not absolute. They winked and leered, giving suggestion of the many things that had been left out of the great concept of the church."

Understandably, Will is unimpressed with such thinking and has little or no time for the carved faces; his wife was "spoiling his passionate intercourse with the cathedral" and this made him bitterly angry:

"Strive as he would, he could not keep the cathedral wonderful to him. He was disillusioned. That which had been his absolute, containing all heaven and earth, was become to him as to her, a shapely heap of dead matter [...]
     His mouth was full of ash, his soul was furious. He hated her for having destroyed another of his vital illusions."

Anna's nihilism, however, inasmuch as it's a counter-idealism, is an active negation of the negative and of nothingness. Thus, despite Will's initial anger and despair, gradually he became more responsive to the call of the gargoyles than to the perfect surge of the cathedral itself, realising that outside the cathedral "were many flying spirits" that could never be contained within the holy gloom.

"He listened to the thrushes in the garden, and heard a note which the cathedrals did not include: something free and careless and joyous. He crossed a field that was all yellow with dandelions [...] and the bath of yellow glowing was something at once so sumptuous and so fresh, that he was glad he was away from his shadowy cathedral.
      There was life outside the church. There was much that the church did not include. [...] He thought of the ruins of the Grecian worship, and it seemed, a temple was never perfectly a temple, till it was ruined and mixed up with the winds and the sky and the herbs."

And so, my advice to the good people of Paris is this: either finish the job and demolish the rest of Notre-Dame, or leave it as a lovely ruin, roofless, and at the mercy of the elements.

See:

D. H. Lawrence, 'Sketches of Etruscan Places', in Sketches of Etruscan Places and Other Italian Essays, ed. Simonetta de Filippis, (Cambridge University Press, 1992), pp. 32-33.

D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989), pp. 188-89, 190, 191. 

Jamie Reid archive 

vam.ac.uk 

Slippery When Wet: Reflections on D. H. Lawrence's Aquaphilia

Image via derpibooru.org

Aquaphilia is yet another form of sexual fetishism that we often come across in the work of Mr. D. H. Lawrence and I thought it might be interesting to examine several instances of his water-based eroticism here ...

I: The White Peacock

There's a very lovely scene in Lawrence's first novel in which Cyril and his friend George frolic naked in a pond ...

"The water was icily cold, and for a moment deprived me of my senses. When I began to swim, soon the water was buoyant, and I was sensible of nothing but the vigorous poetry of action. I saw George swimming on his back laughing at me, and in an instant I had flung myself like an impulse after him. The laughing face vanished as he swung over and fled, and I pursued the dark head and the ruddy neck. [...] As I came up to him and caught him, with my hand on his shoulder [...] George was floating just beside me, looking up and laughing."

This is already a fairly explicit piece of homoerotic and aquaphilic writing, but it's interesting to note the words deleted from the original MS at this point: "and his white breasts and his belly emerged like cool buds of a firm fleshed water flower" - a line that could only have come from Lawrence's pen.  

Afterwards, having returned to the land, Cyril and George "stood and looked at each other as [they] rubbed [themselves] dry".


II: The Trespasser

What's interesting about the case of Siegmund, the protagonist of Lawrence's second novel, The Trespasser, is how his aquaphilia takes on an autoerotic character and moves towards a becoming-fish ...

"He chose his bathing place [...] threw his clothes on a high rock [...] ran laughing over the sand to the sea, where he waded in, thrusting his legs noisily through the heavy green water.
      It was cold, and he shrank. For a moment he found himself thigh-deep [...] afraid to plunge. Laughing, he went under the clear green water.
      He was a poor swimmer. Sometimes a choppy wave swamped him, and he rose gasping, wringing the water from his eyes and nostrils, while he heaved and sank with the rocking of the waves that clasped his breast. Then he stooped again to resume his game with the sea. It is splendid to play, even at middle age, and the sea is a fine partner."

Now, I'm not saying for certain that he jerked off in the sea. But Lawrence writes in such a queerly erotic manner that this is certainly implied: "He offered his body to the morning, glowing with the sea's passion ... the sunshine came on his shoulders like warm breath. He delighted in himself."

And if he did, in fact, choose to ejaculate his sperm upon the naked waters, mightn't this be said to mark his becoming one with his aquatic environment, just like a wave-thrilled fish?    


III: The Rainbow

Suddenly, in her penultimate term, Ursula Brangwen discovers that a "queer awareness existed between herself and her class-mistress, Miss Inger [...] a rather beautiful woman of twenty eight" who also happens to be the school's swimming instructress:

"Ursula trembled and was dazed with passion. Her hopes were soon to be realised. She would see Miss Inger in her bathing dress.
      [...] In the great bath the water was glimmering pale emerald-green, a lovely, glimmering mass of colour within the whitish, marble-like confines. Overhead the light fell softly and the great green body of pure water moved under it as someone dived from the side.
      Ursula, trembling, hardly able to contain herself, pulled off her clothes, put on her tight bathing suit, and opened the door of her cabin. Two girls were in the water. The mistress had not appeared. She waited. A door opened, Miss Inger came out, dressed in a red-tunic like a Greek girl's, tied round the waist, and a red silk handkerchief round her head. How lovely she looked. Her knees were so white and strong and proud, she was firm-bodied as Diana. She walked simply to the side of the bath, and with a negligent movement, flung herself in. For a moment Ursula watched the white, smooth, strong shoulders and the easy arms swimming. Then she too dived into the water.
      Now, ah now she was swimming in the same water with her dear mistress. The girl moved her limbs voluptuously, and swam by herself, deliciously, yet with a craving of unsatisfaction. She wanted to touch the other, to touch her, to feel her."

Miss Inger invites Ursula to race her: and so the latter sets off in chase; just as Cyril chased George in The White Peacock:

"The mistress was just ahead, swimming with easy strokes. Ursula could see the head put back, the water flickering upon the white shoulders, the strong legs kicking shadowily. And she swam blinded with passion. Ah, the beauty of the firm, white, cool flesh! Ah, the wonderful firm limbs. If she could but hold them, hug them, press them between her own small breasts!"

Lawrence concludes this hydrosapphic fantasy:

"They neared the end of the bath - the deep end. Miss Inger touched the pipe, swung herself round, and caught Ursula round the waist, in the water, and held her for a moment against herself. The bodies of the two women touched, heaved against each other for a moment, then were separate."  

Lawrence, however, can't resist giving us a further scene of aquatic lesbianism later in the same chapter ...

Miss Inger has invited Ursula to stay with her for the weekend at a country cottage and suggests a midnight swim. They undress in the bungalow, Ursula a little nervously. And then they venture outdoors, naked, feeling the "soft air of night upon their skins". Because Ursula is uncertain of the path, Miss Inger holds her close, and gives her a reassuring kiss.

Then, she picks up her student and volunteers to carry her into the water: "Ursula lay still in her mistress's arms, her forehead against the beloved, maddening breast." Before they can enter the water, however, a heavy shower of ice-cold rain begins to fall on their "flushed, hot limbs" and brings their aquaphilic adventure to a premature close.    


IV: Women in Love

Finally, I would like to draw attention to a scene in Chapter IV of my favourite novel by Lawrence, Women in Love, in which Gerald delights (solipsistically) in his own movement through water - and arouses the desire and envy of Gudrun in the process ...

"Suddenly, from the boat-house, a white figure ran out [...] It launched in a white arc through the air, there was a bursting of the water, and among the smooth ripples a swimmer was making out to space, in a centre of faintly heaving motion. The whole otherworld, wet and remote, he had to himself. He could move into the pure translucency of the grey, uncreated water.
      Gudrun stood by the stone wall [...] watching the motion on the bosom of the water, as if fascinated. [...]
      And she stood motionless gazing over the water at the face which washed up and down on the flood, as he swam steadily. From his separate element he saw [her], and he exulted to himself because of his own advantage, his possession of a world to himself. He was immune and perfect. He loved his own vigorous, thrusting motion, and the violent impulse of the very cold water against his limbs, buoying him up."

Lawrence continues:

"Gerald suddenly turned, and was swimming away swiftly, with a side stroke. He was alone now, alone and immune in the middle of the waters, which he had all to himself. He exulted in his isolation in the new element, unquestioned and unconditioned. He was happy, thrusting with his legs and all his body, without bond or connection anywhere, just himself in the watery world.
      Gudrun envied him almost painfully. Even this momentary possession of pure isolation and fluidity seemed to her so terribly desirable, that she felt herself as if damned, out there on the [dry land]."

Gudrun's aquaphilia, in other words, expresses itself not as a desire to fuck under water, but to shed her humanity and become-mermaid in her own weird, underwater world ... 

Notes

D. H. Lawrence, The White Peacock, ed. Andrew Robertson, (Cambridge University Press, 1983), pp. 222-23, and see the editorial note on p. 386. 

D. H. Lawrence. The Trespasser, ed. Elizabeth Mansfield, (Cambridge University Press, 1981), pp. 73.

I am also paraphrasing a line from Lawrence's magnificent poem 'Fish' in this section of the text, which can be found in Birds, Beasts and Flowers (1923). See The Poems, ed. Christopher Pollnitz, (Cambridge University Press, 2013), Vol. I, pp. 289-94. 

D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989), pp. 311,  313-16. 

D. H. Lawrence, Women in Love, ed. David Farmer, John Worthn and Lindeth Vasey (Cambridge University Press, 1987), pp. 46-7. 


This post is dedcated to Brenda Sumner, Secretary of the D. H. Lawrence Society, for all her kind help and support over the years.

Intertextuality: Bert & Amy & Ted & Hannah

According to Hannah Roche, poor old Amy Lowell has been rather hard done by and her poetry unfairly neglected by readers and critics in the 21st century.

For according to Dr. Roche, not one but two of the great white males of English literature - Mssrs. Lawrence and Hughes - both borrowed imagery and ideas from her work. The latter in his much-celebrated poem Pike and the former in the sapphic bathing scene in chapter XII of his astonishing novel The Rainbow.
     

It's an interesting argument and anything that stimulates renewed interest in Lowell and her writing is to be welcomed. Having said that, I don't find the textual evidence Roche supplies in support of her argument particularly persuasive. There are certain similarities and echoes, but to speak of influence and an unacknowledged debt is, I think, going too far.

(Nor do I believe her being an overweight lesbian is the reason Lowell isn't considered a major figure within modernism; it has more to do with the fact that her talent was pretty slender.)   

Besides, even if Hughes and Lawrence - who exchanged many letters with Lowell* and considered her to be a very good friend, if a very bad poet - did plagiarise from Amy (and Roche is careful not to use this word and make such a strong claim), so what? 

To paraphrase Picasso, whilst good poets, like good painters, politely borrow from others and subscribe to a bourgeois etiquette founded upon property rights, great artists steal and make ideas their own without apology.

The critic Richard Ellmann sums this up nicely in a passage written in 1967:

"That writers flow into each other like waves, gently rather than tidally, is one of those decorous myths we impose upon a high-handed, even brutal procedure. The behaviour, while not invariably marked by bad temper, is less polite. Writers move upon other writers not as genial successors but as violent expropriators, knocking down established boundaries to seize by the force of youth, or of age, what they require. They do not borrow, they override."

Notes

Richard Ellmann, Eminent Domain: Yeats among Wilde, Joyce, Pound, Eliot, and Auden (Oxford University Press, 1967), p. 3.

Hannah Roche, 'Myths, Legends, and Apparitional Lesbians: Amy Lowell's Haunting Modernism', Modernist Cultures, (Sept. 2017). Click here to go to the University of York Research Database from where you can download a copy of this essay.

For a journalistic spin on this issue, see Alison Flood's article 'Amy Lowell: Ted Hughes and D. H. Lawrence "owe unacknowledged debt" to "uncelebrated" poet', The Guardian, (29 Nov. 2108). Click here to read online. 

*See: The Letters of D. H. Lawrence and Amy Lowell, 1914-1925, ed. E. Claire Healy and Keith Cushman, (Black Sparrow Press, 1985). 

Thanks to Dr. Maria Thanassa for providing me with the quotation from Ellmann's book.

In My Secret Garden

Bust of Epicurus against a background of wild flowers 

One of the very few consolations of living in isolated exile here in Essex is having a small garden in which to sit, drink wine, and listen to the birds sing whilst the Little Greek tends to her plants and battles with the snails.

One suddenly feels a real sense of kinship with Epicurus, who, famously, established his school of philosophy in a beautiful garden on the outskirts of Athens, c.307 BC. This green oasis - not far from the site of Plato's Academy, but far enough and of such a contrasting character as to suggest it belonged to a very different world - symbolised the idyllic yet worldly nature of Epicureanism.

Inscribed above the garden gate was a sign that read: Welcome dear guest - please stay a while and discover for yourself that the highest good is happiness. Men - and women - came here to practise and cultivate an ethics immanent to existence that valued reason, pleasure, friendship, and flowers.  

Modern scholars are not quite sure of the exact location of the garden, but, given the fondness amongst early Christians for building churches upon ancient sites of learning and pagan temples - and considering the hostility that many medieval theologians exhibited towards all forms of material hedonism - it's very possible that the Byzantine Church of Haghios Georgios [St. George] was erected upon it.     

That's a shame. Because no matter how beautiful the church or magnificent the cathedral, the sky above and the earth below remain more beautiful and more magnificent. This is something that even the devoted Christian Will Brangwen is forced to accept in D. H. Lawrence's The Rainbow:

"He listened to the thrushes in the gardens and heard a note which the cathedrals did not include: something free and careless and joyous. He crossed a field that was all yellow with dandelions, on his way to work, and the bath of yellow glowing was something at once so sumptuous and so fresh, that he was glad he was away from his shadowy cathedral.

      There was life outside the Church. There was much that the Church did not include. He thought of God, and of the whole blue rotunda of the day. That was something great and free. He thought of the ruins of the Grecian worship, and it seemed, a temple was never perfectly a temple, till it was ruined and mixed up with the winds and the sky and the herbs." [Ch. 7] 

Epicurus would, I'm sure, thoroughly endorse this passage by Lawrence, which promotes belief in the ruins and affirms the joy of living amidst the natural world having seen through the false promise of the Absolute.

And Nietzsche too would approve. For, as Keith Ansell-Pearson reminds us, there was nothing Nietzsche loved more during his mid-period than the thought of strolling in a peaceful garden:

"He wants a new vita contemplativa to be cultivated in the midst of the speed and rapidity of modern life; we need to [...] go slowly and create the time needed to work through our experiences. Even we godless anti-metaphysicians need places for contemplation and in which we can reflect on ourselves and encounter ourselves. However, we are not to do this in the typical spiritual manner of transcendent loftiness, but rather take walks in botanical gardens [...] and look at ourselves 'translated', as Nietzsche memorably puts it, 'into stones and plants' (GS 280)."

Ansell-Pearson concludes, in an absolutely crucial passage for those who would understand Epicurus-Nietzsche-Lawrence and their non-idealistic (in fact, counter-idealistic) Naturphilosophie:

"We free spirits have more in common with phenomena of the natural world than we do with the heavenly projections of a religious humanity: we can be blissfully silent like stones and we have specific conditions of growth like plants, being nourished by the elements of the earth and by the light and heat of the sun."

Notes

Keith Ansell-Pearson, Nietzsche's Search for Philosophy, (Bloomsbury, 2018), pp. 141-42. Note that GS 280 refers, of course, to section 280 of Nietzsche's The Gay Science, trans. Walter Kaufmann, (Vintage Books, 1974).  

Epicurus, The Art of Living, ed. and trans. George K. Strodach, (Penguin Books, 2013).

D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989).  

For a sister post to this one on the notion of ataraxia, click here. 

Musical bonus: click here to play a much under-appreciated track by Madonna, from the album Erotica (Maverick Records, 1992), which supplied the title to this post. 

On Dirty Dancing and the Virtue of Female Narcissism 2: The Case of Anna Brangwen

Drawing by Alice Stanley of a pregnant Anna Brangwen 

dancing in the firelight, whilst her husband Will 

watches from the shadows 

As I said at the end of part one of this post, Connie's pagan rain dance in which she affirms her shameless love of self as a vital sexual being, is something we've encountered before in Lawrence's fiction, when a heavily pregnant Anna Brangwen dances naked in her bedroom, lifting her hands and body to an unseen deity:

"She would not have had anyone know. She danced in secret, and her soul rose in bliss ... she took off her clothes and danced in the pride of her bigness."

Arguably, this incident in chapter 6 of The Rainbow is more provocatively ambiguous than the one in chapter 15 of Lady Chatterley's Lover, but then the earlier novel is far more complex and challenging than the later work in almost every regard. There's certainly nothing joyous about Anna's dance and she's not doing it to entice and arouse a lover - quite the opposite in fact.

One late Saturday afternoon, following the first incident, Anna again "took off her things and danced". But this time she danced before her husband, Will. Only she danced in a manner that was not only beyond his comprehension, but as if choreographed to nullify him in his manhood. With firelight on her feet and ankles, but otherwise naked in the twilight, like a witch, she lifted her hands and began to make slow, strange movements:

"He stood away near the door in blackness of shadow, watching, transfixed. And with slow, heavy movements she swayed backwards and forwards, like a full ear of corn, pale in the dusky afternoon, threading before the firelight, dancing his non-existence, dancing herself  ... to exultation.
      He watched, and his soul burned in him. He turned aside, he could not look, it hurt his eyes. Her fine limbs lifted and lifted, her hair was sticking out all fierce, and her belly, big, strange, terrifying ... Her face was rapt and beautiful, she danced exulting ... and knew no man.
      It hurt him as he watched as if he were at the stake. He felt he was being burned alive. The strangeness, the power of her in her dancing consumed him, he was burned, he could not grasp, he could not understand. He waited obliterated."

Eventually, finding his voice with which to speak, Will demands to know what on earth she thinks she's doing. Anna tells him to go away and let her dance by herself. He sneers that what she's doing isn't dancing. But, nevertheless, this vision of her as a woman caught up in narcissistic ecstasy "tormented him all the days of his life".

What, then, is this queer and disturbing scene all about?

Lawrence seems to be exploring something of a pregnancy fetish whilst, at the same time, betraying elements of maiesiophobia; Anna's belly is significantly described not only as big and strange, but terrifying. And, to be honest, I can understand his - and Will's - male discomfort and sense of disconcertedness when confronted by the obscene sight of a woman in an advanced stage of pregnancy.

For no matter how hard Demi Moore and other female celebrities have tried to make pregnancy seem a glamorous, sexy lifestyle choice, there's something monstrous about a woman becoming part-goddess, part prisoner - trapped, as Camille Paglia writes, in the "bulging mass of her own fecund body ... turgid with primal force, swollen with great expectations  ... weighed down by her inflated mounds of breast, belly, and buttock".

Having said that, I'm also fatally fascinated - like Lawrence, like Will - by Anna's dancing and admire her shameless self-affirmation. She knows that she - as Woman - is the great be-all and end-all; "the womb-tomb of mother nature", to quote Paglia once more.


Notes

D. H. Lawrence, Lady Chatterley's Lover, ed. Michael Squires, (Cambridge University Press, 1983), ch. 15.

D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989), ch. 6.

Camille Paglia, 'The Venus of Willendorf', in Free Women, Free Men, (Pantheon Books, 2017), pp. 38-41. 

To read part one of this post - The Case of Lady Chatterley - click here. 

For an interesting essay that explores some of the themes in this post in much greater depth and detail, see Marina Ragachewskaya, 'No Dancing Matter: The Language of Dance and Sublimation in D. H. Lawrence', Études Lawrenciennes, 44, (2013), pp. 187-204. This work can be read online by clicking here. 

On Dirty Dancing and the Virtue of Female Narcissism 1: The Case of Lady Chatterley

Marina Hands as Connie in Lady Chatterley 

(dir. Pascale Ferran, 2006)

One of the saddest moments in Lady Chatterley's Lover is when Connie stands naked before a full-length bedroom mirror and gazes upon her body, horrified to discover that it lacks any mystery or va-va-voom; that there's nothing to wonder at or yearn to touch, just insignificant substance. 

Understandably, this absence of any gleam or sparkle in the flesh makes her feel immensely depressed and hopelessly old, despite the fact she's only twenty-seven. Happily, however, thanks to her illicit relationship with a man who persuades her that she possesses the nicest woman's arse as is, Connie discovers the confidence to one day throw off her clothes and dance naked in the rain: 

"She ... ran out with a wild little laugh, holding up her breasts to the heavy rain and spreading her arms ... with the eurhythmic dance movements she had learned so long ago in Dresden. It was a strange pallid figure lifting and falling, bending so the rain beat and glistened on the full haunches, swaying up again and coming belly-forward through the rain, then stooping again so that only the full loins and buttocks were offered in a kind of homage towards him, repeating a wild obeisance."

Despite the fact that Connie is clearly twerking for her lover, ultimately, she's surely dancing for her own pleasure; full of the sensual narcissism which, according to Zarathustra, issues from the exalted body rejoicing shamelessly (and selfishly) in its greater vitality and virtue and around which the whole world becomes mirror.   

Of course, we've encountered this feeling of voluptuousness, power, and female pride in Lawrence's fiction before - in The Rainbow - when a heavily pregnant Anna Brangwen dances naked in her bedroom, offering her body to an unseen deity in rapturous triumph.

I'll discuss Anna's case in part two of this post ... [click here].


See:

D. H. Lawrence, Lady Chatterley's Lover, ed. Michael Squires, (Cambridge University Press, 1983), ch. 15.

D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989), ch. 6.

Nietzsche, 'On the Three Evil Things', Thus Spoke Zarathustra, trans. R. J. Hollingdale, (Penguin Books, 1969).

O Wonderful Machine: Nihilism and the Question Concerning Technology (Part II)

"What is dangerous", writes Heidegger, "is not technology. ... The essence of technology, as a destining of revealing, is the danger." Developing this crucial point, he writes:

"The threat to man does not come in the first instance from the potentially lethal machines and apparatus of technology. The actual threat has already afflicted man in his essence. The rule of enframing threatens man with the possibility that it could be denied to him to enter into a more original revealing and hence to experience the call of a more primal truth."

In other words, the essence of technology - something that exists long  before the modern machine age - is a way of revealing so monolithically powerful and expansionist that it threatens to overwhelm man and prevent him from discovering any other possible becoming. Heidegger calls this revealing Ge-stell, a term commonly translated into English as ‘enframing’. He argues that this revealing that rules with technology doesn’t allow anything to come forth in its own right. Rather, it acts as a ‘challenging’ or ‘provocation’ [Herausfordern] “which puts to nature the unreasonable demand that it supply energy which can be extracted and stored as such”.

Thus, for example, a tract of land “is challenged in the hauling out of coal and ore. The earth now reveals itself as a coal mining district”. But, more than this, it also reduces man to the status of ‘human resource’ or ‘standing reserve’ [Bestand] in service to technological purposes.

Interestingly, Lawrence also illustrates his thinking on the question concerning technology with reference to the coal mining industry. In Women in Love, for example, Gerald Crich acknowledges his destiny as someone caught up in an ideal-material struggle “with the earth and the coal it enclosed ... to turn upon the inanimate matter of the underground, and reduce it to his will”.

Prior to this, in The Rainbow, we encountered Tom Brangwen, another coal boss of the view that men belong entirely to their jobs and that outside of the great social-industrial machine of work man had become “a meaningless lump – a standing machine”.

Ursula, fundamentally hostile to her uncle's thinking and keen to imagine a different human future, nevertheless understands the horrible fascination of lives subjected to technology and the power of money; aware that there is a perverse satisfaction  to be gained from such subjection. Even, it is suggested, via machinic servitude man achieves his consummation and immortality, Lawrence arguing not that technology makes us less human, but, on the contrary super-human. Thus it is that Gerald Crich is transformed into a modern Prometheus and fulfils the great promise of science; namely, that man too can attain infinite power (or, perhaps more accurately, infinite knowledge, which, for modern man, is one and the same thing).

The question becomes: what will man do with this unlimited power-knowledge? Will he use it to transform himself and his world, or destroy himself and the natural environment? On the level of utility and abstraction we have made ourselves into lords of production, but we have also arrived at the very edge of an abyss: “Present-day man is of the lowest rank", writes Blanchot, "but his power is that of a being who is already beyond man: how would this contradiction not harbour the greatest danger?”

It is for this reason that Nietzsche predicts that modern nihilism will result in great wars and violent upheaval on an unprecedented scale. However, oblivious or indifferent as men like Gerald Crich are to such dangers, they press on in their quest to see life entirely dominated by mind and a will that is negative in direction and composed of predominantly reactive forces seeking the ego’s triumph over all that lies external to it. By bringing everything into the realm of knowledge and reducing the world to information, Gerald is able to master and manipulate existence, determining its truth via reference to his own learning. Thus, in this manner, as George Steiner correctly notes, the self becomes “the hub of reality and relates to the world outside itself in an exploratory, necessarily exploitative way”. 

But no matter how much Gerald knows, still he feels strangely empty; “as if the very middle of him were a vacuum”. And as this feeling becomes increasingly acute, his voraciousness grows: “And to stop up this hollowness, he drags all things into himself”. Such rampant egoism and greed is condemned repeatedly in the writings of both Nietzsche and Lawrence and yet it remains almost definitional of modern man who, it seems, will not rest content until he has “killed the mysteries and devoured the secrets”.

Clearly, if a change is to be made to a new mode of living then modern man must find someway to overcome his conceit and what Keith Ansell-Pearson describes as his “paranoid and phobic anthropocentrism”. To do so will not be easy and will involve a self-overcoming and a confrontation with our deep-rooted idealism. And yet, to return to Heidegger’s text concerning the question of technology, we have already seen how hope lies precisely where and when we might least expect it; the hope of a radically different revealing to the one that presently holds sway.

Heidegger names this with the Greek term poiēsis and indicates by this a revealing that brings forth without provocation, having, as it does, an entirely different relation to matter. It is a revealing that may enable us to confront the essential unfolding of technology and survive our prolonged flirtation with nihilism.

However, to reiterate, it is the supreme danger of the above unfolding and flirtation which harbours the possible rise of the saving power. Thus instead of simply gaping at the technological as that in which we see our own diabolical genius reflected, we must attempt to glimpse that which is ambiguous and other contained in the essence of technology.

Of course, to simply catch sight of this does not mean we are thereby ‘saved’ - but we are “thereupon summoned to hope in the growing light of the saving power” and we are reminded that there was once a time and a place (i.e. ancient Greece) when poiēsis was also understood as belonging to technē and the fine arts, undifferentiated from any other technical ability, “soared to the supreme height of the revealing granted them”.

For Heidegger, as for Nietzsche, it was the arts that uniquely allowed the Greeks to enter into a direct relationship with the world of being and not merely a world of knowledge and representation; the arts which allowed them to dwell poetically on the earth and not merely live prosaically.

Can they do so again, now, for us? Heidegger is uncertain.

But, despite his pessimism, he seems to remain hopeful that one day the arts may once again be granted this highest possibility. Providing, that is, that there are still profound thinkers who remain astounded by and before this other possibility and who, via their questioning, may be able to incite a new becoming.

And so there remains a vital task for philosophy. For whilst the latter cannot itself provide the new, it can prepare the conditions under which the new might emerge. And whilst philosophy is neither able to predict or guarantee the future, still it allows for the possibility “that the world civilization that is just now beginning might one day overcome its technological-scientific-industrial character as the sole criterion of man’s world sojourn”.

Bibliography

Keith Ansell-Pearson, Viroid Life, (Routledge, 1997). 

Maurice Blanchot, 'The Limits of Experience: Nihilism', essay in The New Nietzsche, ed. David B. Allison, (The MIT Press, 1992).

Martin Heidegger, 'The Question Concerning Technology', essay in Basic Writings, ed. David Farrell Krell (Routledge, 1994).

Martin Heidegger, 'The End of Philosophy and the Task for Thinking', essay in Basic Writings, ed. David Farrell Krell, (Routledge, 1994). 

D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989).

D. H. Lawrence, Women in Love, ed. David Farmer, Lindeth Vasey and John Worthen, (Cambridge University Press, 1987).

D. H. Lawrence, 'The Crown', essay in Reflections on the Death of a Porcupine and Other Essays, ed. Michael Herbert, (Cambridge University Press, 1988).

George Steiner, Heidegger, (Fontana Press, 1989).

Note: Part one of this post can be read by clicking here.

O Wonderful Machine: Nihilism and the Question Concerning Technology (Part I)

Charlie Chaplin: Modern Times (1936)

According to Blanchot, Nietzsche is quick to grasp that all the modern world’s seriousness is confined to science and the "prodigious power of technology". Lawrence refers to this (poetically) as the triumph of the machine.

Whilst Nietzsche doesn't entirely deplore this fact, happy, for example, to support the experimental practices of science, he is by no means able to affirm the above development without reservation; not least of all because he identifies modern science as the descendant and heir of Christian moral culture. In other words, it's a machine-embodied unfolding of the ascetic ideal; an expression of mankind's pathological will to truth.

Thus, for Nietzsche, science and technology is fundamentally nihilistic in character, full of thinly veiled metaphysical prejudices and productive of reactive knowledge-forms which may yet prove fatal not only to the Christian moral culture from out of which it has grown, but to the possibility of culture per se as it puts on ice all the illusions which are necessary for the sustaining of culture and, indeed, life itself.

In addition to this fundamental antipathy between vital illusion and the pure knowledge drive, Nietzsche claims that science is incapable of serving as the foundation of culture because, unlike art, it knows nothing of “taste, love, pleasure, displeasure, exaltation, or exhaustion” and so cannot evaluate, cannot command, and cannot create. At best, when coupled to the huge resources of capitalism, science is capable of building a tremendous industrial-technological civilization, such as our own, but, for Nietzsche, this is not a genuine cultural formation because, whilst it is certainly capable of organizing the chaos of existence and constructing a monolithic system or network, it lacks style.

Style, insists Nietzsche, always involves the constraint of a single taste. But it is not merely the imposition of universal laws or categorical imperatives; nor does it seek to make all things and all forces familiar, similar, and predictable. The ideal abstractions of science may very effectively allow for the manipulation of the world and the subordination of life to a tyrannical knowledge form - logic - but this is not the same as mastery and the artist of culture is more than a mere systematizer.

Failing to make the distinction, the technocratic man of reason confuses bullying with a display of strength and mistakes force for power. This is perfectly illustrated in  Lawrence's novel Women in Love by the figure of Gerald Crich; a character driven to impose his will and authority over himself and his workers, just as he does over his red Arab mare. Gerald’s world, the world of industrial civilization, has been described earlier by Lawrence in The Rainbow:

“The streets were like visions of pure ugliness ... that began nowhere and ended nowhere. Everything was amorphous, yet everything repeated itself endlessly ...
   The place had the strange desolation of a ruin. ... The rigidity of the blank streets, the homogeneous amorphous sterility of the whole suggested death rather than life. ...
   The place was a moment of chaos perpetuated, persisting, chaos fixed and rigid.” 

If such a mechanical world essentially lacks style, so too does it entirely lack meaning. At best, it retains a strictly functional residue of the latter that allows it to continue to operate. How to give value back to such a world - and a little loveliness - is a concern shared by Nietzsche and Lawrence. They both fear, however, that so long as the nihilistic-scientific perspective retains its authority, there can be no revaluation. For such a perspective has not only made the barbarism of the modern world unavoidable, but it ensures the destruction of all other perspectives and modes of being.

And yet, perhaps there is hope to be found where we might have least expected to encounter it. This is one of the great lessons of encouragement given to us by Heidegger in his essay entitled ‘The Question Concerning Technology’. At the heart of this work are the following lines from Hölderlin: Wo aber Gefahr ist, wächst / Das Rettende auch.

Commenting on these lines, George Steiner writes:

“To realize that false technicity has edged the human race to the brink of ecological devastation and political suicide, is to realize also that salvation is possible ... It is in the very extremity of the modern crisis, in the very time of nihilistic mechanism, that hope lies ready.”

It is important that we avoid misunderstanding here; hope does not lie in the fruits of science and technology themselves and it is not, therefore, a question of accelerating the production and proliferation of ever-more sophisticated machines in the erroneous assumption that only a micro-chip can save us. If, on the one hand, technophobes who rebel naively against technology and curse it as the work of the devil should rightly be challenged, then, on the other hand, technophiles and neo-futurists who argue for an ever-greater technological manipulation of life deserve also to be met with critical resistance.

Heidegger would surely have agreed with Lawrence that “the more we intervene machinery between us and the naked forces, the more we numb and atrophy our own senses”. Thus, if we are to find our way into a new revealing, then we will have to find a way to creatively manifest these forces. And if we are to deepen our questioning of nihilism and technology, then we will need to resist the temptation of easy solutions and the blackmail of being either for or against science.

It is only via such a questioning - one that manages to touch on the essence of technology - that we can find hope. For it is only by daring to think the latter, which is to say, move closer to the very danger that threatens us, that “the ways into the saving power begin to shine” more brightly.


Bibliography

Maurice Blanchot, 'The Limits of Experience: Nihilism', essay in The New Nietzsche, ed. David B. Allison, (The MIT Press, 1992).
Martin Heidegger, 'The Question Concerning Technology', essay in Basic Writings, ed. David Farrell Krell (Routledge, 1994).
D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989).
D. H. Lawrence, 'Dana's Two Years before the Mast', essay in Studies in Classic American Literature, ed. Ezra Greenspan, Lindeth Vasey and John Worthen, (Cambridge University Press, 2003).
Nietzsche, 'The Struggle between Science and Wisdom', essay in Philosophy and Truth, ed. and trans. Daniel Breazeale, (Humanities Press International, 1993). 
George Steiner, Heidegger, (Fontana Press, 1989).


Note: Part two of this post can be read by clicking here. 

Ephebophilia (with Reference to the Cases of Adam Johnson and Will Brangwen)

Adam Johnson at Bradford Crown Court / Christopher Gable as 
Will Brangwen in The Rainbow (dir. Ken Russell, 1989)

The case of footballer Adam Johnson, 28, who has just been convicted of grooming and touching up a 15-year-old girl - and who is now facing what the judge warns will be a substantial prison sentence - is an interesting example of how times have changed.

For whilst his actions may have raised a few eyebrows in the not-too-distant past, I very much doubt he would have been prosecuted, let alone found guilty of a serious crime and portrayed by the media as some kind of monster of depravity.  

Obviously, as the law stands, the girl is a minor and cannot give consent to sexual activity. Johnson knew this. But does sending her inappropriate texts, kissing her in the back of his car and putting his hand down her pants, really deserve to be punished with a minimum of five years jail time? Johnson was undoubtedly devious, arrogant, and stupid. But he didn't violently assault the young woman; her claim that he forced her to perform fellatio on him was rejected by the jury. 

Interestingly, the case makes one think back to an incident in The Rainbow involving Will Brangwen, also aged 28 at the time, and a young girl he meets at a variety theatre on a Saturday night out in Nottingham away from his wife, Anna, from whom he feels increasingly estranged. Lawrence writes:

"In the Empire one evening he sat next to two girls. He was aware of the one beside him. She was rather small, common, with a fresh complexion and an upper lip that lifted from her teeth, so that, when she was not conscious, her mouth was slightly open and her lips pressed outwards in a kind of blind appeal. ...
      A gleam lit up in him: should he begin with her? Should he begin with her to live the other, the unadmitted life of his desire? Why not? He had always been so good. Save for his wife, he was a virgin. And why, when all women were different? Why, when he would only live once? He wanted the other life. His own life was barren, not enough. He wanted the other.
      Her open mouth, showing the small, irregular, white teeth, appealed to him. It was open and ready. It was so vulnerable. Why should he not go in and enjoy what was there? The slim arm that went down so still and motionless to the lap, it was pretty. She would be small, he would be able almost to hold her in his two hands. She would be small, almost like a child, and pretty. Her childishness whetted him keenly. She would he helpless between his hands."

Clearly, from this pervy-pornographic description, the nameless girl is young - perhaps she too might only be fifteen, who knows?

Brangwen strikes up conversation, making her blush even as she flashes a smile at him with her eyes. Her nervousness and vulnerability "pricked him with a pleasant sensation ... she was so young and palpitating". He is determined to press home his advantage and exert his power as an older man. After the show, Brangwen convinces the girl to abandon her friend and come with him for a coffee. Lawrence writes:

"The friend was gone into the darkness. He turned with his girl to the tea-shop. They talked all the time. He made his sentences in sheer, almost muscular pleasure of exercising himself with her. He was looking at her all the time, perceiving her, appreciating her, finding her out, gratifying himself with her. He could see distinct attractions in her; her eyebrows, with their particular curve, gave him keen aesthetic pleasure. Later on he would see her bright, pellucid eyes, like shallow water, and know those. And there remained the open, exposed mouth, red and vulnerable. That he reserved as yet. And all the while his eyes were on the girl, estimating and handling with pleasure her young softness. About the girl herself, who or what she was, he cared nothing, he was quite unaware that she was anybody. She was just the sensual object of his attention."

Again, this description makes more than a little uncomfortable; Lawrence stresses the calculating and coercive aspects of seduction. Brangwen sounds predatory. It is not inconceivable that he might attempt to rape the girl if he doesn't get his way with a combination of small-talk and sweet-talk:

"He was alert in every sense and fibre, and yet quite sure and steady, and lit up, as if transfused. He had a free sensation of walking in his own darkness, not in anybody else’s world at all. He was purely a world to himself, he had nothing to do with any general consciousness. Just his own senses were supreme. All the rest was external, insignificant, leaving him alone with this girl whom he wanted to absorb, whose properties he wanted to absorb into his own senses. He did not care about her, except that he wanted to overcome her resistance, to have her in his power, fully and exhaustively to enjoy her."

Brangwen puts his arm around the girl and pulls her close. He leads her along darkened streets and into the park, where he begins to grope her. She doesn't consent to this, but neither does she protest. Rather, she stays silent and inscrutable; obediently doing what he asks of her. Brangwen is happy with her silence and passivity. He doesn't want to know her personally; "he only wanted to discover her. And through her clothing, what absolute beauty he touched ... his hands ... so subtly, so seekingly, so finely and desirously searching her out".

The girl acquiesces and seems also to be enjoying the experience: "In utter sensual delight she clenched her knees, her thighs, her loins together." She accepts his kisses and her mouth becomes bold and assured, rather than helpless and unguarded. But as Brangwen becomes ever more forceful, with a "sudden horrible movement she ruptured the state that contained them both", pushing him away and telling him to stop with a frightened cry. Lawrence eventually brings this long scene to a climax:

"She came back to him, but trembling, reservedly this time.
      Her cry had given him gratification. But he knew he had been too sudden for her. He was now careful. For a while he merely sheltered her. ... He wanted to persist, to begin again, to lead up to the point where he had let himself go on her, and then manage more carefully, successfully. ...
      He sheltered her, and soothed her, and caressed her, and kissed her, and again began to come nearer, nearer. He gathered himself together. Even if he did not take her, he would make her relax, he would fuse away her resistance. So softly, softly, with infinite caressiveness he kissed her, and the whole of his being seemed to fondle her. Till, at the verge, swooning at the breaking point, there came from her a beaten, inarticulate, moaning cry:
      'Don’t - oh, don’t!'
      His veins fused with extreme voluptuousness. For a moment he almost lost control of himself, and continued automatically. But there was a moment of inaction, of cold suspension. He was not going to take her. He drew her to him and soothed her, and caressed her. But the pure zest had gone. She struggled to herself and realised he was not going to take her. And then, at the very last moment, when his fondling had come near again, his hot living desire despising her, against his cold sensual desire, she broke violently away from him.
      'Don’t,' she cried, harsh now with hatred, and she flung her hand across and hit him violently."

Brangwen reacts to this with suave irony and gives her a cruel smile. The girl had escaped, says Lawrence - adding with a rapist's logic: "But she hated him for her escape more than for her danger."

Afterwards, Will Brangwen "caught a train and went home", back to his wife and children, just as if nothing had happened. Indifferent and happy to lie. Just like Adam Johnson.

   
See: D. H. Lawrence, The Rainbow, ed. Mark Kinkead-Weekes, (Cambridge University Press, 1989), pp. 210-17. 

See also Howard J. Booth's essay "'At Last to Newness': D. H. Lawrence's The Rainbow and the Dream of a Better World", in the Journal of D. H. Lawrence Studies, Vol. 4, Number 1 (2015), pp. 19-44. Booth's suggestion in a footnote that Will Brangwen has a sexual fascination with childhood directly inspired this post.  

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