Benicio del Toro in The Wolfman (2010)
Does he look like he enjoys lentils?
Does he look like he enjoys lentils?
Interestingly, the attempt to not merely anticipate but invoke and affirm a vegan world in relation to the work of D. H. Lawrence is also now being made by the much admired literary scholar Catherine Brown, herself a recent convert to this militant form of ascetic idealism.
Brown argues that although Lawrence wasn't a vegan - nor even a mild-mannered vegetarian - his thought contains much that resonates with veganism as it is understood and practiced today. This is perhaps true, but, having said that, I don't think we can simply equate Lawrence's work with veganism, nor allow his thinking to be co-opted by any single cause or crusade.
For whilst I'm sure Lawrence would have despised factory farming as much as Heidegger - the latter notoriously suggesting metaphysical equivalence between mechanized food production and the Nazi death camps long before Morrissey came up with the slogan meat is murder - he remained, as Brown admits, "comfortable within the omnivorism and speciesism that was dominant in his as in our culture".
Indeed, whilst the tiger and the wolf present terrible problems to those idealists who want to think life exclusively in terms of the lamb, Lawrence invariably sides with those beasts of prey - including man - that feast on the flesh of other creatures in good conscience. What's more, he makes no secret of his contempt for those domestic farm animals - pigs, sheep, and cattle - that fail to attain purity of being and lapse into nullity:
"They grow fat; their only raison d'être is to provide food for a really living organism. [...] It is given us to devour them." [RDP 41]
You can try and get around this by adopting the trust the tale, not the teller defence, and find fictional passages in which a character might turn their nose up at a plate of beef, or, like Ursula Brangwen, thoroughly enjoy a tasty vegetarian hot-pot, but, still the stubborn fact remains that Lawrence's carnivorous vitalism ultimately trumps any nascent veganism.
And if, as we have noted, Lawrence despises those creatures that lack creative impulse, so too does he abhor human beings who have become docile grazing animals, subscribing to what Nietzsche calls a herd morality - cry-bullies forever bleating about rights and bloated on their own sense of righteousness. Such people are, he says, "the enemy and the abomination" and he is grateful for the "tigers and butchers that will free us from the abominable tyranny of sheep" [RDP 42].
Ultimately, Lawrence wants men and women with large mouths, big teeth and sharp claws and we can even locate within his work something that might be termed a werewolf manifesto - cf. the vegan manifesto that Dr. Brown finds within his writing. This werewolf manifesto openly sets itself against the Green Age - i.e., the utopia imagined by cabbage-hearted vegans, environmentalists, cows, Christians, and social justice warriors in which the lion lies down with the lamb and "no mouse shall be caught by a cat" [RDP 275].
Lawrence writes:
"This is the [...] golden age that is to be, when all shall be domesticated, and the lion and the leopard and the hawk shall come to our door to lap [soy] milk and to peck the crumbs, and no sound shall be heard but the lowing of fat cows and the baa-ing of fat sheep. This is the Green Age that is to be, the age of the perfect cabbage." [RDP 275-76]
Of course, Catherine is perfectly at liberty to read Lawrence however she wishes: as am I. And, as a matter of fact, I'm very sympathetic to her idea that if we conceive of veganism "not as a dogma, identity, or state of putative purity, but as a queer nexus of perceptions and affects, then Lawrence can, at moments, be described as vegan".
Although, of course, we could easily replace the word veganism here with any other -ism - including fascism or feminism - and this sentence would still make perfect sense: that's the beauty (and the danger) of Lawrence's text; it invites anyone and everyone to play within the space that it opens up and to invest it with their own forces.
Indeed, whilst the tiger and the wolf present terrible problems to those idealists who want to think life exclusively in terms of the lamb, Lawrence invariably sides with those beasts of prey - including man - that feast on the flesh of other creatures in good conscience. What's more, he makes no secret of his contempt for those domestic farm animals - pigs, sheep, and cattle - that fail to attain purity of being and lapse into nullity:
"They grow fat; their only raison d'être is to provide food for a really living organism. [...] It is given us to devour them." [RDP 41]
You can try and get around this by adopting the trust the tale, not the teller defence, and find fictional passages in which a character might turn their nose up at a plate of beef, or, like Ursula Brangwen, thoroughly enjoy a tasty vegetarian hot-pot, but, still the stubborn fact remains that Lawrence's carnivorous vitalism ultimately trumps any nascent veganism.
And if, as we have noted, Lawrence despises those creatures that lack creative impulse, so too does he abhor human beings who have become docile grazing animals, subscribing to what Nietzsche calls a herd morality - cry-bullies forever bleating about rights and bloated on their own sense of righteousness. Such people are, he says, "the enemy and the abomination" and he is grateful for the "tigers and butchers that will free us from the abominable tyranny of sheep" [RDP 42].
Ultimately, Lawrence wants men and women with large mouths, big teeth and sharp claws and we can even locate within his work something that might be termed a werewolf manifesto - cf. the vegan manifesto that Dr. Brown finds within his writing. This werewolf manifesto openly sets itself against the Green Age - i.e., the utopia imagined by cabbage-hearted vegans, environmentalists, cows, Christians, and social justice warriors in which the lion lies down with the lamb and "no mouse shall be caught by a cat" [RDP 275].
Lawrence writes:
"This is the [...] golden age that is to be, when all shall be domesticated, and the lion and the leopard and the hawk shall come to our door to lap [soy] milk and to peck the crumbs, and no sound shall be heard but the lowing of fat cows and the baa-ing of fat sheep. This is the Green Age that is to be, the age of the perfect cabbage." [RDP 275-76]
Of course, Catherine is perfectly at liberty to read Lawrence however she wishes: as am I. And, as a matter of fact, I'm very sympathetic to her idea that if we conceive of veganism "not as a dogma, identity, or state of putative purity, but as a queer nexus of perceptions and affects, then Lawrence can, at moments, be described as vegan".
Although, of course, we could easily replace the word veganism here with any other -ism - including fascism or feminism - and this sentence would still make perfect sense: that's the beauty (and the danger) of Lawrence's text; it invites anyone and everyone to play within the space that it opens up and to invest it with their own forces.
See:
Catherine Brown, 'D. H. Lawrence and the Anticipation of a Vegan World'. This paper was originally given at the 33rd annual international D. H. Lawrence conference held at the University of Nanterre, Paris (3-7 April 2019). It can be read on the author's website: click here.
D. H. Lawrence, 'The Reality of Peace' and 'The Crown', in Reflections on the Death of a Porcupine and Other Essays, ed. Michael Herbert, (Cambridge University Press, 1988).
Readers interested in part one of this post - in which I address the comments made by another vegan Lawrentian (David Brock) on an earlier post to do with dental morphology - should click here.
D. H. Lawrence, 'The Reality of Peace' and 'The Crown', in Reflections on the Death of a Porcupine and Other Essays, ed. Michael Herbert, (Cambridge University Press, 1988).
Readers interested in part one of this post - in which I address the comments made by another vegan Lawrentian (David Brock) on an earlier post to do with dental morphology - should click here.
