England, Our England: Notes on D. H. Lawrence's Oikophobia

D. H. Lawrence by Fabrizio Cassetta (2015)

fineartamerica.com

It begins, writes Lawrence, the moment you set foot back in England: "The heart suddenly, yet vaguely sinks."

He would, I suspect, dismiss talk of oikophobia. For Lawrence explicitly says that what he experiences when arriving home is not fear, but, rather, a form of dismay; not least at the inoffensive nature of everyone and everything and the "almost deathly sense of dulness" that overwhelms even the gayest of spirits.  

England is the easiest country in the world to live in and full of the nicest people:

"But this very easiness and this very niceness becomes at last a nightmare. It is as if the whole air were impregnated with chloroform or some other pervasive anaesthetic, that [...] takes the edge off everything ..."

Ultimately, England is simply too cosy for Lawrence's liking; mildly warm and reassuring like a bedtime drink.

It's important to note, however, that Lawrence doesn't say this in order to jeer or look down on his fellow countrymen. In fact, it pains him to admit how England makes him feel: for "to feel like this about one's native land is terrible" - particularly when the bit of England that depresses him most is his hometown.

Eastwood, he says, fills him with "devouring nostalgia and an infinite repulsion". Which is pretty much how I feel too, when walking around Harold Hill; on the one hand, I want it to be exactly as it was when I was a child and on the other I want it to be razed to the ground.

In other words, oikophobia is an ambiguous condition that can give rise to violently conflicting feelings within the same breast; something that those who, like Roger Scruton, politicise the term and use it as a concept by which to attack those whom they regard as insufficiently patriotic fail to appreciate.

Thus it is that oikophobes like Lawrence, who set off on savage pilgrimages around the world in order to escape the familiar confines of home and experience otherness in far away lands amongst alien peoples, often end by concluding:

"I do think [...] we make a mistake forsaking England and moving out into the periphery of life. After all, Taormina, Ceylon, Africa, America - as far as we go, they are only the negation of what we ourselves stand for and are: and we are rather like Jonahs running away from the place we belong."


See:

D. H. Lawrence, 'Why I don't Like Living in London' and [Return to Bestwood] in Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004), pp. 119-22 and 13-24. 

D. H. Lawrence, letter to Robert Pratt Barlow, 30 March 1922, in The Letters of D. H. Lawrence, Vol. IV, ed. Warren Roberts, James T. Boulton and Elizabeth Mansfield, (Cambridge University Press, 1987), letter 2480, pp.218-19.  

Readers interested in a related post on oikophobia and Roger Scruton's political redefining of the term, should click here. 

Oikophobia

Home is made for comin' from, for dreams of going to

Which with any luck will never come true.

I. Confessions of an Oikophobe

Oikophobia - from the Greek, oikos, which refers to the three distinct but related concepts of home, household, and family, and phobia, meaning fear and loathing - is a term used within psychiatry, literary studies, and political philosophy.    

In the first of these fields, psychiatry, it identifies a deep-seated aversion to the vita domestica as it unfolds within a physical space, including the everyday objects and household appliances that are commonly found in the home: including, for example, cookers, carpets, and curtains.

Whether such a phobia is irrational, is debatable; to my mind it seems perfectly reasonable. I don't think disliking the saccharine stupidity and bourgeois vulgarity of home, sweet home is symptomatic of mental illness - it's surely a sign rather of cultural nobility (that is to say, artistic and intellectual superiority).

Thus it is that many poets have a romantic and nomadic desire to wander in far away lands and escape the ever so 'umble confines of home; including married life, regular employment, and onerous social duties (such as putting the rubbish in the correct recycling bins). To long to flee along the open road or roam outside the gate, is so closely tied to the creative impulse, that one is almost tempted to describe modern art and literature as inherently oikophobic.   

II. On the Politics of Oikophobia

Thanks to conservative philosopher Roger Scruton, however, the term oikophobia has recently taken on a new and negative meaning within reactionary political circles; now oikophobes are regarded as self-hating, left-leaning liberals who despise or feel ashamed of their own culture, history, and society.

Scruton argues:   

"This repudiation of the national idea is the result of a peculiar frame of mind that has arisen throughout the Western world since the Second World War, and which is particularly prevalent among the intellectual and political elites. No adequate word exists for this attitude, though its symptoms are instantly recognized: namely, the disposition, in any conflict, to side with 'them' against 'us', and the felt need to denigrate the customs, culture and institutions that are identifiably 'ours'. I call the attitude oikophobia - the aversion to home - by way of emphasizing its deep relation to xenophobia, of which it is the mirror image. Oikophobia is a stage through which the adolescent mind normally passes. But it is a stage in which intellectuals tend to become arrested."*

Scruton's weaponised and anti-intellectual political usage has been taken up by other commentators with an alt-right axe to grind. They argue, for example, that oikophobia is particularly prevalent on university campuses and is a chronic symptom of political correctness, informed by the work of such thinkers as Foucault and Derrida, who express contempt for ideals of love, loyalty and longing for Ithaca, preferring instead, say their critics, to affirm a kind of rootless nihilism.        

I'm not saying there's no truth in this - only that it's often spoken by the kind of ugly, flag-flying individuals that I'm never going to feel at home with. 

* Roger Scruton, speaking in Antwerp, on 23 June 2006: the text of this speech appears in The Brussels Journal (24 June 2006) and can be read by clicking here.  

For a related post on D. H. Lawrence's experience of oikophobia in terms of devouring nostalgia and infinite repulsion for his hometown of Eastwood and for England in general, click here. 

On D. H. Lawrence's Fascination with Male Legs

Robyn H. Fitzpatrick: Male Legs 

robynart.com 

As David Ellis reminds us in a recent blog post, Lawrence was a great admirer of the male leg; particularly those legs that have a certain quick vitality, even if rather thin looking like his own. But he's not a fan of stocky, stupid looking legs, no matter how finely muscled; or knees that, in his view, lack meaning or sensuality.

Nor is Lawrence particularly keen on bare legs; his preference is for male legs clad in red trousers - or tight-fitting tartan trews in the case of Capt. Hepburn - and female legs wrapped in brightly coloured stockings.

Thus it is that one could easily imagine Lawrence offering a little travelling tip to a fellow passenger who happened to have his legs exposed: Try not to wear shorts. It's not all that attractive to look at ... Even if, unlike Larry David, he doesn't find naked, hairy male legs intrinsically grotesque.         

Indeed, one suspects that rather like the narrator of 'The Captain's Doll', Lawrence secretly thrilled at the "huge blond limbs of the savage Germans" parading around in their lederhosen and displaying their "bare, brown, powerful knees and thighs".   

And that, like Connie, he ultimately regarded legs as more important than unreal faces ...

Notes

David Ellis, 'Legs' (28 Oct 2018), can be found on dellis-author.co.uk: click here. 

Larry David, Curb Your Enthusiasm, S7/E4: 'The Hot Towel', (2009): click here. 

It might amuse readers to know that Larry also has a strong aversion to other male body parts, including testicles, which he regards as disgusting, hideous and rightly reviled. See Curb Your Enthusiasm, S8/E2: 'The Safe House', (2011): click here. Obviously, this testicular aversion is a very unLawrentian. Connie famously discovers the balls of her lover to be the primeval root of all that is lovely; full of a "strange heavy weight of mystery, that could lie soft and heavy in [her] hand!" See Lady Chatterley's Lover, Ch. XXII.   

D. H. Lawrence, 'The Captain's Doll', in The Fox, The Captain's Doll, The Ladybird, ed. Dieter Mehl, (Cambridge University Press, 1992), p. 122. 

D. H. Lawrence, Lady Chatterley's Lover, ed. Michael Squires, (Cambridge University Press, 1993), p. 254. 

Interestingly, one of the queer after-effects of Connie's affair with Mellors is that she becomes conscious of legs, including the thighs of her father. It strikes her, however, that most modern legs - of either sex - simply pranced around in leggy ordinariness without any significance, or were so daunted as to be "daunted out of existence". One can't help wondering, however, if this new awakening to legs isn't also a reaction to her husband's disability.

Let Them Eat Plastic

People Can Look So Plastic These Days

eclectech.co.uk

Dis-moi ce que tu manges, je te dirai ce que tu es - Anthelme Brillat-Savarin (1826)

Well, that's it then: the world has officially turned dayglo (you know, you know) and all that punk prophet Poly Styrene predicted has come to pass; microplastics have now been found in human faeces for the first time, suggesting that the tiny particles are widespread in the food chain.

Scientists examined shit samples from participants in Europe, Japan, and Russia and all contained various types of plastic, with polypropylene and polyethylene terephthalate being the most commonly identified.

On average, 20 particles of microplastic were found in each 10g of excreta and based on the findings from what was admittedly a small-scale study, the researchers estimate that more than half of the world's population might have microplastics in their bodies.

The study confirms what many have long suspected and feared; that it's not just fish, birds, and flying insects that are ingesting plastic - we are too. But then it's hard not to when the stuff is in pretty much everything, including tap water and soft drinks.

Fuck knows what it means for human health or, in the longer term, human evolution, but it's interesting to note that the smallest particles are capable of entering the bloodstream and lymphatic system and may even reach the liver (i.e., they're not just in the gut where they may possibly affect the digestive system's immune response and aid the transmission of toxins and pathogens).   

The UK government, which recently launched a study looking into the matter, promises to take action. And earlier this year, the European parliament voted for a ban on microplastics in cosmetics. But plastic is so pervasive in modern life - a million plastic bottles are sold around the world every minute - that removing it from the food chain is virtually impossible.

We all know that banning plastic straws and cotton buds isn't going to be enough - but do we really care? I don't think so. I think if you wrench your nylon curtains back as far as they will go, you'll see people happily driving their polypropylene cars on wheels of sponge, before pulling into their local burger bar to have a rubber bun.

In other words, they like the world as it is and are willing to embrace their fate as homo plasticus ...


Notes

Philipp Schwabl et al, 'Assessment of microplastic concentrations in human stool' (preliminary results of a prospective study), presented at UEG 2018, Vienna, (24 October, 2018). 

X-Ray Spex, 'The Day the World Turned Dayglo', single from the album Germfree Adolescents, (EMI, 1978): click here.

Ovinophobia: Reflections on D. H. Lawrence's Fear of Sheep

Curious Flock of Sheep

art.co.uk 

One of the more amusing things about the man who loved islands is the intensity with which he hates the half-a-dozen sheep who share his tiny third island:

"What he disliked most was when one of the lumps of sheep opened its mouth and baa-ed its hoarse, raucous baa. He watched it, and it looked to him hideous and gross. He came to dislike the sheep very much. [...] They were accustomed to him now, and stood and stared at him with yellow or colourless eyes, in an insolence that was almost cold ridicule. There was a suggestion of cold indecency about them. He disliked them very much. And when they jumped with staccato jumps off the rocks, and their hoofs made the dry, sharp hit, and the fleece flopped on their square backs, he found them repulsive, degrading."

And so the man who loved islands decides they have to go. But the "hustle and horror of getting the sheep caught and tied [...] made him loathe with profound repulsion the whole of animal creation." Even several days after the flock were disposed of, he was still nerve-wracked and would sometimes start with repulsion, "thinking he heard the munching of sheep". What evil deity, he wondered, created these foul-smelling, woolly beasts; "an uncleanness on the fresh earth".   

Now, of course, it's true that the man who loved islands is a character in a story and not to be confused with either the narrator or the author - whom, for convenience's sake, let us agree is D. H. Lawrence. Just because Cathcart suffers from ovinophobia, it doesn't mean that Our Bert was himself full of fear and loathing for sheep. However, even a cursory examination of Lawrence's non-fiction reveals that he did, in fact, have an extremely negative view of them.

In his 1917 essay 'The Reality of Peace', for example, Lawrence argues that sheep are a form of life that knows nothing of transcendent being. They are born, they live, and they grow fat like large green cabbages, but they never blossom. Their only reason for being is to provide food for more vital organisms - and thank God, writes Lawrence, "for the tigers and the butchers that will free us from the abominable tyranny of these greedy, negative sheep".

Ultimately, he says, it's not the great beasts of prey we have to fear, but "the masses of rank sheep" and other herd animals that are nibbling the earth into desert. Obviously, Lawrence is writing metaphorically here - it's actually sheep-like modern humanity he's attacking - but I'm not sure this really matters; the fact remains that it's the hideous myrmidons of sheep to which he compares mankind in all its obscene nullity. 

Notes

D. H. Lawrence, 'The Man Who Loved Islands', The Woman Who Rode Away and Other Stories, ed. Dieter Mehl and Christa Jansohn, (Cambridge University Press, 1995), pp. 168, 169.

D. H. Lawrence, 'The Reality of Peace', Reflections on the Death of a Porcupine and Other Essays, ed. Michael Herbert, (Cambridge University Press, 1988), pp. 42, 43. 

Arguably, Lawrence is at his most Nietzschean in this essay and the fact that Christians are collectively referred to as a flock - and Jesus often described as the Lamb of God - is undoubtedly a factor in his ovinophobia.    

Musical bonus: The Clash, 'Shepherd's Delight', from the album Sandinista! (CBS, 1980): click here. 

On Living a Solitary Life: the Case of Elsie Eiler

Elsie Eiler and the Monowi town sign 

Photo: Reuters (2011)

I.  No Man is an Island

For Lawrence, who passionately believed in generating new forms of relationship and the establishment of an immanent utopia that he termed the democracy of touch, the idea of an individual living a solitary life was anathema and invariably ended badly (see the case of the man who loved islands, for example).  

As Aaron tells Lilly: you've got to be alone at times - and know how to be alone - but to just go on being alone is not only pointless, but impossible; sooner or later you begin to look around for other people with whom to form living connections.* Even Birkin, for all his talk of starry singularity and a posthuman world, knows that he ultimately needs to be part of a wider society. **

And Mellors, too, accepts that he can't stay alone forever in his forest hut; that he has to be broken open again and accept the pain as well as the pleasure that comes with a new set of social and sexual entanglements: 'There's no keeping clear', he tells Connie, 'And if you do keep clear, you might almost as well die'.***        

Yet the rather touching story of Elsie Eiler seems to demonstrate that, actually, isolation can be a splendid thing ...


II. The Case of Elsie Eiler

84-year-old Elsie Eiler is the sole resident of America's smallest town: Monowi, Nebraska, est. 1902. Everyone else, including her two children, has either moved away or, like her husband, Rudy, passed away (a fate that befell many other small communities in the Great Plains as the big cities exerted their pull).

But Elsie, a life-long resident of Monowi, can see no good reason to leave: it's her home, she likes it, and she intends to stay. And - contrary to what Lawrence might think - she's doing just fine and is perfectly happy.  

She still opens up the little tavern that she and her husband bought in 1971 - around the same time that the local grocery store and the post office closed - and passing truckers and travelling salesmen will frequently stop by for coffee and a chat. So, admittedly, whilst leading a solitary life, she's not entirely devoid of all human contact, like some kind of hermit.    

Elsie is also very conscious of her civic duties as Monowi's only resident. In her capacity as town mayor, for example, she is required to collect taxes and produce a municipal road plan every year in order to secure state funding for the town's four street lamps.

Elsie also maintains the 5000-volume library founded in memory of her husband, so she has plenty to read - and who's to say our relationship with dead authors isn't as vital as that with living beings? As a homotextual, I know I'd sooner live alone with a few good books, than in the company of most people ...

See:

* D. H. Lawrence, Aaron's Rod, ed. Mara Kalnins, (Cambridge University Press, 1988).

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

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

'Population of one: the smallest town in the US', a 3 minute BBC film about Elsie Eiler and her life in Monowi: click here.


Thanks to Simon Solomon who kindly suggested this post and sent me a link to the above film.

On The Man Who Loved Islands

No man is an island entire of itself ...

In a much admired - and much discussed - short story, first published in the Dial in July 1927, Lawrence writes of a man who dreams of living on an island - "not necessarily to be alone on it, but to make it a world of his own" - and who, by the time he reaches the age of thirty-five, had actually managed to acquire such (on a 99-year lease).

The First Island

Initially, the man loved his new life as an islander. But then mysterious feelings came upon him; feelings that he wasn't used to and which made him uneasy. For once you isolate yourself on a little island, writes Lawrence, then your "naked dark soul finds herself out in the timeless world" and the spirits of the dead return to haunt you. Of course, it's easy to dismiss such thoughts and feelings as nonsense in the daytime. But at night, when the world is transformed by darkness ... well, then it's not so easy.

In an attempt to counter these feelings, the man spent huge sums trying to transform the island into a gay little community over which he could be the Master. However, despite all his best efforts to create a utopia in his own image, an invisible hand would always strike "malevolently out of the silence", causing sickness, bad weather, and misfortune - even one of the cows falls off a cliff (and that, as Sgt. Wells and his men will tell you, is never a good omen).

Lawrence delights in describing - in an almost Gnostic manner - the wickedness and cruelty that emanate from the world in its materiality: "Out of the very air came a stony, heavy malevolence. The island itself seemed malicious. It would go on being hurtful and evil for weeks at a time." Not surprisingly, therefore, everyone comes to hate everyone else upon the island and the man continued to be disturbed by the "strange violent feelings [...] and lustful desires" that it provoked within his breast.

At the end of the second year, some of the islanders decide to leave. But still the bills kept arriving: "Thousands and thousands of pounds [...] the island swallowed into nothingness." Things clearly couldn't continue as they were; the man was facing bankruptcy, no matter what attempts he made to reduce expenses. The island seemed to actually pick the money out of his pocket, "as if it were an octopus with invisible arms stealing [...] in every direction".

In the middle of the fifth year, he finally sells the island.


The Second Island

Despite making a considerable loss on the sale, the man who loved islands still loved islands and had no intention of returning to the mainland. Instead, he moves to an even smaller hump of rock in the middle of the sea, with a much reduced retinue. And on this second island there were thankfully no ghosts of long lost inhabitants: "The sea, and the spume and the wind and the weather, had washed them all out ..."

Thus the second island was completely inhuman in its elemental otherness and was no longer a world - merely a queer sort of refuge. Was he any happier? In a sense. But it was that strange kind of happiness that exists beyond desire:   

"His soul at last was still in him, his spirit was like a dim-lit cave under water, where strange sea-foliage expands upon the watery atmosphere, and scarcely sways, and a mute fish shadowily slips in and slips away again. All still and soft and uncrying, yet alive as rooted sea-weed is alive."

As the man who loved islands becomes increasingly inhuman, he ceases to care even about his own writing and it seemed to him that "only the soft evanescence of gossamy things" was permanent; that cobwebs mattered more than stone cathedrals, or books - or even love.

Nevertheless, he can't resist fucking Flora, his housekeeper's daughter, and thereby falling back into what Lawrence terms the automatism of sex. Naturally, he's eaten up with post-coital regret, for it leaves him "shattered and full of self-contempt". Worse, the very island now seemed tainted: "He had lost his place in the rare, desireless levels of Time to which he had at last arrived", and had fallen right back into wilfulness - and the paternity trap; because Flora is pregnant with his child.

Horrified at the thought of clocks and nappies and home, sweet home, the man does what a lot of men have done in his position; he scarpers - to another island bought at auction for very little money:

"It was just a few acres of rock [...] There was not even a building, not even a tree on it. Only northern sea-turf, a pool of rain-water, a bit of sedge, rock, and sea-birds. Nothing else. Under the weeping wet western sky."         

Quickly realising just how desolate the third island was and what effect it was likely to have on him, the man reluctantly decides to return to Flora and make an honest woman of her. Lawrence, however, isn't the sort of writer who affords his readers the opportunity to enjoy a conventional happy ending.

Thus, the new husband and father-to-be soon experiences the death of all desire for his wife. And the island became as hateful as a vulgar London suburb; a sort of prison. Even the birth of the child, a daughter, doesn't lift his spirits. Just looking at the baby made him feel depressed, "almost more than he could bear". He tried not to show his unhappiness. But all the while he was planning his return to the third isle ...


The Third Island

The man who loved islands had himself a little stone hut built, roofed with corrugated iron. Inside, he had a bed, a table, three chairs, a cupboard, and a few books along with supplies of fuel and food. There were also half-a-dozen sheep for company; "and he had a cat to rub against his legs". But soon, even the presence of the cat begins to irritate him and he starts to hate the sheep, forever breaking the silence with their ridiculous bleating:

"He wanted only to hear the whispering sound of the sea, and the sharp cries of the gulls, cries that came out of another world to him. And best of all, the great silence."   

It rained. In fact, it rained a lot. But, fortunately, he also liked the sound of the rain.

As the days shortened "and the world grew eerie", the man began to find all human contact impossible. When local fishermen brought him his mail and supplies, he found it painful to talk to them: "The air of familiarity around them was very repugnant to him." And he didn't much care either for the clumsy way they dressed. In fact, it's hard to tell which he hates more: the sheep, the men, or the repulsive god who made them: "To his nostrils, the fisherman and the sheep alike smelled foul; an uncleanness on the fresh earth."

As winter arrives, the man who loved islands sheds himself of his last vestiges of humanity and passes into the material world of things and elemental chaos, effectively becoming-island in a manner unimaginable to John Donne - as, indeed, it seems to be to many commentators on this story, who fail to grasp that a becoming often involves a fatal affirmation of difference, not only in its positivity, but in its demonic and self-destructive otherness.

Opening oneself up to alien forces is never easy and often deeply unpleasant; it's not a question of the man identifying with the island; nor is he merely engaging in an imaginative exercise. It's a real process at the molecular level of forces. As Deleuze and Guattari write, Lawrence is one of those rare few authors - a master of the dark arts - able to tie his writings to unheard of becomings that are often profoundly troubling and do not end well.

That's why, I suppose, many readers of this tale fail to recognise its importance and think it's simply an attempt to demonstrate that no man is - or can be - an island and that we need human company in order to secure our own humanity - as if that were the great desideratum or exclusive concern of man. Those who read the story in such human, all too human terms don't understand how our haecceity consists entirely of impersonal elements, unformed particles, and non-subjectified effects (or what Lawrence terms vibrations).

Anyway, let us return to the man who loved islands ...

"He felt ill, as if he were dissolving, as if dissolution had already set in inside him. Everything was twilight, outside, and in his mind and soul. [...]
      Only he still derived his single satisfaction from being alone, absolutely alone, with the space soaking into him. The grey sea alone, and the footing of his sea-washed island. No other contact. Nothing human to bring its horror into contact with him. Only space, damp, twilit, sea-washed space!"

Lawrence continues, in a series of passages that surely number among his finest and which are philosophically of great interest for what they tell us about time and language in relation to human being:

"He was most glad when there was a storm, or when the sea was high. Then nothing could get at him. Nothing could come through to him from the outer world. True, the terrific violence of the wind made him suffer badly. At the same time, it swept the world utterly out of existence for him. [...]
      He kept no track of time, and no longer thought of opening a book. The print, the printed letters, so like the depravity of speech, looked obscene. He tore the brass label from his paraffin stove. He obliterated any bit of lettering in his cabin. [...]

      He prowled about his island in the rain [...] not knowing what he was looking at, nor what he went out to see. Time had ceased to pass."

Sometimes, the man staggers and falls down from fatigue, or illness, or both. But he doesn't really care, as he had long "ceased to register his own feelings". Only the "dull, deathly cold" still made him fearful for his wellbeing and unlike Gerald Crich, he refuses to lie down and die beneath the heavy whiteness of the snow which had "accumulated against him".  

But, of course, ultimately, you can't defeat the mechanical power of the elements and one has to surrender completely if one is to push becoming towards what Deleuze and Guattari call its cosmic formula or immanent end point: a becoming-imperceptible. The man climbed to the top of a hill and looked blankly over the whiteness of his now unrecognisable island: 

"As he looked, the sky mysteriously darkened and chilled. From far off came the mutter of the unsatisfied thunder, and he knew it was the signal of the snow rolling over the sea. He turned, and felt its breath on him."

And that's the last Lawrence tells us of him. We are left to assume that the man who loved islands has accepted his mortal destiny; i.e, that all being is ultimately a being towards death and that death is that inanimate realm of bliss into which every straight line curves (or what Nietzsche terms the actual).  

'The Man Who Loved Islands' matters because it teaches the Heideggerean truth that Dasein can come to grasp its own nature only when it confronts the void and affirms the possibility of its no-longer-being-there - not because it reaffirms the importance of human community and/or family life.      

Notes

D. H. Lawrence, 'The Man Who Loved Islands', The Woman Who Rode away and Other Stories, ed. Dieter Mehl and Christa Jansohn, (Cambridge University Press, 1995), pp. 151- 173. All lines quoted are from this edition. For those who don't have the book to hand but would like to read the tale, it can be found, in full, online by clicking here.

The photo is of the Anglo-Scottish writer Compton Mackenzie, aspects of whose life Lawrence used in his tale of the man who loved islands. Mackenzie, who had been up until that point on friendly terms with Lawrence, wasn't amused at being made into a preposterous Lawrentian figure and at one point attempted to get an injunction against what he described as a lunatic story. This, of course, didn't go down very well with Lawrence, who in a letter to his publisher Martin Secker wrote:

"I'm disgusted at Compton Mackenzie taking upon himself to feel injured. What idiotic self-importance! If it's like him, he ought to feel flattered, for its very much nicer than he is - and if it's not like him, then what's the odds? [...] But as a matter of fact, though the circumstances are some of them his, the man is no more he than I am. It's all an imbecile sort of vanity."

See: D. H. Lawrence, The Letters of D. H. Lawrence, Vol. VI, ed. James T. Boulton and Margaret Boulton, with Gerald M. Lacy, (Cambridge University Press, 1991), Letter 4196, (3 Nov 1927), pp. 205-06.

Deleuze and Guattari, A Thousand Plateaus, trans. Brian Massumi, (The Athlone Press, 1996). 

John Donne, Devotions upon Emergent Occasions (1624), see Meditation XXVII for the famous phrase 'No man is an island'. 

Readers interested in a sister post to this one on leading a solitary life (with reference to the case of Elsie Eiler), should click here.  

And for an alternative reading of 'The Man Who Loved Islands', see Stefania Michelucci, 'D. H. Lawrence's (Un)happy Islands', Études Lawrenciennes, 46 (2015): click here for the online text. 

Inhuman Rights

Michel Foucault - by Paul Loboda (2015)

Someone writes and asks:

"How can you posit a notion of rights when you subscribe to an anti-humanist philosophy?" 

It's a perfectly valid and legitimate question. And it's one which can best be addressed with reference to the work of Michel Foucault. For Foucault is, on the one hand, famous for his aggressive anti-humanism (influenced by Nietzsche), whilst, on the other hand, a great defender of the rights of various marginalised groups (prisoners, refugees, homosexuals, et al).     

Without falling back on the ideal of a universal human subject who possesses innate and inalienable rights in their capacity as such, Foucault argues that all people are governed within a network of power relations and that they do, at least, have this in common.

In other words, we are all citizens and this fact alone might provide a basis for solidarity. We have the right - and the duty - as citizens to question those who govern us and to call out flagrant abuses of power, the failure to act, or the failure to exercise due care when acting and thereby causing unnecessary suffering or hardship.

What's more, argues Foucault, individual citizens have the right to come together and collectively confront governments and take direct action themselves. We don't have to - and shouldn't expect to or want to - leave only governments free to act. Private citizens, says Foucault, have the right to intervene in the political order (thus his support for groups such as Amnesty International).

Rather than fantasise about human rights and the Great Family of Man, the key is to focus on civil rights and liberties, considered in their historical reality. As one commentator notes, Foucault articulates a conception of rights "that is open, contingent and revisable - and that does not rely for its moral or normative legitimacy on the idea of a universal human essence beyond power or politics".

In other words, Foucault's work opens up the playful possibility of "a tactical and strategic usage of rights that draws on the available resources of the law and liberal institutions in order to creatively and radically contest them".

Notes

Michel Foucault, 'The rights and duties of international citizenship', trans. by Colin Gordon (2015). Click here to read online at opendemocracy.net 

The above text was a statement read by Foucault at a press conference on 19 June, 1981, organised in association with Médecins du monde and Terre des hommes. It first appeared in print (with the rather unfortunate title) as 'Face aux gouvernements, les droits de l’homme', in Liberation, 967, (30 June/1 July 1984), p. 22. Click here to read in the original French. 

Ben Golder, Foucault and the Politcs of Rights, (Stanford University Press, 2015). 

See too Golder's post on the SUP blog entitled 'Human Rights Without Humanism', from which I quote above: click here. 

Gerontophilia: Notes on Elder Rights and Ageivism

Maggie Kuhn (1905-1995)

Founder of the Grey Panthers

I recently expressed support for elder rights in a post on gerontophilia and the beauty of old age. Now someone has emailed to ask if I would expand upon this, explaining the reason for my personal interest in this subject ...

Just to be clear: I don't myself have any involvement with any elder rights political movement or activist organisation. I admire her, but I'm no Maggie Kuhn.

However, in my capacity as a full-time carer for a woman in her nineties during the past thirty months, I've gained an insight into some of the issues faced by senior citizens; including vulnerability to abuse and the way in which cultural and social perceptions of age, disability and dementia, can impact negatively on the lives of those deemed to be over the hill at best, or useless eaters at worst.
    
And I've witnessed how even those who genuinely seem to care and should know better - medical health professionals and social workers - still behave in an outrageously patronising manner towards their elderly patients and clients.

It must be terrible to be marginalised due to the presence of a few grey hairs and wrinkles. But to also be infantilised and talked down to as if one were a child - or talked about as if no longer even present - must greatly intensify one's sense of disempowerment and humiliation. 

Diminished physical or mental capacity and an inability to use the latest technology, doesn't make someone an idiot or any less deserving of respect and a little kindness. Nor, on the other hand, does old age necessarily make any wiser, sweeter, or more innocent. The elderly have all the same vices (and virtues) as everyone else and should be accorded all the same rights.        

I'm sympathetic, therefore, to the concept of activist ageing and interested in the thinking that is said to underpin it - ageivism - even though, philosophically, I obviously have problems with any ideology that refers to principles of identity and social justice.

As I said, I'm no Maggie Kuhn: and I'm certainly no Issi Doron either. I just want us all to be able to see something beautiful in old age (even if that something is death).           

Note: readers interested in Israel Doron's ageivism project can visit his website by clicking here.

Gerontophilia: Notes on Beautiful Old Age

Carmen Dell'Orefice

Beautiful young women are freaks of nature; beautful old women are works of art.

Although I wouldn't identify as a gerontophile, I can certainly see the attraction of the older person - or even the much older person (especially if that older person happens to look like Carmen Dell'Orefice).   

D. H. Lawrence writes of men and women who have ripened like apples, "full of the peace that comes of experience / and wrinkled ripe fulfilment". That's the secret of their loveliness, he says.

However, I think we might challenge this vision of what constitutes the beauty of old age. For it's a vision that perpetuates myths of passivity and sexlessness: old people are soothing, says Lawrence, "and dim with the soft / stillness and satisfaction of autumn".

One only seeks out an elderly partner, he suggests, "when one is tired of love".

Lawrence seems to find it inconceivable that people of mature years may possibly want more and offer more than slippers and cocoa; that there are, in fact, many sexually active and sexually desirable individuals in their sixties, seventies and beyond.           

To be honest, it's a little surprising to find Lawrence peddling this line of thought. For not only was he himself married to an older woman with an insatiable libido, but in an article written around the same time as his poem 'Beautiful Old Age', Lawrence insists:

"We all have the fire of sex slumbering or burning inside us. If we live to be ninety, it is still there. [...] In youth it flickers and shines; in age it glows softer and still, but there it is."   

His position on this question - as on so many others - is therefore fluid and ambiguous.

My own position is that anything that counters our culture's marginalisation and infantalisation of senior citizens and not only protects but promotes and advances elder rights is a good thing.     

Notes

D. H. Lawrence, 'Beautiful Old Age', The Poems, ed. Christopher Pollnitz, (Cambridge University Press, 2013), Vol. I, p. 437.

D. H. Lawrence, 'Sex Appeal', Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004), pp. 143-48. 

I might have chosen to say more about gerontophilia, but, unfortunately, the reserach data is almost non-existent - even Kinsey can't help us here. I'm not sure why this is so, but perhaps it's related to the fact that unlike some other forms of paraphilia - such as paedophilia, for example - gerontophilia has never been regarded as a problematic mental disorder. Indeed, as one commentator points out, gerontophiles find themselves in a category of deviancy that usually lends itself to mockery rather than moral panic. See: Jesse Bering, Perv: The Sexual Deviant In All Of Us, (Scientific American / Farrar, Strauss and Giroux, 2013).

Those intrigued by this topic might be interested in the romantic comedy-drama Gerontophilia, (dir. Bruce LaBruce, 2013), which tells the story of a young man who takes a job in a nursing home and develops an attraction to an elderly resident in the facility. Click here, to watch the trailer. 

For a related post to this one on elder rights and ageivism, click here.