Screamin' Jay Hawkins: He'll Put a Spell on You

Because you're mine ...

I.

Never a favourite with the NAACP, Screamin' Jay Hawkins played with black racial stereotypes and white racial fears just as he experimented with music and performance, producing a unique sound and look that would later influence shock rockers from Arthur Brown and Alice Cooper to Marilyn Manson.

The above - and many others - were inspired by his mock-satanism and penchant for macabre stage accessories (including smoking skulls, rubber snakes, and shrunken heads).  

II.

A former champion boxer and Korean war veteran, Hawkins decided to try his luck as a rhythm and blues singer. After an 18 month spell fronting a band, he left to develop a solo career. His big moment came in 1955, when he recorded an astounding - and drunken - version of his composition entitled I Put a Spell On You, for a black music label owned by Columbia Records. 

The grunts, groans and screams that Hawkins added to what was otherwise a fairly standard pop ballard were deemed to be so disturbing that the record was immediately banned from the radio. Nevertheless, it was a huge hit, selling more than a million copies and secured Hawkins a place in the rock 'n' roll hall of fame. 

It also ensured he would be typecast as a performer, whose talents as a singer, songwriter and musician, became increasingly irrelevant; people wanted the outrageously dressed madman with a bone through his nose, taking to the stage in a satin-lined coffin and giving his best impression of the voodoo priest Baron Samedi.*    

As much as his grotesque persona delighted and amused white audiences - not only in the US, but also in the UK and France - it deeply offended many African Americans. Hawkins, however, was unapologetic, explaining that he was simply an entertainer looking to make a few dollars; not a role model, spokesman for the black community, or a civil rights activist.    

Although he had a number of other hit songs - including Constipation Blues (1969); a track about real pain, not merely heartbreak and loneliness - his star was well and truly beginning to fade by the 1970s, although he continued to work up until his death, aged 70, in February 2000, appearing, for example, alongside Joe Strummer in the 1989 cult movie Mystery Train (dir. Jim Jarmusch).  

Since his death, I Put a Spell on You has continued to be covered by a wide variety of artists, most of whom treat the song very seriously; very few have been brave (or foolish) enough to attempt to replicate - or better - the unique performance given by Hawkins himself ...**

Notes

* Hawkins did sometimes express his unhappiness with this; in a 1973 interview, for example, he bemoaned the fact that whilst James Brown did an awful lot of screaming, he wasn't given the name of Screamin' James Brown and nobody expected him to play the fool or questioned the sincerity of his performance. I'm not overly sympathetic with Hawkins, however, who voluntarily sold his soul to the devil.  

** Artists who have covered this song include Nina Simone, Bryan Ferry, Marilyn Manson, and even Bonnie Tyler.

Play: Screamin' Jay Hawkins, I Put a Spell On You, (Okeh Records, 1956): click here. 

And for a live TV performance of the song, click here. 

A Brief Midwinter Reflection

Thank fuck it's the solstice this weekend and the promise of a returning sun; have the mornings ever been so dark as this year? I don't remember them so. But maybe it's an age thing; I appreciate now why so many pensioners like to spend winter in the south, if they can afford to do so.

Of course, despite the December solstice being a cosmic and psychological turning point, it's still a terribly long wait for spring and the warmer days when love becomes possible anew. For as Irigaray points out, whilst a god can enter the world midwinter, it's too early, too cold, and too dark to really rejoice.

Winter undoubtedly has it's own special beauty and rhythm, but it's spring - "when the heavens and the earth unite" - that is the "most wonderful and divine season"; a time of flowers and birdsong that "resonates in a deep silence [...] beyond any word".      

The solstice is a time when, briefly, the sun stands still; but in the spring everything leaps forward - even the clocks! 

See: Luce Irigaray, Through Vegetal Being, (Columbia University Press, 2016), pp. 36 and 37.

 

On Stamina (as Ontological Destiny)

John Melhuish Strudwick: A Golden Thread (1885)

I.

An aged philosopher, said a young Nick Land, is either a monster of stamina or a charlatan. We can probably say the same of artists, rock stars, and maybe even monarchs.

For whilst I don't want to revive and reinforce the romantic ideal of living fast and dying young - as if a premature death confirms authenticity and proves the truth of one's message - there are perhaps certain individuals who are under a greater obligation to die at the right time than other (superfluous) men and women; i.e., not too late, but not too early either. 

However, it's not this Nietzschean idea I wish to discuss; nor do I wish to comment here on what makes monstrous, or write in defence of charlatanism. I want, rather, to say something on the concept of stamina ...

II.

It's unfortunate - and a little disappointing - that Land seems to rely upon the common understanding of the term stamina; i.e., synonymous merely with staying power, or the ability to maintain an activity or commitment regardless of circumstances (including fatigue and old age). That's the kind of error that the sort of people who think that a rock has the capacity to endure might make ...   

For stamina means more than merely having the energy and strength to keep going; it refers us rather to the essential elements of a thing; the vital structures or qualities of being. As the plural form of stamen, we might even define it as the thread (or filament) from which the individual (and their fate) is woven. 

Thus, philosophically speaking, all mortals have stamina (i.e., an ontological destiny) - even charlatans, those who burn out early, or those who regard death as a festival and voluntarily choose to squander their souls ...

See:

Nick Land, The Thirst for Annihilation, (Routledge, 1992). 

Nietzsche, 'Of Voluntary Death', Thus Spoke Zarathustra, (Penguin Books, 1969).   

Dionysos Versus the Amazons

I.

One of two final (prose) poems written by D. H. Lawrence was a work inspired by a reading of Plutarch, concerning the bloody battle fought between the god Dionysos and his followers and the tribe of warrior women known by many names amongst the ancient Greeks, but most commonly remembered today as the Amazons [Ἀμαζόνες].

According to Plutarch, after an initial skirmish at the coastal city of Ephesus, the Amazons fled to the island of Samos, where they were pursued by Dionysos and slaughtered en masse. Lawrence seems to be in little doubt as to who instigated the violence. He writes:

"Oh small-breasted, brilliant Amazons, will you never leave off attacking the Bull-foot, for whom the Charities weave ivy-garlands?"

And, a little later, he notes: "the Amazons swept out of cover with bare limbs flashing and bronze spears lifted."

What Lawrence doesn't do in his reimagining of the myth, is explain why the Amazons should be so fiercely determined to resist the triumph of Dionysos. To understand that, we need to turn to the work of the 19thC theorist of ancient matriarchy, Johann Jakob Bachofen ...


II.

Bachofen is probably best remembered today (if at all) as the author of Das Mutterrecht (1861); a seminal work in which he argues that Woman in her role of sacred (earth) mother is the origin of all human religion, culture and society.

According to Bachofen's post-Hegelian perspective, human cultural evolution consists of several stages, culminating in the Apollonian age in which all traces of the Mutterecht and the matriarchal past were eradicated, and from which modern (solar-phallic) civilisation emerged.

Whilst convinced that, ultimately, there's a progressive movement from base matter to the luminous unfolding of spirit, Bachofen doesn't argue for a smooth, developmental process. He insists, rather, that each shift from one phase to the next is marked by violence and there are often long periods during which regressive forces gain the upper hand and force humanity backwards. 

As the Dionysian phase of cultural evolution was one in which earlier female traditions were either masculinised or destroyed as the phallocratic order of patriarchy slowly began to emerge and assert itself, there was, therefore, good reason for the Amazons to be pissed (as Americans like to say).

It should be noted, however, that Bachofen doesn't approve of their feminist uprising, dismissing it as both reactionary and perverse and decrying the Amazons as a bunch of hate-filled, homocidal, war-loving maidens [männerfeindlichen, männertötenden, kreigerischen Jungfrauen].

He celebrates their defeat by Dionysos as the restoration of the natural order; finally, says Bachofen, women can find their fulfilment (and destiny) via glad submission to the male in all his glory. 
  

III.

I suppose the question is: did Lawrence know of Bachofen and was the latter an influence of any sort?

Well, whilst I don't recall him ever mentioning Bachofen, one suspects Lawrence would have known the name, being as he was well read in German literature and philosophy and married to a woman who would have almost certainly been familiar with Bachofen's ideas.   

What's interesting is that even whilst Lawrence would have detested Bachofen's idealism, he himself frequently wrote within the terms and confines of metaphysical dualism; darkness and light, passive and active, and - most crucially - male and female.

Indeed, like Bachofen, Lawrence sometimes seems to read all human history in terms of a battle of the sexes. And, like Bachofen, whilst he declares his sympathies are with the women, Lawrence often seems deeply troubled by the thought of women who have liberated themselves from men and phallocentric culture entirely, such as Amazons and lesbians.

Thus, it's noticeable that in his poem Lawrence seems more concerned about the fate of the beasts that accompanied Dionysus into battle, than the fate of the women who were put to the sword:

"The rocks are torn with the piercing death-cries of elephants, the great and piercing cry of elephants dying at the hands of the last of the Amazons, rips the island rocks."  

Notes

D. H. Lawrence, 'The Elephants of Dionysos', The Poems, Vol. III, ed. Christopher Pollnitz, (Cambridge University Press, 2018), pp. 1615-16. This work, along with another (untitled) prose poem, was found on a short manuscript torn from a notebook. They are believed to be the last poems Lawrence wrote, composed at the beginning of December, 1929.

W. R. Halliday, The Greek Questions of Plutarch, (Oxford, 1928); see Question 56. This is the edition that Lawrence consulted when writing his poem on Dionysos and the Amazons. 

Johann Jakob Bachofen, Myth, Religion, and Mother Right, trans. Ralph Manheim, (Princeton University Press, 1992).

Cynthia Eller; Gentlemen and Amazons: The Myth of Matriarchal Prehistory, 1861-1900, (University of California Press, 2011). See Chapter 3: On the Launching Pad: J. J. Bachofen and Das Mutterrecht, which I found particularly helpful when writing this post.  

This post is for Maria.

And Winner, of the 2019 Torpedo the Ark Award, is ...

Micromys minutus

... Wendy Fail, for her successful attempt to reintroduce harvest mice to Northumberland.

As a doctoral student back in 2004, Fail bred 240 of these lovely and elusive little creatures in captivity, before then releasing them over a two month period on to a coastal nature reserve with plenty of reedbeds for them to hide in.

Although subsequent trap surveys suggested that the mice hadn't survived and formed a viable population as hoped, it now seems - 15 years later - that descendants of the original animals are in fact breeding, as freshly woven nests have been discovered at the reserve.   

Contacted with the news, Fail was said to be ecstatic - and I'm pleased for her - as I am for this particular species of mouse, which, like many other UK species, is in sharp decline due to all the usual reasons (including habitat destruction and modern farming methods, for example). 

A priority species for conservation and protected by law, the harvest mouse is Britain's smallest rodent (weighing no more than a tuppenny bit) and the only one with a prehensile tail.

Preyed upon by pretty much everything - including owls, cats, and even other mice - the harvest mouse is also surprisingly vulnerable to prolonged periods of cold, wet weather; not ideal when you live in England (even if primarily confined to the South East of the country). 

She hasn't, by her own admission, saved the world. But Fail has succeeded in making it just a slightly more magical (and less lonely) place and for that I congratulate her.

(Let's just hope that the pine martens that have also recently returned to Northumberland don't eat them ...!)

Perfumed Pop Perfection

Dior: Joy (2018): click here

I. Joy *

Somethings are so perfect they deserve to be acknowledged as such. And the TV ad by Dior for the fragrance Joy, directed by Francis Lawrence and starring the sublimely beautiful Jennifer Lawrence, is one such thing. 

It's visually stunning, as one might expect, as the 28-year-old American actress frolics in a swimming pool with a jellyfish, playfully spits water at the camera, lounges in the sun, and floats beneath the stars, etc.

But - crucially - it also has a magical soundtrack supplied by The Rolling Stones; an irresistable slice of psychedilic pop entitled 'She's a Rainbow' ...

II. She's a Rainbow **

'She's a Rainbow' featured on the (much-maligned at the time, but now critically-acclaimed) album Their Satanic Majesties Request (1967) and was also released as a single in the US (although it wasn't a big hit, peaking at number 25 in the charts). 

Simplistic, repetitive, and, at times, childlike, it's been described as the prettiest and most un-Stoneslike of all songs written by Jagger and Richards, and features a string arrangement by John Paul Jones, piano by Nicky Hopkins, and the magnificent refrain she comes in colours (the title of a single released 12 months earlier by the LA band Love, led by singer-songwriter Arthur Lee).  

I'm not, for obvious reasons, a great fan of The Rolling Stones and although perfumed pop perfection smells less of teen spirit and more of a multi-million dollar licensing deal, I love this hippie-trippy song nevertheless ...

Notes

* Created by François Demachy, Joy incorporates notes of mandarin, zested bergamot, rose, jasmine, and sensual sandalwood. It is intended to be an olfactive interpretation of light and is Dior's first major fragrance launch since J'adore back in 1999. For more details, visit the Dior website: click here.   

Readers might also note that the fragrance's name is not linked to Lawrence's Oscar-nominated role in the 2015 film Joy (dir. David O'Russell); that's simply a happy coincidence. And although Jennifer and Francis Lawrence have frequently worked together, they are not, in fact, related; the shared surname is simply another coincidence.

** 'She's a Rainbow' is something of a favourite not only with Stones fans, but advertising executives, having featured in several other commercials over the years as well as the Dior ad; these inlude one for Apple in 1999, who wanted to promote their colourful i-Mac computers, and, more recently, one for Acura's RDX in 2018. The song is thus what Arthur Daley would call a nice little earner for Mick and Keith, who, unlike some artists, happily embrace commercial licensing of their songs. 

As the Stones continue to play 'She's a Rainbow' live, one assumes it's one of the two songs on Their Satanic Majesties Request that Jagger and Richards still think fondly of, despite both having dismissed the album as basically not very good.

Play: The Rolling Stones, 'She's A Rainbow', from Their Satanic Majesties Request (Decca, 1967): click here to play the full version (with intro) on YouTube courtesy of Universal Music Group.

London Squawking: The Rise of the Ring-Necked Parakeet

 Who's a pretty boy then? 

Photo by Tim Blackburn / PA

I.

Originally from Africa, the bright green ring-necked parakeet that now thrives in London and SE England, is one invasive species that we can all welcome; for surely everyone loves parrots which make a colourful (if rather noisy) addition to British wildlife.  

Well, probably not everyone, but I don't wish to discuss those who hate parrots here; I would like, rather, to discuss the question of how the tropical birds were introduced into the UK, as this has been a subject of contention and, indeed, urban legend ...


II.

One such legend, for example, traces their origin to a pair released by Jimi Hendrix on Carnaby Street, in the heart of Swinging London, in 1968.

Another slightly less groovy story suggests that the parrots arrived seventeen years earlier, when Humphrey Bogart and Katharine Hepburn were in Town to film scenes for The African Queen (1951) and various exotic animals were required on set by director John Huston, some of which - including the parrots - are believed to have escaped.*  

Alas, it seems that neither of the above legends relating to the origins of the UK's parakeets are true; at least not according to a team of academic researchers at Queen Mary University (London) who have looked into the question.

Their work has led them to conclude (rather mundanely) that the booming parakeet population has grown from multiple small-scale releases, some of which were accidental and others due to the intentional actions of nervous pet owners worried by sensational media reports of parrot fever (psittacosis) dating back to the 1930s. 

However they got here, we should be grateful and happy to have the birds (along with the 33 other countries that this avian migrant has made a home in). Those who call for a cull of the parrots due to expanding numbers - and who often express false concerns about their impact on native species - should, in my view, be tarred and feathered. And then shot.  

I would fully endorse what the author Nick Hunt writes here:

"In an age of climate emergency, with mass extinction ripping apart the fabric of the living world, when the dominant narrative of our times is one of loss and disappearance, collapse and diminishment, parakeets tell a different story. These plucky newcomers beat the odds, not only surviving but thriving. In a nature-depleted culture, when city dwellers are supposedly alienated from the environment and anything that is feral or wild, parakeets are the subject of outlandish speculation, the source of mystery, imagination and everyday wonder."**

     

Notes

* Although much of the movie was shot on location in Uganda and the Congo, many scenes were, in fact, filmed at Isleworth Studios, in Middlesex.

** Nick Hunt, 'The great green expansion: how ring-necked parakeets took over London', The Guardian (6 June 2019): click here to read online.

See also: Nick Hunt and Tim Mitchell, The Parakeeting of London, (Paradise Road, 2019). 

The Carolina Parakeet - He's Not Extinct, He's Resting ...

Cornuropsis carolinensis


"This parrot is no more! He has ceased to be! 'E's expired and gone to meet 'is maker! 
'E's a stiff! Bereft of life, 'e rests in peace! If you hadn't nailed 'im to the perch 'e'd be pushing up the daisies! 
'Is metabolic processes are now 'istory! 'E's off the twig! 'E's kicked the bucket, 'e's shuffled off 'is mortal coil, 
run down the curtain and joined the bleedin' choir invisible! This is an ex-parrot!"*

I.

Bird lovers the world over were delighted to hear that scientists have managed to sequence the genome of a dead (and, in fact, stuffed) Carolina parakeet; although saddened to have their suspicions confirmed that North America's only native parrot** was driven into the void primarily due to human activity. 

For the genetic evidence suggests that populations were buoyant until the arrival and spread of European settlers. The bird's DNA showed no signs, for example, of the inbreeding that is characteristic of species that have been in decline for many generations, across thousands of years. 

Only when the White Man arrived in the Americas, did this brightly-coloured bird - with its green plumage and distinctive yellow head that was once found inhabiting forests from New England to Colorado - face extinction. Having abruptly disappeared from the wild, the last known specimen in captivity died in the Cincinnati Zoo, in February 1918.     

Quite what happened to the bird, no one knows for sure - though we can be fairly certain that deforestation and hunting played significant roles in its demise. Like other parrots, they liked to congregate in large, noisy flocks which made their slaughter by men with guns easy to accomplish (like shooting fish in a barrel).    

II.

You might think that this, then, would be the end of the story ... That having become extinct, the Carolina parakeet, is no more: that he has ceased to be; gone to meet his maker and joined the bleedin' choir invisible, etc. But you'd be mistaken ...

For like the passenger pigeon, the heather hen, and the dodo, the Carolina parakeet is a candidate for de-extinction or bio-resurrection; i.e., the process of bringing an extinct organism back from the dead, via cloning, genome editing, or selective breeding.

Of course, this has never been done before and presents enormous technical challenges. But just because something is incredibly difficult to do, doesn't make it impossible ...

As well as birds, scienists working in this area are also hoping to bring back a species of giant tortoise, a ground-dwelling frog native to Australia, and a whole list of mammals including the European cave lion, a prehistoric wolf, and - of course - the woolly mammoth.

I have to say, I find all this very exciting to consider in a way that conservation projects, sadly, never are. It's always disconcerting, however, to discover that here - as elsewhere - the Nazis led the way, producing a breed of aggressive supercows in the 1930s, based on a species of extinct wild bull that once roamed the forests of Europe.***

Still, never mind the aurochs - bring back the dead parrots!   

Notes

* The lines quoted (pretty much from ingrained cultural memory) are from the 'Dead Parrot Sketch', written by John Cleese and Graham Chapman, and performed by Cleese and Michael Palin in S1/E8 of Monty Python's Flying Circus (7 December 1969). Click here for the version of the sketch featured in the Python film And Now for Something Completely Different (1971).

** It's true that the thick-billed parrot once lived in the American Southwest, but I think of this more as a Mexican bird that had extended its range northwards, rather than as a true native of the United States.   

***The cows, bred from wild genes extracted from domestic descendants of the aurochs, were produced by German zoologists Heinz and Lutz Heck, whom the Nazis commissioned to produce a type of Aryan cattle with muscular physiques, deadly horns, and a fighting temperament. How far they succeeded in this is debatable (criticism can certainly be made of their methodology and, physically, the Heck cattle bear little resemblance to aurochs, being shorter and fatter, for example).    

Double Dutch

Malcolm on set whilst filming the video for 'Double Dutch' and me 
receiving a silver disc to mark sales in the UK of more than 250,000 copies

One of the (many) joys of Martin Scorsese's The Wolf of Wall Street (2013) is an extensive soundtrack that affords one the opportunity to hear Malcolm McLaren's still remarkably fresh sounding single 'Double Dutch', taken from his debut album, Duck Rock, and released in the summer of '83 when, all over the world, high school girls were taking to the ropes ...
 
I don't know why Scorsese (in collaboration with music supervisor Randall Poster and executive music producer Robbie Robertson) selected this song, but it presumably has some significance to him as it's one of only 16 - out of 60 used in the movie - to feature on The Wolf of Wall Street: Music from the Motion Picture (Virgin Records, 2014).    

For me, it's a track that has a very special resonance and brings back happy memories of a time when I was working at Charisma Records as an assistant in the press office, alongside the very lovely Lee Ellen Newman, and as a sort of intermediary between the label and McLaren's office on Tin Pan Alley, managed by the indomitable Carrolle Payne.

I recall, for example, meeting those dark and lovely skippers from New York who featured in the video for McLaren's single and who are name-checked in the lyrics to the song (Hey Ebo! Ebonettes); I remember also riding around Town in a limo with the Rock Steady Crew who had come to teach Londoners how to breakdance and elevate graffiti into an urban art form (but that - as they say - is another story ...). 

Although there were other songs on Duck Rock I liked more than 'Double Dutch', the latter - co-written and produced by Trevor Horn - was undoubtedly the catchiest and, in reaching the UK chart position of number 3, also McLaren's biggest hit (though - surprisingly - not so in the US).

Whilst primarily about the sport of competitive rope jumping, 'Double Dutch' is also an excellent example - arguably - of McLaren's willingness to cheerfully engage in cultural appropriation and the racial fetishisation of young black girls in order to further his own commercial and artistic ends ... 

Play: Malcolm McLaren, 'Double Dutch', the third single release from Duck Rock (Charisma Records, 1983): click here. Note: this is the 12" version of the song.

Luce Irigaray and Constance Chatterley: Woodland Refugees

Penguin Books (2011)

Illustration by Lucy McLauchlan

I. 

Connie, we are told in one of the early chapters of Lady Chatterley's Lover, was aware of a growing restlessness taking possession of her like a madness: "It twitched her limbs [... and] made her heart beat violently, for no reason."

In order to counter this restlessness, Connie would rush away from the house and from everybody and lie prone in the bracken: "The wood was her one refuge, her sanctuary."

II.

I thought of this when reading Luce Irigaray's claim that nature had saved her life and restored her health on many occasions, and that from early childhood the world of plants (and animals) has been her favourite (and most vital) dwelling place. 

Indeed, I can't think of a more Lawrentian (or, at the very least, Lawrentian-sounding) French feminist than Irigaray, who, like Lawrence, affirms the generative potential of the elements and the importance of living in emotional rhythm with the seasons: "the wheeling of the year, the movement of the sun through solstice and equinox, the coming of the seasons, the going of the seasons". 

That's Lawrence writing, but it could so easily have come from Irigaray's pen. And like the latter, Lawrence is an advocate of sexuate being: "men experience the great rhythm of emotion man-wise, women experience it woman-wise" and often expounds his thinking in terms that seem to blur the distinction between human life and vegetal being:

"We are bleeding at the roots, because we are cut off from the earth and sun and stars, and love is a grinning mockery, because poor blossom, we plucked it from its stem on the tree of Life, and expected it to keep blooming in our civilised vase on the table." 

III.

Like Connie, Irigaray also seeks out human companionship in the woods in order to experience what she terms a more complete sharing. I don't know if, for her, that involves a phallic hunting out, but one assumes that it is about meeting another being beyond all shame and the reaching of one's ultimate nakedness.

Irigaray is disappointed that when she confesses her desire to meet a companion in the woods to her friends and colleagues most laugh and wrongly assume she's longing for some kind of caveman, or expressing a naive form of romantic primitivism. Such people, she says, not only exhaust her vitality, but show an underlying ignorance of and contempt for the subtlety of her thinking 

Again, whilst I'm not entirely sure about this, I imagine what she wants is to encounter someone who does for her what Mellors does for Connie, i.e., provide a transformative experience of otherness and an awakening into touch. She writes: "Sexuate desire is [...] an appeal for entering into relations with the other as a source and an embodiment of life different from ours, which calls for a sort of becoming [...]"

IV.

Lawrence famously opens Lady C. with a passage that suggests we are all living among the ruins and that our primary task, therefore, is to go round or "scramble over the obstacles", building "new little habitats". Irigaray also seems to arrive at a similar (essentially tragic though still hopeful) conclusion: 

"Our earth and all the living beings who inhabit on it are henceforth in danger and [...] we, as humans, must find a way to [...] return to our natural belonging and its suitable cultivation for the establishment of another manner of existing and coexisting [...]"  

The key, according to her, is to "open and reopen continuously the possibility of a new growth and horizon for life, for desire, for love, and for culture". She continues:

"Sometimes the vegetal world is our most crucial mediator; sometimes it is a loving and loved human different from us; sometimes past thinkers lead us on the way. However, we must clear up our own path alone, with the help of a star, of a grace, or the fecundity of a meeting with another human who longs to cultivate life, love, and thought through their sharing, and with building a new world in mind."

Notes

D. H. Lawrence, Lady Chatterley's Lover and A Propos of 'Lady Chatterley's Lover', ed. Michael Squires, (Cambridge University Press, 1993), pp. 5, 20, 322-23, 

Luce Irigaray and Michael Marder, Through Vegetal Being, (Columbia University Press, 2016), pp. 86, 97, 99

I'm not the first, of course, to note the similarity (at times) between Lawrence and Irigaray. Sue Reid, for example, has written some interesting work in this area. See her essay 'Enumerating Difference: Lawrence, Freud, Irigaray and the Ethics of Democracy', Études Lawrenciennes, 45 (2014), pp.125-140. Click here to read online.  

For a critique of Luce Irigaray's vegetal idealism, click here.