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Reconstructing “The Nightmare” of WWI in D. H. Lawrence’s Kangaroo
Fiona Fleming 한국로렌스학회 2018 D.H. 로렌스 연구 Vol.26 No.2
Chapter XII of D. H. Lawrence’s Australian novel Kangaroo (1923), entitled “The Nightmare,” is an analeptical account of the main character’s experience of war-time England, from 1916 to 1919. As pointed out by Bruce Steele in the Cambridge University Press edition of Kangaroo, the whole chapter, written in 1922, is largely autobiographical. A comparative study of this chapter and the letters which Lawrence wrote from 1916 to 1919, will therefore highlight the problematic process of reconstructing memories and rewriting them into a fictional work several years after the events took place. In addition to the common questions of truthfulness, embellishment and hyperbole, this semi-autobiographical analepse calls for an analysis of its narrative structure―how it is embedded in the general storyline using the trope of the “nightmare”―and of its relevance in the plot and the development of the main character, Richard Somers, an English writer who has travelled to Australia via Italy and India. Firstly, the chapter explores the beginning of Somers’s quest for self-reconstruction, after what is clearly depicted as a traumatic experience, through a painful yet necessary self-exploration and reconstruction of the past. Though the remembrance is presented as involuntary, the flow of repressed memories which suddenly resurfaces is examined in detail and organised around the central theme of fear, which initially triggered these war-time recollections. Secondly, the chapter relates the protagonist’s gradual emotional and intellectual break with the home country, caused by the spirit of “war effort” and the general climate of distrust and fear, patriotism and propaganda. However, the novel narrates the reconstruction of Somers’s paradoxical relationship with his home country, thanks to the disorientation, rootlessness and homesickness he endures in Australia.
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Fiona Fleming 한국로렌스학회 2023 D.H. 로렌스 연구 Vol.31 No.2
This article analyses the poems, essays, and hymns from The Plumed Serpent written by Lawrence in the 1920s and focuses on the vitalistic and organicistic portrayal of his experience in the Southwest. I will argue that the flows, vibrations and connections which he describes with reference to the American spirit of place, are apparent on a variety of levels in these writings, testifying to the immense artistic renewal provided by New Mexico and Mexico. The fauna and flora, primitive symbols and associations, local dances, songs and languages, all participated in the composition of Lawrence’s American subject matter and style, which, more than in any other of his creative periods, convey a newfound sense of collectivism, after the isolation and individualism of Australia, a heightened form of vitalistic spirituality and an uplifting prospect of shaping the future by reconnecting with the primitive past.
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