Introduction to Journal of D. H. Lawrence Studies 2016

JOURNAL OF D. H. LAWRENCE STUDIES Volume 4, Number 1 (2016) CONTENTS EDITORIAL NOTES AND ACKNOWLEDGEMENTS SUSAN REID 5 FURTHER LETTERS OF D. H. LAWRENCE JOHN WORTHEN and ANDREW HARRISON 7 FIVE POETS OF THE PRESENT ON D. H. LAWRENCE SARAH CORBETT, JOHN McAULIFFE, DERYN REES-JONES, NEIL ROLLINSON and JEFFREY WAINWRIGHT CURATED by HOWARD J. BOOTH 11 “A PROPOS OF THE WAR”: D. H. LAWRENCE’S ‘ALL OF US’ LEE M. JENKINS 25 DEPRAVITY, ABUSE AND HOMOEROTIC DESIRE IN BILLY BUDD AND ‘THE PRUSSIAN OFFICER’ BETHAN JONES 47 “AUSDRUCKSTANZ” AND “ARS AMATORIA”: D. H. LAWRENCE AND THE INTERRELATED ARTS OF DANCE AND LOVE EARL G. INGERSOLL 73 LORENZO AT ‘THE THEATRE’: MEETING ACTORS AND AUDIENCE NICK CERAMELLA 99 LAWRENCE’S PLAYS ON THE STAGE: AN EVOLUTION FROM 2009 TO 2016 JAMES MORAN 121 REPORT BANKRUPTCY IN ‘THE HORSE-DEALER’S DAUGHTER’ SHIRLEY BRICOUT 139 REVIEW ESSAY TWO MODERNISTS AT THE TATE: GEORGIA O’KEEFFE AND PAUL NASH SUSAN REID 143 REVIEWS 153 NOTES ON CONTRIBUTORS 183 ABBREVIATIONS 187 EDITORIAL NOTES AND ACKNOWLEDGEMENTS SUSAN REID This number of the JDHLS celebrates the myriad interconnections that Lawrence made in his life and in his art – with fish and fig and flower, between nations and cultures, and across the arts of drama, song and dance. As Andrew Harrison’s new biography (reviewed here by Jonathan Long) reminds us, Lawrence was connected with many other artists, including Kai Gøtzsche, to whom he wrote of his acute observations of a “queer”, Mexican landscape (see ‘Further Letters’). This year the journal’s cover depicts not a place of significance in Lawrence’s work but a painting by another artistfriend, Mark Gertler, that evokes Cézanne’s art of “appleyness” (much admired by Lawrence [LEA 212]) juxtaposed with the craftsmanship of bowl and spoon and the symbolism of mixing. In parallel ways, the articles presented here shine new light on important aspects of Lawrence’s art and craft, across his diverse oeuvre, which continue to resonate and circulate today. We begin with the generous responses of five contemporary poets (Sarah Corbett, John McAuliffe, Deryn Rees-Jones, Neil Rollinson and Jeffrey Wainwright), each providing a practitioner’s insight into the skill, vision and impact of a different Lawrence poem. And we end with James Moran’s survey of recent stagings of Lawrence’s plays, including the National Theatre’s landmark production of Husbands and Sons. (Moran’s seminal The Theatre of D. H. Lawrence is reviewed here too, by Catherine Brown). The intervening articles also bring Lawrence’s work across the arts into sharper focus. Lee M. Jenkins’s consummate reading of the ‘All of Us’ poems inter-weaves a range of perspectives, from literary studies of modernism and war literature to postcolonial theory. From Lawrence’s rendering of Egyptian songs as war poetry, we turn to the influence of Lawrence’s ‘The Prussian Officer’ on E. M. Forster’s crafting of the libretto for Benjamin Britten’s opera Billy Budd, elucidated in terms of “depravity, abuse and homoerotic desire” by Bethan Jones. And then to dance, in Earl G. Ingersoll’s persuasive analysis of the inter-related arts of love and expressionist dance in Women in Love and Mr Noon, which, he argues, owe more to Frieda’s influence than previously has been allowed. The drama continues, on and off-stage, with a compelling account by Nick Ceramella of Lawrence’s focus on the cultural characteristics of actors and audience in his essay ‘The Theatre’, accompanied by some fascinating visual images. Shirley Bricout reports new findings on how life influenced art in ‘The Horse-Dealer’s Daughter’. And, finally, the reviews section reaffirms Lawrence’s movement among artists (in Susan Reid’s review essay of Georgia O’Keeffe and Paul Nash at the Tate) and among modernists, as well as assessing important new books on Lawrence by David Ellis, David Game, Andrew Harrison and James Moran. JDHLS is also excited to announce that an online archive of articles is under construction by Joseph R. Shafer at <www. dhlawrencesociety.com/archive-the-journal-of-d-h-l-studies>. Individuals wishing to submit new work with a view to publication in the JDHLS are invited to contact the Editor in the first instance (sue@niallc.co.uk). Submissions (of up to 7000 words) are refereed by two expert readers. Holders of unpublished manuscript letters by or to D. H. Lawrence, and researchers who have located unpublished letters in archives, are encouraged to make these available for publication by contacting Andrew Harrison (DrAndrewHarrison@aol.com) or John Worthen (DrJohnWorthen@btinternet.com). The Editor and Society are grateful to Laurence Pollinger Ltd, the Trustees of the Estate of Frieda Lawrence Ravagli, for permission to quote from copyright material. Thanks is due also to Howard J. Booth for curating ‘Five Poets of the Present’, to the poets and scholars for their excellent work, the expert readers and all at the D. H. Lawrence Society for their continuing support.