Lawrence’s New Mexico “Shangri-La”

Biographical, Creative Writing, Literary & Linguistics, Old technology, Society & Culture

In his semi-autobiographical, Australian novel Kangaroo, DH Lawrence’s protagonist Richard Somers remarks that he’ll “probably repent bitterly going to America”. This echoes Lawrence’s own equivocation about America. In correspondence, Lawrence thought America “the land of his future” but this was tempered by a pessimism that the United States would be ‘barbaric’ and he would hate it⌖ (Letters IV:141, 151, ‘Manuscripts and Special Collections’, D. H. Lawrence Research – The University of Nottingham, www.nottingham.ac.uk).

The call of Pueblo lifestyle
In the end what clinched it for Lawrence was an invite from New York art patron Mabel Dodge Sterne to visit Taos, New Mexico. The promise of Taos captured DHL’s imagination…remote (7,000 feet-high, 23 miles from the nearest railway), 600 free Indians unspoilt by western capitalism and modernity, “sun-worshippers and rain makers” (D. H. Lawrence and the American Indians’, Jeffery Meyers, Michigan Quarterly Review, Vol 56, Issue 2,  Spring 2017, www.quod.lib.umich.edu).

DHL was enchanted with the idea of the primitive lifestyle of native Americans, their spiritual faith and traditional connexion with the earth.

Taos Pueblo (Source: http://ahistoryofthepresentananthology.blogspot.com/)

Lawrence envisaged that this could be the utopian community, the free and open, instinctive society, ‘Rananim’, that he had been trekking around the world trying to find. Mabel also lured Bert to Taos with the prospect of dazzlingly spectacular scenery.

Mabel Dodge (Luhan) & her Amerindian husband (Photo: Santa Fe New Mexican)

In search of healthy air
DHL had another motive for choosing New Mexico, being potentially beneficial to his precarious health. His tubercular condition was not diminishing at allq. The climate in Taos—high and dry with famously good and clean air— was one that might bring about a cure for his infected lungs (‘Looking for Lawrence’, Henry Shukman, New Mexico Magazine, (nd), www.newmexico.org).

Desert Rananim?
As his letters show, Lawrence was in love with the desert landscape of New Mexico to an intoxicating degree – overwhelmed by the strangeness and beauty of the place, even a bit awestruck and fearful. When the writer visited the wilderness of Western Australia earlier, he experienced similar vibes from the bush environment (‘Looking for Lawrence’).

DHL waxed lyrical on the experience later, ” I think New Mexico was the greatest experience from the outside world that I have ever had. It certainly changed me forever …. the moment I saw the brilliant, proud morning shine high up over the deserts of Santa Fe, something stood still in my soul, and I started to attend”: he wrote how the person who lives there “above the great proud world of desert will know, almost unbearably how beautiful it is, how clear and unquestioned is the might of the day” (‘Phoenix: The Posthumous Papers is D. H. Lawrence’, (2017)).

At Taos Lawrence found himself the unwilling object of a love triangle with host Mabel vying with wife Frieda for his attention, which stiffled his creativity somewhat. He did however manage to finish the final chapter of Kangaroo during his initial sojourn in Taos.

The Lawrence Ranch

Ranch life in the high country
Lawrence returned to England in 1923 keen on recruiting members of the British artistic fraternity for his New Mexico ‘Rananim’. He returned the next year but with only the one recruit, artist Dorothy Brett, whose presence added a further tension to the feminine rivalries at Taos. This led to Mabel giving the Lawrences their own ranch way up in the mountains (8,600 feet above sea-level) and about 20 miles from Taos—the only property the couple would ever own—the Kiowa Ranch (now the D.H. Lawrence Ranch)✪. When not beavering away on new manuscript projects, Bert kept busy at the ranch chopping wood and constructing log cabins, as well as taking hikes in the mountains.

(Photo: www.taos.org)

Ambivalence towards Amerindian culture
Once Bert got to see Amerindian religious ritual and customs up close, much of his pre-visit  enthusiasm dissipated (“not impressive as a spectacle”, he noted). He still admired the “Red Indian” but felt the native American culture had been debased by American ‘progress’ and modernity, reduced in Taos to that of a tourism attraction (essay ‘New Mexico’, (1928); ‘D.H. Lawrence and the American Indiana’s, Jeffery Meyers, Michigan Quarterly Review, Vol 56 Issue 2, Spring 2017, www.quod.lib.umich.edu).

‘St Mawr’ set partly in New Mexico mountains juxtaposes the vitality of nature with modern degenerate civilisation

Lorenzo’s literary output in the Southwest
DH Lawrence visited Taos, NM, three times during the period 1922-25 but only for a total of 11 months altogether. ‘Lorenzo’, as his patron and admirer Mabel Dodge fondly called him, never fulfilled the fervent hopes of Mabel by writing the great novel of the Southwest or even of New Mexico…but he did manage to produce a solid body of work while residing in NM including the novellas St Mawr and The Woman Who Rode Away, the travel book Mornings in Mexico, as well as writing part of the novel The Plumed Serpent at the ranch (after research conducted in Mexico).

Lawrence’s TB condition worsened in Europe and the novelist died in 1930 in the south of France, still proclaiming to friends a heartfelt desire to return to his beloved Taos. Frieda, who returned to live in Taos, afterwards had her late husband’s remains exhumed and shipped back to be interred on Taos soil.

 

Kandy, 1925 (Photo:www.lankapura.com)

End-note: Lawrence in the tropics
Lawrence’s global search for an alternative to modern, industrialised ‘civilisation’ landed him in Ceylon (Sri Lanka) on route to America. Lawrence’s anticipation of a good time in Ceylon was dealt a harsh blow by reality. The Lawrences stayed on the edge of the  forest in Kandy, their attempts to sleep plagued by unbearable heat—”the terrific sun … like a bell-jar of heat, like a prison over you”, and the local fauna —“horrid noises of the birds and creatures … hammer and clang and rattle and cackle and explode all the livelong day”  (Letters IV: 214, 227 Notts U). The one bright spot was the Raj Pera-Hera festival which DHL enjoyed, inspiring him to write a poem, ‘Elephant’, the sole literary fruit of his five weeks in Ceylon.

 

Huxley & Lawrence in Taos

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⌖ San Francisco, the Lawrences’ entry point to the US, Bert, pernickety as ever, found less than prepossessing – “noisy and expensive”

although writer Aldous Huxley did visit Lawrence in NM

✪ in return the Lawrences gave Dodge the MS for Sons and Lovers, which proved to be far more valuable than the ranch

Late Communist Era Capitalist Cravings: The Pepsi Swap

Commerce & Business, Comparative politics, International Relations, Military history, Popular Culture

During the Cold War not many people outside of the USSR knew of the Russian penchant for it’s ideological rival’s second most popular cola drink. The Soviet Union’s love affair with Pepsi-Cola started with a meeting between Premier Khrushchev and US Vice-President Nixon in 1959. As part of what was a rare cultural exchange for the time, Khrushchev was introduced to the sugary, carbonated beverage, the taste apparently meeting with the Soviet premier’s approval.

⏏️ Pepsi’s role in the Nixon-Khrushchev Kitchen Debate So began a novel bilateral trade. With Russian rubles not valued outside of the USSR, a barter system was forged. The Russian and other Soviet people got to drink Pepsi, in return vodka (in the form of the state-owned brand Stolichnaya) was made available in the US market.

Things went smoothly enough until 1980…the Soviet invasion of Afghanistan threatened the Pepsi deal. Americans boycotted Soviet goods including Stolichnaya…the popular vodka’s sales plummeted in the US. In the late 1980s the Pepsi company—mindful that seven billion Russians were drinking Pepsi each year—hit upon a new and more unorthodox US/Soviet exchange deal.

To keep the Pepsi flowing to Russian consumers, Pepsi accepted a flotilla of ageing Soviet warships in lieu. Taking possession of 17 rusty Soviet warships plus a few other auxiliary naval vessels. The fleet was far from being in A1 shipshape condition, but it enabled the soft drink giant to boast that it possessed the world 6th most powerful navy at the time – on paper if not on water!

(Source: www.naval-encylopedia.com)

Pepsi’s move earned the displeasure of the US military but the company CEO’s slightly disingenuous rejoinder to the Pentagon was that it was dismantling the Soviet fleet faster than they were!*

Pepsi didn’t hang on to the decidedly decrepit Russian fleet for long, selling the warships to a Swedish scrap-recycling business in the early 1990s. A few years later Coca-Cola usurped it’s place in the Russian market.

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* undoubtedly Pepsi’s billion-dollar stake in the USSR remained it’s primary motive

Sites/works consulted: 👁‍🗨👁‍🗨👁‍🗨

’When the Soviet Union Paid Pepsi in Warships’, (Anne Ewbank), Atlas Obscura, 12-Jan-2018, www.atlasobscura.com)

‘ How Pepsi became the 6th largest military in the world‘, (Tom Kirkpatrick, We Are The Mighty, 28-Jan-2019, www.wearethemighty.com

‘Pepsi Navy: When the Soviets Traded Warships for Soft Drinks’, Sandboxx, 06-Nov-2020, www.sandboxx.com

A Doomsayers’ Day Out: The Manic Panic of 1910 over a Passing Celestial Event

International Relations, Natural Environment

We take our leave of the year of Corona, 2020 and enter a new, who-knows-what-will-bring year. With the renewed intensity of the 2nd wave pandemic across the globe, we’ve seen echoes of a return to the panic-buying and manic hoarding of household essentials that characterised the middle months of 2020. But of course there is panic and there is panic! Covid-19 doesn’t hold a candle to the doom-cringing that accompanied the approach of Halley’s Comet to Planet Earth in 1910.

Astronomer Edmond Halley set the whole phenomena of comet prediction in motion back in the early 18th century when, using Newton’s laws of gravity and motion, he determined the periodicity of the recurring comet that came to bear his own name. Halley calculated its return to Earth occurring every 74 to 79 years, marking the first time that science, wresting control from the astrologers and prophets, predicted a future occurrence in nature❆ (prior to Halley astronomers viewed the periodic appearance of the comet as distinct and separate occurrences) [‘Apocalypse postponed: How Earth survived Halley’s comet in 1910’, (Stuart Clark), The Guardian, 20-Dec-2012, www.theguardian.com; ‘Halley’s Comet: Facts about the most famous comet’, (Elizabeth Howell), Space.com, (2017), www.space.com/].

Talking up planetary peril
With Halley’s Comet due to return in 1910, in February of that year the Yerkes Observatory undertook spectroscopic analysis and announced that there was cyanide (poison gas) in the tail of the approaching comet. When he became aware of this, French astronomer Camille Flammarion observed that the comet “could impregnate the atmosphere and possibly snuff out all life all life on the planet”. The “Yellow Press” of the world seized on this, sensationalising the claim (the Comet was depicted as “the evil eye of the sky”). Flammarion’s comment and the alarmist reporting generated widespread public fear and hysteria, triggering all manner of drastic actions in response to the Comet’s imminent arrival. Some people in despair of impending doom went on dangerous alcoholic binges, one person in Hungary even suicided convinced of the probability of global immolation. In America, forebodings of doom accorded with a particular interpretation of the Bible in the Midwest and Rockies states and prompted intemperate reactions to the Comet (farmers selling off all their property, slaughtering their livestock, etc) [‘Halley’s Comet: Topics in Chronicling America’, Library of Congress Research Guides, www.guides.loc.gov/; ‘Memories of Halley’s Comet (1910) – Group Oral History Interview’, SCARC, Oregon State University, www.scarc.library.oregonstate.edu].

1910 Comet over Gary, Indiana

Altering nature and the environment
Elsewhere the (irrational) fear of a huge ball of toxic gas hurtling towards Earth at 190,000 km per hour led some folk to wildly predict dire consequences for the planet – in France the River Seine would be flooded, it was said, it would cause the Pacific to change basins with the Atlantic, and so on [‘Halley’s Comet, Covid-19, and the history of “miracle” anti-comet remedies’, (Sylvain Chaty), Astronomy, 09-Oct-2020, www.astronomy.com/; ‘Fantasically Wrong: That Time People Thought a Comet Would Gas Us All to Death’, (Matt Simon), Wired, 01-Jul-2015, www.wired.com/].

In China the comet kerfuffle contributed to the social and political unrest that culminated in the Xinhai Revolution in 1911, which brought to a close the reign of the last Chinese emperor [James Hutson, Chinese Life in the Tibetan Foothills, (1921)].

Postcard, 1910 Comet (Source: www.sciencesource.com)

Art anticipates life
Interestingly, just four years earlier, pioneering science-fiction novelist HG Wells had provided what many, over-stimulated by the Comet’s presence, saw as a different omen. Wells’ novel In the Days of the Comet pictured a “green trailing trail” plummeting inexorably to Earth…the only difference being that the destruction that  the socialist Wells’ comet was going to inflict on the world was on the “voracious system of capitalism”  [’The Doom of the World’, (Vaughan Yarwood), New Zealand Geographic,  www.nzgeo.com/].

The impending cataclysm brings out the fraudsters
Right on cue with the diffusion of hysteria was the emergence of charlatans and scammers peddling ”sure-fire” remedies to counteract the devastating effects of Halley’s Comet’s impact with Earth (cf. the Donald Trump-endorsed bleach and other quackery claiming to be an antidote to Covid-19). in 1910 there were ‘miracle’ anti-comet pills (comprising sugar and quinine) and a cure-all “Halley’s Comet elixir” (Chaty). Just as Coronavirus 2020 prompted a run on toilet paper and hand sanitiser in the supermarkets, people started panic-buying gas masks while some flocked to their churches to seek divine intervention to save them from the Comet [‘The Halley’s Comet Fuss of 1910’, (Jacob vanderSluys), Jacob vanderSluys, 18-Aug-2020, wwe.jacobvsndersluys.medium.com].

1986 Comet (Image: NASA)

As things transpired the reality turned out to be something of an anti-climax…Halley’s Comet safely passed by Earth, missing it by at least 400,000 kilometres (as it had done previously every 75-76 years for millennia!)✧ and normality returned to everyday life across the globe (Chaty).

Bayeux Tapestry depicting 1066 Comet

Footnote: All down to Halley’s Comet
Coincidences occurring during the periodic passage of the Comet has provided fertile ground for doomsayers. Edward VII’s death in May 1910 during the period Halley’s Comet was visible, was ‘proof’ to many of the Comet’s ‘paranormal’ power to wreak havoc and destruction on the Earth♉︎. Similarly, it was noted that author Mark Twain’s lifespan encompassed the exact duration between the 1835 and the 1910 comets. People in 1066 saw the passage of Halley’s Comet as a foreboding sign…for English king, Harold II, this premonition preceded his loss and death in the Battle of Hastings later in that year. The Great Comet of 1680 facilitated a scientific breakthrough, in this year German astronomer Gottfried Kirch was the first to sight Halley’s Comet through a telescope.

1680 Comet over Rotterdam (Lieve Verschuier)

𖥸 𖥸 𖥸

the next perihelion of Halley’s Comet is predicted for 2061

………………………………………………………………
❆ Unfortunately Halley himself didn’t live long enough to witness the next cycle of his eponymous comet (1758)

✧ subsequent scientific testing confirmed that the tail of the Comet contained no toxic gas

♉︎ In Julius Caesar Shakespeare wrote, “when beggars die there are no comets seen, The heavens themselves blaze forth the death of princes”

Wonder Woman’s Oscillating History in Comics

Cinema, Creative Writing, Gender wars, Memorabilia, Popular Culture, Society & Culture

After Wonder Woman’s creator Bill Marston dies in 1947, Robert Kanigher takes over the writing duties, the first of many subsequent writers to take on pop culture’s most famous female superhero. DC Comics wastes little time in ringing the changes with Wonder Woman, both to her physical appearance and to her abilities, disposition and purpose.

There are several reasons for the change. One motive is simply commercial, Wonder Woman like her male superhero counterparts, experiences a fall-off in popularity after the war. Another relates to expectations of gender roles in America. So much of America’s manhood is away during the world war on the front line engaging the enemy. Born of necessity, American women move into the work force, invading traditional male domains of employment as never before. With the war’s end, men return to their jobs relegating thousands of women back to unpaid work in the home. There is a re-solidifying of the traditional gender roles. A casualty of this is Wonder Woman herself. In Marston’s hands she reflects empowerment, ie, freedom from male domination. The feminist overtones she embodies are a challenge as the US attempts to re-establish the status quo ante order [‘The Fitful Evolution of Wonder Woman’s Look’, (Diana Martinez), The Atlantic, 07-Jun-2017, www.theatlantic.com].

Superhero Nazi hunters
Wonder Woman’s superhuman exertions and physicality—as with everyone else in the superhero comic universe—have an aptness during WWII. The superheroes in the comics spearhead the fight against the Nazis, promoting a patriotic agenda and helping to boost morale. When the war is won, this agenda loses its relevance for the American readership [‘Women of Comics: Objectified, Sexualize and Disempowered’, (Nia Aiysha), Wild Black Orchids, 07-May-2016, www.wildblackorchids.wordpress.com].

Making the iconic feminist warrior a bit less super
In wanting to rein in Wonder Woman’s powerful persona DC Comics are responding to prevailing (male) society’s anxieties about women’s independence. By 1950, the toning down is well underway, WW’s crime-fighting exploits are taking second fiddle – in Sensation Comics #97 she is the editor of a newspaper lonely hearts column❋. During the decade WW becomes a reluctant superheroine, love-struck and longing to settle down with her beau Steve Trevor [‘Publication history of Wonder Woman’, Wikipedia, http://en.m.wikipedia.org; Wonder Woman Unbound: The Curious History of the World’s Most Famous Heroine, Tim Hanley (2014)].

Wonder Woman is not just a feminist, she’s also a sexy feminist! Accordingly, there is a lot of scrutiny on her salacious attire as well by the “morally self-appointed” in society. Eventually, the raunchy bathing suit and sexually-confident red boots will be traded in for a more demure look. Psychologist Fredric Wertham’s full-on crusade against the deleterious effects of comics on children in the early 1950s includes WW in its cross-hairs. WW’s sexually provocative bondage fetish (involving herself or other females) leads Wertham to ‘blacklist’ the depicted character as a promoter of lesbianism (which he took as evidence of misandry)(Martinez), pressuring DC Comics to remove Marston’s message of WW as a harbinger of matriarchy (Hanley).

The Amazonian princess returns to ‘civies’ – “Emma Peeled”
In the 1960s other comic book action heroines come forward such as secret agent Modesty Blaise. Reflecting the early rumblings of what would evolve into the second wave feminism of the Seventies, Blaise exhibits Wonder Woman-like “badass fighting capabilities” to triumph in a male world. At this time however WW loses that same original verve✪, getting a Sixties ‘mod’ makeover which transforms her into an Emma Peel clone (from the cult British TV series The Avengers), complete with martial arts moves, jumpsuits and Carnaby Street attire [‘Four-Colour Yesteryears: Wonder Woman – the Emma Peel Years’, (Rob N), Paradox Comics Group, 22-Aug-2009, www.paradoxcomicsgroup.com; Hanley].

1970s, the women’s movement and empowerment
Gloria Steinem and the burgeoning women’s movement comes into the story at this time. Steinem, dismayed at DC Comics’ relegation of Wonder Woman to a “powerless 1950s car hop”, lobbies DC to restore WW’s superheroine stature. Steinem puts WW on the cover of the first edition of Ms. magazine in 1972, tagging it “Wonder Woman for President”. [‘How Gloria Steinem Saved Wonder Woman’, (Yohana Desta), Vanity Fair, 10-Oct-2017, www.vanityfair.com]. WW in Ms. becomes a kind of masthead to promote sisterhood and equality among women (the magazine depicts WW confronting store owners who deny their female employees equal pay and defending abortion clinics against male thugs [‘How A Magazine Cover From The 1970s Helped Wonder Woman Win Over Feminists’, (Katie Kilkenny), Pacific Standard, 21-Jun-2017, www.psmag.com]. Steinem and Ms.’ agitation on behalf of WW forces DC to restore her special powers including the “Lasso of Truth” and re-draw her in her original voluptuous form.

With the critical spotlight turned on DC’s portrayal of Wonder Woman, DC made further concessions to the comic. Diversity was introduced —a nod to the Black Power Movement in the US and perhaps belated recognition of a lack of ethnic diversity in its comics—with the inclusion of Nubia, WW’s African half-sister (Martinez). The perception of Wonder Woman as a feminist icon is given a further boost along by the cult success of the 1975-79 television series. WW, played by Lynda Carter, embodies the qualities of strength, fearlessness, wisdom and determination, restored in the comics post-1972✧.

PostScript: The Wonder Woman comic books over the past 40 years has seen the WW character and image undergo sundry transitions, a procession of “conflicting and seemingly incompatible versions” of WW – alternating between ramped-up raunchiness and less overt sexuality, between a muscular Amazonian physicality and a “heroin chic” fashion model (Martinez).

❋ in other Fifties comics Wonder Woman or her alter ego Diana Prince appears as a model and a film star

WW becomes younger and thinner too. She also gets labelled as a “female James Bond” during this period

✪ DC Comics’s hegemony in the superhero comic popularity stakes in the late Sixties is seriously being challenged by Marvel Comics, a factor in the decision to revamp WW along with the entire ‘stable’ (Rob N)

✧ subsequent interpretations of Wonder Woman on the screen follow, the most recent in 2017 (with a sequel slated for release this year) sees WW reconnect with her Amazonian roots