Lee M. Jenkins
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780813060507
- eISBN:
- 9780813050676
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813060507.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book posits an “American Lawrence,” exploring D. H. Lawrence’s role as a creator as well as a critic of American literature between 1922 and 1925 when he was resident in the New World. The ...
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This book posits an “American Lawrence,” exploring D. H. Lawrence’s role as a creator as well as a critic of American literature between 1922 and 1925 when he was resident in the New World. The American Lawrence, this book argues, ought to be included in the globalized definition of American literature which obtains in American Studies today. The book reconstructs Lawrence’s underexplored yet important relationship, as a poet, with transatlantic Imagism, with the local American modernism sponsored by Alfred Stieglitz and William Carlos Williams, and with the regional, New Mexico modernism promoted, among others, by Mary Austin and Alice Corbin Henderson. Lawrence’s American fictions—“St. Mawr,” “The Princess,” and “The Woman Who Rode Away”—are read here as incursions into the generic and gendered conventions of American literature (American Romance, the Indian captivity narrative) and as stories which register the complex, triethnic politics of northern New Mexico. This book also assesses Lawrence’s relationships, as collaborator, as male muse, and as antagonist, with women writers and painters in northern New Mexico, among them his hostess in Taos, Mabel Dodge Luhan, and the artists Dorothy Brett and Georgia O’Keeffe.Less
This book posits an “American Lawrence,” exploring D. H. Lawrence’s role as a creator as well as a critic of American literature between 1922 and 1925 when he was resident in the New World. The American Lawrence, this book argues, ought to be included in the globalized definition of American literature which obtains in American Studies today. The book reconstructs Lawrence’s underexplored yet important relationship, as a poet, with transatlantic Imagism, with the local American modernism sponsored by Alfred Stieglitz and William Carlos Williams, and with the regional, New Mexico modernism promoted, among others, by Mary Austin and Alice Corbin Henderson. Lawrence’s American fictions—“St. Mawr,” “The Princess,” and “The Woman Who Rode Away”—are read here as incursions into the generic and gendered conventions of American literature (American Romance, the Indian captivity narrative) and as stories which register the complex, triethnic politics of northern New Mexico. This book also assesses Lawrence’s relationships, as collaborator, as male muse, and as antagonist, with women writers and painters in northern New Mexico, among them his hostess in Taos, Mabel Dodge Luhan, and the artists Dorothy Brett and Georgia O’Keeffe.
Tisa Wenger
- Published in print:
- 2009
- Published Online:
- September 2014
- ISBN:
- 9780807832622
- eISBN:
- 9781469605869
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807894217_wenger.7
- Subject:
- Religion, Religious Studies
This chapter discusses Mabel Dodge Luhan's four-volume autobiography, in which she recounted her long quest for a place that would satisfy her inner hunger. “Only religion will fill me,” she ...
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This chapter discusses Mabel Dodge Luhan's four-volume autobiography, in which she recounted her long quest for a place that would satisfy her inner hunger. “Only religion will fill me,” she remembered thinking. “Someday, I will find God.” Like a number of early twentieth-century artists and intellectuals, Luhan eventually found this sense of fulfillment in New Mexico and especially in her encounters with the Pueblo Indians. She recalled that during her first excursion north from Santa Fe, the earth itself had seemed to resonate with her inner sense of the divine. Watching “the hills, the canyons, the cottonwood trees,” she wrote, “I heard the world singing in the same key in which my own life inside me had sometimes lifted and poured itself out . . . ‘Holy! Holy! Holy!’”Less
This chapter discusses Mabel Dodge Luhan's four-volume autobiography, in which she recounted her long quest for a place that would satisfy her inner hunger. “Only religion will fill me,” she remembered thinking. “Someday, I will find God.” Like a number of early twentieth-century artists and intellectuals, Luhan eventually found this sense of fulfillment in New Mexico and especially in her encounters with the Pueblo Indians. She recalled that during her first excursion north from Santa Fe, the earth itself had seemed to resonate with her inner sense of the divine. Watching “the hills, the canyons, the cottonwood trees,” she wrote, “I heard the world singing in the same key in which my own life inside me had sometimes lifted and poured itself out . . . ‘Holy! Holy! Holy!’”
Lee M. Jenkins
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780813060507
- eISBN:
- 9780813050676
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813060507.003.0009
- Subject:
- Literature, 20th-century Literature and Modernism
The Introduction discusses the “American Lawrence” in the contexts of transnationalism and the globalized New American Studies. This chapter argues that far from setting a narrow, national canon, as ...
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The Introduction discusses the “American Lawrence” in the contexts of transnationalism and the globalized New American Studies. This chapter argues that far from setting a narrow, national canon, as is often alleged, Lawrence’s essays on American literature, and his own American poetry and fiction, anticipate the recent “transnational turn” in American Studies. The Introduction goes on to offer an overview of Lawrence’s relationships with America and American literature, as a critic and as a professional writer. This chapter assesses the significance of Lawrence’s affiliations and affinities as a poet with the localized American aesthetic sponsored by Alfred Stieglitz, William Carlos Williams, and Mary Austin. The Introduction also provides an overview of the years Lawrence spent in New Mexico, between 1922 and 1925, and of his fraught yet productive association with the doyenne of New Mexico modernism, Mabel Dodge Luhan.Less
The Introduction discusses the “American Lawrence” in the contexts of transnationalism and the globalized New American Studies. This chapter argues that far from setting a narrow, national canon, as is often alleged, Lawrence’s essays on American literature, and his own American poetry and fiction, anticipate the recent “transnational turn” in American Studies. The Introduction goes on to offer an overview of Lawrence’s relationships with America and American literature, as a critic and as a professional writer. This chapter assesses the significance of Lawrence’s affiliations and affinities as a poet with the localized American aesthetic sponsored by Alfred Stieglitz, William Carlos Williams, and Mary Austin. The Introduction also provides an overview of the years Lawrence spent in New Mexico, between 1922 and 1925, and of his fraught yet productive association with the doyenne of New Mexico modernism, Mabel Dodge Luhan.
Lee M. Jenkins
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780813060507
- eISBN:
- 9780813050676
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813060507.003.0004
- Subject:
- Literature, 20th-century Literature and Modernism
The Conclusion explores the creative collaborations between Lawrence and New Mexico women writers and artists, including Mabel Dodge Luhan, Dorothy Brett, and Georgia O’Keeffe. This chapter discusses ...
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The Conclusion explores the creative collaborations between Lawrence and New Mexico women writers and artists, including Mabel Dodge Luhan, Dorothy Brett, and Georgia O’Keeffe. This chapter discusses the ways in which these women engage with, reconfigure, and regender Lawrence’s own New Mexico writing, and his representation of the Kiowa Ranch. This chapter makes particular reference to Luhan’s Intimate Memories and her autobiographical novel Winter in Taos, and to Brett’s Kiowa Ranch painting “Lawrence’s Three Fates,” and to O’Keeffe’s painting of the pine tree at Kiowa, “The Lawrence Tree.”Less
The Conclusion explores the creative collaborations between Lawrence and New Mexico women writers and artists, including Mabel Dodge Luhan, Dorothy Brett, and Georgia O’Keeffe. This chapter discusses the ways in which these women engage with, reconfigure, and regender Lawrence’s own New Mexico writing, and his representation of the Kiowa Ranch. This chapter makes particular reference to Luhan’s Intimate Memories and her autobiographical novel Winter in Taos, and to Brett’s Kiowa Ranch painting “Lawrence’s Three Fates,” and to O’Keeffe’s painting of the pine tree at Kiowa, “The Lawrence Tree.”
Lee M. Jenkins
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780813060507
- eISBN:
- 9780813050676
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813060507.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter discusses Lawrence’s American fiction, beginning with his abortive attempt to write an American novel based on the life of his hostess in New Mexico, Mabel Dodge Luhan. The chapter ...
More
This chapter discusses Lawrence’s American fiction, beginning with his abortive attempt to write an American novel based on the life of his hostess in New Mexico, Mabel Dodge Luhan. The chapter proposes that the fraught relationship between Lawrence and Luhan would prompt his three New Mexico tales, “St. Mawr,” “The Princess,” and “The Woman Who Rode Away.” All three are Pan-stories, in which Lawrence relocates the pagan energies of the great god Pan to the United States. This chapter also reads Lawrence’s American stories as “tales of out here,” as stories which touch on the three points--Anglo, Indian, Hispanic--of New Mexico’s ethnic triangle. This chapter discusses the ways in which Lawrence adopts and adapts American literary genres in these tales (American Romance, the Indian captivity narrative) in order to interrogate the relationship between gender and genre and the ideological premises of the U.S. national narrative.Less
This chapter discusses Lawrence’s American fiction, beginning with his abortive attempt to write an American novel based on the life of his hostess in New Mexico, Mabel Dodge Luhan. The chapter proposes that the fraught relationship between Lawrence and Luhan would prompt his three New Mexico tales, “St. Mawr,” “The Princess,” and “The Woman Who Rode Away.” All three are Pan-stories, in which Lawrence relocates the pagan energies of the great god Pan to the United States. This chapter also reads Lawrence’s American stories as “tales of out here,” as stories which touch on the three points--Anglo, Indian, Hispanic--of New Mexico’s ethnic triangle. This chapter discusses the ways in which Lawrence adopts and adapts American literary genres in these tales (American Romance, the Indian captivity narrative) in order to interrogate the relationship between gender and genre and the ideological premises of the U.S. national narrative.
