Authors: Norman Mailer
Mind of an Outlaw (40 page)
Aaron’s Rod, Kangaroo
, and
The Plumed Serpent
are rather neglected novels, and perhaps justly so. They are unquestionably strident, and unpleasant for a number of
reasons, principally a rasping protofascist tone, an increasing fondness of force, a personal arrogance, and innumerable racial, class, and religious bigotries. In these novels one sees how terribly Lawrence strained after triumph in the “man’s world” of formal politics, war, priest-craft, art and finance. Thinking of
Lady Chatterley
or the early novels, readers often equate Lawrence with the personal life which generally concerns the novelist, the relations of men and women—for whether he played a woman’s man or a man’s man, Lawrence was generally doing so before an audience of women, who found it difficult to associate him with the public life of male authority. After
Women in Love
, having solved, or failed to solve, the problem of mastering the female, Lawrence became more ambitious. Yet he never failed to take his sexual politics with him, and with an astonishing consistency of motive, made it the foundation of all his other social and political beliefs.
It is fair analysis as far as it goes, but it fails to underline the heroism of his achievement, which is that he was able finally to leave off his quest for power in the male world and go back to what he started with, go back after every bitterness and frustration to his first knowledge that the physical love of men and women, insofar as it was untainted by civilization, was the salvation of us all, there was no other. And in fact he had never ceased believing that, he had merely lost hope it could be achieved.
Millett’s critical misdemeanor is to conceal the pilgrimage, hide the life, cover over that emotional odyssey that took him from adoration of the woman to outright lust for her murder, then took him back to worship her beauty, even her procreative beauty. Millett avoids the sympathy this might arouse in her female readers (which dead lover is more to be cherished after all than the one who returned at the end?), yes, avoids such huge potential sympathy by two simple critical stratagems: she writes about his last book first, which enables her to end her very long
chapter on Lawrence with an analysis of his story “The Woman Who Rode Away.” Since it may be the most savage of his stories, and concludes with the ritual sacrifice of a white woman by natives, Millett can close on Lawrence with the comment, “Probably it is the perversion of sexuality into slaughter, indeed, the story’s very travesty and denial of sexuality, which accounts for its monstrous, even demented air.” Not every female reader will remind herself that Lawrence, having purged his blood of murder, would now go on to write
Lady Chatterley
. But then Millett is not interested in the dialectic by which writers deliver their themes to themselves; she is more interested in hiding the process, and so her second way of concealing how much Lawrence has still to tell us about men and women is simply to distort the complexity of his brain into snarling maxims, take him at his worst and make him even worse, take him at his best and bring pinking shears to his context. Like a true species of literary mafia, Millett works always for points and the shading of points. If she can’t steal a full point, she’ll cop a half.
Examples abound, but it is necessary to quote Lawrence in some fullness; a defense of his works rests naturally on presenting him in uninterrupted lines, which indeed will be no hardship to read. Besides, the clearest exposure of the malignant literary habits of the prosecutor is to quote her first and thereby give everyone an opportunity to see how little she shows, how much she ignores, in her desire to steal the verdict.
“You lie there,” he orders. She accedes with a “queer obedience”—Lawrence never uses the word “female” in the novel without prefacing it with the adjectives “weird” or “queer”: this is presumably done to persuade the reader that woman is a dim prehistoric creature operating out of primeval impulse. Mellors concedes one kiss on the navel and then gets to business:
“And he had to come into her at once, to enter the peace on earth of that soft quiescent body. It was the moment of pure peace for him, the entry into the body of a woman. She lay still, in a kind of sleep, always in a
kind of sleep. The activity, the orgasm was all his, all his; she could strive for herself no more.”
This is the passage from which she has drawn her quotation:
“You lie there,” he said softly, and he shut the door, so that it was dark, quite dark.
With a queer obedience, she lay down on the blanket. Then she felt the soft, groping, helplessly desirous hand touching her body, feeling for her face. The hand stroked her face softly, softly, with infinite soothing and assurance, and at last there was the soft touch of a kiss on her cheek.
She lay quite still, in a sort of sleep, in a sort of dream. Then she quivered as she felt his hand groping softly, yet with queer thwarted clumsiness among her clothing. Yet the hand knew, too, how to unclothe her where it wanted. He drew down the thin silk sheath, slowly, carefully, right down and over her feet. Then with a quiver of exquisite pleasure he touched the warm soft body, and touched her navel for a moment in a kiss. And he had to come into her at once, to enter the peace on earth of her soft, quiescent body. It was the moment of pure peace for him, the entry into the body of a woman.
She lay still, in a kind of sleep, always in a kind of sleep. The activity, the orgasm was his, all his; she could strive for herself no more. Even the tightness of his arms round her, even the intense movement of his body, and the springing seed in her, was a kind of sleep, from which she did not begin to rouse till he had finished and lay softly panting against her breast.
It is a modest example, but then it is a modest act and Constance Chatterley is exhausted with the deaths of the world she is carrying within—since they will make other kinds of love later, the prosecutor will have cause enough to be further enraged,
but the example can show how the tone of Lawrence’s prose is poisoned by the acids of inappropriate comment. “Mellors concedes one kiss on the navel and then gets to business.” Indeed! Take off your business suit, Comrade Millett.
But it is hardly the time for a recess. We will want to look at another exhibit. The quoted lines up for indictment are from
Women in Love:
Having begun by informing Ursula he will not love her, as he is interested in going beyond love to “something much more impersonal and harder,” he goes on to state his terms: “I’ve seen plenty of women, I’m sick of seeing them. I want a woman I don’t see … I don’t want your good looks, and I don’t want your womanly feelings, and I don’t want your thoughts nor opinions nor your ideas.” The “new” relationship, while posing as an affirmation of the primal unconscious sexual being, to adopt Lawrence’s jargon, is in effect a denial of personality in the woman.
Or is it Millett’s denial of personality in Lawrence? Witness how our literary commissar will void the strength of Lawrence’s style by cutting off our acquaintance with the marrow of his sensibility, the air of his senses. For Lawrence is always alert to the quiet ringing of the ether, the quick retreat of a mood, the awe of the thought about to be said, then left unsaid, then said after all. But his remarks cannot be chopped out of their setting. A bruised apple at the foot of a tree is another reality from a bruised apple in the Frigidaire.
There was silence for some moments.
“No,” he said. “It isn’t that. Only—if we are going to make a relationship, even of friendship, there must be something final and irrevocable about it.”
There was a clang of mistrust and almost anger in his voice. She did not answer. Her heart was too much contracted. She could not have spoken.
Seeing she was not going to reply, he continued, almost bitterly, giving himself away:
“I can’t say it is love I have to offer—and it isn’t love I want. It is something much more impersonal and harder—and rarer.”
There was a silence, out of which she said:
“You mean you don’t love me?”
She suffered furiously, saying that.
“Yes, if you like to put it like that. Though perhaps that isn’t true. I don’t know. At any rate, I don’t feel the emotion of love for you—no, and I don’t want to. Because it gives out in the last issues.”
How different is all this from “going beyond love to ‘something much more impersonal and harder,’ ” how much in fact we have the feeling they are in love.
“If there is no love, what is there?” she cried, almost jeering.
“Something,” he said, looking at her, battling with his soul, with all his might.
“What?”
He was silent for a long time, unable to be in communication with her while she was in this state of opposition.
“There is,” he said, in a voice of pure abstraction, “a final me which is stark and impersonal and beyond responsibility. So there is a final you, and it is there I would want to meet you—not in the emotional, loving plane—but there beyond, where there is no speech and no terms of agreement. There we are two stark, unknown beings, two utterly strange creatures, I would want to approach you, and you me. And there could be no obligation, because there is no standard for action there, because no understanding has been reaped from that plane. It is quite inhuman—so there can be no calling to book, in any form whatsoever—because one is outside
the pale of all that is accepted, and nothing known applies. One can only follow the impulse, taking that which lies in front, and responsible for nothing, asking for nothing, giving nothing, only each taking according to the primal desire.”
Ursula listened to this speech, her mind dumb and almost senseless, what he said was so unexpected and so untoward.
“It is just purely selfish,” she said.
“If it is pure, yes. But it isn’t selfish at all. Because I don’t know what I want of you. I deliver
myself
over to the unknown, in coming to you, I am without reserves or defenses, stripped entirely, into the unknown. Only there needs the pledge between us, that we will both cast off everything, cast off ourselves even, and cease to be, so that that which is perfectly ourselves can take place in us.”
As we shall soon see, Lawrence will go further than this, he will come to believe that a woman must submit—a most blood-enriching submission, bet on it—yet in that book where such submission takes place, in
The Plumed Serpent
, where Kate Leslie has her most profound sex with a man who insists on remaining a stranger and an Indian, the moral emerges that he wants her by the end, wants Kate Leslie just so deeply as she desires him. Lawrence’s point, which he refines over and over, is that the deepest messages of sex cannot be heard by taking a stance on the side of the bank, announcing one is in love, and then proceeding to fish in the waters of love with a breadbasket full of ego. No, he is saying again and again, people can win at love only when they are ready to lose everything they bring to it of ego, position, or identity—love is more stern than war—and men and women can survive only if they reach the depths of their own sex down within themselves. They have to deliver themselves “over to the unknown.” No more existential statement of love exists, for it is a way of saying we do not know how the love will turn out. What message more odious to the technologist? So Millett will
accuse him endlessly of patriarchal male-dominated sex. But the domination of men over women was only a way station on the line of Lawrence’s ideas—what he started to say early and ended saying late was that sex could heal, sex was the only nostrum which could heal, all other medicines were part of the lung-scarring smoke of factories and healed nothing, were poison, but sex could heal only when one was without “reserves or defenses.” And so men and women received what they deserved of one another. Since Women’s Lib has presented itself with the clear difficulty of giving modern woman a full hard efficient ego, Lawrence’s ideas could not be more directly in the way. Still, it is painful to think that, quickly as men are losing any sense of fair play, women—if Millett can model for her sex—are utterly without it. Maybe Millett is not so much Molotov as Vishinsky. What a foul exhibit must now be displayed!
Passive as she is, Connie fares better than the heroine of
The Plumed Serpent
, from whom Lawrentian man, Don Cipriano, deliberately withdraws as she nears orgasm, in a calculated and sadistic denial of her pleasure:
“By a swift dark instinct, Cipriano drew away from this in her. When, in their love, it came back on her, the seething electric female ecstasy, which knows such spasms of delirium, he recoiled from her.… By a dark and powerful instinct he drew away from her as soon as this desire rose again in her, for the white ecstasy of frictional satisfaction, the throes of Aphrodite of the foam. She could see that to him, it was repulsive. He just removed himself, dark and unchangeable, away from her.”
The passage restored will be of interest to any jury looking for further evidence on the virtues or deterrents of the clitoral come:
She realised, almost with wonder, the death in her of the Aphrodite of the foam: the seething, frictional, ecstatic Aphrodite. By a swift dark instinct, Cipriano drew
away from this in her. When, in their love, it came back on her, the seething electric female ecstasy, which knows such spasms of delirium, he recoiled from her. It was what she used to call her “satisfaction.” She had loved Joachim for this, that again, and again, and again he could give her this orgiastic “satisfaction,” in spasms that made her cry aloud.
But Cipriano would not. By a dark and powerful instinct he drew away from her as soon as this desire rose again in her, for the white ecstasy of frictional satisfaction, the throes of Aphrodite of the foam. She could see that to him, it was repulsive. He just removed himself, dark and unchangeable, away from her.
And she, as she lay, would realise the worthlessness of this foam-effervescence, its strange externality to her. It seemed to come upon her from without, not from within. And succeeding the first moment of disappointment, when this sort of “satisfaction” was denied her, came the knowledge that she did not really want it, that it was really nauseous to her.
And he, in his dark, hot silence, would bring her back to the new, soft, heavy, hot flow, when she was like a fountain gushing noiseless and with urgent softness from the volcanic deeps. Then she was open to him soft and hot, yet gushing with a noiseless soft power. And there was no such thing as conscious “satisfaction.” What happened was dark and untellable. So different from the friction which flares out in circles of phosphorescent ecstasy, to the last wild spasm which utters the involuntary cry, like a death-cry, the final love-cry. This she had known, and known to the end, with Joachim. And now this too was removed from her. What she had with Cipriano was curiously beyond her knowing: so deep and hot and flowing, as it were subterranean. She had to yield before it. She could not grip it into one final spasm of white ecstasy which was like sheer knowing.
And as it was in the love-act, so it was with him. She could not know him. When she tried to know him, something went slack in her, and she had to leave off. She had to let be. She had to leave him, dark and hot and potent, along with the things that are, but are not known. The presence. And the stranger. This he was always to her.