Lawrence’s New Mexico “Shangri-La”

Posted on by Sloane Snodgrasse
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

The Hitler Diary Forgeries: The Bonanza Scoop and a Need to Believe?

Posted on by E Curb Nottus
Creative Writing, International Relations, Literary & Linguistics, Regional History, Society & Culture

Hitler-Tagebücher, the discovery of diaries, hitherto unknown, claimed to be written by Adolf Hitler, the most talked about man of the 20th century, who wouldn’t want to find out more about a scoop with such history revising ramifications?

The news, when it surfaced in the early 1980s, certainly caused quite a sensation internationally. After eminent historian Hugh Trevor-Roper (Lord Dacre) declared the diaries legit on a first sighting (though later he walked that back a bit), newspaper editors in Germany and the UK unhesitatingly bought the ruse. Rupert Murdoch, after forking out £250,000 to buy the serialisation rights from Der Stern magazine for the diaries, ordered their immediate serialisation in the Sunday Times.

Trevor-Roper: his damaged academic reputation never really recovered from the humiliating affair

With everyone so enthusiastically “gung-ho” about them, the spoiler was that the diaries were fakes, the work of one Konrad Kujau, an East German petty crim and recidivist forger. Kujau’s “Hitler Diaries” were acquired by a ‘Naziphile’ journalist with a bent for Third Reich memorabilia, Gerd Heidemann❶, who was the go-between in selling the diary rights to Stern for somewhere in the region of $2–$3 M. In the transaction Heidemann purloined something considerably north of a tidy sum for himself.

Gerd Heidemann, subsequently jailed for fraud for his part in the forgeries ▼

An incredible lack of credibility
On the face of it the Hitler forgeries had the hole-ridden texture of Swiss cheese. The German Federal Archives eventually pronounces them “clumsy fakes” after two weeks of commotion, described as a “14-day historical mystery-thriller, in which experts changed their minds, Jewish leaders were horrified at an apparent attempt to whitewash Hitler”❷ (Schwarz and van der Vat). There was a “thoroughly incomplete vetting of the diaries” (McGrane). In the flurry of activity as interested parties competed for the diaries, no one thought to test the ink, paper and string of the supposed ‘personal’ seals of the Führer (when three volumes in the form of small notebooks were eventually examined it was shown that they dated from after WWII – Kujau used modern paper which he stained with tea to give it an aged appearance!). Nor did they think to scrutinise the text of the diaries more closely – if they did they would have detected the plagiarism, Kujau copied (word for word) large chunks of a book on Hitler’s proclamations and speeches by Max Domarcus (McGrane).

▲ Some of Kujau’s handiwork (Photo: AFP/Getty Images)

Then there’s the handwriting which didn’t match, an oversight not immediately picked up on. Initially Kujau produced some 27 volumes of the ‘lost’ diaries…the sort of money these fetched was irresistibly tempting, suddenly Kujau ‘discovered’ a whole new vein of Hitler writings, a further 35 diaries and a third volume of Mein Kampf, alarm bells still didn’t ring❸.

Likewise, the simple fact that there had been absolutely no previous record of the diaries’ existence, in an area of historical research which has been so inexhaustibly and copiously trawled for decades, somehow escaped all of those with their eyes on the prize. Another clue missed was Kujau’s careless labelling of each volume ‘FH’ in Gothic letters rather than ‘AH’. The editors of Stern fatally failed to press Heidemann to divulge his source for the diaries, the employee only giving up the name of the known fraudster when the jig was virtually up. The catch-up forensics, when they came, quickly verified the bogus nature of the ‘documents’.

Konrad Kujau (got four-and-a-half years jail for his crime) ▼

Clarity comes with hindsight
Self-recrimination for such egregiously bad judgement followed. With hindsight Lord Dacre reproached himself for being seduced by the find of such a historical treasure…”I should have refused to give an opinion so soon” (Schwarz and van den Vat). 30 years on, Felix Schmidt, one of the three editors-in-chief at Stern ❹, reflected that the very thought that Hitler kept diaries triggered “a kind of collective insanity in the upper echelons Stern’s editorial offices”, adding that “delusional secrecy” and “illegitimate mystification” about the affair prevailed.

(Source: Business Insider)

There was in such an intoxicating atmosphere “simply too much money at stake for anyone to come to their senses”.(McGrane). Clearly the newspapers were blindsided by the dollar (and Deutschmark) signs dangling before their eyes, hence their inordinate haste to rush in where cooler and wiser heads would have proceeded with great caution❺.

Postwar German generation
A persuasive argument for why the participants were so easily duped comes from Die Zeit editor Giovanni di Lorenzo, who attributes their ready acceptance of the flimsy evidence for the diaries‘ authenticity to generational fixation with Hitler of those who lived through the Nazi era. This fascination, Lorenzo concludes, would have been unimaginable to later German generations (McGrane).

PostScript: Hitler Diaries on the celluloid screen
The celebrated hoax has been translated twice to the screen, the first a 1991 British mini-series based on Robert Harris’ book Selling Hitler with the same title (Alexei Sayle is a comfortable fit as the cheerful and uncomplicated ‘Conny’ Kujau). The second, a satirical German-made film, Schtonk!, released in 1992.

▲ Dictator diarists, courtesy of their ghostwriters

⌯⌯⌯ ⌯⌯⌯ ⌯⌯⌯ ⌯⌯⌯ ⌯⌯⌯ ⌯⌯⌯ ⌯⌯⌯ ⌯⌯⌯

❶ Heidemann’s devotion to Nazi memorabilia extended to purchasing the late Field Marshal Göring’s yacht

❷ in the diaries Hitler is incredulously depicted as being almost blissfully unaware of the atrocities committed against Jews

❸ Kujau sold his first faux Hitler diary to a collector in 1978

❹ all three summarily sacked for their failings

❺ the Sunday Times especially should have been treading warily given it had been scammed before in 1968 when it spent $250,000 trying to get its hands on the equally fraudulent “Mussolini Diaries”

୭ ˚ ୭ ˚ ୭ ˚

Bibliography:

‘Diary of the Hitler Diary Hoax’, Sally McGrane, The New Yorker, 25-Apr-2013, www.thenewyorker.com

‘Hitler Diaries proved to be forged — archive’, Walter Schwarz and Dan van den Vat, The Guardian, 07-May-1983, www.theguadian.com

‘The Hitler Diaries: How hoax documents became the most infamous fake news ever’, Adam Lusher, Independent, 05-May-2018, www.independent.co.uk

Being “Ern Malley”, the Avatar Bard of Croydon, NSW, 2132

Posted on by Sloane Snodgrasse
Creative Writing, Literary & Linguistics, Popular Culture

Every age produces its share of literary hoaxes, it’s a practice to deceive that has been around for ‘yonks’. A Irish hack writer back in the 18th century claimed to have discovered (and subsequently published) a ‘lost’ play purportedly penned by Shakespeare. Jonathan Swift dabbled in it in his time, and in recent times we have seen the surfacing of false claims of a ‘lost’ autobiography of Howard Hughes and the emergence of the so-called “Hitler Diaries”.

▲ Pranker J McAuley

The Antipodes’ most celebrated entrant in the canon of great literary hoaxes occurred in 1944. The perpetrators were two nondescript conservative young poets serving in the Australian army, (Lt.) James McAuley and (Cprl.) Harold Stewart (both Fort Street High old boys), who “shared an animus towards modern poetry” (Lehman). The two desk soldiers, intent on “deflat(ing) the egos of the pretentious literary avant-garde“𝟙, honed in on the most conspicuous target, Max Harris, Adelaide publisher of the modernist literary mag Angry Penguins.

▲ Pranker H Stewart

McAuley and Stewart’s prank𝟚 was to write to Harris pretending to be one “Ethel Malley” from Croydon NSW, informing him of unpublished poems written by her brother Ern, a working class soldier whose life had been cut tragically short. Harris, taken in by the fraud lock, stock and barrel, called “Ern’s poems” modernist gems and was only too eager to publish the 18 “Ern Malley” poems in a 1944 volume of Angry Penguins.   ⿻ ⿻ ⿻
▲ Cover art by Sidney Nolan

Malley’s “magnum opus“, entitled ‘The Darkening Ecliptic’, according to the hoaxers was written in a single afternoon in a random manner, a pastiche of fragments patched together from widely disparate sources of inspiration – Shakespeare, the classics, a dictionary, a book of  quotations, a tome on tropical hygiene, a US Army treatise on mosquito infestation…all mixed in together with snatches of McAuley and Stewart’s own poetry. Consisting of abstruse, flowery, high-sounding verse, to the minds of the hoaxers they were simply creating nonsensical, bad modern poetry:

❝ Though stilled to alabaster

This Ichthys shall swim

From the mind’s disaster

On the volatile hymn. ❞

𓂎𓂎𓂎

❝ The swung torch scatters seeds

In the umbelliferous dark ❞

𓂎𓂎𓂎

❝ I am still

the black swan of trespass on alien waters. ❞

𓂎𓂎𓂎

▲ Max Harris with his Heide Circle friends (Source: literaturelust.com)⿻⿻⿻

After a Sydney tabloid exposed the poems as a hoax and McAuley and Stewart fessed up to the deed, the fallout for Harris was caustic, the publisher was publicly humiliated for being duped so completely. And to add insult to injury, he was charged, tried and convicted on obscenity grounds (“indecent advertisements” the police prosecution charged). The trifecta of misfortune for wunderkind Harris was that his publication Angry Penguins folded within two years of the episode. Harris relocated to Melbourne, becoming a bookseller (fronting the Mary Martin’s chain of bookshops).

⿻⿻⿻

Afterwards Harris reproached himself for not picking up on the several clues McAuley and Stewart embedded in the text, eg, “It is necessary to understand that a poet may not exist”; (alluding to earlier incongruous stanzas) “these distractions were clues” (Parezanović). Interestingly though, Harris never backtracked from his initial evaluation that the ‘Darkening Ecliptic’ poems were works of genius𝟛. Despite being pilloried by the press he also elicited support from the literary world for his stance, most notably from influential critic Sir Herbert Read who contended that “it was possible to arrive at genuine art by spurious means – even if the motive of the writer was to perpetrate a travesty” (Lehman).

▲ No. 40 Dalmar St Croydon: the Malleys’ supposed address, actually the home of Harold Stewart⿻⿻⿻

Read’s anti-clockwise take on the controversy points to a debate that continues to this day over the merit or otherwise of the “Ern Malley” poems. Critics at home and abroad praised ‘The Darkening Ecliptic’ for its literary merit – including Robert Hughes. American poets John Ashbery and Kenneth Koch both lauded the poems’ surrealist qualities and even taught Ern’s work in their college literature classes (Wertheim). Even a poet of the highest calibre, TS Eliot, had positive words, wiring his support for the poems.

⿻⿻⿻

Ern Malley and the intentional fallacy
The Ern Malley controversy focuses attention on the issue of authorship. Sasha Grishin argues that where an author is “unknowable” and the author’s intentions irretrievable and perhaps irrelevant…once a work of art has been created…it is largely a fruitless task…to try to determine what an author may have intended by it“. Michel Foucault gives credence to this perspective: “we can imagine a culture where discourse would circulate without any need for an author” – a prime example of this is Homer, the unknowable but putative author of western literature’s ur-canon. ⿻⿻⿻
Nolan’s “Ned Kelly” series ▲

Like the poems or loathe them, the Malley hoax continues to fascinate critics and writers. US poet and critic David Lehman calls it “the greatest literary hoax of the 20th century”. Sidney Nolan (who contributed the cover artwork for the Ern Malley volume) credits the phenomenon with giving him the nerve to embark on his iconic “Ned Kelly” series of paintings. Garry Shead is another artist who produced his own idiosyncratic visual take on the Malley poems. In Peter Carey’s My Life as a Fake the Malley hoax influence—along with the influence of Mary Shelley’s Frankenstein— shows itself in the novel’s character ‘Christopher Chubb’.

▲ Garry Shead’s Ern Malley ‘Petit Testament’ interpretation

A cause célèbre with staying power
Undeniably, the creation of the fictitious Ern Malley far surpassed the literary significance of his creators (Grishin). As Lehman noted, “Malley escaped the control of his creators (enjoying) an autonomous existence beyond and at odds with the critical and satirical intentions of McAuley and Stewart”.

◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘◘

𝟙 Stewart late in life described the deception as “a wonderful jape (which would) absolutely slay Max Harris”

𝟚 some have suggested that the Australian anti-modern poet AD Hope was behind the prank to deceive Harris but Hope vigorously denied any involvement (McCulloch)

𝟛 Stephen Orr suggests that Harris’ eagerness to take the Ern Malley discovery at face value and run with it was in part due to his being on the lookout for something authentic and new to take the place of bush poetry in Angry Penguins, something “modern, anti-Adelaide, anti-Australia-as-a-talcum-scented tea shop”

°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°

Papers and published pieces consulted:

‘The Ern Malley Poetry Hoax – Introduction’, David Lehman, Jacket, 17 — June 2002, www.jacketmagazine.com

‘The Poet Who Never Was’, David Lehman, Washington Post, 06-Mar-1994, www.washingtonpost.com

‘Garry Shead and the Ern Malley series by Sasha Grishin, 2003’, Gagprojects, www.gagprojects.com

“It is Necessary to Understand That a Poet May Not Exist: The Case of Ern Malley”, Tijana Parezanović, SIC – A Journal of Literature, Culture and Literary Translation, Dec 2012, www.sic-journal.org

‘The Fall and Rise of Ernest Lalor Malley: The Poet who wasn’t’, Christine Wertheim, Cabinet, Issue 33, Spring 2009, www.cabinetmagazine.org

‘In Dialogue with A.D. Hope – Dialogue Three Politics & Poetics of Australian Literature’, Ann McCulloch, Double Dialogues, Issue 5 2003, www.doubledialogues.com

Sherlock Holmes’ Posthumous Copyright Case

Posted on by E Curb Nottus
Cinema, Creative Writing, Law and society,, Literary & Linguistics, Performing arts, Popular Culture

The image stereotype of the Sherlock Holmes character (Source: Culture Livresque)

⌖

Few characters from modern literature pop up on cinema screens and TV sets as frequently as Sherlock Holmes does. Some observers have stated it more firmly. Christopher Redmond estimates that Sherlock Holmes is the most prolific screen character in the history of cinema (A Sherlock Holmes Handbook (1994)). Just how many different Sherlock Holmes screen adaptions have been made is too large and elusive a number to pin down accurately, but screen vehicles of Arthur Conan Doyle’s famous super-sleuth and Mensa-alumni certainly number in the hundreds✱.

(Photo: CrimeReads)

A publishing can of worms
When Arthur Conan Doyle (ACD) died in 1930 the author left his literary works in Trust to his widow (Jean Conan Doyle) and immediate family. But in excluding his daughter Mary from his first marriage, ACD opened the door to an ongoing family rift, decades of squabbles, strife and litigation by his heirs, descendants and their spouses.

As the intra-family ‘Barney’ over who controls the copyright to the Sherlock Holmes works deepened, the imbroglio entangled an investment company specifically set up to manage the windfall (aptly named “Baskervilles Investments”) and even the Royal Bank of Scotland (‘History of the Sir Arthur Conan Doyle Copyrights’, (2015), www.arthurconandoyle.com).

1954 Holmes TV series with Ronald Howard (Photo: dvdfr.com)
⌖

The upshot of the kerfuffle was that each of the competing parties claimed to be the rightful holder of the rights to ACD’s literary estate, and then attempted to sell it notwithstanding the prevailing uncertainty over ownership. American TV producer-director Sheldon Reynolds acquired a licence from two of Arthur’s sons to make a Sherlock Holmes series in the 1950s. When, 20 years later, Reynolds tried to get a licence for a follow-up series on TV, he found that the legal landscape had changed. The rights were now held by the Royal Bank of Scotland who had acquired them after the previous owner defaulted on a loan. Eventually, with funds provided by his Pfizer heiress mother-in-law, Reynolds secured the rights to the Holmes stories.

Andréa Plunket (Source: goodreads.com)

Culture of litigation
Since 1990 the main battle for control of the copyrights has pitted Reynolds’s ex-wife, Hungarian-born heiress Andréa Milos (née Reynolds, née Plunket) versus the Conan Doyle Estate and others. Plunket has doggedly claimed to hold the rights to the name “Sherlock Holmes” and the stories, despite a lack of legal support for the claims. Lawsuits were exchanged between her and the Estate. Plunket also threatened to sue the BBC over its Sherlock television series for allegedly infringing ‘her’ trademarks (‘The Scandalous Sherlock Holmes Copyright Issue’, Mattias Boström, I Hear of Sherlock Everywhere, 30-Jul-2015, www.ihearofsherlock.com).

The Sir Arthur Conan Doyle Estate for its part has been particularly litigious in defence of its literary legacy. The Estate has consistently striven to maintain water-tight control over both the Sherlock Holmes stories and the characters. In 2013 it demanded author Leslie S Klinger pay a fee to license the Sherlock character for an anthology he was planning to do. Klinger’s response was to sue the Estate on the basis that most of the Sherlock material was in the public domain. In court the judge upheld Klinger’s position, while reaffirming that some late works were still covered under copyright (‘Sherlock Holmes Copyright: An overview’, Brogan Woodburn, www.redpoints.com). In 2020 it sued Netflix over its upcoming film Enola Holmes. The grounds? The film apparently depicts Holmes as having emotions and respecting women. This, the Estate contends, breaches Conan Doyle’s copyright (‘Lawsuit over ‘warmer’ Sherlock depicted in Enola Holmes dismissed’, Alison Flood, The Guardian, 22-Dec-2020, www.theguardian.com).

‘The Red-Headed League’ story (Golden Press edition, 1963)

⌖

End-note: An additional complication over the Holmes copyright issue is a demarcation between the UK and US laws. In the UK copyright lasts for 70 years after an author’s death (in Conan Doyle’s case, the copyright expired in 2000). Conversely in the USA some copyrights extend for 95 years from the date of the work’s first publication⍟. This has proved a stumbling block for TV series and film-makers trying to adapt one of the Sherlock stories in recent years (‘Sherlock Holmes And His “Copyrighted Emotions”‘, Copyright House, 28-Sep-2020, www.copyrighthouse.org).

…………………………………………..

✱ including works for film, music, radio, stage, video games, there are over 25,000 products that are related to the famous detective (Woodburn)

⍟ the last of ACD’s published work expires in 2023