focuses on men without women, or more specifically men who want to live outside relationships with women.
Mawr, to the hysteria of war-neurosis reflected in Aaron's Rod
, as presented by John Turner.
John Turner's valuable piece on Aaron's Rod
begins with a discussion of the apparent 'disparity between Lawrence's sense of his own work and its usual critical reception' (70) and goes on to examine the complex comic unity of the novel, arguing that it reveals not only acutely observed social comedy but, at a deeper level, is a powerful analysis of hysteria in the aftermath of the Great War.
Lawrence's three lengthy stays in Italy (1912-14, 1919-22, 1925-29) are detailed in his Italian travel books Twilight in Italy (1916), Sea and Sardinia (1921) and Etruscan Places (1932), as well as in his novels The Lost Girl and Aaron's Rod
Whereas Aaron's rod
struck down whole nations, Friar Dominic's assault on Gomez's house merely mimics the blustering wind, strong enough to raise a huff but lacking the force even to open a door.
Lawrence, who in Aaron's Rod
(1922) advocated "a proper and healthy and energetic slavery," in 1908 had written presciently, "If I had my way, I would build a lethal chamber as big as the Crystal Palace, with a military band playing softly.
Mawr, to offer 'a satirical gloss' on some of Lawrence's poems, to function as 'a revisionist, intertextual play on Women in Love', and also to make critical reference to Aaron's Rod
Deleuze and Guattari focus on Aaron's Rod
as an illustration of their view of a schizophrenic universe of atomized "reproductive desiring-machines" that ultimately repudiates woman, family, and society.
In discussing this intervention Michelucci lays special emphasis on The Lost Girl and Aaron's Rod
as transition points, even though they are minor novels.
The Ark contained three items: the tablets of stone that Moses had delivered to the people from Sinai, a jar of manna from the wilderness years of wandering, and Aaron's rod
After the war Lawrence went to Italy, where he produced a group of novels consisting of The Lost Girl (1920), Aaron's Rod
(1922), and the uncompleted Mr.
In "Modernism's Fourth Dimension in Aaron's Rod
," Kumiko Hiroshi notes Lawrence's gratitude to Einstein for "knocking that external axis out of the universe," a universe which is really "a cloud of bees flying and veering around," and she suggests that Aaron's continuous quick movements and the "multiple perspectives" they produce reflect the spatial fourth dimension.