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It seemed to her that it was always on a cloudy day that you first heard and saw those spring birds and wondered where they came from. At first it wouldn’t come the image of the birds intervened - crows and grackles and starlings, spring birds that came back from somewhere while the streets were still running with meltwater and the last patches of crusted dirty snow clung grimly to their shady places. She tried to remember it - it was something good to think about in all this darkness, where you couldn’t place the sounds. Indeed, when Beverly recalls their copulation in the grey waters beneath the town, her memories are broken up and punctured by birds.Īll of them. We are not the marvellous choosers and deciders we think we are. We cannot see that invisible winds carry us, as they carry swarms of locusts, that invisible magnetism brings us as it brings the migrating birds to their unforeknown goal.
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That’s why the Pilgrim Fathers came to America, then and that’s why we come. IT being the deepest whole self, the self in its wholeness, not idealistic halfness. The true liberty will only begin when Americans discover IT, and proceeds to fulfil IT. If one wants to be free, one has to give up the illusion of doing what one likes, and seek what IT wishes done.īut before you can do what IT likes, you must first break the spell of the old mastery, the old IT. Indeed, even as Lawrence affirms IT, he paints IT as a horror, as if to fully comprehend it would ruin us, but comprehend it we must. IT is our deepest fears and desires both - because, of course, sometimes we fear what we want the most. Freedom is not doing whatever you like on a whim but “doing what the deepest self likes.” (Interestingly, for Lawrence, the “most unfree men go west, and shout about freedom” - a shout that “is a rattling of chains, always was.”) The sexual experience reunites them but it is nonetheless contaminated by the drives that brought them there.įor Lawrence, IT is not to be feared but embraced. In defeating IT, they defeat fear, but they are nonetheless disconnected by their ordeal. What the children really require is an end to fear. America is defined, in its adolescence, by sex and violence it is fitting, if nonetheless disturbing, that the characters in IT are too.
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This is not a children’s book - that is, a book for or about children - not really. The scene is inappropriate because of the age of the children but, like so many American novels, perhaps the issue remains the same. I wonder if King is illuminating the same tension that Lawrence is here, in a suitably immoral fashion. But once they leave the sewers, having defeated IT, the children “regress” to a normal suburban existence to a normal childhood. Sex is a doorway out of innocence and childhood. The general interpretation I see is that the Losers require some kind of end of innocence moment before they return to the outside world. What does it mean? Why is it included? Is it appropriate? The scene came under fresh scrunity a few years ago, following the recent film adaptations, which drew more attention to it only by leaving it out. The world has declined to hear it, and has babbled about children’s stories.Īs I sat reading this opening chapter on a humid Sunday afternoon, I found my mind drifting to Stephen King’s IT and the notorious scene where the children all have sex with Beverly Marsh as they attempt to leave the sewers. There is a new voice in the old American classics. It is hard to hear a new voice, as hard as it is to listen to an unknown language. And yet it is hardly surprising that so many would treat American art-speech so scathingly.
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But, of course, so long as we insist on reading the books as children’s tales, we miss all that.Īmerican literature requires - deserves even - a reappraisal, because it is we who are missing out when we patronise those writers of the new world with new things to say. The old American art-speech contains an alien quality, which belongs to the American continent and to nowhere else. Lawrence questions the perceived “childishness” of the old American classics. Beginning his Studies in Classic American Literature, D.H.