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Aaron's Rod

1922

D. H. Lawrence

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Aaron's Rod

D. H. Lawrence

1922

British Literature, Novels

Aaron Sisson walks out on Christmas Eve. A miner, a union leader, a husband and father, he simply leaves his wife and daughters in the industrial heart of England and heads south toward Italy, searching for something he cannot name. D.H. Lawrence's 1922 novel seethes with post-war disillusionment: a civilization hollowed out by mechanized slaughter, its institutions exposed as fraudulent, its moral certainties crumbled to dust. Aaron's journey becomes both physical and spiritual as he moves through a world still reeking of destruction, confronting the machinery of politics, religion, and industrial capitalism that Lawrence saw as strangling authentic life. The novel pulses with Lawrence's furious energy, his conviction that modern society had murdered something essential in men and that only through radical rupture could one recover vitality. Banned in both America and England upon publication, Aaron's Rod remains a provocative portrait of masculine crisis, a man refusing the roles that society demands and paying the price in loneliness and doubt.

Project Gutenberg

A novel written in the early 20th century. The story explores themes of personal conflict and social dynamics, primarily...

Wikipedia

Aaron's rod (Hebrew: מַטֶּה אַהֲרֹן) refers to any of the walking sticks carried by Moses' brother, Aaron, in the Torah....

Goodreads

Written in the years following World War I and set in postwar England and Italy, Aaron's Rod questions many of the accep...

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“The completion of the process of love is the arrival at a state of simple, pure self-possession, for man and woman. Only that. Which isn't exciting enough for us sensationalists. We prefer abysses and maudlin self-abandon and self-sacrifice, the degeneration into a sort of slime and merge.Perhaps, truly, the process of love is never accomplished. But it moves in great stages, and at the end of each stage a true goal, where the soul possesses itself in simple and generous singleness. Without this, love is a disease.””

— D. H. Lawrence

“It's only when the ghastly mob-sleep, the dream helplessness of the mass psyche overcomes him, that he becomes completely base and obscene””

— D. H. Lawrence

“You can't lose yourself, neither in woman nor humanity nor in God. You've always got yourself on your hands in the end: and a very raw and jaded and humiliated and nervous-neurasthenic self it is, too, in the end.””

— D. H. Lawrence

“That's the recoil of the same urge. The anarchist, the criminal, the murderer, he is only the extreme lover acting on the recoil. But it is love: only in recoil. It flies back, the love-urge, and becomes a horror.””

— D. H. Lawrence

“But alas, the cinema has taken our breath away so often, investing us in all the splendors of the splendidest American millionaire, or all the heroics and marvels of the Somme or the North Pole, that life has now no magnate richer than we, no hero nobler than we have been, on the film. Connu! Connu! Everything life has to offer is known to us, couldn't be known better, from the film.””

— D. H. Lawrence

“He sat for long hours among the cypress trees of Tuscany. And never had any trees seemed so like ghosts, like soft, strange, pregnant presences. He lay and watched tall cypresses breathing and communicating, faintly moving and as it were walking in the small wind. And his soul seemed to leave him and to go far away, far back, perhaps, to where life was all different and time passed otherwise than time passes now. As in clairvoyance he perceived it: that our life is only a fragment of the shell of life. That there has been and will be life, human life such as we do not begin to conceive. Much that is life has passed away from men, leaving us all mere bits. In the dark, mindful silence and inflection of the cypress trees, lost races, lost languages, lost human ways of feeling and of knowing. Men have known as we can no more know, have felt as we can no more feel. Great life-realities gone into the darkness. But the cypresses commemorate. In the afternoon, Aaron felt the cypresses rising dark about him, like so many high visitants from an old, lost, lost subtle world, where men had the wonder of demons about them, the aura of demons, such as still clings to the cypresses, in Tuscany.””

— D. H. Lawrence

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