Mornings in Mexico - D.H. Lawrence

Summary

Mornings in Mexico is a collection of essays by D.H. Lawrence, primarily chronicling his experiences and observations during his stays in Oaxaca, Mexico, and with the Pueblo peoples of New Mexico in the mid-1920s. The book is not a narrative plot but a series of reflections on nature, indigenous cultures, and the contrast between ancient, elemental ways of life and the encroaching modern, industrialized world. Lawrence delves into the rhythms of Mexican village life, the vibrant marketplace, the spiritual significance of indigenous dances, and the profound connection to the earth he perceives in these cultures. He critically examines Western civilization's impact, often expressing a yearning for a more primal, intuitive existence and a deep respect for the non-Western worldview he encounters. The essays are marked by Lawrence's vivid descriptive prose, philosophical musings, and a passionate, often critical, engagement with the landscapes and peoples he describes.

Book Sections

Section: Corasmin and the Parrots

This essay introduces Lawrence's home in Oaxaca, focusing on his relationship with his parrot, Corasmin. He describes the parrot as a creature of pure, vibrant life, untamed and deeply connected to its ancient, wild nature, embodying an "impersonal separateness" that fascinates him. Lawrence contrasts Corasmin's vivid, untamed existence with the human tendency to domesticate and intellectualize everything, losing touch with instinctual life. He also reflects on the difficulty of understanding another creature's consciousness, emphasizing the parrot's inherent wildness and its resistance to being fully comprehended or possessed. He also touches on the behavior of other parrots in the area.

Character	Characteristics	Motivations
D.H. Lawrence	Observant, philosophical, critical of modern Western civilization, seeker of elemental life, empathetic to nature.	To understand and interpret the natural world and indigenous cultures; to express his philosophical views on life and consciousness.
Corasmin (Parrot)	Wild, vibrant, untamed, ancient, represents pure instinctual life, "impersonal separateness."	To exist in its natural state; to assert its wild independence; to communicate through squawks and calls.
Frieda Lawrence	Lawrence's wife, a companion in his travels.	To accompany Lawrence; to experience new cultures.

Section: Walk to Huayapa

Lawrence recounts a walk with Frieda to the nearby village of Huayapa. He describes the Mexican landscape, the cactus, the dusty roads, and the vibrant yet often silent life of the countryside. He reflects on the feeling of being an outsider, a "gringo," in this ancient land and the profound sense of otherness he experiences. He observes the indigenous people with a mixture of awe and detachment, noting their timelessness and their deep connection to the earth. The walk becomes a meditation on the differences between cultures and the subtle, often unspoken, understanding that exists within the local communities. He describes the sounds of distant church bells and the quiet dignity of the villagers.

Section: The Mozo

This essay focuses on the figure of the mozo, a young indigenous servant boy. Lawrence describes his quiet, almost invisible presence, his stoic nature, and his deep, instinctual understanding of the world around him. He contrasts the mozo's pre-industrial, pre-conscious way of being with the complex, self-aware nature of Western man. Lawrence finds a profound beauty and truth in the mozo's simplicity and his seamless integration with the natural world, seeing him as a remnant of an older, more authentic humanity. The mozo represents a life lived without the burden of excessive introspection or intellectualization, driven instead by natural rhythms and duties.

Character	Characteristics	Motivations
The Mozo	Young indigenous servant, quiet, stoic, instinctual, deeply connected to the natural world, embodies pre-conscious existence.	To perform his duties; to exist in harmony with his environment; to maintain his cultural identity and way of life.

Section: The marketplace

Lawrence immerses himself in the vibrant and chaotic atmosphere of the Oaxaca marketplace. He describes the sensory overload: the colors of the produce, the sounds of bartering, the smells of food and spices, and the sheer press of humanity. He observes the indigenous vendors, their dignified postures, and their seemingly endless patience. The marketplace, for Lawrence, is a microcosm of Mexican life, a place where ancient traditions meet practical daily needs. He reflects on the unique economy and social interaction within this space, seeing it as more organic and less driven by purely monetary profit than Western markets. He contrasts the immediate, tangible reality of the market with the abstract nature of modern commerce.

Section: Indians and Entertainment

This essay explores the nature of entertainment and recreation among the indigenous people. Lawrence notes their subdued and often quiet demeanor, contrasting it with the boisterous, self-conscious entertainment of Westerners. He describes their preference for simple pleasures, communal dances, and rituals that connect them to their heritage rather than individualistic spectacles. He feels that their entertainment is more deeply rooted in their collective identity and their connection to the earth, possessing a spiritual dimension often lacking in Western forms of amusement. He notes their lack of "fun" in the Western sense, suggesting a deeper satisfaction in their own traditional forms of expression.

Character	Characteristics	Motivations
Indigenous People	Subdued, dignified, deeply connected to tradition, community-oriented, find satisfaction in collective rituals and simple pleasures.	To maintain cultural heritage; to express their communal identity; to connect with the spiritual and natural world through traditional practices.

Section: Dance of the Sprouting Corn

Lawrence shifts his focus to New Mexico, describing the ancient Pueblo dance of the Sprouting Corn. He vividly portrays the dancers, their elaborate costumes, the rhythmic drumming, and the profound spiritual intent behind the performance. For Lawrence, this dance is not mere entertainment but a sacred ritual, a powerful communion with the earth and the forces of life, intended to encourage fertility and renewal. He emphasizes the dancers' utter absorption in the moment, their surrender to the collective spirit, and the sense of an ancient, cosmic rhythm that pervades the entire event. He sees it as a direct expression of a deep, pre-human consciousness still alive in the indigenous people.

Section: The Hopi Snake Dance

This section describes the famous Hopi Snake Dance, a highly controversial and powerful ritual involving live rattlesnakes. Lawrence conveys the intense atmosphere, the danger, and the profound spiritual significance of the dance. He describes the dancers' fearless handling of the venomous snakes, seeing it as an act of absolute faith and courage, a direct confrontation with the primal forces of nature and death. He interprets the dance as a plea for rain and fertility, a direct engagement with the chthonic powers of the earth. He is deeply moved by the dance's raw, elemental power and its stark contrast to the intellectualized and sanitized rituals of Western religion.

Section: Eagle Dance

Lawrence describes another powerful Pueblo ritual, the Eagle Dance. He focuses on the grace and power of the dancers, who embody the spirit of the eagle, a sacred bird representing strength, vision, and connection to the sky. He details their movements, mimicking the eagle's flight, its hunting, and its soaring freedom. The dance, like the others, is presented as a profound spiritual act, a way for the people to connect with the natural world and invoke its powers. Lawrence highlights the non-individualistic nature of the performance, where the dancers become conduits for a greater, ancient force.

Section: Certain Americans and an Englishwoman

This essay offers a more anecdotal and observational account of some of the people Lawrence encounters in his travels, both Americans and other Europeans. It's a character study of the different types of expatriates and visitors to Mexico and New Mexico, often contrasting their superficial or intellectualized appreciation of the indigenous cultures with Lawrence's own deeper, more visceral engagement. He satirizes some of the "culture vultures" and the patronizing attitudes of certain Americans towards the native peoples, while also reflecting on his own position as an English outsider. The "Englishwoman" might be a composite or a specific person, representing a certain European sensibility. This section provides a glimpse into the social dynamics of the foreign community.

Section: A Little Moonshine with a Laughing Horse

The final essay, set in New Mexico, is a more personal and reflective piece. Lawrence describes an encounter with a laughing horse under the moonlight, an experience that transcends rational understanding. The horse's laughter, its primal joy, speaks to him of a deep, untamed life force. This encounter becomes a metaphor for the intuitive, non-intellectual understanding he seeks and finds in the natural world and in indigenous cultures. The essay reinforces his central theme: the importance of reconnecting with our primal instincts and embracing the mystery and vitality of life, rather than reducing everything to logic and reason. It's a poetic conclusion to his exploration of the elemental.

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Genre: Essays, Travelogue, Cultural Criticism, Philosophy

Author Facts (D.H. Lawrence):

• Full Name: David Herbert Lawrence
• Born: September 11, 1885, Eastwood, Nottinghamshire, England
• Died: March 2, 1930, Vence, France
• Key Works: Sons and Lovers, The Rainbow, Women in Love, Lady Chatterley's Lover.
• Themes: Explored industrialization's dehumanizing effects, sexuality, emotional health, vitality, instinct versus intellect, and the search for authentic living.
• Life: Often controversial, he traveled extensively, seeking places where life felt more "primitive" or authentic, spending time in Italy, Australia, Ceylon (Sri Lanka), the United States (New Mexico), and Mexico. His work was often banned or censored due to its frank treatment of sexuality and its challenge to societal norms.

Morale/Message:
The core message of Mornings in Mexico is a profound critique of Western industrial society's over-intellectualization and its alienation from the natural world and primal instincts. Lawrence advocates for a return to a more elemental, intuitive way of being, as exemplified by the indigenous cultures he observes. He emphasizes the importance of respecting the non-human and non-rational aspects of existence, finding truth and vitality in direct engagement with nature, ancient rituals, and instinctual life rather than in abstract thought or technological progress. The book serves as a call to reconnect with the "blood-consciousness" and the deeper, often forgotten, rhythms of life.

Curiosities:

• Personal Connection: Lawrence lived in a ranch near Taos, New Mexico, during the period described in some of these essays, and the landscapes and cultures deeply influenced him. The ranch is now known as the D.H. Lawrence Ranch.
• Travels as a Theme: Lawrence's extensive travels were not just about seeing new places but were a fundamental part of his philosophical quest to find places and cultures that still embodied a pre-industrial, "primitive" vitality he felt was lost in Europe.
• Critical Lens: While appreciating indigenous cultures, Lawrence's writings sometimes reflect the problematic views of his era, occasionally romanticizing or essentializing the "primitive." Modern readers often analyze his work through this lens, acknowledging both his insights and his cultural biases.
• Contrasting Essays: The book is effectively divided into two main parts: observations from Mexico (particularly Oaxaca) and reflections on the Pueblo peoples of New Mexico, showcasing slightly different cultural facets but unified by Lawrence's overarching themes.
• Snake Dance Controversy: Lawrence's description of the Hopi Snake Dance is particularly famous due to the dangerous nature of the ritual. His account is one of the more vivid literary descriptions of this secretive and powerful ceremony, which was and remains sacred to the Hopi people.