Lawrence’s depression may be gauged by his mother’s recollection that he sometimes sat for hours at home, staring into space; he did the same at All Souls, to the consternation of the other fellows. At times he broke out of his depression to play undergraduate pranks, or so the poet Robert Graves, a returning officer turned undergraduate, remembered. According to Graves, Lawrence climbed a tower at All Souls to hang the Hejaz flag from its peak, kidnapped a deer from the Magdalen College deer park, and rang the station bell he had captured from Tell Shahm from his window at night. These incidents would not have been out of the ordinary for an undergraduate, but Lawrence was at the time a thirty-one-year-old retired officer, and All Souls was not a place that looked with fond amusement on high jinks by its fellows. The pranks may be seen, not so much as cheerful rebellion against authority, but more likely as an attempt to revert to the happier, easier undergraduate state of mind that Lawrence had known at Oxford from 1907 to 1910. But that world had vanished forever. Oxford in 1919 was a place where the undergraduates were for the most part ex-officers, many of them old before their time. In every college dons were busy putting up a plaque with a long list of those who had been killed from 1914 to 1918. It was as if a whole generation had simply disappeared. Lawrence did not fit in at All Souls any more easily than he did at home.

He was still working on his manuscript, but without any conviction that it should ever be published. It was a giant, self-imposed task; and whereas most people write in the expectation of seeing their books published and reviewed, Lawrence seemed to be writing to get the war, and his role in it, out of his system. Perhaps for that reason, he included material that might be judged libelous or even obscene, by the strict standards of the time.

On August 14, 1919, Lowell Thomas’s “illustrated travelogue” opened at least at the Royal Opera House in Covent Garden. Lawrence had not been affected by Thomas’s success in New York—in the days before radio or television, let alone instant telephone communication, New York was far away, and a theatrical success there was merely a curiosity on the opposite side of the Atlantic. But in London Thomas made Lawrence, overnight, by far the most famous and acclaimed British hero of World War I, and what is more, a livehero, who lived only a short train ride from London. Lawrence had cooperated willingly with Thomas and Chase at Aqaba, on what he thought was a “propaganda film” for the American government, made under the orders of Colonel House, President Wilson’s closest adviser. Even so, he gave the two Americans only a few days of his time, and was notably reticent. He saw no harm in pulling Thomas’s leg, or in having a little fun at his expense, and cannot have imagined that the film would ever be made, or indeed that he would live to watch it, still less that it would be enlarged into a kind of three-ring circus. His colleagues at Aqaba had had their fun with Thomas too, telling him tall tales and burnishing Lawrence’s legend. Aqaba was a dull, infernally hot place, and the opportunity of amusing themselves at the expense of two earnest Americans was not to be missed.

None of this is to suggest that Lowell Thomas was taken in—he was anything but credulous—but he was a showman,looking for a great story and, if possible, for a British hero who could be made appealing to an American audience (not an easy task, given the constraints of the British class system). He saw no profit in skepticism, and never hesitated to turn a good story into a better one, and Lawrence was first and foremost a good story, set against a great background. Thomas made the most of it.

Although Lawrence has been criticized for cooperating with Thomas, he could hardly have foreseen that a documentary film would fill London’s biggest halls and theaters to capacity six nights a week and two matinees, let alone that the Metropolitan Police would have to be called out in force night after night to handle the huge crowds. On the night the Allenbys attended the show, Lowell Thomas reported that “Bow Street was jammed all the way from the Strand to Covent Garden … and we turned away more than ten thousand people.” Lowell Thomas’s wife, Fran, wrote to her parents that the show was having “a colossal success,” and she was not exaggerating. Lawrence himself saw it five or seven times (depending on whose account we believe), apparently without being recognized except by Fran Thomas, who noted that “he would blush crimson, laugh in confusion, and hurry away with a stammered word of apology.” That Lawrence was not initially offended at being turned into what he called “a matinйe idol” seems clear enough. He wrote a nice letter to Thomas, adding that he thanked God the lights were out when he saw the show, and invited the Thomases to Oxford for a sightseeing tour.

Thomas had not only put Arabia on the map but made T. E. Lawrence a perennial celebrity. The normally staid Daily Telegraphsummed it up nicely: “Thomas Lawrence, the archaeologist, … went out to Arabia and, practically unaided, raised for the first time almost since history began a great homogeneous Arab army.” The Telegraphpredicted that, thanks to Thomas, “the name Lawrence will go down to remotest posterity besides the names of half a dozen men who dominate history.”

Lawrence would have had to be superhuman not to feel a glow at all this fame and praise. However much he pointed out that he had notbeen unaided, that he was only one of a number of British officers helping the Arabs, his modesty only increased his popularity and fame. Here was no boastful hero, but a shy, modest, unassuming one, willing, even eager, to give credit to others. Lowell Thomas, in fact, stated how difficult it was to interview Lawrence about his own feats, then went on to publish in Strand Magazinea series of hero-worshipping articles about Lawrence, which, together with his lecture, he would soon transform into an internationally best-selling book.

“In the history of the world (cheap edition),” Lawrence complained to his old friend Newcombe about Lowell Thomas, “I’m a sublimated Aladdin, the thousand and second Knight, a Strand-Magazine strummer.”

It is against this background that one must view Lawrence’s life in 1919: as an ex-soldier struggling with a huge and difficult book; as a diplomat whose effort to give Feisal and the Arabs an independent state had failed; as a man who, to quote Kipling, “had walked with kings, nor lost the common touch,” and was now stranded in his rooms in an Oxford college, or at home under the thumb of a demanding mother, all the time besieged by admirers, well-wishers, celebrity hunters, and cranks.

Lawrence tried to take up some of his old interests—he wrote to his friend Vyvyan Richards about resuming their old plan for setting up a printing press together to produce fine, limited editions of great books. It says much for Richards’s affection for Lawrence that he was still open to this pipe dream after an interval of so many years; and it is hard not to believe that at this point Lawrence was simply casting around for some escape from the demands of his book, which was constantly growing in complexity, and from the rapidity with which his real accomplishments were being overshadowed by Thomas’s romantic image.

It is possible that the completion of Seven Pillars of Wisdommight have solved many of these problems—he had already written more than 200,000 words—but since at the time Lawrence didn’t expect to publish it, the book remained, in a sense, a perverse blind alley. One of Lawrence’s peculiarities as a writer was that despite his immense gifts, he believed firmly that writing was a skill which could be learned like demolition, and he was constantly on the lookout for people who could teach him the formula for writing poetry or constructing a sentence. More often than not, such suggestions, however sensible, were ignored. Like Charles Doughty, whose Arabia Desertahe so much admired, Lawrence seems to have invented his own prose style, which is at once archaic and lush, and becomes simple only when he is writing directly about the fighting. The descriptions of landscapes are magnificent, but throughout the whole long book—it grew to some 400,000 words at one point, and was eventually cut to about 335,000 for the so-called Oxford text of 1922, which is now regarded as definitive—there is a sense of a man perhaps trying too hard to produce a masterpiece. This need not necessarily be a bad thing—neither Ulyssesnor Finnegans Wakeis an easy book to read, after all; and D. H. Lawrence, whose books T. E. Lawrence admired (although in Lady Chatterley’s LoverD. H. Lawrence made fun of a certain “Colonel C. E. Florence … who preferred to become a private soldier”*), worked hard to produce a prose style distinctly his own. Still, there can hardly be a book in the history of English literature that was ever more thoroughly rewritten, revised, and agonized over line by line than Seven Pillars of Wisdom,and the pity of it is that it shows. It was a labor, not so much of love as of need, duty, and pride, and—more than that—another self-imposed challenge.