This paper investigates why there is an inclination in modernism to portray nostalgic space with Southern territories, and more specifically, in the case of D. H Lawrence’s The Lost Girl (1920), with the Mediterranean. The modernists’ exploration of nostalgic moods and tropes is well documented; the First World War became a symbolic rupture between past and present in contemporary imagination, and many modernist texts works structurally with split narratives, where a fathomed present is contrasted by a vigorous past, thematically and stylistically. Similarly, D. H. Lawrence’s works explicitly make use of this strategy of juxtaposing the natural and the cultural, as can be seen in The Rainbow and Women in Love. Lawrence’s relationship to the Mediterranean is ambivalent, but is situated within a historical context of the Mediterranean as both a location of an epistemological and escapist nature. In The Lost Girl, Lawrence’s earlier ironic ridicule of the South has been replaced by a genuine belief in the undeveloped Mediterranean backwater as a representative of a natural human state of cosmic unity. The well-documented nostalgia for a paradisiacal past, as the Mediterranean South represents in Northern and Western culture, this paper argues, is utilized in The Lost Girl in order to create a modernist critique of industrialization and progress. This paper illustrates Lawrence’s specific stylistic approach to Mediterranean nostalgia.